I)ECEMBEI{ 1965 60c - Ceramic Arts Network · thrown by Carlton Ball. Thousands of sketches. $7.50...

I )ECEMBEI{ 1965 60c

recommended books 0n ceramics

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WE PAY POSTAGE

CREATIVE CLAY DESIGN by Ernst Roftger Shows molding of all kinds of elaborate shapes from slabs, strips and rolls of clay. Over 250 examples of work by children and students. $4.95

POTTERY: FORM AND EXPRESSION by Marguerite Wildenhain Contains many large beautiful photographs. This impressive volume gives excellent basic technical information on processes and materials. An outstanding gift selection. $7.75

CERAMIC SCULPTURE by Betty Davenport Ford q-he author leads the reader to a high level of profession- alism in the design and technique of an ancient craft. Animal. human, plant and abstract forms are shown.

$5.50

DESIGNS AND HOW TO USE THEM by Joan B. Priolo Top-notch decorating can be achieved by following the simple motifs which may be enlarged or transferred. A complete list of subjects: birds, fish: etc. $6.95

CLAY AND GLAZES FOR THE POTTER by Daniel Rhodes Two complete books in one! Fundamental details on both CLAY and GLAZES make this book a "must" for every hobby - craftsman, student, teacher and potter. $7.50

DESIGN MOTIFS OF ANCIENT MEXICO by Jorge Enciso A compilation of 766 examples divided into geometric, natural and artificial forms. Includes designs based on flowers, birds, fish, human figures, etc. 170 pages. $1.85

ENAMELING ON METAL by Oppi Untracht Step-by-step photos are used to describe fundamentals on through 1o newly developed experimental styles. This complete guide is a major con- tribution to Enameling. $7.50

DESIGN FOR ARTISTS AND CRAFTSMEN by Louis Wolchonok One of the best books on design. it will prove to be invaluable to pottery and sculpture enthusiasts as well as decorators. Geometric, flower, bird and animal forms are shown in detail. $4.95

THE ART OF MAKING MOSAICS by Jenkins and Mills This fascinating book shows the beginner how to make unusual and beautiful mosaic pieces in home or workshop. Well illustrated. $5.95

POTTERY & CERAMIC SCULPTURE by Herbert M. Sanders A new, thoroughly revised edition of Mr. Sanders' best seller, C e r a m i c s B o o k . Com- pletely up-dated with new material, including section on ]how to build a potter's wheel. Excellent for beginners, $2.50

CRAFTS DESIGN by Moseley, Johnson & Koenig A wonderful introduction to crafts design, this handsome book shows the art and technique of creating through crafts. Over 1000 illustrations of pottery, mosaics, enameling, etc. 436 pages. $13.00

CERAMIC GLAZES by Cullen W. Parmelee This i n v a l u a b l e reference book completely covers glaze making. I n c l u d e s formulas and batch recipes for glazes. 314 pages of technical information. $8.00

MOSAICS, HOBBY & ART by Edwin Hendrickson q-his profusely - illustrated handbook for the beginner and advanced hobbyist includes step-by-step instruction on 12 basic projects. $3.50

CERAMIC SCULPTURE by John B. Kenny Contains over 1000 photos and sketches covering all phases of the sculptor's art. A valuable aid for all craftsmen. Large format (7"x10") 302 pages. $9.95 THE COMPLETE BOOK OF POTTERY MAKING by John B. Kenny The "best seller" in the ceramic field! Step-by-step photo lessons cover all of the pottery - making techniques. Clays. glazes, firing, plaster, etc. 242 pages. $7.50 CERAMICS FOR THE ARTIST POTTER by F. H. Norton

I The most complete book on the subject, from choosing the proper clay to putting the final touches on a piece, all clearly explained. Ce- ramics at its best! $7.50

CERAMICS by Glenn C. Nelson An important addition to the list of books for both student and teacher. Many step-by- step photographs of clay-forming and decorating techniques. Review of equipment. $5.95

FREE BRUSH DESIGNING by Egbert and Barrier "Ihe authors' exciting ap- proach to painting and designing develop.s confidence in the new arust. Extremely well adapted to ceramic decoration. $3.95

STONEWARE AND PORCELAIN by Daniel Rhodes Describes techniques and materials used in high-fire pottery. Includes sections cn clay bodies, glazes, colors, textures and decoration. $7.50

GLASS CRAFT by Kay Kinney The complete book on fusing, laminating and bending glass. Basic techniques, step-by-step projects and a "Glass Clinic" to help solve problems. Hard covers, 200 pages. $7.50

A POTTERY SKETCHBOOK by Aaron Bohrod Bohrod. one of America's dis- tinguished painters, is well known in the pottery field for his decoration of pottery thrown by C a r l t o n B a l l . Thousands of sketches. $7.50

HANDBOOK OF DESIGNS AND DEVICES by Clarence Hornung Over 1800 sketches of basic designs and variations including the circle, line, scroll, fret shield, snow crystals and many more useful symbols. $1.90

CERAMICS AND HOW TO DECORATE THEM by Joan B. Priolo Mrs. Priolo gives detailed de- scriptions and illustrations of dozens of decorating techniques and shows exactly how to go about using them. Starts where o t h e r b o o k s leave off. $6.95

BOOK DEPARTMENT 4175 North High St. Columbus. Ohio 43214

FLEASE SEND ME THE FOLLOWING BOOKS [] Rottger--Clay Designs $4.95

Wildenhain~Pottery $7.75 Ford--Sculpture $5.50

[ ] Priol~Des;gns $6.95 Rhodes~Clay & Glazes $7.50

[ ] Encis~Design $1.85 [ ] Untracht--Enameling $7.50 ~1 Wolchonok--Des;gn $4.95

Jenkins & Mills--Mosaics $5.95 [ ] Sanders--Pottery $2.50 [ ] Moseley~Crafts Des;qn $13.00 [ ] Parmelee--Glazes $8.00

N A M E

HendricksonlMosaic $3.50 Kenny--Sculpture $9.9S

[ ] Kenny--Pottery $7.50 Norton--Artist Potter $7.S0

[ ] Nelson--Ceramics $5.95 [ ] Egbert & Barnet--Brush $3.95 [ ] Rhodes--Stoneware $7.50 r-d Kinney~Glass Craft $7.50 [ ] Bohrod--Sketchbook $7.50 I~ Hornung--Designs $1.90 [ ] Priolo--Ceramics $6.95

ADDRESS- CITY. STATE _ _ ZI P _ _ I enclose [ ] Check [ ] Money Order (Ohio residents: 3rTr Sales Tax)

MANUFACTURING COMPANY Presents

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December 1965 3

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Merry

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REWARD-HART The Reward-Hart Family extends

Holiday Greetings and Best Wishes

to all our friends, old and new.

R E W A R D C E R A M I C C O L O R M F R S . INC. 6 8 1 1 W A S H I N G T O N B L V D . E L I ( R I D G E 2 7 , M A R Y L A N D

4 Ceramics Monthly

FREE . . . fo r dea lers only . This attractive heavy-wire magazine display rack is supplied free to every studio selling single copies of Ceramics Monthly. It is part of a "full-service" program we offer ceramic studios everywhere. Learn more about this program now m send the coupon below or write on your letterhead.

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Please send us information on your single copy sales program - - for dealers only.

S T U D I O -

ADDRESS - -

CITY/STATE.

M O N T H L Y

V o l u m e 13, N u m b e r 10 D e c e m b e r 1965

Answers to Quest ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Let te r s to the Edi tor . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 S u g g e s t i o n s f r o m O u r R e a d e r s . . . . . . . . . . . . . . . . . . . . . . 8

I t i n e r a r y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

A F i r s t P r o j e c t on t h e P o t t e r ' s W h e e l by J e r r y G o l d m a n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

M a j o l i c a W a r e a t Low T e m p e r a t u r e s by R i c h a r d B e h r e n s . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

C r a c k l e E n a m e l s by P o l l y R o t h e n b e r g . . . . . . . . . . . . . . . . 16

P o r t f o l i o : A t h e n i a n V a s e s by J o s e p h V. N o b l e . . . . . . . . 19

E n a m e l e d H o l i d a y J e w e l r y by K a t h e B e d . . . . . . . . . . . . 27

M o n k B e l l s by G i n a R o e h n e r . . . . . . . . . . . . . . . . . . . . . . . . 28

A R e v e r s e M o t i f d e m o n s t r a t e d by M a r c B e l l a i r e . . . . . . . 32

C a l c i u m F a m i l y G l a z e s fo r Cone 10 by R i c h a r d B e h r e n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Show T i m e : O w n - Y o u r - O w n E x h i b i t i o n s . . . . . . . . . . . . . . 35

C e r a m A c t i v i t i e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

C e r a m i c s M o n t h l y I n d e x : J a n u a r y 1 9 6 5 - D e c e m b e r 1965__41

C e r a m i c S h o p p e r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 I n d e x to A d v e r t i s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

t )n O u r C o v e r

Youth car ry ing a skyphos, or cup, of wine is the decora t ion from an Att ic kylix ( ano the r d r ink ing cup shape) by the Bry- gos Painter , in The Met ropo l i t an Museum of Art, Rogers Fund, no. 21.88.150. " A t h e n i a n Vases" is the subject of the special C M Portfolio by Joseph V. Noble, s ta r t ing on page 19 of this issue.

Editor: THOMAS SELLERS Art Director: ROBERT L. CREAGER

Business ~lanager: SPENCER L. DAVIS Circulation Manager: MARY RUSHLEY

Adz'isers and Special Contributors: F. Car l ton Bal l ; Marc Bel- la i re ; K a t h e Berl ; Edris E c k h a r d t ; Zena Hols t ; John K e n n y ; Kar l Mar t z ; Ken Smi th ; Don Wood.

Western Ad~'ertising Representative: Joseph Mervish Associates, • t721 Laure l Canyon, Suite 211, Nor th Hol lywood, Cal i for ina. Te l ephone : TR7-7556 , Area Code 213.

Copyright 1965 Pro[essional Publications, Inc. CERAMICS MONTHLY December 1965, Vol. 13 - - No. 10. Published monthly except July & August by Professional publications, Inc. - - S. L. Davis. Pres., P. S. Emery, See.: at 4175 N. High Street, Colum- bus, Ohio 48214. Entered as second class matter at the post office at Athens, Ohio, U.S.A. Subscriptions: One Year $6; Two Years $10; Three Years $14. Copyright 1965. All rights reserved. Microfilm copies are available to subscribers from University Microfilms, 313 N. First St., Ann Arbor, Michigan. MANUSCRIPTS and illustrations dealing with ceramic art activities are welcome and will be considered for pub- lication. Manuscripts should be typed double-spaced and range from 500 to 2000 words. Send manuscripts and correspondence about them to the Editor, CERAMICS MONTHLY, 4175 i . High Street, Columbus, Ohio 43214.

CHEMICAL CO. is Happy to Announce a Hew Distributor for IHACCO WHEEL CLAYS...

KELLY-MOORE PAINT CO. I N C O R P O R A T E D

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Oakland Santa Rosa A R I Z O N A : Ontario Stockton Phoenix

KELLY-MOORE Will Extend Quantity Discounts to Dealers and Schools

INDUSTRIAL MINERALS & CHEMICAL CO. 836 Gilman St. • Berkeley 10, Calif. • Phone 524-2100 • Code 415

December 1965 5

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ADDRESS

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6 Ceramics Monthly

Answers to

QUESTIONS Conducted by the CM Technical Staff

When we were taught hozo to load a kiln for glaze firing,

the instructor warned not to place pieces close together but

to leave from a quarter to half an inch between. I realize that

pieces must not touch, but this amount of space seems excessive

to me and wastelul of valuable kiln space. I would like to ask

your opinion on this practice.--M. B., Bradenton, Fla.

Your instructor was right. As the glaze becomes molten, it

bubbles out from the piece and there always is a possibility that

the glazes on two pieces may touch and fuse together.

O I recently visited a large university ceramic department and

observed that, they used three cones in a single cone pat

/or their firing. I have always used just a single cone for firing.

Can you explain why they need three cones?

- - ] . L., Binghamton, N. Y.

Practices vary from place to place, but usually the first cone

is a warning or guard cone. When this cone deforms, it means

that the kiln must be watched more closely because the turn-off

time is approaching. If there are cone pats in several different

sections of a gas-fired kiln, this warning cone also allows the

pot ter to adjust his firing procedures in order to get an even

tempera ture throughout the kiln. The second cone usually is the

one used to indicate the exact firing wanted ; when this cone

deforms, it is time to turn off the kiln. The third cone generally

is used as an overfiring indicator. I ts advantage to the potter is

that it tells him exactly how much the kiln overfired, in case he

finds desirable overtired etfects which he might want to dupli-

cate.

Some potters use two "warning" cones, and this gives them

e~en more time to adjust the firing of the kiln for the most

accurate resuhs.

0 1 n attempting to do a slip-trailed decoration, I ahvays have

difficulty in making a continuous line because my trailer (a

rubber syringe) splatters and spurts globs of clay instead of even

lines. I have tried different consistencies of slip but this is not

the solution.--E. D., Muncie, Ind.

You probably are get t ing some air in the syringe, along with

the slip, and this is causing the splatter. Completely empty the

syringe of air by deflat ing it, then push the tip well beneath the

level of the slip and let it fill completely.

0 Can cones which didn't bend over in a firing be used

again?--R.B.L., Norwalk, Conn.

No! The heat from the first firing causes enough change

in the cones to make them quite unreliable for re-use.

~ 1 know that it is desirable to have a glaze that does not

craze, but is there any way to make such a good glaze give

a crackle?--A. C. L., Des Moines, Iowa

Assuming that you are using a prepared commercial glaze.

.".bout the only way to induce crazing is to use a clay that wili

be underf i red and porous at the temperature that you fire the

glaze. This will give unequal thermal expansion and contract ion

between the body and glaze and cause the glaze to crackle or

craze. If you are mixing your own glaze, try leaving out some

of the clay content in the glaze recipe.

All subscriber inquiries are given individual attention at CM;

and, out o/ the many received, those o/ general interest are

selected for answer in this column. Direct your inquiries to

the Question Editor, C M 4175 N. High St., Columbus, Ohio

43214. Please enclose a stamped, self-addressed envelope.

Share your thoughts with other CM readers--be they quip, query, comment or ad- vice. All letters must be signed, but names will be withheld on request. Address: The Editor, Ceramics Monthly, 4175 North High St., Columbus, Ohio 43214.

CHARLES WEST Recently the hobby ceramic world lost

a great personal i ty--a man with skill in his fingers and philosophy in his heart.

I met him many years ago when we both worked at the Sasha Brastoff factory in California and found him a kind, quiet

person of deep thought. We have met many times since throughout the country and we always have had good talks. He was not a person who used words easily to commnnicate with others; however,

those of us who made the effort to know him well discovered a magnificent soul.

His death has touched me. It was sudden

and tragic. We will all surely feel the great loss of our friend and fellow crafts-

man- -Char l e s West. Marc Bellaire Crittenden, Va.

PHILOSOPHY AND TECHNIQUE

Roger Bonham's article on Charles La- kofsky in the October issue was the best

"profile" presentation l have yet seen in

your magazine. I particularly liked the idea of the two parts that covered Lakofsky's

baekgronnd and philosophy and one of

his how-to techniques. Here's hoping that

you give us more of this type of article! M. Cooper

Toledo. Ohio

THROWING PORCELAIN

• . . was pleased to find in the October issue the article about Charles Lakofsky

throwing on the potter's wheel with porcelain. I have been aware of the fact that many persons have been discouraged from attempting to throw with porcelain because of the arguments that it must be

very thin and that it is not practical to work with it on the wheel. When I decide

to try my luck on the wheel, and you

may be sure that I will some day, I cer- tainly want to try porcelain. Thank you for your fine and informative issues.

Mildred Mont i Palisades Park, N.J.

ADVENTURE IN EXPLORING

Charles Lakofsky (October '65 CM) has a great philosophy toward potting; he is at tuned to the beauty, fun and excitement in making a pot, and I know what adventure there is in exploring shapes and glazes.

He pleases me in that he makes a good and functional pot, and his thoughts on

shows and judging--par t icular ly his belief in the human e lement - -have a down to earth quality. I have been making a round shape, minus lid, similar to his squared round one, which I must now try. I enjoy "bashing in" or changing shapes, not only

LETTERS for the change of shape which results, but for the unusual glaze results which some-

times happen• M. Hodges Williamsport, Pa.

THE GLAZE COURSE

The "glaze course" ("How to Make Your Own Glazes," by Aronson and Schaeffler. Feb. through June, 1965 CM) was excellent! I would like to see more

about glazes, especially in the medium firing range. Mrs. ]. R. Rothacher

Philomath, Ore.

ITINERARY PUBLICITY

Thank you so much for the advance publicity your periodical gave us for our

recent show. Doris Montgomery Western Reserve Ceramists

Warren, Ohio CM is pleased to include mention o[

exhibitions and competitions [or both hobby and pro[essional ceramists. Send W H E R E T O S H O W announcements three months ahead o/ entry date; W H E R E TO GO announcements should be sent six weeks before the opening date.--Ed.

Some people bring out the Beast in our clay

We can help you bring out the best

in your work. With our large selec-

tion of stoneware clays and glazes,

we are able to satisfy almost any

requirement (in this instance the

creating of Robert Maxwell's "U

Name Its"®). Send for our Catalogue

and see what we can offer you.

Westwood Ceramic Supply Co. 610 Venice Blvd. Venice, Calif.

December. t965 7

SUGGESTIONS [rom our readers

FIRING PIN FOR BEADS During the past year the children in my kindergarten class

made ceramic beads. My husband designed a means of firing

f the beads that we think is even better than the one recently suggested by a reader from Vancouver Island. The support for the beads is a pin made from nichrome wire and shaped according to the enclosed sketch. We used needle-nose pliers to

bend the wire, which was held at one end in a small vise. We made 150 of these in a very short time. Any gauge of nichrome wire can be used as long as it is of sufficient strength to hold the weight of beads being fired. The pins can be stuck into scrap pieces of porous firebrick, either horizontally or vertically, for firing. An amazing number of beads can be fired on one small piece of brick by this method.

--Thelma Turbitt, Bremerton, Wash.

FLATTENING WARPED MASONITE Warped masonite discs used on the wheel for throwing

bats may be flattened by wetting the concave surface and placing them on top of an electric kiln (turned to medium temperature) with the convex surface face down. The top of a kiln, when it is being fired, is an excellent place for the final drying of anfired pieces. ---M. A. Gould, Olympia, Wash.

BENTONITE, BOILED AND BLENDED Most of us are aware of the very fine particle size of ben-

tonite and of its virtues in keeping fritted glazes in suspension. The addition of about I% to the recipe will do the trick! But anyone who has used bentonite also knows that bentonite can be difficult to disperse in the glaze. I have traditionally milled all of my glazes, but the best way I have found for getting bentonite to do its job is to boil it (about 30 grams of bentonite in a pint of water), and then "blend" it (in the kitchen blender) for a few seconds. This amount works very well for a gallon of glaze. --S.S. Wa!ters, Silver Spring, Md.

USE OF SCALES In reference to your series on "How to Make Your Own

Glazes," by Hortense Aronson and Lisbeth Schaeffler, I 'd like to offer a suggestion on the use of scales.

A beam scale or two-pan laboratory balance should never be read with the pointer resting at zero. No matter how well the knife edge pivots, there always is a little friction which can introduce an error of .1 to .2 grams. This can be significant when weighing small samples, especially the coloring oxides where small differences in amounts can have a large impact on the final color of the glaze.

The correct way to use a balance is to have it in motion at all times. Correct weight is obtained when the pointer makes equal excursions on either side of the zero mark. This, inciden- tally, is the purpose of the graduations on either side of zero on the pointer index. - -R . Braun, Oak Park, Mich.

Continued on Page I0

, ,

N E W G L A Z E S w

16 Fa tasti nvv C R Y S T A L T O N E S

Just wait until you see them . . . . mere words can not fully describe their unusual and exciting beautyl Most of them arer ich , satin glazes with background tones of soft blue, grey or pearl white with delicate complimenting crystals that " f ea the r" out like falling snowflakes while others have deep, exciting backgrounds of frosted blues, brown, mustard and blue green with contras t ingerysta ls that flow out into a r iot of tantalizing colors. Application is "easy as pie" for the entire beauty secret is all in a " s ing le ja r l " Jus t see them and we know you'l l want them RIGIIT NOW 1

20031 Spanish Influence 95¢ 20039 Voodoo 80¢ 20032 Sleepy Lagoon 80¢ 20040 Confetti Spice 80¢ 20033 Terrazzo 80¢ 20041 Paisley 80¢ 20034 Gold Rush 80¢ 20042 Cotton Candy 80¢ 20035 Primitive Fire 95¢ 20043 Spring Meadow 80¢ 20036 Woodland Magic 80¢ 20044 Calypso 95¢ 20037 Mardl Gras 95¢ 20045 Smoky Agate 80¢ 20038 Charade 80¢ 20046 Moon River 80¢

a v a i l a b l e in 4 oz. Jars On ly

NOW

W O O D T O N E S Truly exceptional "wood f inish" glazes. So realist ic, you'll have to look twice and touch them to tell if they are ceramic or real wood. Color range is delightful. From deep dark polished mahogany to warm glowing birch plus a fascinating driftwood.

So that you can actually "con t ro l " the "d i rec t ion" or pattern of your "wood gra in" , these new glazes are TIIICKER than Duncan's other fine glaze. The thickness actually extends the " long s t roke" brushing quality that is necessary to capture a true "wood grain ' effect. For more detailed surfaces, they can be easily thinned with a little water so that you can work them down into the grooves. Application is a l i t t le different than other glazes but not at all difficult. Jus t remember to "BRUSIt OUT" each coat toaTl l IN coat using pressure as you brush to create the beautiful "g ra ined" effect. You can apply these new Duncan WOOD- TONES to greenware or bisque and fire tocone 05-06. Ask to see them TODAYI

20047 WALNUT 20050 MAHOGANY 20048 FRUITWOOD 20051 REDWOOD 20049 HICKORY 20052 BIRCH

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available in 4oz . Jars & Pints Only 4 oz. J a r - - 7 5 ¢ P I N T S - - 2 . 4 0

AVAILABLE AT YOUR NEAREST DUNCAN DISTRIBUTOR

8 Ceramics Month ly

Send your show announcements early:

"Where to Show.'" three months ahead

of entry date; "Where to Go," at least

six weeks be[ore the opening.

WHERE TO SHOW

FLORIDA~ DELAND December 5-25 The 15th Annual State

Craft Show, sponsored by Florida Crafts-

men and open to members only, will be

held at Stetson University. Information is

available from Show Chairman, Robert

Ebendorf, Stetson Univ., Deland.

FLORIDA, ~INTER PARK March 11-13, 1966 The Seventh An-

nual Sidewalk Art Festival, includes entries

in crafts, sculpture and painting. Cash

awards: Jury. For information, write:

Webb Gallery. Canton Avenue, Winter Park.

NEW YORK, .N'EW YORK Summer, 1.966" "Craftsmen U.S.A.,

'66," sponsored by the American Crafts-

men's Council, is a national competition

<)pen to craftsmen in all media. Jurying

and exhibiting will be held in each of six

ACC regions preceding the national exhi-

bition of selected works at the Museum

of Contemporary Crafts. For information

and entry blanks, write: American Crafts-

men's Council. 29 West 53rd St., New York 10019.

NEW YORK, SYRACUSE March 5-April 17, 1966 The 14th

Syracuse Regional Art Exhibition is open

to artists living within a 100-mile radius

of Syracuse. Media include crafts and

sculpture. Jury; Entry fee; Awards. For

a prospectus, write: Everson Museum of

Art. 407 James St., Syracuse 13203.

OHIO, COLUMBUS March 4-31, 1966 Third Biennial Ohio

Designer-Craftsmen Show, sponsored by

the Beaux Arts and the Columbus Gallery

of Fine Arts, is open to craftsmen living

in Ohio. Media classifications include

ceramics, enamels, glass, jewelry, mosaics.

textiles, wood and metal. A special prize

will be awarded for religious art in any

media. Juror: Hedy Backlin. Entry fee;

Entries will be accepted January 21-28.

For a prospectus, write: Mrs. Anita

Donahue, 2172 Fairfax Rd., Columbus 43221.

OHIO, YOUNGSTOWN January I-February 27, 1966 The 18th

Annual Ohio Ceramic and Sculpture

Show, sponsored by the Butler Institute

of American Art, is open to residents and

former residents of Ohio. $750 in prizes;

Jury; Entry deadline is December 12.

1965. For information, write: Secretary I

Butler Institute of .~merican Art, 524

Wick Ave., Youngstown 44502.

SPECIAL FOR HOBBYISTS

ARIZONA, PHOENIX February 18-20, 1966 Third Annual

Arizona State Ceramic Show, sponsored

ITINERARY by the Valley of the Sun Ceramic Asso-

ciation, will be held at the Remada Inn.

For information, write: Valley of the Sun,

Box 14595, Phoenix.

CALIFORNIA, LONG BEACH

March 18-20, 1966 The 17th "World

of Ceramics Show," sponsored by Califor-

nia Ceramic Hobby Association, is the

oldest hobby ceramics show in the nation.

Exhibits, demonstrations and teaching. For

information, write: Jack Kemper, Show

Chairman, Box 545, Chino, California.

MICHIGAN~ HOWELL December 4-5 Second Annual Show

and Exhibit of the Livingston Arts and

Crafts Association, at Howell Armory.

WHERE TO GO

CALIFORNIA~ SAN FRANCISCO December 5-]anuary 8, 1966 "The

23rd Ceramic National Exhibition," at the

San Francisco Museum of Art.

CONNECTICUT, MIDDLETOWN December 3-12 Exhibit and sale of

Continued on Page 39

-7 _ :J

i ;

known by its label You can't always fell a product by its label but you'll find MAYCO® labels only on America's finest colors.

Experienced ceramis+s choose MAYCO for glazes that offer an infinite variety of colors and textures.

And H's MAYCO again for those 50 brilliant, opaque underglazes

and One Stroke. All MAYCO products are homogenized for easy application and fire at Cone 06. Write for free color chart. Dealerships Available.

MAYCO COLORS 10645 Chandler Boulevard. North Hollywood, California

December 1965 9

ROVIN CERAMICS Pottery Supply

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The best [or the Artist-Potter and Sculptor is supplied by Rovin

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Continued [rom Page 8

PIE TIN SIEVES We make our own sieves for screening glazes by soldering fine-mesh screening to dime store pie tins from which the entire bottoms have been cut away. These home-made screens fit exactly the one gallon crocks in which we make and store our glazes. A small ring can be soldered to the edge of each pie tin for the purpose of hanging out of the way when it is not in use. A clamp-type paper holder also can be used for this purpose.

The brass screening cloth can be obtained from ceramic sup- ~liers or from hardware stores. - -T . & B. Elton, Portland, Ore.

MENDING GREENWARE I would like to pass on to other readers a method for mending broken greenware that I learned while studying in Lisbon. Wet both broken edges with vinegar, then press them together. It is important that these are put together in the exact position, because the vinegar acts immediately to join the clay and the pieces cannot be removed. --Mona Benny, Adelaide, Australia

DECORATING ON UNFIRED GLAZE One of my favorite techniques for decorating is the application of a design with underglaze colors on top of the unfired glaze. The effect is softer and the decoration appears to be better integrated than when done by the familiar underglaze technique on the clay and then covered with a transparent glaze.

It is best to work on an opaque white glaze that is hardened by the addition of some gum solution or Karo syrup. The surface may also be sprayed with a thin gum solution after the glaze is applied. The hard glaze coating prevents the colors from seeping or spreading when they are applied. When the glaze is completely dry, the decoration can be applied by brush. I use underglaze colors mixed with a small amount of the base glaze and thinned with water. The amount of color used de- pends on the strength wanted for the decoration. ~Mrs. O.F.B., Tampa, Fla.

TO STEADY FIRING POSTS Here is a suggestion for higher temperature firing that I hope may be of help to some of your readers. I keep some dry flint in a shallow dish near my kiln. When I need to steady a post with a pat of fireclay, I first dampen the end of the post, then press it into the flint and then onto the pat of fireclay. By doing this, the clay can't fire firmly to the post, but separates easily from it when the firing and unloading are done.

--Wini/red Holt, Delmar, N. Y.

NUBBY GLASS INSERTS Leon Moburg's article, "A Stoneware Lantern with Glass

Inserts" in the September 1965 issue of CM, was of particular interest to me because it is so closely related to a type of lamp I have been making. The difference lies in the glass inserts. My glass inserts are larger and have a "nubby" surface, thereby creating more light refraction. They also are easier to make because there is no cutting of glass to size. A glass sagger is required, however. The sagger is bisque-fired clay with cavities about 1 inch deep and with sloping or tapered sides. The cavities are coated with a mold separator and filled with crushed colored glass, then the sagger is put into the kiln and fired to about Cone 017 or until the glass has fused into units but still has a nubby surface. The kiln must be cooled slowly. When the glass is removed from the sagger, it is in the form of large jewels that can be used for lamp inserts or other purposes. --Dorothy Harper, Ft. Lauderdale, Fla.

DOLLARS FOR YOUR IDEAS Ceramics .Monthly pays up to $5 [or each item used in this column. Send your suggestions to CM, 4175 North High St., Columbus, Ohio 43214. Sorry, but we can't acknowledee or re- turn unused items.

]0 Ceramics Monthly

The difference in kilns can be summed up

in one word.

Workmanship shows in the snug fit of the lid. The wiring. The precise sizing of firebricks. "[he refractory coating.

The perfect tailoring of the stainless steel jacket. The pinned=in elements.

Arid whether or riot the kiln is listed by Underwriters' Laboratories. It shows in a lot of little ways that make a big difference.

Does workmanship cost extra? NO--unless you buy a kiln without it.

2618 S.E. Steele SIr~ ,rtPancJ, Ore(.jon 9720~

December 1965 l l

A First Project on the Potter's by JERRY GOLDMAN

Wheel

THE C A N D L E H O L D E R makes an excellent beginning project

for children who are starting work on the potter's wheel.

In addition to gaining a perspective and appreciation for

the wheel, youngsters also learn the importance of center-

ing and opening the center hole. And, they also have the

pleasure of making a finished piece at the very start of

their work at the wheel! I hit upon the idea of a candleholder as a beginning

project some years ago when I was teaching a group of

four-and five-year-olds and trying to determine how the

wheel-work processes could be simplified and synthesized

for these children. The simplicity of the candleholder

shape was just about perfect for my purpose, and the

results when the children tried it were gratifying to teacher

and students alike! After some experience working with

this easy form, small children could go on to bowls and

other slightly more complex forms, I found. I also noted

12 Ceramics. Monthly

that older children enjoyed making candleholders, and

they especially liked the challenge of making a matched

pair of them. The reaction of the younger children to the wheel

was wonderful. I found that the common response to the

first wheel experience was a delighted chuckle as the

slippery clay went squeezing through the fingers. All

other activities after this seemed so much less fun than

the mechanical contraption that did their bidding!

My own reaction to the use of the wheel with these

youngsters is that it is a tool that can be used to make

things that children can create effectively now. I t does

not have to be thought of as some distant peak that must

be laboriously scaled before the children reach the summit.

In working with very young children, I would suggest

the following set of pointers that should be helpful.

First, if you are buying a wheel specifically for use

1. lpz th~ b~ gml~i,~g

child's hands. it i~ importaplt t , t ,@ ,t, ady th~ 2. Both [ore]ingers brought together giz'e [irm support

to the, child while he [orms the candleholder.

,3. Bottom o/ the candleholder is best trimmed while the

work is still on the wheel.

with young children, I would suggest a power wheel. I

use a two-speed electric model.

In the beginning, help steady the child's arms, espe-

cially the arm that is pushing horizontally. The base of

the pahn, just above the wrist, is the best 'place for pres-

sure contact with the clay.

Using softer clay will help considerably in the child's

efforts to center the ball of clay.

The best way to make the center hole is with the

two thumbs held back-to-back.

The bottom edge of the candleholder is best trim-

reed while the work is still on the wheel. A bhmt-edged

finished piece is much less likely to chip.

Since the use of heavy grog in the clay is not recom-

mended for children, and because the candleholders in

all likelihood will have thick cross-sections, use a needle

to make holes in the heavy parts of the work. Be sure

that all pieces are dried slowly and thoroughly.

Be prepared to work with each individual. I t will be

a while before the teacher can turn his back and know

that the young student can handle the work on his own.

4. ,Veedlc holc~ should be made in the thick section of

the work.

Try to make the work on the wheel rewarding from

the start. I at tempt to keep as manv frustrations from

the child as I can. For example, I won' t let a child go

on to a more difficult project that I think he isn't pre-

pared to handle.

Finally, when a child has a good piece, tell him

that it is good! Frequently a child's drive for excellence

will carry him beyond his own ability for achievement or

beyond the clay's tolerance.

J E R R Y G O L D M A N studied ceramics at Al[red

Uniz,ersitv and sculpture at the National Academy. Since

1948 he has been teaching in New York, [irst at the

School o[ Industrial ATt and later at the Paul Ho[[man

junior High School. He also has taught at the Bergen

County Y M H A , where he has worked with "the teeny

ones" o[ ages [our, .[iz'e and six, as well as with adults

o/ pro[essional caliber. Mr. Goldman has maintained his

own studio since the ~'nd of World War II. C M readers

will remember his [irst article, "Clay Flutes," which ap-

peared in the April 1964 issue. Photos: Irene Strauss.

D~'cember 1965 13

MAJOLICA ~O.rARE had its origil early days of ceramic hisk_, chaeological finds in Babylonia and in Assyria have yielded evidence that this ware was being made long before it found its way into Europe. Gradually its production was intro- duced throughout the Mediterranean area, particularly during the Arab conquests.

Majorca, the largest of the Balearic islands situated just south of Spain, was occupied by the Arabs during the 400 year period extending from the 8th century to the year 1230. During this period Majolica ware reached a high degree of excellence and was described by the Italian Julius Caesar Scalinger in the 15th century as "A costly faience so beautiful as to compare with the pottery of India." Due to the peculi- arities of linguistic modifications, this ware was called Majolica rather than Majorca ware in Italy where its production had taken a firm hold. Because of the rather brilliant colors of the embellishments of Majolica, it became very popular in a society where earthenware tended to be somewhat drab. Its production con- sequently extended throughout Eu- rope to the most northern Scandi- navian countries.

While the techniques of Majolica productions are varied, it remains essentially a process of applying an opaque ground-coat glaze over the pot or tile and, without firing, applying ornamentation, usually with a brush, to this dried coating. The ground-coating glaze is usually a fairly low-fired light-colored glaze

14 Ceramics Monthly

MAJOLICA WARE

at low temperatures by RICHARD BEHRENS

opacified with tin or zirconium. Because of the extremely low solu- bility of tin in most glazes, this is the most desirable opaquing agent.

Since the ornamentation of the pot or tile is carried out by applying the color-glaze directly to the dried ground-coat, it is necessary to provide a fairly tough coating through the use of liberal amounts of cohesive material such as C.M.C. or traga- canth gums, inolasses, dextrine or similar materials. A good latex base material such as "Ucar-180," a product of the Union Carbide Co., or a good white latex paint is very efficient in providing a tough ground- coat.

A stable ground-coat glaze, inatur- ing at Cone 015, provides a rapid means of producing good Majolica. This glaze may be compounded from :

CONE 015 MAJOLICA GLAZE Frit 25 (Pemco) 38% Lead Monosilieate 30 Lithium Carbonate 8 Silica 22 Bentonite 2

100% To this formula should be added 8% of tin oxide. This glaze is wetted With water containing 5 cc of Ucar-180

3 cc of water, or, in the event latex paint is substituted for

the Ucar, 10 cc latex paint to each 100 cc water. This glaze may be used on the dry unfired pot or upon a bisqued, surface.

If single firing of the pot and glaze is attempted, a body vitrifying at a low temperature is required. Such a body, vitrifying satisfactorily at Cone 015 and throwing well, can be made from:

CONE 015 CLAY BODY Tennessee Ball Clay #1 62.5% Frit 25 (Pemeo) 22.5 Nepheline Syenite 5.0 Tale 10.0

100.0%

be well This composition should nfixed while dry and wetted with from 40 to 45% of water. Several days of soaking, preferably in a warm place, should be given before this body is well wedged for use. This body may be bisqued advantageously at higher cone levels. Absorption tests of this body show that vitrification provides satisfactory strength for the pot at Cone 015. Water tightness should not be expected. When bisqued at Cone 010, it has the ap- proximate water-tightness of ordinary earthenware. At Cone 08 its tightness approaches that of stoneware. Bisqued at Cone 06, this body can be expected to have the tightness of stoneware.

A glaze formula to which colorants may be added for use in ornamentation and which produces the minimum diffusion of outline which characterizes Majolica ware, may be prepared from the following:

COLORANT GLAZE Frit 25 (Pemco) 38.1% Lead Monosilicate 27.1 Lithium Carbonate 7.7 Silica 25.0 Bentonite 2.1

100.0% Portions may be colored with simple oxide or carbonate colorants or with ceramic stains. For use, these portions are wetted with the Ucar-180 or white latex paint dispersions as used for the ground-coat glaze. Mixing of these colorants in various proportions will produce a great variety of hues. The amount of colorant used with the coloring glaze must be considerably higher than the amounts used in ordinary glazes since the painted applications are substantially thinner than those normally used for ordinary glazing. As an illustra- tion of colors which may be obtained with simple colorants, the following brief list is furnished. Colors approxi- mate those listed in "Dictionary of Color" by A. Maerz and M. Rea Paul, McGraw-Hil l Book Company.

Red Iron Oxide. 12%..Sudan broxvn

Uranium Oxide, 40%..Gold leaf Copper Carbonate, 10%..Dresden

blue Antimony Oxide, 8%..Chalced-

ony yellow Manganese Carbonate, 10%.. Egg

: plant Cobalt Carbonate, 4%..Navy

blue A leadless glaze maturing at Cone

014 may be prepared from:

LEADLESS GLAZE 1 Frit 25 (Pemco) 47% Frit 54 (Pemco) 29 Lithium Carbonate 12 Silica 10 Bentonite 2

100% To this must be added 8% of tin oxide. This glaze is wetted with the Ucar or latex paint dispersion prev- iously used.

A leadless colorant-glaze may be prepared from :

LEADLESS COLORANT GLAZE Frit 25 (Pemco) 45.5% Frit 54 (Pemco) 27.6 Lithium Carbonate 10.7 Silica 14.2 Bentonite 2.0

100.0% This is likewise wetted with Ucar or latex paint dispersions. Colorants listed for the lead glaze will yield substantially the same hues when used in the same percentages. An exception is antimony oxide which requires lead in the glaze composition to produce a yellow.

Abow': Wood cut o[ 16th century Majolica plate shows an artist decorating a Ma}olica plate. On ol)lJosite pa.~e: Double-handled vase with Motile t~ortrait is from Ca[[agiolo, Italy. Late fifteenth century. Photo: Courtesy, The Cleve- land Museum o[ Art. Below: Maiolica plate [rom Deruta, Italy, dates [rom about 1520 and has rich ornamental [eatures and a woman's half figure. Photo: Courtesy, The Cleveland Museum o[ Art.

CRACKLE ENAMELS by POLLY ROTHENBERG

AN EXCITING CHARACTERISTIC of crackle enamels is the variety of attrac-

tive patterns they create when they are fired over a p r e v i o u s l y - f i r e d

undercoat. Many factors influence the m a n n e r in which this enamel

will check or craze: the thickness of the undercoat, the thickness of the

crackle enamel, temperatures at which they are fired, length of firing

time, and the fusing characteristics of individual colors. Variations in

design may be developed from e x p e r i m e n t a t i o n with these factors.

When a piece is fired, a network of cracks appears; the longer the

piece is in the kiln, the wider the cracks become. Interesting speckled

areas a p p e a r where the enamel is a p p l i e d in a thin layer . If the

enamel is applied over a fired undercoat of transparent enamel , the

cracks will develop more fully than over a base coat of opaque enamel.

Although they will checker somewhat on flat pieces, they perform most

effectively on those with sloping sides. These special opaque enamels

16 Ceramics Monthly

are sometimes referred to as slush, a not-altogether- descriptive or attractive name. The word also may be-

come confused with sl~dge, which is a backing enamel composed of odd bits of several colors. Although crackles are sometimes recommended as base coats applied directly to bare copper, they primarily are intended for decorative t,se. Because of their clay content, they do not readily fuse to bare metal. However, it is often wise to experiment with a suggested technique before entirely discarding it. It is in this way that unusual effects are discovered.

Crackles can be purchased in either liquid or dry powdered form. The liquid variety should never be allowed to dry out and become caked because it is almost impossible to restore it to a usable condition by adding water, no matter how diligently one tries to blend it. However, if it becomes thick, but not caked, a few drops of water blended into it may restore it to proper consistency. Fresh, properly-prepared liquid crackle enamel has a creamy consistency right up to the top of the jar. When I open a jar and it appears firm, I touch a finger to the enamel. If it is in proper condition, there will be a wet smear of enamel on my finger. I f water is standing on top, I hold the jar up and look to see whether there are cracks or lumps in the bottom part. I f water has been poured into caked crackle, it will stand on top and not blend. If your jar of enamel has become dried out, it can be ground with a mortar and pestle for use as dry backing enamel and thus not be lost entirely. I f you try to re-wet it and fire it over a base coat, the result will be so disappointing you may never want to try crackle again. Because the final effect will depend on the condition of the enamel before it is applied, this cannot be stressed too much. I t is wise to obtain the enamel in ,nmounts which will be used up rather soon. After using it, a few drops of water may be added to it before it is put away, so that it has less tendency to dry out.

The dry powdered form is made liquid by the addition of water. Crackle is always applied to a shape in liquid form. The consistency should be about like heavy cream, not too thin. When the dry variety is mixed with water, I find it easier to stir the enamel into the water than to pour water on the dry enamel. I t must be stirred until lumps disappear. It must also be stirred each time before it is used.

The best kind of brush for application of this enamel is a soft watercolor brush about an inch wide. I find the best way to apply it is to load the brush with enamel and flow it on in long smooth strokes. It is advisable to avoid going over a stroke the second time, once it is

Top to bottom

The crackle is applied with long strokes which go [rom base to rim in one sweep.

I t is well to consult the sketched design while the pattern is cut into the dry enamel.

A touch o[ the interior color in the c~tcrior design can add interest to a finished piece.

Opposite page: Soft-[u~ing tran@arcIlt lump, may be fired with the [lu.x base coat before the crackle enamel .- :~.:.,- . . . . . is applied. ~ ~ , - " :'~°: " ~

December 1965 17

By applying a very smooth thin coat to the interior o[ a steep sided piece, a cell pattern is [ormed. This piece has a Chinese red ex.- terior, black crackle over [lux interior.

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applied. For interesting variations, some thick and some thin strokes may be applied to the same piece.

The demonstration bowl was first given a fired coat of flux on the exterior. White liquid crackle was next applied over the flux on the outside. This was done by holding the bowl upside-down on one hand and, with the brush full of enamel, making long strokes that started at the base and continued down off the edge of the rim. A few places appeared too thick but they were left that way until the enamel dried. They were then gently stroked in one direction with a firm dry brush until some of the dried enamel was buffed away.

When the outside of the bowl was completely covered, the base of the piece was given a few short circular strokes. The bowl was set in a warm place to dry. Then a simple design was scratched through the unfired enamel and the piece was fired at 1500 ° F. After about three minutes firing, the door was opened slightly just long enough to observe the cracking process. As soon as the cracks were the desired width, the bowl was removed from the kiln and allowed to cook

18 Ceramics Monthly

When a design is to be added to the enamel before it is fired, it is well to draw a sketch of the planned pattern and place it before you while you scratch through the dried enamel. Usually it is difficult to cover an error once the enamel is scored. Free loose strokes produce the most attractive results. With a pointed scriber, a simple design may be cut in a manner similar to sgraffito. The scratch is more of a cut than a visible line. When the piece is fired, the enamel separates along these cuts, as well as in a natural crackle pattern.

This special kind of enamel makes a strong texture. If color combinations are too intense, the result may be garish. The most beautiful effect is achieved when the base coat is flux. The flux fires to a golden color, which appears like a network of gold lines through the covering crackled enamel. Vivid colors look well combined with neutral ones. For an Oriental scheme, try bright red on one surface with black crackle over flux for the other. Because these enamels produce such a pronounced pattern, they combine well with plain surfaces. Restraint is the key for attractive crackle pieces.

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THE CLASSICAL VASES of ancient Athens seem far removed from contemporary ceramics. This ancient pottery, nevertheless, is the direct predecessor of Western European and American ceramic styles. The finest era of Greek pottery lasted a comparatively short time, from the sixth to the fourth century B.C. Although all of the Greek city states produced pottery, the finest was the ware of Athens, generally referred to as Attic ware. The fortuitous combination of the availability of large deposits of a good red clay unequaled in all Greece, and the cultural devel- opment of the city, provided the impetus for the creation of the most outstanding pottery of the ancient world.

The pottery itself can be admired for its superb craftsmanship. Technically the potting is sound, for the potters had consummate control over the entire process. Proportions were severely held in formal balance, and the decoration was kept Jn harmony with the shape. The vase-paintings offer several extremely interesting areas of study. Since well-fired pottery is virtually impervious to time, these vases preserve the evolution of Western drawing as it emerged from the crude rendering of stick-like figures in the early sixth century B.C., to the mastery of the human form in torsion with foreshortening and perspective a century later. I t has been said, "Since that time one can draw differently, but not better." This remarkable accomplishment in the field of art can be compared to the sudden burst of tech- nological progress in our own atomic age. The scenes on the vases convey to us a candid picture of the religion, social system, and daily life of the very human Greeks of 2500 years ago.

Vases were often buried in tombs as offerings for the deceased, and this practice preserved intact numerous examples. The first of these were discovered in the eighteenth century by excavators of Etruscan tombs in Italy. Quite naturally they were considered to be Etruscan vases, although the fact that some bore Greek inscriptions seemed rather odd. Similar vases were found later by archaeologists excavating in Athens. It was discovered that the Athenian vases which had been found in Italy had been sold in ancient times to the Etruscans as ex- port merchandise by wily Greek traders.

The vases were functional and were intended to withstand daily use. Nearly all of them were designed to hold one of the liquids necessary for the ancient Greek way of life--wine, water and olive oil.

Wine was stored in an amphora, a sturdy vase with two handles that held a copious amount of the "magic of the grape." Some amphorae had pointed bases rather than flat bases, and these were intended to be thrust into the ground or held upright in ring stands.

Water was held in a hydria. Women used them to obtain water at spring-houses, and carried them home upright on their heads. An empty hydria usually was balanced in a horizontal position. The two small side handles were used for lifting the hydria, and the large back handle was used for pouring.

Ancient Greeks digging clay. From a Corinthian pinax, sixth century B.C., Staatliche Museen, Berlin, no. 871.

Potter throwing a vase on a wheel turned by an apprentice. From an Attic hydria, sixth century B.C., Museum of antiker Kleinkunst, Munich, no. 1717.

Ceramics Monthly

The Greeks usually mixed water with their wine, and this was done in a huge mixing bowl called a krater. There are various types of kraters differen- tiated by various treatments of the handles and the large mouths. The mixture, sometimes with the wine diluted with as much as ten parts of water, was ladled from the krater with an oinochoe, a small pitcher. From this it was poured into drinking cups. The trefoil mouth of some oinochoai made it easy to pour forward, left or right.

The kylix was a popular and graceful drinking cup with its large shallow bowl balanced on a low stemmed foot. Two small handles were used to hang the kylix on a peg in the wall as a convenience for ready access.

The storage and handling of the heavy precious fluid, olive oil, posed several functional design problems. These were met in the construction of the lekythos. I t is a slim vertical cylinder with a small handle for pouring. The neck is constricted to limit the flow, and the bell-shaped mouth was formed with a sharp inner lip to cut off the thin stream of oil cleanly. Some special lekythoi were made to stand as offerings on tombs, and were coated with a white clay slip over the red Attic clay. Since the olive oil was expensive, false bottoms were used in these vases so that although they appeared to be capacious, they really contained only a few ounces. A small con- cealed vent-hole in the false bottom chamber allowed the vase to be fired without danger of bursting.

Other vases were used to contain perfume, to serve as lamp fillers, as mugs, and as plates. They all had utilitarian purposes, and none was ostenta- tious bric-a-brac.

Athenian vase-painter at work. From an Attic hydria, by the Leningrad Painter, [i[th century B.C., Torno collection, Milan.

Nearly all Attic vases were formed on the potter's wheel; a low hand-operated wheel was used. Apparently the kick-wheel did not come into use until later, in Roman times. An apprentice turned the wheel at the command of the potter, and its large size, about two feet in diameter, provided ample momentum. Small vases were thrown as complete entities, while large ones were thrown in sections. After partial drying, the sections were assembled with the use of a clay slip binder. Then the vases were turned on the wheel and the shapes were further refined by using metal and bone tools to shave off unwanted clay. Almost the entire surface of the vase was turned; only areas inside narrow-necked vessels were left with the spiral grooves of the potter's fingers. The walls of the vases were turned very thin and this contributed to the overall effect of delicacy and perfection. No temper or grog was needed for the red Attic clay.

Firing a kiln containing vases. Draw pieces are near the vent hole. Reconstruction o[ a sixth century B.C. Corinthian pinax, Staatliche Museen, Berlin, no. 893.

Top: Detail o[ red-figure vase-painting showing re-

lie[ line technique. From an Attic amphora, by the

Kleophrades Painter, [i[th century B.C., The Metro-

politan Museum o[ Art, Rogers Fund, no. 13.233.

Center: Black-[igure vase-painting technique. From

an Attic amphora, by the Euphiletos Painter, sixth

century B.C., in the author's collection.

Bottom: Red-[igure vase-painting technique. From

an Attic amphora, by the Dresden Painter, [i[th cen-

tury B.C., in the author's collection.

Right: Women [illing their hydriai at a fountain.

From an Attic hydria, The Metropolitan Museum o[

Art, Rogers Fund, no. 06.1021.77.

Opposite page: Attic hydria [or water. By the Har-

row Painter, [i[th century B.C., in the author's collection.

Ceramics Monthly

Coiled pottery continued to be made, as in pre-

historic times, for use as cooking pots and simple

home ware. The technique was also used to form

huge storage jars, some large enough to hold a man.

Mold-made pottery amounted to less than one

per cent of the total output. Most of this ware was

made in the form of elaborate drinking cups. A two

piece terraeotta mold was used, and soft clay was

pressed inside and allowed to become leather-hard.

The molded part was usually joined to a wheel-made

mouth. Casting slip was apparently unknown.

Greek vases were fired only once; therefore, the

vases were decorated when they were nearly dry

greenware without a bisque firing. First a sketch was

drawn on the vase with a pointed stick of lead.

The black-figure style was practiced in the sixth

century B.C. In this style, black silhouette figures

were painted and details, rendered with incised lines,

were scratched into the unfired glaze surface. White

clay slip and red ochre were sparingly used as acces-

sory colors. A wash of yellow ochre over the vase

before decorating intensified the red color of the clay.

The Greeks did not limit their palette by choice;

these were the only colors they knew that could

withstand the firing in the kiln. From this restricted

range they evolved their sophisticated schemes of

decoration.

In the red-figure style, which was invented

about 530 B.C., the color scheme was reversed. The

background was painted with the black glaze and the

figures were retained in the color of the red clay.

Again, only white clay slip and red ochre were used

in limited amounts. Details in the figures were delin-

eated in two ways: A thin brush line of dilute black

glaze, which fired an attractlve transparent brown

color, was used to render muscles and body mark-

ings; the Attic relief line, made from heavy black

glaze which stood out in bold relief from the vase,

was used for the facial outline and details of eyes,

hair and fingers. This relief line was produced by

extruding heavy black glaze matter from a small

syringe in much the same manner that a pastry chef

decorates a cake. In both the black-figure and the red-figure

styles the subject matter of primary interest was

people. It was with people that the Greeks fought,

loved, and drank, and so they drew people on their

vases. The figures might be gods in human form or

mere mortals, but they command our attention.

Buildings occasionally were indicated by a few archi-

tectural details; landscapes were almost nonexistent.

I •

f , ,

I I ~ i ~ J

The modern type of glassy ceramic glaze, Jn

which silica is fused with a flux and a mineral color-

ing agent, was not used in the Eastern Mediter-

ranean area until Roman times when it superseded

the Greek glaze. The Greek black glaze was achieved

by a different method, and its use was abandoned

about the fourth century A.D. because it was diffi-

cult to control. I t was not until 1942 that it was

successfully duplicated in the laboratory.

The chemistry is based on the fact that ferrous

iron is black and ferric iron is red. If a vase made of

red iron-bearing clay is fired in a kiln under oxidiz-

ing conditions, with free access of fresh air, the vase

will fire a bright terracotta red. On the other hand,

if the same vase is fired under reducing conditions,

with incomplete combustion and a lack of fresh air,

the vase will fire to a dull gray color. The Greek

black glaze matter was made from the same clay as

that used for the body of the vase. I t was prepared

by making a colloidal suspension of the red clay by

adding potash to the mixture of clay and water. The

finest particles, rich in iron, were deflocculated and

skimmed off the surface of the mixture. When this

was thickened by evaporation it was used as the

black glaze matter. No coloring agents were added

to the glaze. The fine black glaze matter was applied

to the coarse porous clay body of the vase.

Top to bottom

Attic kylix, a drinking cup. By the Euergides Painter,

fifth century B.C., in the author's collection.

Youth balancing a kylix [ull of wine. From an Attic

kylix by the Villa Giulia Painter, fifth century B.C.,

in the author's collection.

Two men carrying an amphora of wine lashed to a

pole. From an Attic skyphos, by the Theseus Painter,

early fifth century B.C., in the author's collection.

Attic amphora [or wine. By the Swing Painter, sixth

century B.C., in the author's collection.

Ceramics Monthly

t4 :

The firing consisted of three phases. In the first, an oxidizing phase, air was freely admitted to the kiln. I f the firing was stopped at that point both the vase and the glaze would emerge red in color. The firing continued, however, with a reducing phase in which there was incomplete combustion of green wood in the burning chamber, and the kiln was sealed to outside air. If the kiln was allowed to cool during this phase the vase would emerge an unat- tractive grey with a black glaze. The firing was con- eluded with a reoxidizing phase; air was permitted to enter the kiln freely, and the oxygen easily pene- trated the porous body of the vase, reoxidizing the black ferrous oxide in the clay to the red ferric form. The black glaze matter, which also had become black ferrous oxide, was so fine in texture that the heat had sintered and sealed its surface. Therefore, the oxygen in the air in the reoxidizing phase could not enter the black glaze, so it remained black. The kiln was allowed to cool, and the finished vase emerged with the porous clay a bright terracotta red color and the impervious glaze a jet black.

Not all red clays can be used for this process. They must consist, as does red Attic clay, of very fine particles and must contain the mineral cela- donite which provides iron and silica. When pottery is coated with the black glaze matter and fired only in an oxidizing atmosphere, it reproduces the red of Roman terra sigiUata ware. If it is fired only under reducing conditions it reproduces the black that is characteristic of Etruscan Bucchero ware and the pottery of San Ildefonso Pueblo in New Mexico. Both of these pottery types, however, were achieved by the additional use of carbon smudging to intensify the black. This was not done in Greek pottery.

The Greek kiln was built like a low oven with a burning chamber and stoking tunnel below, and with the pottery firing chamber above, separated by a perforated floor. There was a spy-hole in the door, and a vent at the top of the kiln. The potter covered or opened this vent to control the atmosphere in the kiln. Firing with straw, twigs and wood took four or five hours and reached a temperature of about 900-950 ° C., about Cone 08. I f the temperature was too low the black glaze did not tinter but reoxidized to red, and if too high the black broke down and partially reoxidized to an unpleasant brown. The kiln was allowed to cool overnight and was opened the following morning.

Today most of the Athenian vases that have been recovered from the ground are displayed in museums. They may be labeled as works of art, but as they are viewed standing in row after dusty row, it should be remembered that these vases were mute participants in the lusty civilization and the vanished glory of ancient Greece.

Top: Attic white-ground lekythos [or holding olive oil as a tomb offering. By the Inscription Painter, [i[th century B.C., in the author's collection.

Le/t: Woman holding lekythos o[ olive oil at a tomb. From the same lekythos.

Right: X-ray photograph of the same lekythos showing small inner container [or olive oil.

,~i / I . - , . , . , \

t (

• 6 l"

Above: Attic oinochoe, a pitcher. Sixth centitry B.C., in the author's collection. The ire[oil mouth o[ the oinochoe permitted pouring [orward, to the right or to the felt.

Below: Woman pouring wine [rom an oinochoe. From an Attic pelike, by the Altamura Painter, [i[th century B.C., The Metropolitan Museum o[ Art, Fletcher Fund, no. 56.171.44.

Ceramics Monthly

Above: Attic column krater to hold a mixture o[ wine and water. Filth century B.C., Bowdoin College Museum o[ Art, gilt o[ Edward Perry Warren, no. 1913.8.

Below: Youth [illing an oinochoe with wine [rom a column krater. From an Attic kylix, [i[th century B.C., The Metropolitan Museum o[ Art, Rogers Fund, no. 06.1021.188.

ENAMELED HOLIDAY by KATHE BERL

JEWELRY

(~OETHE once said something to the effect that "Nothing is inside, nothing is outside, as what is inside is also outside." According to this, if we [cel the holiday spirit of Christmas time, we also want to be decked out festively to fit the occasion. The flick- er of candlelight and the sparkle of tree ornaments suggested to me jewelry that has a vibrating quality and inspired this project of a holiday necklace.

My basic idea is a necklace made as a wreath of nfistletoe, but an), other flower or foliage forms could be used just as well. The technique used to make this necklace is also fine for creating decorative pins or earrings, and would be excellent for a charm- ing hair ornament because the materials are quite light in weight.

The pieces are made from enameled parts that are assembled with lengths of thin wire that act as stems. A stem section is made from a single long length of soft wire that is folded back on itself and twisted together to form a single unit. The twisting action imparts "spring" to the wire. Of course the wire must be twisted evenly so that it takes on the appearance of thin, twisted cord. If it is twisted too tightly, it loses its "spring," becomes quite stiff and might break.

I feel that it is a good idea to practice this twisting technique with ordinary thin binding wire. For the finished product, however, I suggest the use of silver or even gold wire. While this might seem to be an ex- travagance, it really isn't because either of these is not too expensive and, in addition, not too much wire is needed.

The first step in actual work on this project is to cut out all of the leaf shapes from a light-weight metal such as silver. I f copper is preferred, 24- or 26-gauge metal should be used.

While all of the leaves may be cut to the same size for a particular effect, I believe that assorted sizes impart a more realistic and "alive" appearance. A very small hole, just large enough for inserting the wire, should next be

drilled in one end of each shape; this will be used later for attaching the enameled leaves to the wire stems. The final step in making the leaves is cleaning the metal and enameling the pieces in the color or colors desired. When this is done, the ornament is ready to be assembled and given form and shape.

Although the enameled shapes can be made to stand erect on the twisted wires by soldering little shanks on the back of the leaves and lacing the wire to these (and thus eliminate the drilled holes on each leaf), I think that it is just as well to onfit any soldering and attach the leaves and wire by the use of the drilled holes. The reason for this is that the heat of soldering may cause the wire stems to lose their "spring," and if this happens the finished ornament will lack the vibrating quality that is its most unusual feature.

Before at tempting to assemble the parts, I would suggest that the enam- elist first do a little practice with a length of thin binding wire and two spare metal leaf shapes or two card- board leaf patterns. The purpose of this is to become quite familiar with the method used to assemble these, through practice with less valuable materials than the enameled leaves

( 0

1 '2 3

and silver wire. It also is important to learn tmw much wire will be needed for your particular project.

Select a long piece of wire and thread it through the hole in the first leaf, then bend the wire in half, hairpin style (Sketch 1). You now have two wires to account for- -wire A and wire B. The method of asseinbly is first to twist both wires together a few times in order to tighten this leaf to the wires. Next, add the second leaf on wire B, twist this wire around itself to tighten this leaf (Sketch 2), and then twist wires A and B around one another evenly in order to form the stem.

When you feel that you understand the process, start with the fine wire and the enameled shapes. The first two leaves made at the end of the wire will form the clasp of the necklace. Thread the wire through a leaf, make a hairpin shape of it, and twist wires A and B together just twice (this is an exception just for the clasp end). Now thread wire B through the second leaf and twist it around itself just twice. Continue by twisting A with B for some length until you wish to add more leaves.

Leaves are added by threading wire A through another enameled shape and twisting this wire around itself to tighten the leaf and provide a short attaching stem to the main stem. The same is done with wire B and still another leaf. When these short stems have been formed, continue twisting A with B to form the main stem until you want to add more leaves.

This process is repeated until you have added all the leaves to the stem. The loop at the end of the strand, which will be used to attach over the clasp end, is made the proper size and the ends of wires A and B are attached to the twisted stem to secure the loop. If small berries are desired on the stem, small colored (or enameled) beads, or even pearls, can be twisted in by the same method used to add the leaves.

I would like to comment on an Continued on Page 40

December 1965 27

MONK BELLS by GINA ROEHNF.R

Hanging group o[ bells by the author on display at the Old Schoolhouse Gallery, Coconut Grove, Florida.

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.......... ~;~ 1 i:~i~.~ ~:~' ~ ........... '"~ .... "

28 Ceramics Monthly

'].'HE CLAY F[GI.;RES pictured here were made by a method that s temmed from mv earlier experience as a costume designer. After u-orking with clay for some time, using the various prescribed ceramic methods, it occurred to me to try costuming some clay figures just as I once costumed real people. Instead of draping materials on the human figure, flat slabs of clay were draped on a cone-shaped core to form these whimsical monk bells.

My first clay figure made by this method was given to a friend who operated an art gallery. He seemed to be amused by it and alternately used it as a door knocker and as a "pull" for a ceiling light cord. For the opening of his new gallery, a picturesque place which originally was the first schoolhouse in Miami, he asked for more of these figures to hang from the rafters.

The method for making these figures from paper patterns is very simple and lends itself to any number of variations that the imagination might suggest. Variety may be achieved by changing the shape of the capes, sleeves and hats, and by making some of the figures tall and thin, and others short and fat.

Start out by making a paper pattern for cutting the cape or sleeves, hat and basic shape. Hats may be circles, squares, ovals or triangles; capes and sleeves may have rounded or pointed ends. The basic pat tern should have enough extra width to allow for an overlap at the front of the figure (Figure 1). If a fatter figure is desired, the core may be padded with cotton and the basic shape increased to accommodate the larger measurement.

The tools and materials needed for this project are few and simple. The cone-shaped core for draping the figure might be a piece of wood, plaster, or stiff card- board. If the core is a non-porous material , it can be wrapped with newspaper to prevent the clay from stick- ing to it. A knife, rolling pin, pair of scissors, pointed tool, cloth for rolling, and clay complete the list of tools (Figure 2).

Work is started by selecting the piece of material for rolling out the clay and placing it on the work table. I llse burlap for this purpose because it gives an interesting texture. On this cloth place a lump of clay large enough to make a slab Ya inch thick and with enough area to cut out a basic pattern, cape and hat for one figure. When the clay is ~olled out, place the paper patterns on the slab and cut around them with the knife. Remove all shapes except the basic shape and put them aside.

• : ;

"TOP ;

B A S I c ~;

PA-rl"EI~N

SLEEVES v

~A'P3 1. Paper patterns may be designed for cutting the basic shapes [rom a slab o[ rolled-out clay.

! . . . .

2. Tools and matrrials needed include a core, rolling pin, knife, scissors, material, pointer and clay.

E

,7. Rolled-out (lay is picked up on the cloth, wrapped around the core, and the seams are ~Oressed together•

, . : : : ;

'~ ~ ~

4. Scrap clay is modeled into a head and neck which is firmly at tached to the top o[ the clay cone with slip.

December 1965 29

5. Two short coils are attached at back and brought around to ]orm arms and hands.

6. Construction is completed by the addition o[ a cape or stole that is attached at the neckline.

i

7. 1[ tile /igure is to be a hanging otle, a hole is made through the top o[ the [igure at this time.

30 Ceramics Monthly

8. Clapper [or a bell is made [rom clay, wire and leather threaded through the hole in the [igure.

Pick up the cloth and basic shape together and wrap them around the cone. The cloth keeps the clay from sagging and holds it in place until it is firmly set against the cone. Use a little clay slip along the seam where the clay comes together and firmly press the clay to obtain a good seal (Figure ,7). Now remove the cloth.

The head is made from a scrap of soft clay. Roll the clay into a ball and add a short coil for the neck. Do any modeling you may want for shape and character, then attach the neck and head to the to]) of the clay cone (Figure 4).

Next select a hat. Shape the cut-out piece to fit the head and attach it firmly with a little slip.

The arms are made from a couple of short coils that are pressed down or modeled at the ends to suggest hands. The arms are at tached at the back of the figure and brought around so that the hands are approximately at the waist (Figure 5). The hands may be in any position desired; they may be relaxed, as they are in the demonstration figure, or they may be holding a book or candle. I find in my own work that it is best not to have a preconceived idea, but just "play it by ear" as I .,~o along.

Construction is finished by selecting a cape or stole and attaching it at the neckline with a little slip. The top can be loose and rise a little to suggest a collar (Figure 6).

If your figure is to be used as a hanging bell, the hole should be made at this time. Take a pointer or a brush handle that is very thin, and push this down very carefully through the top of the head and neck (Figure 7). The figure must be removed from the core to com-

plete the hole through the shoulder area. If the figure sags slightly when it is removed from its support, this position may be utilized to suggest a little action! I t may even be given a slight twist to accentuate it and suggest movement. The head also may be tilted to a new position, perhaps to create a haughty pose.

If the figure is to be a standing one, it may be considered finished at this time. If it is to be a hanging bell, you will need a clapper. A couple of feet are what I use for this purpose, and they are made from coils with one end pressed down and bent upward at the "ankle." A hole is made at the top of each for assem- bling.

Any finishing work is done, then the pieces are allowed to dry slowly until they can be bisque fired safely. Decoration, if it is desired, can be done before bisque firing; however, I prefer to wait and do this when the piece has been once-fired. Sometimes I use brown stain to bring out the texture of the surface and the modeling of the face. I hold decoration to a minimum, however, and introduce no other color because the subject just doesn't require it. After decorating, I fire again.

Assembly for a hanging bell is quite simple. I attach thin wire through the holes at the top of the legs and make this into a little swing with a loop at the top. To this top loop I attach a piece of leather thong and hold this beside the figure to decide how much length is needed (Figure 8), then I tie a knot at the neck line. The free end of the thong is pulled through the hole at the shoulder and up through the head, and another knot is tied here. A loop is tied at the end of the thong for hanging the bell. Photos on pages 28 and 31 by Terry Lindquist.

i!:i.:i

December 1965 31

A Reverse Motif demonstrated by MARe BF.LLAIRE

TILES provide excellent decorating surfaces for the designer. A finished tile can be used as a trivet, paper weight or wall decoration; or tiles may be combined for use as a counter or table surface or for a wall picture.

In past articles, Marc Bellaire has presented decorating ideas involving the use of bisque tiles with one-stroke and majolica techniques. The project here is done on greenware so that the sgraffito technique can be used.

Working on a square shape is similar to working on a circular one. The main purpose in designing for either shape is to fill the whole area as nearly as possible. The motif of a leaf is used in the demonstration; it is represented in a reverse technique of black-on-white and white-on-black. Part of the background is black, and the design here is made by cutting away to reveal the white underneath. The other half of the background is left white, and the design motif here is painted in black to complement the other section.

The greenware tile is masked in half diagonally with a piece of paper, then black underglaze is sponged onto the exposed section of tile with a dampened silk sponge. Two coats are used in order to provide enough color for good coverage, yet not be so heavy that the color may chip when lines are cut through to the background.

Design work is started on the white section with a pencil plan to indicate where black color will be placed with the brush. The ~ 4 liner brush is loaded with color, then used in a thin-to-thick-to-thin stroke as an outline for the leaf. Brush work is finished by the addition of some decorative lines on this half of the leaf. I t should be stressed that the pencil plan should not be followed slavishly. Because there is a great difference in the handling of a pencil and that of a brush, and because there is a difference in character between the two, most decorators tend to make changes when they work with a brush.

With the black-on-white section of the tile completed, work is started on the underglaze-covered section. The

sgraffito technique is used to produce the white-on-black effect here. A potter's loop tool is used to cut through the black underglaze and produce the leaf outline in an effect similar to that obtained with the brush on the opposite side of the tile. Because of the large size of the loop tool, the decorator can cut a generous line and achieve a better rhythm in cutting. Any loop tool can be used, but it should have a sharpened edge in order to obtain a clean cut. A wire loop tool will not give this.

A standard s~aff i to tool is used to produce the repeated fine lines that impart a feeling of texture to the inner section of the leaf. These straight lines repeat the decorative lines used on the opposite section, yet offer contrast because of their rigidity. Of course, straight lines are easier to make than are curved lines, and this makes their use here especially good.

In case of a mistake of any kind during sgraffito work, it can be repaired easily by filling in the area with black underglaze and cutting it over again. Depth of the sgraffito line is not too important here, because of the limited use of a tile. However, if this technique is used on the inside of a bowl or plate that might be used later to hold food, a lighter line is desirable. A deep line causes some difficulty in washing the piece and dislodging food particles, in the case of a piece meant to contain food.

When the design is completed, the two outside edges of the black background section should be scraped with a knife and beveled to produce a slight white outline. This ~ves a clean, sharp effect.

After the tile is bisque fired, it can be coated with a clear transparent glaze and fired again. One of the interesting variations that can be tried is to work on colored greenware with black or some other dark underglaze, then cover this with a transparent colorless glaze. A very beautiful effect can be had by using black underglaze on white clay, then using a colored transparent glaze to cover this. A transparent turquoise gloss glaze gives a very handsome and striking effect.

The finished tile is ready [or firing and glazing. A colored or clear transparent glaze is recommended [or this project.

32 Ceramics Monthlr

]

1. A black background is placed on half of a grecnzt'are

tile by sponging color or'er a paper mask.

2. Outline of a lea[ is painted in black on the white hall

o[ the tile with a liner brush.

,3. Decorati~,e lines and strokes are brushed iuside the

lea[, [ollozc,ing the pencil plan only generally.

4. A large loop tool is used to sgra[[ito through the black

background [or the other lea[ outline.

5. A sgra[[ito tool is used to make the straight [ira' lines

that are repeated to give a textural ef[ect.

4

December 1965 33

CERAMIC DESIGN by JOHN KENNY

Ceramic Design is a p rofuse ly i l lus t ra ted book in which the au tho r d e m o n s t r a t e s m a n y basic clay w o r k i n g techniques and covers a wide r a n g e of p ro jec t s for both b e g i n n e r s and advanced s tudents . The pub l i shers of th i s exc i t ing n e w book h a v e called i t the " h o w to do" and " w h a t to do" book in one. Complete ins t ruc - t ions fo r methods of f o r m i n g a n d deco ra t i ng ce ramic w a r e a re g iven , w i th s tep-by-s tep p h o t o g r a p h s to gu ide the d e s i g n e r a l o n g the way.

Carefully Written chap t e r s on f o r m , ske tch ing , coi l ing, ro l l ing , s lab bui ld ing , pou r ing , t h row- i n g and c o m b i n i n g a re supp lemen ted by o the ls on ca rved des ign, shap ing , color ing, g l a z i n g , f i r i n g and d r a w i n g . More t h a n 50 photo sequences, some wi th over 24 s tep-by-s tep pho tographs , and more t h a n 100 p ic tures of o u t s t a n d i n g e x a m p l e s of c e r amic des ign ( m a n y in ful l color) , d i a g r a m s , d r a w i n g s and ske tches i l lus t ra te th i s beaut i fu l book. They a r e supple- m e n t e d by an appendix , a l lst of c e r amic mate r ia ls , t ab les a n d recipes and g lossa ry .

This book will f ind wide use a m o n g hobbyists , schools and c r a f t cen te rs and m a k e s an ideal g i f t f o r a n y occasion. I t is a beau t i fu l ly bound edi t ion wi th a l a rge 71~" x 101/~" f o r m a t and has m o r e t h a n 600 photos wi th 16 pages in ful l colorl Orde r your copy now--S9.95 . We pay postage and shipping charges.

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34 Ceramics Monthly

Calcium Family Glazes for Cone 10

by RICHARD B E H R E N S

C A L C I U M ~ B A R I U M A N D S T R O N T I U M a r e

metals belonging to the same chemical family. In ceramic glazes they contribute similar characteristics of durability and they fire with a minimum of defects. When these three metals are used in a single glaze formula in opt imum quantities, they produce a glaze with a superior firing range, reduced maturing temperature, and good physical and chemical characteristics. Used on stoneware clay bodies, they offer the art potter a dependable addition to his formulary. Stoneware Bodies From a number of stoneware body formulas, three were selected on the basis of their throwing and firing qualities. The first of these was prepared using a plastic fireclay containing about 4% of iron oxide and having a P.C.E. of 30. This formula was prepared by weighing out and mixing the following:

STONEWARE BODY I (Cone 10) Plastic Fireclay 47.5% Tennessee Ball Clay # 1 20.0 Talc 12.5 Flint 20.0

100.0% Th!s was well wetted with water and set aside for several days, then thor- c.ughly wedged. It fires to a warm stoneware color at Cone 10 and has a low absorption level of 1.2~b.

Another body which fires to a warm stoneware color with an absorption level of 0.6%, was made from a light- colored plastic stoneware type of clay which, in itself, has an absorption level of 3.3% at Cone 10 and contains somewhat over 2~b of iron oxide. Its formula is as follows:

STONEWARE BODY II (Cone 10) Plastic Stoneware Clay 90% Talc 10

i00% A dense porcelain-like body which

f!res to a mat t white at Cone 10 was made as follows:

STONEWARE BODY II I (Cone 10) Tennessee Ball Clay #1 45% Kaolin 25 Potash Feldspar 20 Talc 5 Flint 5

100% The absorption in this body fired to Cone 10 was less than 0.1%. Cone 10 Glazes A glaze utilizing only calcium, barium and strontium as its metal content can be prepared from the following:

GLAZE I (Cone 10) Whiting 9.0% Barium Carbonate 20.7 Strontium Carbonate 15.1 Kaolin 19.2 Flint 36.0

100.0%

This glaze lires smoothly on all three bodies listed above.

Another satisfactory glaze can be made as follows:

GLAZE II (Cone 10) Whiting 5.6% Barium Carbonate 11.2 Strontium Carbonate 12.5 Magnesium Carbonate 2.2 Potash Feldspar 31.2 Kaolin 7.3 Flint 30.0

100.0%

The final glaze in this series is: GLAZE II I (Cone 10)

Whiting 6.5% Barium Carbonate 13.0 Strontium Carbonate 10.4 Potash Feldspar 28.8 Flint 31.2 Kaolin 10.1

100.0%

RICHARD BEHRENS is a graduate chemist who has worked in various industrial and research [ields and has taught pure and applied chemistry at the adult and secondary levels. Pottery is his major avocation and he spends much of his time exploring the [ield o[ glaze technology.

Own-Your-Own Exhibitions A GROWING TREND among galleries and museums, both private and pub- lic, is toward the establishment of "Own Your Own" (OYO) shows. The purpose of these special exhibitions is to present examples of good contemporary crafts and provide an outlet for the sale of craftsmen's work. Most of these events are sched- uled during the pre-Christmas season in order to attract holiday gift buyers.

The opening of the third annual OYO show at the Mary Chilton Gal- lery, Memphis, Tennessee in 1964, attracted 2200 persons. This private gallery features the work of talented Southern artists and craftsmen, as well as that of noted potters from other areas of the country.

Some galleries have a special opening ceremony for members of the press, radio and television. Southern Colorado State College, which co- sponsors a juried OYO show with the Pueblo Service League, holds a special opening for representatives of the mass communications media and purchasers from previous shows. The grand opening of the exhibit is held the following night. The first show held by this group resulted in purchases of about $1000; purchases at the fourth show, held in 1964, amounted to $3000. A commission is asked on all items sold in the show, and the proceeds are used to further the education of art students.

The C o n t e m p o r a r y Crafts for Christmas Giving Exhibit, sponsored by the Delaware Art Center at Wil- mington, has a special "meet the artist-craftsmen" opening program. Mrs. Marion F. T. Johnson, Educa- tional Director for the Center, be- lieves that " . . . the museum can be instrumental in forwarding the work of contemporary craftsmen. We now have a committee set up to begin a new project at the Art Center, namely a continuous exhibit and sale of local craftsmen's work. This is being done in a modest way at first, in the hope that the craftsmen them- selves will eventually take over and perhaps establish their own sales outlet in another place."

Right: Installation o[ cra[ts, sculpture and paintings at the O Y O exhibit at the Mar k , Chilton Gal- lery shows work in a lic'ing setting.

Below: Teapot by Audrey Wright (Tennessee), Wax Resist Bottle by Carlton Ball (Cali[ornia) and Formed Glass Tray by Theora Hambet t (Mis- sissippi) were part o.( the 1964 O Y O show at the Mary Chilton Gallery. Photos: R. Lacey, Memphis.

t

Above: Display o[ cra[t ,tems at the Delaware Art Center is typical o[ the work selected [or exhibition and sale at the annual Contemporary Cra[ts [or Christ- mas Giving shows.

Left: Hanging Planter by Cath- erine Young, exhibited in the eighth annual O Y O show at the Delaware Art Center, was purchased [or the Center's perma- nent collection.

i" e

D e c e m b e r 1965 35

Used by teachers everywhere. Ideal for hobby groups, schools, art and craft centers. T h r e e- c o l o r c o v e r s , p r o f u s e l y i l l u s t r a t e d , step-by-step photo technique. Sold on o u r usual money-back guarantee. BRUSH DECORATION FOR CERAMICS by Marc Bellaire A fascinating book with easy-to-follow instruction on the use and care of brushes. Shows how to make many designs for decorating ceramics using just three basic brushes--the watercolor, liner and square shader. Designs and sketches shown in this exciting book will offer many decorating ideas and will be a lasting source of inspiration. Excellent for beginners. 64 pages. $3.00 CERAMIC PROJECTS edited by Thomas Sellers Outstanding group of projects for the classroom, home and studio, originally published in the form of articles in Ceramics Monthly magazine. Foun- tains, planters, jewelry, bottles, bowls and many other unique items are presented complete with photos and step-by-step instruction. 64 pages $2.00 COPPER ENAMELING by Jo Robert and Jean O'Hara Recognized as the best in basic instruction, this elaborate handbook has over 200 photographs. Includes fundamentals and helpful illustrated how- to-do-its on jewelry. 21 different projects are completely described. Invaluable to teachers and students alike. An excellent manual. 64 pages $2.00 UNDERGLAZE DECORATION by Marc Bellaire This complete handbook has all the answers on materials, tools and technique. You'll like the startling variety of now desi~zns M~rc Bellaire creates b~fore your eyes. Step-by-step projects are profusely illustrated. 37 projects in ai1--286 lively illustrations.

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36 ,Ceramics Monthly

HANDBOOKS

CERAMACTIVITIES people, places and things

AMONG OUR AUTHORS

Joseph Veach Noble, whose feature ar-

ticle on "Athenian Vases" is appearing as

a special Portfolio in this issue of CM.

has won distinction in many fields. He

is the Operating Administrator of The

Metropolitan Museum o/ Art, a noted

archaeologist, a widely-exhibited photog-

rapher and a prize-winning film producer.

A native of Philadelphia, the author at-

tended the University of Pennsylvania.

During World War I[, Mr. Noble was

Assistant Chief of the Camera Branch of

the Signal Corps Photographic Center of

the United States Army. His photographs

have been exhibited in leading interna-

tional salons since 1936. Outstanding

among his documentary and educational

film productions, is "Photography in

Science," Venice Film Festival award win-

ner in 1948. He was appointed Operating

Administrator of The Metropolitan Muse-

um of Art in 1956. The author 's lifelong interest in archae-

ology has led him to build America's largest

private collection of Attic pottery, as well

as a ceramic workshop and laboratory in

his New Jersey home. In these facilities,

in The Metropolitan Museum's extensive

collections of ancient art. at historic sites

in Greece, and the islands of the Medi-

terranean, Mr. Noble conducted the re-

search for his new book, "The Techniques

of Painted Attic Pottery," published by

Watson-GuptilI.

Mr. Noble has been Treasurer of the

Archaeological Institute of America since

1963. He has lectured widely on ancient

ceramic techniques and written for the

American Journal of Archaeology, Creative

Crafts, Collier's Encyclopedia, and other

scholarly and educational publications. In

1965 he was elected Chairman of the Mu-

seums Council of New York City.

Among the author 's notable scholarly

achievements was the technical analysis

that proved the forgery of the three fam-

ous Etruscan terracotta warriors at The

Metropolitan Museum of Art, the most

monumental art forgeries ever discovered.

CANADIAN POTTERY LECTURE

Among recent events at the Royal On-

tario Museum, University of Toronto, was

a lecture given by Dr. Dietrich yon Both-

mer, curator of Greek and Roman art at

the Metropolitan Museum o/ Art, on the

study of Greek pottery and ceramic paint-

ing, and its relation to the Greek vases

in the Royal Ontario Museum.

Judges for the event were Dr. Robert

Hawlk, Ohio University; and Charles

Scott, Glenville State College.

WESLEYAN POTTERS EXHIBIT

The annual exhibit and fair of the

Wesleyan Potters will be held December

3-12 at their new home on Pease Avenue,

Middletown, Conn. Crafts will include pot-

tery, jewelcy, sculpture and work in wood

and weaving. Master craftsmen from the

entire Northeast area will participate.

ARIZONA GROUP ACTIVITIES

Recently elected and installed new offi-

cers for the year have been announced by

Vallel, of the Sun Ceramic Association of

Phoenix, Arizona. Elected were Ret. Col.

Robert Martin, president; Mrs. Carl Eich-

er, vice president; Mrs. Jack Hogle, re-

cording secretary; Mrs. LaVern North,

corresponding secretary; Kenneth Blymil-

ler, treasurer; and Mrs. Leo Allen, board-

member-at-large. Immediate past president

Mrs. Carl Kuntzman will serve as chair-

man of the board.

The group also has announced plans for

the annual Arizona State Ceramic Show,

to be held February 18-20, 1966 at the

Ramada Inn, Phoenix. This is the group's fourth show.

FAIR WINNERS ANNOUNCED

,~Irs. Helen Mendel, Superintendent of

the Ceramic Arts Department at the

South Carolina State Fair, has announced

the winners in the 1965 Fair held in

Columbia in October. Best-of-show award

in the Professional Division went to Miss

Jean McWhorter, a teacher at the Rich-

land Art School. Miss Susan Meredith,

who is also associated with the Art School,


PARKERSBURG SHOW WINNERS

Award winners in the recent Fourth

Annual Amateur Ceramic Show at Parkers-

burg, W. Va., included Mrs. C. C. Davis,

Best-of-Show; Susan Cowan, Silver Bowl

Award; and Mrs. Tena Strehli, Mrs. Bettie

Crampton and Mrs. Bettie Adkinson.

CATALOG

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C E R A M A C T I V I T I E S

Continued [tom Page 37

won the Best Wheel-Thrown award. Win- ners in the Amateur division were Paul Pillsbury, Mrs. Julia Margaret McCain, Miss Ann Cunningham and Mrs. Herlong.

JEFFERSON GUILD WINNER Mrs. May Tong, publicity chairman for

the Je[[erson Ceramic Guild, Metaire, La., announced that the two highest awards in the group's Fourth Annual Show went to one person. Mrs. Elizabeth Guidry, New Orleans, won the Best-of-Show award, as well as the Sweepstakes award. Members of the ceramic group participated in inter- club competition, and guests were invited to compete in a Guest division and a Teen and Children's division.

MUNDELEIN COLLEGE EXHIBIT An exhibit of ceramics, enamels, textiles

and jewelry by seven craftswomen waS featured at Mundelein College's Gallery Eight during November. Included in the exhibit were ceramics by Edna Arnow, Chicago; enamels by Marie Opalecky, Chicago; and ceramics by Ruth Duck- worth, artist-in-residence at the University of Chicago.

SOUTH CAROLINA CRAFTSMEN ORGANIZE A group of craftsmen from Columbia,

S.C. and environs met in June of this past year and formed an organization called South Carolina Cra[tsmen. The purpose of this group is to advance the interests of serious and original craft workers, amateur and professional, throughout the State. SCC is open for membership to any original craftsman resident of South Caro- lina. V. C. Dibble, treasurer and secretary pro tem, reports that the group already has held a recruiting meeting and craft work slide show at the Columbia Museum of Art on October 31. Coming events include a sales show on December 4 at the Richland Art School, and a crafts exhibit at the Columbia Museum of Art in the Spring of 1966. Interested persons are urged to write: SCC, Columbia Museum of Art, 1112 Bull St., Columbia, S.C. 29201.

SIDEWALK ART FESTIVAL The Seventh Annual Sidewalk Art Fes-

tival will be held March 11-13 in Winter Park, Fla. Crafts prizes total $650. "The festival group is especially interested in attracting good crafts exhibits and people who are concerned with good crafts," according to Mrs. James M. Hall, who is directing publicity for this event. For information, write: Sidewalk Art Festival, Webb Gallery, Canton Ave., Winter Park, Fla.

DEPAUW SLIDES AVAILABLE DePauw University is again making

available their sets of color slides of pottery, enameling and sculpture. The slides may be borrowed free of charge except

for postage and insurance to the next destination. Included are 48 slides of pottery, 15 of sculpture and 6 of enamels• All the pieces have been shown in De- Pauw's five ceramic shows between 1959 and 1964. Among the artist-craftsmen represented are Toshiko Takaezu, Edgar Littlefield, Sheldon Carey, Norman Schul- man, Charles Lako[sky, Bill Farrell, Karl Martz, Byron Temple, and Richard Peeler.

Requests to borrow the slides should in- elude the date desired and an alternate date. Requests should be sent to Richard Peeler, Art Center, DePauw University. Greencastle, Indiana 46135.

BEST.OF-SHOW WINNERS The Western Reserve Cerarnists held

their Fourth Annual Ceramic Capers Show in Warren, Ohio, October 16-17. Doris Montgomery, publicity director for the show. reported that the entries for the exhil~ition were very good and that the competition was quite close. Pictured is

s h o'¢¢ d i l c{'|t~i .\'IHtHtl [l'tttd lu'csctltixl~ Best-Of-Show trophies to Clark Lay (Jun- ior Division) and Margaret Spithaler (Teachers Division). Pictured on the right is Mrs. Mar), Lewis, president of the group.

NEW DEAN AT ALFRED Dr. Edward E. Mueller, a research

director with the Glidden Company in Baltimore, Md., has been appointed Dean of State University of New York College of Ceramics at Alfred University. He succeeds Dean John McMahon, who is retiring.

The new Dean, a native of Wood River, Illinois, earned his Ph.D. degree in Ce- ramics from Rutgers University and taught ceramic engineering at the University of Washington. He is taking over his new duties at Alfred on October 1.

MIAMI LEAGUE NEWS Seven new members joined the Ceramic

League of Miami in September. The new members are Stephan Davis, Roberta Gil- more, William Lindner, Shawn Lipscomb, Elaine Mills, Bernice Schlesinger and Ter- ry Weinberger. Another league member, Mary Grabill, won a blue-ribbon award at the recent International Competition o[ Artistic Ceramics at Faenza, Italy.

Send news, and photos, i[ available, about "People--Places--Things" you think will be o[ ceramic interest. We will be happy to consider them [or use in this column.

38 Ceramics Monthly

"WIND TURNERS" CERAMICS lV[ONTHLY presented our

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I T I N E R A R Y Continued (ram Page 9

work by the Wesleyan Potters, at their building on Pease Ave.

DELAWAREj WILMINGTON through December 17 Ninth Annual

Contemporary Crafts Exhibit includes work by local craftsmen and invited artist-

craftsmen. At the Delaware Art Center.

D.C., WASHINGTON through December 13 The Tenth

International Exhibition of Ceramic Art, sponsored by the Kiln Club of Washing-

ton. At the Smithsonian Institution Mu- seum of ttistory and Technology.

FLORIDA, MIAMI December 10 Annual Ceramic Fair and

Sale, sponsored by the Ceramic League of

Miami, at the Miami Art Center, 7705 Kendall Dr.

ILLINOIS, SPRINGFIELD through December 31 "Fourteen Art-

ists" exhibition includes work hy crafts-

men, sculptors and painters living in Illi- nois: at the Illinois Art Museum.

MICHIGAN, DETROIT December 9-January 16, 1966 "Japa-

nese Art Treasures," at the Detroit Insti- tute of Arts.

MICHIGAN, E~ST LANSING through December 23 Christmas Sales

Show features ceramics, enamels, paintings and prints by faculty and students: at Kresge Art Center, Michigan State Uni- versity.

NEW YORK, NEW XIrORK Continuing "Ancient Peruvian Ceram-

ics: The Nathan C. Cumniings Collection" contains over 300 objects dating from

1000 B.C. to 1500 A.D. At the Metro- politan Museum of Art.

-N,'EW YORK, NEW YORK through January 9, 1966 Enamels bv

June Schwartz, at the Museum of Con- temporary Crafts.

OHIO, CINCINNATI through fanuary 31, 1966 "Rockwood

Pottery and Related Decorative Arts," at the Cincinnati Art Museum.

OHIO, MARIETTA December 7-22 "Raku Wear by Paul

Soldner," Museum Extension Exhibit of the ACC, at Marietta College.

OHIO, TOLEDO December 5-January 2, 1966 Sculpture

by John Zeihnan, at the Toledo Museum of Art.

PENNSYI,VANIA~ ALLENTO*vV N through December 5 "7000 Years of

I ranian Art," Smithsonian Insti tution Traveling Exhibition, at the Allentown Art Museum.

PENNSYLVANIA, PHILADELPHIA December 11-31 "Christmas Crafts Ex-

hibition," at the Philadelphia Art Alliance.


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December 1965 39

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40 Ceramics Monthly

K A T H E BERL Continued [rom Page 27

efficient method of twisting the wire. Hold the wires with one hand at the point where the twisting is to start, and with the other hand at the point where it is to end. While you turn the ends in opposite directions around each other, pull in opposite directions so that the wires are constantly stretch- ed tautiy. For the long stretches for the end sections, hold the starting point stable in one hand and tie the other end to a nail or some other object. T u r n this end like a screw, at the same time exerting enough pressure to hold the wire tautly. Prac- tice this method and you will see how easy and effective it is.

I T I N E R A R Y Continued [rom Page 39

SOUTH CAROLINA, COLUMBIA December 4 Sales show of crafts, spon-

sored by South Carolina Craftsmen, at the Richland Art School.

VIRGINIA, HAMPTON through December 16 "Ceramics by 12

Artists," circulated by the American Fed- eration of Arts, at Hampton Institute.

WASHINGTON, SEATTLE December 9-January 2, 1966 "Christ-

mas Art," decorative arts, painting and sculpture from the Museum collections relating to the Christmas Story; at the Seattle Art Museum.

WASHINGTON, SPOKANE through December 31 Pacific North-

west Craftsmen Invitational Exhibit, at the Cheney Cowles Memorial Museum.

WISCONSIN, MILWAUKEE through January 2, 1966 "German

Glass--from Roman Times to the Pres- ent," loan exhibition by the German Art Council, at the Milwaukee Art Center.

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CERAMICS MONTHLY INDEX

Clay Clay Bodies, Behrens, Feb., p 33 Raku, Riegger, Sept., p 24; Oct., p 22; Nov., p 26

Decoration Basic Brush Exercises, Bellaire, Apr., p 31 Brush Stroke Vocabulary, Bellaire, May, p 27 Brushes for Decorating, Bellaire, Mar., p 28 Clay Block Prints, Schreiner, Nov., p 32 Decorating on Greenware, Bellaire, June, p 28 Decorating on Tiles, Bellaire, Feb., p 26

Decorating with the Fan Brush, Bellaire, Jan., p 30

Designing and Decorating Jewelry. Bellaire, Sept., p 32 Draping Clay in a Clay Mold, Ball, Oct., p 19

Group Project in Ceramics, A, Rushmer, Oct., p 24

Making a Sl~b Plaque, Garrett, May, p 16 Press Mold, The, Knudsen, Mar., p 26 Reverse Motif, A. Bellaire, Dee., p 32 Stick Figure Decoration. Bellaire, Oct., p 32 Textured Tiles, Ball, Nov., p 16

Enameling Art Glass Decoration on Enamels, Rothenberg, Feb., p 14 Crackle Enamels, Rothenberg, Dec., p 16

Enamel Ashtrays for Outdoors. Berl, June. p 34; Sept., p 17 Enameled Belts, Berl, Oct., p 29 Enameled Candleholder, An, Berl, Nov., p 31 Enameled Footed Bowls, Rothenberg, Nov., p 20

Enameled Holiday Jewelry, Berl, Dec.. p 27 Enameled Initials, Berl, Feb., p 9 Enameled Letters and Names, Berl, Mar., p 31 Enameled Sculpture, Rothenberg, Sept., p 26 Enameled Silver, Rothenberg, Apr., p 23 Enameling with Liquid Flux, Worrall, May, p 18

Enameling Steep-Sided Bowls, Rothenberg, June, p 15 Jewelry from Enamel Lumps, Berl, May, p 31 Overglaze on Enamels, Berl, Jan., p 33 Silver Foil Designs, Rothenberg, Jan., p 22

Glass ~rt Glass Decoration on Enamels, Rothenberg, Feb, p 14

Stoneware Lantern with Glass Inserts, A. Moburg, Sept., p 18

Glazes and Glazing Ceramic Tesserae--the Easy Way, Moreau, May, p 24

Cone I0 Calcium Family Glazes, Behrens, Dec., p 34 Four Glazes for Cone 014, Behrens, May, p 26 Glazing at Cone 020, Behrens, Sept., p 29

How To Make Your Own Glazes, Aronson & Schae[[ler, Feb.,

p 17; Mar., p 24; Apr., p 28; May, p 22; June, p 30 Low Fire Iron-Spot Glazes, Oct., p 31

Low-Fire Variegated Glazes, Kettner, Jan., p 17

Majolica Ware at Low Temperatures, Behrens, Dec., p 14

Raku, Riegger, Sept., p 24: Oct., p 22; Nov., p 26 Short Glaze Formulary, A, Behrens. June. p 27

Hand Building Children and Clay, Ball, Jan., p 12

Draping Clay in a Clay Mold, Ball, Oct., p 19 Making a Slab Plaque, Garrett, May, p 16 Monk Bells, Roehner, Dec., p 28 Slab Animal Sculpture, Kettner, Feb., p 20 Slab Project for Children, A, Ball, Apr., p 12 Think Big, Entis, Apr., p 20

Miscellaneous Ceramic Tesserae--the Easy Way, Moreau, May, p 24

Clay Block Prints, Schreiner, Nov., p 32 Designing and Decorating Jewelry, Bellaire, Sept., p 32 Mosaic Sculpture, Papez, Jan., p 25

Molds and Plasfer Draping Clay in a Clay Mold, Ball, Oct., p 19 Press Mold, The, Knudsen, Mar., p 26

January 1965--December 1965

Porffollos Athenian Vases, Noble, Dec., p 19

Potter's Journey Through the Southern Highlands, A, Counts, June, p 19

Poffers and Poffery Athenian Vases, Noble, Dec., p 19

Britain's Craftsmen Potters Association, Wandres, Nov., p 12 Ceramics at Boys Town, Feb., p 12 Charles Lakofsky. Bonham, Oct., p 13

Contemporary Japanese Ceramics, Munsterberg, Jan., p 18

F. Carhon Ball: Master Potter, Lovoos, Sept., p 12

Majolica Ware at Low Temperatures, Behrens, Dec., p 14

Potter's Journey Through the Southern Highlands, A, Counts, June, p 19

Potters on a Mountain Top, Lange, Mar., p 13 Raul Angulo Coronel, Howell, May, p 12

Poffer's Wheel m Throwing Children and the Wheel, Ball, June, p 12

First Project on the Potter's Wheel, A, Goldman, Dec., p 12 Flexible and Stiff Ribs. Colson, Jan., p 26 Foot Rims off the Lump, Braun, Nov., p 24

Lakofsky Demonstrates: Rounding a Squared Pot, Bonham, Oct., p 16

Lids Should Fit!, Garzlo, Mar., p 20; Apr., p 16 Press Mold. The, Knudsen, Mar., p 26

Stoneware Lantern with Glass Inserts. A, Moburg, Sept., p 18

Tall Pottery Forms, Heiple, Feb., p 28

Sculpfure Monk Bells, Roehner, Dec., p 28 Mosaic Sculpture, Papez, Jan., p 25 Raul Angulo Coronel, Howell, May, p 12 Slab Animal Sculpture, Kettner, Feb., p 20 Think Big, Entis, Apr., p 20

Show Time Arizona Crafts, Oct., p 26 Association of San Francisco Potters, Apr., p 26 Canadian Ceramics, Oct., p 28 Creative Crafts IV, Oct., p 27 DePauw Ceramic Show. Feb., p 24 Elementary School Art, Sept., p 22 Kansas Designer-Craftsmen, Jan., p 16 Own-Your-Own Exhibition, Dec., p 35 San Francisco Children's Art, June, p 18 Teapot, The, Nov., p 19 Twenty-third Ceramic National, The, Feb., p 25 Wisconsin Crafts, June, p 33

Sfudios, Tools and Equlpmenf Ceramic Tesserae--the Easy Way, .41oreau, May, p 24 Flexible and Stiff Ribs, Colson, Jan., p 26 Foot Rims off the Lump, Braun, Nov., p 24

How To Make Your Own Glazes, Aronson & Schae[[ler, Feb.:

p 17; Mar., p 24; Apr., p 28; May, p 22; June, p 30

Teachers, Articles for Ceramics at Boys Town, Feb., p 12 Children and Clay, Ball, Jan., p 12 Children and the Wheel, Ball, June, p 12 Clay Block Prints, Schreiner, Nov., p 32 Draping Clay in "a Clay Mold, Ball, Oct., p 19 Elementary School Art, Sept., p 22 Films on Ceramics, Feb., p 29 First Project on the Potter's Wheel, A, Goldman, Dec., p 12

Group Project in Ceramics, A, Rushmer, Oct., p 24 New Books, J u n e p 41 New Teaching Aids, Sept., p 36 San Francisco Children's Art, June, p 18 Slab Project for Children, A, Ball, Apr., p 12

"Spring Splash" for Children's Art Month, Roberta, Mar., p 18 Tall Pottery Forms, Heiple, Feb., p 28

December 1965 41

school i [ ~ ~ l and

~ * ~ . J~ / J ' / * Let the Walker Pug Mill ~ your c lay .~ l lmina te ternrnenls " ° ~ r gery. . , save time for o - - ~ - 5 creative effort arm m~truct]on.

Fletcher Farm Craft School Ludlow. Vermont

information on request Write: Mrs. Harriet Clark Turnqnist

Chelsea, Vermont 05038

ENAMELING SUPPLIES "Everything fo r the Enamellst"

School and Studio Discounts Available Catalogue 50c ~ Refunded on $5 order.

KRAFT KORNER 5860 Mayfield Rd., Cleveland, Ohio 44124

Change of Address

U.S. Post Offices w;ll no longer forward mag- ez;nes, even if they have your new address. Your magazines will be returned to the pub- Itsher at a charge of 1Oc each. If you move, please notify us at )east 4 weeks in advance, g ving both new and old addresses, and send addressed portion of your mailin9 envelope to Ceramics Monthly 4/75 N. High St., Columbus Ohio 43214. (Don't forget to include your ~ZIP number on new address.)

42 Ceramics M o n t h l y

SHOPPER GLASS MANUAL

K a y K i n n e y Con tou red Glass has pub- l ished a m a n u a l on the subject of W i n d Turne r s . T h e glass wind tu rners rotate wi th the breeze and also wi th in a f rame tha t of ten turns in the opposite direct ion to provide m o v e m e n t and counter -move- m e n t w h e n suspended f rom a tree, the eaves of a house, or indoors. T e n designs and cu t t ing pa t te rns are given, a long with ins t ruc t ion for cu t t ing and the o ther steps of construct ion. 26 pages. Kay Kinney Con- toured Glass, 725 Broadway, Laguna Beach, Calif. 92651.

STAINLESS STEEL PUG MILL T h e m a n u f a c t u r e r of the Walker Pug

Mill has a n n o u n c e d a s tandard iza t ion of the mill in an improved version of the o r m e r "de luxe" model. All models now

have hoppe r and par ts which contac t clay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 ~ i ~ .... "~

of stainless steel, formerly an option. An- o ther fo rmer option, the power " t amper , " is also a s t anda rd feature of the mill now. T h e pug mill blends, mixes and wedges dry clay and water , render ing the clay body to a consistency for model ing, throwing, or s torage for later use. Walker-Jamar Co., Inc., Duluth 2, Minn.

FILMS ON CERAMICS Charles Cahi l l & Associates have an-

nounced the availabili ty of three new films on ceramics, complete with an i l lustrated manua l . Ti t les inc lude "Ti le ," f u n d a m e n t a l me thods of clay mode l ing in the mak ing of a tile; "Leaf Dish ," which utilizes simple techniques and na tu ra l shapes ; and "Free Fo rm Dish," which covers expressive techniques to model artistic shapes. Fi lms are 16 m m , in color; Purchase . Charles Cahill & Associates, Inc., P.O. Box 3220, Holly- wood, Calif. 90028.

Advertisers Index December 1965

Amer ican Ar t Clay C o m p a n y . . . . . . . . 4 Anderson Ceramics Co . . . . . . . . . . . . . 40 Ar t -Cra f t Supplies, Inc . . . . . . . . . . . . . 38 Bergen Arts & Craf t s . . . . . . . . . . . . . . 40 Blair, J o h n F . . . . . . . . . . . . . . . . . . . . . 37 Campbel l , G i lmour . . . . . 39, 42, Cover 4 Capi ta l Ceramics . . . . . . . . . . . . . . . . . . 39 Cen t ra l Ceramic Ar t Supply . . . . . . . . 37 C r e e k - T u r n . . . . . . . . . . . . . . . . . . . . . . . 38 Dawson, W,P . . . . . . . . . . . . . . . . . . . . . . 40 D u n c a n ' s Ceramic Products . . . . . . . . . . 8 Fle tcher F a r m Craf t School . . . . . . . . . 42 Francoise Ceramics . . . . . . . . . . . . . . . . 40 Gare Ce ramic Supply Co . . . . . . . . . . . . 40 Illinl Ceramic Service . . . . . . . . . . . . . . 38 Indus t r i a l Minera ls & Chemica l Co . . . . 5 K e m p e r Mfg. Co . . . . . . . . . . . . . . . . . . . 38 Kinney , K a y . . . . . . . . . . . . . . . . . . . . . . 39 Klopfens te in , H.B. & Sons . . . . . . . . . . 40 K r a f t K o r n e r . . . . . . . . . . . . . . . . . . . . . 42 L & L Mfg. Co . . . . . . . . . . . . . . . . . . . . 3 Leonard , Jean , Ceramics . . . . . . . . . . . . 40 Mayco Colors . . . . . . . . . . . . . . . . . . . . . . 9 M i a m i Studio Shop . . . . . . . . . . . . . . . . 39 Midwes t Ceramic Cente r . . . . . . . . . . . 40 Minneso t a Clay Co . . . . . . . . . . . . . . . . 38 O h a u s Scale Co . . . . . . . . . . . . . . . . . . I0 Oh io Ceramic Supply . . . . . . . . . . . . . . 39 Pottery by Dot . . . . . . . . . . . . . . . . . . . . 39 Q u i m b y & Co . . . . . . . . . . . . . . . . . . . . . 38 Reward . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Rov in Ceramics . . . . . . . . . . . . . . . . . . . 10 Seeley's Ceramic Service . . . . . . . . . . . . 40 Sherry 's Ceramic Supply . . . . . . . . . . . . 40 Skut t & Sons . . . . . . . . . . . . . . . . . . . . . . 11 T e p p i n g Studio Supply Co . . . . . . . . . . 42 T h o m p s o n , T h o m a s C., Co . . . . . . . . . . . 6 Tr in i ty Ceramic Supply . . . . . . . . . . . . 40 U n i q u e Ki lns . . . . . . . . . . . . . . . . . . . . . 42 V a n Howe Ceramic Supply . . . . . . . . . 37 Walker J a m a r Co . . . . . . . . . . . . . . . . . . 42

i Wes twood Ceramic Supply . . . . . . . . . . . 7

Back Issues The [ollowin.~ back issues of Ceramics Monthly are still available at sixty cents per copy (Ohio residents pay 3% sales tax). We pay postage.

1953 April. August 1954 March, July, August, December 1955 November, December 1957 April, May, July, September, December 1958 June, September 1959 November, December 1960 June, November, December 1961 January , October, November, December 1962 J anua ry (9-year Index issue), February,

April, May, June, November 1963 June, September, November 1964 February, May, June, September, Novem-

ber, December 1965 November

Please send remittance (check or money order) with list o/ issues desired.

CERAMICS M O N T H L Y 4175 N. High St. Co lumbus , O h i o 43214

This comprehensive and richly illustrated book, published by Reinhold, covers every phase of hand-building and decorating clay pieces. No book has ever covered the subject of texture and form more effectively.

The techniques illustrated in the book start with simple projects suitable for elementary school children and progress to those of considerable difficulty. The em- phasis is on simple, direct ways of working that will encourage the beginner rather than deleat him bv showing at the outset involved techniques and difficult pieces to form. The author, working with tools usually found in the home, points out that no special workshop or studio is required to produce the beautiful pieces of pot tery--a table in a kitchen, garage or back porch will do.

In the Foreword for the book, Glen Lukens says: "Mr. Ball introduces the reader to the methods and idea resources that have inspired his own great achievement in ceramics. Step-by-step he shows the amazing ran.~e of forms that may be fashioned from

MAKING . . . . .

POTTERY WITHOUT A

WHEEL by F. Carlton Ball

and

Janice Lovoos

JUST PUBLISHED

clay, using such basic hand-forming methods as coil, slab and mold. Photographs selected from the author's own massive collection help the potter draw from clay the miracles of form, pattern and texture inherent in this elemental medium."

Potters at all lec'els o[ achieuement will /Md this new book in[ormative and inspi- rational. It is a book every teacher should haz'e. Use the coupon below to order now. Price: $9.95 per copy- -we pay postage.

m m m H i n u m m n m CERAMICS MONTHLY Book Department

4175 North H;gh Street, Columbus, Ohio 43214 Please send m e _ _ c o p i e s of MAKING POTTERY WITH- OUT A WHEEL by Ball and Lovoos at $9.95 each.

Name

Address

Ci ty S t a t e _ _ Zip Ohio residents add 30c per copy sales tax.

I enclose [ ] Check [ ] Money Order WE PAY POSTAGE

SOLD ON OUR USUAL MONEY-BACK GUARANTEE

f . . . .

for HOBBYISTS • SCHOOLS • A R T & CRAFT CENTERS • INST ITUT IONS

KINGSPIN Electric Potter's Wheel A N e w P r o f e s s i o n a l W h e e l a t a P r i ce y o u can a f f o r d •

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t o C l e a n • Easy t o S t o r e

SPEED VARIES w i t h f o o t p e d a l ~ s m o o t h as an a u t o m o b i l e .

PORTABLE ~ c a r r y i f w i t h y o u a n y w h e r e . Ba ts f i t o u r hand

w h e e l s ~ each s t u d e n t m a y h a v e o w n b a t and p l a c e on

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y e a r s e r v i c e w a r r a n t y .

KINGSPIN Electric Banding Wheel • Heavy Kinalloy 7-inch table • Solid cast aluminum case • 11G volt motor 25 RPM • On & Off switch, 8-ft. cord • One-year service guarantee

Model E~ $19.95

Alsc Model E3 with heavier mo~or (3S RPM) for llqht ihrow;n~ . . . . . . . . . . . . . . $23.50

KINGSPIN STEEL WHEEL • Our Economy Model • Kin- alloy Bearing • Knurled Stem • Easy Spinning • Zinc Plated ~Rusfproof • 7" Steel Top & Bottom • Highest ~)uallty • Low Price.

Model S only $2.95 Also available with cast aluminum head [Model SA]. . .$3.9S

I l l r ~!li!i~! ̧̧I ~!i!~! ~:

KINGSPIN Kinolite Turntable New 12-inch model with many uses • A 12-inch wheel for the price of an 8-inch • Made of KINOLITE ~ latest sinktop material used in newest homes • Heavy Kinanoy round base • Just the thing to use on those lace dolls.

Model T.12 $6.95 WHh 12-;nch Aluminum Table (Model A-12) . . . . . . . . . $14.95

J ~

Mr. Jack D. Wolfe, of the Jack D. Wolfe Co., Inc. (our New York Distributor), shows how to throw pots bicjqer than the machine.

M o d e l E-5

$79.50

KINGSPIN Potter's , ................ :~:~ .... Hand Wheel

With Height Trimmer ~ Rest tools and brushes on the height trimmer - - results will amaze you. :~i

Wheel only . . . . . . . . . . $6.00 [7" Aluminum Model K-7) ~ r " ~

Wheel with Trimmer Model KT-7 . . . . . . . . . . . . . . $7.00 With 7" heavy Kinalloy table Mode/ KH-7 . . . . . . . . $8.00 With 8" heavy K;naJloy . . . . . fable Model KH-8 . . . . . . . . $9.25 Bats recessed for 7" . . . . . . . 85c Bats for 7" & 8" . . . . . . . . $1.00 i

KINGSPIN Wheel

NEW with Wagon Wheel Base

• Top and base are cast

Kinalloy • Top measures 61/4"

• Shipping weight 3 Ibs.

Model W-6 only $3.95

NEW NEW HEW HEW NEW NEW NEW KINGSPIH Lowboy Steel Wheel . Our Economy Model • Kin- • . . . . . . . . . . . . . . . . . . . . . alloy Bearing • Easy Spinning • Zinc Plated-Rustproof • 7" .~ Steel Top & Bottom • Highest ~ ~

Quality • Low Price

5295--.-- ~ ~ ~ * ~ ...... • ........ 4 Model S.L only

This new model may be used ~ " i

as a mo ld stand for clay mode nq or as a decorating wheel in spray booth. ......

Prices F.O.B. Detroit

S e e y o u r D e a l e r o r D i s t r i b u t o r o r w r i t e :

G I L M O U R CAMPBELL 2S8 Maiden, Detroit, Michigan 48213

In C a n a d a w r i t e :

m Whale's Arts & Ceramics i 638 ~ueens Ave., Victoria, B.

or Village Ceramic Studio 4943 Dundas St.. West. Islington. Ont.

I)ECEMBEI{ 1965 60c - Ceramic Arts Network · thrown by Carlton Ball. Thousands of sketches. $7.50...

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Transcript of I)ECEMBEI{ 1965 60c - Ceramic Arts Network · thrown by Carlton Ball. Thousands of sketches. $7.50...