MAY, 1965 60c MONTHLY - Network Home - Ceramic Arts … · American Beauty Ceramics Monthly...

M O N T H L Y

MAY, 1965 60c

Handle on all kilns

MANUFACTURING COMPANY Presents ECONO KILNS . . . Greetest in Economy

J J

,/

I t

/ )

M o d e l K - 2 3 / ~ Dyna-GIow

~ l - t i n g e on all k;Ins

~'~er system

All brick face h

3-Heat s al[

)n cut-off control

ess steel case Pee eacl

on all kilns

Stand on

All " " face hare

Pe(

3-Heat

Dyna-Glow / ,,lement holder

ilements in all rings

;talnless steel case

~ord to plug into kiln - - no separate outlet needed

Write for l iterature showing comparison costs and features. See your nearest dealer. L AND I. MANUFACTURING COMPANY, Departmen't CM, Box 348, Upland, Pennsylvania

..... ~ ~ ;

NATIONAL CERAMIC TRADE SHOW and NCA conference Invitat ions will soon be m a i l e d to distr ibutors . . . studio owners . . . teachers . . .

four d a y s of demonst ra t ions a n d N C A sponsored seminars . . . b iggest g a t h e r i n g of

m a i o r manufac tu re rs exhibits ever assembled . . .

SEE YOU IN SAN FRANCISCO Partial Iisi of exhibitors who will be in attendance at the trade show:

Alberta's Molds Ceramlchrome JacqueJyn Stains American Beauty Ceramics Monthly Jumar-Mallory Arnel's Molds CETO Joygot Lustre Paste

Atlantic Molds Cress Kilns Kay Kinney

Bisq.Wax Dobe GIo Kemper Tools

Ceramic Arts & Crafts Duncan Ken Ocorr Molds

Ceramic Colors Evenheat Kilns Kiln.S|tter

Ceramic Scope Gore Lorraine Ceramics Ceramic Trade News Holland Molds Marx Brush

For i n f o r m a t i o n : N A T I O N A L C E R A M I C M A N U F A C T U R E R S ASSOC. ,

526 Amer lcan Bank Bldg., Port land, Oregon

july 14-19 Idoy¢o Naffonal Artcraff Orton Cones Paragon Kilns Pemberfon-Neal Popular Ceramics Reward-Hart Sheesley's Tools Skuff Kilns Western Ceramic Supply

May 1965 3

a m a c o

HORIZONTAL TREADLE

TWO SPEED ELECTR OPTIONAL STAND

VARIABLE SPEED ELECTRIC OPTIONAL STAND

potters wheels S I X M O D E L S L I S T E D IN 6 0 - P A G E C A T A L O G OF KILNS, WHEELS, CLAYS, GLAZES--FREE ON REQUEST.

A M E R I C A N ART C L A Y C O M P A N Y I N D I A N A P O L I S , I N D I A N A

ROVIN CERAMICS Pottery Supply

Manufacturers & Distributors of the

• FOSTER POTTER'S WHEEL

• R A W M A T E R I A L S - - Oxides, Clays etc.

• PUGMILLED & DE-AIRED CLAY (Hot-packed)

RO-IO Gray Stoneware . . . . . . Cone 8-11 RO-72 Stoneware . . . . . . . . . . . . . " 08-2 RO-20 Temmaku Stoneware.. • " 8-11 RO -81 Porcelain . . . . . . . . . . . . " 8-11 RO-62 Red Sculpture . . . . . . . . 08-2 A l l pugmiiled and de-aired clay is packed in poly bags, 25 Ibs. per carton.

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

WRITE FOR OUR BROCHURE

ROVIN CERAMICS 7456 Fenton St. Dea rbo rn He igh ts , M i c h i g a n 48127

Phone: LOgan 3-2906

T E A C H E R S . • •

H A P P Y R E S U L T S

( /

Ever wonder why Reward glazes and colors are used in more schools and craft centers than any other brand? The reason is PRE- TESTING of every batch at the factory before it leaves Maryland. To make results more certain, colors and finishes are checked for ease-of-application and fool- proof firing characteristics. If you want to encourage ceramics in your classes or com- munity, insist upon the REWARD brand. Over 400 colors and textures to suit every teaching and student requirement. Reward alazes and colors fire at "standard temperatures" (Cone 06.04) in regular school and institution kilns. Available in 2 oz and 4 oz iars or economical pint, quart and gallon sizes. Write for prices and free lifereture.

REWARD CERAMIC COLOR MFRS., INC.

6811 Washington Blvd., Elkridqe 27, Md.

4 Ceramics Monthly

M

V o l u m e 13, N u m b e r 5

0 N T H L Y

M a y 1965

Letters to the Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Itinerary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Suggestions from Our Readers . . . . . . . . . . . . . . . . . . . . . . 10

Raul Angulo Coronel by Betje Howell . . . . . . . . . . . . . . . . 12

Making a Slab Plaque by Jean Garrett . . . . . . . . . . . . . . . 16

Enameling with Liquid Flux by Helen Worrall . . . . . . . 18

How To Make Your Own Glazes: Part 4 by Hortense Aronson and Lisbeth Sehaeffler . . . . . . 22

Ceramic Tesserae---the Easy Way by Roger Moreau . . . . 24

Four Glazes for Cone 014 by Richard Behrens . . . . . . . . 26

Brush Stroke Vocabulary

demonstrated by Mare Bellaire . . . . . . . . . . . . . . . . . . . 27

Jewelry from Enamel Lumps by Kathe Berl . . . . . . . . . . 31

Summer Workshops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

CeramActivities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Index to Advertisers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

On Our Cover

The textural wall panel and place setting pictured on the cover

are products of the Raul Angulo Coronel pottery workshop in

Los Angeles. Betje Howell's feature story on this California

artist-craftsrnan begins on page 12 of this issue. Cover photo

by Bruce Howell.

Editor: THOMAS SELLERS

Art Director: ROBERT L. CREAGER

Business Manager: SPENCER L. DAVZS

Circulation Manager: MARY RUSHLEY

Advisers and Special Contributors: F. Carlton Ball; Marc Bel-

laire; Kathe Berl; Edris Eckhardt; Zena Hoist; John Kenny;

Karl Martz; Ken Smith; Don Wood.

Western Advertising Representative: Joseph Mervish Associates,

4721 Laurel Canyon, Suite 211, North Hollywood, California. Telephone: TR 7-7556, Area Code 213.

Copyright 1965 Professional Publications, Inc.

CERAMICS MONTHLY May 1965, Vol. 13 - - No. 5. Published

monthly except July & August by Professional Publications, Inc. - - S. L.

Davis. Pres. , P. S. Emery, See.; a t 4175 N. High Street, Columbus, Ohio

43214. Entered as second class mat te r at the post office at Athena, Ohio,

U.S.A. Subscriptions: One Year $6; Two Years $10; Three Years $14.

Copyright 1966. All r ights reserved. MANUSCRIPTS and illustrations

dealing with ceramic a r t activities are welcome and will be considered

for publication. 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 N. High Street, Columbus, Ohio 43214.

p r e p a r e d f r o m n a t u r a l C a l i f o r n i a c l a y s using

f o r m u l a s p r o v e n b y o v e r 35 y e a r s o f s e r v i c e

t o p o t t e r s a n d i n d u s t r y .

A n e w d e a l e r f o r I M A C C O W h e e l C l a y s

HANDY STUDIOS 6022 Edgewater, CORPUS CHRISTI, TEXAS

Phone: 835-5201, Area code 512

The complete llne of IMACCO pugged clays may now

be purchased through the HANDY STUDIOS. EIIsworth

and Susan Handy, owners, welcome inquiries from all potters, schools, and craft centers in the area.

The Pyrometric Cone Equivalent chart shown below is

the result of considerable testing in our electric kiln.

QUARRY TILE [Red) Cone 04 to 8

SPECIAL MIX [Buff) Cone I to 10

50/50 MIX (Quarry Tile & Special M~x) Cone 04 to 10

SCULPTURE CLAY (Buff) Cone I to 10

NAVAJO WHEEL CLAY (Dark Red) Cone 04 fo 8

MJSSJON SLIP (Buff) Cone I to 8

NAVAJO SLiP [Red] Cone 04 to 8

STONEWARE ~;tS (Light Cream] Cone [ to 12

STONEWARE ~9 [Light Brown) Cone 4 to 12

STONEWARE # I - C (Sandstone) Cone 4 to B

STONEWARE #3-P {Dark Brown) Cone f to 8

range. The above colors developed from Cone 6 to maximum firing

RETAIL PRICES (FOB Downey, California)

QUANTITY *Pugged & DE-AIRED DRY CLAY

2-25# Bags (Min. Sale) $4.80 $4.S0 3 to 79 Bags $1.75 per 25# Bag $1.25 per 25.~ Bag

80 or more Bags $J.55 per 25~ Bag $1.05 per 25# Bag

* I Bag consists of 25 Ibs of clay packed in a heavy tools- ture-proof PoJy Bag. 2 Bags per package for shipping.

Quantity discount to dealers and schools.

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

May 1965 5

B

Acclaimed Everywhere by Teachers and Professionals for Performance

This Nat ional ly Recognized Power-Driven Precision Wheel

only $57.50 IShipped. complete

Less Motor]

Ideal for school, studio, home use . . . The famous B & I Pottery Maker, first in the field, is still first in value and in price! Simple operaHon, rugged construction, with all the versatility required by professional workers! Many buih-in features . . . ADJUSTABLE arm rests; BUILT-IN water container; VARIABLE speed drive; QUIET bronze and babb~t bearings; ADJUSTABLE foot-pedal control: UNUSUAL size range. Before you buy, Write B & I . . . get full, free details; Point- by-point, we challenge comparison on QUALITY features • . . Our price is still the best in the field! B & I Pottery Maker sh~pped complete, less motor, f.o.b. factory, Burllngton, Wisconsin, for only $57.50.

& I Mfg. Co. Dept. C. Burlington, Wisc. "Originators and Makers of famous B & I GEM MAKERS"

• .. , ,

F R E E . . • f o r d e a l e r s o n l y . This a t t rac t i ve heavy-wi re magaz ine d isp lay rack is suppl ied free to every s~udlo sell ing single copies of Ceramics Month ly . It is par t of a " fu l l -serv ice" p r o g r a m we offer ce ramic studios everywhere. Learn more abou t this p r o g r a m now send the coupon be low or wr i te on your le t terhead.

Circulat ion Manager CERAMICS ~10 I~T'H LY 4175 N. High St., Columbus, Ohio 43214

Please send us information on your single copy soles program ~ for dealers only.

STUDIO_

ADDRESS

CITY/STATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

6 Ceramics Monthly

r

Share your thoughts with other CM read-

ers--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.

THE YEARLY INDEX

Could you send me the cu r ren t index

issue for the magaz ines ? Somehow or o ther

I have lost the one I had and am jus t

about helpless wi thout it. I hope you will

cont inue to pr in t the index yearly!

I have been a subscriber for n ine years

now and I apprec ia te the qual i ty of your

magazine , the wide span of in teres t ing

articles, and the up- to-da te craf t tech-

niques. T h a n k s for all of the inspir ing

articles. Mrs. E. Luria

San ta Barbara, Calif.

CM published a nine year index (Jan-

uary 1953-December 1961) in the January

1962 issue o[ the magazine. Since that

time, a yearly index has been published

in each December issue.--Ed.

" H O W - T O " PLUS " W H O - I S "

We have been enjoying, with increasing

en thus iasm, recent art icles and the general

t rend (so it seems to us) of u p g r a d i n g

ins t ruct ional and informat ive content .

May I m a k e a suggest ion, however?

Some of the articles, such as the currenl

series on Glaze Prepara t ion , would be of

grea ter usabil i ty if we could r emove them

for reference wi thout losing par t of some

o ther article (see pp. 22-23, M a r c h issue

and pp. 19-20, Feb. issue) .

Your ba lance on "How- to" a long with

"Who- i s , " such as "Pot ters on a M o u n t a i n

Top , " is some th ing we apprecia te and look

forward to each issue. Charles R. Rose

Supervisor of Ar t Educa t ion

Elyria (Ohio) Public Schools

G O R G I N G O N C M

Almost m y first act, a f ter r e tu rn ing f rom

an ex tended trip, was to sort f rom the mai l

m y copies of Ceramics Month ly . T o m y

dismay, I found tha t the December 1964

issue was missing. My d i sappo in tmen t was

so keen tha t it near ly (bu t not qui te)

spoiled m y ant ic ipa ted pleasure of gorg ing

on the rest of the collection.

To add to the d i sappo in tment , I f ind

reference in la ter issues to subjects in tha t

miss ing issue. Th i s is very f rus t ra t ing.

Please f ind m y miss ing copy and restore

one of your oldest (in terms of t ime) sub-

scribers to a conten ted state of mind .

I have of ten wished I could tell some

of those who have wri t ten for your m a g a -

zine of the t r emendous help their work

has been to me and the really big pa r t

they have had in m y small successes and

in the larger success of he lp ing me to he lp

others. To n a m e jus t a few, Mr. Bellaire,

Mr. Ball, Mr . Mar tz , Miss Eckha rd t (oh

how I miss he r ) , Mrs. Perkins, Mrs. Hol tz

and at least ano the r ha l f dozen or so.

Mrs. O.F. Crowe East Bridgewater , Mass.

LETTERS ERROR NOTED

In the J a n u a r y 1965 issue, page 7 in the

Let ters co lumn, you refer to an article by

H a r d i n g Black on i ron-spot ted glazes. Your

reference says tha t this article is in the

Februa ry 1964 issue, bu t since it isn ' t

there, I would like to know which issue

it is in.

Enjoy Ceramics M o n t h l y very m u c h - -

an excellent publ icat ion.

Mrs. A.T. Seemann Claremont , Calif.

Sorry, our error/ The Harding Black

article, "Iron Spotted Glazes," appeared

in the February 1954 issue o[ CM.--Ed.

CLEAR AWAY THE COMPLEXITY

I ' m hop ing the new articles on glazes

( " H o w to Make Your O w n Glazes") will

clear away the a tomic-empir ica l -oh-so.

chemical mystery f rom glazes tha t has kept

me t rembl ing like an acolyte before their

complexity. T h a n k you for these and for

the exc i tement each issue brings.

Mrs. J.W. ]ennings Speedway, Ind .

GLAZE COMB[NAT[ORS The Constant Magical Beauty of f ine ceramics

Ceramists the country over will agree that there is nothing quite like the beauty of a glaze

combination. There ' s beauty always in the finished resul ts but the real beauty is found in the

quick and sirfiple application of glazes which produce such magical results. Here 's 3 tried

and proven glaze combinations to try on your very next piece.

LEAF DISH in #170 "'Spanish Moss". To bisqued dish. apply 3 coats of #615

Mahogany Brown to the outside. To the inside of dish apply 2 coats of #602

Orange then 3 coats of #624 Antique Green and tire to cone 06. Lea t Dish is

from Duncan's DM-97 Mold.

TALL VASE is a soft, pastel beauty in white, aqua blue and lavender. To bisqued

vase apply 3 coats ot#646 Tahiti Blue to the inside. To the outside apply 2 coats

of #638 Opaque White to the upper section of vase. Now using a coarse metal

scouring pad make uneven daubs of #646 Tahiti Blue over the Opaque White

followed by #650 Pansy applied in the same technique. To the base of vase apply

3 coats of Tahiti Blue. Fire to cone 06. Tall Vase is Duncan's DM°I4 Mold.

HORSEHEAD in #176 "Toreador Fiesta" . To bisqued piece apply 3 coats of

#631 Chinese Red over the entire piece. To just the head and neck areas now

apply 2 coats of #612 Cinnamon Brown then fire to cone 06.

All glazes mentioned are avai lable ~hru your n e a r ~ 4 n , , . . ~ , nz. , . :L. . . . . . . . .

May 1965 7

SCHOOLS-CRAFT CENTERS-INSTITUTIONS have you t r i ed W e s t w o o d ' s s toneware cone 5 g lazes?

)color may be added) W 501 LIDO SATIN (mottled beige) W 504 ITALIAN STRAW (mottled beige) W 502 SEMI-CLEAR MATT W 505 POLAR BEAR (eggshell white) W 503 MOONMIST (opaque white) W 506 HORIZON (opaque white glos.,

16 TRANSPARENT

- - - a n d our S toneware Bodies SCMO - 10 BROWN (reduction) (cone 10) WC-8 WHITE (cone 6-10) SCRH BROWN (reduction) (cone 10) WC-40 BROWN (cone 5) WC-33-10 BROWN (reduction) (cone 6-10) SCMO BUFF (cone 10) WC-33 BUFF (cone 6-10) WC-5 RED (cone 5)

WESTWOOD Stoneware is used by leading potters and ceramic schools everywhere.

PRICES ON REQUEST

P O T T E R ' S WHEELS and K ILNS

610 VENICE BLVD. V E N I C e , ( . A L I r U K ~ u A

~ry : /' oyist /

MODEL ~ 750-S'

list price.. •

r ip le b e a l b a l a n G e

/

w/o ArT WTS ~ . . . . . . . . . . " / / " ~ ~ i i :,~g, ) :i:

Capacity may be extended from 610 to 2610 grams , with use of Attachment Weight Set ................ $5.SO

OHAUS SCALE CORPORATION~

8 Ceramics Monthly

For Better More Consistent

Results

ORTON Standard Pyrometric

CONES Orton cones are your guide to more uniformly f i red ware. Here is a leaf f rom industry 's book tha t you can use. For complete details on this economical control method see your dealer or wri te direct. Request youT free cop> o| "PTopeTt(es and Uses o| P>~oraetTic Cones'" The Edward Orton, Jr. Ceramic Foundation 1445 Summit S t ree t Columbus, Ohio 43201

Send your show announcements early:

"'Where to Show," three months ahead

of entry date; "Where to Go," at least six weeks before the opening.

WHERE TO SHOW

ARKANSAS, WAR EAGLE October 22-24 The 12th Annual Ozarks

Arts and Crafts Fair is open to exhibitors

from Arkansas, Oklahoma, Missouri and

Kansas. Each artist must set up and man

his own booth during the event. Entry fee.

Write: Mrs. Blanche Elliott, Executive

Director, Ozarks Arts and Crafts Fair, Inc., War Eagle.

D.C., WASHINOTON October 29-December 13 Tenth Inter-

national Exhibition of Ceramic Art, spon-

sored by the Kiln Club of Washington,

will be held at the Smithsonian Institu- tion Museum of History and Technology.

Media: ceramics, ceramic sculpture, enam-

el, glass and mural design. Open to all

ceramic artists residing in the District of Columbia, Delaware, Maryland, Virginia

and West Virginia. Jury; Awards; Entry fee. Entries due on October 15-16. For information and entry blanks, write: Mrs.

Ruth Walters, 9512 Midwood Rd., Silver Spring, Md.

FLORIDA, MIAMI November 7-30 The Seventh National

Ceramic Exhibition, sponsored by the

Ceramic League of Miami, will be held at

the Joe and Emily Lowe Art Gallery of the University of Miami. Jury members

will be Toshiko Takaezu, Frans Wilden-

hain and Paul Soldner. A listing of entry information and prizes will be released

later. Inquiries should be directed to Nata-

lie Lindner, Exhibition Chairman, 1290

S.W. 23rd St., Miami, Florida 33145.

ILLINOIS, WILMETTE June 26-27 Ninth Annual Edens Plaza

Arts and Crafts Fair, sponsored by the

Edens Plaza Merchants Association, is a

display and sale of work by artists and craftsmen from the Chicago area, Wiscon-

sin, Michigan and Indiana. Entry fee. For

information, write: Mrs. Doris Jirka, Di-

rector, Edens Plaza Arts and Crafts Fair, 1925 Waukegan Rd., Glenview, Ill.

INDIANA, INDIANAPOLIS May 2S-June 20 "Indiana Grafts '65,"

co-sponsored by Indiana Artist-Craftsmen

and the Herron Museum of Art, is open to Indiana residents in all craft media.

Jury; Cash awards; Entries due May 3. For information, write Herron Museum of Art, Indianapolis.

SPECIAL FOR HOBBYISTS

CALIFORNIA., SAN FRANCISCO July 14- 18 The National Ceramic

Manufacturers Association presents the

Fourth Annual Trade Show and Con- ference at the Sheraton Palace. The show

ITINERARY is limited to dealers, distributors and

teachers. Information may be obtained

by writing: D. Donald Lonie, Executive Secretary, National Ceramic Manufac-

turers Association, 526 American Bank Bldg., Portland 5, Ore.

FLORIDA, FT. WALTON BEACH May 22-23 First Annual Ceramic Show

of the Coastal Sands Ceramic Association. For information, write: Isabelle Longaker, General Chairman, 156 Monahan Dr., Ft. Walton Beach.

FLORIDA, PENSACOLA October 18-24 "Geramic-O-Rama" will

be a feature of the Pensacola Interstate

Fair held at the Fair Grounds. For information, write : Macquolyn Jacoby, 317 Bremen Ave., Pensacola.

ILLINOIS~ BERWYN May 1-2 The Great Central Ceramic

League of the Greater Chicago Area is

sponsoring an art exhibit and show with the theme "Ceramics . . . Your Pleasure."

Continued on Page 11

i eramlc Hobby Show May 13th - 16th, 1965

V %: ~t~ II'" Dedicated to the Advance oSth e " Ceramic Hobby Through Education

new MATERIALS

Buyers Cards to be honored at the Eastern

and Chicago Ceramic Shows now available

• . . Write for yours t o d a y . . . Wholesale

Hours: 12 to 1 P.M. daily.

SPECIAL CLASSES

EASTERN CERAMIC SHOW OF 1965

CONVENTION HALL ASBURY PARK, N. J.

Please send teaching schedule for Pre-Registered

Classes to be conducted at the 1965 Eastern

Ceramic Hobby Show. . . I wish to make a

reservation.

NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

(please print)

STREET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CITY & STATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Hobbyists and Beginners are invited to at-

tend the fabulous "Pageant of Techniques"

from 9 A.M. to 12 Noon daily . . . free

admission.

NATIONAL CERAMIC AMATEUR EXHIBIT

JAMES A. BOICE, CHAIRMAN

25 ABINGTON AVE., MARLTON, N. J.

Please send ................ Entry Forms.

I plan to exhibit in the:

National Amateur Exhibit ........................ (check)

Professional Exhibit .................................. (check)

NAME .......................................................................... (please print)

STREET .........................................................................

CITY & STATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

C U T O N DCJTTFr~ l I M e

,Via), 1965 9

Teacher - Hobbyist - or Crack Professional . . . the new "Color Guide" in the latest Thompson Catalog will delight you. Select from 233 printed reproductions of opaque, transparent, opal and crackle enamelcolors to enjoy a greater freedom of color expres- sion than ever before possible.

In addition to enamels, the new Thompson catalog offers instruction books on enamel work and glasscraft, tools, copper pieces, shapes, materials and suppl ies- all accurately described and pictured for your ordering conven- ience.

Send in today for your new catalog and "Color Guide" offered completely free by Thomp- son m the world's largest supplier of art enamel colors for more than 70 years.

P.S. - - All orders are carefully and promptly filled and on their way to you within hours after receipt.

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THOMAS C. THOMPSON CO., Dept. CM 1539 Old Deerfleld Rd., Highland Park, III. 60036 Please rusk my FREE catalog of complete enomelincj craft supplies with Color Guide today.

NAME

ADDRESS

CITY. STATE ZIP ,, i ! |

. . . . . . . - - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10 Ceramics Month ly

SUGGESTIONS from our readers

RECLAIMING SLIP Here is a suggestion that I have found works quite well.

To reclaim clay scraps, simply make them into a slip and pour it into a pair of old trousers that have the bottoms of the legs tied securely together. The trousers can be suspended on a stout line or on a fence until they "drip dry." To remove the clay, simply turn the trousers inside out and the clay is ready for wedging and re-use. --Ron Zimmerman, Bellevue, Wash.

SUBSTITUTE FOR CALIPERS Calipers for measuring

lids for covered jars may not always be available in the small shop or studio. I have found that the acute angle cut from a wire clothes hanger works very well for this purpose. The

wire is easy to cut and to bend to the exact width needed, and several hangers may be cut to different lengths to meet the various needs for measuring. - -Roy Powell, Chico, Calif.

USE FOR FOIL PIE PANS Recently, while engaged in a rather large mold-making

operation, I used up my limited supply of brass shim stock which is used to create divisions on an original clay model or core piece that is going to be cast. Desperately searching around my mold- making area, my eyes fell upon a stack of rigid tin-foil pie pans. My normal use for these pans (in which frozen pies and pot pies are packaged) is for the production of small 4-inch to 9-inch shop bats, which are cast from excess amounts of plaster.

For my current need, I quickly cut up the bottom of one of these foil pans and supplied myself with an ample supply of inexpensive stiff shim stock. Later that same day I was trying to shim a small partially-conical area and was having trouble forming flat shims to this round area. Espying the remains of the pie pan I had cut into earlier, I realized that the pleated, angular side wall of the pan could be beaten out, cut and used in this particular area. All initial and subsequent adaptations of this material have proved most worthwhile and warrant con- siderations by other mold makers.

--R.L. Miller, Lindsborg, Kan.

TO PROTECT BARE COPPER If you find that it isn't possible to counter-enamel your

copper shapes all the time, the exposed metal can be protected and preserved by cleaning it thoroughly, then coating it with clear nail polish or clear lacquer. --E.H., Gary, Ind.

TO CALCINE CLAY If your readers ever come across an ingredient called "cal-

cined clay" in a glaze recipe, they should know that this is something they can make for themselves. Calcined clay is just the regular kaolin called for in most glaze recipes; calcining means that it is fired to red heat to drive off the chemically combined water and volatile gases. To calcine kaolin, place a quantity of the material in a bisqued bowl and fire to about 1500 ° F. If you don't want to bother with this procedure, calcined clay can be purchased from most suppliers.

~Mrs. M.C. Houseman, Philadelphia, Pa.

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 acknowledge or return unused items.

r

ITINERARY

Continued /rum Page 9

It will be held at the V.F.W. Post 2378,

1529 South Harlem Avenue. For infor-

mation, contact: Mr. Clarence Riggs,

7022 West 16th St., Berwyn.

ILLINOIS, CALUMET CITY

September 25-26 Annual Show of the

Town and Country Ceramic Association,

to be held at the American Legion Post

#330, will feature an open competition.

Information about the competition may be

obtained by writing: Ruth Metzner, 5251

S. Menard Ave.. Chicago, I11.

ILLINOIS, CHICAGO

August 20-22 The Chicago Ceramic

Show will be held at the LaSalle Hotel.

For information, write: E. Kane, Box

115, Wilmette, Illinois.

NEW JERSEY, ASBORY PARK

May 13-16 The 13th Eastern Ceramic

Hobby Show will be held at Convention

Hall. For information, write Jerry Casque,

Director, Ceramic Expositions. Inc., Con-

vention Hall, Asbury Park, New Jersey.

OHIO: CINCINNATI

June 5-6 Second Annual Ohio Valley

Ceramic Show of Greater Cincinnati, at

the Hotel Alms Ballroom. For information

write: Clyde and Edna Rieger, 6718 Sa-

vannah Ave., Cincinnati, 45239.

OHIO, COLUMBUS

September 10-12 Fourth Annual Ce-

ramic Festival, sponsored by Ceramics

Anonymous, will be held at the Youth

Center, Ohio Exposition Center. Informa-

tion may be had by writing: Mrs. Carole

Donnelly, 1514 Picard Rd., Columbus 27.

PENNSYLVANIA~ CASTLE SHANNON

May 1-2 The Western Pennsylvania

Ceramic Show Workshop is holding its

first exhibit at Castle Shannon's Firemen's

Memorial Hall, seven miles from down-

town Pittsburgh. There will be competitive

entries and exhibits, as well as demon-

strations. Write: Paul W. Ivill, Show

Chairman, 3727 Poplar Ave., Pittsburgh,

Pa. 15234.

W H E R E T O G O

CALIFORNIA, PASADENA

through May 9 California Design IX,

a triennial exhibition of objects for domes-

tic use by California artists. At the Pasa-

dena Art Museum.

CONNECTICUTj -~ORWICH

through May l "Connecticut %5,"

Annual Members' Show of the Society of

Connecticut Craftsmen, at Converse Gal-

lery of the Norwich Art School.

I NDIANA~ INDIANAPOLIS

May 15-16 Talbot Street Art Fair offers

an exhibit and sale of craft work and

paintings by Indiana artists. Sponsored by

Indiana Artist-Craftsmen, Inc.

KENTUCKY, LOUISVILLE

May 27-29 Craft Demonstrations by

members of Southern Highland Handicraft

Guild, at The Mall.

• %IAs SACH U S.ETTS, BOSTON

through May 30 "7,000 Years of

Iranian Art," Smithsonian Institution

Traveling Exhibition, at the Boston Mu-

seuzn of Fine Arts.

MASSACHUSETTS: FALL RIVER

May Ninth Annual National Show of

the Greater Fall River Art Association,

sponsored by the Art Association.

MICHIOAN, BLOO~IFIELD HILLS

through May 9 "Swedish Design To-

day," Smithsonian Institution Traveling

Exhibition, at Cranbrook Academy of Art.

~'IICHIGAN, EAST LANSING

through May 2 Faculty Exhibition in-

cludes ceramics and enamels, at Kresge

Art Center, Michigan State University.


THE GLAZE THAT HAKES THE DIFFERENCE!

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•

f .e . .

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Don't let that beautifully shaped piece ga+her dust because the finish has gone wrong• Take

a cue from prize-winning master ceramlsts. Crown your efforts with MAYCO's lovely assort-

ment of glazes and be sure of that perfect finish. MAYCO glazes are homogenized for

extra smoothness, easier application. They fire at Cone 06.

• Art Glazes • Hesffation • Foam • White Drape • Crystal Clear • Special Bisque

• Satin Matts • SaHnag • Accent~

Ask far the MAYCO Color Chart, as well as our llne of

SO brilliant underglazes and One Stroke.

Dealershlps AvalJable M A Y C O C O L O R S 10645 CHANDLER BOULEVARD, NORTH HOLLYWOOD, CALIFORNIA

May 1965 11

Le[t: Model [or an eight-]oot sculptur~ commission, by Raul Coronel. Right: Raul Coronel is pictured in his shop working on the potter's wheel.

RAUL ANGULO CORONEL California artist-craftsman,

designer and pottery operator

by Br.TjV. HOWELL

AFTER CENTURIES OF CONTROL by rigid caste systems which separated the crafts from the fine arts, the contemporary craftsman has emerged from the role of anonymous artisan whose dexterity in the manual arts was predicated on skilled techniques used for utilitarian rather than aesthetic purpose.

Too often in the public mind, trade or handicraft has been accepted as synonymous with "crafts," and op- posed to fine art which has been primarily concerned with the creation of beautiful objects rendered solely for visual enjoyment.

Whether working as hobbyists, studio potters or in the professional field, today's craftsmen are continually upgrading their work, due, perhaps, to the emphasis being placed in education on quality in design as well as function.

Accordingly, they have become increasingly aware that a sound technical background is an invaluable launching pad from wkich their creative endeavors may eventually be set into the orbit of personal satisfaction as well as public acclaim.

California potter Raul Angulo Coronel, owner and designer for a large production and display center in West Los Angeles, is a prime example of artist-craftsman with a sound background plus a remarkable one-direc- tional attitude - - that of combining superb craftsmanship with original design.

Surprisingly, Coronel claims he was never aware of any particular talent in the arts. Born in Baja in 1926, and raised in Mexico, this young craftsman came to Cali- fornia at the age of 17, entering Fullerton High School "to learn to speak and write English." Having achieved this modest goal and after graduating he thought he might become a doctor "or someone in the professions." Instead, the unpredictable. He was called to active duty with the Marines, serving in the South Pacific for three years during World War II, then he returned to attend the University of California at Berkeley where he received a B.S. degree.

"A period of uncertainty followed, so I decided to go to the University of Hawaii for a semester," he explains. There Coronel became interested in painting and was invited to exhibit at the museum by the Honolulu Art Association. His self-portrait won first prize. Encouraged, Coronel decided to enter Los Angeles State College as an art major. There he received his B.A. Presently an M.F.A. is in progress at the University of Southern Cali- fornia.

As an M.F.A. calls for work in the crafts, Coronel returned to Berkeley to attend the College of Arts and Crafts. "And," he says, "as soon as I began working with clay I knew. this was it."

Today, Coronel is nationally known for his handthrown stoneware. Since 1955 he has managed to main- tain an exhibition and work schedule that would produce a psychical block in most people.

Only six and a half ),ears after opening his first workshop, Coronel has six assistants working on the production end. Two of these produce handthrown ware, and the others attend to glazing, stacking the kilns, press- ing, and the innumerable operations involved in any successful pottery operation.

His large shop is fronted by a display area where production and one-of-a-kind stoneware objects may be seen and purchased by the public.

The work areas and kiln room are scrupulously clean and every section of the plant is laid out for a continuous flow of ware, from the first operation to the final pack- ing of stoneware for shipping - - an unusual sight to anyone familiar with the typical disorder of most shops. His lines are extraordinary in scope, covering a wide range of functional and decorative pieces including stoneware cigarette lighters, dinner services, immense casse- roles, oversize lamp bases, trays, huge garden planters, stools and tables for home and patio use, fountains and handsome murals done in muted earth tones and set with jewel-like transparent glass designs.

Instead of conventional casting, all pieces (with the

12 Ceramics Monthly

i

l

J

Above: Showroom in the Coronel shop features a ceramic and metal tree (center). Below: Wheel-thrown bells, installed in a shopping center, are from three to seL'en feet high.

exception of ceramic sculpture commissions which are designed and executed by Coronel) are done by the press mold method, thus avoiding loss by warping.

The remarkable richness and subtlety of color in tile finished ware is due to a fresh approach in glazing techniques. The ware is first bisque fired, then glazes are applied, heavy or light, depending on the desired effect. Then slip is set on, either by trailing, dipping or spraying, again with an eye for a definite result, as no "happy ac- cidents" are encouraged in any of Coronel's operations. After the glaze and slip have dried, the design may call for sgraffito or, in some cases, different colored slips. Then the piece is fired. This unusual and reverse application makes for greater brilliancy in colors; it also enables the potter to use a wide range of color combinations.

Coronel has developed his own stoneware formula: and has the clay made to order by a ceramic supply house. He has two 50-cubic-foot bisque kilns and a 30-cubic- foot front loader for glaze firing.

Bisque is fired to cone 6 and all glazes are fired at cone 10. The glazes are standardized and range in color from cool to warm. There are 24 colors with innumerable combinations, made from Coronel's own formulas under supervision.

Techniques cover a vast variety of applications including sgraffito, wax-resist, sponge, spray, slip-trailing, dipping and brushing.

Many of his designs call for the inclusion of crushed muhi-hued glass which he purchases in Mexico. When

14 Ceramics Monthly

Right, top: Ceramic /ountain, made [or a private corn- :

mission, is appro~'imately ten feet tall.

Below: Showroom displays a group of ceramics: textural

wall, table setting, stools, floor lamp and planter.

fired, the areas become three dimensional planes of great

brilliance - - a handsome juxtaposition to the earth-toned

textured glazes. No design is just put on arbitrarily. Solid

design begins with experiment but it concludes with the

potter's control of medium and catholicity of taste. All

of Coronel's ware, whether made by production methods

or the artist himself, show organization and discipline.

Many pieces are designed for a special function.

They may be traditional forms or expand to free organic

many-dimensional surfaces. As Coronel says, "It brings

excitement into the things we do."

A large portion of Coronel's original stoneware series

is still in demand, including decorative and amusing

heads, quaint textured animals, bird-forms with the quail

motif, and hand pressed stoneware bas-reliefs, mounted

with epoxy on pre-fabricated panels covered with fabrics

which are often silk-screened for an additional fillip.

In addition to a complete line of mass produced

ceramic sculpture, there are pierced stoneware tiles which

are widely used by architects and designers for facing

fire-places, lending interest to a dull wall surface, or

using as space dividers. The amazing variety of hand-

thrown and pressed objects that daily pours from the

Coronel kilns is too extensive to describe in detail.

The reahn of his activity has now expanded to

heroic-size sculpture. A recent commission is for a bank

irl Dallas, Texas. When completed, the eight foot stone-

ware mural will depict a polychromatic family group

set against organic tree forms indicative of coinmunal

security and growth.

Coronel's objects have also taken a new direction,

that of floating sculpture; functional and decorative,

these are designed to be mounted in large rotundas and

used for illumination as well as embellishment.

When working on commissions Coronel does all the

operations personally, from the original scale model to

the completed project. The stoneware cylinders are first

hand-thrown, cut, flattened and stretched to whatever

maximum plasticity permits. Strategic cutouts are made

for hanging areas, and undercuts are also done at

critical points. After glazing and firing, the forms are

assembled with epoxy and metal dowels.

Because of tensions which develop in firing oversize

fc.rms, Coronel attempts to anticipate any "bugs" which

may arise. As he says, "When working on large shapes,

go with it, as it's impossible to make corrections later."

Today's successful artist in any media is an inte-

grated whole person who has education, creativity and

direction. Raul Angulo Coronel is a fine example of

today's professional artist who is contributing greatly to

the contemporary crafts scene and whose public image

is a changing one. It's a long cry from the not-so-long-ago

Bohemian, to the disciplined, knowledgeable, master-

craftsman he so well represents.

May 1965 15

MAKING A SLAB PLAQUE by JEAN GARR.ETT

No MATTER HOVe ELABORATE or complicated a piece of ceramic sculpture may be, on careful analysis of the techniques it will be found that the piece was constructed by means of relatively simple basic techniques. Many times a simple problem in the use of a basic technique will suggest many more possibilities than were originally thought possible. Just such a project is the simple slab plaque which, upon completion, should suggest further elaborations and possibilities at first not apparent.

The flower plaque is only a slight departure from a flat slab of clay. In spite of the dimensional limitations, there are many possibilities in working with this particular technique. Certainly there is no end to the type of subject which can be used. Several separate plaques can be joined to make a larger, more complicated plaque. Three or more might be combined to make a free standing three- dimensional sculpture. All of the construction should be approached with freedom and a sense of adventure. If an attempt does no t work out, rewedge the clay and start again. Do not stop after making just one attempt with this clay technique.

Start by s k e t c h i n g ideas for flowers (or other subjects) on paper till you have drawn one you like. Draw the design directly on the clay. If you do not think you can draw directly on the clay, practice doing the full-sized sketch on a large sheet of paper and then try on the clay. You can always rub out mis- takes or rewedge the clay and then start over!

Roll out the clay to about a quarter of an inch thick (Figure 1). The back of a piece of oilcloth makes a good surface to work on. Next, draw the flow'er on the clay (Figure 2). Using a knife or other tool, cut through the clay, leaving a narrow margin around the outline. It may be necessary to remove this margin of extra clay later (Figure 3).

The raised lines of the design are made with slip applied from a syringe. Use slip made from the same clay as the slab to avoid drying and firing difficulties. Thin pieces of clay can be dried and then moistened to make a thick slip. If the clay contains coarse grog, the larger particles may have to be sieved out in order to apply the slip with a syringe. If the clay is light colored, a colorant might be added to the slip so that the raised design will contrast with the background. Practice making the lines on flattened pieces of clay before working on the plaque.

When you are able to control the flow of slip, add the raised lines to the slab background according to your preliminary drawing (Figure 4). Let the slip dry to the consistency of the slab before proceeding with the work.

When the slip walls are no longer wet, carefully trim away all jagged edges on the slab and smooth out all rough spots or lines. Make a hole at the top of the slab

for hanging, positioning it carefully so the plaque will hang properly. Be- fore the clay becomes too stiff to bend, parts of the flower design may be raised or bent upward and supported u n d e r - neath with rolls or balls of clay (Figure 5). The plaque should now be set aside to dry.

After the bisque firing, glazes are brushed into the various c o m p a r t - ments of the des ign created by the trailed slip. A full brush of glaze flooded into the sections is the easiest way of glazing the plaque. Since the plaque illustrated was m a d e from red clay, opaque glazes were used. However, if a white clay is used, or if a white slip is brushed into the flat areas between the walls, transparent glazes can be also used to advantage.

The above technique can be used to construct a single plaque, as illustrated; it also has many other exciting possibilities for exploration.

16 Ceramics Monthly

1. A large slab o/ clay is

rolled out to a thickness o[ about a quarter o[ an inch.

2. Using the preliminary sketches as a guide, the /lower

design is drawn [reehand on the clay slab. 3. Eacess clay is cut l'rom around the edge o[ the design

and removed [rom the slab.

4. Dccoratiue lines are added to the sur[ace o[ the slab

[rom a slip-[illed syringe. 5. Portions o[ the slab can be bent up and supported with

rolls or balls o[ clay.

May 1965 17

ENAMELING WITH LIQUID FLUX by HELEN WORRALL

T H E ALERT ENAMELIST is constantly in search of new ideas and products to alnplify his repertoire of techniques. Such a product, while not new to industry but relatively new to the craftsman, is liquid flux. This material not only opens up new con- cepts in decoration but also provides the hand-

craftsman with additional practical aspects of methods in application.

The decoration on the featured vase exploits one of the more obvious features of this material--i ts liquidity.

18 Ceramics Monthly

With the use of a copper form which had been previously enameled on the inside, the soft fusing variety of liquid flux was used to spatter a pattern directly over the exterior. This was done by dipping an inexpensive hardware-story-variety of bristle brush into the flux, and, with a quick flip of t~e wrist, flinging the flux onto the clean copper surface. Where the deposited liquid was excessive, it formed rivulets which flowed until the material was depleted. Quick action was necessary at this point. By inclining the copper form to the proper angle it was possible to direct the flow of the streaming liquid to bring the linear effects into directions of greater compatibility with the form, thereby exerting a degree of control over the pattern rather than accepting the complete chaos of happenstance. The deposit of flux was thin and dried rapidly. The circumference of the form was decorated

in this manner, allowing each section of the decoration

to d~- before advancing to the next. A critical evaluation

was made at each stage to determine whether or not the

newly formed pattern was interesting, fitted the form,

and was compatible in character with the previously

established pattern. Undesirable elements were wiped

away with a clean cloth before proceeding to the next.

When the total effect was considered pleasing, it was

dried and fired.

The original plan was to completely remove the

resulting oxidation in the open areas surrounding the

flux, but an unexpected phenomenon occurred which

altered previous plans and eventually enhanced the final

product. The break-away of firescale was so complete

and, at the same tixne, left such a pleasing network of

pattern remaining, that it was decided to incor-

porate this into the over-all decoration. The

open areas of copper containing the residual

firescale were rubbed lightly with steel wool

to remove all of the loose scaly particles of

oxidation. Tha t which remained firmly at-

tached was left and the entire exterior sur-

face was covered with dry light-tobacco-brown

transparent enamel that was applied by the usual

sifting method. I t was then fired once only in an

upright position until clarity was accomplished.

Three firings completed the work and produced a

quiet harmony of subtle color change in the brown

enamel as it passed over copper, over flux, and over

copper oxide, the latter providing a red-rust tone. The

understated decoration and color combined to bring

about a quiet charm which made the vase at once

practical as a container or, when used by itself, an object

of pleasing decor.

Liquid flux should be a part of every enainelist's

supplies. I t has many practical as well as decorative uses.

I t is a finely ground colorless enamel frit suspended in a

liquid binder. Because of the fineness of the grind and

its liquid suspension, it seems to form very compact

surface coverage which virtually eliminates pitting. This

is a problem which plagues beginners as they learn to

master the sifting method; it can also be a problem for

the advanced enamelist. Because of its low fusibility, the

soft fusing variety is extremely vulnerable to acici~and

should be thought of principally as a base for other colors.

The thin applications made possible with this material

fire beautifully clear and form an excellent base for trans-

parent colors.

USES F O R L I Q U I D F L U X

There are occasions when it is desirable to fuse

enamel onto both the front and the back of a piece at

the same time. The advantage of using liquid flux for

counter enamel on these occasions is that with reasonable

care the piece may be handled while preparing the front.

A little extra gum may be added to the mixture to im-

prove the adhesiveness for this purpose.

To cite a specific instance, it is an advantage to fuse

enainel simultaneously to both the front and the back

of a piece of copper repouss6 ( " E n a m e l on Copper

Opposite Page: Vase b)'

the author has a spatter

decoration o[ liquid flux

and copper oxide under

transparent brown enam-

el. The piece is nine inches high. Detail o] the vase (in-

set) shows the interest-

ing pattern of dark areas

which occured in the

break-away o[ the firescale,

Above: Bowl by Jane

Glass, Gatlinburg, Ten-

nessee. Liquid flux brush

decoration, with trans-

parent red enamel over

the decoration and cop-

per oxide. Height: 5 i n c h e s ; Diameter: 9

inches. Photos by Ken- neth Shatto.

M a y 1965 19

Repouss~," March 1964 CM). The advantage here lies in equalizing the stress on the metal in order to retard warping. This is especially important in enameled re- pouss6 because the irregular surface of the metal does not permit the use of weights to hold the piece flat as it cools. Serious warping could conceivably distort it to the point of no return. The slight warping that may occur in enameling both sides at once can be corrected with hand pressure, using a pair of asbestos gloves. The pressure must be applied within the first few seconds after it is removed from the kiln. There is a short interval of time, after the enamel loses its tackiness and before it hardens into a brittle glass, that it is pliable and will yield to pressure without fracturing.

Another use for liquid flux is that of placing a good base coat on hollow forms with narrow openings or vertical-sided pieces such as tubing, where it is virtually impossible to get satisfactory coverage by sifting ("Basse Taille Enamel," June 1964 CM). Liquid flux can be poured into these forms and the forms rotated until the interior is completely covered, after which the excess is poured out. Following firing, when a base has been established, additional color may be added by sifting with a very small sifter.

H O W T O APPLY Liquid flux may be applied by brushing, pouring,

or spraying. Brushing tends to make irregular thickness which may cause greenish discoloration or even burned places where the enamel is extremely thin. Pouring gives a more uniform coating, although a thin one. This could be an advantage where it is being used as a base for other colors, providing care is taken not to overfire the flux. Spraying is the ideal method of application. Flux can be sprayed with an air brush, with a pressurized spray can, or with a nasal atomizer. When brushing or pouring, one must be content with the amount of enamel deposited in the first application, whereas with spraying it is possible to build up any desired thickness by the intermittent spraying and drying of successive layers. One caution should be noted: The enamel particles settle out of suspension rapidly, making it necessary to shake the container frequently for redistribution. Any clogging which may occur in the spraying device may be cleared by spraying clear water through the nozzle.

A D D I T I O N A L D E C O R A T I N G SUGGESTIONS 1. In addition to the spatter technique already de-

scribed, another obvious means of decorating with liquid flux becomes immediately apparen t - - tha t of brush work. Flux may be painted directly on the bare metal with free flowing brush strokes to create a spontaneous design which should be consistent with the form. This is fired. The oxide or firescale may or may not be removed. Leaving some of the oxide will intensify the outline of the brush strokes. At this point the surface may be covered completely with transparent color and further decoration developed as desired. I t is possible, however,

20 Ceramics Monthly

to superimpose succeeding layers of brushwork over the first layer, firing each successive layer individually. In establishing the second and succeeding layers of brush strokes, a bit of dry enamel color may be sifted into the wet flux to establish delineation where one stroke of flux crosses another.

2. By using a spray method to deposit an all-over base coat of flux, a line drawing may be scratched through the unfired flux. After firing, there are two alternatives from which to choose: leave the oxide in the lines and cover the whole with transparent color; or clean away the oxide and cover the whole with a medium or dark transparent color. In the latter instance there is a definite line of demarcation between the color as it appears over the bare copper and where it develops over flux. In either case a permanent drawing is established at the beginning of the work and further develop- ment may then be pursued. Not only can linear designs be developed in the base coat by sgraffito, but also spots or void areas may be incorporated by placing paper frisket block-outs on the bare metal before spraying on the flux. These would, of course, be removed before firing.

3. In the reverse of the previous method, a stencil may be placed directly on the bare copper and flux sprayed into the voids to develop a series of spots. These are fired, and then the whole surface is covered with a transparent color. A brush, syringe, or squeeze bottle applicator might be used to draw lines of decoration with flux between the spots.

While the above discussion by no means covers all the ramifications of this subject, it is hoped that new vistas have been opened to the enamelist and that these will provoke further investigation and artistic application of this fascinating product.

: : HELEN WORRALL learned enameling from Mr. Kenneth Bates, Cleveland artist and teacher. She earned her undergraduate degree at Ohio University and her M.F.A. degree at Cranbrook Academy, where she did research in enameling. Miss Worrall has exhibited in nearly every major craft exhibition in this country and has won a number of awards and purchase prizes. Her enamel work is on the permanent collections of the

Wichita Art Museum and the Thomas C. Thompson Co. At present she is teaching art in the public schools at Reading, Ohio. Miss WorraU has been represented in CM with articles on Copper Repoussd (March 1964) and Basse Taille (June 1964).

/

; Y

Bowl by Jane Glass, Gatlinburg, Tennessee, is

10 inches in diameter. The decoration is sgraf-

[ito in a base coat of liquid flux with oxide

left in the open areas. Transparent green enam-

el oc'er the surface gi~'cs an olive-green and

maroon effect. Photo: Edward L. DuPuy.

:ii~ ̧ i!i~i!~i~!~!i~

May 1965 21

HOW TO MAKE YOUR OWN GLAZES Part 4: Making transparent glazes opaque

by HORTENSE ARONSON and LISBETH SHAEFFLER

IN THE FIRST THREE articles of this series on how to work creatively with glazes (February, March and April 1965), you learned how to make up one basic recipe for a clear transparent glaze, and how to color it blue, green or brown. The simple techniques for working with the glaze materials have opened the door to experiments with almost any recipe--and any color in the potter's palette.

The next step is to learn how to make ),our transparent glaze opaque. Not just the clear glaze, but an), of the colored glazes, too. There are quite a number of ways to make opaque glazes, but the simplest is to add an opacifier--generally a material that doesn't melt in the fire but stays suspended in the glaze, so dense that you can't see through the glaze when it cools•

The commonest opacifier in the potter's kit is tin oxide. I t is a dependable dense white that makes the glaze opaque without lessening its gloss. I t makes a clear transparent glaze white; and it softens colors very much the way the painter's Chinese white turns his dark pig- ments into lighter shades. Let's set up a simple experiment to test tin oxide in both clear and colored glazes.

M A K I N G A T R A N S P A R E N T GLAZE O P A Q U E

Get ready Set out the five jars of transparent glaze, clear and colored, that you made up if you followed the previous experiment. Or try this test on any transparent glazes you have on hand; the effects will differ somewhat with different glazes, but the results are all worth in- vestigating. Also, line up five test tiles, 5 squares of paper, )'our scales, scoop, sifter and glaze marking pencil. You'll need a small bowl and a half-inch glaze brush, and it's hand), to have a mortar and pestle (or a slab of glass and a palette knife) for grinding, just in case the glaze materials are gritty. You'll also need some tin oxide. Method 1. Number the backs of ),our test tiles with the ceramic pencil, from 6 to 10, following up last month's test series. Number your squares of paper the same way. Note on each square of paper the amount of color in your glazes. For example, 3~"~ copper oxide in No. 6; 1% cobalt in No. 7, and so on. These amounts refer to the five glazes made up in last month's lesson. If you are using other glazes, note down whatever you know about each of them: whether it's clear or colored • . . and what color. This will help you to keep track of your results.

2. Weigh out ten grams of each of your five dr), glazes, clear and transparent, being sure to put each one on the correctly numbered square of paper.

3. Add 10% tin oxide to each of the five small batches of glaze on your five squares of paper. As you work, mark each paper with a pencil check to note that you've added the tin. This is to avoid accidentally skip- ping one or adding tin twice to another.

4. Mix the tin oxide well into each batch of glaze. Starting with one batch, stir well while adding a few drops of water; smooth out any lumps with your brush, then add a few more drops of water to get the right consistency to brush on your test tiles. The consistency is right when the glaze flows from the brush without dragging. Brush three coats of glaze on each tile, each coat at right angles to the previous one. Before applying the glaze, be sure that it is smooth. Tin oxide is sometimes gritty; if it is, then grind it smooth with your small mortar and pestle or rub the wet glaze with a palette knife on a slab of glass.

This simple method of nfixing in )'our tin oxide with a brush works satisfactorily in handling small test quantities, if you stir it in thoroughly. In working with bigger batches, however, be sure to get a thorough mix by sifting the glaze and the tin oxide together three times, either wet or dry.

5. Fire the five tiles at Cone 06 (or the proper temperature for the particular glaze you are testing).

6. File the five new fired tiles on a cardboard, in a horizontal row, under the five transparent colors from your last experiment. Now you have ten different glazes from one recipe: five transparent colors and five opaque.

M O R E ABOUT OPACIFIERS We have said that while tin oxide is the commonest

pacifier, there are others that we can use. Some not only make the glaze opaque, but make it matt, too. Among these are talc, whiting, mag'nesium carbonate, zircopax and rutile. Each of these works in its own way, with somewhat different effects in different glazes. One of the most interesting to work with is ruffle. Let's set up a simple experiment to find out what we can do with it.

M A K I N G SHINY GLAZES M A T T In general, mat t glazes can be made "by formula."

Tha t is, the right combination of materials is figured in the original formula of a glaze. But a shin), glaze can also be matted by adding a matting agent, such as rutile. Ruffle makes the glaze mat t by forming crystals on the surface of the glaze as it cools after firing, thus breaking up the shine. And it does other things to the glaze, too. I t makes the glaze opaque. I t alters colors because the ruffle itself contains iron, and the brown tones of the iron tend to soften intense blues, greens or other shades into more muted tones. I t often causes an interesting color break-up that gives a textured look to a glaze. This is an effect sometimes called "antique." Since ruffle also has some fluxing action, it may make a glaze runny, resulting in brownish streaks down the side of a pot (this is the hare's fur effect you've read about).

Ruffle can be used in any quantity up to 10e/b. Here are three suggested experiments using ruffle, ruffle with tin, and other opacifying and matting agents.

22 Ceramics Monthly

Experiment No. 1: 10% rutile Follow the general tech-

nique of your experiment with tin as an opacifier. That

is, set out five test tiles and other equipment, again in-

cluding five squares of paper on which to heap your five

different mixes. Weigh out ten grams of each of your

five transparent dry glazes, putting each 10 gram batch

on a different square of paper (making sure to number

the papers). Weigh out one gram of rutile (10%) and

add it to the first batch. Do the same for all the others.

When you have mixed up each batch and made it into

a slip, brush three coats of each on its own numbered

test tile. When using rutile, apply your glaze slip a little

more thickly than with a transparent glaze, so that you

get a good build-up on the tile. Fire the five tiles and

add them to your file card.

Experiment No. 2: 5% Tin oxide and 7~b rutile Follow

the same method again, this time adding two materials

to each of your five tiles. To each small 10-gram batch

of glaze, add 5% tin (.5 gram) and 7% rutile (.7 gram).

When these are mixed, made into slips and brushed onto

your tiles, then fired, you have a fourth row to add to

your file card. Now you have twenty different tiles from your one basic glaze.

Experiment No. 3: Other opacifying and matting agents

If you'd like to test some other additives beside tin and

rutile, to widen )'our scope further, you will need some

additional materials. Buy a small quantity of each of the

following: talc, whiting, magnesium carbonate, Zircopax and dolomite.

. . . . . . . . i

Making transparent glazes opaque: In the experiment

shown here, the jars hold five variations of a basic trans-

parent glaze--four colored and one clear. Weigh out ten

grams of each glaze onto separate squares of paper.

To each small batch, add one gram (10%) of tin oxide.

Mix thoroughly. Now you have five opaque glazes.

I. Set up a row of five test tiles and five squares of paper.

2. Weigh out ten grams of your basic dry glaze on

each of the five squares of paper. For a first test, you

might start with the clear transparent glaze used as a

basic glaze in this series. You can, of course, try mattin,.,

any transparent glaze you have.

3. To the first batch add 10~b (1 gram) of talc.

4. To the second ten-gram batch of glaze, add 10Or

(1 gram) of whiting.

5. To the third batch, add 10% (1 gram) of magnesium carbonate.

6. To the fourth, add 10~ (.1 gram) of Zircopax.

7. To the fifth, add 8% dolomite (.8 gram).

When each batch is mixed and applied to a carefully

labeled tile and fired, you will have some information

about the degree of matting effect and the opacity of

each of these materials, when used in the particular glaze

you have tested. And you'll have five more interesting

glaze samples to add to your collection and to choose

from for use on your pots.

I f you have done all the suggested experiments in

this series of articles so far, you now have a file card

with twenty-five different colors and textures, all made

from one basic glaze. Obviously, you can add to these

at any time by testing more colors, with and without

opacifiers and matting agents. I f you have mounted them

as suggested, you have a carefully labeled card with all


: ~ i ~ i ~ ! ! i i i ~ p ~i~;~'i ~¸ : ~ ~, •

..... ~

. . . . I ~ ~,. 1 , . . , , , . , . _ ~ , . , . , , , , , , , , , , , . ~ ~ . ~ . ,

Filing }'our glaze tests: Glue your test tiles to a card-

board and label them, to show what has been added to

each. Note that the columns are arranged vertically by

colors and horizontally by opacifying and matting agents.

The tests in this one lesson give you 25 colors and tex-

tures for future reference.

May 1965 23

Ceramic Tesserae-the Easy by I/.OGER I~{OREAU

Way

AT Till'; BEGINNING of each school year my crafts classes set out to make a completely original, large mosaic composition. For the sake of complete originality, we make our own mosaic tesserae. As a result of our experiences, we have discovered a fast, high quality method for making ceramic tesserae which enables the teacher to construct large mosaics on a classroom basis.

The composition was worked out and finalized on ¼-inch graph paper. I t was then easily enlarged by transferring it to a plywood panel which had been ruled into one inch sections. In this case, the panel was 3~-inch thick, measured 93" x 46", and had eight bolts counter- sunk into it for the purpose of hanging after completion. We planned to place an average of four tiles per inch; therefore our needs required as many as 20,000 tiles, uniformly thick with a I/2-inch uniform surface.

Weeks of preparing the tiles ended in negative results on our first attempt. We tried rolling a slab of clay uniformly thick, using dowel sticks to control the thickness. We measured ~2 inch on all sides and drew a knife between the marks. Several problelns became obvious. First, we found that it required a great deal of time to measure and mark each slab; without question, the

marking was not accurate enough to guarantee a uniform surface of Y2 inch. Another problem occurred when the knife was drawn through the clay; the clay would pull and distort the surface, thereby destroying uniformity. Finally, the tiles had to be individually hand-arranged so that they were not touching during glazing; this was necessary to keep the glaze from stacking up between tiles and thus prevent them from sticking together. It was obvious that a less tedious, more expedient, and higher-quality method of tile making had to be found. There was a general loss of interest because of the many problems, and work finally came to a temporary halt.

We then turned to other ideas. Thinking in terms of stamping the tiles, I visited the local hardware store in an effort to find a y2-inch mesh screen which I thought would do the job if pressed into the clay. After discover- ing that a ~2-inch screen was unobtainable, I tested the idea using a mesh of a different size, only to find other problems. When pressed into the clay, the center parts of the screen would not completely penetrate it; thus the tiles had no uniform thickness. However, it did produce a neat, uniform surface pattern. I t was obvious that if a firm material could be found (like the cutters used in

24 Ceramics Monthly

1. A tile cutter, improvised [rom a plastic [luorescent light

di[[user, is pressed through a slab o[ clay. 2. Excess clay is cut away and the clay cubes are le[t to

dry out with the plastic cutter still in place.

3. The dr), tiles are per[ectly spaced [or glazing by the

spray method. Opaque glaze is used on dark clay tiles.

W~

~ . ~

4. The block o[ glazed tile is guided onto a kiln shell

and placed in the kiln [or the single [iring required.

dicing and cutting shoestring potatoes) the problem

would be solved.

Upon presenting the problems to mv classes, I

learned that one of the students had a section of a plastic

light fixture used commercially to diffuse the bright glare

of the fluorescent tube. The "sections measured ½-inch.

This was the answer to the problem!

By using this we were able to make vast quantities

of uniform ~- inch tiles in less than 90 per cent of the

time it took originally. We pressed the plastic "cutter"

into the rolled out slab of damp clay. The clay cubes

shrank during the drying stage and released from the

sides of the plastic walls. The cutter was then removed,

and the tiles were spray glazed. The tiles were thus spaced

and the tedious task of hand spacing was eliminated.

Now completed, our first mosaic composition hangs

in the school's main office. We have already begun our

second composition, which is destined for the foyer of

the gym.

Give this method a try. I 'm sure you'll discover a

vast new reahn of excitement in origi~.al mosaic con-

struction, whether for the individual or the group.

ROGER M O R E A U is a cra[ts teacher at Mount

Miguel High Sckool in Spring l'alIey, Cali[ornia. He has

his B.A. degree [rom the University o/ The Paci[ic and

plans to work on an advanced degree at San Diego State.

The last, accurate and interesting method o[ making

tesserae that he presents kere is specifically written [or

the kigh school teacher who wishes to work on a group

project in original mosaics.

May 1965 25

Four Glazes for by RICHARD BEHRENS

Cone 014

Author RICHARD BEHRENS notes that the [ollowing glazes should mate well with the two low-temperature bodies (Clay Body IV and Clay Body VI) listed in his article, "'Clay Bodies," in the February 1965 issue of CM.--Ed. GLAZE FORMULAS maturing at Cone 014 which fit the average clay body, and which are m e c h a n i c a l l y and chemically strong, do not appear frequently in ceramic literature. Such glazes can be made from available frits lead and lithium. The glazes offered here have proved to have excellent resistence to weathering, according to an accelerated weather test made with them. They have good color solubility and form good surfaces.

Where limited firing time is an asset, Cone 014 glazes can prove very useful. They are also very useful in adding a touch of color on a decorated pot fired to a higher cone level. In addition, they minimize strain on the pot caused by higher additional firings. Where only a low-firing kiln is available, a low temperature glaze can prove a great advantage.

A good Cone 014 glaze may be made from :

CONE 014 GLAZE I Frit 25 (Pemco) 34.0% White Lead 26.6 Lithium Carbonate 8.4 Kaolin 4.2 Silica 26.8

100.0% This glaze may be matted by adding 25% of zinc oxide to the above formula. Barium carbonate, in the same amour.t, will also matt the glaze. Per- haps the best matting agent is alum- inum hydrate (not oxide) added to the formula in a 20% amount.

Reduction of this glaze may be carried on in a gas kiln by firing in reduction to cone 014 and holding at this temperature for 10 minutes before cooling. For copper red, use 1% of copper carbonate and 1% of tin oxide in the basic formula. For a good

26 Ceramics Monthly

celadon, the addition of 1.5% of red iron oxide may be used.

Local reduction in the oxidizing electric kiln can be carried on by use of 1% of copper carbonate, 1% of tin oxide and 1% of 300-mesh silicon carbide. For a celadon by local reduction, 1.5% of red iron oxide and 1.5% of silicon carbide may be added to the basic formula. The copper reds produced by this formula are usually mixed with blues. The celadons are quite uniform.

Colors obtainable with various col- orants are approximations of those named on color charts in "Dictionary of Color" by Maerz and Paul.

3% Green Chromium Oxide Fern green

5% Tin Oxide + 2% Antimony Oxide Sulphur yellow

5% Red Iron Oxide Fallow yellow 3% Copper Carbonate Marls blue 1% Cobalt Carbonate Ultramarine 4% Rutile + 1.5% Nickel Oxide

+ 3% Copper Carbonate Carrara green

4% Rutile + 1.5% Nickel Oxide + 1% Iron Oxide Bronze brown

1% Green Chrome Oxide + 3% Red Iron Oxide Pea green

1% Green Chrome Oxide + 1% Nickel Oxide Piquant green

1% Green Chrome Oxide + 0.5% Cobalt Carbonate Surf green

1% Copper Carbonate + 0.5% Cobalt Carbonate Bluejay blue

1% Copper Carbonate + 3% Red Iron Oxide Pacific blue

1% Copper Carbonate + 1% Nickel Oxide Thyme green

5% Titanium Dioxide + 2% Copper Carbonate Pacific blue

5% Tin Oxide + 3% Chromium Oxide Holly green

Another cone 014 glaze of a strongly alkaline character which yields similar color of somewhat greater intensity is:

CONE 014 GLAZE II Frit 25 (Pemco) 46.5% Frit" 54 (Pemco) 28.3 Lithium Carbonate 10.9 Silica 14.3

glaze may be made from: CONE 014 GLAZE III

White Lead 80.6% Kaolin 8.2 Silica 11.2

100.0% To this should be added 3% of green chronfium oxide.

A stony dry glaze of blood-red color can be made from:

CONE 014 GLAZE IV White Lead 90% Kaolin 10

100.0% This glaze can be colored with 3% of green chromium oxide.

Clay body recipes: CLAY BODY IV

Tennessee Ball Clay #1 60% Pemco Frit 25 20 Nephyline Syenite 5 Silica 15

100%

This body may be classified as of earthenware quality when fired to Cone 06; it vitrifies to stoneware density at Cone 04.

CLAY BODY VI Red Clay 60% Pemco Frit 25 20 Silica 15 Talc 5

100%

This clay, utilizing Quarry Tile Red clay, may be bisqued at Cone 010 and vitrifies to a stoneware level at Cone 08.

100.0% This glaze should be conditioned by the addition of 1% of bentonite.

An interesting blood-red cone 014

M R . B E H R E N S is a graduate chem- ist 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 field of glaze technology in his workshop.

BRUSH STROKE VOCABULARY

for the underglaze decorator

This article is based on material from the new Marc Bellaire book,

"Brush Decoration for Ceramics," published by CERAMICS MONTHLY

~'VE THINK OF DESIGN as the arrangement of details which

make up a work of art. Designing with the brush is sim-

ply the arrangement or composition of brush strokes, lines

and prints to create a plan or sketch that we have in

mind and want to set down on a sheet of paper or a

piece of pottery.

The beginning decorator should think of brush

strokes as separate design units or shapes. When he has

become familiar with these shapes through practice in

making them, he has at his command a "vocabulary"

with which he can create endless design arrangements

and thus communicate his ideas to other persons.

We may coinpare this brush vocabulary with the

vocabulary of words by which we communicate in writ-

ing and speech. We learn an alphabet of letters so early

in life that its use becomes second nature to us. Each of

the A B C's is a symbol which, when combined and

placed in certain arrangements, forms words. These in

turn form pictures or images in our minds. For example,

the letters A, T and R do not produce a mental image

until they are rearranged to form such word symbols as

RAT, T A R and ART.

The same thing is true of unrelated brush strokes.

The combination of certain shapes may give no specific

image when arranged in one way. When they are used

in another pattern, they may suggest a fisl~, bird or

flower.

In order to be able to design with a brush, the

beginner nmst first learn to "see." This means that he

must look for the basic masses in what may seem to be

a detailed, complex form, and then transpose or reduce

this subject into simple brush strokes that will adequately

represent it as a design symbol. For example, a leaf to a

botany student is a complex arrangement of skeletal fiber,

chlorophyll and life-giving fluids. To a designer who has

learned to think in terms of simple mass forna, a leaf may

be reduced to the simplest basic strokes of a brush.

This process of simplification--of making the clear-

est possible statement or interpretation--is the very es-

sence of good brush design.

May 1965 27

T H E F U N D A M E N T A L S T R O K E The fundamental stroke is made with a single move-

ment of the brush used in the pendulum-type action. Heavy pressure at the beginning of the stroke forms the widest part of the shape; as pressure is released, the brush is allowed to spring from the paper, leaving a fine point. When less initial pressure is used, the stroke is consider- ably smaller. The watercolor brush is used when heavier strokes are needed and the liner brush when long, slim strokes are desired.

The stroke may be repeated in a variety of ways to create interesting patterns for use in a band or border

ar~:angement or as an all-over decoration. While the fundamental stroke can be used to suggest

single leaves or petals, or combined with other strokes for more complex designs, groupings of similar strokes can be used very effectively to create foliage, flowers and other motifs.

Consecutive strokes also are used to fill in any large area that cannot be covered with a single brush stroke. The beginner should avoid dabbing the color with a brush, however, because coverage will be inconsistent and thin and may very well fire out, leaving an unsatisfactory result. The examples here are done with the liner brush.

C U R V E D S T R O K E S The curved stroke is exactly the same as the funda-

mental stroke except that a slight curve is introduced. The stroke can be utilized in a curving movement, going either up or down, for producing graceful and decorative

28 Ceramics Monthly

p shapes. Notice the leaping fish-like movement of these brush strokes! The watercolor or liner brush may be used.

Curved strokes may be repeated to form motifs such as the pahn frond or they may be combined with a single line to create a pine tree design.

D I M I N I S H I N G STROKES

The diminishing stroke, still another variation of the

basic stroke, is accomplished by applying light pressure

to the brush at the start, heavier pressure at the middle,

and light pressure again at the finish of the stroke.

This stroke has many uses in decorative painting.

Single strokes make excellent tulip leaves and they can

be arranged advantageously to obtain many other foliage

effects. Diminishing strokes can be used for daisy petals

and they make wonderful bird plumage! These strokes

usually are done with the liner and watercolor brushes;

examples of diminishing strokes made by the liner brush

are shown here.

CIRCLE STROKES

Circular shapes are made with a single stroke of the

watercolor or square shader brush. The filled brush is

held perpendicular to the paper, pressed down to spread

the hairs, and then twisted or spun in a v e D" tight circle.

The action is similar to that used in drilling a hole! This

is not a free-swinging stroke from the wrist but is con-

trolled by the twisting fingers. The wrist remains sta-

tionary. Much practice is required to make really round

circles. One of the interesting variations of this stroke gives

a heart-shaped leaf. A half-circle is made to the right,

ending in a point; the addition of a half-circle to the left,

also ending in a point, results in the heart shape.

For design purposes, circles are used for representing

grapes, flowers, heads on stylized figures, border motifs

and wherever else round shapes are desired. The leaf

shape illustrated, made with the watercolor brush, is used

upside-down as the heart motif in Early American deco-

ration.

May 1965 29

recommended books on ceramics GLASS CRAFT by Kay Kinney The complete book on fusing, laminating and bending glass. Basic techniques, step-by-step • , ~ - . , , projects and a Glass Cllmc to help solve problems, t i a rd 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 Carlton Ball. 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

MOSAICS, HOBBY & ART by Edwin Hendrickson This 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 The most complete book on the subject, from choosing the proper clay to putt ing the final touches on a piece, all clearly explained. Ce- ramics at its best! $7.50

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

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. $5.95

CLAY AND GLAZES FOR THE POTTER by Daniel Rhodes Fwo 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

POTTERY & CERAMIC SCULPTURE by Herbert M. Sanders A new, thoroughly revised edition of Mr. Sanders' best seller, Ceramics Book. Com- pletely up-dated with new material, including section on how to build a potter's wheel. Excellent for beginners. $2•50

ENAMELING ON METAL by Oppi Untracht Step-by-step photos are used to describe fundamentals on through to 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

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

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

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 other books leave off. $5.95

FREE BRUSH DESIGNING by Egbert and Barnet The authors' exciting approach to painting and designing develops confidence in the new artist. Extremely well adapted to ceramic decoration. $3.95

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

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

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BOOK DEPARTMENT ,,I- .o,~ .,qb .~., ~...b... Oh~ 4.~'

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30 Ceramics Monthly

JEWELRY FROM ENAMEL by KATI-tE BERC

LUMPS

~THAT IS A JE'~VEL. ~ I like to think of

a jewel as a bauble that looks precious

and shin}, and transparently aglow

from within. I t is something that re-

sides in an intricate setting and be-

comes jewelry fit for a queen of some

never-never land.

The enamel jewelry being produced

today is most at tractive and modish.

Unless it is made by a veritable

Faberg6, however, much of it does

not have that "glow from within"

quality that makes it really jewel-like.

Now, I ' m going to tell you about a

quick way to make really jeweMike

jewelry that has just one drawback:

no pawnshop will give you a penny

for it! I suppose we nmst call this

technique a recipe, because one can

turn out these small treasures almost

like cookies. I shall also give you a

pearl of wisdom: Never look down

your nose at any technique, no mat-

ter how "gimmicky" it may be. I t

is almost certain to be useful someday.

I have always been rather luke-

warm in my response to the use of

enamel " lumps" as decoration for

enamel work. I have had a jar of these

unground bits of enamel around my

studio for a long time, gathering moss,

so to speak. But now their momen t

of glory has come, for our new jewelry

is decorated exclusively with enamel

lumps!

The metal base that is necessary

for almost any work in enamel func-

tions in this case not only as the basic

shape but also as the "sett ing" for our

jewels. I t can be silver or even gold,

since not much metal is used and

therefore doesn't involve an enormous

expense. I f copper is used, the piece

should be enameled with flux or a

light t ransparent color before the

"jewels" are set. Silver and gold do

not necessarily need even a basic coat-

ing of enamel because of the beauty

of these materials by themselves.

I f silver is used, I would recom-

mend fine silver because it holds a

shape much better than does sterling

silver. Whatever the metal , it should

not be too thin. I t is best to use

20-gauge or 22-gauge, cut into long

strips that are about 3/16-inch wide

or even narrower.

Flat wire can also be used for the

setting but it should be a soft wire,

not one that is hard and springy, since

it must be bent and contorted into

an elaborate shape.

The metal strip must be handled al-

most as if it were ribbon. I t is turned,

twisted and twined until it resembles

ribbon lace, loose weaving, intricate

knot-work, or whatever effect you de-

sire as the setting for your piece of

jewelry. Of course, the shape must

hold together and be a relatively tight

mesh. The ends of the strips should be

worked into the whole with great

resourcefulness; they can be curled in

with round-nosed pliers and used to

form the actual settings for the jewels.

I f the piece is to be a pin, the loose

ends can be situated strategically

enough so that they provide a flat

surface on the back for soldering on

the jewelry findings. I f the piece is to

be a dangle earring or pendant on a

necklace, the ends might be used to

connect with a jumpring.

When the setting is formed as you

want it, it is ready for the addition

of the jewel or jewels. I f the setting

is to be enameled, this should be done

and the piece fired at this time.

Because the setting and jewels must

be fired together, work now should be

done on a firing rack. The base sec-

tion, whether it is enameled or not,

should be placed on a piece of mica

on the firing rack. If you have a small

trivet that happens to fit the piece,

this can be used in place of the piece

of mica. Lump enamels are now added.

From an assortment of lumps (which

are available from almost any ceramic

or craft supply shop) select the ones

that you want to incorporate into ),our

setting. I have found that it is best

to pick up these small pieces with a

pair of tweezers and insert them

directly into the loops and meshes

of the setting. When these are posi-

tioned to your satisfaction, carefully

lift the firing rack and place it in

the kiln. Firing should be done in a "slow"

kiln that is just hot enough to fire

enamel. There are two reasons for

this: (1) This is the safe way to

work with gold or silver; and (2) I t

is the only way to control the flowing

of the enamel lumps. According to

your own taste in the matter , you may

wish to fire only until the lumps start

to fuse and round out, or you can

allow them to remain in the heat

longer so that they flatten out more

and sink deeper into the setting. I

would caution you not to allow too

much of this flattening, however. They

might flow completely out of the

setting! This is all there is to my amazing

jewelry technique. I t is very easy,

there is very little bother, and the

effect can be quite stunning. Perhaps

you will want to try other types of

jewelry by this method, beside those

already mentioned. H o w about rings,

bracelets, even a t iara?

May 1965 31

SUMMER WORKSHOPS

Summer Workshops give you that wonder- [ul opportunity to combine vacation travel with hobby [un. Whether you are tripping east or west or only a little ways from home, you'll [ind a workshop in ceramics to give you that [resh inspiration. Our list to date:

B. C., VICTORIA July 5-30

The Osborne Pottery Studio is offering sessions in wheel-thrown pottery, form and decoration. Instructor: L. F. Os- borne. Write: Osborne Pottery Studio, 5757 West Saanich Rd., R.R. 7, Vic- toria, B. C., Canada.

CALIFORNIA, GUERNEVILLE June 28-August 27

Pond Farm Pottery is offering nine weeks of instruction in throwing, decorating and hand-building. Instructor: Marguerite Wildenhain. Write: Pond Farm Pottery, P.O. Box 322, Guerne- ville.

CALIFORNIA, IDYLLWILD June 27-Aug. 6 (Adults) Aug. 8-20 (High School Students)

The University of Southern California, School of Music and The Arts, is offering 2-week courses in beginning and advanced ceramics for adults. Instruc- tor: Susan Peterson. Two-week courses in ceramics and painting are being offered for high school students. In- structor: Esta James. Write: University of Southern California, School of Music and The Arts, Idyllwild.

CALIFORNIA, LONG BEACH June 21-August 27

California State College at Long Beach offers 6-and 4-week sessions in hand building, beginning and advanced throwing, glazing, kiln firing and kiln building. Instructors: Thomas Ferreira and Ward Youry. Write: Director, Summer Ses- sion, California State College at Long Beach, Long Beach.

CALIFORNIA, Los ANGELES June 21-August 7

The Department of Fine Arts at the Uni- versity of Southern California offers a 7-week ceramic course in hand-building and throwing. Instructor: F. Carlton Ball. Write: Department of Fine Arts, University of Southern California, Uni- versity Park, Los Angeles.

CALIFORNIA, MENDOCINO June 2l.August 13

"Experiment A Program" offers a number of workshops in such places as Mendocino and Panamint Valley; Scotts- dale, Ariz.; and Nelson, B.C. Media include ceramics and visual perception. Instructors are Hal Riegger, Paolo Soleri, Ann O'Hanlon and Gloria Churchman. Write: Hal Riegger, 469 Panoramic Highway, Mill Valley, Calif.

32 Ceramics Monthly

CONNECTICUT, BROOK FIELD to be announced

Brookfield Craft Center has announced a 1-week workshop in fused glass and 2-and 3-week sessions in ceramics. In- structors: Priscilla Porter (glass), Vivika Heino and Henry Gernhart (ceramics). For information, write: J. Kauppi, Di- rector, Brookfield Craft Center, Brook- field.

CONNECTICUT, NEW CANAAN July 12-September 3

The Silvermine College of Art will p r e - sent an 8-week workshop in beginning and advanced ceramics. Instructors: Tauno Kauppi and Guy Grande. Write: Registrar, Silvermine College of Art, New Canaan.

D. C., WASHINGTON June 14-August 6

The Corcoran School of Art offers 8- week summer sessions in beginning and advanced ceramics. Instructors: Charles Plosky (beginning) and Richard Lafean (advanced). Write: Mary G. Kovner, Registrar, Corcoran School of Art, New York Ave. & 17th St., Washington.

INDIANA, INDIANAPOLIS June 14-August 20

Amaco Ceramic Workshops offer 2-week sessions in ceramics and a 1-week session (June 28-July 2) in metal enameling for teachers and occupational therapists at the John Herron Art School. Grad- uate and undergraduate credit. Instruc- tors: Kenneth E. Smith, Justin M. Brady, William Gehl, and Richard Peeler. Write: American Art Clay Co., Inc., 4717 W. 16th St., Indianapolis 46222.

MAINE, DEER ISLE June 21-September I0

Haystack Mountain School of Crafts offers four 3-week quarters in all phases of ceramics. Ceramics instructors: Cyn- thia Bringle, Charles Lakofsky, Jeff Schlanger and Frans WildenhaJn. Write: Haystack Mountain School of Crafts, Deer Isle.

MASSACHUSETTS, WORCESTER July

The Worcester Craft Center is offering instruction in ceramics. Instructors include William Wyman, Gerry Williams and Leo Marcuccilli. Write: Craft Cen- ter, 25 Sagamore Rd., Worcester.

MICHIGAN~ BIRMINGHAM August 2-14

The Owl Shop offers a 2-week course in throwing, hand building and decorating. Instructors: Carlie Tart and Richard. Lachowski. Write: Audrienne Vander Pyl, 30153 Bristol Lane, Birmingham.

MISSISSIPPI, UNIVERSITY June lO-August 19

The University of Mississippi offers two

5~2-week terms in beginning and advanced ceramics. University credit at both graduate and undergraduate levels. Instructor: Richard Joslin. Write: De- partment of Art, University of Missis- sippi, University.

NEW HAMPSHIRE, DURHAM July 12-August 20

The Department of the Arts at the University of New Hampshire offers a 6-week session in ceramics conducted by professor Alfred R. Potter. Write: De- partment of the Arts, Paul Creative Arts Center, University of New Hamp- shire, Durham.

NEw JERSEY, NEWARK June 30-August 4

The Newark Museum is offering a 6- week Art Workshop for Adults in beginning and advanced wheel and handbuilt work. Instructor: James Knecht, Jr. Write: Arts Workshop, The Newark Museum, 43-49 Washington Street, Newark 07101.

NEW MEXICO, RUIDOSO July 12-31

Enameling Workshop is scheduling a 2- week session in basic skills and various techniques and methods of enameling. Instructor: Ruth Hess Lutman. Write: Mrs. H. Greggerson, Mgr., Carrizo Lodge, Ruidoso.

NEw YORK, ALFRED June 28-August 6

Alfred University offers 6-week terms in Ceramic Design and Pottery Produc- tion, both basic and advanced, and Advanced Ceramic Design. Instructors: Theodore A. Randall and Val Cushing. Write: Fred H. Gertz, Summer Ses- sions, Alfred University, Box 805, Alfred.

NEw YORK, BROOKLYN July 6-August 13

Beginning and advanced work in ceramics and pottery is offered in a 6- week session at Pratt Institute. Instruc- tors: Mrs. Guthrie and Mr. Polansky. Write: The Art School, Art Education Department, Pratt Institute, Brooklyn 5.

N~w YORK, CHAUTAUQUA July 5-August 27

The Chautauqua Institution is offering one-to seven-week courses in ceramics, ceramic sculpture and general crafts. Instructors: James T. Achuff and H. Richard Duhme, Jr. Write: Joseph C. Clarke, Director of Education, Chau- tauqua Institution, Chautauqua.

NEW YORK, NEW YORK June 1-July 26

Craft Students League is offering an 8-week summer workshop in ceramics. Instructors: Roberta Leber and Gertrud


CERAMACTIVITIES people, places and things

TOWN AND COUNTRY

"Promoting interest in ceramics and

making all of us better teachers," is the aim of a new organization called Town and Country Ceramic Association. This group includes the south suburban area

of Chicago and its interest is primarily in the problems of small studios. A workshop

is held on the first Sunday of every month in order to promote interest and help the teachers.

Officers of the new group include

Bonnie Klocke, president; Jim Herder,

ALASKAN EXHIBITION

The annual Fur Rendezvous Juried Ex- hibition for Alaskan artists and craftsmen, held at the Alaska Methodist University galleries in Anchorage, Alaska, on Febru-

ary 21, included objects of pottery, jewelry and sculpture selected for entry by Boyer Gonzales, Director of Art, University of Washington at Seattle. Mr. Gonzales is

known nationally as a lecturer, juror and

artist and was formerly an instructor of art at the University of Texas.

Alex Duff Combs, professor of art at the

Bakley, Edward Chandless, Mary Drake, Ilse Johnson, David W. Jones, Sally Kun- stadter, Marion Levinston, Richard Tay- lor, Rosemary Taylor, Toshiko Takaezu and Nadine Weiss.

The New Jersey Designer-Craftsmen is

a group of professional and amateur crafts-

men with a statewide membership. The

group, which has exhibited for the past

ten, years, expresses an interest in main-

taining high standards of workmanship and in promoting good contemporary design.

vice president; Shirley Miller, recording

secretary; and Mary Zaikis, treasurer. In- : : : : : ;" : : ' : : : : : : : : : : : : : : : : : : : : : : ~ : TAYLOR POTTERY EXHIBITED

formation on membership may be obtained . . . . . . . . . . . . . ~ ~.~'~ : : : : : : : : : : "~ An exhibition of pottery by June Tay-

by writing the corresponding secretary, lor was featured during the month of

Ruth Metzner, 5251 S. Menard Ave., Chicago, IlL

NORTH DAKOTA EXHIBITION

A display of 30 pieces of ceramics by

four contemporary potters was a part of

the University o/ North Dakota Fine Arts

Festival held in March at the University

Center, Grand Forks. The exhibition was

arranged by Dr. William Persick, chairman

of the UND ceramics department. The

four participating ceramic artists were

F. Carlton Ball, Don March, Robert Ram- sey and Ward Youry.

TRIPLE WINNER

Three blue ribbon awards in the recent

16th Annual Show of the Ceramic Hobby Craft Association held in Long Beach,

California, went to Marcia Wollner. Mrs.

Wollner's ceramic work included an ab-

stract wall hanging, a slab-built stoneware

lantern, and a bas relief with crystalline

glaze and stains. The artist operates the Mar Wol Studio in Redondo Beach.

SYRACUSE REGIONAL WINNER

William Lau of Alfred, N.Y., received

the Syracuse Ceramic Guild Prize in the

13th Syracuse Regional Art Exhibition

held at the Everson Museum of Art from

March 5 - April 4. Mr. Lau's entry (pie-

~..~__- ~2~;:~-~,~, - ~ 3 .......

~ 117: .+ ~ 1 % . [ = ii<i;;i + - 2 , < , ~ g ~ 6 ~ i . i . ~ i ; ) - ; : > .

tured) was a slab and coil pot. Over 170 pieces of work in all fields

were accepted for the show by juror Seong Moy, of New York. Ceramic pieces accepted for the show numbered 34.

i University of Alaska Anchorage Commu-

ity College, received a cash award from

the Northwest Region American Crafts-

men's Council for his stoneware sculpture,

"Totem"; this sculpture was also recommended for the Alaska Methodist Univer- sity purchase award.

Other entries included a black-green

wheel thrown bottle by Margery McCor- mick, a handbuilt stoneware bottle by Polly Lee, stoneware vases with a lava-

effect glaze from a local clay slip by Alcie Nethken, a sculpture "The Hollow Man"

constructed from wheel thrown clay seg-

ments by Alex Duff Combs, stoneware beach birds mounted on a piece of drift-

wood and a stoneware Musk Ox by Paulin,~ Johnson. Pictured is a group of pottery pieces included in the exhibition.

March at the Zanesville (Ohio) Art In- stitute. The exhibit also included weaving

by Clara Creager, Columbus, Ohio.

RIEGGER JOINS FACULTY

Hal Riegger, who has written a number of articles for CM, is now on the faculty

of the University of California Extension at San Francisco, where he is working on an experimental teaching program in the arts. In addition to these new duties, Mr.

Riegger is also working on a training program for occupational and recreational therapists at several of California's mental institutions.

NEW JERSEY GROUP EXHIBITS

Recent work in ceramics, glass, metal,

weaving and wood by members of the New Jersey Designer-Craftsmen was exhibited in February and March at the

Newark Museum. The 40 objects on view were selected by Paul J. Smith, who acted

as a one-man jury. Merit awards were made to Seymour Geller, for a stoneware covered jar, and Erik Erickson, for a stained glass panel. Other exhibitors in the area of ceramics included Warren

Miss Taylor teaches ceramics at the Zanesville High School and at the Art

Institute; during the summer months she has been associated with the Tom That-

cher pottery on Martha's Vineyard, Mas- sachusetts.

FARRELL STONEWARE EXHIBITED

Recent work by Bill Farrell was exhib-

ited at the Lafayette, Indiana, Art Center

during March. The stoneware forms shown included lidded jars, canisters, platters and altered forms, some of these encrusted

with oxides, slabs and symbols. Pictured

is a large footed vase with a white heart, showing the contrasting surfaces used by

this artist. Mr. Farrell is a member of the

Art Department at Purdue University.

INDIANA ACTIVITIES

Newly elected officers of the Indiana Artist-Craftsmen are Gerald Boyce, president.; Evelyn Thornberry, first vice presi-


M a y 1965 33

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34 Ceramics Month ly

M A K E Y O U R O W N GLAZES

Continued [rom Page 23

transparent glazes in the top row; a second row of opaque glazes in white and four colors; a third row of rutile glazes; a fourth containing both tin and rutile; and, as a sort of P.S., a line of tests with other additives for different textures.

Reading down each column, you should have four green glazes running from transparent to opaque, matt, "ant ique"; then four blues; four of a yellow-to-brown tone; and four of purplish brown. Some of the glazes will be more interesting than others, or more successful in getting effects you'd like to use. You can select any you particularly like, and make up a bigger batch that is large enough to try on some pots. But first, let's check for possible faults to look for, before you consider your results final.

1. Was the glaze applied too thin or too thick? 2. Was the colorant ground enough, or did it speckle

when you were searching for a smooth color? 3. Was the tile fired before it was thoroughly dry?

If it was, the glaze probably crawled, leaving bare spots. (A dirty or dusty tile can cause crawling, too.)

4. Did you fire at the right temperature? Sometimes in the same firing, in the same kiln, an identical glaze will be overtired on the top shelf or underfired on the bottom shelf. Too high a fire can make a glaze run or make a matt glaze shiny. Too low a fire can produce a rough, immature glaze. Stud), your kiln's habits as you work.

5. Did some of the glazes crackle on your clay? Most transparent glazes tend to crackle on a natural red clay, but other forms of the glaze (matts, for example) mav be smooth. (There are some "cures" for crackles, but that's another s tory--for another day.)

6. In the last line, with different matt ing agents, study the varying degree of mattness and opacity. Some will be semi-matt, some may be too dry to be attractive. You can select those you like for further use.

Where do you go from here? You have made tap one glaze from a recipe. Now you can use the same technique for trying other recipes, wherever you find them.

You have learned to add color or texture to one glaze. Try the same method with other glazes. You'll find some surprises. Copper, for example, makes one glaze olive green, another bright green, still a third tur- quoise. That ' s why it is so important to know how to test a glaze before you use it.

So far, however, you have used only one strength of each color and each additive. If you want lighter or darker shades, or a smaller degree of opacity or matting, you'll find your test methods will work very well to help you find out how much of each ingredient to use. That ' s the problem for the next lesson. I t will give you simple test techniques to answer the question "how much?" and to venture into explorations for the intermediate colors you get by mixing more than one oxide into a glaze.

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

Continued from Page 33

dent; Karl Martz, second vice president; Sally Gallaway, treasurer; Mildred Hask- ens, recording secretary; and Terry Illes, corresponding secretary. Karl Martz, who is a professor of ceramic art at Indiana University, recently was elected president of the Regional Assembly of the ACC in Chicago.

Coming events sponsored by the IAC include the Talbot Street Art Fair, to be held in Indianapolis on May 15-16, and the "Indiana Crafts '65" exhibition, co- sponsored with the Herron Museum o[ Art, May 23-June 20. This show is open to residents of Indiana in all craft media.

MARIA POTTERY TO BERLIN A representative selection of work by

San Ildefonso potters Maria Martinez and her son, Popovi Da, was picked out during a recent visit to the pueblo by Dr. Horst Hartmann, head of the Department of Ethnology for the Museum fur Volker- kunde in Berlin, Germany. Dr. Hartmann is in America collecting cultural information representative of its aboriginal people. Pottery by Maria is also being preserved

by the Peabody Museum. l larvmd kni- varsity, and the Museum of New Mexico. Her work has been shown at several World's Fairs, including the current one in New York. A portfolio on the life and work of Maria was featured in the June 1964 issue of CM. Pictured are Maria and Popovi Da with some of the pottery selected for the Berlin museum.

CLEVELAND JURY ANNOUNCED The jury for the craft section of the

47th May Show of the Clevela,nd Museum of Art includes David Black, Professor of Fine Arts at The Ohio State University, Columbus; William Katzenback, Co-ordi- nator for the Decorative Arts Exhibition program of the American Federation of Arts; and Marianne Strengell, designer and weaver of New York City. The show opens on May 5 and runs through June 13.

SCHOLARSHIPS ANNOUNCED The Louis Comfort Tiffany Scholar.

ships for 1964 have been announced and they include awards to 11 craftsmen in


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May, 1965 35

CATALOG #7

This new 64-page catalog lists everything you need - - a complete line of kilns, glazes, tools plus general supplies and equipment, with many new items added. Hobbyists, teachers and studio potters will find the catalog invaluable.

You'll want a copy of this all new catalog at hand the very next time you need ceramic, mosaic or metal enameling supplies for your home studio or school.

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36 Ceramics Monthly

CERAMACTIVITIES

Continued from Page 35

the amount of $16,000. Craftsmen re- ceiving grants in the field of stained glass include Richard Beaman, Pennsylvania; Erik Erickson, New Jersey; George R. Lewis, Washington, D.C.; Joseph Meert, New York; David Rubinstein, New York; and Bob White, Illinois

NEW YORK A-C WINNERS ANNOUNCED

The annual exhibition of Artist-Crafts- men o[ New York is being held at the National Design Center through May 23. Among the 262 items selected for showing, the following ceramic and glass items received recognition: "Woman," terra cotta figure by Morag Benepe; Figure with pulled glass construction by David K. Whittmore; Stained glass construction sculpture by Mariette Bevington; Ceramic vases by R. Leigh Clover; Ceramic hordes by Estelle Halper; and Slab-built boulder pot by Lee Levy.

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

ITINERARY

Continued [rom Page 1l

NEW HAMPSHIRE, HANOVER May 19-June 5 Ceramics, from the

Japan Society, at Hopkins Center, Dart- mouth College.

NEw JERSEY, NEWARK May 22-]une 22 Junior Museum An-

nual Exhibition, at the Newark Museum.

NEw YORK, NEW YORK Continuing "Ancient Peruvian Ceram-

ics: The Nathan C. Cummings Collec- tion" contains over 300 objects dating from 1000 B.C. to 1500 A.D. At the Metro- politan Museum of Art.

NEw YORK, NEW YORK through May 23 Annual Exhibition of

the Artist-Craftsmen of New York, at the National Design Center.

NEW YORK, NEW YORK May 3-28 "The Architect Chooses Art,"

an exhibition of design for architecture, includes work in stained glass, ceramics, mosaics and enamels. At the Architectural League, 115 East 40th St.

NEW YORK, NEw YORK May 13-15 Annual Bazaar of the Green-

wich House Pottery School, 16 Jones St.

NEw YORK, SYRACUSE May 8-23 Ceramics, paintings and draw-

ings by children enrolled in Museum classes, at the Everson Museum of Art.

OHIO, AKRON through June 6 Spring Show, at the

Akron Art Institute.


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• Reed • Raffia and other crafts SEND FOR YOUR FREE COPY TODAY

BERGEN ARTS & CRAFTS Dept. C, Box 689, Salem, Mass.

Art-Crafts Supplies, Inc. 23S N.E. 67th St. Miami, Florida

Distributor for:

PARAGON Kilns a DUNCAN, SYMPHONY,

CERAMICHROME and DRAKENFELD

MARX Brushes a JAC(~UELYN Stains

SECOR C E R A M I C SUPPLY 4128 Secor Rd., Toledo, Ohio 43623

N o r t h w e s t e r n Ohio's Largest Wholesa le Supply House

We cater to schools Sorry ~ no catalog

~ ' Sold only by

Authorized Dealers

W. P. DAWSON 1100 " H " East ASk Fullerton, California

I T I N E R A R Y

Co.ntinued [ram Page 36

OHIO, CINCINNATI

May 25-June 21 The 23rd Ceramic Na- tional Exhibition, circulated by the Everson Museum, at the Cincinnati Art Museum.

OHIO, CLEVELAND

May 5-June 13 The 47th Annual May Show of work by artists and craftsmen of Ohio's Western Reserve, at the Cleveland Museum of Art. OHIO, CLEVELAND

through June 29 "Pottery Through the Ages," at Karamu House Art Gallery.

OHIOj COL U,~,I B U S

through May 1 Stained Glass by Carl E. Paulson, at the Helen Winnemore Shop.

OHIo, TOLEDO through May 9 Glass by Dominick

Labino, at the Toledo Museum of Art.

OHIO, TOLEDO

May 9-30 The 47th Annual Exhibition of Toledo Area Artists, at the Toledo Mu- seum of Art.

OREGON, PORTLAND

May Pottery by R a l p h and L o r e n e Spencer, at the Oregon Ceramic Studio.

PENNSLYVANIAj PHILADELPHIA

through May 9 The 23rd Ceramic Na- tional Exhibition, sponsored by the Ever- son Museum, at the Commercial Museum, Philadelphia Civic Center.

TENNESSEE, MEMPHIS

May 1-30 Mississippi River Craft Show. sponsored by the Memphis Branch of the American Association of University Wom- en, at Brooks Memorial Art Gallery.

WASHINGTON, SEATTLE

through May 9 Ceramics and drawings by Harold Myers, at the Henry Gallery•

WASHINGTON, SEATTLE

through May 29 The 13th Annual Northwest Craftsmen's Exhibition shows work by artists of Washington, Oregon, Montana, Alaska and Idaho. At the Henry Gallery, University of Washington• I

W O R K S H O P S


Englander. Write: @raft Student League, 840 Eighth Ave., New York.

NEW YORK, ROCHESTER July 6-August 13

The School for American Craftsmen of the Rochester Institute of Technology offers a 6-week summer session in ceramics and ceramic sculpture for both graduate and undergraduate credit. In- structors: Frans Wildenhain and Hobart CoMes. Write: Director, the Summer Sessions, Rochester Institute of Tech- nology, 65 Plymouth Ave. S., Rochester 14608.


KEMPER TOOLS "Tops in tools for Ceramics"

Ask your dealer to show you these

KEMPER LOOP TOOLS Nos. 2, 3, 4 & 5 . . . . . . . . . . . . . . . . . 85c ea.

KEMPER

DETAIL C A R V I N G TOOLS

Nos. L. & S (Cases included) . . . . $1.00 ea.

KEMPER CUTOUT T O O L

(,Case included I . . . . . . . . . . . . . . . . 60c ca.

KEMPER RIBBON TOOLS

Nos. R1, R2, R3, R4, & RS . . . . . . . 80c ca.

Write for new FREE

196S Kemper Catalog

Kemper Manufacturing Co. P,O. Box 545. Chino, California 91710

Big ~TA Ceramic Supply [ ] INSTRUCTION-CATALOG •

with beautiful color charts now reodyl l 50c refundable

(FREE to Schools and Institutions) •

TEPPING STUDIO SUPPLY CO. • professional staff

• ' ', t '

M O L D S IN S T O C K Hundreds of new molds from all leading mold companies kept in stock at all times. Stop in and see our large selection.

CENTRAL CERAMIC ART SUPPLY CO. Batavia Rood, East of Rf. S9

Warrenville, III. (Suburb of Chicago) 393-0171

m m = r a m m m m m

CLAYS GLAZES

TOOLS KILNS

Schools and institutions write for FREfi literature.

May 1965 37

PENLAND SCHOOL OF CRAFTS

MAY 31 - SEPT. 25 WEAVING - - Hellman. Znamerouski, Blumenau.

Cruickshank, Adler. Laurell, S]oman, Phillips

CERAMICS ~ Burke, Bangert, Sedestrom, Brlngle, Farrell, Gray

METAL --Ebendorf, Bond, Sims VISITING SCHOLARS - - Toshlko Takaezu, Marilyn

Pappas, Charlle Brown, Frank Colson

Catalog upon request

PENLAND SCHOOL OF CRAFTS Box M, Penlond, North Corolino

<~ WORCESTER CRAFT CENTER 4 WEEKS SUMMER WORKSHOPS

July 5th through 30th, 1965 Attend one week, two weeks, or more.

Instruction in 5 major crafts. All day workshops, rooms available.

Brochure: Dept. CM. 28 Sagamore Road, Worcester, Mass. 617-783-8183

12th ANNUAL

York State Craft Fair August 2nd ¢hru 7th, 196B

Ithaca High School, Ithaca, N.Y.

DEMONSTRATIONS • EXHIBITS • SALES

The Famous

KLOPFENSTEIN POTTER'S WHEEL W r i t e f o r FREE In fo rmat ion

H. B. KLOPFENSTEIN & SONS RFD. # 2 Dept . A Cres t l ine , Ohio

C E R A M I C S - M O S A I C S

C O P P E R E N A M E L I N G

"A" Huge Stocks ~ Fast Service ~c" Quality Merchandise ~tr Write now for FREE literature

ILLINI CERAMIC SERVICE 439 Norlb Wells, Chic.ago 10, Illinois

MAKE YOUR OWN MOSAIC TABLE

You send a drawing or pic~ture and we adapt ~o. mosaics. Instructions included. $1.00 per sq. .

B e n n e t t C e r a m i c H o b b y S h o p Dahlonecja Georgia

W O R K S H O P S


NORTH CAROLINA, PENLAND May M-September 25

Penland School of Crafts offers 2- and 3-week sessions in ceramics, enameling and other crafts. Courses for credit arranged through East Tennessee State College. Write: Penland School of Crafts, Penland.

OHIO, DAYTON June 1-July 3

Tahara School of Ceramics offers a 5- week course in metal enameling and pottery (wheel, hand techniques and decoration). Instructors: Carlie Tart , Helen Altieri, and Richard Lachowski. Write: Tahara School of Ceramic Arts and Crafts, 1001 Shiloh Springs Rd.

OREGON, SALEM July 19-August 20

The Salem Art Association offers a 4- week course in wheel-throwing, glazing and outdoor firing at Bush House. In- structor: Kichard Trojen. Write: Bush House, 600 Mission St., Salem.

QUEBEC, NORTH HATLEY June 28-August 28

The Workshop offers three 3-week sessions in pottery for amateurs and professionals. Instructors to be announced. Write: The Workshop, Box 181, North Harley, Quebec, Canada.

TENNESSEE, GATLINBURO June 14-July 23

Craft Workshop in the Smokies offers full and half sessions in beginning and advanced ceramics and enameling, and a short session (July 19-23) in advanced enameling. Intructors: Ann S. Van Aken (ceramics) and Donna Read (enameling). The short course will be taught by Charles Bartley Jeff cry. Credit: graduate, undergraduate, non- credit. Write: Craft Workshop, Pi Beta Phi Settlement School, Gatlinburg.

UTAH, SALT LAKE CITY June 28-July 23

University of Utah offers 4-week courses in ceramics and metal design. Instruc- tors: Bill Sage and Quinton Neal. Write: University of Utah, Department of Art, Building 441, Salt Lake City 12.

VERMONTj CHARLOTTE July 1-August 26

Wing's Point Pottery Workshop offers instruction in wheel work, handbu~lding, decorating, glazing and firing. Write: Mrs. K. P. Grenfell, 1168 Lowell Rd., Schenectady, N.Y. After June 22, write: The Workshop, Charlotte, Vt.

VERMONT, LUDLOW July 5-August 28

Fletcher Farm Craft School offers four 2-week courses in enameling, pottery, sculpturing (and other crafts). Instruc- tors are: Lorna Manzler, Ralph Parente, Jr., Berta Frey, and Sirkka Ahlskog. Write: Mrs. Harriet Clark Turnquist ,

[ Chelsea, Vermont 05038.

Advertisers Index May 1965

Alpine Kilns . . . . . . . . . . . . . . . . . . . . . . 6 American Art Clay Company . . . . . . . . 4 Anderson Ceramics Co . . . . . . . . . . . . . . 36 Art-Craft Supplies, Inc . . . . . . . . . . . . . . 37 B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . 6 Basch, Bee, Designs . . . . . . . . . . . . . . . . 36 Bennett Ceramic Hobby Shop . . . . . . . 38 Bergen Arts & Crafts . . . . . . . . . . . . . . . 37 Campbell, Gilmour . . . . . . . . . . . . . 35, 37 Capital Ceramics . . . . . . . . . . . . . . . . . . 36 Central Ceramic Art Supply . . . . . . . . . 37 Ceramic Expositions, Inc . . . . . . . . . . . . 9 Ceramichrome . . . . . . . . . . . . . . . . . . . . . 35 Creek-Turn . . . . . . . . . . . . . . . . . . . . . . . 38 Crusader Industries . . . . . . . . . . . . . . . . 35 Dawson, W.P . . . . . . . . . . . . . . . . . . . . . . 37 Duncan 's Ceramic Products . . . . . . . . . 7 Francoise Ceramics . . . . . . . . . . . . . . . . . 36 Gare Ceramic Supply Co . . . . . . . . . . . . 37 Illini Ceramic Sen'ice . . . . . . . . . . . . . . 38 Industrial Minerals & Chemical C o . . . 5 Kemper Mfg. Co . . . . . . . . . . . . . . . . . . . 37 Kinney, Kay . . . . . . . . . . . . . . . . . . . . . . 36 Klopfenstein, H.B. & Sons . . . . . . . . . . 38 Kraft Korner . . . . . . . . . . . . . . . . . . . . . 35 L & L Mfg. Co . . . . . . . . . . . . . . Cover 2 Leonard, Jean, Ceramics . . . . . . . . . . . . 36 Mayco Colors . . . . . . . . . . . . . . . . . . . . . 11 Miami Studio Shop . . . . . . . . . . . . . . . . 37 Midwest Ceramic Center . . . . . . . . . . . . 37 Minnesota Clay Co . . . . . . . . . . . . . . . . . 36 National Ceramic Manufacturers Assn. 3 Norwest Novelty Co . . . . . . . . . . . . . . . . 36 Ohaus Scale Co . . . . . . . . . . . . . . . . . . . . 8 Ohio Ceramic Supply . . . . . . . . . . . . . . 37 Orton Ceramic Foundation . . . . . . . . . . 8 Penland School of Crafts . . . . . . . . . . . 38 Reward . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Rovin Ceramics . . . . . . . . . . . . . . . . . . . . 4 Secor Ceramic Supply . . . . . . . . . . . . . . 37 Skutt & Sons . . . . . . . . . . . . . . . . . Cover 4 Tepping Studio Supply Co . . . . . . . . . . 37 Thompson, Thomas C., Co . . . . . . . . . . 10 Trinity Ceramic Supply . . . . . . . . . . . . . 36 Unique Kilns . . . . . . . . . . . . . . . . . . . . . . 38 Van Howe Ceramic Supply . . . . . . . . . 36 Vars, D.M . . . . . . . . . . . . . . . . . . . . . . . . . 36 Walker Jamar Co . . . . . . . . . . . . . . . . . . 35 Westwood Ceramic Supply . . . . . . . . . . 8 Worcester Craft Center . . . . . . . . . . . . . 38 York State Craft Fair . . . . . . . . . . . . . . 38

Back Issues The [ollowing back issues o[ Ceramics Monthly are still available at sixty cents per copy (Ohio residents pay 3% sales tax). We pay postage. 1~53 June, July, August, December 1954 March, July, August, December 1955 August, November 1956 May, October, December i957 April, May, June, July, September, De-

cember 1958 April, June, September, November 1959 November, December 1960 June 1961 April, June, October 1962 January (9-year Index issue), February,

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

cember 1965 January, February. March. April Please send remittance (check or money order) with list o[ issues desired.

CERAMICS MONTHLY 4175 N. High St. Columbus, Ohio 43214

38 Ceramics Monthly

~~ILL

T h e f a s c i n a t i n g subject of brush d e c o r a t i o n wi l l t ake on a new meaning for those u s i n g th i s new easy '- to - follow i n s t r u c t i o n book. T h e r e a d e r is shown how easy it is to make orig-

inal, simply executed designs for decor-

ating ceramics by using just three basic

brushes - - the watercolor, liner and

square shader. This exciting new book has

a complete section on techniques of brush-

work never before published. To demon-

strate the simpllcity and effectiveness of

the many design techniques appearing in

the book, Marc Bellaire is shown complet-

ing several of his favorite decorating projects which originally appeared as

magazine articles in Ceramics Monthly.

Here in Marc Bellaire's own words is the

aim of the book. "It is the purpose of this

handbook to present the method of free-

hand brush decoration that I have de-

veloped during fifteen years of teaching

and designing in the ceramic art field. By

following this method, I believe that even

an individual without any art back.ground

can learn to make the basic brush strokes

and then combine them into design units

that can be used to decorate pottery. It

is my hope that the reader n]timately will

be inspired to arrange these basic shapes

into new forms and thus discover, invent

or create ceramic desig'ns that are uniquely his own."

This attractive edition will provide in-

struction for hobbyists and students in

every detail of using and caring for brush-

es. Designs and sketches appearing

throughout the book will offer many

decorating ideas and will be a lasting

source of inspiration. Order your copy now . . . only $3.

- , ~ . ~

An ideal handbook for hobby groups, schools

and art & craft centers. Beautiful three-co/or

cover, hundreds of sketches and photos, full

8//3 ,' x 11" format, 64 pages pJus covers. Sold

on our usual money-back guarantee.

Dealer InquiHes Invited

m m m m i m m m

Ceramics Monthly Book Department 4175 N. High St. Columbus, Ohio 43214

Please send me _ _ copies of the new BRUSH

DECORATION FOR CERAMICS @ $3 each.

Name

Address_

City__ State T i p _ _

I enclose [ ] Check [ ] Money Order

(Ohio Residents Add 9c Sales Tax Per Copy)

WE PAY POSTAGE

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Skutt SUGGESTED • FACTORY LIST PRICE •

ITEM

Skut t Kiln Model 181

Stainless Steel Encasement

Automat ic Shu t -Of f (built in for pe rmanen t a l ignment )

Cra t ing

U L Approval (only kiln of its type with this important feature)

I l l u s t r a t e d , 2 8 - P a g e Owner 's Manua l

We lded Steel Stand

Two (2) year ~uarantee on all parts and workmanship

Stainless Steel Cleaner

Wall Receptacle and Wall Plate

Screw Driver for Small Set Screws

TOTAL

LIST PRICE

• $ t85 .00 ....

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$ 185.00

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O SKUTT & SONS • CERAMIC KILNS • POTTER'S WHEELS • 2618 S.E, STEELE STREET • PORTLANO 2. OREGON

O

Why don't we charge for the extras?

Because we don't consider them extras, They're necessities! When you buy a kiln, be sure to look at the total cost, You'll find that many of the "bargain" kilns aren't such a bargain at all, And they don't have UL Approval--or a comprehensive two year guarantee. There are five Skutt kiln models to choose from. They have all the extras listed above--at no extra cost. Why not send for our new brochure, today?

S K U T T & S O N S • CERAMIC KILNS • POTTER'S WHEELS • 2618S.E. STEELE STREET • PORTLAND 2, OREGON

MAY, 1965 60c MONTHLY - Network Home - Ceramic Arts … · American Beauty Ceramics Monthly...

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Transcript of MAY, 1965 60c MONTHLY - Network Home - Ceramic Arts … · American Beauty Ceramics Monthly...