ceramic arts network · the stoneware gloves of laraine wade by fred ball ___34 zirconium glazes by...

MAY 1972 60c

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A OAVALCADE OF WESTWOOD'$ GEHATEST HITS!

~ L f'' ~.g!.., ring!" ~loyees.

Here, embodied inWestwood's I~v72 Cata/ogue, is a / l the dr~In~

exci~_~ent of clzys, glazes, k i l n s , pug mil]s~ refracLories, books ...... we cou ld go on and on, bu t we d o n ' t w a n t to spoil the plot! Send for yotue copy today! I t ' s free!

l W ~ . S , ~ v o o ~ c E ~ C ~ ~ Co.

14400 LO*ql'l".~li AVE., CITY OF INDU,MTR'Ir; GALI I r. 91744

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May 1972 3

H E A R T H I S !

H E A R T H I S !

lh=

TING...TESTING...TESTING...To prevent food poisoning. The ,~ral Food and Drug Administration has set strict safety standards :eramic glazes to be used with food and drink projects--plates, ;, bowls, even demitasse cups. AMICHROME HAS THEM...A Glaze Palette of Exquisite Pre- ,d Colors...Textures and Finishes to Please Every Taste--To ivate the Beginner and Inspire the Advanced Student...For .~nware, Bisque, Porcelain and Stoneware...AII laboratory roved to Meet or Exceed Prescribed Health-Safety Standards. CHER'S PET...Educators recommend Ceramichrome glazes... ,ty-approved and standard lines... Because they're so easy to ymbecause of their compatability...Fire at Cone .06 to 6... erglazes and top glazes can be fired at the same time...And Lys Magna Cum Laude. pr charts, technique sheets available from Ceramichrome, Inc. :s distributors.

School Division ~ , / ~ - --

C e r a m i c h r o m e Inc . 1 ~ ~ ~ ~ ' ~ " '~ Every Bottle School Division: Box 427, WesfmTnsfer, CA 92683

FOOT- P O W E R !

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Bolted, wood R I G I D Take it apart far construction moving or storage S M O O T H 100 lb. reinforced concrete w h e e l

$126 Ful ly assembled ]~"- C OIlIIITO 1~ I C . ~ ][., Kits t°°l $9s S7O For novice E A S Y Machined steel shaft& or expert head for freest ru.ning

A q u a l i t y k i c k - w h e e l f r o m the MIDWEST l!

B 0 p BITTLE PRODUCTS - - POST OFFICE B O X 5 2 2 SOUTH BEND, IN 4 6 6 2 4 - Phone (219) 282-2128

4 Ceramics Monthly

STARFIRE ® KILN KIT

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KIT CONTAINS WELDED FRAMES. RODS- BLOWERS. BURNER

COMPONENTS. VALVES.NUTS-BOLTS" POWER CORD. DETAIL

DRAWINGS. PICTURES 8f FULL STEP BY STEP INSTRUCTION.

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STAR STONEWARE 37 CLOVER, SAN FRANCISCO 415.864-2277

M O N T H L Y

Volume 20, Number 5 May 1972

Le t t e r s to the Ed i to r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Sugges t i ons f rom Our Readers . . . . . . . . . . . . . . . . . . . . . . . 11

I t i n e r a r y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

A n s w e r s to Ques t ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

The Arch ie B r a y F o u n d a t i o n by Dave Depew . . . . . . . . . . 18

Show T ime : "Make" , C o n t e m p o r a r y C r a f t s in On ta r io __24

Col lect ing Ceramics by J a n e L a r s o n . . . . . . . . . . . . . . . . . . 26

S u m m e r Workshops 1972 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

A Ceramic F o u n t a i n Made f rom H a n d - B u i l t Sect ions by E d w a r d T. Schoenbe rge r . . . . . . . . . . . . . . . . . . . . . . 31

The S toneware Gloves of L a r a i n e Wade by F r e d Ball ___34

Zi rconium Glazes by R icha rd Beh rens . . . . . . . . . . . . . . . . 36

Ce ramAct iv i t i e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Reduct ion F i r i n g Techniques b y Ange lo C. Garzio . . . . 40

New Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Index to A d v e r t i s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

On Our Cover

The Archie Bray Foundation is located behind the old beehive kilns that once were used for producing brick and tile at the Western Clay Manufactur ing Company near Helena, Montana,

in the picturesque Rocky Mountains. The Foundation's physical plant consists of over 7000 square feet of floor space under roof,

a showroom gift shop, ceramic studios, glassblowing facilities, weaving area, a large warehouse, and two residences. In addition to this are several outside areas where work is done during the summer. The feature on the "Bray" starts on page 18.

Editor: THOMAS SELLERS

Assistant Editor: FRANCES SAWYER

Art Director: ROBERT L. CREAOER

Circulation Manager: MARY RUSHLEY

Advertising Manager: CONNXE BwLCHER

Publisher: SPENCER L. DAVIS

Advisers and Special Contributors: F. Carlton Ball, Richard Behrens, Kathe Berl, Edris Eckhardt, Zena Holst, John Kenny, Karl Martz, Ken Smith, Helen WorraU, Don Wood.

West Coast Advertising Representative: J o s e p h M e r v i s h

Associates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: T R 7-7556, Area Code 213.

Copyright 1972 Pro[essional Publications, Inc.

Ceramics Monthly May 1972, Vol. 20 - - No. 5. Published monthly except July and August by Professional Publications. Inc. - - S. L. Davis, Pres., p . S. ~-~nery, See.; at 1609 Northwest Blvd., Columbus, Ohio 43212. Correspondence concerning subscriptions, renewals, and change of address should be addressed to the Circulation Department, Ceramics Monthly, Box 4548, Columbus, Ohio 43212. Second Class postage paid at Athens, Ohio, U.S.A. Subscriptions: One year $6; Two years $10; Three years $14. Copyright 1972. All rights reserved.

The articles in each issue of Ceramics Monthly are indexed in the Ar t Index and the Readers' Guide to Periodical Literature. Microfilm copies are available to subscribers from University Microfilms, 313 N. First St., Ann Arbor, Michigan. Manuscripts and illustrations dealing with ceramic ar t activities are welcome and will be considered for publication. Manuscripts should be typed double-spaced and range from 600 to 2000 words. Send manuscripts and correspondence about them to the Editor, Ceramics Monthly, Box 4548, Columbus, Ohio 43212.

Create & Grow

Ceramics instructors: Les Lawrence and Carol Lebeck

in c e r a m i c s w i t h a u n i q u e n e w w h e e l t ha t u t i l i zes t h e s e f e a t u r e s :

• Rugged steel construct ion • Powerful enough to center 35 pounds of c lay • Off-center head provides for excel lent accessibi l i ty • Inf ini tely var iable (0-250 RPM) electronic speed

control is of the sophist icated feed-back type • Foot pedal requires only l ight pressure to change

speeds; wil l remain at any setting when foot is removed

• Carries full guarantee and warranty

All this and more for only $165,00. This low price is possible because of deal ing direct ly with the manufacturer, not middlemen.

For complete informat ion wri te:

CA Creative Industries, P.O. Box 343, La Mesa, Ca. 92041

LOOK WHAT THOMPSON OFFERS YOU!

WouJd you believe that all of the items pictured above can be yours . . . and get you started enameling . . . for only $49.50? Yes, that's correct, Thompson's catalog introduces a new package cons;sting of an electric kiln (inside d;mensions 5" wide, 7" deep, 4" high) and ;nciudlng a CAREFULLY SELECTED group of enamels, metal shapes and supplies . . . everything you need to start enameling immedlately . . . for only $49.50, plus shipping charges. Send your order today with payment for prompt shipment. The new Thompson catalog, along with its famous Color Guide, is waiting for you . . . iust mall the coupon and it will be on its way . . . absolutely FREE.

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Thomas C. Thompson Co. Dept. CM S ~ 1539 Old Deerfield Road Highland Park. Illinois 6003S [~].Enclosed is payment for new k~ln package.

(Illinois residents add 5~/o sales tax.) [ ] Please rush FREE Thompson Catalog.

Name Address

City State 7 ip

May 1972 5

LETTERS IMPRESSIVE

I wonder if you realize what an asset you have in your glaze expert, Richard Behrens. Recently I met him and was impressed with his knowledge of glaze techniques, as well as his generosity and modesty in sharing his knowledge. Surely there is no other publication that can o:fer help such as he gives. Edgar Bissantz

Carmel, Calif.

CHALLENGE IN WEST INDIES There is a real challenge awaiting some-

one who would like to pioneer in pottery making on the island of Dominica in the West Indies. We recently returned from a brief vacation on the island. While there we visited the convent in Roseau, and learned that for years they have wanted to make pottery, but don't have the slightest idea how to go about it as there

O

AvAtt.Al~,~ AT MINOR ~ l C ~ l ~ , , ~ IqO,TIOI, JVgIOI~. SEE. axtE ~I,4,

WE M~KE BETTER WHEELS ~ r BETTER PRICE8

pol~:4e:r wl~eelJ', cloJ~, kdn,r 2495 blumbell

mo.m~,coJ~Imoon~

is no one on the island making pottery. The Convent operates on very limited funds and the only reward one would have would be the satisfaction of introducing pottery making to the island, thereby en- riching the lives of its very friendly, out- going people.

My thinking in contacting CERAMICS MONTrtLV is perhaps you would consider it worthwhile to find someone willing to give a few months of time to showing the sisters at the convent how to make pottery. This person would have to be someone who not only has artistic ability to create simple forms and use native materials, but who could start from scratch, and know how to build a kiln and a wheel. The island is very poor and shipping costs are expensive so everything would probably have to be made there. However, people are willing to make whatever is necessary, but they need direction. Pottery making could be a natural industry for the island as clay is everywhere. There is such a variety of natural materials, glaze making could offer an exciting challenge, too.

Please contact me if you would like more information. Dominlca is my favorite island and pottery my favorite subject.

Lila R. Faulkner R. 2 Box 443

Berrien Springs, Mich.

ENJOYMENT Have enjoyed your magazine for years,

first as a pottery student, then art teacher - -now, potter. Your improvements in recent years are especially appreciated.

Mrs. Howard Hansen Endwell, N.Y.

. . . . I enjoy and always find useful and interesting articles in CM. This past summer we had a marvelous trip through England, including visits to the potters you wrote about last spring. Corinne Ziman

New York, N.Y.

It was with utmost pleasure that I just received my first copy of CM since I arrived in Algeria. Thank you for the many hours of fruitful pleasure your magazine has given me. Mrs. Earl Mosten

Oran R.P. Algeria

CRAFT FAIR LISTINGS I am trying to find some information

about craft fairs in the United States. Could you possibly send me any lists that you might have with addresses so that I could contact them for application forms, deadlines, fees, etc.

I am an off-hand glassblower in Canada and would like to travel and meet other craftsmen in the states. Michael Robinson

Chatham, Ontario

A listing of outdoor art and cra[t fairs zvill be published in the June issue of CM. --Ed.

6 Ceramics Monthly

1 w c n ' - = w ~ ' J D BLUE

)-2. ROYAL PUI

15. INDIAN TURQUOISE

)-25. CRANBERRY

O-16.

,SPER GREEN

0-24. LEMON PEEL

-26 . STRAWBERRY ICE

O-28. AVOCADO

E GREEN 0-27. KEE LIME ~ ~

029 TEMPLE ORANGE

O-30. SAHARA • GOLD

O-18. FLESH-HUE

"OMATO RED

0-9. BUTTER

O-1 I. STONE

O-10. ONYX

O-12. MINK

G-2. SILVER DUST

0-22. TANGERINE ~

0-23. TERRA COTT,~

O-14. SHELL PINK

O-13. PEARL

VELVA'GLO Stains

Opaque Stain is designed for plain or tex. I tured surfaces. Translucent Stain is designed

to accentuate texture. • Either stain may be used alone or in conjunction with each other

depending on technique desired. DO NOT FIRE.

r G-3. BLACK AURORA

O-19. PLUM

O-21. ORIENTAL JADE O-31. OLIVE GREEN

0-32. BRICK

G-4. BLACK DIAMOND

0-33. NATIVE

NAVY BLUE

0-34. DRESDEN

' ~ 0-35. SHAMROCK

0-36. CHOCOLATE

C E R A M I C A R T , I n c . 109 Monarch Drive

Liverpool, N.Y. 13088

Velva-GIo We have two types of s ta in . . .OPAQUE and TRANSLUCENT.

Each of which may be used independently or in conjunction

with each other according to the technique desired.

OPAQUE STAINS

37 Colors $.85 per 2 oz. jar, except Scarlet - $1.00 water Soluble

O-1 Wedgewood Blue 0-20 Tomato Red 0-2 Royal Purple O-21 Oriental Jade 0-3 Zulu Brown 0-22 Tangerine 0-4 Pixie Green 0-23 Terra Cotta O-5 Cantaloupe 0-24 Lemon Peel 0-6 Champagne 0-25 Cranberry 0-7 Red Coral 0-26 Strawberry Ice 0-8 Scarlet 0-27 Kee Lime 0-9 Butter 0-28 Avocado O-10 Onyx 0-29 Temple Orange O-11 Stone 0-30 Sahara Gold O-12 Mink O-31 Olive Green O-13 Pearl 0-:32 Brick O-14 Shell Pink 0-33 Native O-15 Indian Turquoise 0-34 Dresden O-16 Sapphire O-35 Shamrock O-17 Jasper Green 0-36 Chocolate O-18 Flesh-Hue 0-37 Navy Blue O-19 Plum

GLITTER DUST ! o=. plastic vial - $1.00 each

Glitter Dust is a coarse grind metallic powder, not to be con-

fused with synthetic glitters. They can be used in much the

same manner as the Luster-ettes but do keep in mind that they

wil l retain the "gra iny" effect and nat form a smooth finish as

the Luster-ettes do. When mixed with Brushette Clear or

Velva-Gla they wil l dry and leave a "pebb ly" effect. Can also

be applied as you do glitters by sprinkling them into wet

Glu-it.

G-1 Gold Dust G-3 Black Aurora G-2 Silver Dust G-4 Black Diamond

PEARL-ETTE 10 Colors $.70 per 1/2 oz. jar

Water Soluble

Pearl-ette is a translucent, water soluble pearlized color. Can

be appl ied directly to bisque or over an OPAQUE or TRANS-

LUCENT STAIN. One coat is translucent. For more opaque

coverage apply two or more coats. Dries to a glossy pearlized

sheen. Can be antiqued with Translucent stain as soon as dry,

no f ixative needed.

TRANSLUCENT STAINS 24 Colors $.85 per 2 az jar

Mineral Spirits Soluble

1"-1 Jet T-13 Ming Blue T-2 Sun T-14 Driftwood T-3 Leaf T-15 Pink Coral T-4 Snow T-16 Wood Brown T-5 Grape T-17 Sandrift Gray 1'-6 Flame 1'-18 Orange T-7 Cherry T-19 Bamboo T-8 Fuchian T-20 Ivor-tique T-9 Emerald 1"-21 Walnut T-10 Redwood T-22 Antique Green T-11 Turquoise I"-23 Pecan T-12 Mushroom T-24 Pariwinkle

LUSTER-ETTE I oz. plastic vial - $1.00 each

Luster-ette is a fine metallic powder with "unlimited possibil-

ities." It may be used over or under TRANSLUCENT STAIN,

over OPAQUE STAIN, ANTIQUE over or under it, ROUGE

over or under it. Add to OPAQUE or TRANSLUCENT STAIN

and brush or stipple onto bisque for a metallic sheen or

swirled luster effect. Luster-ette is formulated to be completely

soluble. Mix with Luster-ette Media or Velva-Gla for a brush-

ing metallic l iquid. Use with media far antiquing finishes and

with Velva-GIo if you wish an all over coverage to be

antiqued or as a paste mixture.

L-! Melon Red I.-5 Cobalt Blue L-9 Spring Green L-2 Venetian Lilac L-6 Royal Platinum L-10 Raspberry L-3 Ever-Green L-7 Wedding Gold L-11 Roman Bronze L-4 Poppy Orange L-8 Kettle Copper L-12 Burgundy

*Prices subject to change without notice.

Addit ional colors and shades can be formulated by adding

a few drops of opaque stain to a corresponding color. Pastel

shades can be mixed by adding a drop or two of opaque

stain or the Pearl-ette to Silver Frost.

P-1 Silver Frost P-6 Rose Pink P-2 Buttercup P-7 Hyacinth P-3 Melon P-8 Red Violet P-4 Aqua P-9 Lime P-5 Bluebell P-10 Pewter

OPAQUE STAIN KITS Packed 8 colors - 1/2 oz. jars per kit -- $3.50

0-4 Pixie Green O-10 Onyx O-13 Pearl O-19 Plum O-8 Scarlet O-12 Mink O-16 Sapphire 0-24 Lemon Peel

LUSTER-ETTE MEDIA - $.89 per 2 oz. jar

A l iquid formulated far use when using the Luster-ettes far

antiquing and washes. Mineral Spirits soluble. A f ixative must

be applied over Luster-ette mixed with media before antiqu-

ing with Translucent Stain.

VELVA-GLO (Transparent) -- $.75 per 2 oz. jar

Although milky on application it dries to a very hard clear

semi-gloss finish, repelling water and mineral spirits. Used

with Luster-ette for metallic brushing liquids and paste mix-

tures. A f ixative and sealer for use in fabric draping, lace

application, decoupage and collage. Can be appl ied over

opaque and translucent stains. Antique or rouge over it. Also

an excellent masking agent for greenware. App ly smoothly

with a soft brush. Clean brush immediately.

Stain Products Catalogue BRUSHETTE M A T T E - $.8s per 2 oz. jar

A clear, fast drying, dull finish fixative. For use with Opaque and Translucent Stains in place of spray fixatives when possible. Water soluble until dry. Apply with a soft brush.

The Brushette Matte is excellent as a media for stripping prints, or as a final finish for decoupage work.

BRUSHETTE CLEAR - $.8s per 2 oz. jar

Dries to a hard glossy finish. Uses are the same as the Brush- ette Matte with the exception of stripping prints.

GLU-IT - $.50 per 2 oz. jar

A clear, fast drying, water soluble glue. Excellent for repair- ing or joining bisque, wood and china. A fast drying adhesive for applying material to bisque or wood. Used with OPAQUE STAIN to obtain crackle effects.

V A R N E T T E - $.7s per 2 oz. jar

A clear, fast drying varnish for use over decoupage work. Can be applied to bisque, wood or glass. Flow on with a soft nylon brush.

PRIMETTE - $.75 per 2 oz. jar

A brush on primer to be applied to metal before application of your opaque colors. Mineral Spirits soluble. Apply a thin smooth coat using a soft brush. Allow to dry thoroughly before applying opaque stain.

H A N D A N D BRUSH CLEANER - $.6s per 2 oz. jar

A detergent type hand cleaner for removal of opaque and translucent stains. Rub into soiled area and suds away with warm water. Will leave hands soft. Soak badly soiled brushes overnight in a small amount of the cleaner.

TRANS-ETTE SOLVENT - $.79 per 8 OZ. jar

A solvent formulated to be used with Translucent Stain for antiquing, finger painting, thinning or any other purpose which calls for "mineral spirits."

A N T I Q U E CLOTHS - 3 - 1 0 x 2 0 c loths per bag. $.98 The correct type, fine knit material to be used when antiquing, finger painting, etc. Will not leave the impression of the weave on your piece.

TEXTURETTE - $.s0 per pkg.

A fine powdered substance used for build-up design work. May be used in areas ranging from fine line designs to all- over coverage.

GROG - Fine - - $ .50 pe r 2 oz. pkg. Coarse - - $.35 per 2 oz. pkg.

Used for build-up and texture design work, applied with Opaque Stain, Brushette, Velva-GIo or Glu-it. Leaves a "pebbled stone" effect.

PEARL FLAKES - $1.00 per ! oz. pkg.

An actual shell chip available in fine and coarse grades to be used as accents in design and detail work on ceramic bisque or decoupage pieces. Apply with Glu-it or Brushette Clear. Fine chips can be sprinkled on like a glitter. Coarse chips are more effective when applied a chip at a time and set down next to each other rather than "dumping" in a pile.

KRYSTAL S A N D - $.$0 per 2 oz. pkg.

A fine glass bead to be applied over design work with Glu-it, Brushette or Pearl-ettes. Will reflect when light shines on them.

THE BEST OF JACQUELYN- Catalogue #1 of Stain Tech- niques. $1.00

MORE OF JACQUELYN -- Catalogue #2 of Stain Techniques $1.00

A D V A N C E D S T A I N T E C H N I Q U E S - - I N COLOR--Catalogue #3. $2.50

DIMENSIONAL S T A I N T E C H N I Q U E S - - IN COLOR-- Cata- logue #4. $2.50

DESIGNS BY JACQUELYN -- #I -- $2.00

DESIGNS BY JACQUELYN -- #2 -- $2.00

SWEEPSTAKE T E C H N I Q U E S - 6 sets- $.50 per set

JACQUELYN MOLD CATALOG--$.50

JACQUELYN'S O P A Q U E & T R A N S L U C E N T S T A I N BRUSH

S E T - - A starter group which represents Jacquelyn's minimum selection of stain brushes for most class and workshop needs. Set of 8 brushes in plastic kit.

The above brushes plus many others available individ- ually also.

TEXTURE BRUSH - - A wire brush especially designed to with- stand constant pressure, under repeated use, on greenware, so necessary to achieve the appearance of textured w o o d .

LUSTER-ETTE B R U S H - Designed especially for the proper application of Luster-ettes in powder form. Do not use with liquids.

**Write for full brush list and prices.

T-I. L-3. EVER-GREEI',

T-13. MING BLUE

L-i. MELON RED T-2. SUN

T-14. DRIFTWOOD

T-15. PINK CORAL

L-2. VENETIAN LILAC L-4. POPPY ORANGE

T-5. GRAPE T-4. SNOW

T-7. CHERRY FLAME

P-I. SILVER FROST T-16. WOOD BROWN

T-18. ORANGI

"1"-17. SANDRIFT

T-19. BAMBOO

T-8. FUCHIAN

L-5 COBALT BLUE

L-7. WEDDING GOLD P-3. MELON

L-6. ROYAL PLATINUM

P-2. BUTTERCUP

i~ i:.i ~ , T-20. IVOR-TIQUE

~-4. AQUA ~-~...

~PPER

P-8. RED VIOLET

T-21. WALNUT

T-9. EMERALD

T-11. TURQUOISE

P-7. HYACINTH

-10. REDWOOD

T-12. MUSHROOM

P-5. BLUEBELL P-9. " . . . . T-24. PARIWlNKLE

T-22. ANTIQUE GREEN

T-23. PECAN

P-6. ROSE PINK P-10. PEWTER . . . . . . . . . . . . DY

~SPBERRY

ING GREEN

L-11. ROMAN BRONZE

SUGGESTIONS [rom our readers

MORE ON UNLOADING A HOT KILN

Mrs. Bielar's suggestion on unloading a hot kiln in the February CM is very helpful, but I prefer the special vise gripe welder's clamp which has a flat mouth with two vertical tabs on each side. When the tabs are cut off, the resulting tool gives a broad flat mouth which gives fragile (and expensive) kiln shelves more support at the point of contact. The handles seem to be quite convenient also. --Dave Fretz, Gunnison, Colo.

FROM SWAZILAND I am running a pottery training center in Mbabane, Swaziland.

Swaziland is the newest independent country in Africa. I started the project 15 months ago and have been training Swazis to make utility and non-utility pottery.

I write to pass on some useful techniques which we have discovered. We have a very heavy rainfall here which is often related to lengthy misty spells and so cannot dry our clay on bats. To solve this problem we use 50 lb. flour bags placed inside hemp bags and suspended from rafters. Then the bags are filled ~ full of slip. The fine flour bag acts as a sieve while the other supports it. In this way we dry 25-30 pounds of clay per bag every four days. The inside bag is then reversed after re- moving the clay and the process is started over again.

--]oe Faragher, Swaziland, S. Africa

LABELING GLAZE JARS

The simplest and best way I have found for labeling glaze jars is with a tube of "liquid embroidery" paint. I t comes with a ball point so lettering is easy. It 's very legible--even from a

d is tance- -and doesn't smear or wash off. If you do wish to remove the lettering, this can be done with a knife. I usually label the jar lids at the same time so there is no chance of putt ing the wrong lid on a jar and "contaminat ing" the con- tents. This is especially helpful when I have a group of students using a number of glazes at the same time.

--Marian Haines, Pound Ridge, N.Y. MEASURING DEVICE

In order to measure three equidistant spaces for holes in a hanging planter, obtain a bottle cork and make three equidistant marks on its circumference. Work three skewers into these marks on the sides of the cork. Place the skewered cork on the top rim of the pot which is to become a planter. Thus the skewers become the measuring device for piercing holes at sides of the pot. The skewers are light in weight and do not damage the rim. --Elaine Finkelstein, New York, N.Y. MORE ON GLAZE TESTS

For my glaze tests I make small cups (for vertical surfaces), leaving a smooth finish on the outer surface of each to facilitate writing on it with an underglaze pencil a glaze identification system which includes glaze type, source of glaze (author or book), formula or variation, colorant identification and per- centage, and cone number. I glaze the interior of the cup and the upper half of the exterior, leaving the lower half free for the glaze identification number. This is a permanent record and infallible. After a firing, I do a careful critique of the results,

Continued on Page 45

MODELING CLA Y Used by leading SCULPTORS, POTTERS, SCHOOLS, INSTITUTIONS, and STUDIOS!

NOTE: We now manufacture FIVE different MOIST MODELING CLAYS - - When ordering, please specify exact kind N ALL five may be combined to secure quantity price! 1. MEMPHIS BRAND WHITE MOIST MODELING CLAY (Cone 05 to 7) 2. MEMPHIS B R A N D RED MOIST MODELING CLAY (Cone 05 to 1) 3. MEMPHIS BRAND BUFF MOIST MODELING CLAY (Cone 05 to 7) 4. EX-CEL BRAND WHITE MOIST MODELING CLAY (Cone 05 to 5) 5. STONEWARE MODELING CLAY (Cone 2 to 10)

PACKED IN 121/2 Pound Plastic White & Stoneware Red, Buf f

bags Ex-Ce[

25 Lbs. 9c per Lb. 13c per Lb. 13c per Lb. 50 Lbs. 8 ½ c per Lb. 11c per Lb. 11c per Lb.

100 Lbs. 7½c per Lb. 10c per Lb. 10c per Lb. 500 Lbs. 6 ½ c per Lb. 8c per Lb. 8 ½ c per Lb.

1000 Lbs. 5½c per Lb. 7c per Lb. 7½c per Lb. 2000 Lbs. 5c per Lb. 6c per Lb. 6½c per Lb.

(Prices are F.O.B. Memphis or one of our nearest branch p lants )

LOWER PRICES FOR LARGER QUANTITIES (FROM MEMPHIS ONLY) PLEASE INQUIRE

BRANCH PLANTS M a i l A l l Orders to BRANCH PLANTS Talladega, Alabama HOUSE OF CERAMICS, IHC. Jacksonville, Florida Alton, Illinois (St. Louis) 1011 N. Hollywood St., Memphis, Tennessee Bangor, Michigan

May 1972 11

Reconunended books on ceramics from the

Book Department oRDeR ANY OF SE,,a! TITLES ON OUR MONEY-BACK! GUARANTEE. WE PAY .POSTAG E

NATURE AS DESIGNER by Bertel Bauer. This unusual and stimulating book presents a treasured collection of plant life which demonstrates in a unique and very effective way the beauty of form in nature. The forms will suggest an infinite number of shapes and textures for pottery. An outstanding gift selection. $14.95

MAKING POTTERY WITHOUT A WHEEL by F. Carlton Ball and Janlce Lovoos. This comprehensive and richly illustrated book covers every phase of handbuildlng and decorating clay pieces. No book covers the subject of texture and form so effectively. Includes section on firing. $9.95

PIONEER POTTERY by Michael Cardew. Th~s book, written by one of the great potters of our times, will be of particular interest to those practicing pottery-making in remote places. $15.00

DESIGN MOTIFS OF ANCIENT MEXICO by Jorge Encisa. A compilation of 766 examples divided into geometric, natural and artificial forms. Includes designs based an flowers, birds, fish, etc. 170 pages. $2.50

STEP-BY-STEP CERAMICS by Jolyon Hofsted. In this complete introduction to ceramics, the beginner is led through all of the basic clay forming and decorating processes. There are special sections on the Potter's Wheel, Glazing, Firing a Kiln, Building Your Own Kiln, Decorating Techniques and Raku. $2,50

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. $2.00

CERAMIC DESIGN by John B. Kenny. Complete instructions for methods of forming and decorating ware are given, with step-by-step photos to guide the designer along the way. Contains appendix, llst of materials, recipes, and glossary. $9.95

CERAMIC SCULPTURE by John B. Kenny. Contains over 1000 photos and sketches covering a!l phases of the sculptor's art: figure work, models and casting, firing, etc. A valuable aid for all teachers and craftsmen. $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. $7.50

GLASS CRAFT by Kay Kinney. The complete book on fuslng, laminating and bending glass. Basic techniques and step-by-step projects. $7.S0

KERAMOS by Franz Krlwanek. All of the basic areas of ceramic work, from digging clay to building and operating a kiln, are covered in this new book. The examples of pottery are impressive both in number and quality. There is a refreshing treatment of subject matter that makes the book unique among the various texts now available. $4.00

A POTTER'S BOOK by Bernard Leach. Now in its twelfth Amer- ican edition, thrs book should be in the library of every potter and student of ceramics! $8.75

WE PAY POSTAGE J

CERAMICS by Glenn C. Nelson. A new, revised and en- larged edition of a favorite title. An outstanding handbook for potters and teachers. 348 pages, hardcover. $10.95

SELLING YOUR CRAFTS by Norbert N. Nelson. In a concise step- by-step presentation, thTs book leads you through the actual stages necessary to sell successfully what you produce. Covers such diverse channels of sales as wholesale, retail, mail order and specialty markets. $5.95

THE TECHNIQUES OF PAINTED ATTIC POTTERY by Joseph Veach Noble. ThUs lavish book unravels the methods used by the Athenian potters to produce the greatest pottery in ancient European art. Includes information on the famous Greek black glaze. $25.00

Order Form - - We Pay Postage

BOOK DEPARTMENT Box 4S48, Columbus, Ohio 43212 [ ] Bager~Nature $14.95 [ ] Kenny~DesicJn $9.95 [ ] Nelson--Ceramlcs $10.95 [ ] Ball & Lovoos--Pottery $9.95 [ ] CardewmPioneer Pottery $15 [ ] Enciso--Des;cjn $2.50 [ ] Hotsted.~Ceramics $2.50 [ ] HornuncjmDeslcjns $2.00

NAME

ADDRESS

[ ] Kenny--Sculpture $9.95 [ ] Kenny~Pottery $7.50 [ ] Kinney--Glass Craft $7.50 [ ] Kr|wanek~Keramos $4.00 [ ] Leach--Potter's Book $8.75

CITY. STATE Z I P _ _

I enclose [ ] Check [ ] Money Order (Ohio residents: add 4% Sales Tax]

12 Ceramics Monthly

[ ] Nelson--Sel/incj Crafts $5.95 [ ] Noble--Attic Pottery $25.00 [ ] Nordness--Obiects $14.95 [ ] Norton--Artlst Potter $9.75 [ ] Parmelee--Giazes $9.95 [ ] Prlolo.~Ceram[cs $6.95 [ ] Rhodes-~Clay & Glazes $7.50 [ ] Rhodes~Kilns $10.00 [ ] Rhodes--Stoneware $7.50 [ ] R[ecjcjer--Raku $12.95 [ ] Rothenbercj--Enamelincj $7.95 [ ] Sanders--Pottery $1.95 [ ] Sanders--Japanese $12.50 [ ] Untracht~Enamelin 9 $7.50 [ ] Wildanhain--Pottery $9.95

OBJECTS: USA by Lee Nordness. A superb publ~catlon fea- turing over 250 of our most talented artist/ craftsmen working in ceramic, enamel, glass, metal, plastic, mosaic, wood, and tlber. In- cludes a photo of each craftsman, a brief biography, and an example of his work. 360 pages - - many in color. $14.95

CERAMICS FOR THE ARTIST POTTER by F. H. Norton. The most complete book an the subiect, from choosing the proper clay to putting the final touches on a piece, all clearly explained. $9.75

CERAMIC GLAZES by Cullen W. Parmelee. This invaluable reference book completely covers glaze making, including formulas and batch recipes. 314 pages of technlcal ~nformation. For advanced students. $9.95

CERAMICS AND HOW TO DECORATE THEM by Joan B. Priolo. Presents detailed descrip- tions and illustrations of dozens of decorating techniques and shows how to use them. Excellent for hobbyists. $6.95

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

KILNS: DESIGN, CONSTRUCTION & OPERATION by Daniel Rhodes. Everything you need to know about kilns Esett ing up, firing, various types of kilns E is described and demonstrated in thls first complete book on kilns. Over 100 drawings and photographs. $10.00

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

RAKU: ART & TECHNIQUE by HaJ Riegger. The first complete book on Raku. Covers clay and glaze preparation, kiln building and firing techniques. Beauti- fully illustrated. $12.95

METAL ENAMELING by Polly Rothenberg. The emphasis in this book is an new methods of enameling and new applications of the age-old techniques. Many of these unusual experimental proiects have never before been published. $7.95

POTTERY & CERAMIC SCULPTURE by Herbert Sanders. A thoroughly revised edition of Mr. Sanders' best seller CE- RAMICS BOOK. Completely up-dated with new material, including section on how to build a potter's wheel. This is an excellent book far beginners. $1.95

THE WORLD OF JAPANESE CERAMICS by Herbert Sanders. This handsome book illustrates the forming and decorating processes and the unique tools used by the potters of Japan. Includes glaze formulas, color charts, and American equivalents of Japanese glaze compositions. $12.50

ENAMELING ON METAL by Oppl Untracht. Step-by-step photos ore used to describe fundamentals on through to newly developed experimental styles. This complete guide is a major contribution to the art of enameling. $7.50

POTTERY: FORM AND EXPRESSION by Marguerite Wildenhaln. A truly beautiful book! Magnificent pictures of the author at work and of ancient and contemporary potters. Outstanding gift selection. $9.95

I T I N E R A R Y 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

ILLINOIS, CARBONDALE October 1-27 "Small Environments," an

exhibition of three-dimensional work in any media, is open to artists and craftsmen in North America. Size limited to 6 cubic feet. Slides due May 15. Purchases; No fee. Write: Ernest Graubner, Assistant Curator, University Galleries, Southern Illinois University, Carbondale.

IOWA, CLINTON May 13-14 The Second Art Festival,

sponsored by the Clinton Art Association and the Lyons Retail Bureau, features "Art in the Park" and is open to all artists and craftsmen. Fee. Write: Clinton Art Association, Box 132, Clinton 52732.

NEW YORK, SYRACUSI~ October-November The 27th Ceramic

International (formerly the Ceramic Na- tional) is open to artists-craftsmen in the United States, Puerto Rico, Canada and Mexico. Media include ceramics and enamels. Jurying to be done from 35 mm. color slides. For prospectus, write: Everson Museum of Art, 401 Harrison Street, New York 13202.

OHIO, MASSILLON June 8-10 Annual Sidewalk Show. Media

include all crafts and sculpture. Fee. For information, write: Mary Merwin, The Massillon Museum, 212 Lincoln Way E., Massillon 44646.

July 9-August 27 The 35th Ohio Artists and Craftsmen Show is open to all Ohio artists and craftsmen or former residents of Ohio. Media include all crafts and sculpture. Fee; Jury; Awards and prizes. Entries due by June 11. For information, write: Mary Merwin, The Massillon Mu- seum, Massillon 44646.

SPECIAL FOR HOBBYISTS

ARKANSAS, EUREKA SPRINGS May 19-21 A Professional Craftsman-

Artist Show and Sale, sponsored by the Chamber of Commerce of Eureka Springs, will be held at the Crescent Hotel. Open to all artists and craftsmen. Purchase and cash prizes. For information, write to The Chamber of Commerce, Eureka Springs.

MISSOURI, ST. Louis September 27-30 The 10th Annual Show,

sponsored by the Greater St. Louis Ceramic Hobby Association, will be held at the South County Mall, S. Lindberg at Leman Ferry Road. For information, write: Bunny Beck, Show Chairman, 518 N. Harrison St., St. Louis 63122.

ONTARIO, HALIBURTON July 6-1l The 10th Annual "Halibur-

ton Highlands Guild of Fine Arts" Exhi- bition and Sale of Arts and Crafts will be held at the Haliburton Highlands Secon- dary School. For information, write: Hall- burton Guild of Fine Arts, P.O. Box 339, Haliburton.

PENN SYLVANIA, LEBANON June 24 "Lebanon Valley Summer Art

Show," sponsored by Lebanon Valley Art Association, is open to all artists and craftsmen. Entry fee; Awards; Juried by university art educators. For information, write: Lois Keiter, 30 W. Orchard Drive, Pal- myra, Pa. 17078.

PENNSYLVANIA, PITTSBURGH September 10 The Third Annual Art

Fair, sponsored by Mt. Lebanon Jr. Wom- en's Club, is open to artists and craftsmen in all media. Juried show; Fee (to be returned if entries not accepted); Entries close June 3. For applications, write: Mrs. Robert Denmarsh, 309 Sleepy Hollow Road, Pittsburgh 15228.

WHERE TO GO

Because listings are subject to change, dates can be verified by writing to the sponsoring groups or galleries.

ARKANSAS, LITTLE ROCK through May 14 "The American Porce-

lain Tradition," a Traveling Exhibition circulated by the New Jersey State Mu- seum.

May ,5-28 Arkansas Arts Center Student Exhibition; both at Arkansas Arts Center.

CALIFORNIA, AGOURA May 6-7, 13-14, 20-21, 27-29 The 10th

Annual Renaissance Pleasure Faire and Springtime Market; at the Old Paramount Ranch.

CALIFORNIA, LA MIRADA May 12-21 The l l t h Annual LaMirada

Fiesta de Artes Open Show; at the Mall.

CALIFORNIA, OIAI May 27-28 Ventura County Potters'

Guild Spring Show; at the Ojai Library.

CALIFORNIA, PALO ALTO May 27-June 25 Bay Area Arts and

Crafts Guild 16th Annual Show; at the Palo Alto Cultural Center.

CALIFORNIA, SAN JOSE May 21-July 9 The Third Annual Re-

gional Competitive Art Show; at San Jose Civic Art Gallery.

CALIFORNIA, SAN LuIs OBISPO through May 5 "Pottery Two" exhibi-

tion; at California State Polytechnic Col- lege.

CALIFORNIA, WALNUT CREEK through May 21 "Media '72"; at the

Civic Arts Gallery.

COLORADO, CENTRAL CITY May 28-September 4 An "All-Invita-

tional" show celebrates the 25th anniver- Continued on next page

S T B Y

KILNS

Formerly

POTTERY by DOT

NOW! A Good Kiln Need Not Be

Expensive Save up to 37% using a few pleasant hours to f it together one of our easy-to-assemble kiln kits. Fun to do m efficient to use. Step by step instructions for assembly and easy beautiful firing.

These Are Kilns Made By People Who Do Ceramics and

Know What A Kiln Has To Do.

Commercial Kiln Kih 24"x24"x27" deep . . . . . . $219.00

Studio Kiln Ki~ 18"xlS"xiS" deep . . . . . . $109.95

Hobby Kiln Kit, 12"x12"x13V2" deep . . . . $ 69.95

Send for free brochure.

WESTBY Ceramic Supply & Mfg. Co.

408 N.E. 72nd St., Seattle, Wash. 98115

May 1972 13

il Ti~ the scales in your f a v o r . Th is new i coi lege t e x t . gives y o u a weighty advantage in ,unscrambling t h e : mystifying science o f g l a z e l . c a l c u l a t i o n , ~! Highlighted-by charts; reference t a b l e s e n d step-by-step guidelines, th is b o o k i makes a mos t va luab le a d d i t i o n t o the library o f bo th the serious student and the independent potter.

o • l o o • • I • c o e• • • • • • •o • • tJ • • to 00 •eee•oqJee

• " b i l l i k c n pmJJ • * P.O. B o x 8 5 6 4 San Jose, Ca l i f . 9 5 1 2 5 i

Please send me Postpaid copies o f "- : Glaze Calculation @ $3 .95 each. (Cal i f . ¢_ • res. add 5% tax )

• Name

* Address

i City State Z ip ! o e o o o e o o o oooo • e o e o o o e • e o e e e e o o o o o o e

14 Ceramics Monthly

IT INERARY

Continued [rom Page 13

sary of the Gilpin County Arts Association; at the Gilpin County Art Gallery.

COLORADO, DENVER May 13 Colorado Potters' Guild Open

House; at 1541 South Pearl. May 17-19 Colorado Potters' Guild An-

nual Sales Exhibition; at Bethune and Moore, 66 South Logan.

COLORADO, GOLDEN

May 20-21 The Second Mile High Festi- val of the Arts and Crafts, sponsored by Colorado Artist-Craftsmen; at the Jeffer- son Unitarian Church.

CONNECTICUT 3 N E W CANAAN

through May 16 Exhibition in all media by Guild members; at The Silvermine Guild of Artists.

CONNECTICUTj NEW HAVEN through May 11 The 71st Annual Art

Exhibition of the New Haven Paint and Clay Club; at John Slade Ely House.

CONNECTICUT~ WESTPORT

June 3-4 Sixth Annual Westport Hand- crafts Fair; at Staples High School.

D.C., WASHINGTON Continuing through 1972 Pueblo Pot-

tery; Zuni and Acoma Designs from the Smithsonian Collection; in the Renwick Gallery, Smithsonian Institution.

DELAWARE, ~ I L b I I N O T O N

through May 14 University of Delaware Art Department Faculty Exhibition; at the Delaware Art Museum.

GEORGIAj THOMASVILLE

May 27-28 Exchange Club and Arts Guild Deep South Arts and Crafts Festival; at the Deep South Fairgrounds.

ILLINOISj CHICAGO May 20-]uly 2 The School of the Art

Institute Fellowship Exhibition; at The Art Institute of Chicago.

ILLINOIS, EVANSTON May 7-27 "Photo Forms," an exhibition

of work in photofabrication by Dan Ander- son, John Barsness, Bonnie Baldwin, Gregor Giesmann, Marvin Lipofsky and Victor Spinski; at Exhibit A, Gallery of American Ceramics.

May 13 Gregor Giesmann will conduct a workshop, in conjunction with "Photo Forms" exhibit, dealing with photofabrication techniques (see page 39 for details); at the Evanston Art Center.

INDIANA, BLOOMINGTON May Exhibition of work of Bethel Pike

Potters; The Gallery, 102 N. Grant St.

KENTUCKY~ BEREA May 25-28 Kentucky Guild of Artists

and Craftsmen's Fair; at the Indian Fort Theater.

LOUISIANA 3 SHREVEPORT May 27-June 25 "The American Porce-

lain Tradition," a Traveling Exhibition circulated by the New Jersey State Mu- seum; at the R. W. Norton Gallery.

MANITOBA, ~VINNIPEO

through May 21 "Contemporary Finnish Design by Tapio Wirkkala," a Traveling Exhibition of the Smithsonian Institution; at the Winnipeg Art Gallery.

~[ASSACH USETTS, BOSTON

through May 28 "Ancient Art of the Americas," an exhibition of 145 objects from 23 collections in Boston and New England (subject of March 1972 CM Portfolio); at the Museum of Fine Arts.

MASSACHUSETTS, BROCKTON

through May 21 "Things," a juried exhibition of New England and New York State craftsmen; Brockton Art Center.

MASSACHUSETTS, FALL RIVER

May 7-28 The 15th Annual Exhibition of the Greater Fall River Art Association; at 80 Belmont Street.

MASSACHUSETTS, LEXINGTON

May 5-7 The Annual Spring Exhibition and Open House of the Lexington Arts and Crafts Society; at the Art Center.

MASSACHUSETTSj WORCESTER May 20-21 The Second Annual "~Vorces-

ter Craft Fair; at the Craft Center, 25 Sagamore Road.

MEXICO, GUADALAJ ARA May and June "World Folk Lore Festi-

val" features arts and crafts exhibits from all over the world; throughout the city.

MICHIGAN~ DETROIT

through May 19 Michigan Potters Asso- ciation Members' Annual Juried Show; at the Pewabic Pottery.

MICHIGAN, KALAMAZOO

through May 14 "Toledo Glass National I I I , " Smithsonian Traveling Exhibition; at the Kalamazoo Institute of Arts.

MINNESOTA, ST. PAUL

through May 14 The 15th Annual "Best 100," an exhibition of work by junior and senior art students; at the Minnesota Mu- seum of Art.

NEW HAMPSHIRE~ DARTbIOUTH

May 3-21 Modern Japanese Ceramic Exhibit; Collection of John Majors; at Hopkins Center.

N E W HAMPSHIRE, .~N'ASHUA

May 1-30 Exhibition of Blown Glass by Richard Harkness; at Nashua League of Craftsmen.

N E W JERSEY, SHORT HILLS

May 4-6 First Mountain Crafters of New Jersey "Spring Event" Exhibition; in the Exhibition Hall, Short Hills Shop- ping Mall.

N E w JERSEY, TRENTON

through May 14 "New Jersey Pottery to 1840"; at the New Jersey State Museum.


Ode to Doubting Thomases.

Some folks have the mistaken idea that because our potter's wheel is portable and weighs only 75 pounds, it won't hold up to the test of time. Nothing could be further from the truth. It's so rugged and trouble-free a performer that it's used for production line duty! At Pacific Stoneware, Portland, Oregon, professional pc tic-r: ~:se standard Skutt's Model B Potter's Wheels eight hours a day turning out as i F " many as 200 p i e c e s . . , year after year. These potters r " particularly like the way they can both start and f ' ~ ~ stop, set and hold speeds with the Skutt foot pedal. Isn't this the kind of performance you want in your classroom or studio? Please write for more information. • •

Skutt Ceramic Products, Inc., 2618 S.E. Steele Street, Portland, Oregon 97202

May 1972 15

WATER C O L O R Transparent washes, subtle shades and delicate detail on clay are possible with Fine-Art Semi-Moist Underglaze Decorating Colors, available in 24 concentrated colors.

TEMPERA Bold opacity in 24 brilliant shades may be brushed, silk-screened or sprayed on bisque. Amaco Liquid Underglazes enhance traditional and contemporary pottery.

PASTEL Sketch and blend for soft pastel effects on bisque with Amaco Under- glaze Decorating Crayons. Sixteen shades challenge the potter who wants "different" results.

CERAMIC UNDERGLAZE TECHNIQUES For further information, write:

A M E R I C A N ART CLAY CO., INC. • 4717 West Sixteenth Street • Indianapolis , Indiana 46222

NEW LOW PRICE: $4.95 THANKS TO PRODUCTION SAVINGS

ON OUR SECOND EDITION!

Do you wish you could QUICKLY AND EASILY create a glaze or modify an existing formula to achieve a new effect? This nine-inch circular calculator allows the craftsman to convert back and fo~h between molecular and batch formulas without becoming involved in complicated arithmetical calculations. Accompanied by a 26-page "Guide to Designing Glazes."

TOO GOOD TO BE TRUE? MONEY REFUNDED IF NOT SATISFIED

I m m m n m m m t m mm m m m m t m | m

DIAL-A-GLAZE, Box 88, Davenport. Calif. 95017 Please send [3 copies of DIAL-A.GLAZE CALCULATOR I enclose $4.95 [] Check [3 Money Order Name

Address.

City. State Zip Add 20c Sales Tax In California. Add S0c i f paid in Canadian funds. DEALER INQUIRIES INVITED.

16 Ceramics Monthly

For safety's sake

LEAD-FREE COPPER ENAMELS

For years a prime reason for ap- prehens;on among craft instructors has been the lead which is concentrated in copper enamels.

T h e C E R A M I C C O A T I N G C O M P A N Y has n o w e l i m i n a t e d th is h a z a r d .

You owe it to your own health and that of your students to use the safest product avai lable.

C h o o s e t h e s a f e e n a m e l s , wr i te :

CERAMIC COATIN6 COMPANY P.O. Box 370 Newport, Kentuc~ 41072

Largest domestic manofa~hlrer of euamels for both ar t and industry

Answers t,o

QUESTIONS Conducted by the CM Sta[[

9 How about a source [or good wedging wire? l 've used the G string o[ a guitar [or years, but they do break. - - L . McC.

Almost any wire will break, usually from too much tension. Among the materials available and useful for the purpose, we find that most potters prefer "piano" wire, al though quite a few use stove-pipe wire and recommend it highly.

I would like to know of published sources [or ceramic minerals along with their [ormulas and molecular weights.

- - M c E . A number of the well-known books on ceramics have fairly

complete tables containing this information. You might try "Ceramic Glazes" by Parmelee, "Ceramics for the Artist Potter" by Norton, and "Clay and Glazes for the Potter" by Rhodes. You should be able to find these in your city, county or state library. Some of the most unusual minerals might be found in "Handbook of Chemistry," by Lange.

I am interested in learning something about chamotte glazes. 9 I have seen them shown as very brightly-colored glazes on some Scandinavian pottery, but I have been unsuccess[ul thus Jar in my e[[orts to learn something about their chemical com- position. - -E .C.

Glenn Nelson replies to this: "Chamotte is a Swedish term which means heavily grogged clay. Since the modern Finnish ceramic industry (Arabia) was founded by the Swedes, the

Finns also use the term. It is usually used to describe the groggy clay body used in sculpture (earthenware or stoneware), handbuilt pots, or ceramic reliefs.

"When the chamotte body is glazed it is usually to provide a relief from the heavy texture of the clay. The reliefs of Rut Bryk come to mind as being especially colorful. Although, in her case the body may be first fired to a stoneware temperature, I think that her particular glazes (due to the colors produced) have a low-fired or alkaline flux."

We have made many, many glazes this past year, but other than low-[ire reds, I can't seem to come up with a [ormula

[or a Cone 4, 5 or 6 red glaze. What, if anything, do you advise? ---H.S.

Cone 05-04 is about the highest that can be used before the materials that make a good red burn out. Above this, the iron- red is all that is available in oxidation firing, and this is an earthy color, not really a "red" red. In reduction firing, the copper red is available in high-fire work.

All subscriber inquiries are given individual attention at CM; direct inquiries to the Question Editor, CM, Box 4548, Colum- bus, Ohio 43212, and please enclose a stamped, sell-addressed envelope. Questions of general interest are selected [or answer in this column.

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M a y 1972 17

The Archie Bray Foundation by DAVE DEPEW

SLIGHTLY OVER TWENTY YEARS AGO, A r c h i e Bray , o w n e r -

operator of Helena's Western Clay Manufacturing Com- pany, implemented his idea of creating a foundation which would give aspiring artists a place to develop their talents. Bray's philanthropic attitude and his business holdings - - a brick and tile plant - - provided just what was needed for the development of an "institution dedicated to creative work in ceramics."

During these two decades, Montana's Archie Bray Foundation has contributed significantly to the world of ceramics. The Bray kilns have fired the work of the symmetrically-articulate Shoji Hamada and fellow- traditionalist Bernard Leach, the pots of Peter Voulkos at the time he was starting to challenge traditional form and harmony, and pieces by other potters engaged in ceramic work of almost every type we know today. And it has been done in a period of time that suggests the Bray Foundation has all along represented "where it's at."

Arehie Bray (1886-1953) was the son of Cornish parents who came to Montana, where his father became secretary-manager, and later, owner and president of a brick and sewer-pipe works. Young Archie was educated in Helena schools, then enrolled at The Ohio State University, where he worked his way through college

18 Ceramics Monthly

and was graduated as a ceramic engineer in 1911. Within two years after his return home, the young engineer was foreman of the brickyard and soon was made superinten- dent. At the death of his father in 1931, Archie Bray became president-manager.

By 1951, Bray announced the establishment of the Archie Bray Foundation, which was to attract international interest and visits by potters from as far away as Japan and England. What prompted this move that shifted interest from the prosaic brickyard to a creative pottery center?

For one thing, Bray was a patron of the cultural arts in Helena and usually managed trips to New York each winter for a season of theater and opera. His own hobbies included gardening, and here he made imaginative use of his own bricks in the layout and design of his gardens. Of even more interest in this regard, Bray had been personally interested in pottery making since the age of 13, when he first built his own crude potter's wheel. This interest in art pottery, which was closely related to his professional field, coupled with the fact that he owned acreage which included his house and a brickyard in the picturesque Rocky Mountain country near Helena, certainly were major factors in a long-time plan for

creating a building complex for the arts, with a pottery being the first structure.

The first artist to take advantage of Bray's newly- developed facility was a native Montanan, Peter Voulkos. An enterprising young potter needing an opportunity to develop his talents, Voulkos began work at the Bray pottery in 1951. It was during the early '50s that Rudy Autio, another Montana native, brought his sculpturing talents to the Foundation, which Bray envisioned as a "non-profit, educational corporation handling the business affairs of not only the pottery, but eventually an entire art center." By the time of Bray's death in 1953, Vculkos and Autio had already established the reputation of the Foundation in the world of creative ceramics.

Autio had been the official resident potter during the early formative years of the Foundation, while Voulkos and others, such as Jim and Nan McKinnell, worked there in the unofficial but important capacity of realizing Bray's dream of creating "a fine place to work for all who are seriously and sincerely interested in any branch of ceramic art."

The loss of the Foundation's patron, with his dedication to necessary business details and his willingness to shoulder all financial responsibilities, did impose many new problems that had to be faced.

When Ken Ferguson assumed the role of resident potter in 1957, he proved to be the right man for the job.

As he successfully guided the Foundation from financial dependence to a condition of self-sufficiency and inde- pendence, he was able to show that there was substantial public support for creative work in ceramics. In addition to this feat, Ferguson was winning awards in numerous ceramic competitions and establishing a name for himself. Finally, Ferguson left his position with the "Bray" to head the ceramics department of Missouri's Kansas City Art Institute.

Dave Shaner succeeded Ferguson as resident director in 1964. It was just two years after he took over control that the bankrupt Western Clay Manufacturing Com- pany was auctioned off, and with it the primary source of financing the Foundation. Like Ferguson, Shaner was the "right man at the right time," for in addition to being a prolific potter, he also had considerable organizing ability which he used to gain the necessary community support to purchase the pottery and adjoining structures for the Foundation.

Shaner continued with the Bray Foundation until 1970, at which time he opened his own pottery in Big Fork, Montana. By the time Dave and Judy Cornell became directors, succeeding Shaner, a break with the past had taken place: an institution which had been the creation of one man, and had received its support from him, had become a more-broadly-based organization which received its support from both local and national

Le[t: A gathering o[ celebrities at the Archie Bray Foundation in the early 1950s included (le[t to right): Dr. Soetsue Yanagi, Director o[ the Japanese Folk Cra[t Museum; Bernard Leach, English potter; Rudy Autio, resident sculptor at the Foundation; Peter Voulkos, resident potter at the "'Bray"; and Shoji Hamada, Japanese potter.

Dave Shaner, who was resident director at the Bray Foundation [rom 1964 to 1970, had exceptional organizational as well as pottery skills. He was able to gain enough community support to purchase the pottery [or the Foundation when the bankrupt clay company was auctioned.

l'hoto~ h~: Dace Sho~g. lane ll'~'necr and Daz,e Cornell

May 1972 19

David Cornell, director o[ the Archie Bray Foundation, works with blown glass and has added the glass [acilities in the Foundation warehouse with aid [rom a grant [rom the Montana Arts Council.

One o[ Cornell's one-o[-a-kind pieccs is this hand-blown green glass bottle with colored trail design. Dave Cornell de~,elops his own glass [ormuIas and glass colors alzd makes glass [rom a batch.

Skip Lyman, who is resident potter at the Bray, works on a porcelain teapot that has been bisque [ired at Cone 04, and is being prepared [or glazing. Glaze is brushed on the piece, then rubbed o[[ the raised areas with a damp sponge.

20 Ceramics Monthly

seurces. Other than that, however, the "Bray" remains dedicated to the goal of self-development of the individual ceramic artist, and toward this end has attempted to create an environment which caters to the individual needs of those students and residents currently working there.

To commemorate the two decades of activity, the new resident directors held an open house attended by over 2000 people. The guests received a capsule history of the Foundation, had the opportunity to view a display of ceramic work made over the past 20 years by some of the world's finest ceramic artists, and were able to discuss current activities and aspirations with members of the Foundation's family of resident artists.

Dave Cornell stated at the open house that he antici- pates a time when craftsmen from all over the country will again have the opportunity to look to the Foundation for grants. He explained that the Foundation had applied to the National Endowment for the Arts for fifteen $1000 fellowships - - eight in clay, five in glass, and two in weaving - - to be awarded to applicants on a nationally competitive basis. Should the Endowment approve the application, the specifics of how-and-where to apply would appear in crafts periodicals and at art institutions throughout the country.

Recipients of scholarship grants work a minimum of eight weeks at the Foundation in an environment that promotes total commitment to the creative process and self-development. This program differs from the resident grants offered in ceramics, under which selected crafts-

men have the opportunity for fuller use of the facilities of a complete ceramic studio and can take advantage of creative interaction with other craftsmen.

The Foundation also has an apprentice program, fund- ed in part by the Rocky Mountain Federation of States, which offers selected persons the opportunity to learn a craft. The apprentice-grant program is offered each year that the Foundation is given funds for it, but funding is granted on a yearly basis in competition with many other institutions in the country.

The Bray Foundation also offers classes each year in glassblowing and weaving, as well as ceramics, for anyone interested. Local students as well as students from out-of-state are encouraged to participate, and academic credit is optional for all class work.

Monthly exhibitions are a part of the activities, and ceramists Paulus Berensohn, Cynthia Bringle, Ron Gar- tinkle, John Murphy, and Brian Persha are being featured this season. In addition, glass by Mark Peiser and Tom McGlauchlin is being shown. Over the years the local ccmmunity has had the opportunity to participate in wcrkshops given by such artists as Shoji Hamada, Ber- nard Leach, Marguerite Wildenhain, Toshiko Takaezu, Warren MacKenzie, and Daniel Rhodes.

An excellent arts and crafts library is available to all who work at the "Bray," and the Foundation has a permanent collection of over 120 pieces of ceramics. Each piece exhibited here displays the individual craftsman's personal interpretation of the medium in which he worked, and the result is a greater knowledge of the

Porcelain covered jar stands about 8-inches high and is glazed in a bright yellow high-fire barium glaze. Lyman feels that historical styles that influenced his work are Art Nouveau and the Chinese bronzes.

May 1972 21

iiii \

Judy Cornell works with porcelain sculpture clay slabs to build a box with a removable cover. Here the cover is tcsted /or a good [it with its [lange.

In building the piece, Mrs. CorneU joined the slab.~ with slip and pounded all [our sur[aces with a rounded-edge paddle to avoid any texture.

The decorated relie/ area was made by combining coils and slabs to create a sculptural moti[ [or the 27-inch high box.

Another porcelain box stands 20-inches high. I t was [irst glezed green, lavender and white at Cone 10. Alter this, low-[ire gold luster was applied and the piece re[ired to Cone 015. Final application was o[ a magazine iTzk trans[er to create the pictorial band.

22 Ceramics Monthly

flexibility of ceramics as a means for expression. Just how flexible this can be is demonstrated by the work currently being produced by the residents.

Judy Cornell, associate director and resident potter at the "Bray," devotes much of her time to experimenting with porcelain. Although the hard white translucent qualities of this material are traditionally exploited in the creation of small, delicate pieces, Mrs. Cornell says that the body she has developed enables her to construct much larger porcelain objects that are more appropriate for the decorating she enjoys.

Dave Cornell, the present director, finds a particular fascination in color in his medium, glass. He is one of the few glassblowers in this country who formulates his own glass, which is one of the reasons his work is readily distinguished from that of others.

The other resident potter at the Foundation is Henry, or "Skip," Lyman, who views his residency as an opportunity to find his place in the ceramic world in the area of handbuilding. While he makes no attempt at justifying ornamentation, Lyman has become quite adept at integrating seemingly-superfluous clay units as integral parts of his pots. This process of ornamenting in such a way as to make decoration the most important part of the work has come to be recognized as the Lyman "style." While most of his decoration is done before glazing, Judy Cornell's is done after the glaze is applied to the pottery.

Lyman's pottery has an almost baroque ornamentation; it has so many variables to observe, so much complexity in the same piece, that it appears neither simple nor utilitarian. Lyman, a graduate of the University of Mon- tana's MFA program, notes that the residency program at the Bray Foundation offers the kind of experiences a pet ter needs to become a self-supporting craftsman, to understand how to price one's own work, and how best to use one's time.

The residency program, with its awareness of practical affairs and their relation to artistic and intellectual matters, produces enough anxiety to help the artist cope with the social environment of which he one day will become a part.

Just as the Bray Foundation has offered to many people a better understanding of the potter's world, so its resident craftsmen have gained a better understanding of a world which demands a product for a payment. The Foundation's directors are viewing with greater in- sight the "Bray's" need for growth. Expansion of the basic ceramic facilities to accommodate other media of expression was par t of Archie Bray's original plans and the present directors share in this thinking. The Cornells hope to include leather work, metal sculpture, and a variety of other crafts in the near future. Recently, weaving facilities were added to the Foundation.

Before Archie Bray died, he expressed a hope to build "two more buildings, one for artists and another for theatre or music." The completion of the work started by Bray must be left in the hands of those directing the activities of the Foundation who share the "unbridled flights of fancy" with the Foundation's creator.

wL ¢

yil ii~i ¸ ~ ;~ii~il ~ ~:

Judy Cornell finds that [unctional pieces are best thrown on the wheel. These mugs will be trimmed on the wheel and handles will be applied. Sales [rom her pottery are used to support the Bray Foundation.

Production items such as creamers and sugar jars are done on plaster bats. The sugar pots are thrown [irst, then the lids are thrown separately and measured to [it individual sugar jars.

May 1972 23

"Make" Contemporary Crafts in Ontario CANADIAN ARCHITECT RAYMOND MORIYAMA selected the 1 19 pieces of work that comprised the exhibition, "Make," sponsored by the Canadian Guild of Crafts (Ontario) and the Ontario Science Centre. The exhibition of contemporary crafts by Ontario's leading designer-craftsmen opened November 1 and continued throughout the month at the Centre in Toronto.

As part of his introduction for the exhibition catalog, Mr. Moriyama stated: "I have felt for some time that culture is related to the quality of interactive process between people and objects--the degree the objects aid this process between people and/or transcend the inner self of individuals; that culture is not symbolized by the quan. tity of objects encased in museums. For example, in the Japanese art of chanoyu (tea ceremony), the aesthetic of the cup is as inseparable a part of the ritual as the human movement and the physical senses--touch, sight, taste, smell and hearing. Without the quality and beauty of the cup, there is no transcendence, no interaction, no climax.

"The art of craft to me is, then, related to the beauty of coming into harmony with oneself and/or the self with the external world. It is a responsive art to transcend the mundane into the art of living. The potential to enhance and to intensify the joy of the every-day was the context in which I made my selections for 'Make'!

"For me . . . the three days I spent visualizing, sinm- fating situations, touching, feeling, drinking from, pouring, hanging, walking on--were both stimulating and educational.

"In the first level of evaluation, the technical compe- tence of the entries, I extend my thanks to the remark- able expertise of Euniee Anders, Gordon Barnes, Tib Beaumont, and Ian Bolton."

Mr. Barnes, Director of the Ontario Craft Centre and Mr. Moriyama's technical advisor in the areas of ceramics and glass, remarked that the pieces made of clay were very interesting in variety of both subject and quality, and worked because they held together visually and technically.

Fifteen prizes of $100 each were made available by the Scholarship and Awards Committee of the Canadian Guild of Crafts; pictured here are some of the entries selected for the exhibit. Miss Joan Chalmers was chairman of the exhibition committee.

Greenish glass form, oil-hand blown, is by Robert Held, Master of the Ceramics and Glassblowing Department at Sheridan College School of Design.

Large stoneware covered jar is by Peter Coviello. Mr. Coviello studied painting in London, now is coordinator o[ printmaking and creative art at Sheridan College. He also operates the Bronte Pottery with Liz Coviello.

24 Ceramics Monthly

Stoneware teapot with bail handle, wood /i~ed and ash [fared, is by Ruth Gowdy McKinley. Award winner, purchased [or the Guild's Permanent Collection, Mrs. McKinley, who graduated [rom Al[red, has exhibited widely in Canada and the United States, and is currently the resident potter at the Sheridan College School of Design.

Set o/ three hexagonal slab planters by Noemi Kassner was an award winner in the exhibition. Mrs. Kassner, who apprenticed [or three years with Merton Chambers, presently teaches at Art Therapy Institute.

Collecting Ceramics by JANE LARSON

THE EXPERIENCE OF COLLECTING in the wonderful wide world of ceramics, and then living with the pieces purchased, can have a profound influence on a working potter. Of course, to begin with, a valued pot is a feast for the eyes of its owner, and collecting provides a means for continually adding to the banquet. In addition, however, if done in the right way, collecting becomes a form of advanced in-depth study in one's chosen field. We have found that our activities in this direction tend to highllgh~ all the ceramic challenges we find most absorbing, and since the pieces present what we consider successful (and

sometimes great!) answers to these challenges, they serve as constant spurs to our own efforts.

To purchase inspiring pieces by some of the world's great potters is not so difficult as one might th ink--nor as expensive as purchases in paintings would be. The price range in ceramics is a relatively modest one. To be sure, one must spend in the right way. People sometimes ask me why the small ashtray or thingamajig they have purchased from a well-known potter does not give them any sort of thrill, and I am forced to reply that a ceramist becomes well known if he creates memorable pieces. I t is one of these pieces the collector must look for, and not one of the potter's bread-and-butter items. As in the world of paintings, a valuable piece of ceramics consists of a successful, definitive work by a powerful artist.

Too often potters consider the work of others as a threat to themselves--something of the "comparisons are odious" philosophy. Instead, I think a collection of fine pots will surround the working ceramist with a broadened point of view, an increased range, from which to draw inspiration if only he has eyes to see and patience to ab-

i P

Q

Pablo Picasso: Pitcher, 21/350 Edition Picasso; purchased in 1970 /tom a San Francisco gallery.

Shoji Hamada: Wheel-Thrown Vase; purchased in 1969 by correspondence with the artist.

Beatrice Wood: Round Bottle; purchased in 1951 at a one-man show in Los Angeles.

sorb the lessons. The process involves acknowledging the achievements of others without surrendering to these successes as the final answer. I t has been said that man- kind builds upon the shoulders of giants to ever fresh and further heights. Ceramic art can build new vistas in the very same way.

Toward this end my husband and I have studied some of the ceramic artists whom we admire. Some of these "giants" we discovered on our own; some we wanted to meet as a result of reading about them and thus struck up a correspondence. I would like to discuss a few of them and what they have meant to us, with the hope that my particular viewpoint will still allow the reader the broader pleasure of viewing photographs of the pottery discussed.

Take Picasso, for example. Who could not enjoy the vigor and good cheer of this pitcher in spite of the con- troversial nature of its creation? The lesson this magnificent piece offers to us is not the commonly-mentioned one that one can turn the craft over to someone else provided you supply the idea and elegant brushwork. I t is much more interesting than this.

Picasso's approach to ceramics is different from that of most modern potters. Ceramic artists tend to cover or enrich their surfaces with color and glaze added to a thoroughly realized and detailed pot. Picasso quite clearly uses a blank clay surface and form instead. On this pitcher is a surprising interplay of ingredients: smooth white clay; clay washes (which lump up a bit) of dark brown, blue, green and iron red; random areas of thin glossy glaze above and below the washes; sgraffito detailing

through both color and clay; and, after the gloss fire, a further wash of brown-black. The result is a gay medley of shine and m a t t - - a sophisticated clayish surface in conjunction with a kaleidoscope of color. All of this is on a fat pitcher-like form which pretends---successfully--to be a woman's head.

The lesson we took from this work is that the clay surface of a rather slick pot can still be an integral part of the finished piece, and not just a background or sup- portive layer. One can lose sight of this theme over an extended period of work, but not if he has an outstanding example to face! Picasso's pitcher helps us work steadily toward one of our goals.

To take another example, we have a small bottle by Beatrice Wood, done in 1951, and so fragile that it seems a miracle that it has remained in one piece. The bottle's rounded shoulders of rosy luster support delicate drawings in mysterious brown, blue, green, and black lusters. How else shall we remember what the high art of lusters can make of a piece without this to look at? The balance and weight of this piece are also inspiring. I t is nice to have an ideal weight to lift once in a while. To be sure, we have other thin pieces in our possession. But in this bottle is the combination: lightness, lustrous beauty, shape (the shoulder curves into the tiny neck with breathless speed), and full lip, combined with a foot that looks positively starved of all but its essence. Herein lies the lesson: to make a great pot takes more than a thin wall and a given shape. And let us try not to just " d e c o r a t e " . . . .

There is nothing quite like having a piece or two by Shoji Hamada to remind one how uniquely satisfying are

May 1972 27

ash glazes, reduced colors, and natural rough clays. When- ever I lose my way in the cornucopia of raw materials we have available today, whenever a new combination of ingredients is offered as the answer to the effect I am trying to achieve, I find myself referring to Hamada 's statements. He is an authority to be reckoned with.

There is nothing quite like a smoky handbuilt vessel by Hal Riegger to remind one of the infinite richness of our ceramic heritage in this world. Tha t a sophisticated professor from our civilized society could so triumphantly produce this rough, primeval-looking sphere with the ageless appearance of a geodesic rock, and still have such perfect weight and balance on a rounded bottom, is a breathtaking feat. Its inner clay pockets and straps across the mouth offer security for weed stems; they also remind one that this is, after all, a modem pot in a new weed- loving society.

In discussing the above, I need to remind the reader that we have learned much also from pieces that have for one reason or another failed to pass the test of permanent possession. There have been some which have seemed great at first but which gradually were pushed toward the back of the shelves and hidden by newer contenders. Some pieces even become offensive or de- pressing and have to be eliminated from the collection.

I t is interesting to try to determine why this happens. Is a particular vase too contrived? Does the angle of the cover destroy the grace of the stoneware dish beneath? Why those gaudy appurtenances, that tedious brown? These are questions we find ourselves asking. Every collector will bring to his work a special taste; every collection will have its own special set of requirements. I em- phasize our own here merely to illustrate the quality of our study.

We came to one of our most surprising requirements after years 9 f collecting and sifting--we simply want the piece to be a vessel. We look for the container shape. I t seems to me (it is a topic quite difficult to discuss) that the essence of ceramics is the inner hollow which a piece surrounds. Oriental peoples, and particularly the Japanese in their writings about the tea ceremony, have described the "innerness" of ceramics; most western peoples seem to be mute on this subject. But long acquaintance has taught me that there is an intellectual attraction, a mystic quality, about that which is contained, and this adds its own aura to the finest pieces of ceramic art. Although there are beautiful ceramic tiles, murals, and sculpted pieces of all kinds, it seems that these are not central to the issue. Celebration of the inner hollow is ceramic art's natural home. A work is usually great depending upon

Hal Riegger: Smoked Bowl; purchased in 1967 at one-man show at Mill Valley.

28 Ceramics Monthly

Iga Pottery: Choked Vase; purchased in 1965 [rom a collector's gallery in Highlands.

Bernard Leach: Tall Bottle; purchased in 1971 by correspondence with the artist.

i i l

the extent to which it then enhances an inner space. The last two pieces that I wish to describe have a very

special place because of the timelessness with which they speak. Our 80-year-old vase from the Iga Pottery in Japan (a piece we found, improbably enough, during a weekend spent in the Blue Ridge Mountains!) is three-quarters hand coiled and has a wheel-thrown top. I t is quite similar to the few other Iga pots I have seen as national treasures in the museums of Japan.

The beauty of this vase is undeniable. Where it is un- covered, the rough red clay shows tiny white crystals (highly prized in Iga ware) which have developed during many separate firings; a pale watery pine-ash glaze has built up on one side of the stony surface and lets lines and shades of beige, brown, and greenlsh-blue seep through. There are two rudimentary handles and deep thumb marks on tile lip. One lesson I have taken from this piece is that a vessel with subtle character is almost certain to have a " f ace" - - a front, back, and sides.

The chief lesson, however, lies in the story behind this vase. I t was one of about 70 coming out of the Iga kiln for that entire year, according to Herbert Sanders in his book, "The World of Japanese Ceramics." I t was fired from 10 to 13 times, in various areas of the kiln, to reach its peak of maturity. I t seems instructive that an ancient family pottery made its name for generations from this creative choked vase shape and perhaps just a few others, repeated again and again with variations, used clay from a certain local mountain, and made such a large invest- ment in time and fire that little more than one piece was made ready for the market each week. If we as working ceramists were to put that much effort into each of our

pots, what then would be the ensuing result? The final ceramic vessel is a tall bottle made recently

by Bernard Leach. The piece we purchased is more than just a pot by a very great pot ter - - i t is a great work, we think. Its tenmoku glaze, on which the potter says he has worked for 20 years, leaves one breathless, even in this era accustomed to spectacular glazes. The impressive thing is that this tall bottle has a gorgeous "skin" and also, seemingly, a life beneath. I t is somewhat like looking at a beautiful horse; one is conscious of the flesh and bone beneath the shining hide and almost waits for it to move. The bottle is a thrown piece which was then beaten and shaved to a squared shape with a changing profile.

I t is all too easy to forget that all of these effects are possible in ceramics. And it is all too easy to call anything from the past "old fashioned" and discard it. But we are students seeking information when we collect, and we like to look at everything. Now that we have observed first-hand a little of what Mr. Leach has done, perhaps from a new perspective we will seek this effect and use it in some future development of the potter's art.

To us this is what collecting is all about. I have left out many star performers from the modern ceramics in our collection; I haven't touched on the lure of celadons: and there has been no comment on the vexing problem of housing and displaying a collection in an American home. But the basic point, I believe, is that however a collection is honed into shape by a working potter, if it is a living collection it will clarify for him a continuing series of high standards. I t can, if the ceramist wishes, help to anchor his values on some firm ground and, at the same time, enrich his values.

May 1972 29

Summer Workshops 1972

We would like to call the attention o[ our readers to the [ollowing list o[ summer workshops that arrived at our office too late to be included in the special "Summer Workshops 1972" insert published in our April issue.

ALABAMA, UNIVERSITY June 5-July 7 University of Alabama Art Department schedules a 5-week ceramics session. In- structor: Frank Engle. Write: University of Alabama, University 35486.

CALIFORNIA, BERKELEY June, July, August Basic and advanced instruction in pottery- making techniques will be offered at the new pottery complex in Berkeley. In- structors: Rick Demarest and Dave Hef- fer. Write: Dave Heifer, 731 Jones Street, Berkeley 94710.

CALIFORNIA, VALYERMO July 3-9 St. Andrew's Priory, a Benedictine mon- astery, offers a 1-week workshop in glazing directed by Val Weiss, research director for Interpace of Los Angeles. Write: Art Workshops, St. Andrew's Priory, Valyermo.

COLORADO, PUEBLO June 12-August 18 The Southern Colorado State College Art Department plans two 5-week ceramic courses. For advanced students a comprehensive course in glazing techniques and construction of kilns is offered. In- structor for first course: Carl Jensen; second term: Hiroshi Seto from Mashiko, Japan. Write: Art Department, Southern Co!orado State College, Pueblo 81004.

INDIANA., INDIANAPOLIS July 5-August 13 The Herron School of Art will conduct one 6-week summer ceramics workshop, designed for the professional and non- professional at the graduate and undergraduate levels. Instructor: Gary Edson. Write: Registrar, Herron School of Art, 1701 N. Pennsylvania, Indianapolis 45202.

MAS SACHUSETTSj MARSHFIELD July lO-September 1 The Creative Center Pottery Workshop plans an 8-week session for beginning and intermediate students (children 3-16), and adults, to include instruction in all phases of ceramics, and field trips of clay digging. Workshop for advanced students open daily. Instructors: Jean Drinkwater, Carolyn Sones, Rick Heath, Ann Hall.

30 Ceramics Monthly

Write: Creative Center, 1863 Ocean Street, Marshfield 02050.

MISSOURI, COLUMBIA June 12-August 4 University of Missouri plans an 8-week art curriculum course in ceramics. Write: Director of Admissions, University of Mis- souri, Fine Arts Center, Columbia 65201.

NEw YORK, NEW YORK June 5-July 28 Greenwich House Pottery plans a 4-week pottery course (June 5-29). Also offered is a 3-week teen-age workshop (July 10- 28). Instructors to be announced. Write: Greenwich House Pottery, 16 Jones Street, New York 10014.

NEW YORK, NEW YORK May 22-August 31 West Side YMCA Ceramics Workshop will conduct courses in the 15-week summer period for children and adults. In- struction in all phases of ceramics and ceramic sculpture with Lore Hauptman. Write: West Side YMCA, 54 West 63rd Street, New York 10023.

NEW YORK, NEw YORK Continuing The Studio Workshop offers instruction in many phases of the arts, including ceramics. Write: Richard Rapaport, Studio Workshop, 10 West 18th Street, New York, 10011.

NEW YORK, STATEN ISLAND June lO-August 25 Potter's Wheel Community Workshop plans pottery courses covering all aspects of pottery making, including clay mining. Courses may be taken as a series or for any two-week period. Included is a course in which students will make their own kickwheels, and learn to set up a studio. Parent/child clay workshop, as well as courses for children only, also offered. In- structors: Cleve Overton, Dominie Chi- apperino, Viola Proeller, William Kaplan, Margaret Cherubim Write: Natalie Sur- wing, Potter's Wheel Workshop, 125 Richmond Avenue, Staten Island.

OHIO, DAYTON August United Theological Seminary will conduct a 1-week kiln-building workshop with Richard Leach in construction of a cast, gas-fired two-chamber kiln (his design). For final dates, write: Craftshop, United Theological Seminary, 1810 Harvard Blvd., Dayton 45406.

OKLAHOMAj NORMAN June 5-July 28 The Firehouse Art Station will conduct summer pottery classes for beginning and advanced students. Instructor: Nick De- Vries. Write: Audrey Bethel, Chairman, Firehouse Art Station, Norman 73069.

ONTARIO, ELLIOT LAKE July 3-August 11 Elliot Lake Summer School of the Arts plans three 2-week courses in beginning, intermediate and advanced ceramics. Write: Director, Summer School of the Arts '72, Elliot Lake Centre for Continuing Education, Elliot Lake.

ONTARIOj ORANGEVILLE July Hockley Valley School plans four 1-week courses in raku. Instructor: Robert Bozak. Write: Hockley Valley School, 296 Bruns- wick Ave., Toronto.

OREGONj EUGENE June 26-August 18 Maude I. Kerns Art Center Pottery plans an 8-week workshop in all phases of ceramics. There will be a l-week workshop with visiting artist to be announced. In- structors: Calvin Smith, Janiee Hobbs, and Mark Vossbrink. Write: Maude I. Kerns Art Center, 1910 E. 15th Ave., Eugene 97403.

UTAH, SALT LAKE CITY June 12-July 7 University of Utah will conduct a 4-week advanced ceramics workshop. Instructor: Dorothy Bearnson. Write: Dorothy Beam- son, Department of Art, University of Utah, Salt Lake City 84112.

WASHINGTON, SEATTLE June 12-November 3 Pilehuek offers two 10-week workshops in glass and multl-media. Write: Pilehuek, Rhode Island School of Design, 2 College Street, Providence 02903.

A Ceramic Fountain made from hand-built sections by EDWARD T. SCHOENBERGER

T H E CERAMIC FOUNTAIN described in this article makes

use of nine ceramic sections. Each section either dispenses

water or retains its flow, and the top one does both. The

individual sections may be made any size, depending on

the size of kiln available; and by making the fountain in

sections, a fairly large structure can be produced with the use of a small kiln.

The sections can be thrown on the wheel, of course, but this demonstration fountain is made by using the

slab method. After deciding on the size of clay section

you are best able to handle in your kiln, you might want

to make a plaster drape mold; the mold used here was

made by pouring potter's plaster into a plastic trash bucket. You also will need a square piece of ~ - inch

plywood. Cut the center from this board to match the

base of your plaster mold. The purpose of this arrange-

ment is to place the finished plaster mold form on top

of the wooden circle, then slide the open-circle board

down over the plaster form. The circular plywood cutout

rests on the table or working surface, flush with the

circle, but the outer section does not support the mold.

When clay is formed over the mold and becomes leather

hard, you can simply lift the outer board to remove the clay from the mold without damaging it.

To move from theory to practice, the next step is to cover the mold with ~ - inch clay slabs for making a

basic shape. When this section is finished and the clay is

firm, you can decorate it with additions that will direct

the water down to the next section and still retain an interesting visual effect.

Since the sections are to be stacked one on top of

another, and must be kept steady, it will be necessary for you to have a base and "stacking pipe" ready to re- ceive the first day section. The base is made from a square

piece of sA-inch waterproof plywood, one that is slightly

larger than the diameter of the fountain sections, and with a length of 1-inch pipe fixed to its center. This is done by attaching a floor flange to the center of the ply-

May 1972 31

o

3, 4

1. Circle i~ c u t / t o m ,~ectio~ o1 :}~-ilzch plyu,ood; both pieces will be used in making the mold.

3. Tile plaster mold is covered with ¼-inch slabs o[ clay to provide a basic unit o[ the [ountain.

5. Barriers and catch pools are added to each clay section be[ore it sti[[ens too much.

32 Ceramics Mollthly

2. Pre-[itted plaster motet ~s ptacea otz the woou circle; the cutout slips down to match circle.

4. Bot tom o[ each unit must have a stacking ring and hole in the center [or attaching on a pipe.

6. When unit is considered complete, and clay shell can hold its weight, it is li[ted [rom mold.

5.6

When completely finished, the ceramic sections are placed on the pipe that contains the plastic tubing.

wood. The flange should fit the threaded end of the

1-inch stacking pipe. You may prefer to make the base

from a piece of l~-inch sheet iron, with the stacking pipe welded to its center. The length of the 1-inch stacking pipe is determined by the height of the fountain.

Each section of the fountain must have in its center an opening (about 2I~-inches) so that it can be slipped onto the stacking pipe. Around the edge of the opening on each section there should be a stacking ring. This

will be used to stack the pieces on the stacking pipe, to

connect and stabilize the units, and to carry the plastic tubing from the circulating pump, hidden in the base of the fountain, to the top section. The pump and tube

are the means of carrying the water to the top of the fountain. Recirculating pumps are available from several sources, including ceramic shops and large mail-

order houses; they come in several models, depending on the height of the fountain. Since this type of pump

recirculates the same amount of water, the fountain

must sit in the center of some sort of pool or metal catch basin, as shown in the photo sequence.

It takes very little experimentation to construct an indoor fountain. Attention will have to be paid to the splash factor of the water; the water must be led smooth, ly from one section to the next so that the area of the

room adjacent to the fountain will not become splashed with water.

The sections of the fountain are very easy to make,

but clay shapes built around a mold must be removed before the clay shrinks and perhaps even cracks. I find

that I usually have approximately four hours to work on a section while it is on the plaster mold before there

is any danger of cracking; however, each section must be finished before it is lifted from the mold.

To lift the clay from the mold, pry up each corner of the outer plywood square on which the clay section is

resting. As each corner is pried up, place a wedge under-

neath to hold it. If the clay seems to adhere to the plaster

mold, just push against the plaster mold through the stacking hole after you have gently pried the plywood

holding the shape. Remove the clay shape from the plaster

mold. Next, remove the plaster mold from beneath the piece of plywood and put this circular piece on a table. Place the other piece of plywood (the one holding the clay section in place) in its original proximity to the cir-

cular board. With this large level surface, the clay will have a continuous surface to move along as it dries.

When all of the pieces have been made, decorated, fired, and glazed, it is time to assemble the fountain. The

topmost section is the smallest piece of the fountain but

usually it is the most important. When it is being built,

it must be made to fit into the 2~- inch collar or stacking

ring of the upper regular section. Next, provisions must be made in this top section for holding the plastic tube that circulates water from the pump. A ~ - inch hole

will have to be left in the bottom of this top section so that a piece of copper pipe, about 12 inches in length

and with an outside diameter of ~- inch, can be inserted after the section is fired. Be certain to allow for the

shrinkage of your clay by making the hole slightly larger than ~-inch. The copper pipe (~- inch outside diame-

ter) is held in place by melted paraffin wax. When the wax is cool, the copper tube can be connected quite

easily with the plastic tubing (~- inch inside diameter) coming from the circulating pump. When all of the

sections of the pump have been assembled, the motor hidden under the bottom unit in the splash pan, and

the current turned on, this closed-off section will enable the water to collect at the top, and overflow, sending water cascading down all sides of the fountain, diverting some water to other barriers and containers arranged on the different sections of the fountain.

May 1972 33

The Stoneware Gloves of Laraine Wade by FRED BALL

IN THE SUMMER of 1970, as I walked past rows of pots at the Cal-Expo art exhibition before the jury had made its selections, I was making mental bets on which pieces might take prizes. Funk sculptures and more sober forms shimmered darkly under smoky pearlescent lusters and the flashbulb brilliance of china paints. On the whole, the entries represented an opulent collection of classicism, humor, and virtuosity, but few pieces seemed to pioneer a new spirit until I saw a pair of stoneware gloves.

Not a pair, on second look, but two ornate gloves that might have dropped through a time-warp from the laps of a medieval bishop and a Borgia lord. Although they glowed with color and intricate textures, I was struck by the suggestion that they might have just been slipped off their wearer's hands. The finger joints buckled slightly and the fabric sank at the base of the thumb where it appeared to have stretched to enclose that fatty pad a moment before.

The judges made their award to a thoughtfully considered jar with a masterful salt glaze, but the gloves were among the accepted works and drew applause from critics. During the days after the show closed, I sat in the gallery returning pots and paintings to the entrants. It was in this way that I met Laraine Wade, whom I knew only as the "glove girl" before she came to collect her entries. As I passed her pieces over the counter to her, I asked if she had exhibited before and learned that she was relatively unknown outside California. Early in the next year I met Miss Wade again. At that time she was making slab-constructed chiffon cakes and life-size chairs, and had discontinued work on the glove series. However, since I was still strongly impressed with the gloves, I took advantage of the opportunity to find out more about them and their creator, and to take the accompanying photographs.

All of Laraine Wade's ceramic gloves share the quality of having just been shed from the wearer's hands. This is characteristic of her work, as she has been sensitive to the quality and construction of textiles since studying home economics at Pacific Union College in California and Walla Walla College in Washington. It wasn't until she entered Sacramento State College in California, however, that she began throwing pots, and at that time her work was quite different from the intimate personal statements she has now made. Her training at Sacramento, under Ruth Rippon and Ben Kypridakis, began with wheel work in which she labored to produce classical forms. She abandoned this quickly, however, when she found the repetition of spherical shapes repressive to her personal inclinations.

34 Ceramics Monthly

In her first attempts at slab-buih pots, Miss Wade considered the rolled-out clay sheets as she would bolts of fabric; being an accomplished seamstress, she began making stoneware sleeves[ These evolved into renditions of nineteenth century underclothing, elaborately constructed and adorned with clay "embroidery" and clay "tatting."

After she had explored the possibilities inherent in the elegant and richly decorative underclothes, Miss Wade began her series of gloves, of which ten were successful. These were made of stoneware and required numerous firings. First, thin sheets of clay were rolled out, shaped into glove form, then stuffed with paper where needed. This helped to create the impression of fabric, the quality of puckering seams, and the stretching that is imparted to cloth after it has been used. Miss Wade always held to this construction after discovering that carving could not give her pieces a sense of life.

When the main body of a glove was complete, Miss Wade used a clay-extruding device for creating the fine lines, the tassels, and any simulation of elaborate braid and embroidery. The effect of stitchery was achieved with needle texturing and incising, and all decorations were thumbed onto the main body without crosshatching or slip.

Miss Wade generally used a Cone 6 white glaze which, when fired, provided a good background for china painting. Sometimes, however, she added iron oxide to the basic white glaze before firing in order to create dark backgrounds or accents.

The glowing colors of her decorations were achieved by applying china paints over the fired Cone 6 base glaze and refiring at Cone 018. The retiring process was sometimes repeated four or five times, depending upon the change in color of the china paints during the firing and the richness of the result desired.

While the gloves helped establish her reputation as a fine craftswoman in recent major shows, Miss Wade does not want to become known as the "glove maker" since she feels that she has thoroughly explored this fanciful form. Her studio now houses a collection of two- and three-foot low-fired lizards and fantastic pastry forms, all slab built. But even as she completes these, Laraine Wade continues her search for new avenues of expression.

Le[t: Laraine Wade is pictured in her studio.

Glove, li[e size, china paints and lusters on stoneware; pale purple background with decorations in green, yellow and deep purple.

Glove, li[e size, china paints and lusters on a stoneware body; blue background with decorations in deep blue, yellow and brown.

Glove, li[e size, china paints and lusters on stoneware; black background on the hand, decorations on cu[[ in red, purple, silver, orange and yellow.

May 1972 35

Zirconium Glazes by RICHARD BEHRENS

ZIRCON, a zirconium silicate mineral , is often included in glaze formulas because i t has such strong opacifying power. I t is most often sold under b rand names such as Opax , Ul t rox, or Zircopax. Whi le its opacifying power is somewhat less than that of tin oxide, its lower cost and efficient opacifying properties, however, often make zircon the favori te opacifying agent of many potters.

Zircon has two other qualities tha t are wor th mentioning. First, i t is effective in reducing the amoun t of crazing in the glaze, and second, i t does not strongly modify the characteristic color of any oxide or stain used in the glaze.

A n u m b e r of z i r c o n - c o n t a i n i n g glazes that fire a t various cone levels may serve as the s tar t ing poin t for testing by the art is t-potter . First is a glaze for Cone 014:

ZIRCONIUM GLAZE I (Cone 014) Zircon . . . . . . . . . . . . . . . . . . . . 13.0% Fr i t 259 (Hommel ) . . . . . . . . 37.9 Fr i t 3134 (Ferro) . . . . . . . . . . 22.9 L i th ium Carbona te . . . . . . . . . 8.6 China Clay . . . . . . . . . . . . . . . . 5.4 F l in t . . . . . . . . . . . . . . . . . . . . . . 12.2

100.0% This first glaze is a light, br ight opaque white for use at very low fire.

ZIRCONIUM GLAZE I I (Cone 04) Zircon .................... 12.4~ Potash Feldspar ............ 13.1 Fr i t 3223 (Ferro) . . . . . . . . . . 13.4 Whi t ing . . . . . . . . . . . . . . . . . . . 14.9 Zinc Oxide . . . . . . . . . . . . . . . . 7.9 Ch ina Clay . . . . . . . . . . . . . . . . 7.2 Bar ium Carbonate . . . . . . . . . . 6.7 Magnes ium Carbona te . . . . . . 0.8 Fl in t . . . . . . . . . . . . . . . . . . . . . . 23.6

100.0% A smooth white opaque finish results from the recipe for the Cone 04 zircon glaze.

36 Ceramics Monthly

ZIRCONIUM GLAZE I l l (Cone 02) Zircon . . . . . . . . . . . . . . . . . . . . 19.4~b Fr l t 3223 (Fer ro) . . . . . . . . . . 26.7 Whi t ing . . . . . . . . . . . . . . . . . . . 3.8 Bar ium Carbona te . . . . . . . . . . 7.5 Magnes ium Carbona te . . . . . . 3.2 F luorspar . . . . . . . . . . . . . . . . . . 3.0 Ch ina Clay . . . . . . . . . . . . . . . . 13.7 Fl in t . . . . . . . . . . . . . . . . . . . . . . 22.7

100.0% A smooth white glaze results from this recipe opacif ied by zircon.

ZIRCONIUM GLAZE I V (Cone 2) Zircon . . . . . . . . . . . . . . . . . . . . 13.4% Zinc Oxide . . . . . . . . . . . . . . . . 8.8 Fr i t 3223 (Ferro) . . . . . . . . . . 16.1 Whi t ing . . . . . . . . . . . . . . . . . . . 13.4 Potash Fe ldspar . . . . . . . . . . . . 25.0 Ch ina Clay . . . . . . . . . . . . . . . . 9.9 F l in t . . . . . . . . . . . . . . . . . . . . . . 13.4

100.0% This recipe for use at Cone 2 gives a bright white opaque glaze.

There is increased activity in the Cone 4 range of firing because of the availabi l i ty of electric kilns. Fol lowing are four recipes for z i rconium glazes, each different in color or texture.

ZIRCONIUM GLAZE V (Cone 4) Zircon . . . . . . . . . . . . . . . . . . . . 7.3% Potash Fe ldspar . . . . . . . . . . . . 33.9 Whi t ing . . . . . . . . . . . . . . . . . . . 9.1 Zinc Oxide . . . . . . . . . . . . . . . . 12.2 China Clay . . . . . . . . . . . . . . . . 12.7 Fl in t . . . . . . . . . . . . . . . . . . . . . . 24.8

100.0% This first Cone 4 recipe results in an opaque br ight white glaze.

ZIRCONIUM GLAZE V I (Cone 4) Zircon . . . . . . . . . . . . . . . . . . . . 12.2% Albany Slip . . . . . . . . . . . . . . . . 79.0 L i th ium Carbona te . . . . . . . . . 8.8

100.0% Glaze V I is a pa t te rned , or textured one, p roduc ing a ma t t of sand-beige color.

ZIRCONIUM GLAZE V I I (Cone 4) Zircon . . . . . . . . . . . . . . . . . . . . 4 .8% Albany Slip . . . . . . . . . . . . . . . . 76.2 Red I ron Oxide . . . . . . . . . . . . 19.0

'100.0~b Briar-wood ma t t is the best descrip- tion of this glaze that utilizes Albany Sllp and Red I ron Oxide in its recipe.

ZIRCONIUM GLAZE V I I I (Cone 4) Zircon . . . . . . . . . . . . . . . . . . . . 7.4% Zinc Oxide . . . . . . . . . . . . . . . . 20.6 Whi t ing . . . . . . . . . . . . . . . . . . . 4.6 L i th ium Carbona te . . . . . . . . . 9.3 Ch ina Clay . . . . . . . . . . . . . . . . 15.6 Cryolite . . . . . . . . . . . . . . . . . . . 5.6 F l in t . . . . . . . . . . . . . . . . . . . . . . 29.5 T i t a n i u m Dioxide . . . . . . . . . . 7.4

100.0% This final glaze for the Cone 4 range is a very dense white matt .

ZIRCONIUM GLAZE I X (Cone 6) Zircon . . . . . . . . . . . . . . . . . . . . 18.5% Potash Fe ldspar . . . . . . . . . . . . 24.2 Whi t ing . . . . . . . . . . . . . . . . . . . 12.0 Zinc Oxide . . . . . . . . . . . . . . . . 5.0 Magnes ium Carbona te . . . . . . 2.5 Bar ium Carbonate . . . . . . . . . . 2.7 China Clay . . . . . . . . . . . . . . . . 9.8 F l in t . . . . . . . . . . . . . . . . . . . . . . 25.3

100.0% This glaze for Cone 6 gives a smooth white opaque effect.

ZIRCONIUM GLAZE X (Cone 9) Zircon . . . . . . . . . . . . . . . . . . . . 9 .9% Potash Fe ldspar . . . . . . . . . . . . 16.5 Whi t ing . . . . . . . . . . . . . . . . . . . 23.0 Magnes ium Carbonate . . . . . . 5.2 China Clay . . . . . . . . . . . . . . . . 8.4 Fl in t . . . . . . . . . . . . . . . . . . . . . . 37.0

100.0% This Cone 9 glaze is a sa t in-mat t white opaque.

These glazes may be colored with the usual oxide and carbonate colorants, as well as with the effective glaze stains.

I T I N E R A R Y


.'N'EW YORK, CORNING May 10-14 The Ninth Annual Southern

Tier Arts and Crafts Show; at the Corn- ing Glass Center.

NEw YORK, NEW YORK May Exhibition of ceramics by 'Nanc

Jurs, Bruno LaVerdiere, Robert Sedestrom and Bob and Paula Winokur; at the Gal- lery of Contemporary Crafts, Inc.

through May 6 Exhibitions of work by children and teenagers.

May 18-June 3 One Man Show of Bertha Goodman's work; all at Greenwich House Pottery.

through May 26 Enamels and Plastics Exhibition by Jackson and EllaMarie Woolley; at the Museum of Contemporary Crafts.

NEW YORK, ROCHESTER May 13-June 11 The 1972 Rochester-

Finger Lakes Exhibition; at Memorial Art Gallery.

NEW YORK, TARRYTOWN May 7-26 Westchester Art Society

Juried Show; at 54 Main Street.

NEW YORK, WEST NYACK May 21-]une 1I The Rockland Founda-

tion Award Show for 1972; at the Rock- land Foundation.

NEW YORK, WHITE PLAINS May 16-29 The Annual Spring Arts

Festival; at The Little Theatre, County Center.

OHIO~ CLEVELAND May 3-June 11 The 53rd May Show;

at The Cleveland Museum of Art. through June 20 "Contemporary Pot-

tery"; at Karamu House Art Gallery.

OHIO, COLU.~IBUS May Exhibition of Glass by Bob Barber;

at Helen Winnemore's. through May 21 "Chinese Gold, Silver

and Porcelain: The Kempe Collection"; at the Columbus Gallery of Fine Arts.

May 19-20 The Seventh Annual Grace- land Arts and Crafts Show; at 5100 North High Street.

OHIO, DAYTON May 27-28 Art in the Park; at River-

bend Art Center.

OHIOj MAS SILLON May 7-30 University of Akron Faculty-

Student Exhibition includes crafts; at The Massillon Museum.

ONTARIO, TORONTO May 2-23 Ceramics by Jan and Helga

Grove; at The Canadian Guild of Potters.

ONTARIO, WATERLOO May 6 "Pots in the Park," an exhibition

by members of the Waterloo Potter's Work- shop; in Waterloo Park.

PENNSYLVANIA, PHILADELPHIA May 3-17 Ceramics by Claire Kirpich;

at The Little Gallery. May 5-June 5 Glass exhibition of work

by Daniel O. Dailey; at The Philadelphia Art Alliance.

PENNSYLVANIA, PITTSBURGH May 26-]une 4 Three Rivers Arts Festi-

val, sponsored by the Carnegie Institute; at Gateway Center.

SOUTH CAROLINA, COLUMBIA through May 28 Annual Juried Show in-

eludes crafts; at The Columbia Museum.

TENNESSEE, CLEVELAND through May 21 "Tennessee Crafts"; at

the Cleveland Women's Club.

TEXAS, KERRVILLE May 31-]une 4 The First Annual Texas


Hayco's

oU

Mayco glazes go on smoother. And they've been doing it for years. That 's why MAYCO® COLORS - - America's finest colors- -are the No. 1 choice of ceramists the country over. That goes for all Mayco products: Glazes, One Stroke, Under- glazes. All Mayco products are homogenized for easier applica. tion and fire at Cone 06. Write for free color chart.

m a y c o c o l o r s 20800 Dearborn St. Chatsworth, Calif. 91311

Dealerships Available

May 1972 37

CERAMI CRAFT Gas Kilns

New Lid and Loading Shelf

Other Sizes

1S" x I S " x 20" 15" x 15" x 15" 12" x 12" x 15"

Model TL-D 18" x 18" x 20" ( seffincj area)

~ A S O N R Y

< ~ O N T R A C T O R

"The Pint Size Brute" Bisque through Stoneware . . . Cone 10 (2350 °} • . . Fires on home gas pressure, 3" wate r column . . . Kiln wal ls a re 4V2" of I.F.B., and I /4" asbestos • . . L id and bo t tom are 3 " of I.F.B . . . . A l l steel f rame and bo t tom . . . Rolls on 3 steel casters • . . H i g h and low peep sights . . . C a l i b r a t e d d a m p e r . For more in fo rmat ion wr i te :

Office 1051 N. Edgemont

La Habra, Cal. 90631 (213) 697-6441

Plant 11769 E. Slauson

Santa Fe Springs, Cal. 90670 (213) 693-5690

GLAZE PROJECTS

A FORMULARY OF LEADLESS GLAZES

By RICHARD BEHRENS

Potters everywhere will be pleased to hear that the Richard Behrens handbook on glaze formulation is now available. This new CM handbook is much more than a collection of glaze recipes . . . the projects include a commentary on raw materials, suggestions as to possible uses for the recipes, and interesting background information. The first book of its kind, GLAZE PROJECTS provides an authoritative and convenient source of information for the potter on the formulation and application of a variety of leadless glazes in all firing ranges. Price: only $3 a copy.

- - - - -

Box 4548, Columbus, Ohio 43212 I Please send me copies of GLAZE PROJECTS @ $3.00

I Name . . . . . . . . . . . II Address . . . . . . . . . .

I City . . . . State . . . . . Z i p _ _ _ _ _ I II Ohio residents add 12c per copy sales tax. ii I enclose [ ] Check [ ] Money Order We poy Po.oge I g

38 Ceramics Monthly

R E W A R D P R O D U C T S

Reward Ceramic Color Mfrs., Inc. 314 Hammonds Ferry Rd., Glen Burnie, Maryland 21061

CERAMACTIVITIES people, places and things

CERAMIC NATIONAL RESUMES Director James Harithas and Anna W.

Olmsted, Director Emeritus of the Everson Museum of Art, Syracuse, New York, an- nounce that the 27th Ceramic Interna- tional (formerly Ceramic National) will open tentatively on October 7 and continue on view through November 5 at the Everson Museum. Work completed in the past four years may be submitted by ceramists and enamelists in the United States, Puerto Rico, Canada and Mexico. Artists are requested to submit 35 ram. color slides of their work from which jurors will select accepted entries. For prospectus, write: Everson Museum of Art, 401 Harrison Street, Syracuse, New York 13202.

KILN BUILDING WORKSHOP Brookfield Craft Center in Brookfield,

Connecticut announces an opportunity for students to participate in the building and firing of a high-fire sprung-arch kiln, suitable for school or professional use. Each student will have a set of plans of the kiln. Class participation includes making and firing of pots. In addition, small experimental structures connected with the theory of kilns and firing will be built. The class, scheduled from June 26-July 7, is restricted to advanced ceramic students only. Gerry Williams, artist-potter who teaches at Currier Art Center, will be the instructor. Co-instructor: Marian Hubbell. Write: Jean d'Autilio, Director, Brookfield Craft Center, Brookfield, Connecticut.

LEE MAGDANZ Two apprentice/studio positions are

open at the Kiln Room. One is for someone interested in stoneware work under the supervision of Lee Magdanz at his Bristol, Virginia studio. The second position is for someone interested in salt glaze work and includes operating and selling in the Kiln Room Salt Studio in Gatlinburg, Tennessee. For further information, write: Lee Magdanz, 624 Chester Street, Bristol, Virginia 24201.

PHOTO FORMS IN EVANSTON An exhibit of work in photofabrication,

"Photo Forms," will open on May 7 at Exhibit A, Gallery of American Ceramics and continue through May 27. Exhibited will be work by Dan Anderson, Edwards- ville, Illinois; John Barsness, Waterloo, Wisconsin; Bonnie Baldwin Collier, Balti- more, Md.; Gregor Giesmann, Chicago, Illinois; Marvin Lipofsky, Berkeley, Cali- fornia and Victor Splnskl, Newark, Del.

In collaboration with the exhibit, on May 13 Gregor Giesmann will lecture and conduct a workshop at the Evanston Art Center dealing with photofabrication techniques, emphasizing the making of 1 color- 4 color ceramic decals. To register for this workshop, write: Exhibit A, 1708 Central St., Evanston, Illinois.

INVITATIONAL AT THE ART BARN GALLERY The Middle Tennessee State University

Ceramic and Sculpture Invitational Exhi- bition opened at the Art Barn Gallery ,m March 5 and con t inued through

April 2. (The Art Barn was the subject of an article in the April issue of CM.) Charles Brown and Phillip Ward d i s p l a y e d their recent work. Both were award w i n n e r s , Charles Brown for his raku l u s t e r bowl, and Phillip Ward for his red and yellow

slab bottle pictured above. Other ceramic artists exhibiting, all award winners, were Sandra Blaine, University of Tennessee, Knoxville; David Frank, Mississippi State College for Women; Fred Shepard, Mur- ray State University; and Robert Sohngen, Memphis State University. Tom Mason of the University of North Carolina and John R. Tusca of the University of Kentucky displayed combinations of sculpture and pottery.

Also featured was the work of sculptors Olen Bryant, Austin Peay; Jim Collins, U.T., Chattanooga; David Hostetler, Ohio University; Phillip Nicols, U.T., Knoxville, and Howard Woody, University of South Carolina.

SMALL ENVIRONMENTS EXHIBITION Southern Illinois University at Carbon-

dale, Illinois, and The Madison Art Center, Madison, Wisconsin, plan an exhibition of three-dimensional works, which, by their nature, create a small environment. This exhibition, to be held at Southern Illinois University, October 1-27, and at Madison Art Center, November 5-December 3, will be comprised of work borrowed from private collections, galleries, institutions and individual artists. It will be as equally divided as is feasible between an invited group of artists and others who will be invited as a result of slide submission. Thus, the purpose of the exhibition is to publicize the fact that this kind of art is reaching the proportions of a movement and reaffirming the importance of widely known artists concerned with this imagery, and recognizing those artists who deserve national attention.

The "Small Environments" invitational: open to anyone living in North America, will be publicized in three ways: the exhibition itself, the distribution of information about the show, and a fully illustrated catalogue to be distributed nationally. There is no entry fee; purchases will be made by the two sponsoring institutions. Work in any media will be selected by Robert Chambliss Hendon, Director, Madi-

son Art Center; Evert A. Johnson, Curator, and Ernest L. Graubner, Assistant Curator, Southern Illinois University.

Artists interested in submitting work are requested to send five slides, each labeled with name, title of work, size (maximum, 6 cubic feet), medium and date, to Ernest Graubner, University Galleries, Southern Illinois University, Carbondale, Illinois 62901. Deadline for slides is May 15.

KARITA SMITH CERAMIC EXHIBITION The Southern Plains Indian Museum

and Crafts Center, in Anadarko, Okla- homa, administered by the Indian Arts and Crafts Board o/ the U.S. Department of the Interior, presented a special exhibition, "Ceramics by Karita Smith," in the early fall of 1971 and was comprised of 71 works. This was the largest one-man showing of pottery by a Southern Plains Indian craftsman ever presented to the public. Pictured from the exhibit is

ill iiii~i:!i

ii!!ii ~iii!iii!iiii!!

a jar with lid ornamented with buckskin, tile beads and metal tubes. The photo- graph is loaned by the U.S. Department of the Interior, Indian Arts and Crafts Board, Southern Plains Indian Museum and Crafts Center. Karita Smith is a member of the Comanche Indian tribe and a recent graduate of Oklahoma University where she studied ceramic design. In sum- ming up her philosophical viewpoint toward her medium, Karita has stated, " . . . Clay offers a very personal means of expression which allows me to express myself in terms of being Indian and being myself . . . . "

ANNUAL PLEASURE FAIRE The lOth Annual Renaissance Pleasure

Faire and Springtime Market will be held at the Old Paramount Ranch in Agoura, California, each Saturday and Sunday in May, and including Memorial Day. The annual event is an authentic re-creatlon of falres held in the English countryside during the life of Queen Elizabeth I some 400


M a y 1972 39

Reduction Firing Techniques by ANGELO C . GARZlO

T H E USE OF FUEL-BURNING KILNSj

especially the gas types, as a means of firing ceramic wares, has increased considerably in the past ten years among both professional and nonpro- fessional studio potters. The main reasons for the popularity of gas usage are economy of firing, the fact that there is no limit as to the size of the kiln, the ease of reaching a fairly high temperature and, perhaps the most important of all, the ability of the kiln to be fired in reduction. Our predilection for reduction-fired pottery has been influenced in no small part by the Chinese masterpieces of the T'ang, Sung and Ming periods, during which the celadons and cop. per-red glazes were developed and perfected.

For those novice potters who have had no experience with or exposure to the methods or procedures of operating a fuel burning kiln in reduction, the first attempt may be a terrifying experience. Indeed, a number of questions arise: How is reduction begun? What does it mean? How much and how long a reduction is necessary? Is it harmful to the kiln or to the ware? Do special clay and glaze materials need to be used? These questions, and more, must be answered before much success can be had in reduction firing.

In order to give assistance and lessen some of the fears of many fledgling "firemen," the author has seen fit to write this article to serve as a guide to successful reduction firing techniques.

H o w REDUCTION WORKS

A brief explanation is necessary in regard to the process of fuel burning, be it wood, coal, oil, or gas. When carbon contained in these materials combines with oxygen from the atmosphere, the resulting chemical re- action of oxidation takes place. The rusting of metals such as iron is a slow process of oxidation and the bursting into flame, when ignited, of gas as it mixes with air, is a rapid process. The products of this combi-

40 Ceramics Monthly

nation are heat and waste carbon dioxide, if the oxidation is complete. However, in case too much fuel or carbon is brought into contact with an amount of oxygen which is in- sufficient to allow for a complete chemical combination, the result will be incomplete combustion, or the production of smoke and carbon monoxide. As more oxygen from the atmosphere is allowed to mix with the fuel, the combustion or mixing of the carbon and oxygen becomes more complete and the smoking ceases.

The danger involved in running an engine in a completely enclosed space, such as a garage, is that the oxygen from this space is depleted since it is being used by the running engine in the process of combustion. As long as there is ample oxygen available, there is no danger to man. But with the oxygen supply depleted, combustion will be incomplete and carbon monoxide will result. Carbon is hungry for oxygen and, in its attempt to complete the chemical cycle, will attack any source for the extra oxygen, including the human body.

If this principle is understood, reduction and the methods by which it is brought about will be fairly easy to accomplish.

At stoneware-firing temperatures, when an incomplete combustion is produced in the course of the firing, the oxygen-hungry free carbon that has been released in the kiln chamber will rob any oxygen source in this space, be it the pottery, the glaze, or even the bricks. The deprivation of oxygen from the glazes and pottery surfaces produces the subtle and peculiar nuances of color and textures that make reduced pottery so fascinating.

One material found in clays that is most affected by a reducing or smoky condition in a kiln firing is iron. Most clays contain some iron, usually in the form of red iron oxide, or ferric oxide (Fe203). Now, ferric oxide, which normally is a reddish brown or tan in color, changes in a reducing atmosphere to a grey or

black color, or to ferrous oxide (Fe0). I t should be pointed out, however, that an unglazed surface when removed from a cooled kiln will more often have a surface color of warm toasty red or brown. This is the result of the re-oxidation of the clay surface when the firing is complete and air re-enters the kiln chamber as it cools. I f a piece from this firing were to be broken, the grey or black color would be found beneath the clay surface. Should a grey color be desired on the clay surface, a thin coat of a transparent glaze can be applied over the clay body in order to prevent the surface from being re-oxidized during the cooling period. Incidentally, the dark reddish-brown or black flecks seen on the surface of stoneware pottery result from the iron impurities as they melt and bleed through the clay or glaze. These flecks are the usual indication of reduction- fired stoneware.

Although it is not the intention of the author to deal with glazes or their colorants as used in a reduction kiln firing, it ought to be noted in passing that the subtle olive greens, or celadons, are the result of adding small amounts of ferric oxide to a feldspathic-base glaze in the stoneware temperature ranges.

REGULATING TH,E KILN

Having briefly discussed the theory of oxidation and reduction and how they affect clays, we will proceed to the techniques in manipulating a gas- fired kiln for reducing conditions.

I t should be emphasized at the out- set that each kiln will fire a little differently from another. Whatever is suggested or recommended in the following paragraphs may very well have to be modified to meet specific pecu- liarities of each potter's kiln.

Whether the kiln be updraft or downdraft makes little difference in the manner in which it is "reduced." Ordinarily, reduction is rarely ever begun before 1500°F, when a bright cherry red color is visible in the kiln. Most gases and carbonaceous matter

have been burned out of the pottery by then, thus preventing any bloating from occurring later in the firing.

Reduction is started very simply at about this time. For those kilns which have a forced-air burner system, the squirrel-cage-fan that forces air to mix with the gas is cut down somewhat, so as to produce a flame with an orange color and a slightly green tip. The same effect is achieved by keeping the air rate the same and increasing the gas input. At the same time, the damper is also closed somewhat so as to produce some back pressure at the spy holes in the door- way. By closing the damper, some of the exhaust gases which contain un- burnt carbon are forced back into the kiln chamber, thus creating a stronger reducing condition without appreciably cutting back on the heat input from the burners.

As the temperature rises, the damper ought to be adjusted so that by the time the kiln is up to around 1600°F (about Cone 012), the reduction is fairly strong. In the case of an updraft kiln, the flames coming from the flue area should be of an orange color and approximately 12" to 18" high, depending on the size of the kiln. A flame of about the same color should be popping out of the bottom, as well as the top, spy holes so as to insure reduction in the lower half of the kiln as well as at the top.

For those kilns which use atmo- spheric venturi-type burners with a screw plate to adjust the primary air as it mixes with the gas, the screw plate is closed a few turns so as to decrease the opening of the primary air. The flame is checked at the burner to see that it has an orange color instead of the bluish-white tint which is an indication of complete combustion (oxidation).

In the case of a downdraft kiln, the sole means the potter may have of determining the amount of reduction taking place inside the kiln chamber is by checking the color of the flame popping from the spy holes and the appearance of the flame at the burner when primary air/gas adjust- ment has been made.

From the author's experience, it has been found that a fairly strong reduction of the clay body is desirable in

the range from 1600 ° to 1800°F. It is not advisable to create a reduction atmosphere whereby excessive smoke and soot pour from the kiln. Excessive concentration of carbon in the clay body will greatly weaken the pottery, and glazes often will come out looking dingy and grey.

From 1800°F (approximately Cone 06) to maturity of the fire, the reduction can be cut back slightly, but it is advisable to maintain the reduction condition until the kiln is ready to be turned off.

DETERMINING REDUCTION PERIOD

The question may arise concerning the length of time necessary to maintain a reducing atmosphere. Since the size of the kiln and the amount of reduction (and how the glazes will be affected by this) determine the length of the period, it is necessary to be well acquainted with one's kiln, the clays and glazes used, and the temperature being fired to. From the author's years of experience, a rule- of-thumb guide that might be considered is to have the kiln in a reducing condition for the latter two- thirds of the firing cycle. If it takes a kiln fourteen hours to fire to Cone 8, the first five hours are fired in an oxidizing condition (or until Cone 014 is reached) and the last nine hours in reduction.

At the end of a firing, many potters advocate a soaking period of any- where from one-half to two hours, while the kiln temperature is kept fairly constant and in a neutral or oxidizing condition. The purpose of this is to clear the atmosphere and the ware from excessive carbon and allow the glazes to settle and smooth out, eliminating pinholing and bloating.

Frankly, the author has found soaking not at all necessary in the firings he has experienced. Too often as a result of such soaking, the glazes and clay body have come out looking in- sipid and dull. If there is fear of too much carbon having accumulated in the kiln chamber, the damper may be left open for about one-half to one minute after the burners have been shut off; this, along with the natural re-oxidation that takes place as the kiln cools, will ordinarily clear the atmosphere and cause the glazes to settle.

A final method that is used for reduction will be mentioned. This is a technique used in conjunction with gas/air mixture and damper manipu- lation and entails periodically tossing small slivers of wood or foreign matter, such as mothballs, into the chamber through such openings as the spy holes. These materials will ignite as soon as they enter the hot kiln chamber and consume oxygen. The fre- quency for feeding these materials into the kiln will depend on whether they are the sole means used for reducing the kiln atmosphere. Ordi- narily, along with the aforementioned techniques of reducing, tossing these materials into the chamber once every five minutes will increase the strength of reduction without appreciably cutting the temperature rise.

One final word for those potters not experienced with gas-firing kilns. For most updraft and downdraft kilns, the temperature rise in the kiln chamber usually will vary considerably from the upper to the lower half until the temperature reads 1800°F or thereabouts. The reason for this discrepancy is the nature of hot gases to rise. Since the upper portion of the kiln will get hotter before the lower, it also points to the bricks and pottery absorbing more heat sooner than the bottom. The temperature will not even-out until this discrepancy is eliminated, and this usually occurs as heat is distributed increasingly to the lower portion of the kiln chamber as the upper portion begins to radiate heat upon its being saturated.

ANG EL O GARZIO's article on reduction firing is especially prepared for those potters who have some knowledge of kilns and high-fire pottery but have not yet made the "'leap" from oxidation to reduction firing. Most potters who find information and inspiration in this article will want to review Mr. Garzio's answer to a reader's question on reduction on page 35 of the February 1972 issue. The author has prepared many feature articles [or CM readers over a number of years; he was represented in the January issue of this year with his definitive material on "'The Majolica Technique for Stone- ware." Mr. Garzio is a Professor o[ Art at Kansas State University, Man- hattan. - -Ed.

May 1972 41

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


years ago. Such faires provided a market place for craftsmen with many prospective customers.

The 20th Century fairgoers will find over 150 of California's finest craftsmen working with the same materials and in the same traditions of Renaissance artisans, demonstrating their skips and selling their wares from rustic stalls.

The Pleasure Faire may be reached from Los Angeles by taking the Ventura free- way west to the Kanan Road exit and following the signs: "I t ' s I have been to the Pleasure Faire, an' oh what sights I did see there."

RECENT PRE-COLUMBIAN DISCOVERIES More than 50 art objects were un-

earthed recently by University o[ Texas art historian Terence Grieder and his assistant, doctoral student ]ohn W. Smith, among the ruins of Pashash, an ancient Peruvian city high in the Andes, about 300 miles northeast of Lima.

"The objects change our conception of Pre-Columbian art styles in Peru," Dr. Grieder says in explaining their signif- icance. Many of the shapes and motifs have not been seen before by art historians and archaeologists, he claims. Among the discoveries were 30 painted ceramic bowls, eight jaguar-and-snake effigy vessels, 17 stone bowls - - all a part of an "offering" which had been buried in a one-yard- square area about 13 feet below the floor of a Pashash temple. "The burying of prized possessions," he says "was to make a spot sacred." Pictured is a hollow pottery

libation vessel, shaped like the body of a snake but having the face and ears of a jaguar.

The relics found by Dr. Grieder and his assistant are from Peru's Reeuay culture and are thought to date around 400 A.D. Paintings on the pottery vessels are "like new," reflecting the Recuay style which featured a cream background on which were painted black, red, orange, gray and white designs. No glazes were known in ancient America.

Dr. Grieder goes on to say, "Like all Pre-Columbian pottery, the pottery from Pashash was handmade, ra ther than wheel- thrown. Nevertheless, it is extremely regular and amazingly thin, down to almost

paper-thinness. The finest wares are made of an untempered cream-white clay and fired nearly to stoneware hardness. The cruder pottery was thicker and had an admixture of sand."

The six-week research trip that Dr. Grieder and Mr. Smith made to Pashash was made possible by a grant from the University's Institute of Latin American Studies. The new information from this field of research is being used in an undergraduate course and in a graduate seminar he teaches on Pre-Columbian art.

RESIDENT.ARTIST SETO The young artist-potter, Hiroshi Seto

of Mashiko, Japan will serve as artist-in- residence at Southern Colorado State Col- lege, Pueblo, beginning March 13 and will remain for approximately six months. Dur- ing his stay he will conduct workshops in the area, build a kiln, and have exhibitions of his work. Mr. Seto has had numerous exhibitions and awards in Japan. Of his activities, he has this to say, "My work derives from the nature of the materials used, the primary quality being the changes that take place when clay is fired in my kiln. My kiln is the traditional climb- ing-kiln (noborigama) using split pine; my own method of firing is that of yohen (changes caused by the kiln) in which wood ash, charcoal, and salt are used. My kiln has its own nature which is beyond my complete control and this is also part of my work." For details of a summer workshop with Hiroshi Seto, see page 30.

CERAMICS IN THE PEACE CORPS

Now in his fourth year as a Peace Corps volunteer, Richard ]. Summons, a graduate from the Philadelphia College o[ Art, is serving as professor of ceramics at the Instituto Nacional de Bachillerato En Artes in San Salvador. He teaches ceramics at the Instituto as part of a multi- national program in the nation's ministry of education. In addition to his teaching, ceramist Summons executed some 300 ceramic tiles which make up a mural de- picting scenes from the Popol-Vul, the so-called Maya Bible. The mural is a part of the decor in the new E1 Presidente theater. He is currently involved in setting up a ceramics workshop at the Fine Arts Institute and the Escuela Naeional de Ceramica, and in developing new courses, such as ceramics, for children.

COSTANZAS EXHIBIT AT ROSEMONT

An exhibition recently shown at Rose- mont College, Rosemont, Pennsylvania was titled J o h n / M a r y Costanza/New Work. All of the ceramic work in the show was done in porcelain or stoneware, and was handbuil t or a combination of wheel and handbuilding. John Costanza is chairman of the Ceramic Department at Moore College of Art in Philadelphia, as well a s

a faculty member of the art department at Rosemont College.

42 Ceramics Mon th l y

APPALACHIAN CORRIDORS: EXHIBITION 3

Appalachian Corridors: Exhibition opened at the Charleston Art Gallery Sunrise, Charleston,

3 o/

West Virginia on • ~ April 2 and con-

tinued t h r o u g h April 30. The exhibition was spon- s o r e d by t h e Charleston Section of the N a t i o n a l Council of Jewish Women with financial assistance from the [.Vest Virginia Arts and Humani- ties Council, the N a t i o n a l Endow- ment for the Arts, the O h i o A r t s

Council, the Kentucky Arts Commission, and the South Carolina Arts Commission Accepted from 141 artisans were 160 works

of art and craft which made up the 13 state biennial competition. Pictured is award winner, "F.R.E.D.," by John Eden of Kentucky. Katherine Kuh and Joel Philip Myers served as jurors and have awarded $15,000 to 53 works included in the exhibition.

JURORS AWARD SHOW AT ROCHESTER

The second half of Memorial Art Gal- lery's Jurors Award Show, a collection of ceramics by Val Cushing, was shown at the Gallery from March 12 through April 2. The show was postponed from its February date when the potter suffered severe burns in an accident in his studio. Cushing's show was made up of some 45 stoneware objects - - large-scale vase forms, covered jars, platters, casseroles, and non-functional

pieces. Pictured is one of the vase forms. Val Cushing, professor of ceramic art at Alfred University, was chosen along with Thomas DeSmidt, artist, for the Jurors Show by the judges for last spring's Rochester Finger Lakes Exhibition, Olaf Skoogfors and William J. Withrow. The award, the top one in the Finger Lakes exhibition, is gwen for "all-around creative excellence."

PUERTO RICAN CRAFTS

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VIRGINIA CRAFTSMEN 1972 The second juried biennial exhibition,

Virginia Cra]tsmen 1972, was held at the Virginia Museum o[ Fine Arts, Richmond, Va., from March 13 to April 9. Paul ]. Smith, Director of the Museum o[ Con- temporary Cra[ts, selected 52 objects from a total of 398 entries. Shown is an earthen-

ware "Cooky Jar # 4 " by Gerald Lang of Hampton, Virginia which was awarded a certificate of distinction. In his state- ment for the show catalog, ]ames B. Brown Director of the Museum said: " . . . Variety is the keynote of this lively exhibition . . . Traditional influences are evident, as are more non-characteristic attitudes . . . . Call them what you will - - craft, object, or art - - they interact to provide a most stimulating gallery experience. In addition, these outstanding works aptly dem- onstrate, as of course is the intent of this juried exhibition, the state of the crafts in Virginia today."

SAN ANTONIO NEWS May activities at the San Antonio Art

Institute include the following events of interest to CM readers: Don Reitz, of the University of Wisconsin, and the subject of a portfolio in the December 1971 issue, will conduct a ceramic workshop May 1-5 at the Institute. This project is jointly supported by a grant from the Texas Commission on the Arts and Hu- manities and the National Endowment for the Arts in Washington, D.C., a Federal agency created by an act of Congress in 1965. On May 7 student work will be exhibited at the Marion Koogler McNay Art Institute during the Third Annual Student Art Festival. Then on May 28 the San Antonio Cra[t Guild will hold its May Market at the McNay Institute.


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S U G G E S T I O N S

Continued from Page 11

taking note of the color, finish, viscosity, crazing and defects. Corrections to improve these characteristics are what usually give rise to the variations. --B. Glassman, Washington, D.C.

TRIMMING TOOL

I have made a trimming tool for heavily-grogged pots from a coat hanger. Straighten the hanger and bend it, bringing the two ends together. Tape the ends together with freezer tape. The closed end (trimming end) can be squared or rounded. Then use a grinding wheel to flatten and sharpen it. Lasts for- ever, and costs nothing. --Lee McCarty, Merigold, Miss.

FLINT OR SAND

If you ever have a need for white sand to use on your kiln shelves for firing large bowls or other pieces that might warp in the firing, try using a thin layer of flint (silica) from your glaze-making supplies if the sand isn't readily available. It is the same thing, only in a pulverized form. When firing such forms, place them in the center of the shelf so they will get even heat and this will give even more protection against warping.

--Mrs. B. ]. Clement, London, Ont.

MORE IDEAS FOR TEXTURE

Every potter works out his own texturing devices, but we have found these ideas to be so effective, we thought CM readers would enjoy trying them. Rayon-type corded fringe, in a 4-5 inch length rolled onto clay slabs, makes especially interesting patterns. Deeply textured terry bath towels and hand croche'.ed rugs (old ones) are other sources for interesting textures.

--Columbus Clay Group, Columbus, Ohio

USE DRINKING STRAWS

In your Suggestions column in an old CM magazine I read of using a metal rib from a discarded umbrella for making holes in clay pots. I t sounds like a very good idea, and made me think of what I use for soft clay. Drinking straws work very well for making holes. They come in several different sizes and are strong enough, even the paper ones. Just a little twist and the straw goes right through, whether the clay is soft or just stiffened a little. They make nice clean holes and even work well for making holes in beads for stringing. They don't seem to spoil the shape of the article in going through, as the little plug of clay just goes into the straw. - -Ruth C. Bonham, San Andreas, Cal.

STUDIO AIDS Here are some useful ideas for studio potters: I bought a

storage turntable that is made to hold and turn items on cup- board shelves. It has a usable dimension of over 17 inches and is wonderful for decorating any piece of pottery; it is especially suited for working on large plates, platters or bowls. I put circular rings on its surface as a guide for centering. Radial division markers, such as thirds, sixths, fifths, etc., could also be measured out and drawn in with a felt pen and ruler.

Another idea. is for sanding and shaping bone dry handbuilt pots. Use small pieces of screen wire, six to eight inches square. Fold, double, and bend them into the needed concave or convex shapes, and use as sanders. These handy little tools cut fast and clean and leave a pleasant rough texture; the texture may be easily sponged away if it is not desired. To level the bottom of a pot, lay a larger piece of screen on a smooth surface and rotate the pot with careful pressure on the screen. The residue from this sanding may be added to dry clay or stirred into wet slip.

--Earl Wixom, Layton, Utah.

DOLLARS FOR YOUR IDEAS

Ceramics Monthly pays up to $5 [or each item used in this column. Send your suggestions to CM, Box 4548, Columbus, Ohio 43212. Sorry, but we can't acknowledge or return unused items.

MEDALLION Introducing the ECONO-MEDALLION

KILNS

NOW AT $109.50" F.O.B. Kirkland, Washington 171/2" x 18" DEEP ,, ~ ~ ~:

Completely assembled of the highest quality materials available including Kanthal elements for cone 6 firing and a mirror finished stainless steel jacket. • Write for more information on our complete line of kilns, or send $109.S0 today for immediate shipment of the Econo-Medallion. • Add $4S for an automati: shut-off installed and *$7.S0 for a metal stand. • All Medallion Kilns are guaranteed for one full year.

HAUGEN AND EK INC. 5914 Lake Washington Blvd. N.E., Kirkland, Washington 98033

Phone (206) 827-61S9

¢ER lt, Icea SUPPLLES S{H kE FE R. P,I . Z RI4

( HIQkN qlbl2. - M a y 1972 45

Gare is dressed to k i ln . . . in stainless steel jackets and a 2-year factory warranty on electrical components. Check Gare's net prices before you make your next kiln purchase and make a killing.

Gare Ceramic Supply Co., Inc. P . O . Box 830, Haverhill , Mass. 01830

Sold only by

Authorized Dealers

I 1147 E. Elm W. P. DAWSON, INC. Fullertan, Calif. 92631

FOR SALE: Fully-equipped potter's studio and gift shop with adjacent 3-bedroom home on half-acre in thriving Florida tourist community $50,000. Contact:

DECKER REALTY & INSURANCE P. o. Box 411, Indian Rocks Beach, Fla.

INSTRUCTION - CATALOGS I With beautiful color charts

.~7BA Ceramic Supplies & Equip. $1.00 m ~67B Enamel Supplies & Equip . . . . 50 m

Costs refundable with coupon (FREE to Schools and Institutions) m

TEPPING STUDIO SUPPLY CO. professional staff

46 Ceramics Monthly

CERAMACTIVITIES Continued [rom Page 44

PIEDMONT CRAFTS EXHIBITION The Ninth Annual Piedmont Crafts

Exhibition was held February 20-April 2 at the Mint Museum o/ Art in Charlotte,

Bakersville, N.C.,

North C a r o l i n a showing 106 objects from a total of 468 entries from _959 artists in 11 South- eastern states. Pur- chases and awards for ceramics went to Tom M a s o n , Charlotte, N. C., f o r a stoneware "Teapot ," pictured; Julie Larson,

for a stoneware "Gold Luster Egg Pot"; Tyrone Larson, Bakers- ville, N.C., for a stoneware "Hexagon Slab J a r " ; Ge[[ Read, Richmond, Va., "Winged Form." For blown glass, honorable mention went to George ]. Thiewes, Penland, N.C., for "Stationary Protector-Dash Board Size." Juror for this year's show was Joel Philip Myers.

FLORIDA CRAFTSMEN SPRING WORKSHOP The Tallahassee Craftsmen, in collabora-

tion with the Constructive Design Depart- ment of Florida State University, with the support of the National Endowment /or the Arts, and the Fine Arts Council o[ Florida, presented the Florida Craftsmen Spring Workshop, April 7-9.

The first day of the event was devoted to all-day, informal workshops in the following media: batik with Maxine Aycoek, Huntsville, Alabama; ceramics with Cyn- thia BringIe, Penland, North Carolina; weaving with Edwina Bringle, Penland, North Carolina; and glassblowing with John Nygren, Walnut Grove, North Caro- lina. The second day was devoted to a visit with the African Craftsmen in America. This program involved Michael Cardew, English author, teacher and potter, who presented a slide lecture, and Ladi Kwali of Nigeria, who demonstrated her handbuilding techniques in pottery. C. Kofi Athey of Ghana, served as inter- preter for Miss Kwali.

OAKLAND FACULTY SHOW

An exhibition of work by the faculty of Holy Name College continued through

D e c e m b e r 15 in the Kennedy Gal- lery of the College Art Center in Oak- land . Exh ib i to r s i n c l u d e d S i s t e r Maria Luisa Wolf- skill, Vilem Kriz, C r a i g C l e m e n s , Don deVive i ros , Alberto Garcia-A1- varez and Robert

Yaryan, of the facuhy. Included in the exhibit and pictured here is the object, "Sunburst ," created by Robert Yaryan.


x-o-z-z-E ZVZ. ldStr.

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Write for literature on lapidary Equipment

earth treasures OEPT. C • BOX 1267*6ALE8BUflG. ILLINOI8 61401

Please M e n t i o n C M when w r i t i n g our a d v e r t i s e r s

L L KILNS • . . the most c a m p | e r e l ine! The only kilns with patented DYNA-GLOW element holders. Write far information. L and L MANUFACTURING CO., Box 348 144 Cenchestor Rd., Twin Oaks, Pa. 19104

POTTERY

EQUIPMENT

SPECIALISTS

LEADING LINES OF KILNS (gas and electr ic) , WHEELS, TABLES, PUG MILLS AND TRUCKS. Southern Sales Office covering southeastern U.S. ~ N.C.. Tenn. and all states southl PAUL STROMGREN & ASSOCIATES

205 N. 11th St., Tampa, FI. 33602 Call: (813) 229-830S or nights 831-8081

Sales and Service

CERAMACTIVITIES Continued [rom Page 46

AWARD W I N N I N G SCULPTURE Robert Willson, University o[ Miami as-

sociate professor of art, was the award winner for his sculpture, "The Bird Fac-

tor," now on view in the newly opened E x e c u t i v e Square Garden o] M o d e r n Art in Miami, Florida.

T h e sculpture, pictured, is com- posed of g r e y a luminum block f o r m s purposely eroded and pitted t(~ resemble ancient

wall shapes. A variety of irregular and multi-colored enameled copper plates, which seem to float above the surface, are attached to the neutral background.

Professor Willson won the commission for the work in a recent competition judged by Robert Doty, curator of sculpture at the Whitney Art Museum, New York; Grover Cole, director of the Miami Art Center; and John Baratte, director of the Lowe Art Museum at the University of Miami.

ASIATIC ART In celebrating the 2500th anniversary of

Cyrus the Great, who founded the Persian Empire, the Seattle Art Museum mounted a stunning exhibition of ceramics, minia- tures, bronze, gold, silver and stone ob-

centre'/ l)()~x], t(,tmd iH Ni~lmlm]. I~o;liillg a vigorous Kufic inscription. The l)Ottcry has a painted slip decoration beneath the cream-colored glaze; the piece, which is 10~ inches, is from the Eugene Fuller Memorial Collection. WESLEYAN POTTERS

Now in its 24th year of operation, The Wesleyan Potters, Inc., Middletown, Conn., is a non-profit, cooperative guild of 55 members who make their own pots, maintain the building and operate a learning center that provides instruction in various arts and crafts. Nearly 450 men, women and children were enrolled in weekly classes during the 10-week fall 1971 semester. Sybil B. Paton, publicity chairman, writes that their sale at the end of November attracted about ten thousand people in a week and sales were far greater than anyone anticipated. Their latest one- day workshop was conducted by Harry Holl from the Scargo Stoneware Pottery, Dennis, Cape Cod, Massachusetts.


Get to theheart of things!

The l l t h Annual National Ceramic Manufacturers Association Trade S h o w

No Registration Feet

C O N V E N T I O N & SEMINARS July 12-16. 1972

How to make Room Reservations: To qualify for the special convention room rate. write to the Reservation Manager, Chase-Park Plaza Hotel, 212 No. Klngshigh- way Blvd.. St. Louis, Mo. 63108 and tell them that you will be attending the NCMA Trade Show.

SHOW DATES July 18-14-15, 1~'/2

Exciting complimentary party for the trade to be hosted by the exhibitors. Important educational seminars, including a return engagement by Dr. Herb True. one of America's most stimulating, refreshing speak- ers. Plus dea le r and teacher meetings, exhibits and important reports.

New, Technique-Fi l led Demonstrat ions

to be presented by participating manufactures to help in increasing the trade's ability in all functions of Ceramics.

"IN T H E H E A R T O F THINGS" - - Chase-Fark Plaza Hote l • St. Louis, Mo. Convention and Seminars open to the trade only -

Studios. Dealers, Distributors and Teachers

The O n l y All Manufacturers Trade S h o w . . .

National Cehmd¢ Menula~tlrers Auoc. 53 Main Street, Moomstown, N. J. 08057

Telephone (1109) 234-0330

~!~!gqii : i

Art-Crafts Supplies, Inc. 235 N.E. 67th St. Miami, Fla. 33138

Distributor for:

PARAGON Kilns • DUNCAN, GARE & ORTON CONES

MARX Brushes • JAC~)UELYN Sfalas

C E R A M I C & S C U L P T U R E S U P P L I E S CLAYS • GLAZES RAW MATERIALS KILNS • WHEELS

RICHLAND CERAMICS, Inc. Post Office Box 34]6, Columbia. S. C. 29203

• • • f o r

school and

studio!

g Mill mix e drudgery

• a I I ~ l l W ~ u l ~ r ~ ~ 7 " . . . ~ d ~ C [ l i l l e I t ) ~ creative

May 1972 47

OSCAR- PAUL A PROFESSIONAL~ WHEEL

w

Just One of * ~ Our Stock

i Complete SS-Page ~ . . . . . . Ceramic I: Supply i Catalog ~ :,~,~ ~ ! ,

ALL ITEMS IN STOCK U.P.S. Service (where available)

• R a w M a t e r i a l s • Fr i fs , G l a z e S ta ins • G l a z e s ~ L o w & H i g h F i re • C l a y s ~ B lended & Basic • K e m p e r Tools • Bamboo T e a p o t H a n d l e s • C e r a m i c Books • P a r a g o n Kilns • L o c k e r b i e W h e e l s

Catalog S1.00 (Free to Schools & Institutions)

EVENHEA I C • .

Shown: Model 4320 Stainless Steel. 17Vz" wide x 18" high with automatic shutoff. $206.50

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Please M e n t i o n C M w h e n writing our advertisers

I TOOLS I KILNS

Schools and institutions write for FREE l i terature.

OHIO CERAMIC SUPPLY, INC. BOX 630 KENT, OHIO 44240

C E R A M A C T I V I T I E S Continued [ram Page 47

CRAFT EVENT AT GALLERY ONE Clare Spitler, Director of Gallery One in

Findlay, Ohio, writes that a craft show, "Objects d'Artist-Craftsmen" was held re-

cently at the Gal- lery. Exhibited was the work of Charles Lako[sky, Bowling Green State Uni- versity and Darvin Luginbuhl, Bluff- ton College. Other participating artists were Evelyn Wentz, Fostoria, O h l o ; Bruce Patterson, F i n d l a y , O h i o ;

Fritz Dreisbach, Penland, North Carolina, and Catherine Arnold, Falls Church, Vir- ginia. Pictured is a porcelain bowl by Charles Lakofsky, raku lidded-pot by Dar- vin Luginbuhl, enameled bowl by Evelyn Wentz and glass bottle by Fritz Dreisbach.

PAUL BOGATAY Paul Bogatay, Professor Emeritus of

Ceramics in the Division of Art at The Ohio State University, died February 17 at Hyannis, Massachusetts. Bogatay, a resident of Worthington, Ohio, was born in Ava, Ohio in 1905. After graduating from the Cleveland Art School in 1928, he held scholarships at three different periods at the Louis Comfort Tiffany Foundation at Oyster Bay, Long Island. He worked briefly as a designer and associate of Arthur Baggs at the Cowan Pottery in Rocky River, Ohio preceding his appoint- ment in 1934 to the faculty at O.S.U., where Professor Baggs was teaching. Pro- fessor Bogatay resigned from teaching in 1970.

Paul Bogatay's honors were many. He was a recipient of a Rockefeller Founda- tion Fellowship and a Fulbright Research Grant to Japan, as well as the Tiffany Foundation Scholarships. His pottery and ceramic sculpture were exhibited in a number of Ceramic Nationals, the Paris In- ternational E x p o s i t i o n , Contemporary American Ceramics, the Museum of Con- temporary Crafts, and the Scripps College Biennial. He received awards in numerous national exhibitions and his work is represented in the permanent collections of the Museum of Contemporary Crafts, Butler Art Institute, Springfield Museum of Art in Missouri, Wichita Art Association, and the Columbus Gallery of Fine Arts.

Professor Bogatay was a past chairman of the American Ceramic Society's Design Division and, as a Fellow of the Society, was affiliated with the Ceramic Educational Council. He received the 1953 Binns Medal in recognition of his outstanding achievements in ceramic arts.

CM is indebted to Margaret Fetzer, an associate of Paul Bogatay on the O.S.U. faculty, for much of the information presented in this brief biography.


POTTER'S WHEEL S|| 9

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I

ONE-STOP CERAMIC SERVICE Central New York Ceramic Supply

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LIVERPOOL, NEW YORK 13088 Sorry, no catalog available

FRANCOISE CERAMICS DISTRIBUTOR FOR: Paragon Kilns, Duncan Glazes, Underglazes, Bisq-Stain and Molds. IN STOCK: Larae selection of Atlantic a Amel • Ludwig Schmid • Holland • White Horse • Fres-O-Lone & Weaver molds. Complete line ceramic supplies.

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NEW No. 12- 1972 Catalog

$1.00 Catalog Sent Free

To Schools & Institutions

VAN HOWE CERAMIC SUPPLY CO. 11975 E. 4ORE, Denver, Colorado 80239

48 Ceramics Mo~zthly

I T I N E R A R Y Continued ]rom Page 37

State Arts and Crafts Fair; at the Schrein- er Institute Campus.

TEXAS, SAN ANTONIO May 1-5 Ceramic workshop conducted

by Don Reitz. May 7 The Third Annual Student Art

Festival. May 28 The San Antonio Craft Guild

May Market; all at McNay Art Institute.

VIRGINIA, BLACKBURO May 12-13 Brush Mountain Crafts Fair;

at the Wesley Foundation.

VIRGINIA, McLEAN May 2-27 Sculptured Pottery by Herb

and Berne Israel; at the Emerson Gallery.

VIRGINIAj PORTSMOUTH May 27-29 The Second Annual National

Seawall Art Show; at the Recreation De- partment, 1 High Street.

WEST VIRGINIAj ~HARLESTON May 21 Rhododendron St. Outdoor Arts

and Crafts Association Festival; at the Capitol Fountain Circle.

WISCONSIN~ MADISON through June 4 "Heirlooms," includes

ceramics and glass; at Elvehjem Art Center.

WISCONSIN~ MILWAUKEE through May 31 The 51st Annual Juried

Exhibition of the Wisconsin Designer- Craftsmen; at the Milwaukee Art Center.

WISCONSIN, WEST ALLIS May 5-7 Wisconsin Festival of Arts; at

the Wisconsin State Fair Park.

C E R A M A C T I V I T I E S Continued from Page 48

NEW JERSEY STATE MUSEUM

New Jersey Pottery to 1840, an exhibition of lead glazed redware, salt glazed stoneware, and yellow glazed molded stoneware, is currently on display at the New Jersey State Museum, and will continue through May 14. James Mitchell, Curator of Decorative Arts at the State Museum who assembled the exhibition, indicated it is the most comprehensive ever shown. Of the 139 objects in the show, 85 are from the Museum's collection and 54 have been loaned by private collectors and the Newark Museum. Among the redware pieces are a poultry fountain, once used to dispense water to domestic fowl; an inkwell, the only known piece bearing the mark of the Thorn Family pottery, and a pie dish which boasts, "Grandmother's Favorite Fireproof Pie Dish."

In the catalog of the exhibition, Leah Sloshberg, director of the State Museum, notes, "The New Jersey State Museum is proud of its collection of early New Jersey pottery which reflects the creative vitality of craftsmen who laid the foundation of what was to become one of New Jersey's most important industries."

CATALOG o| Clays, Chem|cals,

Glazes, tools, etc.

sent FREE to

SCHOOLS, INSTITUTIONS and POTTERS.

STANDARD CERAMIC SUPPLY CO.

Box 4435. Piffsburgk, Pa. 1520S

POTTER'S WHEELS A yar;ely of models for the student or professional ~ electronic speed control with foot pedal m revolutionary design keeps work area clean ~ school inquiries invited. Write for information.

JANRICK ASSOCIATES 5042 Sulgrave Drive, Columbia, S.C. 29210

CERAMIC EQUIPMENT WALKER pug mills • LOCKERBIE, OSCAR PAUL and SHIMPO WEST potter's wheels. Send large stamped addressed envelope for brochures.

Capital Ceramics, Dept. CM 2174 S. Main St., Salt Lake City, Utah 84115

~,"

Where the world of ceramics puts its trust. This insignia means you can count on us for

~.,,.=.~,ou,o,s Qualify ~ Service. OF ..WtetC~

SERVING NORTHERN CALIFORNIA

Shimpo, Robert Brent, Skutt and Lockerbie wheels.

Gas & Electric kilns. Clay bodies and raw materials.

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Catalog free ta No. Cal. Schools & Institutions

GEONELLrS Ceramic Supplies Inc.

3525 Victor St., Santa Clara. Calif. 95050

"[ MENCO ENGINEERS, INC. 5520 Crebs Avenue

• ' Tarzana. California 91356

Number o f wheels wanted 6 MONTHS - "~ ~ Name UNCONDITIONAL GUARANTEE Address MADE IN U.S.A. City Patent Pending State

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Phone (213) 881-1167

Zip {California residents add 5% sales tax)

(Resellers send California resale certificate)

May 1972 49

1000 ISLANDS MUSEUM CRAFT SCHOOL CI.AYTON, N.Y. 13624 I ~" ~-L-A~-~--:.~'

I L1E ~: ~ E ~tt~ I~U aunethru26

-.' t ! EARLY AMERICAN DECORATION - - Jane Bolster, Helen Gross. William Hilton ENAMELING ~ Charles B. Jeffery PAINTING m Rollln Hanson. Charles Dibble, Ray Parks LEATHER - - Steven Edwards POTTERY ~ Richard Butz, Steven Edwards, Penelope Fleming, John Smolenski GOLDSMITHING - - Barry Merrltt WEAVING - - MuriM Barnes, Glory D. Koehler, For further information write to:

Emily Post, Director 10 Boudinot Street, Princeton, N.J. 08540

after June Ist to: 1 0 0 0 Islands Museum Craft School Clayton, 1 0 0 0 Islands, N.Y. 1 3 6 2 4

SUNBURY SHORES ARTS AND NATURE CENTRE INC.

St. A n d r e w s - b y - t h e - S e a N e w Brunswick, C a n a d a

TWO-WEEK POTTERY COURSE (RARU)

Aug . 2 1 - Sept . 2, 1972 Other summer courses and workshops in weaving, painting, crafts and natural sciences for adults and children. This historic town also offers golf, tennis, yachting, swimming, fishing and skating. For full information write P.O. Box 100, St. Andrews, New Brunswick, Canada.

Brant Lake Arts Center SUMMER WORKSHOPS IN ADIRONDACKS

2 WEEK SESSIONS • JULY 3 - AUG. 25 CERAMICS (inc. Raku, Saltglazing, Reduction firing), WEAVING and SCULPTURE. For Bro- chure Write: BARBARA MARKS - DIRECTOR, 3083 MAY ROAD, WANTAGH, N.Y. 11793

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FABRIC DECORATION GLASSBLOWING m LEATHER JEWELRY - - PHOTOGRAPHY

CERAMICS m WEAVING GRAPHICS m FOUNDRY

2 Four-Week Summer Sessions Offered to High School Upper Clossmen

Held at The Hinckley School, Hinckley, Maine For fu~her information write ix):

Erling H. Heistad, Director

H A Y S T A C K - H I N C K L E Y

S C H O O L O F C R A F T S 7C Highland Ave., Lebanon, N.H. 03766

5 0 Ceramics Month ly

NEW BOOKS DECORATED STONEWARE POTTERY OF NORTH AMERICA by Donald Blake Webster Basically, this is a scholarly, well-researched historical survey of Nor th Amer i can salt- glazed s toneware forms, emphas iz ing the range a n d variety of decorat ion used. Ori- gins, basic designs and the a r t of the potter are discussed. Inc luded in the la t ter is a set of rules for s toneware procedures in N a t h a n Clark 's factory (about 1835). En- su ing chap te r s deal wi th the variety of design preva len t in this period. T h e a u t h o r writes, " . . . i t would be equal ly safe to say tha t any th ing wh ich could be possibly appl ied pictorially to s toneware appea red at one t ime or ano ther . " Resul ts of the tech- n iques used are we l l -documented wi th large pho tographs t h roughou t this section of the book. An append ix inc ludes a checklist of potteries, glossary a n d bibl iography. 232 pages; more t h a n 300 b lack-and-whi te pho tog raphs ; $15.00. Charles E. Turtle Company, Rutland, Vermont 05701.

THE POTTERY & PORCELAIN COLLECTOR'S HANDBOOK by William C. Ketchum, Jr. This is a book for the collector of readily avai lable an t ique pot tery and porcelain wh ich was p roduced in the U n i t e d States f rom the late 18th to the early 20th cen- turies. T h e c o m m o n ceramic types, r a the r t h a n precious m u s e u m pieces, are illus- t ra ted in a 16-page pho tograph ic section of the book. Descr ip t ion of pieces, with the colors used a n d or ig ina t ing dates, ac- c o m p a n y the photographs . An au thor i ty on Early Amer i can ceramics, the a u t h o r has divided this s tudy in to five m a i n sections: redware , s toneware, b rownware a n d yellow- ware, whi teware , and porcelain. M a j o r pot ters or potteries in each state, wi th dates of opera t ion a n d types of ware produced, are listed in the Append ix . 204 pages ; $8.95; Funk and Wagnalls, 201 Park Avenue, $., New York, New York.

DELFT CERAMICS by C. H. De Jonge

T h i s r ichly i l lus t ra ted vo lume is the result of twenty years of research by the au thor , who presents a scholarly survey of Delf t faience h igh l igh t ing less famil iar pieces. T h e book opens wi th a treat ise on the t echn ique of m a k i n g Delf t faience as wr i t t en in 1794 by Gerr i t t Paape, and is m a d e in teres t ing by the interspersion of D u t c h terminology. T h e a u t h o r discusses the t rans i t ion f rom early majo l ica to the special Delf t faience and the inf luence of Chinese and Japanese porcelain upon the design of Delf tware. T h e D u t c h tile indus t ry is discussed and it inc ludes descrip- t ions of designs used f rom 1600-1700, in add i t ion to the history of blue, red, and polychrome Delf t ware fired at bo th low a n d high-f i re t empera tures . 168 pages; $15.00; 156 b lack-and-whi te plates and 20 color plates. Praeger Publishers, New York, New York.

Advertisers Index May 1972

A-1 K i ln Mfrs . . . . . . . . . . . . . . . . . . . . . 44 Alpine Ki lns . . . . . . . . . . . . . . . . . Cover 4 Amer i can Ar t Clay Co . . . . . . . . . . . . . . 16 Ar t Consu l tan t s . . . . . . . . . . . . . . . . . . . 46 Ar t -Craf t s Supplies, Inc . . . . . . . . . . . . . 47

Bergen Arts & Cra f t s . . . . . . . . . . . . . . 42 Billiken Press . . . . . . . . . . . . . . . . . . . . . . 14 Bittle Products . . . . . . . . . . . . . . . . . . . . 4 Brant Lake Arts Cen t e r . . . . . . . . . . . . 50 Brent , Rober t , Pot ter ' s Wheels . . . . . . 6

Campbel l , G i lmour . . . . . . . . . . . . Cover 3 Capi ta l Ce ramics . . . . . . . . . . . . . . . . . . 49 Cent ra l New York Ceramic Supply . . . 4 8 Ceramic Coa t ing Co . . . . . . . . . . . . . . . . 16 C e r a m i c h r o m e . . . . . . . . . . . . . . . . . . . . . 4 Creat ive Indus t r ies . . . . . . . . . . . . . . . . . 5 C r e e k - T u r n . . . . . . . . . . . . . . . . . . . . . . . 44 Cross Creek Ceramics . . . . . . . . . . . . . . 44

Dawson , W . P . . . . . . . . . . . . . . . . . . . . . . 46 Decker Rea l ty . . . . . . . . . . . . . . . ; . . . . . 46 Dial -A-Glaze . . . . . . . . . . . . . . . . . . . . . . 16 D u n c a n ' s Ce ramic Products . . . . . . . . . 3

Ea r th Treasu res . . . . . . . . . . . . . . . . . . . 46 Estr in Mfg. Co . . . . . . . . . . . . . . . . . . . . 48 Evenhea t . . . . . . . . . . . . . . . . . . . . . . . . . 48

Francoise Ceramics . . . . . . . . . . . . . . . . 48

Gare Ce ramic Supply Co . . . . . . . . . . . 46 Geonell 's . . . . . . . . . . . . . . . . . . . . . . . . . . 49

H a u g e n a n d Ek . . . . . . . . . . . . . . . . . . . 45 Hays tack-Hinck ley School of Craf ts . .50 Her lacher , R i cha rd . . . . . . . . . . . . . . . . . 50 House of Ceramics . . . . . . . . . . . . . . . . . 11

Jacquel ine Ceramic Ar t . . . . 7, 8, 9 & 10 Janr ick Associates . . . . . . . . . . . . . . . . . 49 Jay-Bel lman . . . . . . . . . . . . . . . . . . . . . . . 38

K e m p e r Mfg. Co . . . . . . . . . . . . . . . . . . 44 K e n Weel . . . . . . . . . . . . . . . . . . . . . . . . 44 Klopfenste in , H. B. & Sons . . . . . . . . . 42 K r a f t K o r n e r . . . . . . . . . . . . . . . . . . . . . 44

L & L Mfg. Co . . . . . . . . . . . . . . . . . . . . 46

Mayco Colors . . . . . . . . . . . . . . . . . . . . . 37 Menco Engineers . . . . . . . . . . . . . . . . . . 49 Minneso t a C lay Co . . . . . . . . . . . . . . . . . 43

Nat iona l Ceramic Manufac tu r e r s Assn. 47 New York State C ra f t smen . . . . . . . . . 49

Ohio Ceramic Supply . . . . . . . . . . . . . . 48 O r t o n Ce ramic Founda t i on . . . . . . . . . . 43 Osca r -Pau l Carp . . . . . . . . . . . . . . . . . . . 46

Pacifica Pot ter ' s Whee l . . . . . . . . . . . . 44 Pa ragon Indus t r ies . . . . . . . . . . . . . . . . . 17 P a r a m o u n t Ceramic . . . . . . . . . . . . . . . . 48 Parfex Co . . . . . . . . . . . . . . . . . . . . . . . . . 44

Reward . . . . . . . . . . . . . . . . . . . . . . . . . . 38 R i c h l a n d Ceramics . . . . . . . . . . . . . . . . . 47 R a v i n Ceramics . . . . . . . . . . . . . . . . . . . 45

Skut t Ce ramic Products . . . . . . . . . . . . 15 S t a n d a r d C e r a m i c Supp ly Co . . . . . . . . . 49 Star S toneware . . . . . . . . . . . . . . . . . . . . 4 S t romgren and Associates . . . . . . . . . . . 46 Sunbu ry Shores . . . . . . . . . . . . . . . . . . . 50

T e p p i n g Studio Supply . . . . . . . . . . . . . 46 T h o m p s o n , T h o m a s C., Co . . . . . . . . . 5 T h o u s a n d Is lands . . . . . . . . . . . . . . . . . . 50

U n i q u e Ki lns . . . . . . . . . . . . . . . . . . . . . 14

V a n Howe Ceramic Supply . . . . . . . . . . 48

Walker J a m a r Co . . . . . . . . . . . . . . . . . 47 Way-Cra f t . . . . . . . . . . . . . . . . . . . . . . . . 44 Wes tby Ki lns . . . . . . . . . . . . . . . . . . . . . 13 Wes twood Ce ramic Supply . . . . . . Cover 2

For Hobbyists • Schools • Art & Craft Centers • Institutions Manufactured by G I L M O U R CAMPBELL - 14258 Maiden - Detroit, Michigan 48213

KINGSPIN Electric

• Heavy Kinalloy 7-;nch table • New ~ with height trimmer • Solid cast aluminum case • 110 volt motor, 35 RPM • On & Off switch, 8-ft. cord • One-year service guarantee • For light throwing

Model E-2 . . . . . . . . . . . . . $24.95 E-2T with trimmer . . . . . . . . . . $26.95

Model E-3T . . . . . . . . . . . . . . . $30.50 (More power for l ight throwing)

E-3 less trimmer . . . . . . . . . . . $28.50

Banding Wheel KINGSPIN Wheel

NEW with Wagon Wheel Base • Top and base are cast Kinalloy • Top measures 61/4" • Shipping weight 3 Ibs.

Model W-6 only . . . . . . . . . $4.95

With 7-inch table Model W-7 . . . . . . . . . . . . . . . . $5.50

With B-inch table Model W-8 . . . . . . . . . . . . . . . . $7.50

With 10-inch table Model W-10 . . . . . . . . . . . . . . . $9.%

KINGSPIN Kinolite Turntable

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

With Wagon Wheel Base

Model W-12 . . . . . . . . . . . . . . . $6.50

With 12-inch Aluminum Table

Model A-12 . . . . . . . . . . . . . . . $16.95

Model T-12 . . . . . . . . . . . . . . $7.50

KINGSPIN Kinalloy Turntable

• 10" model

• Heavy KINALLOY Table

• Heavy Kinalloy round base

• Easy Spinning

Model KR-7 . . . . . . . . . . . . . . $ 6 . 5 0 With 7" Table

Model KR-8 . . . . . . . . . . . . . . . $8.7S With 8" Table

Model KR-10 (shown} . . . . . . $11.25

KINGSPIN Lowboy Steel

• Our Economy Model • Kinalloy Bearing • Easy Spinning • Zinc Plated-Rustproof • 7" Steel Top & Bottom • Highest Qual i ty • Low Price

This new model may be used as a mold stand, for clay modeling or as a decorating wheel in spray booth.

Model S-L . . . . . . . . . . . . . . . $3.25

Wheel KINGSPIN Steel Wheel

• Our Economy Model

• Kinalloy Bearing

• Knurled Stem

• Easy Spinning

• Zinc Plated m Rustproof

• 7" Steel Top & Bottom

• Highest Qual i ty

• Low Price

Model S only . . . . . . . . . . . . . $3.50

Prices F.O.B. Detroit

See your Dealer or Distributor or write: GILMOUR CAMPBELL 14258 Ma;den, Detroit, Michigan 48213

~ 3} $68-0561

In Canada write: Village Ceramics Studio 4949 Dundas St., West Islington, Ont.

ceramic arts network · the stoneware gloves of laraine wade by fred ball ___34 zirconium glazes by...

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