ceramicartsnetwork.org · (illinois residents add 5% sales taz.) [] please rush free thompson...

DECEMBER 1971 60~:

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I fired my teacher!

We know children should never be left to fire a ceramic kiln (not even if it's a likeness of her teacher). But, our kilns are so easy to operate that children sometimes get the idea that they could handle the job. This easy operation is one of the reasons our kilns are so perfect for use in schools. For example, all five of our models have a completely reliable automatic shut-off that's built right into the kiln. This safeguards against over-firing. We also have a dust-proof lid that eliminates siftina. And you can fire a Skutt Kiln every day without forced cooling. This page isn't big enough to list all the advantages of our kiln. So, we'll stop bragging for now. But if you want to know more about our company and products, drop us a line We have a new brochure we'd like to send you

Sku~,t Ceramic Products Inc., 2618 S.E. S:eele Street ?~.~:.~.:'.'J Or,~ac:: : . '2r '2

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December 1971 3

CERAMI CRAFT Gas Kilns

.w Lid and Loading Shelf

, l I B -

Model TL-D 18" x 18" x 20" (sitting area]

"The Pint Size Brute" Bisque through Stoneware . . . Cone l0 (2350 °)

• . . Lid and bottom are 3" of I.F.B . . . . All steel frame and bottom . . . Rolls on 3 steel casters • . . High and low peep sights . . . Calibrated damper. For more information write:

O t h e r Sizes

1 5 " x 15 I' z 2 0 "

1 5 " x 1 5 " x 1 5 " 1 2 " x 1 2 " x I S "

~ A S O N R Y

< ~ O N T R A C T O R

Office 1051 N. Edgemont

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

Plant 11769 E. Slauson

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

T H O M P S O N Offers All Of This For Only $ 4 9 . 5 0

Thompson's catalog introduces a new package consisting of an electric kiln (inside dimensions i 5" wide, 7" deep, 4" high) and including a CAREFULLY SELECTED group of supplies that will get you started enameling immediately . . . for only $49.50, plus shipping charge. Send your order today with payment for prompt shipment. The new Thompson catalog, along with its famous Color Guide, is waiting for you . . . just mall the coupon and it will be on its way . • • absolutely FREE.

Thomas C. Thompson C o . Dept . CM-12 - - 1539 Old Deer f ie ld Road H igh land Park, I l l ino is 6 0 0 3 5

[ ] Enclosed is payment for new kiln package. (Illinois residents add 5% sales taz.)

[ ] Please rush FREE Thompson Catalog.

Name

Addre=~

Slate Zip

4 Ceramics Monthly

O'TTE i E: W EEL! I -V2 " Drain Spout forf.a =X. cleaning

12" Dim, Head

" IIGIIII~ ~ I U ~ U IUI lnOAWlIIUlII ~LI~II~LII Large Knobs fo: easy

• Parts or Services are Avai lable adjustment-Horlzomelly

Catalog ~68 available showing our complete line of Jewelry Making, Silversmithing, Casting and Enarn¢ling supplies. Price $1.00 deductible from first order of $.5.00 or more. Catalogs will be sent without charge to requests submitted on School or organization letterhead.

ALLCRAFT TOOL = su,,,Y coMPANY, ,NO Mall Orders and Correspondence I New York Salesroom

215 Park Avenue • Hicksvilfe, N.Y. 11801 I 22 West 48 Street * N. Y., N.Y. 10036 Phone(516)433-1660 & (212) 895-0686 Phone: (212) 895-0686

M O N T H L Y

7o lume 19, N u m b e r 10 December 1971

Let t er s to the Edi tor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

I t inerary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

S u g g e s t i o n s from Our Readers . . . . . . . . . . . . . . . . . . . . . . . . 12

Cardboard Support s for Clay Structures b y Dav id H u e b n e r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Show Time: Cranbrook, Oakbrook, Columbia, Chicago . . . . 17

Portfo l io: Don Re i tz b y Cather ine C. B r a w e r . . . . . . . . . . . 19

A Waterco lor Ef f ec t wi th E n a m e l s by Marjor ie Buf fum __27

Pr in t ing wi th Ti les by Irene Ket tner _ . . . . . . . . . . . . . . . 30

Bas ic Matt G lazes for Cone 4 b y Richard Behrens . . . . . . 33

C e r a m A e t i v i t i e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Ceramics Month ly Index: J a n u a r y - D e c e m b e r 1971 . . . . . 41

N e w Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Index to A d v e r t i s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

On Our Cover

Wisconsin potter Don Reitz is pictured in his studio as he adds the finishing details on a large stoneware urn. Catherine Brawer's Portfolio feature, start ing on page 19 of this issue, is concerned with the potter 's phil~sophy of working and living

and po ln~ out how his daily activities are reflected in the

ceramics he creates. Bruce Fritz's photographs record some of

the processes Don Reitz uses in making a large-scale jar that

is t h rown as an inverted, narrow-based form.

Editor: THOMAS SELLERS Assistant Editor: FgANCES SAWYER Art Director: Roar.aT L. CREAOER

Circulation Manager: MAR'/' RUSHLEY

Advertising Manager: CONN:E BELCHER

Publisher: SeE~cv.a L. DAvzs

Advisers and Special Contributors: F. Carl ton Ball; Richard Behrems; Ka the Bed; Edris Eckhardt ; Zena Hoist ; John Kenny; Karl Mar tz ; Ken Smith; Helen Worral l ; Don Wood.

Western Ade#rtising Representative: Joseph Mervish Associates, 4721 Laurel Canyon. Suite 211, Nor th Hollywood, California 91607. Telephone: T R 7-7556, Area Code 213.

Copyright 1971 Pro/essional Publications, Inc.

Ceramics Monthly December 1971. Vol. 19 - - No. I0. Published monthly except July and A.tt~mt by Profemdoaal Publications, I~e. - - S. L. Davis, Pres.. 1 ). S. Emery, See.; at 1609 Northwest Blvd., Columbus, Ohio 43212. Correspondence concerning" suimerlptions, renewals, and change of address should be addre~ed to the Circulation Devartment, Ceramics Monthly, Box 4548, Columbus, Ohio 43212. Second C l m postage paid at Athens. Ohio, U.S.A. Subseriptiorm: One yegr $6; ~[~vo yee4"s $10; Three years $14. Copyright 1971. All right4 reeerved. The articles in each issue of Ceramics Monthly are indexed in the Art Index and The Readers' Guide to periodical Literature. Microfilm copiea are available to suimeribers from University Microfilms, 313 ~T:.,Firat St:, Ann A r .Io~., Michigan. ManuseriDte and lll~strations dealing w]t.a cersm~c a~ acz]vi~zes are weloome and will be con~lderad for publi- eatmn. ~an?ser]pts.should ~. typed double-spaced and range from 800 to 2000 ~woro~. ~encl manuscnpte amd eorrcsl~ndenee about them to the Editor, Ceramieg M~thly, Box 4[;48. Columbus, Ohio 43212.

ANNOUNCING A NEW CM HANDBOOK

GLAZE PROJECTS

• ~ ~ A FORMULARY i , . ~ OF LEADLESS ~ GLAZES

l

BY RICHARD BEHRENS

Publicotion Dote: December 10, 1971

Potters everywhere will be pleased to hear that the Richard Behrens handbook on glaze formulation is now ready far publication! This new CM handbook is much more than a collection of glaze recipes . . . the projects include a commentary an raw materials, suggestions as to possible uses for the recipes, and interesting background information.

For those who like to experiment in glaze making, this handbook will be invaluable. GLAZE PROJECTS is a very readable text, and the informal treatment of the subject matter is an aid to understanding more about the nature of glazes and glaze making. This exciting new handbook was compiled using a selection of articles by Mr. Behrens that appeared in Ceramics Monthly and a group of projects the author prepared specifically for this book. Included is a unique glossary of materials which the potter will find to be an excellent reference source.

The first book of its kind, GLAZE PROJECTS provides an author- itative and convenient source of information for the potter on the formulation and application of a variety of leadless glazes in all firing ranges.

USE THE COUPON BELOW TO ORDER

YOUR COPY OF GLAZE PROJECTS

only $3.00 per copy.

F m m m m m m m m m

/ CERAMICS MONTHLY Book Deportment

1 1 Please send me _ _ copies of GLAZE PROJECTS by Richard Behrens @ $3.00

I I Address

C;ry,

I I State Tip

Ohio residents add [2c per copy sales tax.

I enclose [ ] Check [ ] Money Order

L We Pay Postage - - Money-Back Guarantee u

.J December 1971 5

ager of the"fferamic Division, American Art Clay Co., Inc. since 1946.

gmgGg , . , co.

A Professional Speaks O N LEAD RELEASE I N F I R E D GLAZES

"Over two years ago we began the ambitious, time consuming task of having over two hundred Amaco glazes tested and, when necessary, reformulated to pass current United States Pottery Association and Federal Food and Drug Administration standards in respect to lead release.

THE RESULTS... Over eighty per cent of Amaco's glazes in present production are now leadless or meet or exceed the minimum lead release requirements established. And for those artists who create non-utilitarian objects, we will continue to manufacture a bril l iant array of glazes which cannot be formulated without the use of some lead bearing ingredients. These are not recommended for use on food or drink containers. All labels on current production glazes indicate whether or not they are suitable for food and liquid receptacles."

In light of the above statement, you may continue your use of Amaco glazes confident in the knowledge that the American Art Clay Company, Inc. is, as always, vitally concerned for customer safety and well-being. An Amaco color chart and a listing of glazes suitable for food and drink containers is yours on request.

Order Amaco ceramic products from your regular dealer and/or write us for Catalog No. 56 of Ceramic and Metal Enameling Sup- plies and Equipment.

INC., 4717 W. 16th ST., INDIANAPOLIS, INDIANA 46222

t~ C E P ~ t ¢ ~ SUPPLIES S¢I~ kE FE R. I~RBORI4

r.bllQkl~ u,•12.b 6 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

CHEERS I am an art teacher and department

chairman on a leave of absence from my teaching duties and would like to say "thank you" for publishing an outstanding magazine. My increased interest in ceramics became contagious in the classroom and we now have a fine ceramic program for grades 7-12 in a rural school Many of the ideas we used and much of the equipment we purchased were found in CM.

In private life I started a small studio. Starting with earthenware, I started making my own glazes and became "hooked" on a ceramic hobby. I became interested in raku and took a great course at Rhode Island College where guest lecturer Gerry Williams from New Hampshire taught us his technique of firing bisque raku wet. He wedges a substance called Ka-o-wool into his clay formula.

I am now working in stoneware and have been throwing teapots. I find the long overhead pulled handle very time-consuming and difficult to teach my students. I am requesting information on where I can purchase ready-made bamboo handles for teapots. I vaguely remember an article in CM about this, but can't seem to find it. I would appreciate any help on this subject.

Have you or would you consider publishing a magazine article or purchasable papers on all the stoneware glazes (formu- lations) you have acquired in the years you have been publishing? I believe potters would be greatly interested, as would students in high school whose time and chemicals are limited. Please consider this request. Again thank you for a good ceramic magazine. Wanda Eastham

N. Scituate, R. I.

You will f ind re/erences to bamboo handles in ads in CM. I f you ever want to try making your own bamboo or reed handles, you may want to refer to Angelo Garzlo's article on this in the April 1967 issue of CM.

The newest C M handbook, "Glaze Projects," includes many of the stoneware glaze formulas given by Richard Behrens in articles written since 1962. An adver- tisement for this addition to our handbook line can be found on page 5 of this issue. -wEd.

THE GORDY PORTFOLIO I traveled to Cartersville recently to

select some of William Gordy's pottery for use in an upcoming historical event in our county and, I might add, to get another piece for my small personal collection.

While talking with Mr. and Mrs. Gordy, she showed me the June 1970 issue of CERAMICS MONTHLY and I immediately sat down and read it. The article was very well written and the accompanying photographs marvelous. I t was a perfect and well-deserved tribute to a true artist-

LETTERS craftsman. I am so glad I got to see and read it.

On October 30th New Echota Council Grounds was the scene of a sesqui-cen- tennial celebration honoring Sequoyah and the adoption of his syllabary by the Chero- kee Nation• The luncheon decorations committee decided to feature dried floral arrangements in various pieces of Mr. Gordy's handcrafted pottery. We thought

it would be nice to include information about Mr. Gordy in the luncheon sou- venir program. Your article provided an excellent source for some valuable information. Mrs. ]ohn L. Reese, ]r.

Calhoun, Ga. POWER IN THE MAN

Mr. John Novy needs no defense from me or anyone else for that matter, in

Continued on Page 32

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For Consistent Glaze Results YOU need tile accuracy of an OHAUS Scale

OlqAUS

32 page catalog describes complete line of Ohaus products.

It is a thri l l to open your kiln and take out a piece with a beautiful glaze, made yourself out of ingredients combined according to your own formula.

And of course you need a sca l e . . , a durable scale offering consistent accuracy at reasonable cost.

Ohaus Triple Beam balances are the perfect answer, easy to work with and built to last.

Choose from several models: Stainless steel plate, Model 750S, $29.75 Removable stainless pan, Model 710, $34.75 Removable polypropylene scoop, Model 720, $39.75 Capacity up to 2610g - - Avoirdupois models available.

Whichever model you choose, you'l l open the door to greater enjoyment. Note to Teachers: Ohaus scales have proven themselves in science labs and classrooms',fOf, more• than 50 years . . . they really stand up.

For complete in format ion and the name of a dealer near you, write:

O H A U S "SCALE C O R P O R A T I O N 29 HANOVER ROAD • FLORHAM PARK, N. J. 07932 (201) 377-9000

D e c e m b e r 1971 7

or The Discriminating Ceramist MODEL A-99B

Fire immense loads daily Th|s enormous 10 sided kiln is 27" deep and 23~" in diameter for a full 7

cubic feet of firing capacity. Fast firing and fast cooling allows you to fire

immense loads daily. The three movable sections have their own 4-way switches

and pilot lights. Use the three sections to fire your tallest lamps or top and

bottom sections for many small pieces. Fires to cone 6 ~ 2300 °, everything

from china paints to porcelain. Add a 4½" blank collar for full 31½" depth.

EXCLUSIVE! INCH OF BLOCK INSULATION IN UD AND BOTTOM

@ IN STAINLESS STEEL M o d e l A -99B . . . . . . $399 .50

41/2" blank collar, $32.00

~ FREE.. crating., instruction manual steel stand.

C o n v e n i e n t C r e d i t

1 Y E A R T O P A Y A l l s i z e eKri/ns a v a i l a b l e to f i l l ev f i r i n g n e e d

Stop in at your nearest Paragon Dealer or write for your new catalog listing over 30 models to

~ , z ~ m ~ 9 ~ , 9m.. Dept. CM Box 10133, Dallas, Texas 75207

You can have TWO good WOOl] Wheels for the price of only ONE good STEEL WHEEL A WOOD WHEEL can: • Be made at much less cost than a steel wheel • I-love the advantage sought for in a steel wheel (endurance, rell- a b!ll,ty, precision, etc.) e. Be available in KIT packages wmcn anyone can assemble • Be aesthetically wooden

Denve r ' s m a s t p o p u l a r w h e e l , T H E W I L L I S W H E E L , is n o w b e i n g o f f e r e d n a t i o n a l l y a t

W H O L E S A L E PRICES ( f r o m f a c t o r y , w i t h l o v i n g c a r e , t o y o u ) .

METAL KIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $75.00 14" A1Mg throwing head: 281/2" tool steel keyed shaft; 14" steel pulley with bushing: and two heavy duty, steel, pillow- block bearings. (NOTE: These components cost over $150 at retail.) WOOD KIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $50.00 Deslgn-cut parts, bolts, and mold for 150 lb. flywheel ready for assembly. COMPLETE WHEEL KIT . . . . . . . . . . . . . . . . . . . . . . $110.00

ASSEMBLED WHEEL . . . . . . . . . . . . . . . . . . . . . . . . . $175.00 With or without welghted flywheel. Please specify - - it weighs 150 Ibs. MOTORIZING KIT . . . . . . . . . . . . . . . . . . . . . . . . . . . $100.00 3~ hp totally enclosed, explosion-proof motor: clutching assembly: switching assembly; and mounting assembly. 0 to 350 rpm. (Note: Again, a savings under retail of over $100.00)

Freight charges are COD. Prices quoted above do not include Federal, State or local taxes, and are sub ecf to change without notice. Lot prices are available. Send at least 60% of our quoted price per order. Brochures are available for 25c.

W M S POTTER WHEELS The Barn • Heritage Square • Golden, Colorado 80401

Telephone (303} 279-3833

Now you can ENAMEL ALUMINUM with Copper Enameling Equipment and Techniques

We supply you with aluminum enamels 80 mesh, lumps, and threads. You can order in the same way as you have always ordered enamels a n d app ly opaques and

transparents with the same skill you have

spent years learning while enameling copper. You can avoid costly copper and use inexpensive, easily obta inable aluminum. Write for our introductory kit and instructions.

Kit contains • Eight beautiful colors with transparents and opaques • Aluminum cleaner • Trays and assorted shapes Complete kit costs only $8.75 postpaid

W r i t e :

CERAMIC COATING COMPANY P.O. Box 370 Newport, Kentucky 41072

Largest domestic manufa~lwm, of enamels for both art and ledesthry.

g Ceramics Monthly

Send your show announcements early: "Where to Show," three months ahead of entry date; "Where to Go," at least sb: weeks before the opening.

WHERE TO SHOW

INDIANA, EVANSVILLE February 13-March 12, 1972 The 12th

Annual 1972 Mid-States Craft Exhibition is open to craftsmen living within a 200- mile radius of Evansville. Media include ceramics, enamels and glass. Fee; Pur- chase and Merit Awards; Entries due January 13-23. For information, write: Craft Committee, Evansville Museum of Arts and Science, 411 S. E. Riverside Drive, Evansville 47713.

IOWA, AMES January 16-February 16 The Third

Annual Clay and Paper Show is open to artists living within a 300-mile radius of Ames. Media include ceramics. Entries due January 7. For information and entry blanks, write: The Octagon Center for the Arts, 232½ Main, Ames 50010.

OHIO, YOUNGSTOWN ]anuary I-February 27, 1972 The 24th

Annual Ohio Ceramic and Sculpture Show is open to present and former residents of Ohio. Media include ceramics, enamels and sculpture. Purchase prizes. Deadline for entries: December 12. For information, write: Secretary, Butler Institute of Ameri- can Art, 524 Wick Ave., Youngstown.

WHERE TO GO

ALABAMA, HUNTSVILLE December 3.5 The Fourth Annual

Christmas Arts and Crafts Show, sponsored by the Delta Zeta Sorority; at the Mall.

AI~IZONA, PHOENIX through December 5 Heard Museum

Guild Indian Ar:s and Crafts Exhibit; at the Heard Museum.

CALIFORNIA, OAKLAND through December 19 Faculty Art Ex-

hibit; at the College of Holy Names.

CALIFORNIA, SAN LuIs OBISPO through December 20 The Fourth An-

nual Invitational Show for California Craftsmen; at the Art Center, Mission Plaza.

COLORADO, COLORADO SPRINGS through December 5 "Norwegian Crafts,"

American Federation of Arts Traveling Exhibition; at the Colorado Springs Fine Arts Center.

CONNECTICUT, MIDDLETOWN through December 5 Annual Exhibit

and Sale; Wesleyan Potters Craft Center.

DF~AWARE, WILMINGTON through December 7 Invitational Crafts-

men Show; at the Delaware Art Museum Downtown Gallery.

ITINERARY through December 17 The 15th Annual

Contemporary Crafts Juried Exhibition; at the Delaware Art Museum.

ILLINOIS, CARBONDALE December 1-18 "Twelve Dutch Potters"

exhibit; University of Southern Illinois.

INDIANA, FORT WAYNE through December 12 "Toledo Glass

National I I I , " Traveling Exhibition of the

Smithsonlan Institution; at the Fort Wayne Art Institute.

i~'[AIN Ej ORONO December 3-4 United Maine Crafts-

men Show; University of Maine.

MASSAGH USETTS~ BOSTON December 9-12 Boston Flea Market

Christmas Show; at Commonwealth Pier. Continued on Page 10

"rEXJ ~ N I C-~A)~I : : )BE,~ . I ~ R ~ . KICK V~-tEELTC~F__I~ F I~ /~ OME OF

oul~, ~ t ~ FOta, ~ 0 9 . 5 0 cI]-tA-r3 ALL-II-IE METAL PAIE~) IFYOU IK~JO~/A UI-ILE C ~ F ~ . OR,. b'VN~ ITF=~II~E ,z~ D ~-'T~aA_-I'I-IE ~ i:JRF-OJT

FOR.AM ~ 3 2 , 5 . 0 0 . ALL OUR. ~ AMD KICK WI-IrrJEL MOI::)EI.~ APE" " AVAII~BLE AT NV~OR CERA/~IC SUPPLIF_J:LS N~TIOMWIDE. ~EE OIME. ~VHILIE YOU'RE "I]-tlNI~KIG- OF ~.E:)!JR I:~VORI'I1E PUil~K. AT C:I-IRI~'I]VV:~5, OP~ WR]I~ U5 FI:)R. A FREE BREX:~URE

WE: ~ BEFFEI:< M-IE~I_,3 AT BETTE~ PI:~.CF_5

POITEPJ5 VA4~(.~ Z49,5 I~I.UEI~c.LL {::~IVE, ..~Vq'I~RO,.,~/~ , ~ I , A , ,gU:=w$OI

December 1971 9

ITINERARY Continued from Page 9

MASSAGHUS]gTTS, CONCORD , throftgh December 12 "Massachusetts Artist-Craftsmen"; at the Concord Art Association.

MIGHIOAN~ DETROIT December ll-]anuary 9 "The Ameri-

can Porcelain Tradition," a Traveling Ex- hibition circulated by the New Jersey State Museum; at the Detroit Historical Mu- seum.

through January 2 The 22nd Exhibi-

tion for Michigan Artiat-g3rafUmen; at The Detroit Institute of Arts.

MINNESOTA, DULUTH December 6-31 Craft Commitment Ex-

hibition; at the Tweed Museum of Art.

MISSOURI, ST. LouIs December $-29 The Eighth Annual

Holiday Exhibition. through December 20 St. Louis Artists'

Competition-Objeets '71; both at the Craft Alliance Gallery.

NEW HAMPSHIRE, MANCHESTRR through January 3 New Hampshire Art

(

10

There's no limit to the effects you can get when you use the quality glazes developed by

MAYCO® COLORS. Used singly or in combinations, MAYCO glazes lift every piece out of

the ordinary. And all MAYCO products - - Glazes, Under- glazes, One Stroke - - are homogenized for

easier application, and fire at Cone 06. Send for free color chart of America's finest colors.

m a y c o 20800 Dearborn Street Chatsworth, Calif. 91311 Dealerships Available

c o l o r s

Ceramics ~Monthly

Association's Fifth Annual Exhibit; at Currier Gallery.

NEW HAMPSHIRE, SHARON through December 24 Gallery Members'

Show; at Sharon Arts Center.

NEW JrasE~,, PARAMUS December 2-24 New Jersey Designer

Craftsmen exhibition and sale; at the Bergen Community Museum.

NEW YORK, CORNING through December 26 "Contemporary

Finnish Design by Tapio Wirkkala," a Traveling Exhibition of the Smithsonian Institution; Coming Museum of Glass.

NEw YOKE, NEW YORK December An Exhibition of Stained

Glass from the Metropolitan Museum's collection; at the Cloisters.

December 4-12 The Second Annual New York Art Festival; at the Americana Hotel.

December 2-23 Annual Christmas Show; at Greenwich House Pottery.

NEW YORK, 'ROCHESTER December 4-26 "Crafts for Christmas";

at the Memorial Art Gallery. December 7-January 12 Exhibition of

recent ceramic work by Bill Stewart; at The Schuman Gallery.

NEW YORK, SCHENECTADY through December 26 The Schenectady

Craft Show; at the Schenectady Museum.

NEw YORK, UTICA through December $ Satsuma Ware,

Japanese ceramics from the Proctor Col- lection; at the Fountain Elms.

OHIO, CLEVELAND December 3-January 3 Work of Hay-

stack School of Crafts faculty, past and to present; at the Design Corner.

through December 21 Latin American Crafts; at the Karamu House Art Gallery.

OHIO, YOUNGSTOWN Continuing Ceramic, enamel, and sculp-

ture exhibits change monthly; at The But- ler Institute of American Art.

OHIO~ ZANESVILLE December The Ohio University Invita-

tional Alumni Exhibition; at the Art Asso- ciation of Zanesville.

OKLAHOMA, TULSA December $-28 The Fifth Oklahoma

Designer Craftsmen Exhibition; at the Philbrook Art Center.

OREGON, PORTLAND through January 12 "Reflections on

Glass" exhibition; Portland Art Museum.

PENNSYLVANIAj EDINBORO through December 15 The Second Ce-

ramic Invitational includes work of Jack Earl, Wayne Higby, Run Pivorar, Don Reitz, Suzanne Stephenson and David Tell; at Edinboro State College.


SHIMPO DOESN'T JUST

BUILD POTTER'S ....................

WHEELS

IT ENGINEERS THEM. THERE ARE OVER 25 ENGINEERS AT SHIMPO PLUS A LARGE SUPPORT STAFF WHICH

HAS CAREFULLY PERFECTED EACH DETAIL OF THE WHEEL'S DESIGN. COUPLE THIS

WITH A NO NONSENSE QUALITY CONTROL SYSTEM THAT MONITORS EVERY STAGE

OF WORK AND YOU CAN SEE WHY WE RECEIVE ONLY ABOUT FIVE MAINTENANCE

CALLS OUT OF EVERY ONE THOUSAND RK-2'S SOLD~

WE AT SHIMPO-WEST ARE CONCERNED WITH OFFERING AN ELECTRICIPOTTER'S

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12 Ceramics Monthly

SUGGESTIONS [rom our readers

GUM AND WATER SOLUTION Any number of times I have read of inquiries referring to

breaking and cracking of greenware in the firing. In my ten years of experience with college students, we haven ' t had more than five accidents! Besides wedging the clay to free it from air pock- ets, we also insist that whenever water is needed that a mixture of 1/5 gum and 4 /5 water solution be used in place of and /o r mixed in with sllp in handbuilding. When mixed with soft clay, it makes an excellent mender. I t also should be used when adding handles, knobs, etc. to thrown pieces. We never have a handbui l t piece that hasn ' t had some applications of diluted gum solution, nor have we had startled faces when the kiln was opened only to find an error was made.

----Sister Mary Angela Wilson, Manitowoe, Wis.

BONFIRING Here is an easy and interesting way to glaze fire pottery . . . .

have a bonfire! This can be done simply by gathering a few pieces of equipment (depending on what you have available) and finding an open out-of-doors location. Small handbuil t pots work the best using a low-fire (Cone 04) glaze.

I have done some experimentation with bonfiring and the following are the equipment and procedures I have found to work the best. Location: Large out-door area (farm, field, dirt lot, etc.). Equipment: Heavy metal grate (to hold pottery), fire bricks (to support grate) , sheet metal (to surround top of grate to hold in fuel), dry corn cobs (main fuel), wood, dry grass (other fuel), cow dung, wet leaves (reduction agent) , shovel, tongs, hatchet, newspaper and matches and dirt (to cover fire). Clothing: Gloves, hat, insulated jacket, and thick soled shoes. Most of the equipment can be found at home, on a farm, or in a junk yard.

Begin by digging a pit over which you will place the grate supported by the fire brick. The pit is to allow plenty of ventila- tion under the fire once it gets started. Place the metal around the top of the grate, and the wood and grass underneath in the pit to begin the fire. Once the fire is started, place the pottery around the edge of the grate to warm it slowly, then move the pottery into the center of the grate. Once the pottery is in the center (about 45 minutes from the start) , begin putt ing the corn cobs on the pottery. Add these slowly until all the pottery is covered. Continue adding the corn cobs until the fire is red hot and the glaze has melted on the pottery. (Remember to keep the area under the grate open; the oxygen wiU keep the fire hot.) Once the glaze has melted (one or two hours) let the fire die down some and cover it with cow dung or wet leaves and then immediately throw on dirt until the entire fire is covered, including under the grate. Oxygen must not get into the pottery. Let cool at least 45 minutes; if time permits a longer cooling, fine! Then uncover the pottery.

Because of the reduction firing, the glazes take on a metalfic look and may turn many different colors because of the action of the direct flames. Unglazed areas will be black or smoke- marked. The results you will receive would be impossible to obtain in a gas or elect.fie kiln. --Kathy Hansen, Omaha, Neb.

MASKING TAPE I want to share with CM readers a useful, time-savlng de-

vice. Instead of using wax to protect the base of pots while glazing, use masking tape that may be cut to shape. I t is quick, economical and equally efficient. ---Dina Kijnev, Glendale, Wis.

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.

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December 1971 13

Cardboard Supports for Clay Structures by DAVID HUEBNER

ONE OF THE SIMPLEST methods I have found for creating slab pots is one that makes use of just two items commonly found in the studio - - cardboard and a rolling pin. The possibilities from working in this way are virtually limitless, however, and the forms constructed with roiled-out slabs and cardboard supports are not only surprisingly light but they are structurally very strong. It is not out of the ordinary to find pieces of a height from 24 to 36 inches with walls that are as thin as ~ inch. These are not the only advantages of working with this technique, since texture or design can be applied to the clay surface before the walls are constructed in order to create special interest in the pieces.

The material for the supporting structure can be either corrugated or smooth cardboard, as long as it functions as a rigid wall to hold the soft clay skin until it stiffens enough to support its own weight. Corrugated cardboard leaves a distinctive ribbed pattern on the clay surface which is pleasing in itself or which complements either horizontal or vertical decorative motifs. If smooth cardboard is used for the support, there generally is little or no texture unless it is added after the walls have stiffened and the cardboard has been removed.

The cardboard used for the framework must be pre- shaped by folding or scribing it to create outer wails for the desired shape before any clay is applied to it. It is very important that corners or curves fall easily into the planned shape.

Once the cardboard form is cut and/or folded to the desired shape, it is placed fiat on the working surface and clay is rolled into sheets or slabs that will cover the cardboard. These clay slabs can be rolled out on cloth, as is conventionally done, or they may be rolled directly onto the cardboard itself. If the clay /s roiled onto the cardboard, it will stick tightly and cannot be removed until the clay stiffens somewhat and shrinks. Became of this, any texturing that might be desired must be done by placing the texture-producing material on the surface of the cardboard before the clay is rolled onto it.

If the clay is rolled out onto a cloth or canvas, the exposed surface can be stamped, beaten, or textured with exacting reliability, then the cardboard can be placed over the textured surface and rolled gently but firmly to adhere the clay to it. After this, the clay is turned over and the cloth is removed.

Once the clay is textured and rolled onto the cardboard, it is ready to be manipulated into the desired form. If the shape is a squared or rectangular one, the cardboard should be folded at the seams (with the clay on the inside), and the corners should be creased; where the two ends come together, these can be carefully joined into a seam. The clay seam should be made while the form is still in the horizontal position since it is easier to work on it; the cardboard should also be taped for added reinforcement.

A base for the project is prepared by rolling out another slab of clay of the same thickness as the wall section. This slab is placed on a bat in preparation for adding the wall. When it is ready, the wall structure is raised to the vertical position and any adjustments made to bring it to the planned shape. Since the clay wall unit

14 Ceramics Monthly

1. Cardboard is cut and shaped to/~Tm cithe~ a circular or a rectangular vertical shape.

2. Corrugated cardboard is coz, s'red wittL overlapping strips of clay that are %-inch thick.

4. Excess ~ lay is tr immed away, then the cardboard is manipulated to shape the clay form.

5. Where the l;co ~ide., ~ome to~,~,th~,~, ~'~t~a clay i~s added to reinforce the seam.

6. A coil is worked into the clay seam while tile form still is in a horizontal position.

December 1971 15

7. The cardboard wrapped cylinder is held vertically and positioned firmly to the base slab.

8. Clay coil is added to rein[orce seam just before the top section is added.

9. A thrown top is added to the reinforced wall to form a shoulder and neck for the vase.

10. When the clay has firmed up, the cardboard supporting structure is peeled away.

I

t

I

j A

is protected by the cardboard on the outside, the hands can safely grasp it quite firmly for placement on the prepared base. A firm joining of wall to base is made by tapping on the top of the cardboard with a flat board or by lifting the bat and thumping it sharply on the working surface to effect a bond between the two clay sections. At this time, more clay can be added and then worked into the seam inside the wall unit in order to give extra strength to the joint.

A top section can be added at this time if it is wanted. This top can be slab built, perhaps as another cardboard-

and-slab structure, or it may be thrown, as is demonstrated here. No matter how it is made, it should be added soon after the walls are in place.

When the clay in the walls has stiffened enough to support itself and the added top unit, the cardboard may be removed and any finishing work carried out. I t also is possible to leave the cardboard around the pot and allow it to burn off during the bisque firing.

I have found the above method of slab building to be quite easy, very fast, and absolutely satisfying as to the final results.

16 Ceramics Monthly

Cranbrook Alumni Gallery Tour

CRANBROOK ACADEMY OF ART a lumni sponsored a public tour on October 16 of art galleries in the Detroit, Grosse Pointe, Birmingham, Royal Oak, and Bloomfield Hills areas that were exhibiting work by Academy students, faculty, and almnni. Purposes of the event were to give participants an idea of the wide and varied contributions that artists associated with the Academy have made to the cultural life of this country, and to re-acquaint the public with the artistic directions of the institution.

Ceramic work by Maija Grotell, former Cranbrook faculty member, was featured at the Cranbrook Art Galleries; other potters represented in related exhibits included Dick DeVore, present head of the Academy ceramic department, John and Suzanne Stephenson, Edith Pirtle, and John Glick. Pictured is Glick's teapot, which was among work by the potter featured at the Allen Rubiner Gallery in Royal Oak. The piece is 11 inches high and was fired to Cone 10 in reduction atmo- sphere. The main section of the pot was thrown on the wheel and the sides were faceted. The handle was pulled, and the spout was of slab construction.

The Bloomfield Art Association, Birmingham, featured as its part of the "Alunmi Go" a showing of an open competitive glass exhibition and the one-man show by Harvey Littleton. juror of the exhibition.

Oakbrook Invitational Craft Exhibition

THE OAKBROOK INVITATIONAL CRAFTS EXHIBITION presented work by 79 craftsmen in an outdoor showing at the Oakbrook Center Shopping Mall, Oakbrook, Illinois, in July. Eleanor Caldwell, of the Northern Illinois Uni- versity Art Department, was the director of the Exhibi- tion, and Alma Eikerman, Indiana University, served as juror and presented the awards.

Work by 26 ceramists was included in the displays on view during the two-day event. Dennis Jennings, Cedar Falls, Iowa, was given an award of excellence for his pottery; honorable mention awards went to Edna Arnow, Chicago; John Bowitz, Franklin, Wisconsin; Edith Frank- lin, Toledo; William Tersteeg, Bethaldo, Illinois; and Arthur Towata, Alton, Illinois. Pictured is a section of Eselean Henderson's display, which featured stoneware windbells.

It was estimated that over 200,000 persons viewed the work by potters, weavers, glassworkers, enamelists, metal- smiths, and textile designers in this fourth annual event sponsored by the Northern Illinois University Art De- partment.

December 1971 17

South Carolina State Art Collection ~'~:ORK BY SOUTH CAROLINA ARTISTS, na t ive or resident, is being selected to form a State Art Collection under the auspices of the State Arts Commission. Begun in 1968, there now are 44 works of art in the group, including three ceramic pieces added in 1970 and 1971. Pictured is an oxblood salt-glaze pot by Ron Meyers, of the Department of Art at the University of South Caro- lina at Columbia. I t was selected from the 20th Annual Guild of South Carolina Artists' Exhibit.

The entire collection is available for loan; maintenance and storage are handled by the Columbia Museum of Art, whose curators also transport, hang, and dismantle the exhibit when it is on loan. During December, the show can be seen at South Carolina State College at Orangeburg; during January it will be on display at Clemson University's College of Architecture; and during March it can be seen at the Florence Museum, Florence, South Carolina. While the collection to date has traveled only to border states, it is hoped that eventually it will be seen throughout the nation.

Burke Ceramics at Chicago Public Library CLAY SGULPTURE AND CERAMIC POTS c rea t ed by Roy O. Burke, associate professor of art at Illinois University, DeKalb, Illinois, were exhibited in the art department of the Chicago Public Library in September. The salt- glazed flower container shown is from the exhibition. The piece measures 13 x 13 inches.

Speaking about his work, which has been exhibited in one-man shows throughout the country, Burke says: "As a ceramist I feel a kinship with the potters of antiquity, those men and women who thousands of years ago must have found in clay the same responsiveness to personal expression I find today. I am caught up in the intrigue of glazes and with the endless possibilities of blends and colors and materials which make each kiln-opening an event. I am challenged to solve new problems and to accumulate understanding and increas- ingly greater command of the materials I use. Good ceramic pieces must reveal not only craftsmanship but a sensitivity to ideas and materials. In an age when rules, guides and standards are often set aside, I believe it is more important than ever that an artist adhere to his own sense of 'rightness' which he has developed over many years of work and study. Although I have experimented with various trends that have come and gone in ceramics I always return to classic forms with their endless variations.

" I believe that art should enhance man's life, not dominate it, and as a consequence I resist much repeti- tion of even my more successful techniques. Some years ago I was motivated to produce a ceramic bottle that would approximate my own height. When I had learned the technique and technical requirements of making a six-foot-tall bottle, I was satisfied. I continue to approach ceramics with the philosophy that when one challenge has been met I am ready to explore again."

18 Ceramics Monthly

Don Reitz A Ceramics Monthly Portfolio by CATHERINE C. BRAWER

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FoR DON REn'z, clay is the core of existence. "It's the nucleus of my philosophy of what life is about. When I talk, people think I 'm talking about clay, but I don't separate clay from my life. My work, my family, my farming, my teaching, my religion are all one. Some days I plow the fields, work with my horses or teach at the University of Wisconsin; it's one flowing event. I let each day build, as when I throw a pot."

The continuity with which Reitz pursues his daily activities is reflected in the ceramics he creates. His fluid, spontaneous style is an organic extension of his direct and often intense personality. It is molded by past experiences and stimulated by the new forces Reitz encounters. Each piece that he throws is, for this reason, the sum total of everything that has happened to him.

His discovery of clay came as a direct result of a teacher's remark to him that he had the hands of a potter. Reitz responded to the immediacy of clay and liked the ease with which he could project himself into it. In a broader sense, clay appealed to him because its intrinsic worthlessness challenged him to transform it, through his creative powers, into a work of art.

Because Reitz has always enjoyed being with people, teaching became a natural extension of his own artistic explorations. He felt the need of stimulation through dialogue with students and liked the satisfaction of being a catalyst for their work.

Workshops and lectures also give Reitz exposure to new people and ideas, and whereas he regrets the amount of time he is forced to spend away from the farm and his shop, he feels that contact with other artists and students helps him evaluate his own work.

Reitz feels very strongly about not imposing his own style or aesthetics upon his students. He does not suggest that they work with salt glaze, not because he is afraid that they will make Reitz-like pots, but because he believes that every artist must work from within, not just apply a professor's method which might be foreign to the student's personality. Whereas Reitz has a preference for the container form because of his childhood associations of taking a pitcher of milk out of the icebox or cookies from a covered jar, his students might identify with entirely different forms, such as parking meters or automobiles. What Reitz hopes to offer them instead is his technical knowledge and an opportunity to express themselves. He also tries to show them, through his own example, that a good artist sustains the level of his work by continually setting higher standards for himself and meeting them successfully. What worries Reitz is the young artist who is heard about for a year, but is then unable to meet new challenges after his initial success.

A potter, according to Reitz, must work intuitively. He must be flexible enough to identify completely with his material and daring enough to allow himself to be shaped by the clay. "You have to listen to the clay, because there's a point at which the clay takes over,

1. Don Reitz beats a 65-pound ball o/ wedged clay into center on a bat fastened to his wheel.

and you have to decide whether to go with it or to impose your idea on the clay. Maybe you decide to do a little of both." This give-and-take with his materials is only possible, Reitz finds, if he goes into the shop and begins to throw without having decided on a particular form. He might start out by throwing pitchers which, depending on his mood, might be bulbous or hard-edged. In the course of doing a pitcher, other ideas come to him because of the way he is reacting to the clay. By day's end, he might end up with platters.

An equally important factor in his creation of a pot is his willingness to take risks. Confident that his technical skill and rapport with the clay will produce successful results, he deliberately works with as complex a combination of accidental elements as possible. For that reason, Reitz considers his ceramics unfinished until they have been fired and cooled, at which point he decides whether or not a piece will continue to exist. If it passes his aesthetic judgment, he then calls it finished. In making this decision, he forces himself to be rigorous, refusing to allow his emotional involvement with a piece to interefere with his commitment to maintain a high standard of quality.

Reitz's experiments with clay are governed, first, by his dictum that "everything melts and clay shrinks," and, second, by his awareness that salt glaze reveals the surface of the clay. He therefore places a great deal of importance on the preparation of the clay, generally mixing six hundred to eight hundred pounds of the

Ceramics Monthly

3. Reitz bears down with his [ist in opening the lump to the bat, then pulls clay back toward him.

cheapest clay he can find, together with grog, silica sand, sawdust, or other materials he feels will enhance the surface of the pot.

In the course of throwing and decorating his ceramics in a traditional manner, forming a piece one day and decorating it the next, Reitz discovered that by the time he had worked on a piece for several days, he was so far removed from it that he found it impossible to bring himself to glaze it. He then realized that he could make the wheel serve his intuitive style if he disciplined himself to work quickly, not taking a piece off the wheel until it had been decorated and was ready to be fired.

" I began to decorate with wet slips while a pot was still on the wheel, allowing for the shrinkage of the pot as it dried. By working this way, I found I was able to record all the color notations, scratches and brush strokes on a piece while ! was still in tune with it."

In general, Reitz uses three devices to decorate his ware: wet slips, tools, and additives to the clay. By adding-various oxides to a basic white slip, he is able to get a variety of colors. His palette is always strong, as he must apply exaggeratedly vivid colors because they will be toned down during the process of salt glazing. He might brush or trail the slip on to the wet ware, perhaps scraping some of it off. He might apply it thickly so that it hangs on a piece, or thinly so that there is merely a slight color connotation. He might apply it with his hands, pour it on, or dip a

2. He pushes down in centering the clay, letting it spread to the edge o[ the bat.

4. The wail is raised by squeezing and pulling up. Rim is le[t thick and [fat [or adding more clay.

5. More clay, in the form of a 25-pound coil, is added

at the rim and then welded to it.

.

6. The second wall section is raised and shaped with

a rib until the desired profile is achieved.

whole piece into the slip. Other possibilities include

rubbing raw oxides into the wet clay, mixing oxides and

water to get a color wash, or using an air brush to

spray oxides on the wet ware.

At the same time that Reitz applies slips, he

embellishes the surface of the clay to give it a lyrical

quality by scratching it with needles, sticks or a comb.

He might impress objects such as a stamp into the

clay, or use small pieces of clay or any other material he

happens to see, as an appliqu&

Working with wet forms opened still further

possibilities of recording the many forces imposed upon

the clay. As soon as he cut a piece from the wheel

and picked it up, a natural distortion would occur.

Reitz's experimentations with these distorted forms led

him four years ago to a series of cylindrical forms

with collapsed rims, an unusual variation on the

container form. But even more significantly for the rest

of his work, these distortions have led him to apply

handles to forms that are still wet, so that they will

reflect the plastic quality of the wet clay even

after they have dried.

Because he feels comfortable working in this direct

manner, Reitz is able to throw and decorate several

pieces during the same working session. He might

form a piece and decorate it, add appendages,

and cut it off the wheel while it is still unfinished. He

then begins to throw another piece, but stops long

enough to slash and add to the first one. In a

short time, there will be several pieces in various stages

of completion. Some will need handles; others,

further tooling. For Reitz believes that the time to

add handles or embellishments depends on the

requirements of the individual piece.

At the time that Reitz disciplined himself to complete

his ceramics as much as possible before removing

them from the wheel, he was forced to limit their size.

However, his self-discipline acted as a liberating

factor in his work. He soon found that he was able

to do extended throwing of larger forms because

he was able to sustain his interest in a piece

while various parts dried.

Reitz's desire to emphasize the texture of the clay

was frustrated by the use of traditional glazes which, he

found, wiped out rather than revealed the roughness,

scratches or fingerprints on the surface. About eight

years ago, he began to experiment with different glazes.

When he tried a water-thin glaze as a coating, he

found that it limited his color palette and did not work

well with his forms. Sigillata gave him the kind of

surface he wanted, but dry instead of moist.

Wood-firing was another possibility, but that, too,

imposed limitations on the color range, and with it

Reitz could not achieve the brilliance and sparkle he

wanted as a contrast to the organic quality

of the clay.

Ceramics Monthly

(

7. A ring is thrown to match the top o[ the second section; this is added and welded inside and out.

o , ,

8. This new clay is raised and choked in. Finally, Reitz

closes what will become the bottom section with a cla~, slab.

9. As the pot rotates, colored slip is applied to the wet

ware; scratched lines are added to break the sur[ace visually.

• ~ i ~ ¸ ~

" 4 L

I0. Fresh clay is pulled and added near the rim o / t h e

pot to act as /eet /or the /inished urn. 11. When the added clay is leather hard, Reitz inverts

the pot and adds a coil which will be thrown to /orm a rim.

Ceramics Monthly

12. Pulled embellishrl2ents give the piece a lighter [eeling. I t is now ready to be fired and salt glazed.

I t then became evident to him that salt glaze, which he had first used at Alfred, would give him the brilliance and texture he wanted. By the use of wet slips, he was now able to extend the range of warm colors commonly associated with salt glaze to include a complete palette. Even more important, salt glaze offered the chance to experiment and seek accidental effects while he was firing and cooling the ceramics. Thus Reitz arrived at salt glaze because of a stylistic need for it, unlike many potters whose salt glazing does not grow out of, but is superimposed upon, their work.

To Reitz, even the stacking of the kiln is an important step in the creative process. After he has decorated four or five large pieces (or 30 to 50 smaller ones) which he still considers unfinished, he places them in his 135-cubic-foot kiln. He estimates that he fires as often as 65 times during the year. Reitz places some of the pieces against the wall and groups others tightly, in order to create a build-up of sodium on the outside of the group. He might paint cobalt on a brick, so that the group of pots around it will take on flashes from the cobalt. He might hang pots over the bag wall where the highest concentration of sodium will be. Perhaps he will lay bottles on their sides on top of the ware (for example, on a platter), so that there will be an unsalted area. By putting straw in one bowl, which is then placed inside another, Reitz gets cross-firings and flashes inside the larger bowl, as well as unglazed areas on both of them.

Reitz also throws various materials into the kiln, such as wood ashes, which will melt into a glaze in a particular area; chunks of feldspar, which, when melted, become lumps on the surface of the ware; or fruit such as oranges and apples, which, upon burning, give different color blushings. Thus the kiln becomes part of the forming process of a piece, not just a box that contains heat.

After he bricks up the door, Reitz must decide how high and how evenly to fire, relative to the uneven temperature he maintains intentionally throughout the kiln. He usually fires between cones seven and ten, using the lower heat for lighter values and the higher, for darker. Once Reitz starts to fire with propane gas, he selects the methods he will use to vary the firing and glazing process within the same kiln load. He might throw wood into one side of the kiln or introduce oil into one of the burners. Or he might add wood and then oil. By smoking one burner, he can cause some of the pieces to become reduced, and others to become oxidized. Still another possibility is for Reitz to blush one side of the ware by inducing carbonates that have been mixed in a salt-brine solution into one side of the kiln by means of a spray atomizer. Whatever his method, he makes certain that each part of the kiln is affected differently.

He now makes up his mind how much of a sodium build-up he wants on his ware. He checks the build-up by use of draw-tiles, which he pulls out of the kiln with a rod. There is always some sodium on the bricks from previous firings, so if he wants merely a moist surface without an orange-peel texture, he might add no salt at all. I f he does decide to add salt, he will probably use pure rock salt. However, if he wants very dark values, he will use salt which contains calcium and magnesium.

Cooling the kiln also affects the color values of the ware. For darker wflues and a crystalline formation in the glaze, he cools the kiln slowly by leaving it bricked up tight for three days. If he seeks lighter values, he cools the kiln rapidly, by taking down the crown of the door. Another alternative for Reitz before the red heat of the kiln is lost is to fume the kiln with different materials. For example, stannous chloride mixed with water in a small tinfoil container and placed in one side of the kiln, fumes part of the ware to give it an iridescent mother-of-pearl quality. When the kiln is finally cool, Reitz removes the ceramics and makes an aesthetic judgment as to whether each piece has successfully survived its trial by fire.

Until the final moment in the creation of a piece, Reitz takes risks. His work with unlimited variables, from the irregular composition of the clay to the high-fire use of salt glaze, represents to him the challenge of natural forces. I t is Reitz's technical ability that allows him to experiment with the controlled accident; it is his self-discipline that allows him to be free.

~1~.~,~ y ~ ~ ~ ~ ~ ~

A Watercolor Effect with Enamels by MARJORIE BIJ'FFUM

Wall panel by the author has a brown background with leaf shapes printed in yellow-green and shades of orange.

FOR THOSE ENAMELISTS who enjoy making wall panels or shallow dishes with designs derived from nature, I 'd like to introduce a technique which I call "direct printing with oil." A piece done by this method takes on a watercolor appearance, with an unfinished or incomplete design character that is reminiscent of Japanese brush painting. Depending upon the number of firings and upon the choice of colors, the project will have a feeling of depth and a kind of halation around certain areas which give it a glow rarely to be achieved by any other technique. The process is not too difficult for older children or teen- agers who have had some experience using transparent enamels, and it can be used alone or in combination with other methods to produce involved designs that appeal to experienced adults.

The method for proceeding with this technique is to select a copper shape and apply and fire a coating of enamel to the back. Choose a fairly stable color related to one of those you plan to use on the front. Place a small stilt in the center of the enameled side of the tray, and add a little extra enamel where the points of the stilt rest. Now place the piece enamel-side-up on a wire rack and underfire just enough to adhere the stilt and give the enamel a pebbled surface; by underfiring, the enamel will safely undergo several firings and during these it will be brought to maturity. If you work carefully from here on, the stilt will remain on the underside of the tray throughout all the processes and only one set of stilt marks will mar the bottom.

The piece is now soaked in a mild acid scale remover solution (I use "Sparex") , scrubbed and rinsed, after which an even coat of well-washed and dried transparent enamel is applied to the top surface. We spray and sift in three or four thin layers, wetting down each layer to the one below so that each grain of enamel can be stuck to the one next to it and under it. By using this method, a perfect coating can result and there will be no pitting when the piece is fired. I might point out here that it helps to examine the surface under a magnifier to check for places where a gleam of copper shows through the enamel; since these will make pits when fired, they must be covered before going ahead with the project.

This transparent base coat may be a single color or it may be a blended background. I f a single color is used, it might be a medium or dark brown (to be followed later with opaque orange, yellow and chartreuse), or it might be a medium or dark green (to be overprinted with aqua and blue-green opaques). The blended background is achieved by sifting two or three related transparent colors in a cloud-like pattern. Each color area may be sprayed and sifted separately, then another color area placed next to and slightly overlapping the first, and so on until the surface is covered. Another method for blend- ing is to sift on a complete coat of one color and then apply other transparents in irregular shapes over it.

The piece is now placed under a heat lamp or on top of the kiln to dry before it is fired. Since this first coat is transparent directly over copper and probably will be followed by lower-firing opaque colors, we find it best to fire the base coat to maturity before proceeding. This means giving it several quick hot firings at about 1550 °

December 1971 27

to 1600 °, or even higher, until it becomes clear and uniform in color.

Now choose several fresh leaves of interesting shape, and perhaps some grasses with seed heads, if available. During winter, house plant leaves make good choices. Try placing some of these forms on the enameled plate or panel, rearranging until they assume a pleasing pattern in relation to the basic shape, yet still leave some open areas where the transparent background will furnish contrast. When leaves have been selected, place them on a sheet of wax paper and use a good brush to coat the back (or vein) sides with a generous covering of squeegee oil. Next, pick up a leaf and invert it oil-side-down on the enamel in the planned location. Do not move the leaf around; it is important to keep the background clean of oil at this point. Also, a sharper line results if the leaf

2. The leaf is pressed, oiled-slde-down, to the surface of an already enameled plate.

1. Squeegee oil is applied by brush to the back (vein) side of a fresh leaf.

(!!iii¸ ¸

Other materials such as thread or coarse netting may be impregnated with oil and printed in the same way as the leaves.

Any loose grains of enamel on the background can be removed by blowing them off. Any dust on the enamel may be removed with a brush dipped in water; edges of

makes a sharp and clear print, not a smeared one. Because you will be working with the oil left by the

leaves, you now have several options for proceeding. You may carefully press all parts of the first leaf against the enamel and leave it there while you do the same with the others, oiling and pressing them down until all are in place. Or you may do one leaf at a time, pressing it down, then lifting it straight up and off with the fingers or tweezers. After the oil is transferred from the leaf to the enameled background, pour a generous amount of opaque enamel into the sifter and sift thickly onto the oil print; allow this to set a minute until the enamel has absorbed the oil, then tip the plate or panel and shake it or tap the edge on the table to remove the loose enamel.

When a leaf has been removed, you may shade another color around the edges, or you may have left some oiled areas without enamel so that another color may be sifted on at this time. Tendrils or stems may be suggested by pen or brush lines done with oil, then sifted with enamel.

28 Ceramics Monthly

3. The leaf is removed and enamel is sifted heavily into the oiled print on the plate.

leaf forms may be sharpened in the same way, if desired. It is unnecessary to dry the enamel in the usual way

when firing oil designs, but it is important to smoke off the oil in the kiln. To do this, place the piece on a rack, with the firing fork well balanced under it. Open the kiln door and hold the piece inside the kiln for from 6 to 8

seconds; when you remove it, you will notice smoke rising from the piece. Wait until the smoking stops, then repeat the process, perhaps three or four times, until there is no more smoke. Next, allow the kiln to return to about 1550 °, then enter the piece and fire it until it is just shiny, at about 1450-1500 ° .

If you do not take the precaution of smoking off the oil first, it may catch fire in the kiln, give a loud "boom," and send out a cloud of carbon which may fall on your

. . . . .

4. Edge o[ the plate is tapped sharply to remove enamel [rom the unoiled areas.

project and even blacken the front of the kiln above the door. There also is danger that the enamel may be dis- lodged from the surface and fall where it isn't wanted. It is best to take time to smoke the oil off!

The project may be considered complete at this time,

6. Plate by Loyal LaPlante shows effect o[ over[iring the background and overprinting at a lower temperature.

or you may wish to make some overlapping designs by overprinting with other plant forms in contrasting color values. Be careful not to overfire these opaque colors; however, if you should do so and they become transparent (as many of the aqua, green, and light blue opaques do), you can bring them back to their original opacity by firing them again at a much lower temperature. You may wish to overfire them deliberately, since they leave a slightly depressed design with an iridescent glowing quality that is unique. Then you may overprint with a harder-firing opaque, or the same one fired at about 1500 ° , which leaves you with some glowing shapes around opaque ones. Actually, you must try many comb!nations of colors and firing temperatures to reap the rewards of this unusual technique.

MAR]ORIE BUFFUM studied enameling with Kenneth Bates and, this past summer, with June Schwarcz at Arrowmont School. She has taught both adult and children's classes at Philbrook Art Center, Tulsa, [or the past 16 years. Mrs. Bu[[um also has been active in the South Central Region o[ A.C.C., having served as Regional Chairman, Con[erence Chairman, and Editor o[ the newsletter, "Pro[ile."

5. The plate is held in the kiln brie[ly to smoke o[[ the oil beIore the normal [iring.

December 1971 29

Printing with Tiles by IRENE KET'rNER

TILES serve many purposes. They may be used as hot- plate holders, trays, wall and floor coverings, and table- tops; they also may be used purely as decoration.

Presented here are files which serve double purposes. They may first be used as blocks to make prints, then later mounted or framed for use as table tiles or pictures to decorate a wall area. The prints may be used for greeting cards, wrapping paper, letterheads, book illustrations, or advertisements. And of course they could be framed for use as pictures.

The tools required to make a tile are a wooden dowel or rolling pin, guide sticks for rolling, and oilcloth backing for rolling onto, carving tools, a knife, and a pointed tool or crochet needle.

The materials needed for the priming include printing ink, a sheet of glass, a brayer, and paper. The ink may be water or oil base; water-base ink washes off easily after printing is completed and is cleaner to work with. An oil-base ink requires turpentine for clean up.

Various kinds of paper may be used. Among the good easy-to-print papers are tissue, rice, newsprint, mimeograph, and construction paper. Each will give a distinctive quality to the print. Rice and tissue papers are lightweight and translucent; prints on this paper have a pleasing effect when mounted on colored construction paper. Newsprint is a lightweight opaque paper. Mimeo- graph and construction paper have more body; they are also opaque.

If the prints are to serve as greeting cards, special envelopes could be made to fit the exact size of the print. Lightweight construction or mimeograph paper works well for this purpose.

The tile is made by rolling out a slab of well-wedged clay, approximately ~ - i n c h thick. An oilcloth backing or canvas board is used under the clay so that the slab can be removed easily. Guide sticks are used to ensure uniform wall thickness. The slab is cut slightly larger than the size desired for the print in order to allow for

1. Design is sketched on paper, then trans- /erred to a leather- hard clay tile.

2. The design is in- cised into the leather- hard clay surface to a depth o/ ~ inch.

~ _ . . . . . . . . - - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . : . . ! ~

30 Ceramics Monthly

!v~ ̧ : !( i !~il ii ~:i~i:~

clay shrinkage. After the tile has stiffened slightly, the underside is grooved to a depth of approximately one- third of the tile thickness; this is done to minimize warping. When the clay has reached the leather-hard stage, the tile is ready for its design.

If the design is first sketched on paper, it may then be transferred to the tile by positioning the sketch on the clay surface and going over the lines with a pencil. If lettering is used in the design and you wish to come up with the design positioned the same as the sketch, the design must be reversed before transferring it to the tile. I t will then print the same as the original sketch. This procedure is most easily done by placing a piece

of carbon paper wrong-side-up under the original sketch and tracing the outline with a pencil. When the paper is turned over, it contains a negative printing. This negative side is traced onto the clay.

A simple way to make a tile is by incising. The leather- hard clay surface is scratched approximately ~ - inch deep with a crochet needle. Any excess clay which accumulates from incising is brushed off. The tile is allowed to dry slowly on a wire screen or sandwiched between plaster bats; however it is done, it must lie flat during the drying, as well as the firing period. We might mention here that the dry tile should not be positioned near heating elements during the bisque firing.

A raised-surface tile can be made by cutting out the design parts from clay to a depth of approximately

inch, or by cutting away the background. Any rough edges from cutting are smoothed with a damp sponge.

A slip-trailed tile could be made by applying slip from an ear syringe and trailing it evenly over the sketched-on design. Since the slip makes a low shallow relief, some of the background, as well as the design, will take up ink and print. This can be most effective with certain types of designs.

Following is the procedure for the printing process. Squeeze a small quantity of ink from the tube onto a

flat, hard, non-absorbent surface, such as a piece of glass. Spread the ink evenly over the glass surface by rolling the brayer through the ink in all directions until the roller is evenly covered. Now roll the brayer over the surface of the bisque tile in order to deposit an even layer of ink on the raised portion. Position a sheet of paper over the tile, press it down, and rub the surface with the fingers. Carefully lift off the completed print and set it aside to dry. You will find that it is necessary to re-ink the tile for each print.

Spread the prints out and allow them to dry thoroughly. If the prints are to be used for cards, the paper may be cut to the size of the print before printing. If a border is desired, the paper should be cut larger than the size of the print, and a guide may be improvised so that each print is accurately centered. If a guide is not used, the border may be cut from the sheet of paper to the desired size after the print is dry.

Colorful prints may be made by using materials other than paper for making the background print. A coarse sandpaper makes an interesting textured background design. Roll the ink over the sandpaper and position a sheet of paper over it, rubbing the surface. A textured surface will appear. Allow it to dry, then print the design from the tile over it. A lighter-color ink should be used for the background in this case. Another background effect can be made by rolling various colors of printing ink on the paper. When this is dry, proceed to print with the desired tile.

The standard method for making a two-color print involves the preparation of separate tiles for each color. Start with a basic design and make a tile for each of the colors. The file using the lightest color is printed first. The second tile is printed next, using the darker color of ink. In most cases, one of these blocks would not be complete enough for use as a decorative tile.

When a file has served its function for printing, it is ready to be framed and used as a decorative wall plaque.

3. Block-print ink is rolled [rom a brayer onto the surface of the tile after it has been bisque fired.

4. Paper is pressed over the tile surface, rubbed to get a good impression, then lifted o[[ to dry.

December 1971 31

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I T I N E R A R Y

Continued [rom Page 10

PENNSYLVANIA~ PHILADELPHIA through January 3 Crafts for Christ-

inas Giving; at The Philadelphia Art Alliance.

December 12-January 16 "Objects: USA"; at the Philadelphia Civic Center.

PENNSYLVANIA, WALLINGFORD December 3-4 Wallingford Potters Guild

show; at the Community Arts Center.

SOUTH CAROLINA, GREENVILLE through December 14 One-Man show

by Don Lewis features salt-glazed and sculptural pots; at Watkins Gallery, Fur- man University.

Tr.xAs, EL Paso December Wisconsin Designer/Crafts-

men Traveling show; at the University of Texas.

TEXAS, SAN ANTONIO through December "The Meyer Family:

Master Potters of Texas"; at the Witte Memorial Museum.

VIRGINIA, BRISTOL through December 19 "British Designer

Craftsmen," a Traveling Exhibition of the Smithsonian Insti tution; at Virginia Inter- national College.

WAS HINGTON I SEATTLE through December 26 Seattle Art Mu-

seum Asiatic Art includes ceramics; at the Seattle Museum.

L E T I ' E R S


answer to Mr. Jack Troy's letter question- ing whether or not he is right about his father's estimate of a thousand flower pots a day (March, 1971 C M ) .

In 1968 I visited the Wedgwood Pot- tery at Stoke-on-Trent in England. One of the production potters was throwing a bowl, the type Wedgwood is famous for, and he didn ' t spend any thirty-eight seconds doing it, either; I hardly had time for three fast shots with my Nikon and he was finished. He paused to speak to me for a moment and a woman handling the production amount told him they now needed candlesticks. He took the tray of wedged clay for the candlesticks, slapped one on the center and zap! he had centered it, flattened it and brought it up. Thirty-elght seconds? I d idn ' t time it, but I 'm sure that is about the time he needed to make two.

When I read in CM that John N o w was here in San Diego, I went down to see him. He did shake my hand and tried not to break it, but I could feel the great power in the man. Mr. Troy, don ' t make him angry.

I like the protective mailing cover on the magazine. Eugene M. Potts

San Diego, Calif.

NEW CATALOG No. 21 for '71

• Ceramics

• Sta ined Glass

• Lamp .parts, l ighters, mus,c boxes

• Kemper tools

• M a r x brushes

• Porcelain Flowers

• Rhinestones, jewels, Star l i tes

• J e w e l r y Findings, porcela in blanks

• Crushed glass, marbles

• C o p p e r enamel ing

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32 Ceramics Mon th l y

Basic Matt Glazes for Cone 4 by RICI-IARD BEIIRENS

EFFECTIVE AND INTERESTING matted glazes may be produced when the silica (acid) content is reduced to a level below that found in the average clear glaze. This reduction in the silica content increases the various metallic oxide percentages in the glaze, resulting in an increase of basicity of the glaze. This generally enhances the possibilities of obta ining interesting surface textures and color variations. A number of such basic glaze formulas are offered for trial.

MATT GLAZE I Albany Slip . . . . . . . . . . . . . . . 50.2% Zinc Oxide . . . . . . . . . . . . . . . . 33.6 Calcium Carbonate . . . . . . . . 8.4 Li th ium Carbonate . . . . . . . . . 7.8

100.0%

This first glaze formula produces a cloudy amber matt .

MATT GLAZE I I Amblygonite . . . . . . . . . . . . . . . 50.4% Wollastonite . . . . . . . . . . . . . . . 24.4 Fl int . . . . . . . . . . . . . . . . . . . . . 25.2

100.0% Add: Bentonite . . . . . . . . . . . . 2.0%

Glaze I I gives a smooth mat t effect.

MATT GLAZE I I I Nepheline Syenite . . . . . . . . . . 33.3% Li th ium Carbonate . . . . . . . . . 4.2 Barium Carbonate . . . . . . . . . . 30.1 Whit ing . . . . . . . . . . . . . . . . . . 9.5 Fl int . . . . . . . . . . . . . . . . . . . . . 22.9

100.07o Add: Bentonite . . . . . . . . . . . . 2 .0%

This formula results in a glaze that might be described as a bright matt.

MATT GLAZE IV Lepidolite . . . . . . . . . . . . . . . . . 23.6% Spodumene . . . . . . . . . . . . . . . 43.0 Magnesium Carbonate . . . . . . 29.0 Fl int . . . . . . . . . . . . . . . . . . . . . 4.4

100.0% Add: Bentonite . . . . . . . . . . . . 2.0%

Glaze IV is a satin matt .

MATT GLAZE V Lepidolite . . . . . . . . . . . . . . . . . 23.8% Spodumene . . . . . . . . . . . . . . . 43.7 Zinc Oxide . . . . . . . . . . . . . . . . 28.2 Fl in t . . . . . . . . . . . . . . . . . . . . . 4.3

ioo.o% Add : Bentonite . . . . . . . . . . . . 2 .0%

This glaze also is a satin matt .

MATT GLAZE VI Lepidolite . . . . . . . . . . . . . . . . . 16.6% Spodumene . . . . . . . . . . . . . . . 30.3 Barium Carbonate . . . . . . . . . . 50.0 Fl int . . . . . . . . . . . . . . . . . . . . . 3.1

1oo.o% Add : Bentonite . . . . . . . . . . . . 2.0%

Here is a glaze of a stony mat t character.

MATT GLAZE VI I Sodium Fluoride . . . . . . . . . . . 7.3% Barium Carbonate . . . . . . . . . . 35.0 Zinc Oxide . . . . . . . . . . . . . . . . 10.7 Magnesium Carbonate . . . . . . 3.6 China Clay . . . . . . . . . . . . . . . . 11.4 Fl int . . . . . . . . . . . . . . . . . . . . . 32.0

100.0% Glaze V I I is another bright mat t for Cone 4 use.

MATT GLAZE V I I I Sodium Sillco Fluoride . . . . . . 28.0% Whit ing . . . . . . . . . . . . . . . . . . 25.6 China Clay . . . . . . . . . . . . . . . . 24.4 Fl int . . . . . . . . . . . . . . . . . . . . . 22.0

100.0% Add: Bentonite . . . . . . . . . . . . 2.0%

This formula produces a good mat t glaze.

h{ATT GLAZE IX Sodium Silico Fluoride . . . . . . 25.4% Whi t ing . . . . . . . . . . . . . . . . . . 11.0 China Clay . . . . . . . . . . . . . . . . 26.6 Magnesium Carbonate . . . . . . 11.0 Fl int . . . . . . . . . . . . . . . . . . . . . 26.0

100.0%

Here is another good mat t glaze.

MATT GLAZE X Zinc Oxide . . . . . . . . . . . . . . . . 27.5% Whi t ing . . . . . . . . . . . . . . . . . . 5.6 Li th ium Carbonate . . . . . . . . 12.5 China Clay . . . . . . . . . . . . . . . . 22.5 Fl int . . . . . . . . . . . . . . . . . . . . . 22.5 T i t a n i u m Dioxide . . . . . . . . . . 9.4

100.0% Glaze X is what might be termed a smooth matt .

MATT GLAZE XI Lepidolite . . . . . . . . . . . . . . . . . 67.0% Sodium Fluoride . . . . . . . . . . . 4.5 Fluorspar . . . . . . . . . . . . . . . . . 19.4 Fl int . . . . . . . . . . . . . . . . . . . . . 9.1

100.o% Add: Bentonite . . . . . . . . . . . . 2.0%

This is a bright yet murky mat t glaze.

MATT GLAZE X l I Amblygonite . . . . . . . . . . . . . . . 40.4% Sodium Silico Fluoride . . . . . . 41.5 Fl int . . . . . . . . . . . . . . . . . . . . . 18.1

lOO.O% Add : Bentonite . . . . . . . . . . . . 2.0%

"A bright mat t" best describes Glaze XI I .

MATT GLAZE X I I I Lith ium Carbonate . . . . . . . . 4 .7% Nepheline Syenite . . . . . . . . . . 38.4 Whit ing . . . . . . . . . . . . . . . . . . 10.6 Barium Carbonate . . . . . . . . . . 33.5 Fl int . . . . . . . . . . . . . . . . . . . . . 12.8

100.0% Add : Bentonite . . . . . . . . . . . . 2.0%

Here is a mat t glaze that has a ten- dency to produce an interesting texture.

MATT GLAZE XIV Whit ing . . . . . . . . . . . . . . . . . . 3.9% Barium Carbonate . . . . . . . . . . 52.7 Zinc Oxide . . . . . . . . . . . . . . . 6.1 China Clay . . . . . . . . . . . . . . . 9.8 Flint . . . . . . . . . . . . . . . . . . . . . 27.5

100.0% Glaze X I V is a satin matt .

MATT GLAZE X V Potash Feldspar . . . . . . . . . . . . 52.0% Zinc Oxide . . . . . . . . . . . . . . . . 13.6 Whit ing . . . . . . . . . . . . . . . . . . 19.3 China Clay . . . . . . . . . . . . . . . 15.1

100.0% This is a murky bright glaze.

MATT GLAZE XWI Whit ing . . . . . . . . . . . . . . . . . . 10.5% Barium Carbonate . . . . . . . . . . 20.5 Stront ium Carbonate . . . . . . 11.5 Li th ium Carbonate . . . . . . . . 7.5 Frit 3293 (Ferro) . . . . . . . . . . 43.5 China Clay . . . . . . . . . . . . . . . 6.5

100.0% This final glaze is a mat t with a somewhat stony character.

C E R A M I C S M O N T H L Y is pleased to announce the publication of a new C M Handbook by Richard Behrens, the author of this article on Basic Mat t Glazes. Full details about Mr. Behrens" book, "Glaze Projects, a Formulary of Leadless Glazes," can be found on Page 5 of this issue. Pub- lication date is December 10.

December 1971 33

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CERAMACTIVITIES people, places and things

POPOVI DA Indian artist Popovi Da, 49, died in

October, it was reported from Santa Fe. A native of the

. San Ildefonso pueblo in New Mexi- co, Popovi was one of f o u r sons of

-~ famed potter Ma- ria and her late h u s b a n d , J u l i a n Martinez, also an artist. While the other sons retained the Martinez name, Popovi chose to

formally lcgMize his Indian name; his four children also carry the family name of Da. Popovi studied painting with Dorothy Dunn at the Santa Fe Indian School, and also learned to make his own pottery. In 1956 he assumed a role of full partnership with his mother, decorating her pottery as his father had done and helping with the firing. All of the pieces made with his mother carry both of their names.

In his own ceramic work Popovi Da experimented extensively; he revived the art of polychrome decoration and developed the "sienna" line of pottery. He was an eloquent speaker and traveled extensively, talking about pueblo art and exhibiting its pottery. After the war years he established a crafts shop at San Ilde- fonso to promote work made at the pueblo. For eight years Popovi Da served as governor of the San Ildefonso pueblo, just as his father was also governor before him.

national importance, as has Bruce Grimes. Following the showing in Athens, the

Alumni Exhibition will travel for one year to museums, galleries and schools whose facilities will accommodate it. Those interested in booking the exhibition should contact the School of Art at Ohio Uni- versity in Athens.

NEW STANDARDS COMMITTEE The Southern Highlands Handicraft

Guild has reorganized its Standards Com- mittee and will operate with five members, three of whom will not be Guild members but chosen by the Board of Trustees for their nationally recognized abilities and diverse knowledge of crafts and design.

For two-year terms, outside-the-Guild members are: Herbert Cohen, Director of Exhibitions at the Mint Museum; Florence Pettit, a member of the Connecticut State Commission on the Arts; and Robert Turn- er, Acting Chairman of the Department of Art and Associate Professor of Sculpture- Pottery, State University of New York College of Ceramics. In addition, the following Guild members have been appoint- ed: ]ames Bobbitt, Dean of Berea College, and Freida Terrell, who is employed with the North Carolina Agricultural Exten- sion Service.

WORKSHOP AT WESLEYAN POTTERS A workshop with David Cohen, of Edin-

burgh, Scotland, was sponsored by the Wesleyan Potters on August 30. Included were demonstrations, discussion of pottery forms, decorating techniques, production methods, and raku.

LUCIE RIE EXHIBIT An exhibit of English Craft Arts opened

at the Internat ional Design Center in Minneapolis on October 21. Wendell Brust- man, President of the Center, writes that the exhibit included ceramics by Lucie Rie, the internationally known English potter. Miss Rie works in her studio at Albion Mews and, since 1960, has been teaching pottery at the Camberwell Art School.

ALUMNI INVITATIONAL AT ATHENS The Ohio University Alumni Invita-

tional Exhibition opened in the Seigfred Hall Gallery on the Ohio University campus in Athens on October 8 and continued through October 29. Partially sponsored by the Ohio Arts Council, this exhibition included the work of fifteen alumni.

Ceramists included in the exhibition are recent graduates, Dick Hay and Bruce Grimes who graduated from the Univer- sity in 1964, and Kenneth Vavrek who graduated the following year. Hay and Vavrek were recently included in the invitational exhibition, "Claythings : 20 Americans" at the Museum of Contempo- rary Crafts in New York, and have par- ticipated in exhibitions of regional and

!ii Mr. Cohen returned to Scotland in Sep-

tember to resume teaching at the Edin- burgh College of Art, where he has been on the faculty since 1963. He also owns and operates the Kilncraft Studio in Edinburgh, which produces ceramic murals and wheelthrown domestic pottery. He has been an active exhibitor in Scotland and has had several large mural and sculpture commissions. For the past few years he has been involved in relating ceramics

34 Ceramics Month ly

with other media such as aluminum and bronze. His latest exhibit was with the Scottish Craft Society at Edinburgh's Royal Scottish Museum earlier this year.

CHIHULY.CARPENTER An environment of white glass shot

through with neon was created by Dale Chihuly and ]amie Carpenter for their joint exhibition in the second floor gallery of the American Crafts Council's Mu- seum of Contemporary Crafts in New York. The mammoth sculpture, along with smaller pieces of opaque white glass, was exhibited this fall. The elements were primarily tall slender stalks rising out of soft-edged bases resting on the floor. Other elements were more globular in shape, composed of thin, transparent bubbles. All the elements, some of them as much as eight feet tall, have been hand blown and each consists of one continuous, flowing piece of glass. The smaller pieces are organic in inspiration and combine chunky forms with sinuous, twisting, linear elements of great delicacy.

Chilhuly and Carpenter have been col- laborating on their glass and neon sculpture for the past )'ear and a half, and plan to continue their experimental work with both materials. Dale Chihuly started blowing glass at the University of Wis- consin in 1966 after working with stained glass in Seattle for three years. He went to the island of Murano on a Fulbright grant to study glassblowing in the Italian factory after receiving degrees from the University of Wisconsin and Rhode Island School of Design in 1969. In addition to teaching summers at Haystack, Penland. and the University of California in Berk- eley, this summer he started a glass-blowing school in Seattle.

Jamie Carpenter is a botanical illustrator who studied at the Rhode Island School of De.iign and in Austria, and has taken part in botanical expeditions in Peru, Colum- Ilia, Brazil, Madagascar and Labrador. He first started blowing glass a year and a half ago when he and Chihuly made a series of illuminated glass flowers. They work in Providence, Rhode Island, where both are affiliated with the Rhode Island School of Design.

SUMMER ART CART The Art Cart is a privately funded pro-

gram in conjunction with the New York State Council on the Arts and run by the Hudson River Museum in Yonkers. The program is now in its fourth year of operation, and during this period approximately 30,000 children and adults have been given a creative art experience which they would normally not have had.

During the summer of 1970 and 1971 a professional potter, Vera Cotler, in- structed the ceramic section of the Art Cart. Her assistants, college and high school students, in addition to neighbor- hood Youth Corp and Workstudy students, were given basic instructions on handling the clay. These students in turn would

Cont inued on Page 36

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36 Ceramics Monthly

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


instruct the children ira various aspects of pottery. A display of the work accomplished was on exhibition at the Hudson River Museum in the fall.

CALIFORNIA ARTISTS

The Oakland Museum's recent ceramic acquisitions were displayed in the Special Gallery Bay this past summer. The eight works, all by California artists, are part of the Musemn's permanent collection. Included are a glazed yellow-green stoneware cross (pictured) weighing 3000

• •i ~ <

pounds, by ]ohn Mason; "Grotesque A," a low-fire glazed ceramic sculpture by ]ames Melchert; a low-fire glazed cup by Ran Nagle; an untitled stoneware cube with combination glazes by Michael Lopez; "Artworks," a porcelain sculpture in the shape of a rooster by Robert Arneson; "Astronaut," a stoneware vase with a combination high-fire glaze and refined china paints by Viola Frey; a porcelain vase/candelabra with low-fire glazes and china paints by Paul Nelson; and "Winged Pot," an earthenware pot with low-fire glazes by Richard Shaw.

POTTERY BY JACQUES BAKKE Wcrks by the art faculty of McMurry

College in Abilene, Texas, were exhib!ted in the gallery of the new Amy Ryan Fine Arts Center this fall. Included in the show were porcelain, stoneware and salt-glazed pottery by assistant professor Jacques R. Bakke. While most of the work consists of utilitarian "mcunted" bowls and domed serving dishes, many of professor Bakke's forms are non-functional s2ulptural con- cepts. In addition, some of the work im- parts a flavor of the orient, particularly that of the Shilla period (Korea 57 B.C.- 935 A.D.). Other pots in the show were deliberately broken and repaired (in part) and exhibited as sherds. The artist's statement concerning this: "Eventually as sur- vival becomes critical, pots, like all things, lose their original meaning and if and when salvaged, become objects for pedes-


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CERAMACTIVITIES Continued [rom Page 36

tals. Therefore, I find it quite provocative and valid to explore this idea of deterring and accelerating inevitable deterioration."

Widely traveled in Asia and America, Bakke spent five years in Korea and is now teaching pottery at both McMurry Col- lege and Hardin-Simmons University.

MEYER POTTERY RETROSPECTIVE Gre, wing interest in Texas pottery has

resulted in a 250-piece exhibition titled "The Meyer Family: Master Potters of Texas." which continues in the Friedrich Galleries of the Witte Memorial Museum in San Antonio, Texas, through December.

The exhibiti(m, pr()hahly the largest ever staged using Texas pottery exclusively, showcases the efforts of one family and its majer production of pottery at Atascosa where the kiln was located. The small two- man operatic:n started in 1887 and became an active, prospering plant which enjoyed a peak of success during the early 1900s, and was still in business in 1962.

Notable in the Meyer collection is the Leon slip glaze clay which has an ahnost endless variati .n in its color and finish.

BLUE AND WHITE PORCELAINS OF THE FAR EAST

The ceramic ware illustrated here is one of 65 pieces in a recent exhibition at the Los Angeles County Museum o/ Art. The works of art included plates, bowls and vases created by potters from China, Korea, Japan and Annam, which is now a l)~lrt ,,f VietnanL Dec.rative designs and

pictures painted in cobalt blue under a transparent surface glaze are representative of the delicate beauty apparent in many Oriental art forms. The production of ceramic pieces is the oldest and longest las ,- ing creative art form in the Far East, and some of the works displayed date back to the 13th and 14th centuries.

CRAFT STUDENTS LEAGUE A new small gallery is now maintained

for the display and sale of original works by students and faculty of the Cra[t Stu- dents League, New York. Although it is not open on a set schedule, members of

Cont inued on Page 39

to schools and+studios. - . . . . . We guarantee satisfaction. I f you are not entirely pleased, return it to u s ~ in orginal condition within 10 days and the full 4 1 ~ / purchase price will be • ~ ' / immediately refunded. "~d ~ We ship freight collect ~ . ~ u ~ J to any place. 6 M O N T H S ., ~. ~ ~ U N C O N D I T I O N A L G U A R A N T E E MADE IN U.S.A. " ~ i ~ l ~ l ~

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December 1971 37

Recommended books on ceramics from the

Book Department ORDER ANY OF THESE SELECT TITLES 01t OUR MONEY-BACK GUARANTEE. WE PAY POSTAGE

NATURE AS DESIGNER by Bertel Bager. 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 Janice Lovoos. This comprehensive and richly illustrated book covers every phase of handbuilding and decorating clay pieces. No book covers the subject of texture and form so effectively. Includes section on firing. $9.95

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

STEP-BY-STEP CERAMICS by Jolyon Hofsted. In this complete in- troduction 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, llne, 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, list of materials, recipes, and glossary. $9.95

CERAMIC SCULPTURE by John B. Kenny. Contains over 1000 photos and sketches covering oil 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 fusing, laminating and bending glass. Basic techniques and step-by-step projects. $7.50

38 Ceramics Monthly

KERAMOS by Franz Kriwonek. 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

THE TECHNIQUES OF PAINTED ATTIC POTTERY by Joseph Veoch Noble. This 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

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

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, this 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

W E PAY P O S T A G E ]

OBJECTS: USA by Lee Norclness. A superb publication fea- turing over 250 of our most talented artist/ craftsmen working ~n ceramic, enamel, glass, metal, plastic, mosaic, wood, and fiber. 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 on the subiect, from choosing the proper clay to putting the final touches on a piece, all clearly explained. $9.75

CERAMIC GLAZES by Cullen ~V. Parmelee. This invaluable reference book completely covers glaze making, including formulas and batch recipes. 314 pages of technical information. 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 onel 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 m setting up, firing, various types of kilns - - 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 Hal 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 on 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

CREATIVE CLAY DESIGN by Ernst Rottger. A wonderful aid to those who are learning and those who are teaching others how to explore the creative possibilities of clay. $5.95

POTTERY & CERAMIC SCULPTURE by Herbert Sanders. A thoroughly revised edit;an of Mr. Sanders' best seller CE- RAMICS BOOK. Completely up-dated with new material, including section on haw to build a potter's wheel. Thls is an excellent book for 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 Oppi Untracht. Step-by-step photos are used to describe fundamentals on through to newly developed experimental styles. Thls complete guide is a major contribution to the art of enameling. $7.50

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

Order Form - - We Pay Postage

BOOK DEPARTMENT Box 4548, Columbus, Ohio 43212 [ ] Eager--Nature $14.95 [ ] Kenny--Sculpture $9.95 [ ] Nelson~Ceramics $10.95 [ ] Ball & Lovoos--Pottery $9.95 [ ] KannymPottery $7.50 [ ] Nelson--Sellin9 Crafts $5.95 [ ] Encis~Desicjn $2.50 [ ] Kinney~lass Craft $7.50 [ ] Hofsted~Ceramics $2.50 [ ] KriwanekmKeramos $4.00 [ ] Hornuncj~Desicjns $2.00 [ ] Noble--AHic PoHery $25.00 [ ] Kenny--Des;Dn $9.95 [ ] Leach--Potter's Book $8.75

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[ ] Nordness~Objects $14.95 [ ] Norton--Artist Potter $9.75 [ ] Parmelee--Glazes $9.95 [ ] Priolo---Ceramics $6.95 [ ] Rhodes--Clay & Glazes $7.50 [ ] Rhodes~Kilns $10.00 [ ] Rhodes--Stoneware $7.50 [ ] Riecjcjer--Raku $12.95 [ ] Rothenbercj--Enameling $7.95 [ ] RoHcjormCreative Clay $5.95 [ ] Sanders--Pottery $1.95 [ ] Sanders~apanese $12.50 [ ] Untracht--Ename1|ncj $7.50 [ ] Wildenhaln--Pottery $9.95

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Continued [rein Page 37

the staff or the League committee will gladly show the collection to interested persons during afternoon hours. All of the works shown are for sale and represent a broad view of the school's activities. Net proceeds go to the benefit of the YWCA.

WOODS-GERRY GALLERY

A show of ceramic work done by Har- riet E. Brisson, assistant professor of ceramics at Rhode Island College was held at the Woods-Gerry Gallery of the Rhode Island School o[ Design, in May. Ruth Long, wife of the director of the Gallery, writes of the work in the show: "Novelty and simplicity of the form enhances and redirects attention to the possibilities and beauties of glazed ceramics . . . . Patterns produced through firing are spread out on tiles bound together by leather thongs.

" 2 ! . ; . ~ . ; ! f = ~

These patterns created by heat, an aspect of the raku process, are a major factor in a piece consisting of tiles shaded from blue to gray. Clay and fiber combined demark levels of depth within a flat format." Pic- tured is a hanging utilizing stoneware tiles and hemp.

ART OF CERAMICS

A s]ide-tape lecture on ceramics has been prepared by Eleanor Heller, Sarasma ceramist, for use by the educational department of the Ringling Museum. The lecture, entitled "Art of Ceramics," is forty minutes long. It presents a brief historical survey of ceramic art forms and demonstrates techniques in clay that have been used from early times to the present. Examples chosen are from the Ringling Museum, the collection of Sylvan and Edna Rosenbaum of Sarasota and Kala- mazoo, the Museum of Modern Art, and the Museum of the Isle o[ Rhodes. The slide-lecture is available for circulation to art centers and schools in the State of Florida. For information, write to Mrs. Leslie ]. Ahlander, Director of the Depart- ment of Education, Ringling Museum of Art, P.O. Box 1838, Sarasota, Florida 33578.


Tip the scales in your favor. Th is new col lege t e x t gives you a we igh t y advantage in unscrambl ing the m y s t i f y i n g science o f glaze ca lcu la t ion , High l ighted b y charts, re ference tables and step-by-step guidel ines, th is book

• makes a most va luable add i t i on to the l ib ra ry o f bo th the serious student and the independent pot ter ,

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December 1971 39

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CERAMICS BY ROBERT YARYAN A one-man show of ceramics by Robert

I'ar),an was exhibited at the Hobart Gal- leries in Ferndale, California during the month of October, writes IVilliam Simons of the College o[ the Holy Narr, es. Yaryan, who teaches ceramics, weaving and general crafts and is Gallery Director at the Art Center of College of the Holy Names, Oakland, is widely known for the unusual quality of his ceramics. Pictured is his

"Dark Sun," a high-fired, glazed and unglazed slab construction. His work has been exhibited nationally as well as in Cali- fornia, and is in many private collections as well as in the Oakland Art Museum. Prior to joining the College of the Holy Names faculty, he taught at California College of Arts and Crafts, Oakland.

TOLEDO AND AREA CERAMICS On the basis of qualifying entries in the

recent successful Toledo and Area Ceramic exhibit, the judges for the show suggested a Fine Arts Category be created. The win- ner for this new award was Betty Blom- quist for her metal enameling, "Davy Jones

Locker," which is pictuzcd, l la Periat writes that the Fine Arts Category will become a part of their future annual exhibits.

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

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F R A N C O I S E C E R A M I C S DISTRIBUTOR FOR: Paragon Kilns, Duncan Glazes, Underglazes. Bisq-Stain and Molds. IN STOCK: Large selection of Atlantic • Arnel • Luclwlg Schmid • Holland • White Horse • Fros-O-Lone & Weaver molds. Complete line ceramic supplies.

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Schools and institutions write for FREE li+erafure.

Ceramics b y

G l e n n C . Ne lson

In this impressive, new edition ( th ird), the author has been particularly concerned for the role played by the professional potter in the studio, in education, and in industry. Throughout the book Mr. Nelson has introduced new ideas, mate-

I . rnals and eqmpmenf, especially in the chapter on kilns. $10.95 per copy.

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40 Ceramics Monthly

CERAMICS MONTHLY Index

Clay and Slip Balloon Forms from Buttered Clay, Staryos, March, p 31 Low Temperature Frit Porcelain, Behrens, Nov., p 33 Raku Unit for High School Potters, A, Spray, April, p 17 Terra Sigillata, Behrens, Jan., p 31 Where and How to Find Clay, Kriwanek, April, p 16

Decoration Clay Cooking Pot, The, Eilenberger, Feb., p 20 Decorating with a Slip Cup, Eilenberger, Jan., p 26 Handbuilt Puzzle Jugs, Eilenberger, Sept., p 26 Raku Beads, Hyman, Oct., p 28 Three Slip Trailing Techniques, Fournier, Sept., p 21

Departments Consult the contents page o[ each issue [or the [ollowing de- partmental lectures which appear regularly in CM: Answers to Questions CeramAetivities Itinerary New Books, Jan., p 37; Sept., p 41; Nov., p 41; Dec., p 42 Suggestions from Our Readers Summer Workshops, April, p 19

Enameling Electroformed Enamels, Rothenberg, March, p 22 Footed Cloisonne Bowl, A, Rothenberg, Feb., p 25 Fun Jewelry, Berl, Jan., p 29; April, p 27 Liquid Enamels, Berl, Nov., p 30 Watercolor Effect with Enamels, A, Buf[um, Dec. p 27

Glazes and Glazing Are Lead Glazes Dangerous?, Littlefield, J~n., p 25 (reprint) Barium Glazes, Behrens, Oct., p 27 Basic Matt Glazes for Cone 4, Behrens, Dec., p 33 Fluoride Glazes, Behrens, Sept., p 33 Formulary of Leadless Glazes, A, Behrens, p 24 Low Temperature Frit Porcelain, Behrens, Nov., p 33 Nepheline Syenite Glazes, Behrens, June, p 33 Raku Unit for High School Potters, A, Spray, April, p 17 Rosy Gold Glazes, Behrens, March, p 26 Terra Sigillata, Behrens, Jan., p 31 Two-Component Glazes, Behrens, May, p 33

Handbuilding Balloon Forms from Buttered Clay, Staryos, March, p 31 Canteen Forms Adapted from Stones, Johnson, Peterson,

April, p 30 Cardboard Supports for Clay Structures, Huebner, Dec., p 14 Ceramic Forms from Layered Slabs, Eilenberger, June, p 16 Clay Cooking Pot, The, Eilenberger, Feb., p 20 Handbuilt Puzzle Jugs, Eilenberger, Sept., p 26 Impromptu Plates, Eilenberger, March, p 27 Joe Ann Cousino Demonstrates Sculpture, Bonham, May, p 18 Karen Park's Ceramic Wall Reliefs, Blanchard, Oct., p 24 Monumental Sculpture for SIU Campus, April, p 28 Raku Beads, Hyman, Oct., p 28 Relocating a Plate Rim, Eilenberger, Nov., p 23 Slab-Built Cylinders from Molds, Rothenberg, May, p 34

Miscellaneous Jurying . . . Science, Art. or Gamble?, Brennan, Oct., p 31 Lighting Problems and Solutions, Nelson, Oct., p 22 Potter's Trip, A, Morton, Sept., p 32 Primitive Pottery at Red Dog, Ball, May, p 29 Printing with Tiles, Kettner, Dec., p 30 Room Design and Curriculum Planning, Rash, Sept., p 30 To Market, To Market!, Wolverton, May, p 21; June, p 27 Tz'u-ehou Stoneware, Sept., p 24

Portfolios Coming of Age at Haystack, Merritt, June, p 19 Don Reitz, Brawer, Dee., p 19 Summer Workshops, April, p 19

PoH~'s and PoHery Ceramic Sculpture of Joe Ann Cousino, Bonham, May, p 16 Conversation with Don Reitz and Bruce Breckenridge, A, Brawer,

March, p 17 Crieklade Pottery: Kay and Ivan Martin, Goettsch, Feb., p 14

January 1971 December 1971

Don Reitz, Brawer, Dec., p 19 Franz Kriwanek, Wolverton, Jan., p 13 Herbert Sanders, Ball, Nov., p 14 John Novy, Third Generation Potter, Sweetman, March, p 13 Marianne de Trey, Lewenstein, Sept., p 14 Pennsylvania German Pottery . . . Tools and Processes, Powell,

Nov., p 18 Snake Pottery, The: Peter C. Bro~n, Goettsch, Feb.. p 16 Studio. The: Anthony Sterckx, Goettsch, Feb.. p 18 Tyrone and Julie Larson, Sharer, April, p 14

Potter's Wheel Bird Feeders, Baldwin, Oct., p 16 Canteen Forms Adapted from Stones, Johnson and Peterson,

April, p 30 Centering With a Leather Strap, Sweetman, March, p 14 Ceramic Sculpture from Wheel-Thrown Parts, Helrauth,

May, p 22 Don Reitz, Brawer, Dee., p 19 Pennsylvania German Pottery . . . Tools and Processes, Powell.

Nov., p 18 Pot Clusters, June, p 28 Throwing the Covered Pot, Helmuth, Nov., p 26 Throwing the Large Plate, Lee, Sept., p 18

Raku Raku Beads, Hyman, Oct., p 28 Raku Murals of Paul Rayar, The, Rothenberg, June, p 14 Raku Unit for High School Potters, A, Spray, April, p 17

Sculpture Ceramic Forms from Layered Slabs, Eilenberger, June, p 16 Ceramic Sculpture of Joe Ann Cousino, Bonham, May, p 16 Karen Park's Ceramic Wall Reliefs, Blanchard, Oct., p 24 Monumental Ceramic Sculpture for Southern Illinois Campus,

April, p 28

Show Time Burke Ceramics at Chicago Public Library, Dec., p 18 Ceramic League of Miami, Oct., p 21 Ceramic Statement 1971, San Francisco, June, p 30 Conversation with Don Reitz and Bruce Breekenridge, A,

Brawer, March, p 17 Cranbrook Alumni Gallery Tour, Dec., p 17 Indiana Artists/Craftsmen, June, p 31 Mid-South Ceramic Exhibition May p 26 Natzler Retrospective Exhibition, Oct'., p 14 Oakbrook Invitational Craft Exhibition, Dec., p 17 Ohio Ceramic Show, June, p 30 Persian Ceramics After Islam, Jan.. p 20 Place Setting, The, June, p 31 Ruth Rippon Retrospective Exhibition, March, p 20 South Carolina State Art Collection, Dec., p 18 Toledo Area Artists, Oct., p 21 Toledo Glass National, May, p 28 Twelve Dutch Potters, Nov., p 31

Studios, Tools and Equipment Cricklade Pottery, The: Kay and Ivan Martin, Goettsch,

Feb., p 14 Experiment in Building a Hillside Kiln, An, Erkkila, Jan., p 22 Marianne de Trey, Lewenstein, Sept., p 14 Pennsylvania German Pottery . . . Tools and Processes, Powell,

Nov., p 18 Primitive Pottery at Red Dog, Ball, May, p 29 Room Design and Curriculum Planning, Rash, Sept., p 30 Snake Pottery, The: Peter C. Brown, Goettsch, Feb., p 16 Studio, The: Anthony Sterckx, Goettseh, Feb., p 18

Teachers, Articles for Balloon Forms from Buttered Clay, Staryos, March, p 31 Experiment in Building a Hillside Kiln. An, Erkkila, Jan., p 22 Jurying . . . Science, Art, or Gamble?, Brennan, Oct., p 31 Making an Ocarina by the Slip-Cast Method, Traylor, Feb., p 28 Primitive Pottery at Red Dog, Ball, May, p 29 Printing with Tiles, Kettner, Dec., p 30 Raku Unit for High School Potters, A, Spray, April, p 17 Room Design and Curriculum Planning, Rash, Sept., p 30 Slab-Built Cylinder from Molds, Rothenberg, May, p 34 Tz'u-chou Stoneware, Sept., p 24 Where and How to Find Clay, Kriwanek, April, p 16

December 1971 41

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Back Issues The lollowing back issues of CM are still available at sixty cents each. (Ohio residents pay 4% sales tax.). We pay postage. 1962 Februa ry 1970 Sep tember

Oc tober 1971 J u n e

Please send check or money order to :

CERAMICS MONTHLY Box 4548, Columbus , O h i o 43212

NEW BOOKS EARLY AMERICAN FOLK POTTERY by Harold F. Guilland T h e au thor , a pot ter himself , developed the concept for this book f rom his desire to interest con tempora ry potters in the en- du r ing her i tage and values left by early Amer i can potters. H e accompl ishes this wi th background in format ion on the Co- lonial env i ronment , specifically cal l ing at- tent ion to the basic needs of tha t period and no t ing par t icular ly the rise of pot tery product ion . He traces this rise in a chapter, " T h e Ea r thenware Trad i t ion , " then progresses to " T h e Stoneware Trad i t ion . " He next discusses the form, qual i ty and beau ty of Amer i can folk pot tery in detail. Th i s section is fu r the r ampl i f ied by 200 pages of pho tog raphs in b lack-and-whi te and color, each wi th in fo rmat ion re la t ing to use of the piece, glaze, and details of decora t ion wi th app rox ima te or ig ina t ing da te and location. 322 pages ; pho tog raphs in b lack-and-whi te a n d color; $12.50. Chilton Book Company, 401 Walnut St., Philadelphia, Pennsylvania 19106.

COMMON CLAY by Charles Counts Char les C o u n t s begins his book with a page- long dedica t ion where in he includes a t r ibute " . . . to the total invo lvement of a pot ter and his day. N o w . . . and in the p a s t . • . and in the fu tu re too." Collabora- t ing wi th p h o t o g r a p h e r Bill H a d d o x , he ha s c rea ted a h a n d s o m e and inspir ing accoun t of pot ters l iving and working in the South today. W i t h pho tog raphs a n d prose inter- mingl ing , he presents Cheever M e a d e n , Bill Gordy, D. X. Gordy, W a y m o n Cole, Nelle Cole Graves, N o r m a n Smi th and Wal t e r Lee Cornelison. I n a shor t chapter , "Worksh i r t , " the a u t h o r writes of his own in t roduc t ion to pottery, his inspira t ions and aspirat ions. He also includes a C o m m o n Clay Portfolio and a chap te r on Ris ing Fawn. A final chap te r is directed to fu ture pot ters and deals with the f u n d a m e n t a l s of c ra f t smanship . 141 pages ; 152 photo- g raphs in b l a c k - a n d - w h i t e and color. $19.95. Droke House/Hallux, 116 W. Orr Street, Anderson, South Carolina, 29621.

KILNS AND KILN FIRING FOR THE CRAFT POTTER by H. Fraser "Pot te ry is possibly m a n ' s oldest indus t ry ," so the a u t h o r begins this Brit ish treatise on kilns, a n d cont inues wi th observat ions on discoveries m a d e 15,000 years ago. T h e evolut ion of the kiln f rom Egypt ian t ime to the p resen t -day m o d e r n s tudio kiln is discussed in the first chapter . Subsequen t chap te r s con ta in exp lana t ions of kiln const ruct ion, design, accessories, a n d in- s t rumen ta t ion . T h e a u t h o r deals with problems and techniques of fir ing, in- e lud ing a chap te r on reduc t ion firing, a n d a f inal section on pot tery faul ts and how to overcome them. Four appendices comple te the book. Line d rawings and pho tog raphs are used. 134 pages. Ap- p rox imate ly $3.60. Pitman Publishing Cor- poration, 20 E. 46th Street, Nerv York, N.Y. 10017.

Advertisers Index

December 1971

A-1 Ki ln Mfrs . . . . . . . . . . . . . . . . . . . . . 32 Allcraf t . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Alpine Ki lns . . . . . . . . . . . . . . . . . . . . . . . 13 Amer i can Ar t Clay Co . . . . . . . . . . . . . . . 6 Ar t Consu l t an t s . . . . . . . . . . . . . . . . . . . . 40 Ar t -Craf t s Supplies, Inc . . . . . . . . . . . . . 36

B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . . 32 Bergen Arts & Craf ts . . . . . . . . . . . . . . . . 32 Billiken Press . . . . . . . . . . . . . . . . . . . . . . 39 Brent , Rober t , Pot ter ' s Wheels . . . . . . . 9

Campbel l , G i lmour . . . . . . . . . . . . Cover 4 Capi ta l Ceramics . . . . . . . . . . . . . . . . . . . 36 Cen t ra l New York Ceramic Supply . . . . 37 Ceramic Coa t ing Co . . . . . . . . . . . . . . . . . 8 Cra f t S tuden ts League Y W C A . . . . . . . . 42 Creek -Turn . . . . . . . . . . . . . . . . . . . . . . . 36 Cross Creek Ceramics . . . . . . . . . . . . . . 39

Dawson, W. P . . . . . . . . . . . . . . . . . . . . . 39 Dial-A-Glaze . . . . . . . . . . . . . . . . . . . . . . . 12 Duncaln 's Ceramic Products . . . . . . . . . . 3

Estr in Mfg. Co . . . . . . . . . . . . . . . . . . . . . 32 Evenhea t . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Francoise Ceramics . . . . . . . . . . . . . . . . 40

Ga te Ceramic Supply Co . . . . . . . . . . . . . 36 Geonell 's . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Hays tack-Hinck ley School of Craf ts . . . . 42 H i ro Dis t r ibutors . . . . . . . . . . . . . . . . . . . 12

Indus t r ia l Minera l s . . . . . . . . . . . . . . . . . 42 I n l a n d Meta l . . . . . . . . . . . . . . . . . . . . . . 40

Jay-Bel lman . . . . . . . . . . . . . . . . . . . . . . . 4

K e m p e r Mfg. Co . . . . . . . . . . . . . . . . . . . 36 Klopfens te in , H. B. & Sons . . . . . . . . . . 36 K r a f t K o r n e r . . . . . . . . . . . . . . . . . . . . . . 39

L & L Mfg. Co . . . . . . . . . . . . . . . . . . . . . 36

Marsha l l -Cra f t . . . . . . . . . . . . . . . . . . . . . 3 / Mayco Colors . . . . . . . . . . . . . . . . . . . . . . 10 Menco Engineers . . . . . . . . . . . . . . . . . . . 37 Minneso t a Clay Co . . . . . . . . . . . . . . . . . 35

O h a u s Scale . . . . . . . . . . . . . . . . . . . . . . . 7 Oh io Ceramic Supply . . . . . . . . . . . . . . 40 Or ton Ceramic F o u n d a t i o n . . . . . . . . . . 35 Osca r -Pau l Corp . . . . . . . . . . . . . . . . . . . . 39

Pacifica Pot ter ' s Whee l . . . . . . . . . . . . . . 40 Pa ragon Indus t r ies . . . . . . . . . . . . . . . . . . 8 P a r a m o u n t Ceramic . . . . . . . . . . . . . . . . 39 Parfex Co . . . . . . . . . . . . . . . . . . . . . . . . . 36

R e w a r d . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 R i eh l and Ceramics . . . . . . . . . . . . . . . . . 37 Rov in Ceramics . . . . . . . . . . . . . . . . . . . . 6

Seeley's Ceramic Service . . . . . . . . . . . . 37 Skut t Ceramic Products . . . . . . . . Cover 2 S t a n d a r d Ceramic Supply Co . . . . . 36, 37 S t romgren and Associates . . . . . . . . . . . . 39

T e p p i n g S tud io Supply . . . . . . . . . . . . . . 37 T h o m p s o n , T h o m a s C., Co . . . . . . . . . . . 4 Tr in i ty Ceramic Supply . . . . . . . . . . . . . 36

U n i q u e Ki lns . . . . . . . . . . . . . . . . . . . . . . 40

V a n Howe Ceramic Supply . . . . . . . . . . 36

W. M. S. Pot ter Wheels . . . . . . . . . . . . . 8 Walker J a m a r Co . . . . . . . . . . . . . . . . . . . 32 Wall is Designs . . . . . . . . . . . . . . . . . . . . . 40 Way-Cra f t . . . . . . . . . . . . . . . . . . . . . . . . 37 Wes tby Ki lns . . . . . . . . . . . . . . . . . . . . . 34 Westwood Ceramic Supply . . . . . . . . . . . 11

42 Ceramics Monthly

Quality Handbooks on Cer 3mics for Hobbyists • Schools • Libraries • Craft Centers

Potter's Wheel Projects

edited by Thomas Sellers

The projects in this handbook pro- vide step-by-step instruction on a wide variety of special throwing techniques, with each project demonstrated by an accomplished craftsman. Bells, bird houses and feeders, musical instruments, teapots, and animals are just a few items you'll find presented. 64 pages $2.00

Decorating Pottery with Clay, Slip & Glaze

by F. Carlton B a l l

This beautifully illustrated book ex- plores many easy methods of decorating pottery with clay, slip and glaze. Those who lack skill and confidence in drawing and painting will find special pleasure in discov- ering the easily executed decorating techniques devised by this master craftsman. 64 pages $3.00

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POTTER'S

NH££L ~lv THOMAS SeLL.S~,~

Throwing on the Potter's Wheel

by Thomas Sellers

A complete manual on how to use the potter's wheel. Covers all basic steps from wedging clay to making specific shapes. Clearly describes every detail using step-by-step photo technique. Includes section on selection of the proper wheel and acces- sory tools. Used as a text in many colleges and schools. 80 pages $4.00

Ceramic Projects

edited b y Thomas Sellers

U n d e r g l a z e Decoration

by Marc Bellaire

An outstanding selection of projects for the classroom, home and studio. Each project introduces a different method of working in clay. Foun- tains, planters, jewelry, bottles, bowls and many other unique items are presented complete with photos and step-by-step instruction that is easy to follow. 64 pages $2.00

This complete handbook has all the answers on materials, tools and techniques. You'll like the start l ing variety of new designs Marc Bellaire creates before your eyes. Step-by- step projects are profusely illustrated. 37 projects in all - - 286 lively illustrations. A practical guide for the beginner. 64 pages $3.00

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8OOK DEPARTMENT Box 4548, Columbus, Ohio 43212

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[] Decorating Pottery with Clay, Slip & Glaze @ $3.00

[] Throwing on the Potter's Wheel @ $4.00

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[] Ceramic Projects @ $2.00

Underglaze Decoration @ $3.00

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Z Brush Decoration for Ceramics @ $3.00

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b y J o Rebert and Jean O ' H a r a

Recognized as the best in basic instruction, this elaborate handbook has over 200 photographs. Includes fundamentals and helpful, illustrated how-to-do-its on jewelry. Twenty- one different projects are completely described. Highly recommended by leading enamelists and teachers everywhere. 64 pages $2.00

Brush Decoration for Ceramics

by Marc Bsllaire

A fascinating book on the use and care of brushes. Shows how to make many designs for decorating ceramics using just three basic brushes b the watercolor, liner and square shader. Designs and sketches shown in this exciting book will offer many decorating ideas. Excellent choice for beginners. 64 pages $3.00

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