l~ - ceramic arts network · answers to questions conducted by the cm technical staff i have been...

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CRAFTOOL TOOLS

EQUIPMENT and

FURNITURE for the

COMPLETE CERAMICS

STUDIO or

SCHOOL

The Craftool Company 1 Industrial Road, Wood-Ridge, New Jersey 07075

Please send your FREE 148-page CATALOG of tools, equipment and supplies for Ceramics and other creative crafts; also set of four Ceramics Charts.

Name

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0-160 RPM MODEL_. ~ 2177

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March 1969 3

I

Cracked pots may plague any potter, be he profession~ or student. A ceramic work, whether a prize-winning c "The very first pot I ever made... '" deserves the ver in clays and glazes. For fifty years, Amaco has been fulfilling the needs of teachers, artists and students. formulating and providing clays and glazes designed for sure-fire pottery every time.

Why not try our products for potters?

Send today for Amaco 1969 50th Anniversary Pottery and Metal Enameling Catalog.

AMERICAN ART CLAY CO., INC.

Indianapolis, Indiana 46222

0

4 Ceramics Monthly

I L EE... I/l for dealers i only

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

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

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

YOUR NAME

STUDIO

ADDRESS

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

M O N T H L Y

V o l u m e 17 , N u m b e r 3 M a r c h 1 9 6 9

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

Answers to Questions ............................... 8

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

Itinerary ........................................... 11

Teapots by Betty Woodman .......................... 12

Arikara Indian Ceramics by Lionel A. Brown ......... 16

David Crespi's Weed Pots by Don Cyr ................ 20

Shard Mosaics by Becky Gilbreath ................... 23

Hollow-Built Sculpture by Robert E Eilenberger ...... 25

Show Time: DePauw Ceramic Show .................. 29

Enameled Stones by Polly Rothenberg ................ 31

Cone 6 Stoneware by Richard Behrens ................ 32

CeramActivities ..................................... 34

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

On Our Cover

Covered jar by John P. Loree, Associate Professor of Art at Eastern Michigan University, Ypsilanti. Mr. Loree describes his

"piece as being "two feet high, Cone 10 reduced stoneware, with an iron wash on the features, and bands of iron oxide on the knob, shoulder and foot under the beige white glaze. The face was modeled on the freshly-thrown cylinder after a slight amount of stiffening had taken place, with some small clay additions to build up the nose, eyelids and lips. After the basic form had hardened sufficiently to be turned upside down, a foot was thrown for it." The jar was one of 85 stoneware and porcelain pieces in an exhibit of the potter's work at the Detroit Artist Market in the fall.

Editor: THOMAS SELLERS

Art Director: ROBERT L. CREAC, ER

Business Manager: SPENCER L. DAVIS

Circulation Manager: MARY RUSHLEY

Editorial Assistant: CONNIE BELCHER

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

Western Advertising Representative: Joseph Mervish Associates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: TR 7-7556, Area Code 213.

Copyright 1969 Professional Publications, Inc.

Ceramics Month ly M a r c h 1969, Vol. 17 - - No. 3. Pub l i shed m o n t h l y except J u l y and A u g u s t by P ro fe s s iona l Pub l ica t ions , Inc . - - S. L. Davis , P re s . , P . S. E m e r y , See. ; a t 4175 N. H i g h S t ree t , Columbus , Ohio 43214. Second class pos t age pa id a t A thens , Ohio, U . S . A . Subsc r ip t i ons : One y e a r $6; T w o y e a r s $10; T h r e e y e a r s $14. C o p y r i g h t 1969. Al l r i g h t s reserved. The a r t i c l e s in each issue of Ce ramics Month ly a re indexed in The Reade r s ' Guide to Per iod ica l L i t e r a t u r e . M i c r o f i l m copies a r e ava i l ab le to subsc r ibe r s f r o m U n i v e r s i t y Mic ro f i lms , 313 N. F i r s t St . , A n n Arbor , Mich igan . M a n u s c r i p t s a n d i l lus t ra t ions dea l i ng w i t h ce r amic a r t ac t iv i t i e s a r e we lcome a n d will be considered fo r publ ica t ion. M a n u - s c r i p t s should be typed double-spaced a n d r a n g e f r o m 500 to 2000 words . Send manuscripts and correspondence about them to the Editor, Ceramics Monthly, 4175 N. High Street, Columbus, Ohio 43214.

• l O l l n l a v I v I

come from Thompson... pacemaker for the industry for over 70 years

Fire your imagination with color and shape as Thompson sees it in the inspiring new free catalog and Color Guide of 233 most desirable colors. Help yourself to the limitless inspirations to create new, improved, more exciting deco- rative and utilitarian items with the metal enamels that have been the standard of the industry for nearly three- quarters of a century. Get up to date with this FREE Catalog and Color Guide featuring many new findings, new kilns and a variety of new pre-formed shapes for conversion to bowls, ash- trays, vases . . . hundreds of original creations. Most orders are filled by Thompson within 24. hours after receipt. Another service idea from Thompson, where the BIG IDEA colors come from . . . always have, always will.

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THOMAS C. THOMPSON COMPANY Dept. CM-3 1S39 Old Deerfield Road Highland Park, Illinois 6003S

Please rush my FREE catalog of complete enameling craft supplies with Color Guide today.

NAME

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CITY STATF 71p i . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

March 1969 5

For The Discriminating Ceramist MODEL A-99B

Fire immense loads daily This enormous 10 slded kiln ;s 27 't 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 41/2" blank collar for full 311/2" depth.

EXCLUSIVE! INCH OF BLOCK INSULATION IN LID AND BOTTOM

O IN STAINLESS STEEL

MODEL A-99B . . . . . . $367.S0 4 ~ " blank collar, $29.50

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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

DAWSON Automatic Kiln Sitter/ $42.00 installed at PARAGON \

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

~ ) ~ , 9 ~ , g//J~.. Dept. CM Box 10133, Dallas, Texas 75207

B & I POTTER Y

MAKER Power Driven

Variable Speed

$59so F.O.B. Jess belt. motor

Professional features, versatile enough for advanced craftsmen, yet simple enough for beginners' use. Precision built, compact, portable. Mounts anywhere. New variable speed reducer with adjustable foot controls provides speed range from 38 to 130 r.p.m. Built-in water container, attached wedging wire, reversible 9-1nch throwing head with recess for molding plaster bats. Ideal for school or home studios. Also available for pottery maker is a new workbench wffh a convenient seat to allow operator to control position at all times. $22.50 each, F.O.B. Burlington, Wis. Order by mail now . . . or write far complete literature.

Write for Lapidary Equipment

Literature Burlington, Wisconsin $310S

6 Ceramics Monthly

T E A C H . . . t h e e a s y w a y

. . . U S E R E W A R D H A R T p r o d u c t s

Teach the Easy Way! Use Reward and Hart Products. Liquid glaze and underglaze goes further and offers better results and are recommended for their high quality.

Send for free literature and price lists.

R E W A R D C E R A M I C C O L O R MFRS. , INC.

314 Hammonds Ferry Rd., Glen Rurnle, Md. 21061

LETTERS EVERSON BUILDING

I wish to t h a n k you for your very excellent coverage of the Everson M u s e u m ' s 25th Ce ramic Nat iona l Exhibi t ion in the J a n u a r y 1969 issue of CERAI~IICS MONTH- LY. We feel t ha t the exhibi t ion was qui te successful a n d apprec ia te all the excel lent press coverage, such as the article in your magazine . We were par t icular ly pleased to see the Everson bui ld ing in t roduced to your readers. ]ane R. Shontz

Exhibi t ions Secretary Everson M u s e u m of Ar t

Syracuse, New York

I was pleased to see the article on the new Ceramic Nat iona l exhibi t ion but sur- prised to learn tha t the Everson had moved to a new building. F r o m the picture of it on page 19 it appears to be a magn i f i cen t s t ructure . Your " in terpre ta- t ion" of the M u s e u m on the J a n u a r y cover makes one of the mos t unusua l - - and a t t ract ive - - C M covers to date!

Linda Fulton Washing ton , D.C.

FINE AND INFORMATIVE I tell all of my s tudents tha t this is a

truly fine and informat ive magaz ine they should subscribe to, and show t h e m back issues for the creative ideas and inspira t ion tha t they can derive f rom CERAblICN MONTHLY. M a y your fine magaz ine always re ta in the h igh s t andards tha t make it the best in the field.

1. W. Roseborough Kingsvil le , Texas

NEWS POTS T h e J a n u a r y issue of C M m u s t ra te as

one of the very best yet! T h e balance of mater ia l and subject m a t t e r is excellent and each article is of except ional meri t . I par t icular ly enjoyed Mr. Tay lor ' s "News Pots" and am anxious to try his t echnique for the m a k i n g of some "news p laques" or ceramic posters for our recreat ion room walls. O n e of our local papers has p rom- ised to help out with the ma t s w h e n an especially newswor thy event comes along!

Mrs. S. E. Ward Hous ton , Texas

WORKSHOPS m COMING UP! I a m looking forward to the Spr ing

issues of C M tha t list the S u m m e r Work- shop oppor tuni t ies for 1969. I t rus t tha t these will appea r as usual . Th i s has been one of the fea tures in your magaz ine tha t I have been mos t t hankfu l for, as it has in t roduced me to some of the best s u m m e r vacat ions I ever have had , and to some of the mos t in teres t ing people I ever have met . Whi le I am a teacher, I am not in the a r t d e p a r t m e n t a t school and ceramics is only m y hobby. The re doe'sn't seem to be m u c h t ime du r ing the school year for

Continued on Page 33

Going to pot? T h e n go in a b i g w a y . . .

S t t I M P O W E S T The R K - 2 .

T h e m o s t a d v a n c e d , m o s t d e p e n d a b l e w h e e l f o r p r o f e s s i o n a l o r h o b b y i s t u s e .

S m o o t h h a n d o r f o o t c o n t r o l a t al l s p e e d s f r o m 0 to 200 r p m . - - f o r w a r d o r r e v e r s e .

Sol id s t ee l , easy-clean c o n s t r u c t i o n . 146 p o u n d s o f w h i s p e r - q u i e t p o w e r . . . to ta l centering power . . .

al l in o n l y 2 s q u a r e f e e t o f f l o o r space.

It's quite clea . . . we have a problem.

It's taken 21 years of developmental research,

conscientious service and ain hard work to get you stwood when you think )w we've decided what's is just as reliable a source

ld supplies for glass blowing. So what's our problem? Now we

have to retrain all of you so that when you think glass blowing you'll think Westwood.

Write today for full information.

W E S T W O O D C E R A M I C S U P P L Y CO. 14400 Lomitas Ave., City of Indusffy, California 91744

M a r c h 1969 7

Answers to

QUESTIONS C o n d u c t e d by the C M T e c h n i c a l S t a f f

I have been doing some experimenting with slip glazes and the results on small fiat test tiles have been very good.

However, when I apply the glaze on a pot, it cracks and actually peels off the pot in places. I have tried adding gum to the glaze, but this hasn't solved the problem. Is there any way to keep the glaze on the pot so that I can get it into the kiln intact [or [iring? The results have been so good that St seems a shame to abandon the project. - - A . M c G .

Slip glazes have high shrinkage and tend to crack when they are applied heavily (as most slip glazes must be for best results). To lower the shrinkage of this natural clay, try calcining some of it and using it for all or part of the clay content in the recipe. To calcine the raw clay, place the dry powder in a bisque pot and fire it to low red heat (about 13000F) in order to drive off the chemically-combined water. If there are any lumps when the material is taken from the kiln, these can be crushed easily. If your glaze is made up entirely of the slip clay, use some of the un[ired clay to give the glaze some strength. If the glaze recipe includes other ingredients besides the slip clay, you may be able to use the calcined clay for the complete clay content in the recipe.

What percentage of grog is added to clay to give it a coarse texture? - - S .W. In a series of articles written for CM in 1963, Richard

Peeler suggested using about 10% grog (1 lb. grog to 10 lb. dry

clay) for wheel work, and from 20 to 40% grog for handbuilding pottery or sculpture. Grog comes in various sizes; finer grog would be used for smaller projects and coarser particles for broadly-treated concepts. The texture is not fully revealed unless the leather-hard or dry surface of a piece is scraped. Remember that grog is pre-shrunk and therefore will reduce shrinkage. It also will render a clay less plastic.

Why do some glazes seem to need the addition o[ a gum or other binder in order to harden them ]or handling alter they've

been applied to a pot, while other glazes seem to have plenty of strength without the addition o[ a binder?--A.L.S.

If a glaze is low in clay content, it probably will need the addition of a binder to protect it for handling after it is glazed and before it is fired. If the kaolin content is about ten percent or more, it acts as a built-in binder. Bentonite can be added to a glaze, in amounts of from one to three percent, for this protection without materially changing the formula.

All subscriber inquiries are given individual attention at CM; and, out ol the many received, those o[ general interest are selected ]or answer in this column. Direct your inquiries to the Questions Editor, CM, 4175 N. High St., Columbus, Ohio 43214. Please enclose a stamped, sell-addressed envelope.

l i lp last ic )rrugated

in 25 lb. packages. low about :hat folk!

d assorted brochure !

~ich. 48127

8 C e r a m i c s M o n t h l y

I I

GAS KILNS from 2 cu. ft. to 60 cu. ft. All fire to 2500 F - - some to 3000 F. Instrumentation for temperature control and a positive control of atmosphere from highly oxidizing to reducing. ELECTRIC KILNS from 2 cu. ft. to 24 cu. ft. Front loading or top loading, - - all models fire to 2350 F - - some to 2800 F. Fully instrumented. POTTERY WHEELS come in several models, including an electroni- cally controlled variable speed wheel with constant torque. But remember we still make the old "KICK WHEEL" too for those who prefer it. See our catalog for WARE TRUCKS, FORMULATING TABLES, GLAZE SPRAY BOOTHS, PUG MILLS, BALL MILLS, and many other items for classroom, shop, and studio.

Our catalog illustrates a complete line of equipment to go with these kilns.

March 1969 9

CERAMICS a p o t t e r ' s h a n d b o o k b y G L E N N C. NELSON

This def in i t ive book on ceramics has been brought completely up- to-da te , expanded, a n d f u r t h e r i l l u s t r a t ed for the use of a m a t e u r s , p rofess iona ls , t e a c h e r s - - a l l who form, k i ln-dry , decora te a n d glaze clay.

As in i ts p rev ious edi t ion, C E R A M I C S covers in a p rac t i ca l m a n n e r v i r t u a l l y e v e r y t h i n g abou t i t s sub jec t : h i s to r ica l and c o n t e m p o r a r y ceramics , des ign concepts, f o r m i n g techniques , clay, glazes , ce ramic chemicals , decora- t ion, a nd sources of m a t e r i a l s and equipment . No t mere ly a "how- to" guide, the book includes sect ions (special equip- men t , t he c h e m i s t r y of ceramics , and s imi la r soph is t i ca ted topics) f o r the advanced s t u d e n t or the profess ional . One of the a u t h o r ' s a ims is to reduce the in i t ia l d i sappoin t - m e n t of the beg inne r ; f o r th i s reason, each procedure , f r om the lump of we t c lay to the f i r ed object , is ca re - fu l ly described. A n o t h e r of h is a lms is to p r e s e n t the aes the t ic , as well as the technica l poss ib i l i t ies of po t t e ry m a k i n g ; f o r th i s end, the i l l u s t r a t ions ( t h e r e a re more t h a n 300, w i th 8 pages in fu l l color) a re as usefu l as t hey a re handsome .

New to th i s edi t ion is a c h a p t e r on basic design. In addi t ion , t h e r e is new m a t e r i a l on J a p a n e s e ceramics , a new c h a p t e r on the cons t ruc t ion and ope ra t ion of kilns, and a new c h a p t e r on m a s s p roduc t ion methods.

F r o m ch i ld ren ' s c a m p s to college un ive r s i t i e s , CE- R A M I C S cont inues to be the mos t complete and expe r t aid ava i l ab le to the e n j o y m e n t and m a s t e r y of ceramics . $7.50 pe r copy.

Glenn C. Nelson is currently teaching ceramics at the University of Minnesota at Duluth. He has not only studied at several art schools but also holds degrees from the University of Wisconsin at Milwaukee and the State University of Iowa. His several periods of travel and study abroad and his own commercial workshop experiences have greatly enriched his background in and knowledge of ceramics.

We Pay Postage m Sold on our Usual Money-Back Guarantee

I CERAMICS MONTHLY Book Department I 4175 North H;gh Sfreet, Columbus, Ohlo 43214 Please send me _ _ copies of CERAMICS by Nelson ~i~ $7.S0

I Name- l I Address I

City .State Zip

I Ohio residents add 30c sales tax. [ I enclose [ ] Check [ ] Money Order 1

10 Ceramics Month ly

SUGGESTIONS [rom our readers

WEDGING BOARD SURFACE After having considerable trouble with my plaster wedging

table (cracking and small chips of plaster mixing with the clay when wedging), I decided to cover the surface rather than remove the plaster and install new plaster.

I first tried 3 /4" waterproof plywood. This worked fairly well but the grain of the wood raised slightly, from the damp clay, and left a slightly rough surface.

Johns-Manville 1/4" Flexboard proved to be an ideal surface. I t absorbs moisture much the same as plaster but does not crack. The surface remains smooth, it is very easy to clean, it saves removing old plaster, and it is not expensive. I t may be obtained from any local lumber yard. If you are having a wedging board problem, try it.

--Gilbert Harem, St. Paul, Minn.

GRATED CLAY My nine-year-old son discovered this help for me. When he

"plays clay," pieces of clay are mislaid and forgotten and consequently become rock-hard. To pulverize these scraps quickly and with no mess, I grind them in one of the "little Mouli" graters. This is a small drum-type gadget that is used to grate, shred and slice vegetables in the kitchen.

--Irene Boroo, Solon Springs, Wis.

CERAMIC BELT BUCKLES People look rather strangely at me when I suggest that

they should be wearing ceramic belt buckles in colors to match their access,~ries or cl,,thine. In the ceramic laboratories of the

State Geological Survey of Kansas we have made ceramic belt buckles and have successfully field-tested them on active people. At present ceramic buckles are not rec- (,mmended for the rough and tumble play of children on sidewalks, but for normal adult activities they have been quite satisfactory.

The Cone 3 - -5 vitreous body is made of ~ part

Kentucky Ohl Mine ~ t ball clay, ~ part A-400 nepheline syenite, and ~ part finely ground aluminum oxide. If properly prepared and fired, the modulus of rupture strength approaches or exceeds 20,000 psi, enough strength to restrain the average stomach.

All our buckles have been solid slip cast, although a pressed buckle would have better internal structure. Slip casting often created small voids in the corners or near the hook, but no service failures have occurred. I t is very important that the glaze on the buckle does not craze. A crazed glaze can reduce the strength of a factor of five or more, making failure of the buckle quite likely.

The development of the low-fired (Cone 3 - -5 ) high-strength alumina porcelains should expand the little used dark alleys of ceramic design application. Ceramic belt buckles today - - who knows what the mind will think of for tomorrow! Pictured is a slip cast ceramic belt buckle. The hook is a part of the buckle; the underside of the hook area is contoured to fit the body.

- -M. P. Bauleke and ]ohn Huh, Lawrence, Kans.

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

I T I N E R A R Y

Send ),our show announcements early: "'Where to Show," three months ahead of entry date; "Where to Go," at least six weeks be[ore the opening.

WHERE TO SHOW

ALABAMA, MONTGOMERY April 26-27 The 17 Springs Art, Craft

and Hobby Fair accepts work in all media. Entry fee. Write: 17 Springs Director, 437 S. Perry St. . .Montgomery 36104.

COLORADO~ CENTRAL CITY May 25-July 5 The 1969 Exhibit of the

ACC-South Central Region will be held at the Gilpin County Art Association. Open to craftsmen residing in Arkansas, Colo- rado, Kansas, Oklahoma, and Texas. Juror ; Cash Awards; Entries due April 1 - -12 . Write: Gilpin County Arts Asso- ciation. Central City 80427.

NEW ~[EXICO, ALBUQUERQUE ]une "Young Americans 1969," is open

to craftsmen between the ages of 20 and 30. and includes all craft media, excluding painting and graphics. The competition, sponsored by the American Craftsmen's Council, will be held at the University of New Mexico Art Gallery; a subsequent showing will be held at the Museum of Contemporary Crafts in New York. Entry forms are available by writing to A.C.C., 29 West 53rd St., New York, N.Y. 10019.

NEW YORK, ROCHESTER April I8-27 Rochester Festival of Re-

ligious Arts is open to all artists; media include enamels and sculpture. Entry fee; Prizes; Jury; Entry cards and work due by March 27. Write: Rochester Festival of Religious Arts, Art Division, 50 Ply- mouth Ave. N., Rochester 14614.

OHIO, CLEVELAND April 3l-]une 15 The 51st May Show

of work by artists and craftsmen of Ohio's Western Reserve includes work in ceramics, enamel, and jewelry. Entries are limited to two from each submitting artist. Entries are due, along with entry forms, between March 8-15. Entry blanks will be mailed only to artists not living in Cleve- land. Write: Cleveland Museum of Art, Cleveland 44106.

OHIO~ COLUMBUS April 6-30 Liturgical Art II, an exhibi-

tion and competition sponsored by the Liturgical Art Guild and open to artists and craftsmen working in Ohio, will be held at Schumacher Gallery at Capital University. Work of a liturgical nature in all media will be considered. Entry fee, Cash awards; Juror ; Work due March 29-30. For entry information, write: Li- turgical Art Guild, 205 E. Broad St., Columbus 43215.

SPECIAL FOR HOBBYISTS

CALIFORNIA± LOS ANGELES ]uly 30-August 3 The 1969 Annual

Trade Show and Convention of the Na- tional Ceramic Manufacturers Association; at the Ambassador Hotel.

ILLINOIS, ALTON March 28-30 The Third Annual Ceramic

Show of the Ceramic Association will be held at the Mineral Springs Hotel. Show Chairman is Joyce McEvers, 449 Belle- view Ave., Alton 62002.

ILLINOIS, CHICAGO August 28-31 The Chicago Ceramic

Hobby Show will be held at the Sherman House. For information, write: Jerry


How brave the bull! How bold the matador! And how skillful the ceramist when you finish these

pieces in MAYCO glazes--in this case Black Lustre, Black Hesitation and Vibrant Red.

You win the plaudits of the crowd every time with MAYCO® COLORS--One Stroke, Underglazes, Crystal Clear Glazes. All MAYCO products are

homogenized for easier application and fire at Cone 06. Send for free color chart. Dealerships available.

IT10 CO colors 20800 Dearborn, Chatsworth, California 91311

M a r c h 1969 11

Teapots bv BETTY ~rOODMAN

I ' lL ~, ¢ , , ,~,..,, l l ' . , , d , , m n

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12 Ceramics Monthly

!

i~i!!S

1. Throwing the body of ttle teapot I t is important to take the correct quantity of clay for the size teapot to be made. I use a ball of clay about 2 pounds in weight for a four-to six-cup pot. 3V2 pounds of clay will make a large ( ~ gallon) pot. Many beginners' pots are clmnsy because they use more clay than needed for that size of pot, and consequently stop far short of what the clay could really do. Good throwing exploits the full possibilities of the clay used.

2. Pulling up a cylinder

m %

I

3. Shaping the pot [rom the cylinder A successful pot, even after it has been fired and glazed, will reflect an almost fluid plasticity in its clay fabric. (Photos continue on the next spread.)

Opposite: Stacking teapots into the bisque kiln The pots are made in series or groups in order to achieve a rhythm of work and a complete involve- ment with a particular form and its variations.

March 1969 13

4. Pots and spouts The pieces are allowed to dry until firm enough in order to be handled easily, but not leather hard, before they are trimmed and attached to each other. Spouts will dry faster than the body, so care should be taken to wrap them in plastic while they are still soft, yet firm enough to be handled. The spout is bent slightly, im- mediately after it is cut off the wheel, to make it more graceful when applied.

........... : ~ . ....... ~ ....... f l l m i l ~ ~

5. The body o] the teapot is trimmed In this case, it is being faceted with a sharp knife. The spout is trimmed by holding it at its correct angle against the pot and slicing away the bottom so that it will fit the contour of the pot. The top of the spout should be positioned about level with the top of the body. If it is too low, the pot will overflow when filled. Trace an outline of the spout where it will be attached to the body.

8. Cutting the tip o[ the spout When the spout has dried a little, I cut the end of it so that it will be about level with the top of the pot, or at a slight inclination away from it. This serves a double purpose : it provides a sharp edge on the spout, thus keeping it from dripping; in addition, the angle of cut can be important in making the spout look more an integral part of the pot and not like something just hanging off it. Note also pictures 9 and 10.

9. Attaching the handle The handle is made from a ring which has been cut from the top of a thrown cylinder (described in the article on "Hanging Flower Pots" in CM, November 1967). The handle is applied when it has dried sufficiently to hold its shape and yet is somewhat plastic. The thickness and width of the handle must relate to the scale of the teapot.

14 Ceramlcs Monthly

' > .

6. Preparing the body/or attaching the spout Holes are punched through the pot to serve as a strainer to catch the tea leaves. The surface of the pot is roughened with scratches just inside of the traced outline of the base of the spout; then some slip is put on the scratched area.

7. Attaching the spout The spout is pressed into place. I add a thin coil of clay around the joint of spout and pot and smooth it in order to make a good seal. Be careful not to handle the pot and spout excessively while attaching them together, or the sense of throwing in the shapes may become lost.

10. The potter's seal clay

is pressed into the so[t A [inished teapot This one has a wax resist decoration which exposes some of the unglazed clay. It was fired to Cone 10 with a reducing atmosphere in a gas-fired kiln. This particular glaze is very simple: equal parts of washed wood ash and red brick clay.

March 1969 15

Arikara

Indian Ceramics by LIONEL A. BROWN

Above: Lugs were used in place o[ handles on this restored Arikara vessel, and decoration was confined to cord impressing on the lip area.

Right: Restored pot shows the type o[ handles used by the Arikaras. Lip was horizontally cord-impressed and the shoulder was incised.

THE MODERN ART .OF CERAMICS and the field of arche- ology have a common meeting ground. Practitioners of both fields are interested in the products of human creativity, but on different levels of concern. The ceramist is interested primarily in the end results of the aesthetic and technological aspects of pottery, while the archeologist is interested in aesthetics and technology only as they help him to establish a tlme-space framework in ordering historical developments of pottery - making peoples.

Although main interests may differ, specialists of both fields have benefited one another. The ceramist has aided the archeologist more than the reverse, but the archeologist has been able to provide professional and amateur potters with an understanding of prehistoric methods of pottery making. Such an understanding nourishes and enriches the modem potter's appreciation of his own work.

For example, the pottery of one Indian group, that of the Arikara Plains Indians, has several traits that also are characteristic of the pottery of other Plains and non- Plains groups.

The Arikara, also known as the Rees, lived primarily during the 18th century along the Missouri River in

16 Ceramics Monthly

central South Dakota. These people resided in circular earthlodges generally clustered within a complex defensive system. Protection from nearby warring Indian groups consisted of a high post palisade and a deep dry fortifi- cation ditch. Arikara were hunters and farmers, living off buffalo and other large game animals native to the region and off their gardens, in which they planted and cultivated corn, squash, beans, pumpkins, and other vegetables. I t was this sedentary and horticultural way of life that both allowed and required the use of ceramic vessels as a part of daily living.

Most Arikara pots are one of two basic body forms. One is a broad shouldered, rounded olla; the other con- sists of a longer, narrow shouldered jar. Three primary rim forms occur interchangeably among body forms, and the Arikara often added appendages so that vessels could be carried easily or hung over a fire. Appendages include either strap-like handles attached to the rim and upper shoulder, or lugs, which are simple tabs drawn out from the fillet or lip. Thongs inserted through handles or under lugs suspended the vessels from a rack.

Throughout known Arikara society, pottery making was a woman's job, probably because women used the vessels, and the ceramics were mostly limited to utilitarian

pots for cooking and food storage purposes. Methods of pottery manufacturing passed from mother to daughter or grandmother to grandaughter at an early age, certainly before marriage.

If we try to visualize an Arikara potter at work, we see a middle-aged woman, heavily built, and clothed in a rancid hide dress. She kneels outside her circular earth- lodge near a flat boulder which is her working table. She covers the stone with a hide to catch any loose clay particles which she will reuse. Beside her are the two raw materials needed to make a vessel--a plastic substance in the form of clay, and nonplastic materials to mix with the clay to give it strength and durability.

Her plastic substance is a fine tenacious clay that she gathered earlier from one of several natural deposits along the Missouri River. Nonplastic materials consist mainly of quartz, plagioclase and orthoclase feldspars, bio- tite, and hornblende. To the potter this is merely grit, crushed and decomposed pieces of granite.

The potter takes a quantity of clay in her hand, sufficient for a vessel about the size she has in mind, and slaps it on the stone working table. With hardened hands she thoroughly kneads the clay and mixes with it what she knows to be the proper amount of grit. Skilled

hands continue to work the clay mass until it is ready for shaping.

In a mechanical fashion the potter shapes the tem- pered clay by the freehand modeling method. First she hits the clay blob in the center to produce a hollow form, and then she uses a paddle and anvil to form the vessel walls. In her left hand she holds a smooth round cobble inside the pot; in the other hand she holds a wood or bone paddle about ten inches long with which she beats the clay against the anvil held inside the pot.

Once she has achieved the desired vessel form, her hands shape and mold the neck and rim. There are finishing touches. From experience the potter knows that vessel walls must be compacted and thinned. Again, she uses the paddle and anvil method. One hand holds the stone anvil inside the vessel and the other beats the outside with a grooved or thong-wrapped paddle made of a buffalo rib. This treatment produces vertical ridges on the vessel's neck and shoulder and, in a haphazard fashion, on the base.

After vessel walls are thin enough, the potter smooths the outside walls with her hands or a flat stone. This results in some smooth places, but most surface ridges are still visible. Next, she brushes the neck with a bundle

March 1969 17

~'~ ~,.~

X

o o

18 Ceramics Monthly

This unbroken vessel from an excavated Arikara village is a rare archeoIogicaI find. Visible surface ridges are a result of thinning the pot walls by hitting the piece with either a grooved or thong- wrapped paddle made of bone.

Lip of this small Arikara vessel was decorated with cord impressed lines. This pot is pictured actual size.

of twigs or a comb, producing vertical striations on the outside. The inside is smooth except at the neck, where it is wiped with a wad of grass.

Arikara pots are frequently undecorated and any vessel decoration is done while the clay is still leather hard. The most popular areas for decoration are the rim and lip. Most common techniques include incising and punctating with bone and stone tools, impressing a twisted cord into the clay, and pinching with the fingers to produce a series of alternating indentations on the rim. Often tool decoration and cord impressing are used together. Pot shoulders, if decorated, are embellished with a variety of incised lines.

Thus far, the Arikara potter has relied upon her skill and patience in shaping and decorating the pot. When the vessel is bone dry, the product must be subjected to fire. This last phase of pottery making is the most critical one.

The modern ceramist is concerned with a fuel's heat value and the length of time it burns. Although the prehistoric potter had no way of measuring such qualities, she could tell by experimentation how a fuel affected the clay she used. Melvin R. Gilmore, in his 1925 report of Arikara Indian informants, provides an accurate image of the ANkara firing process: "For the purpose of firing the pots, a fire-bed of sufficient size, made of dry elmwood, was laid. After kindling, this was allowed to burn to a good bed of coals. A place was hollowed out in the coals and the pot carefully placed therein. Then the coals were heaped around and in the pot, and more dry ehn was laid on and around the pot, sufficient to make it red-hot. The fire was allowed to burn down, and the vessel to cool slowly and very gradually. The pot was then finished by greasing and rubbing it, which was said to give it a fine, hlack, glossy appearance."

Gilmore was silent as to whether or not Arikara Indians used a preliminary fire to rid the green vessel of moisture before actual firing. The drying process was probably sufficient. The vessel was cooled slowly before it was taken from the fire, probably to avoid the strain of sudden, excessive contraction.

What were the technical capabilities of the Arikara potters? The relative quality of their vessels is poor, and the Arikara pots are technically inferior to vessels made by proto-Arikara peoples who lived in the same area. They lack glazes or slips common to the ceramics of the Southwestern United States. I t is not known whether the poor quality of Arikara pottery was produced by inadequate knowledge or some other factor.

During the last half of the 18th century and first half of the 19th century, quantities of manufactured trade goods became readily available to the Arikara. As a result, ceramic vessels gave way to brass and iron kettles. This marked the decline and eventual end of pottery making as an Arikara activity.

L I O N E L A. B R O W N is an archeologist with the Smith- sonian Institution, Lincoln, Nebraska. He gathered much of his information on the Arikara during six summers when he did field work excavating Plains ceramic sites for the Smithsonian. He has published numerous articles and monographs on the subject.

March 1969 19

David Crespi's Weed Pots by DON CVR

20 Ceramics Monthly

MANY POTTERS TODAY produce their wares with a loftiness of purpose that is no longer limited by any of the purely functional concerns of a utilitarian philosophy of ceramics. David Crespi, a versatile artist-craftsman and associate professor of ceramics at Southern Connecticut State Col- lege, sees pottery as a kind of poetry. "Clay, earth, nature and growth are all important elements of poetry to me. I would like my pots to reveal my love for the little- appreciated aspects of nature--pods, weeds, seeds, stumps. I prefer the environment of the earth felt at nose-level rather than at eye-level."

Indeed, Professor Crespi brings a rather unusual background to his art. He received his doctorate from Teachers College, Columbia University, where he was first introduced to ceramics. Most of his ceramic studies, however, were undertaken individually in his own studio and he is essentially self-taught as a potter.

Crespi is primarily concerned with the sculptural aspects of potter)', and he has only a mild interest in its strictly utilitarian functions. He says, " I am constantly searching for new interpretive functions towards which pottery can be used. I am particularly involved with the organic and textural qualities of clay and its relationship to natural wood and stone forms. I wish to allow nay pottery to form a stronger relationship with the organic origins of clay and form."

In the making of his "weed pots," Dr. Crespi has synthesized a form that cross-breeds the many organic qualities of nature with certain aspects of functionalism. The fact remains that his pots do serve as containers, if for nothing more than a few carefully-selected weeds. Some weed pots even incorporate mirrors! "The organic weed containers and mirrors are my attempt to blend the slick qualities of the wheel with the gouging, manipulative handling of the slab. And, I feel that these forms are basically sculptural expressions."

The weed pots were originally created by collapsing

wheel-thrown bottle forms and then adding other elements. However, Crespi found that the same effect could just as easily be simulated by starting off with a rather large slab of clay.

First, the slab of clay is slammed into shape oil a wedging table. This action also serves as a wedging process for the clay since it eliminates possible air pockets from the slab. Next, a board (as in this case) or any other textural device is used to create the desired surface design. Bottle neck forms are added to the basic shape so as to sinmlate the collapsed bottle form basic to the design. The neck elements are securely welded into place and then the board is used again to add the textural impressions in the surface of the clay.

The final touches are added to the form by gouging out the various receptacles that will serve to hold or contain such given organic material as weeds, stemmed pods or branches.

Engobes and slips are applied while the pot is still leather hard, in order to accentuate the surface texture and also to add a compliment of earth colors to the natural color of the clay. Dave Crespi uses a reduction fire for his pots because he feels that this serves as the culminating action to nature's total participation in the ceramic process.

"At all times, I try to allow the clay the opportunity of revealing the manipulative process which went into its construction. I feel that working in clay is often a mystical and poetic experience. My pottery is unexpected. It grows before me. And often, all my sketches are useless because in the end the clay must have its way."

DON C Y R is Associate Professor of Art at Southern Connecticut State College, New Haven. Other CM articles by Dr. Cyr have appeared in February 1968 ("New Breed o[ Potters"), May 1968 ("Building Clay Heads"), and January 1969 ("Coiling a Pot in a Pot").

1. A lump oj clay i, .dapl, d i , t , ,Ira~, ,mttr, wedging board to [orm the body o[ the pot.

2. A b,,a~d i, used to slash deep ma~t,, i , t , lt*, clay in order to secure a strong texture.

March 1969 21

3. A thrown neck ~ t i o l t L~ J;r~.~,~d il~ th~ h~md,~ t , make it conform to the basic pot shape.

5. The piece is turned o~'cr to/ inish the attachmcl,/ of the neck to the basic body form.

4. Both ,e~t/o/~, a~' ,,~o~d with a /o~k, ttu'n pressed f irmly together to create a new shape.

d. l l i th the neck / irmly attached, the board is again used to reemphasize the original texture marks.

22 Ceramics Monthly

Shard Mosaics by BECKY GILBREATII

Do YOU ttAVE a dusty collection of really bad pots, too ugly to give away, too awful to use, that you cannot bear to throw away? Those ugly ducklings can grow old gracefully. Make a mosaic!

Besides a supply of botched pots, you'll need a piece of plywood or mason board for the base, mosaic tile adhesive, grouting cement, a few ordinary kitchen utensils, a hammer, and the courage to smash your pots.

Making your shards is the first step, and take care when doing this. Keep children out of the way and protect your eyes from flying chips. I t is helpful to hammer your pots to bits and pieces inside a cardboard carton. Work on one pot at a time so colors can be kept separate.

The size and shape of your base and the colors and textures of )'our shards will suggest a design if you play with them for a bit. Some craftsmen work by the random method, gluing as they go, letting fancy dictate the design. Others sketch and plan every detail before gluing a single piece. Either way is fine, but you'll probably find that some leeway will be necessary since your shards will vary considerably, concave and convex, thick and thin, glossy and dull, rough and smooth.

You can apply the adhesive directly to the base board, or you can "butter" the back of each shard and

then attach it to the base. An old table knife, preferably one you can throw away later, works well for this step. Because the adhesive dries rapidly and inhaling its fumes can be dangerous, work rapidly in a well ventilated area and close the adhesive container tightly as soon as possible.

You don't have to complete your mosaic at one sitting, but I think you'll find it's like eating peanuts- - once started, you can't stop.

When all the shards are anchored in place with adhesive, let the mosaic rest on a flat surface for at least twenty-four hours. A soaking period in turpentine or paint thinner will clean the adhesive off your tools, but it is rather pleasant to use something inexpensive and toss it away. Nail polish remover does a good job of cleaning your fingers.

Grouting is the next step. This should be done in a single session, so allow )'ourself sufficient time. The application of grout to a shard mosaic will differ from a conventional one because of the varying thicknesses of the ceramic pieces. You can't spread the grout; you nmst pour it. In a small plastic bowl put about one- fourth cup of water. Sprinkle dry grout over the water and stir, adding grout until the mixture resembles unwhipped cream. With a small spoon, start filling the

1. A s s c m b h ' y o u r s u p p l y o/ " 'b l , :mishcd" po t s . . . 2 . . . . a n d let f l y w i t h t h e h a m m e r .

M a r c h 1969 23

i 3. A t t a c h shards to bas~ with mo.,ai~ adD<,i~'< . . . . 4 . . . . and allow to rest beiore adding grout.

5. Pour , push and poke unti l all joints are filled . . . 6 . . . . alter ch'aning, mosaic is /Tamed and hung.

joints, working on only one area at a time. At this point, nothing works any better than your own fingers for pushing, squeezing and smearing the grout into the joints. Be on the watch for sharp edges, though, or you'll get cut. It will be helpfid to have a second plastic bowl nearby filled with water to rinse your fingers from time to time.

Work carefully but quickly, for grout sets up rapidly. With your fingers you can remove excess grout from the surface of the shards and fill holes that appear when air bubbles up. After all the joints appear to be solidly and smoothly filled with grout, you can use a barely-damp sponge to wipe the ceramic surfaces clean. Don't worry about the hazy fihn that appears. When

24 Ceramics M o n t h l y

the grout has hardened for a day or two, you can wipe this off with a solution of half vinegar and half water.

If the grouted joints look too raw and starkly white, you can stain them. Strong tea or coffee applied with a cotton swab will tint the grout just enough to blend well with most ceramic colors.

Add a frame and ),our mosaic is ready for hanging. A simple frame of thin strips is very effective. The three dimensional quality of the mosaic is enhanced if the frame projects slightly to create a shadow box.

You'll enjoy your patchwork-quilt mosaic as much as you will appreciate the lovely storage space gained, now that your orphan pots have found a permanent home.

Hollow-Built Sculpture by ROBERT F. EILENBERGER

ON,E OF T I I E FIRST T H I N G S a n interested beginner in ceramic sculpture asks is, "How do you make it hollow?" The least complex way to build a piece of sculpture from clay would be to start with a lump of clay and shape and model it with the hands or tools, leaving it in a heavy mass to fire. However, this might not always be satisfactory, since it might crack, or be too heavy to handle. Gouging out the excess clay before it becomes too dry is the usual procedure for making a solid piece hollow. Although many artists use this method, it doesn't offer much in the way of creativity to the experienced potter.

There are several ways that sculpture can be made hollow. The technique which I like to use is one I call the "envelope" cutting method. This calls for a bit more planning before work is started but it is fun to visualize and work out. If you have ever seen a paper envelope that has been taken apart, you know that advance planning has gone into its shaping so that it can be folded to form a good container. By cutting a clay slab in a somewhat similar fashion, you can form a basic shape that can be used to create a piece of hollow sculpture. In planning the sculpture, you visualize what the proportions of the front and back and the sides will be, then mentally visualize the thickness of all side areas and jot them down in an open-envelope manner. After the central hollow section of your sculpture is formed and shaped, details such as arms, heads and the textures necessary to the design of your work can either be modeled on the core itself or modeled separately and affixed to the main hollow body.

You may begin by drawing a complete pattern of your basic hollow shape on paper and tracing around it on a clay slab. Working from a pattern is recommended until the ceramist is sure of what he is doing; whether he does or doesn't, he shouldn't be afraid he will make a mistake. The nice thing about clay is that one can always wad it up and start over during the initial stages of work. Being daring is what makes a person create on his own; this helps bring about an individual style.

Before starting work on a somewhat abstracted sculpture for the demonstration, I decided it was going to be created around an elongated rectangular shape. I wanted to express the strained and boxed-in mood that the subject, "The Martyr," was experiencing. Distorted arm lengths with oversized hands bound by ropes, and the elimination of feet because of the subject's immobility

Hollow figure was made [rom bu[[ clay with a wash o[ iron en~obe: y.lazc a'a~ a speckled ycllou, matt.

i~il °

t

} %,:i :~I

March 1969 25

1. A basic pattern is cut [rom a clay slab to [orm a~; elongated shape [or the hollow sculpture.

'2. T w o o[ the sides are li/ted and pressed together to start the building process.

3. A clay coil is incorporated to create a strong seam.

into the jomi~g ( l ? e a

H

4. The third section is raised up in preparation [or joining it to the existing wall area.

5. On a tall, narrow [orm, the remaining walls are raised and sealed a Jew inches at a time.


6. When the hollow box can be sa[ely handled, it z, turned upside-down on the working sur[ace.

were also aims I had in mind when deciding on the content of "The Martyr." However, such detailed purpose is not necessary to create small sculpture from "envelope" cut cores, for very often siml)le ideas bring about the most interesting pieces. Nor is abstraction necessary in such a design; realistic forms can be hand modeled and added to the basic envelope-cut shape. The cutting should be thought of as an aid in bringing about new techniques and approaches in working with hollow sculpture.

When you roll your slab, it is a good idea to keep in mind the open envelope shape you want to utilize for your sculpture. By creating a rolled slab of this general shape, you can keep from rolling out too much excess clay. Another point to keep in mind at this stage is not to make the slab too thin since it will be necessary to lift and handle it later on. When you have cut the planned envelope shape with your knife, you are ready to start joining its parts to form the sculpture.

Clear away all excess cuttings from your working area. You will need at least four finger-sized rolled coils of clay for joining the sides together, so have these ready and handy. Make sure they are a bit longer than the sides. Now, with one slab side in each hand, raise them gently from the surface and let the two adjoining edges touch. Press them together with )-our fingers so they will hold until you can reach for one of the coil lengths, then place the coil length inside the seam and blend it with your fingers. Be careful at this stage not to bend or dent the sides as you blend the coil into the sides.

Next, raise the third section of }our slab and, with the same procedure as you started with, join it only about half way up to the existing wall. If you are making an envelope core that is tall and narrow, your hands will not be able to work comfortably unless you weld all three remaining seams a few inches at a time. To do this, place coils at the base of each seam opening; as you work to a certain height with one seam, do so gradually with the other until you complete the envelope enclosure. When the sides are all joined, allow the shape to set a bit until you can pick it up without having it collapse. When you can handle it, model the surface sides until the piece takes on the appearance you want it to have. At this time, place the piece on the work surface with the open-end down. The hollow basic form is completed!

For my demonstration piece, I wanted leg forms. Since these didn't need to be realistic, I used four so that a good base would be provided. These were cut directly out of the open end of the hollow structure. I added bits of clay, and modeled these areas with my fingers to build up the figure. I modeled a solid head and inserted it in a hole at the top of the structure (which was originally the base). Coils of clay were shaped and textured and then attached to the body to form elongated arms. To these, oversized modeled hands were added, along with ribbons of clay that repre- sented the encircling ropes. With work of this type, it is better not to let too much time elapse between working sessions; try to finish the piece in one working session if at all possible. I do recommend working on a turn-

7. Some clay is cut away to form legs for the figure, and clay is added at other places.

8. Wood sculpture tools and wire end cutters are used to gice form and texture to the piece.

March 1969 27

9. A solid clay head is modeled and added at the top of the elongated figure.

10. Coils are added for elongated arms, and ham], are modeled and attached.

11. Ribbons of clay are cut and added to suggest the ropes that encircle and bind the figure.

table of some sort so that you can view your work from all angles. This will make it more interesting to look at later on.

Because I enjoy seeing well-crafted and brightly- colored sculptures adding life to a dark comer of a bookshelf or cabinet, I make many small ornamental pieces just for that purpose. The clay for "The Martyr" is low-fire buff and this is coated with an engobe made of the same clay. I added red iron oxide to the powdered clay to make a slip, and applied this over the still-damp sculpture. Some of it I wiped off with a sponge, which left the buff clay exposed in many of the high areas. After this it was fired. After firing I used a Cone 04

12. Final details o/ sculpting are done with the wire tools, then an cngobe is added to the piece.

semi-opaque matt glaze which consisted of the following:

Feldspar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45% Gerstley Borate . . . . . . . . . . . . . . . . . . . . . . 13 Whiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Barium Carbonate . . . . . . . . . . . . . . . . . . . 13 Flint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Zinc Oxide . . . . . . . . . . . . . . . . . . . . . . . . . 5

100%

To this I added 3 to 4% of Antimony Oxide or Vanadi- um Stain to make a pleasing yellow. The result is a frosty yellow semi-opaque matt surface that is speckled and lined with shades of brown.

28 Ceramics Monthly

DePauw Ceramic Show THE SEVENTH DEPAUXV CERAMIC SHow, which features pottery and sculpture by Indiana artists and craftsmen, was held in November and December at the University Art Cen- ter. Richard Peeler, director of the show, gives this statement of purpose: "This competition has been sponsored by the DePauw University Art Center to provide incentive for the production of good ceramic art by the individual artist-craftsman of Indiana. The show is a gathering point, a focal point, where individuals and groups mav view some of the best work being done in the area."

Fifty-one individuals submitted 233 pieces, and from this number juror Miska Petersham selected 82 pieces by 33 artist-craftsmen for the show.

Tall Lidded Container by Michael Chipperfield is 14 inches tall, mostly unglazed.

Awards went to Lina Hamman, Michael Chipperfield, Dick Hay, James W. Shaffstall, Carl Jensen, Leslie Miley, Connie Hittle, Vera Thornberry, and Jim Cook. Regard- ing the S e v e n t h DePauw Show, Mr. Peeler said, "There is a definite trend toward sculptural pots and pure sculpture in this show. Most of the sculptural pieces are still related to potter3,, but a few are pure sculpture and unrelated to pots. There is very little color, the show being pre- dominately brown, but there probably are more exciting, vigorous things happening among the works of this exhibit. Only two or three pieces which could be called 'pop' are included. In my opinion, this is the best show yet."

Butter[ly Court, sculpture by James W. Sha[[stall, utilizes oxides over the clay.

:.!, ~ 3 :

"'Sentinel," slab with pedestal, is by Lina Hamman. 30 inches

tall; only partially glazed. Grand Prize.

• • ~ , ; • ~ . . . , ~ , 3 , ~ ; . : : ~ . .

7 ~ ~ . ~ 4 : a ~ 4 ~ : : ~ ........... .... , " ~ , . : - . . ~ ~ i : . " : . . • , : :

March 1969 29

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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

GLASS CRAFT by Kay Kinney. The complete book on fusing, laminating and bending glass. Basic techniques, step-by-step projects and a "Glass Clinic." $7.50

CERAMIC GLAZES by Cullen W. Parmelee. This invaluable reference book completely covers glaze making. Includes formulas and batch recipes for glazes. 314 pages of technical information. $8.00

SELECT TITLES ON OUR MONEY-BACK GUARANTEE. WE PAY POSTAGE. HANDBOOK OF DESIGNS AND DEVICES STEP-BY-STEP CERAMICS by Clarence Hornung. Over 1800 by Jolyon Hofsted. In this complete in- sketches of basic designs and variations troduction to ceramics, the beginner including the circle, line, scroll, fret, is led through all of the basic clay shield, snow crystals and many more forming and decorating processes by useful symbols. $2.00 means of fully illustrated step-by-step CERAMICS AND HOW TO DECORATE THEM instruction. There are special sections

on the Potter's Wheel, Glazing, Firing by .loan B. Priolo. Mrs. Priolo gives de- a Kiln, Building Your Own Kiln, Dec- tailed descriptions and illustrations of orating Techniques and Raku. $1.95 dozens of decorating techniques and shows how to use them. $6.95 MAKING CERAMICS KILNS: DESIGN, CONSTRUCTION by Lis and Hans Lundkvist. This text & FIRING demonstrates some of the simplest meth- by Daniel Rhodes. Everything you need ods of handling and shaping clay. Con- to know about kilns - - setting up, tents include forming pieces by hand firing, various types of kilns - - is de- and with the potter's wheel, decorating scribed and demonstrated in this first with glazes, recipes for glazes, making complete book on kilns. Over 100 plaster molds, casting, firing, construct- drawings and photographs. An out- ing a wheel, and directions for building standing text. $10.00 a raku kiln in the backyard. $4.50

MOSAIC TECHNIQUES SELLING YOUR CRAFTS by Mary Lou Stribling. This unique by Norbert N. Nelson. In a concise, book gives a glimpse of the tremendous step-by-step presentation, this book potential of mosaics as a medium for leads you through the actual stages personal expression, and will stimulate necessary to sell successfully what you the curiosity of beginner and profession- produce. Such diverse channels of sales al craftsman alike. $6.95 as wholesale, retail, mail order and CERAMIC SCULPTURE specialty markets are covered - - with

the advantages and disadvantages of by Betty Davenport Ford. The author each type of selling. $5.95 leads the reader to a high level of pro- fessionalism in the design and technique HANIWA: THE CLAY SCULPTURE OF of an ancient craft. Animal, human. PROTOHISTORIC JAPAN plant and abstract forms. $5.50 by Fumio Miki. This outstanding book

POTTERY: FORM AND EXPRESSION contains nearly 100 dramatic photo- by Marguerite Wildenhain. A truly graphs of notable Haniwa masterpieces beautiful book! Magnificent pictures of - - the clay figures that decorated graves the author at work and of ancient and of emperors and lords. The accompany- contemporary pottery. An outstanding ing text is outstanding Comes in a gift selection for potters. $9.95 handsome slipcase and makes a won-

derful gift. Was originally priced at POTTERY & CERAMIC SCULPTURE $8.75 per copy. now $6.95

by Herbert M. Sanders. A new, thor- BERNARD LEACH: A POTTER'S WORK oughly revised edition of Mr. Sanders' best seller, Ceramics Book. Completely Introduction by .]'. P. Hodin. This latest up-dated with new material, including book by Mr. Leach covers 55 years of section on how to build a potter's wheel, his work from 1911 to 1966, showing Excellent for beginners. $1.95 photographs of his pots and sketches

from his notebook that he feels are rep- MAKING POTTERY WITHOUT A WHEEL resentative of each period, including by F. Carlton Ball and Janice Lovoos. raku, stoneware, slipware, salt-glaze This comprehensive and richly illus- ware, and enameled porcelain. $10.00

trated book covers every phase of hand- THE WORLD OF JAPANESE CERAMICS building and decorating clay pieces. No book has covered the subject of texture by Herbert Sanders. The first broad and form more effectively. $9.95 coverage in text and photos of the mod-

ern and historical ceramic techniques of A POTTER'S BOOK Japan! This handsome book illustrates by Bernard Leach. Now in its tenth in detail the forming and decorating American edition, this book is a must processes and the many unique tools for every potter and student of ce- used by the potters of Japan. Includes ramies! I t deals with Japanese raku, glaze formulas, glaze color charts, and English slipware, stoneware, and Ori- American equivalents of .Japanese glaze ental porcelain. $8.75 compositions. Has slipcase. $12.50 m m m m mm m m

Order Form - - We Pay Postage OePA|TMaqri'4175 North High St., Columbus, Ohio 43214

v [ ] Rhodes--Clay & Glazes $7.50 [ ] Enciso---Desiqn $2.25 [ ] Untracht--Enameffn9 $7.50 [ ] Rottger--Creafive Clay $5.50

Nelson--Ceramics $7.50 [ ] Kenny--Sculpture $9.95 [ ] Kenny--Pottery $7.50 r-~ NortonmArfist Potter $7.95

Kenny--Deslgn $9.95 [ ] Egbert--Brush S3.95

[ ] Rhodes--Stoneware $7.50 [ ] Ball & Lovoos--Pottery $9.95 [ ] Kinney--Glass Craft $7.50 [ ] Leach~Potter's Book $8.75 [ ] Parmelee--Glazes $8.00 [ ] Hofsted--Ceramics $1.95 [ ] Hornung--Deslqns $2.00 [ ] Lundkvls} [ ] Priol~Ceram;cs $6.95 --Making Ceramics $4.50 [ ] Rhodes~Kilns $10.00 ~ Nelson--Selling Crafts $5.95 [.~[~ Stribling~Mosa|c $6.95 [ ] Mikr--Haniwa $6.95

Ford--Sculpture $5.50 [ ] LeachJPotter's Work $10.00 [ ] W;Idenhaln--Pottery $9.95 [ ] Sanders--Japanese $12.50 [ ] Sanders--Pottery $1.95

NAME

ADDRESS

CITY I enclose [ ] Check [ ] Money Order.

STATE ZIP (Oh;o residents: add 4% Sales Taxi

30 Ceramics Monthly

Enameled Stones by POLLY ROTHENBERG.

THE TRADITIONALIST may consider enameled stones more a novelty than an innovation, but I believe there is a well-deserved place for them in all sorts of mosaics, collages, and cement sand-castings. They may even be successfully incorporated into low-fire ceramic projects, after they have been given a preliminary testing.

The stones which can be fired most successfully without crumbling are those from igneous rock forma- tions. A quick look through a geology textbook shows that there are three general types of rocks: sedimentary, metamorphic, and igneous. In the first type, there is much organic matter which burns out in the kiln and causes the rocks to collapse in pieces. Metamorphic rocks

are formed from the other two types which have been subjected to great pressure; some metamorphic rocks hold up in the kiln and some do not.

The simplest and most logical way to find out the firing capabilities of stones is to put them on a firing rack and set them in the hot kiln at 1400 ° to 1500°F. Among all the rocks tested, I have only had one small stone to burst. It did not cause damage, just a nuisance in vacuuming out the kiln after it cooled. Igneous rocks, having been "born in fire," seem to be mostly impervious to sudden high heat.

Some areas of the country have many small smooth igneous rocks in stream beds or gravel deposits left from pre-historic glaciation. These make fine stones for enameling. In areas where only sedimentary rocks are found (such as coquina and limestone), a trip to other terrain on a rock-hunting project may be rewarding.

Organic patterns seem the most appropriate where a craftsman wants more than color. However, cave- drawings might inspire a more linear approach to rock- enameling.

1. Several small igneous rocks have been test fired in the kiln to a temperature o[ [rom 1400 ° to 1500°F.

4. Craters are enlarged with a pointed tool, then the enamel is fired to the granular-melted state.

2. Transparent green enamel is sifted over the stone, fired, then removed while the enamel still is slightly granular.

5. Colored enamel is wet-packed into the craters, then the piece is fired again.

3. For another e[[ect, liquid [lux enamel is dribbled over a hot stone; rising steam [orms small craters.

6. The enameled stones pictured here work very well in mosaics and collages.

¸ . . . . .

1,2,3

4,5,6

March 1969 31

Cone 6 Stoneware by RICHARD BEHRENN

T H E INITIAL PRODUCTION Of stoneware in China some 2500 years ago was a inost important event in the history of potting technology. After milleniums of earthenware, a strong, hard, and watertight ware could be produced at will. Stoneware came to Europe close to 2000 years later when the Rhenish potters found the right clay and were able to build kilns in which this ware could be fired. Here its rocklike appearance, its hardness, its watertightness gave a strong inlpetus to its manufacture and the potter found it to be the mediuln best suited to his needs.

Recent improvements in electric element alloys have enabled manufacturers to provide kilns which would easily fire to the Cone 6 level, a temperature suitable for firing stoneware for both part-t ime and full- time artist-potters.

Stoneware clay bodies are generally readily available through ceramic supply sources. These are usually prepared from suitable natural clays, often modified by the addition of non-plas- tics which give them desirable work- ability and firing characteristics. In addition to such sources, the part- t ime potter may advantageously prepare his own stoneware bodies from dry clays and non-plastic materials.

The raw materials, even in large quantities, may be mixed quite easily. They can be weighed out, then be placed on a plastic or oilcloth sheet. Mixing of the dry clay and non-plas- tics can be done by successively rolling the mix by pull ing up and over on the sheet until the mix appears homogenous. This may then be pour- ed into plastic garbage cans or other vessels in which water has been placed. Water is figured in the pro- portion of about 5 pints of water for each 10 pounds of the dry mix. This is permitted to soak a day or so. At this time, after some mixing, the wet body is removed, dried out partially, and thoroughly wedged. By this method, 100 pounds of clay may be weighed out, mixed and put to soak in

32 Ceramics Monthly

about one-half hour. A piece of build- er's plastic, about 6 square feet in size, lends itself very well for mixing the dry body materials.

A number of good formulas for stoneware bodies may be found in some of the pottery texts. The four recipes offered below may provide the Cone 6 stoneware potter one or more clay bodies suited to his needs.

CONE 6 CLAY BODY I Tennessee Ball Clay # 1 . . . . 49% China Clay . . . . . . . . . . . . . . . . 29 Talc . . . . . . . . . . . . . . . . . . . . . . 7 Nepheline Syenite . . . . . . . . . . 5 Flint . . . . . . . . . . . . . . . . . . . . . . 10

"100% Clay Body I is a nearly-white Cone 6 stoneware body.

CLAY BODY II Red Earthenware Clay . . . . . . 20% China Clay . . . . . . . . . . . . . . . . 15 Kentucky Old Mine

# 4 Ball Clay . . . . . . . . . . . . 35 Red Brick Grog . . . . . . . . . . . . 10 Red Iron Oxide . . . . . . . . . . . . 3 Flint . . . . . . . . . . . . . . . . . . . . . . 7 Talc . . . . . . . . . . . . . . . . . . . . . . 7 Nepheline Syenite . . . . . . . . . . 3

100% Clay Body I I results in a stoneware body that is warm pink in color.

CLAY BODY III Kentucky Old Mine

Ball Clay # 4 . . . . . . . . . . . . 40% China Clay . . . . . . . . . . . . . . . . 20 Red Earthenware Clay . . . . . . 15 Talc . . . . . . . . . . . . . . . . . . . . . . 5 Nepheline Syenite . . . . . . . . . . 5 Grog . . . . . . . . . . . . . . . . . . . . . . 15

100%

Black Basalt Body ( # 4 ) is suitable [or making monolithic [orms.

Stoneware Body I I I is a warm-toned grogged clay.

CLAY BODY IV (Black Basalt Body)

Red Earthenware Clay . . . . . . 40% China Clay . . . . . . . . . . . . . . . . 18 Kentucky Old Mine

Ball Clay # 4 . . . . . . . . . . . . 15 Red Iron Oxide . . . . . . . . . . . . 16 Manganese Dioxide . . . . . . . . . . 6 Bentonite . . . . . . . . . . . . . . . . . . 3 Nepheline Syenite . . . . . . . . . . 2

100%

Following are some glaze recipes for Cone 6 :

MATT GLAZE Zinc Oxide . . . . . . . . . . . . . . 18.8% Whiting . . . . . . . . . . . . . . . . . . 3.9 Lithium Carbonate . . . . . . . . 8.6 China Clay . . . . . . . . . . . . . . 21.1 Flint . . . . . . . . . . . . . . . . . . . . 41.5 Titanium Oxide . . . . . . . . . . 6.1

100.0%

MATT PATTERNED GLAZE Lepidolite . . . . . . . . . . . . . . . . 50.3% Whiting . . . . . . . . . . . . . . . . . . 19.9 Flint . . . . . . . . . . . . . . . . . . . . 29.8

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

CRATERED GLAZE Talc . . . . . . . . . . . . . . . . . . . . 45.5% Lepidolite . . . . . . . . . . . . . . . . 54.4

'99.9% Add : Bentonite . . . . . . . . . . 2.0%

CHOCOLATE GLAZE Albany Slip . . . . . . . . . . . . . . 85.0% Lithium Carbonate . . . . . . . . 11.0 Tin Oxide . . . . . . . . . . . . . . . . 4.0

100.0% Add • Bentonite . . . . . . . . . . 2.0%

This is a bright chocolate-colored glaze that is suitable for use on green- ware.

!

OPAQUE BUTTERSCOTCH GLAZE Barnard Slip . . . . . . . . . . . . . . 45.0% Wood Ash . . . . . . . . . . . . . . . . 45.0 Lithium Carbonate . . . . . . . . 10.0

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

This is a smooth opaque glaze of Continued on Page 33

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S T O N E W A R E

Continued [rom Page 32

b u t t e r s c o t c h c o l o r , a l so s u i t a b l e f o r

u se o n g r e e n w a r e .

G L A Z E W I T H M A R K I N G S

Zinc Oxide . . . . . . . . . . . . . . 22 .9% W h i t i n g . . . . . . . . . . . . . . . . . . 4.6 L i t h i u m Carbona te . . . . . . . . 5.5 Ch ina Clay . . . . . . . . . . . . . . 20.4 Cryoli te . . . . . . . . . . . . . . . . . . 5.5 Fl in t . . . . . . . . . . . . . . . . . . . . 32.0 T i t a n i u m Dioxide . . . . . . . . . . 9.1

100.0%

G O O D M A T T G L A Z E

Potash Fe ldspar . . . . . . . . . . 18.2% W h i t i n g . . . . . . . . . . . . . . . . . . 14.7 Bar ium Carbona te . . . . . . . . 29.4 Ch ina Clay . . . . . . . . . . . . . . 21.0 Fl int . . . . . . . . . . . . . . . . . . . . 16.7

100.0%"

A B R I G H T G L A Z E

W h i t i n g . . . . . . . . . . . . . . . . . . 10.0% Gerst ley Borate . . . . . . . . . . . . 15.0 Bar ium Carbona te . . . . . . . . 10.0 Ta lc . . . . . . . . . . . . . . . . . . . . 5.0 Nephe l ine Syenite . . . . . . . . . . 30.0 Fl in t . . . . . . . . . . . . . . . . . . . . 20.0 L i t h i u m Carbona te . . . . . . . . 5.0 Ch ina Clay . . . . . . . . . . . . . . 5.0

100.0%

S M O O T H S T O N Y G L A Z E

Nephe l ine Syenite . . . . . . . . . . 40 .7% Whi t i ng . . . . . . . . . . . . . . . . . . 9.1 Zinc Oxide . . . . . . . . . . . . . . 3.9 Magnes ium Carbona te . . . . . . 2.6 Bar ium Carbona te . . . . . . . . 12.5 Ch ina Clay . . . . . . . . . . . . . . 5.8 Fl int . . . . . . . . . . . . . . . . . . . . 25.4

100.0% '

L E T T E R S


any serious work wi th clay, so I depend on the summer mon ths for the oppor tun i ty to fu r the r my hobby and, a t the same time, combine i t wi th a vacat ion. T h a n k s to the " leads" C M has p rov ided in the Work- shop lists, I have had three of these happy summers so far, and I expect to make it a four th in 1969! B. Armstrong

Columbus, Ohio

The Summer Workshop listings will start in the next issue o[ CM; as more listings come in to us, they will be added during the May and June issues. - - Ed.

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

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M a r c h 1969 33

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CERAMACTIVITIES people, places, and things

TOLEDO SEMINAR ANNOUNCED

Mrs. Roy Buskirk, secretary of the Toledo (Ohio) Potter's Guild has announced that the group's annual pottery seminar will be held April 12-13 at the Toledo Museum o[ Art, and will be under the direction of Miska Petersham, Associate Professor in the School of Art, Kent State University. For reservations and details, write The Toledo Potter's Guild, 3615 Pine Tree Court, Toledo, Ohio 43606.

COMPETITION AT CENTRAL CITY

The Gilpin County Arts Association will co-sponsor a competitive exhibition with the ACC-South Central Cra[tsmen at the galleries of the Art Association in historic Central City, Colorado, opposite the Opera House on Eureka Street. The setting will provide a suitable showcase for the exhibition, being comprised of five wings, each with its own unique flavor. Old stone walls, weathered boards, and bedrock outcroppings have been utilized for greatest effects and preservation of local atmosphere. In 1968 more than 65,000 persons from nearly every country in the world visited the gallery during the summer season. Sales will be encouraged.

The competition is open to craftsmen residing in five states: Arkansas, Kansas, Colorado, Oklahoma, and Texas. Exhibi- tion dates are from May 22 to July 5. Juror will be Paul Smith, Director of the Museum o[ Contemporary Cra[ts in New York. Entry blanks may be obtained by writing to the Gilpin County Arts Asso- ciation, Central City; entries are due between April 1 and 12. Catherine Russell is president of the Art Association.

NCA IN ST. LOUIS

In response to the ballot cast by the membership, the National Ceramic Associa- tion Board approved St. Louis, Missouri, as the site for the NCA 1969 Convention, Exhibit, and Seminars, according to word received from Margaret Gehbauer, president. The meetings will be held July 10- 13 at the Sheraton Jefferson Hotel.

CRAFTSMEN EXHIBITS LISTED

Helen Winnemore has announced the list of craftsmen whose work will be featured during the year at her exhibit room at 150 East Kossuth in Cohtmbus, Ohio. Pottery by Kenji Kato, Tajimi, Japan was exhibited during February. The current exhibit (March 3-31 ) is of work by Rising Fawn potter Charles Counts. Clara Creager, weaver, and Murray Kusmin, leather sculptor, will be featured in April. In May the handblown glass of Mark Peiser, artist-in-residence from Penland, will be exhibited. World-famous ceramists Gertrud and Otto Natzler will show their pottery in June. During August, David

Skeggs, potter from Bath, Ohio, will be the exhibitor. Specific dates for each show will be listed in the Itinerary columns of CM.

YOUNGSTOWN ANNUAL

Norman Rice, Dean of the College of Fine Arts, Carnegie-Mellon Institute, Pitts- burgh, selected the pieces that comprised the 2lst Ohio Ceramic and Sculpture Show at the Butler Institute o[ American Art in Youngstown, January 1-February 23. From 448 works submitted, 248 were

ii~ i !iiiii! iii~ )~ ::

:? ;.~

accepted and this included 24 invited items. Potters and enamelers whose works were selected for purchase awards included Lawrence Blazey, Bay Village; Dick Hay, Terre Haute, Ind; Dominiek Labino, Grand Rapids; Jack Mason, De- catur, Georgia; Norman Stewart, Moga- dore; Robert Wright, Parma; and Thomas Sha[er, Bowling Green. Pictured are Jack Mason's "Green and Brown Stoneware Bottle," 22" high (left) and Thomas Shafer's "Ear then Red Covered Jar," 18~2" tall (r ight) .

ART CONFERENCE PLANNED

The Tenth Biennial Conference of the National Art Education Association will be held March 30-April 4 in New York City. The committee has planned the conference in the "non theme" format in order to afford participants greater opportunity for concentration of effort on the most press- ing problems and issues in the field today. The 10th Biennial will be organized into these three distinct program segments: 1) preconference training institutes; 2) the main body of the conference; and 3) a post conference art seminar in Puerto Rico.

NATZLERS HONORED

Dawson's Book Shop in Los Angeles was the scene of an autograph party in honor of Gertrud and Otto Natzler on the publi- cation of a book dedicated to their ceramic work. "Gertrud and Otto Natzler Ceram- ics" includes a monograph by Mr. Natz- ler on his early years in Vienna, essays

34 Ceramics Monthly

on Throwing, on Form, Glazes, Clay, and pertinent data on the Sperry Collection of Natzler work, which comprises potter)" dating from 1940 to 1966 and which is documented in its entirety in the publi- cation. There are 82 pages and 31 plates, 18 of them in color. The Foreword is by Kenneth Donahue, Director of the Los Angeles County Museum of Art. The Daw- son Shop is located at 535 N. Larchmont Blvd. in Los Angeles.

EXHIBITIONS BY CHARLES BROWN

R a k u w a r e by Charles M. Brown was featured in a show at the Group Gallery in Jacksonville, Florida, during December. Work shown in the exhibit included jars, hanging spheres, wall hangings, and pen- dant jewelry. Mr. Brown, who was introduced to ceramics in a course at the Jacksonville Art Museum in 1959, has concentrated on hand-building techniques. After some work with Hal Riegger in a raku workshop, the craftsman has concentrated on this form.

During February, the Center of Modern Art at Micanopy, Florida, a gallery oper- ated by faculty members at the University of Florida, featured work by Mr. Brown. During May, the Jacksonville Art Mu- seum will feature a retrospective show of work by Charles Brown. In addition to pieces done over a 14-year period, Mr. Brown will be exhibiting examples of his current work.

RAKU WORKSHOPS

Two raku classes--one for beginners and another for advanced ceramists--are being offered in April and May by Hal Riegger at his Mill Valley studio. Two weekend raku workshops for beginners will be given on Sundays, April 27-May 4 and May 18- 25. An advanced raku group will meet twice weekly April 15-17 and May 28- 30. Information is available from Hal Riegger Workshops, 469 Panoramic Hwy., Mill Valley, Calif. 94941.

REPRODUCTION POTTER NEEDED

John Bivins, Jr., crafts curator at Old Salem, Inc., Winston-Salem, N.C., is looking for a qualified potter who can turn out reproduction, both for sale and interpreta- tion. According to Mr. Bivins, "The forms we want to reproduce represent the highest type of ceramics developed in 18th century America. Naturally, all the pottery here was of the redware type, al though some of the forms were copies of English stoneware forms." Mr. Bivins fur ther notes that equipment and materials are supplied, and that there will be a percentage of pottery sales in addition to salary. Anyone interested can contact Mr. Bivins, Curator of Crafts, Old Salem, Inc., Winston- Salem, N.C. 27108.

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

t~s

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It tokes to do the job

Three Orton cones are the best firing insurance you can have. The guide cone lets you know the ware is approaching maturity, and the firing cone lets you know the firing is at the correct point. Deformation of the guard cone indicates you have gone beyond the best point in the time-and- temperature relationship.

Orton cones are small, and require a min- imum of kiln space. Plaques of cones placed so they may be observed through the peep holes give you an indication of firing progress. These, and others, placed throughout the setting or used in conjunc- tion with automatic shut-off devices, may be examined after firing is completed to give you a detailed picture of conditions in all parts of the kiln.

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Wood Modeling Tools 6" & 8" • Wood & Wire End Tools • Double Wire End Tools • Texturing Wire Brushes • Many others with multiple uses. Complete line of ceramic hobby tools.

Write for complete Kemper Catalog enclosing 50c (coin or stamps) for postage and handling. Please include your Zip Code Number with address.

Kemper Manufacturing P. O. Box 545, Dept. CM-3

Chino. California 91710

Co.

March 1969

e

35

K i l n s Oscar-Paul PROFESSIONAL

POTTER'S WHEEL

• Variable speed (19-155 RPM) • Full torque "Satellite Drive"

• Quiet operation

= Compact size & light weight

• Floor space - - 2 sq. ft.

= Optional table tops (flat or splash pans)

• Smooth & uniform drive

Potters and Dealers . . . write for more information and prices.

OSCAR-PAUL CORP. 522 W. 182 St., Gardena, Calif. 90247

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

Gare Ceramic Supply Co., I n c . P.O. Box 830, Haverhill , Mass. 01830

Please Mention CM when writing our advertisers

The Famous KLOPFENSTEIN

POTTER'S WHEEL Wri te for FREE Information

H. B. KLOPFENSTEIN & SONS RFD. # 2 Dept. A Crestline, Ohio 44827

CLAYS GLAZES

TOOLS KILNS

Schools end institutions write for FREE li+era÷ure.

I T I N E R A R Y


Gasque, Convention Hall, Asbury Park, N.J. 07712.

LOUISIANA, NEW ORLEANS March 20-22 The 15th Ceramic Show,

sponsored by the New Orleans Ceramic Society, will be held at the Lakeside Shop- ping Center Mall. The exhibit comprises work in both hand and mold classification. For entry information, write: Mrs. Shirlee Vale, Chairman, 665 E. Marlin Ct., Gret- na, La. 70053.

MARYLAND, GLEN BURNIE March 22-23 The Fifth Annual Ceramic

Show sponsored by the Mid-Atlantic Ce- ramic Association will be held at Elks Lodge 2266. Write: Esther F. Hilton, Show Chairman, 646 E. 35th St., Balti- more, Md. 21218.

MICHIGAN, BAY CITY

April 26-27 Ceramic and Hobby Show, sponsored by the Michigan Professional Ceramic Association, will be held at Bangor Hall. Classes in decorating; demonstrations in glass blowing, enameling, and other hobbies. For information, write: Teresa Maynard, Show Chairman, P.O. Box 125, Carrollton, Mich. 48724.

MISSOURI, ST. LouIs July 10-13 The National Ceramic As-

sociation Convention, Exhibit, and Semi- nars will be held at the Sheraton-Jefferson Hotel.

NEW JERSEY, ASBURY PARK May 22-25 The 17th Annual Eastern

Ceramic Hobby Show, sponsored by Ce- ramic Leagues, will be held at Convention Hall. Exhibits, competition, and the "Pag- eant of Techniques." Write: Jerry Gasque, Convention Hall, Asbury Park 07712.

OHIO, CINCINNATI April 25-27 The l l th Annual Midwest

Ceramic Show, sponsored by the Midwest Ceramic Association, will be held at the Armory. Booths, classes, demonstrations and competition; proceeds from the show go to a scholarship fund. Write: Ruth Durham, Show Chairman, 196 Caldwell Dr., Cincinnati 45216.

OREGON, PORTLAND March 28-30 Tenth Anniversary Show

of the Oregon Ceramic Association will be held at the Multnomah County Ex- position Center. For information, write: Mrs. GanG, Box 606, Rte. 1, Washougal, Washington 98671.

TEXAS, SAN ANTONIO March 21-23 The Eighth Annual Ce-

ramic Show, sponsored by the San An- tonio Ceramic Art Association, will be held at Town Hall, Wonderland Shop-


You owe it to yourself to get our story before you buy any kiln.

Aim for an AIM Kiln

~ngusg an ~acTavish's CERAMIC KILNS

Hiway 9 & Brookside Ben Lomond. Calif . 95005

Mail Address. P .O. Box 414C

KRAFT KORNER 5842 Mayfield Road, Mayland Annex

Cleveland, Ohio 44124 Phone (216) 442-1020

"EVERYTHING for the ENAMELIST" Klyr Kote and Klyr Fyre

Decoupage Headquarters - - Painting Supplies Catalog $1 (refunded with $10 order)

The Intermountain Area's Largest Ceramic Supply Center

Special attention to the needs of schools and institutions

Cap i ta l Ceramics, Dept . C M 2174 S. Main St., Salt Lake Cffy, Utah 84115

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-Wax and Molds: Ceramichrome Glazes and Underglazes. IN STOCK: Large selection of Atlantic-ArneI-Ludwig Schmid-Holiand and White Horse molds. Complete line of ceramic supplies. WHOLESALE AND RETAIL. 113 49th St. South St. Petersburg. Fla. 33707

the LOCKERBIE Potter's Wheel ~ FINEST KICK WHEEL MADE

Used by colleges, schools and studio potters $175.00. Write for new circular to Parfex Co. -- 7812 Boulder Ave., Highland, Calif. 92346

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

Distributor for: PARAGON Kilns • DUNCAN, SYMPHONY, CERAMICHROME and DRAKENFELD MARX Brushes • JACQUELYN Stains

C E R A M I C C L A Y S

and

GLAZE MATERIALS

r;rittity CERAMIC SUPPLY, INC. 9016 DIPLOMACY ROW DALLAS, TEXAS 75235 PHONE (214) 631 -0540

36 Ceramics Monthly

I KITS FOR BEGINNERS

Send stamped, self-addressed envelope for detailed listing. CATALOG: $1,00 postpaid. (Canada: add $1.00)

KAY KINNEY-CONTOURED GLASS 725 Broadway, Laguna Beach, Calif. 92651

COMPACT- ADJUSTABLE - RIGID-ALL STEEL -SPLASH PAN PORTABLE-HEAVY FLYWHEEl _, .

POWERED VERSION ~149. FOR iNFORMATION Aeour TNE"QUAGMtREwHEEL~Ilii~ii~ ESTRIH MFG. LTD. 3651 Pt.Grey Vancouver8 Canada"

:~7B 138 pgl Enamel Supplies . . . . . . 25c l Costs refundable with coupon l

(FREE to Schools and Institutions) l 1

TEPPING STUDIO SUPPLY CO. 1 professional staff 1

@ What does

N.C.M.A. mean to you!

NCMA . . . the association of major manufacturers in the hobby ceramic field, sponsors the industry's only national promotion program, including an annual trade show, national magazine publicity, national ceramic hobby day, and visual and printed promo- tional aids. Support the manufacturers displaying this seal, and you help the ceramic industry grow.

National Ceramic Manufacturers Assoc. 2017 Walnut St., Philadelphia, Pa. 19103

I T I N E R A R Y

Continued From Page 36

ping Center. For information, write Phyl Galway, 206 Springvale. San Antonio 78227.

TEXAS, '~; ACO

March 15-16 The 14th Annual Ceramic Show, sponsored by the Central Texas Ceramic Assn., will be held at the Ameri- can Legion Hall. For information, write: Ann Bryan, Show Chairman, 2316 N. Main, Belton, Texas 76513.

WISCONSIN, MIL~.VAU KEE

April 26-27 The 13th Annual Ceramic Art Exposition, sponsored by the Badger Ceramic Association, will be held at the Sands Motor Inn. There will be professional booths, student exhibits, and demonstrations. Fcr information, write: Mrs. Bernie Naraus, Show Chairman, 10201 West Oklahoma Ave., Milwaukee 53227.

WHERE TO GO

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

BRITISH COLUMBIA, VANCOUVER March 5-30 "Canadian Ceramics 1969,"

sponsored by the British Columbia Potters Guild and the Canadian Guild of Potters; at the Vancouver Art Gallery.

CALIFORNIA, DEATH VALLEY

March 30-April 5 Fifth Annual Work- shops with clay, fire and other materials. For information, write: Hal Riegger, 469 Panoramic Hwy., Mill Valley, Calif. 94941.

CALIFORNIA, SAGRAI~,I ENTO March 15-April 27 "California Crafts

VI, Pacific Dimension," sponsored by the Creative Arts League; at the Crocker Art Gallery.

ILLINOIS, CHAMPAIGN

March 2-April 6 The 25th Ceramic Na- tional Circuit Exhibition; at Kranner t Art Museum. This show was reviewed in the ]anuary 1969 issue o[ CM.

I NDIANAj EVANSVILLE

through March 16 Ninth Annual Mid- States Craft Exhibition shows work by craftsmen living within a 200-mile radius of Evansville. At the Museum of Arts and Sciences.

MISSOURI, ST. L o u i s

March C e r a m i c S c u l p t u r e b y P a t D e g e n - e r ; a t t h e C r a f t A l l i a n c e G a l l e r y .

NEBRASKA, SEWARD through March 23 "Handicrafts of the

Southeast," Smithsonian Traveling Exhibi- tion; at Concordia Teachers College.


• Lamp par ts , l ighters music boxes

• K e m p e r tools

• M a r x brushes

• Porce la in F lowers

• Rhinestones, jewels , S fa r l i f es

• J e w e l r y Findings, porce la in blanks

• Crushed glass, marb les

• C o p p e r enamel ing

• Plast ics

and more, more, morel

Rush 50c ;refundable Isf order;

MOVING SOON? U.S. Post Offices will no longer forward magazines, even if they have your new address. Your magazines will be returned to the publisher at a charge of 10c each. I[ you move, please notify us at least 4 weeks in advance, giving both new and old addresses, and send addressed portion of your mailing envelope to Ceramics Monthly 4175 N. High St., Columbus, Ohio 43214: (Don' t forget to include your ZIP number on new address.)

Europe's Finest

THE LEACH WHEEL Now American made m S169.00 f.o.b.

St. Paul, Minn. WRITE FOR FREE BROCHURE

D. M. VARS 825 W. Minnehaha, St. Paul, Minn. SS104

7 , . . f o r school

and studio!

Pug Mill mlx lalnate drudgery Le for creative

~,,,,,~ . . . instruction.

M a r c h 1969 37

PENLAND SCHOOL OF CRAFTS

PENLAND, N. CAROLINA JUNE 2-SEPT. 27

An opportunity for serious study of crafts. Courses for credit recognized by all accredited colleges through E a s t Tennessee State University. WEAVING CERAMICS METALWORK JEWELRY ENAMELING GRAPHICS DESIGN WOOD WORKING SCULPTURE LECTURES DEMONSTRATIONS EXHIBITIONS Both 2 and 3 week sessions, Excellent food, well equipped studios. Recreational activities, hiking, golf, and swimming.

For catalog, wrbe: PENLAND SCHOOL OF CRAFTS

Penland, North Carolina 28765

C E R A M I C C R A F T S M A N Interesting summer position available for skilled ceramics craftsman who enjoys work- Ing with young people. Unusually creative New England teen-age project. Address:

Mrs. Ellen Parker SHAKER VILLAGE WORK GROUP

P.O. Box 1149, Pittsfield, Mass. 01201

VISUAL-TACTILE. ARTS Six-week Workshop for High School

upper classmen, June 22 to August I.

CERAMICS GRAPHICS WEAVING Co-sponsored by

HINCKLEY - - The Hinckley Summer School and HAYSTACK--Haystack Mountain School of Crafts.

Write for folder:

THE HAYSTACK-HINCKLEY SUMMER SCHOOL Box 576. Hanover, New Hnmpsh;re 03755

SUNBURY SHORES ARTS AND NATURE CENTRE INC.

St. Andrews-by-the-Sea NEW BRUNSWICK, CANADA Three-Week Pottery Course July 14 to August I, 1969

Other summer courses and workshops in weaving and flower arrangement, and in painting and the natural sciences for adults and for children. St. Andrews offers opportunities for golf, ten. nis, yachting, swimming, fishing and figure skating. For further particulars write Box 100 St. Andrews, N.B,, Canada.

1000 ISLANDS MUSEUM CRAFT SCHOOL Old TownHall Clayton, N. Y.

: ~ Accredited Class- ] F.F [ es in Ceramics, ~ ' [ " ~" F F F E a r l y American

D e c o r a t i o n s , / ~ ; ~ I Enameling' Paint"

F F ing, Pottery, Re- ~ j ~ ~ / E ~ I verse Painting on Glass, Rug Hook-

F ing and Weaving. ~ l V l ~ - - " i Write for let°r"

matlve literature to: Emily Post, Di-

rector, 90 Westcotf Rd., Princeton, N.J. 08540, or 1000 ISLANDS MUSEUM CRAFT SCHOOL, CLAYTON, 1000 iSLANDS, N. Y. 13624

I T I N E R A R Y


NEW JERSEY, NEWARK through March 30 A m l a s h Pot tery; at

the Newark M u s e u m .

NEW YORK, NEW YORK

through March 16 Ceramics by Erik Gronborg ; at the M u s e u m of Con t empo- rary Crafts.

NEw YORK, NEW YORK March 30-April 5 T h e T e n t h Biennial

Conference of the Nat iona l Ar t Educa t ion Confe rence ; at the Stat ler Hi l ton Hotel .

NEW YORK, UTICA

through March 16 T h e 32nd A n n u a l Exhibi t ion of the Artists of Cen t ra l New York; at Munson-Wi l l i ams-Proc to r Inst i- tute.

OHIO, BOWLING GREEN through March 23 "140 Years of Dan ish

Glass," Smi thson ian Ins t i tu t ion Trave l ing Exhibi t ion; at Bowling Green Univers i ty .

OHIO, COLUMBUS March 3-31 Pottery by Char les Counts

of Ris ing F a w n ; a t He len Winnemore ' s .

OHIOj MASSILLON March Akron Area Des igne r -Cra f t smen

Exhibi t ion; at the Massi l lon M u s e u m .

OREA2-O N, PORTLAND March 6-29 Ceramics by K e n Hendry ,

resident pot ter of Pot tery Nor thwes t at Seattle Cen te r ; at the C o n t e m p o r a r y Craf ts Association.

PENNSYLVANIA, PHILADELPHIA through March 19 Pottery by A r m a n d

Medn ick ; at the Ar t All iance. through March 23 Enamel -on -me ta l

pa in t ings by G. Noble Wagner , and ceramics by Celeste Barba ra M c L e a n ; a t the Ar t Alliance.

TENNESSEE, MURFREESBORO through March 15 T h e Fou r th Mid-

Sou th Ceramics and Craf ts Exhib i t ; a t Middle Tennessee State Univers i ty .

WISCONSIN, PLATTEVILLE March 2-22 Great Lakes Ceramic Show

features work by s t uden t pot ters f rom Iowa and all s tates border ing on the Grea t Lakes. At the S tuden t Center , Wis- consin State Univers i ty .

CRAFT STUDENTS

LEAGUE Y W C A

840 8th Ave. at Slst, N. Y.

(212) CI 6-3700

CERAMICS Fourth Annual Show

of the LEAGUE POTTERS

April 15 fhre April 27 4th Flour Gallery

Men, Women, Teenagers. Day, Evening, Catalog C.

Advertisers Index

March 1969

A I M Ki lns . . . . . . . . . . . . . . . . . . . . . . . 36 Alpine Ki lns . . . . . . . . . . . . . . . . . . . . . . 9 Amer i can Ar t Clay Co . . . . . . . . . . . . . 4 Anderson Ceramics Co . . . . . . . . . . . . . 35 Ar t -Craf t s Supplies, Ine . . . . . . . . . . . . . 36

B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . 6 Bergen Arts & Craf ts . . . . . . . . . . . . . . . 37 Brent , Robert , Pot ter 's Wheels . . . . . . 33 Burr, W.D. , Mfg. Co . . . . . . . . . . . . . . . 34

Campbel l , G i lmour . . . . . . . . . . . . Cover 4 Capi ta l Ceramics . . . . . . . . . . . . . . . . . . 36 Cent ra l New York Ceramic Supply . . . 3 5 Craf t S tuden t s League Y W C A . . . . . . 38 Craf tool Co . . . . . . . . . . . . . . . . . . Cover 2 C r e e k - T u r n . . . . . . . . . . . . . . . . . . . . . . . 34

Dawson, W.P . . . . . . . . . . . . . . . . . . . . . 35 D u n c a n ' s Ceramic Products . . . . . . . . . 3

Estr in Mfg. Co . . . . . . . . . . . . . . . . . . . . 37 Francoise Ceramics . . . . . . . . . . . . . . . . . 36

Gare Ce ramic Supply Co . . . . . . . . . . . 36

Hays taek-Hinck ley S u m m e r School . . . 3 8

K e m p e r Mfg. Co . . . . . . . . . . . . . . . . . . 35 Kinney , K a y . . . . . . . . . . . . . . . . . . . . . . 37 Klopfenste ln , H.B. & Sons . . . . . . . . . . 36 K r a f t K o r n e r . . . . . . . . . . . . . . . . . . . . . 36

L & L Mfg. Co . . . . . . . . . . . . . . . . . . . 35

Mayeo Colors . . . . . . . . . . . . . . . . . . . . . 11

Nat iona l Ceramic Manufac tu r e r s Assn . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Ohio Ceramic Supply . . . . . . . . . . . . . . 36 Or ton Ceramic Founda t i on . . . . . . . . . 35 Oscar -Pau l Corp . . . . . . . . . . . . . . . . . . . 36

Pa ragon Indus t r ies . . . . . . . . . . . . . . . . . 6 Paffex Co . . . . . . . . . . . . . . . . . . . . . . . . . 36 Pen land School of Craf ts . . . . . . . . . . 38 Pot tery by Dot . . . . . . . . . . . . . . . . . . . . 33 Pyro-Bond . . . . . . . . . . . . . . . . . . . . . . . . 4

Q u i m b y & Co . . . . . . . . . . . . . . . . . . . . . 33

Reward . . . . . . . . . . . . . . . . . . . . . . . . . . 6 R i c h l a n d Ceramics . . . . . . . . . . . . . . . . 33 Rov in Ceramics . . . . . . . . . . . . . . . . . . . 8

Shaker Vil lage Work Group . . . . . . . . 38 Sh impo-Wes t . . . . . . . . . . . . . . . . . . . . . . 7 Sunbu ry Shores . . . . . . . . . . . . . . . . . . . . 38 T e p p i n g Studio Supply Co . . . . . . . . . . 37 T h o m p s o n , T h o m a s C., Co . . . . . . . . . . 5 T h o u s a n d Is lands M u s e u m . . . . . . . . . . . 38 Tr in i ty Ceramic Supply . . . . . . . . . . . . 36

U n i q u e Ki lns . . . . . . . . . . . . . . . . . . . . . 37

V a n Howe Ceramic Supply . . . . . . . . . 33 Vars, D . M . . . . . . . . . . . . . . . . . . . . . . . . 37

Walker , J a m a r Co . . . . . . . . . . . . . . . . . 37 Westwood Ceramic Supply . . . . . . . . . . 7

Back Issues The /ollowing back issues o/ Ceramics Monthly are still available at sixty cents per copy (Ohio resident pay 4% sales tax). We pay postage. 1956 August 1958 June t960 December 1961 December 1962 January (9-year Index issue), February,

May 1963 June 1964 November 1968 June, September, October. November

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

CERAMIGS MONTHLY 4175 N. H igh St. Columbus , O h i o 43214


hee!

%

The newest title in a series of quality Handbooks on Ceramics All material for POTTER'S WHEEL PROJECTS has been selected from feature articles which appeared originally in CERAMICS MONTHLY magazine. The projects selected have been ar- ranged in book form to provide 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 of the items you'll find presented in this useful text. Every project is generously illustrated and carefully described. Only $2 per copy, postpaid.

CHECK THESE OTHER GREAT HANDBOOK BARGAINS:

DECORATING POTTERY WITH CLAY, SLIP & GLAZE by F. Carlton Ball The techniques for decorating pottery presented in this handbook are intended for use by those potters, either beginning or advanced, who want to explore the possibilities of surface enrichment but lack skill or confidence in drawing and painting. 64 pages $3.00

THROWING ON THE POTTER'S WHEEL by Thomas Sellers Here's a complete manual on how to use the potter's wheel. Covers all basic steps from wedging clay to making specific shapes.

80 pages $4.00 CERAMIC PROJECTS edited by Thomas Sellers Outstanding group of projects for the classroom, home and studio. Fountains, planters, jewelry, bottles, and bowls are included.

64 pages $2.00 UNDERGLAZE DECORATION by Marc Bellaire This complete handbook has all the answers on materials, tools and technique. Step-by-step projects are profusely illustrated.

64 pa~es $3.00

COPPER ENAMELING by Jo Rebert and Jean O'Hara Recognized as the best in basic instruction, this elaborate handbook has over 200 photographs. Invaluable to teachers and student alike.

64 pages $2.00

BRUSH DECORATION FOR CERAMICS by Marc Bellaire A fascinating book with easy-to-follow instruction on the use and care of brushes. Excellent for beginners. 64 pages $3.00

r ~ , ~ ~1 Order any of these handbooks today on a I ~ ~ money-back guarantee. We pay postage.

I

CERAMICS MONTHLY BOOK DEPARTMENT 4175 N. High, Columbus, Ohio 43214

Please send me the following: [ ] POTTER'S WHEEL PROJECTS @ $2 [ ] DECORATING POTTERY @ $3 [ ] POTTER'S WHEEL @ $4 [ ] CERAMIC PROJECTS @ $2 [ ] UNDERGLAZE DECORATION @ $3 [ ] COPPER ENAMELING @ $2 [7 BRUSH DECORATION @ $3

Name . . . .

Address

City Statek . Zip _. I enclose [ ] Check Z Money Order

(Ohio Residents add 4% sales tax.)

Dealer Inquiries Invited

KINGSPIN Electric Potter's Wheel

"The Little Machme That Throws Big Pieces"

See Ken Stanelle demonstrating this wheel at the following

..... vs: Red Carpet Inn. Milwaukee, W;c~mc ;n k.4 = r r k 71 .7 :1 . ~n r l kA ; n~ r~ l

New Large W a t e r T ray • A Professional Wheel a t a Price you can a f f o r d • More power fu l • Easy to Use • Ball Bearings • Easy to Clean • Easy to Store • SPEED VARIES wi th f o o t pedal - - smooth as an automobi le • PORTABLE - - c a r r y i t w i th you anywhere • Bats f i t our hand wheels - - each student may have his a l t d d 41~ I m 4 ~

• Model own ba t and p lace i t on the hand wheel w i thou t losing center 110 II1~1 1 U I t J l E.6 Volt AC. DC. • One year serv ice w a r r a n t y . 11~11 I I Ib lWnI~IV

for HOBBYISTS • SCHOOLS • ART & CRAFT CENTERS • INSTITUTIONS

Prices F.O.B. Detroit

See your Dealer or Distributor or write:

GILMOUR CAMPBELL Maiden, Detroit, Michigan 48213

In Canada w r i t e : . . . . . .

Vi l lage Ceramic Studio

4949 Dundas St., West, Is l ingfon, Ont.

l~ - ceramic arts network · answers to questions conducted by the cm technical staff i have been...

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