october 1962. ii - ceramic arts network · for craft and hobby by frances johnson the author, a...

OCTOBER 1962. • 50c I I

1

S E L E C T

U T IT L E S . i ~ . ~ l

from the * CH Book Department I /

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

A POTTERY SKETCHBOOK by Aaron Bohrod Bohrod, one of America's dis- tinguished painters, is well known in the pottery field for his decoration of pottery thrown by Carlton Ball. Thou- sands of sketches, photos. $7.50

HANDBOOK OF DESIGNS AND DEVICES by Clarence Hornuncj Over 1800 sketches of basic designs and variations includ- ing the circle, line, scroll, fret, shield, snow crystals and many more useful symbols. 240 pages. $I .90

MOSAIC, HOBBY AND ART by Edwin Hendrickson This profusely-illustrated handbook for the beginner and advanced hobbyist includes step-by-step instruction on 12 basic projects. 111 pages.

$3.50

DESIGNS AND HOW TO USE THEM by Joan B. Priolo Top-notch decorating can be achieved by following the simple motifs which may be enlarged or fransierred. A complete list of subjects: birds, fish, etc. $S.95

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

$7.50

CERAMICS BOOK by Herbert Sanders This excellent introductory book describes methods and materials for hand forming, wheel- throwing and casting. Covers ceramic jewelry, decoration and firing. 96 pages. $1.95

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

A WORLD OF PATTERN by Gwen White This volume offers the beginner a wealth of ideas and information on design and color. A sound approach to the art of decoration. Color and llne illustrations. $3.75

DECORATIVE DESIGNS FOR CRAFT AND HOBBY by Frances Johnson The author, a designer and potter, presents 350 designs, many in full size, with suggestions for proper colors. Many Pennsylvania Dutch designs included. 72 pages, paper-bound. $3.00

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

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

O r d e r a n y o f t h e s e s e l e c t t i t l e s

on C E R A M I C S M O N T H L Y ' S M o n e y - B a c k G u a r a n t e e

I - . . . . . . . . I I BOOK DEPARTMENT I I M O N 1" H L Y 4 1 7 5 N. H i g h St . , C o l u m b u s 14, O h i o I

I P l e a s e s e n d m e t h e following book(s):

I ~__ Kinney--Class Craft $7.50 ~r Parmelee---G] . . . . S8.00 ~ Wolchonok--Desiqns $4,95 I ~J Bohrod--Sketchbook $7.$0 ~ Priol~Desicjns $5.95 r~ Jenkins & Mill~Mosaics $5.95

J ~ H . . . . . g--Designs $1.90 ~1Rhode~Clay & GI . . . . $7.50 [ ] Nelson--Ceramics S5.95 I

I Hendrickson--Mosaic $3.50 ~1 Sanders--Ceramics Book S1.95 [ ] Enciso--Deslgn $1.85 I Kenny--Sculpture S7.50 ~ Untrach~Enomeling $7.50 ~___ Priol~Ceramics $5.95 I ~ Kenny--PotteryS7.50 ~ Whit~World of PaHern $3.75 ~J E,bert & Bornet--Brush $3.95 J

Norton--Artist Potter $7.50 ~ Johnson--Designs $3.00

I I encJose ['-i check I--] money o rder I

N a m e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I

I O h i o residents a d d 3 % Sales Tax. WE PAY P O S T A G E I

I J , m m m m m m ~ ,

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

$S.9S

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

CERAMICS AND HOW TO DECORATE THEM by Joan B. Priolo Mrs. Priolo gives detailed de- scriptions and illustrations of dozens of decorating techniques and shows exactly how to go about using them. Starts where other books leave off.

$S.9S

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

CERAMIC SCULPTURE by John B. Kenny Contains over 1000 photos and sketches covering all phases of the sculptor's art. A valuable aid for all craftsmen. Large format (7" x 10"), 302 pages. $7.50

THE COMPLETE BOOK OF POTTERY MAKING by John B. Kenny The "best seller" in the ceramic field! Step-by-step photo lessons cover all of the pottery - making techniques. Clays, glazes, firing, plaster, etc. 242 pages. $7.50

CERAMICS FOR THE ARTIST POTTER by F. H. Norton The most complete book on the subject, from choosing the proper clay to putting the final touches on a piece, all clearly explained. Ceramics at its best! 320 pages. $7.50

CERAMIC GLAZES by Cullen W. Parmelee This invaluable reference boo~ completely covers glaze mak- incl. Includes formulas and batch recipes for glazes. 314 pages of technical informq. tion, handsomely bound. $800

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2 ( . ' , r r l , l ic ' , .~l,~,thl.~

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42 pages of Decals • 16 pages in Color • 144.8'~" x 11" Pages

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DUNCAN'S E-Z Flow Products

TRU-FYRE, King of Colors

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AFRICANA bisque colors

MACK China Paints

REGAL hobby molds

EX-CEL dry glazes

EX-CEL Flowertex clays

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C E R A M I C K ILNS • 2620 S. E. STEELE STREET

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4 Ceramics Monthly

V o l u m e 10, N u m b e r 8

M O N T H L Y

October 1962

Let te rs to the Edi tor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Sugges t ions f rom Our Readers . . . . . . . . . . . . . . . . . . . . . . 9

Answers to Quest ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

P repa r ing Enamel s by Ka the Berl . . . . . . . . . . . . . . . . . . . . . 1l

The Folk Po t t e r s of Mashiko by Tom Marsh . . . . . . . . . . 12

Enameled Name Plaques by Nelly Allan . . . . . . . . . . . . . . 16

F i r ing Glass by Kay Kinney . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Variations ml a Theme by Mary Blakley . . . . . . . . . . . . . . . . 19

Slab Construct ion by Hal Riegger _ . . . . . . . . . . . . . . . . . . . 22

Closed F o r m s f rom Pinchpo;s . . . . . . . . . . . . . . . . . . . . . . 26

Dry Brush Pr in t ing by Marc Bellaile . . . . . . . . . . . . . . . . 28

Glazes for Cone 010 by Richard Behrens . . . . . . . . . . . . . . 30

CeramAct iv i t ies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

I t ine ra ry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Ceramic Shopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Index to Adver t i se r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

On Our Cover

Two Japanese potters at work on their uhee!s are part of the

scene vividly described by Tom Marsh in his feature article,

"The Folk Potters of Mashiko," starting on page 12 of this

issue. The material for this article originally appeared in a letter

from Mr. Marsh to his former teacher. Julia Hamlin Duncan.

E d i t o r : THOMAS SELLERS

Art Director: ROBERT L. CREAGER

Business Manager: SPENCER L. DAvis

Circulation Manager: MARy RUSHLEY

Advisers and Special Con.tributors: F. Carlton Ball; Marc BeN

laire; Kathe Berl; Edris Eckhardt; John Kenny; Kay Kinney;

Zena Hoist; Karl Martz; Ken Smith; Don Wood.

Western Advertising Representative: Joseph Mervish, 6717 Gen-

try Ave., Box 3115, North Hollywood, Calif: TRiangle 7-7556.

Copyright 1962 Pro[essional Publications, Inc.

GERAMICS MONTHLY, October 1962, Vol. 10--No. 8. Published

monthly exeel)t July & August by Professional Pub|ieations, Inc . - -

S. L. Davis. Pres. , P.S. Emery. See.; at 4175 N. High Street, Columbus 14. Ohio. Entered as second class mat ter at the post office at Athens.

Ohio, U.S.A. Subscriptions: One Year $5: Two Years $9; Three Years $12. Copyright 1962. All r ights reserved.

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We've put this ingredient

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since 1890

No mat t e r which of the many Thompson

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for amateurs and professionals alike.

Perhaps that ' s the main reason Thompson has

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colors for more than 70 years•

The new Thompson catalog puts the widest

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T H O M A S C. THOMPSON CO. ~ Dept. CM 1539 13eerfield Road, Highland Park, I l l ,

Please rusk my FREE catalog of complete enameling and ¢raff supplies.

N A M E _ _ _ _

ADDRESS__ __

C I T Y _ _ Z O N E _ _ _ _STATE . . . . . .

(}ct,d), r I~t;2

I I I I

5

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NATURALLY/

CERAMICHROME is designed for all clay bodies . . . Outstanding results on o f f wore, porcelain, or stoneware! Fires f rom cone 06 to 6! This feature, plus many others, is important . If offers the hobbyist, teacher, or student a new freedom in the ceramic arts. Choose from over 250 colors and textures in exclusive "co lo r .ba lanced" palettes. Send today for valuable FREE informat ion about CERAMICHROME "READY- TO- USE" Ceramic Colors. Wr i te Dept. CM-S.

"FINEST PREPARED CERAMIC COLORS" CERAMICHROME, INC., 15215 S. BROADWAY

GARDENA, CALIFORNIA

6 Ceramics Monthly

China Painting

S T E P B Y S T E P

by Doris W. Taylor and

Anne B. Har t

With over 500 drawings and 24 color photos, two experts show you - - from the f i rs t brush stroke to the final firing

exactly how to create pieces with that made-by-a-professional look. Even includes pat terns for t racing and trans- ferring. P .S . Both the book and the "results" make special presents!

$7.50

Order from Dept. T-CM 10

V A N N O S T R A N D 120 Alexander St., Princeton, New Jersey

FREE . . . for dealers 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 n o w - send the coupon below or write on your letterhead.

Circulat ion Manager CERAMICS MONTHLY 417S N. High St., Columbus 14, Ohio

Please send us informat ion on your single copy sales p r o g r a m - - f o r dealers only.

STUDIO

ADDRESS . . . .

CITY/STATE___ io . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Share your thoughts with other C M readers--be they quip, query, comment or advice. All letters must be signed, but names will be withheld on request. Address: The Editor, Ceramics Monthly, 4175 North High St., Columbus 14. Ohio.

ADD A LITTLE MORE • I am a professional portrait painter just turned studio potter. Your magazine seems t o be a happy medium of work for the hobbyist, elementary and high school teacher, and professional potter--something for each. Since you have the only magazine that I know of that is exclusive- ly for the ceramist who does "hand work," please keep up the professional level you now have and just add a little more.

Studio Potter Cambridge, Mass.

WITH THE ARMY • My Ceramic Department is the largest on the Island (Hawaii) for the Armed Forces, Dependents and Civilians working for the Armed Forces. Everyone enjoys your magazine so very much and I recommend it to all of my new students.

Doris M. Forman, Crafts Director U. S. Army--For t Shafter,

Honolulu, Hawaii

LETTERS WANTS HANDLES • I am in a spot? I have just taken about six teapots out of the kiln. I thought it would be easy to toeate rat tan or bamboo handles in this area, but I haven ' t been able to locate any. Can you help me out of this predicament by telling me who supplies them? Ann A. Clarke

Cambridge, Mass. The Katagiri Compa,ny has written that

they can once again supply handles; see the Shopper column in this issue [or information about the sizes available and the firm's address. I[ any of our readers are able to inform us of other sources [or these items, we shall be happy to include the in[ormation in [uture issues of Cera- mics Month ly . - -Ed .

INTEREST IN GLASS • I enjoy all of your articles, some more than others of course. I am especially interested in glass and the articles in your publication are very informative. I have saved all of my copies of CM and loan them to friends from time to time, but I do insist on their return. Thank you for all of the pleasure and instruction you people are bringing to studios and hobbyists. Mildred Mont i

Palisades Park, N. J.

FROM THE MUSEUMS • Thank you for the tear sheets and copies of CM. The June Show Time page (Michigan Artist-Craftsman Exhibi- tion) is quite overwhelming.

Yvonne Tata, Communications Dept. Detroit Institute of Art

• Just a note of gratitude for your article on the Ohio State Exhibition (June 1962 CM). Thank you very much.

Howard Zisla, Director South Bend Art Center

RANGE OF INTERESTS • . . . I don ' t know what I 'd do without my CM; I look forward to it each month. [ can ' t think of a thing I 'd change unless you could include more on throwing on the wheel. Your magazine covers almost every interest. Mrs. B. Bradley

Naranja, Fla.

• Considering all interests involved, I think you have attained a well-balanced collection of articles.

Mrs. Murray Roberts Lexington, Mass.

• I find the issues consistently well- rounded in my particular interest.

Mrs. Frank Garau Vienna, Virginia

• Underglaze • One-Stroke • Art Glazes • Hesitation •

$atina~ • Satin Marts • White Drape • Foams • Klay Klutch

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M A Y C O is y o u r bes t b u y - - a n d t h e r e a re dozens of colors to select f rom!

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DRAKENFELD CLAYS and GLAZES GO TOGETHER! DRAKENFELD clays and glazes are made for each o t h e r - a r e the right combinat ion for better ware. Here are a few suggestions. Give them a trial and convince yourself.

C L A Y S

CONE 06

CONE 06

White Casting Clay 6 8 2 0 3 • . . just add water and adjust to proper consistency. The slip improves with age.

White Plastic Clay 6 8 2 0 4 • . . comes in moist form, ready to use for modeling or throwing on a wheel.

G L A Z E S

Cone 06-04 Glaze {Majolica) Cone 06-02 Vellum /Matt Cone 06-02 Matt

Cone 07-02 Crystalline Cone 07-02 Crackle Cone 07-02 Fancy Art

These glazes produce sparkling results-are available in a wide variety of colors. All are specially designed for Cone 06 fire-danger of crazing, shivering, blis- tering, pinholing, and crawling is greatly minimized.

3 0 B R I L L I A N T C E R A M I C C O L O R S Ready' /or instant use! No fuss! No moss! Each set has 15 liquid colors, 2 multi-purpose brushes and instructions. The strong, deep colors are easy to mix for intermediate shades or with white for pastels. The Underglaze Colors can be used for Engobes or Slip Stains. Use on raw or bisque ware. 1 oz. per jar. Complete set $5.00, plus postage. The Overglaze Colors make china painting a real pleasure. Three costly colors included: Pink A-1644; Maroon A- 1645; Purple A-1649 (contains gold compounds). 1/10-lb. per jar. $11.00, plus postage.

WRITE FOR FREE CATALOG. Here is complete information on clay bodies, p r e - p a r e d glazes, overglaze and underglaze corers, pyrometric cones, banding wheels, laboratory mills, and potter's wheels. Prices included for every item•

" rokenFe/d B. F. DRAKENFELD & CO., INC. / ~ )

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8 Ceramics Month ly

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Ideal {or school, studio, home use . • • The famous B & I Pottery Maker , first in the f ield, is still first in value and in price! Simple operation, rugged construction, with al l the versat i l i ty required by professional workers! Many built-in features . . . ADJUSTABLE arm rests: BUILT-IN water container: VARIABLE speed drive: QUIET bronze and babbit bearings: ADJUSTABLE foot-pedal control: UNUSUAL size range. Before you buy, Wri te B & I . . . get full, free details: Point- by-point , we challenge comparison on QUALITY features

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NEW MATERIALS

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SUGGESTIONS from our readers

JACKET FOR KILN

My old hexagona l ceramic kiln was losing a grea t deal of hea t and. consequent ly , f ir ing m u c h too slowly. I made for it a jacket of heavy a l u m i n u m foil tha t can be fi t ted down over it, ei ther at the beg inn ing of the f ir ing or par t way t h rough for a par t icular ly slow firing. T h e sketches show how three long

pieces of heavy foil are fitted down over the top and sides of the kiln. The foil is folded down at the edges of the top, and the edges of the strips are sealed by folding down the sides. Grea t care should be taken not to cover the box where the wires en ter the kiln! I cut an hou r off f ir ing t ime with this device, and also cut down substant ia l ly on hea t loss.

--Cynthia Baker, Loveland, Ohio

DENTAL FLOSS USEFUL Denta l floss is an excellent tool to use for cu t t ing a pot free

f rom plaster bats or the pot tery wheel head. A fine wire generally is used and r ecommended , bu t in the event it is misplaced, it is a good idea to have some denta l floss on h a n d as an excellent replacement• Th i s has been a great aid to me in my work and I hope tha t others may benefi t f rom us ing it.

--Irene Kettner, Orcutt, Calif.

STRING MESH FOR DESIGN A simple bu t effective design can be created on a d raped

piece by s t re tch ing a coarse s tr ing mesh bag (such as the ones in which onions and potatoes are packaged) over the mold or the slab of clay. T h e best effect is obta ined by us ing the s tr ing bag doubled. T h e clay should be f irmly pressed over the mold for a clear des ign of the mesh. One of the advan tages of using the mesh is tha t the clay can be left on the mold a little longer than usual since the s tr ing prevents cracking of the clay while drying, at least to a cer tain extent .

For an in teres t ing variat ion, try soaking the s t r ing bag in underglaze and al lowing this to become a lmost dry before p lac ing it on the clay or mold. Th i s gives an in teres t ing t ransfer of color and is an unusua l technique. These ideas m a y not be new, bu t I discovered t hem for myself!

- -Norman Dingerson., Detroit, Mich.

CRAYONS FOR RESIST Ord ina ry wax crayons ('an be used effectively for wax resist

decorat ing. T h e regu la r crayon, jus t as it is, can be used to draw on a bisque pot before it is glazed. T h e wax will resist the glaze and give an ung lazed decora t ion af ter the piece is fired. You can also save scraps and pieces of crayons and mel t t hem to make a liquid wax resist mater ia l tha t can be applied with a brush. - - H . M. Brunt, Clet.eland, Ohio.

DOLLAR-q; FOR *YOUR IDEAS Ceramics Monthly pays up t o $ 5 [or each item used in this column. Send )'our sug.~estions to CM, 4175 North High St., Columbus 14, O. We cannot acknowledge or return unused items.

FREE/

COLOR CHART

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COLORS

PRODUCTS

5673 E. Shields Ave., Fresno 27, California

)~ ' t , ,k , r I q(-;2

T H R O W I N G O N THE

P O T T E R ' S

WHEEL BY THOMAS SELLERS

HANDBOOKS

: . . . . . . . . . . . ~

COPPER ENAMELING Proclaimed the best in basic instruction, this handbook includes fundamentals as well as illustrated how-to-do-its on iewelry. 21 projects by Jean O'Hara and Jo Rebert. 64 pages. $2.00

UNDERGLAZE DECORATION M a r c Bella;re creates a star t -

lincj variety of new designs before your eyes - - teaching the ultimate in quality under- cjIaze decoration. 37 proiects in all; 286 lively illustraHons. 64 pages. S3.00

THROWING ON THE POTTER'S WHEEL Th|s complete manual on the use of the potter's wheel ~n- cludes basic steps, ,~from wedging clay to the makincj of specific shapes. Clearly described and illustrated. By Thomas Sellers. 80 pages. $4.00

Used by teachers everywhere. Ideal for hobby groups, schools, art and craft centers. Three-color covers; profusely illustrated step-by-step photo technique.

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JR CERAMICS MONTHLY Book Deportment I 4175 N. High St. Columbus 14, Ohio

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

.-lnswers to

QUESTIONS C o n d u c t e d by the C M 7"cch , i ca l S ta[[

9 Do you know o[ any rule [or mixiug the correct amount o[

plaster and water to make a mold? 1 always seem to end up either with too much or too little plaster [or my needs.--F. L., Athens, Ca.

Figure the size of the mold you want to make in cubic inches (width x length x he ight ) , then divide the resultant

number by 80. The answer will show the amount of water

needed in quarts. To 1 quar t of water add 2 pounds, 12 ounces of pot ter 's plaster.

9 If'hart. a recipe ~peci[ies to "apply glaze thinly," does it

mean a very thin glaze slip or onl), one or two coats o[ a

glaze o[ ordinary condstency? Glaze consistency is my biggest

bug-bear right now. I was told that a good rule of thumb is to

use an equal weight o[ water a,nd glaze. However, this is so

watery that I think it must be meant [or spraying and not brushing. St. E. M., Mon.treal, Que.

When a recipe specifies to apply a glaze thinly, it generally

is thought to refer to the amount of glaze ra ther than the glaze

consistency. Glazes vary so very much from one recipe to an-

other that it is impossible to give a rule on the amount of water

to be added. Try start ing with about 60% of water and adding

more if needed to bring the glaze to the consistency you require for your needs.

9 Can you suggest any method to glaze a stoneware clay with

a cone 04 glaze and not have the glaze craze? I was given

a supply of the clay and wish to use it up, but I don't want to buy or make any stoneware glazes.--C. N. F., Syracuse, N. Y.

The only possibility would be for you to bisque fire at the

firing tempera ture of the stoneware clay (somewhere in the

range of cone 5 to 9), then do your glazing and glaze fire to

cone 04.

9 I have bee,n having trouble with transparent enamels. Alter

my pieces [ired with transparen.t enamels are taken [rom the

kiln, they develop a fine network of cracks. Firing them again

seems to cure the cracking, but only temporarily, /or the deject

appears again in a short time. I am using counter enamel on my pieces. Can Kathe Berl suggest ceny remedy?--A. C., Gary, Ind.

The cracking is caused by the difference in expansion and

contraction between the enamels on the top and the bot tom of

your pieces. Miss Berl's advice is that you use a t ransparent

enamel for the counter enamel whenever you are using trans-

parent enamel for the face.

I work with chitdren in a variety o[ cra[t projects, and one

of our projects [or next ),ear is a mosaic. Since we will want

to install the finished project outdoors, can we sa[ely use patch-

ing plaster [or our mortar?--A.S. , Washington, D.C.

By itself the patching plaster, or spackle, will not be

weatherproof. I t can be made so by adding about one teaspoon

of clear varnish to the dry material before it is combined with

the liquid.

All subscriber inquiries are given individual attention at CM; and, out o/ the many received, those o[ general interest are

selected for a, nswer in this column. Direct your inquiries to the Questions Editor, CM, 4175 N. High St., Columbus 14,

Ohio. Pleaw enclose a stamped, sell-addressed envelope.

PREPARING ENAMELS

by KATHE BERL

VITREOUS ENAMEL used in the art of enameling is simply glass with certain chemicals added to give color and to lower the melting point.

The enameler should know something about the process by which enamels are produced. The hard glass product is broken into rock fonn and these, in turn, are pounded into smaller lumps. The lumps are then ground into glass granules of the desired size. There are three methods by which the enameler can get his enamel ground. This grinding can be done by hand in porcelain or agate mortars, using non-metallic pestles and working under water, but this is a ted- ious job. The grinding can be done more easily in an electric grinder or ball mill, and this method certainly is recommended for schools or groups that are using large amounts of enamel. Such a grinding mill soon would pay for itself in savings on factory grinding charges. The third, and certainly the most popular, method of getting ground enamel is simply to buy the already-ground enamel from a manufacturer or local supplier.

Most suppliers car~" enamel ground to 80 mesh. Now, just what is an 80 mesh grind? It means that the granules are ground fine enough to pass through a screen that has that number of holes to the square inch. The higher the mesh number, the finer the enamel powder produced.

For those craftsmen who want to grind their own enamels, I would recommend a very even grinding, since uneven granule sizes create endless trouble. When the enamel is fired, the "nonconfornfist" granules may re- fuse to blend with their fellow grains and the large and small sizes remain separated from one another, The difference in sizes also may make it difficult to sift the enamel onto the piece being made. The fine particles will rush through the strainer or sifting device and accumulate in heaps; the coarse ones will not pass through the sieve at all. Only those granules of the correct size will sift through the strainer properly. So for good results, much patience and an even grind are

essential. An enamel that is ground too coarsely may give a pepper-and- salt appearance, and not blend as an enamel should. A grind that is too fine has a tendency to give a dulled appearance when fired. The 80 mesh grind is most generally used, although I personally prefer 60 mesh enamel.

One of the questions that each enameler must decide for himself is whether or not to wash his enamels before using them. The enameling "law" states that enamels must be washed before they are used to re- move grinding residues. According to theory, this washing prevents dullness or cloudiness in the fired enamel. Personally, I don't wash my enamels and my finished pieces seem to come out clean and bright. However, each person nmst try using both washed and unwashed enamels and see the results for himself.

Washing is done by putting a smal~ amount of ground enamel--about an ounce or soy--into a glass bowl or cereal dish, then covering it with about an inch of water. Agitate the enamel in the water several times by swishing or stirring it, then tap the dish or bowl on the table top about three times and allow the enamel to settle. The enamel is heavy and soon settles to the botton of the container, while any residue keeps floating and results in cloudy-looking water.

The cloudy water is carefully drained off and is replaced with clean water. Then the whole process is repeated again and again until the water remains clear and free of residue after the swishing and settling of the enamel.

It is a very good idea to collect the cloudy residue water in some type of container and get rid of it anywhere but down the sink! Enamel and enamel residues are heavier than water and may very well settle in the drain elbow and therefore cause a clogging problem that requires the services of a plumber.

The washed enamel should now be clean enough for any purist, but it will also be wet. And since, in all

Continued on Page 36

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October 1962 11

UL :: ¸

d

o ~ ,

Japanese poller Hamada d~o~ah,, tcacup.~ iJl tlt~ )'atd itt ]~mtt o[ his house. Bottle Vase by Hamada is pictured below.

THE

FOLK POTTERS

OF MASHIKO

An American potter living in Japan writes about his trip to the pottery center o[

Mashiko and his visit with Hamada.

by ToM MARSH

MY TRIP TO MASIIIKO, one of the most famous Japanese folk pottery centers, was one of the exciting experiences of my life. Mashiko is in the Tochigi prefecture--one of the poorest in Japan-- in semi-mountainous terrain about 100 miles northwest of Tokyo. It is really in the back- woods of Japan and much more primitive than any other place I've seen, either in the United States or Japan. The roads are mostly dirt or gravel, sewers are open and gar- bage is thrown in the streets.

Some potters have reported that the people of Mashiko are hard to get along with, but I did not find this to be true. One kiln fireman told me that foreigners come only for a few months, talk only with their hands, and almost always want the best spots in the kiln for their pots. The reason Bernard Leach is loved so dearly in Japan is not simply because he is a good potter but because he lived and worked here for 20 ),ears, has come back again and again, and speaks the language. I decid- ed, therefore, to go alone to Mashiko, trusting that my previous experience with Japanese customs and my knowledge of the Japanese language would suffice.

There are about 30 kilns in the area and all but two are wood firing. Most of them are huge and, to me at least, beautiful. The standard kiln consists of 10 firing chambers, approximately 15 feet wide, 5 feet high and 4 to 5 feet deep, stair-stepped up a hillside. Such a kiln

12 Ceramics Monthly

holds literally thousands of pots. One of the highlights of the trip was spending a night with the workmen firing such a kiln. These men do nothing but fire kilns; they are uneducated, plain, simple folk but skilled when it comes to kilns. They never use cones, but just go by the heat color. During the night we drank gallons of green tea, roasted peanuts in a bisque plate over the blowholes, and took cat-naps on straw mats up against the kiln. The kilns are covered with big straw thatched roofs, and it is amazing that they don't catch fire. I t takes five days, and 700 large bundles of well-dried red pine, to fire the 10 chamber kiln. The Inain fire mouth is fed for three days and the remaining two days are used for side stoking, working up the hill chamber by chamber, stoking from each side. While I was there we finished the main fire mouth, sealed it up and began side stoking. With each stoking, clouds of dense black smoke poured from blowholes and flues.

The stoke holes are not over six inches in diameter. With one firing it is possible to fire each chamber to a different temperature. Most of the kilns in Mashiko are fired once a month so you see plenty of pots are produced. The kilns are very crudely constructed; in many places the walls are so thin the heat glows through. Dur- ing firing, about every hour or so, salt and sake are offered to the god of the kiln by sprinkling the salt and pouring a small cup of sake in the firemouth.

The pottery workshops are rather disorderly and very primitive. They are unheated except for a fire in the center of the dirt floor, consequently the rooms are dark and smoke-filled. Throwing is done on low wooden platforms facing a long row of shoji screens facing south. There are kept closed and thus produce a soft diffused light. Glazing and slipping are generally done outside or under the wide overhanging eaves of the thatched roof. Clay is stored in large stone sheds off the workshop, and in huge quantities that I would guess to be at least 10 tons. Approximately 100 pounds is spiral-wedged at a time.

Throwing seems to be extremely careless, although it is not the carelessness that results from not being able to do any better. I t is, rather, the product of throwing

hundreds of pots every day, year after year. The wheel used is either the Japanese hand wheel or the small Japanese-style kick wheel. Generally, pots are thrown off of 25 to 100 pound slugs or cones--teacups come off the top of the cone of clay at the rate of about 150 per hour. All the while, the potter smokes, laughs, talks with others and watches children, dogs and sundry other beings carelessly run about through rows of pots drying in the sun.

Pots are rarely what we would consider to be centered either when thrown or turned down. They are heavy and thick of section but this isn't noticeable because of the general character of the pieces. Usually they are well balanced. The clay is course and much softer than I would think of as a good consistency for throwing, but what the potters do with it is marvelous! It is, of course, a matter of really knowing the material.

The reason that Japanese glazes at their best are so cleep and soft is the result of a slow and long firing cycle, plus the use of wood as a fuel. A short firing time just will not produce the depth in glazes that a long one will. Mat t glazes are rarely used in Japan. If a matt surface is desired, no glaze at all is used; the ashes going through the kiln give the pots a soft patina.

The Japanese bright glazes, while very hard in surface, are soft in character with depth such as I have never seen before. Several reasons account for such glazes: 1. Ahnost all glaze ingredients are natural and unpuri-

fled, mainly ashes of various sorts, clays, sandstones, etc.

2. The firing cycle is long and slow in the reduced and semi-reduced atmosphere of burning wood.

3. Very few different glazes are used and thus the most is obtained from a few basic glazes. For example, Hamada has been using the same four basic glazes for 50 years! Too many potters spend too nmch time looking for some "magic" glaze that will "make" their pots. I t just doesn't happen this way.

I t was with much excitement that I left the village of Mashiko, went over the mountain to the north, and down into a peaceful little farming valley to visit the

Please Turn the Page

Trart~lucct*t "'dto]i'" pro:'idc ~o.ft lieht at each <f the six u'hccls in Hamada's workshop.

L

B 6

Aboue: Sid, ;i~a ,:/ al~ ,,fl,~ ,i~-c/mmb~cd kiln. There are nearly 30 such kilns in the Mashiko area.

Above: A typical climbing kiln, stair-stepped up a hillside, holds literally thousands o[ pots. Below: Interesting pattern is created by a stack o[ red pim' [irea'ood for the kiln.

potter Hamada. Without doubt, Hamada is the driving force behind the Folk Craft movement in Japan today. He also is the best potter in Japan today and certainly one of the top potters in the world. It is quite evident, also, that he is a weahhy man, for his establishment is a large estate such as one rareh" sees in Japan today.

One enters through a huge old style gate house approximately 75 feet long. The gate is made of huge timbers and there are storage roonls on either side. There are 5 or 6 buildings altogether, all of them old and among the most beautiful I have seen anywhere in Japan. They are ainazingly huge, with the most picturesque thatched roofs imaginable. Hainada lives in the largest main house; his two inarried sons llve in houses nearby. and there are workshop and storage buildings in addition to the large thatched sheds over the three kilns. Of these kilns, two are large clinlbing ones of the kind described above, and the other is a new salt glaze kiln.

I spent nearly a whole day at Hamada ' s crawling in and out of kilns, watching, talking and thoroughly enjoying myself. I bought my first Hamada pot, a beautiful bottle vase in brown, rust and green. I was thrilled when Mr. Hamada invited me into the house for tea and persimmons. The huge timbers are expose:t and black fiom exposure to the smoke of the open fire in the middle of the room.

Hamada has a remarkable private collection of pottery--Chinese, Korean, Japanese, Persian, Mexican and Indian. It is worth a trip to Japan to be able to examine such a wealth of pottery and thus obtain a sense of tradition and continuing history in the progression of pot making. I was quite tired but happy when I returned that night to the inn where I was staying.

In many ways Hamada is an ideal example for the contemporary potter. He is called a folk potter, though in reality he is no such thing for he is well educated and well aware of his position. But with this background, he deliberately sought out a remote area in one of Japan's poorest states and here he lives close to the earth. close to nature. The earth and a longing to be close to it is something missing in contemporary life. Perhaps it is simply because of my own rural background, but I agree strongly with a statement made by Hamada in Mashiko, "'An earthy pot cannot consistenth" be nlade by a potter living in a city."

I think I have been in Japan long enough to evalu- ate, partially at least, my situation here and what being here is going to mean to me as a potter. I believe the greatest value is not in technical aspects, al though one does gain certain insights and help in such areas as kiln design, etc. The real value is much harder to define, as it is in aesthetic and spiritual values, attitudes toward clay, nature and pot-making in general. I feel that I was headed in the right direction in my work at home, but the experience I 've had here has produced changes that would have taken much longer in America. I know now that the pottery eventually will come and it will be good and will speak of life and the earth.

Opposite page: Pots drying beside the road represent a morning's work by one potter.

~ ~i~ i ~ ~ ~

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ENAMELED NAME

by NELLY ALLAN

PLAQUES

m

A NAME PLATE or plaque for the desk or doorway is both attractive and practical when it is made from enameled metal. I n contrast to the ordinary painted wooden sign, an enameled one can withstand all kinds of weather for many years without any alteration in its appearance.

Mounted on a wooden base, an enameled plate with your name on it makes a personal and useful addition to the desk, either at home or in the office. One of these colorful plaques also can be used to add to the appearance of the entrance of your home, whether the sign is fastened directly to the door or at tached to a frame and hung on a post.

An enameled name plaque may simply state your name or it may display just your house number; it might reveal your business or profession by word or symbol; or it could combine any or all of these elements.

These unusual signs make excellent gifts for friends. They also are good items for the enameler who sells his work. In addition to their use in the office or for the home, plaques can be used in many ways for institutions. In a series of them I made for a school campus, the names included those of the various dormitories, classrooms, offices and faculty homes.

This project is not at all difficult and is recommended for beginners in enameling. The first step is to decide or~ the size and shape of the plaque, then cut a pattern from paper. The letters a n d / o r design next are arranged on the space, leaving a margin around all edges.

Using the paper pattern, the plaque shape is traced

16 Ceramics Monthly

on a piece of sheet copper and this shape is cut from the metal. Since the plaque is to be fastened to wood, two holes are drilled through the meta l - -one at either end of the plate. The next step is to file the edges of the metal and clean it thoroughly in preparation for enameling.

The enameling of the plaque is done in two colors or values, preferably using a light-colored enamel for the first firing and a darker one for the second firing. As an example, white and black enamels could be used for maximum contrast. Yellow and brown could be used for a softer color and contrast effect.

The first color is sifted onto the clean copper piece and then it is placed in the kiln and fired until it is glossy. After the plaque has cooled and been cleaned, agar solution is applied thinly over the already-enameled surface and the darker enamel color is sifted on.

The engraving of the name is done with a pointed tool of some sort. I would suggest a regular sgraffito pen, an orangewood stick, the pointed handle end of a paint brush, or a knitting needle. Using one of these tools, the name is simply written through the unfired enamel to reveal the fired enamel coating beneath.

The plaque is very carefully placed in the kiln again and fired only as long as is necessary to mature the second coating of enamel. When it is removed from the kiln, cooled and cleaned, you will find that your efforts have been well rewarded. Your enameled plaque will be a treasured gift, or a proud possession of your own, for many years to come.

PHc,~o<: ED KEELER

eg

I. White enamel for background is sifted onto a cleaned copper shape that has been drilled for fastening to a wooden base after the plaque is finally completed.

2. A/ tvr tl~ bact,.~round enamH tin, b,',t~ I l l ,d , lh~ plaque is again cleaned and a thin application of agar solution is brushed or sprayed on the enamel sur[ace.

3. A coatlttg of black ~pmm, l i, , i /I ,d ,~;,~ I/i, aL, ar-~o¢- ered white enameled surface in preparation /or the engraving of the name or message p lanned /or the plaque.

4. Engraving is done by simply a'~iti~, d l/l~ou,.d~ II, u~- fired black enamel to reveal the fired white enamel coating beneath. Plaque is complete after another firing.

October 1962 17

Kiln-[ormed Glass

EACH YEAR the number of ceramists eager to try fused glass increases. This fact is very rewarding to me, for some six years ago it was predicted that working with glass would prove to be a passing fancy! Basic principles still are unchanged, but research and ex- perimentation have brought to light additional information which I hope will be of value to the reader.

In all honesty I cannot advise a specific temperature which would give the best results for all firing, since the type and size of the kiln used, the nature of the proposed project and the kind of glass all have a definite bearing on successful firing. However, I can present the procedure I use in testing any new kiln. A few projects - - bo th those bent in molds and those flat-fired on a kiln shelf---are run through a preliminary firing. After cooling, the glass pieces are carefully inspected with special regard to surface appearance and edges. Loss of surface gloss usually means condensa- tion of moisture present in the initial stages of firing or volatile gases coming from certain colorants or other decorating mediums. Both causes of disfigurement can be eliminated by venting the kiln to 1000°F. or the tip- ping of a cone 022. Venting is accom- plished by placing a one inch post between the door or lid and the kiln itself. Edges of the fired glass should be evenly rounded--underfired glass will have square blunted edges, and over- firing is characterized by numerous tiny points of glass, sometimes accom- panied by the receding of any color from the edge.

From these first results, future firings can be predicted; the underfired kiln will be permitted a little more heat next time and the overfired kiln will be terminated earlier. In order to decide, there must be a definite temperature from which to make a comparison. The so-called "ceramic" kiln can be tested to 15000F., or a cone 014 halfway over; and the porcelain or "high fire" kiln at 1450°F., or a cone 015 over, since the porcelain kiln

18 Ceramics Month ly

FIRING GLASS A review and some ,new evaluations

by KAY KINNEY

is usually more heavily wired and in- sulated and thus results in a "hotter" atmosphere.

Kiln furniture plays an important part also. Kiln shelves generate additional heat without necessarily inter- fering with pyrometric readings or cone softening, and it is for this reason that shelves are placed well above any glass pieces, allowing a circulation of the air. Terra cotta or metal molds also generate heat and these should not be placed too close to each other. The upper part of the kiln is often cooler than the center section, but this can be equalized by allowing one inch at the top for a final shelf. This acts as a baffle plate in prevent- ing firebrick crumbs from falling on the glass as well as furnishing additional heat to this cooler section.

If, in spite of the baffle shelf, some area of the kiln is found to be notice- ably hotter, this portion can be designated for laminated projects. Two or more thicknesses of glass generally require a little more heat to seal and round the edges.

Different kinds of glass demand slightly varying temperatures. Cathe- dral (sometimes designated as "art" or "stained") glass is apt to be softer than window or industrial glass and will have a lower fusing point. Bottle glass can be either soft or hard depending on the ultimate use of the container and whether it has been blown or cast. Pre-formed objects such as plates or ashtrays are usually quite soft.

Enameling kilns have proved to be quite satisfactory for fused glass de- spite the fact that they are designed to produce heat faster than is desirable for glass. Venting, as described earlier, eliminates the thermal shock caused by rapid rise in temperature. This thermal shock occurs somewhere between 400°F. and 900°F. Past the latter stage, accelerated heat does not seem to damage the glass. Many of the smaller enameling kilns are wired only on three sides which results in the area next to the door being cool-

er; consequently, the glass edges will not be consistently rounded. I f the operator is extremely cautious, molds can be rotated one half turn within the kiln by using a long steel barbecue poker or skewer. We had a 24 inch skewer bent slightly about 4 inches from the point to aid in this procedure. Needless to say, turning of a mold should not be attempted in a top loading ceramic kiln.

After the kiln has been shut off, a kiln post should again be inserted between the lid or door and the kiln to rapidly carry off latent heat which tends to continue the softening of the glass project. If the kiln is equipped with a pyrometer, the post need not be removed until the temperature has dropped to 1200°F.; working without a pyrometer, the post should be removed after ten minutes to one hour, depending on the size of the kiln.

Certain types or thicknesses of glass may fracture immediately or within a few days after cooling the kiln. This is caused by stresses in the structure of the fused glass due to the new formation or too rapid cooling. When due to the former, fractures can often be eliminated by simply placing the glass project upside down for 24 hours, and thereby removing the strain when the support of the mold is withdrawn. Rapid cooling calls for annealing (sometimes called temper- ing the glass). For kilns which are equipped with pyrometers, annealing is quite easy. After the temperature has dropped to 1250°F., the kiln is again plugged in. Spacing of the post (if need be, a large post replaces the one inch post used originally to carry off the latent heat) to maintain 1250 ° for fifteen minutes will adequately anneal the glass in the enameling or ceramic kiln. After this, the post is removed, and the kiln closed and al- lowed to cool naturally. I have been told that the hot glass at peak temperature can be removed from the kiln with tongs and immediately plunged


VARIATIONS ON A THEME

by ~[ARY BLAKLEY

THE PRACTICE of repeating a motif in pottery or sculpture is highly contro- versial. Those who belong to the "familiarity breeds contempt" school believe that once an idea has been stated it is dead. Others feel that the conception of an idea is just a starting point for achieving creative satisfaction through experiinenting with the possibilities for variations.

Quite a number of artists are associated with particular motifs or themes which they have repeated many times with freshness and origi- nality. We think of Picasso and his use of doves, of Braque and his treatment of nmsical instruments, and the ancient Chinese artists in their use of

fish and bamboo. Certainly the ceramist too can learn and be inspired by creating a series of variations on a smffle theme.

The results of the first attempt at a new motif are often disappointing, but with repeated attacks on the same problem we master the difficul- ties of construction and start to feel some real satisfaction in our creative work. It is onh" then that we gain the freedom to experiment with the design in modeling, decorating and glazing.

The idea for the owls pictured in this article first came to me while I was considering making something from slabs using only two pattern

pieces. Tile project seemed very simple during the planning stage. And in practice, I must admit, the owl did stand up, did look fairh" owlish, and did not crack in the firing! Basically, I felt, the idea was good and the construction method sound, but I knew that there was much more potential for further development in design and finish. Perhaps, I thought, the slabs should be bent differently and other glaze colors and textures tried.

So I did try again. This time I turned down the beak and changed the cut of the eyes for a more owlish appearance. This was definitely better and the front of the finished owl


A vari,'ty o[ owls made by the slab method

October 196"2 19

1. Two sections that make up the owl are cut [rom slabs o[ rolled-out moist clay, using a paper pattern.

~ " ~ i ! ~ ii ̧ ~ ~ ~,ii~ I ~ , :s~ ~ ......

2. Prongs [or beak are brought together and welded in place. This in turn starts cur~,e o[ the back slab.

3. Front section is shaped over rolling pin and [itted to back. Ears are slipped through holes in back slab.

5. Pellets o[ clay are added and worked into the owl's back to [orm a decorati~'e pattern o[ leathers.

20 Ceramics Monthly

4. Side seams are welded with rolls o[ clay and owl is set aside to ~ti[[.en until it will stand alone.

6. Chal~g~'~ ar~ continually su~.z,c~t~d at piece o/sculpture takes shape. Here the eyes have been enlarged.

looked rather good, but then the back

of the sculpture caught nay attention

as being a big, uninteresting void!

This was remedied on mv next at-

tempt with the addition of feathers

made from pellets of clay rubbed

onto the slab and overlapped from

the bottom to the top of the owFs back.

Actually, new ideas kept coming

faster than I could execute them.

Among the interesting changes I tried

was a cut- through design on the back

of one figure to create the effect of

pupils when viewed from the front

through the cut-out eves. Another

owl was given exaggerated claws and

a very small base. I tried large ears

on one owl and no ears at all on an-

other. Altogether I found that I

could create an endless number of

variations by silnply changing the two

slab sections that comprised the figures.

The choice of surface decoration

was another basic method by which

the owls were varied. Although I

tried engobes a few times, I was more

interested in the use of glaze for tex-

ture and color. One figure was given

a white bib. another had manganese

and yellow glaze spattered on the

white, and still another was decor-

ated with glaze feathers painted on the front.

I had remembered a glaze from a

Karl Martz article, in the Septem-

ber 1960 issue of CERAMICS MONTH-

LY, which the author characterized as

having "an unusual tolerance for

variations in thickness." This ap-

pealed to me because I never seem

to have glaze in sufficient quantity

for dipping, and because I actually

prefer to apply glazes with a brush.

After mixing the glaze and testing it,

I found it delightful to use and ideal

for my purpose. I ran a series of tests with various

colorants in addition to those Mr.

Martz suggested and found that red

iron oxide produced a spectacular

brown that was particularly good for

the raised feather decoration on the

back of one of the owls. Where the

glaze was thin, the color was a rich

iron brown: where it was thick, the

color was a good ochre with streaks

of brown. Other glaze tests produced

results that were put to good use on

other versions of my owl theme.

Experience with the repetition of a

motif has given me much pleasure

and satisfaction and prompts me to

give this advice: the next time you get

what seems to be a fine idea, try a

half dozen variations on the original

theme. You may come up with a

show piece! But even if you don't ,

you will have learned new things

about clay construction, design and

decoration. You will also have found

a new creative satisfaction, and who could ask for more?

Editor's note- -The [ormula [or the

Karl Martz glaze mentioned in the

article is as [ollows:

GLAZE NO. TBR (CONE 05--04) Cream Semi-Matt

White Lead 52.0% Feldspar 15.0

Flint 13.0

Borax 9.0

Ball Clay 4.0 Whiting 2.0

Tin Oxide 5.0

Rutile 4.0

CMC Gum .3

104.3%

Finished owl is taken [rom the kiln. Karl

.lIartz's TBR Glaze, with red iron oxide

added, was used to cover the red-firing clay.

The eyes were outlined with an opaque white glaze.

Oct~bcr 1962 21

POTS AND PEOPLE--second in a series

SLAB CONSTRUCTION by HAL R~c , c ,~

Bonsai cypress tree growing in a clay planter represents two interests o[ potter Frances Scott--the geology o[ clay and the art o[ growing miniature trees and plants.

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THE START of any ceramic pot or sculpture involves the use of plastic clay and some construction or forming technique. Among the many techniques commonly used with clay is the senti-mechanical one of throwing on the potter's wheel; in addition, there are several others that use only the potter's hands and a few simple tools such as knives, scrapers and modeling tools. We shall be con- cerned here with those techniques that do not require the aid of any machine.

Forming plastic clay into an object is simply changing its position. One is merely moving the clay from one position to another, whether it be by" coil building, slab construction or pinching. I think it is helpful to classify the methods of construction by the basic motions of the hands: thus, we roll the clay to make a coiled pot ; we pound it to make a slab construction; and we pinch clay between our fingers to create a pinched pot or sculpture.

The reason for placing emphasis upon "moving" the clay" is because this is how stresses and strains are intro- duced into the plastic clay. Like many other materials, clay wants to revert to the form of the first strain given it. Thus, it is apparent that if we wish to create and maintain a particular form, it is essential that stresses within the clay be balanced or neutralized. An example of this would be the making of a slab by rolling clay" with a rolling pin. By using the rolling pin in all directions and on both sides of the slab, the chances are greater that the slab will remain flat and not warp.

The potter must also consider the importance of clay shrinkage. Clay shrinks as it dries as well as when it is fired, and the drying shrinkage is the direct result of mois-

ture evaporating front the plastic clay. Very plastic clays that require more water to make them workable will shrink more on drying than less plastic clays or those to which has been added a considerable amount of grog or sand.

Naturally, it is helpful to have all the pieces going into a clay construction of the sanle consistency when they are joined. Sometimes this cannot be done, however. and then it is the usual practice to cover the finished piece with plastic or some other air-tight material and allow it to stand for several days or a week. During this period the moisture content of the various parts of the construction has a chance to even out. After the individual has had more experience and developed more "feeling" for the clay, he usually finds that he can dry his work much more quickly. He knouts by then that it is more important to dry the piece evenly than slowly!

In many cases secure joints can be made by applying adequate pressure; sometimes, however, it is essential to join sections of clav into a unit by the use of slip (clay thinned with water to make a thick fluid). I recommend avoiding the use of slip whenever possible, since too many people either allow the clay to become so softened that it slumps out of shape or else create very wet, soft local- ized areas in the piece and thus set up drying problems. You can see how important it is to be aware of and understand the drying shrinkage of clav.

All of this discussion is basic to clay. It is up to each of us, through careful work and observation of our results, to become thoroughly familiar with our materials and techniques if we are to be masters of our craft.

F R A N C E S S C O T T M A K E S A B O N S A I P L A N T E R

THERE ARE SEVERAL methods of construction using clav slabs, and we shall follow Frances Scott, of Mill Valley', California, as she demonstrates how she creates a bonsai planter from slabs.

Excellent schooling, ceramic factory experience, a liking for trees and a strong interest in rocks and geology have combined to make Frances Scott an outstanding ceramist in the area of her interest.

She received her ceramic education at Alfred Uni- versity, and the meticulous, careful craftsmanship that was evident in her undergraduate work was furthered by many years of experience in a commercial dinnerware plant. The individual work she now is doing reflects a desire to free herself from the effects of the tightening factory production experience, and she has this to say about it: " I knew how confining the careful, refined work was. I needed to get rough and ragged. I needed to do it personally, too, because I was changing my whole mode of living from a salaried existence to a 'bark and berries' routine. So I went along with it in getting down to fundamentals and away froxn a tight, restrained way of working."

Miss Scott has a strong interest in bonsai, or miniature

trees and plants. In addition, she has an ahnost fanatical fascination for rocks and has made inany excursions into remote areas of the west to find and study rock forma- tions. "Images are constantly passing through my mind," she says, "of all those great walls of sandstone in Utah, and the leaching out of manganese and iron and the action of the wa te r - -o f the 'painting' they do on the sculptural rock forms."

In creating her bonsai pots by the slab method, Miss Scott uses a supporting object - - in this case, a plaster mold. By using a mold she finds that clay can be used not only in its familiar plastic condition, but also in a very stiff or a very soft, nmddy consistency.

The advantage of designing a mold for one's own use is the mold's versatility, and in designing her plaster molds from humps of clay, Frances Scott had certain end results in mind for producing a group of planters with different character and an ever-widening scope of feeling. Although rock forms were her inspiration in making these planters, simply copying those forms was not her ainu I t was, rather, "to understand them in order to depart from them in making my own pots, since I am relating to rocks


( )~ t ,h , r 19~2 2'.I

1. A slab of rather stiff clay about a hal/ i~ch thick i.~ plac~'d in the mold depression. Note that the slab does not completely fill the mold cavity.

+

2. Additional slabs are added to fill the open areas. The clay is carefully welded to get a smooth interior: joininL, ar+'a~ a'ill +hoze o , the outside.

3. When the clay i.~ stiff enough to hold t/., ,/rap<', il z,

removed from the mold and a generous drainage hole is drill,d at tit, loa'+~! point o{ the Idantcr

4. Rolls of clay are placed on f/t+ ])ol/,~, .I,~ . I , , / . . I small amount of slit) is used, and the feet arc bonded b~' pattin,., with a xmall wooden block.

5. Use of the wooden blo~L i~t atta</t~ltz t/t, /,+l i+;+al, the honest), of the construction as opposed to a highly refined and hidden construction treatment.

24 Ceramics Monthly

6. After the pot is turned upright, a wooden tool it ct~ar~'pl along the top edge of the planter to create a flat rim that is smooth and almost polished.

and am inspired by them." Since understanding and knowledge are growing, expanding things, it is possible for a great variety of pots to emerge from one and the same mold. Frances Scott starts the bonsai pot illustrated here bv forming a slab of clay with a rolling pin. The clay used is slightly stiff in consistency in order to cut down on the drying time in the mold. The slab is about half an inch thick and purposely too small to fill the mold depression when it is placed in the mold. Additional slabs are added to fill the open areas not covered by the slab. and these are pressed against the mold face and welded to the slab to result in a smooth interior wall. On the outside, these seams or creases will show, and Miss Scott feels that these can reveal the structure of the piece and tell the story of how it was organized. "The thing I respond to in this method is similar to my reaction to a house where the structural members are not all covered up but reveal how the house was made." After a drying period of 15 to 20 minutes, a flat board of masonite or plywood is placed over the mold and both parts are flopped over and the mold lifted away. The outside of the leather-hard planter shows the surface creases. Since bonsai need good drainage, a generously-large hole is bored at the lowest point of the planter to provide this drainage when the pot is in use. The next step is to place feet on the base of the pot. These are made from sections of a roll of clay and are attached using a small amount of slip. The real bond between the feet and pot is achieved by patting the feet with a small block of wood. This technique also adds to the particular character Miss Scott wants in her planter, by the honest revelation of its construction as opposed to a smooth, highly-refined construction. At this point the pot is left upside down to dry fur-

ther. When it is strong enough to be righted, a wooden tool is drawn along the top edge to create a flat, almost polished rim. Most of Miss Scott's planters are glazed with a soft matt glaze of neutral color which reveals and enhances the character of the clay. Much of the wonderful rock- like quality of these planters, however, is due to the clay used. The major part of her clay mixture is a rough. gravelly common clay used in the manufacture of red brick. It is a sedimentary clay, not too plastic, but sticky and with an amazingly high d~" strength. To this clay she adds such materials as decayed rock from road out- croppings, perhaps some commercial fire clay if the forming method demands it. and almost any mineral that she may be curious about. This becomes a tough mixture that need not be handled too carefully. As to the consistency of her clay, Miss Scott may purposely use it stiff enough to create cracks or soft enough to avoid them. If a clay slab is quite stiff, it will crack over most of the surface when it is forced into the hollow of the mold. In answer to a question about whether such cracks would not be considered bad. Miss Scott commented: "I t is only when the pot is structurall.v weak that cracks are faulty. If the body of the pot is sound and the cracks go only part way through the wall, it is all right." At other times she may often use clay so soft that it will not hold its form. St~e scoops it up b.v handfuls and slaps it into the mold, depending on the surface it touches to stiffen it. When such a piece is removed from the mold, its surface is revealed to be quite different from that obtained by any other method. Frances Scott is constantly working with the structure of pots and with the "painting" of their surfaces under the influence of her constantly changing understanding of rocks. Her work well illustrates how the surface of pottery may be enriched by the clay itself.

Frances Scott obtains a di[/crent surlace c/loot on anoL,,, , planter by putting dabs o[ so[t clay paste around the outside o[ the slab-draped pot.

A steel scraper is used to [Iatten tile aaaea-c~u) . . . . . . . . I thus create an interesting rough texture that enriches the sur[ace and enhances the pot's character.

October 1962 25

CLOSED FORMS

by ALAN ADDISON

FROM PINCHPOTS

C~RAMIc INSTRe'CTION in the schools generally is

begun with a project referred to as a pinchpot, handpot

or rocking pot.

The pinchpot is made by holding a small ball of

plastic clay in one hand and making an opening in its

center with a finger of the other hand. The opening is

enlarged and shaped by a pinching motion of the fingers

of one hand while the clay is supported and rotated in

the other hand. The finished pot should be perfectly cir-

cular, its wails should be of an even thickness throughout,

and the piece should have a rounded bottonl that gives

perfect balance to the finished form.

There are several very good reasons why teachers

use this particular project for the first lesson in a begin-

ning class :

1. This piece of potter), is made entirely in the hands and

without the use of any tools other than the hands.

2. The possibilities and limitations of the plastic clay are

thoroughly explored through this exercise.

3. The disciplines needed for all future work in clay are

learned in this simple project.

It is no wonder that the pinchpot is considered an

invaluable beginning project! Some instructors, however.

fail to consider the wealth of possibilities that this projeci

offers. When one acceptable pinchpot has been made.

they hurry their classes on to other techniques and pro-

jects instead of presenting new ideas and challenges that

will interest the students during this time when they still

are learning to control the clay.

Because this simple form of pottery making is of so

much importance to all future clay work. the teacher

should extend the amount of time devoted "to the pinch-

pot project beyond the making of just one or two pieces.

There are many variations that can be tried in working

with these elementary pottery pieces, but perhaps none

of these has as much built-in motivation as the closed

form--one made by combining two pinch pots with the

same rim size. By combining two pieces into a single

closed form, many new shapes can be created.

Even the youngest student soon learns to produce

two pieces with almost identical openings. This is done

by starting with two balls of clay the same size, then

working on the two pinchpots at the same time--a few

minutes on one, then on the other--and keeping the rims

flat and of the same diameter as the pots are enlarged

and shaped.

As soon as the two pots are completed, the rims are

scored and dampened with water or sl!p and the two

halves are combined with a twisting motion that seals the

rims. A small coil of clay is used to fill in the seam and

create a smooth surface.

Now the fun begins! Since the form is filled with air.

the clay piece can be roiled on the table or punched,

pinched, or pulled to create a new shape. The piece is

Closed [orm is made from two pinchpots u,ith openings

o[ an identical size. When the pinchpots are completed,

the rims are scored and dampened with water.


"~ ~(i ~

The two hah'es are c ,mb lm d I)~. j~,im)l., the rims with a

twisting motion. A small coil of clay is used to Jill the

seam and present a smooth clay surface.

fascinating to work on at this period since it responds so easily to any pressure. The only caution needed is to prevent piercing the wall and thus releasing the air.

Ainong the many new shapes that can be created from closed pinchpots are sculptures such as fish, birds or human figures. By piercing holes in the forms, salt and pepper shakers can be created; by cutting the shapes apart, covered jam or sugar jars can be made. Free forms may be tried and inspiranon for shapes may come from nature, too. Berries, nuts, fruit or stones may be intro- duced to suggest unusual forms and textures.

If the piece is to be utilitarian, the bottoin should be bumped against the working surface to give a flat, stable base. An air hole must be pierced somewhere in the form if it is without an opening or is not cut apart. The purpose of this is to let the air escape as the clay shrinks on drying and firing. This prevents possible cracking or exploding of the piece.

These closed fonns must be dried slowly to prevent their cracking apart at the seams. When they are completely dry they should be bisque fired before the glazing is done. Bright-colored glazes can be used to good advantage on these small pots, but the earth tones might be preferred for those shapes inspired by nature.

The teacher should find that this variation on a fundamental method of pottery making is a wonderful wav to explore the plastic quality of clay in the classroom.

~..~

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Shape of the air-[illed [orm can be changed by rolling it on the table top or by pinching or pulling it. The closed [orm responds easily to any pressure.

Covered jar shape i.~ mad , by pitl~ /dltg out a handle at the small end o[ the tear-shaped [orm, then cutting the shape apart near the top to create a bottom, and a lid.

October 1962 27

The technique o[ "open brush" printing is used to create this timely Chrysanthemum underglaze decoration.

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2

DRY BRUSH

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28 Ceramics Monthly

'RINTING demonstrated bv MARC BELLAIRE

THE DRY BRUSH technique can be used very effectively for decorating greenware and there are many exciting variations on this basic form of brush decoration. Marc Bellaire demonstrates one of the more unusual techniques in his time~.v "'Chrysanthemums" underglaze decoration this month.

This new technique is called "open brush" printing. However, in contrast to the glaze printing with cardboard, as demonstrated last month in the "Strawflower" project, this printing is done with a brush used in a most uncon- ventional manner.

The oval greenware bowl selected for this project is thoroughly cleaned before decoration is started, then a pencil sketch is made to indicate the position on the surface of three chrysanthemum flowers (Photo 1). The colors chosen represent the mood of fall--the flowers are yellow and brown, the leaves a rich blue-green and all accenting and printing lines are black.

Both background colors for the flowers actually are applied at one time. A soft silk sponge is dampened with

1. Pencil sketch is made to indicate the position o[ three chrysanthemum [lowers on an oval greenware platter.

2. Silk sponge is used to apply both background colors [or the [lowers--yellow and brown--at the same time.

3. Square shader brush is dipped in black, then its bristles are opened with a pencil point to create an oval shape.

4. Brush printing is done by pressing down on the greenware with the brush to form the hollow shapes o[ petals.

5. Square shader brush is used again, this time in the usual manner, to make strokes [or the plant's leaves.

Finished piece is shown above. Black stems and decorative hat-pin strokes made with the liner brush were used to complete this autumn decoration.

water, then pressed into the lightest color--yellow. The sponge next is cornered or edged with the darker color-- brown. The color-ladened sponge is pressed onto the greenware and patted in circles around the pencil plan, keeping the dark color on the outside (Photo 2). The piece is set to one side while the brush is prepared for the printing of the flower details in black.

A small amount of well-nfixed dark accenting color for the flowers is poured into a jar lid. Marc Bellaire use~ black for his demonstrations, but a deep red-brown or ether color might be used instead.

The number 12 square shader brush is dipped into the pool of color in the jar lid, then is shaped to a chisel edge. The shape for printing is made by using a pencil point to separate and open the hairs of the brush into an oval shape (Photo 3).

The flowers are started by making a five-pointed star in the center of each color area with brush prints. The brush printing is done by simply pressing down on the greenware with the opened brush to form hollow petal shapes. The rows are filled in, radiating out from the center, until the whole flower area is covered with open petals. Photo 4 shows one of the flowers just started with a five-pointed star, another partially finished, and a third completed with the open prints of the brush.

Normally it is not necessary to open the brush each time it is dipped into the color. Simply be careful to dip the brush straight down into the underglaze. If you do lose the shape, however, it is necessary to stop and re- shape or open the brush to regain the petal shape.

The square shader is used again, this time in its normal shape, to make the strokes for the leaves. The leaves are started near the blossoms and are continued down toward the base of the design. Marc Bellaire uses blue-green underglaze for these strokes. If desired, a pencil plan can be used here as an outline (Figure 5).

The stem is made with the same dark accenting color that was used for the petals, and the liner brush is used for these strokes. A few hat-pin strokes may be added. Basically, however, most of the brush work on this particular project is done with the shader brush.

( ) ~ l o b , z 19,~ '> o(I

GLAZES FOR CONE 010

by RICHARD BEHRENS

GLAZES MATURING at low temperatures have much to recommend them when speed of firing and kiln l imita- tions are involved.

By the use of readi ly-obta inable raw mater ia ls and some commonly- used frits, many good glazes which have a considerable range of effects can be made for cone 010 firing. This cone represents a t empera ture level close to the min imum below which readi ly-avai lable glaze mater i - als cannot easily be used in the p repara t ion of glazes. Glazes matur - ing below this point also may tend to be mechanical ly and chemically unstable.

In prepar ing the formulas for these cone 010 glazes, lead was extensively used because of its dependable per- fomlance at low temperatures. Lead monosil icate was selected as the lead source since it represents a very in- soluble form of lead which does not involve the use of safety precaut ions advisable in the use of white lead.

A pleasant, somewhat -muted red hue was obtained from this cone 010 glaze :

Lead Monosilicate 82.7% Whiting 6.3 Aluminum Hydroxide 8.0 Green Chromium Oxide 3.0

Another glaze that provided a good basic formula for a gloss surface at cone 010 was p repared f rom:

Lead Monosilicate 79.1% Wollastonite 3.5 Zinc Oxide 0.7 Nepheline Syenite 9.5 Kaolin 3.9 Flint 3.3

100.0%

With the addi t ion of 3% green chromium oxide to the above basic glaze, a red color verging on orange was obtained. T h e addi t ion of 5 % tin oxide to the basic glaze gave a light cream- colored opaque glaze. A smooth navy blue resulted from the addi t ion of 0.25% cobalt carbonate. The addi t ion of 2.5% t i t an ium oxide gave a light yellow hue with considerable opaci ty; addi t ions of 3.75% to 5 % increased the opaci ty and also the mattness. Othe r results of interest were produced by combinat ions of colorants. A combinat ion of 0.25% cobalt carbonate and 0.5% nickel oxide fired to a dark green color. A black "of good quali ty was obtained by adding 1.5% each of cobalt carbonate, manganese carbonate and copper carbonate. This addi t ion did not seem to produce any excessive fluxing of the glaze.

100.0%

This glaze was condi t ioned by the addi t ion of gums. Some br ightening of the hue was obta ined by the addition of 2% of tine oxide to the formula.

A cone 010 glaze of a similar red, but much darker in hue, was made from the following formula:

Lead Monosilicate 80.5% Flint 13.2 Kaolin 2.8 Green Chromium Oxide 3.5

100.0%

Richard Behrens is a graduate chem- ist who has worked in various industrial and research fields and has taught pure and applied chemis- try at the adult and secondary l e v e l s . Pottery is his major avocation and he

spends much of his time exploring the field of glaze technology in his workshop.

30 Ceramics Monthly

Here is a formula for a good smooth mat t glaze ma tu r ing at cone 010:

Frit P-25 (Pemco) 26.5% Frit 87-K (Hommel) 22.3 Wollastonite 9.6 Barium Carbonate 16.6 Zinc Oxide 6.7 Kaolin 7.5 Flint 10.8

100.0%

kaline one :

Frit P-25 (Pemco) 76.5% Frit 87-K (Hommel) 16.0 Lithium Carbonate 6.0 Zinc Oxide 1.5

100.0%

The character is t ic copper blue color resulted from the addi t ion of 3% copper carbonate to the above formula.

A very interesting crackle glaze for cone 010 can be made from this formula :

Lead Monosilicate 91.2% Magnesium Oxide 1.9 Flint 6.9

100.0%

In making these glazes it is often desirable to condit ion them for better suspension of the solids and to secure bet ter adhesion to the ware. The addi t ion of about 1% bentonite to those formulas which are lacking in clay and the use of one of the various gum solutions is advisable. The use of both bentonite and gum can bring about extensive improve- ments in the consistency of the glaze. Sometimes the addi t ion of a small amount of gum alone will suffice. The synthetic gums have the advantage of not spoiling and thus losing their effectiveness on standing.

A glaze for cone 010 which should be of considerable interest is this al-

CERAM-ACTIVITIES people, places and things

NEBRASKA ANNUAL Dorothy Beck, of Beck's Ceranzics,

writes that the Seventh Annual Ceramic Exposition. was held in Lincoln, Nebraska. on May 26--27. and that the affair was ~,'rv sm'c.'ssful. Trophy winncrs from this

show arc pictulVd. This :mmtal >how. held at the National Guard Armory, is sponsored by Beck's Ceramic Studio.

KENMORE ANNUAL The 12th Annual Exhibit of the Ken-

more (N.Y.) Ceramic Guild attracted more than 1,000 persons on May 6. Win- ners of top awards in the competition were: Mrs. Hilmar Dendtler, best of show for a hand-sculptured coil vase; and Mrs. Leo P. Peters, second and third awards for a mold adaptation of a lamp and box.

Show judges were Mrs. H. W. Williams, Mrs. Joseph Caraotta and Mrs. Michael Blakita. Other prize winners included Mrs. Merl Nabb, Mrs. Conrad Loesch, Mrs. Paul Dent, Mrs. Albert Loxterman, Mrs. Allen. Woods, Mrs. Carl Best, Mrs. Robert Sisson, Mrs. Albert Bishop, Mrs. Vida Buell, Mrs. William Hutchinson, Mrs. ]. S. MacPherson and Miss Rita Dellapenta.

KANSAS S H O W REPORT The Second Salina Ceramic Hobby

Show was reported to be a great success. according to the Shadow Box Studio of Salina, Kansas. Demonstrations and classes were given by Ken Stanelle and Ruth Davenport. Winners in the competition are pictured left to right. Best of show was

taken by lit el) It ttoIms; Eddy Austin won first in the teenage division; Imogene Nicla won first in the senior division; and the professional division winner was Ella Mae Perry.

POTTERY AT DESIGN CENTER A series of ceramic planters, sculptured

birds and a ceramic room divider will

be exhibited by loan Leuine in a special showing at the National Design Center in New York City. The exhibition is sponsored by the Artist-Cra[tsmen o[ New York and will be on view through Octo- ber 17. Miss Levine is a mathematics teacher at the Bronx High School of Sci- ence; she attended Antioch College and Alfred University.

GLASS EXHIBIT

Jeweled Glass is the description given by Leonard and Miriam Rodier to their exhibit of decorative architectural screens and panels which were exhibited recently at the National Housing Center in Wash- ington.

The panels are composed of colorful glass chips sandwiched between sheets of glass and then fired in a kiln at high temperature. The glass chips sparkle through the enclosing glass sheets when the panels are backlighted. Among the pieces displayed by the Rodiers in the exhibit were room dividers, window walls, murals, panels and portraits. A false wall was prepared for the Center show in order that the jeweled glass panels could be lighted from the back and thus appear suspended in space, changing dimension with different lighting effects.

The Leaf Panel (pictured) was made

by brushing an emulsion of pulverized colored glass on a sheet of glass to create the dark outline of the leaves. When the emulsion was dry, it was covered with a second sheet of glass. The colorful glass chips were arranged on this second sheet which in turn was covered by a third sheet of glass. The total triple-decker "sand- wich" was fired in the kiln to fuse the glass together.

INTERNATIONAL AWARD TO CANADIANS Canada was awarded a Silver Medal

for its exhibit at the Third International Ceramic Exhibition in Prague, Czecho- slovakia, according to Irene Kesker of the Canadian Guild of Potters. Individual prizes were awarded to Canadian ceramists in the Gold and Silver Medal compe-

titions. Gold Medal winners were: Marion Lewis, Ontario; Dorothy Midanik, On- tario; and Hilda K. Ross, British Colmn- bia.

CRAFTSMEN EXHIBIT The Philadelphia Art Alliance was the

scene of an exhibit arranged by the Phila- delphia-Delau'are Valley Chapter of the Pen,nsylvania Guild o[ Cra[tsmen. On view were objects made from clay, glass, silver, pewter, wood and fabric. The Wind Bell

• i

pictured was made by Charlotte Katz from decorative ceramic cylinders in brown, henna and beige colors; the wooden plate from which the cylinders are suspended was made of Lignum Vitae. The show opened May 5 and ran through May 15.

RELIGIOUS ART EXHIBITION The Third Biennial National Religious

Art Exhibition will be held October 10-25 in the new Knights of Columbus building in Birmingham. Michigan. The Rev. William B. Davidson of Holy Name Church, which is sponsoring the exhibit, reports that some 350 works in sculpture, mosaic, metal, crafts, graphics and painting have been entered by outstanding American artists. The purpose of this exhibit is to stimulate public interest in and appreciation of religious art, and to encourage private ownership of religious art pieces.

CORCORAN GALLERY SCHOOL The Corcora.n Gallery o/ Art has an-

nounced that a new ceramic department has been established in the Corcoran School of Art. The department will rune- ' tlon in coordination with the Art De-


t~ct,,b,'. 1962 31

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32 Ceramics Monthly

( :ERAMA(]TIVITIES

Continued from Pace 31

partnient of the George Washington University. In addition to the four-year accredited course offered to college students, the school will offer a program of specialized courses open to beginning and advanced students. Weekend and summer workshops will be offered for art instructors.

The head of the new department is Richard C. La[ean, an authority in the field of ceramics. He will be assisted by Mrs. Eleanor Hodgsan Bookout. Informa- tion about this new department may be obtained by writing Mrs. lnga Wall, Cor- coran Gallery of Art, 17th and New York Ave.. N.W., Washington 6, D.C.

PITTSYLVANIA AWARDS

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Illustrated Instruction Book "WORKING WITH GLASS". . . . . . . . $2.S0 Ppd. CATALOG of Supplies . . . . . . . . . . . . . . 10 Ppd. TRIAL COLOR SET - - 8 Colors, Medias, Rogers Inst. Book . . . . . . . . . . . . . . . . . . $S.50 Fpd.

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of members of the sponsorulg group and range in age from five to fifteen years. The exhibit, sponsored by the Pittsylvania Ceramic Guild, was held in the Pittsburgh Room of the Penn Sheraton Hotel on June 7 and 8. Awards in the adult division went to Eloise Ballard, Guna Naruns, Dorothy Stabler and Esther Levine.

OFFICERS INSTALLED

Officers for the 1962--1963 season were installed recently at a meeting of the Ceramics Section of the Bu[[alo Museum o[ Science. Those taking office were: Mrs. Carl Roesch, chairman; Mrs. Stephen Northrup, vice chairman; Mrs. Arthur Meyer, recording secretary; Mrs. Paul Lahr, corresponding secretary; and Mrs. Richard Van Orsdale, treasurer.

MUSEUM ACOUIRES PORCELAINS

A selection of 58 rare Chinese porcelains from a group of 74, given under the Will of John D. Rockefeller, Jr., has been placed on exhibition at the Metro- politan Museum of Art. The Rockefeller porcelains were considered the most important private collection of its kind in the world. The pieces received by the Museum greatly enrich its comprehensive collection of Chinese ceramics. The porcelains are on display in the Room of Re- cent Accessions.

The Rockefeller Bequest of Chinese porcelains is the subject of an article by Fang Chow, Assistant Curator of Far Eastern Art, which appears in the Sum- mer issue of the Museum Bulletin. An interview with Mr. Chow. who formerly


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ITINERARY

BEST OF SHOW

Send )'our shoz(" announcenlents early: "'Where to Show," three months ahead of entry date; "Where to Go," at least six weeks before, the opening.

WHERE TO SHOW * national conlpetition

FLORIDA, JACKSONVILLE November 25-December 12 Twelfth

Annual State Crafts Show, sponsored by the Florida Craftsmen, will be held at the Jacksonville Art Museum. The event is open to Florida residents who are members of Florida Craftsmen. All creative crafts are eligible. Jury: Cash prizes: Entry fee. Deadlines: Entry forms by October 15; Work by October 26. For additional information and entry blanks, write: Charles M. Brown, Mandarin, Florida.

INDIANA, GREENCASTLE November 18-December 19 Fourth De-

Pauw Ceramic Show, to be held at the DePauw University Art Center, is open to present and former residents of Indi- ana. Media: pottery, sculpture, enamel and mosaics. $500.00 in prizes and purchase awards: Juror. Deadline for entries is November 5. For information and entry blanks, write: Richard Peeler. DePauw University Art Center. Greencastle.

KANSAS, LAWRENCE November 4-December I 1962 Kansas

Design Craftsman Show. sponsored by the Department of Design, University of Kan- sas. will be held at the Student Union Lounge. Union Building, University of Kansas, Lawrence. The event is open to anyone who has resided in Kansas for a mln,mum of one year and to residents of Kansas City, Missouri. Media include ceramics and sculpture. Work received October 21 through 24. Entry fee, $3.00, must be received by October 15 with notice of entry. For information, write: Marjorie Whitney. Chairman, Depart- ment of Design, University of Kansas, Lawrence

LOUISIANA, BATON ROUGE November l l-December 9 20th Annual

Louisiana State Art Exhibition, to be held at the Old State Capitol. is open to Louisiana artists. Media include ceramics and other crafts. Entry cards and work due November 1. Write: Louisiana Art Committee, 208 Old State Capitol, Baton Rotlgc'.

MINNESOTA, ST. PAUL ~ November 15-December 23 Fiber, Clay

and Metal Exhibition is an open competition for U.S. craftsmen. Entry fee; Jury: Prizes. Deadline for entries is October 13. For information, write: St. Paul Gallery and School of Art, 476 Summit Ave., St. Paul 2.

OHIO, YOUNGSTOWN ]anuary 1-February 24, 1963 Fifteenth

Annual Ceramic and Sculpture Show. sponsored by the Butler Institute of American Art, is open to former and present residents of Ohio. Classifications include ceramics, enamel, jewelry and sculpture in any medium. Over $750.00 in purchase prizes; Registration fee. Juror is Charles Lakofsky. Work is due at the Institute November 1-December 16. Pros-

spectus and entry blanks are available by writing the Butler Insti tute of American Art, 524 Wick Ave., Youngstown 2.

QUEBEC, MONTREAl. March, 1963 "Canadian Ceramics of

1963" is a national exhibition open to Canadian ceramists. Regional jurying will be set up and final jurying will be done in Montreal ill January. Prizes. The exhibit will be shown in Toronto in May, 1963. Information and entry forms may be had by writing: Mrs. Helen Copeland, 574 St. Clement Ave., Toronto 12. On- tario.

TEXAS, SAN ANTONIO November 4-25 Third Regional Craft

Exhibition, sponsored by the Craft Guild of San Antonio, is open to artists of Texas. Arkansas. Colorado, Kansas, Louisi- ana. New Mexico and Oklahoma. All craft media: Fee; Jury: Prizes. Work due Otzto- ber 16. Write: Craft Guild of San An- tonio, Witte Memorial Museum, 3801 Broadway, San Antonio 9.

SPECIAL FOR HOBBYISTS

CALIFORNIA, SAN DIEGO October 19-21 Tenth Annual San Di-

ego Ceramic Show will be held at the U.S. Grant Hotel. Show chairman is Doris Cox.

FLORIDA, JACKSONVILLE October 7 Third Annual Ceramic Show

of North Florida, sponsored by the Ce- ramic Art Guild of Jacksonville, at the Riverside Garden Club. Information is available from Mildred Holcomb, 452 W. 46th St., Jacksonville.

FLORIDA, ORLANDO -I- October 25-28 Fourth Annual Central

Florida Ceramic Show, sponsored by the Ceramic Society of Orlando, is an open competition. Hobby and Professional divisions; Entry deadline is October 25. For complete information, write: Show Chair- man, Box 11011, Coytown Station, Or- lando.

IOWA, DES MOINES November 3-4 "Hobbyrama," spon-

sored by Marge's Ceramics, at the K R N T Radio Theatre. For information, write: Marge's Ceramics, 3122 Columbia, Des Moines.

IOWA, MASON CITY October 13-14 Seventh Annual North

Iowa Ceramic Show, to be held at the Handford Hotel. For information, write: Mrs. Homer Hurd, Greene, Iowa.

LOUISIANA: NEW ORLEANS ~ October 13-14 "1962 Dixie All-States

Ceramic Show," sponsored by the New Orleans Recreation Department. at the John P. Lyons Center. For information, write Berniece Sabrier. 624 Louisiana Ave.. New Orleans.

OHIO, :~KRON October 12-14 Tenth Annual Akron

Mud Hen Ceramic Hobby Show, to be held at the Akron Tower Motor Inn, will feature a members' hobby exhibit." For information, write: Mrs. Alfred Ivy, 320 Mark Drive, Talhnadge, Ohio.


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

Continued /rum Page 32

was a l~otter-designer at the Glidden Pot- tery, apl)eared in the August 4 issue of The New Yorker nmgazine.

TIFFANY AWARD WINNER John ll'enzel, Lorain, Ohio, was one

of five ceramists receiving scholarships in the 1961 Competition of the Tiffany Foundation. He plans to work for an M.F.A. degree at the University of South- ern California under the direction of F. Carlton Ball and Susan Peterson during this coming school year. Mr. Wenzel did his undergraduate work at Ohio Univer- sity, Athens. O.. working under Henry Lin.

IOWA ASSOCIATION WINNERS Award winners in the Second Annual

Iowa Ceramic Association Show were an- nounced at the event held in Des Moines (,n April . :rod ~ Picmt,'d h.f l to, right)

are M~*. AJtlzur (;u,/a/,olz, winner it~ it,. Hobbyist Division; Donn Vaughn, Best of Show; and Margaret Clark, standing in for Maxine Rush, Best of Professional Division. C. B. Shelby is the president of the sponsoring group.

EVERSON ACOUIRES POTTERY A group of ceramics by American and

European potters and sculptures has been acquired by the Everson Museum of Art, Syracuse, N.Y., through gifts and pur- chases. Additions to the Everson collections are "Sun Rose," an earthenware plaque by Finnish ceramist Rut Bryk; an earthenware figure by Belgian sculptor Pierre Caille; a high-footed vase by the late Wilhelm Kage of Sweden: a stoneware vase by F. Carlton Ball; and covered jars by Marie Woo and Ernie Kim.

SYRACUSE GROUP ELECTS The New York State Ceramic Associa-

tion held its April meeting at the Yates Hotel in Syracuse, and elected officers for the coming year. The new president is Mrs. Sue Lahey, Syracuse. Others chosen were: Mrs. Agnes Rainville, vice president; Mrs. Virginia Moore, recording secretary; Mrs. Joel Witt, corresponding secretary; and Harold Goldstein, budget director.

Send news, and photos if available, about "People--Places--Things" you think will be of ceranzic interest. We will be happy to consider them [or uw in this colunzn.

ILLUSTRATED CATALOG of Molds and Patterns. Included al no extra cost ~ many pages of How-to-do-it Ideas, Send $1.00 today!

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1962 REVISION

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34 Ceramics M o n t h l y

ITINERARY

Continued from Page 33

TEXAS, FORT WORTH .It October 20-21 Tenth Annual Show of

the Fort Worth Ceramic Art Guild will be held at the General Exhibits Building in Amon Carter Square. Competition is open to all ceramists in both hobbyist and professional divisions. Entry fee: Ribbon awards. For complete information, write: Mrs. T. D. Neely, 6308 Mah'ey. Fort Worth 16

WHERE TO GO

CALIFORNIA, Los ANGELES October 30-November 30 "Tutankha-

mun Treasures." Smithsonian Institution Traveling Exhibition, at the Los Angeles County Museum.

CALIFORNIA~ SACRAMENTO through October 28 Northern Cali-

fornia Artists Exhibition includes pottery and jewelry, at the Crocker Art Gallery.

CALIFORNIA, SAN FRANCISCO through October 14 "Tutankhamun

Treasures," Smithsonian Institution Trav- eling Exhibition, at the California Palace of The Legion of Honor.

CALIFORNIA, SAN" FRANCISCO through October 14 Society of Student

Designers and Craftsmen, a juried exhibition of work by senior and graduate students from nine area colleges, at the de Young Museum.

CONNECTICUT, DANBURY through October 7 Danbury Fair, a

State Fair with a separate building for the Society of Connecticut Craftsmen.

CONNECTICUT, ~*EWTOWN through November 10 Paintings and

pottery by Edwin and Mary Scheier and Mosaics by David Holleman. at the New Gallery Studio Two.

CONNECTICUT, NORWICH October 1-29 "Okinawa - - Continuing

Traditions," Smithsonian Institution Trav- eling Exhibition, at the Slater Memorial Museum, the Norwich Free Academy.

D.C., WASHINGTON through October 11 Fifth Biennial

Creative Crafts Exhibition, at the Smith- sonian Institution, Natural History Build- ing.

FLORIDA, MIAMI through October 28 Ceramics, Glass

and Bronzes by Edris Eckhardt, at the Joe and Emily Lowe Gallery.

ILLINOIS, CHARLESTON October 1-21 "Arts of Southern Cali-

fornia :Xf--Designer-Craf ts ," at Eastern Illinois University.

ILLINOIS~ CHICAGO through December 9 18th Century

Porcelain, a loan exhibition from the Bustin Collection, at the Art Institute.

MASSACHUSETTS, BOSTON through October 14 "Ancient Greek

and Roman Art," at the Museum of Fine Arts.

MICHIGAN, BIRMINGHAM October 10-25 Third Biennial National

Religious Arts Exhibition, at the Knights of Columbus Building.

MICHIGAN', GRAND RAPIDS through October 28 Western Michigan

Art Exhibition, at the Grand Rapids Art Gallery.

NEW JERSEY, EATONTOWN October 4-6 S t . . l a m e s Fifth Annual

Ceramic Show. at St. James Memorial Parish House.

NEW JERSEY, NEWARK through April, 196.? "Ancient Greek

Vases- -Thei r Shapes and Uses," illustrates the versatility of the clay vessels of 2000 years ago. At the Newark Museum.

NEW YORK, NEW YORK through October 31 Exhibitions by

potters, sculptors and faculty at the Greenwich House Gallery.

NEW YORK, NEW YORK through November 4 Glass Sculpture

and Panels by Edris Eckhardt, in the Little Gallery at the Museum of Con- temporary Crafts.

NEW YORK, SYRACUSF October 3-2l Tenth Regional Award

Exhibition. at the Everson Art Muesum.

NEW YORK, SYRACUSE November 4-December 30 22nd Ce-

ramic National Exhibition, at the Everson Art Museum.

.~N'E'~V YORK, WOODSTOCK through October 13 Woodstock Guild

of Craftsmen's Exhibit, at the Guild Gal- lery.

OHIO, AKRON through November 4 "Why is an Ob-

ject" includes the work of artists, craftsmen and designers, at the Akron Ar t In- stitute.

OHIO, COLUMBUS November 7-8 Exhibition by the 22

members of "Ceramics Anonymous," at City National Bank. 3300 W. Broad St.

OKLAHOMA, TULSA November 6-29 First Annual Show by

members of the Tulsa Designer-Craftsmen Guild, at Phillbrook Art Center.

PENNSYLVANIA, PHILADELPHIA October 3-November 11 Pottery by

John Costanza, at the Art Alliance.

PENNSYLVANIA, PHILADELPHIA October 6-31 "Shaker Craftsmanship,"

Smithsonian Institution Traveling Exhibi- tion, at the La Salle College Union.

SOUTH CAROLINA, CLEMSON October 9-30 "Picasso: Ceramics and

Posters," circulated by the American Federation of Arts, at the Clemson Col- lege School of Architecture.

WASHINGTON, SEATTLE through November 25 Highlights ar-

ranged from all the Museum collections-- Oriental, European, Pre-Columbian, In- dian, etc., at the Seattle Art Museum.

WEST VIRGINIA, HUNTINGTON October 1-23 "Wisconsin Designer

Craf tsmen," circulated by the Smithsonian Institution Traveling Service, at the Hunt ington Galleries.

V~'ISCONSIN, MIL~,'AU KEE October 25-November 25 Exhibition of

work done in the Milwaukee Art Center's Children's Arts Program, at the Center.

NEW LOW PRICES ON MODELTEX MOIST CLAY

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Modeltex is a prime example. It is our moist white and r e d clay, packed in 25 lb. poly bags (2 per carton). Firing temperature: cone 06-04 for glazing.

Its quality is such that Modehex allows you to make the largest piece of sculpture or the most delicate flowers. Modeltex can be used for throwing on the wheel. Modeltex can be used in mold making. Yes, Modeltex allows you to do everything you have ever wanted to do with moist clay.

PRICES ARE SURPRISINGLY LOW:

200 Ib . . . . . . . . . . . . . . . . . . 07 lb.

300 Ib . . . . . . . . . . . . . . . . . . 06 "

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I

( )c t , ,h , , 1962 35

KEHPER TOOLS Recommended and designed for

utility, qualify, durability KEMPER CLEAN-UP TOOL N.S. (for new style) RETAIL PRICE 7Sc Each

KEMPER CLEAN-UP TOOL ( a s ) RETAIL PRICE 85c Each

KEMFER TRIMMER KNIFE RETAIL PRICE S0¢ Each

KEMFER LACE TOOL RETAIL PRICE 75c Each

KEMPER Z I G - Z I G SAW . .Retail Price S0c ea.

OTHER KEMPER TOOLS: Kemper Finger Tool . . . . . Retail Price 75c ea. Kemper Incising Tool . . . . Retail Price 75c ca. Kemper Twin-Line Scjruffito Tool . . . . . . 75c ea. Spr;ncj return plunger egulpped flower cut- ters, various sizes and patterns. Flower tools and other popular ceramic util ity tools.

Ask your dealer for these Kemper Tools.

Write for FREE catalogue to:

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E N A M E L S ('ontinued [rom Page I I

probability, the enameler will want to use it in the dry state, it nmst be dried. The enamel can be dried by pouring off all the excess water, then putting it in some heat-proof dish or container. A metal dish should not be used unless it is enameled. Place this dish of wet enamel over a low flame and stir the contents with a glass rod or some other item that is heat-re- sistant and non-tarnishing. When all of the water has evaporated, the enamel nmst be ground to separate the granules. Then the enamel is ready for use.

This current review of the basics of enameling will continue next month with a colunln on how to use the prepared enamel.

F I R I N G GLASS ! Continued [rom Page 18

into a large container of slaked lime, but since there is certainly an element of danger involved in this method of annealing, I have not at tempted it md so cannot vouch for its effective- Bess•

Glass which has gone through its evolution of fusion often explodes in the first stages of retiring. If the glass is heated first in an oven or on a heat- er, to the point where it nmst be handled with gloves, and then is placed in a warm kiln, this generally prevents the thermal shock caused by retiring.

Compatability of t w o or m o r e glasses which are to be fused together can be tested with the kiln door open sufficiently to watch the glass. This is tsually done in an enameling or

front-loading kiln. By placing narrow strips of various types of glass on two separate sections of firebrick, sagging of the strips is observed. Strips which sag to the same degree usually will fuse together successfully. Although this is not a scientific approach, it has worked well for inc. I do not, of course, try to fuse glasses that sag with a marked difference.

As this goes to press, I am pleased to announce an innovation in ki lns-- a brand new kiln with a high temperature quartz window which per- nfits visual observation of glass or enamel firings without opening the door. With this feature there is no loss of heat and consequently fMng cycles are much shorter.

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DRUMMER Mexican clay sculpture from Pre-Columbian period

DATE: 500--900 A.D.

HEIGHT: 8 7/8 inches

WIDTH: 6 3,/4 inches

PRESENT HOME: The Akron Art Institute

THE PEOPLE of Colima in Western Mexico did free-hand

modeling of such figures as this one long before Columbus

discovered the New World. That is why such pieces are

called Pre-Columbian. Colima sculpture was noted for

its use of natural forms in making containers or vessels.

These people particularly liked realistic representations

of humans, animals and plants showing everyday life.

This man is standing with his drum and club, but he also

is a vessel of some type for there is an opening at the

top and he is hollow. Perhaps he once held a burial offer-

ing and was part of an important person's tomb.

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A subscription to CERAMICS MONTHLY makes an ideal gift for any occasionl Simply fill in the subscription blank in this issue, mark it "gift," and tall us how you want it signed. We'll announce your present with a handsome gift card in your name.

If the recipient of your gift is already a subscriber to CERAMICS MONTHLY, we will extend the current subscript;on.

The Famous

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Jiggering is another method for forming pottery shapes and another use for the potter 's wheel. With a j igger arm attached to the wheel, pottery shapes can

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be made in quantity by the jigger method. Plaster molds can be jiggered with this equipment too. Four custom made molds are included in the outf i t - -p la te , cup, saucer and bowl. Detailed information folders and instructions for using the equipment are available. The American Art Clay Co., 4717 West 16th St., In- dianapolis 24, lndian.a.

BAMBOO HANDLES Announcement has been nmde by Kata-

girl and Co. that they now have in stock a supply of bamboo handles for use on teapots and jars. The handles are available in three sizes: L a r g e - - 5 inch; Medium - - 4 ~ inch; and S m a l l - - 3 ~ 2 inch. The firm notes that handles should be soaked in water for a time before they are stretched to hook on the teapots. Katagiri and Co., 224 East 59th St., New York 22, N. Y.

GLASS ENGRAVER An inexpensive diamond-t ipped tool has

been developed for hobbyists who wish to engrave designs on glass objects or put permanent identification markings on glass, plastic . r motzd products. Su~z~csted use

includes makillg a line d~awi]lm ,,~, [~;Ji~t.l. placing a piece of plate glass over tht' drawing and then tracing the outlines with the diamond point. The engraver is available at hobby shops and depar tment stores. Diamond Art, 565 Frith Ave., New York, N. Y.

Advertisers Index October 1962

American Art Clay Company . . . . . 32 Anderson Ceramics Co . . . . . . . . . . . . 36 Art-Craft Supplies, Inc . . . . . . . . . . . . 34 B & I Mfg. Co . . . . . . . . . . . . . . . . . . . 8 Basch, Bee, Designs . . . . . . . . . . . . 34 Bergen Arts & Crafts . . . . . . . . . . . . . . . 36 Campbell, Gilmour . . . . . . . . . . . 32 Ceramichroine . . . . . . . . . . . 6 Craft Students League YWCA . . . . 38 Creek-Turn . . . . . . . . . . . . . . . . 38 Double B Tools . . . . . . . . . . . . . . . . . . 36 Drakenfeld & Co . . . . . . . . . . . . . . . . . 8 Duncan 's Ceramic Products . . . . . . . . . 9 Francoise Ceramics . . . . . . . . . . 32 Gare Ceramic Supply Co . . . . . . . . . . . 35 Highbridge Ceramics . . . . . . . . . . . . . . . 36 House of Ceramics . . . . . . . . . . . . 3 Illini Ceramic Service . . . . . . . . . . . 32 Kemper Mfg. Co . . . . . . . . . . . . 36 Kiln-Gard . . . . . . . . . . . . . . . . . . . . . . . 32 Kinney, Kay . . . . . . . . . . . . . . . . . . . . 8 Klopfenstein, H. B. & Sons . . . . . . . . . . 38 L & L Mfg. Co . . . . . . . . . . . . . . . Cover 4 Leonard, Jcan, Ceramics . . . . . . . . . . . 32 Mayco Colors . . . . . . . . . . . . . . . . . . 7 Midwest Ceramic Center . . . . . . . . . . 34 Minnesota Clay Co . . . . . . . . . . . . . . . 34 Minx . . . . . . . . . . . . . . Cover 3 Mosaic Shop, The . . . . . . . . . . . . . . . . . 36 Nardco Glass Colors . . . . . . . . . . . . 32 National Artcraft Supply Co . . . . . . . 34 Norris Labs . . . . . . . . . . . . . . . . . . . . . 36 Norwest Novelty Co . . . . . . . . . . . . . . . . 34 Ohio Ceramic Supply . . . . . . . . . . . 32 Pottery by Dot . . . . . . . . . . . . . . . . . . . 11 Reward . . . . . . . . . . . . . . . . . . . . 33 Sculpture House . . . . . . . . . . . . 36 Seeley's Ceramic Service . . . . . . . . . . . . 34 Skutt & Sons . . . . . . . . . . . . . . . . . . 4 Suburban Ceramics Studios . . . . . . . . . . 36 Tepping Studio Supply Co . . . . . . . . . . . 36 Thompson, Thomas C., Co . . . . . . . . . . . 5 Trinity Ceramic Supply . . . . . . . . . . . 34 Van Howe Ceramic Supply . . . . 38 Van Nmtrand, D., & Co . . . . . . . . . . . . . 6 Walker J amar Co . . . . . . . . . . . . . . . . . 34 Willoughby Molds and Porcelain . . . . 32

Back Issues The following back issues of Ceramics Monthly are still available at sixty cents per copy (Ohio residents pay 3% sales tax). We pay postage. 1953 January, March, July, August, No-

vember, December 1954 March, .July, August, November,

December 1955 August, November, December 1956 May, August, October 1957 April, May, June, July, August

September, December 1958 April, May, June, September, No-

vember 1959 April, November, December 1960 May, .June, October, November, De-

cember 1961 January, April, October, November,

December 1962 January, February, April, May, June Please send remittance (check or money order), with list of issues desired.

CERAMICS MONTHLY 4175 N. High St. Columbus 14, Ohio

38 Ceramics M o n t h l y

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MINX INTRODUCES "THE TREE IN ORBIT," FOR MODERN DAY L I V I N G . . . AND THE FUTURE; A COLORFUL, LASTING CHRISTMAS TREE FOR HOMES, STUDIOS, SCHOOLS, AND STORES.

MINXIE MOLD M-113

copyrighted

LIST PRICE, with base, $25.00

Tree height, with base, 18". Tree mold is two pieces. Base mold is also two pTeces. Mold weight, free and base, 50 Ibs. dry.

The Tree in Orb i t is a ceramic

decorator 's dream to make and a

del ight to behold. With an ord inary

l ight bulb set into the base, the Tree

in Orb i t becomes a gl i t tering ar ray

of color shining through each Minx;e

GIo Life imbedded in each niche in

the tree. Minx's Tree in Orb i t is

decorat ive and striking as a Christ-

mas tree, colorful and joyous at al l

festive occasions.

MINX ACCESSORIES, to complete the Tree in Orbit and all other Christmas trees, are: Minxie GIo L;fes {available ;n IS dazzling colors); Minxie GIo Crys- tal Halo Star {available in II colors); Minxie GIo Snow sprinkled over tree; music box in base, socket and cord, and flat back crystal aurora borealis rhinestones on Minxie GIo Star. A revolving turntable (with 150 lb. Ioacl capacity) which revolves the free at two revolu- tions per minute is also available from Minx.

FREE with each mold order:

I gross of Minxie GIo L;fes, I Minx;e GIo Star, V,= lb. Minxle GIo Snow.

INTRODUCTORY

SPECIALS:

TO HOBBYISTS and TEACHERS, decor- aHng instructions for Tree ;n Orbit FREE. Send your name and address and name and address of your studio to Minx.

TO DEALERS and WHOLESALERS ONLY, for $1.00, postpaid, 2 Minxie GIo Stars, IS {I each color) Minxie GIo Lites and sample of Minxie GIo Snow. Limit one.

]+J ++ L

JJ ,,c ++= ++

f j / o +o++ 4++I ++ I

DECORATE all your CERAMIC CHRISTMAS TREES with MINXIE GLO LITES, MINXIE GLO STARS and MINXIE GLO SNOW. Ask your local supplier for them.

"k LIGHTER INSERTS "k DESK PENS Ik" A N I M A L EYES lit CLOCK WORKS

MUSIC BOX MOVEMENTS Ik JEWELS FOR DECORATING • k SPONGES - -ALL TYPES "A" HANOVIA PRODUCTS • k MINXIE MOLDS

MINXIE GLO LITES • k MINXIE GLO STARS "A" MINXIE GLO SNOW "A" MINX KITS:

Or~ame.ts for Ceramies

Rhinestone Costume Jewelry

BUY MINX - - Ceramic accessories and supplies

312 Riverdale Drive, Glendale 4, Calif., Citrus 3-8245

Address Mail To: MINX, Dept. C-10, P.O. Box 989

Glendale 5, California

WHOLESALE--MAIL ORDER ONLY. NO RETAIL!

Contact your supplier for Minx Molds, Accessories and Supplies. If not available, write direct for name of dealer nearest you.

UL APPROVED FOR YOUR PROTECTION Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are not!

m / [ ' ] ' m a [ ' Y ' 1 " ] ~ l : ~ ' '~ IN A COMPLETE NEW LINE - ONE UNIT 20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNAo GLOW porcelain element ho lders . . . 4-way switches . . . 2 peep ho les . . , pilot l i gh ts . . , and they are designed with your safety in mind. MODEL H-8800

A complete line of bench and f l o o r models available.

E N A M E L I N G K I L N S

e e e o

H I G H T E M P E R A T U R E

F U R N A C E S

T O 3 0 0 0 ° F

. . . using silicon carbide heating elements. M O D E L . 8 1 8 - G

T E M P E R A T U R E H O L D I N G E N A M E L I N G K I L N

Can A lso Do Ceramics !

, 7 4 8 o us,0oc.o o..ho... Chamber size: 4 " x 8Y2" x 81/2"

oI

Price includes Pyrometer, Input Control Switch, Gravity Door,

Pilot Light, and Patented Dyna-Glow Porcelain Element Holders.

Attractive... Plugs m anywhere l M O D E L E 4 9

All steel welded case..• gravity door . . . 41~ r ~ Patented Dyna-GIow element holders.. . Plugs in $ Arm a l~ O 0 anywhere.. , attains enameling temperatures quickly regardless of voltage conditions no crating charge.

• " " Chamber size: elements can not be burned out due to over-firing. 4" x 8" x 8"

*Pyrometer available at $20.00 extra

WRITE FOR LITERATURE

MANUFACTURING COMPANY CHESTER 11, PA.

DEALER INQUIRIES INVITED

october 1962. ii - ceramic arts network · for craft and hobby by frances johnson the author, a...

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