november 1968 60¢ - ceramic arts network · pdf filestandards association. our amaco and...

NOVEMBER 1968 60¢

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November 1968 3

Symbols of Safety Rigorous testing and regular re-examina- tion of materials, construction, and engineering stand behind the seals of Under- writers' Laboratories, Inc., and Canadian Standards Association. Our Amaco and Fine-Art kilns are the only electric kilns manufactured in the western hemisphere to bear both these symbols of safety on all models. Twenty Amaco pottery and metal enameling kilns meet the exacting requirements of these testing laboratories. So whetheryourrequirements are for school, studio or home, there is an Amaco kiln just made to order for you. . , a safe kiln. For complete details, write for the Amaco Pot- tery & Metal Enameling Catalog, Dept. SK.

AMERICAN ART CLAY CO., INC. INDIANAPOLIS, INDIANA 46222

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314 Hammonds FerP/ Rd., Glen Burn[e, Md, 21061

Ceramics Monthly

Learn the Secrets of the Ancient Masters

The Techniques of Painted Attic Pottery by Joseph Veach Noble

Published in cooperation with The Metropolitan Museum, this lavish book unravels for today's ceramist the methods used by the ancient Athenian potters and vase painters to produce the greatest pottery in ancient European art. The author meticulously describes how to shape Attic vases; analyzes the famous Greek black glaze; explains how the ancients applied colors, created relief line, and fired pottery. The techniques are dramatically illustrated with demonstration photographs and examples of Attic masterpieces. 234 pus. 9 x 12. 260 illus. Color frontispiece. Biblio. index. $17.50

CERAMICS MONTHLY Book Department 4175 North High St., Columbus, Ohio 43214

Please send me _ _ copies of The Techniques of Painted Attic Pottery at $17.50 each.

I enclose [ ] Check [ ] M. O. (Ohio: 4~ Sales Tax) We pay postage.

Name

Address

City .State Zip _ _

M O N T H L Y

V o l u m e 16, N u m b e r 9 N o v e m b e r 1968

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

Sugges t ions f rom Our Readers . . . . . . . . . . . . . . . . . . . . . . . . 8

I t ine ra ry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Answers to Quest ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

The Folded Form by Joel E. Edwards . . . . . . . . . . . . . . . . 13

Gaff Kr i s t ensen by Polly Ro thenberg . . . . . . . . . . . . . . . . 16

Var ia t ions on a Textura l Theme by Muriel Anderson . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Stacking the Kiln ( P a r t 2) by Rober t F. Nell . . . . . . . . . . . 24

Two-Tone Slab Inlay by Rober t F. E i l enbe rge r . . . . . . . . . 26

Ti tanium Glazes by Richard Behrens . . . . . . . . . . . . . . . . . . 31

CeramAet iv i t i es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

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

On Our Cover Large bhe-and-white Japanese porcelain jar of the 17th century is a recent acquisition of the City Art Museum, Saint Louis. The jar is painted a fairly rich cobalt blue in a free yet decisive manner. A transparent, frothy glaze enriches the blue with a softness that is particularly sympathetic to the theme. The body of the jar is thinly potted for its size, and the material is hard and white. Both interior and bottom are almost completely glazed. The jar belongs to a group of wares produced near the porcelain center of Arita in northern Kyushu. The fine porcelain body, the style of the painting ~nd the distinctly Japanese character of the decoration suggest that the jar comes from one of the kilns under the direction of the Kakiemon family which are traditionally noted for wares of the highest quality. Photo, courtesy the City Art Museum t)f Saint Louis, W. K. Bixby Oriental Fund.

Editor: T H O M A S SELLERS

Art Director: ROnERT L. CREAOER

Business Manager: SPENCER L. DAVIS

Circulation Manager: MARY" RUSHLEY

Editorial Assistant: CONNIE BELCHER

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

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

Copyright 1968 Pro/essional Publications, Inc.

Ceramics Monthly N o v e m b e r 1968, Vol. 16 - - No. 9. Pub l i shed mon th ly except J u l y a n d A u g u s t by P ro fe s s iona l Pub l ica t ions , Inc . - - S. L. Dav is , P re s . , P. S. E m e r y , Sec.; a t 4175 N. H i g h St ree t , Columbus , Ohio 43214. Second class pos t age pa id a t A thens , Ohio, U . S . A . Subsc r ip t ions : One y e a r $6; Two yea r s $10; Th ree yea r s $14. Copyr igh t 1968. Al l r i g h t s reserved , The a r t i c l es in each issue of Ce ramics Month ly a re indexed in The Reade r s ' Guide to Per iod ica l L i t e r a t u r e . M i c r o f i l m copies a re ava i lab le to subsc r ibe r s f r o m U n i v e r s i t y Mic ro f i lms , 813 N. F i r s t St . , A n n Arbor , Mich igan . M a n u s c r i p t s and i l lus t ra t ions dea l i ng w i t h ce r amic a r t ac t iv i t i e s a re we lcome and will be considered for publ icat ion. M a n u - sc r ip t s should be typed double-spaced a n d r a n g e f r o m 500 to 2000 words . Send M a n u s c r i p t s a n d cor respondence abou t t h e m to the Edi tor , Ceramics Monthly, 4175 N. H i g h S t ree t , Columbus, Ohio 43214.

f - , ~ -J • • • i ere yourjmag, naaow with th4 r ",) j J . : '

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NAME

ADDRESS_

CITY STATE T I P . _ _ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

November 1968 5

M ODEL ING CLA Y Used by leading SCULPTORS, POTTERS, SCHOOLS, INSTITUTIONS, and STUDIOS.I

NOTE: We now manufac ture FIVE dif ferent MOIST MODELING CLAYS m When ordering, please specify exact kind m ALL five may be combined to secure quant i ty price! 1. MEMPHIS BRAND WHITE MOIST MODELING CLAY (Cone 05 to 7) 2. MEMPHIS BRAND RED MOIST MODELING CLAY (Cone 05 to 1) 3. MEMPHIS BRAND BUFF MOIST MODELING CLAY (Cone 05 to 7) 4. EX-CEL BRAND WHITE MOIST MODELING CLAY (Cone 05 to 5) 5. STONEWARE MODELING CLAY (Cone 2 to 10)

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Red White 12c per Lb. 8c per Lb. 10c per Lb. 7c per Lb.

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5% PACKING CHARGE Memphis or Jacksonville)

HOUSE OF CERAMICS, INC.- FLORIDA HOUSE OF CERAMICS 1011 N. Hollywood St. 5350 W. Beaver St. Memphis, Tennessee 38108 Mai l Al l Orders to Memphis Jacksonville, Florida

Manufacturers & Distribu+ors of the

• FOSTER POTTER'S WHEEL • PUGMILLED & DE-AIRED CLAY

All pugmil]ed and de-alred clay is packed in poly bags 25 Ibs. per carton. RO-10 Gray Stoneware . . . . . . . . . Cone 8-11 RO-72 Stoneware . . . . . . . . . . . . . . " 08-2 RO-20 Ternmoku Stoneware . . . . . " 8-11 1tO-81 Porcelain . . . . . . . . . . . . . . . " 8-I 1 RO-62 Red Sculpture . . . . . . . . . . 08-2 RO-30 Tern-Stone Blend . . . . . . . . " 8-11

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New Book - - Oct. Delivery KILNS - - DESIGN, CONSTRUCTION, FIRING $10.00 by Daniel Rhodes

Postage paid on orders thru Nov.

WRITE FOR BROCHURE

R a v i n Ceramics 7456 Fenfon St. Dearborn Heights, Michigan 48127

Phone: LOgan 3-2906

6 Ceramics Monthly

. . . . . B & I

POTTERY

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Professional features, versatile enough for advanced craftsmen, yet simple enough for beginners' use. Precision built, compact, portable. Mounts anywhere. New variable speed reducer with adjustable foot controls provides speed range from 38 to 130 r.p.m. Built-in water container, attached wedging wire, reversible 9-inch throwing head with recess for molding plaster bats. Ideal for school or home studios. Also available for pottery maker is a new workbench with a convenient seat to allow operator to control position at all times. $22.S0 each, F.O.B. Burlington, Wis. Order by mail now . . . or write for complete literature.

W r i t e f o r Lapidary Equipment

Literature Burlington, Wisconsin 5310S

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

"CM WATCHER" I have enjoyed "watching" CM for

almost 15 years now, and I have noted how very much the area of ceramic art has c h a n g e d - and i m p r o v e d - and how these changes have been reflected in the pages of your magazine. The June issue has prompted me to write and say that it has impressed me more than any other I've seen. And remember that I've seen the Maria issue (June 1964) and the beginning glaze series issues (February-June 1965), and thought at the time that they were tops !

The Haniwa portfolio in the June 1968 issue is a real beauty, probably the love- liest thing I've seen in print on any ceramic subject. You can tell that a lot of loving care went into producing this. Also, I was impressed very much with the "Tennessee Mural" article. I particularly enjoy an inspiriatlonal-type article when it also manages to be a little bit practical• This one was! And I want to mention the wheel article by Don Lewis, which I enjoyed. However, I have a ques- tion here: Mr. Lewis didn't mention what the template was made from and the picture of it really isn't sharp enough so that I can tell. Do you suppose you could get him to clarify this for a CM regular? Mrs. L. L. Mayer

Harrisburg, Penna.

Don Lewis replied that the template illustrated was made from tin, but that an), sheet metal or lightweight plywood would do. You might want to fasten the metal to a piece of plywood to make it a bit more rigid and easier to hold. - - E d .

DEFINITELY NOT

Regarding the idea for a "glaze-of-the- month" (November 1967 Letters column), definitely NOT. It smacks of artsy-craftsy magazines• Besides, you're bound to dig up a new glaze formula, good or bad, every month• Keep it as it is at present. When someone has something to say regarding glazes, let him put it into a good article.

Please try to retain the dedicated, professional approach to ceramics in your magazine as you have in the past.

].R. Baldwin Yorktown, Sask.

KEEPING UP WITH CM

• . . I don't see how anyone can do pottery and talk the language without keeping up with current trends via your magazine. I keep copies all over the house as they are great to pick up and read anytime. Mrs. L.J. Keith, Jr.

San Jose, Calif.

LETTERS TRADITIONAL POTTERY

• . . I 'd like to say that I have been enjoying reading your magazine. I always thought I didn' t care much for African a r t - - the masks and carvings seemed too weird; but having read two articles in CM which were beautifully illustrated with examples of native craftsmanship of Nigeria, I 'm beginning to think that pottery, at least, has a lot of appeal. The articles, both by Jonathon Slye, were "The Traditional Pottery of Nigeria" in the

February 1968 CM, and "Abuja Stone- ware" in the October 1966 issue.

Betty Williams Baltimore, Md.

THE OLD EXCITEMENT This is just a note to tell you that I

have been with CM since the first, and the old excitement builds up--even more so---with each new issue. Thanks so much for just being! M. Jewel

Franklin, Tenn.

This is the kiln t h a t is ideal fo r both High School and Un ive r s i t y level. L a r g e capac i ty - - has d imensions of 24" x 24" x 30" high. Pe r f ec t top to bot tom un i fo rmi ty is obtained by use of seven inpu t power controls enabl ing precise a d j u s t m e n t of hea t in each section. Kiln is rugged ly con- s t ruc ted th roughout . Heavy insula t ion provides max imu m hea t re ten t ion and slow cooling. Pr iced at only $1050.00.

W r i t e f o r f ree catalog wh ich i l lu s t ra tes our f u l l line o f k i lns f r o m $79.50 up.

J. J. CRESS 1718 Floradale Ave.

COMPANY INC. South El Monte, Cal i fornia 91733

N o v e m b e r 1968 7

C E N T E R I N G 25 lbs. or m o r e . .

an impossible goal?

?

Not on the Shimpo-West RK-2.

The potter must f irst consider his confidence and skill, but on our wheel he can feel assured of the response and the power needed to do a heavy job. This same wheel affords smooth vibration-free operation at lower speed to finish the pot. Total depend- ability and flexibility are what the RK-2 offers the potter, from 0 to 200 rpm.

Write today for free literature.

SHIMPO-WEST P. O. Box 2315, La Puente, Calif. 91746

8 Ceramics Monthly

SUGGESTIONS [rom our readers

GLAZE MIXING THE EASY WAY

Many simple glazes can be mixed in a much easier way than the old-faithful method of adding water to the powders, stirring, and forcing the mix through a sieve. Try this easy method: Place the weighed-out dry glaze materials in a glass jar (not filling the jar more than % full), then add the proper quantity of water, and stir with a wooden stick. Next, c o v e r

the jar tightly with a screw-on cap and shake the jar vigorous- ly. This is an especially good method for those glazes which have coarse particles that won't pass through a sieve.

- - H . Head, Flint, Mich.

TIPS ON BEAD MAKING

Holes in beads should be made slightly larger than needed because the openings become smaller as the clay shrinks in drying and firing. In addition, there is ahvays the chance that glaze may become lodged inside the holes and further decrease their size.

I have found that the best instrument for cutting a hole in a bead is a drill hit. The bit can be held in the hand and carefully rotated to cut cleanly through the bead. Also, I would recommend that the hole be drilled when the clay is leather hard, not soft. When the clay is soft, there is a greater chance that the hole will become distorted or even close up again as the bead is handled.

No matter how glaze is applied to the bisque beads, there always is a chance that some of it will get into the holes and decrease their size or even clog the holes completely. Be sure to remove all glaze from the holes before the glaze is thoroughly dry; by so doing there is less chance of chipping the glaze around the hole openings. It goes without saying that very fluid glazes should not be used for glazing beads because of the greater possibility of excessive flowing and filling up of the holes. - -E . W., Hammond, Ind.

PARTY PICKS FOR PLUGS

I would like to pass along the following suggestion for you~ Suggestions column: I use plastic "party picks" to plug up the holes of salt and pepper shakers when glazing them. I simply stick the picks into the holes, dip the piece into the glaze and pull out the picks as soon as the glaze is dry enough. Because the picks are plastic, they wash easily and the glaze can be salvaged. If the picks are too long for convenient use, they can be broken or cut in half.

- -Audrey Boisjoli, Dartmouth, N.S.

REMOVING EXCESS WATER

Here is a suggestion for removing excess water from a glaze. I have found that it is easier to get a glaze through the sieve or screen if it is mixed with plenty of water first. I use as much water as I need, and even rinse off all working utensils in order to collect and save as much glaze as I can. Then I pour the glaze into a glass container and allow it to stand until the glaze solids settle to the bottom and there is a level of clear water at the top. I then take a syringe and siphon off the excess water. This process is useful too when the potter wants to thin out the glaze for a special application technique, then restore it to its usual consistency for the regular glazing processes.

- - ] . Whitman, Hockessin, Del.

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

Ceramic Art inthe

School Program ~ENSKY

of clay ig t o

free expression in this versatile medium. Six stimulating

sections on: Clay, Tools and Equipment, Clay

Construction, Decoration, Firing the Kiln, and Glossary and Glaze Recipes.

Excellent for personal use and course instruction. A valuable addition to every craftsman's bookshelf.

112 pages ful ly illustrated $8.75

D • ~ / I O • ~VI$ I~uDLIcATION$, uric. 7811 Printers Building, Worcester, Mass. 01608

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City. ~ S t a t e ~ ~ Z i p _

In Canada." Order from MOYER Division, Vilas Industries, Ltd. Moncton / Montreal/Toronto / Winmpeg I Saskatoon / Edmonton / Vancouver

Prices slightly higher in Canada

"Vovember 1968 9

C0ne 6 2194°F,

: Cone 06 1816°F. '. • . .

F i r e a t w i l l . Ceramichrome takes the worry out o] firing. We've demonstrated this with the hand thrown piece o /noted stoneware art potter, Frank Matranga. Finished in our textured glaze, it was fired to Colze 6 along with another original, using the same glaze, fired to Cone 06. Both pieces fired per/ectly.

Choose/ tom over 200/ully proven glaze and underglaze colors. Each is designed to per/orm per]ectly anywhere within this unique firing range. Ceramichrome means outstanding per- /ormance, with tile buih-in margin o/sa/ety.

Try them.

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These wheels are ideal for use by schools, studios and hobbyists alike. There is one to fit every need and budget.

Robert Brent's Potter's Wheels are only sold direct to the customer. We have simply eliminated the middle man and sell at essentially the wholesale price. You cannot get more for your money in a potter's wheel anywhere, and we stand behind this statement with a money-back guarantee.

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10 Ceramics Monthly

I T I N E R A R Y WHERE TO SHOW

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

CALIFORNIA, NORWALK February 17-March 7, 1969 "Cerritos

Ceramics A n n u a l - - ' 6 9 , " will be held at the Cerritos College Art Gallery and is open to all artists working in ceramics and ceramic sculpture. Jury; Prizes; Jury date is February 1. For prospectus, write: Rol- and Shutt, Cerritos College, 11110 E. Alondra Blvd., Norwalk 90650.

CALIFORNIA: SACRAMENTO

March 15-ApriI 27, 1969 "California Crafts VI, Pacific Dimension," sponsored by the Creative Arts League, is the sixth biennial. Open to craftsmen residing in Alaska, California, Hawaii, Oregon, and Washington. All craft media; Slides of work due Jan. 4; Entry fee; Cash and Purchase Awards. For entry forms, write: C C VI, Crocker Art Gallery, 216 O Street, Sacramento 95814.

NEW JERSEY, MOORESTOWN November 8 - l l Fifth Annual Moores-

town Mall Art Show is open to all professional artists and craftsmen. Write: Jinx E. Harris, Director, 148 Concord St., Manchester, N.H. 03104.

OHIO~ nI'OU NG STO'~V N January 1-February 23, 1969 The 21st

Annual Ohio Ceramic and Sculpture Show, sponsored by the Butler Institute, is open to present and former residents of Ohio and includes work in ceramics, enamel, jewelry, and sculpture in any medium. Juror: Norman L. Rice; Over $1,000 in Purchase Prizes; Entries due between November 1 and December 15, 1968. For information and entry blanks, write: Butler Institute of American Art, 524 Wick Ave., Youngstown 44502.

SPECIAL FOR HOBBYISTS

ALABAMA, MOBILE November 3 Annual Show and Com-

petition of the Azalea City Ceramic As- sociation will be held at Murphy High School. Show Chairman is Mrs. Hugh Story, 15 N. Georgia Ave., Mobile 36604.

LOUIS~AN^, NEW ORLEANS March 20-22, 1969 The 15th Ceramic

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

~[IC I-IIGAN, FLINT November 9-10 Second Annual Ce-

ramic Show, sponsored by the Flint Ce- ramic Association, will be held at the Dyewood Cabana Club. For information,

write: Grace Johnson, 4308 Bennett Dr., Flint 48507.

WHERE TO GO

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

CALIFORNIA, OAKLAND through Nocember 17 Art faculty show

includes work in ceramics; at the Gallery

of the College of the Holy Names.

CALIFORNIA, SANTA BARBARA November lO-December 7 Ceramics by

Jerry Rothman; at Galeria del Sol.

COLORADO, BOULDER November 23-24 Exhibition and sale of

pottery by Betty Woodman; at the Wood- man Pottery, 575 Euclid Ave.

Continued on Page 32

m a y e o i s f o r e v e r y m o o d . *

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N o v e m b e r 1968 11

Answers to

QUESTIONS C o n d u c t e d by the C M Techn ica l S t a f f

Over the years I have become increasingly aware of the popu- larity of reduction firing with stoneware potters. I know that

reduction is necessary to achieve the copper red and celadon glazes, but I [rankly do not know what the other benefits are. Could you tell me what I should be looking [or when I see a pot labeled "reduction-fired stoneware"?--Mrs. K.].

Most stoneware bodies contain iron and other impurities. U n d e r reduct ion firing, these change the color of the glaze or give it a spotted or mot t led appearance that is characteristic of this clay when fired in a reduct ion kiln. T h e par t icular mott led appearance is possible only in reduction done in a gas- fired kiln. Artificial reduction, which can be done in an electric or a gas kiln, can be used successfully only for obtaining the celadon or copper red colors, not the spotted glaze appearance.

I have seen examples of a decorating technique called "basalt." It appears to be something applied on top of a

glaze and it adds a very pleasing texture. Can you help me find what this is?--R.G.

The only basalt ware we have come across is the basalt ware developed by Josiah Wedgwood in 1768 and still made by the firm. The body is black and vitreous and gives the appearance of a polished basalt rock. O n a few pieces, encaustic paint ing was done in black and red; some of Wedgwood 's black basalt ware was decorated with applied festoons and other ornaments, also in black.

I've been seeking a novelty glaze that has golden flecks on a blue background. I have seen this used and it is very dramatic,

but I haven't been able to find a formula for making it. I hope you and your staff can come up with a good formula for use on earthenware.--H.C.B.

The recipe given below, which dates from our school days, gives a ra ther fluid glaze that is dark blue in color and dot ted or streaked with gold or tan flecking. The dark blue comes from the high cobalt content ; the tan flecks are from the rutile :

Fri t 3304 (Ferro) 90% Barium Carbonate 5 Bentonite 5

i00% Add: Ground Ruffle 5%

Cobalt Carbonate 1% The raw materials should be combined dry (because of the bentoni te ) , the water added, and the mix forced through a 50- or 60-mesh screen. Special care should be observed in handling because of the bar ium carbonate. The glaze has a firing range from Cone 04 to 01.

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

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12 Ceramics M o n t h l y

The Folded Form bv JOEL E. EDWARDS

(IONTROLLED SI~ONTANE1TY is an appellation often used to describe some production of contemporary potters and it is an apt term when assigned to the folded slab form I call an "envelope vase." Several different materials may be used as the forms, or to stuff the forms that the clay is wrapped around; among these are sand-filled plastic bags, rolled cloth, or crumpled paper. The clay can be rolled into tube shapes, made into box forms, or folded into envelopes and be sealed, torn, pressed or cut. Clay used in this way acquires a naturalness that evolves from its own personal being.

To make an envelope shape, the clay is rolled to a quarter-inch thickness; its spread depends on the appearance of the completed piece. If it is to be a box shape or envelope, the outer edges should be rolled more

The three envelope weed pots pictured below were made by the method demonstrated. The largcr piece is approximately 15 inches in height.

/

1

;z

\ ,

/

Z

i I. To make the envelope vase, clay is rolled to a thickness o[ approximately ~ inch.

thinly. These edges of the clay slab next are torn into a pat tern that, when folded up, will give the desired form. You may first want to practice by utilizing a paper pattern. After the tearing process, several sheets of newspaper are crumpled together and placed in the center of the slab. The bottom half of the clay slab is folded up over the newspaper, then the outside edges are moistened and secured to one another. Next, the top section is folded down over the bottom and paddled to make it adhere. As an alternate method of procedure, one or both of the sides can be the last sections to be folded and sealed. Several envelope shapes can be made at one session and each folded and twisted in a different manner. The newspaper core burns out in the bisque firing and what little residue remains may be shaken out of the fired vase.

After all sides are folded and paddled into place, the envelope can be pushed, pounded or pinched into the final form you wish it to have. On the demonstration pot, I have added thin strips of clay and paddled these on just lightly enough to adhere to the surface. These are effective decorative additions to the fired surface. Now, the envelope is set on its bottom edge and supported with blocks or bricks while it dries to the leather stage.

The tall foot for the envelope vase is thrown on the wheel and allowed to stiffen. Its height and diameter should be governed by the shape of the upper envelope that is to be at tached to it. When both pieces are of equal consistency, the top rim of the foot is cut to con- form to the bot tom curve of the envelope. Both sections are serrated and moistened where they are to be joined,

• t • ~ .

2. An outline of the [orm is torn to shape alter the outer rim ends o[ slab are thinned.

then they are fitted together. The joint is smoothed and a coil of clay may be worked into the area to complete the attachment.

Openings in the envelope should now be made at the top or side. They can be cut or torn open in one or more sizes to enable the piece to be used as a container for weeds or flowers.

The construction of oversized pieces utilizing folded slabs will present little difficulty since one works on the flat table surface and only raises the units when they are sufficiently firm to be handled with ease. Of course, one does not have to stop with the single section on a foot. Several envelopes may be attached to a single foot, building the form as far as good taste and design dictate.

With this form, care must be employed in the glazing or decorating. The clay itself offers a variety in design with its folds, twisted corners and asymmetrical balance on the taller foot. Little or no glaze was my solution, but a flowing overall glaze of subtle tone can be effective. Caution: all seams must be well welded together if you do not intend to glaze the insides of the envelopes. You may find that these seams leak if they are not pressed well together.

This is the final article in a three-part series in which JOEL EDWARDS explores some o[ the possibilities in relating slab construction and wheel work. The first, "Wrapped Slab Pots," was [eatured in the September 1968 CM; the second, "'Slab Wrapping and Wheel Throwing," appeared in the October issue. Mr. Edwards and his wife operate their own studio in Los Angeles, producing individual pieces in high fired clay. - - Ed.

14 Ceramics Monthly

3. Bottom section o[ the clay slab is [olded into place over the newspaper core and secured.

,~ii!!~?~ .......... ~ !~ ~i̧ i̧~ . . . . .

4. The top section is [olded down, edges are moistened, and then lightly paddled.

5. Alter all sides are [olded and secured, textural additions are lightly paddled on.

%°.

t

6. While the envelope is propped up to sti[[en, one corner o[ the shape is le[t open.

7. A thrown [oot is cut to con[orm to enc'elope contour, then both sections are serrated and moistened.

8. Openings are made in the top o[ the assembled unit to serve as holders [or weeds or [lowers.

November 1968 15

Gail Kristensen by POLLY ROTHI.;NBERG

GAIL KRISTENSEN is a painter, sculptor, enameler, and potter who maintains her home, studio, and workshop in Saint Paul, Minnesota. The fine arts came first with Mrs. Kristensen, and many years of education and experience in the fields of painting and sculpture led her to explore the crafts as media of further creative expression.

Gall Kristensen attended the University of Minnesota to study drawing, painting, and sculpture. Later she returned to Iowa, where she had grown up, and enrolled in applied arts courses at Iowa State College. After one )'ear, however, she switched back to the field of fine arts at Iowa State. She later took a job as an advertising artist with Bet ter H o m e s and Gardens magazine, but during this time her art training was not neglected. On weekends she attended Cummings Art School in Des Moines, and served as assistant teacher in painting at evening school at the Des Moines Art Center. After a year and a half, she returned to school full time at Drake University in Des Moines, where she again studied painting, sculpture, and art education. She moved to Duluth to teach art in that city's adult education program. After two years in this work, she opened her own studio in Ames, Iowa, spe- cializing in ceramic stoneware.

Gail first began to explore the field of ceranfics as a form of functional sculpture. Although her main clay interest is in the individually-constructed piece, she also makes attractive table ware and other useful pots. All forms, she believes, have their place and proper emphasis. It was the need to make salable pieces which take less time than completely hand-built pottery that impelled her to return to the University of Minnesota for two years of wheel work. She has continued to operate a studio for the past 14 years, with the exception of a year when the entire Kristensen family, including three teen- age children, lived in Bad Homburg, Germany, while Gail was guest American artist working in clay at the Wurkunst School in nearby Wiesbaden.

Gail Kristensen continued to search for additional media with which to develop forms, shapes, and textures relative to her love of painting and sculpture. The search led to enamels, and this eventually became an exciting painting medium, more fascinating to her than pigments. Although she works in a wide range of enamel concepts, it is her enamel character portraits that are unique. These are quite large, not at all like the miniature portraits in Limoges style which were done during the Renaissance. They do not have that flat smooth-to-the-touch feel of


those early pieces. On the contrary, they have different planes where masses are laid in with sifted layers of enamels and are quite modern in concept. Many of her backgrounds are oxidized areas which are enameled.

The Kristensen home in Saint Paul is also a show room, gallery for Gail's works, and an art studio. Her basement workshop is a mai~,el of functional space. As is often the case with a sculptor-turned-ceramist, Gail's concepts are large. Her clay and enamel kilns are cor- respondingly huge and each has its own separate studio area. In another large pine-paneled room are tables and benches for classes in clay work. The classes are divided into three groups: those students who have no training or interest in any field other than clay but who want wheel work and hand-building instruction; those who have some art background, are experienced in clay, and want a place to work and get further instruction in in- formal class experience; and the experienced, serious artist-craftsmen who need a source of materials, firing facilities, and a compatible place to work.

Gall Kristensen is a member of the Minnesota Crafts- men's Council and the American Craftsmen's Council. She has been an exhibitor and award winner in shows, fairs, and museums, including the Milwaukee Art Center, Wisconsin State Fair, Brook's Memorial Art Gallery, St. Paul Art Center, Minneapolis Art Institute, and the Minnesota State Fair. She was given a National Merit Award for clay in an American Craftsmen's Council competition. ( C o n t i n u e d . . .)

i

Gail Kristensen stands in [ront o[ one o[ her enamel murals and holds a slab branch bottle. Photo: The Minneapolis Star.

Stoneware slab bottle (le[t) has wheel-thrown neck. The pot is 24 inches tall, with an incised decoration; unglazed.

"Emerging Forms" (below) has oxidized background o[ bare copper with applied and three-dimensional enamel design.

November 1968 17

~ ' ~?i +~,i~i ¸̧ ' ~ ,~,,l~i '!i~ I~ ~i!!iii'~ ¸ i!!~ii~

Gail Kristensen

Constructs a Slab Pot

WHILE GAIL KRISTENSV.N formed this large demonstration piece, she talked about clay. Each craftsman, she believes, should translate his own idea of a clay piece into whatever form pleases him most. For her, the clay must reveal that it has come from the earth. Some of her layered pieces are black and basaltic in quality as though formed by volcanic eruptions which have flowed, layer over layer, then weathered smooth.

In the particular clay concept which Gail demonstrates, the slabs are not cut or tooled, except for the base which is cut directly on a plaster bat. Only her fingers are used in building the large jar. Slabs

Fired unglazed pot is 24 inches tall.

18 Ceramics Monthly

of firm clay are formed by rolling each one individually; the size of each slab is determined by the size clay piece she grabs from a large clay chunk. Each rolled slab is shaped by banging the edges against a table top to give a "natural" edge rather than one cut by a knife.

The first shaped slab is welded to tile base with a clay coil positioned inside the pot. As each slab is placed, it is welded into position with wads of soft clay on the interior only. No clay slip is used in this process, only coils and wads of soft clay which are worked into the inside surface with the fingers. Both large and small slabs are used; occasionally some are broken off and the break marks are left visible. As Gail builds up each row, she allows the clay to set slightly so the emerging pot can maintain its own form. Where spaces are visible between slabs, chunks of soft clay are pushed through from the inside only and allowed to show. The piece is built up, row on row, until it is about two-thirds of the planned height. In order to achieve the black organic character planned for this piece (which is not glazed), she uses a standard stoneware clay that she mixes herself; she adds extra red iron oxide and manganese dioxide granules (80-to 100-mesh) so the overcharged iron and manganese fairly ooze from the clay when the piece is fired. This will give the ore texture seen in the bottom two-thirds of the fired piece.

For the upper third portion, she kneads in additional manganese dioxide at the wedging stage. This will lower the vitrification point of the clay. When the piece is fired, the upper third will melt slightly and begin to run down over the lower portion of the pot. Although this resem- bles a glaze, the piece technically is not glazed. Only experience and judgment can guide the firing time and temperature for this process. If it is fired too high, the piece can collapse.

When the upper third of the demonstration pot has been built to the desired height, a few slabs laid across the top provide an appropriate finish to this clay piece.

When Mrs. Kristensen is working on light colored ceramic pieces, she uses a mix of half stoneware clay and half fireclay. After the bisque firing she sponges on a very heavy iron oxide wash, then wipes off the excess but allows the heavy oxide to collect in the cracks and thus emphasize seams and texture.

This craftsman uses glaze in a sparing manner on some of her pots. She plans the amount of glaze according to the pot's over-all design. Where she wants a glimpse of reflected color or a highlight accent, she applies a carefully-controlled amount of glaze to show contrast and emphasize the earth texture more completely. Like the sparkle in a human eye, the glaze must always be an enhancement of the innermost character of her clay composition.

1. Base [or the slab pot is cut to shape directly on the plaster bat.

2. Slabs are rolled /rom firm clay an banging the edges against the workin~

3. Initial slabs are welded to the base with coils of soft clay.

5. Both large and small slabs are used to give an attractivc design of horizontal and vertical elements.

6. Slabs may be broken to shorten them. Any spaces between slabs are filled with chunks of soft clay.

November 1968 19

Gail Kristensen

Enamels a Portrait

EVER ALERT to new approaches and modern concepts and materials, Gail Kristensen first became interested in enamels during her search for a different painting medium. Experimentation revealed to her the beauty and versatility of enamel in combination with copper, and many of her enamels have controlled oxidized copper as an integral part of the design. Gail's enameled portraits show vigor and a skillful use of the medium.

The enameled portrait which Gail demonstrates is titled "Girl Sleeping on a Train." The first blocking in of shapes is done directly on a clean, counter-enameled copper rectangle. Using an oriental water-color brush, she freely strokes in the masses with a water-base ink which will burn off in the first firing. Although she could scratch in the lines without the aid of the brushed guide- lines, she finds that brushed ink gives a much freer interpretation. Later, she scratches over these lines with a metal scriber. Sometimes she makes a preliminary sketch of the portrait; other times she creates directly on copper with a Japanese brush.

When the permanent lines have been scribed, she sifts a flux base coat over the entire piece and fires it in her large home kiln (15" x 23" x 6"). When the base coat has been fired, the big panel is flipped onto a transite board and weighted down with an equally large piece of sheet steel to keep it from warping out of shape as it cools. Red heat is slow to leave this size of piece, and the panel is still flexible many seconds longer than a smaller piece would be. Extra steel weights are placed on top of the steel sheet; because the cooling enameled copper sheet has great flexing strength, it must be controlled by heavy weights.

After the piece has cooled, it is time to sift different colors over the scribed-in areas. Scratched lines are clearly visible through the fired flux, although the black brushed lines have vanished during firing. It is interesting to note that Gall uses double sections cut from discarded nylon hosiery to sift her enamels instead of the customary 80-mesh screening. She fastens them into place with strong rubber bands directly over the container in which the enamel is purchased. Coarser residue of enamel which does not sift through can be ground smaller in a mortar and pestle. Gall develops her portraits with transparent enamels so the glow of copper continues to be an integral part of the design. The depth of transparent enamel over


I. L ines are brushed in according to pre l iminary sketches, then are scribed on the copper surface.

3. Del icate detail is added last wi th a Japanese brush and f ine line black.

~ .~ L ~ t . . . ~ . . . . . . . . ~ i i ~i~ i~;~! ~'~ ~ "

5. H e a c y shcet steel is placed over the red-hot copper panel u,hen it is taken f rom the kiln.

2. Enamel is si/t,d onto the panel through nylon stretched ow:r the supplier's containers.

copper gives subtle beauty to the portrait. This is her main reason for using copper, rather than steel.

She continues to develop the design, firing each layer between applications of enamel. Small amounts of opaque enamels are sprinkled on to create highlights and accents in the final stage of her composition. Line details and further accents are lightly stroked in with liquid black enamel and the Japanese brush for the final firing. This last firing must be carefully controlled so details do not burn out. In order to fire the piece hot enough to re-fuse any heat cracks that may develop and still not over-fire delicate details, requires skill, judgment, and concentration.

Gail Kristensen's enamels add new dimension to copper enameling through her conviction that there need not be conflict between craft and fine arts fields; each has much to contribute to the other.

! i i i iC i!: ::!ii!ii! i lii<'

4. The piccc i~ /ired m t/i~ large kiln in Gail Kristenscn's home studio. i

Finished panel is titled, "'Girl Sleeping on a Trdin.'"

6. Ettra steel blocks arc used to weigh down the cooling copper and keep it from warping.

November 1968 21

Variations on a Textural Theme by MURI].:I. ANDERSON

ALBERT EINSTEIN once said, " 'hnagination is more important than knowledge." Certainly it is one of the most needed ingredients for successful artistic achievement.

hnaginat ion cannot be taught, but one wonders ,cometimes whether perhaps it can be caught. If so, it would explain the exciting student creations one finds in the art departnmnt of Cardinal Stritch College ill Milwaukee. To enter San Damiano Studios is to have the feeling that you have stepped into a living kaleido- scope; it is an exciting world of color and design where beautiful, creative works have been fashioned from the most humble materials.

As the match lights tim candle, so the teacher sparks the student's inlagination. One of the teachers who has been doing this at Cardinal Stritch since 1947 is h'ene Kihnurry. She is that ideal creative combination . . .a

perfectionist-craftsman with great imagination. Born in Chicago, Mrs. Kihnurry majored in art at the Chicago Teachers College and did graduate work at the Art

22 Ceramics Monthly

Institute of that city. She received her Masters degree in art at the University of Wisconsin at Milwaukee.

Irene Kilmurry is living proof of the theory that love of one's work somehow creates perpetual energy. When not teaching she can be found happily at work on commissions in sculptu,e, ceramics and stained glass, getting ready for an exhibit, or dashing off to lecture or act as juror in the areas of ceramics, sculpture or weav- ing. In addition to all this, she has always found time to enjoy her family.

The slab sculptures made of stoneware clays, which she is currently working on, are good examples of what a magic springboard the imagination can be. This project began one day when she came across an old hand- crocheted antimacassar. It was about 50 )ears old and the texture intrigued her. These, you'll recall, are the chair back and arm protectors which grandmother proudly fashioned to save the parlor furniture. Mrs. Kil- murry made some pressings with clay of this interestingly

Le[t: Biblical [igures by Mrs. Kilmurry include "Christ and the Multitudes" and

"Moses."

Top to bottom:

A clay slab is rolled out over a piece o/ heavily-textured material.

When the clay has sti[[ened a bit, the slab is cut into a conical shape.

Cloth and clay are [olded into a cylindcr and the sides are slipped and joined.

24 Ceramics Monthly

textured piece and then the basic cylinder idea evolved which subsequently led to experimentation with various other textures.

"Friends soon began bringing me all sorts of scrap materials to experiment with. I have a huge box now filled with laces, monkscloth, burlap, textured wall cover- ings, handknit and crocheted pieces."

One figure led to another and soon it was a full- blown project. These pieces, like much of her work, have a biblical theme. "I 've always found biblical themes very good because you can imagine them as primitive and simple forms which allow broad interpretation."

I t is interesting to follow one of these figures from a formless chunk of clay to a finished piece of sculpture. First, a slab of clay is placed onto a textured material such as burlap, monkscloth, or lace, and the clay is rolled out to a thickness of approximately one half inch.

When the clay has stiffened up somewhat, the slab is cut into a conical shape, folded together, and patted into a cylinder. Then slip is applied at the joints and the edges pressed together tightly. M1 joinings are re- inforced from the inside at this stage. When the cylinder is able to stand up by itself, it is shaped into the final angle or position desired for the form.

Additional details such as the arms, head, hands, etc., are made separately and applied with slip, piece by piece, to the basic conical form, and then bent into the shape necessary to complete the figure.

The finished slab sculptures are fired at earthenware temperature for the bisque firing, glazed with stoneware glazes or slip glazes (Sadler or Albany) and re-fired at stoneware temperatures (Cones 8 to 10).

Some of the figures are purposely left unglazed to utilize the color and texture of the stoneware clay, and three different stoneware clays are used for the sculptures. One clay is fine textured and light in color; another is gray with fine grog; and the third fires mottled brown with a heavy textured grog.

A heavy hardwood base is used for the finished sculptures. Rough ehn was used on the groups shown here, so the roughness would be in keeping with the rather primitive handling of such material. Then the wood was sprayed flat black.

In these pieces of slab sculpture, all variations on a textural theme, we find a good example of what can be accomplished when the seed of an idea is explored and expanded upon.

Top to bottom

When the cloth is pulled away, its pattern remains as a texture on the clay.

Appendages such as head, arms, and hands are made separately and bent into the desired shapes.

When the appendages are leather hard, they are applied to the conical form with slip.

Stacking the Kiln Part Two

by ROBERT F. NOLL

R O B E R T F. N O L L is Ceramics Technician at San Jose State College, San Jose, California. The material in this two-part series is part of the instruction Mr. Noll gives to student assistants in the Ceramic Laboratory. The first installment appeared in the October issue of CM.

IF s:ov SXACK a kiln by placing the s u p p o r t s first, then placing the pieces to be fired, you can check clearance by laying a straight-edge from one post to another. You must leave at least ¼ inch of space between the project and the shelf above it. If any of the shelves you are using are twisted or sagged, check each shelf carefully so that you can leave ¼ inch between the tallest project and the lowest sag.

If you have a front-loading kiln and time is more valuable than space, you can leave the shelves and posts stacked in the same position from one firing to the next. Don't slide the projects into place; carry them full)" supported. Each project nmst be low enough to give clearance for your hands underneath and space above so you won't scrape the top of the piece. If you attempt to slide in a greenware piece, you may chip a piece off the bottom. I f you slide a glazed piece, you may knock some kiln wash into the pots below. If you accidentally knock kiln wash into or onto a project while stacking above it, remove the foreign material--even if it means de-stacking to get to it.

An important consideration before any firing is to get the ware completely dry before taking it above 212°F. Above that point, the moisture turns to steam pressure, and may either explode a green piece or spit the glaze off a glazed piece. I f you are uncertain about the dr?mess, leave the kiln door or lid partly open so the temperature won't go above 212°F for a short period of time. An electric kiln can be checked for moisture by holding a mirror or shiny glazed surface in the hot atmosphere

that rises from the kiln door. If moisture is still evaporating, steam will fog the shiny surface. When there is no more steam, the kiln may be closed and fired. A gas kiln can't be checked this way because moisture is a by- product of gas combustion.

Three checks for moisture in greenware are appearance, weight, and temperature. Wet clay looks darker than dry clay. Wet clay feels heavier than d~, clay. The evaporation process requires heat-energy; if a project feels cooler to your cheek than the surrounding atmosphere does, there still is moisture in the clay and it is evaporating.

Pick up every project, green or glazed, with full support underneath it. If greenware is lifted by grasping the top or by compressing the sides, you may break it. If glazed ware is lifted by either of those two methods, you may break off some of the coating of glaze. If possible, get both hands or fingers of both hands under every project and lift without sliding.

If a greenware project has thin to medium walls, 6 to 8 hours in a hot drying cabinet kept at about 175°F will dry it. If the walls are extra thick, leave it in the hot cabinet for several days.

If you suspect a piece has a hollow area, check to see that it has an air escape hole so it won't blow up in the kiln. I f for any reason you suspect a project nfight damage itself, the other students' projects, the kiln, or the kiln furniture, put it aside.

Stacking for bisque firing is much more efficient than for glaze firing. A project may nest inside another, sit on top of another, touch another, or even touch the wall of a muffled kiln. In nesting, consider strength, support and shrinkage. The walls of the lower projects must be strong enough and of such engineering that they will support the weight above. The foot rings (or rims) must be one above another.

When nesting, the outer pieces nmst not shrink enough during firing to

lock the pieces together or to crack either piece. The inner piece nmst be smaller by ¼ inch all around if the two pieces are of different clay bodies; it must be ~ inch smaller if the same body.

It's safer to put low-fire clay inside high-fire clay than vice versa. At bisque conditions, the low-fire clay will probably shrink more than high- fire clay.

If the shelf is level, bowls may be bisque fired upside-down. With pieces not symmetrical, you need to consider the centers of gravity and the effect of gravity on the pieces when they get softened in the heat.

When stacking glazed ware, blow away (or otherwise gently remove) any foreign material that has fallen on it while it was waiting to be fired. Handle glazed pieces as gently as greenware. The coating of dry glaze materials breaks and falls off or gets rubbed off all too easily.

Casseroles are usually fired with the lids on to help control warpage and fit. If there is glaze between the lid and pot, don't fire the project. If you think the glaze is close enough or fluid enough to run down between the lid and pot at maturity, reject it also.

I f you think glaze will drop or flow onto the kiln shelf, take a piece of broken shelf, put on it a thick coating of kiln wash, and set the project on the kiln wash.

If a piece is unstable, make an extra thick layer of kiln wash and sink the bottom of the piece into the kiln wash while it still is wet. When the kiln wash dries, it will give some support to the project.

If at all practicable, stack a piece in the kiln the way the student sets it on the rack. After a student has had a few pieces fired, he usually has a good reason for setting it on the shelf the way he does.

Also, if practicable, try to get units of sets in the same firing and in the same part of the kiln. You can even


November 1968 25

Two-Tone Slab Inlay by ROBERT F. EILENBERGER

MANY CERAMISTS TODAY are handbuilding a number of their pottery pieces, or combining hand-built segments with portions turned out on tile potter's wheel. By using either of these techniques, the craftsman can enjoy a more leisurely pace as he forms or assembles the various segments. Too, preparing flat clay slab forms and joining them by slotting or welding with a knife, rolling pin, or the fingers is more likely to result in work with greater personality.

Some potters enjoy working with two or more different colored clays in making a piece of pottery, but in so doing they must have more than a casual interest in the performance of the varied clays that are used. The matter of prime concern, of course, is the degree of shrinkage that takes place between the clays, since it must be relatively uniform to insure a compatible union. Work- ing with [amiliar clay bodies is the best way for the potter to be certain of their drying and firing behavior.

There are several ways to keep the shrinkage of your clay uniform. The best way is to add coloring material to a basic white-or buff-firing clay. The addition of

1. A box core is selected, covered with cloth, then measured with paper to provide a pattern.

2. The paper pattern is used to cut a clay slab large enough to encircle the box.

3. An opening is cut in the slab to dc[iple the crea o[ the two-color inlay design.

4. The cut-out slab is cut into strips and these strips are rolled into coils.

26 Ceramics Monthly

Barnard or some other natural slip clay that is high in iron content will bring some degree of a tan-to-deep- brown-color to a single clay. If you are not familiar with such additives to your clay, this is a good place to start. Basic red and buff clays can be combined, but too often the results are not as pleasing as are the earthy brown tones. Of course tests of clays new to the potter should be made in order to avoid disappointment later on.

When you are reasonably aware of the behavior of two different colored clays, you are ready to start work. I suggest starting by combining only two clays; after you have experienced some trial-and-error of your materials, you can use variations on a two-tone theme. Certainly when you begin you must have some plan for the shape and design of your pot, but it is always exciting to me to start working with the two clays because the design often becomes somewhat unpredictable as it progresses.

Inlaid potter}, can be a marketplace for ideas that are tailored to your individual choice of design. I have made some pottery simply by combining finger-slzed coils of clay placed on a flat surface side-by-side and

rolling them out with a rolling pin under a cloth to make a solid slab. If you are alternating colors of clay for every' other coil, the resulting slab will be striped. Instead of the finger-coils, squares, triangles, or diamond shapes of two colors of clay can be cut, placed side by side, and rolled out to make a solid slab in an inlaid design. These are good ideas to start out with. They are simt)le but I am sure you will agree you will bring out of your kiln some interesting pieces of pottery.

A technique that I enjoy using is the inclusion of inlaid coils in an opening that has been cut out of a slab and using this filled-in and rolled-out slab to form a draped, molded or combined slab pot. Uniform slab thickness, correct welding of the seams, and proper time allowances for stiffening the clay slabs are important. After you have the knack of carrying out the correct disciplines necessary to keep a slab pot or object whole during the drying and firing cycle, the enjoyment you get certainly will be rewarding.

To work with this technique, select a box or object that you can use as a core for shaping your two-toned

5. Design units o[ two-color clays are arranged in the opening cut in the slab.

6. All spaces are [illed in with coils and wads to complete and cover the design area.

7. The clay is covered with a cloth and gently rolled to consolidate the added clay.

8. The box is placed over the slab in a position that will best display the inlaid design.

November 1968 27

i |

9. The clay is care[ully bent around the corners o[ the box in order to avoid sharp corners.

slab. Cover the core object neatly with a cloth and tape the edges smoothly so it will not only be neat but will be easy to handle. The cloth prevents the clay from sticking to the box. Leave the cloth loose at the top flap of the box so you can slide the box out first, and then the cloth, after the clay has stiffened. After you cover the box, cut a piece of paper the size that will represent the area of the box sides. Next, roll out a slab of clay about one half inch thick (or less if you prefer), place the cut-out paper pattern over the slab, and cut the slab to the pattern size. This portion of your pottery can be of either the light or dark clay, whichever you choose for the basic color of your pot.

Next you must decide how large you want the inlaid design opening in the slab to be. In the demonstration piece, the space at top and bottom is 5 inches, with 6 inches left for the center inlaid design. Do not, however, extend the cut-out opening too far left and right, as the

~'ii!il

J

I I. The box is placed upright on a slab that is slightly larger than the base.

12. The excess clay is incorporated into the upper

28 Ceramics Monthly

lO. Ends o[ the slab are joined together with the /ingers or a kni[e.

less frame you have around the inlaid design area, the more difficult it will be to form the pottery piece with this slab. When you have determined where this inlaid design area will be, cut it out of the slab with a knife. Keep the knife upright so you will cut your clay at a 90-degree angle. This will make the edge as vertical as possible. Lay the cut-out portion of clay on your work surface and cut it into narrow strips about the thickness of the slab. From these strips you can make your finger- sized rolled coils to form the design portion of the two- toned slab area. Do the same to a rolled-out slab of the other color clay you have selected to use. Roll all of these strips into coils, just as you would do for building by the coil method.

The design you make should be your own. "Cart- wheels" can be made and combined with alternate color~ of coils for a stripe effect. Squares or diamond shapes cut from the slab (instead of coils) are effective also.

structure to become a part o[ the pot.

13. When the clay has sti[[ened, the supporting core is removed.

Place the "'frame slab" on a cloth, then arrange the various design units in the center opening. All spaces must be filled either with straight or curved coils. Small wads should be tucked into corners when necessary to completely fill the design area. One important thing you must remember is to have the coils no higher than the thickness of your frame slab. If you do, this will decrease the depth of the markings that divide the two colors of your clay and make the design less attractive. When you have put all the inlaid coils into their proper places, cover the piece with a cloth. Use a smooth cloth or you will have dents in the surface when you go over it with the rolling pin.

Next, take the rolling pin and gently roll the surface. Do not press too hard, as you do not want to thin out the slab too much or obliterate the design. When this is done, take a look at each side but do not disturb the slab any more than you must. Often I find one side is better looking than the other. When you decide which side you want to show, keep that side face-down on the cloth and remove the other cloth you used for rolling.

Next, place your covered box on the slab in a position that will best display the inlaid design. Carefully pull one end of the slab at a time around the box core, using the cloth as a help. When you bend clay around a sharp comer, be sure you do not make the thickness of the slab thinner at that point. If you do there is a chance that the pot will crack in the firing. Keep the same thickness by carefully and slowly bending the clay around the corners. Join the slab ends with your fingers or knife.

Next, set the box upright on a slab of clay that is about ~- inch larger all around than the bottom of the pot. This extra clay is brought up with knife or fingers and welded to the sides. Do this carefully so the seams will join it securely to become part of the pot. As soon as the clay has stiffened enough to be self supporting, the box core is removed. In some of the pots I have made in this fashion, I have added a neck and spout portion directly to the inside of the top of the slab, leaving a ledge the thickness of the original slab. I have used the same clay, or contrasting color for this, as I have also for spouts or handles. Some of us like spontaneous markings left in our pottery, others prefer a smoothness. If the ledge is left, it shows a portion of your original working procedure and also preserves much of the character of your material.

Much handbuih pottery shows to its best advantage if the texture of its surface is exaggerated. A stain or glaze that darkens the depressions of the texture enhances the two-toned pottery and draws it into a wholeness. Black or dark-toned matt or bright glazes will do this if tiae glaze is applied to the bisque ware and wiped off the higher areas with a wet sponge. There are also prepared stains that will give you this same effect. The thing you have to consider is whether matt or gloss results are the most pleasing to you. Barnard (or Blackbird) slip applied and wiped off gives a dull effect but may not be dark enough for distinct contrast when fired at low temperatures. No matter how you use the techniques, the effect of the two-toned slab and the inlaid areas will bring to your work a new dimension and satisfaction.

j 5

Alternating colors o[ coils are used to make the banded bottle pictured at top.

Squares of two tones o[ clays are placed in checker-board pattern (center) to make the bottle.

Dark and light coils are placed in a swirling pattern to produce the pilgrim bottle at bottom.

November 1968 29

ORDER ANY OF THESE SELECT TITLES ON OUR MONEY-BACK GUARANTEE. WE PAY POSTAGE. 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. $7.50

DESIGN MOTIFS OF ANCIENT MEXICO by Jorge Enciso. A compilation of 766 examples divided into geometric, natural and artificial forms. Includes designs based on flowers, birds, fish, human figures, etc. 170 pages. $2.25

ENAMELING ON METAL by Oppi Untracht . Step-by-step photos are used to describe fundamentals on through to newly developed experi- mental styles. This complete guide is a major contribution to enameling. $7.50

CREATIVE CLAY DESIGN by Ernst Rottger. A wonderful aid to those who are learning and those who are teaching others how to explore the creative possibilities of clay. $5.50

CERAMICS by Glenn C. Nelson. A new. revised and enlarged edition of a favorite title. An outstanding handbook for potters and teachers. 331 pages, hardcover. $7.50

CERAMIC SCULPTURE by John B. Kenny. Contains over 1000 photos and sketches covering all phases of the sculptor's art. A valuable aid for all craftsmen. $9.95

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

CERAMICS FOR THE ARTIST POTTER by F. H. Norton. The most complete book on the subject, from choosing the proper clay to putt ing the final touches on a piece, all clearly explained. Ce- ramics at its best! $7.95

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

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

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

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

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

HANDBOOK OF DESIGNS AND DEVICES by Clarence Hornung. Over 1800 sketches of b:lsic designs and variations including the circle, line, scroll, fret, shield, snow crystals and many more useful symbols. $2.00

CERAMICS AND HOW TO DECORATE THEM by Joan B. Priolo. Mrs. Priolo gives detailed descriptions and illustrations of dozens of decorating techniques and shows how to use them. $6.95

THE TECHNIQUES OF PAINTED ATTIC POTTERY by Joseph Noble. This lavish book unravels the methods used by the famous Athenian potters and vase painters to produce the greatest pottery in ancient European art. Beautifully illustrated - - a wonderful gift. $17.50

MOSAIC TECHNIQUES by Mary Lou Stribling. This unique book gives a glimpse of the tremendous potential of mosaics as a medium for personal expression, and will stimulate the curiosity of beginner and professional craftsman alike. $6.95

CERAMIC SCULPTURE by Betty Davenport Ford. The author leads the reader to a high level of pro- fessionalism in the design and technique of an ancient craft. Animal, human, plant and abstract forms. $5.50

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

POTTERY & CERAMIC SCULPTURE by Herbert M. Sanders. A new, thoroughly revised edition of Mr. Sanders' best seller, Ceramics Book. Completely up-dated with new material, including section on how to build a potter's wheel. Excellent for beginners. $1.95

MAKING POTTERY WITHOUT A WHEEL by F. Carlton Ball and Janice Lovoos. This comprehensive and richly illustrated book covers every phase of handbuilding and decorating clay pieces. No book has covered the subject of texture and form more effectively. $9.95

A POTTER'S BOOK by Bernard Leach. Now in its tenth American edition, this book is a must for every potter and student of ceramics! It deals with Japanese raku, English slipware, stoneware, and Ori- ental porcelain. $8.75

STEP-BY-STEP CERAMICS by Jolyon Hofsted. In this complete introduction to ceramics, the beginner is led through all of the basic clay forming and decorating processes by means of fully illustrated step-by-step instruction. There are special sections on the Potter's Wheel, Glazing, Firing a Kiln, Building Your Own Kiln, Dec- orating Techniques and Raku. $1.95

MAKING CERAMICS by Lis and Hans Lundkvist. This text demonstrates some of the simplest methods of handling and shaping clay. Con- tents include forming pieces by hand and with the potter's wheel, decorating with glazes, recipes for glazes, making plaster molds, casting, firing, construct- ing a wheel, and directions for building a raku kiln in the backyard. $4.50

SELLING YOUR CRAFTS by Norbert N. Nelson. In a concise, step-by-step presentation, this book leads you through the actual stages necessary to sell successfully what you produce. Such diverse channels of sales as wholesale, retail, mail order and specialty markets are covered - - with the advantages and disadvantages of each type of selling. $5.95

HANIWA: THE CLAY SCULPTURE OF PROTOHISTORIC JAPAN by Fumio Miki. This outstanding book contains nearly 100 dramatic photographs of notable Haniwa masterpieces - - the clay figures that decorated graves of emperors and lords. The accomp.any- ing text is outstanding. Comes an a handsome slipcase and makes a wonderful gift. Was originally priced at $8.75 per copy. now $6.95

BERNARD LEACH: A POTTER'S WORK Introduction by J. P. Hodin. This latest book by Mr. Leach covers 55 years of his work from 1911 to 1966, showing photographs of his pots and sketches from his notebook that he feels are representative of each period, including raku, stoneware, slipware, salt-glaze ware, and enameled porcelain. $I0.00

THE WORLD OF JAPANESE CERAMICS by Herbert Sanders. The first broad coverage in text and photos of the modern and historical ceramic techniques of Japan! This handsome book illustrates in detail the forming and decorating processes and the many unique tools used by the potters of Japan. Includes glaze formulas, glaze color charts, and American equivalents of Japanese glaze compositions. Has slipcase. $12.50

. . . . 4 ; 4 - - - BOOK D E P A R T M E N T 4175 North High St., Columbus, io 3

[_~ Rhodes--Clay & Glazes $7.50 Enc;s~Design $2.25

[ ] Untracht--EnamelincJ $7.50 [ ] Rottqer--Creatlve Clay $5.50 [_-7 Nelson--Ceramlcs $7.50 [ ] Kenny--Sculpture $9.95 [ ] Kenny--Pottery $7.50 [ ] Norton--Artist Potter $7.95 [ ] Kenny--Design $9.95 [ ] Ecjbert--Brush $3.95

[ ] Rhodes~Stoneware $7.50 [ ] BaH & Lovoos--Pottery $9.95 [ ] Kinney--Glass Craft $7.50 [ ] Leach--Potter's Book $0.75 [ ] Parmelee~Glazes $8.00 [ ] Hofsted--Ceram;cs $1.95 [ ] Hornunq--Desiqns $2.00 [ ] Lundkvist [ ] Priolo--Ceram;cs $6.95 reMaking Ceramics $4.50 [ ] Noble--Attic Pottery $17.50 [ ] Nelson--Selling Crafts $5.95 [ ] Stribllng--Mosa~c $6.95 [ ] Miki--Han;wa $6.95 L~ Ford--Sculpture $5.50 [ ] Leach--Potter's Work $10.00 [ ] Wildenhaln--Pottery $9.95 [ ] Sanders~Japanese $12.50 [ ] Sanders--Pottery $1.95

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ADDRESS

CITY STATE ZIP I enclose [ ] Check [ ] Money Order. [Ohio residents: add 4% Sales Tax)

Titanium Glazes BY RICHARD BEHRENS

TITANIUM, a metal found in small amounts in most clays and nonplastics, when used in significant amounts in the glaze can prove a useful addit ion to the potter's formulary. I t may be used to produce opacity, color, and texture to the glaze.

The two compounds of t i tanium that are the primary sources of tita- n ium are ruffle and the relatively-pure white t i tanium dioxide. Rutile is a mineral forln of this oxide admixed with iron oxide and other minerals. Used in glazes, it acts nmch like the pure chenfically refined t i tanium but introduces an iron coloration.

Titanium diovide dissolves freely in the average molten glaze but most of it separates in crystalline form as the glaze cools. These fine crystals produce a smooth matt opacity and, when the glaze is slowly cooled, may produce crystals that are visible to the naked eye. When present in the glaze in substantial amounts, it may appear as segregated islands in the glaze and yield an interesting pattern. T i t an ium can form colored compounds with a number of oxides, such as the yellows formed with lead, nickel, and several other metallic oxides. When added to lead-containing glazes, a yellowish pigmentat ion results. Through its opacifying effect, it often produces pleasing nuances of color when used with the usual oxide or carbonate colorants. Cobalt colors are often thrown to the green side, while copper tends to move to the blue-green side.

A number of glazes which typify the influence of t i tanium dioxide in the glaze are as follows:

GLAZE I (Cone 03) Lead Monosilicate . . . . . . . . . . 52.7 % Zinc Oxide . . . . . . . . . . . . . . . . 7.5 Whiting . . . . . . . . . . . . . . . . . . . 3.1 Barium Carbonate . . . . . . . . . . 6.3 Kaolin . . . . . . . . . . . . . . . . . . . . 13.8 Flint . . . . . . . . . . . . . . . . . . . . . . 16.6

100.0% Add: 5% Titanium Dioxide

This glaze gives a pleasing t i tanium matt.

GLAZE II (Cone 2) Nepheline Syenite . . . . . . . . . . 69.3 % Frit P-54 (Pemco) . . . . . . . . . 10.2 Whiting . . . . . . . . . . . . . . . . . . . 20.5


This glaze results in a smooth opaque white coating.

GLAZE l I I (Cone 2) Lithium Carbonate . . . . . . . . . 7.5% Lead Monosilicate . . . . . . . . . . 33.1 Zinc Oxide . . . . . . . . . . . . . . . . 10.8 Kaolin . . . . . . . . . . . . . . . . . . . . 17.3 Flint . . . . . . . . . . . . . . . . . . . . . . 31.3


A typical mat t t i tanium oxide glaze.

GLAZE IV (Cone 4) Zinc Oxide . . . . . . . . . . . . . . . . 20.0% Strontium Carbonate . . . . . . . . 6.8 Nepheline Syenite . . . . . . . . . . . 20.4 Lithium Carbonate . . . . . . . . . 8.4 Kaolin . . . . . . . . . . . . . . . . . . . . 5.8 Flint . . . . . . . . . . . . . . . . . . . . . . 31.4 Titanium Dioxide . . . . . . . . . . . 7.2

100.0% Add- 2.5% Copper Carbonate

In the average firing this glaze will produce clusters of acicular crystals. When cooling is slowed, these crystals may be increased in size. In common with most crystalline glazes, this glaze runs; pots glazed with it should be fired on a firing ring supported in a bisqued saucer form. (The firing ring and saucer were described and pictured in Marc Hansen 's article, "Zinc Silicate Crystal Glazes," in the April 1966 issue of CM.)

GLAZE V (Cone 6) Frit 33 (Hommel) . . . . . . . . . 49.0% Nepheline Syenite . . . . . . . . . . 11.4 Whiting . . . . . . . . . . . . . . . . . . . 2.6 Lithium Carbonate . . . . . . . . . . 3.8 Flint . . . . . . . . . . . . . . . . . . . . . . 23.0 Titanium Dioxide . . . . . . . . . . . 10.2

100.0% Add: 2.5% Copper Oxide and

2.0% Molybdenum Oxide A bril l iant crystal-producing glaze. Should be fired and cooled as described for Glaze V.

GLAZE VI (Cone 6) Potash Feldspar . . . . . . . . . . . . 41.3% Whiting . . . . . . . . . . . . . . . . . . . 14.9 Zinc Oxide . . . . . . . . . . . . . . . . 12.0 Kaolin . . . . . . . . . . . . . . . . . . . . 4.9 Flint . . . . . . . . . . . . . . . . . . . . . . 26.9


Number VI is a light opaque glaze.

. ~ - " *~ '~ '~ ,e "~ / . , , f ~ ' * ~ ~ " - ~ ,. ~ l l l k ~ ~'~';d, ::, ~

Macrophoto o/ glaz, ~4 , [icc times normal size, shows clusters o[ needle- like crystals.

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Write for complete Kemper Cafalog enclosing S0c (coin or stamps) for postage and handling. Please include your Zip Code Number with address.

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November 1968 31

I T I N E R A R Y Continued [rum Page 11

COLORADO, DENVER

November 3-23 The Sixth Annual Ex- hibition of Colorado Artist Craftsmen, joint show with the Rocky Mountain Weavers Guild; at Tenlple Buell College Fine Art Center.

COLORADO, DENVER

through November 17 "140 Years of Danish Glass," circulated by the Smith- sonian Insti tution; at the Denver Art Museum.

COLORADO, PUEBLO

Novenzber l Eighth Annual "Own Your Own" exhibition and sale; Southern Colorado State College.

DELAWAR E . WILMINGTON

November 17-December 19 "Contem- porary Crafts for Christmas Giving," the 12th annual show of the Wilmington So- ciety of the Fine Arts; at the Delaware Art Center.

FLORIDA, DELAND

November 9-27 The 18th Annual Flori- da Craftsmen Exhibition, a juried show that includes work in ceramics, glass, enamels and tither crafts. At Stetson Art Gallery.

11,LINOI6, CHAMPAIGN

through December 8 "'Tunisian Mo- saics," circulated by the Smithsonian In- stitution; at Kranner t Art Museum.

ILLINOIS, CHICAGO

through November 17 "Art of the Korean Potter," at the Chicago Art Insti- tute.

I NDIANAj GREENCASTLE November 24 December 18 The

Seventh DePauw Ceranfic Show of work by Indiana residents; at the DePauw Uni- versity Art Center.

INDIANA, INDIANAPOLIS

November 10-24 The ! l t h Annual "Art for Religion" Exhibit shows work in liturgical crafts; Bethlehem Lutheran Church.

IOWA, MASON CITY

through November 6 The All-Iowa Crafts Exhibition and Fall Crafts Festival; at MacNider Museum.

MANITOBA, WINNIPEG

November-December "Invitat ion I," circulated by the Canadian Guild of Pot- ters; at the Winnipeg Art Gallery.

MARYLAND, BETHESDA

through December Pottery by Petronel-

la; at the Chevy Chase Galerie.

MASSACHUSETTS, LEXINGTON

November 15-16 Annual Fair of the Lexington Arts and Crafts Society; at the Art Center, 130 Waltham St.

MISSOURI, SPRINGFIELD November 3-December 1 The 38th An-

nual Ten-State Regional Exhibition; at the Springfield Art Museum.

NEVADA, LAS VEGAS

November 3-Deeenzber 2 The 12th An- nual National Art Round-Up includes work in ceramics; at the Las Vegas Art League.

NEW JERSEY, NEWARK

through March 30, 1969 Amlash Pot- tery; at the Newark Museum.

NEW JERSEy, SOUTH ORANGE

November 22-23 Crafts Exhibition and Sale by members of the "First Mountain Crafters," at the First Presbyterian and Trinity Church.

NEW MEXICO, ALBUQUERQUE

Continuing Indian Pottery Exhibition, a major show of Pueblo pottery, covers a time span of 1500 years and contains nearly 300 examples. At the University of New Mexico Museum of Anthropology.

DECORATING POTTERY with clay, slip and glaze by F. Carlton Ball Many techniques for decorating pottery are presented for those who want to explore the possibilities of surface enrichment but lack skill or confidence in drawing and painting. The methods devised by Mr. Ball provide some simple means o| decorating with clay, slip, and glaze. Beautifully illustrated. 64 pages $3.00

m

[ - - W E PAY POSTAGE i CERAMICS MONTHLY Book Department I 4175 N. High St., Columbus, Oh;o 43214

I Please send me the following: I [ ] DECORATING POTTERY @ $3 I"--] POTTER'S WHEEL @ S4 I

I [ ] U.DERGU~ZE DECO,~T,ON e " [ ] CERA.,C PROJECTS e S2 I co,'.tR ENA.ELING ~ S2 [ ] "RUS. OECORAT,O. ~ S3

I Name I Address

I City State Zi .,':. I I enclose [ ] Check [ ] Money Order

(Ohio Resldenrs add 6% sales tax.) L DEALER INQUIRIES INVITED I

I

32 Ceramics Month ly

order these other famous CM Handbooks

THROWING ON THE POTTER'S WHEEL by Thomas Sellers Here's a complete manual on how to use the potter's wheel. Covers all basic steps [ram wedging clay to making specific shapes. 80 pages $4.00

CERAMIC PROJECTS edited by Thomas Sellers Outstanding group of projects for the classroom, home and studio. Fountains, planters, jewelry, bot- tles, and bowls are included. 64 pages $2.00

UNDERGLAZE DECORATION by Marc Bellalre This complete handbook has all the answers on ma. ter;als, tools and technique. Step-by-step projects are profusely illustrated. 64 pages $3.00

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

64 pages $2.00

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

NEW YORK. CANTOX

through November 10 "Islaniic Art from the Collection of Edwin Binney I I l , " circulated by the Smithsonian Institution. at St. Lawrence University.

NEW YORK, NEW YORK

through November 10 Jex~elry by Arline Fisch and Ceramics by James Leedy; at the Musemn of Conteniporary Crafts.

NEW YORK, NI::~A" YORK

through Junu,,zry 19, 1969 Guatemalan Exhibit features selected examples of Maya ceramics and ~ther crafts presented on the opening of the 23rd Session of the Gen- eral Assembly. The United Nations. At the Metropolitan Museum of Art.

NEW ~'ORK, SYRACUSE

November 24-January 12, 1969 The 25th Ceramic National, sponsored by the Everson Museum: at the new Museum building.

NORTH CAROLINA, RAI,EIGH

through November 3 "Craftsmen of the City," Srnithsonian Institution show; at North Carolina State University.

NORTH CAROLINA, ~VINSTON-SALEbI

November 15-16 The Fifth Annual Crafts Fair of the Piedmont Craftsmen, Inc., will he held at Memorial Coliseum.

OHIO, CLEVELAND

through November 24 Art of the Yflan Dynasty: Chinese Art under the Mongols: at the Cleveland Museum of Art.

OHIO, COLUMBUS

November 17 - December 20 Ceramics IW Clyde Burt, Bruce Chesser, and Tom Shafer: at Wehrle Gallery, Ohio Domin- ican College.

OHIO r TOLEDO

through November 17 The Second To- ledo Glass National: at the Museum of Art.

TEXAS, AUSTIN

through November 17 "Art of Ancient Iran" covers the period from 1000 B.C. to 1000 A.D.: at the University of Texas Art Museum.

TEXAS, DALLAS

through November 24 "Southwest Craftsmen 1968," competitive regional show; at the Dallas Museum of Fine Arts.

VV'AS HINGTO N, SEATTLE

through November 24 "Chinese Trea- sures from the Ave D. Brundage Collec- tion," at the Seattle Art Museum.

WISCONSIN, PLATTEVILI.E

November 24-Deceniber 14 Pottery by Ava Fernekas; at the Student Center Galleries, Wisconsin State University.

WISCONSIN, ~,~rA U SAU

November-December Wisconsin Design- er-Craftsmen Traveling Exhibition; at the Marathon County Historical Society.

to do the job Three 0rt0n cones are the

best firing insurance y o u

can I~ave. The guide cone lets you know the ware is

' approaching maturity, and the f ir ingcone lets you know the firing is at the correct point. Deformation of the guard cone indicates you have gone beyond the

• I ~ . " ~ I A f Firing best point in the time-and- k ~ L [ ~ ' " V Cone temperature relationship. Guart

~ 1 1 ~ 1 # ~ Guide = Cone '~g" Cone Orton cones are small, and require a rain-

The Edward ORTON Jr. Ceramic

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Columbus, Ohio 43201

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

Learn more about 0rton Standard Pyromet. ric cones and how they can help you to better, more uniform firing results. Ask your dealer for a free copy of "0rton Cones and their Importance to the Hobby P0tter".

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OUR. THANKS . . . . to the ceramic industry for helping us grow into our new, modern plant

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.Vovcmbcr 1968 33

Potters • Sculptors • Teachers •

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

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C E R A M A C T I V I T I E S people, places and things

PIEDMONT CRAFTSMEN FAIR The Piedmont Cra[tsmen, Inc., will

present their fifth a n n u a l Craf ts Fai r November 15-16 in Memor ia l Col iseum, Wins ton-Sa lem, N.C. T h e crafts g roup is a Southeas te rn regional organizat ion com- posed of 117 c ra f t smen and 79 associate member s ; its purpose is to promote the crafts of the area and provide the crafts- m e n with a sales outlet for their work.

Trad i t iona l and m o u n t a i n crafts will be shown at the Fair, bu t the major i ty of the crafts are contemporary , one-of-a-kind items. These include pottery, jewelry, ename l ing and glass. One of the highl ights will be the Cra f t smen ' s Choice booth, where each c ra f t smen will show wha t he ccnsiders to be the finest example of his craft. Ano the r popula r booth will be the

Chr i s tmas Bout ique, which features un- usual i tems m a d e by both associate, and c ra f t smen members . Pic tured is an overall view of the 1967 Craf t Fair.

I n addi t ion to the a n n u a l Fair, Pied- m o n t Cra f t smen sponsor a Cra f t Shop located at 614 South M a i n Street in Old Salem. Th i s shop is open year a round . Mrs. Millie Crutchfield is executive vice pres ident of the g roup ; Mrs. Robert El- berson is c h a i r m a n of the promot ion com- mittee.

VERGETTE SHOW AT PADUCAH Nicholas Vergette, ceramis t and asso-

ciate professor of ar t at Southern Illinois University's Carbonda le campus , will take par t in the Arts Festival a t the University of Kentucky Community College at Padu- cah. He will conduc t workshops and give several lectures and , in addi t ion, have a one -man exhibi t ion of his own work for this November event.

In Sep tember and October Mr. Verget te held a one -man exhibi t ion of large ceramic pieces designed as a rch i tec tura l sculp ture at Kansas State Teachers College in Emporia . Th i s past s u m m e r Mr. Verget te conduc ted the ceramic workshop at the New Harmony Summer Craft Center.

LEXINGTON FAIR ANNOUNCED T h e a n n u a l Fair of the Lexington

(Mass.) Arts and Crafts Society will be held at the Art Center, 130 W a l t h a m Street, on November 15-16. All work for sale is h a n d m a d e by the nearly 400 m e m - bers who suppor t the Society. Proceeds f rom the sale of the dona ted articles help suppor t the Ar t Center . Mrs. Bernice

Parsons, writ ing in behalf of the Craf ts group, reports tha t the Fai r is "a Christ- mas shopper ' s paradise ."

TEXAS DESIGNER-CRAFTSMEN NEWS ]ohn Mason, ceramis t f rom Los Ange-

les, was the guest speaker at the a n n u a l conference of the Texas Des igner -Cra f t smen in Aus t in on April 20th and 21st. T h e conference meet ings were conduc ted at the University of Texas art building, with Paul P. Hatgil, outgoing president of the organi- zation, presiding. O n April 21st the Uni - versity of Texas Art M u s e u m opened the T .D.C. exhibi t ion of ceramics, textiles, jewelry, st i tchery, and enamel-work in the R o o m 17 Gallery. T h e exhibit was on view th rough June 1.

New officers elected at the conference were Mrs. Richard ]. Gonzalez, pres ident ; Dena Todd, vice-president ; and Mary E. Heickman, secretary-treasurer . All the new officers, who will govern the T .D.C. for a two-year term, are f rom Hous ton , Texas. O u t g o i n g officers were Paul P. Hatg i l of Aust in , Texas , pres ident ; Barbara Roberts of San Marcos, v ice-president ; and Betty Culley of San Marccs . secretary-treasurer .

A nat ive of Nebraska, John Mason (p ic tured) was educa ted at the Otis Art Institute and the Chouinard Art Institute, both in Los Angeles. He is an associate

professor of ar t at the University of Cali- fornia at Irvine. His work has been exhibit- ed widely in the Un i t ed States and in in te rna t iona l shows in Europe, South Amer ica and Japan . Mr. Mason ' s ceramics are represented in the collections of the Chicago Art Institute, Pasadena Art Mu- seum, Museum of Contemporary Crafts, and in n u m e r o u s pr ivate collections. In addi t ion to the address he delivered at the T .D.C. banque t , Mr. Mason presented a public sl ide-lecture at the universi ty unde r the sponsorship of the Ar t Depar t - ment .

Founded in the early 1950s by a group of Texas craf t smen, the T .D.C. sponsors a yearly conference and exhibi t ion to provide a forum for the exchange of tech- n iques t and ideas a m o n g the pract ic ing ar t isans f rom all over the state.

34 Ceramics Monthly

NCMA OFFICERS CHOSEN

The National Ceramic Manu/acturers Association held its annual membership meeting and Trade Show in New Orleans in July and selected officers and directors. Re-elected to serve as President was T. E. Greenstreet; Frances Darby, Secretary; and Florence Roberts, Treasurer. The new

Vice President is ]ack Kemper. Elected to a three-year term on the Board of Direc- tors was ]ay Cress, as was Greenstreet and Mrs. Darby. William MacMillan, ]r., is the group's Executive Secretary. Pictured are the new officers and Board members of NCMA. Seated, front row, left to right, are Jack Kemper and T. E. Greenstreet; standing are: Jules Bayer, Phil Skutt, Frances Darby, Frank Hollendonner, Flor- ence Roberts, ]. ]. Cress, and George Klinetsky.

YUAN WORK IN CLEVELAND

More than 300 works of art from the Yuan dynasty (1279-1368 A.D.) are being shown at the Cleveland Museum o[ Art in a major exhibition, "Chinese Art Under the Mongols." Despite the fact that this 90-year period was one of the most creative and productive in Chinese cultural history, the Yuan art has not been the subject of such a presentation as is being given in Cleveland. The show, which was assembled by Dr. Sherman E. Lee, the Museum director, and Wal-kam Ho, Curator of Oriental Art, consists of 306 works, many of which are being shown publicly for the first time. Included are ceramics, metal objects, and sculpture.

Political life in the Yuan period was controlled by the Mongols, but the art of the time remained stubbornly Chinese. The importance of the period, according to the Museum, lay in its power to change the nature of Chinese art, bringing about important innovations in porcelain, lacquer, and painting; at the same time, the dynasty's artists forged the aesthetic standards for its well-known Ming and Ch' ing successors.

The exhibition remains on view in Cleveland until November 24; then it will travel to New York and appear at Asia House from January 9-March 2, 1969.

CERAMIC SPECIALIST NAMED

]ohn Ruddley, Director of the West- chester Art Workshop in White Plains, New York, has announced that Charles Hindes, a graduate of the Rhode Island School o[ Design with a BFA and MFA in ceramics, has joined the faculty of the Workshop as ceramic specialist. In addition, Phyllis


A SPECIAL ANNOUNCEMENT

The Chi l ton Book C o m p a n y has j u s t announced t h a t t he i r new book by Daniel Rhodes, Ki lns : Design, Construction and Fir ing , will be ava i lab le in abou t 60 days. Mr. Rhodes, as mos t r eade r s of Ceramics Monthly know, is the a u t h o r of two h igh ly successful books in the Chi l ton A r t and C r a f t series , S toneware and Porce la in and Clay & Glazes.

As soon as th i s new book is ready, the Chi l ton Company will be r u s h i n g copies to us f o r our Book D e p a r t m e n t cus tomers . I f you would like to r e se rve a copy f r o m th i s f i r s t sh ipmen t , we would sugges t t h a t you send in an order now. We will pay pos t age and sh ipp ing cha rges on all o rders and, of course, the book will c a r ry our usual money-back g u a r a n t e e . The book is pr iced a t $10.00 pe r copy.

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November 1968 35

Have you sent for our GLASS TECHNIQUNS? # 4 ~ M a y . . . send stamped, self-addressed envelope. Are you doing D E C O U P A G E FOR

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C E R A M A C T I V I T I E S Continued from Page 35

Baker Hammond, a graduate of Tufts University and the Boston Museum School, and James Howard, a graduate of the Uniz~ersity o[ North Carolina, will join the faculty and specialize in teaching ceramics.

CLEVELAND MAY SHOW The 50th May Show of the Cleveland

Museum of Art opened on May 1 and displayed a diversity of expression and medium. The exhibition was made up of 259 works produced by 190 Northeastern Ohio artists and craftsmen. A seven-man jury selected the show from 2620 entries. Among the judges were E. ]. Wiener, New York jeweler; ]. C. Schlanger, potter from New Rochelle, N.Y.; and Thomas Kyle, Museum of Contemporary Crafts, New York. Among the prizes awarded in all categories was a special $1000 prize that went to Letitia Eldredge of Cleveland for pottery. Her entry, "Parasite Lost,"

¢,!

glazed stoneware, is pictured. Cited for Special Jury Mention in crafts was Claude Conover, Cleveland.

With a half-century of history tucked behind it, Museum Director Sherman E. Lee noted that the May Show has become

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most up-to-date innovations advanced at other and more important art centers. He observed, "This current exhibition is the first I have seen that reveals awareness of what is happening at the same time the exhibition takes place. In a general sense this cannot but be welcomed. Quality within a style is all that counts; but artists have almost always valued the new idea, the up-to-date." Dr. Lee explained that vast and immediate visual communication systems are in part responsible for keeping abreast and for the development of artistic ideas. Dr. Lee also pointed out in the introduction to the show catalog that it is becoming unfeasible to categorize objects as paintings, sculpture, prints, textiles, etc. Media are increasingly mixed or un- classifiable.

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

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STACKIN( ; T I l E K I L N

Continued [ram Page 25

go so far as to plan to stack lids on the shelf directly above their respec- tive jars.

We like to stilt practically all beginners' low-fire projects, even though they have bare foot rims. There are many beginners who get back projects on which the glaze has flowed around and under the cleaned feet. Maybe it results from too thick an application; maybe a mixture of incompatible glazes; maybe a low-low-fire glaze from some other school or from a well-meaning friend.

The aim in stilting is to get the stilt marks as far inside the edge as possible, yet close enough to the edge to support the piece. Think about the effect of gravity, the strength of the bottom, and where the thick foot area nfight be.

Usually three support points are enough. If you think you need more, use more. Sometimes when stacking an awkward piece, or stacking in a difficult location, it's easier to set 5 or more support points, then lower the piece onto the three it happens to reach first. For a very wide or flat, thin piece, plate pins placed in a circle work quite well. You'll want to set them where they'll give the most support with the least involvement of fluid glazes.

If you use the three-pointed triangles, you'll probably find that they work best if you place them on the project, then lower project and stilt together into position on the shelf. Many times the finger can slide under the stilt and hold the two together. After placing, check the piece gently to make sure it is stable on the stilt. A cup with a handle, or an as)~n- metrical form, needs one point of support under the side that carries the handle or extra weight.

Don't stilt high-fire projects unless the maker insists on it. At the high- fire condition, most clay bodies get soft enough that they slump down around the support points.

You must have ¼ inch clearance around and above each glazed project. If necessary, check it with a piece of paper passed around behind the project. In a deep kiln, sometimes the


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S T A C K I N G T H E K I L N Continued from Page 37

only way to get adequate clearance is to move the piece slowly into the kiln, then, when the project touches, back it out about ~ inch before you set it down. A better way is to hold the project so that your finger reaches the obstruction first. When you set the project down and remove your hand, there'll be the space of a finger width. Be careful not to rub off glaze with your finger.

Before stacking, plan how to miss the thermocouples so you won't break them with a shelf, or fuse a pot to them with glaze. Before closing the door, sweep any loose kiln wash and other debris out of the kiln doorway.

After stacking, consider whether or not the door will close properly, leaving ¼ inch clearance for the pots and ample room for expansion when the door gets hot. If you are doubtful about clearance, press a small ball of plastic clay on the shelf or any piece that sticks out. Very slowly close the door, then open it to see if and how much you compressed the ball of clay.

STATEMENT OF OWNERSHIP. MANAGEMENT AND CIRCULATION (Act of October 23, 1962; Section 4369, Title 39, United States Code]. I. Date of Filing: October 2, 1968. 2. Title of Publication: Ceramics Monthly. 3. Frequency of ssue Monthly except July and August. 4. Loca-

tion of known office of pub cation: 900 E. State St., Athens, Ohio 45701. 5. Location of the head- ~luarters or general business offices of the pub- ishers 4175 N. High St., Columbus, Ohio 43214. Names and addresses of publisher editor and managing editor. Publsher: Professional Publica- tions, Inc., 4175 N. High St., Columbus, Ohio. Editor: Thomas Sellers, Columbus, Ohio. Manag- ing editor: n o n e . 7. Owner (if owned by a corporation its name and address must be stated and also immedately thereunder the names and addresses of stockholders owning or holding I percent or more of total amount of stock. If not owned by a corporation the names and addresses of the ndividual owners must be given, if owned by a partnership or other unincorporated firm, its name and address, as well as that of each individual must be given): Professional Publications, Inc., 4175 N. High St., Columbus. Ohio 43214. Spencer L. Davis, Worthington, Ohio 43085. 8. Known bondholders mortgagees, and other secur- ity holders owning or holding I per cent or more o f total amount of bonds, mortgages or other se- curities, l i t there be none, so state): None. The average number of copies each issue during preced ng 2 months are A Total number of copes printed: 16,070 iBI) Paid circulation through deaers and carriers, street vendors and counter sales: 089" B2) Pad crcuaton throuqh mail subscr ptions ' 4, 26; C) Total paid c[r- cu at on 5, 25; D Free distribution by mail, carrier or other means: 130; E Tote dstHbu- tlon 15,345" F Office use, eft-over unaccounted, spa ed'affer printing: 725 (G) Total: 16,070. The number of copies for the slncjle issue nearest filing date are [A) Total number of copies printed: 17,000 [Bt) Paid circulation through dealers and carrers, street vendors and counter sales: I 84 B2) Paid circulation through mail subscr;pt ons 4,619 [C Total paid circulation: 5,803" [D] Free distribution by mail, carrier or

other 'means: 133" (E) Tote distribution: 15936" (F] Off ce use, left-over, unaccounted, spoile~ after p Hnting. 1,064; (G] Total: 17,000. I cerhfy that the statements made by me above are correct and complete.

(Signed] Spencer L. Davis Business Manaqer

Advertisers Index November 1968

A I M Kilns . . . . . . . . . . . . . . . . . . . . . . . . 36 Amer ican Ar t Clay Co . . . . . . . . . . . . . . . 4 Anderson Ceramics Co . . . . . . . . . . . . . . 36 Art -Craf ts Supplies, Inc . . . . . . . . . . . . . 37

B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . . 6 Bergen Arts & Crafts . . . . . . . . . . . . . . . 37 Brent, Robert , Potter 's Wheels . . . . . . . . I0 Burr, W. D., Mfg. Co . . . . . . . . . . . . . . . 35

Campbel l , G i lmour . . . . . . . . . . . . Cover 4 Cap i t a l Ceramics . . . . . . . . . . . . . . . . . . . 37 Cen t ra l Ceramic Art Supply . . . . . . . . . 36 Cen t ra l New York Ceramic Supply . . . . 36 Ceramich rome . . . . . . . . . . . . . . . . . . . . . 10 Craf t S tudents League Y W C A . . . . . . 38 Craf tool Co . . . . . . . . . . . . . . . . . . . Cover 2 Creek-Turn . . . . . . . . . . . . . . . . . . . . . . . 34 Cress, J. J . . . . . . . . . . . . . . . . . . . . . . . . 7 Davis Publ icat ions, Inc . . . . . . . . . . . . . . 9 Dawson, W. P . . . . . . . . . . . . . . . . . . . . . 33 Duncan ' s Ceramic Products . . . . . . . . . . 3

Estr in Mfg. Co . . . . . . . . . . . . . . . . . . . . . 36

Francoise Ceramics . . . . . . . . . . . . . . . . . 36

Care Ceramic Supply Co . . . . . . . . . . . . 36

House of Ceramics . . . . . . . . . . . . . . . . . 6

K e m p e r Mfg. Co . . . . . . . . . . . . . . . . . . . 31 Kinney, K a y . . . . . . . . . . . . . . . . . . . . . . 36 Klopfenstein, I t . B. & Sons . . . . . . . . . . 36 Kra f t Korne r . . . . . . . . . . . . . . . . . . . . . 35

L & L Mfg. Co . . . . . . . . . . . . . . . . . . . . 38

Mayco Colors . . . . . . . . . . . . . . . . . . . . . . 11 Midwes t Ceramic Center . . . . . . . . . . . . 37 Minneso ta Clay Co . . . . . . . . . . . . . . . . . 36

O h i o Ceramic Supply . . . . . . . . . . . . . . . 36 Or ton Ceramic Founda t ion . . . . . . . . . . 33 Oscar -Paul Corp . . . . . . . . . . . . . . . . . . . 37

Paragon Indust r ies . . . . . . . . . . . . . . . . . . 12 Parfex Co . . . . . . . . . . . . . . . . . . . . . . . . . 34 Pot tery by Dot . . . . . . . . . . . . . . . . Cover 3

Q u i m b y & Co . . . . . . . . . . . . . . . . . . . . . 35

Reward . . . . . . . . . . . . . . . . . . . . . . . . . . 4 R i c h l a n d Ceramics . . . . . . . . . . . . . . . . . 36 Rovin Ceramics . . . . . . . . . . . . . . . . . . . . 6

Sh impo-Wes t . . . . . . . . . . . . . . . . . . . . . . 8

T e p p i n g Studio Supply Co . . . . . . . . . . . 37 Thompson, Thomas C., Co . . . . . . . . . . . 5 T r in i ty Ceramic Supply . . . . . . . . . . . . . 37

Un ique Ki lns . . . . . . . . . . . . . . . . . . . . . . 37

Van Howe Ceramic Supply . . . . . . . . . . 31 Vars, D. M . . . . . . . . . . . . . . . . . . . . . . . . 38

Walker J a m a r Co . . . . . . . . . . . . . . . . . . . 34

Back Issues The [oUowing back issues of Ceramics Monthly are still available at sixty cents per copy (Ohio residents pay 4% sales tax). We pay postage. 1956 August 1958 June. 1960 December 1961 December 1962 January (9-year Index issue), February,

May 1963 June 1964 November 1968 June Please send remittance (check or money order) with list of issues desired.

CERAMICS M O N T H L Y

4175 N. High St. Columbus, O h i o 43214

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COMMERCIAL KILN

HOBBY KILN

WE FEATURE KITS FOR ABOVE KILNS

You Can't Improve Upon Perfection! Ki lns so wel l d e s i g n e d t h a t , 20 y e a r s a n d 6000 k i ln s l a t e r ,

w e ' v e f o u n d no r e a s o n to c h a n g e t h e m . Th i s y e a r ' s p a r t s

and e l e m e n t s s t i l l w o r k in t h o s e 1948 mode l s !

A n d n o w - - k i t s f o r t h e a b o v e k i ln s a r e e a s i e r to a s s e m b l e

t h a n e v e r a n d you save a b o u t o n e - t h i r d o f t h e p r i c e o f t h e

f i n i s h e d k i ln p r ices . K i t s ava i l ab l e as fo l lows :

S u p e r C o m m e r c i a l Ki ln (24" x 24" x 27" d e e p ) . . . . $195 .00

S tud io Ki ln (18" x 18" x 18" d e e p ) . . . . . . . . . . . . . 99.50

H o b b y Ki ln (12" x 12" x 131~" d e e p ) . . . . . . . . . . . . 62 .50

ORDER FROM THIS AD OR WRITE FOR DETAIL SHEETS

POTTERY by DOT 408N.E. 72nd St., Dept. CM Seattle, Washington 9811S

KINGSPIN Electric Potter's Wheel N e w L a r g e W a t e r T r a y • A N e w P r o f e s s i o n a l W h e e l a t a P r i c e y o u can a f f o r d • M o r e p o w e r f u l • Easy t o Use • Ba l l B e a r i n g s • Easy t o C l e a n • Easy t o S t o r e . SPEED VARIES w i t h f o o t p e d a l ~ s m o o t h as an a u t o m o b i l e . PORTABLE ~ c a r r y i t w i t h y o u a n y w h e r e . Ba t s f i t o u r hand w h e e l s - e a c h s t u d e n t m a y h o v e his o w n b a t and p l a c e i t on t h e hand w h e e l w i t h o u t l os ing c e n t e r . 110 V o l t A C . DC. O n e y e a r s e r v i c e w a r r a n t y .

"THE LITTLE MACHINE Model E~ Sl19.50 Ken Stanelle THAT THROWS BIG PIECES" sK Potter;eL Milwaukee, w;sc.

KINGSPIN Electric Banding Wheel ~:;!~,~ • Heavy Kinalloy 7-inch table ~ i ' ~ ............. • New - - with height trimmer

• Solid cast aluminum case :,,0 vo,t motor 2~ .~M On & Off sw fch, 8-ft. cord

i~ . . . . . One-year service guarantee

I; Model E2-T $22.95 !i !!:~ Mode l E-2 tess tr immer $19.95

Also Model E-3T wlfh heavier motor (3S RPM) for light throwing . . . . . . . . . . . . . . $26.50

i Model E-3 less trimmer $23.50

KIHbSPiH Potter's Hand Wheel

With Height THmmer Rest tools and brushes on the height trimmer w results will amaze you.

Wheel only . . . . . . . ~ )b .UU (7" Aluminum Model K-7)

Wheel with Trimmer Model KT-7 . . . . . . . . . . . . $7.00 With 7" heavy Kinalloy table Model KH-7 . . . . . . $8.00 With 8" heavy Kinalloy table Model KH-8 . . . . . . $9.25 Bats recessed for 7" . . . . . $ .85 Bats for 7" & 8" . . . . . . $1.00

KINGSPIN STEEL WHEEL • Our Economy Model • Kin- alloy be•ring n Knurled Stem • Easy Spinning • Zinc Plated --Rustproof • 7" Steel Top & Bottom n Highest Quality • Low Price.

Model S only $2.95 Also available with cast aluminum head (Model SA) ..$3.95

KINGSPIN Wheel

NEW with Wagon Wheel Base Top and base are cast

inalloy t Top measures 6t/4 .. n Shipping weight 3 Ibs.

Model W-6 only $3.95

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

Mode, T.12 $6.95

W]fh 12 ;n:h Alurn'num Tdbl,= Model A.r2 ~14 ?S

Prices F.O.B. Detroit

See your Dealer or Distributor or write: O U R CAMPBELL Maiden, Detroit, Michigan 48213

KINGSPIN Lowboy Steel Wheel • Our Economy Model o Kin- alloy Bearing • Easy Spinning • Zinc Plated-Rustproof • 7" Steel Top & Bottom • Highest Quality • Low Price

Model S'L only $2.95 [his new model may be used as a mold stand, for clay modeling or as a decorating wheel in spray booth.

In Canada write:

Village Ceramic 4943 Dundas St. West, Islingtou, Ont.

november 1968 60¢ - ceramic arts network · pdf filestandards association. our amaco and...

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