aim

I -

~mm

'q'IL
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the
GREAT LAKES SHOW
has the honor of
playing host
to the

GRANDNATIONALSW
"Best of Show" winn
nation will compete
in Detroit.
The Michigan .Ceramic Dealer's Association, the Great Lakes
Exhibiti
League are coopelating
..
ceramic events of
t h e Middle.West..:
Ceramists will have the. o p p o r t u n i ~ of seeing all the new ideas
in the.field and meeting all the interesting personalities of the
ceramic world .during t h i s important five day show.
T h e r e will be competitive e x h i b i t for everyone with prizes
awarded in m a n y categories.: Watch next month's issue of
CERAMICS M O N T H L Y f o r complete details.
demonstrations that the exhibitors
~ial scheduled demonstrations will
w i t h chairs available.
.... , :
:........ ~.. ~::;~: ,.

'::.:i..
~, ,...

THE 3RD A N N U A L

Great Lakes Ceramic HobbyExhibit

May 1 6 - 1 7 - 1 8 - 1 9 - 20, 1956, Masonic Temple, Detroit, Michigan

FOR

FURTHER INFORMATION WRITE:

Arthur Higgs, Managing Director

Great Lakes Ceramic Hobby Exhibition
Masonic Temple, Detroit, Michigan

The Famous Duncan Complete Line

E-Z FLOW BRUSHING GLAZES

_ _

GOLD OFF

(3 a~

o
m,&O ~rt

3
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114

MARCH,

O=

1956

NORTH WESTERN
Crawford's Ceramic Studio
1825y2 So. First Street
Yaklma, Washington
Oobe Depot
1025 S. E. Ash
Portland, Oregon
Gladys Workman
Scottsburg, Oregon
Marjax Ceramic Studio
8914 Aurora
Seattle, Wash.
House of Whites
5702 Fairview
Boise, Idaho
Artland Studios
168 E. Maple Street
Pocatello, Idaho
SOUTH WESTERN
Harry Liston Studio
2215 Soquel Avenue
Santa Cruz, Calif.
Kennepohl Ceramic Studio
44830 N. Sierra
Lancaster, Calif.
Staggs Ceramic Studio
9045 Center Street
Bellflower, Calif.
Lee's Ceramic Supply
150 Lincoln Highway
Vailejo, Calif.
Marion Ceramic Studio
4140 N. 7th Avenue
Phoenix, Arizona
Custom Ceramic Studio
1560 So. Virginia St.
RenD, Nevada
Kidd's Ceramics
230 Ash Avenue
Chula Vista, Calif.
Central Sign & Art Supply
3600 Fourth Street, N.W.
Albuquerque, New Mexico
NORTH CENTRAL
Hobbyland and Peg's Ceramics
203 Broadway
Fargo, North Dakota
Van Howe Ceramic Supply Ca.
1248 So. Broadway
Denver, Colo.
House of Clay
123 W. Lake Street
Minneapolis, Minn.

NORTH CENTRAL (Con't.i

NORTH EASTERN ICon't.)

Albert Lea Camera Shop

138 W. William
Alberta Lea, Minn.
Doris of Des Moines
1825 College Avenue
Des Moines, Iowa
Davenport Ceramics
734 So 27th Street
Lincoln, Nob.

Eichlin Pottery & Gift Shop

R.F,D. ~2. Cherry Hil
Nazareth, Pa.
Frances Ceramic Studio
215 W. Perry
Paulding, Ohio
McKinley's Ceramic Supply
2207 Nell Avenue
Columbus 1. Ohio
Jane Sneod Ceramic Studio
170.178 Elm Street
Bridgeport 3, Conn.
The Playtime
283 Broadway
Arlington Center 74, Mass.
Laura's Ceramics
695-A Main Street
Worchester 8, Mass.
Hembree's Ceramic Studio
401 Main Street
Lewiston, Maine
Ceramics by Cecile
192 Farmlngton Avenue
Hartford, Conn.
Hobby Heaven Ceramics
5909 Broadway
;~
West New York, N. J.
Oollman Ceramic Supplies
1542 Main Street
Buffalo, N. Y.
Seeley's Ceramic Service
7 Elm Street
Oneonta, N. Y.
Dill-Hawk Ceramics
Rt. 2, BOx 436
Roanoke,Virginia

SOUTH CENTRAL
Houston Arts & Crafts
2650 So. Shepherd St.
Houston, Texas
BaSeman Ceramic Studio
716 Pierce Street
Dallas, Texas
Ceramic Art & Antique Shop
2601 Seymour Highway
Wichita Falls, Texas
The Ceramic Room
2517 E. Yandell Blvd
El Paso, Texas
Laurine Brock
1651 W. Woodlawn
San Antonio 1, Texas
Dot's Ceramic Studio
4005 Sapulpa Road
Tulsa Okla.
Aluminum Art Products
225 W. 8th Street
Kansas City, Mo.
The Potters Wheel
3519 D'Hemecourt St.
New Orleans 18, La.
Western Ceramic & Pet S u p p .
2826 Pine Street
Abilene, Texas
E . A . Williams Co.
2101 S. Campbell
Springfield, Mo.
Genevieve's Ceramic Studio
9602 Sterling Place
Affton, Mo.
NORTH EASTERN
Joy Reid Ceramic Studio
23922 Cherryhill
Dearborn, Michigan
Olga's Ceramic Studio
2479 So. Howell Ave.
Milwaukee 7. Wisc.
Woodland Ceramic Studio
3800 Highland Avenue
Downers Grove, III.
J. Lee Arts Studio
3504 So. Main Street
Anderson. Indiana
Ceramic Grave Gift Shop
109 - 12th Ave. - Juniata
Artoona. Pa.
McNor Ceramic Studio
7056 Carroll Ave.
Takom~ Park. Md.
Tari-Tan Ceramic Studio
962 E. Fulton St.
Grand Rapids, M~ch;gan
Ohio Ceramic Supply
717 - 25th St., N,E.
Canton. Ohio

SOUTH EASTERN
Pixie Pottery
q~9, 55th Place North
Birmingham, Ala.
Pottery Art Studio
4338 Hampton Blvd.
Norfolk, Va.
Davis Ceramic Studio
2603 N. Orange Ave.
Orlando, Florida.
Dorothy Lamar Ceramics
1134 Ardee
Nashville 6, Tenn.
Ceramic Hideout
405 Broad Street
Jackson, Miss.
CANADA
Bakerite Ceramics
1310 McCallum Rd.-R.R. 5
Abbotsford, B, C,
Western Handicraft Supply
208 Kresge Bldg.
Winnipeg 1 Manitoba, Can=da
Regina Glass Co.
1604 . 10th Avenue
Regina, Sask, Canada
HAWAII
Ceramics Un-Ltd.
P. O. Box 7025
Aina Haina Station
Honolulu, T. H.

o
:E

DUNCANS' E-Z FLOW DISTRIBUTORS

,u

,mn

E-Z FLOW
CERAMIC
PRODUCTS

TO

i'11'1

"1 3:

6P,
t"l

Ill

BI

n
.<

/1
I

-+
c

Em

COPPER PREP.O

The Finest

II

Price 1 oz. $ . 5 0
Eliminates cleaning of
copper prior to enameling-acts as an adhesive
for enamel

Safest

KILNS
O#Z ~h~

Have MORE FUN

with LESSWORK

1; ,:s=

when you

Market/

COPPER ENAMEL
"'- ............ .'~

COPPER SCALE-OFF
Price 2 ozs. $.45
4 ozs. $.65

Eliminates
drudgery

IJ L A P P R O V E D

fire scale from copper.

FOR YOUR PROTECTION!

DEALER INQUIRIES INVITED

Ask your local Electric C o m p a n y or Fire Insurance

C o m p a n y a b o u t the i m p o r t a n c e o f UL a p p r o v a l on any
electric appliance. O t h e r s claim that wire and switches
ore UL approved, but their kilns a r e not!

ILN
feature-packed models from
ch to choose . . all qualconstructed . . . all popuiarly priced. Only in a DYNAKILN will you find DYNAG LOW
PORCELAIN
ELEMENT HOLDERS . . . PILOT
L I G H T . . . 4 W A Y SWITCH
. . 2 PEEP HOLES . . . TOP
QUALITY
CONSTRUCTION.
They're good looking, and
they're unconditionally guaranteedl

the mess and

of removing

SALES O F F I C E

MAIN

OFFICE

809 Main St.

Railroad St.

Evanston, III.

Attlebor0, Mass.

Ask your local dealer for Copper Cat

jewelry -- cuff links, tie clips, tie slides,
earrings, bracelets, necklaces, barrettes, buttons, pins, collar pins, rings,
key chains and pill boxes.

COPIER CflTinc.

A New, High Q u a l i t y
ENAMELING

M O D E L E 49
Chamber:
4 " x 8V2" x 8 "

$74.80
Plus $2.00
crating chg.

WRITE

KILN

Never before have there been so many

features . . . so much quality built into
a kiln at such a price. It has a PYROMETER for visual temperature reading,
an
INPUT
CONTROL
SWITCH,
GRAVITY
D O O R - - COUNTER
WEIGHTED, PILOT LIGHT, DYNAG L O W PORCELAIN ELEMENT H O L D ERS, and it's attractive . . . Plug it in
anywhere!

Fluted Fruit Dish

Beautifully designed petal-edge 2-pc. fruit dish for the
mast discriminate customer. This mold is made of the
finest plaster of Paris, which guarantees you good castings retaining the finest details. Place your order today.
If your dealer does not have our molds, write us direct.
3 ~ " high, 11" diameter.
~
/
~
Ask for our FREE C a t a l o g !
Look for the Dutch Kids, our reglsfered Trade Mark, ~,our assurance of
a genuine Holland Mold.

FOR LITERATURE
Electric Kilns

Manufacturing Co.
C h e s t e r I 1 , Pa.

DEALER
2

INQUIRIES

INVITED

040

PENNSYLVANIA

AV. TRENTON N.J.

EX 2.70~o

CERAMICS MONTHLY

'

Volume

4,

Number

MARCH

' ~'~-

'

'

1956

50 cents per copy

in

this

Letters

<~

issue

...........................................

Suggestions
Itinerary

from

our Readers

.......................

Britain:

Ash-Glaze

Slip

Decoration

Throwing:
Simple

by Pearl Fitzparick

Matched

Mavros'

One-Slab

Flowers:

The Orchid

Copper

Coils

by J o R o b e r t

.......

............

.................

.......................................

Time

Briefs:

Mobile
How

Overglaze
Answers

Earrings

to

Make

Enamels

by Zena

to ~uesfions

, ~ $~

. ~.

=.

,~ ~

, ~ ~.~ ~ , ~

.~

18
20
22
23
25
~.- ~

:~

~ ~:~.

~ ~ ~

27

.........................

29

Hoist

30

conducted

26

............................

Grog

~"

13

Show

16

...........

by Bea M a t n e y

by Phil A l l e n

=~

14

..............

by J a m e s G o l t z

demonstrated
Compacts

Bonnie Builds with

...................

by Yera W a l k u p

Sculpture

Enameling:

........

S e t s by Torn Sellers . . . . . . . . . . . . . . . .

Brush Decoration

~. ~
. - -2 z~

10

K. L. Boynon

by

~'--

..................................
Stoneware

.
Shopper

~:

.........................................

Ceramic

....................

by Ken Smith . . . . . . . . . .

31

Enameler's
Ceram

Column

Activities

The Underglaze

by Kathe Berl . . . . . . . . . . . . . . . . . . . . .
..................................

Series

by M a d g e

Editor
Business M a n a g e r
Associate E d i t o r
E d i t o r i a l Associate
A r t Director

Tummlns

33
34

.............

35

L o u i s G. F a r b e r
S p e n c e r L. D a v i s
Mary Eiliott
T h o m a s Sellers
Robert L. C r e a g e r

A d v i s o r s ~nd Special C o n t r i b u t o r s : C a r l t o n A t h e r t o n ; K a t h e B e r l ;
E d r i s E c k h a r d t : J o h n B. K e n n y : Z e n a S. H o l s t : Bea M a t n e y ;
Dorothy P e r k i n s : J o R e b e r t ; K e n n e t h E. S m i t h : M a d g e T u m m i n s :
Vera W a l k u p .
Cover by Robert L. C r e a g e r

::~
Ceramics M o n t h l y is published each m o n t h a t t h e L a w h e a d Press,
Inc., A t h e n s . Ohio, by P r o f e s s i o n a l P u b l i c a t i o n s , Inc,, S. L. Davis,
Pres. and Treas. : L. G. F a r b e r , V. P r e s . : P. S. E m e r y , Secy.

:
-

S U B S C R I P T I O N P R I C E in U . S . A . a n d P o s s e s s i o n s ; one year, $4;

two years, $7; t h r e e years, $9. C a n a d a a n d P a n A m . add 50 cents a
y e a r : f o r e i g n , add $1 a year. C u r r e n t issues, 50c; back issues, 60c.
ALL
CORRESPONDENCE
(advertising, subscriptions, editorial)
should be sent to the e d i t o r i a l offices a t 4175 N. H i g h St., C o l u m b u s
14. Ohio. E n t e r e d as second-class m a t t e r a t t h e post office a t A t h e n s ,
Ohio, as g r a n t e d u n d e r A u t h o r i t y of t h e A c t o f M a r c h 3, 1879.
C o p y r i g h t 1956 by P r o f e s s i o n a l P u b l i e a t i e n s , Inc. All r i g h t s reserved.

OOZ
sjs~

J a n u a r y issue r e a c h e d me. Mr. C r e a g e r di d

a s p l e n d i d job on the cover a n d the a rt i c l e
as a w h o l e looked w o n d e r f u l . T h e r e is. as
you p e r h a p s know, a very special fe e l i ng
e x p e r i e n c e d w h e n one sees the final prod u c t i o n a nd of " g o i n g i nt o p r i n t . " . . .
L E E BURNHAM
P a l a t k a , Fla.

ONIONS AND ORCHIDS

Please send me the f o l l o w i n g b a c k issues
of C M . . . T h e c u r r e n t issues c o n t a i n so
little of w o r t h t h a t I h a v e d e c i d e d to get
the back, e a r l y issues Brahma B u l l s - - /
What Next !
NELDA STIPEK
A l b a n y , Ga.
Gentlemen :
I h a v e b een a s u b s c r i b e r since C M was
first p u b l i s h e d a n d I w o u l d n ' t wish to miss
a copy. I t is e x c e l l e n t l y e d i t e d a n d I h a v e
l e a r n e d m o r e from its articles t h a n I h a v e
f ro m s t u d y a n d books w r i t t e n on the subject. M a n y times I h a v e been able to c l e a r
up some t e c h n i c a l errors by r e a d i n g a few
"tricks of the t r a d e " from the e x p e r i e n c e s
of others . . .
GRACE DIGKERSON
Little Art Studio
F o r t W a y n e , Ind.

A N A U T H O R SPEAKS
Gentlemen :
. . I r e a l l y e n j o y e d d o i n g the a r t i c l e
w i t h J e a n G r a e b n e r [ B r a h m a Bull, J a n u a r y ]
a n d was h a p p i l y s u r p r i s e d to see d u r i n g
its progress t h a t e v e r y t h i n g m o v e d so
s m o o t h l y a n d swiftly. I guess we e x p e c t e d
to h a v e to do the d r a w i n g s over, r e - e d i t
the article a dozen times a n d face m a n y
o t h e r obstacles t h a t arise b e t w e e n editor,
artist a n d a u t h o r a n d the final p u b l i c a t i o n .
Yo u can well i m a g i n e m y joy w h e n the

Note to potential authors: See how easy

it is? W e ' d be glad to have you submit
an article (or an idea) for consideration.
--Ed.
MORE OF MONTY!
Gentlemen :
[I was] d e l i g h t e d to see the article, " P e n m a n s h i p in P o t t e r y " by M a r g u e r i t e M o n t gomery, in the J a n u a r y issue. A c o u p l e of
years ago a fri e nd took me to visit Mrs.
M o n t g o m e r y ' s studio, a n d I c a m e a w a y
w i t h a w a r m gl ow inside, n o t onl y in response to h e r r a r e p e r s o n a l i t y , b u t also
in r e a c t i o n to the b e a u t y a n d form of h e r
p o t t e r y . . . I c e r t a i n l y c o m p l i m e n t you
in o b t a i n i n g this article, a n d I s i nc e re l y
h o p e i t will be followed by m o r e from
her . . .
MRS. JAMES B. DAVIS
M e r i o n S t a t i o n , Penna.
Gentlemen :
I a m t e a c h i n g c e r a m i c s in h i g h school
this y e a r a n d ' t h o I ' v e been a s u b s c r i b e r to
C M since its b e g i n n i n g I a m f i n d i n g a n e w
use for it. I h a v e the m a g a z i n e s t a c k e d up
on my b u l l e t i n b o a r d s - - o p e n a t p a g e s of
interest. T h e c o m p l e t e g r o u p of m a g a z i n e s
is on a table for t he s t u d e n t s to look
through.
I a m p a r t i c u l a r l y g l a d a b o u t the a r t i c l e
in the J a n u a r y issue on L e t t e r i n g . M a n y of
my s t u d e n t s are i n t e r e s t e d in i t - - a n d can

re a l l y follow it. I also e n j o y e d th e articles

on m a k i n g a m u g . . . a n d h o w to m a k e
flowers These are very usable in a class
w he re the interests are so v a r i e d . . .
MRS. P. S. DRUMM
A r d m o r e . Penna.

Fans of "Monty'" will be happy to learn

that she has just completed a detailed manuscript on Pennsyh'ania Dutch, which will
become C M ' s cover story next m o n t h . - - E d .
SLOW DEATH?
Gentlemen :
M o r e i n f o r m a t i o n on the s u b ject of
l e a d - c o n t a i n i n g glazes. I k n o w you r an an
a rt i c l e on the s u b j e c t a t o n e tim e [two:
J une , 1953; August, 1 9 5 4 ] . . .
A person
w ho buys r e a d y - m a d e glazes does n o t k n o w
w h a t they c o n t a i n . . . Ever y tim e I serve
s h r i m p a n d sauce from a d u n k e r - d i s h I
threw, glazed w i t h a t u r q u o i s e glaze cont a i n i n g what I d o n ' t know, I w o n d e r if I
a m g i v i n g my guests a wee dose of
poison . . .
MRS. F. E. L E W E L L E N
P l e a s a n t Rid g e, Mich.

Quoting from the August, 1954 article

by Edgar LittlefieId: " . . .
A lead-glazed
food container can be used with absolute
safety if the glaze has been well made and
properly fired. Actually, the great majority
of commercial dinnerware is glazed with
lead-bearing glazes--so compounded as to
have no toxic effect whatever. A dangerous glaze would be one that would
easily dissolve in weak food acids, thus
contaminating the foodstuffs . . ." A simple
acid test is described in this article, which
contains other illuminating information.
(Back issues are still available, incidentally,
at 60 cents e a c h . ) - - E d .

You Get....

GLAMOUR.BEAUTY
with M A Y C O COLORS
bright and clean
EASY TO USE
-~

EXCEPTIONALLY RELIABLE

-~

BEAUTIFUL TO SEE

Underglaze colors

One-Stroke

Glazes

Matt

Transparent

White
Drape

M a y c o Mask
Send 50c f o r Mayco's 2 4 - p a g e Mold
Catalog

For Outstanding Ceramics-Use Mayco

4-

CERAMICS t,./Ol,!Tiq LY

Why are Ward's Glazesand Bodies the Best?

We are about to chalk up 20 years of continuous service to ceramic industrialists and
hobbyists.
Many have come and gone in those 20 years. Many w i l l come and go in the next 20
years. We a r e a l r e a d y looking f o r w a r d to composing our ad f o r Ceramics Monthly
f o r March, 1976. Look f o r if, w i l l you?

Ward's Glazes Are Available in Three Convenient Forms

Dry Unground

Liquid

Ground and Dried

For most commercial

Sold by us in gallons only but

a v a i l a b l e from some distributors in smaller containers.

A pound will mix with w a t e r

and give you a pint of glaze.
Mix if as you need it.

applications because
milling is necessary

S. PAUL WARD,INC.

OUR PRODUCTS ARE A V A I L A B L E F R O M

DISTRIBUTORS O N L Y
California--Mos~ major studios.
San Diego County, C a l i f . ~ C o n v i l l e
Detroit, Mich.mNorwesf Novelty
Portland, O r e . - - D o b e Depot
Dallas, Texas--Norris Sfudlo
Minneapolis, Minn.mHouse of Clay

"The Ceramic Wholesaler of the West"

601 MISSION STREET

SOUTH PASADENA, CALIFORNIA

Tels: SYcamore 9-2131 - - PYramid 1-2552

Ceramics

WONFIRE
The origlnal fool-proof liquid glazes. Intense
colors, high lustre, superb brushabilffy, flex;billty; and Wonfire contains no free lead-non-toxic.

WONMIX
The finest casting body available. An offwhite slip available in powdered or liquid

POTTER'S WHEEL

TRAY---THREE
COATS
OF
VITREOUS
PORCELAIN
ENAMEL--WATER
TIGHT
-EASY
TO
CLEAN
-SHELF
AT
REAR.

HEAD
-INFORCED,
THROWING
DRIVING

SEAT
-ROOMY
FOR
COMFORT
-ERED-ADJUSTABLE

SHAFT--ONE
PIECE--HYDRAULICALLY
FORMED
STEEL.
ONE
INCH
DIAMETER
-MACHINE

form.

WHITEMIX
Companion sllp to Wonrnix. Pure White ;n
color.

TWELVE
INCH
-RECAST
ALUMINUM
HEAD
-REMOVABLE
KEY.
-CONTOURED
LEATHER
COVFOR HEIGHT.

Weight 250 pounds--Prlce FOB

TOLERANCE TO PLUS OR MINUS River Rogue, Michigan $179.50--.oo2.
Crating charge $8.50.

FRAME
-TRICALLY
TION

ALL
STEEL
-ELECWELDED
CONSTRUC-

BEARINGS
ALIGNING

-BALL

PENSION
-ALL
OILITE.

200 WEST THIRD ST., PLAINFIELD, N. J.

BIG SURPRISE...
at our booth in the 4th Annual Eastern Ceramics

SHAFT
IN
BEARING

SELF
SUS-

FINISH
YELLOW
TRACTIVE

---

OTHER

BEARINGS

THE
TRAY
BRILLIANT
THE
FRAME
IN
ATMAT
BLACK.

T H E M O M E N T you s i t a t the n e w F o s t e r P o t t e r ' s W h e e l - - y o u g e t the

f e e l i n g t h a t now, f o r the first t i m e , you did n o t h a v e to c o m p r o m i s e - you k n o w you are w o r k i n g w i t h the finest tool a p o t t e r y c r a f t s m a n can
have---a c o m p l e m e n t to the best w o r k o f the serious a r t i s t - - e x p e r t aid
for the novice, a m a t e u r a n d s t u d e n t .
Your u n i q u e s i t t i n g p o s i t i o n a t the F o s t e r Wheel p e r m i t s you to work
in a n e q u i l i b r a n t p o s t u r e t h a t is relaxed, r e s t f u l a n d a l l o w s the u t m o s t
f r e e d o m of the h a n d s a n d a r m s .
The r u g g e d m a s s i v e c o n s t r u c t i o n of the F o s t e r Wheel is f a r s u p e r i o r
to the h e a v i e s t d e m a n d s of c o n s t a n t w e a r a n d use. I t a l o n e m e e t s all
s t a n d a r d s o f both a r t i s t a n d e n g i n e e r .

S h o w m M a y 2 thru 6 m C o n v e n t i o n Hall, Asbury Park,

N. J. Something you've all been w a i t i n g for!

rovin

ceramics

7456 Fenton Dearborn,Mich.. Phone Logan3:2906

MARCH, 19S6

F O R Easier and Better Firing

Low Cost Operation

Money-Saving Prices
Factory Guarantee

from

FOR I M P A T I E N T POTTERS
If you m u s t rush that piece
out of the kiln. you can
rapidly cool the kiln without
d a n g e r if you know when and
holLL
Cooling m a y be rapid until
the kiln is at dullest red heat
or
approximately
1000F.
Cooling n m s t then be slowed
down until a b o u t 500F.. after
which it m a y become rapid
again. T h e r e is considerable
expansion and contraction in
this t e m p e r a t u r e range, so the
cooling m u s t be slow if you
are to avoid damage to the
ware and to the kiln.

SPECIFY A

PARA GON KILN

Compare these Outstanding Values

MODFL
11.3
Max. T e m p .
2000
F.
$160.00, n o
crating
charge,

f. o. b. D a l las. F i r i n g
Chamber:
17"
across
x 20" h i g h .
19 a m p e r e s
a t 230 volt~,
ping weight (
lbs.

- - L e e and Irving Levy

Levittown, N. Y.

Model R-3

MODFL
A-55
Max. Temp.
2300"

1, .

$60.00, no
crating
charge
,
f. o. b. D a l las.
Firing
Chamber:
11"
across
x 131& "
h. R e q u i r e s one
a m p . 115 v o l t
cuit.
Shipping
w e i g h t o n l y 68 lbs.

Model A-55

MODEL A-66 Max. Temp. 2300F. $72.50, no

crating charge, f.o.b. Dallas. Firing Chamber
14 3/8" across x 13 1/2" high. 13 amperes at
230 volts. Shipping Weight only 90 lbs.
MODEL H-17S Max. Temp. 2400F. for cone
10 firings. $291.50, no crating charge, f.o.b.
Dallas. Firing Chamber: 17" x 17" x 18"
high. Maximum Power Consumption 6000
watts at 230 volts. Shipping weight 500 lbs.
FREE CATALOG: complete information on
24 models of Paragon Kilns.

PARAGONINDUSTRIES
P. O. Box 1 0 1 3 3

our

Dallas 6, Texas

PLASTIC S T O R A G E
CONTAINERS
T h e round, half-gallon, ice
cream boxes made of plastic
are ideal for storing small
batches of different types of
moist clay. These are easily
labeled and set aside for
future use. I n addition, they
make ideal d a m p boxes: with
a small, wet, plaster bat in the
b o t t o m and the lid tightly
closed, you can keep small
pieces plastic and workable for
long periods of time.

readers
enameling small pieces.
I cut a small circle from
the top of the lid and cut a
corresponding circle from a
sheet of fine plastic mesh
(small scraps from seat-cover
shops are excellent) and slip
this in the lid to form the
shaker top.
If seat-cover material is not
available, a single thickness of
nylon stocking can be stretched
over the bottle top and held
in place with the top. T h e
mesh circles, however, make a
much neater and nlore convenient top.
Teachers should like this
idea for offering small am o u n t s of enamels to each
student.

- - P e g Townsend
Tucson, Ariz.
FLIT G U N FOR SPRAYING
If you w a n t the excellent
effects of a sprayed glaze but
are not prepared to purchase
spraying equipment, you will
find that an ordinary insect
sprayer works fine on small

- - V i o l a Shaffer
Villa Park. Ill.
"BABY" T O N G S
T h e Daval b r a n d of tongs
made
for
removing
baby
bottles f r o m sterilizers, etc.,
are r u b b e r covered all the way
to the very tips and are excellent for d i p p i n g ceramic ware
in glaze. A n o t h e r u s e - - t h e s e
particular tongs are excellent
for r e m o v i n g small ware or
test tiles f r o m the kiln, when
they are still a little too hot
to touch with the bare hands.

- - N o l a Matson
Castro Valley. Calif.
E N A M E L - S H A K E R BOTTLES
The
small,
plastic
pill
bottles with the Vinyl plastic
lids make h a n d y shakers for

Dollars

for

areas. I find it particularly

applicable for spraying underglaze in combination with
paper stencils.
A helpful suggestion--take
an empty underglaze jar with
you w h e n you go to buy your
sprayer. You will probably be
able to find a sprayer that will
screw onto your jar, thus eliminating the waste of material
involved in pouring from a
stock jar into a sprayer jar. As
an example, the "Black Flag
Sprayer," which sells for about
35 cents, fits the Re-Ward
" T r u - T o n e " bottles perfectly.

--Mrs. S. A. Voelker
Asbury Park, N . . l .

your

Thoughts

CM pays $1 to $5 for each item used in this column. Send your

bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14,
Ohlo. Sorry, but we can't acknowledge or return unused items.
CERAMICS MONTHLY

NOW AVAILABLE NEW

,;;~.M,c COLORS
,,o,~.,~~:s ~

\~::~ L / ~ J~J~ Texture

r I)Wl/'e
Glaze

...#. _ '

Made Especially for "Blabbing" on

UNDERGLAZES--MATTS--SEMI-MATTS OR GLOSS
GLAZES
to achieve INNUMERABLE EFFECTS
10 EXCITING COLORS
.80 4oz. ,JAR
721 Snowflake White
726 Princess Orchid
722 CamellaPink
727 Indian Turquoise
723 Primrose Yellow
728 Apple Green
724 Cinnamon Brown
729 Smoky Grey
72S iron Black
730 Pacific Coral

Glazes

by Ceramichrome

Are Now A v a i l a b l e in 11 Beautiful Colors

4 oz. Jar .65
468 Midnight Lustre
461 Indian Summer
481 Silvertone
462 Tiger Eye
463 Golden Harvest
PLUS 2 NEW
464 Green Moss Art
EXCITING COLORS
465 Silver Lake Blue
482 Deep Purple
466 Chestnut Brown
483 Old French Blue
467 Moonlight Grey
Ask for Free Instructive L i t e r a t u r e
ALSO AVAILABLE 451 Blu-Whife China Matt Glaze
4 oz. at .50 and MENDSWARE 2 oz. at .SO

ASK FOR FREE INSTRUCTIVE LITERATURE

SEE YOUR NEAREST CERAMICHROME DEALER
AND--last but not least CERAMICHROME'S NEW
PEPPER GLOSS ART GLAZES - - 921 Red Pepper
- - 922 Orange Pepper - - 923 Yellow Pepper
4 oz. - - $I . 0 0

CERAMICHROME

Laboratories

2111 W. SLAUSON

LOS ANGELES47,

tokes

: r

JOBS. ELIMINATES SPRAY DUST,

MASKS, TOXIC FUMES. NO OUTSIDE VENT NEEDED
FOR ALL CERAMIC HOBBYISTS
Folds for Easy Storage
tk * #r
Welded steel c o n s t r u c t i o n .
Green
b a k e d e n a m e l finish. P o w e r f u l elect r i c f a n . S t a n d a r d size, low cost
fiber ~ l a s s filter. Comlfletely a s s e m Ned. r e a d y f o r use.

O,LY $34 95

AT YOUR
*
DEALERS
OR
F.O.B. FACTORY
SH. WGHT.
21 L B S .
SEND CHECK
OR
MONEY
ORDER
NO C.O.D.'S PLEASE

DETROIT FABRICATING CORP

7521 ST. AUBIN, DETROIT 11, M I C H .

! DUSTMAN
: .....................

..

the

of the

CALIF.

dust

out

studio

and school shop!

NO MORE DUST! NO MORE DIRT!

NO MORE SWEEPING!
~
There's no messy studio, no hours of
cleanup with thls new dust collector
in your shop. Just place nozzle where
you're working and connect to any
dust producing machine It gathers
up all plaster dust, polishing and
sanding dust, clay shavings, wood
chips and metal shavings the instant
they're formed. Then if discharges
them into a waste can. Keeps your
studio clean and dust-free. Can also
be used as an exhaust system and as
a heavy duty vacuum cleaner for
large debris in shops, attics, garages, etc. You'll find a million uses for
this new power tool!
SIMPLE! Plugs into any AC outlet.
MODEL 711
Attaches to any machine in minutes.
only $ 8 9 . 5 0
PORTABLE! Compact and easy to
compFefe wlfh V3 HP AC move to another spot or machine
ball bearing motor, hose when needed.
fittings and hood. (Waste DURABLE.I Extra rigged construction
con not included.)
wlth no exposed parts "Sealed for
life" ball bearings need no greasing
4 wheel
or oiling.
Dolly$9.S0
POWERFUL! Specially designed 8"
Model 811 / ~ 1 ~ - ~
pressure blower system moves a tre--supplied ~
mendous volume of air. Quiet runwith fibre
ning. See your dealer or order didrum (not
recf. 10 day money-back guarantee,
adoptoble
Send f o r complete catalog C M
to metal
waste can)
CRAFTOOLS,
INC.
$89.50
401 BROADWAY NEW YORK, N. Y.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

MARCH, 1956

OREGON, Portland
May 12-June 9

COPPER ENAMELISTS!

ITitLI/t

Learn to do . .

S[:BflLLI

fi

Send show announcements early--Where

to Show: three months ahead of entry
date; Where to Go: at least six weeks
before opening.
WHERE TO S H O W
~national competition
CALIFORNIA, S a c r a m e n t o

May 16-July 1
Kingsley Art Club 31st Annual Exhibition at E. B. Crocker Art Gallery, 216
O St. Includes crafts. Open to residents
of the Central Valleys. Jury; prizes. Entries due May 4,5. For blanks, write Mrs.
George C. Brett, 2757 Curtis Way, Sacramento 18.

CONNECTICUT,Norwalk
June 8-july 8

e ;,,I . . . d i f f e r e n t . . .
It's s.mv.
a N E W approach to
BEAUTY!
Bring fresh loveliness to your copper
enameling with Italian Scrolling on our
special Kay Harrison Infra-Red Craffint
Kiln . . . the ONLY small kiln especially
designed for this amazing new process.
All electrical plug connections are separated and properly insulated from the intense heat of the heating element. The
standard kit (see illustration) consists of:
(1) Infra-Red Kiln with tempered glass
cover and removable handle, (3) asbestos pad, (4) trivit, (5) 6-ft. cord. Specially designed stainless steel scrolling tools
(6) are also available. Special converter
element (7) for your present Craffinf Kiln
adapts it for Italian Scrolling. FREE stepby-step instructions on Italian Scrolling included with order for kiln, tools or converter element.
I

Silvermine Guild of Artists Annual New

England Exhibition. Media includes ceramic sculpture. Open to residents of New
England. Jury; prizes. Fee. $4. Work due
May 11-14.

FLORIDA,Coral Gables
April 15-29
"kFourth Annual Miami National Ceramic
at Lowe Gallery. Jury; awards. Fee, $3;
work due March 29. For entry blanks,
write Marceil Dunn, 908 Paradiso Ave.,
Coral Gables, Florida.
IOWA, D e s M o i n e s

April 1-29
Eighth Annual Iowa Artists' Show; ineludes all mediums. For residents of state.
Jury; prizes. Write Des Moines Art
Center, Greenwood Park.

KANSAS, Wichita
A~ril 14-May 15
Eleventh National Decorative Arts-Ceramics Exhibition at Wichita Art Association, 401 N. Belmont Ave. Open to
American artlst-craftsmen. Jury; more
than $1500 prizes. Entry fee, $3. Work
due M a r c h 8-20. Write: Mrs. Maude G.
Schollenberger, President.
KENTUCKY, L o u i s v i l l e

'~

March 30-April 30
Louisville Art Center Annual (Kentucky
and So. Indiana) at J. B. Speed Art
Museum. Crafts included. Jury; prizes.
Fee: $2.50 or membership in Art Center.
Blanks due Mar. 12; work. Mar. 14.
Write Art Center at 2111 S. First St.

Annual Exhibition of Northwest Ceramics

at Oregon Ceramic Studio, 3934 S. W.
Corbett Ave. Eligible: residents of British
Columbia, Idaho, Montana, Oregon and
Washington. Jury; awards. Entries due
Apr. 16-30. Write the Studio for blanks.

WEST VIRGINIA,Huntington
April 22-May 20
Fourth Annual Exhibition 80 at Huntington Galleries; open to artists and craftsmen within 80-m. radius. Jury; awards.
Fee: members of Tri-State Creative Arts
Asso., $2; others, $3. Blanks due Apr. 3;
work, Apr. 8.
WHERE TO GO
CANADA, M o n t r e a l
current
Fiftieth Anniversary Exhibition at The
Canadian Handicrafts Guild, 2025 Peel
St. Includes pottery, ceramic sculpture,
enamellng-on-metal.
LOUISIANA, N e w O r l e a n s

March 18-April 8
Art Association of New Orleans 55th
Spring Annual at Isaac Delgado Museum
of Art.
MICHIGAN, D e t r o i t

through March 25
Eleventh Annual Exhibition for Michigan
Artist-Craftsmen; at Detroit Institute of
Arts.
NEW YORK, B u f f a l o

March 14-April 22
Western New York Artists (14 counties)
annual at Albright Art Gallery. All mediums including ceramics.
NEW YORK, N e w Y o r k
t h r o u g h M a r c h 24
New York Society of Ceramic Arts 62nd
annual exhibition at Cooper Union
Museum for the Arts of Decoration.
NEW YORK, S c h e n e c t a d y

March 10-31
New England Craft Exhibition. a selection of 150 or more items, at Schenectady
Museum Association, 37 Steuben St.
OKLAHOMA, N o r m a n

March 15-April 15
California D e s i g n e d - - h o m e furnishings
and accessories including ceramics
at
University of Oklahoma.

Philadelphia
March 25-April 15
PENNSYLVANIA,

INFRA-RED
KILN KIT

SCROLLING CONVERTER
TOOLS
ELEMENT

$10.50 $2.00 $3.00

postpaid

postpaid

postpaid

Visit our special studio display of original

ceramic-copper combinations.

MISSOURI, Springfield
March 26-April 20
Twenty-Sixth Annual Exhibition. For
artists and craftsmen in Missouri, Arkansas, Iowa, Oklahoma and Nebraska. All
mediums. Jury; purchase awards. Entries
due M a r c h 16. Write Springfield Art
Museum.

NEW YORK, Albany

May 3-June 4
" t h ~ ~ ~ [ e t [ ~ L ~

Studios

8744 W. McN~chols Rd., Detroit 21. Mich.

UNiversity 2-9222
8

21st Regional Exhibit at Albany Institute of History & Art. For artists within 100 mile radius. Mediums include
ceramics. Jury; purchase prize. No fee.
Work due Apr. 3. Write the Institute
at 125 Washington Ave.

American Jewelry and Related Objects

(contemporary)
at Philadelphia Art
Alliance.

TEXAS, Houston
through March 14
Design in Scandinavia--over 700 massproduced items selected by top designers.
At Museum of Fine Arts of Houston.
~VASHINGTON, S e a t t l e

March 4-April 4
Fourth Annual Northwest Craftsmen's
Exhibition. At University of Washington's
Henry Gallery.
CERAMICS MONTHLY

c~:.:

T w e l v e c a t e g o r i e s for adults and children

i~ t h e ceramic hobby c o n t e s t - - prizes,
~::awards f o r
all w i n n e r s . Get YOUR
::entries ready now.

N o w t h e E a s t e r n C e r a m i c Show o p e n s
its d o o r s to " p r o f e s s i o n a l s " - - studio
owners, t e a e h e r s i m a n u f a c t u r e r s ! Eleven
c a t e g o r i e s to b r i n g h o m e prizes, a w a r d s
and honors.

Perfect for Use in Schools

Sgraffito, hand sculpturing, underglazing

and other fields for h o b b y i s t s and professionals. Exhibit your pieces at the Ceramic Show Window of the Nation!
SPONSORED

BY

CERAMIC

LEAGUES,

Reaches Enameling Temperatures ~uickly

Sturdy, Simple Construction
Low-cost, Trouble-free Operation

FREE TEXT

INC.

ON
ENAMELING

all entries judged at

THE 4TH ANNUAL

by Thomas E. Thompson.
Send for your copy Of
this 40 page illustrated
text on metal enameling.
Techniques--tooJs--eq uipment--types of enameling--firing--finishes, etc.

EASTERN CERAMIC SHOW

Convention Hall, Asbury Park, N.J.

MAY

2.-6, 1956

Silver plated metal--no pro-cleaning--no formation of oxide scale--costs little more than
copper.

Ceramic L e a g u e s , Inc.
Convention Hall
Asbury Park, N . J .

Mabel M o r r i s
A m a t e u r Division
Bee B a s c h
P r o f e s s i o n a l Division

P l e a s e send me full details a b o u t t h e :

[] F o u r t h a n n u a l A M A T E U R c e r a m i c c o n t e s t
[] F I R S T annual P R O F E S S I O N A L C e r a m i c a r t c o n t e s t !

NEW
NEW

Complete line of Opalescent colors--beautiful

effects--write for sample.

NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ADDRESS ...................................
CITY . . . . . . . . . . . . . . . . . . .

MARCH,

1956

STATE ..........
CM-3
9

CERAMIC

Underglaze

"SI~AP-IN" JEWELRY SETTINGS

Professional Jewelry In Seconds!

No S o l d e r l n g ~ N o Cementing!
Just Press Disc In Place!
Takes Standard Size Blanks!

A new line of brushes to be used

for texturing has just been announced
by Bergen Brush Supplies. The brush
heads are filled with heavy crimped
steel wires and are used to cut textures in dry green ware. Many unusual
designs are said to be possible through
the use of these wire brushes.
Detailed information can be obtained from Bergen Brush Supplies,
Box 292, Lyndhurst, N. J. Please be

r Discs,
b I a n k hand - made ccram~,
shapes or cast 1,',~ elry of your o w n d .
sign are INSTANt
LY
inserted
i n t ,
these fabulous
.icy.
elry
settings.
Nt I
CEMENT,
NO SOL.
DER
OF
ANY
KIND
NEEDED~

procelain

Discs

are

c,r:.

pletely i n t e r c h a n ~ e a b !
at an7,' time yot_l d~
sire.
Nov."
je~ cI:,
can
be changed :
s u i t every outfit,
r
change pieces, gent~',
pry o u t w i t h s m a l l
knife or other
imp!ement
that happens
o be handy.

~I.

Simply

sure

)f disc d o e s n o t ha~
o
be exact
Sil~,
holding prongs are ad: u s t a b l e , either s l i g h t !y s m a l l e r o r larger.
D i s c s c a n n o t fall o u t ,
race snapped i n t o
~lace, e v e n if jewelry
dropped.

Available in 10 Different Designs In.

clndlncj the Latest in "Filicjree" Settings.
Thi~ unique
"SNAP-IN"
Jewelry
is completcly
assemb!ed
as bracelet,
necklace, earrings, cuff
l i n k s , tie bars o r p i n s . F i n i s h e d i n your choice
of Antique Silver, Antique Copper, N o n - T a r Gold

and

Novelty

Colors.

In

spite of i t s fabulous features, " S N A P - I N "

SettinRs arc reasonably priced - - complctc bracelets
f r o m $ 1 . 2 5 a n d u p ; earrings at 8 5 c a p a i r ; p i n s
at 60c each.
5END
PRICE

FOR
LIST

FRIE
ILLUSTRATEI) BROCIIURE AND
ON ' ' S N . A I " I N '" SETTINGS, SHOkVIN G

DOZENS OF STYLES AND I N ( ; L ( D I N G COMFLI. TE LIST

OF COPPER. DISCS, PORCELAIN BLANKS E I T H E R
GLA2ED OR BISQUE, 2"0 FIT THESE TRITLy AMAZING
SEW

SeT'HXgS.

Full

able

write on

letterhead

dealer

discounts

arc

avail,

for dealer price

list.

LATEST
(;ATALO(;UE:
Most concise catalogue cvei
">"compiled
for
EWELRY~( ~'~4_~-. ""
MAKING
and
(;OPPEP,
..,~'~.~.'-.'~,:-:-iW
ENAMELING
SUPPLIES.
A complete catalogue
and ~
~
handbook
for all interested
in any
phase of jewelry.
Features largest selection o f
findings, stones, c o p p e r
shapes and enamels. V a l u a b l e Catalogue 2 5 c .

DEPARTMENT CCF
173 BEECH ST. HACKENSACK,
I0

QUALITY: Finest preclslon-made scraper

points and surgically-sharp knife blades.
VERSATILITY: Slim all-metal handle takes
any of 6 scrapers as well as blades.
ECONOMY: Points and blades quickly
and easily interchanged or replaced.

__x

CERAMICS MONTHLY.

6
,8

11

No. 63 Double Set: 2 handles, 6 points, 2

knife blades... $2.50. Other sets at 7.5
and $1.50. Refills available separately.
Send for Flier--FREE; Catalog--2Sc
48-.69 Van Dam St., L. I. C. I, N.Y.

Glaze

Immmerable effects are said to be

possible with the new tevture ,.,laze by

"SNAP

Hamilton

to mention

New Texture

3elected d i s c s i n t o , , ;
:ustable s e t t i n g , S~:

nish

Pencils

A new underglaze pencil, said to be

ideal for outlining, decorating, or for
any application on bisque, has just
been introduced by the O. Hommel
Co., Pittsburgh 30, Pa. Seven intense
colors are available, and the manufacturer claims the special formula assures smooth and easy application.
Write the company for full details.

Brushes for T e x t u r i n g

1. C o p p e

~I,.

For sgraffito, incising, slab work, template making, shaping, modeling, trimming and clean-up.

N.J.

Ceramichrome Laboratories. Called

"Cerami-blobb," it is available in ten
colors and can be used in conjunction
with underglazes as well as matt, semimatt and high-gloss glazes. Instructive
literature can be had at no cost by
writing to the company at 2111 Slauson, Los Angeles. Please say CM sent
you.

C o l o r e d C l a y for Flowers
Specially prepared, finely ground
clay for flower making is being
marketed by American Beauty Ceramics, 15648 Euclid Ave., E. Cleveland, Ohio. This is available in
many colors, and, adds the company,
"they not only fire to a certain color
but look that same color in the plastic
state, making it easier to work with
when preparing designs of many
colors."

Full details about colors available,

prices, etc., can be obtained by writing

directly to the company.

H a n d l e s of B a m b o o ,

etc.

Open-end handles for tea pots, jars,

etc., are now available from domestic
sources. A free, descriptive folder
gives full details on the bamboo, rattan and metal handles; write to AdArt Co., 209 Victory Blvd., New Rochelle, N. Y.

C E R A M A S T O N E jewelry mix
. . a self-glazing clay
Add water to this magic mud--hand
model into earrings, cuff links, pendants,
pins, beads, buttons, belts! Fire only
once at cone 06. Open your kiln to
find beautifully glazed ceramic stones.
Used by potters and instructors in all
forty-eight States. Ideal for schools and
physical therapy.
Nine dramatic colors: DARK BLUE,
TURQUOISE, CHARTREUSE, GUNMETAL, WHITE, BEIGE PINK, PURPLE,
SPRING YELLOW & BROWN. Send
$1.00 for generous I/2-pound portion of
one color plus instructions for mixing
and firing. Postpaid within Cont. U.S.
Colo. Res. add 2~'o sales tax. Specify
colors when ordering.
NEW m H A N D B O O K OF JEWELRY
M A K I N G & DESIGN featuring CERAMASTONE. 20 pages of instructions
and designs! $1.00 postpaid.
SPECIAL--Free Copy of HANDBOOK
with $S.00 order for S I/2-pound portions
of CERAMASTONE. Specify colors.
Joan and Conrad Wilson

The Pottery Workshop

Cripple Creek, Colorado

CERAMICS MONTHLY

Rerultr

Acclaimed
Everywhere
by
Teachers
and
Professionals
for
Performance!
This Nationally
Recognized
Power-Drlven
Precision Wheel

only $ 5 7 . 5 0

ore better
with

CLAYS A N D G L A Z E S
T H A T GO TOGETHER!

(Shipped complete,
Less Motor)

DRAKENFELD clays and glazes are made for each

other
are the right combination fer better ware.
Here are a few suggestions. Give th,:m a trial and
convince yourself.
-

Ideal for school, studio, home use . . . The famous B & I

Pottery Maker, first in the field, is still first in value and in
price! Simple operation, rugged construction, with all the
versatility required by professional workers! Many built-ln
features . . ~ ADJUSTABLE arm rests: BUILT-IN water container: VARIABLE speed drive: QUIET bronze and babbit
bearings: ADJUSTABLE foot-pedal control: U N U S U A L size
range.
Before you buy, Write B & I . . . get full,free details; Pointby-point, we challenge comparison on QUALITY f e a t u r e s . . .
Our price is still the best in the field!
B & I Pottery Maker shipped complete, less motor, f.o.b
factory, Burlington, Wisconsin, for only $$7.S0.

B & I Mfg. Co., Dept. C. Burlington, Wisc.

" O r i g i n a t o r s and Makers of f a m o u s B & I GEM M A K E R S "

More Molds
[rom our

CLAYS
CONE 06

White Casting Clay 68203

. . just add water and adjust to proper

consistency. The slip improves with age.
CONE 06

White Plastic Clay 6 8 2 0 4

. . comes in moist form, ready to use for

modeling or throwing on a wheel.

GLAZES
Cone 06-04 Gloss (Maiolica)
Cone 06-02 Vellum Matt
Cone 06-02 Matt

Cone 07-02 Crystalline

Cone 07-02 Crackle
Cone 07-02 Fancy Art

These glazes produce sparkling results - are available

in a wide variety of colors. All are specially designed
for Cone 06 fire -- danger of crazing, saivering, blistering, pinholing and crawling is greatly minimized.

Fine Selection
OWN AN ELECTRIC KILN. Enjoy
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11--$3.00--a
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--No.

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Lobster Earrlngs--No.

16

$.95

WRITE FOR FREE CATALOG No. 50.

Fluke Buttons - 17 - - $1.6S

Contains complete information and

prices on clay bodies, prepared glazes,
overglaze and underglaze colors, pyrometric cones, banding wheels, laboratory mills, electric kilns and potter's wheels.

No.

For buttons, earrings, and for adding decorative

touches to g,'eenware, these charming shapes are
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Send for FREE illustrated Brochure & Price List

All molds (c) Bee. FOB Rumson, N. J. Add 10%
for packing--50c minimum. No COD's, please.

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MARCH,

1956

II

new

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Heavy steel housing, complete with cord, switch and plug for
11S volt A.C. current. 21/2" thick fire bricks insure high temperature.

Since before tile turn of the century eeramists

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and check on firing results.
Plaques of Orton Cones placed throughout
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The use of Orton Cones at all times gives you
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matter what the product may be.
The Foundation has prepared a new Tempera.
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Kanthal Elements on top are non-flaklng, non-scallng and their

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New Copper Enamels for Hand Painting
Manufactured on the West Coast by

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22922 S. Normandie Ave.--Torrance, Calif.

12

CERAMICS MOI~T~ILY

ASH-fiLAZI STI]NEW tR
by K. L. BOYNTON
ne of tile first a m o n g English Dotters to experiment in ash
O
glazes, Katherine Pleydell Bouverie brought to Western stoneware some of the great depth of beauty found in the glazes of the
old Orient. More important, it is largely due to her work that the
"why" of ash-glaze effects is known today.
Vegetable ashes act as fluxes in glazes because they contain
various alkalies such as potash, lime or magnesia. Additionally, they
contain alumina and silica and the proportion of these last two
to the alkali in each glaze determines its quality. Color variation
depends on this proportion, too, and also on trace elements in the
different ashes and on firing conditions.
Preparation of the ash for glazes is carefully done, the material
being burned on a clean surface to avoid possible iron contamination. T h e resultant ash is then sieved through a 120-mesh screen
with water, and the solid particles allowed to sink to the bottom
of the container when the water can be poured off. Fresh water
is added and again poured off until, after four or five washings,
the liquid comes off" clean and the ash can be dried and stored.
Miss Bouverie works around a formula of 4 parts feldspar, 4
ash, 1 China clay and 1 ball clay, sometimes with some added
quartz; and she finds that both in color and texture the ashes of
(Please turn to Page 28)

Katherine Bouverle (left) studied with Askew.

a traditional potter, and spent a year at the
Leach Pottery. Ash glazes, her specialty,
may be iade-srnooth, crackled or rough.

13

BUILDING

UP

WITH

SLIP

BRUSH

DECORATION
by PEARL FITZPATRICK

~aised
decoration, built ttp with
l i l t slip applied by brush, can be
very effective. One form of it, called
pate-sur-pate, was developed by the
French and was highly popular during the latter half of the 19th century,
(CM, January). Porcelains were used,
and fine detail and translucency in
the relief were the main consideration.
T h e method of applying the slip--on
dry ware, in very thin layers, each
layer gradually covering less a r e a - and the carving of fine detail required
great skill and infinite patience. The
methods and motifs of pate-sur-pate
are rarely employed in contemporary
ceramics.
When raised decoration is done
with slip applied by brush, today,
the clay body is usually low-fire or
stoneware, the slips opaque and of
medium-to-thick consistency. Usually
the slip is applied to the clay body
while it is in the wet, rather than the
dry, stage; and the modeling is accomplished by brush alone, both these
factors making for freer and faster
decorating.
Regardless of the manner of building up the relief, however, the main
consideration is making sure the design will adhere to the body, and
not crack or peel off during drying or
firing. The key to success lies in the
"fit" of the body and slip: the clay

used for the slip must be one which

has the same capacity foE expansion
and contraction as the body so that
both will shrink together and actually
become one in drying and firing.
(Most of the already mixed commercial engobes, being intendecl
specifically for flat types of decoration, are not generally suitable./
I[ the decorating is done at the
dry stage of the clay b o d y - - a n d it
seldom is any m o r e - - t h e slip must be
watery thin to assure adherence, and
each layer thoroughly dry before the
next application. (This method was
well-suited to pate-sur-pate: the ware
could be left at any point to be worked on later; the design could be rebuilt or modified anywhere along the
line.) But working on one piece of
pottery in the dry stage is inevitably
a long, drawn-out process.
Building up the design while the
clay form is in the wet stage is far
quicker and in most respects more
reliable. You don't have to wait for
the slip to d r y - - e a c h successive layer
can be applied as soon as the shine
disappears from the previous coat;
and the heavier consistency of the
slip used means fewer and quicker
applications. It is essential, however,
that the piece be kept wet throughout
the process so that slip and body
will shrink together. This is the

method

more

connnonl,v

preferred

today.

THIS ARTICLE is concerned with

olmque-sli p decoration applied to a
wet clay body. First, there is tile matter of the slip or slips to be used. If
the form is of white clay, the slips
must be of the same clay (or another
white one that has the same shrinkage
qualities). White clay is also used as
the base for slips to go on red-clay
bodies (only black and brown slips
being made from red clay), but it
must be a clay known to fit the red
clay; materials such as China clay
and flint can be added to counteract
unequal shrinkage but ordinarily a
white slip that fits can be found
through testing.
Pure metal oxides, underglazes or
the stains used for coloring clay bodies
may be the coloring agents for the
slips. For best results, both clay and
colorant should be powdered so that
the proportions can be measured
accurately. If clay flour is not at band.
a thin sheet of clay can be poured
or pressed on a plaster slab, dried
and pulverized; and the same method
can be used to reduce liquid underglazes to powder. Both colorants and
clay should be thoroughly ground to
eliminate color lumps or white spots
which might show up after firing.
For some pottery such irregularities

CONTRAST: In both these

examples, the decoration
was built up by brush.
But in the contemporary
version, by Malja Grotell,
the sllp is opaque and
modeled only by the brush.
On the other hand, the
cupid motif in M. Salon's
pate-sur-pate is translucent
and carved in detail

14

CERAMICS MONTHLY

are desired, but for fine brushwork

and modeling, the slips should be
m a d e with finely ground materials.
(Some ceramic suppliers can provide
pulverized underglaze colors which
are excellent for producing uniformly
colored slips. )
A range of one part colorant to
ten parts white clay is a good starting
point for making colored slips. T h e
intensity of the color will depend on
the amolmt of colorant used. T o o
much added color, however, can offset the perfect balance of slip and
body, so it ix better not to go much
below a range of one part colorant
to five parts clay. After thorough
mixing with water, the slip is left to
set for a while to eliminate air bubbles.
Running tests on the materials you
plan to use iq very important not
only for future reference but to assure
a successfid product. You should run
trial tests to determine the maturity
of the clay. whether the slip when
built up in relief will adhere to the
clay body (if the slip is made of a
different" clay), what color change
takes place when the slip is applied
to a different-colored body, how glaze
affects lhe colored slip, what hal)pens
m the body fit and the color of the
slips and glaze when fired. T h e thicl:ness of application planned for the
relief, and the temperature required
for the clay and glaze, should also
be duplicated in testing. When a onefire operation is planned for the
finished piece, the test, too, is one
fire. Then, of course, records are kept
of all tests for future reference.
(Nearly evewone who decorates pottery has a happy accident now and
then, but how sad it is to have one
and not be able to reproduce it!)
Aside from the matter of contemporary taste, simplicity of line ix more
aopropriate for this type of decoration: working with slip on wet clay
does not lend itself to elaborate detail. T h e design cau be carved or
scraped to achieve detail but, by and
large, the less complicated motifs built
up by brush alone are more effective.
TIIE BEGINNER who has never
tried this kind of relief work before
would do well to start with a flat,
thick piece. It will be easier to work
on and will stay wet -which is so
very i m p o r t a n t - - f o r a longer time.
It is helpful, first, to make a paper
sketch of the decoration plan, with
shapes roughed out and colors filled
in. This is intended to serve as a
guide rather than to be traced.
Working at the wet stage of the
clay body means before it begins to
shrink--when it is firm enough to
handle but wetter than the leatherhard stage. T h e design is worked over
as a whole, rather than one section
MARCH. 1956

at a time. Layer by layer, it is buih

up to the desired proportions, usually
a little higher because glazing and
shrinkage tend to flatten relief. T h e
slip should be of inedium consistency
and, after the first application, the
brush should be fully loaded but not
dripping. It takes a little practice to
know when consistency and brush
load are right: generally, the slip
should flow off easily when the brush
is lifted from the slip container, and
is readv for the application when the
next to the last drop flows off' the
brush. Each succeeding layer of slip is
applied as soon as the shine disappears
from the preceding coat.
T h e first coat is painted directly
on the piece. It glides on easily, permitting greater freedom of line, because the clay body absorbs the water
slowly. But once shine is off the slip,
the next and following layers "pile
up" quickly. After the first coat,
therefore, the slip is flowed, pooled
or dragged on instead of painted.
Moisture now i~ absorbed almost as
fast as the slip is applied and lumpy
deposits develop if there is too nmch
hesitation in the brushworlc
If the piece ix allowed to begin
to shrink before the relief is finished,
the slip and body will be unable to
shrink together as is essential for adherence. T h e ri54ht sta<*e o[ moisture
must be m a i n t a i n e d u~ltil the design
is finished. Should the piece begin to
dry out, it can be sprayed occasionally
with water (the clay quickly absorbs
the water so there is little
danger of colored slips running together). If the slip
application is interrupted,
the piece can be kept moist
by placing it, with a wet
sponge or two nearby, in
air-tight plastic. A piece
that has been permitted to
become dryer than usual
can be rewet but with utmost caution because unequal or too much wetting
can cause violent cracks.
If the decorating conditions are r i g h t - - c l a y properly moist, slip consistency
right, and brushwork well-controlled
the clay body can be expected to
absorb water from the slip applications fast enough to keep the slip from
rolling off the relief. But if such an
accident does occur, the slip can be
picked or scraped off with a wood
modeling tool after the piece is leather
hard. When the ware is completely
dr},, mistakes can be remedied by
scraping and rebuilding if done most
carefully. Only the very thinnest coats
of slip can be applied at this stage,
(Please turn to Page 28)

D E M O N S T R A T I N G the technique: The

author paints on the first layer of
sllp, then drags an succeeding coats
until relief is as high as desired.

SLIP IN RELIEF forms the decoration of these

two pieces by the author.

15

ING
ON
)TTER'S
WHEEL

4 SELLERS

WHEN

TO

YOU

HAVE

CONTROL

THE

LEARNED
CLAY

. . . TRY

~..:L.:

MATCHED SETS
re you the master of your clay
a n d wheel or do they control
A
you? In other words, do you invariably
e n d up with a short, thin-walled nut
dish instead of the tall, cylindrical
vase you started to m a k e ; or are you
able to t h r o w a piece that comes close
to the size a n d shape you h a d in
m i n d ? If you are a novice, no d o u b t
you have a houseful of nut dishes!
W h e n you have h a d considerable
practice a n d feel you are actually controlling the clay, try m a k i n g sets. This
will give you a d d i t i o n a l practice on
your control; moreover, you will find
that m a t c h e d pieces can be very effective in use. F o r your first attempts, it
would be better, perhaps, to start with
the simpler forms bowls, cups, t u m b l e r s - - b e c a u s e they are less difficult to
duplicate.
Control of the clay a n d an a c c u r a t e
eye are, of course, the p r i m e requisites
in t h r o w i n g repeats of a shape. But
the p o t t e r has two other aids to help
h i m achieve a reasonable uniformity
in the pieces. H e can, in a d v a n c e of
the t h r o w i n g process, p r e p a r e all the
lumps of clay to be used and, by
weighing t h e m on a scale or j u d g i n g
the size by eye, m a k e sure t h a t they
are alike. A f t e r he has t h r o w n the
first piece in the set, he can use a stick
a n d calipers to measure the height
a n d w i d t h of each d u p l i c a t e as he
throws it.
I n finishing the pieces, u n i f o r m
t r e a t m e n t of the base or foot is also
i m p o r t a n t . Here, again, measure with
the stick a n d calipers.

16

I n photos on the facing page, a

m a t c h i n g set of bowls is being thrown.
These are the steps:
1. First, the size l u m p of clay
needed for a bowl is d e t e r m i n e d , a n d
four lumps of equal size are "weighed"
out in a d v a n c e of the throwing.
( W h i l e one l u m p is being thrown, the
o t h e r s - - i f you work s l o w l y - - s h o u l d bc
kept covered so they w o n ' t dry out or
develop a h a r d skin.)
2. M e a s u r e m e n t s are taken on the
first bowl thrown. T h e height is
m a r k e d off in pencil on a stick, then
the w i d t h of the bowl at the rim is ind i c a t e d (on the same stick).
3. T h e second bowl is t h r o w n while
the first one stands nearby so the
potter's eye can keep a close check on
wall thickness, shape a n d dimensions.
T h e n , in the final stage of the throwing, m e a s u r e m e n t s of the second pot
are c o m p a r e d with those of the first
to see w h e t h e r changes need to be
m a d e for the sake of uniformity. First,
the height is checked with the m a r k
on the stick.
4. Calipers now come into play for
checking the width of the bowl at the
rim. T h e y are set on the w i d t h m a r k
of the first bowl as i n d i c a t e d previously on the stick, then checked
against the d i a m e t e r of the second
bowl. (Actually, the rim of a piece
can just as easily be checked with a
m a r k e d stick. T h e m a n i p u l a t i o n of
the calipers is shown here to a c q u a i n t
you with how they work because they
are a very helpful aid for d u p l i c a t i n g

shapes which are more complex than

the straight-walled pot.)
O t h e r t h a n in height a n d width,
uniformity depends on the accuracy
of the eye alone during the throwing
process.
5. F o o t r i m m i n g is done, as usual,
when the bowls are leather hard. A
measuring stick ( a n d calipers) are
used here, also, to make sure that the
height a n d width of the foot are the
same for all the bowls.
6. I n this p a r t i c u l a r set, the matching idea is carried out in the glazing.
Interiors are a sea-green semi-gloss:
exteriors, a gray-brown stony matt.
W h e n you throw duplicates, a certain a m o u n t of variation is inevitable.
N o two pieces in a set will be identical
- - b u t we d o n ' t particularly want them
to be! Slight variation, as contrasted
with the regularity
,~;:~......
of cast or jiggered
i:~a~24z
~:
ware, marks the
thrown
set as
" h a n d m a d e . " But
if, at first, t h e
pieces in your sets
bear little resemblance to e a c h
other, y o u ' d do
better to separate
For the loan of the
them as individual
potter's wheel used
pieces a n d to conin this c[emonsJrratinue
practicing
~ion, acknowledguntil
you can
meat is mode to
throw pots t h a t
the Ameriean Art
are easily recogClay Company, Innized as mates.
dianapolis.

CERAMICS MONTHLY

ii ii~

facing page: Beverage set by Jane

and Ed Oshier of Denver
at left: Wine set by Doris Jean
Strachen of Helena, Mont.
below: Set of matching
by the author

Photos:

Prepare equal-slzed lumps of clay.

Then set calipers and check the diameter.

MARCH, 195b

(above) Oregon Ceramic St~d~

(~arleR) De,~ver Art M~.c~,~.

2. Mark first bowl's dimensions on stick.

5. Foot rim each

bowls

bowl u n i f o r m l y - - a n d

3. Check height of duplicate against stick . . .

. . .

6. Don't worry about slight variations

in set.
17

first of a series--

simple brush de

by VERA WALKUP

. . . . .

.2.

Don't be afraid of free-stroke brushwork. Just pick up your brush and

work along with Vera Walkup. If you
do this, w e guarantee you will be
pleasantly surprised at what you can
accomplish in the w a y of brush decoration at the most elementary level. The
f o l l o w i n g is the first of a number of
lessons on the s u b j e c t . - - E d .

o become a master at brushwork

is a very fine thing. But you do
T
not have to be a master in order to
YOU CAN DO just by touchbrush down on the
is suggested in the
and practice pots above.
41NG TOOLS: Two big
(far left) are all you
o start but plan to
laller, special brushes as
ersonal preferences develop.

18

create free and pleasing decoration

with a brush. In fact, the shape of thc
brush alone--with or without simple
connecting l i n e s - - c a n develop into
effective design.
Look. for example, at the sketches
a n d finished pieces on these pages.
You see flowers, leaves, abstract motifs
- and the chief ingredient in all of
them is simply tile shape of the brush
itself. Dip your brush in underglaze
(or slip), touch it to paper as you
would the flat of your finger in
CERAMICS MONTH k'(

oration

making a fingerprint, a n d you will

have a pleasing shape; repeat it and
relate the shapes to each other, perhaps a d d a connecting line, a n d you.
will see the beginning of a decoration.
It's as simple as that. A n d it's brushwork !
Once you get the feel of the brush
a n d begin to realize w h a t you can do
with it, you will be intrigued and
want to go beyond the elementary
shapes and strokes.
BUT FIRST there is the m a t t e r of the
b r u s h e s - - h o w m a n y do you need,
what kind, size, shape? You really
need only two to start. T h e n , as you
progress with brushwork a n d begin
to specialize in certain types of it,
you will w a n t to a d d different shapes
and sizes of brushes.
Brushes are very personal items an-t
the work you do with them is as telling as your handwriting. After using
an assortment of brushes for a while,
you will find yourself liking certain
M A P~C }I[, 1956

ones better than others. Fox" these

reasons it is difficult to advise a n o t h e r
person on the fine points of selection.
T h e r e is one thing all artists agree
on, however: you cannot do good
work with a p o o r brush. In a poor
brush, the hairs mav not point, or
thev m a y d r o p out. droop or be too
stiff" the Iool will n~t do all that
vou expect it t~.~ do. This is an insurm o u n t a b l e handical): no a m o u n t of
technical proficiency can overcome it.
So, buy the be.~t bru.vhcs (m l/'e mar~,el-- even if you c a n ' t afford them[
Unless you are experienced, it is
easier to use underglazes than slips
for brush decoration. T h e two brushes
r e c o m m e n d e d here, therefore, are the
kind used with underglazes: a different type of brush is required for slip.
T h e best first brush to purchase is a
large red sable w'ith a good tip. R e d
sable has snap a n d spring, and it will
not d r o o p u n d e r the weight of the
pigment. T h e large size enables you
to do big masses in one stroke, while
the pointed tip serves fox" a fine line.
This single brush has the capacity
for detail a n d masses, as well as any
~.,radation between the two extremes.
(I have a big # 9 that I use constantly:
nw one objection to it is that it's not
a "~12 or the largest size!/
F o r the second brush, buy a wide.
flat one (mine is 1 " w i d e i . This
type is not only good for glazing but
for laying in large areas or bands of
color areas, fox" example, that you
might w a n t to break up with sgraffito.
This brush should also be sable because, in a d d i t i o n to its other good
qualities, sable enables you to make
certain types of strokes that cannot
be done with the r o u n d shape of the
first brush. Sable is good, in anv case,
for controlled work.
W i t h just the two brushes, you
could p r o b a b l y work for vears. But
vou will find yourself liking certain
types of brushwork and will p r o b a b l y
invest, eventually, in a variety of sizes
and types of brushes. Banding, for
example, can be done with the r o u n d
brush but vou m a y want a more precise type of work than that brush can
give; so vou will buy a slanting or
cut-liner brush for banding. If you
like fine-line work. a script or scrolling
brush of red sable will be needed (a
scrolling brush has long hairs that will
hold enough p i g m e n t for a sweeping
stroke; a small brush with a fine tip
does not serve as a substitute.) T h e r e
are other special brushes as for stippling a n d lettering, and other personal
preferences such as a stifl'er hair than
sable fox dry-brush work.
(Red-sable brushes are not good
for slip painting. T h e hair is m u c h
too weak to hold slip a n d droops
u n d e r the weight. T h e Japanese, dec-

orating with slip, use a tough bristle

brush; it has an inner core of very
strong, springy bristles a n d these are
s u r r o u n d e d by softer bristles. T h e
brush makes a stroke that has a spring
a n d tension to it which is impossible
to achieve with softer bristles.)
W h e n you start building up a brush
collection, the choice can be very
confusing a n d mistakes exl)ensive.
T h e r e are not only i n n u m e r a b l e
shapes a n d sizes, but m a n y types of
hair each of which has different
properties. I t is a good idea, therefore, to let the leading brush con>
panics help you learn to buy intelligently. T h e i r catalogues a n d other
literature are, in themselves, an education. T h e y explain w h a t camel h a i r
really is, w h a t you can expect from
ox hair, goat hair, etc.; they give
advice on the care of brushes. You
can learn enough about i n a n u f a c t u r ing methods to prevent y o u r m a k i n g
the mistake of buying brushes that
d r o p their hairs. Some companies
have special pamphlets, w r i t t e n bv
artists, which give p r a c t i c a l pointers
on the use of the brush: a n d one
firm offers a booklet on ceramic deeoration. T h e r e may be a small charge
for some of the material but the information contained therein is usually
well worth the fee.
Once
you have b o u g h t
good
brushes, they deserve good care. Always clean them after use. Since underglazes ( a n d slips) are water-based,
the brushes can be washed with soda
a n d water until no more color can
be seen. Clean them all the w a y to
the handle, then shape the h a i r gently
with a little flip of the brush or with
your fingers. D r y a brush by suspend[ng it d o w n w a r d , if possible; otherwise, stand it up in a jar. W h e n you
store a brush, place it in such a w a y
that the tip cannot be d a m a g e d ; and,
when storing it for a long period,
protect it against moths.
As we said earlier, brushes are very
personal items. T h e y become, in
effect, a p a r t of you. As you develop
sensitivity to brushes, the feel of each
one becomes familiar. A n d as you use
them, you find yourself favoring certain ones over others. These tools
are a n y t h i n g but casual, t e m p o r a r y
items in your creative life. Buy them
wisely a n d care for them well, therefore, so t h a t you can enjoy d e c o r a t i n g
with t h e m for a long, long time.
IN T H E N E X T A R T I C L E , we will go
back to the simple brushwork m e n tioned in the beginning of this one.
We shall show how the shape of the
brush alone, combined with silnple
lines, can form abst,-act designs, flowers or other motifs. A n d all you will
need for the lesson is that first, big,
pointed brush!
19

DONALD

MAVROS'
by

onald Mavros, 28-year-old New

Yorker, is known, in the words
D
of one critic, as a "sculptor of a v a n t
g a r d e technique . . . with a unique
talent for giving m o v e m e n t to the
h n m a n form."
Yet, curiously enough, Mavros considers himself a specialist in animal
figures. His most recent pieces are flat
done in a "slab" style without deep
dimension. Using this style, he hopes
to bring to the piece an a n i m a t i o n a n d
graceful m o v e m e n t that could not be
easily c a p t u r e d in a r o u n d e r form.
A visit to Mexico to study Aztec art
inspired M a v r o s ' ideas on slab sculpture. While at the N a t i o n a l M u s e u m
of Mexico, he was deeply impressed
with the sculptured h e a d of a warrior.
It was dated from the 1)re-conquest

of Mexico, a r o u n d 1300 A.D. T h e

h e a d was startling because of its
length a n d narrowness.
It followed a p a t t e r n he h a d cont e m p l a t e d using in his own work ( a n d
h a d considered his own innovation,
not connecting it with an ancient
c u l t u r e ) . D o n e in clay, the h e a d a p p e a r e d to have two profiles joined together, with none of the n o r m a l w i d t h
of a face taken into account. This
Aztec piece revealed m a n y possibilities
to Mavros, a d d i n g to a n d strengthening his original concept of slab
sculpture.
H e i m m e d i a t e l y began work on a
series of a n i m a l figures, m o d e l e d from
slabs. His object was, as he describes
it, "the creation of sculpture which is
interesting in its variations from the
fuller-formed sculpture a n d the extreme flatness of other slab sculpture.
T h e basic form of the sculpture is
derived directly f r o m the slab. A n d a
strong a d v a n t a g e to this m e t h o d is:
20

ONE-SLAE

JAMES GOLTZ

each entire sculpture is created from

the same, single piece of clay."
His objective was successfully realized: he c o m p l e t e d four animal forms
in the slab style; all were exhibited in
New York galleries; a n d all were sold.
W h e n asked the reason for their
successful reception, M a v r o s explains
that his slab animals have pleased
collectors a n d children alike. " A d u h s
enjoy their subtle movements. T h e
Dancin~ Bear, for example, dances
with a giant's clumsiness. Yet, the b e a r
seems confident his movements have
the daintiness of a Pavlova. H e would
surely consider himself a suave and
graceful d a n c i n g p a r t n e r to tile tiniest
of ballerinas.
" A n d , even though tile m o v e m e n t is
subtle. I have seen children laughing
with delight at the Bear . . . or tile
shame-faced Penguin. whose bowed
head stares forlornly at his feet . . .
or the long-necked L l a m a . who looks
down upon the world with i m p u d e n t
curiosity. T h e animals' movements
a n d expressions are almost h u m a n .
This, perhaps, is the secret of their
a p p e a l - - t h e y are enjoyed by anyone
with a sense of sympathetic identification a n d a sense of h u m o r . "
Using his Dancinff, Bear as the subject, M a v r o s shows the salient steps in
his m e t h o d of creating a n i m a l sculpture (see the p h o t o series on facing
p a g e ) . T h e details of the process are
a~ follows :
You mix together a p p r o x i m a t e l y
fifteen p o u n d s of clay ( d e p e n d i n g on
the size of sculpture p l a n n e d ) a n d
three to five p o u n d s of screened grog.
T h e n wedge the mixture to the right
c o n s i s t e n c y - - d r i e r t h a n clay used on
the wheel, yet wet enough to stay together without cracking when it is
rolled out.
W h e n the wedging is completed,
you roll out the slab, tile size of it
determined, of course, by the size the
sculpture is to be. It is worked to the
p r o p e r t h i c k n e s s - - a p p r o x i m a t e l y one
a n d one-half i n c h e s - - a n d then lightly
covered with a sheet of plastic a n d
allowed to stand overnight so it will
be stiff enough to be h a n d l e d (but not
so dl y as to c r a c k ) .
T h e following day, you begin to
form the slab into the shape the sculpture is to assume. I n the case of the
bear, the slab is stood on one end a n d
the two sides b r o u g h t in t o w a r d the

center. By pushing in one p a r t and

forcing out another, the line of movement is established. This is the line the
eye will follmv when the sculpture is
f i n i s h e d - - t h i s part of the process is.
therefore, an i m p o r t a n t element in the
technique.
After the slab is shaped, the outline
is scratched in and excess clay t r i m m e d
away, allowing a p p r o x i m a t e l y a halfinch m a r g i n beyond the outline.
At this stage, von can work veto
loosely, keeping the finished piece i;1
m i n d - - y e t leaving your mind open to
the clay before vou. This is importanl
since tt~e clay itself will svggest forms.
You should work with the medium.
rather than force it into shapes lhat
do not lend themsehes to the plasticity
of the clay.
After several horns of drying the
piece in the open air. you can begin to
perfect the form. At tl~is point you can
best use yot, r own creative ability. Yoq
have before you a slab of clay that is
two dimensional a n d flat. H o w do vol,
transform this into a three-dimensioned, interesting piece of sculpture?
By studying it closely, you can determine where to a d d and where to
take a w a y - - a d d i n g and subtracting
clay to give the form fullness, while
keeping the original concept of the
slab's thinness.
T h e creator must be ever conscious
of the unity of the piece within itself.
No a m o u n t of writing or talking can
create a piece of good sculpture. You
succeed only by imagining and experimenting with different forms. In other
words: you succeed through experience.
W h e n you have finished modeling,
the piece m a y be gone over with
various tools. (Mavros uses a saw
b l a d e to take a w a y excess clay and to
obtain a heavy texture with a grog
pattern. H e has m a d e finishing tools
from ebony to refine surfaces.)
T h e piece is now ready for drying.
It is left d r a p e d in a plastic cover
for one week, then left uncovered for
two weeks. D u r i n g the drying period
it is kept on a sheet of newspaper
which, as the clay contracts, acts as a
roller device, allowing the clav to
shrink without u n d u e tension.
T h e next phase, another most imp o r t a n t one, is the firing. In placing
the piece in the kiln, it must not be
(Please turn to Page 32)
CERAMICS MONTHLY

;CULPTURE

Shown here are four examples of Mavros' slab-sculpture. In the background are, "Chicken,"
"Llama," and "Penguin." The inquisitive little
creature in the foreground is "Mongoose."

Photos by Victor Drago a.d Dor~ N:eh

Shaping the slab broadly, he establishes the

llne oJ movement the eye will follow.

He scratches in the general outline of

the sculpture, and cuts away excess clay.

Then, with various tools, he pulls the form

together, and brings out the grog texture.

Nesting in grog and with refractory pieces

lending support, the piece is fired slowly.

MARCH, 1956

Turning the flat piece into three-dimensional sculpture, he adds here, takes away there.

2]

Flowers from Clay

THE ORCHID
demonstrated by BEA MATNEY

T t

e orchid is not a difficult flower

o make from clay. Being a fairly
large flower, it does not lend itself
too well to group arrangements; by
itself, however, it does make an interesting pendant or pair of earrings.
And, like the calla lily (demonstrated
in the January issue), it is one of the
simpler flowers: each of the parts is
quite large and the arrangement of
the components is not complex. Mrs.

Matney demonstrates below the various steps involved in making an

orchid; but before you follow through
on her methods, it might be well if
you reviewed the general informatiolz
on materials and procedure which
appeared in her J a n u a r y article.
1. T h e special clay for flowers is
rolled out and tile various shapes are
cut out using paper patterns. (Shown

below are tile patterns in the exact size used by Mrs. Matney for tile
orchid pin. T h e pieces for the earrings
are identical in shape, but smaller.)
2. Each piece is thinned toward the
edges and smoothed with the fingertips. Veins and other markings arc
scratched in with a pointed tool.
3. T h e leaves are shaped by bending them back at the center and up
at the edges. They are assembled on
the three-pointed leaf (which also
acts as the base) with thick slip being
used to make snre they hold together.
T h e slip is applied from tile end of
a small brush.
4. T h e flower is shaped by bending
back the edges and by gently pinching
the back to form a shallow cone. This
is then set in place, with thick slip
again being used. T h e pistil is rolled
from a small sliver of clay, gently
arched and also set in place with slip.

): : :iiii!!i ;~1211iIIZ~ i (

5. Metal findings can be glued to

the backs or a small loop of clay
can be firmly fixed in place, allowing
easy access for the chain, as Mrs.
Matney has done on the pendant.
6. Earrings and pendant have been
formed and bisque fired. Decorated
and glazed, they are shown above.

22

CERAMICS i,40i'lfl ILIF

~ENAMELS

COMPACTS

ARE

vcry w o m a n
likes to possess a h a n d s o m e
compact, a n d this
~s one accessory
that
seems unaffected by changing s t y l e s .
For
these reasons and because the initial
outlay for the case itself is an investment, I feel it is well worthwhile to
make an effort to turn out a little
"work of art" when you e n a m e l a
compact. Before beginning to work,
I would plan the design most carefully on paper, first in black a n d
white values, then in color.
Various types a n d grades of compact cases which are m a d e in jeweler's
metal, a n d the c o p p e r inserts which
you enamel, are available from m a n y
of the supply houses which h a n d l e
enameling materials. T h e inserts are
sold separately so, if you "spoil" one,
it can be replaced without too great
expense.
W h e n you buy a case, you also receive p r i n t e d instructions on how to
a~;semble it. But if you have not enameled inserts for c o m p a c t cases before, a somewhat more detailed description of the process will be hell>
ful. T h e steps involved in doing one
of these compacts are, therefore, set
out in the photos a n d text on these
pages.
1. First comes counterenameling.
Like any other copper form, the insert for the c o m p a c t is given an acid
bath, polished with steel wool a n d a
MARCH, 1956

WORTH

EXTRA

EFFORT

drop of detergent, a n d rinsed in hot

water. F o u r thin strips of p a p e r toweling, each a trifle longer than the
copper shape, are moistened a n d laid
along the outside rim of the metal
(to act as friskets). T h e piece is sprayed with agar, a n d c o u n t e r e n a m e l is
dusted on (a good chance to use up
sludge because the inside surface will
be hidden when the insert is snapped
in p l a c e ) . T h e wet friskets are lifted
off a n d the piece, as soon as it is dry,
is ready for firing. N o stilt is needed.
2. W h e n the fired piece has cooled,
it is cleaned again in acid a n d the
top side p r e p a r e d for enameling. T h e
design p l a n for this p a r t i c u l a r insert
calls for a basic coat of flux so the
enamel is sifted on. ( I f the design were
to be wet inlaid, the outline could
be traced t h r o u g h red carbon p a p e r
onto the bare copper.) Special care
is taken to cover the d o w n - c u r v i n g
sides of the piece. T h e flux is sifted
a little heavier just where the c m x e
begins, because the enamel tends to
move away a n d b u r n out more at this
point.
3. T h e outside rim is now cleaned
off with a brush, the excess enamel
being pulled directly out a n d away
from the piece rather t h a n m o v e d off"
sideways along the rim. ( I f wet inlay
h a d been involved, friskets could have
been laid along the rim to m a k e
cleaning unnecessary, but they are not
practical when the curving a r e a must
be so carefully covered by sifting.)
F o r firing, any level firing surface
(Please turn Page)
23

is satisfactory (I use a screen.) No

stilt is n e e d e d now or any time. T h e
.piece is laid face side up, resting on
its bare copper rim. I t is fired at the
normal t e m p e r a t u r e for the p a r t i c u l a r
enamel used and removed when
glossy,.

I. Counterenameling
insert: paper strips
protect edges so cleaning isn't necessary.

3. Excess enamel cleaned off the outer rim:

the brush is pulled out, not sideways,

2. Base coat on top side: enamel is sifted

more heavily where the edge starts to curve.

4. After
pressure

firing, while piece is very hot,

is applied to prevent warping.

4. As soon as the firing is c o m p l e t e d

a n d while the piece is still very hot,
steps are taken to prevent warping.
T h e insert is lifted from the firing
screen with a large spatula a n d placed
on heat-proof material. Quickly, the
corners opposite each other are pressed down simultaneously with two
tools, then the other two corners are
similarly pressed down, and this process is continued in rotating fashion
until the piece cools. Screw drivers
are ideal tools for the job, b u t lacking t h e m any sturdy i m p l e m e n t will
do. R e m e m b e r , the operation must be
started while the piece is very hot!
5. Although the base coat has been
enameled a n d cleaned with care,
there m a y still be excess enamel at
the b o t t o m of the side edges after
firing. It should be filed off" before an}'
further enameling is done. A straightedged file laid along the side of the
piece will clean off the excess. N o w
the piece m a y be scrubbed with detergent a n d a stiff brush; a n d any
pinholes exposed in the process, will
be filled in with grains of dry enamel.
6. Filing a g a i n 4 u t
in the meantime tile design has been wet inlaid
over the flux base according to plan
(the actual decoration of a piece is,
of course, a m a t t e r of choice as is the
enameling technique to be u s e d / .
After the final firing, the bottom part
of the rim is filed again. This time,
the top of the piece is protected with
masking tape because with one slip
of the file the surface will be scratched, m a k i n g a n o t h e r firing necessary.

5. Stray enamel af the very edge is carefully filed off with stra;ght-edged file.

7. Assembling the compact: "buttons" at

sides of insert may have to be filed to fit.
24

6. With enameling completed, rim is filed

again; gummed tape protects the face.

8. Finished compact: design and technique

are a matter of personal choice, of course.

7. W h e n the cleaned edges have

been polished, back and front, with
steel wool, the parts of the compact
m a y be assembled. First, the enameled plaque is tried in the compact lid
a n d checked for fit. Sometimes, these
inserts (which are stamped out) are
not true, and if the insert is too tight,
the catch will not work well. To insure a good fit, it may be necessary
to file down some of the protruding
"buttons" at the sides of the plaque.
T h e printed directions that come with
the case when you buy it give instructions on how to snap the various
parts of the case in place (be sure
the m i r r o r is set inside the bevel of
its metal f r a m e ! ) .
8. T h e finished compact "'Girl
W i t h Flowers" - - is a study in transp a r e n t a n d opaque blues and greens,
with a red accent.
CERAMICS MONTHLY

ith
NO T O O L S . . .

o ls Of Clay
JUST FINGERS AND A PENCIL

by PHIL ALLEN
he A m e r i c a n Indians m a d e great
big, beautifully r o u n d e d pots by
~T
the same m e t h o d that Bonnie uses
here the coil m e t h o d of building.
N o tools, just sensitive fingers plus a
well-developed rhythxnic sense prod u c e d some of our f n e s t native pottery.
Coil building, like m a k i n g pinchpots, is a good way to get the feel
of clay. You have to m a n i p u l a t e the
material, both in rolling out the coils
and in raising the walls according
to the shape of pot you want. W a t c h
Bonnie work with ropes of clay, building a flower pot with only her fingers
and a pencil for tools.
1. T h e clay is well-wedged. She
takes a small chunk of it between her
hands a n d roughly forms a fat coil
shape which she sets on a slightly
d a m p e n e d board. Now she rolls the
clay back a n d forth u n d e r her fingers
with a gentle yet firm pressme, starting at the center and moving ()tit
toward cidmr end. T h e idea is t~,

m a k e the coil longer a n d thinner at

the same time keeping it uniformly
thick throughout. Because they are
m o r e sensitive, the fingers do a better
rolling job than the palms of the
hands.
You can roll several coils at a time
a n d keep them workable u n d e r plastic
or a d a m p cloth until you are ready
to use them.
2. T h e base of the pot is not a
coil, but a p a t of clay in the form
of a circle. Bonnie marks or scores
the edge so that the coil of clay to
come will adhere very firmly, then
d a m p e n s the scored a r e a a little.
3. N o w the coil-building p a r t of
the process starts. Bonnie will wind
the rope of clay u p w a r d in spiral
fashion until she comes to the end
of it, then start a n o t h e r coil. ( T h e
b u i l d i n g could be done in a series of
horizontal rings, one laid flat on top
of the other, with each ring started
in a different spot so that all the
s < m > xvon't bc in a lira'. ! H o l d i n g the

She rolls out even coils of clay . . .

Roughens and wets base so coll will stick,

V~nds in a spiral,

Defiines outside coil pafferns with pencil.

MARCH, 195b

welding

indde

. . .

coil in one hand, she starts it a r o u n d

tilt base with tile other h a n d , workin~ the clay firmly and smoothly together on the inside as she goes. T h e
outside could be smoothed, too, but
in this case the p a t t e r n m a d e by the
coils is to be left showing as a kind
of decoration.
4. N o w the pencil, d a m p e n e d with
water, is run along the coil m a r k s on
the outside to make the lines still
m o r e definite and at tile same time
to secure a firmer w e l d i n g of the
clay (a precaution against cracking
d u r i n g drying or firing!).
W h e n it conies to finishing h e r coilbuilt pot, Bonnie chooses a lightcolored glaze. I t flows over the surface, settling m o r e heavily in the
crewces, thus giving an a t t r a c t i v e
color variation a n d p o i n t i n g up the
decorative paltern of the coils. A
green p l a n t is installed, a n d Bonnie is
ready lo present a favorite person
with tim best gift of a l l - " s o m e t h i n g
I m a d e myself." @

2S

S H O W TIME

Paul Soldner's pieces (fall baffle, 27" H)

OHIOANS AT YOUNGSTOWN
Charles Mosgo's vase 11" H)
Kenneth Bates' enamel plate, "Message" (9" D)

Top Awaao ($150) of the 8th Annual Ohio Ceramic and Sculpture Show at
The Butler Institute of American Art at Youngstown went to a ceramist--Fern
Cole of Akron, for an enamel panel entitled "Madri Gras." Other enamelists
winning prizes were Kenneth Bates, Euclid: and Charles Jetfery, Cleveland
($50 each). Paul Soldner, Los Angeles, took a prize ($100) with three large
bottles. Completing the roster of winning ceramists were: Charles Mosgo,
(:leveland Heights ($501 and Florence Fillous, S. Euclid ($25). Shown here:
a few of the prize pieces.

CHICAGO GROUP EXHIBITS

~VHEEL-TIIRO~.VNSCULPTUREof "Mother and Child" (see
photo), bv Rose Migdal of Highland Park, Ill., was
awarded first prize at the annual Midwest Potters and
Sculptors members' show held at Robert North Designs.
Chicago, last December. Also winning were Martha Wood
of Evanston, Ill., (second) with a spherical stoneware
vase, and Charlotte Aronson of Chicago. (third) with a
tall. majolica-decorated vase (both pieces shown in
photo). Rosemary Zwick took fourth with a sculpture
entitled "Sleeping Baby." Forty, craftsmen working in the
(:hicago area comprise the organization which was formed
four years ago.
2b

CERAMICS MONTHLY

c-briefs

Mobile
Earrings

Mobile
earrings
can
easily
be made
frmn
enamel
chunks, some sih'er wire, and earring
findings.
Small
chunks
of enamel
of different
colors can be
arranged
in groups on a sheet of mica, placed in the enameling kiln and heated until they fuse together.
You must be
careful not to heat too hot or too long or the chunks will
melt down into flat globs. When they are cool, wrap them
in 20-gauge sterling wire, forming a loop at the top of each
so that it can be attached
to the mobile wires.
You can use any commercial
finding that has a sih'er
d o m e a n d o n e l o o p . I t is a s i m p l e m a t t e r
to solder on an
extra loop for the center "jewel;"
in fact, an extra mobile
wire could be hung on that loop with two stones instead
of the one, as shown below.
If the mobile wires are formed so that the middle loop
is o f f - c e n t e r , t h e j e w e l s o n e a c h m o b i l e w i r e w i l l t h e n h a n g
at a different length, giving more movement
to the earring.
The earrings
are not heavy;
and the light glistening
through
the
many-colored,
dancing
jewels
makes
them
attractive
as well as fun to wear.--Corrine
Haselton, Hartford, Conn.

ExduIlve fully enclosed, safe _ _ _ .

Whether amateur or skilled artisan . . . you'll find the smooth motorized
operation , . . ease of control in the BIG, all.steel precision built
MASTER POTTER'S WHEEL enables you to originate beautiful, distinctive pottery excelling anything you've ever done before.
Massive steel construction completely encloses mechanism to exclude clay
and moisture . . . assures operator safety and provides vibration-free
performance. Other features ordinarily found only in expensive wheels
include: pre-lubricated bronze bearings for quiet, long service, con.
venient arm rests, adjustable wedging wire, large 18" throwing table
with plenty of working space and a removable water cup. 10" throwing
head has joggles for easy centering, underside reverses for casting
plaster bats.
You have complete hand freedom at all times . . , smooth instant
change of speed from 30 to 170 rpm is controlled by a foot pedal.
Easy to use. even for handicapped persons, Use any I/4 HP motor.
Standard V4 HP motor $16.97 when purchased with Master Potter's
Wheel.
MASTER P O T T E R ' S W H E E L Floor Model, Item 47b,
Wt. 90 lbs. Lists at $175.00--Factory price . . . . $89.95
MASTER P O T T E R ' S W H E E L Bench Model. Item 47a.
Wt. 45 lbs. Lists at $125.00--Factory price
.........

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CERAMICS
MONTHLY

TODAY

Ceramics Monfhly
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\
I

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MARCH

1955

27

Slip Decoration
(Begins on Page 14)

exemng..,

and each coat must be thoroughly d D"

before the next is added.
W h e n the b u i l d i n g process has been
completed,
sgraffito, underglazing,
incising, etc.. m a y be done if further

original

new..

watch for our

new designs
S E N D 25c F O R C A T A L O G
S A H U A R O , BOX 133, STA. A,
PALO ALTO, CALIFORNIA

D o Y O U Have Trouble
With D r y G l a z e s ?
Try mixing SLICKY with your dry
glazes. It's amazing how smooth and
evenly you can brush on. Glaze hardens
on piece quickly. Does not chip or peel.
Save money by mixing your own brushon one-fire glazes. Save labor and irritation. T r a n s p o r t glaze ware without
damaging. A real bargain. One package makes half gallon. Does not smell
or spoil. Pkg. $1. PP. Discount to dh's.

Weatherly Ceramics
Weatherly, Pa.

PARAGON

KILNS

Watch for the new models.

Try us for your ceramic supplies.

Roder Ceramic Studio

1331 Race St. Philadelphia, Pa.

WROUGHT
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I Sllght irregularities. Excellent for decorating. I

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Square Candle-12" tall

@ MOLD .;~414 $8.50
Round Candle-12" tall
@ Candle molds are detailed; finished piece holds 4-hr. candle.
@ MOLD ;t/:41~ $1.00
Candle Cup for 4,hr. candles
4,Hour Candles. 4 for .25"
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Molds
Accessories

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PIERCEC0.
28

High
t.
Polo Alto, Cal.
324

brilliance, richness a n d d e p t h of color,

an allover, thin t r a n s p a r e n t glaze is
r e c o m m e n d e d , especially if the piece
is earthenware. Clear, high-gloss, lead
glaze is best, a p p l i e d to a b o u t the
thickness of a p o s t c a r d ; if the covering is too thick or uneven, clear glaze
can cloud some of the d a r k e r colors
a n d spoil the effect. ( R u n n i n g trial
tests is i m p o r t a n t here as elsewhere. I
Before a piece is glazed overall, it is
a good idea to first brush a very thin
coat of glaze well into the raised
design so that all the crevices are
reached.
Since low-firing clays do not always

Another piece by the author. For success,

clay and sllp must "fit," she cautions.

e l a b o r a t i o n is desired: a n d when the

piece is bone dry, detail can be developed by scraping or carving the
design with fine, sharp tools. Generally speaking, however, the freer look
resulting from m o d e l i n g by brush
alone is m o r e acceptable to contemporary taste.
W h e t h e r or not to glaze the piece
is a m a t t e r of personal taste a n d the
purpose for which the pot is intended.
I f the clay is vitrifiable, it can be left
in bisque or only partly glazed (the
contrast of bisque a n d glaze can be
very p l e a s i n g ) . But for durability,

Ash-Glaze

Two ways of building up relief: The moderately thick opaque sllp commonly used today
is la~d on in more or less even layers (I);
when translucency is desired, the slip
(translucent) is applied in very thin layers,
each succeeding coat covering less area (r}.

have a wide firing range, they can

easily be underfired or overtired. It
is essential to fire such clays at the
r e c o m m e n d e d t e m p e r a t u r e : overfiring
(Please turn to Page 36)

Stoneware

(Begins on Page 13)

different trees a n d shrubs differ widelv. Colors range t h r o u g h shades of

gray, blue, green, olive and b r o w n :
textures m a y be matt, smooth, heavily
crackled or oily. W a l n u t . for instance.
makes a white glaze, holly a pale blue.
horse chestnut a curiously mottled
c r e a m a n d brown. Weeds a n d ttowers can also be used: c h r y s a n t h e m u m
plants m a k e a glaze like old ivory,
while grass a n d nettles p r o d u c e grayish glazes good for p a i n t i n g on.
She says that for all one's calculations, one can never be sure of rest(As
because no one knows exactly what
takes place in the magic fire of the
kiln u n d e r firing conditions that are
b o u n d to varv. Too, she believes it
pays to m a i n t a i n a completely open
mind, for nothing can be taken for
g r a n t e d in e x p e r i m e n t a t i o n in ceramics, further work almost always extending frontiers a n d m a k i n g idea
revision necessarv. O v e r the years of
e x p e r i m e n t a t i o n , she has achieved
some of the most beautiful effects in
c o n t e m p o r a r y ceramics: soft jadesmooth glazes of boundless depth,
strange crackles, rough textures - - all

speak of hours spent, of an art loved

aesthetically and empirically.
Leaving "her old family home some
years after the war, Miss Bouverie
now has her studio at Kilmington
M a n o r , near Warminister, Wilts. Here
she has developed a line of unglazed
stoneware pots, which are quaintly
m o d e r n if there can be such an expression. O l d fashioned as lacework.
they're still just right in a super-modern s e t t i n g . . T h e y ' r e h a n d thrown.
incised decorated, with non-porous
saucers.

Miss Bouverie teaches one day a

week at the Salisbury School of .~rts
a n d thinks that the soundest piece of
advice she can offer a young potter is
to give the public what it wants. T h a t
is,~ if a buyer, wants an e~o~ cup, it is
useless to thrust a platter at him;
rather the potter should use his imagination to make the egg cup so interesting in design that it's irresistible.
I m a g i n a t i o n , she observes dryly, is
best kept right there in the designing
a n d technique departments and off
the price tags, where too often an
artist loves most to express himself.
CERAMICS

MONTHLY

:Mbriefe
Grog is a f i r e d clay m'
body t h a t h a s been c r u s h e d
and screened. I t is used in
clay bodies to p r o v i d e a
HOW
tO
t e x t u r e d s u r f a c e a n d also
to alleviate w a r p i n g and
Make
c r a c k i n g d u r i n g t h e firing.
( F o r details on the f u n c tion of g r o g , see " W a r p ing, Cracking, a n d G r o g "
in t h e April, 1955 issue.)
G r o g can be p u r c h a s e d in a v a r i e t y of p a r t i c l e sizes
a n d in various colors. I t is quite i n e x p e n s i v e to buy and
one d o e s n ' t usually make his own. I f you should w a n t a
p a r t i c u l a r size g r o g or color t h a t i s n ' t readily available to
you, however, this is how you would go a b o u t p r e p a r i n g it
yourself.
1. Roll out a slab of clay until it is quite t h i n and let
it dry t h o r o u g h l y . W h e n dry, go over it a g a i n w i t h a rolling
pin, c r u s h i n g it into small pieces.
2. Screen the c r u s h e d p a r t i c l e s t h r o u g h a f a i r l y coarse
screen, such as a kitchen s t r a i n e r . The fine clay p a r t i c l e s
will go t h r o u g h the screen, of course, and the c o a r s e r
p a r t i c l e s will r e m a i n in the screen. T h e s e are k e p t s e p a r a t e
anti each will be used.
3. The two sizes of dry clay " p e b b l e s " are placed in
s e p a r a t e b i s q u e - f i r e d pots and go into t h e kiln to be fired.
They will be t a k e n to the b i s q u e - f i r i n g t e m p e r a t u r e u s e d
for t h a t p a r t i c u l a r clay or body.
4. A f t e r f i r i n g , the g r o g is r e a d y f o r use. H e r e a small
b a t c h is shown b e i n g w e d g e d into some p l a s t i c clay to conv e r t it into g r o g g e d clay.
Some c e r a m i s t s , i n s t e a d of f o l l o w i n g t h i s p r o c e d u r e ,
m e r e l y c r u s h and screen some f i r e d pieces. You will find,
I am sure, t h a t it is m u c h s i m p l e r to c r u s h thin slabs of dry
clay t h a n to t r y to crush h a r d - f i r e d pieces into fine

Now Available...

Grog

particles.--Elaine

THROUGH

Canfield, Seattle, Wash.

iiiii

THE

BOOK DEPARTMENT
N e v e r before has the s u b j e c t of glazes been t r e a t e d so
c o m p l e t e l y in a single volume. The 314 p a g e s of technical
t e x t covers glaze m a k i n g f r o m the g r o u n d up, s t a r t i n g w i t h
a c a r e f u l discussion of the r a w m a t e r i a l s . A l r e a d y in its
second p r i n t i n g , the book is an invaluable t e a c h i n g , l e a r n ing and r e f e r e n c e source f o r a d v a n c e d hobby p o t t e r s , serious
s t u d e n t s , t e a c h e r s and p r o f e s s i o n a l p o t t e r s .
The c h a p t e r h e a d i n g s m o r e t h a n a d e q u a t e l y describe t h e
contents :
Definition of Glazes - - Glaze M a t e r i a l s - - Calculations - M i x i n g and Milling --- A p p l i c a t i o n - - C o n v e r s i o n of the
Batch to the Glaze - - L e a d l e s s Glazes - - F r i t t e d Glazes - R a w - L e a d Glazes - - E n g o b e s , Slips, and U n d e r s l i p s - U n d e r g l a z e s and O v e r g l a z e Colors - - Glaze D e f e c t s .
In addition to t h e t h e o r e t i c a l and technical c o n t e n t s ,
the t e x t includes specific empirical f o r m u l a s and b a t c h
recipes f o r glazes - - r a w and f r i t t e d ; high and low t e m p e r a t u r e ; g l o s s y and m a t ; c r y s t a l l i n e ; a v e n t u r i n e ; etc.
This h a n d s o m e l y bound book c o n t a i n s e i g h t p a g e s of
c r o s s - r e f e r e n c e d index, a d d i n g i m m e a s u r a b l y to its value
as a source of r e f e r e n c e .

Price $8.00

(we pay postage)

DON'T
FILE THAT GOOD
IDEAl:
(You Can't Hardly Get That Kind No More)
Your experience can help other ceramlsts
if presented as short "Suggestions," detailed
"Briefs," or full-length, illustrated features.
And--you get $$$ for any item accepted!
So, send your ideas to the Editor and let
him decide whether or not they should be
relegated to a spindle. Write: 417S N. High
St., Columbus, Ohio.

MARCH, 1956

O R D E R FORM
Ceramics Monthly Book Department

4175 N. H i g h St., Columbus, Ohio

Yes, please send me a copy of C E R A M I C G L A Z E S

NAME

. . . . . . . . . . . . . . . . . .

ADDRESS
City
[]

. . . . . . . . . . . . . . . . . . .

...................
I enclose remittance o f $8.00

(Ohio add 3% Sales Tax)

State

..........

I
I
[
]

29

Multiple

Sgraffito

Tool

IERGLAZE

A new sgraffito tool cuts one, two.

or three grooves at a time. T h e tool
has a quality steel tip welded to a
metal handh" that is easv to hold.

PAGE

Overglaze Enamels
(part3)
by Z E N A

7"he [ollowing is the third and co,cluding part o / a n e~lensiz:e article o,

enamel pigmeuts used in over,~lazc
fdecoration. Pret'iously, Mrs. Holst discussed the enamels in a .wneraI way
(January) and in re sard to their
preparation (February). Nou' she dePrice 50 c e n t s - - i n c l u d e s 2 design
sheets showing m a n y decorating pos- scribes their application.--Ed.
sibilities Write t o : C r e e k - T u r n Pottery, Rt. 38, Hainesport, N. J.

I" -~{J'P'PLY

e"(:IMPANYI

Midwes's Largest and Most Cam- 4

plete Supply House of Clays, Glazes,
Chemcas. Molds, and Equlpmenf.
Discounts available to Dealers,
M a n u f a c t u r e r s and Schools.

Write Dept. 12A for

I
Illustrated Catalo~zue ........ 50C I
/

Refunded on first order. _ _

Catalogue .sent to schooL~ Free

1248 South Broadway

Denver 10, Colorado

O ~ ~ O ~ F O ~ O O C H H H F ~
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ART

TEACHERS and $
DIRECTORS
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of ceramic supplies and equipment.
HOUSE OF CERAMICS
Memphis, Tenn.

B O X M O L D - - 7V2" x
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other
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Many
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I includes
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No C.O.D.'s.
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Los Angeles
22, C a l i f .

Ceramic
MATERIALS A N D EQUIPMENT
A COMPLETE LINE OF MATERIALS
EQUIPMENT AVAILABLE

AND

POTTER'S WHEELS - KILNS - CLAYS

GLAZES - TOOLS - BOOKS.ETC.
New Low Prices on

ENAMELS
JACK D. WOLFE CO., INC.
62

HORATIO

(WA

ST.,
N.
4-6019)

S E N D 1OC FOR 3 2

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14

PAGE CATALOG

T h e best brush to use for applying

enamels is a sable. A camel-hair brush
is too soft. Since the soft enamels are
flowed onto the surface of the piece,
the brush must have enough body to
carry the load of enamel needed for
this type of application. For dots and
fine lines, use a small, pointed sable.
Scoop up a bead of color on the very
tip of the brush and, holding the"
brush quite upright, allow the bead
to drop off: if a line is to be made,
roll the dot out. If a small leaf or
petal is to be filled in a n d one bead
of color is not enough, use two or
three drops to fill the area. W h e n
you come to a larger area that would
require more drops t h a n this, it is time
to switch to a larger sable brush.
Again, scoop up a brushful a n d allow
the enamel to flow off into the space.
T h e size of brush a n d load of enamel
depend on the size of the area to be
covered. T h e idea is to avoid using
: o o i n a n v brushfuls to fill a given
space. V~;ork fast so that the droppings of enamel will flow together.
Complete the design by pushing the
enamel a r o u n d to the edges with the
tip of the brush. But do not let the
brush touch the object being decorated: if there is a p a i n t i n g stroke in
the application, the enamel will not
flow together a n d uneven, weak areas
will result.
T h e enamel should not be meddled
with after it has been laid on. Final
smoothing, when a very large mass
has been flowed onto a wide area,
can be accomplished bv giving the
piece a quick jolt. Hit' the side of
the object with the palm of vour
hand. repeating several times, if
necessary, to settle the enamel smoothly. A n easv shaking will not do the
job; it takes a severe jolt.
Always finish each separate area
before proceeding to another, a n d
watch sharply curved surfaces. Do not
allow the brush to become clogged

HOLST

but clean it frequently in turpentine.

An unfinished project can be set aside
a n d finished at any future time without deterioration of the work.
Mistakes, such as r u n n i n g outside
the design, should be ignored until
the area involved is dry. T o stop a n d
repair too soon would be a waste of
time because wet enamel smears a n d
is difficult to clean off'. W h e n it is
dry, it can be scraped off easily and.
if the entire area does not have to be
redone, uneven edges can be straightened by scraping with a sharp tool.
If, for tim final cleaning, moisture is
needed, use water or saliva on a bit
of cotton wrapped on the end of a
toothpick, or use a stiff, pointed brush
moistened
in
water.
Turpentine
should not be used for it would run
into the enamel a n d destroy the sharp
edges (nmch of the charm of enamel
is lost if the outlines are weak and
u n c e r t a i n / . T h e first application will
show whether the enameled area is
going to be successful; it cannot be
done hurriedly or carelesslv. T h e work
is most effective when the design is
well filled with enamel.
W h e n different colors are to be
applied next to each other, allow the
first color to dry before placing the
next one up to it; a n d keep the
separation of color lines neat. A color
may be applied over part of a different c o l o ~ i f the first one is dr)' and
the two will not r u n or blend in firing.
I n large patterns where several colors
are placed one against another, the
division of the colors sometimes has
a severe appearance after firing. If the
effect is unpleasant it can often be
remedied by painting over with thin
washes of translucent mineral colors.
M a n y a successful decoration is
done with all white enamel and then
tinted with painting colors: this can.
of course, be done only on the soft
enamels that will stand extra firing.
Luster or matt backgrounds are effectire with enamels. Superimposed patterns on a b a n d of grounded matt
color, relief motifs on burnished metal,
monotone designs on pottery, and the
constrast of glossy enamels on bisque
w a r e - - t h e s e are only a few of the
wavs in which enamels are effectively
employed in overglaze decoration.

CERAMICS MONTHLY

A THOUGHTFOR TODAY
(AND TOMORROW, TOO)

uestlons
conducted by

KEN

SMITH

@. S o m e p l e l i m i , a r y sketche~ were made on clay with

I n d i a ink, after zchich the piece~ were decorated zcith underglazes and t h e , clear glazed and fired. D u r i n g the firing, the
glaze and underglaze colors came off where the i , k u'as applied.
In some cases it appeared as though the color had blistered a , d
burst open. Can you tell me what caused the trouble?
A. T h e ink created the difficulty. If you wish to have
black lines remaining after firing, use black underglaze. If you
do not want black lines and merely use them as guide lines.
sketch with an ordinary pencil because the marks will b u r n out
in the kiln without affeetino" the decoration or the glaze.
~ . T w o m u g s I recently glazed had some bare spots o ,
the inside which I didn't notice until after the)' had been used
for food. H o w can I clean these areas? I want to be sure all the
grea~e is remoued so that I can reglaze it.
A. The best way to thoroughly clean any piece of ware
preparatory to glazing or reglazing is to fire it to a dull red
heat. All impurities will burn out in just a short time.
~ . Can you tell me the best m e t h o d /or a t t a c h i , g head.~ o/
small clay figurines so the)' will not crack off? I hat'e been u s i , g
~lip and a fez(' criss-crosses; but they inuariably break off.
A. There are many variables and cures; the following
general precautions should, however, help you to keep out of
trouble when adding clay to clay.
Slightly d a m p e n the surfaces that will come in contact with
each other, score thexn deeply and use a thick slip made of the
~ame clay. T h e added clay should be at approximately the same
degree of wetness as the main body. Dry the total piece z'ery
slowly: a good procedure would be to w r a p the entire piece
in a plastic bag so that the whole mass will come to the same
degree of plasticity. After a couple of days. the w r a p p i n g can
be removed and the piece dried slowly in a dampbox.
~ . In her article on Jewelry ( N o z ' e m b e r 1955) M a r i o n
Sau'hill suggested using bright gold on bisque ware and .raid
that it w o u l d look like R o m a n gold after firing. I am confused
because whenez'er I haa'e used bright gold on glazed ware and
it accidentally gets on bisque, it fires to a purple color.
A. It is not the bisque that makes the gold fire to a purple
color but the fact that very thin applications of gold will show
purplish discolorations after firing. 5"our accidental spots, no
doubt, were very thin. If the gold is applied at a normal thickness on the bisque ware, you should get the type of result Mrs.
Sawhill mentioned in her article.

Q. Is there anything you can add to a commercial glaze

,o a , underglaze decoration on the side of a m u g zcon't lun?
A. A more viscous glaze will be less likely to cause an
underglaze decoration to r u n : hut you can't successfully "add
something" without knowing the composition of the glaze. T h e r e
are other factors to consider, too. when a decoration runs. Some
of these are overfiring of the glaze, too thick a glaze application,
disturbing the decoration during the glaze application, and not
enough adhesive quality in the underglaze. Perhaps your difficulty
lies in one of these areas rather than in a too-fluid glaze.
All subscriber inquiries are given individual attention at CM: and,
out of the many received, those of general interest are selected
for answer in this column. Direct your inquiries to the Questions
Editor: please enclose a stamped self-addressed envelope.
MARCH, 1956

A man is judged
By the company he keeps-A company is judged
By the products it handles.

HOUSEOF CERAMICS
~s known nation-wlde as the home of "name"
brand merchandise. Our big S2-page fully
illustrated catalog reads like a who's who in
the hobby ceramics field.

HOUSE OF CERAMICS
3293-329S
MEMPHIS

JACKSON
12, TENN.

Delta manufactures the

most complete line of
brushes for every ceramic
use. From banding,
lettering and glazing to
clay trimming, dusting
charcoal and sweeping
the kiln, there is a specific
brush designed to do a
specific job. Your best
efforts deserve the finest
tools. For the ceramist
this means . . . .

brushes

by

delta

Write today for your

copy of "Ceramic Brushes
-their selection, use and
care" by Carol Janeway.
Send I So in coin
or stomps.

~ b r u s h

mfg. corp., 119 bleecker s+., new york 12, n. y.

31

Mavros'

Slab Sculpture

World's finest

( B e g i n s on P a g e 2 0 )
too

90

,a

SPUN COPPER BOWLS, trays or cups.

Also--stamped circles or squares, plain
or slotted, for belts and links. Also--card,
match or cigarette boxes. The Old Viking
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Colorado.

HANDLES
,o,
.:

Bamboo, Rattan, Metal

Send For Descriptive Folder

A D - A R T CO.
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IMPORTED

WHITE CHINA
S e n d 25c f o r c a t a l o g

Deductible f r o m first order

Maryland China Company
1436 N. Gay St., Baltimore 13, Md.

CUSTOM-MADE FRAMES FOR 6x6 CERAMICTILE,

ENAMELEDTILE, ETC. MAKE YOUR OWN TABLESI
writs today for description and prices.

HALLAM

5he

S T U D I O L6OOMolS.ee,
Racine, Wisconsin

potu,'s ?#heel

Boston Post Road

Westport Southport Line
Westport, Conn.

CopperEnamelingSupplies
Dealer
32

Inquiries

Invited

TILES

close to the elements and should

rest on a bed of ,~q'o~,~.T h e grog enables the clay to shrink witliout tension. If the piece is resting on a curved
surface, it is a good idea to pile o"I'"
under the higher places; or pieces of
refractory m a y be used for support
providing there is room for the clay
to contract. T h e firing is started
slowly, the kiln sometimes kept on low
a n d m e d i u m , with the door slightly
ajar, for as long as six hours. ( M a v r o s
generally fires his sculpture to cone
04-03.)
T h e sculpture is now ready to be
glazed or to be given a p a t i n a finish.
F o r glazing, you might try a semit r a n s p a r e n t m a t t glaze sprayed on
thinly. U n d e r g l a z e colors m a y then be
brushed on lightly to give color a n d
highlights a n d be followed by a second
coat of the semi-transparent m a t t
glaze, a n d fired.
F o r a p a t i n a finish, which, of course,
is not a fired-on ceramic coating,
M a v r o s uses white lead a n d ball clay;
the color is derived from underglaze
colors or oxides g r o u n d with linseed
oil. F o r varying tones, oil colors m a y
be a d d e d to a p a t i n a mixture. W h e n
its consistency is honey-like, the mixture is b r u s h e d on the clay. You have
to be careful not to let it build up too
m u c h because it takes a long time for
the linseed oil to dry. Before the application has dried thoroughly, dust on
dry ball clay a n d imderglaze colors or
oxides, d e p e n d i n g on the color a n d
effect desired. T h e n allow the piece to
stand overnight.
T h e next day, rub the entire piece
with liquid wax. T h e wax will carry
the colored ball clay into the texture.
This gives the surface interesting color
variation. A f t e r the w a x has dried, the
sculpture m a y be r u b b e d lightly with a
soft cloth to bring out the highlights.
IN SUMMING IJP a beginner's chance
for success with slab sculpture, M a v r o s
says: " Y o u r p a r t i c u l a r sculpture will
d e p e n d on your own personality, your
sense of humor, your feeling for
movement.
" I f your work is successful, it should
evoke a response be it h u m o r , curiosity or s y m p a t h y from the viewer.
But people should be able to sense the
way you, its creator, interpret the subject's personality.
"As you can see, the slab process is
not involved or full of complications.
But it takes time to complete a good
slab piece. You m u s t be patient. You
must not rush the process, or be too
quickly satisfied. A n d this I can
promise you: from rough slab to
finished s c u l p t u r e - every step of the
way vou'll have a lot of fun." $

For Decorating

Superb
English
6" x 6", they're
or profit.

Tiles,
bisque
or
glazed,
perfect for pleasure
. . .

ALSO AVAILABLE:

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rubber-footed, for 1 a n d 2
tiles
WROUGHT IRON
FRAMES

WOODEN

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T I L E B A C K S and
HANGERS

Write (or FREE Descriptive

Price List No. CM

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CERAMICS, INC.
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in old " K e r a m i c S t u d i o " style, designs,
studies, a r t i c l e s f o r d e c o r a t i n g all ceramics,
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and p r o d u c t i o n lines. All subjects. Send
your ideas a n d a d v e r t i s e your s t u d i o s a n d
products. S u b s c r i p t i o n $3.75 per year.
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COLORED CLAYS...
for flowers and jewelry. Ceramic and
porcelain. "See colors as you work"
Inquire at your dealer or write direct

AMERICAN

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manufacturers and d i s t r i b u t o r s of ceramic supplies

15648 Euclid Ave.

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by

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COPPER BLANKS

S e n d 25c f o r c a t a l o g &
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$ 3 . 5 0 check or m o n e y order. A d d 15c p o s t a g e .

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CERAMICS MONTHLY

ENAMFLFR'SCOLUMN

MIXING

COLORS

Many, m a n v colors and shades of

enamels are on the market but it can
very well h a p p e n that you w a n t to
match a certain color a n d it simply is
not to be had. W h a t can you do in a
case like that? Plenty!
I still remember telling my teacher
sadly that the color I needed was not
on our chart. "Mix the color yourself
if vou need it so badly," she said.
Well, I did a n d still do, a n d so can
vou. Of course, you need to start with
a relatively good assortment of colors,
but with these and some flux on h a n d
there is no end to what can be mixed.
It helps a great deal to have experience m p a i n t i n g : (in fact, I would
advise every enameler to also p a i n t
for, believe me, it shows in your
enamelsl. But even without thorough
knowledge of how color behaves,
everybodv knows that if you mix yellow and blue vou get green, blue a n d
red give purple, a n d when you mix a
green with a yellow you get a vellowish green. These simple rules apply
also in enameling.
There are two basically different
ways of mixing color in enameling.
You can fire a color over a n o t h e r
fired color, or you can mix powdered
colors together before the application.
The first method can be used only
with transparents or with a transparent over an opaque. Let us say
that light purple is wanted. You fire
on a layer of either transparent or
opaque pink, then a layer of transparent light blue a n d presto, you have
a lilac color. Some more examples of
the way it works: a layer of light gray
over blue gives a subdued blue; strong
pink over yellow or vice v e r s a - - a
burnt orange; dark gray over royal
blue- a navy blue . . . You will realize
that I a m giving very simplified examples; that you have to find the
right combinations to get the precise
color you w a n t : that it is not always
achieved with only two layers of color:
and so on.
The second way of making up
new s h a d e s - - b y mixing the colors
before they are applied can be done
MARCH, 1956

with both opaques a n d transparents.

O p a q u e colors, if they are blended
right, will give you the effect you
want but it will be achieved in a kind
of salt-and-pepper way. T h e grains
of enamel will retain their individual
color but, as you know, the h u m a n eye
helps out in such situations. If you
look at the enameled piece from the
distance, it appears to be a perfect
one-color job. And, by inixing flux
with an opaque color, you can get a
nice gold-flecked effect: apply this
mixture over a metal or flux base
and the transparent grains will appear
like gold dust, distributed evenly over
the whole area covered by the mixture.
T r a n s p a r e n t colors can be blended
beautifully before application. You
can lighten a color just by adding flux
or a lighter shade of the same color;
Kelly green can be made bottle green
with the addition of a m e d i u m or
dark blue depending on how deep a
color you w a n t ; and so on. Sometimes,
you have to blend quite a few colors
to get the shade desired but when you
have it, it gives you quite some satisfaction and rightly so.
A n d how is the b l e n d i n g done? I n
cases where a very small a m o u n t is
needed, as for detail in a design, the
colors can be placed in a little dish,
water added a n d the concoction
stirred until it becomes a perfect
blend. This is the easy way to do it;
the orthodox method is to place the
colors u n d e r water in a m o r t a r a n d to
grind them together with a pestle.
W h e n q u a n t i t y is needed you cannot mix the colors by instinct because
you c a n ' t be sure that the one batch
will be enough for the job and that
a n o t h e r batch of exactly the same
shade will not have to be made up. I
once had a commission to do 500 pins
a horse in an odd turquoise color
that had to be just so. I n this case,
I measured every color used, wrote
down the proportions, fired samples
a n d kept this up until I arrived at the
correct recipe. T h e colors were put
dIT in a covered jar a n d shaken together like a cocktail until evenly
blended. T h e procedure worked just
fine for m e - - a n d I hope yours does,
too.

Flew Molds
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castings retaining the minutest details. LUDWIG SCHMID MOLDS
have proven sales appeal. $1 sent
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on your first order. If your dealer
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349 Square Box

346 Planter

LUDWIG SCHMID I
model and mold shop I
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For Glazing
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FREEm4 oz. bottle of .lANE SNEAD

glaze with each order.
o f the a r t i s a n
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glaze: it beaufaithful service
a s s u r e d by the j e w e l e d s a p p h i r e n o z z l e
o f this s p r a y e r . . . p a t t e r n a n d v o l u m e
regulated
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Put the finishing touch
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Burgess Electric Sprayer
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Dealer inquiries invited

33

Campana Art ('ompany is

now offering a new addition
to its famous correspondence
courses in a r t - - C h i n a Painting! Everything is included,
four lessons, four 7" imported fine salad dishes, all
colors necessary for completing the colored models, directions for mixing and painting, brushes, mediums, patterns, graphite paper, etc.
Expert criticisms on each
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Firing is included in the
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CAMPANAARTCO.
442 N0rth Wells St.
Chicago 10, III.

They'reDifferent!!J
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V CRATORS,MATTSAND
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"7 UNUSUALEFFECTS
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WilloughbyStudiol

34

people,

places

MEET OUR
AUTHORS:
James Goltz, who
writes about Donald
Mavros'
pottery
(page 20), is a
young man wlth a
unique ambition. He
wants a public relations firm of his
own--the
clientele
to consist solely of
painters, potters and sculptors. (More power
to Jim and to his clients!) By experience and
training, Goltz would seem eminently fitted
for relating artists to pubilc and vice versa.
As a magazine writer he speclalizes in "any
and all the arts": as a college student (graduating from the University of Iowa at 18),
he majored in art, English and iournal;sm.
He works for Newsweek, currently, free-Jances
in writing, and lives, of course, in Manhattan.
Go down to "the firehouse" at Oak and
Parsons in Columbus, O., most any afternoon
or evening during the week and you'll find
Tom Sellers in brown smock patiently directing the timid hand of a beginner in ceramics
or giving a tip to an advanced student who
is throwing on the wheel. The firehouse, an
old brick building, was converted in 1952 into
an Arts and Crafts Center sponsored by the
Recreation Department of the City of Columbus. From the beginning, Tom has been the
director of the center (ceramics, enameling,
weaving, leather craft) and the ceramlcs instructor, each year teaching more than 200
men and women hobbyists the art of working
clay By hand or on the wheel (12 wheels
currently operatlng]).
Tom is guiding the hand of many a C M
reader, too, for he is an Editorial Associate
of the magazine and author of the series,
"Throwing on the Potter's Wheel," which has
run continuously ;n C M since September,
1954, (with much more to come).
Although he likes teaching better than anything, Tom occasionally sarvages time for his
own ceramics--had a one-man show last year,
under the wing of the A l a b a m a State Garden

C0 PPER ENAMELING
SUPPLIES

Enamels Copper shapes

& forms Findings Kilns
Send for catalog
Also complete llne of ceramic
supplies and equipment.

ILLINI CERAMIC SERVICE

439

N.

WELLS
TELL:

ST. o

CHICAGO

MICHIGAN

IOo

Club, of pieces made specifically for flower

arrangements; had another one-man show of
low-fire earthenware last month at the Ohio
State University. His leanlng ;s toward the
pots-for-use-not-for-show school, and his style
is on the classical side as contrasted with
hlgh[y decorated or sculptural ceramics. Currently, he is especially interested in deveioping better glazes at low temperatures.
Sellers dld not grow up in ceramics. Like
the firehouse, he was converted--and suddenly. He had been in dramatics for several
years, teaching the subiect in a Fort Wayne
high school and touring seasonally with a
marionette show, when he happened to watch
a potter throwing on the wheel. Completely
intrigued, he dropped drama and went over
to the Ohio State University where he acquired an M,A. in ceramic art in 1952.
Sellers' thesis for the degree was on lowfire celadons. Since then he has acquired a
beautifully colored Siamese cat {who eats
house plants and breaks pottery). The cat's
name is "CeIadon."
SUMMER WORKSHOPS:
First announcements come from the mountains of Tennessee
and Vermont. The annual Craft Workshop of
the Pi Beta Phi School and University at
Tennessee at Gafllnburg will be held June
I I - J u l y 14 (choice of lull or half sessions).
Among the teachers: Charles F. Mosgo, pottery: Joseph P. Jankowski, enameling: C.
Jane Glass, enameling. For details, write Pi
Beta Ph; School, Gatlinburg. Tenn.
Fletcher Farm Craft School at Ludlow, Vt.,
is to run in two-week periods from July 9 to
the end of August. Further information on
this one may be obtained from keana M.
Phelps, exec. secy. of the Society of Vermont
Craftsmen, S Fairfax St., St. Atbans.
CHEERS . . . for Edris Eckhardf, the Cleveland sculptor and teacher whose articles
frequenfJy appear in CM. She has just
been awarded one of the coveted Guggenhe;m Fellowships. Hers is for a year's work
~n the art of making gold glass. This is the
ancient and hitherto forgotten technique of

(Please turn to Page 36)

N E W - FROMRe" D U L - M A T " Glaze

(not satin}
SUPER - 1 - STROKE
ceramic color
Trinity

for Re-Ward

Ceramic Color Price List.

phone:

8-70671

things

Write

407 E. Florence, Inglewoocl 1, Calit.~

ORegon

&

ILL.

2-3367

CERAMICS MONTHLY

THE ~

SERIES

Brush Strokes (cont.)

by MADGE TUMMINS
In decorating, fine-line accents and
details are more easily done with the
Scripto or gold-liner brush. Last
month, we discussed various brushes
used for underglaze decorating and
gave details on the loading of the flatferrule brush a n d the execution of the
half-brush stroke. Now we will discuss
outlining.
L o a d i n g the liner with underglaze,
like the loading of any brush, begins
with wetting the brush with w a t e r or
medium. You mav find that you get
better results with m e d i u m . This is the
same liquid that is used in the m a n u facture of the liquid underglazes a n d
it is available at the same sources
of supply as the underglazes. T h e
m e d i u m is a water base to which
various suspending agents a n d other
materials have been a d d e d to give
m a x i m u m brushability to the underglaze. I t prevents the bisque or green
ware from grabbing the brush, a n d it
allows the decorator to m a k e long
sweeping strokes without interference
from the porous a n d highly absorbent
ware being decorated.
After the brush has been moistened.
touch it to a d a i n p sponge or clean
cloth to remove the excess moisture.
Then. roll the brush in underglaze
color which has been p o u r e d out on
a glazed tile or palette.
Now, practice making long straight
lines, curved lines, circles, etc.. always

keeping the bristles in the direction of

the stroke. I n other words, when yell
change direction, turn the brush' so
that the bristles are always m o v i n g
directly f o r w a r d : they should never be
dragged sideways or even at a slight
angle for fine-line work.
Pay close attention to the ditterent
line widths you can get from the same
brush bv ci/anging the pressure of the
stroke. [a,nd familiarize yourself with
the a m o u n t of underglaze n e e d e d in
a brush load for lines of different
widths a n d lengths. T h e underglaze
should flow freely (but not too freely)
from the end of the brush: if it
MARCH, 1956

doesn't, the underglaze m a y be too

thick or the brush is not wet enough.
I n either case, use more m e d i u m ,
either in the brush or stirred into the
thickened underglaze.
After you have p r a c t i c e d the halfbntsh stroke a n d the lining stroke, it
would be a good idea to combine them
on a specific motif. This should be
nothing m o r e than practice; you can
use a piece of broken green ware
( r a t h e r t h a n bisque) because it can
be easily sponged clean. A small a p p l e
is a simple enough design to practice

Well, we have moved. W e ' r e

now in our new home, which is
within easy reach of folks from
Pontiac, Farmington, T o l e d o,
Birmingham and of course Detrait. Come and see us for all
your supplies. Open Sunday.
As ever yours,
Mid,vest's I a r,~,est
selection of

on.

First, lightly sketch in the design,

using a soft, o r d i n a r y pencil. Assuming this is to be a red apple, load the
large sable brush as r e c o m n m n d e d
with ruby-red, opaque underglaze and
completely fill in the apple. A p p l y the
underglaze smoothly a n d use as m a n y
coats as the m a n u f a c t u r e r recolnmends for good coverage. N o w vou
are ready to blend in the translucent
underglaze shadows. Using the flatferrule brush (the size depends u p o n
the size of the motifS, load it for the
half-brush stroke: vou niav use either
half black a n d haif mediunl, or half
black a n d half apple-red. Be sure the
brush is wet enough to allow the
colors to b l e n d : the d a r k e r color will
go to the outside of the motif, a n d rementber that the pressure on the
stroke is always a p p l i e d to the side of
the brush that has the d a r k e r color.
Now. start at the top of the a p p l e
a n d m a k e tile half-brttsh stroke down
one side in one sweeping stroke, ending somewhat below center. T h e n refill the brush a n d do tile same on tile
other side. Now. outline the apple
with the liner, using one continuous
stroke on each side.
T h e transhtcent underglaze shadows
should blend in smoothly with the
o p a q u e underglaze upon "which they
were superimposed. K e e p practicing,
a n d if needed, alter the loading
a n d / o r the pressure until the desired
results are obtained. W h e n you have
a practice piece that looks fairly good,
brush on a clear glaze and fire: then
note the decoration as it a p p e a r s after
firing, tinder the glossy surface.
Next M o n t h we will p u t to use w h a t
we have learned to date by doing a
complete design. This will be ilhlst r a t e d with step-by-step sketches.

POCO

MOLDS
GREENWARE
CLAY
COLORS

Disfribuors for
S. PAUL WARD
PRODUCTS
RE-WARD COLORS

NORWEST NOVELTY CO.

32480 Northwestern Hwy.
Farmingfon, Mich.

25c for CERAMIC CATALOG-MANU~.L. C o m p l e t e source of s u p p l y for kilns,

clays, g l a z e s , e n a m e l i n g supplies, tools, etc.
F R E E I n s t r u c t i o n Literature.

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TEPPING STUDIO SUPPLY CO.

35 1.__77Ri . . . . ide Driv.._.~e

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iOLw_
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I SCHOOLS STUDIOS TEACHERS HOBBYISTS

I Manufacturer's representative for R E - W A R D

I products.

Distributor,
invited.

I dealer inquiries

sub-distributor

and

I ,~ OLEVIA CERAMICS
I .,~

I ~.H~
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Wholesale and RefaiI

Phone 3-0476

15_.2 Conklin Ave., Binghamton. N.Y.

GLAZING
Arf Glazing
Step-by-step

PROBLEMS?
Techniques

$3 C o p y

handbook
containing
10 complete ceramic art glazing projects.
How
to fettle; prepare dry glazes for use ;
c o m b i n e various types of glazes ; use decorative frits, etc.
Work-in-Progress pictures as well as photographs of finished work. E n a m e l type washable cover, spiral bound.
Interest-holding test pieces suggested. Detailed steps are stipulated for each project.
T h e material in this h a n d b o o k can serve as
a n introductory course to handbuilding, or
can he comolete course in itself.
TEACHERS
GUIDEBOOK
-- $2.00 copy. Conains class plans for each technique. It is correlated step by step with A R T
GLAZING
'PECHNIQUES.
Order n o w !
A ready-made simplified Fall p r o gr a m .

CERAMIC

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ENTERPRISES

WYANDOTTE, MICH.

35

Slip D e c o r a t i o n

FOR

SALE

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Serving Central Florida.

For Sale with all supplies.

Reasonable
H a z e l S. H a v e n s
Reg. Real Estate Broker
Rt. 1, B o x 73, Mr. D o r a , F l a .
P h o n e 2-6896

"DECORATION DESIGNS FOR CHINA

AND GLASS" . by Zena S. Hoist
(Ceramics Monthly's overglaze expert)
Over 200 beautiful designs . . . . only $5.00
postpaid

CAPITAL
1151 So. State St.
~CERAMIC

CERAMICS
Salt Lake City 11, Utah

JEWELRY B O O K L E T ~

Studio, well known for

"Unusual-Original Jewelry," has compiled a
booklet of patterns and d e s i g n s for jewelry.
This booklet includes proven best sellers. Profusely illustrated. Step-by-step instructions.
Mailed a n y w h e r e - - P p d . $1.50
(3% Sales Tax for Ohio residents, please.)
BAUMANN'S CERAMIC STUDIO
580 S. Warren, Tel: BR 9-5450, Columbus 4, O.
Baumann's

can change or d a r k e n some of the

colored slips a n d also cause the piece
to crack; delayed crazing or cracking
a w a y of the relief from the form can
be the penalty of underfiring. In the
kiln, t h e w a r e is p l a c e d i n t h e l o c a tion best for equal heating; the heat
is b r o u g h t u p s l o w l y a n d g r a d u a l l y t o
the recommended firing temperature.
A l t h o u g h t h e pate-sur-pate t y p e o f
r e l i e f n o l o n g e r is p o p u l a r , a n d is
more appropriate for porcelain in any
c a s e , it c a n b e a c h i e v e d w i t h a degree
o f s u c c e s s o n l o w - f i r i n g clays. P o r c e l a i n slips m a y b e u s e d o n o t h e r
than porcelain bodies, but the bodv
a n d slip m u s t h a v e , o r b e r e d u c e d to,
the same expansion and construction
c a p a c i t i e s . S i n c e c l a y s h r i n k a g e is so
v a r i a b l e , it is m u c h s a f e r a n d e a s i e r
t o u s e slips m a d e
from the same
c l a y as t h e b o d y o f t h e w a r e .

Ceramic

Send for this valuable FREE catalog

O u r 2 0 - p a g e c a t a l o g i n c l u d e s a fine
collection of d i n n e r w a r e , a r t w a r e ,
and jewelry molds; jewelry findings;
Bead setter; and Kenrick Decals.

THE LEHRHAUPTS CERAMICS

P. O. Box 345B, 1000 Wlckapecko Dr.
Asbury Park, N..J.

CHIHA PAIHTIHG
INSTRUCTIONS
by an experienced leacher
DESIGNS
SUPPLIES
FIRING

Classes may be held in your own studio

by special arrangement.

POLLOCK STUDIOS

436 W. Tabor Rd.

PRODUCTS

Philadelphia 20, Pa.

WANTED

Handmade articles in home furnishings and

jewelry to retail $1 to $10. Send literature
or one sample (net returnable unless postage
included.) Send to THE CRAFTSHOP, 1044
Amsterdam Ave., N. Y. C., N. Y.

The following back issues of Ceramics

Monthly are still available at sixty c e n t s
per copy (Ohio residents add 3% sales
tax). Please enclose money with order.
1953
Apz'il, July, August, October, December
1954
February, March, April, July, August,
September, November, December
1955
February, March, April, May, July,
August, September, October. November,
December

36

(Continued from Page 28)

Ceram-Activities
(Begins on Page 34)
laminating many thin layers of gloss with
gold and silver between, thereby producing
a three-dimensional effect, which she rediscovered only recently { " C e r a m - A d i v i f i e s , "
August, 1955). Her work under the grant
will fake her to Venice and Sweden, perhaps
Egypt. Well-known to C M readers for her
writings on sculpturing in clay, Miss Eckhardt
teaches full-flme at the Cleveland A r t Institute.
DOUBLE FEATURE N I G H T : The Western
C h a p t e r of the New York State Ceramic
Dealers Association announces their annual
Double Feature Night, "one of the highlights
of the year for ceramic-m;nded hobbyists."
Scheduled for March 21 at the Royal ,James
Hotel auditorium, the event will consist of an
educational lecture on ceramics fallowed by
a competitive exhibit of the work of hobbyisfs.
All amateurs are invited to participate in
the Exhibit by entering their pieces through
one of the member studios. Full details may
be obtained from any of the N.Y.S.C.D.A.
studios or by contacting G u y Moore, 122
Crestwood Ave., Buffalo: or Kit Culver, 194
Sixty-flrsf St., Niagara Falls.

GLAZING

HELP

synthetic gum G L A Z I N G C O M P O U N D
For use with All Dry Glazes

TOUCH-O-MAGIC
Make your own Brush-on, One-fire glaze
from any dry glaze.
Hardens glazes, resists flaking or peeling.
Facilitates transportation of ware : glazes
do not rub off or chip off with handling.
No odor, no spoilage - - keeps indefinitely.
An effective tlmesaver for all ceramists.
$1.00 per pk. D i s c o u n t on c a r t o n s (25 pks.)

CERAMIC
Box

88C

March, 1958
A d - A r t Co . . . . . . . . . . . . . . . . . . . . . . . . .
American Beauty Ceramics . . . . . . . . . .
B and I Mfg. Co . . . . . . . . . . . . . . . . . . .

Basch, Bee Designs . . . . . . . . . . . . . . . . .

Baumann's Ceramic Studio . . . . . . . . . .
Bergen Arts . . . . . . . . . . . . . . . . . . . . . . .
Campana, D. M., A r t Co . . . . . . . . . . . .
C a p i t a l Ceramics . . . . . . . . . . . . . . . . . .

Carmel Work Center, Inc . . . . . . . . . . .

Ceramic Enterprises . . . . . . . . . . . . . . . . .
Ceramic Leagues, Inc . . . . . . . . . . . . . . .
Ceramichrome . . . . . . . . . . . . . . . . . . . . .
Copper Cat Inc . . . . . . . . . . . . . . . . . . . .

32
32

11
!1
36
10
34
36

28

Craffools, Inc . . . . . . . . . . . . . . . . . . . . . . .
Craftshop, The . . . . . . . . . . . . . . . . . .
Creek-Turn Pottery . . . . . . . . . . . . . . . . . .

35
9
7
2
7
36
30

Delta Brush Mfg. Carp . . . . . . . . . . . . .

31

Detroit Fabricating Carp . . . . . . . . . . . .

7
Drakenfe/d, B. F. and Co . . . . . . . . . . .
11
Duncan's Ceramic Products . . . . . . . .
1
Eastern Ceramic Hobby Show . .
C-3
Great Lakes Ceramic Hobby
Exhibition . . . . . . . . . . . . . . . .
C-2
Hallam Studio . . . . . . . . . . . . . . . . . . . .
32
Harrison, the Kay, Studios . . . . . . . . .
8
Havens, Hazel S. . . . . . . . . . . . . . . .
36
Holland Mold Shop . . . . . . . . . . . . . .
2
House of Ceramics . . . . . . . . . . .
30, 31
Illini Ceramic Service . . . . . . . . .
34
Kiln-Gard . . . . . . . . . . . . . . . . . . . .
32
L and L Mfg. Co . . . . . . . . . . . . . . . . . . .
2
Lauer, Ruth D., Inc . . . . . . . . . . . . . . .

Norwesf Novelty Co . . . . . . . . . . . . . . . .
Old Viking Shop, the . . . . . . . . . . . . . . .

32
36
32
27
4
32
35
32

Olevia Ceramics

3S

Lehrhaupt Ceramics . . . . . . . . . . . .
Maryland China Company . . . . . . . .
Master Mechanic Mfg. Co . . . . . . . . . .
Mayco Colors, Inc . . . . . . . . . . . . . . . . . .
Model Kilns . . . . . . . . . . . . . . . . .

...................

Orlon, Edward Jr., Ceramic Foundation 12

Paragon Industries . . . . . . . . . . . . . . . . . .
Pierce Co . . . . . . . . . . . . . . . . . . . . . . . . . .
Pillef, Nettie E. . . . . . . . . . . . . . . . . . . . .
Pollack Studio . . . . . . . . . . . . . . . . . . . . . .
Potter's Wheel, Inc . . . . . . . . . . . . . . . . . .
Potter's Wheel, The . . . . . . . . . . . . . . .
PoHery Crafts . . . . . . . . . . . . . . . . . . . . . .
Pottery Workshop, the . . . . . . . . . . . . . .
Re-Ward
..........................
Roder Ceramic Studio . . . . . . . . . . . . . .

Rovin Ceramics

....................

Sahuaro Molds . . . . . . . . . . . . . . . . . . . . .
Schmid, Ludwig, A r t Ceramic S t u d i o . .
Snead, Jane, Ceramic Studio . . . . . . . .
Soriano Ceramics, Inc . . . . . . . . . . . . . . .
Specialized Ceramics Corp . . . . . . . . . .
Specialty Shop . . . . . . . . . . . . . . . . . . . . .
Tepping Studio Supply Co . . . . . . . . .
Thompson, Thomas C., Co . . . . . . . . . . .
Torrance Glass & Color Works . . . . . .
Touch-O-Magic
....................
Trinity Ceramic Supply . . . . . . . . . . . . .
Van Howe Ceramic Supply Co . . . . . .
Ward, S. Paul, Inc . . . . . . . . . . . . . . . . . .
Weatherby Products . . . . . . . . . . . . . . . .
Weatherly Ceramics . . . . . . . . . . . . . .
Willoughby Studio . . . . . . . . . . . . . . . . . .
Wilton Pottery . . . . . . . . . . . . . . . . . . . . .
Wolfe, Jack D., Inc . . . . . . . . . . . . . . . .
X-acfo, Inc . . . . . . . . . . . . . . . . . . . . . . . .

6
28
32
36
12
32
28
10
3
28

S
28
33
33
32
S
30
35
9
12
36
34
30
S
32
28
34
32
30
10

ENTERPRISES
Wyandotte, Michigan
CERAMICS M O N T H L Y

SPECIAL MESSAGE
TO:
MANUFACTURERS

DISTRIBUTORS
DEALERS
STUDIOS

Put

your

products

sales

in

the

spotlight

national

. . . reserve

space

now

in

of

the

4th ANNUAL

Eastern
May

2-6

Ceramic Hobby Show

Convention

AN EXHIBITIN THISSHOWMEANS
MOREORDERS
MORESALES
MOREPROFITS FOR 1956.
Don't m i s s t h i s " O n c e - a - y e a r o p p o r t u n i t y "
to a d v e r t i s e Y O U R n a m e and sell your
product to a volume " c e r a m i c minded

Hall

Asbury

Park,

N.J.

a n d i e n c e " ready, willing and able to buy.'

This is a PROVEN
s h o w - - each o f the
t h r e e previous E A S T E R N S H O W S provided a volume a t t e n d a n c e o f s u b s t a n t i a l
buyers.
Once a g a i n your p r e s e n t and f u t u r e cust o m e r s will a t t e n d this show to l e a r n of
the latest m e t h o d s and m a t e r i a l available.
DON'T
DISAPPOINT
THEM.
MAKE
S U R E YOU A R E R E P R E S E N T E D .

RESERVE YOUR EXHIBIT SPACE TODAY!

Write or Call:

,le: PRosaect 5-0900

NO MORE SEARCHING for those missing copies!

*

-tr

when

you

use

the

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time a g a i n - - s o keep t h e m h a n d y in this handsome
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r ene1~.~
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