APRIL 1957 • 50c

I g l V • g H i i i i

PUT

\
 /
i
~,,~i~,~,,,~,~~,~,~,
,~,~:,~
,, ~ ~:i/ii~i~i~ iiiiii'i~iiii~,~,~'~i~ili!!!~!~i
:~
......

SPECIAL
INTRODUCTORY
OFFER!
The materials used in Re-Ward's
BRUSH-ON GLAZES are much more expensive
than those used in ordinary glazes, and
you will recognize this immediately. Because we
want you to try them, your dealer
FOR A LIMITED TIME ONLY will allow you 10¢
off the regular price for each jar.

10¢ OFF!
See your dealer TODAY.

CANADA
GREATER TORONTO CERAMIC CENTER, 167
Lake Shore Rd., Toronto 14, Canada
COLORADO
ATTENTION: DEALERS, STUDI so HOOLS I LAKEWOOD POTTERY, 6955 W. Colfax, Lake-
wood, Colorado
See one of these RE-WARD Distribi~s for CONNECTICUT
quality products and servicI SYBIL GARVIN CERAMICS, 77 Main St., Port-
land, Conn.
THE POTTER'S WHEEL, Post Road, Westport,
Conn.
~mBAMA WASHINGTON, D. C.
McNOR'S CERAMIC STUDIO, 5113 Georgia Ave.,
CERAMICS by O L ~ 1 8 2 8 Pinson St., Birming-
ham, A a N.W., Washington, D.C.
CERAMIC ART TRF,~IlRE HOUSE, 3658 S Perry DELAWARE
.... • .... St., Montgomery, ~ j ~ . CLAY DEN, 213 Fenwick Ave., Wilmington,
- : ~ ' ~S K A Delaware
THE MUD N E S T i ~ ] / ~ 2 Lacey St., Fairbanks, FLORIDA
JADOL ARTS & CRAFTS, 8965 Biscayne Blvd.,
Alaska ~NSAS Miami, Fla.
ALLISON C E R A I ~ r r u D I O , 20 Arcade Bldg., GEORGIA
Little Rock, Ark.UlWU PATRICIA TACKABERY, 3041 Boiling Way N. E.,
CALIFORNIA Atlanta, Ga.
THE SHED, 1000 Santa Clara Ave., Alameda, IDAHO
Calif. HOUSE OF WHITES, 5702 Fairview, Boise, Idaho
POTTERY MILL, 1035 D St., Arcata, Calif. ILLINOIS
STEWART'S of CALIFORNIA 7140 Firestone ILLINI CERAMIC SERVICE, INC., 439 N. Wells,
Blvd., Downey, Calif. Chicago, III
S. L CLUTTER, 13112 Inglewood Ave., Haw- CERAMICART STUDIO, 817 E. 89th St., Chicago
thorne, Calif. 19, III.
LOLLY'S STUDIO, 2120 28th St., Sacramento HAZEL HURLEY STUDIO, 4803 Prince Ave.,
Calif. Downers Grove, III.
CONVlLLE CERAMICS, 4566 30th St. San Diego INDIANA
Calif. ' ' OLD TRAIL STUDIO, 7021 B l u f f t o n Rd., Ft.
RAY'S HOUSE of CERAMICS, 8605 E. Las Tunas Wayne, Ind.
Dr., San Gabriel, Calif. ANNA MARY'S CERAMIC STUDIO, 2528 W. 14th
ADELLE'S CERAMIC STUDIO, 230 W. Harding St., Indianapolis 22, Ind.
Way, Stockton, Cali(. IOWA
LEE'S CERAMIC SUPPLY, 150 Lincoln Highway, ART CRAFT STUDIO, 1620 Commercial St.,
Vallejo, Calif. Waterloo, Iowa
BELLA VISTA CERAMICS, 1255 San Andreas Rd., KANSAS
Watsonville, Calif. SANTNER CERAMICS, 1727 E. Central, Wichita,
Kansas
 E-WARD'S ALLNEW
"BRUSH-ON" ZES

We promised something sensational, and here it is! .....

A completely new line of unique BRUSH-ON GLAZES, so
creamy-smooth, so easy to apply, so superb in /
quality, and so exciting and dramatic in colors and textures!
Imagine a low-fire "stoneware" glaze which can be
used on regular low-firing ceramics. That's our new
STON'WARE .06, and it comes in seven glorious colors.
Then there's SPEK-L-STON'WARE, ANTIQUE and LAVA!
They're so creamy-perfect, these new RE-WARD
glazes, brush marks disappear like magic! Professionals are
warm in their praise. Beginners get perfect results.
Take advantage of our introductory offer TODAY,
and see for yourself.

co.o ,.c
~ 1985 Firestone Boulevard • Los Angeles 1, Calif.

KENTUCKY
NDALE CERAMICS, 2934 Bon Air, Louisville, NEW YORK
OLEVIA CERAMICS, 152 Conklin Ave., Bingham-
LOUISIANA ton, N.Y.
.LIER'S ART SUPPLY, 3875 Government St., SKEET'S CERAMIC STUDIO, 1406 W. 5th St., PENNSYLVANIA
~n Rouge. La. Brooklyn, N.Y. VOLLMER'S CERAMIC STUDIO, 1723 Paxton St.,
IlSlANA ENTERPRISE, 3519 d'Hemecourt St., UNIVERSITY CERAMIC STUDIO, 3270 Main St., Harrisburg, Pa.
r Orleans, La. ETTORE'S CERAMIC STUDIO, 1490 N. 52nd St.,
MARYLAND Buffalo 14, N.Y.
BUF-EL CERAMIC STUDIO, 18 Bartlett St., Ellen- Philadelphia, Pa.
IA-LEE CERAMICS, 160 N. Mechanic St., ville. N.Y. HOOVER'S CERAMICS, 1500 Evergreen Ave.,
lberland, Md. Pittsburgh, Pa.
~YLAND CERAMIC HOUSE, 2000 E. 30th St., POHL CERAMIC STUDIO, 21 Vagele Lane, Glen-
mont, N.Y. AMEIGH'S CERAMIC STUDIO, 1910 Roosevelt
imore, Md. Ave., Williamsport, Pa.
MASSACHUSETTS MOTOR CERAMIC SERVICE, Rte. 28, Middleville
Rd., Herkimer, N.Y. TENNESSEE
IRA'S CERAMICS, 695A Main St., Worcester, HARRY'S CERAMIC SHOP, 2543 Broad St., Mem-
RAINVILLE CERAMIC STUDIO, 19 Vine St., phis, Tenn.
is,f; MARTIN CERAMICS, 501 Eastern Ave., Scotia, N.Y.
CERAMIC LAND, 1182 Fulton Ave., Uniondale, CRAFTSMAN'S SUPPLY CO., 1125 8th Ave.,
~, Mass. Nashville, Tenn.
MICHIGAN N.Y.
NORTH CAROLINA TEXAS
~WEST NOVELTY CO., 32480 Northwestern TRINITY CERAMIC SUPPLY, 100 Howell St.,
1way, Detroit (Farmington), Mich. BURN'S CERAMICS, 713 No. Person St., Raleigh, Dallas, Texas
I-TAN CERAMIC STUDIO, 962 E. Fulton St., No. Carolina
NORTH DAKOTA ROUNTREE CERAMIC STUDIO, 107 E. Market
qd Rapids, Mich. St. Road, Highland, Texas
MINNESOTA HOBBYLAND and PEG'S CERAMIC, 223 Broad-
way, Fargo, N.D. UTAH
ISE of CLAY, 123 W. Lake St., Minneapolis, UTAH CERAMICS, 229 S. 5th East, Salt Lake
OHIO City, Utah
MISSOURI MODEL CERAMICS, INC., 772 N. Main St., Akron, VIRGINIA
WEST CERAMIC CENTER, 502 Southwest Ohio
I., Kansas City 8, Mo. LUClLLE GERBIG CERAMIC STUDIO, 4023 Read. THALIA CERAMICS, Virginia Beach Blvd. at
ing Road, Cincinnati, Ohio Thalia, Lynnhaven, Va.
TE'S CERAMIC STUDIO, 3343 Watson Road, DILL-HAWK CERAMICS, R.F.D. 2, Box 436,
.ouis, MO. CALIFORNIA CERAMIC SUPPLY, 17409 Waterloo Roanoke, Va.
.. WILLIAMS COMPANY, 2027 S. Campbell, Rd., Cleveland 10, Ohio
ngfield, Mo. WASHINGTON
BIL-LIN STUDIO, 503 S. Dixie (US 25), Dayton, KELSEY CERAMICS, 507 S. Columbia, Olympia,
NEBRASKA Ohio Wash.
'ENPORT CERAMICS, 734 So. 27th St., SECOR CERAMIC SHOP, 4128 Secor Rd., Toledo MARJAX CERAMIC STUDIO, 8914 Aurora,
oln, Neb. ]3, Ohio Seattle, Wash.
NEW JERSEY MABLE LONG STUDIO, 808 Gorge St.. Van Weft, WISCONSIN
ATIVE ART CERAMIC STUDIO, 17 Bridge St., Ohio MARGO PORC. & CERAMICS, 2138 S. 25th St.,
tham, N.J. OKLAHOMA Milwaukee, Wis.
KART POTTERY STUDIO, 1048 Shore Rd.. MIDWEST CERAMICS, INC., 5717 S.E. 15th St., EDGEWATER CERAMIC SHOPPE, 5031 West
iood, N.J. Oklahoma City, Okla. Capitol Dr., Milwaukee 16, Wis.
AMIC ART STUDIO, 172 Kendall Blvd.,
lyn. New Jersey i OREGON
DOBE DEPOT, 1025 S.E. Ash, Portland. Oregon
WAUGH'S CERAMIC STUDIO, Route 3, Tomah,
Wis.
 PERFECTfor MAJOLICA
MAYCO SATINA* is the perfect base for decorating with
ONE STROKE"translucent colors.
THE MAJOLICA TECHNIQUE IS EASY
A p p l y t w o or three coats of S A T I N A on g r e e n w a r e
with a s p o n g e or brush a n d d e c o r a t e with O N E STROKE
or other S A T I N A S a n d fire a t cone 06. You get a
finished p i e c e with only one fire. N o a d d i t i o n a l glazing
n e e d e d . A d d a g o l d fire if you like. S A T I N A S are a v a i l -
a b l e in m a n y a t t r a c t i v e colors. Simply ask for them at
your nearest Studio.

"TM oozed. :=-

Exclusive fully enclosed, safe design -- no exposed mechan;sm:.iliiiiiiiii;:.:iiiiii

ii::::iiiii::iiil
::il
W h e t h e r a m a t e u r o r skilled a r t i s a n . . . y o u ' l l find the s m o o t h m o t o r i z e d
:!:~,!:~:~:~
o p e r a t i o n . . . ease of c o n t r o l in the B I G , all.steel p r e c i s i o n b u i l t
MASTER POTTER'S W H E E L enables y o u to o r i g i n a t e b e a u t i f u l , dis- ::~::i.i~i~i::il
tinctive 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 toured only in expensive wheels
include: pro-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. • Portable ceramic spray booth has electric fan to draw
You have complete hand freedom at all times . . . smooth instant spray dust into replaceable filter so dust cannot spread
change of speed from 30 to 150 rpm is controlled by a foot pedal. through house . . . no vent needed . . . weight only 20
Easy to use, even for handicapped persons. Use any I/4 H P motor. Ibs. folds far easy storage . . . opens to 2 0 " x 2 0 "
Standard V4 H P motor $16.95 when purchased with Master Potter's
Wheel. x 23". Green, baked enamel finTsh on welded steel
M A S T E R P O T T E R ' S W H E E L F l o o r Model, I t e m 47h, assures beauty and long service. 10 day money back
W t . 90 Ibs. L i s t s a t $ 1 7 5 . 0 0 - - F a e t o r y P r i c e $89.95
. . . . guarantee. Only $34.95 F.O.B. Detroit.
MASTER PO~I'ER'S W H E E L Bench Model, Item 47a,
W t . 45 lba. L i s t s at $ 1 2 5 . O 0 - - F a e t o r y ~ r ~" N,~ ~_E_ ~ _ _ _ _
See your dealer or send check or money order to . . .
10 D A Y M O N E Y B A C K G U
DETROIT FABRICATING CORP.
7523 St. Aubin • Detroit 1 I, Mich.
DEPT. 34.Q Burlingfen, Wis.

2 CERAMICS MONTHLY
 O. HOMMEL... JJ

I
Volume 5, Number 4 APRIL • 1957
50 cenfs per copy
MOST COMPLETE
CERAMIC
in this issue of
SUPPLIER
With the use of HOMMEL Ceramic and
pottery materials in art classrooms of to-
Letters ........................................... 6 day's modern schools, young artists can be
assured of best results in their search for
self-expresslon. Maintaining the first posh
Suggestions ....................................... 9 tion in the industrial supply field, HOM-
MEL always supplies the best at economi-
Itinerary ......................................... 10 cal prices.

Antique P o t t e r y by Bim and Doris Newman . . . . . . . . . . . . 13

UNDERGLAZECOLORS m
Mosaics by Sally Gallaway . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 GLAZESTAINS
Terra Sigillafa by Mary E[lioff . . . . . . . . . . . . . . . . . . . . . . . 16 PREPAREDGLAZES
Underglazes: J e w e l r y demonstrated by Marc Bel[aire . . . . . 18 ENGOBESTAINS
O u t d o o r Ceramics by Nola Mafson
PREPAREDCLAYBODIES
Ceramics Decorate Your G a r d e n ................ 20
OVERGLAZECOLORS
Put Sculpture Outdoors ........................ 22 GLASSCOLORS
Enameling: Cloisonne Plaques demonstrated by Nelly A l l a n . . 2 4
GOLD-PLATINUM-LUSTRES
for glass and china
Strictly Stoneware: Slips and Engobes by F. Carlton Ball..26 CHEMICALS,FRITS
Show Time ....................................... 27 KILNS-a//types
Garden Plaques by Mildred and Vernon Seeley . . . . . . . . . . 28 WOODMODELINGTOOLS
TURNINGTOOLS
Answers to Ouesfions conducted by Ken Smith . . . . . . . . . . 29
BRUSHES-tardecorating
Overglaze: Naturalistic Painting by Zena Hoist . . . . . . . . 31
DECORATINGWHEELS
Enameler's Column by Kathe Berl . . . . . . . . . . . . . . . . . . . . . 33 BRASSWIRESIEVES
Ceram.Activities .................................. 35 ASBESTOSGLOVES& MITTENS
UHDERGLAZEPENCILS& CRAYONS
Editor L o u i s G. F a r b e r
AIR BRUSHES
Business M a n a g e r S p e n c e r L. D a v i s SPRAYBOOTHS
Assistant Editor Shirley Abrahamson STANDARDPYROMETRICCONES
E d i t o r i a l Associates Mary E U i o t t
T h o m a s Sellers

A r t Director Robert L. C r e a g e r

FREE
A d v i s o r s a n d 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 ; F. C a r l t o n Ball ;
Bee B a s c h : K a t h e B e r l ; E d r l s E c k h a r d t ; J o h n K e n n y ; Z e n a H o l s t ; HOMMEL CATALOG
Dorothy P e r k i n s ; Jo R e b e r t ; Ken S m i t h ; Vera W a l k u p ; Don Wood
Write for yourcopytoday.
Cover by R o b e r t L. C r e a g e r Profuselyillustrated.
Ceramics M o n t h l y is published each m o n t h at the 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. a n d Treas. ; L. G. F a r b e r , V. Pres, ; 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, $ 5 ;
two years, $9: t h r e e years, $12. C a n a d a a n d P a n A m . add 50 cents a
. O. HOMMEL CO.
y e a r ; foreign, add $1 a year. C u r r e n t issues, 50c ; back issues, 60c.
ALL CORRESPONDENCE (advertising, subscriptions, editorial)
I PITTSBURGH 30, PA.
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 West Coast Warehouse, Laboratory & Office
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 of M a r c h 3, 1879. 4747 F.. 49th Street, Los Angeles, CalifemJa
C o p y r i g h t 1957 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. A l l r i g h t s reserved.
 Proven Sales Appeal.
Molds like the Apothecary Jars and the Cornucopia
shown above are iust three more of the profit making
molds created in the inimitable Ludwig Schmid style.
See the complete line of molds shown in our catalog.
price $ 3 . 5 0 Send $1. which we refund with our first order. If your
O r d e r one t o d a y ! dealer doesn't have our molds, write direct. Be sure
(we pay postage)
and visit us at Booth #13 at the Ceramic Show in
Asbury Park.
m
NOTE: The prices listed in our February issue were
Ceramics Monthly . . . . . . II
i 417SN.HlghS#. Yes - - please send me a BINUI:K incorrect. The correct prices are #S-374 $4.60 and
; Columbus, Okto fOP my copies of Ceramics Monthly :
li
#S-375 $3.50
#398 Apothecary Jar, Large $4-.00
#397 Apothecary Jar, Small $3.80
I Name I #409 Corn coDia $4.00
I I
I Address ,. i
I I LUDWIG SCHMID
model and mold shop
II I enclose $ Send,era;....... ;,h o,Je,.Ohioresid..... aa 3°/, So,~To,. I. 838 Genesee St. Trenton 10, N.J.
L aim a ~ mm a mm l i I l im mi I im i i i a mi a mi J

N O W ! you can buy

Subscription Whether you're an
amateur or an ex-
pert you'll find CM
C E R A M I C SUPPLIES
to be a valuable

Order source for ideas and for your studio at

information on pot-

Form
tery and enamels.
Order your own per-
sonal copies nowH
DISCOUNT PRICES
• Buy in quantity
SEND TODAY
• Increase your profits
Ceramics Monthly
CERAMICS • Satisfy your customers
4175 N. High St. MONTHLY
Columbus 14, Ohio
MAGAZINE
• Eliminate special ordering
Our quantity discount structure applies to ANYONE
buying in quantity. Write for our NEW PRICE LIST.
NAME
ADDRESS
CITY ZONE STATE 200 West Third St., Dept. CM,
Plainfield, N . J .
[] 1 y e a r $5.00 [] 2 y e a r s $9.00 [] 3 y e a r s $12.00 manufacturers of:
Canada and P a n A m e r i c a add 50c per y e a r for WONMIX & WHITEMIX SLIPS (liquid & dry), WON-
postage and service. F o r e i g n add $1.00 per year.
FIRE GLAZES, SPECIALIZED UNDERGLAZES, WON-
[] R e m i t t a n c e enclosed [] Please bill me STROKE, All-purpose KILN WASH.

4. CERAMICS MONTHLY
 tt¢l Pe Kil, a

NEW 2 4 0 0 ° t. Hi-fire Kilns

These kilns are designed for the ceranfic artist
to fire sculpture and stoneware items. No longer is
it necessary to have a gas kiln to fire stoneware.
The 2400 ° elements and 2600 ° refractories
backed by high temperature block insulation give
dependable service. Prices quoted on special sizes.

F [ r i n g (- h a m b e r
3Iod~ Width Width ~Heighl: _i3~II:lx 'l'enK,. i Volt~ i ,\~a~s.- i Pri_ce _ .

17~-- - 1 5 - - - x - l - ) - - - ~ z 15 . . . . 2l(JU! t ' __2~1~ | 25 l ~252.0(A~

~72S i tY* x 36 x 22t,:.~ . 24L~fi~ .! 22 lip $99~5~9

F i r i n g Chal~lllet
~D.~:le.~- W i d t h W i d t h He},~!~L ~ax. TelnL!L V,}jt~, _ _ ~ A.r~L~- . . . . . . . . . t'riee
:~L~:!-! - 1;~ x 13 x i 3 ~ _ :21t~!)° .. _ ~2(, _j ~, ._[ ....... $;~25:(!(!

~5S 15 x15 .~ 15 "! 2400 ¢ _ 22U ! 25 ._ $425.00

1

! i
58S 18 x 1~ x L7 21U0~ . 22o ~ :35 j $5~5.00
Model 88S i
222S 221/.~ -\ 22'/2 x 22~2 i 240U~ 221) i 50 $1295.00

226S .~,~1:~ x 22~.2 x 36 2i00~ ~(t ~0 ~1595,Q0

C.ompJete hne o} ceramic arf matetiais, supplies anO
* M o d e l 3 3 S is a b e n c h m o d e l . A l l l a r g e r m o d e l s h a v e f l o o r s t a n d s .
equipmen,* available for Schools~ Insfi÷uflons and
PYROMETERS AND AUTOMATIC CONTROLS AVAILABLE
Craf* Cen÷ers. Send far I:REE cataio~ FOR ALL OF THE ABOVE MODELS

:
m odel ceram,cs" ,nc:
Factory Representative f0~ 7 7 0 N i M a i n ~ e e t kr
R e - W a r e- ~ t ' r o e"u e t s . . " . . . . . . : . . . . . :. . . . . :i :

APRIL, 1957 5

EARTHENWARE A N D STONEWARE . .
Dear Editor :
Let me say that I agree with Mrs. Sills
['.'Open Letter," December]. It is about
time someone said s o m e t h i n g a b o u t these
Stoneware potters. T h e y think they are
the only artists, especially those t h a t judge
pottery exhibitions.
I t is nice of Mr. Ball to point out that
E a r t h e n w a r e can also be beautiful . . .
I hope he will r e m e m b e r this if he juries
a n o t h e r exhibition•
My friends and I have decided to boy-
cott the ceramic exhibition in Florida this
year. We can save work and express
charges for we k n o w o u r p o o r old Earthen-
ware pieces, that are beautiful to us,
d o n ' t stand a chance . . . W i t h the evi-
dence of past exhibitions stoneware pot-
ters will win the awards.
Mr. Editor, n o w at last, with these let-
ters you are w a k i n g u p the d o w n - t r o d d e n
E a r t h e n w a r e potters. I hope you will give
them a chance to be heard.
DICK P. BEGKER
Lincoln, Neb.
D e a r Editor:
I have read with interest Mrs. Sills'
letter in defense of e a r t h e n w a r e and Mr.
Ball's excellent reply. T o me, these items
make C M alive--let's have more.
I would like to raise the question a b o u t
student work being included in national
exhibitions; usually s t u d e n t work is con-
trolled by the instructor. Naturally stu-
dent work would look like the instructor's
work. I f the teacher is a j u r o r and he
awards his student a prize, isn't he pat-
ting himself on the back a bit too m u c h ?
I hope you d o n ' t limit your letters to
the editor too much, for they are just
fascinating !
ZORA PEROVICH
St. Louis, Mo.
. • "Letters to the Editor" on the subject of
stoneware, earthenware and jurying con-
tinue to arrive. They will not be "limited
too much"; we hope their publication will
help bring about a meeting of the minds
and a constructive conclusion.
Please remember, all letters must be
signed. Names will not be published if you
so request, but anonymous letters cannot
be considered [or publication.--Ed.
QUICK HENRY, THE FRIT
Dear Editor:
A customer ordered Frit # 3 3 , and I
have been unable to locate a source for it.
This is the frit used in m a k i n g R a k u glaze
as described in the article, " M a k e your
o w n R a k u , " F e b r u a r y issue . . .
WILLIAM D Y K E S
T h e Potter's Wheel
Westport, Conn.
• The red-faced editors regret the omission
of this information. Frit # 3 3 is from O.
Hommel, Pittsburgh, Penna.--Ed.
PANS AND FANS
D e a r Editor :
• . . T h a n k s for the efforts you make
with CM. I subscribe for my wife who
is a studio potter. She studied ceramics
in the A c a d e m y of Arts in Berlin and
always finds some articles which parti-
cularly interest her. I t is clear that you
have to write for thousands of hobbyists
as well as a few purists . . . (in order
to succeed as a m a g a z i n e ) . So I find
that m a n y of the criticizms you receive are
not valid for a magazine w h i c h strives
to serve all tastes.
~/'F.R N ER WESTPHAL
Colombia, S.A.
D e a r Editor :
• . . 1 w o u l d like to a d d m y c o m m e n t s
to those of your other subscribers about
CM's contents. I n the main, I like it
very much• However, I, too, have been a
little concerned w h e n it seemed that some
of your recent issues were going over
to the . . . flowered candy box. hobby
sort of thing•
Along with m a n y of your or~.ginal sub-
scribers, I welcomed the advent of your
publication as an aid to those of us who
are more seriously interested in advanc-
ing the scope of pottery and ceramics.
• . . I have found C M to be very help-
ful and interesting, b u t would like to see
more articles on stoneware, porcelain,
architectural and garden uses, bodies,
high-fire glazes, . . . and also more adver-
tisements from suppliers of high-fire
materials.
So keep up the good work and d o n ' t let
us d o w n by turning into one of those
junky magazines catering to the girlie
shoppie sort of ceramics. Leave that to
the others•
DORIS ALEXANDER
Pennsburg, Pa.
D e a r Editor :
Just wanted to say that my h u s b a n d
and I are avid readers of your magazine•
I n fact, we just can't wait for the next
n u m b e r to arrive! . . . We are both
strictly in the hobby class, and we find
C M is almost a "bible" to us . . .
DULCIE LANCASTER
E d m o n t o n , Alberta, C a n a d a

For School Projects in Ceramics

A ~ ~ R N I A ' S FINEST PREPARED

READY TO USE CERAMIC COLORS"

Has prepared 2 school groups of selected, ready-to-use colors

that are intermixable!
8 underglazes-from which 4 0 different shades can be obtained!
9 glazes-intermixed will give 5 2 beautiful color tones!
Instructive Literature will be sent only to teachers requesting same on School L e t t e r h e a d .
Ceramichrome's prepared colors eliminate common losses Manufacturers of: 3 TYPES OF UNDERGLAZES--Tranz, De-
due to trial and error as they are prepared by competent tails and Regular Underglazes • SEMI-TRANSPARENT
ceramic technicians who engineer these fine products to per- GLAZES • SEMI-MATT • BEAUTY-FLO • OPAQUE •
MATT • ART • SPILLS • PATTERN BASE • RED ART •
form under all conditions. CERAMI-BLOB8 GLAZES • KLEERMATT • KLEER KRACKLE
Ceramichrome colors are the solution to promoting a more • BLU-WHITE CHINA MATT • SATIN MATT CLEAR and
001 BRUSHING CLEAR GLAZES • MEDIA • MENDER •
balanced and successful ceramic school program! Let us TRANZMASK • MENDSWARE • GLAZE THICKENER
assist you in setting up your ceramic class program. • PALLADIUM AH-B
Complete Ceramic Supplies for SCHOOLS--HOBBYISTSuSTUDIOS and POTTERS

CERAMICHROME =.boratories
Phone Axmlnsfer 2-0781 2111 W. Slauson Ave. Los
School
Angeles 47,
Dept. CM
Calif.
* C E R A M I C H R O M E - - M E A N S CERAMIC COLORS

6 CERAMICS MONTHLY
 / : ~ \ UL APPRQVEU I;QK I'UUK t'KU ! I:~ ! IUN
_~ Ask your local Electric Company or Fire Insurance Company
about the importance of UL approval on any electric appliance.
Others claim that wire and switches are UL approved, but their kilns are not!

TOP L O A D E R S ~;!
20 quality built, feature packed models from which
to choose. DYNAKILNS feature the patented DYNA-
t
GLOW porcelain element h o l d e r s . . . 4-way switches
• . . 2 peep holes . . . pilot lights . . . and they are
designed with your safety in mind. MODEL Um

ENAMELING KILNS
Price includes Pyrometer,
TEMPERATURE HOLDING Input Control Switch, Gravity Door,
ENAMELING KILN Pilot Light, and Patented Dyna-Glow
Can Also Do Ceramics! Porcelain Element Holders.
Attractive . . . Plugs in anywhere!
$ 7 & 80 p|US $2.00 ¢rating ichatge;
MODEL E49
~ Chamber size: 4" x 8 2" x 8 z"

WRITE FOR LITERATURE

MANUFACTURING COMPANY
CHESTER 11, P E N N A .

D E A L E R I N Q U I R I E S I N V I T E D
APRIL, 1957 7
 The Ce,.c,micShow Natio,,
DON'T MISS , . , BIGGEST. MOST INTERESTING
CERAMIC SHOW OF ALL

TH~ FIFTH A N N U A L

EASTERN CERAMIC
H O B B Y S H O W of 1 9 5 7 Sponsored by Ceramic Leagues, Inc.

CONVENTION HALL MAY 4- 9

ASBURY PARK, N.J. Show opens on Saturday
Daily 2-10 pro; Sunday 2-7 pm

Features Include
Lectures
By
John B. Kenny

"How To Do It"
Ceramic Workshop
(Open to Studio Owners
and Hobbyists)

-~ Hobbyists Competitive
Exhibit

Photo taken at 2:00 p.m., Wednesday afternoon, opening

day of Fourth Annual Eastern Ceramic Show, May, 1956
FOR INFORMATION CONTACT

CO NV E NTI O N HALL, A S E U RY PARK, N. J. P H O N E P RO S P E CT 5-0900; 6. 6260

8 CERAMICS MONTHLY
 from our
GLAZE CATCHER
W h e n spraying glazes, you
always get over-spray. If you
use a large cardboard carton
or other improvised spray
booth, try draping a sheet
of vinyl plastic inside. T h e
overspray will cling to the
plastic b a c k g r o u n d ; when it
dries it is easily brushed off
and saved for re-use.
- - P e g Townsend
Tucson, Ariz.
BARE-SPOT
APPLICATOR
Findings will adhere better
to a clay body if the area it is
to be glued to is unglazed.
An easy way to leave a small,
unglazed area on the back of
a piece of jewelry is to coat
that area with a wax resist
material such as the water
soluble waxes (Ceramul A)
commonly used for wax resist
decoration. It can be brushed
o n - - b u t here is a simpler way.
Cut a piece of natural
sponge to the size of the bare
spot desired and fasten it to
the end of a small stick. T h e
sponge is dipped into the wax,
touched to the ceramic piece
and the job is complete.
A particularly h a n d y way
to make an applicator is to
fill the hole in a bamboo
brush handle with toothpicks,
then push a straight pin
through the tiny sponge circle
and into the toothpicks
where it is wedged tight.
--Lillian Noble
Nebraska City, Nebr.
MOLD C L E A N E R
After removing a casting
from a mold I wipe the mold
with a turkish towel. This
Dollars for
CM pays $1 to $5 for each item used in ¢hls column. Send your
bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14,
Ohio. Sorry, but we can't acknowledge or return unused items.
APRIL, 1957
readers
cleans the mold w i t h o u t in-
troducing the danger of
scratching. O f equal import-
ance, it eliminates the need
for a d a m p sponge for clean-
ing which would make the
mold wetter and cut down
on the n u m b e r of casts ob-
tainable in one session.
-Mrs. Forrest Witt
TILE DRYER
Hooker. Okla.
EVERYTHING
To dry h a n d m a d e
without warping, place the
tiles
wet tiles between plaster bats.
FOR ENAMELING
If the tiles are quite large
and the bats small, a weight L O W COST KILN
on the top b a t will prove
• . for beginner or professional. Fires pieces up fo
helpful.
~ B i m & Doris Newman 43/~" diameter and 11/2" high. It reaches enameling temp-
Babylon, N.Y. erature quickly and maintains it constantly. All parts are
easily replaced at nominal cost.
SPOUT ENLARGER
I find a d a m p e n e d pipe
cleaner to be an excellent NEW BY THOMPSON
tool for enlarging the pour-
ing spout of a cast tea pot. ENAMEL GLAZE PAINTS
These are particularly n e e d e d A superior decorating medium for painting designs
when the tea pot has been over enamel base coats. Supplied in kits and bulk
cast r a t h e r heavily. T h e pipe form,
cleaners are flexible and will
not d a m a g e the green ware.
Mrs. Walter Lade
Kearney, Nebr.
ENAMELS
Complete line of enamel colors including opalescents.
CLAY DECORATOR
A small piece of wire win-
dow screening can make in- METALS
teresting decorations on leath- All shapes and sizes in copper and the new silver plated
er-hard clay. Merely wrap a steel which requires no pre-deaning.
FINDINGS
For cuff links, ear rings, brooches etc., and all types of chain
in copper and brass.
ILLUSTRATED C A T A L O G
Write for your copy of our new catalog illustrating our com-
small piece a r o u n d the fore- plete llne. Includes helpful hints and projects on enameling.
finger and see w h a t you can
do by pressing a n d scraping.
- - M r s . A. H. Sanders
Ft. W o r t h , Tex.
your Thoughts
9
 ,"rwo%ld"n'7FrM57,
I using anything but the ~
t best!" VFLVA-PLY t
L__ . . . . . _1
It sticks to greenware
like a bulldog sticks to
a bone. It never rubs
off.
Why don't you send right away far
our trial kit of these prize winning
glazes? Regular kit, six assorted col-
ors of 4 oz. jars at only $4.20.
Special kit of six Velva Ply Art
Glazes at $5.20 POSTPAID
HAVE YOU TRIED
MOSAIC?
We have all the necessary supplies
for this fascinating new hobby. Glass
and Ceramic Tiles in breathtaking
colors. We show you haw!
CLASSES
IN
CERAMICS
MOSAICS
COPPER
Complete stock 0[ supplies for all
these crafts. If you can'÷ come in
we will gladly ship +o you.
8744-40 W. McNichols, Detroit 21, Mich.
UNiversity 2-9222
I0
DON'T
Send shaw announcements e a r l y - - W h e r e MISS
to Show: three months ahead of entry
date; Where to Go: at least six weeks
before opening. THIS
WHERE TO S H O W GOLDEN
~ n a t i o n a l competition
CONNECTICUT, N E W CANAAN
June 7-july 10
OPPORTUNITY
Eighth Annual New England Exhibition
sponsored by Silvermine Guild of Artists
at the Sih'ermine Guild School of Art.
Classes at my
Open to residents of the New England
states and New York, New Jersey and studio with these
Pennsylvania. Ceramic sculpture includ-
ed in a" juried exhibition; $4,000 in
prizes. Work due May 2. Entry fee, $4 to
two great artists.
non-members. For prospectus, write the
Silvermine Guild of Artists. *MARC BELLAIRE
INDIANA~ INDIANAPOLIS
May 12-June 9 *HILDA GENTRY
Fourth Biennial I n d i a n a Ceramic Exhi-
MARC BELLAIRE CLASSES
bition at the J o h n Herron Art Museum.
Categories include creative ceramics and
decorated ceramics. Open to Indiana
Week of July 1st.
residents. Jury; cash prizes. Entries due H I L D A GENTRY CLASSES
April 23; entry blanks by April 22. Write W e e k of May 13fh.
to the Museum for blanks. Write for particulars and
reservations.
N E W YORK, DOUGLASTON
May 19-June 1
*27th Annual Spring Exhibition of the This year I will again be in
Art League of Long Island. For all
artists. Mediums include small sculpture THE EASTERN CERAMIC S H O W
and ceramics. Fee: $10, includes mem- MAY 4th. to MAY 9th.
bership; $5 for non-members. Entry in the two center booths of the
forms and work due April 27. For de- center aisle af the very
tails write to Woodward Dillon, Chair-
"HUB OF THE S H O W "
man, 44-21 Douglaston Pkwy.
Be sure to visit me and say "Hello"
WHERE TO GO
CANADA, TORONTO
IT'S READY AT LAST
A p r i l 3 - A p r i l 28
" C a n a d i a n Ceramics of 1957," spon- THE 1957 PUBLICATION OF THE
sored by T h e Canadian Guild of Potters FLORENCE COX GREENWARE,
and The Canadian Handicraft Guild. GLAZING A N D FIRING PRICE
All-Canada exhibition at the Royal On- LIST.
tario Museum. (This price list is intended only to
help the thousands of ceramists who
ILLINOIS~ CHICAGO write me each year for help in de-
through April 24 termining prices.)
Midwest Deslgner-Craftsmen Exhibition Hundreds of new items added--plus
at Art Institute of Chicago. Represents the mold makers name after each
wide geographic area designated as the piece of greenware.
Mississippi Basin.
IOWA, CEDAR FALLS
POSTPAID ANYWHERE $2.00
through May 5
"American Jewelry and Related Objects DISTRIBUTOR
II," Smithsonian Institution Traveling Tru-Fyre Fine Art Brushes
Exhibition, at D e p a r t m e n t of Art, Iowa
State Teachers College.
GJoss-Matic
Creek-Turn
Gold Erasers
Silk Sponges
Renalssance Coxeraff Gold
KANSAS, WICHITA L & L Kilns Amaco Pan Paints
A p r i l 1 3 - M a y 20 Specialized Ceramics
The 12th National Decorative Arts and Double B Wood Novelties
Ceramic Exhibition at the Wichita Art ,Jane Snead Publications
Coxcraff China Paint
Association, 401 North Belmont Avenue.
Ceramics, jewelry, ceramic sculpture, and Coxcraft Palette Knives
enamel included in media. Wrica Gold Writing Pens
KANSAS, ~rlC I-IITA
April 24-28
Wichita Ceramic Art Society show at
THE FLORENCECOX
CERAMIC STUDIO
Kansas National Guard Armory, 620 N.
Edgemoor. 543 Boulevard. Kenilworth, N. J.
(Please turn to Page 30)
CERAMICS MONTHLY
 Chamber openlnq
advan'ced en~neeHng-put-into" th~ese-'kilns: 13" x 13", depth 131/4"; Max.
Heavy gauge steel frames power pressed to Temp. 2300; Volts 230; Amps 13;
Ship. Wt. 240; Price $149.50
exact dimensions and electrically welded for
maximum strength . . . heavy duty four way
switches, light weight easy opening lids, high
quality block insulation, genuine Kanthal A
wiring, and dust free interior coating.
Gives your work that Professional finish. If
you do not have o n e - w r i t e today for FREE
Catalog describing in detail the new Paragon Chamber opening 17n
x 17", depth 18"; Max. Temp. 2300;
"S" Series. Volts 230; Amps 28; Ship. Wt. 425;
Price $284.50.

WE'RE GROWING---
by LEAPS and BOUNDS!
There's not only A reason,
There are Many reasons.
Here are just a few:
Reliability
Courteous Dealings
Prompt Shipments
Complete Stocks
And
"Name Brand" Merchandise
Sold At
For a smart, well designed canape dish
#S5--Crab Canape--S3.75 Nationally Advertised Prices
# fib--Fish Canape--S3.75
CAN ANYONE OFFER YOU MORE?
~S2--Crab Earrings--S1.75
All ~wlds (c) Bee, FOB Rumson, N. J. Add
10% for packing, 50e ~ninimum. No COD's, please.

Send for
HOUSEof CERAMICS
3293- 3295 Jackson Ave.
our FREE
Catalog!
70 Oak Tree Lane, Rumson, N.J.
HEHPHIS 12, TEHH.
k
APRIL, 1957 II
 ABOVE PRODUCTS AVAILABLE AT DUNCAN DEALERS & DISTRIBUTORS EVERYWHERE
Write for Complete Distributor List.

r 1 m I 1 1 1 1 1 1 i 1 1
NOW . . . MAKE YOUR OWN / Acclaimed

'MOSAIC
I TILE TABLES and MURALS !
Everywhere
by
Teachers
and
Professionals
for
PerformanceJ
This Nationally
Recognized
Power-Driven
Precision Wheel
only$57.50
(Shipped complete,
Less Motor)

i We carry everything for mosaic work. Imported Italian and I

French mosaic tiles and tessarrae, brass and wrought iron
table frames, legs, mastics, tools and grout. Wood L e g s I Ideal for school, studio, home use . . . The famous B & I
I W r o u g h t I r o n Table F r a m e s B r a s s ~ i n i s h ( B r a s s Tipped) Pottery Maker, first in the field, is still first in value and in
L e g s - - s e t of 4 set of 4 I price! Simple operation, rugged construction, with all the
l [ Rectangular l Circular : 6" . . . . 6.95 6" . . . . 3.95 versatility required by professional workers! Many built-in
1121~x12~4~ ] 5.50 l 18'Td~a. ]~.50~ 11"--__ 8.95 12"____ 4.50 l
l 118~x18~2_] 8.50 J 2 ~ d~a. I ~ 14"____9.95 16"____ 5.50 features . . . ADJUSTABLE arm rests; BUILT-IN water con-
118½x48~/~ I 19.95 I ~ d ~ - , [ 1 2 ~ - 16"____11.95 22"____ 6.50 tainer: VARIABLE speed drive; QUIET bronze and babbit
I I 3 6 " dia. I 13.50[ 2 2 " . . . . 12.95 28"____ 7.50 I bearings; ADJUSTABLE foot-pedal control; UNUSUAL size
I TILES ............ $1.45 p e r sheet a n d ~ (a---~-ro~. 1 ~ ft.) range.
S O L I D B R A S S 1 'p S T R I P . . . . . . . . . . . . . . 70e ft., drilled w / s c r e w I
I SPECIAL CUTTERS ......................... $1.50-$2.45 each Before you buy, Write B & I . . . get full, free details; Point-
MOSAIC MASTIC ............. 95c tube, $1.35 p i n t , $2.25 q u a r t
MOSAIC TILE GROUT ................................ 40c lb. I by-point, we challenge comparison on QUALITY features . . .
Our price is still the best in the field!
' illini Pl
I "QUALITY CERAMIC: S~FPLIES ~
Pl service, B & I Pottery Maker shipped complete, less motor, f.o.b.
factory, Burlington, Wisconsin, far only $57.50.
L439N. Wells, Chicago 10, III. Phone MI 2-3367 I
B & I Mfg. Co. Dept. C. Burlington, Wisc.
I I I I I l I l I I 1 I
" O r i g i n a t o r s a n d M a k e r s of f a m o u s B & I GEM M A K E R S "

12 CERAMICS MONTHLY
A N T I Q U E P O T T E R Y for i n s p i r a t i o n

by BIM and DORIS NEWMAN

he creative potter seeks out the DESIGN T A K E S ITS CUE FROM USAGE.
T pottery of all cultures as a source
of inspiration. In our museums he
can find the finest pieces from EARLY AMERICAN EARTHENWARE
many periods on display but unfor-
tunately these must be seen through HAS I N H E R E N T B E A U T Y A N D GRACE.
glass. This does not satisfy the potter.
He wants to hold the pot, touch its
surface, turn it over, run his hand
along the inside.
T o gratify this need, he may buy a
few pieces by contemporary crafts-
men. There is another, earlier source
he might also turn to, and this is the
work of American potters of the
nineteenth century, whose pieces are
easily found, inexpensive to buy, and
represent the closest thing we have to
a tradition in pottery.
These unpretentious jugs, crocks.
and bowls, which were made for dailv
use, have found their way to antique
shops throughout the country. They
can be bought usually for a dollar or
two. To the dealer such pieces are not
valuable, since technically they are
not old enough to be classified as real
antiques. In addition, the antique-
buying public generally prefers porce-
lain, even over-decorated and grotes-
quely shaped porcelain, to the simple
forms and subdued colors of the pot-
ter's ware.
For an appreciation of functional
design the beauty inherent in a jug
or crock which took its form from its
intended use--let's look at a few
examples of early American pottery.
Salt-Glazed Stoneware Jug,
Ozark Mountain Region
This is a wheel-thrown piece with a
dark olive glaze over a buff body. T h e
fine proportions of this jug, pictured . . . . . . . . . . . . old Harris
at right, indicate the potter's sensiti- A typical antique shape,
vity to form, balance, and unity. T h e this salt-gJazed stoneware jug
pulled handle appears to grow out of from the Ozark Mountains combines
the lip, and has a free-flowing plastic balance, unity and form. Further cle-
(Please Turn the Page) tails are given in the accompanyingtext.

APRIL, 1957 13

Two-gallon crock described below.
quality which is well related to the
powerful curves of the jug. T h r o w n
directly on the wheel head, this piece
was cut off at the base with a wire or
string which left indentations in the
soft clay.
Two-Gallon Crock, Upstate New York
(pictured above)
Gray salt-glazed stoneware crocks
with Albany slip inside were typical
of N e w York potteries of the last
century. T h e design was painted with
cobalt on green ware. T h e chicken
pecking corn represented here is a
clue to the original use of the piece.
Eggs were stored in the crock, sub-
merged in egg preserver (the same
sodium silicate which present-day
potters use to deflocculate slip). T h e
proportions of the crock are not par-
ticularly good because of the very
heavy lip and the handles which are
too thin.
Covered Earthenware Jar, Long Island
Acquiring this jar was a piece of
good fortune, for it has its original
cover, a rarity in old pottery. Both the
bottom of the cov-
er and the bottom
of the jar show
an identical spiral
pattern caused by
the string which
the potter used to
cut them from the
wheel head. A
semi - m a t t brown
glaze covers the
piece inside and
out. T h e r e is a flat
inset lid with a small domed knob.
T h e neck and lip of the jar are sharp-
lv defined. T h e entire piece is sur-
14
prisingly light in weight, due to thin
walls and a porous body.
Black Whiskey Jug, New York
T h e r e is a fatty black lustrous glaze
on this small jug. Although the shape
is extremely com-
inon, this piece
has a rare plastic
quality. Finger
ridges are pleas-
antly i r r e g u l a r .
T h e soft clay of
the pulled handle
was pressed firm-
ly to the jug, leav-
ing an indentation
of the potter's
t h u m b where the
handle was attached. T h e total effect
of the piece is a feeling of relaxation.
Shoo-Fly-Pie Plates,
Pennsylvania Dutch
These stoneware plates are parti-
cularly interesting because they can be
stacked, both for firing and storage.
T h e lip and outside were left un-
glazed to permit stacking in the kiln.
T h e insides were glazed with beautiful
a m b e r to red-brown glossy glazes, on
a brown body. A press mold was pro-
bably used in forming the plates
which were m a d e in two sizes, seven
and eight-inch diameters. T h e design
is simple and functional, appealing to
c o n t e m p o r a r y and early American
tastes.
Wheel-Thrown Red Earthenware Vase
Daubs of manganese were applied
to tt~e body as an underglaze decora-
tion. T h e manga-
nese areas show
through as vague
Mack spots in an
overall pattern.
T h e jar was dip-
ped in a transpar-
ent lead glaze only.
partially, I e a v i n g
the bottom third
and foot of tim piece unglazed. This
type of pottery was characteristic of
New England in the eighteenth and
early nineteenth centuries.
Earthenware Skimmer from
Pennsylvania
This piece was used for separating
cream from milk. T h e whole milk was
left to settle in the skimmer until
cream rose to the top, when it was
poured off. T h e piece is wheel
thrown, with hand-formed pouring
spout and attached handles. Inside is
a brown slip glaze contrasting with
the light red body. T h e slip glaze is
peeling due to either moisture which
has penetrated through an underfired
body, or an unequal coefficient of
expansion of body and glaze.
Pitcher, Allegheny Mountains
This skillfully thrown pitcher has
an unusual salt glaze. There is no
"orange peel" or
pitted texture, but
rather an uncom-
mon c r y s t a l l i n e
structure. T h e col-
or is a blend of
transparent to yel-
low to brown. We
have not been able
to determine what
caused tile pecul-
iarity of this glaze.
Notice the generous curve of the
belly, the strong lip and pouring
spout.
EXAMINING THESE and similar old
stoneware and earthenware jugs
should give us an appreciation of how
usage determines design--and, in-
cidentally, beauty and grace. •
CERAMICS MONTHLY

y ou can make five hundred little
tessarae--enough to cover an
area of about three square f e e t - -
and have them glazed and stacked in
the kiln ready for firing, all in just
a few hours.
The secret to cutting down on the
time ordinarily required for tessarae-
making is to eliminate the necessity
for handling the miniature pieces i n
volved. This is the way it can be
done: simply lay raw-glazed slabs of
clay on kiln sheh,es, cut the slabs in
small pieces and without further ado
stack the shelves in the kiln for firing.
The method not only does away
with the usual time-consuming task of
moving the pieces carefully from cut-
ting bom'd to kiln. but also insures
the use of every available inch of kiln-
shelf space and practically eliminates
the danger of chipping and warping
the tessarae.
This is the entire procedure:
1. Roll clay into slabs about the
size of vour kiln shelves. Lift them.
with reasonable care, and lay them on
plaster bats or a flat board i'n a warm
place.
2. As soon as the clay has lost its
shine, spray or brush glaze on the
slabs.
3. When the glaze is dry to the
touch, transfer the slabs to perfectly
smooth, clean, flat kiln shelves (I
scrub all loose kiln wash off the
shelves, then turn them upside down
to receive the slabs'.
t. For the cutting operation, use a
broad-bladed knife and, as a cutting
guide, a smooth stick about one inch
wide and ~ - i n c h thick. When the
glaze does not adhere to the stick
and the knife blade goes through the
APRIL, 1957
MORE on
t he MATTER
of MOSAICS
Tips on Making, Glazing
and Assembling Tessarae
by SALLY GALLAWAY
clay cleanly without distortion, the
slab is ready to be cut. Hold the stick
.a~ims MoNTucx" (January 1955) it
wouldn't have occurred to me that
firmly down on the slab and run the soft clay could be glazed but I tried
knife along it. The stick will not it and it worked. I use a white, talc
only serve as a guide but flatten any modeling clay for tessarae and most
piece which has a tendency to warp of the glazes which fit this body in the
and also prevent beveled edges. green or bisque stage also work equal-
T h e tessarae need not be touched ly well on d a m p clay. M y favorite,
after being cut: the thickness of the however, is a cone 05 mosaic matt
knife blade separates them sufficiently glaze (the recipe, with details on col-
and the few which may become orants, is on page 32).
joined together during firing can
usually be snapped apart easilv. T h e system I use for organizing tes-
sarae in a mosaic composition permits
5. With a toothpick, remove the arranging and rearranging the pieces
tessarae at the corners of the shelf in until the desired effect is achieved and
order to make room for the posts then cementing the composition in
which must support the next shelf. place as a whole rather than piece
Then stack the loaded shelf in the by piece.
kiln. (I use ½ - i n c h posts between First, I assemble the mosaic with-
shelves and fire five full shelves, a out adhesive on its permanent m o u n t -
total of about 500 pieces, at a time in ing board. W h e n satisfied with the
my 11" x 11" x 7" kiln.) Small effect--with no more changes to be
pieces dry very quickly so the kiln m a d e - - I spread rubber cement on
may be fired immediately: it is a good (Please turn to page 32)
idea. however to
leave the kiln
door open for
t h e first h o u r
and to fire fairly
slowly.
You can see
t tl e advantage
of the method.
Not once during
the entire pro-
cedure did the
tessarae have to
be handled!
N O W a word
on glazes and a
system for assem-
bling a mosaic.
Until I read Sis-
ter M a g d a l e n MOSAIC COMPOSITIONS shown are by the aufhor. Articles in
Mary's article on CM, she claims, whef÷ed her appefife for fhis fype of ceramic
mosaics in CER- worE--and she likes if!
15
Ikindnstead of glaze, the ancient Ro-
m a n potters commonly used a
of engobe called terra sigillata
to finish the surface of their ware.
T h e finish is distinguished by an al-
most glaze-like density, fine polish,
good hardness and resistance to
weather; in fact, two-thousand-year-
old specimens of the Romans' hand-
some, durable pottery are still in good
condition.
In recent years, quite a bit of re-
search has gone into attempts to du-
plicate the characteristic rich red color
and other good qualities of the
R o m a n finish. Substitutes have been
discovered but few have come near
to matching the originals. Susan Pe-
terson of Los Angeles, however, has
been notably successful in developing
engobes which are quite similar to
the old terra sigillata. H e r method
is so simple that it is probably the
same as that of the ancient potters.
T h e key is in the fineness of the
clay particles that make up the en-
gobe. Mrs. Peterson makes her terra
sigillata from surface clay. Any sur-
face clay will work well, especially
one found in a creek or river bed, she
says. Such clays are usually red-iron
bearing and fire to a red-orange color
which approaches the richness of the
R o m a n slips.
She mixes the clay with water to
make a thin slip, then screens it so
that roots, leaves and coarse sand m a y
be eliminated. If the slip is ground
AN OLD ROMAN FINISH
T E R R A SIGILLATA
by MARY ELLIOTT
16
in a ball mill for a long time, per-
haps for two days, it becomes a better
terra sigillata. Not all clays require
this processing. However, a greater
a m o u n t of clay must be used for the
slip if it is not ground.
Mrs. Peterson deflocculates the slip
with silicate of s o d a , - C a l g o n water
softener, soda ash or, best of all,
sodium hydroxide. As a deflocculant,
sodium hydroxide is best when used
in a proportion of 0.15 to 0.30 per
cent of the slip.
T h e slip must be extremely thin.
T o render best results the specific
gravity should be 1.2 and this means
a mixture that is practically the same
as m u d d y w a t e r - - w i t h a consistency
like that of milk. After it has been
thoroughly stirred, it is left to settle
for twenty-four hours. At that time,
if the slip is a good one, there will
be almost no clear water on top; the
water will still be m u d d y because of
the very fine, divided particles of clay
it contains. T h e coarser and heavier
particles (actually extremely fine par-
ticles themselves) will have settled to
the bottom of the container. The top
half of the total mixture is the usable
part. It is decanted off while the bot-
t o m half is usually thrown away as
useless.
T h e engobe works in its unique
way, Mrs. Peterson explains, because
the grinding and deflocculating pro-
cess separates and suspends the thin,
almost colloidal, clay disklets in water.
Her method of achieving the effect is one of the simplest (see
text). A water-thin engobe gives the unique finish.
When a pot is dipped in the e n g o b e - -
only once and quickly--it coats the
surface with the finest of clay par-
ticles. These lie flat, overlapping each
other, in a m a n n e r not to be achieved
in any other way. These factors are
responsible for the unusual final
effect.
Terra sigillata is applied to dry, un-
fired pottery. Working quickly and
surely, Mrs. Peterson fills the inside
of the pot with the slip (or a regular
glaze) and pours off the excess; then
she immediately dips the pot in the
slip to cover the outer surface (it can
be sprayed if dipping is impractical).
T h e pot is left standing to drain until
partially dry, which ordinarily takes
only a few minutes.
As it dries, the slip takes on a silky
s h e e n - - a n indication of a good terra
sigillata. When it has become leather
hard (in about five minutes), she
rubs the surface gently with her bare
hands, thereby producing a beautiful
polish with very little effort.
T h e charm of the engobe is in the
satin-smooth polish and the quality
of the red color when fired. Actually,
the covering is as thin as a layer of
tissue paper; if thicker, it would not
work better and perhaps would not
work at all. Keep the application
thin, the Los Angeles potter advises.
Most of the usual decorating tech-
niques can be utilized successfullv
with terra sigillata--sgraffito, wax
CERAMICS MONTHLY
 Susan Peterson
shows some
of her pots
whose terra
slgillata finish
strongly resembles
old Roman pieces.

~san Peterson tells how to make and use this unique kind of "engobe" o n
your low-temperature pottery for a rich, red, satin-smooth finish
resist, brush work with stains and firing in this case must be at cone 4 Susan Peterson is wedded to ceramics.
glazes, etc. The ware is once-fired or 6. China clays were found to re- Since her undergraduate days at Mills
and, since the engobe permits bisque- quire cone 8 or 10 for a vitrified sur- College, she has been in fascinated and
t.ype .stacking in the kiln, the opera- face, while black clays worked beau- full pursuit of the craft. It has led to ad-
tlon xs particularly economical. Firing tifully at all temperatures. vanced training in ceramics at Alfred Uni-
at cone 08 to 04 has been found to be There are indications that the en- versity where she took the M.F.A. degree
the most satisfactory. gobe can be used industrially. Since and, finally, to teaching (under F. Carlton
Because it is so durable as well as it is not only durable but can be Ball) at the University of Southern Cali-
handsome, the finish is a good one colored by the addition of finely fornia where she is Associate Professor of
for such ware as plant containers, ground oxides, it. offers an inexpen- ceramics.
lamp bases, patio ware. It may well ' sive, practical way of treating tile and She married into the field, too--the in-
be used, also, to enhance the surface brick. It can be used to color either dustrial side of it--for her husband, lack
of ceramic sculpture. of these materials while at the same Peterson, is a ceramic engineer. "'Pete"
At the University of Southern Cali- time providing a harder, more im- handles the scientific side of their potting,
fornia where Mrs. Peterson teaches pervious surface. building and rebuilding the home kiln,
ceramics, she and her advanced stu- Aside from these special explora- wheels, blungers and other equipment as
dents have been exploring the possi- tions with students, Mrs. Peterson needed."
bilities of terra sigillata in relation to finds in terra sigillata a highly effec- With their two small daughters, fill
contemporary ceramics. They have tive finish for her own outstanding and ]an, the Petersons frequently picnic
found that very satisfactory results work as a potter. Her method is in the country--beside a creek or river
can I~e obtained when Ball clay is amazingly simple her results, most bed where surlace clay for terra sigillata
used to make the engobe but that pleasing to the eye and hand. • can be collected.

APRIL, 1957 17
DECORATE with UNDERGLAZES
J E W E L R Y from broken green ware
demonstrated
~ H O B B Y decorators who
work exclusively w i t h
cast shapes will be pleased to learn
that new shapes can be created from
old without too m u c h difficulty. T h e y
also will be interested to learn that
pieces of broken green ware can be
put to good use.
T h e "secret" (if you would call it
that) is the use of a coping-saw blade.
This tiny saw blade will cut through
green ware without chipping or break-
ing even the smallest piece. For this
purpose it is used without the handle
and holder. Held and guided with
the thumb and forefinger, it can per-
form the most intricate turns, creat-
ing a wide variety of patterns or de-
signs.
Let's follow M a r c Bellaire step-by-
step as he creates a pendant from a
piece of broken green ware.
1. T h e design to be sawed out is
first sketched with pencil on the green
ware. Here Mr. Bellaire designs a
bird pendant on a piece broken from
a green ware platter.
2, 3. T h e tiny coping-saw blade is
used to cut out the design. It is held
1. Design is sketched in pencil on
piece of broken green ware.
18
by MARC BELLAIRE
between two fingers and is carefully
guided around the penciled outline.
Short up-and-down strokes work best.
4. Any additional cutting or trim-
ming should be done now. For an
added decorative effect, holes are
drilled by twirling a sgraffito tool be-
tween the fingers. Care is taken to
avoid excessive pressure which could
crack the delicate green ware.
Careful sponging with a quite-
d a m p sponge, completes the shaping
of the pendant and rounds the edges.
If the piece is excessively thick, it can
be thinned down by stroking it across
the face and back with a quite-wet
sponge.
5. T h e final step is the underglaze
decorating. T h e same rules apply
here as in painting large shapes. T h e
piece should be carefully cleaned and
dampened immediately before deco-
rating. Abstract decorations, in keep-
ing with the stylization, are painted
in by M a r c Bellaire.
6. Here is the finished pendant
after being bisque fired, clear glazed
and retired. It can be strung through
2. Tiny coping-saw blade (with-
out handle) saws around outline.
the eye for hanging around the neck,
or a pin finding can be glued to the
back for pinning to a garment. This
piece, incidently, was made oversize
for the purpose of the demonstration,
as you may have noticed when com-
paring the size of it to Mr. Bellaire's
hands. A jewelry item normally would
be made somewhat smaller.
There is no end of ideas that can
come from this procedure. As you
will notice by observing the finished
items of jewelry shown on these pages,
everything from tiny earrings to muhi-
piece bracelets and necklaces can
evolve. When you create your jew-
elry, you will no doubt have specific
motifs in mind. But don't let this rob
you of the fun of letting a broken
piece of greenware suggest a motif
to you. Study some of your broken
green ware carefully, observing the
outline as well as the sweeps and
curves ( i f i t came from the side of a
swelling bowl, for example). Let these
shapes "tell you" what to make. And
don't try to be too realistic. The tech-
nique won't permit fine edge details
and hairline precision. Stick to ab-
stract stvlizations. •
3. Short up-and-down strokes finL
{sh task quickly and safely.
CERAMICS MONTHLY
 "EVERYTHING from tiny earrings to multi-
piece bracelets is possible with
this technique," says Marc Bellaire. To
prove h~s point, he makes just such
a variety of examples shown on this page.

CURVED pieces, adding a third dimension to the

finished article, are particularly
effective. The outer edge of a broken bowl
was used for the fish necklace at left,
the curved section putting action in the tails.

4. Final decorative effects are S. Abstract decoration is in keep- 6. Glazed and fired, piece is
followed by careful sponging. ing with stylized shape. ready for stringing and wearing,

APRIL, 1957 19
 CERAMICS DECORATE
YOUR GARDEN
ardening and ceramic-ing are my
G hobbies and I combine the two
in arrangements that give m e - - a n d
my neighbors--great pleasure. In my
landscaped yard, I have set my cer-
amics among the plantings, beside
"pocketpools," on walls, and where-
ever else I want to draw the eye. The
effect is delightful.
Ground lights and hanging lanterns
which hold fat candles are favorites
in my garden scene. Such candlehold-
ers are very easy to make. The im-
!)ortant thing, for the ground lights,
is a fiat base or pronged foot which
will sit securely in the soil or on a
flat surface; for the hanging lanterns,
a ring or some other provision for
suspending them safely.
20
by NOLA MATSON
The shape for either type of light
can be round or square, tall or squat,
combination of ceramics and nature.
Candleholders are not the only"
as long as there is space for the kind
decorative ceramic element in the
of candle to be used and an opening
garden scheme. Sculpture also has its
for air. Any method of forming the
place. But since outdoor sculpture is
holders is suitable--throwing, slab or
usually made on a considerably larger
coil building, draping over plaster or
scale than such objects as candle-
in cheesecloth, molds, etc.
holders, firing the work can present
One of my lanterns, shaped like a a problem when only a small kiln is
birdhouse, is hung in a small pine
available. There is, however, a way"
tree planted in a tub. This tub has around the problem: the sculpture
castors so the whole arrangement can
can be made in sections and, when
be moved from place to place in the fired, glued together as one piece . . .
yard. The neighbors like this idea:
when they have an" outdoor party
they borrow the tree with its lantern.
They also borrow the ground lights. Turn the page to see how Nola Matson
This pleases me because it means makes tall sculpture for the garden by the
people in general really appreciate the "sectional method."
CERAMICS MONTHLY
 GROUND LIGHTS for oversize candles
can be any size or shape--hand formed or wheel thrown.

iiiii!iiilili~I:i i~i i
Night and D a y . . .
Candleholders made from clay
provide night time illumination and blend
in nicely with trees and flowers

H A N G I N G LANTERNS (for high lights)

resemble bird houses. The fiat bottoms make them
equally useful for fable-level light.

The ground lights shown close up at the top of the page are two other types of ground lights are shown. The covered-bowl type
illustrated above enhancing a garden setting. In the photo at right, (by Christine Thowson) is electrically wired--no wind problem here.
APRIL, 1957 21
 THIRTY-FOUR INCHES TALL, this figure was fired in a small-size
hobby kiln--in sections--the various sections being glued together later.

PUT SCULPTURE OU1

! '2 3
Flattened coils were used to build the sec- kept them from sticking during the building too-rapid drying of the lower sections. After
tional sculpture. Foil between the sections and modeling: plastic wrappings prevented. details were added, the sections were sep-

22 CERAMICS MONTHLY
 wanted to make a figure about 3
iaverage-sized
feet high for the garden but my
hobby kiln was too small
to accommodate a piece that large.
So I planned to make the sculpture
in five sections which could be fired
>eparatelv.
Using the coil method, 1 built up
hollow sections one on top of the
other. First came the lower skirt; then
the mid-skirt, upper-skirt and bust;
tinallv the shoulders-and-head section.
This m e t h o d of building had a dis-
tinct advantage since I could see the
figure evolve as I worked and make
changes accordingly. T h r o u g h o u t the
process, I had of course to be sure to
allow for shrinkage of the clay so the
sections would fit neatly after firing.
Even a small kiln can Step by step, this is the wav the
figure was m a d e :
1. ! used large, flattened coils of
be used for large clay and formed the bottom section
(lower skirt). A small coil was added
at the inner edge of the top rim to
ceramic sculpture provide a ledge to hold the next sec-
tion in place. T h e work was then
allowed to stand overnight so the
by making and firing clay would become firm enough to
stand the weight of the next section.
Next day, I fitted aluminum foil
the piece in sections around the top so that. newly added
clay would not stick.
2. Each subsequent section was
handled the same way as the first
one, except that no ledge was re-
quired for the head. A plastic wrap-
ping was used to keep each finished
part from drying out too fast as work
on the next section progressed.
3. When the basic figure had been
:)OORS completed, details such as the facial
features were filled in. T h e n the arms
were added. Meantime, the top of
the head was left open and unfinished
to give that section a chance to drv
somewhat.
4 5
arated, the fall removed, then the pieces onstrotion sculpture is at the right: another
reassembled for drying. The completed dem- sculpture, in its setting, on +he facing page.
APRIL, 1957
4. The next step was to finish the
head, do the finer modeling required,
and textm'e the clay surfaces a bit.
Then a small coil of'clay was worked
in a decorative pattern a r o u n d the
top edge of each section to camou-
flage the joints.
5. When the. l orming and model-
ing were finished, I took the figure
apart and stripped off the aluminum
foil which had separated the sections.
T o make sure that all parts would
have the same drying conditions arm
to help avoid warping, the sculpture
was then reassembled for drying.
Drying this kind of sculpture is
a long, slow process, if you hurry it,
you can wind up with a mass of clay
humps! I let my figure dry very slowly
for a month or even longer. After it
was considerably more than leather
hard, I removed the head so that air
could circulate inside and help the
drying. (All the sections m a y be sep-
arated at this t i m e - - f o r the same
reason.) Finally, the sections were
fired separately as planned and then
put together once m o r e - - t h i s time
p e r m a n e n t l y - - w i t h waterproof glue.
T h e owner of a small kiln can use
the sectional method of building for
any type of large sculpture. It seems
to me a neat solution for outdoor
ceramics which tend to be larger than
the pieces we make for indoor use.
In other words, there is no need for
letting a "hobby-sized" kiln keep you
from doing grand-scale pieces!
T h e main point, however, is not
the size of your outdoor ceramics.
T h e y may be sculptured pieces or
candleholders or any of innumerable
other possibilities. The point is that
whatever the form, you will find ce-
ramics go beautifully with nature, even
if the setting is the most modest of
back yards. •
23

In her three pendants, Nelly Allan
used a simple design and a relatively
easy cloisonne technique. With this
combination, even a beginner can ex-
pect success.
24
ENAMELING:
CLOISONNE PLAQUES
as demonstrated by NELLY ALLAN
loisonnc enameling - - the tech-
C nique of filling wire-enclosed
spaces with enamel colors--is one of
Nelly Allan's favorites. She uses it
for jewelry, trays and many other
accessories. In the photo sequence
shown here, we follow her through the
process of making a plaque for the
top of a box, beginning with a de-
tailed plan on paper and ending with
the plaque set permanently in place.
T h e motif she chooses is a pair of
dancing figures but the basic method
she uses in executing the design is
applicable to any motif and to almost
any object one might care to make.
Whether the plaque is small as for a
pendant or larger as for the box top,
Nelly likes to frame it with a bezel.
1. Planning the motif: A fully de-
tailed paper sketch is prepared to
serve as a woi-king guide. Heavy out-
lines show where the copper-wire
"fences" are to go and the colors for
the enclosed spaces are also suggested
in the sketch. With one exception the
enamels to be used will be opaque:
red for the boy's jacket, girl's skirt
and bow; blue for trousers and blouse;
black for hat and boots; white for
stockings and skirt trim; chartreuse
for hair. Hands and faces are to be
transparent pink.
2. Preparing the wires: T h e out-
lines of the sketch call for ten pieces of
wire altogether. These are cut from
soft, 20-gauge copper wire and bent
to shape with nose pliers. If handling
makes the wire pop up, it can be set
against an iron stake and flattened
out again by light tapping with a
wooden mallet. As each piece is
shaped, it is laid in place on the
sketch.
3. Attaching wires to base: T h e
metal base for the cloisonne has been
cut from 16-gauge copper and is 3
inches by 2y2 inches in size; the back
has been counterenameled. T h e top
surface is coated heavily and evenly
with flux, but is not yet fired. Now
the wire shapes are lifted one by one
from the sketch and set carefully in
place on the flux-covered base. Eye-
brow tweezers make a h a n d y tool for
lifting the wires; and support for the
working h a n d helps in this step.
4. Firing wires to flux: After only a
couple of minutes of firing, the wires
become embeded in the flux. If, dur-
ing the process, any of the wires
should pop up, they will be quickly
pushed down again with two rounded
knives. It is better to underfire this
time; it may result in a cloudy back-
ground but the flux will turn golden
and transparent in the second firing.
5. Making ready for enameling:
Each enamel color, well washed, is in
an individual shallow container (bot-
tle cap). Water (or gum solution)
is added, drop by drop from a syringe,
and the mixture stirred to a thick
paste. Now all is in order for inlay-
ing the enamels. The color sketch
and the fired, cleaned plaque stand
at the side.
6. Inlaying the enamels: Now the
wire-enclosed spaces are filled with
wet enamel. These are laid in with
a blunt-nosed dental tool, then flat-
tened with the tip of a moistened
paintbrush. The areas are built up
slightly higher than the wire parti-
tions since enamel sinks in firing.
When all the spaces are well filled,
the plaque is fired until the enamel
becomes glossy.
7. Making the bezel: The enameled
top is to be set in a bezel, or frame
c~f metal. In this case the bezel con-
sists of a narrow strip of 26-gauge
copper ( ¼ - i n c h wide and about 11
inches long). T h e strip, after anneal-
ing, is bent to fit the plaque.
8. Soldering the bezel: First, the
ends of the strip are hard-soldered to-
gether; then the bezel is set on the
box itself, secured with wire, and
soldered permanently in place.
9. Now the plaque is set snugly into
the bezel. The bezel is then mitered
at the four corners and, with the help
of a burnisher, the top edge is turned
in on the plaque, holding it securely
in place. The last step in the process
is a final cleaning of the bezel and
the copper wire of the cloisonne.
The completed box top and three
of Nelly Allan's pendants are shown
on these pages. Notice how she has
used the bezel in all cases as a finish
and frame for the plaque.
The comparatively easy way of
making cloisonne demonstrated here
is one in which even the beginner can
expect to be successful. •
CERAMICS MONTHLY
1. Line and color sketched on paper 2. Wire cut and bent to shape 3. Shaped wires set on flux-covered base

4. Firing embeds wires in flux 5. Enamel powder is made into thick paste 6. Enamels (colors) are lald in

7. Copper sfrlp is cut for bezel 8. Bezel (frame) is soldered to the cover 9. Plaque is set snugly in bezel

Completed box with plaque in place.

Note how Nelly Allan uses bezel, on the
box and the pendants on the opposite
page, as both a finish and frame
for her enameled plaques.

APRIL, 1957
25
 Strictly Stoneware
... slips and engobes
by F. CARLTON BALL

T H E T E R M S , "col- difficulties will be over. If none of to adhere, l)uring firing, the borax
ored clay, slips" and them fit, try the engobes suggested fuses first and produces a sticky layer
"engobes'" are synony- later in this article to see if any of of material between the body and
mous. A colored clay them will do what you wish. And if tile engobe, in this wav helping to
slip .is to all intents that fails, choose from a m o n g your hold the engobe on the pot in and
and purposes the same tests the white clay that came the after firing.
as an engobe and vice closest to fitting the red clay and ad-
M a n y stoneware bodies are dark
versa. "Engobe" is a just it to fit.
There are materials which can be in color. Such bodies give some of
French term meaning the most beautiful of effects especial-
to envelop. added to the white clay to cut down
its shrinkage, and other materials ly when decorated with engobes. Dark
W h e n a colored slip clay calls for a light-colored engobe;
is used to completely which will make it shrink even more.
Choose a single material or a combi- and usually a potter has one that will
cover a pot, it is called an engobe fit his dark stoneware c l a y - - a n en-
because it envelops the pot. T h a t be- nation that will make your clay fit.
White clays, each having more or gobe that is quite white because of the
ing the case, an engobe becomes a Ball clay and China clay in it.
"clay slip" when applied only to local less shrinking capacity, can be added.
If such an engobe is applied heavily
areas of a pot. In neither composition Kaolins will not shrink m u c h ; plastic
it stays white through the glaze firing.
nor method of application is there any kaolins will shrink a bit more. Ball
clays will shrink a good deal, some But many artist-potters would wish to
difference between engobes and color- decorate the pot with direct single
ed clay slips. of them more than others; and ben-
tonite will shrink very m u c h - - p r o b - brush strokes of the white slip--and
There are as many compositions of ably too much. this is a highly effective way of en-
colored slips or engobes as there are Flint is one of the materials which riching the surface. A nice, thick
potters. In general, the best engobe will keep your clay from shrinking as transparent glaze over such a pot
to use is one made of the same clay m u c h as it ordinarily would by itself. should be beautiful but frequently the
as that used to make the p o t - - w i t h design disappears in the firing and
Fine grog would work the same way
appropriate color and water added to but would not be as good an ingred- the potter's time has been wasted.
make it into a slip. By following this ient to use. Feldspar counteracts dry- A white-clay-slip design will not
practice, the problem of fitting the ing shrinkage but increases firing disappear nearly as much if a trans-
slip to the body is eliminated. shrinkage. parent glaze is applied very thinly
Each kind of clay acts a little dif- over the pot. There is a disadvantage,
T h e appropriate material, depend-
ferent from any other and each clay ing on whether you want to increase however, in using a thin layer of
shrinks differently, so it is quite a task or counteract shrinkage, should be transparent glaze. T h e pot when fired
to find one kind of clay that will make added to the white clay of the engobe appears to have been varnished; the
a satisfactory engobe for use on an- in percentage quantities. For example, beauty that goes with a thick glaze
other kind of clay. This is especially if a kaolin is being used for the base is lost.
true if one is seeking a white-clay material and it doesn't shrink enough, This, I think, is what happens:
engobe for a red clay pot. when the glaze is m o h e n in the kiln
a ball clay could be added in varying
T h e easiest solution is to use a buff amounts--let's say, 5, 10, 15, 20 and it dissolves some of the alumina and
body; or use a buff clay in the body 25%. After making and firing tests, silica out of the body of the pot and
and color it if the buff color isn't sat- you should have an engobe which some of the surface of the pot goes
isfactory. T h e n the buff clay can be comes closer to fitting; another series into the molten glass of the glaze.
the lightest color in the clay slip and of similar tests should completely If, perchance, the surface of the pot
coloring oxides can be added. T h e has a nicely painted engobe decora-
solve the problem.
lighter colors such as yellow, light tion, it too is absorbed into the glaze
If a ball clay is being used as the
blue and light green will look well base material for the engobe and it and disappears from sight. There may
with a buff clay as the base of the slip, shrinks too much, run a series of be other or additional reasons for
but they would not be good if a red- tests with flint added in varying clay slip to lose its opacity, but the
clay base were used instead for the amounts ranging from 5% through important thing is that it does tend
engobe. There is no problem of the 25%. When these tests have been to disappear under a glaze especially
engobe's fitting the clay body because fired with a glaze over them there at stoneware temperatures.
the clay for the engobe is the same as should be one which is so very close This "fault" in your engobe or clay
that used for the pot: both will shrink to fitting that it can easily be cor- slip may be corrected by the addition
equally during drying and firing. rected. of a percentage of your favorite zir-
If it is necessary to make a white: T h e addition of 5 % of powdered conium opacifier. It is possible to add
engobe which will fit a red clay, there borax to your engobe can help it to 5 0 ~ of zirconium to a batch of en-
are several ways of going about it. fit. Borax is soluble so, when a slip gobe and this is the percentage I pre-
First, try all the white and light-buff containing it is painted on a pot and fer. Make tests by adding five different
clays available to you; make slips of the slip and pot dry, the borax sets amounts of zirconium oxide to your
them and put them on the red clay; up a thin skin of borax crystals be- engobe. For the first test, add 10%;
fire and glaze the tests. Perhaps one tween the surface of the pot and the the second, 2 0 % ; then 30, 40 and
of these white clays will fit and your engobe and this helps the engobe (Please turn to Page 30)

28 CERAMICS MONTHLY
Joseph Trippetti, Manchester, N.H., top prize in enameling for S" x 7"
cloisonne which also wan the Thomas E. Thompson Purchase Award.

S H O W TIME
Fifth Annual Miami National
SINCE. I T BEGAN FIVE YEARS AGO, the number of states represented
in the Miami National Ceramic Exhibition has grown from 10 in 1953, to
33 this year. More than 650 pieces were submitted to the jury of the Fifth
Annual Miami National Ceramic Exhibition, sponsored by the Ceramic
League of Miami. The 147 works selected by the judges were exhibited in
March at the Joe and Emily Lowe Art Gallery, University of Miami. Follow-
ing the exhibit, the top 57 pieces from the competition will be circulated
among mt~seums and galleries in the South.
A total of $9,625 in prize money was
awarded to winners in four categories--cer-
amics, enamels on metal, two-dimensional de-
sign, and ceramic sculpture--with several
prizes in each category. The $500 Beaux Arts
Purchase Award, the top prize of the show,
was given to Paul Soldner of Claremont, Calif.
Anne Chapman of Oxford, Miss., won the
special earthenware award for her sculpture,
"Affinity of Man" (not illustrated). CM's
Kathe Berl (The Enameler's Column) re-
ceived third prize in the enameling division "Girl With Folded Hands, by
for her bas relief plaque. • Frans Wildenhain, Rochester,
N.Y.; First in ceramic sculp-
ture (21" tall wlth base).

Paul Soldner, Claremont,

Calif.; Beaux Arts Purchase
Award, top prize in show,
far a thrown black and Frans Wildenhain also won the top award in two-dimen-
white floor vase, 52" tall. sional design far his 21" file mosaic (above) "Life in the
Woods." First prize in the ceramics category went to John
Mason, Los Angeles, far 15" vase (left).

APRIL, 1957 27

POINTS-OF-THE-COMPASS MOTIF--made mosaic style.
I. Slip poured into clay dam on bat
3. Sharp knife used to cut clay
5. Sections glued with ÷i]e cement
28
by MILDRED and VERNON SEELEY
2. Design traced with pencil
4. Pieces ready for bisque firing
6. Grout worked into all cracks
make a
GARDEN
PLAQUE
n spring a ceramist's fancy turns to
Ioutdoor
planning decorative pieces for the
scene. Here is a project which
can be incorporated as an unusual,
attractive element in the patio wall,
garden walk or any flat surface. It
is a plaque made up of several cer-
amic shap'es--a mosaic, in fact.
T h e first thing to do is plan the
plaque on p a p e r (we chose a points-
of-the-compass motif), then make a
pattern of the design on strong p a p e r
such as wrapping paper.
Now we proceed to make the
plaque itself. ( I n the step-by-step
photos, incidentally, you will see three
different motifs being worked on.
This was for photographing conven-
ience; we hope it will not prove con-
fusing.)
1. With modeling clay, build a half-
inch-high d a m around the edge of a
large plaster bat (or use a mold with
a flat side). Pour slip on the bat to a
depth of % i n c h - - t h e d a m will pre-
vent it from leaking out. Be sure the
slip lies level so that the slab it makes
will be equally thick throughout.
2. W h e n the clay slip has hardened
enough place the paper pattern on
it. Trace the design with a pencil,
using enough pressure to indent the
clay. Use a ruler as an aid in making
straight lines. When the tracing is
finished, remove the pattern care-
fully.
3. Following the outline, c u t
through the clay to the plaster with
a sharp knife, cutting straight up and
down (pieces fit together better if not
cut on a slant). T h e ruler is a help
here, too, in keeping lines straight.
If desired, the clay may be textured
or imprinted at this point. Do not
remove the cut sections, however,
until they are dry enough to release
easily from the plaster; in other words,
leather hard. Now they may be
smoothed as needed with a damp
sponge.
T o make it easier to put the plaque
together later, it is a good idea to
(Please turn to page 34)
CERAMICS MONTHLY
 CERAMICS
for the artist potter
uestlons by F. H. Norton

emuluctpd by K E N S M I T H

~. A ,mall image ,culptured in ,oap :ca, , e , t to me with

the request that I make a pla,ter mold [rom it. I [eat that it
cat, not be done ~uceess[ully because o[ the ,oap clogging the
pore,, o[ the mold. What is )'our opinion?
,6.. Good news for the soap carver it is doubtful that the
soap will h a r m the plaster mold in any way. After all, pro-
fessional mold makers use soft soap as a parting compound.
You might wish to polish the soap carving with a cloth
to get a good smooth even finish and then p o u r plaster directly
on it. It should release quite easily.

¢~. Can the prepared dr)' clay body I use /or making cast-
ing slips be used to produce a plastic clay [or hand modeling
,culpture and potter),?
&. A clay body made specifically for casting will not usually
be as plastic as one made for modeling. It may also already have
defloeculent added, which would tend to make it less work-
able. It can be used, however: why d o n ' t you try it and see if you
The most complete book on ceramics! From
(:an get satisfactory results?
choosing the proper clay to putting the final touches
on a piece of pottery, each operation is explained
~. 1 ata making wulpture for u,~e out-of-door,~. Is a special clearly and simply and is illustrated fully with
h,i~h requited to prevent it from zceathering? photographs and diagrams.
A. The piece must be waterproofed to prevent it from The first half of the book explains how-to-do-it
suffcrina danmoe durino_, freezing weather. T h e best way, of operations for forming, finishing, and decorating.
course, is to be sure the clay body is extremely well vitrified and The second half goes into more advanced discus-
to ulaze it. Surface finishes other than glaze will also prove sat- sions of clays, molds, decorating, glazing, etc.
isfactory. These include plastic materials, wax and others.
A superb teaching guide and reference book!
The i m p a r t a n t thin~-, if I may repeat, is to be sure the
The author tells what the artist potter does and
body is well vitrified.
why he does it. 320 pages; 471 illustrations; 7" x
10" format. DeLuxe Edition $10.
Q. I haz:e made "jewels," as recommended by ]o Rebert in
the "'Copper Enameling H a n d b o o k " and have difficulty because CONTENTS
o[ the kiln wash sticking to the backs of the mounds o/ glass. Introduction Principles of Design Elements of Glazing
F o r m i n g By Hand Application of Design Compounding Glazes
This is most difficult to clean off; do you have any suggestions? F o r m i n g On the Theory To Pottery M a t u r i n g and F i t t i n g
A. We have asked Mrs. Rebert and she suggests that per- Wheel Clays Glazes
I:ot'ming By Casting Nonplastic Ceramic Practical Glazes
haps you are using too thick a kiln wash; she uses a kiln wash and P r e s s i n g Materials Color and I t s Meas.
Finishing Ceramic Bodie~ Ceramic Stains
thinned to the consistency of a water color. Overfiring can I)rying P r e p a r a t i o n of Special Methods of
cause this difficulty too. Biscuit F i r i n g Bodies Decoration
Underglaze Dec. Mold M a k i n g Pottery Equipment
Mrs. Rebert stores her glass jewels in water for some time Glazing Te~nperature Mess. L a y i n g Out the
Glost F i r i n g Ceramic Sculpture Pottery
before using them which may make the removal of the kiln Overglaze DecoratioL Control of Shrinkage, Good P o t t e r y : P a s t
Historical Warpage, and and F u t u r e
wash easier. T h e few jewels which are difficult to clean might 1)evelopments of Cracking Glossary of T e r m s
better be thrown away. Pottery

Q. Can you tell me where to buy the liquid rubber latex

u w d [or the rubber resist decorating technique. I haven't been Book Department
able to find it listed in my collection o[ supplier's catalogues. Ceramics M o n t h l y
A. This material is available from most of the supply 4175 N. High St.
houses under readily recognizable names such as r u b b e r resist, C o l u m b u s 14, Ohio
rubber latex, liquid rubber, etc. Some companies have developed P l e a s e r u s h m y c o p y o f C E R A M I C S for the A r t i s t
their own trade names for this same type of material. These P o t t e r b y F. H. N o r t o n . R e m i t t a n c e of $10.00 en-
names usually incorporate the word "mask." F o r example Cer- closed. ( O h i o r e s i d e n t s add 3 ~ s a l e s t a x . )
amichrome calls theirs Tranz-mask. Mayeo is Mayco-mask, etc.
Name ......................................... ]
I

All subscriber inquiries are given individual attention at CM; and, Address ......................... [
I
out of the many received, those of general interest are selected I
!
for answer in this column. Direct your inquiries to the Questions City .......... Zn . . . . . . State ........ j
|
Ediforl please enclose a stamped self-addressed envelope. I
!

APRIL, 1957 29
 Itinerary
CERAHASTOtlE (Continued from page 10)
Big annual hobby-trade shows of the
ceramic field will be held this year at
Asbury Park and Chicago in May. On
JEWELRY MIX A Self-Glazing Clay
Mix With Water--Fire At Cone 06 KENTUCKY, LOUISVILLE these occasions manufacturers and
Turquoise, Dark Blue, Chartreuse, Gun- dealers put on display, for the benefit
metal, White, Beige Pink, Purple. Spring
through April of hobbyists, all that is new a n d / o r
Exhibit of work by residents of Kentucky useful in the way of supplies and equip-
Yellow & Brown and Southern Indiana, sponsored by the
V2-1b. portion--S1.00; instructions included ment--glazes and underglazes, enamels,
Art Center Association, at the J. B. kilns, molds, tools, brushes, etc. Con-
NEW--Handbook of Jewelry Making & Speed Art Museum. Crafts and sculp-
Design featuring CERAMASTONE--$1.00 current with each show is a competitive
ture included. exhibition with prizes and a wide range
SPECIAL~l-landbook Free With $5.00
Order. Please Specify Colors. MARYLAND, BALTIMORE of classes.
(Postpaid Cont. U.S.--Colo. Res. add 2%
Sales Tax)
through April 21 EASTFRN CERAMIC HOBBY SHO'~V
Regional Exhibit for Artists and Crafts- Convention Hall, Asburv Park, N.J.
The Pottery Workshop men at Baltimore Museum of Art.
May 4-9
CHIPITA PARK, COLORADO MICHIGAN, MUSKEGON Sponsored by Ceramic Leagues, Inc.
Trade exhibits, demonstrations, com-
May 5-May 26 petitive exhibit.
Ceramic And Copper "New England Crafts," Smithsonian In-
stip4tion Traveling Exhibition, at the
Enameling Supplies Hac'k!ey Art Gallery.
GREAT LAKES CERAMIC HOBBY
EXHIBITION
Wholesale-Retail NEW HAMPSHIRE, DURHAM Conrad Hilton Hotel, Chicago
RE-WARD
Distributor
[I PERMA-STAIN
Distributor
April 8-30
New Hampshire Arts and Crafts Exhibi-
tion (contemporary) at University of
May 26-30
Sponsored by Great Central Ceramic
League and Michigan Ceramic Deal-
Dealer Inquiries Dealer inquiries New Hampshire Library. er's Association Trade exhibits, dem-
Invited Invited onstrations, competitive exhibit.
NEW YORK, BUFFALO
tll~.e through April 14
:IEPO T T 1:!-:IEl[l[l 23rd Annual Exhibition, Artists of Wes-

W I--I "~-'l='e-L
Boston Post Rd. - - Westport, Conn.
tern New York (14 counties), at AI-
bright Art Gallery, Buffalo Fine Arts
Academy.
PENNSYLVANIA, PHILADELPHIA
May 17-June 9
'"14rends in Philadelphia Sculpture" ex-
hibition sponsored by the Philadelphia
N E w YORK, NEW YORK Art Alliance, 251 South Eighteenth St.
April 3-13 Sculpture in all media.
unusual glazes "Ceramics '57, H o m e - - O f f i c e - - S h o w -
room," exhibition at the Greenwich "~'AS H INGTON, SEATTLE
two more MAYCO glazes of un- House Potters, 16 Jones S t . May 1-May 22
"American Jewelry and Related Ob-
paralleled beauty. Autumn Gold and OHIO, CUYAHOGA FALLS jects," Smithsonian Institution Traveling
Russet Green are New! May 17-19 Exhibition. at the Seattle Historical
Ohio District Ceramic & Hobby Show Society.
at the Chesterfield Hotel Inn.
~VIscONSIN, MILXVAUKEE
OHIO, TOLF.DO April 28
May 5-May 26 Annual Ceramic Hobby Exposition pre-
39th Annual Exhibition of Toledo Area sented by the Badger Ceramic Associa-
Artists, sponsored by the Toledo Federa- tion at Mitchell Park Pavilion. 524 S.
tion of Art Societies, at the Toledo Layton Bh,d. Work of Wisconsin hobby-
Museum of Art. ists.

Strictly Stoneware engobes which can be used on stone-

(Continued from page 26) ware (cone 6-11'/:
# 1 White Engobe
50%; and brush the five engobes on
Edgar plastic kaolin . . . . . . . 34.0%
a pot. Try several transparent glazes
Feldspar . . . . . . . . . . . . . . . . . 17.0%
GENERAL CERAMIC SUPPLIES
over them to see which engobe is the
Flint . . . . . . . . . . . . . . . . . . . 17.0%
FOR most desirable and dependable.
Bentonite . . . . . . . . . . . . . . . . . 3.4%
• Schools • Institutions • Hobbyists
A zirconium opacifier works very
Zircopax . . . . . . . . . . . . . . . 28.6%
FREE CATALOG
well in most engobes without disturb-
#2
ing the fit and the clay slip remains
Roder Ceramic Studio white under a thick layer of transpar-
Nepheline syenite 20.0%
1331 Race St. Philadelphia, Penn. Kaolin . . . . . . . . . . . . . . . . . 25.0%
ent glaze. Because of this, a white en-
Ball clay . . . . . . . . . . . . . . . . . 20.0%
gobe can be brushed in single strokes
Flint . . . . . . . . . . . . . . . 30.0%
over a dark clay body, in a beautiful
Borax . . . . . . . . . . . . . . . . . . 5.0%
decorative manner, and the glazing
#3
and firing in an oxidation or reduc-
Edgar plastic kaolin . . . . . . . 25.0%
tion atmosphere will not ordinarih-
KILN JOY
WArCaES OVER YOUr,
,].I E~ destroy the design.
To make an engobe handle in a
Imperial ball
F4 Feldspar
Flint
clay . . . . . . . .
.............
..........
20.0%
20.0%
30.0%
KILN ] better way, to make it flow from the
S a v e s time and e n e r g y ! [ Borax 5.0%
Rugged, Simple, Reliable~works td] brush in a Inore silky fashion, a little
on cone principle. Guaranteed to Ill glycerine can be added to the engobe. Next M o n t h Mr. Ball will continue his
shut off kiln automatically. III
See Y o u r Dealer or Order Direct If you find glycerine too expensive or discussion of engobes and clay slips. He
KILN JOY ...... $17.95 PPD. difficult to obtain, try some corn will present additional recipes for engobes,
Optional: Warning-Buzzer Kit $12.95 Ppd. syrup or honey in the slip--either will amounts and kinds of coloring oxides for
]:'OLDER ON REQUEST different colors, recipes [or covering glazes,
improve its painting quality. and other fundamental and practical in-
MASON INSTRUMENT CO. The following are some of the base formation.
29 E L M A V E . , M T . V E R N O N , N . Y.

30 CERAMICS MONTHLY
 turalistic China Painting:
Light and Shadow
(Part 3)

by ZENA HOLST

Mrs. Holst's light and ,~hadow aerie~ be-
gan in ]anuary when she explained color
values. Last month she gave some help[ul
hints on shadows and ways of achiez'ing a
three-dimensional effect. In her concluding
article this month, she difcusws highlights.
--Ed.
Highlights
Highlights seldom are left pttre
white in the final finish but are sof-
tened with subtle tints when the ob-
ject is ready for the last firing. T h e
values of these tint colors depend on
the intensity of the basic color in that
area. T h e highest point of the center
mass, even though the design seldom
is placed in the center of the plate,
is the area that is painted last for
each firing. This area contains the
most prominent highlights. Tips and
edges of any leaves or petals that are
in the upper section of the study are
also strongly highlighted.
The method of holding highlights
in china painting is the same as that
used by water colorists (I first design
all my original studies for china paint-
ing with water colors. Experiments
in washes of black and gray values on
white paper are good practice for the
beginner in naturalistic painting.)
There is no white in mineral pig-
ments for p a i n t i n g the highlights on
china, although there is a white
enamel that is sometimes used for
final relief details such as white fuzz
in the centers of certain flowers. T o o
much added enamel, however, de-
tracts from the naturalistic idea.
Second Firing
For the second firing, the back-
ground should be extended over the
entire area around the design, cover-
ing the plate completely. In order to
bring the painting together as a
whole, use tints and soft hues, which
are related to the colors in the mass
of the study, for the outer areas.
Darken the shadow reflections where
needed. A certain unevenness and
lightcst tints first and progress into
the darkest shadows, then brush out
Silk screen printed w i t h Versa-Colors
reflection lines very quickly before the
colors "set." Use an open (slower- The silk screen process offers great poten-
drying) " m e d i u m for mixing back- t;alities for creative ability and craf÷smam
ground colors and for applying (refer ship. And, it is a simple, inexpensive, and
to "Mediums," July 1954). If the easy method for producing in, a~uantity.
first undertaking is not entirely satis- Versa-Colors were developed especially for
factory do not hesitate to wipe the silk screening on any fired, glazed or metal
whole thing off and start over. Try- enameled surface. Other methods of applica-
ing to retouch a wet background tlon are airbrushing, stenciling, and free
makes a messy job; any portion may, brush. The 8 ready-to-use tube colors have
however, be retouched for the follow- a brilliant sheen when fired ÷o 1328 ° F.
ing firing.
Write for instruction for constructing a silk
T h e final step in preparation for
screen frame, and information on using Versa-
the second firing is to paint over
Colors for the printing process.
the leaves and flowers with thin
washes of the colors necessa W to
bring out the forms. Be sure to re-
tain the contrast of light and shadow
in the contours of the lines. Intense
hues in certain parts of the petals
of the flowers will need strengthen-
ing for more depth, especially if the
petals are cup shaped.
Subsequent Firings
Finishing details such as centers of
blossoms should be left for the third
firing. A second coat of gold can also
be applied to the rim at this time. If
the floral study should be in intense
hues the plate m a y need as many as
five firings. N o matter how many
firings, however, preparation for the
last one should consist of light washes
and a flushing of one tone into an-
other to bring the whole into har-
/'Nrr
mony. It may be necessary to
strengthen some of the reflected
EXTRARING
shadows more than once but most
beginners have a tendency to make
$3.50 VALUE
FREE with purchase of amazing, easy-to-
these too strong; if so, the}' can be use t e s t k i l n f o r o n l y $ 1 9 . 9 5 . . . ~ n e x t r a
modified to a certain degree with test r i n g , w o r t h $3.50. F R E E t e s t r i n g
a f f o r d s e x p a n d e d size, p e r m i t s l a r g e r ob-
thin washes of a contrasting or har- j e c t s in k i l n . A p p r o v e d k i l n s a v e s t i m e &
monizing color (yellow-green over m o n e y . . . ideal f o r m e d i u m p i e c e s ,
dark green, lavender over blue, j e w e l r y , e t c . M a i l ad w i t h c h e c k o r m o n e y
o r d e r f o r $ 1 9 . 9 5 . . . F R E E test r i n g w i l l
p o m p a d o u r over rose, gray over
be i n c l u d e d in s h i p m e n t . Offer L i m i t e d .
purple, etc.). Both the modifying and
SPECIFICATIONS : Kanthal A1 Element--
intensifying of colors may be done by Babcock-Wilcox Fire Brick -- Interior:
the dry-dusting m e t h o d if one is pro- 6 x 6 x 41~ in.--12 Amp-Cone 04 in 1/_,
ficient in the technique. hour, Cone 9 in 1 hour.

freedom should prevail in the back-
ground when a variety of tones from
sunlight to shadow is used, but the
colors will need blending with a silk
pad (for instructions on using a silk
pad, see October 1955). Pat the
For those who have progressed be-
yond their first plate, I will add that
shadow colors in t h e b a c k g r o u n d are
not ahvays confined to the areas close
below or around the study. T h e size
(Please turn to page 32)
UnitedArtistMaterialsCo.
ARTISTS, DRAFTING AND DISPLAY
PRODUCTS
Opposite Museum of Modern Art
32 West S3rd St., New York 19, N.Y.

APRIL, 1957 31
 Mosaics
AT THE SHOWS (Continued trom page 15)
wide strips of brown wrapping paper MOLDS
Kleiner Originals a n d carefully lay them, tacky side
down, over the mosaic. T h e strips are
manufactured in
o v e r l a p p e d a n d b r o u g h t firmly over
all edges of the b o a r d so that the tes-
OHIO
sarae will be entirely enclosed a n d Dealer inquiries invited.
stay exactly in place. T h e n I lay a
b o a r d of the same overall size on top Cromer Molds
and flip the whole unit over (if the 20 years experience in mold making
746 Cherry St. Fostoria, Ohio
MOSAIC MATT GLAZE, Cone 05
White lead ..... 52%
Zinc oxide . . . . . . . . . . . . . . . . . . . 2
Whiting . . . . . . . . . . . . . . . . . . . . . 3
SPUN COPPER BOWLS, trays or cups.
Feldspar . . . . . . . . . . . . . . . . * .. 16 Also--stomped circles or squares, plain
Borax . . . . . . . . . . . . . . . . . . . . . 2 or sJotted, for belts and links. Also--card,
Kaolin (EPK) . . . . . . . . . . . . . . 18 match or dgaretfe boxez. The Old V~king
NEW MOLDS Flint . . . . . . . . . . . . . . . . . . . . . . . . 7 Shop, 1236 De!aware Street, Denver 4,
NEW DESIGNS M i x all ingredients, add ¼ cup Colorado.
gum solution and hot water to blend:
NEW GLAZES force through lO0-mesh sieve.
WROUGHT IRON Yellow: a d d from 5 to 10 percent IMPORTED C H I N A SUPPLIES
rutile for various shades.
Your source far: JUMBO LIGHTER IN- CORRESPONDENCE COURSES
G r e e n : a d d 1 to 3 percent c o p p e r
SERTS and SWIVEL BALL POINT PENS. carbonate, plus 2 to 4 percent iron Write for Free Catalogue
QUANTITY DISCOUNTS. Dealer Inquiries oxide, plus 8 percent zircopax.
Invited. Blue: a d d 0.3 percent nickel oxide,
C A M P A N A ART CO.
New Catalog ~ $ 7 - - $1.00 0.3 percent c o p p e r oxide, 0.25 per- 442 N. Wells St., Dept. C, Chicago 10, III.
(refunded on first order)
cent cobalt oxide, 8 percent zircopax.
Note: Liquid underglazes used as
CREEK-TURN colorant with this .glaze produce ex- ADHESIOLYTE
Hainesport, New Jersey cellent results. new apoxy adhesive
C e r a m i c to m e t a l C e r a m i c to wood
$1.25 f o r 50 a p p l i c a t i o n s (25c fo r s m a l l
~ample)
mosaic is large, the boards with tes- I f d e n i e r c a n n o t supply y o t . send d i r e c t .
NEW 8~/_, '' x 11" M o n t h l y M a g a z i n e
The C H I N A DECORATOR sarae between have to be c l a m p e d to- PATTYPRINT POTTERY
"Keramic S t u d i o " style, d e s i g n s , a r t i c l e s gether in several places so that noth- 14826 Charlevoix Detroit 15, Mich
for C h i n a D e c o r a t i n g . B e g i n n e r s : A d v a n c e d :
Studios. D e s i g n s by best a r t i s t s a ll deco- ing can slip).
r a t i n g methods. Studio discounts. Adver- ~ v . v v v ~r v v v v ',v v ~ v ~'qw ~ v v vv v'~v v'v.u~
t i s i n g b r i n g i n g w o n d e r f u l r e s u l t s . $3.75 yr . N o w the p e r m a n e n t m o u n t i n g b o a r d
$7.00 t w o yr. Also C H I N A PAINTING is removed, spread with adhesive a n d CERAMICS
B O O K $1.25. l n s ~ r u o t i o n s , SUpl)lies. C e r a l n l c a n d
N E T T I E E. P I L L E T r e p l a c e d on the upside-down tiles. As C h i n a F i r i n g , finished a n d g r e e n w a r e (
811 B a r r o w s C r t . Pasadena. California.
soon as the mastic has set slightly, the DISTRIBVTOR 4
unit can be flipped right side up once R E - W A R D A N D D O B E GLO
more. T h e n the extra b o a r d is remov- HAZEL HURLEY STUDIO
STUDIOS A T T E N T I O N 1, 4803 Prince St., Downers Grove, I11. (
ed a n d the tacky p a p e r carefully peel- P h o n e W o o d l a n d 8-0719
Mold~Glazes--Ceramics supplies
ed off the tessarae. W i t h that step the
Bulk Sale Only
mosaic is finished except for grouting
For sale by estate. Hundreds of items.
No reasonable offer will be refused. Write a n d framing. • SEELEY'S CERAMIC SERVICE
Wm. Plodowski, executor, 1139 Lincoln Let us hell) you w i t h y o u r c e r a m i c needs.
Way East, Mishawaka, Indiana. We h a v e a c o m p l e t e line of school supplies
Overglaze Page a n d e q u i p m e n t : slips, clays, colors, kilns,
wheels, tools, b r u s h e s , s p r a y e r s , pens, a n d
books. F r e e c a t a l o g ( m s to schools a n d cer-
(Continued from page 3l) amic teachers : Ceramic-Molds Enameling.

a n d c o n t o u r of the china object as 7 ELM STREET, ONEONTA, NEW YORK

well as the a r r a n g e m e n t of the dec-
: . PROFITABLE. OBBY. .
oration p a t t e r n are taken into con-
sideration. A tall vase or lamp, for
1"0 ALL OUR CERAMIC FRIENDS:
example, m a y show m u c h d e p t h of
I am looking forward to seeing you
I ¢"a, 7 TOOLS OR EXP C reflected colors t o w a r d the base as at the Ceramic Shows.
l i lJ N E E D E D ! W e f u r n i s h every- a w a y of achieving balance in the
I ~ i: t h i n g . . . s h o w you h o w Our demonstrator Ida Stone will
to make costume, religious, perspective of design a n d object. be with me, /oak for us in the
fraternal jewelry; compacts, T o s u m m a r i z e the f u n d a m e n t a l
cases, m a n y o t h e r s ! Choose
"Garden State Ceramic" booth at
from httndreds of styles for rules: first do the shadow p a i n t i n g As-bury Park, and in the "Pyramid
your o w n use, l u x u r i o u s g i f t s , fund raising, or Ceramic" booth in Chicago.
a s p a r e - t i m e business of your o w n . Send for
in the b a c k g r o u n d in o r d e r to b r i n g
big, F R E E " H o w T o " book & catalog. P l e a s e out the lines of the design; then Be sure to stop by to see us.
include 10c in coin for p o s t a g e & handling.
shade the leaves a n d flowers into Rose Hart
INTRODUCTORY OFFER:
S t u n n i n g M o o n s t o n e e a r r i n g - b r a c e l e t kit & book c o n t o u r forms by retaining p l e n t y of
only $1.00. Money-back guarzmtee.
highlights. T h e p a i n t i n g for each suc- Hart Ceramic Supply
P.O Box 920, 371 E. Beach A ~ e n u e
GEM-CRAFT, Div. of Immerman & Sons ceeding firing should be built up gra- Inglewood, California
Dept. C M - 4 A • 2185 E . 14th • C l e v e l a n d 15, O.
dually. •
32 CERAMICS MONTHLY
 ~ D|ltlllll|llllllll,lllll.lllllllll01.,i,ll|,llll,l..mlllll|lll|ulll|,llel

coming up in CM

Kenneth Bates -

on ENAMELING "
MAKE A NAME PLATE r o u n d e d or "'raised" (1). Now "close"
Even if you aren't ready to h a n g
out your own shingle as a professional
enameler, you m a y be ready to enamel
or finish the letters by pressing a half-
m o o n - s h a p e d line into each open end i
"
The editors of CM are proud
to onnounce a new ser~es on
E
(2). O n the capital T, for example,
a n a m e plate for your home. office both ends of the horizontal b a r a n d i enameling.
or studio. the b o t t o m of the vertical b a r would
In Europe, raised enameled letter- be closed. Use the handle of the scis- Written exclusively for C e r - E
.=
ing is often used for store signs and sors for this too. T u r n the letters 3 amics by Kenneth
Monthly =
l)~.Ull(' plat('s but for solnc leason or over on a straightening plate and,
still using the scissors, even up all the i Bates, one of the world's fore- =
edges so that each letter sits absolutely i most authorities on the sub- ="
level on a flat surface (3). Now they jeer, it covers three of the .:":
are ready for enameling (on both
sides ). " re.ore difficult t e c h n i q u e s - =
Glazing p u t t y is used for fastening i Cloisonne, Plique-a-iour, and -:
the letters p e r m a n e n t l y to glass. This Champleve. The carefully pre- "
is a h a n d v wav to a p p l y it: H o l d a
i pared, detailed texts disclose "
this rooster ename[ist's pra- :

Name plate with enameled lettering--made
by Kafhe Bed as a "house-warming" gift for
a friend.
other it is not seen much in this coun-
try. This is a pity . . . Such signs can
be very handsome indeed. So I am
going to share my experience in this
technique with you.
Letters of the a l p h a b e t m a y be
formed individually, enameled, a n d
then assembled in words. O r whole
words m a y be m a d e in one p i e c e - - i f
the type of lettering is a p p r o p r i a t e
and the kiln big enough to accom-
modate the piece. W i t h glazing putty,
the lettering is attached p e r m a n e n t l y
to plate glass.
Using a p a i r of scissors, cut the
letters out of p a p e r - t h i n copper. Place
i i
cedures and techniques which
he has accumulated through
many years of personal ex-
perience, i
letter face down in one hand, a
piece of p u t t y in the other. D r a g the
p u t t y across the inside edges of the
i BeginningNext Month i
letter, scraping off small portions of
i Exclusivelyin CM!
i
p u t t y as you go (4). After p u t t y has
been a p p l i e d all a r o u n d the edges,
press the letter firmly onto the glass.
1
Surplus p u t t y which escapes from
-
i. =
[~lllll|.lll..llll0|lllll.|,lllllm.lulllll|lllllllllllllllllllll.llllll[~
u n d e r the letter will have to be re-
moved. Sever it from the enamel first
bv tracing the outline of the letter

them face down on layers of news-

7 i
a n d prevent it from sticking. Use a
stiff brush to whisk both p u t t y a n d
FREE copy of the latest
CRAFTOOLS CATALOG of
paper or an old book; then with the p o w d e r off the surface. ceramic equipment and tools.
rounded end of the scissors' handle, W h e n all the lettering has been CRAFTOOLS, Inc.
mold each letter until it is nicely (Please turn to pa~e 34) Dept. C M , 401 B r o a d w a y . New York 13, N . Y.

APRIL, 1957 33
 Garden Plaques World's finest
(Continued from page 28)
m a r k the underside of the sections
TILES
For Decorating
and the p a p e r p a t t e r n with corres- SuDert) E n g l i s h T i l e s , b i s q u e or g l a z e d ,
ponding numbers. ~;" x 6 " , t h e y ' r e p e r f e c t f o r p l e a s u r e . . .
r l,rofit.
4. After bisque firing, glaze the top ALSO AVAILABLE
O TRIVETS, black $ WOODEN
surfaces a n d remove all traces of the ban, rubber-foot- FRAMES
glaze from the sides a n d undersides. ed, f o r 1 a n d 2 @ T I L E B A C K S and
tile s HANGERS
Now the pieces m a y be glaze fired. $ WROUGHT IRON
FRAMES
5. Assemble the sections in p r o p e r
\\*rite [or FREE Descriptive
position and glue t h e m to a h a r d Price List N,o. C4
b o a r d or similar material, leaving SORIANO
about 1/32 inch between each one. CERAMICS, INC.
STONEWARE
Sllp-Dry-Plastic
Use ceramic cement as the adhesive
a n d work from the center out.
L o n g I s l a n d City 5, N . Y.

6. W h e n the glue is completely

Data sheets on request dry, we are ready for grouting. First, Visit us at Booth 64-67
Rouse Engineering Co. thoroughly d a m p e n the tile with a Eastern Ceramic Show
300 Third St. Trenton, N.& Asbury Park, N.J.--May 4-9
sponge to keep the grout from drying
out too rapidly before setting. Fill THE LEHRHAUPTS
P.O. Box 345B, 1000 Wickapecko Dr.
JAYDARH the spaces between tiles with the Asbury Park, N.J.
A ceramic turquoise stone at cone 09 grout, working it well into all cracks
A s e l f - g l a z l n g , one fire. v i t r e o u s body in pow- a n d wiping off excess with a d a m p
der form. Excellent for jewelry or inlay. Will
take gold a n d e n a m e l . W o r k s l i k e c la y. A v a i l - cloth. T h e n cover the plaque with a In Western New York, It's
able also in avocado, c h a r t r e u s e , b l u e - g r e e n d a m p cloth a n d let it stand overnight. Buffalo Ceramic &
a n d w h i t e to be colored to suit. W r i t e f o r
descriptive f o l d e r . 4 oz. $1.00, z~ lb. $1.50, 1 lb. T h e finished plaque m a y be im-
$ 2 . 5 0 : check or money order. A d d 15c p o s t a g e . (Please turn to page 36) A r t Supply Center
WILTON POTTERY, Sier Hill Rd., Wilton, Conn. 437M Franklin St., Buffalo 2, N.Y.
Most complete selection o! molds, powder
Enameler's Column and liquid glazes, clay, slip, tools, etc.
NEW MODERN MOLDS (Continued from page 33) Send 20c for Catalog today.
Ready for May 15 Delivery. m o u n t e d on glass, forget it for a few
Free Folder Available. days while the putty hardens. (If the
SEE YOU AT ASBURY S H O W
Ruth Denice Lauer, Inc.
145-04 Jamaica Ave. Jamaica 35, N.Y.
glass b a c k g r o u n d is a vertical one.
such as glass in a door, some tem-
porary support will be n e e d e d to kee I)
florida Mold Shop
:he letters from slipping before the i$ . . . . . . .
putty hardens (6). Strips of card-
board, t a p e d u n d e r each line of let- TEMPORARILY CLOSED
ramlc tering, can be used for the purpose.)
Materials and Equipment
SPECIAL PREPARED BODIES Jean Leonard Ceramics
Our business has been expanded to in- Distributors
clude all types of clay bodies--varied col- Gloss-Matic, T r u - F y r e , D r a k e n f e l d ' s , Zirco,
ors for slip-casting, throwing and sculpture• L & L K i l n s , K e m p e r Tools
Cry o u r M a g i c G la z e b i n d e r . M a k e s one
Cones 06 to B (art ware and stoneware). g a l l o n - - 50c. M e n d - a l l , g r e e n w a r e &
Write tar special clay sheet. i)isque m e n d e r ) 4 oz. - - 50c. All i t e m s
plus Dostage - - c a t a l o g 25e.
OUR AIM IS QUALITY ~6,24 Corona Ave. Corona, L.I., New York
JACK D. WOLFE CO., INC.
62 Horatio St. N.Y.C., N.Y. Once the p u t t y hardens, the letters
( W A 4-6019)
Wholesale and Retail will hold to the glass forever a n d a
day. CUSTOM-MADE FRAMES FOR 6x6 CERAMICTill,
A n a m e plate which is to be at- ENAMELEDTitS, ETC. MAKE YOUR OWN TARtESI
tached to a wall will, of course, have write today for descrlptioo end prices.
holes for screws. Perhaps you do not
w a n t these to show, so I will give you HALLAM S T U D I O " ° ° NOaclne,
° I " Wisconsin
s...,
just one idea of w h a t can be done
to camouflage these holes.
I n designing the sign, you could
plan to have a plaque of black glass
screwed to the wall (7/ a n d a n a r r o w
Contact Trinity.
plaque of white glass a d d e d to cover
the holes ( p u t t y will hold glass to
for Superior
glass). You could have a line of black
37 COLOR SAMPLES GLASS OR TtLL--$1.OO
IMPORTED ITALIAN CERAMIC TILE: lettering on the white glass and, on CERAMIC and PORCELAIN
shoots $1.45 to $500, I/2 dlcets 87c to $3,00, each 2c Io 4c the black panel, a d d i t i o n a l lettering
write tar part;colors on glass and supplies•
in white . . . very effective! CLAYS
A n e n a m e l e d sign or name plate
wears well in every respect. It is dur-
able, easy to clean, artistic looking
When writing to advertisers and, if well done. it can be truly
• please mention CM
1 "elegant." •

34 CERAMICS MONTHLY
 people, places & things
MEET OUR AUTHORS:
[ ] Sally Gallaway is a hobby potter who
~akes her hobby serlously, though not without
some experimentation. This spirit has lead to
discoveries of simplifled methods and tech-
niques such as those in her current article
on mosaics.
In the matter of glazlng, Saily says . . . .
"Not having a t e a c h e r to turn to, I studied
everything and . . . learned not to be a f r a i d
fo mlx fhlngs t o g e t h e r and slick them in the
kTln."
Mrs. Oallaway (allowed her own philosophy
;n a CM article, "Mix Your Own Glazes,"
(June, 1955). Writing in o non-fechnlco!
style, Sally recommended using kitchen uten-
sils and o nylon stocking for glaze-making
equipment.
In the same spirit, fh~s month she presents
her simplified method for making and as-
sembling mosalcs. In add;lion to expeHment-
ing wlfh new processes and methods, Hoosier
Sally finds time to take part in, and win
prizes in, local competitions and the Indiana
State Fair.
[] " I m o hobbyist, that's what]" says Nola
Mafson of Castro Valley, Car~f. Mrs. Mofson
enioys gardening as well as "ceramic ;ng."
Presently she is landscaping her yard with
plnk roofing rock, Hawaiian tree ferns and
pocket pools. "1 use ceramic things righf
on the ground, and what on atmosphere they
glve]" she says.
A modern grandmother who has always
been interested in art, Mrs. Mafson began
working with clay in 1948. Since then her
work has won 12 blue ribbons and three
sweep stakes at state and county fairs. For
several years she has token summer courses
;n ceramics at Mills College. When she isn't
SHOW PLACE RENOVATED: Thorough re-
modeling of the Old State Capitol at Baton
Rouge makes if a better place for the arts
and crafts exhibitions held there, reader
Paul E. Cox reports. The galleries, maintain-
ed by the Louisiana Art Commission, are on
the second floor of the historic building.
Jay R. Broussard is director. The Art Com-
mission is unlque. Created in 1938 to pro-
mote "enjoyment of art as an integral part
of daily life," it is an official state agency
wlth its activities supported entirely by state
appropriations.
OREGON CERAMIC STUDIO of Portland,
Ore. has asked CM to announce that the
Eighth Annual Exhibition of Northwest Ce-
ramies, sponsored Saintly with the Creative
Art Foundation of Oregon, will not be held
;n 1957. However, the grouos pFan to hold
a competition next year.
APRIL, 1957
............. i
~orking with clay, she busies herself collect-
• NEW Complete Listing of O v e r
ing antiques and dolls. 100 Copper Enamel Colors.
• N E W Copper Shapes
........... [] Nelly Allan, o
newcomer t o f h e • NEW Accessories and Tools
columns of CM, was • NEW Larger Selection of RHINE-
born in P r a g ue, STONES for Ceramic Decoration
Czechoslovakia and • NEW Bolo Cords and Findings
studied there for six • NEW Step by Step Copper Enam-
years at the School eling Home Study Course, Now
of Fine Arts. She available. W r i t t e n by Top Enam-
eling T e a c h e r - - Marion Colsfon.
also has studied at
Send N O W for FREE folder.
various schools ; n
the Unlfed States.
• NEW SUPPLEMENT~ 2 NOW READY
Presently Mrs. Atlan is an art instructor ;n a
Chicago School. She also conducts classes Sent with Enameling & Jewelry Supply
in enameling and siIversmlfhing at the Oak Catalogue # 6 97 pages in all--send
Park Art League, Y.M.C.A. and Elmwood 25c to cover handling. ~ ~
Park High School.
She began working with enamels about
five years ago, and had a head start when Department CMA
enameling caught the public's fancy in 1954.
Since then, Mrs. Allan has had many exhibits
~n the Chicago area. In December, "People
and Places" magazine carried an article with I 300 S. W. 17th Avenue, Miami, Florida
colored illustrations about her work.
ff f fffff f~
• Bim and Doris Newman began collecting
antique pottery while operating o craft shop
in an upstate New York summer resort. More
than lust collectors, the Newmans also have
an interest in poftery-maklng which sfem~
from a 1952 lecture series given by Leach,
Hamada, and Yanagi in New York. At the
present time, they are enrolled in ceramics
classes at the Brooklyn Museum For sgraffito, incising, slab work, tem-
plate making, shaping, modeling, trim-
ming and clean-up.
[] Biographical sketches of F. Carlton Ball,
Kathe Berl, Zena Hoist, and Marc Bellaire-- QUALITY: Finest preclsion-made scraper
points and surgically-sharp knife blades.
familiar names in CM--have appeared in VERSATILITY: Slim all-metal handle takes
previous issues. any of 6 scrapers as well as blades.
ECONOMY: Points and blades quickly
and easily interchanged or replaced.
CERAMICS IN COLOR TV: Ceramics, from
- 1
the making of a mold through decorating,
were dramatized in color TV of Detroit in ~2
March as a feature of Steve Booth's "Hob-
bies in Action" program, Channel 4 WWJ-
TV. Doris Moorhead, manager of the Kay 5
Harrison Studios, where the show was filmed,
6
played the role of demonstrator.
8 11
NEW HOBBY S H O W : The First Annual
Wichita Ceramic Art Show sponsored by the
Wichita Ceramic Art Society will be held of
the Kansas National Guard Armory, 620
North Edgemoor (April 24-28).
Amateurs ore eligible to compete in any
of the 12 categories which include hand No. 63 Double Set: 2 handles, 6 points, 2
modeling, wheel work, sgraffito, enameling knife blades . . . $2.75. Other sets at 75c
on metals, and a iunior division for hob and $1.50. Refills available separately.
byisfs under 17. In addition to the ribbons
SEND FOR FLIER--FREE: C A T A L O G - - 2 5 C
and cash awards in each category, ribbons
48-69 VAN DAM ST., L. I. C. 1. N,Y.
(Please turn to page 36)
35
 Ceram-Activities
~ - - ENAMELING KILN (Continued Ârom page 35)
and prizes also will be awarded for the best
No. 7033 and most unusual entries in the show.
LARGE W O R K I N G Entry blanks and further information may April, 1957
AREA
be obfalned from the Society 4421 East
12" x I 1 " x 5" American Art Clay Co . . . . . . . . . . . . . . 31
FAST C O M E - U P Second Street. B and I Mfg. Co . . . . . . . . . . . . . . . . . . . 12
TIME
ASBURY PARK Basch, Bee, Designs . . . . . . . . . . . . . . . . . 11
OTHER SIZES for
AMATEUR, PROFESSIONAL and HOBBY S H O W Bergen Arts & Crafts . . . . . . . . . . . . . . . 35
INSTITUTIONS Anniversary Celebration: Celebrating its fifth Buffalo Ceramic Supply Center . . . . . . . 34
Send for Details Campana Art Co . . . . . . . . . . . . . . . . . . . 32
year as an active and successful ceramic
T H E ELECTRIC H O T P A C K C O . , I N C . Ceramichrome Laboratories . . . . . . . . . 6
organization, Ceramic Leagues, Inc. will hold
5079 Coftman St. Philadelphia 35, Pa.
an open hou:e 10:30 a.m., May 6, at the Craftaals, Inc . . . . . . . . . . . . . . . . . . . . . . . 33
Hotel Berkeley-Carferef, Asbury Park, N.J. Cramer Molds . . . . . . . . . . . . . . . . . . . . . . 32

A CRAFTS VACATION Everyone attending the 5fh Annual Cer-

amic Hobby Show may attend the program
Creek-Turn Pottery . . . . . . . . . . . . . . . . . .
Copper Shop, the . . . . . . . . . . . . . . . . . .
32
34
which will be built around the theme, "A Cox, Florence, Studio . . . . . . . . . . . . . . . ]0

in
FLETCHER F A R M
Vermont CRAFT SCHOOL
Community of Ceramic Interests." There will
be no charge for admission. In addition to
Detroit Fabricating Carp . . . . . . . . . . . .
Duncan Ceramic Products, Inc . . . . . . . 12
2

the program, there will be drawings for over Eastern Hobby Show . . . . . . . . . . . . . . . . 8
LUDLOW, VERMONT 30 valuable prizes of ceramic merchandise Electric Hofpack Co., Inc . . . . . . . . . . . . 36
J u l y 8 - A u g u s t 30, 1957. T w o w e e k
--molds, glazes, brushes, sllp, tools, etc. Fletcher Farm Craft School . . . . . . . . . . 36
c o u r s e s o f f e r e d in W e a v i n g , P o t t e r y ,
Jewelry, Gilding, Copper E n a m e l , Demonstrations on all phases of ceramics Florida Mold Shop . . . . . . . . . . . . . . . . . 34
Decoration, Rug Hooking, Block will be conducted by exhibitars during the Gem Craft . . . . . . . . . . . . . . . . . . . . . . . . . 32
P r i n t i n g & Silk S c r e e n i n g , L a m p - Asbury Park ceramic show. The demonstra- Great Lakes Exposition . . . . . . . . . Cover 3
shade Making, Teacher Training.
W r i t e f o r c a t a l o g u e to M r s . L e o n a tions will be held in the Conference Room Grabs, Mary, Decals . . . . . . . . . . . . . . . . 36
M. P h e l p s , E x . Sec., S o c i e t y of V e r - of Convention Hall whlch has been reserved Hallam Studio . . . . . . . . . . . . . . . . . . . . . 34
m o n t C r a f t s m e n : D e p t . 3, B r i s t o l , Vt. solely for this purpose. A bulletin Board and Hart Ceramic Supply . . . . . . . . . . . . . . . 32
program notes will be used to inform visitors

Mountain
Huckleberry
Workshop=Camp for t h e
of the demonstrations. These listings will Be
supplemented by announcements over the
Harrison, the Kay, Studios . . . . . . . . . .
O. Hommel Co . . . . . . . . . . . . . . . . . . . . .
House of Ceramics . . . . . . . . . . . . . . . . .
10

11
3

Creative Arts June 14 - August 31 public address system. H uckleberry . . . . . . . . . . . . . . . . . . . . . . . . 36

All fields of Creative Writing
Phofocjraphy • Painting • H a n d i c r a f t s
Class and individual instruction. Rustic
cabins on the slope of Huckleberry Moun-
tain. For booklet M, write:
D i r e c t o r , H u c k l e b e r r y , H e n d e r s o n v i l l e ~ N. C.
MARY GROHS DECALS..
One of the largest Decal Houses in the East.
will be at the EASTERN CERAMIC HOBBY
SHOW at Asbury Park, May 4-9, with our
display of Decals on the FIRST FLOOR
BOOTH #3-14.
Illustrated Catalog 50c per copy
P.O. Box 34 West Orange, N. J.
New -- from Re-Ward . .
Dui-Mat Glaze Super-l-Stroke
Now available Re-Ward's handy Color
Chart. Contains $0 actual color chips.
NORWEST NOVELTY
32840 N o r t h w e s t e r n H w y .
F a r m i n g t o n , Mich.
The following back issues of Ceramics
Monthly are still available at sixty cents
per copy (Ohio residents add 3% sales
tax). We pay postage.
1953
July, August, October, December
1954
February, March, July, August, Sep-
tember, November, December
1955
March, M a y , July, August. October.
November, December
1956
May. June, July, August, October.
December
1957
January, February, March
Please send remittance (check or money
order} with list of back issues desired.
C E R A M I C S MONTHLY
4175 N . H i g h S t . Columbus, Ohio
"Ceramichrome Theatre," a program of Hurley, Hazel, Studio . . . . . . . . . . . . . . . 32
movles, colored slides, lectures and demon-
Illini Ceramic Service . . . . . . . . . . . . . . . 12
strafions on all phases of ceramic hobby L and L Mfg. Co . . . . . . . . . . . . . . . . . . . 7
work, will be held from May 4-9 on the Lauer, Ruth Denice, Inc . . . . . . . . . . . . . . 34
Promenade. Sponsored by Ed Greenstreet, Lehrhaupts, the . . . . . . . . . . . . . . . . . . . . . 34
manufacturer of Ceramichrome Products, the Leonard, Jean, Ceramics . . . . . . . . . . . . 34
program will feature a staff of demonstrators Mason Instrument Ca . . . . . . . . . . . . . . . . 30
including Chula Kolb of San Antonio, Texas;
Master Mechanic Mfg. Co . . . . . . . . . . . 2
Gertrude Oakes of Melrose, Mass: Cecile Mayco Colors, Inc . . . . . . . . . . . . . . . . 2, 30
Gratfon and Jill Bouchard of Hartford, Conn.; Model Ceramics, Inc . . . . . . . . . . . . . . . . S
Carol Ann Burke of Freeport, L.I.: Gladyce Norwest Novelty Co . . . . . . . . . . . . . . . . 36
Meier of Rochelle Park, N..J.: and Ed and
Old Viking Shop, the . . . . . . . . . . . . . . . 32
Esther Greenstreet, and Lucille and Andy
. Decor Glaze Paragon Industries, lnc . . . . . . . . . . . . . . 11
Henderson of Ceramichrome.
Pattyprint Pottery . . . . . . . . . . . . . . . . . . 32
Tickets for the Ceramichrome program may
Pillet, Nettle E. . . . . . . . . . . . . . . . . . . . . . 32
be obtained from Booths 16, 17, 32, 33, 48
Plodowski, W m . . . . . . . . . . . . . . . . . . . . . 32
and 49 on the main floor of the Promenade.
Potter's Wheel . . . . . . . . . . . . . . . . . . . . . 34
Next Month, full details on the Great Lakes
Potter's Wheel, the . . . . . . . . . . . . . . . . . 30
show (Chicago, M a y 26-30) will be presented.
Pottery Workshop, the . . . . . . . . . . . . . . 30
Re-Ward . . . . . . . . . . . . . . . Cover 2, page 1
Garden Plaques Rader Ceramic Studio . . . . . . . . . . . . . . 30
(Continued trom page 34) Rouse Engineering Co . . . . . . . . . . . . . . 34
Schmid, Ludwig, Molds . . . . . . . . . . . . . . 4
b e d d e d p e r m a n e n t l y in a large c e m e n t
Seeley's Ceramic Service . . . . . . . . . . . . 32
disk. T h i s s e r v e s t h e d o u b l e p u r p o s e
Soriana Ceramics, Inc . . . . . . . . . . . . . . . 34
of setting off the piece a n d p r o v i d i n g
Specialized Ceramics Carp . . . . . . . . . . . 4
a p r o t e c t i v e f r a m e . ( F o r o u r disks w e
Tepping Studio Supply Ca . . . . . . . . . . 30
used 40 p o u n d s of a c e m e n t m i x t u r e
a n d , as a m o l d , t h e t o p o f a l a r g e Thompson, Thomas C., Co . . . . . . . . . . . 9
Trinity Ceramic Supply . . . . . . . . . . . . . 34
carton. )
These plaques can take their place United Artist Materials Co . . . . . . . . . . 31
Wilton Pottery . . . . . . . . . . . . . . . . . . . . . 34
i n j u s t a b o u t a n y level s p o t . T h e y
c a n b e set i n t o a g a r d e n w a l k o r e v e n Wolfe, Jack D., Ca., Inc . . . . . . . . . . . . . 34
p l a c e d i n t h e g r o u n d level w i t h t h e X-acto ............................ 35
t u r f ; they c a n be i n c o r p o r a t e d in a
wall or terrace. As for motifs a n d
c o l o r a r r a n g e m e n t s , t h e r e is n o e n d
to the varietv possible. •

38 CERAMICS MONTHLY
 Announcing the 1957
Great Lakes CeramicHobbyExhibition
Chicago, III.--May 26, 27, 28, 29, 30

This year the Great Central

Ceramic League invited the
Great Lakes Exhibition to make
Chicago its site for the 1957
Show. The invitation was accept-
ed and the Great Central
Ceramic League will be the
acting host with the Michigan
Ceramic Dealer's Assoclafian
as a joint sponsor. The Conrad
Hilton, the world's largest
hotel, with its marvelous facilities
will be the background for the
1957 show.

Conrad Hilton. Chicago

Ceramists Welcome!
1. Shake hands with ceramists from all parts of the country.

2.. Laugh wffh Gladys Workman and her gang at the opening luncheon. (Reservations
necessary)

3. Gather technical knowledge from the large group of experts assembled to help the hobby-
ist.

4. Write for a schedule of demonstrations and classes that has no equal in ofFering you the
thrilling experience of meeting so many of today's top artists.

5 . Compete for $S00.00 in cash prizes plus national recognition.

6. Marvel at the nation's best display of hobby ceramic skills.

7. Most of all--prepare yourself for a wonderful exciting ceramic holiday.

FOR FURTHER I N F O R M A T I O N WRITE:

Arthur Higgs, Managing Director Dolly Hartman Gladys Workman
414. N..Jefferson 10128 South Rhodes Ave. Scoffsburg, Oregon
Bay City, Mich. Chicago, III. Telephone: Elkfon 24.
Telephone: 3-9492 Telephone: Waterfall 8-3855
!i!ii!!iiiii!i!ii!i
ii!ii!i !ii~!!~!~i!~ii!~( i~:~
i!!!iiii!i!!=:i~ i ii

~:~.=/~;~ !~iiiii ~ ~i~=~

DEMONSTRATIONS BY

~i~i~!iiii!i~i~i!iii¸!ii~i(iii:i
i!iii? ~

!iiiii~ii!/

• 2:

i~ :~ ~ i~i~~iiii~ii~iii!!ii!
II~

! ¸¸¸¸5¸¸¸ ~
ii~ili~i ~!ii(~ii~ii~i~(~!~!iI!~ ~~iiI~

a CM handbook on

UNDERGLAZE DECORATION
A New B o o k . . . Available May 1
Here is the book everyone has been asking for[ Marc
Bellaire shows how he creates exciting underglaze decora-
64 Pages "k Profusely Illustrated ~r Full-Size Format [81/zxi1"1 tions.
PRICE o n l y $3
U s i n g the same step-by-step photo technique shown
each month in Ceramics Monthly, Marc Bellaire creates a
wide v a r i e t y of motifs before your eyes. The book contains
basic information on underglazes, tools and materials,
p r e p a r i n g green ware, glazing, firing, defects and cures,
basic brush strokes, backgrounds, etc., as well as specific
motifs including H u m a n Figures, Animals, Birds, Fruit,
Abstracts, Repeat Motifs, Commemoratives, Holidays, Spec-
ial Techniques, and m a n y more. Loaded with brand new
decorations which Marc Bellaire created specifically for
this book, the volume has hundreds of large, clear photo-
graphs of step-by-step decorating procedures as well as
completed, glazed and fired pieces.
Join Marc Bellaire's class through the pages of this
unique instruction book. Available May 1.
Reserve Your Copy Now. Dealer Inquiries Invited.