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NEW IDEAS
FOR UNDERGLAZ
DEC( RATING
~111111 I III II IIIIIIIIIII I II IrrllTIIIHIII

the 195,7
Great Lakes CeramicHobbyExhibition
Chicago, III.--May 26, 27, 28, 29, 30
j IIII I I' [ : .~nm

......... ~ ...................... ~-~"................. ++' .... This year the Great Centre'
+~ ~ ] . . . . . 4 " ' " " ......... ~ Ceramic League ;nvrted the
I+!~,~',: ~ Great Lakes ExhlblfTon to make
Chicago its sife for the 1957

!1 +o+ m++++++++++
i~ ed and the Great Central
Ceramle League will be the
i~ ocflng hast with the Michigan
Ceram;c Dealer's Associafion
as a i e ; H sponsor. The Conrad

hotel, v,lth its marve!ous fac;Vties

~..ll be the background :or the
" 1957 ~ h O .....

llj~+_- :: + - Ill II IIIII1

Conrad Hilton, Chicago

SHOW HOURS
Sunday, 2 p.m. to 10 p.m.; Monday through Wednesday, 12 p.m. to 10 p.m.: Thursday, 12 p.m. to 8 p.m. General
Admission 90c
NOTE: Over 2S well-known instructors will be on hand for demonstrations and "private" classes. Classes will be held
Monday through Thursday from 8 a.m. to 1 p.m. A nominal fee will be charged.
Gladys Workmon's "Fun for Everyone" Luncheon
Sunday, May 26, 12 noon to 2 p . m . Price $3.S0 Reservations necessary

EXHIBITION LIST
American Art Clay Co. Copper Cat. Inc. Helen EIlioft Ceramic Studio Rea Ceramic Studlo
Arts and Crafts Monthly Creek-turn Hazel Hurley Ceramics Sally Mann Ceramics
BelCeramlcs. Inc. Crete Ceramic Studio Illini Ceramics Sanfner Ceramics
Bergen Brush Supplies C.V.H. Laboratories Laurine Brock Studio Schoellkopf Molds
Boots Ceramics Duncan Ceramic Products Lorraine's Ceramics Sfarola Ceramics
Castle Ceramic Studio Edgewater Ceramics Lund's Sfudio Sfonebraok Studio
Ceramichrome Laboratories Engstrom's Mary Reed Pottery Sylvia China SfudTo
Mayco Colors Sfu-Arfs Studio
Ceramic Colors Inc. Evanston Ceramic Supply Marx Brush Mfg. Co. Tari-Tan Ceramics
Ceraml Corner Fran Langguth Studio Newell Studios Thriza's Ceramics
Ceramic Creations Jenkins Wholesale Co. Norris Studios Winona Hale Laces
Ceramics by MadeNne Joy Reid Ceramic Studio Paragon Industries. Inc. White Horse Mold Shop
Ceramics Monthly Jul'Ene Pemberton-Neal Ceramic Supplies Woodland Ceramics
Chicago Ceramics H & R Ceramlc Studio Popular Ceramics Willoughby Studio
Christine Ceramic Sfudlo Holiand Maid Shoe Re-Ward Ceramic Color Mfg. B.P. Woolsey Ceramic Suaplies

FOR FURTHER INFORMATION WRITE:

Arthur Higgs, Managing Director Dolly Harfman Gladys Workman
414 N. Jefferson 10128 South Rhodes Ave. Scoffsburg, Oregon
Bay City, Mich. Chicago, III. Telephone: Elkfon 24
Telephone: 3-9492 Telephone: Waterfall 8-38SS

II
 RE -WARD'S

I-Ie r Ye ! all new

BRUSH-ON GLAZES

He r Ye ! go medieval !

From the colorful pageantry

of NBC's Adventures of
Sir Lancelot, and the days of
King Arthur, comes a romantic
trend in magnificent heraldic
wall plaques for the home.

Re-Ward's creamy-perfect BRUSH-ON GLAZES

were used to create these distinctive ceramic
shields. Design your own family crest!
For lasting brilliance and exciting textures,
use any of our very newest low-fire glazes:
STON'WARE .06 • SPEK-L-STON'WARE °
ANTIQUE. LAVA • BEAD
There's still time to take advantage
of RE-WARD'S special introductory
offer: 10¢ off the regular price on
each jar of the ALL NEW "BRUSH-ON"
GLAZES. See your dealer TODAY!

New Distributors:
Dora's Studio
228 21st Street
Bakersfield, Calif.
The White Studio
3011 North Tamiami Trail
Sarasota, Florida

- ~ ~ CERAMIC COLOR MFRS.,INC.

1985 Firestone Boulevard, Los Angeles 1, California

Manufacturers o f : D(~cor • V e l v e t • T r u - T o n e • S u p e r - l - S t r o k e • Gloss and DuI-Mat Glazes

MAY, 1957
 Visit our booth
Visit our booth
No. 48
No. 37
G r e a t Lakes
Eastern C e r a m i c
Ceramic H o b b y
H o b b y Show
Exhibition
May 4-9
May 26-30

H736 "Pat" H735 'Shirley"

71/2" Tall $7.10 71/4'' Tall $7!(,

I
NOTE
If you are interested in receiving our NEW
illustrated card showing our newest mold
designs, which will be mailed to you period-
ically, please send your name and address.
Cigarette Lighter Units:
Lighter & Cup for Mold H 712
~L-1 Gold Plated Cigarette Lighter with Flanged Cup
#L-2 Chrome Plated Cigarette Lighter with Flanged Cup
Cup Measurements: Flange Dia. I-7/8", Depth 3~,,
Minimum Quantity: One Dozen: Wholesale only
Dozen Lots $1.40 ea. Gross Lots $1.20 ea.

Acclaimed r - - "%~- ~.;',o~ ~w." - " 3

Everywhere
by
Teachers
'MOSAIC
I TILE TABLES and MURALS I
and
Professionals
for
Performance!
This Nationally
Recognized
Power-Driven
Precision Wheel
only $ 5 7 . 5 0
(Shipped complete,
Less Motor)

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

French mosaic tiles and tessarrae, brass and wrought iron
Ideal for school, studio, home use . . . The famous B & I table frames, legs, mastics, tools and grout. I
Wood L e g s
Pottery Maker, first in the field, is still first in value and in I Wrought Iron Table Frames B r a s s F i n i s h ( B r a s s Tipped)
price! Simple operation, rugged construction, with all the L e g s - - s e t of 4 set of 4 I
I ] Rectangular I Circular I ~ . ] 6~5 6 tt . . . . 3.95
versatility required by professional workers! Many built-ln
[ 1 2 ½ x 1 2 ~ I 5.50 I 18" dia. I 7.501 11" . . . . 8.95 12 n . . . . 4.50 I
features . . . ADJUSTABLE arm rests: BUILT-IN water con- I [ 1 8 ~ x 1 8 ~ [ 8.50 [ 24 t~ dia. } 9.501 14 tt . . . . 9.95 16" . . . . 5.50
tainer: VARIABLE speed drive: QUIET bronze and babbit [18~x48~ I 19.95 [ 3 0 " dia. ] 12.50[ 16" . . . . 11.95 22" . . . . 6.50
bearings: ADJUSTABLE foot-pedal control: UNUSUAL size I [ 36 t' dia. I 13.50l 22" . . . . 12.95 28 t' . . . . 7.50 I
I TILES .............. $1.45 p e r s h e e t a n d up ( a p p r o x . 1 sq. ft.)
range. S O L I D B R A S S 1 pt S T R I P . . . . . . . . . . . . . . 70c ft., drilled w / s c r e w I
Before you buy, Write B & I . . . get full, free details: Point- I SPECIAL CUTTERS ..........................
MOSAIC MASTIC .............
$1.50-$2.45 each
95c tube, $1.85 pint, $2.25 q u a r t
by-polnf, we challenge comparison on QUALITY features . . . MOSAIC TI! F GROUT ............................... 4Oe lb. I
Our price is still the best in the field!
B & I Pottery Maker shipped complete, less motor, f.o.b.
factory, Burlington, Wisconsin, for only $57.50.
'I illini 1'4 I?1 m 1"4 service,
'~UALI'T'I CERAMIC 5U£PLIIsS"' I
| 439 N. Wells, Chicago I0, III. Phone MI 2-3367
B & I Mfg. Co. Dept. C. Burlington, Wisc.
" 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 R & I G E M M A K E R S "

2 CERAMICS MONTHL ~'

Volume 5, N u m b e r 5 MAY • 1957 l.J~l £ £ J l[pl liE,
50 cenfs per copy iiiii:!:i:i,::i,i
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Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 ii:i:~i;!!:!;!:i:ii
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Hinerary ......................................... 10
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Show Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1:3 i:]iiI,IE~IIII:I:I:
i:]i!:i:i£?i:i!r::i: q u i c k applicat .....
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i:ii:iiii]{~!i{iiiI O v e r 80 m o d e r n , d e c o r a t i v e colors in t h e
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A Perennial Birdhouse by Henry Boliman . . . . . . . . . . . . . . . 14 :::
ii:i:ii:!;!!;!:i!:ii:!:i f u l l r a n g e of o p a q u e , transparent, s e m i -
i: mat, crackle a n d f a n c y art finishes.
Enameling Procedures by Kenneth F. Bates . . . . . . . . . . . . . . 16 : : A l l t y p e s fire at c o n e 0 6 . . . f l o w w e l l . . .
p r o d u c e a b e a u t i f u l u n i f o r m finish.
M o i j a G r o t e l l Decorates a Po~ by Marion H. Bemis . . . . . . 1B

Undercjlazes: methods and designs by Marc Be[Iolre

Rubber Stomp Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . 20 MAKE . A R R O P ............ " :
YOUR ONE RELIABLE .............~ '-i!~iii:: :i::: ::
Animal M o t i f s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
SOURCE FOR ALL CERAMIC NEEDS :ill:
Stoneware: Slips and Encjobes by F. Carlton Ball . . . . . . . . . 24
Colors, finishes, clays and plasters. Modelling tools, ii~ :
kiln furniture and supplies, painting and air-brush
equipment. Send for catalog. iiiiil ¸
H o w to Get a C a r v e d Effect by Mary Eli;oft . . . . . . . . . . 25
iiii!ii ii ii
:ii!i!iiliiili

The O w l and ~he Pussycat by Mary Kretsinger . . . . . . . . . . 26 £ i!i!i!i!iiiililiiililii

Efficient... i:i){.]
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Answers to Questions conducted by Ken Smith . . . . . . . . . . 29 Economical ELECTRIKILNS ilii!i]i!

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?] :. ~[.i[::i!ii ii~

The Enameler's Column by Kothe Berl . . . . . . . . . . . . . . . . . ~0 Save t i m e . . , make your fir-

ii!iiii!J!!:!ii
ing f a s t . . , e a s y . . , a c c u r a t e
C M Briefs: H o m e - M a d e S p r a y e r ..................... 31 . . . w i t h a Harrop Electri-
Kiln designed to the needs
Ceram-Activlties .................................. 33
of the hobbyist, teacher or
art studio. Scientific design
and low-input heating ele-
Overcjlaze: The Hoist N o t e b o o k by Zena Hoist . . . . . . . . . 35 ments provide uniform
firing and economical oper- i : ) r
Advertisers Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 a t i o n . S I Z E S TO M E E T [
A N Y N E E D . . . Top Loader
or Side Loader in bench or
floor models. Capacities to f :
Editor Louis G. F a r b e r 4860 cu. in., m a x i m u m fir-
Business M a n a g e r S p e n c e r L. Davis ing 2300 °. Mail coupon for s :

catalog. ~: : {
Assistant Editor Shirley A b r a h a m s o n
iiiiiii!!iiii!iiiiiiiii~ili~:
Editorial A s s o c i a t e s Mary Elliott
l'homas Sellers 1 :i::ii!:iiii!ii:i :!iiil:II
:iiii:i]i!:iii!i!:iii!
A r t Director Robert L. C r e a g e r

ELECTRIKILN DIVISION
3470 E. 5th A v e . Dept. E C o l u m h , s l q. n h i o
A d v i s o r s and Special Contributors : Carlton A t h e r t o n ; F. Carlton Ball ;
Marc Bellaire ; Kathe Berl ; E d r i s E c k h a r d t ; J o h n K e n n y ; Z e n a
P~ea=e =e.d me ~a~r ~ o ~ : e t e c~taZog ol E ~ . t ~ K . . =
and Ceramic Su,plies.
Hoist ; Dorothy P e r k i n s ; Jo Rebert ; Ken S m i t h ; D o n W o o d
~i!i!iii!iiiiiiiiiiiii~iiil
Cover by R o b e r t L. C r e a g e r
: Name
Ceramics Monthly is published each month at the L a w h e a d P r e s s ,
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. D a v i s ,
Pres. and T r e a s . ; L. G. F a r b e r , V . P r e s . ; P. S. E m e r y , Secy. i!i:iiiii:i!~:iziiii~i:
iii:~i~ii[!ii~ Street
S U B S C R I P T I O N P R I C E in U . S . A . and P o s s e s s i o n s : one year, $ 5 ; !iiiiii!iii!iiiii
t w o years, $ 9 ; three years, $12. C a n a d a and P a n A m . add 50 cents a
~i!iii!i!i!~iii~
!iiiiiii City State
year; foreign, add $1 a year. Current issues, 50c; hack issues, 60c.
ALL CORRESPONDENCE (advertising, subscriptions, editorial)
should be sent to the editorial offices at 4175 N . H i g h St., Columbus
14, Ohio. E n t e r e d as second-class m a t t e r at the post office at A t h e n s ,
Ohio, as g r a n t e d under A u t h o r i t y of the A c t of March 3, 1879.
Copyright 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 rights reserved.

AFTERMATH OF A SHOW
Editor's N o t e : A s soon as the re-
suits of the F i f t h A n n u a l Miami N a -
tional Ceramic E x h i b i t i o n w e r e re-
leased, the CM mailbox b e g a n to bulge.
W h e n the results of this E x h i b i t i o n
w e r e featured in CM's " S h o w Time"
(April i s s u e ) , the m a i l b o x bulged s o m e
more. The f o l l o w i n g letters, selected
from m a n y received, are typical in tone
and content :
D e a r Editor:
I t is i n v i g o r a t i n g a n d i n t e r e s t i n g to read
your recent p u b l i c a t i o n of letters concern-
ing juries a n d awards. T h e r e are m a n y
discrepancies in c u r r e n t systems of choos-
ing jurors a n d the m a n n e r in w h i c h t h e y
j u r y shows. O n e of the m o s t d i s c o n c e r t i n g
of situations o c c u r i n g h e r e in Los Angeles
is the m a t t e r of the f a m o u s P e t e r V o u l k o s
as a juror.
T h e m o s t stirring case in p o i n t is the
a n n o u n c e m e n t of t h e w i n n e r s of t h e F i f t h
M i a m i N a t i o n a l C e r a m i c E x h i b i t of w h i c h
Mr. Voulkos was one of t h r e e j u r y m e m -
bers. T h e listing of w i n n e r s as Paul
Soldner, J o h n M a s o n , K e n n e t h Price, Bill
B e n g s t o n a n d J e r r y R o t h m a n c a m e as
a l m o s t no surprise. T h e y are all s t u d e n t s
of Peter Voulkos, t e a c h e r of ceramics at
the Los A n g e l e s C o u n t y A r t Institute.
Does this n o t a p p e a r s t r a n g e ? A m o n g t h e
t h o u s a n d s w h o s u b m i t to a n a t i o n a l exhibi-
tion are his s t u d e n t s t h e only ones eligible
for a w a r d s ? T h i s is n o t so s t r a n g e in it-
self b u t w h e n one considers t h a t in 1955
at the W i c h i t a Show, Mr. V o u l k o s was
also on the j u r y a n d Paul Soldner, one
of his s t u d e n t s at t h a t time, c a m e a w a y
with first prize plus a p u r c h a s e prize.
A n d f u r t h e r , to wit, at o u r local C o u n t y
Fair, w h e r e Mr. V o u l k o s was also a
j u r o r for ceramics t h e s a m e list of n a m e s
won a w a r d s - - S o l d n e r , M a s o n , Price a n d
Bengston, a n d this in 1956.
M a y I ask then, are these t h e u n b i a s e d
jurors t h a t we are asked to s u b m i t o u r
work to in the n a t i o n a l c o m p e t i t i o n s ? W e
c a n n o t all win a w a r d s b u t t h e r e c a n be
fair r e p r e s e n t a t i o n t h r o u g h o u t t h e c o u n t r y
w h e n a w a r d s are given. T h e Los Angeles
C o u n t y A r t I n s t i t u t e is certainly n o t the
only place t h a t good ceramics are pro-
duced, a n d one w o n d e r s if, even there,
could they be classed as good c e r a m i c ware
considering t h e pieces t h a t I h a v e seen
given a w a r d s by Peter Voulkos. " C h u n k s
of stone m o u n t a i n " c o u l d n o t a d e q u a t e l y
describe t h e m ; t h e y are b u t pieces b a d l y
thrown, b a d l y glazed a n d b a d l y crafted.
S h a m e on one of o u r r e p u t a b l e potters for
such performance.
N A M E W I T H H E L D BY REQUEST
Dear Editor:
C e r a m i c s M o n t h l y is a n i m p o r t a n t m e a n s
of c o m m u n i c a t i o n in t h e field of a r t pot-
tery. By d i s s e m i n a t i n g t h e opinions of pot-
ters, it c a n h e l p b r i n g a b o u t a better
u n d e r s t a n d i n g b e t w e e n c r a f t s m e n on all
things involved in their craft. A strengthen-
ing of t h e entire craft m o v e m e n t s h o u l d
result.
T h e art p o t t e r h a s h a d a long, h a r d
struggle a c h i e v i n g w h a t success h e present-
ly enjoys. M o r e of t h e public n o w accepts
a n d s u p p o r t s the A m e r i c a n potter. M u -
s e u m s h e l p art potters p r e s e n t their work
to the public a n d h e l p the public u n d e r -
s t a n d creative ceramics. It behooves all art
potters to c o n t i n u e w o r k i n g h a r d to raise
this a n c i e n t art to the h i g h e s t possible
level•
T h e r e are different philosophies a n d
different opinions on all subjects• By voic-
ing o u r o p i n i o n s - - w i t h o u t b i t t e r n e s s - - w e
c a n p a v e t h e w a y to better u n d e r s t a n d i n g
of the p r o b l e m s involved a n d thus help ad-
v a n c e the art.
T h e r e is a c u r r e n t situation w h i c h I can-
n o t c o n d o n e . I t involves a vital facet of
the potters art. I w o u l d like to state m y
o p i n i o n a n d ask s o m e questions. P e r h a p s
o t h e r potters will p r e s e n t their opinions.
T h i s will, n o d o u b t , lead to clarification
and understanding.
I n the c u r r e n t M i a m i Exhibition, five
a w a r d w i n n e r s are s t u d e n t s of Peter V o u l -
kos, o n e of the m e m b e r s of t h e jury.
I n the 1955 W i c h i t a Show, two first
prizes were a w a r d e d to Paul Soldner, a
s t u d e n t of Peter Voulkos, a m e m b e r of the
jury.
I n t h e fall of 1956, Peter Voulkos was a
m e m b e r of the regional j u r y of the
Syracuse Show. F r o m the large n u m b e r
of pieces s u b m i t t e d , only a couple dozen
were f o u n d acceptable• H a l f of t h e m were
p r o d u c e d by his s t u d e n t s .
Before I go on, let m e say t h a t I re-
spect Mr. V o u l k o s as a potter. H e is an
o u t s t a n d i n g potter a n d h a s done a g r e a t
deal to f u r t h e r the craft. If he feels t h a t
the pots he h e l p e d choose, were the best
pots in the show, t h e n of course he has
every r i g h t to a w a r d prizes. I a m terribly
disturbed, however, b e c a u s e m a n y potters
feel t h a t Mr. V o u l k o s h a s been giving
prizes to his students r a t h e r t h a n [or the
best pot.
If this feeling c o n t i n u e s to prevail, g r e a t
d a m a g e c a n be done to the f o r w a r d m o v e -
m e n t of art pottery. T h e potters w h o
usually send work to exhibitions will stop
if t h e y feel the j u r y is biased. T h i s will
result in inferior exhibitions a n d would be
u n f a i r to h a r d - w o r k i n g m u s e u m s . T h r o u g h
m i s u n d e r s t a n d i n g a n d bitterness, the jury-
i n g of exhibitions c a n d e g e n e r a t e into a
political battle r a t h e r t h a n a sincere a n d
h o n e s t choice of the best work.
S h o u l d prizes be a w a r d e d in exhibitions?
S h o u l d there be a first, second a n d third
prize? S h o u l d a r t potters send work to
s h o w s ? S h o u l d potters j u d g e p o t t e r y ?
S h o u l d s t u d e n t ' s work be e n t e r e d in com-
petitions? S h o u l d a j u r o r disqualify h i m -
self f r o m j u d g i n g the work of relatives,
s t u d e n t s a n d good f r i e n d s ?
T h e s e are s o m e of m y t h o u g h t s a n d
questions on this subject. I a m q u i t e dis-
turbed, a l t h o u g h it is possible t h a t too
m u c h i m p o r t a n c e is b e i n g given to iso-
lated incidents.
As a T r u s t e e of t h e A m e r i c a n Crafts-
m e n ' s C o u n c i l , I feel a responsibility to all
c r a f t s m e n a n d art g a l l e r i e s - - t o see t h a t
they are t r e a t e d fairly as individuals a n d
in t h e i r relations w i t h e a c h other.
If t h e r e is justification for some of the
c u r r e n t practices in t h e j u r y i n g of exhi-
bitions, I w o u l d like to be c o n v i n c e d of it.
I h o p e o t h e r potters will take the trouble
to voice their opinions on this i m p o r t a n t
matter.
F. CARLTON BALL
Professor of Fine Arts
U n i v e r s i t y of S o u t h e r n California
Los Angeles, California
Dear Editor:
• . . Y o u too m a y h a v e w o n d e r e d at
the " c o i n c i d e n c e " w h i c h placed a dis-
p r o p o r t i o n a t e n u m b e r of the a w a r d s with
s t u d e n t s of t h e L. A. C o u n t y A r t Institute,
where one of the jurors is teaching.
H a v i n g j u s t come here from C a n a d a ,
where I exhibited in a n u m b e r of shows
a n d looked forward to the pleasure of
s h o w i n g m y work u n d e r the good old
A m e r i c a n principle of d e m o c r a c y a n d a
fair-chance-for-all, I a m quite appalled, to
say the lea~t.
H a v e juried shows in this c o u n t r y be-
come a f o r u m w h e r e a t e a c h e r c a n give
his pupils a public p a t on the back, and
incidentally acquire the publicity a n d re-
p u t a t i o n of being an excellent teacher.
whose pupils are b o u n d to win prizes in
shows? O r are our efforts to be j u d g e d
on their merits of c r a f t s m a n s h i p a n d
artistic e n d e a v o u r ? If the latter is the
case, t h e n let us a d o p t a principle by
w h i c h a j u r o r disqualifies himself if a
piece of ceramics to be j u d g e d is m a d e
by a n y o n e with w h o m he is closely con-
nected (pupil, spouse or very close f r i e n d ) .
We all go to a great deal of trouble
a n d expense to send pots to shows, a n d
should be rewarded by m o r e t h a n just
being allowed to fill up the space left
e m p t y by the jurors' clique. E l i m i n a t i n g
the possibility of collusion, in all fairness,
a n y t e a c h e r would n a t u r a l l y feel m o r e in-
clined toward a work by one of his pupils,
w h i c h would consciously or unconsciously
reflect his own outlook . . .
I realize t h a t this is a controversial sub-
ject, b u t I would appreciate your publish-
i n g this letter. I feel it is a m a t t e r w h i c h
is of g r e a t i m p o r t a n c e to all w h o love
a n d respect o u r A r t a n d its integrity.
HAL F. F R O M H O L D
Los Angeles, California
Ed: In an attempt to bring about a
constructive conclusion, the Editor
wrote to the Ceramic League of Miami
and to the Lowe Gallery, telling them
of the volume and nature of these let-
ters, and a s k i n g if they would care to
corn ment:
D e a r Editor:
• . . T h e Exhibition was originated pri-
marily so t h a t we m i g h t have an oppor-
tunity to see a n d touch the work being
done by A m e r i c a ' s best artists. O n e of
the m o s t thrilling developments has been
m e e t i n g a n d talking with our jury. We
realize t h a t c r a f t s m e n need the stimula-
tion w h i c h only top flight exhibitions can
bring. A c o m p e t e n t j u r y does m u c h to at-
tract the work of o u t s t a n d i n g ceramists,
a n d assures the stature of such an exhi-
bition. T h e h i g h level of quality a n d the
diversity of viewpoints we seek in o u r jury
is clearly indicated in the list of dis-
t i n g u i s h e d n a m e s of our past jurors . . .
[ w h i c h includes K a t h e r i n e Choy, Edwin
Scheier, Mrs. V a n d e r b i l t W e b b . . .].
Our m e t h o d of selecting the jury m a y be
of interest. T h e first m e m b e r m u s t be
one of the country's top potters; the sec-
ond, experienced in enamels-on-metal or
s c u l p t u r e ; a n d the third, someone well
i n f o r m e d b u t not actively e n g a g e d in
crafts. T h u s , various fields are repre-
sented in an a t t e m p t to get a fair cross-
section of c o n t e m p o r a r y A m e r i c a n work.
Signatures are m a s k e d so that each piece
s t a n d s or falls on its individual merit as
t h e jury sees it. T h e deelsion of the jury
is final.
In o u r five-year history, we have h a d
five different juries, five different collec-
tive viewpoints, a n d each one has m a d e
a n i m p o r t a n t contribution• We have gained
a fresh insight into the field t h r o u g h their
respective eyes, experiences a n d convic-
tions, a n d we hope these experiences will
(Continued on page 6)
CERAMICS MONTHLY
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WRITE FOR LITERATURE

CHESTER 11, PENNA.

DEALER I N Q U I R I E S I N V I T E D
MAY, 1957 5
 Letters
(Continued/rom page 4)
c o n t i n u e for m a n y years. W e are sure t h a t
the c r a f t s m e n of the c o u n t r y have to s o m e
e x t e n t s h a r e d this experience by t h e quality
of these shows . . .
MRS. MARSHALL E. DUNN, CHAIRMAN
Fifth A n n u a l M i a m i N a t i o n a l
C e r a m i c Exhibition
Coral Gables, Fla.
Dear Editor :
It h a s been a p a i n f u l process trying to
accept the prize w i n n e r s of t h e Fifth
A n n u a l M i a m i N a t i o n a l C e r a m i c Exhibi-
tion. I t h a s been equally difficult a d m i t -
ting t h e fact t h a t so m a n y prize w i n n e r s
were s t u d e n t s of, or were strongly in-
fluenced by, P e t e r Voulkos, a j u r y m e m -
ber.
I would enjoy knowing what a jury
m e a n s by " n e w directions," for this seems
to h a v e b e e n t h e t h e m e a n d their basis
for decision. It is a n o t h e r t e r m for the
unusual? Sloppy t e c h n i q u e or pieces t h a t
d e m o n s t r a t e d technical c o m p e t e n c e b u t
were f o r m e d into bizarre shapes or de-
corated in a " c u t e " fashion, s e e m e d to
h a v e special merit. Is this the t r e n d or is
it t h e i n f l u e n c e of one c r a f t s m a n ?
T o me, fine c r a f t s m a n s h i p m e a n s n o t
only u n d e r s t a n d i n g t e c h n i q u e , h u t m a k i n g
use of it to a p o i n t w h e r e m e c h a n i c a l
devices, tools a n d m a t e r i a l s work for t h e
c r a f t s m a n . T h e results should be p l e a s i n g
to t h e eye a n d s t i m u l a t i n g to the imagi-
nation. I c a n n o t agree t h a t s h o c k i n g the
public is the a p p r o a c h for raising a p p r e c i a -
tion level.
S o m e a w a r d s were excellent, b u t one
m i g h t believe t h a t o t h e r a w a r d w i n n e r s
were slipped in by a w e a r y jury. T h e
top prize of $500 was a w a r d e d to
Soldner's 5 2 - i n c h floor vase. T h e J u r y ,
b u t n o t t h e Director, p u r c h a s e d it for
t h e Gallery collection. It is a puzzle w h y
a n y j u r y w o u l d inflict a revolting c e r a m i c
piece t h a t is w a r p e d , poorly f a s h i o n e d ,
b a d l y glazed a n d m e a n i n g l e s s in f o r m on
a n y gallery. W h i l e the J u r y selected it for
t h e Gallery, the D i r e c t o r h a s the r i g h t
to refuse it for t h e collection. It is a h a p p y
r i g h t t h a t will be exercised.
As to its disposition, I r e c o m m e n d t h a t
it be divided in t h r e e e q u a l parts a n d
p r e s e n t e d to t h e J u r y as souvenirs of t h e
Miami Fifth Annual
C. CLAY ALDRIDC.E, D i r e c t o r
Lowe Gallery
Coral Gables, F l o r i d a
Ed: The three jurors w e r e also con-
tacted. To be c o m p l e t e l y fair to all con-
cerned, the E d i t o r h a s a s s u m e d the role
o f m o d e r a t o r - - n o t judge, as m a n y cor-
r e s p o n d e n t s h a v e s u g g e s t e d . N o one h a s
been asked to defend himself, but
m e r e l y to d i s c u s s the m a t t e r if he
chose:
D e a r Editor :
It is always a d i s t i n g u i s h e d h o n o r to
serve on a n y n a t i o n a l art j u r y , as the
M i a m i N a t i o n a l ; a n d n e v e r h a s it been
m y privilege to serve on one with f i n e r
or m o r e k n o w l e d g e a b l e co-jurors t h a n
Peter V o u l k o s a n d K e n n e t h Bates. T h e i r
devotion to their d i s c r i m i n a t i n g duties a n d
their p e r s o n a l integrity in the h i g h e s t
ideals of their crafts were u n q u e s t i o n e d in
m y eyes. I c a n h a v e only the h i g h e s t es-
teem for their j u r y i n g processes a n d for the
final prize a w a r d choices m a d e .
I t is a n u n f o r t u n a t e c o n c o m i t a n t in a n y
c o m p e t i t i o n t h a t one person m u s t be
j u d g e d w o r t h y of exhibition or prize, a n -
o t h e r eliminated. T h a t risk is one of the
prices a n y c o m p e t i t i o r m u s t pay. I n this
case the C e r a m i c L e a g u e of M i a m i (a
n i c e r g r o u p could n o t be f o u n d ! ) s o u g h t
the m o s t c a p a b l e a n d best-balanced g r o u p
of jurors of n a t i o n a l r e p u t a t i o n available.
T h a t J u r y s o u g h t n o t to let t h e m d o w n
a n d applied itself conscientiously to the
task at h a n d .
It w o u l d h a v e been easy a n d p o p u l a r to
h a v e chosen a n y h a c k n e y e d " e y e - c a t c h i n g "
piece in the a w a r d categories. W e estab-
lished o u r role, rather, to seek o u t n e w
directions a n d fresh ideas; a n d in the
course of a n o p e n f o r u m , p o p u l a t e d largely
by s u b m i t t i n g e n t r a n t s successful a n d re-
jected, we s o u g h t to verbally justify those
choices.
As a professional m u s e u m director
(whose c u r r e n t C o l u m b i a P a i n t i n g Bi-
e n n i a l represents a n e w a d v e n t u r e to its
public a n d h a s received s o m e w h a t kin-
d r e d p e r p l e x e d c o m m e n t s after its choice
by an i m p a r t i a l J u r y ) , I would h a v e re-
ceived with the greatest pride the c e r a m i c
exhibition selected in M i a m i .
T h e B e a u x Arts P u r c h a s e A w a r d in par-
ticular is a d y n a m i c form of celebrated
freshness a n d u n u s u a l artistic exploration.
It m a y n o t be the u l t i m a t e in its explor-
a t o r y vein, b u t I should be m o s t h a p p y to
h a v e it i n c l u d e d in this M u s e u m ' s o w n
p e r m a n e n t collection of c o n t e m p o r a r y A m -
erican art for its u n i q u e a n d d a r i n g beauty,
for its implications in t h e a d a p t a t i o n of to-
day's aesthetic directions, a n d for the
t e c h n i c a l brilliance i n h e r e n t in its form.
A n y v i t u p e r a t i v e backbiting, stated or
implied, r e g a r d i n g the ethics of a n y m e m -
ber of the J u r y m e r i t n e i t h e r m y com-
m e n t s n o r the distinction of your page.
JOHN RICHARD CRAFT, DIRECTOR
C o l u m b i a M u s e u m of A r t
C o l u m b i a , S.C.
Dear Editor:
I r e m e m b e r as a small boy h o w I used
to t h i n k it w o u l d be nice to live the
p e a c e f u l a n d u n d i s t u r b e d life of o u r cat
w h o did n o t h i n g b u t eat a n d sleep. H o w
disillusioned I h a v e b e c o m e a b o u t life
since those b o y h o o d t h o u g h t m e a n d e r i n g s .
O n e c a n n o t escape " t a k i n g sides" a n d
finds h i m s e l f m o r e a n d m o r e u n c o m f o r -
tably p e r c h e d astride a fence.
I n r e g a r d to the j u r y i n g of the M i a m i
S h o w I feel in all sincerity t h a t I m u s t
i n d u b i t a b l y take t h e side of Peter Voulkos.
A n y o n e w h o w o u l d like to t h i n k of h i m s e l f
as a n artist with i m a g i n a t i o n , a n d t h a t
precious t h i n g called creativity, could do
n o less.
O n e w o u l d h a v e little justification for
criticizing the j u r y i n g of a n y exhibition
unless he or she h a d first seen the entire
s h o w himself. I n every case, I a m sure
a n art j u r y is trying with all of its facul-
ties a n d j u d g m e n t to select the best in a
show. I n the case of a n i m p o r t a n t n a t i o n a l
exhibition, t h e y also are a w a r e of the
need for giving t h e whole s h o w a con-
sistency of " d i r e c t i o n " - - o f t i m b r e or tone
w h i c h is c o m p a t i b l e with their o w n con-
victions, s u c h as they are.
M r . V o u l k o s is a very d e d i c a t e d artist,
a n d I m u s t say I received i m m e a s u r a b l e
i n s p i r a t i o n f r o m o u r association in Florida.
I a m t h o r o u g h l y c o n v i n c e d t h a t the direc-
tion w h i c h was exemplified by the prize-
w i n n i n g pieces was the u n a m i m o u s de-
cision of all t h r e e jurors.
As for partiality, the dissenters should
realize t h a t e a c h piece s u b m i t t e d h a d the
s i g n a t u r e of the artist carefully covered
u p with adhesive tape. T h e show was
j u d g e d w i t h o u t c r a f t s m a n identification as
stated in the brochure. If. in the final
analysis, the prize winners t u r n e d o u t to
be some of Mr. Voulkos' students, or for
t h a t m a t t e r , three of m y own f o r m e r
students, is t h a t a p o i n t of c o n d e m n a t i o n ?
I prefer to think of it as a c o m p l i m e n t .
It also t u r n e d o u t t h a t the top a w a r d in
ceramic sculpture, a n d the top a w a r d in
two-dimenslonal ceramics w e n t to the same
artist from N e w York. Also the T h o m a s
C.. T h o m p s o n p u r c h a s e prize a n d the first
prize in e n a m e l i n g w e n t to the s a m e
artist. T h i s is b o u n d to h a p p e n in a n y
show w h e r e there is no c r a f t s m e n identifi-
cation, a n d w h e r e there is such a wide
disparity between the excellent a n d the
mediocre.
I r e p e a t - - i t seems u n f a i r to m a k e a
criticism of Mr. Voulkos unless one h a d
seen the entire group of pieces submitted.
T h e blood pressure should be raised
a b o u t the rejections--not the t r e m e n d o u s l y
exciting a n d v e n t u r e s o m e pots done in the
classroom of one of the c o u n t r y ' s m o s t in-
spired teachers, a n d w i t h o u t a d o u b t - -
topmost artists !
KENNETH FRANCIS BATES
Cleveland I n s t i t u t e of A r t
Cleveland, O h i o
D e a r Editor :
I have n e v e r in the past r e s p o n d e d in
writing to a n y criticism of m y work as
artist or as j u r o r no m a t t e r h o w pleasant
its praise or severe its castigation. I have
strongly felt t h a t criticism should be full
a n d free a n d that an artist's sensibilities
should play no p a r t in interfering with
public discussion of his work.
I n addition, I h a v e the extreme dis-
taste of the citizen in a d e m o c r a t i c society
for the unsigned accusation. H o w e v e r
in all fairness to the c r a f t s m e n whose
work I h a v e voted for a n d against, I
feel t h a t I should write this letter, n o t as
justification of m y actions as potter a n d
j u r o r b u t as clarification of m y ideals a n d
of myself as an individual.
First, I a d m i t t h a t I a m biased. I am
biased in this sense: W h e n I j u r y a show
there is only one t h i n g I look f o r - -
quality. I c a n n o t a d d to the volumes al-
r e a d y written in definition of this word
except to state t h a t I a m aware that
quality c a n come in m a n y forms. As a
juror, I strive to recognize t h e m a n d cer-
tainly, then, to give t h e m my vote. I
do n o t j u d g e h o n e s t y of statement. M y
j o b is to j u r y p o t t e r y a n d n o t personalities.
Second, if the pottery is the work of one
of m y students a n d I feel its quality to
be superior to a n y t h i n g else in the show,
I h a v e the obligation to give it m y vote
for a prize. I stake m y integrity as a
potter, observer a n d individual on m y
choices. I d e m a n d complete freedom of
choice for myself, m y fellow jurors and
t h e n for all to agree or disagree with m y
j u d g m e n t . F r e e d o m of choice implies
f r e e d o m to reject.
Last of all, I w o u l d like to add that as
a responsible c r a f t s m a n , I would oppose
a n d fight a n y proposals m a d e by indivi-
duals or organizations to select from their
ranks juror lists from which a m o t h e r
organization would in turn select jury
m e m b e r s for n a t i o n a l a n d regional shows.
T h i s would create a n art b u r e a u c r a c y
which, u n d e r the guise of democratic pro-
cedure, would insure the same rigor morris
for ceramics t h a t h a s always a c c o m p a n i e d
such an " a c a d e m y " superstructure.
PETER H. VOULKOS
Los Angeles C o u n t y Art Institute
Los Angeles, California
CERAMICS MONTHLY
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838 Genesee St. Trenton 10, N.J.
rovin ceramics
7456 Fenton • Dearborn,Mich.. Phone Logan 3-2906
MAY, 1957 7
 from our
FINDING REMOVER
V e r y often you w a n t to re-
m o v e a f i n d i n g f r o m the back
of a n e n a m e l e d piece. T h i s is
n o t a p a r t i c u l a r l y difficult
task if the f i n d i n g was solder-
ed o n - - y o u merely hoet the
j o i n t with y o u r soldering iron,
t h e solder melts, a n d t h e find-
EVERYTHING i n g is easily lifted off.
If the f i n d i n g h a s been
g l u e d on it c a n p r e s e n t a
m o r e difficult p r o b l e m . I have
FOR ENAMELING f o u n d , however, t h a t by plac-
i n g t h e piece in boiling water
for a few m i n u t e s t h e glue
softens sufficiently to p e r m i t
LOW COST KILN t h e f i n d i n g to be p r i e d off.
• . for beginner or professional. Fires pieces up to - - M r s . C. Warren Carter
4~" diameter and 11/2" high. It reaches enameling temp- Vermilion, Ohio
erature quickly and maintains it constantly. All parts are
easily replaced at nominal cost. MAKE TRACING PAPER
A n ideal t r a c i n g p a p e r c a n
be m a d e f r o m t h e w a x p a p e r
NEW BY THOMPSON t h a t y o u a l m o s t always h a v e
in y o u r kitchen. H e r e is h o w
y o u do it.
ENAMEL GLAZE PAINTS T e a r off t h e desired l e n g t h
A superior decorating medium for painting designs of w a x p a p e r f r o m t h e roll,
over enamel base coats. Supplied in kits and bulk place in b e t w e e n two layers
form. of n e w s p a p e r a n d iron it
ENAMELS
Complete line of enamel colors including opalescents.
with a r a t h e r h o t iron. Allow
METALS it to cool t h e n r e p e a t t h e
All shapes and sizes in copper and the new silver plated i r o n i n g a second time. T h a t ' s
steel which requires no pre-cleaning. all t h e r e is to i t - - y o u n o w
have a very transparent
t r a c i n g p a p e r with plenty of
"bite."
FINDINGS
I have found that the
For cuff links, ear rings, brooches etc., and all types of chain
b r a n d "Zee - - double-waxed
in copper and brass•
paper" works best.
---Mrs. D. N. Cook
ILLUSTRATED CATALOG Los Angeles, Calif.
Write for your copy of our new catalog illustrating our com-
plete fine. Includes helpful hints and projects on enameling.
CRYSTAL SORTER
W h e n I b u y a n e w bottle
of d e c o r a t i n g crystals (used
on top of unfired glaze for
u n i q u e d e c o r a t i n g effects) I
Dollars for
CM pays $1 to $5 for each item used in this column. Send your
bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14,
Ohio. Sorry, but we can't acknowledge or return unused items.
8 CERAMICS MONTHLY
readers
always sort t h e m into groups.
I p o u r the crystals into a
tea strainer a n d shake onto
clean paper. T h e large-size
crystals, w h i c h r e m a i n in the
strainer, are placed in one
bottle; the small crystals,
w h i c h fell t h r o u g h onto the
paper, go into a n o t h e r bottle.
T h i s m a k e s it quite simple
to select a couple of large
crystals w h e n I merely w a n t
an a c c e n t or two in the bot-
tom of a bowl. T h e fine
grains, u n c l u t t e r e d with large
pieces, are j u s t the right size
for decorations on the sides
of bowls a n d vases.
- - M a r y R. Perrey
Elkridge, Md.
SIGNATURE STAMP
Save time w h e n signing
your pieces by u s i n g a plaster
stamp. Y o u c a n m a k e a
s t a m p t h a t either incises or
embosses y o u r n a m e . R e m e m -
ber w h e n m a k i n g the s t a m p
t h a t it will p r o d u c e your
n a m e in the effect opposite
f r o m the stamp. In other
words if the s t a m p is em-
bossed it will p r o d u c e an
incised signature a n d if it is
incised the s i g n a t u r e will be
embossed.
T h e s t a m p will have to
bear y o u r n a m e backwards.
A n easy w a y to m a k e this
is to first write your n a m e
on a piece of tracing p a p e r
( w a x p a p e r will do) then
t u r n the p a p e r over a n d
trace the letters on a piece
of plaster t h a t will accommo-
d a t e t h e size of the name.
T h e n proceed with incising
or embossing the stamp.
If you d o n ' t like to work
directly on the plaster you
c a n carve the signature in
clay, or even a piece of wax
or soap, a n d then m a k e a
plaster m o l d from this model.
- - M r s . Pearl E. FitzPatrick
Gary, Ind.
your Thoughts
 ABOVE PRODUCTS A V A I L A B L E AT D U N C A N DEALERS & DISTRIBUTORS EVERYWHERE
Write f o r Complete Distributor List.

WE'RE CROWING---
by LEAPS and BOUNDS!
There's not only A reason,
There are Many reasons.
Here are just a few:
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Complete Stocks
And
"Name Brand" Merchandise name plates in gold lear.
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m i enclose $ send remhr. . . . . ;th order.Ohlo residentsadd ]% SolesTo,, m
k m m .m, mmm m m m m m m m m m m m mmm ~- m m m m m m m mmml

MAY, 1957 9

Send show announcements e a r l y - - W h e r e
to Show: three months ahead of entry
date; Where to Go: at least s~x weeks
before opening.
WHERE TO S H O W
NEw YORK, SARANAC LAKE
July 1-20
Adirondack Annual Exhibit sponsored by
Dorothy Ypez Galleries. Mediums in-
clude sculpture and ceramics. Jury; cash
prizes. Fee: $3. Entry cards due June
I; work due June 24. For details write:
Mrs. Dorothy Ypez, Happy Manor,
We've Got Something Saranac Lake, N.Y.
VIRGINIA, VIRGINIA BEACH
To Crow Over! July 11-15
For artists who wish to sell their work,
the Virginia Beach Art Association is
VELVA-PLY
I-- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
sponsoring the Second Annual Board-
walk Art Show. All creative media ac-
ceptable for exhibit and sale. Entry fee
$1. Cash awards. Advise number of
entries before July 1. Artist or repre-
We are not egg-zadurat- sentative must accompany and display
;ng when we say that it is work. For details, write Virginia Beach
Art Association.
the best glaze on the marke~'.
WHERE TO G O
* SMOOTH AS A NEW BORN
CHICK. CALIFORNIA, OAKLAND
June 28-30
* SOFT AS A FEATHER. "Ceramic Creations in the Home" is the
theme of the 3rd Annual Ceramic Show
*WE STILL HAVE THOSE sponsored by Ceramic Associates of Cen-
tral California. The work of hobbyists
TRIAL KITS OF VELVA-PLY, will be shown in the Oakland Exhibition
Building, 10th and Fallon.
TOO:
CANADA, 1~ONTREAL
Regular kit, six assorted opens May 9
" C a n a d i a n Ceramics 1957," Canada's
colors in 4 oz. jars at only second coast-to-coast ceramic exhibition.
$4..20 POSTPAID. Special kit at the Montreal Museum of Fine Arts.
of six 4 oz. jars of Velva-Ply CONNECTICUT, N E W LONDON
Art Glazes at only $5.20 through May 26
POSTPAID. Annual exhibition sponsored by the So-
ciety of Connecticut Craftsmen at the
Lyman Allen Museum.
ILLINOIS, CHICAGO
CLASSESAND SUPPLIES IN: May 5-30
Annual exhibit of the Midwest Potters
and Sculptors at Studio 47. 47 E. Pear-
* CERAMICS son St.
INDIANA, INDIANAPOLIS
* COPPER May 12-June 9
Fourth B~ennial Indiana Ceramic Exhi-
* MOSAICS bition at the John Herron Art Museum.
Includes both creative and decorated
ceramics.
Enroll NOW for summer classes INDIANA, SOUTtt BEND
May 12-26
Fifth Annual Michiana Regional Cer-
amics Exhibition at South Bend Art
Association, 620 W. Washington Ave.
E R R A T U M : Purchase and merit awards
8744-40 W. McNichols. Detroit 21, Mich. for the Filth Annual Michiana Regional
UNiversity 2-9222 Ceramic Exhibition total $500; not $1,000
as erroneously reported in the March issue.
10
KANSAS, ~'IC ttITA
through May 20
The 12th National Decorative Arts and
Ceramic Exhibition at the Wichita Art
Association, 401 North Belmont Avenue.
Ceramics, jewelry, ceramic sculpture, and
enamel included in media.
~,~ICHIGAN, FLINT
May 10-June 2
Selected ceramics, including prize win-
ners, from the 19th Ceramic National at
Syracuse. At the Flint Institute of Arts.
Big annual hobby-trade shows of t h e e
ceramic field will be held this year at
Asbury Park and Chicago in May. On
these occasions manufacturers and
dealers put on display, for the benefit
of hobbyists, all that is new a n d / o r
useful in the way of supplies and equip-
ment--glazes and underglazes, enamels.
kilns, molds, tools, brushes, etc. Con-
current with each show is a competitive
exhibition with prizes.
EASTERN CERAMIC HOBBY SHOVe
Convention Hall, Asbury Park, N.J.
May 4-9
Sponsored by Ceramic Leagues, Inc.
Trade exhibits, demonstrations, com-
petitive exhibit.
GREAT LAKES CERAMIC HOBBY
EXHIBITION
Conrad Hilton Hotel, Chicago
May 26-30
Sponsored by Great Central Ceramic
League and Michigan Ceramic Deal-
er's Association. Trade exhibits, dem-
onstrations, competitive exhibit.
.-V[ICHIGAN, MUSKEGON
May 5-May 26
"New England Crafts," Smithsonian In-
stitution Traveling Exhibition, at the
Hackley Art Gallery.
NEW HAMPSHIRE, MANCHESTER
May 8-June 2
New Hampshire Craft Guild Exhibition,
sponsored by the Potters, Weavers and
Jewelers Guilds of the League of New
Hampshire Crafts; at the Currier Gal-
lery of Art.
NEW MEXICO, ALBUQUERQUE
May 19-June 10
Smithsonian Institution Traveling Exhi-
bition, "Italian Arts and Crafts," at the
New Mexico Art League, Public Library.
NEW YORK, KENMORE
May 19
Annual exhibit sponsored by the Ken-
more Ceramic Guild at Memorial Hall,
3354 Delaware Ave. Theme: "Table
Arrangements." Hours 3 to 8 p.m.
N E W YORK, N E W YORK
June 3-7
Twentieth Annual Art Exhibition of the
American Physicians Art Association at
the C')li::'::::.
NEW YORK, ROCHESTER
May 3-June 2
The 1957 Rochester-Finger Lakes Ex-
hibition sponsored by The Rochester
Memorial Art Gallery. Includes ceramics,
pottery, enameling, and sculpture from
artists and craftsmen in 19 counties of
New York State. At the Rochester Mem-
orial Art Gallery.
(Continued on page 36)
CERAMICS MONTHLY
 FROM ONE SOURCE....
ALL Your Cone Requirements
ORTON CONES
are s u p p l i e d in several t y p e s and Cone N u m b e r s
to meet your needs, r e g a r d l e s s o f the firing
operation.
Large cones are s u p p l i e d in Cone N u m b e r s
022 to 42, inclusive ( e x c e p t N o s . 21, 22, 24 and
25, b u t i n c l u d i n g N o s . 311/2 a n d 321/2 ). Small
cones are stocked in C o n e N u m b e r s 022 to 12,
inclusive, w i t h n u m b e r s 13 to 20, inclusive,
m a d e on special order.
Large Cones m a d e in Cone N o s . 010 to 3,
inclusive, are available in an iron-free com-
position. Such cones are o f t e n used w h e r e re-
d u c i n g conditions exist in the kiln.
P.C.E. cones are m a d e in Cone N u m b e r s 12
to 42, inclusive, except N o s . 21, 22, 24 a n d 25,
b u t i n c l u d i n g 311/2 a n d 321/2.
Cone p l a q u e s of c o m p o s i t i o n s f o r 1) t e m p e r a -
tures t h r o u g h cone 12-15, a n d 2) t h r o u g h cone 30 BRILLIANT CERAMIC COLORS
36, are available for b o t h l a r g e a n d small cones.
•.. Ready for instant use !
Steel m o l d s for m a k i n g test cones for the
A.S.T.M. test are carried in stock. N o f u s s ] N o m u s s ! Just dab a brush into any of
N o m a t t e r w h a t y o u r cone r e q u i r e m e n t s are, the 15 Liquid Overglaze or 15 Liquid Underglaze
Colors and apply directly to your ware. Each set con-
there is an O r t o n Cone series to meet them. tains strong, deep colors. Easy to mix for intermediate
Also write for the Temperature k: shades or with white for pastels.
Equivalent Table and the informative The Underglaze C o l o r s can be used for Engobes
free booklet PROPERTIES A N D or Slip S t a i n s - - w o r k equally well on raw or bisque
USES OF PYROMETRIC CONES. ware, in either one or two fires. There's one full ounce
in each jar.
The O v e r g l a z e C o l o r s are the finest obtainable, all
LARGE P.C.E. CONES
milled superfine to make china painting a real pleas-
CONES
ure. Included are three costly colors: Pink A-1644;
. . . . . Maroon A-1645 and Purple A-1649, which contains
gold compounds. Each jar contains about 1/10 pound
of color.
* .... SMALL CONES
Each set is attractively boxed with two multi-purpose
PLAQUES brushes and instructions. Order today/
for both large and small cones are available.
dnul Hi R nil i m i I i t I mmlIN n R IU HI IN U u n n n nIlUU un n u n N n ININ It n II R n U URN Inl U ~

: *B. F. Drakenfeld & Co., Inc. CM n

/ I/ ..........; ; I 45-47 Park Place, New York 7, N.Y. i
: Gentlemen: Attached is my check for . . . I
. . . . J , ,;," :~SJr z [] Liquid Overglaze Set..........................................$10.00 J
Export order: the Ferro C p, ~~ "~ i [] Liquid Underglaze Set...................................... 5.OO
II I will pay shipping charges I
4 1 5 0 E. 56th St., Cleveland, O. ~ ~ ; r --~-~/ I~ " II
or the Foundation / Sf:// I •
l N A M E ~ m
1 l
: ADDRESS
| a
is CITY/ZONE STATE- - •g
: [-'1 Send me the Drakenfeld catalog of prepared z.
m ~ glazes clay bodies, electric kilns and other •
S ,' • •
s ceramm supphes. •
! a l l ~ I mm i i I Ii m
m i mm
~mi mIJm~m s I I m ms s m m m m m m i

"-'Drol enfe/d
MAY, 1957 11
 The NEW MAYCO

SA TINA
is s o f t . . , s a t i n y . . , a p p e a l i n g . . .
a cclaim e d - T , E YEARS OREATESTAO,ANCE ,N CERAMICS OECORATiON
a completely finished piece with only one
firing. Simply apply 2 or 3 coats of
SATINA on greenware with brush or sponge.
Decorate if you like with ONE STROKE*
translucent ceramic colors or other SATINAS.
Fire at cone 06. Ask for SATINA at your
nearest studio.

* T.M. oppld. ~or.

AMERICA'S FINEST COLORS

T H E

KLOPFENSTEIN
W H E E L

A full size, quality con-

structed, all metal
treadle wheel for the
potter. This wheel has
been designed and en-
gineered incorporating
features recommended
by a group of ceramic
instructors at one of
our leading universities.

SHIPPING WEIGHT APPROX. 200 LBS.

STANDARD HIP REST INCLUDED IN ABOVE PRICE.
SPECIAL HiP REST PICTURED AVAILABLE AT S 7 . 5 0

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13" throwing h e a d ::: 100 lb. f l y w h e e l * Pan 30" x 30" x 5" * Wheel
h e i g h t 36 I' z Precision ball bearings ~:: H a n d s o m e grey finish on pan
• Portable ceramic spray booth has electric fan to draw w i t h b l a c k s t a n d * T r i m b a r f o r foot r i m m i n g included * Custom made
accessories available for wheel.
spray dust into replaceable filter so dust cannot spread
through house . . . no vent needed . . . weight only 20 OPTIONAL EQUIPMENT AVAILABLE
Ibs. folds far easy storage . . . opens to 20" x 20" Reversible Throwing Head -- for making bats. Has a locating and
x 23". Green, baked enamel finish on welded steel e j e c t o r slug- f o r r e m o v i n g a n d r e - c e n t e r i n g b a t s . A special m e t a l band
to f o r m t h e sides of t h e b a t s is in c lu d e d . P R I C E : $12.50.
assures beauty and long service. 10 day money back W e d g i n g W i r e a n d B o a r d - - a h a n d y p ie c e o f e x t r a e q u i p m e n t fo r .rot
guarantee. Only $34.95 F.O.B. Detroit. wheel. W e d g i n g b o a r d r e m o v a b l e f o r t h r o w i n g . P R I C E $12.50.
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7523 St. Aubin • D e f r o i f 11, Mich.
3 5 9 Pearl S f. C res flin e, Ohio

12 CERAMICS MONTHLY
 SHOW TIME
Ninth Annual
Ohio Ceramic and Sculpture Show

Two-spout bottle, 121/2'' tall, won a $S0

prize for Toshiko Takaezu, Cleveland.
Leza S. McVey of Chagrin Falls received a
$100 award for her 23" bottle and stopper'.
T H E N I N T H A N N U A L Ohio Ceramic and Sculp-
ture Show at the Butler Institute of American Art in
Youngstown, Ohio, included 182 works selected from
nearly 300 pieces submitted. Purchase prizes, totalling
more than $750, were awarded and the winning pieces
added to the permanent collection of the Institute. Maija
Grotell, head of the ceramics department of Cranbrook
Academy, Bloomfield I-fills, Mich., judged the show.
Several of the winning pieces are shown.

Paul Bogatay. Columbus, was awarded

$50 for his S" Brahma Bull (left).
A 101/2'' Horned Animal (right) won
a $50 prize for Charles Lakofsky
of Bowling Green.
A 21" ceramic vase by Viktor Schreohen-
gosf, Cleveland, received a $100 prize.

MAY, 1957 13
 the earliest times, man has
F ront
drawn inspiration from birds.
Our greatest poets have been charmed
Cynthia Creates a Cloud Castle and fascinated by these beautiful
winged creatures whose habitat is
heaven.
The Old Testament says, "A bird

A PERENNIAL
of the air shall carry the voice, and
that which hath wings shall tell the
matter." John Milton wrote, "Sweet
is the breath of morn, her rising
sweet, with charm of earliest b i r d s . . . "
Every home where there are trees

BIRDHOUSE
and birds needs a b i r d h o u s e - - o r
several of them for different kinds of
birds. I believe one reason we do not
see more birdhouses is that they
usually are made of wood, which is
not very durable. After a few- years,
perched high in a tree, buffeted by
by HENRY BOLLMAN wind, soaked by rain, and covered
with snow, these tiny habitations soon
fall apart--victims of the weather.
For a weatherproof birdhouse, and
one which will retain its color and
finish indefinitely, what is more logical
than clay? Clay, when fired and
glazed to a high temperature, is far
more durable than most other ma-
terials. History proves this. Clay
figures from the Indus Valley of
India, estimated to be 20,000 years
old; Greek vases over 4,000 years old;
Egyptian figurines; Babylonian bas
reliefs - - still retain their original
beauty after surviving several thous-
and years. For the potter, this truly
is a heaven-sent opportunity.
B U I L D I N G a clay birdhouse need
not be a difficult task. In fact, it is so
simple that it would be an excellent
child's project for a school or craft
center. Here's how Cynthia built her
"model home" for tree swallows. This
is the simplest form of house to make,
and is a good beginning project.
At the odtset, of course, you must
decide what kind of bird you wish to
attract to your house. The general
rule is that the larger the entrance,
the larger the bird tenant the house
will attract. A house, such as Cyn-
thia's, is designed for tree swallows.
Before you begin, assemble all your
tools and materials. A piece of oil-
cloth, canvas side up, makes an ideal
working surface since the clay will nor
stick to it. Your tools are the very
s i m p l e s t - a plaster bat about 1()
inches in diameter, a rolling pin, a
small darning needle or other sharp-
pointed tool, one or two clay-modeling
tools, and a sponge.
The quality of the clay you use is

ALL FINISHED! Cynthia "tries out" the bird-

house. Of course, it will be
permanently secured well out of reach to
assure safety for the birds.

CERAMICS MONTHLY
not important, since birds are not
p a r t i c u l a r in aesthetic matters. H o w -
ever, it is most i m p o r t a n t that your
clay be very plastic, so it m a y be easily
rolled into long coils a n d worked into
shape without cracking. In this
demonstration, Cynthia used a pre-
p a r e d white clay body which h a d a
fine. plastic quality. Here is the pro-
cedure she followed:
1. Roll out a slab of well-wedged
clay on the plaster bat. T h e slab
should be about half an inch thick.
2. Cut a circular base. about seven
inches in diameter, from the slab. A
plate or saucer m a y be used as a pat-
tern for the circle. T h e needle makes
a good cutting tool.
3. Using the coil m e t h o d and thick
coils, build up the h o u s e - - o n e coil on
top of another. W o r k each coil care-
fully with the fingers into the one be-
low. Follow the photographs for de-
sign. T h i c k walls are one of the
greatest a d v a m a g e s of this clay house.
as c o m p a r e d to a wooden one, be-
cause thev tend to keep the house
cooler in summer, and w a r m e r in
winter. Orinthologists d e m a n d a house
of this type; the thicker the walls the
better. Be careful to avoid air spaces
between the coils.
While the clay is wet. the house
should measure about nine inches in
height. However, it will shrink about
one inch while drying. If you wish.
you may make the house taller than
nine inches, or wider, but not smaller.
T h e little cap at the top m a y be a d d e d
as a decorative detail. But it is not
technically essential.
4. Smooth the outside surface as
much as possible with the fingers.
T h e n finish it with a wet sponge.
5. While the clay is still d a m p , cut
the entrance hole with the needle.
This should not exceed one a n d a half
inches in height, a n d should not be
wider than two inches at the base.
6. For fastening the house to a tree.
pass the needle through the bird-
house from front to back a b o u t three
inches from the top. M a k e the holes
about half an inch in diameter, large
enough to a c c o m m o d a t e a bolt. Of. if
you wish to suspend the house by
wires, cut two small holes about one
inch down from the top. However.
most birds prefer a house which is
[irml), fastened to the tree.
In a d d i t i o n to the insulation
afforded by the thick clay walls, birds
need plenty of ventilation. T o ensure
adequate ventilation, pierce man),
ventilation holes about one inch up
from the base of the house, as well
as additional ones scattered higher up.
MAY, 1957
N o w the house is ready to be put
aside to dry. Allow at least three days
for drying at room t e m p e r a t u r e . I)o
not try to speed up the drying as there
is a d a n g e r of w a r p a g e if the piece is
dried too f a s t - - e s p e c i a l l y if it is very
thick. D u r i n g the first two days of
drying, allow tile house to stand up-
right on the bat. O n tile lhird day.
lay it on its side to allow the base
to dry completely.
.... ~ ~ . , ~ ~ "
W h e n drying is completed, the
house is ready to be d e c o r a t e d with Rolling out the clay on a plaster bat is the
underglazes or engobes. After the first step in making a birdhouse. A quite-
piece is decorated, allow it to dry in plastic clay should be used.
a w a r m place for several horns before
placing it in the kiln for bisque firing.
F i r i n g should begin very slowly. I n
an electric kiln. allow at least two
hours for the t e m p e r a t u r e to reach
1.000:F. D u r i n g the first hour, leave
the kiln door open a b o u t an inch to
allow kiln moisture to escape. Bisque
fire to about 1500°F. At this temper-
a t u r e most clays become h a r d enough
to be ideal for'glazing. Slightly l)orous
bisque is best. If your bisque is fired
too high, the surface becomes so h a r d
that glaze will not readily stick to it.
If you have d e c o r a t e d your bird- Using a circular object as a "pattern,"
house with underglaze or engobes, you Cynthia cuts the base for the birdhouse. A
should use an uncolored, t r a n s p a r e n t darning needle or other sharp-pointed fool is
glaze. A p p l y a good. even coating of used to cut the clay.
glaze bv either brushing or pouring.
Glaze fire the piece to the m a t u r i n g
t e m p e r a t u r e of the glaze recom-
m e n d e d bv the m a n u f a c t u r e r .
N o w the birdhouse is ready to in-
stall. F i n d a tree which is not too n e a r
the house, but which is in plain view
from your window so vou m a y watch
the birds entering and" leaving. Using
a long galvanized lag screw with a
square head. fasten the house firmly
to the tree. Be sure to place the house
high enough in the tree to assure
safety for the birds.
O n c e you have a t t r a c t e d a p a i r of Cynthia carefully joins the coils, blending
swallows or other birds, they will give each one carefully into the one below. Thick
you m a n y weeks of e n t e r t a i n i n g a n d walls provide insulation which birds need.
amusing experiences as they build
their nest. Soon the new generation
will a p p e a r a n d you can watch them
grow day by day. W h e n cold w e a t h e r
comes, vour bird family will leave a n d
your birdhouse m a y r e m a i n unoccu-
p i e d until the next m a t i n g season.
Possibly it m a v be taken over by an-
other species.
At anv rate, your birdhouse will re-
m a i n a thing of bright b e a u t y through
m a n y seasons, giving o r n a m e n t a n d
interest to your g a r d e n the year r o u n d
- - r e t a i n i n g its original finish just as
it came from the kiln. Building a bird-
house is a r e w a r d i n g ceramic project. The size of the entrance determines the size
You will find that it will bring plea- of the bird tenants. Cynthia cuts an en-
sure to you as well as comfort to trance designed for tree swallows and makes
the birds for m a n y years to come. • holes for ventilation.
15
 A P R E F A C E TO E N A M E L I N G
ENAMELING-
Every field o/ endeacor has its own
"'standard procedures." Usually there are
as many standard procedures as there are
people.
The recommended procedures given be-
low are those that Kenneth Bates has de-
veloped during his many years o[ studying,
teaching and practicing the enameler's art.
They are presented as a pre[ace to hi~
[eature articles on cloisonne, plique-a-jour
and champIece, which will begin appearing
in C M next month.---Ed.
Working Sketches
Preliminary thinking, p l a n n i n g a n d
sketching should be done on p a p e r be-
KENNETH F. BATES, author of CM's exclusive series,
claims that--in his tittles--he n o w is more excited about
the newness of his craft and the possibilities for experimen-
taflon than he was 25 years ago.
I8
PROCEDURES
by KENNETH F. BATES
fore going ahead with the finished
piece. M a k e the d r a w i n g in detail and
to scale, and render it in full color.
An outline tracing can be m a d e on
o r d i n a r y tracing paper.
(:over the face of the m e t a l to be
e n a m e l e d with a thin coat of white
t e m p e r a and transfer tim design to
this surface. N o w with steel point or
scribe, retrace or scratch the line on
the copper. T h e white t e m p e r a is now
washed off with water leaving a clean
surface with a scratched outline.
T o make the transfer, attach the
tracing at the top of the piece: insert
a sheet of thin red carbon p a p e r (non-
greasy! under the tracing paper; and
make the tracing with a 4H pencil,
sharp-1)ointed stylus or jeweler's scribe
m order to produce an accurate thin
line.
Concentrated Gum Tragacanth
For wet inlay, each enamel color to
be used is mixed with a few drops of
concenlrated g u m traffacanth. T h e
gum may bc m a d e in the following
vcav :
Fill a q u a r t Mason j a r three-quar-
ters full of distilled water. Carefu!lv
dust one tablespoon of dry powdere~l
gulrl t r a g a c a n t h on the surface of tile
water, l,et the powder settle gradually.
In about six hours, the thickened
solution at the bottom of the jar may
be used as concentrated tragacanth'.
F o r use in an atomizer, dissoh'e the
concentrate with ten times as much
distilled water. If the gum tragacanth
mixture has a bad odor in a few days,
a few drops of pure wood alcol~oi
(not rubbing alcohol} will be suffi-
cient to purify it. Some enamelers use
a drop or two of carbolic acid.
Stoning
( : a r b o r u n d u m stone is used for the
stoning process in enameling. Several
grades of the stone are on the market.
I find that the most useful is a stone
about 7 " x 2 " x 1 ½ " which has a
coarse C a r b o r u n d u m on one side and
a finer grade on the other. To stone
enamel, take a firm grip on the piece.
hold it under rapidly flowing water
a n d rub the surface in a circular no-
tion with tile C a r b o r u n d u m stone.
Use the coarser grade of tile ston: at
first and rub vigorously (in clois nne
work, avoid burring tire edges of wire
by, rubbing too h a r d l. Try to flush off
tinv particles of enamel as you stone
instead of grinding them i n t o the
CERAMICS MONTHLY
cnamel. Switch to tlre finer grade of
stone and. as the work progresses.
g r a d u a l l y rub more and m o r e gently
until your last strokes merely caress
the surface (this is the only way to
avoid light smudges which so often
occur in beginner's w o r k ) . Dry the
piece of enamel with a soft rag a n d if
no shining area can be seen. it is
readv for refiring. N e v e r a p p l y m o r e
,marizel to a , l o n e d xur[ace without
refiring first.
If a dull or m a t t finish is desired.
simply omit the fMng after stoning.
Polishing
Exposed Inetal surfaces a n d . or
wires mav be buffed with a felt wheel
and one "of the fine polishing agents
such as bobbing c o m p o u n d or a fine
grade of tripoli, followed by a soft cot-
ton buff with jeweler's rouge. D o not.
however, use so inuch pressure as to
wear away the metal a n d leave the
enamel sli'ghtly raised: be carefifl es-
pecially if you are working with fine
silver. Ira some cases, a fiber" brush
with bobbing c o m p o u n d is sufficient
for the polishing job. E n a m e l e d sur-
faces are not affected bv the con>
pounds suggested unless some particu-
larly soft and porous enamel has been
used. If very soft colors are to be
incorporated in a piece, plan to
work with fine silver or pure gold
because it will require less buffing and
polishing.
Generally, if copper wire is used.
the above information regarding buff-
ing wire surfaces after" the final firing
Examples of two of the techniques to be cover-
ed in this series are shown: Above, two
cloisonne pendants by Charles Bartley Jeffrey:
a plique-a-jour on fine silver by the author is
at right.
MAY, 1957
would ]mid true. However. in sorne
cases, the nmnerous firings required
cause excessive fire scale which pre-
sents a problem in cleaning the
copper.
I suggest that. if copper wire is to
be i n c o r p o r a t e d into the design, the
artist should plan to allow the wires
to r e m a i n at a higher level than the
enamel. H e then will be able to butt"
the surfaces of the wire as vigorously
as he desires with no d a n g e r to the
enamel surface. This effect in cloi-
sonne is entirely legitimate, a n d there
are m a n y craftsmen who prefer the
raised w{re effect for contrast to the
lower or sunken areas of enamel.
Gauges
M e a s u r e m e n t s of the thickness of a
wire or sheet of metal are designated
in gauges. T h e gauge is a r o u n d or
oblong sheet of heavv steel with slots
and holes of various sizes. These slots
m a y range in width from .005-inch to
.50-inch.
Sheet metal is Ineasured by insert-
mg it into one of the slots in the
gauge. T h e holes in the gauge are
used for measuring wire. E a c h gauge
n u m b e r corresponds to a dimension in
inches.
I n the U n i t e d States, the Brown and
S h a r p e (B & S) gauge is the s t a n d a r d
for all measurements of wire and
sheet metal. A portion of the B & S
gauge numbers with inch equivalents
is r e p r o d u c e d in the table below. You
will note that the finer the wire, or
thinner the metal. the higher the
gauge number.
B & S Gauge Thickness ( ira.
16 .050
t8 .040
2O .032
2 L2 .025
24' .020
Selection of Gauge
M u c h could be said a b o u t the
craftsman's selection of the p r o p e r
gauge metal for a specific project. I n
j u d g i n g craft exhibitions, the selection
of tile p r o p e r gauge metal seems to be
a m a j o r basis for criticism. Often.
when a too heavy gauge is chosen, the
enamelist seems to feel t h a t it is his
prerogative to load on coat after coat
of enamel. T h e end result is almost
as heavv as a piece of p o t t e W. This
practise'is entirely erroneous. E n a m e l -
ware should n e v e r be heavy. If it is.
the whole integrity of the m e d i u m is
forfeited.
By the same token, e n a m e l e d bowls.
trays, or plaques should not be m a d e
on such thin-gauge m e t a l that they
a p p e a r "tinny." cheap a n d flimsy.
T h e r e nmst be a richness to the
quality of the piece which is definitely
established by the choice of gauge in
the first planning.
It is difficult to give a "'rule of
t h u m b " for this subtle, b u t vital, m a t -
ter of weight which has so m u c h to do
with tactile characteristics. If the
e n a m e l is to be f r a m e d a n d h u n g on
the wall, the p r o b l e m of choice of
(Continued on page 28)
17
 T here is a difference between
good pottery and ceramics," An-
tonio Prieto wrote in connection with
the 1955 International Exposition of
Ceramics at Cannes. " T o me, good
pottery, besides expressing the charac-
ter and personality of the creator, ex-
presses the character and potentialities
of the materials. I do not think vou
can separate them and have sound
work."
T h e work of Maija Grotell e x a c t h
fits Mr. Prieto's definition of good pot-
tery: it expresses the character and
personality of the creator as well as
the character and potentialities of the
materials.
T h e point is strengthened in an
article by Robert L. Matters in which
he states his belief that artist-potters
in this country are more indebted to
the work of Maija Grotell than to anv-
one else.
" . . . From the start her work has
been stron.g, individual, and an artis-
tic expression of her life and age," he
writes. " H e r development, at Cran-
book Academy of Art in Michigan,
of a program aimed at the potter who
is interested in producing fine indi-
vidual pieces as art put pots on a
level with painting and sculpture,
rather than heavy production. It
brought about the m a j o r change in
American pottery concept."
All of Miss Grotell's work is stone-
ware, high fired within a range of
cone 6 to 10. But one should not, she
insists, be dependent on any one tool
or temperature. As we watched her
decorating a pot as shown in photos
on these pages, she explained that the
same technique she .was using can also
be used with softer clays and lower
temperature.
She was working on a thrown pot
which had been bisque fired for four-
teen hours. It was m a d e of an especi-
ally colored clay for which Miss Gro-
tell gave the formula: set aside 10
pounds of stoneware clay and 2~2
pounds of grog; grind in a mortar 20
grams of cobalt with a handful of
clay and some water, and sieve
through a 60-mesh screen; then add
the rest of the clay and the grog to
the mixture. " I t is a difficult process
to get an even color," she said, "be-
cause the cobalt is granular and hard
to m i x - - s o mix it well."
As Miss Gmtell decorates with her
sure hand, it all looks so simple, but
at the same time one realizes it takes
years of practice to achieve this sure
h a n d and certain knowledge of how
glazes will react.
First, she brushed an undercoat of
iron glaze on the fired pot (see recipes,
page 32).
18
The glaze could be sprayed on. she
explained, but she prefers a brush "be-
for instruction. To do this, she has
literally lived beside her kilns for the
cause with a brush the glaze can be past nineteen years, on m a n y a stormy
better controlled." Although she hap- night walking the length of Academ;:
pened to be using a Japanese brush. Road, from her apartment to her stu-
she is usually happiest with a sable. dio, to check on the progress of an im-
portant firing. "Even if we had
Brushing the glaze around the pot
mechanically regulated kilns. I
while slowly revolving the banding
wouldn't trust them," she says. " W h e n
wheel on which it sat, she went on
I am firing I trust no one and nothing
talking: " T h e undercoat should be
equivalent in thickness to the top coal. but myself."
or the two glazes will run together Part of her reward is the purchase
and the design will he lost in firing. of her work by eighteen leading mu-
T o 'feel' this as you work takes ex- seums, ranging from the Metropolitan
perience." Museum in New York to the Wichita
Art Association Gallery. She won the
After the first coat of glaze had silver medal at the 19~37 Paris Inter-
dried, she applied a high-feldspar national Exposition; has taken awards
white glaze into which she had mixed at five of the National Ceramic shows
white Karo syrup for the hinder. in Syracuse, and won many other im-
"This keeps it at a good consistency portant prizes. It is only natural that
for painting," she explained. " T h e use (Continued o~ page 32)
of Karo is not original with me. I
thought it was until I found other
potters using it too!"
She painted the inside of the pot by MARION H. BEMIS
with the same glaze but thinned it so
the cobalt bodv underneath would
show through as a green-blue color-
after firing.
After the coat of white glaze had
dried, I watched her decorate free-
hand, cutting through the glaze coat-
M
ing with a sharp tool in a sgraffito or
carving technique. Obviously, this
step is one that the unpracticed potter
might be reluctant to undertake. T h e
D
only answer, says Miss Grotell, is prac-
tice and more practice. The same is
true, of course, of the glazes which
must be tested many times to discover
A
how they react ira different temper-
atures and kilns.
T h e glaze firing comes last, with
constant surveillance to see how the
glazes are reacting. I n the case of this
.pot: the dark underglaze coming out
in iron spangles and crackles through
the white top glaze gave the surface
a marvelous, deep texture. Occasional
drips of glaze into the cutout design
makes the pot even more fascinating
in appearance.
M I S S G R O T E I , I , . who came to the
United States from Finland in 1927.
was graduated from the Central
School of Industrial Art in Helsinki.
In this country, she taught first at the
H e n r y Street Settlement House in
New York. She became a ceramics in-
structor at Rutgers University in 1936.
and in 1938 went to the Cranbrook
Academy of Art to head the ceramics
department at the invitation of the
late Eliel Saarinen, first president of
the school. ONE GLAZE ON ANOTHER produces deep
textures and varied color. Miss Grotell shows
As resident artist at Cranbrook. the steps. An undercoat of iron glaze is
Miss Grotell is expected to carry on
her own work as well as to teach the
eager young potters who are accepted
CERAMICS MONTHLY
IJA GROTELL
:ORATES shown

~OT
A Noted Potter Demonstrates A Favorite Technique

brushed on (1) followed by a coating of through the top glaze creating a spotted,
white glaze (2). Then a design is cut through textured surface. A closeup is shown at right;
(3). During firing, the iron glaze bubbles the finished pot, above left.

MAY, 19S7 19
DECORATE with UNDERGLAZES

RUBBER STAMP SHAPES

• • • A HEW' TECHNIQUE

methods and designs by MARC BELLAIRE

~ A L T H O U G H the brush this rubber stamp technique. Briefly,

' 'i ie
Flowers and leaves and even the human
figure can be made with rubber stamps.
But remember to keep the motif simple!
is the decorator's best
friend, there are many tools and
"gadgets" that lend themselves ideally
to the decorator's needs. In fact, there
are manv occasions when the adapta-
tion of a special tool will enable you
to accomplish a unique effect (hat
otherwise would be impossible.
O n e such special tool is a stamp
cut from foam rubber or foam plastic.
Since M a r c Bellaire's basic premise is
that every object can be broken dmvn
into a series of basic shapes, these
stamps play right into his hands.
Scissors and a pad of rubber do not
lend themselves to fine, detailed work.
This means that you are forced to get
your story, across to the viewer using
only rough, basic shapes.
A quick glance at the examples
shown here will prove that a pleasant
variety of motifs can evolve from
the procedure involves cutting the
basic shape from a sheet of foam
rubber or foam plastic and painting
on one side with underglaze color.
Painted side down. the stamp is laid
on a faMv flat green-ware surface,
then remm:ed. The underglaze color is
pulled awav from the stamp and re-
mains on the surface of the green
ware. Details can then be added, al-
though the final nmtif should be kept
quite simple. Remember. this is a
"rough" technique.
This technique permits quick, effec-
tive results, vet it is highly creative.
Children ~dll" find it to be fun. Begin-
ning adults will appreciate the quick
start it permits. And experienced
decorators will enjoy the many possi-
bilities it has to offer bv itself or in
combination with other techniques.
(For another moti[, please turn the page.)

Another version of the rubber stamp technique is made by cutting pleted with a brush. Here only the body of the bird is printed, at
only a portion of the motif from foam rubber. The design is com- various angles, on the plate.

20 CERAMICS MONTHLY
 THE SIMPLE TECHNIQUE of printing with
a foam rubber stamp is demonstrated at the
right by Marc Bellaire.

I. A horned goat-like animal is cut from

foam rubber with scissors. Areas, like the
eyes and the space between the legs, that
should not print, are cut back or gouged out.

2. One side of the stamp is painted with

underglaze color.

3. A fairly flat piece of green ware is well

dampened. Then, the stamp is set in place,
painted side down. It is pressed down to
ensure good contact at all points.

4. In a few seconds it can be picked up.

The underglaze color no longer is on the
stamp, but on the piece of green ware.
Details may be put on with a liner brush.

HERE IS A VARIATION--bath the decora-

five details and the base color are applied
to tlQe stamp and printed together.

1. Details are put on first since they will

be an top when the design is transferred to
the green ware.

2. When the first color has dried, the over-

all color is painted on. The same procedure
is followed far each fish.

3. The stamp is pressed, painted-slde dawn,

on a tile with a net background. The green
ware pulls all color from the stamp.

4. After a few seconds, the stamps are re-

moved and the "self-decorated" fish remain--
waiting for glazing and firing.

A WIDE RANGE of variatlons are possible.

Try some of your own. This technique will ..,,.~. :.. !
prove to be creative fun far the entire family!

MAY, 19,57 21
 In this series of articles, no specific brand of underglaze
is either suggested or implied. The nationally
advertised brands are highly competitive in quality and price.
Mr. Bellaire's advice is to use
those brands you feel give you the best results.

• . . UNDERGLAZES (continued from p r e c e d i n g pag,

ANIMAL A
Methods and designs
by MARC BELLAIRE

A N I M A L S have basic shapes too.
T h e y do not all fit into one category
as do some motifs.
T o see the basic shape of an animal.
you must eliminate the a p p e n d a g e s
the head, feet. tail. W h e n you do this
a d a c h s h u n d becomes a long oval. A
Scottie is a rather a n g u l a r oval or rec-
tangle. A circle or a h n o s t - r o u n d oval
represents the e l e p h a n t - r h i n o - h i p p o
family. T h e horse f a m i l y - - h o r s e , ze-
bra. ('teer. etc. can be r e p | e s e n t e d bv
a pair of "S" curves.
So you see. you nlust study each
animal to find the basic shape that
is h i d d e n - - c a m o u f l a g e d by appen-
dages, hail' or fur.
H o w to convert a pair of "S" curves
into a zebra is graphically illustrated
in the a c c o m p a n y i n g step-by-step
photos. Because it does not involve
m a n y colors, the zebra design shown
here" is quite simple. However, its
black and white boldness makes it a
dralnatic motif. T h e other illustrations
the gazelle a n d the d e e r - - a r e excel-
lent examples of m a k i n g motifs fit the
shapes on which they are placed. •

To fit a long shape, the general proportions Long horns convert the deer into o gazelle
of the deer (left) were exaggerated--body (right). He was made to recline to fit the
squeezed tege~'her, neck elongated. shape, his head turned back far convenience.

22 CERAMICS MONTH:LY
3TIFS
The dramatic effect
produced by the white sgraffitoed lines
on the zebra's black body
is shown on the finished piece after
glazing and firing.

1. A pair of "S" curves ~s put in with black. 2. Next, head and feet are added to the 3. The tail then is printed in black~ and
Plate has been spattered with medium gray. basic "S" shape, the body filled in.

4. Decorative elements, such as teal blue 5. Black outlining and other details are put b. A sgraffito tool, used on its side, scratches
leaves, go in next. in with small liner brush. in zebra's broad, white stripes.

MAY, 1957 23

. . . . . . . . . L A S T M O N T H the sub-
ject o[ alip, and engobe.,
was introduced. Mr. Ball
discussed uarious ma-
terials that can be used
[or slips and engobes,
elaborating on their phy-
sical and chemical pro-
perties. He gave other
[undamental in[ormation
and included sez.eral en-
gobe recipes. Below, Mr.
Ball continues this subject, picking up
where he le[t off. Ed.
HERE ARE SOME v e r y versatile en-
gobes. T h e y can be used for e a r t h e n -
w a r e as well as s t o n e w a r e , their r a n g e
e x t e n d i n g f r o m c o n e 04 to 9.
#4
Feldspar . . . . . . . . . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . . . . . . .
China clay . . . . . . . . . . . . . . . . . . .
'~5
Kentucky ball clay . . . . . . . . . . . .
Feldspar . . . . . . . . . . . . . . . . . . . .
Magnesium carbonate . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . . . . . .
#6
Feldspar . . . . . . . . . . . . . . . . . . .
Talc . . . . . . . . . . . . . . . . . . . . . .
Ball clay . . . . . . . . . . . . . . . . . . .
Kaolin . . . . . . . . . . . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . . .
Borax . . . . . . . . . . . . . . . . . . . . .
F o r those w h o wish to d o s o m e ex-
p e r i m e n t a l w o r k to c r e a t e t h e i r o w n
slips, the f o l l o w i n g ranges of c o m p o -
sitions will h e l p :
F o r a fire clay, g r o g body, cone
8-10:
Potash feldspar . . . . . . . . 20%-45%
Flint . . . . . . . . . . . . . . . . . . 10-40
China clay . . . . . . . . . . . 30-60
Calcium carbonate . . . . . . . 0-10
F o r vitreous slips for c l a y - g r o g
bodies f i r e d at cone 4 a n d 5:
Cornwall stone . . . . . . . . . . 25 c~-50e7~
Feldspar . . . . . . . . . . . . . 0-35
Clay (China or ball) . . . . 25-55
Flint . . . . . . . . . . . . . . . . . . 0-10
F o r c o n e 3-7. the f o l l o w i n g ranges
may help:
A B C
Clay . . . . . . . . 80% 40% 45% 57%
Whiting . . . . . 8 5 0
Flint . . . . . . . . 12 35 10 21
Feldspar . . . . . 0 20 0 14
Cornish stone. 0 0 45
24,
Strictly Stoneware
... slips and engobes (cont.)
by F. CARLTON BALL
T h e s e ranges m a y be of h e l p at T h e consistency of slip is c o n t r o l l e d
c o n e 3-8 : by the a m o u n t o[" w a t e r used in m i x -
On leather- On bone- ing the batch. T h e art p o t t e r will v a r y
hard body dry body it to suit his purpose, d e p e n d i n g on
Kaolin . . . . . 25%-65% 15%-25% the d e c o r a t i v e t e c h n i q u e used. A slip
Cornish stone 5-50 25-55 can be d e f l o c c u l a t e d to m a k e it thin
Flint . . . . . . . 0-45 20-50 or f l o c c u l a t e d to m a k e it thick, b u t
Ball clay . . . . I0 10 it is b e t t e r to a d d or s u b t r a c t w a t e r
Sodium for the desired consistency.
carbonate . . 1 1 T h e chief c o n t r o l l i n g factors for the
colors you can o b t a i n f r o m c o m m e r -
Also at cone 3-8. the s a m e ingre- cial stains are the glaze used a n d the
dients w o u l d v a r y as follows for use t e m p e r a t u r e to w h i c h it is fired. A
on bisque-fired w a r e : t h o r o u g h testing of clay, engobe colors
Kaolin . . . . . . . . . . . . . . . . 15c/c-25c¢
a n d glazes, in the p o t t e r ' s w o r k s h o p ,
Cornish stone . . . . . . . . . . 25-55 is the only reliable way of d e v e l o p i n g
Flint . . . . . . . . . . . . . . . . . 15-50 g o o d c o l o r e d engobes.
Ball clay . . . . . . . . . . . . . . . 10
F o r w o r k i n g up a g o o d p a l e t t e of
Sodimn carbonate . . . . . . . 1
engobes the f o l l o w i n g test is suggested.
parts S o m e suggestions for a d d i n g colors M a k e several 6 " x 10" tiles ~ - i n c h
24 to slips or engobes are g i v e n below. thick. P a i n t a n i n c h - w i d e b a n d of en-
16 N e a r l y all these colors are g o o d for gobe the full 10-inch l e n g t h of the
160 b o t h o x i d a t i o n a n d r e d u c t i o n firing: tile a n d r e p e a t w i t h e a c h color b e i n g
20% Red iron oxide--a good iron red. tested; the n u m b e r , n a m e or any
parts 25% Red iron oxide plus 5:~ mang,~- o t h e r i n f o r m a t i o n you wish to note
54 nese dioxide a brown-black. m a y be s c r a t c h e d t h r o u g h each b a n d
104 10:~ Manganese dioxide- brown. of color. A f t e r the tile is bisque fired.
14 40% Barnard clay brown (sinfilar to a p p l y various glazes in strips two
169 above). inches w i d e across the bands of sllp.
10% Black underglaze--bhle-black or E a c h glaze c a n be identified w i t h a
green-black. black u n d e r g l a z e pencil. W h e n the
10%
1% Black cobalt oxide--medium blue. tile has b e e n fired to the p r o p e r cone,
10
2% Black cobalt oxide plus 3 ~ red iron you will k n o w w h i c h colors will w o r k
20
oxlde--strong blue. a n d the s t r e n g t h w i t h w h i c h they will
30
2% Red iron oxide plus ~,c~. black co- show t h r o u g h glaze. S o m e glazes will
25
balt oxide plus ~/-'9~ green chromium be good o v e r s o m e colors while o t h e r
5
oxide--strong blue-green. colors will be c h a n g e d or destroyed by
the glaze. A very few glazes will be
I t is possible to a d d q u i t e a n u m b e r q u i t e g o o d w i t h all colors.
of colors to this list by using glaze S o m e of the f o l l o w i n g glazes m a y
stains p r o d u c e d by v a r i o u s m a n u f a c - w o r k well o v e r engobes:
turing companies which make ceramic
Glaze V. clear glossy, cone 8-10
colorants. F r o m 1 0 ~ to 2 0 ~ ; of a
parts
glaze stain is usually effective.
White lead ............ 116
T o p r e p a r e the engobes, first w e i g h Whiting . . . . . . . . . . . . . . . . . . 20
the dry i n g r e d i e n t s ; t h e n a d d t h e m to
Feldspar . . . . . . . . . . . . . . . . . . . . . 111
e n o u g h w a t e r to m a k e a c r e a m y sllp. Zinc oxide . . . . . . . . . . . . . . . . . . . 12
Stir this slip by h a n d ; screen the slip Ball clay . . . . . . . . . . . . . . . . . . . . . 21
first t h r o u g h a 30- or 4 0 - m e s h screen. Flint . . . . . . . . . . . . . . . . . 28
t h e n t h r o u g h a n 80- or 100-mesh
screen--perhaps twice t h r o u g h the Glaze A. clear glossy, cone 8-10
100-mesh. T h e process mixes the slip Feldspar . . . . . . . . . . . . . . . . . 25c~
well a n d m a k e s it s m o o t h , a n d this is Whiting . . . . . . . . . . . . . . . . . . 25
sufficient for an a r t potter. A slip can Kaolin . . . . . . . . . . . . . 20
be processed to a g r e a t e r extent. If the Flint . . . . . . . . . . . . . . . . . . 30
D m i x t u r e is p u t in a ball mill the result Glaze E, clear glossy, cone 8-10
will be v e r y satisfactory. Feldspal . . . . . . . . . . . . . . . . . . . . . 42%
8 I f ball clay s o m e t i m e s is used in the Whiting . . . . . . . . . . . . . . . . . . . . 13
recipe, it s h o u l d be m i x e d first w i t h Kaolin . . . . . . . . . . . . . . . . 18
w a t e r a n d s c r e e n e d to e l i m i n a t e sand Flint . . . . . . . . . . . . . . . . . . 27
0 and carbonaceous material. (Continued on page 34)
CERAMICS MONTHLY
y ou don't necessarily have to
carve with a knife or other
sharp tool to get the e f [ e c t of carving
in a decoration! A design in relief can
bc created with wax and a sponge.

Brush wax, in a design, on the sur-

face of a piece and give it a few
minutes to set: then rub the smface
with a wet sponge to wear flwav, lhe
clay background. The area covered
with wax will not, of course, be af-
fected by the sponging and, when the
work is done, the decoration will be
left standing out, as though the back-
ground had been carved away.

"Carving" by this method is less

painstaking and quicker than regular
carving. Moreover, it results In a
more spontaneous decoration because
a design executed with brush strokes
tends to be freer in effect and more
subtle than one done with a cutting
or carving tool.

T h e work should be done when the

piece is at an advanced leather-hard
stage but not yet dry. Perhaps the
better resist material to use for this
particular technique is paraffin be-
cause it will withstand rubbing with HOW TO GET A
a wet sponge longer than will other
masking devices. -

Heat the paraffin until it is very

hot, remove from the fire and use
immediately. T h e n clean the brush
CARVED EFFECT
right away with carbon-tetrachloride
so that all traces of wax are removed.

A wax-resist emulsion of the type

using wax and a sponge
used for decorating can be used in-
stead of paraffin, if desired, but it
will wear away more quickly under by MARY ELLIOTT
r u b b i n ~ p e r h a p s before the decora-
tion is as outstanding as you want it
to be. By watching carefully, however. :!2-i ;i~i~i~-ii~ ~! ¸
you can detect signs of the emulsion's
deterioration and make another appli-
cation of the material before sponging
futher.
When the sponging is finished, dry
the pot and bisque fire it (the wax
will burn off in the kiln). Then, the
choice of glaze is important for it
should enhance and not obliterate the
decoration. T o o viscous a glaze would
hide the design as would most of the
matt glazes because of the heavy
application required. For best reveal'-
ing the decoration, a semi-opaque
glaze that tends to break on edges or
to pool is perhaps the most success-
ful. Y O U C A N produce a raised decoration in pot. 2) With a wet sponge, wear away the
two steps. 1) Using wax like paint, brush background. The design will remain outstand-
Glazed and fired, relief decoration a design on the leather-hard surface of a ing as shown in the finished pbces above.
done by the wax-and-sponge method
is free and subtle in feeling. This e a s t
way of carving is a technique worti~
trying. •

MAY, 1957 25
 the
OWL
and the
PUSSYCAT
sculpture
that starts
on the wheel

by MARY KRETSINGER

ith a inininmnl of "extras"

W a d d e d , a wheel-thrown cylin-
der can be turned into a piece of
sculpture as shown in the photo se-
quences on the facing page.
I n each case the core or basic shape
was a cylinder. A f t e r this was thrown
on the wheel, such a p p e n d a g e s as feet
a n d wings were cut from a slab of
clay a n d fitted closely to the core.
Areas which needed building u p - -
the head of the cat, for example
were then filled in with small pellets
of clay a n d later m o d e l e d a n d smooth-
ed with a wooden tool. Surfaces were
embellished with pattern, in the form
of incised design a n d areas of color,
when tile clay h a d become leather
hard.
T h e walls of the cylinder for this
kind of sculpture need not be left
very thick in throwing: one-fourth to FINISHED SCULPTURE:
one-half inch is sufficient. Areas de- The owl and the cot
m a n d i n g a heavier wall (as in the were made from
case of the cat's chest) can be built wheel-thrown cylinders
up with slabs or pellets. with a minimum of
F o r the throwing, here, a body extras added to the
composition composed of 2 parts red- basic farms.

2b
 1 2 ;I

1. CAT: The basic form is a low cylinder 18 inches tall and I/4-inch up with small pellets of clay. 3. Yellow slip covers the cat. Lines
thick, thrown from heavily-grogged clay. 2. Slab shapes for chest, scratched through (sgraffito) expose the red clay underneath.
thighs, paws, etc. are fitted closely to the cylinder. Head is built Bands of other colors are brushed on.

firing clav a n d 1 part grog was used.
This s a m e clay was also used for the
slab parts. T h e slabs were p r e p a r e d
with great care, the clav being
thoroughly wedged to eliminate air
bubbles a n d rolled in several direc-
tions to reduce the chance of w a r p -
age during firing. Parts cut from the
slabs were a t t a c h e d to the cylinder
with slip m a d e from the same clay.
T w o different techniques were used
in making the incised patterns on the
sculpture. In the case of the cat. the
technique was sgraffito. T h e body was
coated with slip and lines were
scratched through the slip to reveal
the original red-clay color. Bands of
additional color (this can be colored
slips or underglazes/ were later brush-
ed onto the chest a n d other areas.
T h e p a t t e r n of feathers a n d other
markings on the owl were defined
bv the mishima technique. This means
that the lines were incised in the clay:
then the area was covered with a
contrasting-colored slip. W h e n leather
hard, the surface was lightly scraped,
leaving the lines filled with the slip.
O t h e r colors were then a d d e d bv
brushing slips (underglazes could be
used for the purpose/ on areas of the
surface.
T h e sculpture was bisque fired to
cone 08 and, since no underglazes
h a d been used. it was not necessary
to glaze the pieces. T h e y were simply
waxed to slightly darken the color
a n d give protection from d u s t - - a
kind of finish to which I a m partial.
W h e n glazing is desired there are.
however, two transparents (cone 06)
which give unusually fine resuhs. O n e
is merely a h a l f - a n d - h a l f mixture of
the body clay a n d lead c a r b o n a t e : the
other is composed of Frit 3 1 9 5 with a
small a m o u n t of red iron oxide a d d e d
to give a beautiful a m b e r tone. U n d e r
such glazes, the colors a n d values of
the slips are modified considerably.
W h a t e v e r the glazes a n d slips to be
used, it is always a good idea first to
run test tiles so that reactions can be
" p i n n e d d o w n " precisely. T h e n values
can be m o r e easily controlled a n d dis-
a p p o i n t i n g results avoided.
As can be seen, even in b l a c k - a n d -
white photographs, color a n d p a t t e r n
were introduced freely in the sculp-
ture shown. In designing the f o r m or
shape of a piece originally, however,
one must recognize a certain limita-
tion. It is best, for both aesthetic a n d
practical reasons, to plan the form
so that it will be completely self-con-
tained a n d require the a d d i t i o n of as
few parts as possible. T h e r e i n is the
key to a h a p p y ending. •
The author ackl~owledger with thank~
the assistance of Harold Bennett, a skill-
ful thrower and [ormer student, who threw
the basic shapes and aided generally in
the preparations of the demon~tration~
presented here.

4 5
1fi

4. OWL is built the same way as the cat. The 20-inch cylinder was smoothed with a rubber kidney and fool. 6. Mishima +echnlque--ln-
thrown in two parts which were stuck together. S. Slabs added cised lines filled with slip--is used to define feathers and further
for wings and head are attached firmly in place with sllp and then accent other markings on the owl.

MAY, 1957 27
 Bates: Enameling
Ceramic
Materials and Equipment
( C o n t i n u e d from page 17)
World's finest
TILES
For Decorating
SPECIAL PREPARED BODIES Superb English Tiles, bisque or glazed,
g a u g e does n o t arise. W e soon realize 6" x 6", they're perfect for pleasure . . .
Our business has been expanded to in- or profit.
clude all types of clay bodies--varied col- that, by increasing the counter
ALSO AVAILABLE
ors for s/ip-casflng, throwing and sculpture. e n a m e l , we c a n w o r k o n 2 2 - g a u g e , o r $ TRIVETS, black $ WOODEN
Cones 06 to 8 (art ware and stoneware). e v e n 2 4 - g a u g e , c o p p e r as well as o n iron, rubher-foot- FRAMES
Write for special clay sheet. ed, for 1 and 2 $ TILE BACKS a n d
16-gattge. tiles HANGERS
• WROUGHT IRON
OUR AIM IS QUALITY FRAMES
I have made large lnurals using
J A C K D. W O L F E C O . , I N C . sectional areas made from 22-gauge Write for FREE De.~cr~ptae
62 Horatio St. N.Y.C., N.Y. Price List No. C4
r o o f i n g c o p p e r . T h e s e in t u r n w e r e
( W A 4-6019) SORIANO
Wholesale and Refai: m o u n t e d o n p l y w o o d a n d , in fact, CERAMICS, INC.
w e r e m u c h m o r e easily b e n t i n t o Long Island City 5, N. Y.
s h a p e t h a n if I h a d u s e d 1 8 - g a u g e
copper.
Contact Trinity- F o r all p r a c t i c a l p u r p o s e s , let us say
t h a t 1 8 - g a u g e in e i t h e r f i n e silver o r
SPUN COPPER BOWLS, trays or cups.
Also--stamped circles or squares, plain
for Superior f i n e c o p p e r is s a t i s f a c t o r y f o r a s p u n
b o w l u p to 12 i n c h e s in d i a m e t e r . F o r
or slotted, for Belts and links. Also--card,
match or cigarette Boxes. The Old Viking
a free f o r m , I p r e f e r 16-gauge. I f a Shop, 1236 Delaware Street, Denver 4,
CERAMICand PORCELAIN m o r e g r a c e f u l or d e l i c a t e free f o r m Colorado.
s h a p e is r e q u i r e d , I w o u l d use m e t a l
CLAYS as t h i n as 2 0 - g a u g e , b e i n g sure to in-
crease the counter enamel. SEELEY'S CERAMIC SERVICE
Let us hell) you with your ceramic needs.
R e m e m b e r t h a t t h e d a n g e r of w a r p - We have a complete llne of school supplies
a g e is p r o p o r t i o n a l to t h e n u m b e r of and equipment : slips, clays, colors, kilns,
wheels, tools, brushes, sprayers, pens, and
firings r a t h e r t h a n t h e t e m p e r a t u r e of hooks. Free catalogues to schools and cer-
amic teachers: Ceramic-Molds Enameling.
a n y p a r t i c u l a r firing. T h e t h i n n e r t h e
g a u g e t h e m o r e p r e c a u t i o n is n e e d e d 7 ELM STREET, ONEONTA. NEW YORK
in s u b s e q u e n t firings.
ENAMELING KILN
Choice of Metal
No. 7033
LARGE W O R K I N G I t is c o m z n o n k n o w l e d g e t h a t t, very-
AREA one recognizes and appreciates the
12" x 11" x S" v a l u e a n d i n t r i n s i c b e a u t y of silver
FAST C O M E - U P more than copper. From ancient
TiME P. O. Box 1066 Jacksonville Beach, Fla.
OTHER SIZES for times, t h e c o l o r a n d q u a l i t i e s of g o l d
AMATEUR, PROFESSIONAL and h a v e m a d e it a d m i r e d o v e r all m e t a l s .
New -- from Re-Ward . . . Decor Glaze
INSTITUTIONS F o r this r e a s o n , it is p r e s u p p o s e d t h a t Dui-Mat Glaze Super-l-Stroke
Send for Details o b j e c t s m a d e of g o l d s h o u l d b e a Now available -- Re-Ward's handy Color
THE ELECTRIC H O T P A C K CO., INC. heavier gauge than those made from Chart. Contains 80 actual color chips.
5079 Cotfman St. Philadelphia 35, Po. silver or c o p p e r . T o d a y , h o w e v e r , s u c h NORWEST NOVELTY
a h a r d a n d fast rule is o u t m o d e d . 32840 Northwestern Hwy.
T h e size of t h e o b j e c t a n d t h e Farmington, Mich.
IMPORTED C H I N A SUPPLIES
a m o u n t of m e t a l e x p o s e d in r e l a t i o n
CORRESPONDENCE COURSES
to t h e c o l o r a n d q u a n t i t y of e n a m e l
Write for Free Catalogue are considered the bases for deciding
JAYDARH
A ceramic turquoise stone at cone 09
w h a t g a u g e of m e t a l to use. A m e t a l
C A M P A N A ART CO. of t o o t h i n a g a u g e i n r e l a t i o n m t h e
A self-glazing, one fire, vitreous body in pow-
der form. Excellent for jewelry or inlay. Will
442 N. Wells St., Dept. C, Chicago 10, III. take gold and enamel. Works like clay. Avail-
size of t h e a r t i c l e m a d e f r o m it, re- able also in avocado, chartreuse, blue-green
sults in a c h e a p a n d flimsy article. and white to be colored to suit. Write for
descriptive folder. 4 oz• $I•00, ]fiz lb. $1.50, 1 lb.
T h i s is t r u e of o t h e r m e t a l s as well as $2.50: check or money order. Add 15c p o s t a g e ,

Show T i m e gold. WILTON POTTERY, Sier Hill Rd., Wilton, Conn.

We'll see you in Asbury Park at our F i n e g o l d ( 2 4 - c a r a t ) is s o f t e r t h a n

ClAX,
sa~e booth in the center aisle in alloyed gold (18 or 14-carat) when
front of the stage. We'll be glad to
greet and say "Hello" to all our old
and new friends•
s n b j e c t e d to t e m p e r a t u r e s n e e d e d f o r
f u s i n g e n a m e l s . B e c a u s e of t h e soft-
o,,
Marc Bellaire ness of t h e f i n e r m e t a l s , a n d n o t f o r
• . . will be with us again June a e s t h e t i c reasons, t h e s e m e t a l s a r e II II 7s Madison
26-27-28-29 for classes. No one can u s e d i n h e a v i e r g a u g e s t h a n t h e alloys. Seattle 4, Wash,
afford to miss this renowned artist. T h e q u e s t i o n s of h o w thick, h o w
Inquire about reservations at our
booth. heavy, how massive, or how delicate
a metal should be cannot be answered
Jean Leonard
96-24 Corona Ave., Corona, L.I., rq.Y.
..... t h e y m u s t b e r e a l i z e d ( f e l t ) by t h e
a r t i s t as a n i n t e g r a l p a r t of t h e w h o l e
STONEWARE
Slip-Dry-Plastic
design. T h e a r t i s t h i m s e l f m u s t sense
s u c h t h i n g s r a t h e r t h a n rely o n " r u l e s " Data sheets on request
When writing to advertisers Rouse Engineering Co.
please mention CM w h i c h a r e t h e c o n v i c t i o n s of o t h e r
300 Third St. Trenton, N.J.
artists or teachers. •

28 CERAMICS MONTHLY
 uestlons
conducted by K E N S M I 1' Ii
~Ij|IB kw z |,'411A'~n I i | :q:lllll~ k~/HD!
Q. Is there something I can add to bottled underglaze to .-_. ' : ... ,: . . ..:..
prez,ent it Item rubbing off a/ter it is painted on green ware? YOU MAY P U R C H A S E THESE A T : Here's What One Customer Says a b o u t
I [ind that my underglaze will come off on my /ingers with only $1.95 for Paper Bound Copies our E n c y c l o p e d i a .
minor handling. $2 95 for DELUXEBook Binding I Your catalog & *'Bible" is getting more valuable to me
A d d 2 5 c f o r D a m e stic Paslage & Packing or I every day- Removed my first batch of tumbled stones
A. U n d e r g l a z e should n o t rub off, a n d as far as we know, 50c for A. P. O.'s, Foreign, or U. S. Territories. ] yeslerdoy and they turned out swell, thanks to your
the " s t a n d a r d b r a n d s " will not. T h e p r e p a r e d u n d e r g l a z e s con- - ts
Thts - a book of 240 PAGES 8/2 i x 11 , • l nstructons n he 'Bbe"
m .
size the equivalent of 480 r e g u l a r textbookl ,. D. Bushey, Bakersfield, Robt.
tain certain materials w h i c h m a k e t h e m quite t o u g h w h e n dry
so t h a t the p a i n t e d decoration c a n s t a n d a reasonable a m o u n t of
h a n d l i n g w i t h o u t s m e a r i n g or r u b b i n g off. Additions to the
underglaze should n o t be necessary.

Q. H o w does one go about marketing an original ceramic

design that might hare commercial ~'alue? I n [act, what is the
secret to success/ul marketing o[ hand-cra[ted ceramic wares in
general?
A. T h e question of m a r k e t i n g is one t h a t plagues even the
most experienced craftsman. As you m i g h t suspect, it is a s u b j e c t
t h a t c a n n o t be a d e q u a t e l y covered in a letter or in this c o l u m n .
U n f o r t u n a t e l y , issues of C M c o n t a i n i n g articles on this s u b j e c t
are out of print.
If back issues of C M are available to you, check F e b r u a r y
1953 for an article called "A Potter's M a r k e t s " ; also, a n article
contains all metal pacts needed to make complele ~"~*-~/ ~ J~ r~ ~ ~ ~
in F e b r u a r y 1954, " T h e Wholesale M a r k e t . " necklace and eecr ngs from stars n P-96. REGULAR ' ~ " / T ~ ~!~ T~J/~r~\ ff~\
Y o u m i g h t write to one of the large c r a f t s m a n ' s guilds such
NOW I f o r $ 3 . 2 5 * 3 f o r $ 7 . 2 5 * ~*. - ~ -~'~ ~ "~L~-~ ~ : /
as the A m e r i c a n C r a f t s m a n ' s C o u n c i l (29 W. 53rd St., N. Y. *Add IO'/. Fed.Tax to 5-193 ~)
City), or the L e a g u e of N e w H a m p s h i r e Arts a n d Crafts (205 California residents K9-33 P l e a s e add 4°,~ sales tax.
N. M a i n St., Concord, N . H . ) .

Q. Is the screen size or grind o[ an enamel [or copper

inzportant? Should different screen sizes be used [or different
techniques?
A. O u r e n a m e l i n g e x p e r t K a t h e Berl says: " T h e screen
size certainly is i m p o r t a n t ! I always use a n d work m o r e h a p p i l y
with a sixty-mesh grind. T o o fine a grind will clog up the screen;
it will get lost in the w a s h i n g a n d it h a s a t e n d e n c y to get d u l l - -
especially the o p a q u e colors.
BOOKS
" T o o coarse a grind is no good either. T h e grains e n d u p

45ti
too far a p a r t a n d give a sort of s a l t - a n d - p e p p e r effect. T h e r e is
no trouble with 60 m e s h . "

Q. Can you recommend a reliable procedure [or doing a

reduction /iring in an electric kihz?
A. R e d u c t i o n firing in a n electric kiln is a tricky p r o c e d u r e
O n e m e t h o d is to drop m o t h balls into the kiln at the proper
t e m p e r a t u r e for a certain l e n g t h of time. A n o t h e r is to work o u t
a m e t h o d for d r o p p i n g oil into the kiln one drop at a time.
to choose from
You would have to develop y o u r o w n procedure, based on a
series of trial-and-error tests.
Choice books, on ceramic subjects, are available through
A better m e t h o d would be to try a "local r e d u c t i o n " glaze.
the C E R A M I C S M O N T H L Y Book Department. All titles
By this technique, the r e d u c i n g a g e n t is i n t r o d u c e d into the glaze
have been carefully reviewed to assure the reader of
rather t h a n into the kiln a t m o s p h e r e . A n excellent article on this
the best in ceramic reading. All books are sold on o
subject, complete with recipes for glazes r a n g i n g f r o m cone 04
money back guarantee and C M pays all postage
to 10, a p p e a r e d in tke D e c e m b e r , 1953, issue of C M . Some
charges. Wrlfe for your FREE llsf of these 45 titles
copies of this n u m b e r are still available from the p u b l i s h e r (at
today!
sixty een ts].
CERAMICS MONTHLY
All subscriber inquiries are given ;ndividual attention at C M ; and, Book Department
out of the many received, those of general interest are selected 417S N. High St.
for answer in this column. Direct your inquiries t"o the Questions Columbus 14, Ohio
Editor: please enclose a stamped self-addressed envelope.

MAY, 1957 2~
 MOLDS
manufactured in
OHIO
Dealer inquiries invited.

Cramer Molds
20 years experience in mold making
746 Cherry St. Fosforla, Ohio

METALS OTHER THAN COPPER

We Enjoyed Seeing You At

Once in a while two people who pink of copper holds an advantage.
The Eastern Ceramic Show meet suit each other's needs so per- However, the drawback is that, to be
Send for Our Free Catalogue
fectly, and are so perfectly matched, relatively sure of getting good results,
that they know at once they will stay the enameling has to be finished iv_
THE LEHRHAUPTS together forever. T h e y are not al- one or two firings. If it is fired a third
1000 Wickapecko Drive, P.O. Box 345B ways of the same o p i n i o n - - o h n o - - time, the enamel can crack, or it can
Asbury Park, N.J. and they have their difficulties. But pull together and form small islands
that makes life interesting, and their on bare metal. T h e enamel also might
relationship is a very happy and con- peel off altogether and there is noth-
F O R S A L E : A new m o d e r n p o t t e r y on stant one. Such a couple is the Ing you can do but have a good
m a j o r U.S. Hwy. n e a r A t l a n t a , Ga. F u l l y
equipped, 20 cu. ft. A l p i n e kiln. A t t r a c t i v e
enameler and his copper. Copper cry. If you are still game, handle
m a s o n r y b u i l d i n g 1260 sq. ft. L a r g e lot. works just fine as we all know. If we gilders metal exactly like copper for
W o n d e r f u l o p p o r t u n i t y . O w n e r has o t h e r have difficulties--well, we'll get over enameling.
interests. R e a s o n a b l e price. W r i t e f o r de- them.
tails. F. P. Mullendore, P.O. Box 58, Silver
Bremen, Ga. People are also attracted sometimes,
I must say, to less steadv friendships. An enamel piece on silver can really
Such relationships start out magnifi- look like a jewel--shimmering, cleat-
cently, and are great fun. But, all of a and mellow. It would be such a plea-
sudden, it's all over and nothing can sure to work on silver if only it were
be done about it. Such a friend is less tricky. It does not obligingly get
gilders metal (an alloy of copper and red in the kiln, as does copper, to let
For Mosaics and Tile zinc/. The happiest enameling can you know that the enamel is mature.
ILLINI CERAMIC SERVICE come to a sad end. But, it was an in- iDh no! Silver stays whitish, and vot,
439 N. Wells, Chicago 10. III. teresting experience. have to watch the gloss of the enamel
Another type of friend, although a and quickly remove the piece from the
kiln when it matures. No interesting
Watermount Decals true and wonderful friend, has to be
handled with kid gloves. H e is touchy effects achieved from overfiring are
Decals of all Descripfio.s possible when working with sih'er.
• Dogs • Horses • Fish • Flowers - - h e can melt away from you. You
• Scenes • Fruit • Gold Letters • Prayers have to be careful with him. Silver When too hot, silver first gets out of
Illustrated Catalog SOc per copy is such a friend. shape, then collapses into an oddly
Mary Grohs Decals shaped wafer and finally melts into a
Still another type is the highly ex-
P.O. Box 34 West Orange, N.J. lump. All this occurs in a few seconds.
chtsive person. He can be so ~'er)'
erclusit'e that he does not want to If silver is given only a normal acid
have anything to do with you. No cleaning before heating, it turns a
NEWS FROM RODER
matter how hard you try to be friend- dark gray and presents a difficult
We are pleased to a n n o u n c e t h a t we h a v e
been a p p o i n t e d a d i s t r i b u t o r for D R A K E N - ly, he just pushes you away. But, polishing problem. So, I advise you to
F E L D glazes. These glazes a r e a v a i l a b l e
in both dry a n d liquid f o r m s . W r i t e f o r when properly approached, he can be boil the silver base in a sulphuri'c acid
details. solution (three parts water to one part
a precious f r i e n d - - o f true c o l o r - - a n d
Roder Ceramic Studio you can be together for precious acid) in either an enameled or pyrex
laal Race St., Philadelphia, Pennsylvania moments. T h a t ' s how it is with gold. container over a low flame. Genth-
(However, not all gold alloys can be boil until the silver turns dull and
enameled. ) white. If you follow this procedure,
Ceramic And Copper I hope you will understand that
your silver will not tarnish in the
kiln. However, if you do not care for
Enameling Supplies you will want to use only transparent
this annealing procedure, you need
enamels with the different metals
Wholesale-Retail mentioned below. Opaques do not
only acid clean your silver as far as
the enameling goes. But vou will have
care what's under them.
RE-WARD PERMA-STAIN trouble polishing it after" the enamel-
Distribufer D~sfrlbufor ing is finished.
Dealer Inquiries Dealer Inquiries Gilders Metal
I nvifed Invifed Never place silver in an acid bath
Gilders metal, an alloy consisting of that previously has been used for
the 95% copper and 5 ~ zinc, can give copper. If you do, you will find a
P O T T E I ~ g brilliant results when used as a base copper-plated piece. Fine surprise! A
for transparent enamels. In designs copper surface we can have m u c h
W X-I'wl-'w~- L where the bare metal shows, its gold cheaper.
Boston Post Rd. - - Westport, Conn. t o n e - - a more desirable color than the (Continued on page 32)

30 CERAMICS MONTHLY
 cMbriefs
Many hobbyists have prob-
a b l y t r i e d u s i n g a Flit g u n Bee Basch introduces . . .
[ [ |
f o r s p r a y i n g g l a z e s . It w o r k s S o m e t h i n g entirely N E W in the C e r a m i c s
H o me- M ade fine for b a c k g r o u n d s and Field at the E a s t e r n Ceramic S h o w
overspray but if you have
S p r a ye r pie,.es of a n y size or q u a n t i t y , Bib MOLDS FOR CREATIVE CERAMISTS
the hand-operated spray gun
Create your own shapes by com-
is a n y t h i n g b u t p r a c t i c a l . I
bining the following:
h a v e f o u n d a w a y , h o w e v e r , o f t u r n i n g a Flit g u n i n t o a
p o w e r s p r a y g u n w h i c h c a n be a t t a c h e d to a n a i r c o m p r e s s o r
u s e d f o r s p r a y i n g p a i n t . T h i s p i e c e o f e q u i p m e n t c o s t s al-
l n o s t n o t h i n g a n d is h i g h l y s a t i s f a c t o r y f o r a p p l y i n g g l a z e s ,
even coarsely strained glazes.
T r a n s f o r m i n g t h e Flit g u n r e q u i r e s o n l y t h r e e s i n g l e The plain piece Handles, feet, bases
c h a n g e s ( s e e s k e t c h ) . 1. R e m o v e t h e w o o d e n - p l u g a n d without a d o r n- --which change both
plunger-handle assembly from the rear of the sheet-metal ment the appearance and
cylinder; then cement a solid plug of wood into the opening the function
and, from the outside, hammer two tacks through the M r s . B a s e h will g i v e a s l i d e l e c t u r e a t
the workshop of the Eastern Ceramic
c y l i n d e r i n t o t h e p l u g to h o l d it t i g h t l y ( t h i s e n d m u s t be Show, Asbury Park, N.J. Saturday night,
reasonably airtight.) May 4th and Tuesday night, May 7th.
2. H o l d t h e g u n in o n e h a n d , in t h e s a m e p o s i t i o n a s
PODEZWA PATTERNS
it w o u l d be g r a s p e d in a c t u a l u s e . A t t h e p o i n t w h e r e y o u r
Something entirely New in the Decora-
t h u m b h a s r e s t e d o n t o p o f t h e c y l i n d e r , drill a ¼ - i n c h hole. tive Field
3. O n t h e b o t t o m o f t h e c y l i n d e r , d i r e c t l y u n d e r n e a t h A s e r i e s o f o r i g i n a l d e s i g n s to b e e x -
t h e f i r s t hole, drill a s e c o n d hole. I n t h i s o n e s o l d e r a t i r e - ecuted in glaze in one firing. Florence
v a l v e s t e m o r a s t a n d a r d b r a s s c o u p l i n g d e p e n d i n g on t h e Cox, N . J. d i s t r i b u t o r , will s h o w t h e s e
at her booth at the Eastern Ceramic
f i t t i n g w i t h w h i c h y o u r c o m p r e s s o r h o s e is p r o v i d e d . (I u s e d
Show.
a n old t i r e - v a l v e s t e m b e c a u s e t h e h o s e h a s a l i t t l e a d a p t e r Free literature available in August
u n i t f o r u s e in t i r e i n f l a t i n g . ) T h e s t e m o r c o u p l i n g s h o u l d
be l o c a t e d in s u c h a m a n n e r t h a t t h e a i r h o s e , w h e n c o n -
n e c t e d , will d r o p f r e e a n d c l e a r o f t h e h a n d h o l d i n g t h e g u n . Send for our
FREE Catalog!
70 Oak Tree Lane, Rumson, N.J.

-Z

N o w t h i s is t h e w a y to u s e t h e g u n . A t t a c h it to t h e
c o m p r e s s o r , h o l d it in t h e u s u a l p o s i t i o n , p l a c e y o u r t h u m b
o v e r t h e h o l e in t h e t o p o f t h e c y l i n d e r a n d s t a r t s p r a y i n g ;
to stop s p r a y i n g , s i m p l y r e m o v e y o u r t h u m b f r o m t h e hole.
This makes a control valve without equal. With little prac-
tice, t h e o p e r a t o r l e a r n s to f e a t h e r t h e c o n t r o l a c c o r d i n g to
the amount of heaviness of spray desired. And the valve,
h a v i n g no m e c h a n i c a l p a r t s to g e t o u t o f o r d e r , is f o o l p r o o f .
The capillary tube which projects from the gun into
the glass r e s e r v o i r is o f a m p l e size to a l l o w f a i r - s i z e d g l a z e
particles to p a s s t h r o u g h ( t h i s is a d i s t i n c t a d v a n t a g e w h e n
screening of the glaze hasn't been thorough enough). Exclusive fully enclosed, safe design -- no exposed mechanism
T h i s s i m p l e g u n , w h i c h c o s t m e l e s s t h a n a d o l l a r to Whether amateur or skilled artisan . . . you'll find the smooth motorized
c o n s t r u c t , h a s b e e n g i v i n g fine s e r v i c e f o r m o r e t h a n a y e a r . operation . . . ease of control in the BIG, all.steel precision built
MASTER POTTER'S WHEEL enables you to originate beautiful, dis-
It s h o u l d g i v e t h e h o b b y i s t o r o t h e r " o c c a s i o n a l " p o t t e r tinctive pottery excelling anything you've ever done before.
e m i n e n t s a t i s f a c t i o n , too, w h a t w i t h i t s l o w c o s t a n d a b i l i t y Massive steel construction completely encloses mechanism to exclude clay
and moisture . . . assures operator safety and provides vibration-free
to h a n d l e e v e n c o a r s e g l a z e m a t e r i a l s e a s i l y . - - R o s s W h e e l - performance. Other features ordinarily found only in expensive wheels
include: pre.lubrieated bronze bearings for quiet, long service, con-
ton, M e l b o u r n e , F l a . yen ent arm rests, adjustable wedging wire, large 18" thr')wing table
with plenty of working space and a removable water cup. 10" throwing
head has joggles for easy centering, underside reverses for casting
plaster bats.
You have complete hand freedom at all times . . . smooth instant
change of speed from 30 to 15'0 rpm is controlled by a foot pedal.
MAIL IT N O W ! Easy to use, even for handicapped persons. Use any V4 HP motor.
Standard 1./4 HP motor $16.9~ when purchased with Master Potter's
Wheel.
~ ~ . A three-cent stamp can bring you Floor Model. Item 47b, Wt. 90 lbs. Lists at
$175.00 Factory Price . . . . . . . . . . . . . . . . . . $89.95
$$$ if you send us an acceptable Bench Model, Item 47a. Wt. 45 lbs. Lists a~
g125.(m Factory Price . . . . . . . . . . . . . . . . . . . . ~
item. Send your bright ideas to
Ceramics Monthly, 4175 N. High St.,
10 DAY MONEY BACK GUARANTEE ,drw2rl~
Columbus 14, Ohio.
DEPT. 54-~ Burling~on, Wis.

MAY, 1957 31
 Grotell Decorates...
(Continued from page 18)
There's excitement
she be represented in the currently
traveling exhibition, C r a f t s m a n s h i p in
at Asbury Park a C h a n g i n g W o r l d , organized by the
new M u s e u m of C o n t e m p o r a r y Arts
in New York; m a n y potters who were
It's the Fifth Annual once her students also have works in
this show. Withal, she has f o u n d time,
Eastern Ceramic too, for serving frequently on juries
for craft exhibitions a n d fairs.
C r a n b r o o k A c a d e m y of A r t Gal-
Hobby Show of 1957! leries p u t on a o n e - m a n exhibition of
M a i j a Grotell's pottery in 1952. O n
t h a t occasion her life's work was
• See exciting displays of new ceramic s u m m e d u p expressively by Eva G a t -
ling w h o was then c u r a t o r of the
equipment & supplies • Watch leading
galleries :
teachers from all over the nation demonstrate "As one looks at the a m a z i n g
their techniques • Hear lectures by CM's variety a n d quality of her p r o d u c t i o n
one feels that she must have been born
John B. Kenny, famous author and ceramist
in a p o t shop a n d that she lives beside
• Inspect the work of other hobbyists in a kiln. H e r work . . . records a con-
stant a n d n e v e r - e n d i n g search for new
the competitive hobby exhibit
effects in color a n d in texture a n d an
extremely high s t a n d a r d of technical
Don't Miss it! May 4-9 excellence.
" T h e only quality in her work
which c a n n o t be seen by every visitor
Convention Hall ~ A s b u r y Park, N.J.
is the o v e r p o w e r i n g humility which
Hours: D a i l y - - 2 p.m. to 10 p.m. pervades h e r life a n d work, a humility
Sunday--2 p.m. to 7 p.m. with which only a genius could b e a r
Tickets available at the door to live. Yet it is this quality which
has forced her into so m a n y avenues
of e x p e r i m e n t a t i o n . . . a n d it is this
h u m i l i t y which leaves her believing
that each kiln as it is opened will have
something to teach her. I t is this c a m -
Enameler's Column
(Continued from page 30)
D o not use too heavy gauge silver
or your e n a m e l will chip. Even on
silver of the right gauge, the enamel
will chip if it is p u t on too heavily.
37 C O L O R SAMPLb.S GLASS OR TILE--S1.00
IMPORTED I T A L I A N CERAMIC TILE: All t r a n s p a r e n t blues, greens a n d yel-
sheels $1.45 to $5.00, I/2 sheafs 87c 1o $3.00, each 2c to 4c lows look splendid on silver. F l u x ap-
write for porticu[ars on glass and supplies.
pears a translucent white on silver but
m-m T lgl:llll INNI will turn a speckled brown after the
second fMng. T h e r e also is a special
silver flux on the market. A basic coat
I0 ALL OUR CERAMIC FRIENDS:
of this silver flux must be used u n d e r
I am looking forward to seeing you
at the Ceramic Shows. all reds, pinks, a n d purples to pre-
vent t h e m from t u r n i n g brown.
Our demonstrator Ida Stone will
be with me, look far us in the
Gold
"Garden State Ceramic" booth at
Asbury Park, and in the "Pyramid I f you strike it rich a n d w a n t to
Ceramic" booth in Chicago. try some e n a m e l i n g on gold, better
Be sure to stop by to see us. tell your d e a l e r your plans and let him
Rose Hart advise you. H e can tell you which
type of gold to use. T h e r e are m a n v
Hart Ceramic Supply shades of g o l d - - p i n k , green a n d yel'-
P.O. Box 920, 371 E. Beach Avenue l o w - - a c c o r d i n g to the type of alloy.
Inglewood, California
Some gold alloys just refuse to be
enameled. Although yellow gold
When writing to advertisers usually works, it is still better to ask
please mention CM your d e a l e r w h a t to use.
A n n e a l the gold before enameling.
32
bination of technical excellence a n d
eternal teachability which makes her
such an inspiring teacher." •
Maija Grotell Suggests . . .
Miss Grotell achieves extraordinary color
and texture effects by using one glaze on
top of another as shown in the foregoing
article. She has been kind enough to sug-
gest the following glazes [or C M reader~
who wish to try /or similar effects. She
cautions, however, that it is not so much
what a glaze contains as how it is used
that makes the difference; and this, she
feels, cannot be taught but must be learned
through experimentation.--Ed.
UNDERCOAT GLAZES
I. Cone 8-10
Albany Slip
II. Cone 9-10 Parts
Albany Sllp . . . . . . . . . . . . . . . 54.0
Feldspar . . . . . . . . . . . . . . . . . 39.2
Zinc Oxide . . . . . . . . . . . . . . . 4.6
Bentonite . . . . . . . . . . . . 1.8
Red Iron Oxide . . . . . . . . . . . 4.7
TOP-COAT GLAZES
I. Cone 8-9 Parts
Feldspar . . . . . . . . . . . . . . . . . . . 42
Flint . . . . . . . . . . . . . . . . . . . . . . 27
Ball Clay . . . . . . . . . . . . . . . 13
Whiting . . . . . . . . . . . . . . . 18
II. Cone 8-9 Parts
Feldspar . . . . . . . . . . . . . . . . 40
Flint . . . . . . . . . . . . . . . 30
Whiting . . . . . . . . . . . . . . . . . . 30
Ball Clay . . . . . . . . . . . . . . . . . 20
Zinc Oxide . . . . . . . . . . . . . . 10
Tin Oxide . . . . . . . . . . . . . . 10
III. Cone 8-9 Parts
Feldspar . . . . . . . . . . . . . . . . . 40
Cornwall Stone . . . . . . . . . . . . . 20
Whiting . . . . . . . . . . . . . . . . . . 20
Ball Clay . . . . . . . . . . . . . . . . . . . 20
Zinc Oxide ............ 3
Should it get black in the kiln after
annealing, the black can be easily re-
m o v e d by rubbing with baking soda
before the piece goes back in the kiln.
Colors look stunning on gold. And,
if you have the right alloy, they are
not t e m p e r a m e n t a l . Silver flux, when
used on gold, a p p e a r s whitish. But
the p u r e r the gold, the more golden
the flux. Reds are supposed to work
directly on gold, a n d I have been very
lucky with them. But remember the
words s u p p o s e d to and lucky. I t might
be better to play safe and have a basic
coat of flux u n d e r n e a t h all your reds.
Should you consider enameling a
cast piece of gold, forget it before yot~
start. N o t h i n g good will come of it.
Life can be beautiful without enamel
on gold c a s t i n g s - - o r any castings for
that matter.
E n a m e l over gold and silver really
looks elegant and precious and is
w o r t h every bit of trouble and monev
you have to spend on it. It is distinct-
ly different from the appearance of
e n a m e l on gold or silver foil. As much
as I like foils, foil under enamel al-
ways reminds me slightly of the tin-
foil used to w r a p candies. •
CERAMICS MONTHLY
 people, places
AMONG OUR AUTHORS:
• Kenneth Bates has two loves--enameling
and gardening. And he takes them seriously
--writing, lecturing and winning many a w a r d s
in both fields. This love of horticulture ex-
plains the predominance of growing things
in his enamelwork. For him, nature is the
"only" source for creative thinking and de-
sign.
No small factor in Cleveland's reputation
as a contemporary art enameling center,
Mr. Bates recently completed his 30th year
as a teacher of design at the Cleveland In-
stliute of Art. He lives in Euclid, a suburb
of Cleveland, with h~s wife--their three
children are grown and away from home. He
has a model studio there where a great
deal of his prize-wlnnlng work is accomplished.
Kenneth Bates once said, "Unless at the
age of fifty, a craftsman is more inspired,
more excited with the newness of his craft
and the possibilities of experimentation in
that medium than he was at 2S, if has been
a useless struggle."
It is obvious that his career has been no
useless struggle. In I%1, his (now well-known)
book, "Enameling Principles and Practice,"
was published-- the first to appear on the
subject in fifty years. The book now is in its
fifth edition. Kenneth Bates' enamels are
represented in 13 museums and numerous
private collections.
Although he has several favorites among
his enamels, he states that he has yet to
make the piece which he prefers above all
the others.
• Henry Bollman had his first taste of
ceramics during his college days at Harvard.
"If was because the lectures in Greek art
came at a convenient fime of the day, that
I found myself with a fair knowledge of the
ceramics of ancient Greece." Proud possessor
of a keen sense of humor and aiways ready
with a quip, he adds "1 was particular-
ly interested in the Greek vases in which the
satyrs pursue maidens round and round in
most interesting ways--and now and then
pursue each other."
Mr. Bollman became interested in pottery
again in 1945, when illness forced him to
take a long rest. This time he actually got
his hands covered with clay and he com-
ments happily "I haven't gotten it off since!"
He opened his own studio-by-the-sea in East
Gloucester, Mass. Here he makes pottery
and mosaics--in recent months, most of his
efforts have gone into file tables.
• When the officials of Cranbrook Institu-
tions, Bloomfield Hills, Michigan, were Iook-
ing for a public relations director in 19SB
they did not have to go far afield. Their
neighbor, Marian Halden Bemis, professional
writer and former art editor far the Detroit
MAY, 1%7
& things
Free Press, who has lived an a farm four
miles from Cranbrook for almost a quarter • NEW Complete Listing of Over
of a century, jumped at the chance. Mrs. 100 Copper Enamel Colors.
Bemis likes her work at Cranbrook tremen- • NEW Copper Shapes
dously, she reporfs~ "because of the un- • NEW Accessories and Tools
equaled surroundings (300 beautifully land-
• NEW Larger Selection of RHINE-
scaped acres), the great variety of things STONES for Ceramic Decoration
to write about, and the quality of faculty and
u NEW Bolo Cords and Findings
students in the institutions." Maiia Grotell
about whom Mrs. Bemis writes in this issue • NEW Step by Step Copper Enam-
eling Home Study Course, Now
teaches at the Cranbrook Academy of Art, available. Written by Top Enam-
one of the six Cranbrook institutions. eling T e a c h e r - - M a r i o n Colston.
Send NOW for FREE folder.
GREAT LAKES • NEW SUPPLEMENT-~2 NOW READY
HOBBY EXHIBITION
The Great Lakes Ceramic Hobby Exhibi- Sent with Enameling & Jewelry Supply
tion (Conrad Hilton Hotel, Chicago, May Catalogue ~ 6 97 pages in all--send
26-30) is featuring a new idea this year. In 25c to cover handling. ~ ~
addition to the usual dealer exhibits and the
hobby competition, will be a comprehensive
Department CMA
program of instruction. Not only witl there
be large scale demonstrations, but also small
classes on every phase of making and decor-
ating ceramic ware.
Participating in this program are twenty- I 300 S. W. 17}h Avenue, Miami, Florida
five well-known teachers. Included will be
the four Ceramics Monthly regulars pictured ff f f f f
below.
STUDIOS!
If you want to LEAD
FOLLOW TRENDS
by
CREEK-TURN
FIRST with
Jumbo Lighters & Inserts
FIRST with
Swivel Pens & Molds
CM regulars participating in the Great Lakes now ANOTHER FIRST with
Show are I. to r. Zena Hoist, Marc Bellaire, PEPPERMILLS & MOLDS
John Kenny and Edris Eckhardt.
Be o u r D I S T R I B U T O R
The special classes are scheduled to run
from 8:00 AM to I:00 PM from Monday
Be o u r D E A L E R
through Thursday.
Arthur Higgs, the managing director of Get the FEEL of being
the Exhibition, informs us that these classes FIRST with
are being made available in response to
many requests for opportunities to work
closer with the various experts. There will
CREEK-TURN
be a nominal fee far registration at these
classes. For full details, write to Mr. Higgs
PRODUCTS
Hainesport, New Jersey
at 414 N. Jefferson, Bay City, Michigan.
(Continued on page 34)
33
 MOLD KIT FOR MOSAICTILES Strictly Stoneware Ceram-Activities
(complete work;rig equipment) ( C o n t i n u e d /ram page 24) ( C o n t i n u e d /ram page 33)
Pouring Mold Size #1--3.,~ x 3~ in.
(holds 64 tiles) AN IMPORTANT MEETING: "craftsmen To-
Adhesives--Nippers--Tweezers--Grout Matt 22, c o n e 8 - 1 0
Full Instructions--Pouring--Cutting-- day" will be the over-all theme of the First
parts
Glazing and Application Annual Conference of American Craftsmen to
Feldspar .................. 84.2
$6.50 post paid (east of Mississippi) be held June 12-14 af Asilomar, Monterey
Flint ....................... 54.4
M A N Y NEW MODERN MOLDS Peninsula, Calif. The conference is being held
Clay ........................ 20.0
First Time Shown at A s b - r y Park Show to give those seriously ~nferesfed in crafts a
Whiting ................. 35.4
FREE FOLDERS NEW NUMBERS-- Basic understanding of the place of the
CATALOG 25c M a g n e s i u m m a t t , c o n e 9-11 craftsman in contemporary society. Profes-
sional craftsmen from this country and
Ruth Denlce Laue,, Inc. Feldspar . . . . . . . . . . . . . . 41%
Colemanite ................. 12 abroad will lead discussions. Among the well-
145-04 Jamaica Ave. Jamaica 35, N.Y. Dolomite ................ 7 known craftsmen taking part in the three-
Talc ...................... 15 day meeting will be F. Carlton Ball, Daniel
Ball c l a y . . . . . . . . . . . . . . . . . . . . 5 Rhodes, Marguerite Wildenhain, Virgil Can-
Flint ...................... 20 tinl, Antonio Priefo, Peter Voulkos, and Edrls
Eckhardf.
S a t i n m a t t , c o n e 7-9 Each day of the conference, a different
parts aspect of the main theme will be treated.
Feldspar .................. 56.1 "The Soeio-Economic Outlook" will be the
N e p h e l i n e syenite . . . . . . . . . . . 15.4 topic of the first day's discussion, which will
Whiting ..................... 13.3 revolve around the evolution of all aspects
Kaolin ...................... 8.6 of craftsmanship in our technological a g e - -
Barium carbonate ........... 6.6 its relation to art, to the needs of men, to
philosophy, and to industry.
Bright transparent glazes allow Geared fo highlight new avenues of ap-
colors to show well but in general proach and experimentation, the second day
look gawdy and are hard to use for will be given to discussion of "Design: Its
good artistic pottery. The matt glazes, importance and its relation to techniques."
allowing the engobe colors to bleed "Professional practices" will be the final
N E W 81/: " x 11" M o n t h l y M a g a z i n e through or show through, usually give topic for discussion. This topic will include
The C H I N A DECORATOR an excellent effect which can be used the entire range of problems confronting the
"Keramic Studio" style, designs, articles
for China Decorating. Beginners; Advanced; easily for producing good pottery. • professional craftsman in the distribution of
Studios. Designs by best artists all deco- his production, including ethics and philos-
rating methods. Studio discounts. Adver-
i s i n g bringing wonderful results. $3.75 yr. ophy in relation to business.
$7.00 two yr. Also CHINA P A I N T I N G
BOOK $4.25.
Stoneware Questionnaire Further information about the conference
N E T T I E E. P I L L E T
~41 Barrows Crt. Pasadena, California. may Be obtained from the American Crafts-
• I love salt-glazed pottery. I have heard
t h a t y o u s h o u l d n o t t r y to salt g l a z e in a
men's Council, 29 West 53rd St., N.Y.C.
r e g u l a r kiln. I s this r i g h t ? C a n y o u salt
g l a z e in a n e l e c t r i c kiln if it is u s e d o n l y
CONTEMPORARY CRAFTS: By an intimate
CERAMICS for that purpose? Would you write about manner of display (see photo), the Midland
I' I n s t r u c t i o n s , supplies, Ceramic and 4
b China Firing, finished and greenware 4 t h e s a l t - g l a z i n g p r o c e d u r e ? - - M R S . A.W.W., (Mich.) Art Association sought to avoid the
~. DISTRIBUTOR 4A DENVER, COLO.
R E - W A R D A N D D O B E GLO
I like salt glazed pots too, a n d I like
HAZEL HURLEY STUDIO your question [or it is one that is asked
F 1 8 0 3 Prince St.. Downers Grove, Ill. 1
most often and needs a clear and e m p h a t i c
l'hone \Voodhtnd 8-0719 4
reply.
Salt glazing is good only at cones 3 to
lO, so low temperatures are not worth con-
FREE ~o Teachers! sidering. Salt glazing, because of its de-
Send for leaflet on complete set-ups for structive results, m u s t be done in a
art and ceramic supplies. Please mention s p e c i a l l y c o n s t r u c t e d kiln. Salt glazes every
grades you teach. inch of the inside o[ a kiln and all cracks
Headquarters for complete llne of ce- in the brick, seeming to dissolve the brick.
ramlc and art supplies for schools. S o m e insulation brick turns to b r o w n glass.
Buffalo Ceramic & Art Supply Center Fire brick m a y turn to a celadon glaze.
437 M Franklin St., Buffalo 2, New York Silicon carbide kiln f u r n i t u r e boils and
destroys pots set on it in a salt glazing.
Only a kiln fired with gas, oil, coal or
w o o d will work /or salt glazing. A salt kiln
in a building is disastrous. T h e sodium
Model Ceramics
MANUFACTURERS OF:
vapors always get into the room, corroding
metal a n d destroying expensive fixtures.
Pottery fired to a cone 08 bisque in a
salt kiln is affected enough by the revoli- feeling of separating works of art from its
Kilns tization o~ sodium [ram the kiln walls to
ruin the surface o[ the pots [or any ordi-
enioymenf by the viewers. The travelling
show, "Craftsmanship in a Changing World,"
Clay nary glaze application, so you should not
put salt into your kiln or even y o u r clay. attracted craft and ceramic classes from
distant parts of the state.
Slip I n other words, salt glazing is a very
special process to be carried on in a special
kiln. I t is difficult to control and standard- CLOSED FOR ALTERATIONS: On April 1,
Write for Catalog--Wholesale & Retail ize and there are no ways to suecess[ully the Cleveland Museum of Art was temporar-
764 N. M A I N ST. AKRON, O H I O improvise or substitute a type o[ potter), ily closed in order to complete a new multi-
kiln [or a salt glazing kiln.
Re-Ward Distributor A t some [uture date I hope to write a- milllon-dol[ar wing and adapt certain parts
bout salt glazing in detail.--F.C.B. ( C o n t i n u e d on page 36)

34 CERAMICS MONTHLY
 OVERGLAZE
the Hoist Notebook
4" I decorated a large vase with luster and
alter it was fired there were areas that
looked as though they had been covered
with white powder. This powder rubbed
off leaving no luster u:zderneath. Did I
overfire ?
No! The luster had been applied
too heavily in the areas that rubbed
off. When doing a large object it is
advisable to pour the luster into a
small flat dish so the brush can be
filled more evenly. Although patting
luster with a silk pad removes much
of the iridescent quality it is easier to
get an even and smoother application
on large objects by lightly patting. A
second application and firing will en-
hance the beauty and eliminate the
danger of heavy spots that will rub
off.
,!1, I n a naturalistic painting o[ large roses
done in several colors, from white to dark-
est red, the white rose looked dull in
comparison to the dark colors a[ter the
last firing. 1 had done considerable dry
dusting with the mineral colors to intensi[y
the darkest shades and these were very
glossy. Is there a remedy [or the white
rose?
Yes. Use colorless transparent
(often called "white") glaze. This is
in powdered form and made specific-
ally for producing a gloss finish. It is
not a glaze like that used for glazing
bisque ware. Brush china painting-
medium over the areas that need more
gloss. Pat the medium smoothly with
a silk pad and allow to dry thorough-
ly - - until it looks dull. This m a y
take several hours or over night. If
the medium is still wet looking it will
not receive the glaze powder smooth-
ly and will give a mottled finish. Pour
some powdered glaze on a glass grind-
ing palette and grind the powder with
a palette knife until very smooth and
not grainy; then dust and spread
over the areas of the dry medium (the
medium will hold a very light a m o u n t
of the glaze, enough for the gloss
finish). T h e powder may be applied
with either a small piece of soft cot-
ton or a camel-hair brush. After allow-
ing the powder to fall on the area to
be covered, push the powder around
until the medium holds all it will re-
tain. Be careful to do the dusting with
light pressure so as not to scratch the
surface of the medium. Brush off
'.'bY ~95 ~
PAGE
by ZENA HOLST
rfirr
surplus powder with a large badger
blender brush or clean cotton. Make
certain to remove all loose granules.
EXTRA RING
If only the white rose needs glaz- $3.50 VALUE
ing you might use the light-lvory- FREE w i t h purchase of a m a z i n g , e a s y - t o -
use test kiln for o n l y $ 1 9 . 9 5 . . . ~ n e x t r a
colored glaze instead of the colorless test ring, w o r t h $ 3 . 5 0 . F R E E test ring
to overcome the dead whiteness of affords e x p a n d e d size, permits l a r g e r ob-
the china showing in the rose. T h e jects i n 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 &
glazes referred to here come in sev- money . . . ideal for m e d i u m pieces,
j e w e l r y , e t c . M a i l ad w i t h check or m o n e y
eral colors but some of them will eat order for $ 1 9 . 9 5 . . . F R E E t e s t r i n g w i l l
up other colors in a painting. When be i n c l u d e d i n s h i p m e n t . Offer Limited.
used in proper places, colored glazes SPECIFICATIONS: Kanthal A1 Element--
add m u c h brilliance to dark colors in Babcock-Wilcox Fire Brick -- Interior:
a naturalistic painting. Ivory glaze 6 x 6 x 4~ in.--12 Amp--Cone 04 i n 1/~
tends to soften effects where consider- hour, C o n e 9 i n 1 horn'.
able yellow, browns and greens have
been used. Lavender glaze gives a United Artist Materials Co.
ARTISTS, DRAFTING AND DISPLAY
slightly violet tone and adds richness PRODUCTS
to blues, purples and grays. Use blue Opposite Museum of Modern Art
glaze over pure blues, pink over rose 32 West 53rd St.. New York 19, N.Y.
and ruby, red over reds, green over
dark greens, and yellow over strong
yellows. T h e glaze colors are quite
light tints but when more than one
is to be used in the painting begin
with the lightest one. After the light-
est area has received all the glaze it
will hold it will not be receptive to
a darker powder. G l a z e s are u s e d o n l y
f o r t h e last f i r i n g : they contain a good
deal of flux and mineral colors can-
not be painted over them.
•1' I[ a student o/ china painting is very
allergic to turpentine what can she use for
cleaning brushes and palette?
Use pure denatured alcohol for
cleansing purposes. If the china-paint-
ing m e d i u m being used is heavy in FREE copy of the latest
consistency and turpentine is being
used in the brush for painting pur- CRAFTOOLS CATALOG of
poses (as is sometimes necessary es- ceramic equipment and tools.
pecially when the medium contains fat CRAFTOOLS, Inc.
oil), then change to a lighter-medium Dept. CM, 401 B r o a d w a y , New York 13, N . Y.
mixture of the essential oils (one with-
out fat oil). After cleansing the brush
each time you change from one color
to another, you can keep it well oiled
with the m e d i u m for smoother paint-
ing if you use the right medium.
Alcohol evaporates fast and you
should not dip into it while painting
or use it for thinning the paints as one
might use turpentine. It is better to
have a small flat container of oil of
lavender h a n d y for oiling the brush
after each cleansing with alcohol.
35
 Itinerary
CERAMASTONE (Continued lrom page 10)
JEWELRY MIX A Self-Glazlng Clay
Mix With Water--Fire A t Cone 06
Turquoise, Dark Blue, Chartreuse, Gun- O H I O , CUYAHOGA FALLS
metal, White, Beige Pink, Purple, Spring May 17-19
Yellow & Brawn Ohio District Ceramic & H o b b y Show
I/2-1b. portion--S1.00; instructions included at the Chesterfield Hotel Inn. May, 1957
NEW--Handbook of Jewelry Making E~
Design featuring CERAMASTONE--$1.0$ O I IIO, rI'oLE, DO
SPECIAL--Handbook Free With $5.00 B & I Mfg. Co . . . . . 2
Order. Please Specify Colors. May 5-May 96 Basch, Bee, Designs 31
(Postpaid Cont. U.S.--Colo. Res. odd 2°/~ 39th A n n u a l Exhibition of Toledo Area
Artists, sponsored by the Toledo Feder- Bergen Arts & Crafts . 33
Se!es Tax)
ation of Art Societies. at the Toledo Buffalo Ceramic & Art Supply Center 34
The Pottery Workshop M u s e u m of Art. Campana Art C o . . . 28
CHIPITA PARK, C O L O R A D O PENNSYLVANIA, PItlLAI)ELPHIA Ceramichrome Laboratories 7
May 17-June 9 Copper Shop, the 35
" T r e n d s in Philadelphia Sculpture" ex- Craftools, Inc. 35
hibition sponsored by the Philadelphia Cramer Molds 30
Art Alliance, 251 South Eighteenth St. Creek-Turn Pottery 33
~VAStIINGTON, SEATTLE Detroit Fabricating Corp. 12
M a y 1 - M a y 22 Drakenfe/d . . . . . . . . 11
" A m e r i c a n Jewelry and Related Ob- Duncan Ceramic Products e;
jects." Smithsonian Institution Traveling Electric Hotpack Co., Inc. 28
Exhibit at Seattle Historical Society. Galaxy ......... 28
G r e a t Lakes Exposition Cover 2
Ceram-Activities Grieger's Inc . . . . . . . 29
(Continued from page 34) Grohs, Mary, Decals . . . . 30
Harrison, the Kay, Studios 10
of the present building for future use. Harrop Ceramic Service Co. 3
The Mu:eum's M a y Show v.,i!l be held ;r
ADHESIOLYTE the old Art School on Juniper Road from
Hart Ceramic Supply . 32
n e w apoxy adhesive Holland Mold Shop 2
Cernmio to metal--Cer~mic to w o o d May 15 through June 23.
$1.25 for 30 grams (25c for small sample) House of Ceramics 9
If is estimated that the Museum and the Hurley, Hazel, Studio 34
Jewelry Molds--Beffer Findings
new wing will be opened early in 1958. Illlni Ceramic Service 2. 30
PATTYPRINT POTTERY
14826 CharJevoix Detroit 15, Mich SUMMER CRAFT V A C A T I O N S Kiln-Card ........... 28
The Society of Vermont Craftsmen is spon Klopfensfein, H. B. & Sons 12
sarong courses in pottery, copper enameling L. & L. Mfg. Co . . . . . 5
and o~her crafts July 8-Aug. 30 a,~ Fletcher Lauer, Ruth Denice~ Inc. 34
Farm Craft School, Ludlow, Vt. Each course Lehrhaupts, the . 30
will be hen Monday through Frlda/ for c Leonard, Jean 28
two-week period. Write Mrs. Leona Pherps, Mason instrument Co. 34
Soeie~y of Vermont Cralf:men, Dept. 3 Master Mechanic Mfg. Co. 31
Br~sdol, Vt, for details. Mayco Colors 12
Model Ceramics . 34
Crafts at Gafllnburg: Kenneth F. Bates of Mullendore, F.P. 30
Cleveland is scheduled to teach enameling Norwesf Novelty 28
4fh • n n u • l again this summer at the Craft Workshop at Old Viking Shop 28

York State Craft Fair Gaflinburg, Tennessee. The annual evenP,

sponsored by Pi Beta Phi School and the
Orlon, Ed. Jr. Foundation
Paffyprint Pottery
11
36
August 22-23-24, 1957 University of Tennessee and offering courses Pillef, Neffle E. 34
Ithaca College, Ithaca, New York in pottery, enameling, metalwork, jewelry and Potters Wheel 32
Films • Demonstrations • Exhibits other crafts, is to be held June ]0-July 13. Potter's Wheel, the 30
Among others on the staff are Barbara Mc- Pottery Workshop, the 36
Donald (pottery) and C. Jane Glass (jewel- Re-Ward . . . . . . . . . . . . . . . . . 1
ry and metalwork}. For details, write Pi Roder Ceramic Studio 30
Beta Phi School, Gafllnburg. Rouse Engineering Co. 28
Craft Students League of the Y.W.C.A., 140 Rovln Ceramics . . . . . 7
The following back issues of Ceramics W. 22nd St., New York City, will sponsor Schmld, Ludwig, Molds 7
M o n t h l y are still available at s i x t y c e n t s Seeley's Ceramic Service 28
per copy (Ohio residents add 3% sales cour:es ;n crofts, including ceramics and
tax). We pay postage. enameling, June 3-28. Classes will meet twice Soriano Ceramics, Inc. .. 28
1953 a week for three hours. For more informa,qon, Tepping Studio Supply Co, 36
July, August, October, December
1954 contact the Y.W.C.A. Thompson, Thomas C., Co. 8
February, March, July, August, Sep- Trinity Ceramic Supply . 28
tember, November, December
1955 Haystack Mountain School of Crafts is feat- United Artist Materials Co. 35
March, May, July, August, October, uring three week courses in ceramlcs from Wilton Pottery . . . . . . . 28
November, December
1956 July l-August 31. Teachers of ceramics will Wolfe, Jack D., Ca. Inc. 28
May, June, July, August, October, by Svea Kllne and Phil Ward, July 1-20: York State Craft Fair 36
December
1957 Hal Riegger, July 22-Aug. 10: Toshiko Taka-
January, February, March, April ezu, Aug. 12-31. Additional information about
Please send remittance (check or m o n e y
erder) with list o£ back issues desired. tuition and courses may be obtained from
CBRAMICS MONTHLY Francis S. Merriff, Director, Haystack Moun-
4175 N . H i g h 8 t . C o l u m b u s , Ohio
tain School of Crafts, Liberty, Maine.

36 CERAMICS MONTHLY
 i

Still in the national

E spotlight!

The CM Handbook On

Copper Enameling.
Now in Its 2n~yinting

64 Pages of Instruction* Over 200 Illustrations* Completely Indexed* 81/2 x 11 Format

The a r t i c l e s on copper e n a m e l i n g by J e a n O ' H a r a s t u d e n t s . T h e s t e p - b y - s t e p p r o j e c t s in t h i s v o l u m e m a k e
and by J o R e b e r t a p p e a r i n g in CM since J u n e 1954 h a v e it a n excellent w o r k i n g h a n d b o o k ; t h e t e x t a n d d e t a i l e d
been p r o c l a i m e d t h e best in basic i n s t r u c t i o n . T w e n t y - index m a k e it a v a l u a b l e source of r e f e r e n c e .
one of t h e s e articles, r e p r e s e n t i n g basic f u n d a m e n t a l s as
CONTENTS
well as i l l u s t r a t e d how-to-do-its on j e w e l r y , h a v e now
been c o m b i n e d in book form a n d c a r e f u l l y indexed. L e t ' s Get S t a r t e d Copper-Wire Accents
Tools a n d E q u i p m e n t F i t t e d Necklaces
The p u b l i s h e r s are p r o u d to p r e s e n t this material
All A b o u t t h e E n a m e l s W i r e l e s s Cloisonne
under one cover as a service to t e a c h e r s , h o b b y i s t s , a n d
Sift-and-Stencil Method Jewels from Broken Glass
Wet-Inlay Method J e w e l s P l u s Foil
Gold a n d Silver Foil P l a q u e s for C o m p a c t s
CERAMICS M O N T H L Y BOOK D E P T . How to Get Special Effects Mobile E a r r i n g s
4175 N. H I G H ST., C O L U M B U S , O H I O D e f e c t s - - C a u s e s a n d Cures S i m p l e Link B r a c e l e t s
D e s i g n i n g w i t h Bits of Foil 3-D B r a c e l e t s
Please send me . . . . . . copies of the C O P P E R ENAMELING
Handbook @ $2 per copy. (CM p a y s p o s t a g e ) . M o d e r n Cloisonne Pieces Make L a r g e P l a q u e s
Lines for D e s i g n s Index
NAME

ADDRESS

~
CITY ZN
Residents: add 6c Sales T a x per copy.
STATE
oRDER TODAY
ose [] Cheek [] Money order . . . . . . . . . . . . . . . . Other

~i Dealers Write for Information

 NOW AVAILABLE?...
a CM handbook on
UNDERGLAZE
DECORATION ..~V

Here is the book everyone has been asking for! Marc

Bellaire shows how he creates exciting underglaze decora-
tions.
Using the same step-by-step photo technique shown
each month in Ceramics Monthly, Marc Bellaire creates a
wide variety of motifs before your eyes. The book contains
basic information on underglazes, tools and materials, pre-
paring green ware, glazing, firing, defects and cures,
basic brush strokes, backgrounds, etc., as well as specific
motifs including Human Figures, Animals, Birds, Fruit,
Abstracts, Repeat Motifs, Commemoratives, Holidays, Spec-
ial Techniques, and many more. Loaded with brand new J

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. Immediately Available. Your per-
sonal copy by return mail!
DEALER INQUIRIES INVITED.
64 PAGES PROFUSELY ILLUSTRATED FULL.SIZE FORMAT (8'/2 x 1 1 " ]
PRICE only $3

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C E R A M I C S M O N T H L Y BOOK D E P T .
.1175 N. H i g h St., Columbus, Ohio

Please send me . . . . . . copies of t h e N E W CM H A N D B O O K ON

UNDERGLAZE DECORATION (0~ $3 per copy. (CM pays the
I,OSta~ze).

Nnme

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City Zn. State

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I enclose [ ] Check [ ] Money order