OVER-THE-SUMMER ISSUE JUNE 1962.

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

MINXIE MOLD M-113

copyrighted
LIST PRICE, with base, $25.00
Tree height, with base, 18". Tree mold
is two pieces. Base mold is also two
pTeces. Mold weight, tree and base,
SO Ibs. dry.

The Tree in O r b i t is a ceramic

decorator's dream to make and a
delight to behold. With an ordinary
light bulb set into the base, the Tree
in Orbit becomes a glittering a r r a y
of color shining through each Minxie
GIo Lite imbedded in each niche in
the tree. Minx's Tree in Orbit is
decorative and striking as a Christ-
mas tree, colorful and joyous at all
festive occasions.

MINX ACCESSORI ES, to complete the

Tree in Orbit and all other Christmas
trees, are: Minxie GIo Lites lavailable
in IS dazzling colors); Minxie GIo Crys-
tal Halo Star (available in II colors);
Minxie GIo Snow sprinkled over tree;
music box in base, socket ancl cord, and
flat back crystal aurora borealis rhine-
stones on Minxie GIo Star. A revolving
turntable (with 150 lb. load capacity)
which revolves the tree at two revolu-
tions per minute )s also available from
Minx.

FREE with each mold order:

I gross of MTnxie GIo Lites, I Minxie
GIo Star, u/4 lb. MTnxie GIo Snow.

INTRODUCT ORY
SPECIALS:
TO HOBBYISTS and TEACHERS, decor-
afincj instructions for Tree in Orbit
FREE. Send your name and address and
name and address of your studio to
Minx.

TO DEALERS and WHOLESALE RS ONLY,

for $1.00, postpaid, 2 Minx)e GIo Stars,
IS (I each color) MTnx;e GIo Lites and
sample of M;nxie GIo Snow. L;mit one. DECORATE all your CERAMI C CHRISTM AS TREES with MINXIE GLO LITES,
MINXlE GLO STARS and MINXlE GLO SNOW. Ask your local supplier for them.

lit LIGHTER INSERTS BUY MINX - - Ceramic accessories and supplies

"k DESK FENS
~r ANIMAL EYES 312 Riverdale Drive, Glendale 4, Calif., Citrus 3-8245
"k CLOCK WORKS
MUSIC BOX MOVEMENTS
~r JEWELS FOR DECORATIN G Address Mail To: MINX, Dept. C-6, P. O. Box 989
/k SFONGES - - A L L TYPES
~, HANOVlA PRODUCTS Glendale S, California
"k MINXlE MOLDS
lit MINXlE GLO LITES
lie MINXIE GLO STARS W H O L E S A L E - MAIL ORDER ONLY. NO RETAIL!
lit MINXIE GLO SNOW
ltr MINX KITS:
Contact your supplier for Minx Molds, Accessories and
Ornaments for Ceramics
Supplies. If not available , write direct for name of dealer
Rhinestone Costume Jewelry nearest you.
 Our BIG New '62
Supply & EquipmentCatalog
42 pages of Decals 16 pages in Color 144.8,/,"x 11" Pages

These products shown

in FULL COLOR:
FRANCES Perma Stain I~CU JE

DUNCAN'S E-Z Flow Products CEI~AMI~

TRU-FYRE, King of Colors
PETERSON3-Way Fired Stains SUPPLY ,~m EQUIPMENT CATALOG .62

AFRICANA bisque colors

MACK China Paints
REGAL hobby molds
EX-CEL dry glazes
EX-CEL Flowertex clays ~4,~ .~, ~~!!i~ ~i i

and
Fully illustrated
many other items HOW available m

CLIP THIS COUPON and attach your

~o~~~ ~~
Check for $1.00 . . . (deductible from first $10 order)

HOUSE OF ~- ~u:~ ~.~o . MEMPHIS 8, TENN.

CERAMICS j .::~~ oG ~ ~ t
INCORPORATED
Memphis , Tenn.
~ STREET
CITY_. STATE___
I
2481 Matthews Avenue m
CERAMICS MONTHLY, June 1962, Voh 10---No. 6. Published monthly except JuJy & Auq. by Professiona Publ cations, Inc.
N. Hiqh Street. Columbus 14 Ohio. Entered as1962.second-class matter at
--S. L. Davis, Pres. P. S. Emery, Sec. at 4175 Two Years $9: Three Ye'~rs $12. Copyrlqht All Riqhts Reserved
the post offce at Athens, O. Subscrpton s: One Year $5;
 v

No fair peeking!
Constant visual inspection of your ceramic charge is no longer
necessary! All Skutt-Kilns are built with an automatic Shut-ol~ which
conveniently turns the kiln off at exactly the right time, every time.t
Other features you'll like: (1) automatically controlled radiant cooling
which lowers the temperature quickly through the tolerant stages,
carefully through the brittle ranges; (2) handsome, easy to maintain
stainless steel casement; (3) economical operation; (4) light weight,
and your Skutt-Kiln can be fired every day!
There are three Skutt-Kiln models to choose from and they
actually cost less than bulky, square shaped kilns.
Send for the free Skutt & Sons Ceramic Kilns brochure today!

,~,e,,.,,v,,,v,v
.w~.w~//'l~ - ~ef~/~-~ CERAMIC KILNS 2620 S.E. STEELE STREET PORTLAND 2. 0REGON

4 CERAMICS MONTHLY
VOLUME 10, NUMBER 6 JUNE 1962
50 cents per copy

IN THIS ISSUE
Letters t o the Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Suggestio ns from O u r Readers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
11
Summer Workshop s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Itinerary .................................................. 12
CM's Pic of the Month . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Tall C l a y Construct ions by F. Carlton Boll . . . . . . . . . . . . . . . . . . . 14
Whistles A r e For Fun! by Helen Young . . . . . . . . . . . . . . . . . . . . 18
Garden Lamps by Don Wood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Enameled Garden M a r k e r s by Kothe Berl . . . . . . . . . . . . . . . . . . 23
Firing Glass O v e r C l a y Forms by Kay Kinney . . . . . . . . . . . . . . 24
For the Birds by Alice Wheotley . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

OF CRAFT SUPPLIES
Preparing G r e e n w a r e f o r Decoratin g by Marc BelJoire . . . . 29
Marsh Birds by Marc Bella;re . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Show Time: A r t i s t - C r a f t s m e n of N e w York . . . . . . . . . . . . . . . . 32
Enamel powders
Michigan A r t i s t - C r a f t s m e n . . . . . . . . . . . . . . . . . . . . 33
....~
Ohio S t a t e Exhibition . . . . . . . . . . . . . . . . . . . . . . . . . 34 jzJ-2- \ Hotpack Kilns
Dremel power fools
Field Firing by K. Lomneth Chkholm . . . . . . . . . . . . . . . . . . . . . . . . . 35
Jewelry findings
CeramAcfivifies ........................................... 37
Steel and copper shapes
C e r a m i c Shopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Tools and accessories
Index t o A d v e r t i s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Decorating materials
O N O U R COVER: Detail from a glass wall hanging by Dorothy Enameled tiles
L.arson, Washington , New Jersey. The 12-by 18-inch panel is Paasche spraying equipment
composed of blue and green glass hexagons bonded to plate I.iquid enamels
glass. The piece was part of the exhibition recently staged by
members of the Artist-Craft smen of New York at the Cooper l L & L kilns
Firing tools
Union Museum. This month's Show-Time features other ceramic
pieces from this exhibition (see page 32). t ? ::;~"~"~*' Copper Cat iewelry kits

Editor Thomas Sellers T h i s big, new, fully-illus trated catalog includes a com-
Editorial Associate Louise Friedl plete line of materials a n d e q u i p m e n t for e n a m e l i n g , ceramics,
Art Director Robert L. Creager
a n d other crafts. W h e t h e r you're a hobbyist, profession al,
Business Manager Spencer L. Davis
teacher or student, you'll find e v e r y t h i n g you need . . . select
Circulation Manager Mary Rushley
a n d order at your leisure from one complete source. T a k e
Advisers and Special Contributor s: F. Carlton Ball; Marc Bellaire;
a d v a n t a g e of convenien ce, fast s h i p m e n t , a n d attractive low
Kathe Berl; Phyllis Cusick; Edris Eckhardt; John Kenny; Kay Kinney;
Zena Hoist; Karl Martz; Ken Smith; Don Wood. prices. You'll find over 200 e n a m e l colors listed, m o r e than
Western Advertising Representat ive: Joseph Mervish, 6716 Gentry Ave.
50 jewelry items, an o u t s t a n d i n g selection of copper trays,
Box 3115, North Hollywood, Calif. TRiangle 7-7556.
bowls, and free form pieces.
Copyright 1962 Professiona l Publication s, Inc.

SEND FOR YOUR FREE COPY NOW!

~'~. ~ ~ CERAMI CS MONTHL Y
4175 North High Street
Thomas C. Thompson Co. Dept. CM
Columbus 14. OII;o Highland Park, IlL
1539 Deerfield Road - -
[] 1 year SS D 2 years S9 [] 3 years S12
Please send your free catalog of enameling and
craft supplies.
Name
I Address
NAME

I City Tn. State

I
ADDRESS

J [] Rem|ffan e Inclosed [ ] Please Bill Me CITY ZONE STATE

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

JUNE, 1962 5
 THE
CER AMIC NAT IONA L
MAN UFA CTU RER S

TRADESHOW
July 2 6 - 2 7 - 2 8
Pittsburgh Hilto n Hotel
Pittsburgh, Pa.
. . open to Dealers, Distributo rs and Studios only

AN IMPORTANTANNOUNCEMENT TO..

STUDIOS, DEALERS and DISTRIBUTORS

Advance registra tion is now under
way for the Ceramic Nationa l Manufac -
turers Show to be held this July in Pitts-
burgh. This will be the first ceramic
show ever staged for member s of the
trade only. You are invited to send in
your request now for advance registra -
tion informa tion.
You will want to see the special ex-
hibits of our ceramic manufa cturers, and
have the opportu nity to talk to them per-
sonally.
And, in conjunc tion, special sem-
inars on profitab le studio operatio n with
emphasi s on the expansio n of hobby ce-
ramics will be conduct ed by experts in
the business side of ceramic s. As an add-
ed feature, other seminar s will be
directed by the Nationa l Ceramic Associ-
ation which will hold its convent ion at
the show. For f u r t h e r show informa tion
write to: A r t h u r E. Higgs, managin g
director , 322 Shearer Building , Bay City,
Michiga n.

6
CERAMICS MONTHLY
 Share your thoughts with other CM r e a d e r s - - b e if quip, query, comment or advice.
All letters must be signed, but names will be withheld on request.
Address: The Editor, Ceramics Monthly, 417S North High St., Columbus 14, Ohio.

PUBLICITY HELPFUL
# We want to thank you most sincerely
for the fine publicity you gave us in the
Itinerary and CeramActivitie s columns
of CERAMICS MONTHLY. You helped us
make this show a real success.
RUTH HENDRIGKS
Ceramic Hobby Guild
of Greater Cleveland
C M is very pleawd to include mention
of exhibitions and competition~ /or both
hobby and pro[essional ceramists. Send
W H E R E T O S H O W announcements three
months ahead o[ entry date; W H E R E
TO GO announcements should be sent six
weeks be[ore opening date. Ed.
FOR THE LOVE OF IT
# Could you tell me where I could buy
the paste for the formula given in the
January 1962 issue of CERAMmS MONTH-
LY? I would like to try the Egyptian Paste,
as I'm interested in making jewelry. I
teach music and have ceramics as my
hobby. I read and then try things just I can see that sharing your magazine
for the love of it! very easily could break up a friendship
RHODA HAYES of 36-years' standing! Please enter my
Orofino, Idaho very own subscription.
MARGIE B. TOOLE
Oxford, Ohio
As Jar as u,e know, Egyptian Paste
available [ronl any manu/acturer.
i~n't
raw materials are easy to obtain
The OUR READERS WANT . . .
[rom ceramic suppliers, however, and the
paste is not di[/icult to make.--Ed. # More high-fire wheel thrown pieces. I
enjoy the high-fire glaze formulas.
ELAINE YOUNG
CM AS REFERENCE Colorado Springs, Colo.
Your publication is superb! CM is the
best reference I can find on pottery. Keep
the wheel and stoneware articles coming. # Glaze recipes and techniques for cones
SIBYL ALLENSON 4 to 8. These are hardly ever mentioned.
Houston, Texas Mgs. M. R. GOLDEN
Whitemarsh, Penna.
CM'S NOT FOR SHARING!
My mud-hen friend and I have shared # More articles on slab construction.
a kiln, potter's wheel, glazes, brushes, tools, However, the magazines have such variety
clay, coffee, ideas and a subscription to that I wish it came more often.
CERAMICS MONTHLY for two years. Now ESTHER McCLUNG
this latter, at least, has got to stop because Austin, Texas

t- '-M UNDERGLAZE COLORS

Be a ceramic water colorist! On bisque or green- silk screening. D e c o r a t e d pieces are fired to t h e
ware, Fine-Art Semi-Moist Underglaze Colors m a t u r i n g t e m p e r a t u r e of a clear covering glaze.
look a n d work like w a t e r colors. Painting with Three sets o f 8 different colors are available at
the intense, c o n c e n t r a t e d colors is fast, easy. A $3.00 per set. C o l o r c h a r t of the 24 colors in sets
b r u s h dipped in water lifts the color from the a n d refills is included in the free ceramic catalog.
pan. Fluid t r a n s p a r e n t or o p a q u e decoration
is o b t a i n e d with varying a m o u n t s o f water. AMERICAN ART CLAY COMPANY
O t h e r m e t h o d s o f application are a i r b r u s h a n d INDIANAPOLIS 24, INDIANA

7
JUNE, I%?
 TEACHERS PREFER!
Bisque Drape Mold

GLAZES A simple drape mold can be made directly in the clay and
without the use of any plaster. Simply form a slab of clay to
the desired shape and, when it is dry, bisque fire it. It will be
porous, like plaster, and can be used over and over again for
making draped shapes.
---Allen Bolyard, Philadelphia, Pe~n~z.

Glaze Jar Labels

I've tried all of the suggestions made for waterproof labels
on glaze jars b u t none have been satisfactory. Here is another
solution! Get a tube of glass etching cream and spread some
of the cream in a nice neat patch on a glass jar. Allow this to
stand for a few minutes, then wash it off. When the glass is
dry you can write on the patch with pen, pencil, crayon or almost
anything else. When the writing begins to rub off, just renew
it. The labels can be removed by washing them with scouring
powder.
---Kate Edgerton, Northville, Mich.

Kiln Shelf Leveler

After numerous firings, kiln shelves and posts do not remain
level. To eliminate any wobbling, make small pellets of clay
and dip them in fine grog (to keep damp clay from exploding),
then place the pellets between the top of the posts and the
shelf. The weight of the shelf flattens the fresh clay to the
needed thickness and levels the shelf structure.
Another application of this use of pellets occurs when some
of the ware is just a trifle too tall for the shelf. The pellets
can be used on each post to raise the shelf to the needed
height and thus eliminate the need for slightly taller posts.
---Eleanor Sheiko, Detroit, Mich.

Old Cones Make Jewelry

Wheel-~rown pot Don't discard those old used cones! With a bit of imagina-
glazed in #2010 tion and ingenuity they can be made into very interesting
PREFERRED for: A~ BrownSpeckletone jewelry. Their deformed shapes made me think of the claws and
teeth of some prehistoric animals, so I glued and wrapped wire
around their base ends and strung them on a chain to make a
EASE OF APPLICATION necklace. I have had a lot of compliments on my "original"
jewelry made from something that ordinarily is thrown away!
CONSISTENT HIGH QUALITY --lean Davis, Tulsa, Okla.
~r UNLIMITED COLOR SELECTION
Fusing Cracked Enamel
I am new to enameling but recently I discovered something
GLOSS GLAZES COVER COAT MATTE GLAZES that may help other beginners in this field. I was soldering a
finding onto an enameled pin on the top of an open-top hobby
CLEAR GLOSS SPECKLETONE SPECIAL EFFECT kiln. O n the face of the pin was a wire inlay design and, as
GLAZES GLAZES GLAZES the pin heated up, the enamel cracked. Instead of leaving the
piece on the kiln to re-fuse, I took it off in some disgust! Later
ART GLAZES FROTH GLAZES RED GLAZES I decided to polish the wire anyway on the polishing wheel. To
CRACKLETONE SATINTONE BROCADE my surprise and delight, the heat generated by the friction of
the wheel was enough to re-fuse the cracked enamel and the
GLAZES GLAZES GLAZES piece was saved.
E-Z STROKE A ---Irene Hausner, Hackensask, N.].

Dollars for your Thoughts

CERAMIC PRODUCTS
5673 East Shields Avenue, Fresno 27, California
/It
~)
CM pays up to $5 for each item used in this
column. Send your bright ideas to CM, 4175AN. $
High St., Columbus 14, O. Sorry, but we can't
acknowledge or return unused items.

8 CERAM ICS- MO NTH4LY

 UL APPROVED FOR YOUR PROTECTION
Ask your local Electric Company or Fire Insurance Company
about the importance of UL approval on any electric appliance.
Others claim that wire and switches are UL approved, but their kilns are notl
toP "LU OAAUD'E~ R
R S~ i IN A COMPLETE NEW LINE - ONE UNIT
20 quality built, feature packed models from which
to choose. DYNAKILNS feature the patented DYNAo
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GLOW porcelain element h o l d e r s . . . 4-way switches
. . . 2 peep h o l e s . . , pilot l i g h t s . . , and they are
designed with your safety in mind. MOOEL H-SS00

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A complete line of
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M O D E l . 818-0

TEMPERATURE
ENAMELING
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KILN
Can A l s o Do C e r a m i c s !
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Price includes Pyrometer,
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Chamber size: 4 " Jt 81/2" x 81/2"
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Patented Dyna-Glow element holders... Plugs in O0
I-alp
a n y w h e r e . . , attains enameling temperatures
quickly regardless of voltage conditions .o croHngcho~,.
"" Chamber size:
elements can not be burned out clue to over-firing 4" x e" x e"
*Pyrometer available at $20.00 extro

WRITE FOR LITERATURE

MANUFACTURING COMPANY
CHESTER 11, PA.
DEALER INQUIRIES INVITED
JUNE, 1962 q
 AMERICA'S
Spring Colors from FINEST
COLORS

MAYCO
, ij

Dealerships Available - - See Your Nearest M A Y C O Distributor or Write Us

MAYCO COLORS 10645 CHANDLER BOULEVARD

NORTH HOLLYWOOD, CALIFORNIA

" ' G E M I N I " by P e t e r Lupori
P r o f e s s o r of A r t The College of
.... .....
MINNESOTA CLAY COMPANY
1832 E. 35th St. Minneapolis 3, Minn.
G L A S S CRAFT
by KAY KINNEY
THE FASCINATING ART
OF CONTOURED GLASS
Send f o r Your A u f o g r a p h e d
Copy N o w !
Here - - at lost - - is the complete
book: the result of nine years of
experimentation in the wonderful
world of glass bending. This is
the book you'll want for your per-
manent library; hard-bound, 200
pages, with over 300 illustrations.
St. Calherins St. Paul Minnesota
Four pages ot color pictures, too. You con work right along
with the author on step-by-step projects, with excellent photo-
graphs and text as your guide.
The wealth of material presented in "Glass Croft" is of
Sculpture Clay equal value to the hobby;st, craftsman, serious student, and
Cone 05 to I0 teacher. You'll find sections on all basic techniques, glass
cutting, the use of manual and power tools: ceramic frits, sug-
S t o n e w a r e Clay gestions for formulating glass glazes, combining glass and
Cone 5 to I0 cloy, glass and metal; stained glass, boHles, pre-formed
plates, and miscellaneous glass. Firing data for all types of
kilns is included. And - - to top it off - - there is a "Glass
Red or W h i t e Cfln;c" chapter to help you answer problems that arise.
T h r o w i n g Clay
Cone 06 to 04 "GLASS CRAFT" Is published by Chilton Company, as an
important addition to their popular Arts & Crafts series.
Red or W h i t e
C a s t i n g Clay $7 50 POSt,A,D (No C.O.D.'s. p,eose)
Cone 06 to 04 PRICE: California residents odd 30c sales tax.
Order D i r e c t From
KAY KINNEY m CONTOURED GLASS
72S Broadway Laguma loach Califerala

10 QERAMICS MONTHLY
 SUMM ER WOR KSHO PS
SUMMER WORKSHOPS give you that
wonderful opportunity to combine vaca-
tion travel with hobby fun. Whether you
are tripping east or west or only a
little ways from home, you'll find a
workshop in ceramics to give you that
fresh inspiration. Our list to date:
CALIFORNIA , G U E R N E V I L L E
June 25--August 24
The Pond Farm Pottery is offering a
9-week course in pottery techniques for
both beginners and advanced students.
Instructors: Marguerite Wildenhain and
D~vid Stewart, Assistant. Write: Pond
Farm Pottery, Guerneville.
CALIFORNIA , LOS ANGELES
.June 25--August 3
The University of Southern California
offers six-week credit courses in ceramics
at beginning, advanced and graduate
(M.F.A.) levels. Studio practice includes
work in stoneware with emphasis on
throwing, glazing and decorative tech-
niques. Instructor: F. Carlton Ball.
Write: Fine Arts Dept., USC, Univer-
sity Park, Los Angeles 7.
CALIFORNIA , LOS ANGELES
.June 25--August 17
Chouinard Art Institute offers a credit
course in ceramics covering throwing,
decorating and firing. Instructor: Otto
Heino. Write: Miss Kent, Chouinard
Art Institute, 743 South Grand View
Street, Los Angeles 57.
CALIFORNIA , M E N D O C I N O
June 25--August 3
First joint summer workshop sponsored
by the Mendocino Art Center and the
Designer-Craft smen of California. One to
six-week periods. Beginning and advan-
ced work in ceramics, including raku;
enameling; clay and glass; and jewelry.
Write: D. C. C. Summer Session, 1507
Grant Ave., San Francisco.
CALIFORNIA , MILL VALLEY
June 18--August 13
Hal Riegger is conducting three one-
week field trips in the central area of
California. Members of each group will
start off with no tools or equipment and
will return with finished pots made ac-
cording to southwest American Indian
techniques. Instruction in clay geology,
securing and working with clay and clay
minerals of the west and firing. Write:
Hal Riegger, 469 Panoramic Hwy., Mill
Valley
CALIFORNIA , OAKLAND
June 20--August 2
California College of Arts and Crafts is
offering a six-week course in beginning
and advanced ceramics. Instructor: Ver-
non Coykendall. Write: California Col-
lege of Arts and Crafts, 5212 Broadway,
Oakland 18.
COLORADO, B O U L D E R
June 15--August 24
The University of Colorado plans a five-
week advanced course in pottery, wheel
and hand techniques, June 15--July 20
or July 23--August 24. Instructor: Pro-
JUNE, 1962
fessor Ann Jones. Write: Professor Alden
Megrew, Chairman, Fine Arts Depart-
BEST
ment. University of Colorado, Boulder.
CONNECTICUT, BROOKFIELD
July 3(~-August 17
The Brookfield Craft Center is offering
a three-week course in all phases of ce-
ramics, glass and enameling. Instructors:
Edwin and Mary Scheier. Maurice Hea-
ton and Joseph ~Frippettil Write: Brook-
OF
field Craft Center. Brookfield.
C O N N E C T I C U T , NEW CANAAN
July 9--August 31
SHOW
The Silvermine College of Art plans an
eight-week course in ceramics, ceramic
sculpture and mosaics. Instructor: Tauno
Kauppi. Write: Silvermine College of
Art, New Canaan.
' ~ I
D. C., W A S H I N G T O N
June 27--August 10
The Catholic University of America is
offering two summer courses: An Intro-
duction to Ceramics and Advanced
Ceramics. Instructor: Alexander Giam-
pietro. Write: Director of the Summer
Session, Room 116, McMahon Hall, The
Catholic University of America, Wash-
ington 17.
FLORIDA, BRADENTON
May 14--July 28 SHOW
The Bradenton Art League is offering
classes in beginning and advanced
wheel work in an air-conditioned studio.
Instructor: Frank Colson. For complete
TIME
information, write: Frank Colson, Art
Center, Waterfront Park. Bradenton.
It's always nice to be in the
ILLINOIS, C H I C A G O winner's circle.., and your
.June 25--August 4
The School of The Art Institute of chances of getting there
Chica.go is offering a six-week course in are always greater when
ceramacs and ceramic sculpture. Instruc-
tor: Leah Balsham. Write: The School you use REWARD 'S fa-
of The Art Institute of Chicago, Michi-
gan at Adams, Chicago 3. mous line of glazes and
colors. Choose your own
INDIANA, B L O O M I N G T O N
.June 14--August 10 method of d e c o r a t i n g -
Indiana University is offering an eight- brushing , a i r b r u s h i n g ,
week course in all phases of pottery mak-
ing, both beginning and advanced, in stippling, sponging, wax
earthenware and stoneware. Instructor:
Karl Martz. Write: Robert R. Richey, resist--bu t be sure to use
Director, Indiana University Summer
Session, 335 Education Bldg., Blooming- REWARD 'S quality con-
ton. trolled decorator colors
INDIANA, INDIANAPOL IS and glazes.
.June 25--August 3
Amaco Ceramics Workshops are offering
one- and two-week workshops in metal
See your REWARD dealer
enameling and ceramics for teachers and for full informatio n or
occupational therapists at the John Her-
ton Art School. Graduate and under- write to the factory.
graduate credit Instructors: Kenneth E.
Smith, Justin M. Brady, William GeM
and Karl Martz. Write: American Art
Clay Co., 4717 W. 16th St., Indianapolis.
MAINE, DEER ISLE
June 25--September 15
Haystack Mountain School of Crafts of- 6311 Washlngten Blvd., Baltimere 27, Md.
C o n t i n u e d on. Page 40
il

COMPET ITIVE EXHIBIT
$1,000 in Prizes
Classes of Competition include: Adult
hobbyist - - ceramic sculpture; Adult
hobbyist - - functional ceramics; Chil-
dren to age 12; Teen-agers; Profession-
a l - ceramic sculpture; Professional
functional ceramics; and Handicapped.
Forms for pre-registratio n in classes
and for registered buyers' card appli-
cations are now ready. Contact: E.
Kane, Box 115, Wilmette, Illinois
. # , # # # # # # # # # # t, ##,'#~,41~
"SPECIAL HOTEL RATES:
Low, low hotel rates have been ar-~
ranged at the Pick-Congress Hotel4~
for show goers. A special card X
(available by writing E. Kane, B o x ~
115, Wilmette, Ill.) is needed to ob-O
Lain these low rates when you~
reserve your room. Make your r e - .
~servations early. Send for your card~
~today.
iand Plan to BringYour C
~Parking, a few blocks from
~hotel, is very inexpensive: 35c for~
~24 hours.
# . #,~*#,~#,~ ~ : * # # # " Marian G. Heard. Exhibition prospectus
12
WHERE TO SHOW
*national competition
D. C., WASHINGTO N
September 15--October 11
Fifth Biennial Creative Crafts Exhibi-
tion, sponsored by the craft organizations
in the Washington metropolitan area,
will be held at the Smithsonian Insti-
tution. The event is open to craftsmen in
Washington, Maryland and Virginia for
pieces that they have designed and made
and which have not previously been
exhibited in a D. C. museum. Media
include ceramics, ceramic sculpture,
jewelry, enamels, mosaics and glass.
Deadline for entry is August 30. Entry
fee. For information, write: Mrs. Ella
S. Bolster, 4200 39th St., North, Arling-
ton, Virginia.
MASSACHUS ETTS, LINCOLN
June 24~-September 23
New England Crafts Exhibition, spon-
sored by the New England Crafts
Council, is open to all New England
craftsmen. All media; work done within
the last two years. Regional selections
made at various museums. For full in-
formation, write: Frederick Walkey, Di-
rector, DeCordova Museum, Lincoln.
MINNESOTA , SAINT PAUL
November 15--December 23
*Fiber, Clay and Metal Competition is
open to all American craftsmen. Media
include ceramics, jewelry and enamel.
Entry fee; Jury; $2,500 in prizes and
awards. Deadline for entry is October
13. For information, write: Fiber, Clay
and Metal, Saint Paul Gallery and
School of Art, 476 Summit Ave., Saint
Paul 2.
NEW YORK, SYRACUSE
November 4--December 30
*22nd Ceramic National, sponsored by
the Everson Museum of Art, will open
at Syracuse and then tour American
museums for two years. A prospectus may
be obtained by writing: 22nd Ceramzc
National, Everson Museum of Art, 407
James St., Syracuse 3.
Show, sponsored by the Washington
OREGON, ASHLAND
July 21--September 9
*Exhibition with Shakespeare Theme,
sponsored by the Ashland Art Gallery, is
open to all artists in all media. Fee;
Jury; Prizes. Work and entry cards due
July 10. For information and entry cards,
write: Ashland Art Gallery and Work-
shop, 31 Water St., Ashland.
TEXAS, FORT WORTH
July 15---August 12
Competitive Exhibition of Crafts from
the south central region, including Ar-
kansas, Colorado, Kansas, New Mexico,
Oklahoma and Texas, is being sponsored
by the American Craftsmen's Council.
Entry deadline is June 24. Jury: James
McKinnell, Marjorie Whitney and
Send show announcements early--
WHERE TO SHOW: three months ahead of
entry dote. WHERE TO GO: at least six
weeks before opening.
and entry forms are available from J.
Sheldon Carey, 2122 Owens Lane, Law-
rence, Kansas.
WISCONSIN, GREEN LAKE
june 15--August 31
*Christianity in Contemporary Art Ex-
hibition, sponsored by the American
Baptist Church, will be held at the Na-
tional Conference Grounds Gallery. All
media, including ceramics and enamels.
No fee. Open to all denominations. For
information, write: Lois Howell, 510
Wellington St., Chicago 14.
sn~L Fo.m
GEORGIA, MACON
June 2--3
Middle Georgia Ceramics Guild is hold-
ing its annual show in the basement of
the S and S Cafeteria. For information,
write: Bob Silz, 2554 New Clinton Road,
Macon.
ILLINOIS, CHICAGO
August 25--28
*Chicago Ceramic Show, at the Pick-
Congress Hotel, features classes, demon-
strations and exhibits. $1000 competi-
tion open to hobbyists; special ceramic
sculpture section and professional com-
petitive event. For complete list of events,
categories and awards, write: E. Kane,
Box 115, Wilmette, Ill.
PENNSYLVA NIA, PITTSBURGH
June 7--8
"The Ageless Art," annual show of the
Pittsylvania Ceramic Guild, at the Penn-
Sheraton Hotel.
PENNSYLVA NIA, PITTSBURGH
July 27--29
Ceramic National Trade Show, to be
held at the Pittsburgh Hilton Hotel,
will feature seminars on studio operation
and special exhibits by ceramic manu-
facturers. Admittance is by invitation
only. For information, write: Arthur E.
Higgs, 322 Shearer Bldg., Bay City,
Mich.
WASHINGTO N, SEATTLE
August 8--12
Seattle World's Fair Ceramic and Hobby
State Ceramic Association, Inc. For
information, write: Harry Collman,
Show Director, 3940 Wallingford N.,
Seattle 3.
CALIFORNIA , SAN FRANCISCO
through June 15
Chinese Art Treasures from the Imperial
Collection, at the M. H. deYoung Me-
morial Museum.
CALIFORNIA , SAN FRANCISCO
through June 24
Pottery by Robert Arneson, at the M. H.
de Young Memorial Museum.
Continued on Page 38
CERAMICS MONTHLY
I"

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C.~A'S pic of t h e M o n t h : Stoneware Bottle by Dean Mullavey is seven inches

wide. It has a black reduction glaze with an iron wash decoration. It was exhiblted
at Greenwich House Pottery in a showing of work by members of the Clay Art
Center in 19S9. Mr. Mullavey earned his B.F.A. degree at Syracuse University and
his M.F.A. at Tulane under Katherine Choy. He currently is teaching and working
in Quebec.

JUNE, 1962
13
 v

TALL CLAY o . .

411
CONSTRUCTIONS
Small units formed from slabs a r e

assembled into a tall structure for

use as a space divider, ~. i~

J
decorative column

or a p i e c e of garden sculpture

by F. C A R L T O N BALL

14

C Lcombined
A Y C O N S T R U C T I O N S made up of smaller pieces
to form larger ones offer the ceramist an
enormous variety of projects even if his working equip-
merit and space are quite lnodest. This method of assem-
bling numerous simple forms into complex and elaborate
ones is ideal for such pieces as ceramic fountains, sculp-
tural garden ornaments, planter columns, room dividers
and decorative screens.
Aside from the enormous range of creative possi-
bilities that are presented by this method of construction,
there are many studio advantages that should interest the
potter. Any method or technique of clay forming can be
used alone or in combination. For example, a large
sculptural form might be made entirely from slabs or
from wheel-thrown parts, or it might be a combination of
slab and thrown sections. Another advantage is that
really large finished pieces can be made even though the
potter's kiln is a small one. It would be quite easy to make
a piece that is lO-ft, high with the use of a 12-inch kiln.
Finally, because the construction is from small parts, a
large sculptural form can be taken apart and stored or
moved quite easily.
The basic idea I want to ln'esent is the assembling
of many ceramic sections on a steel rod or an iron pipe.
A metal rod or pipe is easy to obtain and install wherever
the ceramic creation is wanted. And since metal pipes
are often used as supporting columns for buildings, these
can be made into decorative structural elements by the
addition of ceramic sections.
It usually takes several attempts in developing a new
idea before a satisfactory solution results. T h e finished
piece illustrated here is a first attack on the problem and
seems to me to have too much movement and to be too
cluttered. T h e next logical step is to develop other pieces
that will have more simplicity and strength. One of the
reactions most people have to a piece of art work is that
JUNE 1962
CLOSE UP view shows glazed sections of the
structure assembled on an iron pipe. Short
lengths of the tubing act as spacers between
the major design units.
they feel the), could do the same thing in a m u c h better
way. Perhaps this first attempt on my part will inspire
some readers to the same healthy reaction!
The demonstration example is made entirely from
slabs. The first things needed for the forming process are
some wooden dowel rods or round wooden curtain rods.
Even some scrap ends of round wooden poles are excellent
if they can be found. Roll out a piece of clay on a dry
cloth to form a clay slab with a thickness of ~ - i n c h or
slightly more. Wrap this clay slab around a piece of the
wooden rod that is 2 or 3-ft. long. Work the clay edges
together carefully, then roll rod and clay on the cloth to
refine the clay tube. Set this aside to become slightly firm.
The clay tubes made in this way will be used later for
core units to which tile design sections will be attached.
T h e design units also are made from slabs. Roll out
more clay slabs on tile piece of dry cloth, then cut from
them the forms you want to use (Figure 1). These can
be shaped, bent and textured; pieces might be cut away
or more clay pieces added to them. If the shapes are
being curled or bent, it may be necessary to place wads of
clay underneath for support until they dry to the leather-
hard stage (Figure 2 ' .
When the tubes of clay are firm, they are cut into
sections of suitable size for the design. This is done by
rotating the wooden rod and cutting the clay with a knife
(Figure 3). As each section is cut, it is removed from the
rod. The short sections of scrap rods are handy to have
at this time for sliding inside the pieces of clay tubing to
help keep their shape as you work with them.
As soon as the design slabs are stiffened to the
leather-hard stage, they can be fastened onto the clay
tubes. The joints between all clay parts nmst be made
very carefully to avoid cracking or failing apart (Figure
4). After the parts have been assembled into a unit, it can
Please Turn the Page
IS
TALL CLAY CONSTRUCTIONS
be put back onto a section of dowel rod for support while
it dries a bit more. This dowel can be placed in an old
piece of pottery or some other container so that it is
held upright and the clay piece suspended in the air. The
clay piece must be removed from the wooden rod before
the clay shrinks too much, however!
Repeat this process to make as many parts as are
needed, repeating one design or making different shapes.
The design idea will dictate the construction, and it is
possible that some sections may have to be done over
again to correct the design.
Short sections of tubing may be quite useful to use
as spacers between major units of the design, so you may
want to make a quantity of these.
The bisque firing of these pieces is simple. The only
caution is that a slow firing should be used since the
joints are quite thick. The bisqued pieces can be stained
and then fired again, for one treatment that requires no
glaze. The pieces might be only partially glazed, or they
might be fully glazed. Each piece could be glazed with a
different color or all might be glazed with one color.
1. FREE FORM SHAPES are cut from a slab rolled on cloth.
These units will be attached to core sections to maEe a room divider,
garden sculpture or a decorative screen.
3. CLAY SLAB is wrapped around a wooden dowel rod and
sealed. When it has stiffened sufficiently, it is cut inlo shorter lengths
which are removed from the rod.
16
There are many, many variations possible within the
small area of finishing alone; what is done will depend
on the design and your personal taste.
After the glaze firing, the parts are assembled on a
temporary stand. Taking along one of the finished units,
go to a hardware store and select a piece of pipe that fits
inside the hole in the ceramic piece. This pipe should be
threaded at one end. In addition to buying a piece of pipe
of the length you need for your project, buy a floor flange
and four screws.
The temporary stand is made by fastening the floor
flange to a good-sized piece of d - i n c h plywood, then
screwing one end of the pipe into the flange.
The stand is used by stringing the finished ceramic
pieces on it according to your original plan (Figure 5).
Some corrections may be made by interchanging parts,
but the main advantage you will have from your first at-
tempt at this project will be the knowledge gained from
having done it once. You will have many ideas that you
can use on the next try, and each of these will present
its own variations.
2. SLAB FORMS are cleaned, formed and bent to the desired
shapes, then are supported with clay wads to hold them in position
until they stiffen enough to hold their shapes.
4. SECTIONS of the leather-hard clay slabs are attached to a
clay tube to make a single unit for the design. Clay sllp and coils
are used to ensure a strong attachment.
CERAMICS MONTHLY
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TEMPORARY STAND made from an iron pipe fastened in a floor flange is used to assemble the
finished parts for study and possible correction of the design.

JUNE, 1962 17
WH IST LE S ARE
.... ~,i, . . . .
by HELEN YOUNG
A Sisn'tA Mmuch
E M B E R of a tour party, one finds that there
time available for prowling about in
shacks and sheds in search of pottery made by the natives
for the natives. O n a recent trip to Mexico I managed to
slip away alone to the big public market in Cuadalaj ara
on a hunt for clay whistles. Imagine, if you will, a build-
ing much like a high-ceil inged railway station and filled
with stalls and counters heaped with fruit and vegetable s,
clothing and kitchen utensils, and meat and fish. T h a t is
the scene I saw.
M y thin Spanish was more than matched by the
stall-keep ers' lack of English. I wanted whistles but there
were no whistles in sight. M y sign language demonstr a-
tions of tooting brought only shrugs and happy smiles.
Then an elderly Mexican, waiting as his wife shopped,
stepped forward and offered some help. "Whistles ," I
said, "I want to buy some Mexican clay whistles."
" M u c h a c h a ! " he called
"Pitos ceramos! "
"Ah, pitos, si!" she cried
and shouted to the boy tend-
ing the next stall. He hurried
over, carrying a bushel-ba sket
full of clay whistles which he
set at my feet. I chose a dozen
and my new friend tested them Mexican Whistle
for tone, tossing back those
which were mute. He was so
busy that I couldn't ask him who ever bought such quan-
tities of whistles, or why. There were hundreds of them
in that basket!
There followed a lively interchan ge when he took
over the bargainin g. Sharp offers were followed by snappy
refusals out of all proportio n to the few centavos involved.
18
FO R FUN!
~,,, "........ . . . . . . . ~;'; ~ ~ - ~
But he was firm and they finally agreed on a price. I gave
the girl the equivalen t of nine cents; my friend bowed,
smiled and then disappear ed.
M y "pitos ceramos" are too small to photogra ph
well because they average only a trifle more than an inch
in length. They are crude, rough, charming , and they look
as if they had been made by a four-year -old in a hurry.
They definitely are for use, not beauty. One is made of
coarse red clay; three are a sooty black color--on e
polished and the other two matt; still another is made
from white clay touched with colored slip.
The basic principle of a whistle is simple, as you
know if you ever made a willow whistle. There must be
a passagew ay for air to be blown into a hollow chamber.
O n its way, the air must meet with a slight obstructi on
which will vibrate it and create the sound. Holes made in
the hollow chamber raise the pitch so that the whistle
may be "played" like a flute. After all, a flute is really
only a refined version of a whistle.
Let your first whistle be a simple one like my pitos.
Take a ball of clay the size of a walnut and knead it well,
then shape it over your thumb. Slip it off and pinch the
ends together to close it, then trim off the end. Make a
hole not more than ~,fi-inch across through the hollow
part of the clay and close to the solid end. Using a large
needle or a toothpick , pierce the clav from the outside
end to the hole. Next, cut a tiny half-moo n piece of clay
from the top of the hole, leaving a little flat platform of
clay where the hole emerges.
The next step is most importan t: Carefully bend
down the opposite end of the cavity so that its tip end
will exactly face the top of the air hole (Figure 1). Test
the whistle by blowing- -clay is good clean stuff. The
whistle will work if the relationsh ip between the hole
and the opposite wall is correct. If the whistle refuses to
CERAMICS MONTHLY
 6-
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1. CROSS SECTION of a whistle shows the basic structure of a 2. DIAGRAM of clay recorder {left) shows air passage of the
hollow chamber beyond a blowing device (top). The tip of point A mouthpiece and holes for changing the pitch of the tone. Top view
must be exactly opposite the highest point of air passage exit B {right) shows the blowing device with dotted lines indlca:ing the
if sound is to result. Top of blowing device is sketched below. slit for air. Bottom sketch shows under part of the mouthpiece.

make a sound, adjust the projection until it will. By and one in the back and then slip the clay form off the
following the basic rules of a hollow chamber plus the dowel. Now, weld tile mouthpiece onto the wide end of
sound device, you can make whistles of all sizes and in all the tube. Cut a narrow rectangle out of the tube at the
possible designs. point where it joins the mouthpiece, then cut a slit
If you pierce another hole (or holes) in the wall, you through the mouthpiece and into this rectangle. Trim out
can raise the pitch of the tone. a tiny plateau where this slit emerges into the rectangle,
The location of these other and carefully bend down the flap of clay on this side of
holes is not important except the rectangle opposite the air passage slit (Figure 2). Test
for ease in reaching them with for sound, bending, trimming away or building up the
your fingers as you "play." flap until sound results.
The medieval musical in- While the clay still is damp, rub the surface with the
strument known as a recorder back of a teaspoon to polish it. Dry well before firing this
is familiar to us since the music musical instrument. If you want your recorder to re-
of the T r a p p Family and our semble authentic ones, it should not be decorated. How-
Slovakian Whistle own southern folk singers made ever, you might want to add a few medieval symbols as
it popular. Recorders were the early ancestors of flageolets reminders that recorders date back to the days of the
and flutes and usually were made from wood, ivory or lute and wimple.
bone. The only reason they weren't made from clay, Don't expect to play a concerto on your pitos or an
probably, is that one fall to the floor would end the obbligato on your recorder. But at least vou will be able
music. to pipe the skipper on board
or possibly imitate a robin.
T o make a ceramic recorder, wrap a 12z~-inch
Whistle-making is an ex-
length of dowel wood with narrow strips of cloth, build-
cellent primary grade craft
ing up one end until it is about ~ - i n c h thick and the
project, and it is ideal for a
other end is ~2-inch. Taper the wrapping smoothly from
camp project. H o w about a
one end to the other. Roll out a strip of clay that is -
whistle band? You can tie up
inch thick, wrap it around the dowel rod and weld the
a dash of histolT, a whiff of
edges together. The next step is to shape a mouthpiece,
geography and a touch of
then set both pieces aside to become leather hard.
sonics with fun, if not nmsic,
As soon as the clay tube is firm enough to hold its becaue handmade clay whistles Mexican Blackbird Whlsfle
shape, cut the characteristic six or eight holes in one side are strictly for fun.

JUNE. 1962 i9
G AorRpatio
D E N LAMPS are delightful to use on the porch
during the summer season. A candle placed
within one of these ceramic lanterns creates a drama of
flickering light and shadow that delights the eye and
charges the scene with magic.
Among the great variety of candles that are available,
those in colored glass containers and the practical bug-
repellent candles that keep mosquitoes at a distance have
immediate appeal for out-of-door use. However, some
of these candles or their containers are not particularly
attractive; in such a case, a garden lantern can camou-
flage the candle and give it new interest.
The author picked up a few raw four-inch field GARDEN L A M P S . . .
tiles on a visit to a local tile plant one day in order to
explore the possibilities of the cylinder shape in design
projects. One of the projects carried out - - the garden
lamp - - is demonstrated here. Although the field tiles
were convenient to use for this project, the cylinders
could be made quite easily by forming rolled-out slabs
of clay around cardboard tubes.
DESIGNED FOR
A raw clay cylinder can easily be cut to the desired
height by rotating it against the point of a knife held by DON WOOD
at a constant height by a board resting on the table
(Figure 1). With this aid, the cut top is even and several
cylinders can be cut to identical heights if so desired.
The next step is to find the circumferenc e of the
cylinder. This measureinent will be used for the pattern
of pierced holes that will be cut in the clay cylinder. The
exact circumferenc e is measured by wrapping a string
around the cylinder and marking the place of overlap
(Figure 2). This measurement is transferred onto a piece
of paper and a pattern is cut (Figure 3).
The position of the holes can be adjusted by cutting
the pattern apart vertically and taping the pieces back
together again in the desired positions. This step has more
validity than might be imagined, since the effect on the
round shape differs from its appearance on the flat
paper. The design is traced onto the clay form and then
is carved through the clay wall (Figure 4). Vertical lines
can be scored and carved on the cylinder, alternating
with the cutout sections, to complete the decoration.
The lid for a single lamp can be made from a slab
of clay by any technique that suits the design. If severa[
1. RAW CLAY field tiles are cut to desired size by rotating a
lids are needed for a series of these lanterns, they can
knife point held at constant height against a board resting upright
be made identical by a simple casting process. The cone-
on the table.
shaped lid model illustrated here is made by turning the
familiar string-compas s idea into a wire cutting process.
At one time or another nearly everyone has drawn a
::::::::: ::::::::: ::::::::: :::::
circle by tieing one end of a string to a pencil and tacking
the other end to a surface to provide the center axis. The
circle is made by simply rotating the pencil at the end of
the string around the center tack. The length of the
string provides the radius of the circle.
A short dowel rod is nailed upright on a square of
quarter-inch plywood which acts as a base. The dowel
elevates the center point above the plane of the base,
providing height for the cone. Soft clay is then built up
around the dowel rod in the rough shape of the lid, but
slightly larger than desired for the finished piece. A center
tack is mounted on the top of the dowel and a steel cut-
ting wire is attached to it. This wire is rotated in a com-
plete circle with the free end held against the plywood
base to produce an evenly-cut cone shape. The size and 4. CYLINDER is pierced where it is marked by the paper pattern.
proportion of the cone is, of course, regulated by the The openwork in the lamp is decorative and will allow candlelight
Continued on Page 22 to show through.

20 CERAMICS M O N T H L Y
 ND BUILDING

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2. CIRCUMFERENCE of the cylinder is measured with a string. 3. STRING LENGTH i~ used to make a paper pattern for the
This measurement will be used in making the pattern for the lamp designs that will be cut in the clay wall. Paper can be cut for best
cutout sections. positioning.

~ ~:ii~,i~:!>ii~i~i ~ ~>~ 71~i~!~,~ ~'~:~*~

S. PLASTER MOLD is made for the lid section if several identical 6. BOTTOM DISH is formed from a clay slab draped over the
patio lamps are being made. The clay fence is built to retain the base of a cardboard paint bucket. The extra clay ring is for the
liquid plaster. foot rim.

JUNE, 1962 21
height of the center rod and the length of the cutting
wire. A retaining fence of clay is built around the cone
and the plaster is built up on it to form the plaster model
for making duplicate lids (Figure 5).
The model for the bottom dish of the lantern is made
from clay slabs and uses a cardboard paint bucket as a
building aid (Figure 6). An accumulation of cardboard
buckets, cups, containers and boxes usually yields some-
thing of the correct size and shape and they provide
valuable short-cuts in making these unconventional molds.
The model is removed from the bucket and placed
on a plywood board which has been covered with a sheet
of aluminum foil to prevent the plaster from sticking to
the base. A ring of cardboard (the top rink of a cardboard
bucket) is placed around the model and anchored with
clay to act as a fence; then the plaster is poured for the
mold (Figure 7).
When the completed molds are trimmed and dry,
clay is prepared for pressing into them. Some calculation
and good guessing are required here since the size of the
cylinder at its leather-hard stage must relate to the sizes
of the top and bottom pieces in the plastic clay stage.
Only experience with the particular clay being used will
enable one to judge this problem properly. The top and
7. CARDBOARD retaining wall is built around the bottom model
and a plaster mold is poured. Aluminum foil is used as a separator
for the base.
j .~-,I' ~ + : ' ~
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:2:2;2. iiiiii
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9. OVERSIZE cardboard cylinder represents the clay cylinder as
extra clay is patted into the molds to ensure a proper fit for the
three pieces.
22
bottom pieces must be made sufficiently oversize so that
when they shrink to the leather-hard stage they will fit
the leather-hard cylinder. A ball of clay is slapped into a
slab and laid into the molds like a pie crust in a pie pan
(Figure 8). In the case of the bottom dish, a coil of clay
is positioned in the footrim area before the dish slab is put
in place.
After the slabs are in position in the two molds, a
cardboard cylinder that is slightly larger in diameter than
the clay cylinder is placed in the mold and additional
clay is pressed around it (Figure 9). This makes a guard
edge ensuring that the three pieces---cylinder, base and
top--will fit into one another to form the completed
lamp. The cardboard cylinder may have to be constructed
if one of the proper size can't be found among the pot-
ter's assortment. If it is to be used a number of times, it
can be covered with aluminum foil to prevent softening
from contact with the moist clay.
The final step in the construction is to place a hole
in the top of the lid. This is most important as it allows
the heat from the candle to escape. The lantern illustrated
on these pages was glazed with a mottled, off-white bor-
acic glaze. This enhances the color of the red-firing clay
where it shows through at the edges.
...... 4 ~ . . . .
8. CLAY SLABS are rolled or patted out, then are fitted into the
dry, finished molds to form the top and bottom portions of the
garden lamp.
10. COMPLETED LAMP is made up of three clay sections finished
with a white boracic glaze that allows the color of the clay to show
at the edges.
CERAMICS MONTHLY

T H O U G H the summer sea-
E VEN
son already is with us, the en-
ameler who also is a gardener still
can get a lot of use from enameled
identification tags for his plants.
These permanent and decorative
name plates are wonderful because
the}" can be used year after year and
the names won't wash away. If you
have had experience with a penciled
name on a wooden marker, you know
just how frustrating it is to discover
that the rain has washed out your
identifying marks.
These tags are useful for attaching
on or near particular garden speci-
mens or for marking the location of
a row of seeds planted in the ground.
They can be used in rock or rose
gardens, greenhouses, seed boxes and
on trees and bushes. In short, they
are useful wherever there are plants
to be identified.
The best shape for these metal tags
is the oval plaque about 3-inches long
and l ~ - i n c h e s high. Oblongs can be
used but the oval shape can better
withstand the abuse these tags get.
T h e main hazards encountered are
sudden changes in temperature and
being hit and nicked by garden tools.
Since enamel has a tendency to chip
from corners, it is best to avoid them
by using the oval shape.
T h e markers can be made in several
ways. A hole might be drilled near
the top so that the marker can hang
on a bent wire stuck in the ground
(A) or from a teacup hangar screwed
JUNE, 1962
ENAMELED
GARDEN
MARKERS
by KATHE BERL
into a block of wood. Another ver-
sion has a slit cut from the top for
hanging from a bent metal strip nr
from a band hook attached to wood
(B). A more elaborate marker is one
that is rectangular but with rounded
sides. This type slides through a metal
clamp that is either soldered to a
metal band or nailed or screwed to
a strip of wood (C). Still another
solution is to make a tag drilled with
two holes, one at the top and one at
the bottom, by which the tag can be
fastened to a stake or tree (D).
Tile best color combinations for the
garden tags is a white background
with black lettering. This looks more
professional than any other combina-
tion, but of course any colors can be
used to suit individual taste. I would
suggest using a light background,
however. If you don't want black
lettering, overglazes come in any color
one could want or desire.
After the copper bases are cleaned,
A B
enamel and fire a perfect base coat.
The lettering must be neat and the
words centered. My" method of doing
this is to decide on the height and
the width of the lettering, and cut
paper strips to that exact size. On
these pencil the names of the plants,
then fold each strip in half so that
you have a fold in the center of each
word. Unfold the strips, center them
on the plaques and, with a soft pencil,
mark the top and bottom line and the
crease on the base coat of enamel.
Now slide the paper down so that its
top is just below the bottom pencil
line. The really" correct way to do the
lettering is to use a spatula to blend
some overglaze powder with essential
oil on a piece of glass. M y way is to
blend some overglaze with water on a
broken plate scrap, using a spatula
or an old brush, whichever is handy.
The main thing is to get a smooth
thin paste with no grains. I fill the
Continued on Page 36
C D
23

WO previous articles have dealt
T with the planned distortion of
sheet glass over metals to produce
sculptural effects. Although closely
akin to the more familiar bending of
glass into a mold or depression of
some sort, the firing of glass over pro-
tuberances is actually a separate tech-
nique requiring different procedures.
Because all of the upper surface and
part of the subsurface (underside) of
the glass is exposed to the kiln atmos-
phere, we can expect softening to
begin earlier than when we are firing
a piece which has the protection of a
kiln shelf or mold; consequently, fir-
ing schedules must be adjusted to
achieve good results. The application
of colorants which become fluid when
fired should be controlled to prevent
flowing over the edges as the glass
bends downward. Because of this ten-
dency, it is often more feasible to
select colored cathedral glass than ap-
plying colorants to colorless glass, at
least until experiments indicate a safe
or proper thickness of such colorants.
This third method--firi ng glass
over clay--introdu ces another prob-
lem and also suggests its solution.
While most preformed metal objects
have been originally designed to pro-
vide reasonably level contact points on
which to place a sheet of glass, the
wider range of plasticity and flexibility
available to the clay modeler is apt
to result in relief modeling on which
sheet glass cannot be balanced. How-
ever, one end or side of a clay model
can usually be raised enough to over-
come this difficulty.
24.
FIRI NG GLASS
OVE R
CLA Y FOR MS
by KAY KINNEY
While many craftsmen are capable
of designing and executing clay forms
which are suitable for subsequent glass
indentation, there are some readers
who have neither the equipment nor
the experience necessary to create the
models. For this reason, the demon-
stration utilizes greenware available at
ceramic studios or shops.
Photo 1 shows an unfired angel
fish wall plaque as it was originally
cast from a mold. On the right is an
identical casting simplified by trim-
ming naturalistic curves with a knife.
Delicate, low-relief modeling is indis-
tinct and weak for glass indentation;
therefore, the scales and fins were re
moved with sandpaper.
After bisque firing the model at
cone 06, the casting was used as a
guide for the cutting pattern by draw-
ing a pencil line around its perimeter.
This general outline indicated the
area in which the various sections
could be planned. The body of the
fish constitutes the largest section of
glass to be cut, and provides an ade-
quate base on which to superimpose
the separate fin sections. For greater
accuracy, each fin was sketched on
the surface of the glass with a graph-
ite glass pencil, rather than being
scored from the pattern beneath
(Photo 2).
Although basic glass cutting was
described in an earlier article, remov-
al of the margins surrounding the
angel fish fins required special treat-
ment. Because of the slender ends, the
points of each crescent are easily brok-
en, and the inner arc must be separ-
ated with extreme care. The glass was
scored and the cleavage established
first; radiating score marks slanting
downward from the arc permitted the
curved section to be removed a little
at a time. The margin of the upper
curve provides strength for this some-
what delicate operation; therefore, it
was the last to be severed (Photo 3).
All sections, including the triangu-
lar eye, were glued to the main body
shape. A loop of nichrome wire was
inserted between the body and the
fin at the upper joining (Photo 4).
After drying overnight, the unit was
ready for firing. A separator was ap-
plied to the clay model and the shelf
on which it was to be fired. Since the
tail of the model was far lower than
the rest of the body, it was elevated
by inserting a half-inch block of fire-
brick between it and the shelf, as
shown in Photo 5. Although the fish
was now reasonably level, there were
only two points of contact with the
glass unit, and balancing was still
somewhat precarious. A spot of rub-
ber cement at both contact points
positicned the unit securely. (Rubber
cement fires out without residue on
either glass or separator.)
Photo 6 shows the fired fish. For
the sake of clear photography, the
project was completed without dec-
oration or color. The Belgian crystal
selected for the project has a pale
greenish cast, and is attractive despite
the lack of definite design. The fin-
ished fish can be suspended by at-
taching fishing line or wire to the
laminated nichrome loop.
CERAMICS MONTHLY
 J
...... " . . . . . . . . . . i

I. WALL PLAQUE cast from a mold is used as a form for bending 2. PATTERN is made by drawing around the blsque-fired model.
glass. Casting at right has been simplified for better glass indenta- Body of fish provides a base on which to superimpose fin sections,
tion results: delicate Iow-relief modeling is weak for glass work. which are sketched on the glass surface with a graphite pencil.

3. RADIATING score marks slanting downward from the inner arc 4. SEPARATE SECTIONS, including tail, eye and the three fins, are
permit the curved section to be removed a little at a time to pre- glued to the main body shape. A loop of nichrome wire is inserted
vent breaking the slender ends when the fin sections are cut. between the body and the first fin on the top of the glass figure.

S. GLASS UNIT is balanced and held on the bisque fish mold 6. FIRED FISH can be suspended by attaching a wire or piece
with spots of rubber cement. The tail is elevated for better balance of fishing line to the laminated nlchrome loop. Belgian crystal
by inserting a piece of firebrick between it and the shelf. selected for this project has a pale greenish cast that is attractive.

JUNE, 1962 25
 Ceram ic and coppe r mobile s
that hang in the garden a r e . . .

FOR THE BIRDS

by ALICE WHEATLEY

26 CERAMICS MONTHLY
 H I L D R E N have a free, uninhibited and well-de-
C veloped talent for doing nothing gracefully. Any child
(or other sun worshipper) who enjoys sitting propped
up against a tree--perhap s on the shore of a woodland
pond waiting for a nibble on a fish line or watching the
colorful and chattering invasion of the garden by the
birds--will enjoy the project we came upon one summer
day.
In line with gMng the children an outlet for some
of their zest for living and at the same time developing
their deep-seated curiosity, we planned a project that
combined motivation, creativity and some learning about
just what makes this small world tick. In addition, we
intended to charm the little winged visitors by piquing
their curiosity about what was happening within their
own periphery. We set out deliberately to attract them.
The tinkling, shining mobiles that lured them to
the garden repaid the birds by leading them to the feed-
ing station and all the seeds they like so well. In addition
to attracting the birds, the mobiles lulled the usually noisy
children into a quiet where they let their drean~s take
o v e r - - a rare experience for them. And from the variety
of birds that came to visit, they even made the startling
discovery that all birds are not robins!
Here was how we went about our project. We talked
for a while about the birds and their need for coexisting
with people in order to help them in their never-ending
search for food. We were not too specific about bird
species, only about what we could do to help them.
The feeding station and the seeds were most impor-
tant for our plan, of course. But how were we to let the
birds know they were there? Our line of approach was
to lead them to the seeds by a series of dangling, tinkling
copper cutouts and earthy clay shapes decorated with
white engobe. In addition to attracting the birds, we felt
that these pieces would resist the weather and also pro-
vide perches on which the birds could light.
Each child had his own ideas about the shapes that
would attract the birds. Davey was certain that they
would share his enthusiasm for sun, moon and star shapes,
plus a few more he added that were completely amorphic.
Linda chose voodoo symbols inspired by her trip to Haiti:
the all-powerful sun, the goat god, and, since Haitians
believe that all good comes froln the sea, fish and sea
urchins. Pat settled for fancies only she could under-
stand. They pleased her, anyway; and the birds were
drawn by their white engobe designs or the unusual
sounds of the wind playing on the copper bits.
Although the clay and engobe fornmlas were not
critical, we knew that clay should be matured to make
it impervious to moisture. As we mixed the pot of clay,
we threw into it several handfuls of sand. This was
I)avey's idea, for he thought it might make the birds feel
Please Turn the Page
FOR THE BIRDS
more at home if some of their native sandy soil were tiny bells to increase the sound when the mobiles swayed
there. The clay mix we used was for cone 4: in the wind.
We thought about glazing the pieces but finally de-
Fire Clay 30 cided against it. The glamour of the movement and sound
Red Clay 25 would suffice to attract the birds, we felt. And anyway,
Flint 25 we just didn't want to wait any longer to try our mobiles;
Grog 20 our work had already taken a week of precious child time
We also added about 7 percent Manganese Dioxide to and that seemed enough.
The day we hung the mobiles was fun. Many birds
some of the clay to make it darker.
came, a few at a time. We weren't absolutely certain
Here is an alternate formula that will serve just as whether they came because of the enchantment of the
well if stoneware clay is available: mobiles or for the seeds they found, but of course the
children were sure that the birds would never have known
Stoneware Clay 50 we were there without their mobiles!
Red Clay 50 Davey fairly held his breath with delight as a red-
Ten percent of Manganese Dioxide can be added for a eyed vireo preened itself and hopped from one small
perch to another. Listening to the sound of a tiny bell,
darker color.
the bird almost lost out on the seeds. When a copper
The engobe we used followed this formula: shim attached at the tail end of one mobile rustled, he
darted swiftly away to forestall an enemy approach. More
China Clay 30.0 practical birds, like the starlings, spent little time enjoying
Ball Clay 24.0 the mobiles; they were content to eat and eat until the
Flint 36.0 last of the seeds were gone. When this happened, Davey
Feldspar 20.4 scurried about to fill the cup again for his new-found
Whiting 2.4 friends. After all, that was the real reason for the job,
We obeyed all of the usual rules for forming our clay wasn't it?
pieces. We wedged the clay, rolled it out, drew our shapes The unpretentious ness of the material, its earthy
and cut them, smoothed the edges somewhat (we knew quality, the wind sound in the copper fins and the fresh-
the birds were not too fussy), and added cutout designs ness and naivete of the playfully-crea ted designs were set
where it suited our fancy. We made tiny holes at the tops off by the children's delight in the birds and their
of the pieces for the wires we planned to string them on. proximity to the sounds of the earth. The simple project
We made holes at the bottom of some pieces for attaching became a really rewarding experience.

i i(!jill

THE CHILDREN discuss various shapes for their mobile creations SEA CREATURES and voodoo symbols for Linda's mobile were
that they hope will attract the birds. inspired by her recent trip to Haiti.

28 CERAMICS MONTHLY
 fii iil

PREPARING
:il! ~k
~ if!~" z!~:il
i!~!~ S~ ~:'~i
,. 4111~ ~i

GREENWARE
FOR
DECORATING
demonstrated by MARC BELLAIRE

!iili

p Rmost
E P A R I N G the surface of a piece of greenware is
important if a satisfactory decoration is to re-
sult. For this reason, Marc Bellaire starts his project this
I. KNIFE is used to remove mold mark seams.
month with a review of the three important steps in
cleaning and preparing a piece of greenware for decorat-
ing.
The first step is to scrape off all sharp edges such as
are found at mold seams, rims and spouts. If these are
not removed, they not only will be unsightly but also
may cause the glaze to pull away and leave the edges
unglazed. A sharp edge is quite susceptible to chipping,
too. A fettling knife, palette knife or paring knife can be
used for removing the sharp edges; it should be held at
an angle and worked in a direction toward the user,
thus wearing away the excess clay and preventing any
gouging of the surface.
The second step is to remove all bumps or other
imperfections by going over the entire surface with a
piece of grit cloth or a grit sponge. This is a general
cleaning and finishing operation.
2. GRIT SPONGE is used to smooth the surface.
The final step is to smooth the surface, seams and
rim by wiping with a damp silk sponge. Dust, fingerprints
and other surface dirt also are removed by this process.
This cleaning step is done immediately before the decora-
tion is started since a slightly roughened damp surface is
ideal for brush work. The clay is given the proper "tooth"
for brush decorating and the dampened surface won't
pull water too quickly from the underglaze-saturated
brush. Marc Bellaire cautions against using a too-dry
sponge for cleaning as it may result in a polished surface
that will not properly accept underglaze.
Remember that the ware must be dampened im-
mediately before decorating. If the piece has been cleaned
and set aside for a day or two, sponge it again to remove
surface dirt and fingerprints and to dampen it.

3. SILK SPONGE removes dust and fingerprints. C o n t i n u e d on the N e x t P a g e

JUNE, 1962 29
MARSH BIRDS 1. UNDERGLAZE COLOR is spattered from a stiff brush onto
a greenware vase with a tripod foot for the first part of the back-
ground treatment.

demonstrated by MARC BELLAIRE 2. BACKGROUND, suggesting marsh plant forms, is completed by

throwing splatters of color onto the shape from a fully-charged
watercolor brush.

T aH Edesign,
B A C K G R O U N D can be a very important part of
even though it plays a secondary part. Com-
bined imaginatively with the principal decorative motif, it
can be the source of much vitality and interest. In some
instances the background is chosen to complement a
specific motif, while in others it provides contrast. In
either case, its choice can make or break a design.
The greenware shape that Marc Bellaire uses for his
demonstration is a vase with a tripod foot treatment.
The theme selected for the decoration is Marsh Birds.
The background that is planned to complement the main
design of birds is made by the use of two techniques that
depend in part on accidental effects.
Spattering is the first of these techniques used. A
stiff-bristled brush is dipped in blue underglaze and the
color is spattered onto the cleaned greenware vase by
raking the fingers across the bristles. A toothbrush or
stencil brush also could be used to achieve this effect. The
areas treated in this technique are those portions of the
vase above the center of each leg.
A inuch bolder adaptation of this general technique
is used to complete the background. This is called splat-
tering or whipping, and consists of throwing color onto
the piece from a brush. In this case, brown underglaze is
thinned for use and the brush is heavily loaded with
the color. After a little practice, the decorator can easily
place the streaks of color just about where he wants them.
The vertical and oblique whippings here suggest swamp
or marsh plants.
The brush stroke is the very heart of decorating.
Marc Bellaire uses two sweeping strokes from a fully-
loaded brush to suggest the bodies of the marsh birds.
Black color is used for all brush work in this design. The
fine lines of the design--the long legs, beaks and tail
lines--are made with the liner brush. The decorative tail
feathers are made by "printing" with the brush. In this
technique the brush is filled with color and its side is
pressed to the piece to form the actual outline of the
brush itself. Foreground plant forms fill in the design and
boldly repeat the lines of the background.
A heavy band of black at the top is introduced to
balance the black plants at the bottom and to tie the main
design elements together. Its use also diminishes the
importance of the lively splattered backqround.
The sgraffito technique is used to complete the
decoration. The eyes of the birds are scratched away and
tlle heavv black rim at the top is textured as the form
is spun on the decorating wheel. This treatment adds
sparkle to the design and diminishes the weight of the
black color band.
The decorated vase is bisque fired, then covered with
a transparent matt glaze and fired again. The glowing
finish of the glaze gives just the proper finish for Marc
Bellaire's marsh bird design.
30 CERAMICS MONTHLY
3. TWO STROKES of the brush dipped in black underglaze are used S. HEAVY BAND of black at the rim provides balance for the
to create the body of a bird over the accldental- effect background rather lively decoration . It also gives the bird forms more impor-
treatment. tance in the design.

4. LINER BRUSH is used to make the long legs. beaks and tail 6. BLACK RIM is lightened by texturing it as the pof is spun on
lines of the birds. Brush printing is used to create the tail-feather the wheel. The tip of the sgraffito knife is used for this finishing touch
shapes. of decoration .

JUNE, 1962 31
SHO W T I M E . . . Artis t-Cra ftsm en of New York Exhibition

Sweet Bird o/ Youth, b)' Elaine

Kazan, Chauncey, New York,
is enamel on copper.

T HCraftsme
E F O U R T H ANNUA L Exhibitio n of the Artist-
n of New York was held February 9 through
March 1 at the Cooper Union Museum. The exhibitio n
covered a wide range of mediums including pottery, glass,
Two-Spou ted Pot, by Louis Mendez, Goshen, New York, is
enamel and mosaic. Special events included ceramic
[our feet tall. It has rust and blue-grey underglaze on the light
demonstr ations by Didier Journeau x, Lilli Ann Rosenber g,
brown body.
D. O. Mavros and Ilse Johnson; and enamel demonstr a-
tions by Kathe Berl and Oppi Untracht .
The purpose of this annual exhibitio n is not only to
encourag e the productio n of objects of sound design and
craftsman ship, but also to increase awarenes s on the part
of the public that well-exec uted craft objects are among
the best buys in beauty today.
Example s of ceramic sculpture , pottery and enamel
from this exhibitio n are pictured here. This month's cover
shows a section of a glass wall hanging, by Dorothy
Larson, that was included in this show.

Ball, ceramic sculpture by

Marilyn Fox, New York
City, measures eight by
fourteen inches. It is made J
from red-firing clay.

32 CERAMICS MONTHLY
SHOW T I M E . . . Exhibition for Michigan Artist-C raftsm en

Blue Mask Pot (above) by Toshiko Takaezu, Cleveland, Ohio.

Founders Society Purchase Prize [or the permanent collection
o[ the Detroit Institute o[ Arts.

Bottle (le[t) by Jerry R. Campbell, Livenia, Michigan. The

Michigan Potters Association Ceramic Prize.

N I N E T E E N award winners re-

ceived prizes totaling more than
$1300 in the 16th Exhibition for
Michigan Artist-Craftsm en held
at the Detroit Institute of Arts
during February. Out of approxi-
mately 1500 entries, 368 pieces
were selected for inclusion in the
show. The jury included potter
James Secrest, Canandaigua , N.
Y.; metalsmith Ronald Hayes
Pearson, Victor, N. Y. ; and weav-
er Azalea Stuart Thorpe, New
York City.
Pottery awards went to Jerry
Campbell for a group of three
ceramic pieces; John Click for a
covered jar; Richard Leach for
five mug forms; Marie Woo for
an unglazed Bizen ware vase; and
Anna Smith for a slab bottle.
The Founders Society Purchase
Prize, awarded by the Board of
Trustees of the Founders Society
for the purchase of work accept-
able for the permanent collection
of the Detroit Institute of Arts,
Stoneware Covered Jar by John Parker Glick, Farmington, Michigan. Artisan's Pur- was given to To~hiko Takaezu
chase Prize ]or the University o[ Michigan Museum o[ Art. for her blue mask pot.
JUNE, 1962 33
SHOW TIME... Ohio State Exhibi tion at South Bend

through-glaze decoration. Planter, assembled [rom [orm~ paddled oz'er boulders, is [our inche~ hi eh.

I G H L I G H T I N G the exhibition },ear at the South
H Bend (Indiana) Art Center has been an expanded
series of ceramic shows. One-man shows this year have
highlighted the work of Richard Peeler (featured in CM
December 1961), John P. Glick and Nicholas Prokos. The
director of the Art Center is Harold Zisla.
During January, a student-facul ty exhibition from
the Ceramic Art department of The Ohio State Univer-
sity was shown. Faculty n~embers represented included
Paul Bogotay, Eugene Frilev and Edgar Littlefield.
Among the students whose work was exhibited were
Ward Youry, Roberta and William Persick, Howard
Kottler, Judith Schwartz and Robert Stull. A selection of
photographs from this show is presented here.

Horse and Rider by Paul Bogotay. This ceramic ~culpture, made

from high-[ire stoneware with iron added, is sixteen inches high.

Reduction-Fire d Stoneware by Howard Kottler.

Slab-built Bottle (le[t) is twenty-nine inches
high. Jug (right) is wheel thrown.
34 CERAMICS MONTHLY
 FIEL D
FIRI NG
IN AN
a
IMPRO VISED
KILN
by K. LOMNETH CHISHOLM
I R I N G pottery out-of-doors in an
F improvised kiln provides a won-
derful project for an eager camp
group, a school class or a family activ-
ity. M y Girl Scout Troop used this * ~:~...-7~-~

technique to win the "best project"

award, as well as the three top
ceramic prizes, in the Arts and Crafts
Show.
None of the materials needed for
this project is difficult to obtain; in
fact, all of them can be easily found
in even the remotest camp situation.
All that is needed for the "kiln" is an
empty oil drum with a metal cover.
The stand is made from cinder blocks
or bricks. Sawdust or wood chips are
used inside the kiln for packing the
ware and producing the black reduc-
tion color of the clay as it burns. Fuel
for firing the kiln is supplied by sticks,
wood chips and firewood. Actually,
the necessary equipment and the fir-
ing method are so simple that this
project might be used as an amusing
diversion for a group project or as
a means of producing fired ceramic
pieces for beginners in a situation
where there is no commercial kiln.
It is a "natural" for any camp proj-
ect or activity!
i !.iiii!!~j~!ili !~:~ !
POTTERY made by Scouts and fired in an
improvised kiln.
We used a discarded ten-gallon oil
drum that had a tight-fitting lid for
our field firing. The can must be a
sound one with undamaged seams.
For propping up the kiln in order that
a fire could be built beneath, we used
three cinder blocks. One was used
under the back end and one was used
on either side of the front or loading
end. I n this way, fuel could be fed
into the fire from several directions
during firing and the drum was given
a reasonably good balance by the use
of three supports.
The cinder block or brick supports
are placed in position where you plan
to build your fire. Set the oil drum
on these supports horizontally, with
the open end facing your working
area. When the drt, m is balanced
properly, remove it from the supports
and carefully arrange the fuel on the
ground beneath. Since pottery must
be fired with a slow beginning heat,
plan for an even but not-too-hot fire
on the entire underside of the kiln.
Finally, replace the drunl on the sup-
ports and puncture the lid in several
places with a large nail.
You will need about half a bag of
sawdust or sawdust and wood chips
for use inside the kiln. These can be
obtained from a sawmill, lumber
company, or the local butcher.
T o stack the kiln, first spread an
inch of sawdust evenly on the bottom
of the drum. Starting at the back and
working toward the front, place a
layer of your heaviest dry greenware
pieces on this bottom layer. Hollow
pieces can be placed upside down.
Cover each piece with more sawdust
and keep working forward and up-
ward until all the ware is placed in
the kiln. Fill the kiln with sawdust
if you have enough.
With the kiln stacked, put the lid in
position and wire it securely to the
drum. If you have a sheet of asbestos
or some other heat-retaining material,
place it over the kiln top as an in-
sulating cover. Now light the fire
beneath the kiln. You mu~t rmnember
that the heat should be built up
slowly. If too much heat is applied too
quickly, the pottery pieces might
break. When the heat has reached
the point where you cannot touch the
can anywhere without getting burned,
start building a really hot fire. We
found that about three hours of hot,
even heat gave us strongly fired ware.
After this amount of time, allow the
Continued on Page 36

JUNE, 1962 35
 Field Firing
JUST OUT!
National's 1962 CATALOG
Continued [rom Page 35 MOSAICS
Over 80 pages - - some in COLOR.
fire to go out and the kiln to cool
for about 48 hours. It is safe to open COPPERENAMELING
JEWELR Y SETTINGS (Over the kiln when you can touch any part
* Huge Stocks
500 Styles) RHINES TONES of it without burning your hand.
r Fast Service
One of the advantag es of firing a
& JEWELS GLASS MARBLES ~r Quality Merchandi se
ciln in this primitive manner is that
(S Sizes) PEARL CHAIN (S one doesn't have to worry about over- Write now for FREE literature
Colors) TASSEL S, BELL firing! After tending the fire for three
CAPS, ETC. hours, one is happy to let the fire
die away.
ILLINI CERAMICSERVICE
Catalog S0c (Refundable with S.00 order) "OuaHty Ceramic Supplies"
Free Catalog To Schools and Institutions.
Unloadin g the kiln is an exciting
experienc e. I fire and unload my stu- 439 N. Wells, Chicago 10, III.
STUDIO - DEALER - DISTRIBUTOR DISCOUNTS
dio kilns daily as a matter of course, Phone M[ 2-3367
but opening a field kiln still has the
Xmas power to fascinate me on the rare
occasions when I fire one. Some of N.Y. STATE FACTORY REPRESENTATIVE
Tree for the Fabulous Homogeniz ed Mayco
the pieces made from a white clay Glazes, and Kay Kinney Glass Stains and
Lights Molds. Write for Descriptive Circulars.
turn a magnific ent black color; others
Sc each. show a range from black through PERFECT ITEMS FOR
ANY SCHOOL ROOM
((peantity Discounts) brown, with perhaps even a white BUFFALOCERAMIC& ART SUPPLYCENTER
No. 97X No. 97Z area that somehow missed the saw- 437 Franklin St. Buffalo 2, N.Y.
Beautiful Transparent Lucite In All Colors: dust. All have a look of antiquity --
Rose, Green, Gold, Red, Crystal, Blue, Purple. sculpture and utilitaria n pieces alike.
See Your Dealer or Write For Sample. The Girl Souts love them; I think
any group would! $
NATIONAL ARTCRAFTSUPPLYCO. A subscription to CERAMICS MONTHLY makes
an ideal gift for any occasion~ Simply fill in the
12213 Euclid Ave., Dept. C subscription blank in this issue, mark it "gift,"
Cleveland , Ohio and tell us how you want it signed, we'n an-
Kathe Berl nounce your present with a handsomegift card
in your name.
Continued [rom Page 23 If the recipient of your gift is already a
subscribed to CERAMICS MONTHLY, we will
CRE EK-T URN brush with undergla ze and paint it
on a good pen to fill it. Using the
extend the current subscription.

GLA ZES- MOL DS pen, and following the paper strip

Catalog SI.00 guide below my enamel space, I print
BE A DEALER all the vertical lines of the lettering CERAMI CS
FINISHED AND GREENWAR E
Rt. 38, HAINESPORT, N.J. first. Then I do the horizonta l strokes. Distributor: ~ Reward llrDobe GIo
~, Willoughby ~ Symphony "A" Kay Kinney
After that, I remove the paper and Glass Molds, Bergen & Marx brushes, also
tools. Our stocks of all ere large end varied.
fill in all of the rounded letters such NO CATALOGS
Please Mention CM SUBURBAN CERAMICS STUDIO
as the O and Q. When the lettering
when writing our advertisers 830 Warren Avenue Downers Grove, III.
is dry, I take a wooden point (such WO 8-0719
as the tip of a brush handle) and
scrape off any mistakes or lines I REDUCT ION
ANDERSON CERAMICS COMPANY FIRING
don't particula rly like.
Full details, formulas. Send 75c - Copyrighted .
608 N. McDuffie St., Anderson, S.C. I warm each piece before firing;
Mfcj., A r t Glaze - Stains - Kilns - Luster - Molds
Complete Ceramic Supplies this is importan t in working with
overglaze s. I also watch the firing very NORRIS LABS
Send $1.00 for our new pictured mold
and supply catalog. carefully in order to take the pieces 21S4 Irving, Dallas 7, Texas
out of the kiln as soon as they turn
shiny. Overtired overglaze looks ter-
T0 0 L5 WE MAKE.:
ALL rible, I think!
I hope you like my project for the
6 CERAMICHINTS
BOOKLET . . . . . . . . . . . . . . 25c
Ceramic Modelin g garden, and I hope that the method
and Hobby Tools - - of lettering I use works well for you.
"How to A v o i d C e r a m i c Troubles"
Potter's Tools and Since there won't be another issue For teachers - beginners - schools - institu-
Hobby Craft Tools tions. Instructions for Red end Gold Firings.
of CERAMICS MONTHLY until Septem- Just one hint may save you time and $.
ber, I want to take this opportun ity Send 2So in cain and Booklet will be moiled
All made in our own plant. to you.
to wish all of you a wonderfu l sum-
Ava/lable at your local suppliers. Write
for cur latest c=tG:cg fliust:'ati::~" co:::,,-
mer and H a p p y Enamelin g! LOUIS CERAMI CS
Sponsors of Top Award Winners
I ] years in a row
Back to School--B ack to Work I
See S e p t e m b e r ' s C M 336 Power Rd. Pawtucket, Rhode Island

36 CERAMICS MONTHLY

people, places
. . . . . . . . . .
IOWA MIDWEST SHOW
Phyllis Gericke reports that the Ninth
Midwest Ceramic Show, held recently at
the Masonic Temple in Waterloo, Iowa,
was a great success. "Our show was grand
- - o f course, we always think so," writes
Mrs. Gericke. " T h e people make such love-
ly displays and really put a lot of time and
effort into making a fine show. I think
one reason for the success of the show is
that we don't make it a 'selling' show.
The price of exhibit space is so low that
people can exhibit just for the fun of it
- - a n d fun they do have!"
Virginia Schreiner, Rock Island, Ill-
inois, won the Best of Show award for her
terra cotta St. Francis. Blue ribbon win-
nets pictured (left to right) are: (Front
row) Leora Kepple, Ede Wright, Virginia
Schreiner and Vi Van Thuesen; (Back
row) Donn Vaughn., Oscia Hardin, Mar-
ion Guzzle and Lee Bramblett e.
GLASS SEMINAR.W ORKSHOP
An advanced seminar-w orkshop explor-
ing the possibilitie s of molten glass as an
expressive tool of the craftsman will be
held at the Toledo Museum of Art, June
18-30. The Museum is organizing and
sponsoring this pioneering event. Harvey
Littleton, of the University of Wisconsin ,
will conduct the workshop.
The course is organized to provide op-
portunities for experimen tation and practi-
cal exercises in glass casting, blowing, tool-
ing, lamp working, molding and anneal-
ing. Special tours and lectures will supple-
ment the course. Complete informatio n is
available by writing Charles F. Gunther,
Superviso r of Art Education , The Toledo
Museum of Art, Toledo 1, Ohio.
D. C. SHOW PLANS
Dorothy Martin, publicity chairman for
the Washingto n, D. C., Creative Crafts
Council, has announced plans for the Fifth
Biennial Creative Crafts Exhibition . Crafts-
men in Washingto n, Maryland and Vir-
ginia are invited to enter original pieces
in classes that include all of the ceramic
media. Dates for the show are September
J U N E , 1962 "
<
KEMPERTOOLS
Recommen ded and desig.qed far
utility, quality, durability
& things KEMPER CLEAN-UP TOOL N.S. Ifor new style)
RETAIL PRICE 75c Each
15 to October 11; deadline for entries is KEMPER CLEAN-UP TOOL (OS)
RETAIL PRICE 85c Each
August 30. The exhibit is sponsored by
the Ceramic Guild of Bethesda, Clay
Pigeons, Ceramic Workshop , Potomac KEMPER TRIMMER KNIFE
Craftsmen and the Kiln Club of Washing- RETAIL PRICE 50o Each
ton. For informatio n, write: Mrs. Ella S.
Bolster, 4200 39th St., North Arlington,
Virginia. KEMPER LACE TOOL
RETAIL PRICE 75c Each
NEW MEXICO EVENT - - - - - - ~ - ~ , : , t - ~ - L 6 ~ . - - - "-'~--~::~
The first annual New Mexico Arts and
KEMPER ZIG-ZAG SAW..Retai ! Price S0c ea.
Crafts Fair will be held July 26 through
July 29, 1962, in Old Town Plaza, Albu-
querque, New Mexico. The theme this
year is "Three Cultures U n d e r Four Flags."
OTHER KEMPER TOOLS:
It will be keyed to the celebratio n of New
Kemper Finger Tool . . . . . . . Retaff Price 75c ea.
Mexico's Golden Anniversa ry of Statehood
Kemper Incising Tool . . . . . . Retail Price 75c ca.
and will include all three indigenous cul-
Kemper Twin-Line Sgraff;to Tool. . . . . . 7Sc ea.
tures: Indian, Spanish and Anglo-Con -
Spring return plunger equipped flower cut-
temporary .
ters, various sizes and patterns. Flower tools
In addition to the fair, there will be and other popular ceramic utility tools.
entertainm ent features characteri stic of
Ask your dealer for these Kemper Tools.
New Mexico and demonstra tions of various
crafts such as weaving, pottery and jewelry Wrlfe for FREE catalogue to:
making. ]eanne M. Luhn is the secretary
of the New Mexico Arts and Crafts Fair. KEMPER MANUFACTURING CO.
P.O. Box 545, China, Califarnla
INTERNATI ONAL CERAMIC EXHIBIT
The Center of Ceramic Art of the Ar-
gentine Republic is presenting an Inter- Ceramic s . Mosaics . Copper
national Exhibit of Contempo rary Ceramic
Art, to be held in Buenos Aires from No- Send 50c for two large, illustrated cata-
vember 17 to December 17, 1962. It will logs wlth instruction. Free to ~nstltutiens.
take place in the National Museum of Art Service
of the City of Buenos Aires. In addition to
Seeley' s Cerami c
9 River Street, Oneonfa, N e w York
the Intematio nal Exhibit, there will be an
exclusive exhibit of the work of Argentine
artists.
The works to be selected for the Inter- Please Mention CM
national Exhibit must be original. There
will be a first prize for the best work by when writing our advertis ers
a foreign artist and a first prize for the
country best represente d.
Copies of the regulation for entering the JEAN LEONA RD CERAM ICS
96-24 Corona Ave. Corona, L . I . , N . Y .
exhibit may be obtained by writing to the MAGIC GREENWARE RELEASE (8 oz.}..SI.2S
Embassy of the Argentine Republic, 1600 Save yourself aggravation. Releases green-
New Hampshir e Ave., Washingto n, D.C. ware in half the time, will not stick.
KILN SURFACE BRICK HARDENER
(16 oz.) . . . . . . . . . . . . . . . . . . . . . . . . . . . SI.7S
ARTS AND CRAFTS FESTIVAL Will harden and prolong the life of your
kiln. Stops the kiln brick from shedding and
The second annual Arts and Crafts Fes- flaking.
tival o/ Western Massachu setts will be
held on June 2 at Stanley Park in West-
field. Sponsored by the Springfiel d Guild
1962 REVISION
of Craftsmen , the Festival will display the
work of about I00 artists and craftsmen.
6
Included will be pottery, enamels and
jewelry. There also will be a number of
represen ting
demonstra tions. 34 companies
The Festival will be held from 11 a.m.
until 7:30 p.m. There will be no admission
charge and the event will be held rain or IN ONE CATALOG . . . . . . . . . . . . $1.00
shine. Mrs. Vincent Scavone is General A real freight saver
Chairman of the Festival and Mr. Herbert
Cummings is President of the sponsoring
Guild. MIDWEST .E...,c
CENTER
722 Southwest Blvd. KansasCity, Missouri
Continued on Page 41
37
 Itinerary
the complete
Continued from Page 12

SCHOOL CONNECTIC UT, GUILFORD

July 19--21
precious stones by the Russian Imperial
court jeweler. At the Metropolitan
SUPPLY Fifth Guilford Handcraft Fair, on the
Guilford Green, sponsored by the So-
ciety of Connecticut Craftsmen, Inc.
Museum of Art.

OHIO, CLEVELAND
HOUSE D. C., WASHINGTO N
June 27--30
through June 24
The 44th Annual Exhibition of the
work of artists and craftsmen of Ohio's
tor all Apprentice Exhibition, sponsored by the Western Reserve, at the Cleveland
Glass Association of America, at the Museum of Art.
Shoreham Hotel.
Ceramic Supplies OHIO, CLEVELAND
ILLINOIS, CHICAGO August 23--September 23
Mosaic Tile Supplies June 15--July 15 "Artist-Craftsm en of Western Europe,"
"Tutankhamun Treasures," Smithsonian circulated by the American Federation
Metal Enameling Supplies Institution Traveling Exhibition, at the of Arts, at the Cleveland Museum of
Oriental Institute of the University of Art.
Gravel Mosaic Supplies Chicago.
OHIO, WORTHINGT ON
MISSOURI, ST. LOUIS July 29
August 1--September 15 Arts and Crafts Exhibition and Sale,
WRITE FOR OUR # 6 "Design in Germany Today," Smithson- sponsored by the Historical Society.
CATALOG ian Institution Traveling Exhibition, at Craftsmen interested in exhibiting can
the City Art Museum. contact Dora Reynolds, 2764 River Park
Drive, Columbus 21, Ohio.
send 50c refunded on first order
NEW HAMPSHIRE , WOLFEBORO
August 7--11 OREGON, PORTLAND

Van Howe Craftsman's Fair, sponsored by the Lea-

Ceramic Supply
118S SO. CHEROKEE
DENVER 23, COLORADO
Please Mention C M
when writing our advertisers
MOOEL , . . . , 9 . 5 O
eHeavy Kinalloy 7-inch table
eSolid cast aluminum case
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WITH I- IKH IAT & ARM IESTS $S2.00
Soil ylw dllllor or ilistribll!. . . . . . . . . . . tl " /~-~eeSl~
GILMOUR CAMPBELL
14258 MA DEN DETROIT 13 M
N0rwest Novelty Co.
32480 Northwestern Highway
Farmington, Michigan
Hours: 9 to S
OPEN SUNDAY
Closed Monday
Phone MAyfair 6-6003
~ We manufacture our own
line of Clay Bodies,
Glazes, Wheels, Tools, etc.
gue of New Hampshire Arts and Crafts,
at Brewster Academy.
NEW JERSEY, NEWARK
through December
"One Hundred Years of English Pot-
tery" shows over 200 examples of work
done by both well-known and obscure
English potters, at the Newark Museum.
NEW MEXICO, ALBUQUERQ UE
July 26--29
First Annual New Mexico Arts and
Crafts Fair features sales, demonstrations
and displays in keeping with the theme,
"Three Cultures Under Four Flags." At
the Old Town Plaza.
ll~[]l-r.ll~l~
~J~LLL'L'I[~
~ _ _ - ~
August 7--11
1 through
Ninth Annual York State Craft Fair, at
~ / 'Itt~ Ithaca High School. Lectures, workshops
I C H ~ ~: -
and demonstrations by Louis Mendez and
Jennie Flock (ceramics) and Myles Lib-
hart (enamel).
NEW YORK, NEW YORK
through September 22
"Young Americans--19 62," a national
competition for American craftsmen 30
years of age and under, sponsored by the
American Craftsmen's Council. At the
Museum of Contemporary Crafts.
NEW YORK, NEW YORK
Continuing
"Precious Objects by Faberge" features
150 examples in gold, silver, enamel and
through June 9
Tenth Biennial Exhibition of Northwest
Ceramics, sponsored by the Oregon Ce-
ramic Studio and the Creative Art Foun-
dation of Oregon, at the Oregon Ceramic
Studio.
PENNSYLVA NIA, EAST STROUDS-
BURG
July 25--28
Fifteenth Annual Exhibit and Fair of the
Pennsylvania Guild of Craftsmen, at East
Stroudsburg State College.
QUEBEC, MONTREAL
through June 15
"Japan: Design Today," Smithsonian
Institution Traveling Exhibit, at the
Montreal Museum of Fine Arts.
RHODE ISLAND, PROVIDENC E
June l0
Fourth Annual Rhode Island Arts Festi-
val, on the Providence "Mall."
WASHINGTO N, SEATTLE
through June 10
Northwest Craftsmen's Exhibition, fea-
turing the work of craftsmen residing
and working in Washington, Oregon,
Montana, Idaho and Alaska, at the
Henry Gallery, University of Washing-
ton.
WASHINGTO N, SEATTLE
August 1- 31
"Tutankhamun Treasures," Smithsonian
Institution Traveling Exhibition, at the
Seattle Art Museum.

J E ~ "~ B L A C K CLAY
Noth;nq
cones 05
like it anywhere! Fires black at
to 2. All-purpose clay for sculpture,
COMING U P . . .
modeling and t h r o w i n g . This is CERAMIC MONTHLY'S special "Over-The-Su mmer" issue (CM is
S-lb. Trial Sample . . . . . . . . . . . . $2.50 published monthly except July and August). The next issue in line is our
Our Aim is: ~)UALITY & SERVICE popular September Back-To-Work number which will contain a wide variety
64 page catalog ~ 3So DealersInvited of projects and helpful techniques for the hobbyist and school teacher at the
JACK D. WOLFE CO., INC. beginning of the busy season in ceramics.
724 Meaker Ave., Bldyu22, N.Y. Tel. IN7.360S Deadline for news items and advertising copy is August I.

38 CERAMICS MONTHLY
 THROWING
ON THE
HANDBOOKS
POTTER'S
THROWING ON THE POTTER'S WHEEL
WHEEL
8Y THOMAS SELLERS This complete manual on the use of the potter's
wheel includes basic steps, from wedging clay to the
making of specific shapes. Clearly described and il-
-A" -A- -A" lustrated. By Thomas Sellers.
80 pages. $4.00

UNDERGLAZEDECORATION
Marc Bellaire creates a startling variety of new de-
signs before your e y e s - teaching the ultimate in
quality underglaze decoration. 37 projects in all;
286 lively illustrations.
64 pages. $3.00
-k" -k" -A"

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

m
m m m m m
CERAMICS MONTHLY Book Department
4175 N. High Street
Please send me the following:
Columbus 14. Ohio m
--copies of THROWING ON THE POTTER'S WHEEL @ $4.00

I --copies
--copies
of UNDERGLAZE DECORATION @ $3 a copy.
of COPPER ENAMELING 6' $2 a copy
(CM pays postage)
I
NAME
I ADDRESS
CITY__ Z N . _ _ STATE__
I
[-] Money order
m I enclose [~] Check
(Ohio residents add 3% sales tax.)
I
m m m n
JUNE, 1962 39
 Summer
Continued ]rorn Page 11
fers four 3-week sessions in ceramics.
Instructors: Edwin and Mary Scheier,
Ronald Burke, Toshiko Takaezu and
M. C. Richards. Write: Haystack Moun-
tain School of Crafts, Deer Isle.
MASSACHUSETTS, W O R C E S T E R
July 9--20
in ~ou, a r e a
Craft Center Summer Session plans a
W r i t e far Information DEPT. C two-week course in ceramics and enam-
eling. Instructors: William Wyman and
NALKER JAMAR CO.u~. ~ Mt uI N.N~. Joseph Trippetti. Write: Craft Center,
25 Sagamore Rd., Worcester 5.
MICHIGAN, EAST LANSING
4KILN.'eARD June 20--August 31
Michigan State University is offering
credit courses in pottery design, glazes,
and stacking and firing a kiln. Instruc-
tor: Louis Raynor. Write: Michigan
State University, Kresge Art Center, Art
Department, East Lansing.
P. O. Box 1055 Jacksonville Beach, Fla.
NEW HAMPSHIRE, D U R H A M
July 9--August 17
The University of New Hampshire is
offering a six-week course in elementary
and advanced ceramics. Instructor: Don-
ald Campbell. Write" George R. Thom-
as, Chairman, Department of the Arts,
University of New Hampshire, Durham.
NEW H A M P S H I R E , P E T E R B O R O U G H
July 1--August 31
The Sharon Arts Center is offering an
eight-week course in ceramics and enam-
eling. Instructors: Gerry Williams and
Fran Brown. Write: Sharon Arts Center,
Peterborough.
NEW YORK, ALFRED
July 2--August 10
Alfred University Summer School offers
Library Binder. courses in ceramic design and pottery
production at the elementary, advanced
Holds a year's and graduate levels. Instructors: T. A.
Randall, Val Cushing and others. Write:
supply of CM. Fred H. Gertz, Director of Summer Ses-
sions, Box 805, Alfred.
Order yours to-
day. Postpaid. NEW YORK, C H A U T A U Q U A
$3.s0 July 9--August 17
Chautauqua Center of Syracuse Univer-
sity will hold two three-week sessions:
July 9--27 and July 30--August 17.
Instructor: James Achuff of Syracuse
Ceramics Monthly University. Instruction will cover intro-
4175 North High St. Columbus 14, Ohio ductory, intermediate and advanced ce-
ramics. Write: Program Administrator,
Chautauqua Center, 610 East Fayette
St., Syracuse 3.
NEW YORK, LAKE GEORGE
June 25--August 25
The Pottery Workshop at the Lake
George Art Center offers instructions in
pottery techniques, with stress on throw-
ing, form and decoration. The Workshop,
located in the Old Stone Schoolhouse, xs
within walking distance of Lake George.
Write: J. Hastings, Lake George Art
Center, Lake George.
NEW YORK, NEW YORK
June 2--August 7
Crafts Students League is offering an
eight-week course in ceramics, enameling
and sculpture. Instructors: Roberta Le-
40
Workshops
ber, Gertrud Englander, Adda Husted-
Anderson and Mildred Downey. Maurice
Heaton will give another workshop in
fusing and decorating of glass July
30--August 7. Write: Craft Students
League, 840 Eighth Ave., New York 19.
NEW YORK, R O C H E S T E R
June 25--August 10
The School for American Craftsmen is
offering a five-day Designer-Craftsmen
Workshop SeminaJ from June 25-29, and
a six-week Summer Session from July 2
--August 10. Instruction will cover ce-
ramics, metalcrafts, jewelry and glass
(two weeks, June 25--July 7). Instruc-
tors: Faculty of the School for American
Craftsmen; glass will be taught by Maur-
ice Heaton. Write: Director, Summer
Session, Rochester Institute of Tech-
nology, Rochester 8.
N O R T H CAROLINA, PENLAND
June 12--August 18
The Penland School of Handicrafts is
offering credit courses in beginning, in-
termediate, or advanced work in clay in-
eluding the forming, glazing and firing
of the pieces. Write: Miss Lucy C. Mor-
gan. Director, Penland School of Handi-
crafts, Penland.
N O R T H CAROLINA, WINSTON-
SALEM
June 4--23
Summer workshops o f the Arts and
Crafts Association include ceramics
(June 4-9), jewelry (June 11-16) and
enameling (June 18-23). Instructors:
Dirk Hubers, Robert Gabriel and Charles
Jeffery. Write: The Arts and Crafts
Association, 610 Coliseum Dr., Winston-
Salem.
OHIO, CLEVELAND
June 18--July 27
The Cleveland Institute of Art is offer-
ing a six-week course in ceramics and
~.nameling. Instructors: Kenneth Bates
and Toshiko Takaezu. Write: Cleveland
Institute of Art, 11141 East Blvd.,
Cleveland 6.
OHIO, C O L U M B U S
June 18--August 24
Ohio State University is offering a sum-
mer ceramic workshop that includes hand
building, throwing, sculpture, ceramic art
history, critiques on form and glaze ex-
perimentation. University credit to 10
hours. First term, June 18--July 20, or
full quarter. Instructors: Eugene Friley,
Paul Bogotay and guest lecturers. Write:
Ceramic Art Area, School of Fine and
Applied Arts, The Ohio State University,
Columbus 10.
OREGON, SALEM
July 30--August 10
Summer Workshop is offering a two-
week course "Know Your Clay" (geo-
chemistry of soils). Write: Bush House,
Salem Art Museum, 600 Mission, Salem.
QUEBEC, M O N T R E A L
June 4--August 31
The Studio/Gallery is offering a 13-week
Continued on Page 41
CERAMICS MONTHLY
 Summe r Worksh ops
Continued [rorn Page 40
course covering wheel-thro wn and hand-
built pottery in both earthenwa re and
stoneware, glazing and glaze calculation.
Instructor : Wanda Rozynska. Write:
Studio/Ga llery, 1 4 4 3 Mansfield St.,
Montreal 2, Quebec.

QUEBEC , NORTH HATLEY

June 1--August 31
The Workshop offers three 3-week ses-
sions in pottery, including wheel work
and glaze calculations. Instructor : Gae-
tan Beaudin. Write: The Workshop, Box
181, North Hatley, Quebec.
W e Make It Possible For
Anyone To Own A Perfect
Producti on Kiln With Our
Famous Pre-Cuf Kiln Kits

TENNESS EE, GATLINB URG

ILLUST RATED CATAL OG June 11--July 17
of Molds and Patterns. Included at no extra Craft Workshop in the Smokies, sponsor-
cost - - many pages of How-fo-do-lt Ideas. ed by the Pi Beta Phi Settlemen t School
Send $1.00 todayJ
and the University of Tennessee. Begin-
BEE BASCH DESIGNS , INC. ning and advanced pottery will be taught
by Barbara McDonald , beginning and
70 Pine & First Sfs., Englewood , Fla. advanced enameling by Helen Worrall.
Write: Craft Workshop, Pi Beta Phi
Settlemen t School, Gatlinburg.
ART CRAFT SUPPLIES, INC.
Distributor for VERMON T, LUDLOW
Paragon - - Duncan - - Drakenfeld July 23--Augu st 17
-- Bergen Brush - - Symphony Fletcher Farm Craft School offers ce-
Jacquelyn's Stains ramics for beginners and advanced stu-
dents in two-week periods: July 23-- Bricks mitered, grooved, and drilled;
CERAMIC& ENAMELINGSUPPLIES every part, right down +o the last nut
180 N W . 62nd St. M i a m i , Florida August 3 and August 6--17. Instructor :
John P. Loree. Write: Mrs. Louise Wil- and screw, included. With blueprints,
liams, Director, Box 478, R.F.D. :~1, and concise building and firing instruc-
Rochester, N. H. lions . . . . Order from this ad or write
for detail sheet.

Molds and Porcela in WASHIN GTON, LA CONNOR

June 18--July 27 Kits
Fidalgo Allied Arts is offering six-week
"The China Decorator" courses in ceramics, enameling and jewel- All Kilns and Kits now fire to 2350F.
ry. Instructor s: Hilary Moth and Ruth 12"x12"x131 /2 '' deep . . . . . . . S 62.50
Pennington. Write: Fidalgo Allied Arts, 18"xl 8 " x 1 8 " deep . . . . . . . . . 99.50
La Connor. 175.00
24"x24"x221 /2 " deep . . . . . . .
2 4 " x 2 4 " x 2 7 " deep . . . . . . . . . 195.00
WISCON SIN, MADISO N
June 19--Augu st 10 ALL PRICES F.O.B. SEATTLE

Molds and Porcela in The University of Wisconsin is offering

407 E. Florence Ave.
Inglewood, Calif.
--FRAN COISE CERAM ICS--
Distributor for
D U N C A N P R O D U C T S - D e l l a Brushes
A.B.C. Glazes . S t a r Stilts
Atlantic . Holland . Arnel
and Ludwig Schmid Molds
M a r c llellaire B r u s h e s . P a r a g o n Kilns
Art Books . Clay - Slip - Greenware
113 49th St., So. St. Petersburg 7, Florida
Write for information and catalogue CM
Manufacturers, World's Most
Complete Sculptor's Supplies
ORecjon 9-7474
8-week courses in both beginning and Distributors For:
advanced pottery. Instructor : Vivika
Heino. Write: D. Gibson Byrd, 219 ALBERT A'S MOLDS
Education Bldg., University of Wiscon- ARNEL MOLDS
sin, Madison 6.
BELL PORCEL AIN
C A L I F O R N I A CERAMI CS
CeramA ctivitie s DOUBLE -B TOOLS
Con.tinued [rorn Page 37
GRUMB ACHER BRUSHE S
HEATON TO TEACH GLASS
In response to popular demand, a
HOLLAND MOLDS
second Workshop in Glass Fusing and KEMPER TOOLS
Decoration will be held at the YWCA's
KEN OCORR MOLDS
Cra[t Students League under the direction
of Maurice Heaton. The nine-session Work- MALLOR Y MOLDS
shop, with separate hours for beginning
MARGLO TEX STAINS
and advanced students, is scheduled for
July 30-August 9 at the West Side YWCA, M A Y C O COLORS
8th Avenue and 51st Street.
Mr. Heaton is a third generation stain-
PEMBER TON-NE AL
ed glass craftsman. His work has been ex- PIERCE PRODUC TS
hibited across the United States and is
included in the permanen t collections of REWARD COLORS
the Metropoli tan Museum of Art and the
Coming Glass Museum. Mr. Heaton will
cover basic techniques in working with
POTTERYBY DOT
N.E. 72nd St. Tel. LA 3-ii300
glass in the forthcomi ng YWCA course. 408
For informatio n, write the YWCA, 610 SEATTLE I S , W A S H .
Lexington Ave., New York 22, N. Y.

JUNE, 1962 41
 WORCESTER CRAFT CENTER
C l RA M I
2 WEEK SUMMER SESSION
July 9-20, 1962
Instruction in 7 M a i o r Crafts (incl. Enamel)
A n t h o n y LaRocco - W o o d w o r k i n g JUNE 1962
Ewart Tonner - Furniture Refinishing
A l e x a n d e r Solawij - Jewelry and Metal Plate Stands
Karen Laub - Design ine Kilns . . . . . . . . . . . . . . . . . . . . Cover 4
Pierce Products feature special stands
Trude Guermonpr ez - W e a v i n g for the display of plates, bowls, and cups erican Art C l a y C o m p a n y . . . . . . . . . 7
William W y m a n - Ceramics and saucers. T h e plate stands are made lerson Ceramics Co . . . . . . . . . . . . . . . 36
All Day Workshops. Room-Board available. from black w r o u g h t iron and have rubber- C r a f t Supplies, Inc . . . . . . . . . . . . . . . . 41
Write for Brochure. Tel. 617-753-8183
Dept. CM, 25 Sagamore Rd. Worcester, Mass ,'h, Bee, Designs . . . . . . . . . . . . . . . . . . 41
alo Ceramic & A r t Supply C e n t e r . . 3 6
I t npbell, Gilmour . . . . . . . . . . . . . . . . . . . 38
'amic Trade Show . . . . . . . . . . . . . . . . . 6
CRAFT Bookbinding. Ceramics, .amichrome . . . . . . . . . . . . . . . . .
Jewelry & Enameling, Cover 3
STUDENTS Lapidary, Painting, Sculp- LI t iff' Students League Y W C A . . . . . . . . 42
LEAGUE ture. Silversmit hing,
Tapestry, Weaving, Wood ~ek-Turn . . . . . . . . . . . . . . . . . . . . . . . . . 36
YWCA Working. 9 Session Glass
Workshop July 30 to Aug. Jble B Tools . . . . . . . . . . . . . . . . . . . . . 36
840 8tk Ave. 9. Catalog C. Men & tipped feet. Stands are available for plates
at Slst, N.Y. Women. Day. evening. ican's Ceramic Products . . . . . . . . . . . . 8
Circle 6-3700 from 6 to 8 inches, 8 to 12 inches, and
12 to 22 inches in diameter. A special t Coast Ceramics, Inc . . . . . . . . . . . . . 42
stand holds both a cup and a saucer.
Pierce Products, P. O. Box 115, Pale Alto, ncoise Ceramics . . . . . . . . . . . . . . . . . . 41

Elepha nt Ear Sponge s Calif. use of Ceramics . . . . . . . . . . . . . . . . . . . . 3

. . no splits ti Ceramic Service . . . . . . . . . . . . . . . . 36
Distributor And Dealer Inquiries Invited Opaque Undergl aze Colors
East Coast Ceramics, Inc. New opaque underglaze colors are be- "nper Mfg. Co . . . . . . . . . . . . . . . . . . . . . 37
National Representat ive ing introduced by Mayco in 50 brilliant ~-Gard . . . . . . . . . . . . . . . . . . . . . . . . . . 40
1645 Homestead St. Baltimore 18, Maryland colors. These all-purpos e ceramic colors ney, Kay . . . . . . . . . . . . . . . . . . . . . . . . . I0
are homogeniz ed for smoothnes s and are ~pfenstein, H. B. & Sons . . . . . . . . . . . . 42
ready to use for brushing, spraying, spong-
ing and dipping; they can be used for t L M f g . Co . . . . . . . . . . . . . . . . . . . . . . . 9
The Famous
decorating both greenware and bisque. T h e )nard, Jean, Ceramics . . . . . . . . . . . . . . 37
KLOPF ENSTE IN new underglaze colors are available in )is Ceramics . . . . . . . . . . . . . . . . . . . . . . 36
POTTER 'S WHEEL two-ounce jars, pints, and in a special
sample kit. Mayco Colors. 10645 Chand- lyco Colors . . . . . . . . . . . . . . . . . . . . . . . 10
W r i t e f o r FREE informatio n dwest Ceramic Center . . . . . . . . . . . . .
ler Blvd., North Hollywood , Call[. 37
H. B. KLOPF ENSTE IN & SONS nnesota C l a y Co . . . . . . . . . . . . . . . . . . . 10
RFD. # 2 Dept. A Crestline, Ohio nx . . . . . . . . . . . . . . . . . . . . . . . . Cover 2
Variable Speed Wheel
itional Artcraff Supply Co . . . . . . . . . . . 36
A new smooth, quiet variable-sp eed pot-
*ris Labs . . . . . . . . . . . . . . . . . . . . . . . .
ter's wheel has been introduced by A. D. 36

Alpine, Inc. It was designed to meet the ~rwest Novelty Co . . . . . . . . . . . . . . . . . . 38

requireme nts of students, profession al pot-
i;o C e r a m i c Supply . . . . . . . . . . . . . . . 40
ters and institution al ceramics instructors .
The following back issues of Ceramics T h e new product features a one-half hp ttery by Dot . . . . . . . . . . . . . . . . . . . . .
Monthly are still available at sixty cents 41
per copy (Ohio residents pay 3% sales m o t o r with speeds from 0 to 155 r p m ; it
taxi. We pay postage. will handle up to 150 pounds of ('lay. The ward ............................ 1I
1953 throwing head, made from cast a l u m i n u m
January. February. March. July. August ulpture House . . . . . . . . . . . . . . . . . . . . . 41
1954 eley's Ceramic Service . . . . . . . . . . . . . 37
March, July, August, November, Decem- aw of Shows, C h i c a g o . . . . . . . . . . . . . .
her 12
utt & Sons . . . . . . . . . . . . . . . . . . . . . . . . . 4
1955
August, November. December burban Ceramics Studio . . . . . . . . . . . . 36
1956
May, August, October pplng Studio Supply Co . . . . . . . . . . . . . 40
195"/
April. May. June, July. August. Septem- ampson, Thomas C., C o . . . . . . . . . . . . . S
ber, December [nity ,Ceramic Supply . . . . . . . . . . . . . . . 41
1958
April, May. June. September. November
in Howe Ceramic Supply . . . . . . . . . . . . 38
1959
November
1960 'alker Jamar Co . . . . . . . . . . . . . . . . . . . . 40
June, October, November, December qlloughby Molds and Porcelain . . . . . . 41
1961 is 13 inches in diameter. T h e wheel tabh
January, April, October, November, De- 'olfe, Jack D., C o . . . . . . . . . . . . . . . . . . . 38
top is fabricated from waterproo f "for
cember 'orcester Craft Center . . . . . . . . . . . . . . 42
1962 mica" and is m o u n t e d on a welded frame
January, February, April, May Speed control is provided by a foot leve
]Please send remittance (check or m o u n t e d at floor level. T h e wheel is avail
money order), with list of issues desired. , : ~,~
f vo c o , o , , o
CERAMICS MONTHLY Dept. 100, 11837 Teale St., Culver Cit)
4175 N. High St. Columbus 14, Ohio
Call[. "~,~.,. . . . . . . . . . . . . . . . . . . . . . . . . . .
42 CERAMICS MONTHLY
 :! ~ ' ~ ~
.~ ~w '--~ ~ f

ALL PURPOSECERAMICCOLOR!
From simple elementary clay proiects to professional, wheel-thrown
pieces, there is a Ceramichrom e color for any ceramic project.
High fire, low fire . . . artwore, porcela;n, or stoneware! Adaptable
and dependable, Ceramichrom e prepared glaze ,and underglaze
is designed for both hobby and classroom use. "Color balanced"
palettes are intermixable to obtain hundreds of alternate hues.
Send for your free catalogue "The Magic World of Ceramichrom e."
Ce~amichrem e Ts available from !eadTna suDIg/iers everywhere.

Ceramichrom e, Inc., 15215 South

 r~

al