Professional Documents
Culture Documents
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BOOKSfor HOBBYISTSand SCHOOLS
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ORDER
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IMPORTANCE OF UL APPROVAL
Your local Electric Company or Fire Insurance
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2 CERAMICS MONTHLY
What's
TRINITY CERAMIC SUPPLY
PATTERNS for BEAUTY'
Volume 2, Number 9 SEPTEMBER • 19S4
S0 cents per copy
in this issue
Letters ........................................... 4
Itinerary .................. : ....................... 5
New & Useful ..................................... 6
Throwing on the Potter's W h e e l ............. T o m Sellers 10
Ena~neling: Sift-and-Stencil T e c h n i q u e ...... Jean O'Hara 14
Decorating LessonsBNo. 6: Plant Forms . . . . . . . . . . . . . . . 16
The O v e r g l a z e Page .................... Z e n a S. Hoist 17
From the H o i s t N o t e b o o k ............................ 17
How to M a k e a Set of Coasters . . . . . . . . . . . . John Kenny 18 With these patterns, you too can create exquisite
C M " Briefs designs of fruits and vegetables that look unbeliev-
ably real--almost three dimensional. Complete
Ceramic Activities ......................... '. . . . 21
instructions can be included which will show you
Gardenful of Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 exactly how to use this exciting new technique called
Clean Y o u r Enamels! . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Ceramascope.
Decorating Idea ............................... 25
PATTERNS AVAILABLE: C-1 Mixed Fruit, C-2
Pomegranate and Peach, C-3 Pineapple, C-4 Banana,
Answers to Q u e s t i o n s . . . . . . . . . . . . . . . . . . . . . . . Ken Smith 26 C-5 Peach, C-6 Pear, C-7 Large Cherry Pattern, C-8
Suggestions from Our Readers . . . . . . . . . . . . . . . . . . . . . . . 29 Small Cherry Pattern, C-9 Large Lemon Pattern,
C-10 Small Lemon Pattern, C-11 Egg Plant and
State, Directory: Where to Buy Supplies . . . . . . . . . . . . . . . . 33 Corn, C-12 Squash and Peppers.
Advertisers Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
6 Patterns-.--assorted, with
instructions . . . . . . . . $1.25
1 Pattern--with instructions .50
1 Pattern---only . . . . . . . . 25
Editor: Louis G. Farber
Associate Editor: Mary Elliott
Business Manager: Spencer L Davis Velva-Tex Brush On Glaze
Art Director: Robert L. Creager Now it can be sold. After weeks of testing
Advisory Editors: Carlton Atherton: J. Sheldon Carey: John B. Kenny; for perfection we can now proudly add these
Edgar Littlefield
Contributing Editors: Henry Bollman: Zena S. Hoist; Karl Martz: Jean
new easy-to-apply Brush On Glazes to our
O'Hara; Dorothy Perkins; Thomas Sellers: Kenneth Velva-Tex line. Fires at Cone-06-05. Packed
E. Smith in 4-ounce jars, 50c. Also available in pints,
Cover design by Roberl L. Creager--from a 16th century sketch quarts and gallons.
Twelve beautiful colors:
Foliage Green, Golden
Amber, Antique Green,
Black, Yellow, Bronze, Pink,
Ceramics Monthly is published each month at the Lawhead Press, Turquoise, Cedarwood,
Inc., Athens, Ohio, by Professional Publications, Inc., S. L. Davis,
President and Treasurer; k. G. Farber, Vice President: P. S. Emery, Chartreuse, Burgundy and
Secretary. Transparent.
Subscription price in U.S.A. and Possessions: one year, $4; two
years, $7; three years, $9. Canada and Pan America, 50 cents a See us f o r all your
year additional: foreign, add $1 a year. Current issues, S0c, back Ceramic needs
issues, 60c.
Subscriptions, and advertising and editorial correspondence, should
be sent to the editorial offices at 3494 N. High St., Columbus 14,
Ohio. Entered as second-class matter at the post office at Athens,
Ohio, as granted under Authority of the Act of March 3, 1879. TRINITY CERAMIC SUPPLY
Copyright 19S4 by
Professional Publications, Inc.
100 Howell Street • Dallas, Texas
All rights reserved. Telephone PR-7248
AYCI
The most trusted
Florence
Ceramic Studio
Cox
Army & Navy complaint asking for more " m e a t y " articles. mount Decals. Lycoming Wood
For the " a v e r a g e " ceramist you're doing a
Schools & good job of helping in m a n y a r e a s - - p e r h a p s Tile Frames. Ray's Finger Tool.
the specialist and advanced s t u d e n t will have
Kindergartens to be c o n t e n t with less " P h . D . " material!
Y o u ' v e certainly filled a gap in ceramic
Hobbyists publication in the U. S . - - m y compliments 1954 Greenware and Firing
and best wishes for the future.
Small & Large M a x I. ALLEN Price List 20 pages $1.00
Potteries M a n c h e s t e r College
N o r t h M a n c h e s t e r , Ind.
Four page supplement for your
AYC Likes Photos and Show Listings
Gentlemen:
• . . I appreciate your printing the very
1953 price l i s t - - 2 5 c
co|ors excellent photo of m y sculpture [Best of
Show W i n n e r at M i d w e s t e r n Ceramic
are in liquid H o b b y Show, see C M Briefs, J u n e ] . . . Y o u
are certainly to be c o m m e n d e d on the fine
Make Your Own
form, ready w o r k m a n s h i p in p h o t o g r a p h y , not only in
this particular instance, but t h r o u g h o u t the Glass Enamel Jewelry
magazine . . . Amazing New
easy to use Incidentally, m a n y people to w h o m I have
~8 Opaque under-
spoken and who receive y o u r magazine do
appreciate the fact that you a n n o u n c e com- T R I N K I T KIT
ing shows and exhibits. It proves to be a
glaze colors h a n d i e r reference t h a n just picking up small Come,COMPLETE wlthKILN!
bits of information from local sources a few
Translucent one stroke days before an exhibit is to be held.
Jnder and over the PATRICIA B E L L E T T
glaze colors) C u y a h o g a Fails, O h i o
POSTPAID
Satina, one-fire colors 4' And incidentally, congratulations again:
MONEY
~tin and Gloss finish) Patricia's sculpture placed second for the BACK
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Grand Sweepstakes Award at the California Send only
,tt Transparent Gloze Ceramic and Hobby Show at Long Beach $6.95 for
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:o Mask--for maskir early last month.--Ed. --M.O.'s
or checks. If
)art of a design . . not delight.
on .. let d r y . . Peel o C M Decoration Lessons Fill Gap ~d, return
Gentlemen : for cheerful
refund.
E FOR FREE PRICE LI . . W h e n I read the first few issues I
.
CERAMICS MONTHLY
SPECIAL OFFER! A N O T H E R first prize is glazed with
VELVA-PLY
One ounce trial package
Send show announcements early--
NATURAL at least three months prior to date
tor receiving entry cards and works
for exhibition.
GLAZE
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October 30-November 30
pos,,.,, 1st Kansas Designer Craftsmen Show.
Open to those resident in Kansas for
one year (residents of greater Kansas
City included). Mediums include cer-
Try these exciting NEW glazes for just 25c. amics. Jury; fee $2. Prizes. Entries due
See for yourself the results that match lost
arts in fine ceramic finishes. These NEW October 18, 19, and 20. Write: 1st
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Kansas Designer Craftsmen Show, Uni-
acceptance with teachers', schools and exhibi- versity Extension, University of Kansas.
tors. Simple, easy to use. Fire at cone 04. LOUISIANA, New Orleans
Complete instructions included.
October 3-17
Thirtieth Annual Autumn exhibition at
Isaac Delgado Museum of Art includes
6 PROVED COLORS "creative craftwork." Open to mem-
bers of the Art Association of New Congratulations, Mary Williamson for
White Enterprise . . . . . . . Velvet Matte first prize at the Midwest Ceramic Show.
Orleans. Jury of awards; cash prizes.
Black Jack . . . . . . . . . . . . Matte Fee: membership dues ($5). Entries We're proud of Y O U and all the rest
Eldorado Plum . . . . . . . . . Rich Red due September 29. Obtain blanks from who won top honors with VELVA-PLY in
Blue Stone . . . . . . . . . . . . Mottled Association, care of Museum. the big shows. Just "shows to go you"
that VELVA-PLY is a blue ribbon winner
Aubergine . . . . . . . . . . . . . Rich, Dark Brown
MASSACHUSETTS, Worcester wherever it's seen.
Tailing Tan . . . . . . . . . . . . Khaki
October l~-November 27, 1 9 ~ Schools, Colleges, Artists
New England Craft Exhibition--1955,
at the Worcester A r t Museum. Open and Studios!
6 oz. pkg. $ 1 . 0 0 to New England craftsmen. Organized
by Junior League of Worcester, Craft I t ' s t i m e to place Y O U R V E L V A -
Get the richness of true stoneware glazes Center, and Worcester A r t Museum. PLY order before the rush begins.
from your own kiln. Our regular 6 oz. pack- Selections to be made by committee A r a i n b o w of o v e r 80 colors in tex-
age is available in all colors. Money Back from juried state and regional exhi- t u r e s as s o f t as a m o o n b e a m a n d
guarantee. Use coupon below to order. bitions this year. Arrangements for h u e s as g l o w i n g as a s u n s e t . S o m e -
individual entries after April 1, 1955. t h i n g f o r E V E R Y t a s t e . I f you love
M A T T S , t h e B e a c h s t o n e g l a z e s will
Write Craft Center, 40 Highland St., t h r i l l you: if p l a i n or speckled g l o s s y
6-12 oz. pkg. $ 8 . 9 5 Worcester. g l a z e s " s e n d " you, t h e y a r e r e a d y
N E W YORK, S y r a c u s e f o r you; if S A T I N S appeal, we h a v e
All color assortment. Shipped prepaid. Ideal t h e m , too.
for advanced hobbyists, instructors, schools, October 24-November 28
etc. Use coupon below to order. 18th Ceramic National (1st Biennial), W h y n o t t r y a R E G U L A R K I T of
(Other quantities priced on request) sponsored by Syracuse Museum of Fine these prize-winning VELVA-PLYS
Arts, Onondaga Pottery Company and of 6 a s s o r t e d colors in 4 ounce j a r s
Ferro Corporation at the Syracuse a t o n l y $4.20 P O S T P A I D ? The
"Museum of Fine Arts. Open to pot- S P E C I A L A R T K I T is o n l y $5.20
NATURALORE GLAZECO. ters, sculptors, enamelists. Entry fee,
$3; $2600 in prizes. Entries due at
P O S T P A I D . So L O W in price, y e t
so H I G H in q u a l i t y . M a k e Y O U R
CENTRAL CITY. COLORADO pieces p r i z e w i n n e r s w i t h V E L V A -
Regional Centers, Sept. 9, 10, 11:
Please send prepaid the following order School of Boston Museum of Fine PLY.
of Natural Ore Glazes: Arts; Cleveland Museum of Art; Los
Angeles County Art Institute; San Of course you k n o w t h a t M a r g e a n d
Francisco Museum of Art; Georgia I a r e a p a i r of d e s i g n i n g w o m e n ,
____pEg(s) Special Trial offer at 25c a n d so we h e r e b y e x t e n d a n i n v i t a -
Museum of Art, Athens; Syracuse
Museum of Fine Arts; Royal Ontario tion to come in a n d see t h e o r i g i n a l
ea. in colors n e w c o p y r i g h t e d pieces we h a v e
Museum, Toronto, Canada. Write 18th b u i l t especially f o r YOU. T h e y ' r e
Ceramic National, Syracuse Museum distinctive and far from the "run
of Fine Arts. of t h e m i l l " as t h e p i c t u r e will show.
__6 oz. pEg(s), at $1 ea. in colors See t h e m in h e a v e n l y n e w V e l v a -
OHIo, Massillon Ply color c o m b i n a t i o n s . Lamps,
October 31-November 30 vases, p l a t t e r s , p i t c h e r s , etc. t h a t
Massillon Museum's 19th Annual Show a r e a d r e a m to decorate. B e s t of all,
_ _ _ All color assortment (6-12 oz. pegs) is open to all mediums; recent work t h e y a r e f o r sale O N L Y a t o u r
at $8.95 ea. only; present and former residents of studio.
Ohio eligible. Jury; Baldwin Purchase
$ is enclosed. Ship to: Award. No fees or entry blanks neces, Oh yes. there's a new baby s{ster to V e l v a . Pl y
glazes on the way. Watch for the stork in
sary; submit work by October 23. October. Meanwhile, we'll be seeing you at
NAME_
WASHINGTON, D. C.
ADDRESS_ October 13-28 the KAY HARRISON,tud
os
4th Biennial Sculpture Exhibition, 8744 W. McNichols Rd., Detroit 21, Mich.
CITY sponsored by Smithsonian Institution. U N 2-9222.
Any permanent sculpture medium.
STATE
(Please turn to Page 8)
SEPTEMBER 1954
INEXPENSIVE KILN
Enameling Kiln
An input control switch is one of
the features of the new enameling kiln
introduced by the L and L Manufac-
turing Co., makers of the Dyna Kilns. Ideal f o r School Use
D e s i g n e d for the firing • Reaches enameling
The control enables the enamelist to of enamels that have temperatures quickly
vary the rate of speed of temperature been applied to one side
of a metal piece. Pieces
• Sturdy and simple
e, CERAMICS MONTHLY
Advertisement
IMITATED
BUT NEVER
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Ceramic Color Manufacturers
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The multitude of users of those old reliable RE-WARD products won
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WHITE BEAD GLAZE was unquestionably the sensation of the Show.
MAGIC MENDER is still the leader in it's field, even use it for deco-
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VELVET, the beautiful bisque finish. Use Velvet also to color White
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TRU-TONE the underglaze everybody loves. New Coral Number 123
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SEPTEMBER 1954 7
You're Missing
(Begins on Page 5)
A GoodThing...
Open to artists living in Eastern Sea-
board states. Fee, $2. Jury; prizes. If you haven't o r d e r e d
Entry cards and work due October 6. your c o p y of our
Write Mrs. Bernard Shapiro, 3602 A1-
bemarle St., N.W., Washington, D. C. Big, New, Illustrated
CERAMICS MONTHLY
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:
CERAMISTS'SHOPPINGCENTER
CLAY BODIES . PREPARED GLAZES
UNDERGLAZE
COLORS~ Dry a n d Liquid
OVERGLAZE COLORS |
SUPPLIES * EQUIPMENT ~ . .. "
SEPTEMBER 1954 9
throwing on
the cylinder
Were any one method of working is a challenge that is hard to resist, devotion to the techniques of good
with clay to be singled out as the most especially after you have watched a potting are required to achieve such
fascinating, the choice would almost good potter work swiftly and with skill. The self-discipline which must be
certainly be t h r o w i n g l f o r m i n g pottery apparent ease. But back of his skill imposed will not, however, lessen the
on the potter's wheel. The desire to see has gone a great deal of time and con- enthusiasm of an embryo ceramist, once
a rough lump of clay take shape under centrated practice; and the beginner he feels the thrill of accomplishment in
your hands as it revolves on the wheel must face the fact that patience and any phase of throwing.
The best way to learn to work cor-
rectly on the wheel is to watch a potter
throwing. If you watch, then work
C M now introduces another "How.to" series
yourself, you will know what to look
by a skilled ceramist who knows whereof he
for when next you see someone throw-
speaks. The author, well.known to our readers
ing on the wheel. But slavishly copy-
for his frequent, instructive articles, is director
ing another's technique may well lead
and ceramics instructor at the Arts & Crafts
the beginner to grief, for each of us
Center, Columbus, O. The new series gives,
is constructed differently and the differ.
we believe, the most thorough and easily fol-
ences may well prevent one person
lowed instructions on throwing ever to have
from using another's methods. An in-
been published. In addition to the basic shapes
dividual with very small hands, for
(cylinder and bowl), the articles will show how a
example, may not be able to work in
wide variety of other specific shapes are formed, exactly the same way as does a potter
and how foot rims are made on the wheel.
with large hands. Strength is an im-
(Please turn to Page ! 2)
CENTERING. A lump at clay is rounded into a smooth ball after clockwise, at speed 4 (see text for discussion of wheel speeds).
careful wedging (left): a convenient size ball for beginners is shown. Hands and clay are lubricated with water, and centering begins.
The clay is held firmly in both hands and thrown down an the Note the hands are interlocked for better control, and the forearms
center of the wheel head with enough farce to make it stick securely. supported: rigid control is vital. Hand pressure is IN with the right
The wheel head, hands, and clay should not be moistened: the hand and D O W N with left, to keep the clay from rising out of
wheel is not yet in motion. (Center) The clay is patted inward shape. The pressure is nearly equal with both hands, but the right
and down, to place it more accurately in the center, and holcl it is exerting more control. Don't forget to maintain wheel speed, and
more firmly to the wheel. (Right) The wheel is set in motion, counter- also to lubricate the clay as often as it is needed.
I0 CERAMICS MONTHLY
CENTERING continues. Always, by the way, approach and leave the against your body, or lay a wide board across the wheel frame to
clay gradually. Now the clay is shaped (left) under the rigid support more of your forearm. When you think the clay is centered,
control of the right hand fingers, which are held firmly together. check, with the wheel in motion, by crouching down at eye level with
Note that they are held at an angle to the clay, to prevent horizontal the clay, and observing the sides for irregularities. If the clay ap-
ridges. The little finger, often very weak, is riding. The left hand is pears' motionless while it is turning, it is centered. You can also test
not only supporting the right hand, but also continuing to press centering by supporting a pencil or stick against the wheel frame
down on the top of the clay to keep it from rising. Centering is (right), and moving it gradually toward the spinning clay wall
completed (center) with the forefinger and knuckle, moving down- until it almost touches. If the space between the clay and the stick
ward, from top to bottom. The need for rigid control of the right is constant, the clay is centered. If the space alternates between
hand throughout the entire process cannot be overstressed. If you wide and narrow, the clay is not yet centered. Eventually, you will
feel you are not getting enough support, move your elbows in tight know by feel, alone, whether or not the clay is centered.
OPENING. Once centered, the clay is opened. The wheel speed the center of the bottom opening, through to the wheel head.
is reduced to speed 3 for this operation. The hands now ride on the (Center) The inside diameter of the cylinder is to be established
wheelhead outside the centered clay, for support, and thumbs do the at this point; the thumbs move off center, therefore, away from the
wore (left). With the clay well-lubrlcated, the right thumb rides body, to spread the opening until the desired diameter is~ reached
easily in the center while the left thumb presses down on it for added inside bottom. The thumbs then move up slowly, at right angles
support. Gradually the thumbs press down toward the wheel head, to the bottom, straight to the top. Note that the fingers support the
staying firmly in the center of the lump. The need for control ;; outside wall opposite the thumbs. You should lubricate the clay as
ever present; note the forearms supported by the frame. Only enough required, and frequently soak up throwing water from the opening,
clay to form the bottom wall and a foot rim should be left in the with a sponge, to keep the bottom clay from becoming too soft.
bottom--from one-half to three-quarters of an inch should be enough. A cros~ section of the opened lump is shown at right: this is the
You can check the thickness by sticking a broom straw or pin in basic shape from which the cylinder will rise.
SEPTEMBER 1954 11
RAISING. The wheel speed is again reduced, to speed 2; lubricate being completed. Both hands, in position, move upward in one, slow
when needed. The right hand does most of the work here, riding motion, with the same pressure as was exerted when the roll of clay
easily on the wheel head at first, and gradually pressing into the was formed. The roll is pushed up ahead of the right finger, and the
clay with the forefinger knuckle until a roll of clay appears above pot begins to grow taller. Remember that the clay is being pulled
the knuckle. The middle finger of the left hand steadies the inside up from the outside of the wall; the inside diameter should remain
of the wall to prevent the outside pressure from pushing the wall in. essentially the same. 1he inside finger rides up the wall, a/ways
Support and control are iusl as essential here as in the other steps. staying opposite the working knuckle. To prevent the roll of clay
Try to keep the fingers interlocked. The cross section (center) shows from peeling off the wall, press the portion of the finger above the
more clearly the position of the right forefinger with the roll of clay knuckle inward, forcing the clay in and toward the top. Do not pull
forming above it, and the inside finger position. Try to keep the up too rapidly, or deep ridges will form in the wall which might
supporting fingers bent slightly; you will find there is greater make successive pulls difficult. Keep lubricating; and sponge the
strength than with the fingers extended. (Right). The first pull is inside bottom frequently so the clay won't soften too much.
RAISING continues. Another roll of clay is formed at the bottom and circle the piece at the bottom with both hands, gradually constricting
pulled upward. In the cross section (left) the middle finger is being used them as they come up. If the rim at the top is uneven it means that
instead of the knuckle. Try both methods to see which you prefer. In the piece was not properly centered, or that unequal pressure was
this case, the forefinger rides ahead of the working finger, keeping exerted in pulling up the wall. To even the rim, cut the top off
the roll from peeling off. Note the left middle finger opposing the using a sharp-pointed tool (right)• Support the hands carefully
outside finger and how the thumbs and right forefinger ioin forces and cut through the wall gradually, the wheel turning at about speed
for added rigidity, the thumbs riding lightly on the top of the wall. 1. The left forefinger rides on the inside, opposite the pointer. Don't
Note also the continued support of the arms, the left arm this time try to cut off too little clay because it will be difficult to remove•
tucked in tightly at the hip. The pulllng-up process is repeated sev- Cut at least one-thlrd inch below the lowest point on the uneven
eral times, always starting at the bottom, to bring the cylinder wall rim. When the pointer has cut completely through the wall, in
up higher and thinner. During the learning process, leave the wall several revolutions of the wheel, and the pointed tool touches the
slightly thicker at the bottom for more strength. (Center) The inside finger, raise the tool and the cut section, on the left hqnd,
cylinder may tend to spread at the top. To keep the walls vertical, and remove--while the wheel is still in motion.
portant factor, and a student with ment with the clay, too. You may find for wheel work. Your supplier can help
comparatively weak wrists or forearms it easier to handle clay that is either you select a good throwing clay; if you
will not be able to use the same tech- softer or perhaps stiffer; and you may have fallen heir to a clay of question-
niques as his more muscular friend or have more success with either a small able throwability, take a good-sized
teacher. This means, therefore, that you or a large lump of clay. Get what you sample to a potter friend and ask him
must learn the fundamental techniques can from others, but handle it in your to try it on his wheel. His experience
and then experiment with individual own way. will enable him to tell you quickly
methods to find those which best suit THE CLAY whether it is suitable for your purpose.
you. Some clays are particularly well Clay for throwing should be especi-
If you have difficulty throwing one suited for throwing. In general, how- ally well wedged, because hard lumps
way, try another and another until ever, most clays which handle nicely and air bubbles in the clay will distort
you achieve the desired results. Experi- for hand-building methods can be used your work. Use a fresh supply of clay
12 CERAMICS MONTHLY
FINISHING. Finishing of the pot now begins and the wheel turns a pull, but exert no pressure until you wish a change in the shape.
more slowly, at speed !. Burrs left when the rim was cut are being At that paint, increase finger pressure from the inside pushing the
removed. The left thumb and forefinger support the rim while the shape from within: use the fingers of the right hand, now, far guiding
right forefinger presses down on it and smoothes it. Note how the and supporting. This process will give you a flared pot. If a smooth-
fingers are braced: the forefingers, which are doing the work. are surfaced finish is preferred to one showing the throwing marks,
braced against each other: the right thumb presses against the right (right) use a wooden rib or a soft sponge on the outside. The wheel
forefinger, giving it support and added strength. Except for some :ontlnues to turn slowly (speed 1) and sponge or rib moves slowly
cleaning up, the cylinder is now completed. If you want to make up the wall, the inside hand giving support. Finish the rim as done
the pot flare slightly at the top (center), start at the bottom, as for in the photo at the far left, using a sponge instead of your finger.
FINISHED pal has been cut in half to show the wall thickness.
Notice how the wall becomes thicker toward the bottom; this
excess clay is left so a foot rim can be made. Cutting down
through your pots is an excellent habit for the beginner. This is
the only way you can see whether the walls have proper proportions.
Actually, it would be hard to save the early pots because the be-
ginner usually overworks the clay, the walls becoming water-soaked
and weak, and therefore easily distorted. Start saving pots when
you are sure of your throwing.
for each attempt on the wheel, and let various throwing steps, therefore, I at a speed of 4, opened at 3, the walls
wet clay removed from the wheel dry will use a simplified "speed scale." drawn up at 2, and the piece shaped
on a plaster bat before it is re-wedged W h e n the wheel is at maximum and finished at a speed of I.
and used again. speed, it's called a speed of 4. W h e n it In throwing on the wheel there are
WHEEL SPEED is at a standstill, it is 0. Medium speed two basic shapes--the cylinder and the
The speed of the wheel is very im- would be halfway between, or a speed bowl - - from which all other shapes
portant for successful throwing. It is of 2; medium fast, a speed of 3; and so evolve. Once the techniques for throw-
usually indicated as so many revolu- forth. In throwing, the initial process ing these basic shapes have been mas-
tions per minute (rpm), but few of us on the wheel will require the fastest tered, you can, with confidence, at-
can look at a turning wheel and deter- speed, and each succeeding process is tempt any shape you wish. The cylin-
mine its speed. To help acquaint the accomplished with a slower speed. W e der is demonstrated here; the bowl will
beginner with the speed to use for the can say, then, that the clay is centered be demonstrated next month. •
SEPTEMBER 1954 13
ENAMELI NG
IV: Si
by JEAN O'HARA
1. Leaf shape, cul from paper toweling, 2. Enamel is sifted over the area, arot
and dampened, is lald on a prefired, the leaf shape and as far beyond
enamel-coated plaque. Excess moisture desired. If a second coat was want
in the paper (it might discolor the the area would be immediately spra~
enamel) has been blotted up with ab- again with gum to saturation, and dL
sorbent tissue, and a coat of gum is ed a second time with the enamel col
being sprayed on the surface. (The
atomizer, here, is held too c!ose to the
plaque--a license taken for photograph-
ing canvenlence[) Glossy paper, torn
I from a magazine, is used as a work
surface to catch excess enamel which
can be saved for sludge.
4. With the first coat of enamel still S. The second color is now remov~
unfired, a second paper shape has been with a dampened brush, from half
lald on the plaque. A second enamel the large leaf area, the other half I
color is being sifted over the plaque. to "break up" the space. The dar~
This is one of the several ways of : ..... ..... shadow on the plaque is the first col
using the slft-and-stencll method. ~ showing through. Notice the way
bleeds into the second or smaller le,
This is the kind of effect--rich in s,
color and flexible in design--that c,
be achieved by the stencil process.
14 CERAMICS MONTHLY
stencil method; and a de-
tailed demonstration of the
method is given in the
• for the beginner photos on these pages. The
beginning enamelist will
want to familiarize himself
with this technique. He
would do well, however, to
nd-Stencil Technique experiment before trying a
finished piece, using shapes,
perhaps geometric ones, cut
more or less freely f r o m
paper toweling. T r y thin
and thick coats of different
AUTHOR Jean O'Hara, who pre- overlapping colors, and
red leaf against a background of yellow. If we apply only pares the enameling lessons ap- overlapping shapes; and try
one coat of the red enamel, its color will be affected by pearlng regularly in CM, is a overlapping different color
Cleveland enamelist. areas before firing the
the yellow beneath. This overlapping, or bleeding-through,
of colors applied in thin coats is one of the advantages of enamel, as well as after firing. Don't begin with a complex
the stencil method, but if a more solid coat of one color is design which must be transferred literally from a piece of
wanted, a second application of gum and enamel will pro. paper. If you make a rough preliminary sketch, remember
duce it. (Three coats of enamel is the rule-of-thumb in that when a design is transferred to a form, no matter what
certain techniques but it does not apply here. If such a the technique of application, the design must be adjusted
heavy coat were used in stenciling, the edges of the enameled to fit the form; a stencil cut from a flat pattern or sketch
areas would be apt to crumble badly when the paper was may not have the same effect when placed on a steep form.
peeled off.) In order to avoid design difl]culties when experimenting
The foregoing gives the basic principal of the sift-and- with techniques, you might use the flatter metal forms.
(Please turn to Page 28)
8. Sgraffito technique is employed here. 9. More shapes are stenciled on. The stencil
In enameling, this means you scratch shown has been only slightly dampened because
through one unfired color, exposing the it lles on an unfired pattern. Since it doesn't hug
fired color beneath. A ieweler's pointer the surface, the resulting shape will have soft
is being used but another pointed in- edges. More sgrafflt~and the plaque is fired
strument would do, each type producing again. Finally, dots and fine llne motifs (see
a different kind of llne. Or the damp finished piece, top left) are added with a brush,
brush could be used as it was earlier using overglaze. These further develop and sharp-
for the stems. The plaque is fired again. en certain areas, and contrast with the softness
of the larger leaf shapes.
SEPTEMBER 1954 IS
Deeoratin9 Lessons I
No. 6: Plant Forms
Whether decorative motifs are as possible. He is not painting a pic- of structure, the manner in which the
naturalistic, conventional or abstract, ture which would attract the eye to stems and leaves branch, the way in
nature is the great source for the de- itself, but making a decoration which which the flower usually dominates not
signer's point of departure. The grow- must promote interest in, rather than only through color variation but also
ing season presents a never-ending divert it from, the pot. Decoration by through contrast and complication of
variety of plant forms from which you its very nature is subservient, only a details. The eye is almost invariably led
can take ideas. The experienced de- part of a larger whole. easily but forcefully to rest on the
signer always has a sharp eye out for The virtue of good decoration lies flower. Try to analyze the manner in
ideas, but the beginner may miss the outside subject matter; it can follow which this happens. With such knowl-
opportunity of observing closely the nature fairly closely or be completely edge you can do the same thing--lead
way nature organizes the various parts divergent from it. The Persians were the eye wherever you wish, focusing it
of plant forms, and the way the various the nimblest of decorators and very finally to the best advantage of the pot.
parts are related to each other and to often adhered almost literally to the Your original sketches will of neces.
the whole. This organic structure is natural objects used in their patterns. sity be altered in the service of decor-
more important, in decorating, than the The American Indians of the South- ation but, in any case, make many
actual appearance of any plant. west, on the other hand, so symbolized variations. Each change you make will
Flowers are beautiful in themselves natural forms that they became com- suggest many others. Keep all of them
but a careful rendering of them on a pletely non-representational. The ex. for reference later because they will
vase does not necessarily result in a cellence of decoration in both cases suggest still other ideas.
fine decoration. As pointed out pre- depended not on subject matter but The simple variations shown here
viously in these lessons, each space to on the treatment. It depended on the are from the lily. They are neither
be decorated requires special attention way the decorative material was organ- abstract nor literal but rather middle-
and alteration of the motifs used. The ized with the pot. of-the-road. See what variations you
decorator must take liberties with You will find it helpful to make can make on the same theme, remem-
motifs in order to dispose them to the sketches of plant forms as they grow bering that it's not the subject
best advantage of his scheme. His aim and develop. Your sketch-book will itself but the depth and liveliness
is to draw attention to the character of prove to be a storehouse of ideas from of the designer's imagination which
the form and to hold attention as long which to work later. Make careful note are important. •
W H E N you use plant forms as motifs in decoration, study the in decoration. Each time you make a trial arrangement reverse
arrangement and relationship of the parts carefully. Feature the whole processmwhen you do this you may find new ways of
the element which appeals or seems important to you. In most treating the subject. If you should want to use rather small
cases the motifs shown on this page feature the recurring petals flowers, they can be combined in a cluster on a single stem in
of the lily. Take as much liberty as you like but always remem- much the same way that floret~ are arranged in the head of a
ber that space divisions are the first and most important step phlox, or repeated along the stem of the gladiola or the canna.
16 CERAMICS MONTHLY
T
Brushes for the easier to use. The style of brush used figurines, as explained in my "Note-
Overglaze Decorator depends on the design to be executed. book" section in the June issue. A Bad-
When working with metals, I like a ger blender is a rather large, round
Selection of brushes for overglaze short brush for gilding handles of brush set in a broken quill wired to the
decoration depends on the kinds of dishes and for filling in solid areas. handle; it is used for dry.dusting
painting and variety of mediums you methods. Do not let the sizes confuse
expect to use: one type or style of you. A #3 blender, which is a good
brush cannot be used for all phases of size for all purposes, really looks like a
the painting. The purpose of this duster or a mop in comparison to #3
article is to describe the different styles in other brush styles. Some ceramists
of brushes, how they are used, and how use them for blending wet mineral
to care for them so that they will last colors where there are deep inden-
a long time. I would also suggest that tations in the ceramic form which can-
you obtain the catalogs which are avail- not be reached with a silk pad, but I
able from the brush manufacturers, for prefer a softer brush for this purpose.
these are usually well-illustrated and A small square # 1 is good for narrow Camel hair brushes are too soft for
carry detailed information. The supply banding. For lines, there is a very long, enamel and paste work. Pointed sable
dealer in your area can also aid you. pointed style called a "liner" which is brushes are needed for these mediums.
Choice of Brushes indispensable in sizes 000 to # 1. It is not necessary to buy the very
W i t h the mineral pigments, camel There is also a Trenton tracer brush, expensive, imported red sable for there
hair brushes are used. These are made which is extra long and supple for free are inexpensive types which have good
of very soft hair set in quills, and the hand scrolls and outlines of designs, body and are well-pointed for lifting
styles are square and pointed. They and can be had in larger sizes than the and "flowing on" the enamels and
are inexpensive, ranging in price from liner. This style is difficult to control pastes. Sizes from #00 to #3 are most
35 cents to one dollar for the general and takes a good deal of practice. An useful and I choose a long-hair style.
sizes from #1 to #9. A beginner expert prefers these for achieving cer- Many ceramists use the very smallest
should have at least three of each style. tain effects in unbroken lines which sable for feature painting and for
I would advise #3 #6, a n d # 9 square, cannot be obtained with any other style fine gold outlines. I do not like the stiff,
and #2, #4, and # 6 pointed, as aver- of brush. A camel hair cut at a slant ness of sable when needing to paint
age essential sizes. Larger square shaders is used for banding and also takes prac- with freedom of hand; and I think the
are necessary, however, for painting on tice in handling. A slant brush for each camel hair permits a freer flow of
such objects as lamps, vases, platters, of the three mediums already men- paint, making it easier to manipulate in
etc., which have a wide area to be t i o n e d - mineral, luster and m e t a l - detail work. I like to fill a very small-
covered or decorated. Camel hair comes in handy for making nice sized camel hair liner with color and to
brushes also come in various hair straight or clean curved bands. roll it to a fine point so the color can
lengths, medium being best for general French stipplers are quite useful for be controlled for sharp lines. Sable
painting. They are used also for luster blending. These are of short stiff hair brushes are good for clean-up work and
and metal painting and separate ones set in round ferrules or quills cut splendid for painting dots.
must be kept for each of these mediums. square and slanting. I do not need to Painting with mineral colors which
For dipping into the small luster use these a great deal but find them need blending, and where there are
bottles, I find the longer-haired type indispensable for painting cheeks on ridges, indentations and hard-to-get-at
curves, makes it quite necessary to keep
ch|na painting hints a few extra camel hair brushes dry and
fluffy for the purpose. They are often
used in conjunction with a silk pad for
blending backgrounds. Creators of the
4' I have been advised that benzine is better than turpentine finest china painting use more dry
for cleaning gold brushes, but I don't like the idea. brushes than painting brushes because
Neither do I. W h y bother with so many vehicles? much of the finished softness is ob-
Better stick to denatured alcohol for all metal cleaning. tained with "fluffy blending."
The artist in overglaze decoration
4. I do not have cone holders but set my cones in wads of clay selects many brushes, but the invest-
for bisque and glaze firings. Can I do the same for china decoration ment is no more than what a water
firing?
colorist spends for two or three brushes.
Yes, if you prepare ahead of time so that the clay is
Consider carefully the essential brushes
(Please turn to Page 3 I)
(Please turn to Page 30)
SEPTEMBER 1954 17
Howto make A SET OF COASTERS
by JOHN KENNY
2. 3.
The author is well-known for his books on pottery-maklng and ceramic 1. Lay a newspaper on the table to make a good working
sculpture. In response to our request he has prepared a number surface. Take a well-wedged ball of clay the size of a large
of short features outlining the steps for creating ceramic objects orange and roll it into a layer ~ - i n c h thick, using rulers on
which are extremely easy to make yet have utility and appeal. The either side as guides. If any bubbles show up in the clay,
following is the first o| these features.--Ed. get rid of them by pricking with the point of a knife.
2. Use a jar lid, about 3~-inches in diameter, like a cookie
cutter, to cut circles from the layer of clay. To make cutting
~'hen you start to work in ceramics, it's good to have a easier, place newspaper on the clay. Press the lid down until
workshop of your own but not absolutely essential--a small it cuts completely through both paper and clay, twist and
corner in the kitchen and a table to work on will suffice. lift up the lid.
Moreover, you don't need a clay pit in your backyard or a 3. Leave the newspaper in place, and use a smaller jar
chemistry laboratory in the basement; the ceramic supply lid, about 2~-inches in diameter, to form a slight depression
dealers can provide clay of good quality as well as prepared in the center of the disc. (Unless the clay is quite soft, a
glazes and decorating mediums of proven worth. W h a t you good deal of pressure is needed here so the jar is fastened
m u s t have is love of the material and the desire to shape
to the lid to make pushing easier.) Remove the paper, and
things with your hands. Skill? Well, that develops as you
set the coaster aside to dry.
work. If you have enough skill to roll a pie crust, you have
enough to make ceramic objects by the slab-building 4. W h e n all the coasters are cut and dry, be sure that
method. the underside of each one is absolutely flat so it will not
You can, as a beginning, make a set of attractive rock. Any unevenness can be removed by rubbing the flat
coasters--round tiles each with a slight depression in the side gently on the bare table top.
center to hold a glass--from a slab of clay, and decorate 5. Trim off rough edges with a knife, and make sure a
them simply by the majolica technique. glass will stand in each coaster without rocking. If you dis-
4. 5. 6.
18 CERAMICS MONTHLY
PARAGONKILNS
for every Purpose
for every Purse
for Immediate Delivery!
Paragon PERFORM-
A N C E - P R O V E N de-
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and d i s c r i m i n a t i n g
h o b b y i s t s - - w h e r e Ser-
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Reasonable Prices are
of p r i m e i m p o r t a n c e .
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P. O. Box 4 6 5 4 . Dallas 6, Texas
SEPTEMBER 1954 19
T.f mW JIFFY MOLD CLAMP
' ~=~ SIZES
•~ ~ ! AVAILABLE N O W
YOU CAN NOW make professional molds by sired size. Equally suited and recommended for the
using the new Jiffy Mold Clamps m simple professional, amateur, teachers, students, hobbyisl.
and easy to operate~saves many hours of trouble- A product of long research and made of the
some rope tying, etc. Can be changed to any de- finest quality dle-cast aluminum.
5610 SOUTH WESTERN AVE. LOS ANGELES 62, CAUF. KERNIAN KRACTS ~
20 CERAMICS MONTHLY
Driels ,:,, ® @
m m m m m mm n n m mum n n m n m m m m m mm mm mm mm mm mm m am m m m u n m m n m n n n mm m m am
SEPTEMBER 1954 2!
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This Nationally
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22 CERAMICS MONTHLY
The garden is full of ideas. Joan Thelan plucked hers
'rom an ordinary kitchen leek (cooks use it in soup) and
L four o'clock flower when she designed the dinner table
~ccessories you see here. Her design idea was drawn from
h e bud of the leek and the petal of the flower as shown in
he sketches and photos.
Joan planned her group of free forms with one eye
C Jc
)n the housewife who likes to vary her table setting by
uixing free shapes with conventional circular dinnerware.
In order to be salable, the free forms would have to fit
n and complement geometrically-shaped dishes.
The young ceramist (a recent graduate of the Rhode
Island School of Design now living in New York) believes
b es
;he public shies away from drastic changes in design, and
more readily accepts a g~adual move away from tra-
Jitional shapes. This idea sent h e r to plant life for in-
spiration for the accessory group shown.
"The processes of nature are gradual," she explains,
'and the shift from the conventional to freer forms must
also be gradual. It seems only natural for the ceramist
Lo make use of organic form, such as seed pods or flower
b i!~i~::~ ¸ ¸¸¸¸¸:¸¸!2¸
d
• . . the finest, most
complete line of brushes
for every medium, every
technique, every ceramic
use. Whether you do
tiles or pots, figurines or
plates, ashtrays or
teacups . : . ceramic
brushes by Delta are
the indispensable
tools your best efforts
deserve.
DESIGN plan called for handles but they were eliminated when
forms turned out to be pleasing and functional without such addi- brush mfg. corp.
tions. Pieces in the group have varied uses--as milk, syrup or
119 bleecker st.
batter pitchers; oil and vinegar cruets, cream pitcher and sugar
bowl. Salt dish and pepper shaker, also part of set, not shown. n e w y o r k 1 2 , n. y .
SEPTEMBER 1954 23
NOTICE...
It's true--what they say about washing the powdered
Our new enlarged e n a m e l colors b e f o r e u s i n g t h e m . C l e a n i n g m a k e s a r e a l
location enables us to difference t h a t s h o w s i n t h e finished piece, p a r t i c u l a r l y i n
t h e t r a n s p a r e n t colors which f i r e to a g r e a t e r b r i l l i a n c e .
ship any quantity of (See " E n a m e l i n g " b y J e a n O ' H a r a , J u n e issue.)
ceramic supplies T h e n e e d f o r c l e a n i n g is in no w a y t h e f a u l t of t h e
manufacturer. Enamels inevitably contain particles which
anywhere in the a r e so fine t h e y can cloud t r a n s p a r e n t colors, a n d i m p u r i t i e s
~ country w h i c h c a n affect b o t h opaques a n d t r a n s p a r e n t s .
IMMEDIATELY... A n e a s y p r o c e s s f o r c l e a n i n g is i l l u s t r a t e d h e r e . 1. A
t r a n s p a r e n t e n a m e l is covered w i t h w a t e r a n d s t i r r e d w i t h
a clean g l a s s or s t a i n l e s s steel utensil. 2. T h e m i x t u r e is
6 Large stock rooms carry the mosl com- allowed to s t a n d u n t i l t h e h e a v i e r e n a m e l p a r t i c l e s s e t t l e
plete variety of supplies . . . Teachers, to t h e b o t t o m . T h e cloudy w a t e r above, c o n t a i n i n g t h e too-
fine p a r t i c l e s a n d i m p u r i t i e s , is s i p h o n e d off w i t h a s m a l l
Schools, Studios and Institutions can bene- s y r i n g e a n d placed in the second j a r w h e r e m o r e p a r t i c l e s
settle, t h e s e to be s a l v a g e d a n d used f o r c o u n t e r - e n a m e l i n g .
fit by using these pre tested, consistent
3. I n t h e j a r a t r i g h t , you see t h e h e a v i e s t p a r t i c l e s a t t h e
materials. b o t t o m a g a i n , t h e n a l i g h t e r colored l a y e r of f i n e r particles.
Some e x t r e m e l y f i n e p a r t i c l e s stick to t h e sides of t h e
CATALOG AND TIPS 15c j a r as a scum. T h e c l e a n i n g p r o c e d u r e s h o u l d be r e p e a t e d
or Write on School Stationery. u n t i l t h e w a t e r r e m a i n s quite clear. T r a n s p a r e n t s should be
w a s h e d f r o m t h r e e to five times, o p a q u e s u s u a l l y only once
BUFFALOCERAMICSUPPLYCEHTER to r e m o v e i m p u r i t i e s . In the j a r , a t left, a shallow b u t
definite l a y e r of e n a m e l h a s s e t t l e d on the b o t t o m .
437 Franklin St. Buffalo 2, N.Y. A f t e r c l e a n i n g , e n a m e l can be dried in the k i t c h e n oven
a t low t e m p e r a t u r e (250°F.). Place it on a n a l u m i n u m p l a t e
One of the Nations Largest Ceramic Supply Houses
lined w i t h a l u m i n u m foil g l o s s y side up. S t i r f r o m t i m e to
t i m e w i t h t h e g l a s s or s t a i n l e s s steel utensil, a n d p o u r off
excess m o i s t u r e . R e m o v e w h e n bone dry, a n d store.
W e l l - c l e a n e d colors are as i m p o r t a n t in e n a m e l i n g as
w e l l - w e d g e d clay is in p o t t e r y m a k i n g .
t h r o u g h o u t the United
states have been copying Dottle-#H-446
our molds. Naturally it is with great pride we
learned of these imitations. Unfortunately, to
maintain our quality and reputation, it was
our painful duty, in a few cases, to institute
legal proceedings.
Holland Molds are copywrited for your
protection. Be sure when you purchase our
molds that they are O R I G I N A L H O L L A N D
MOLDS.
Determine the cost of your mold by
the number of casts you get from it.
24 CERAMICS MONTHLY
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SEPTEMBER 1954 25
HOW Y O U C A N CREATE S T U N N I N G ENAMELED
JEWELRY .iN Y O U R O W N LIVING R O O M !
26 CERAMICS MONTHLY
did you know . . .
WONFIRE
distributorships
a r e still a v a i l a b l e ? *
•
YIIU . . .
Shasta Underglazes
Infinite variations in color and tex-
ture may be achieved with the sift-and-
stencil technique; and herein lies a
danger. The finished piece can have
ModelJ ilns
"proven Dependability by too much variation in surface: the i TOP OR FRONT LOADING
, 1 R Test and Time" nature of the technique is such that WRITE FOR FREE
areas of the design are often built up
CATALOG S H O W I N G 4S MODELS
"~ Shasta C o l o r - G l o s s separately with individual firings, and
"One Fire Matchless Glazes" this may result in one area being higher
770 N. Main St., Akron, O.
~k" Palette Underglazes
"Packaged in Tubes in 1947
NOW in bottles and 3 times
more." 19 Colors . . . . 50c ea.
"~ M a g i c Glaze Mix GENUINE
"the perfect Glaze Binder" SESSIONS CLOCKS
~1 ~ X - I O 0 0 Clear Glaze at New Lower Prices
"never equalled Cone 06"
Many new Dials and Sizes
J AND NOW Now Available.
The Sensation Of The 1954
ASBURY PARK SHOW Stencils: negative (1.) and positive (r.)
Send for Pictures & Prices.
"New" No Charge for Packaging.
than the surrounding areas. If many
Immediate Shipment.
Shasta FLAME RED
CONE 06--Brilliant--Fire it with
differing heights are combined on the
same surface, the piece may be such a APPLIANGESERVIGEandSUPPLYGo,
your other glazes--won't burn out. jumble of high-lights that none of the
4-oz. Bottle $1.00 ea. plus 25c postage design "'reads." For this reason, an 2019 Cedar Sprlngs, Dallas, Texas
It not available yet at your dealer write enameled piece should have a surface
as nearly level as possible, except when
texture is being purposely exaggerated
as in the case of dots and similar in- Designs by Eve J
tentionally raised areas. The key to suc-
cessful stenciling is in thinness of appli.
COPPERBLANKS
Weafherby Products
cation: avoid heavy enamel coats. A
final coat of flux (clear transparent Route 8, Box 532D
enamel) often helps to level the sur- Jacksonville. Fla.
NOW AVAILABLE . . . NEW LOW PRICE
face. The flux should be very clean,
~ EnamComplete C o p p e r
el K i t - S 3 5
I N C L U D E S:
--Enameling Kiln
and the coating a thin and even one, to
avoid altering the colors beneath. If an
area is especially high, it can be stoned
down; then the piece is refired.
--LYSULS JJ[[
For the potter and e n a m e l e r
FINDINGS • GREENWARE • MOLDS
Copper Shapes • Chain • Accessories
~ . . . ~ (4x4x41/2), 8-2 oz.
pkgs. E n a m e l It is quite possible, in stenciling, to KITS ADHESIVE STILTS
c o l o r s , Firing make a carefully controlled design- Glazes Enamels Color oxides
Rack, Handling C H A R L E S H A R R I S CO. Folder I0e
where the colors do not overlap or CATHEDRAL STATION
Fork, Asst. Stilts, N E W Y O R K 25, N . Y . Dept. CM
Brush, Metal Sif- bleed. Usually, in such cases, one color
ter, Steel Wool, Cleaner, Gum Solution, Cop- at a time is sifted on, with a firing
per Tray, and Blanks with Jewelry Findings. after each color application. Several
Kiln O n l y - $23.95. Pyrometer m add $17.50. colors, however, may be sifted on for CERAMICS AND ART SUPPLIES
DEALERS WANTED 800 Hudson Ave., Rochester 21, N.Y.
~
one firing if negative stencils are used WHEELS • KILNS • CLAYS
Jack D. Wolfe Co., Inc. and color areas are widely separated as GLAZES • TOOLS • MOLDS
62 Horatio St., N.Y. 14, N.Y. in the sketch at left, below. Here, three New York Headq-arters for
dfferent colors might be used without TRANZ m CERAMICHROME
Dealer Inquiries Invited
getting grains of one into the other. Lueille Henderson will demonstrate Cerami-
But, in the sketch at right, if each area chrome & Tranz Nov. 8-9. Write for details.
were to be a different solid color,
separate stencils and firings would
be required, the areas being so close. • TOOLS- GLAYS- MATERIALS
D Y o u r l a r g e s t source for tools,
m a t e r i a l s , e q u i p m e n t . For l)ro-
fesslonals, a m a t e u r s , teachers,
students, hobbyists. Send for
free c a t a l o g .
SCULPTURE HOUSE
i~ exciting . . . Dept. CM9--304 W. 42nd St.,
_j new . . . J N e w Y o r k , N . Y.
original . . .
O S e n d 25e for c a t a l o g
S a h u a r o Molds, P . O . B o x 133, Sta. A
When Writing to Advertisers
Studio at 560 College A v e .
Please Mention
P a l o A l t o , California "CERAMICS MONTHLY"
28 CERAMICS MONTHLY
from our readers
For the Kids "Kitchen Ceramics"
Don't throw your glaze-test I find that a small vegetable
tiles or your decorating trial parer is a very useful tool for
samples away. The gaily col- hand building. It removes clay
ored pieces will be a delight to in very fine parings, and helps
the children, who will find you obtain a smooth effect very
quickly. I also use various sizes
of spoons to smooth the curved
insides of bowls or trays.
--Florence Birks
Toronto, Can.
Clay Trimmer
A long stiff needle inserted
eye-end into a dowel makes an
excellent tool for trimming
excess clay from around a
many ways to play with them. hump mold. It cuts a smooth
The "rocking chair" type of clean edge without getting
glaze test pieces proves to be flecks of plaster into the clay
particular fun, trimmings.
--Mrs. E. Leslie Nicholson --Joy Wallner
Havertown, Pa. Bethpage, N. Y.
SEPTEMBER 1954 29
COMPLETE TEXTURALGLAZES
INSTRUCTIONBOOKS (Begins on Page 17)
SPECIAL OFFER
needed for good results in china paint-
5 - 4 oz. JARS
ing; and perhaps select an assortment Cone O 6 - 0 4
FOR THE of as many as twenty if you are using Shipped Prepaid $ 3.50
30 CERAMICS MONTHLY
hints for the china painter
(Begins on Page 17)
dry. Moisture would not be good for china painting. For
emergencies, mix a thick paste of kiln wash and set cones
into wads of this paste. It will dry quickly. I use broken
pieces of stacking board, tiles, etc., for placing cones.
4' Sometimes I have trouble sketching designs with china pencil: S 500"
it either marks too heavy or not at all.
Clean dish with turpentine first. Do not use alcohol Any other colors,
which leaves the china with a slick effect. collection of 20 colors
S 5oo*
CRESSPOTTERSWHEEL
CRYSTAL
! J AND
COLORED
ICES
SAMPLE COLLECTION OF
TEN COLORS
S Zoo,
GOLD, (LIQUID BRIGHT ROMAN BURNISH)
$99.50 COMPLETE WITH MOTOR PLATINUM, LUSTRES
A complete line available for Glass and China
TRU-FYREUnderglaze Speckels
e IMMEDIATESHIPMENT •
Strip-Ease m Stencils
*Postage pald when check accompanies order,
GLOSS-MATIC Crackles MEDIUMS INCLUDED WITH SAMPLES
Since 1891
SEPTEMBER 1954 31
O V E R G L A Z E PAGE
J ANOTHER I (Continued from Page 30) ,' molds :'
painting brushes are, of course, cleaned
Ruth McDaniel Original in turpentine (pure spirits). This tur- ~ "Selection of most wanted pieces many 4
originals by Raymond DiNicola who has I
pentine should be discarded because it F made models and molds in the Porcelain 4
becomes polluted. The jar of medium F Dept. of G.E. Ca. for over 20 yrs. Now
will contain bits of pigment fallen from operating own mold shop. Offers the
the brush each time a re-dip is made as finest molds in every detail at lowest I
F prices. Send S0c for catalogue. Will be
you progress with one color, but these F credited on first order.
fragments settle so the medium can , I
easily be poured off7 into a clean dish S C H E N E C T A D Y FINE ARTS 4
and used indefinitely. W h e n brushes P 404 Bal]ston Road Scotia, N. Y, :
used for painting with mineral colors 4
4
are cleansed with turpentine they do
not dry soft no matter how free of
color. All brushes so-cleaned should be
dipped in the alcohol to cut the tur- VOLLMERS CERAMIC STUDIO
1723 PaxtonStreet, Harrisburg, Po.
pentine, so they will be soft and fluffy
Its New Its Different
in preparation for the next painting. T.V. Ash Tray Mold
CAT & MOUSE SET Storing the Brushes {Fits in the palm of your left hand)
M-99 CAT 8" tall--Back can be slotted There are several good ideas on how $3.7S post paid
for Napkin Holder or pierced for Mars to "put away the brushes" until the Penna Sales tax I% open eveningsti]9
d'oeuvres sticks. Mold price $6.00 next session of painting. It is important
M-99 MOUSE SALT SHAKER. 31/2"
tall. Mold price $3.00 to protect them from dust and some
M-100 CHEESE OH WHEELBARROW. ways are more convenient for some in- HOBBY CERAMICS
Pepper shaker. 21/4" x 3". Mold price dividuals than for others. A closed cup- N e w i d e a s in m o l d s , g l a z e s a n d o t h e r
$3.00 board is ideal since the best way to c e r a m i c s u p p l i e s . C a t a l o g u e - - 25c
F.O.B. Port Arthur, Texas. keep brushes in good shape is to place a p p l i e d on i n i t i a l o r d e r .
Add 10% Packaging Charge D e a l e r s p r i c e list on r e q u e s t .
them upright in containers which can THE CRAFT SHOP
WRITE FOR FREE C A T A L O G be set inside. W h e n I am painting regu- 3112 Montrose A v e .
P . O . Box 117B Mon trose, Calif.
McDANIEL larly, however, I use glass jars, keeping
them on the table. Each style of brush
Mold Co.
P. O. Box 3086, Port Arthur, Texas is in a separate container and set in a
row before me so I can see at a glance IMPORTED
just the brush I need. The metal and
luster brushes are segregated. I have
WHITE CHINA
tried keeping luster brushes in separate, Send 25c for catalog
Featuring Exotic A r t Glazes
labeled vials but this necessitates remov- Deductible from first order
Complete line of Ceramic Supplies Maryland China Company
Classes--Firing ing the handles, so I found it more
Open Sat. all day--Sun, by appointment 1436 N. Gay St., Baltimore 13, Md.
convenient to keep all in one tall glass.
Irco & L and L Kilns, Tru-Fyre Glazes with colors written on the handles. To
Jirele Ceramics 2116 N. Limestone protect the brushes when they are not
Ohio's Largest Ceramic Studio in use, I have devised a system. I place N E W 5"0,000 word cloth-bound book ALL about
SPRINGFIELD Phone3-0632 OHIO
a wad of soft modeling clay in the bot-
tom of each container and stick an CHINA PAINTING
or Overglaze. No pottery, molds or glazes.
extra-long handle into it--long enough by Nettle E. Pillet
to clear the top of the brushes. I cover 841 Barrows Crt., Pasadena 6, Calif.
Retail $4.25 Trade and quantity discounts
the containers with a plastic sack, as an Also 12 Correspondence C.P. Lessons $10.00
L A M P PARTS umbrella, or spread a cloth overall as a Or $1.00 each. 300 designs--S3.00
Everything you need! tent--just so the brushes are free from
tor any of the weight of the covering and
MAKING * REPAIRING cannot become misshapen. (Covered
CONVERTING palettes have a section for brushes but
SEND FOR OUR NEW CATALOG it holds only a few and since they are Painting Bookbinding " Enameling
Thousands of parts of every descr;ption laid flat, they are apt to get out of Sculpture Silversmithing Jewelry
Ceramics Metalwork Weaving
illustrated, described, priced shape.) W i t h proper care, brushes used Cabinetmaking
We sell and ship I or 1000 pieces for china painting last indefinitely. • Men. W o m e n . Day, Eve. Catalog C
ANGELO BROTHERS
2333 N. Mascher St., Philadelphia 33, Pa.
NEW
T.V.
~You can
STUDIOS
make extra dollars
by sellingc~
Ash Tray
Mold
~single copies of CERAMICS MONTHLY~
~and taking subscriptions on a commlssion~ Approx. size 4" x 4" x 1~ " $3.75 Post Paid
~basis. Write to: Circulation Dept. CE-c~ No Cotolog available at this time
~RAMICS MONTHLY 3494 N. High St.,~ A L SCHOELLKOPF
~Columbus,
Columbus, Ohio. 137 Hillcrest Ave., New Castle, Pa.
32 CERAMICS MONTHLY
Index of Advertisers
September, 1954
Cer micSupplie Alberta's Ceramic Studio . . . . . . . . . . .
American Art Clay Co . . . . . . . . . . . . . .
30
8
Mayco Colors, Inc . . . . . . . . . . . . . . . . . .
McDaniel Mold Co . . . . . . . . . . . . . . . . .
4
32
Angelo Brothers . . . . . . . . . . . . . . . . . . . . 32 Mecco Industries Dlv . . . . . . . . . . . . . . . . 27
Appliance Service and Supply Co . . . . . 28 Model Kilns . . . . . . . . . . . . . . . . . . . . . . . . 28
Natural Ore Glaze Co . . . . . . . . . . . . . . . 5
CALIFORNIA B and I Mfg. Co . . . . . . . . . . . . . . . . . . . 22
Bergen Arts . . . . . . . . . . . . . . . . . . . . . . . . 30 Orion, Edward Jr., Ceramic
LOUMARETH GIFTS AND CERAMICS
109071/2 Venice Blvd. Brock, Laurlne, Ceramics . . . . . . . . . . . . 30 Foundation ...................... 27
LOS ANGELES 34, CALIF. Buffalo Ceramic Supply Center . . . . . . 24 Paragon Industries . . . . . . . . . . . . . . . . . . 19
Ceramics and Art Supplies . . . . . . . . . . 28 Pemco Corp . . . . . . . . . . . . . . . . . . . . . . . . 29
ILLINOIS Clay Haven . . . . . . . . . . . . . . . . . . . . . . . 30 Pillet, Nettle E. . . . . . . . . . . . . . . . . . . . . . 32
CERAMIC CREATIONS Cox, Florence, Ceramic Studio . . . . . . . 4 Potter's Wheel Inc . . . . . . . . . . . . . . . . . . 26
4115 W. Lawrence Ave. Price and Price . . . . . . . . . . . . . . . . . . . . 4
Craft Shop . . . . . . . . . . . . . . . . . . . . . . . . 32
CHICAGO 30, ILL.
Craftools, Inc . . . . . . . . . . . . . . . . . . . . . . C-4 Re-Ward . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Creek-Turn Pottery . . . . . . . . . . . . . . . . . . 30 Roder Ceramic Studio . . . . . . . . . . . . . . 31
IOWA Ravin Ceramics . . . . . . . . . . . . . . . . . . . . 7
PARKER CERAMIC SUPPLY DIST, Delta Brush Mfg. Corp . . . . . . . . . . . . . . 23
Detroit Fabricating Corp . . . . . . . . . . . . . 1 Sahuaro Molds . . . . . . . . . . . . . . . . . . . . . 28
2204W. 23rdSt.
DES MOINES 10, IOWA Drakenfeld, B. F. and Co . . . . . . . . . . . . 9 Schenectady Fine Arts . . . . . . . . . . . . . . 32
Schmid, Ludwig, Art Ceramic Studio .. 8
MASSACHUSETTS Federal Supply Company . . . . . . . . . . . . 30 Schoellkopf, AI . . . . . . . . . . . . . . . . . . . . . 32
NEWTON POTTERS & SUPPLY INC, Care Ceramic Supply Co . . . . . . . . . . . . 2 Sculpture House . . . . . . . . . . . . . . . . . . . . 28
1021 Boylston St., Rt. 9, Harris, Charles, Co . . . . . . . . . . . . . . . . . 28 Seeley's Ceramic Service . . . . . . . . . . . . 30
NEWTON HIGHLANDS 61, MASS. Snead, Jane, Ceramic Studio . . . . . . . . 6
Harrison, the Kay, Studios . . . . . . . . . . . 5
Hi-Temp Engineering Corp . . . . . . . . . . 9 Specialized Ceramics Carp . . . . . . . . . . . 27
MICHIGAN Stangren Pottery . . . . . . . . . . . . . . . . . . . . 30
Holland Mold Shop . . . . . . . . . . . . . . . . 24
NORWEST NOVELTY CO, Hommel, O., Co . . . . . . . . . . . . . . . . . . . 31 Stewart Clay Co . . . . . . . . . . . . . . . . . . . . 8
15431 Plymouth Rd.
House of Ceramics . . . . . . . . . . . . . . . . . 8 Tepping Studio Supply Co . . . . . . . . . . . 6
DETROIT 27, MICH.
Thompson, Thomas C., Co . . . . . . . . . . . 6
Illlnl Ceramic Service . . . . . . . . . . . . . . . 26
NEW JERSEY Trinity Ceramic Supply . . . . . . . . . . . . . . 3
Jiffy Mold Clamps . . . . . . . . . . . . . . . . . 20 United Artist Materials Co . . . . . . . . . . . 22
GARDEN STATE CERAMICSI INC. Jirele Ceramics . . . . . . . . . . . . . . . . . . . . 32
108 Anderson St. Vollmers Ceramic Studio . . . . . . . . . . . . 32
HACKENSACK, N . J . Kernlan Krafts . . . . . . . . . . . . . . . . . . . . . 20 Ward, S. Paul, Inc . . . . . . . . . . . . . . . . . . 2
FLORENCE COX CERAMIC STUDIO* Kiln-Card ......................... 30 Weatherby Products . . . . . . . . . . . . . . . . 28
543 Boulevard
k and L Mfg. Co . . . . . . . . . . . . . . . . 2, 25 Winthrop Ceramic Supply Co . . . . . . . . . 28
KENILWORTH, N . J .
Wolfe, Jack D., Inc . . . . . . . . . . . . . . . . . 28
Maryland China Co . . . . . . . . . . . . . . . . . 32
NEW YORK Master Mechanic Mfg. Co . . . . . . . . . . . 25 X-acto Inc . . . . . . . . . . . . . . . . . . . . . . . . . 6
BETTY QUIGEL Maurer, W. A., Company . . . . . . . . . . . 30 Y W C A League . . . . . . . . . . . . . . . . . . . . . 32
Woodland Drive
PORT CHESTER, N . Y .
CULVER CERAMIC STUDIO
194 Sixty-First St.
NIAGARA FALLS, N . Y .
OHIO
Haven't YOU ub eribed yet 9
BEECHWOLD CERAMIC STUDIO
4299 N. High St.
COLUMBUS 14, 0HI0 SURELY you know there is an easy way to
McKINLEY'S CERAMIC SUPPLY get the best reading in ceramics--
2207 Nell Ave.
COLUMBUS 1, OHiO let the mailman bring CM, right to your
CERAMICS BY NONA doorstep, each and every month.
1816 Brown St.
DAYTON 9, OHIO
NOW is the time to reserve your
TENNESSEE own personal copies. One yearm$4..00;
HOUSE OF CERAMICS* Two yearsm$7.00; Three yearsm$9.00.
3295 Jackson Ave.
MEMPHIS 12, TENN.
WRITE: Ceramics Monthly, 3494 It. 11igh St.,
WASHINGTON Columbus, Ohio
CERAMIC SUPPLIES
8901 Rainier Ave.
SEATTLE 8, WASH.
BACK ISSUES: The following back issues of Ceramics Monthly are available a!
*See display ad in t h i s issue. 60c per copy (Ohio Residents add 3~/o sales tax). We Pay Postage. Please send
STUDIOS NOTE: New directory listings check or money order with list of back issues desired.
to begin with the October issue ac- 1953--April, July, August, September, October, November, December.
cepted up to 15th of September. 1954--January, February, March, April, July, Augusl.
SEPTEMBER 1954 33
For, . your Ceramic needs.., it's ~ C i l A F T O O L ~
• [ ~ ~ 15179.50 • vtPLETE . . .
W i t h I/'4 H P motor . . . . 15114..00 "
• ~ ~ : • • 15189.50
--~ • U H A F T O O I • • • ! ~; '
V • CRAFTOOL o CRAFTOOL
• ADJUSTABLE . MODELING
• KILN S T A N D • " AND
i • 17.50 • DECORATING
" " " WHEELS
L.._.~" • I ~ , • • ALUMINUM
............................................. No. Size Price
• CRAFTOOL " 9007 7" $ 4.95
CRAFTOOL STEEL CARVING • ADJUSTABLE • 9olo 1o" $1].5o
AND MODELING TOOLS MODELING
No. 600 6" set of 8 fools. $5.95 • • (MEDIUM DUTY CAST IRON)
.... • CABINET • 7008 8" $ 7.95
No. 800 8" set of 8 fools . . . . $7.95 • 15565.00 • (HEAVY DUTY ROLLER
No. 1000 10" set of 8 fools. . . . . $9.95 BEARING IRON.)
• 8008 8" $12.00