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THE 3RD A N N U A L

Great Lakes Ceramic HobbyExhibit

May 1 6 - 1 7 - 1 8 - 1 9 - 20, 1956, Masonic Temple, Detroit, Michigan
Hours: Wednesday thru Saturday 12:00 noon to 10:00 p.m.

Sunday 11:00 a.m. to 8:00 p.m.

This year the GREAT LAKES SHOW has the honor of playing host to the

GRAND NATIONALSWEEPSTAKESCONTEST.
"BEST OF S H O W " WINNERS FROM ACROSS THE NATION WILL COMPETE FOR NATIONAL HONORS IN DETROIT.

Michigan Ceramic Dealer's Association, the

Great Lakes Exhibition and the Great Central
C e r a m i c L e a g u e a r e c o o p e r a t i n g to m a k e t h i s s h o w
o n e o f t h e g r e a t c e r a m i c e v e n t s of t h e Middle W e s t .

The

C e r a m i s t s will h a v e t h e o p p o r t u n i t y of s e e i n g all
t h e n e w i d e a s in t h e field a n d m e e t i n g all t h e int e r e s t i n g p e r s o n a l i t i e s of t h e c e r a m i c w o r l d d u r i n g
AMACO
ARTS & CRAFTS
ALBERTA'S
BAUMANN'S CERAMIC STUDIO
BELL CERAMICS
BERGEN BRUSH CO.
BOOTS CERAMICS
BYRNE CERAMIC SUPPLY
CALIFORNIA CERAMICS
CERAMICS MONTHLY
CERAMICS BY MADELINE
CERAMICHROME LABORATORIES
DOR-MAC STUDIO
[IH

I[

--List of ExhibitorsD
EVENHEAT KILNS
FERRY'S CERAMIC STUDIO
GLOSS-MATIC
KAY HARRISON
LORRAINE HENSELY
MALLORY CERAMIC STUDIO
MARLENE
MARX BRUSH
MAYCO
NEWELL STUDIOS
NICE CERAMIC STUDIO
PAASCHE AIRBRUSH CO.

POWERS CERAMICS
PYRAMID CERAMICS
MARY REED POTTERY
JOY REID CERAMIC STUDIO
ROSE CERAMICS
RE-WARD
SANTNER'S
SYLVIA'S CHINA
TRU-FYRE
TARI-TAN STUDIO
B. P. WOOLSEY, INC.
WHITE HORSE CERAMICS
WILLOUGHBY STUDIO

TI

FOR FURTHER INFORMATION WRITE:

|71 Iil111m

t h i s i m p o r t a n t five d a y s h o w .
T h e r e will b e c o m p e t i t i v e e x h i b i t s f o r e v e r y o n e
w i t h p r i z e s a w a r d e d in m a n y c a t e g o r i e s .
Along with the wonderful demonstrations that the
e x h i b i t o r s g i v e in t h e i r booths, special scheduled
d e m o n s t r a t i o n s will be g i v e n in a s e p a r a t e a r e a
w i t h c h a i r s available.
M a k e p l a n s n o w to a t t e n d .

I [|

Arthur Higgs, Managing Director

Great Lakes Ceramic Hobby Exhibition
Masonic Temple, Detroit, Michigan

Watch f o r announcement on " D E G O R " m a

APRIL, ~956

g r e a t new glaze.

Send f o r

Illustrated

Catalogm2Sc.

See you a t the Shows.

IJ

FOR Easier and Better Firing

Low Cost Operation

Money-Saving Prices
Factory Guarantee
SPECIFY A

PARA GON KILN

Compare these Outstanding Values

MODEL
R-3
Max. Temp.
2 0 0 0 F.
$160.00,

n o

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

Model R-3

MODEL
A-55
Max. Temp.
2 3 0 0 F.
$60.00,

Perfect for Use in Schools

Reaches Enameling Temperatures ~)uickly
Sturdy, Simple Construction
Low.Cost, Trouble-free Operation

n o

crating
charge,
f. o. b. D a l las. F i r i n g
Chamber:
ll"
across
x13
"
h. R e q u i r e s one
a m p . 115 v o l t
cult. Shipping
w e i g h t o n l y 68 lbs.

Model A-55

FREE TEXT
ON
ENAMELING
by Thomas E. Thompson.
Send far your copy of
this 40 page illustrated
text an metal enameling.
Techniques - - tools - equipment - - types of
enameling - - firing - finishes, etc.

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

crating charge, f.o.b. Dallas. Firin.g C h a m b e r
14 3/8" across x 13 1/2" high. 13 amperes at
230 volts. Shipping Weight only 90 lbs.

MODEL tt-17S Max. Temp. 2400F. for cone

10 firings. $291.50, no crating charge, f.o.b.
Dallas. Firing C h a m b e r : 17" x 17" x 18"
high. M a x i m u m P o w e r Consumption 6000
w a t t s at 230 volts. Shipping weight 500 lbs.

FREE CATALOG: complete information on.

Silver plated metal--no pre-clean[ng--no formarion of oxide scale--costs little more than
copper.

NEW
N E W

Complete line of Opalescent colors--beautlful

effects--write for sample.

24 models of P a r a g o n Kilns.

PARAGONINDUSTRIES
P. O. Box 10133

Dallas 6, Texas

CERAMICS MONTHLY

w - -

Volume 4, Number 4

APRIL

1956

50 cenfs per copy

in

this

Letters

issue

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

Suggestions from our Readers . . . . . . . . . . . . . . . . . . . . . .

Itinerary

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

Show Time: Michigan Artist-Craffsmen

10
...............

Balloons as Molds by Reinhold P. Marxhausen . . . . . . . . . . .

13

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

in the ceramic hobby contest - - prizes,
a w a r d s for all winners. Get Y O U R
e n t r i e s ready now.

14

Copper Enameling: Multi-Piece Jewelry by Jo Reber~ . . . . 16

Pennsylvanla.Dufch Pottery by Marguerite Montgomery... 18
Anyone for Chess? by William H. Wilbanks . . . . . . . . . . . . .

22

Throwing: H o w to Add a Foot by Tom Sellers . . . . . . . . . .

23

Flowers: the Pansy demonstrated by Bea Matney . . . . . . . . .

24

CM Briefs: Decorate with

25

Spraying

String

Platform

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

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

Quick Dryer for Jewelry

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

Pour Y o u r Glaze . . . . . . . . . . . . . . . . . . . . . . . .

N o w the E a s t e r n Ceramic S h o w opens

Its doors t o
professionals
- - studio
o w n e r s , teachers, manufacturers~ Eleven
c a t e g o r i e s to bring h o m e prizes, a w a r d s
and honors.

,; %,,4
w~z.

27
29
29

The Enameler's Column by Kafhe Berl . . . . . . . . . . . . . . . . . .

28

Overqloze Page: Hoist Notebook by Zena Hoist . . . . . . . . .

30

Answers to Questions conducted by Ken Smith . . . . . . . . . .

31

The Underglaze Series by Madge Tummins . . . . . . . . . . . . .

33

Cerom-Actlvifies

35

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

,=%-

lurer qour "prije"piece]

Sgraffito, hand sculpturing, underglazing
and other fields for hobbyists and professionals. Exhibit your pieces at the Ceramic Show Window of the Nation Z
SPONSORED

BY CERAMIC

LEAGUES,

INC.

m all e n t r i e s j u d g e d a t - -

Index to Advertisers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37

THE 4TH ANNUAL

EASTERN

Editor

Business Manager
Associato E d i t o r
E d i t o r i a l Associate

Art Director

L o u i s G. Farber

CERAMIC

SHOW

Convention Hall, Asbury Park, N . J .

Spencer L. Davis

MAY

Mary Elliott

2-6,

1956

Thomas Sellers
Robert L. Creager

Advisors ~nd Special Contributors: C a r l t o n A t h e r t o n ; K a t h e Berl;

E d r i s E c k h a r d t ; J o h n B. K e n n y ; Z e n a S. H o i s t ; Bea M a t n e y ;
Dorothy P e r k i n s ; J o R e b e r t ; K e n n e t h E. S m i t h ; Madge T u m m i n s ;
Vera W a l k u p .

C e r a m i c L e a g u e s , Inc.
C o n v e n t i o n Hall
Asbury Park, N.J.

Mabel Morris

Amateur Division
Bee Basch
Professional Division

Cover by Robert L. Creager

Please
Ceramics M o n t h l y is published each m o n t h a t t h e L a w h e a d Press,
Inc., Athens, Ohio, by P r o f e s s i o n a l P u b l i c a t i o n s , Inc.. S. L. Davis,
Pres. a n d Treas. ; L. G. F a r b e r , V. Pres. ; P. S. E m e r y , Secy.
S U B S C R I P T I O N P R I C E in U . S . A . a n d P o s s e s s i o n i ; one year, $4;
two years, $7; three years, $9. C a n a d a a n d P a n A m . add 50 cents a
y e a r ; f o r e i g n , add $1 a year. C u r r e n t issues, 50c; back issues, 60c,
ALL CORRESPONDENCE
(advertising,
subscriptions,
editorial)
should be sent to the editorial offices a t 4175 N. H i g h St., Columbus
14. Ohio. E n t e r e d as second-class m a t t e r a t t h e post office a t A t h e n s ,
Ohio, as granted under A u t h o r i t y of t h e A c t o f M a r c h 3, 1879.
Copyright 1956 by Professional Publications, Inc. All rights reserved.

[] F o u r t h

send me full details

anmtal AMATEUR

[] F I R S T a n n u a l P R O F E S S I O N A L
NAME

about the:

ceramic contest
Ceramic art contest!

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

ADDRESS

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

CITY ..........................

STATE

.........
CM-4

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10 EXCITING COLORS
.80 4oz. JAR
721 Snowflake White
726 Princess Orchid
722 Camella Pink
727 Indian Turquoise
723 Primrose Yellow
728 Apple Green
724 Cinnamon Brown
729 Smoky Grey
725 Iron Black
730 Pacific Coral

Glazes by Ceramichrome
Are Now Available in 11 B e a u t i f u l C o l o r s
4 oz. Jar .65
468 Midnight Lustre
461 Indian Summer
481 Silvertone
462 Tiger Eye
463 Golden Harvest
PLUS 2 NEW
464 Green Moss Art
EXCITING COLORS
46S Silver Lake Blue
482 Deep Purple
4.'.6 Chestnut Brown
483 Old French Blue
467 Moonlight Grey
For surprising beauy, try the Beauty-Fie glazes on
porcelain. The results will please you, as the effects are
beautiful with a lustrous semi-maff and gloss finish when
fired from Cone 3 to 6.
Ask for Free Instructive Literature
ALSO AVAILABLE 451 Blu-White China M a t t Glaze
4. oz. at .50 and MENDSWARE 2 oz. at .SO

SeeI
rowing line of
potter's wheels for every purpose!

ASK FOR FREE INSTRUCTIVE LITERATURE

SEE YOUR NEAREST CERAMICHROME DEALER
A N D - - l a s t but not least CERAMICHROME'S NEW
PEPPER GLOSS ART GLAZES - - 921 Red Pepper
- - 922 Orange Pepper - - 923 Yellow Pepper
4 oz. - - $1.00

CERAMICHROME

Laboratories

2 1 1 1 W . SLAUSON

LOS ANGELES 47,

CALIF.

COPPER ENAMELS
Torrance Enamels
Give Controlled..

~BLE

..........

No. l O l O . . . ~ 1 7 9 s o

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For schools or the ceramist who
needs a top performing wheel
at a down-to-earth price.
No. 2 1 1 0 . . . $98.50

GLOSS

RELIABILITY

FLOW

CORRECT
SIZE

MESH

Torrance Copper Enamels

KIT No. 1
10 Brilliant Opaque Colors
Red--Green--Yellow--Lig hf Blue--Black
Dark Blu e--Whife--Brown--Turq uolse--Clear
COPPER CLEANER ENAMEL GUM INSTRUCTIONS
$5.00 postpaid

No 4110
$120.00
(TREADLE)WHEEL
Ruggedly constructed and easy
to operate. Ideal for schools,
therapy shops and studios.

4-

KIT No. 2
Transparent Colors as above $5.00 Postpaid
N e w Copper Enamels for Hand Painting

Send for the NEW

Complete Craftools Catalog

Especially designed for constant

operation; particularly suited for
classroom work.
No. 1128... $189.50

C R A F T O O L S , INC.

DEPT. CM, 401 BROADWAY, N.Y.C.

Manufactured on the West Coast by

TORRANCE GLASS & COLOR WORKS

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

CERAMICS MONTHLY

"HI-FI"""
TOP-LO,a
ELECTRI
HTL-16 for
(2300
$201.25 f.o.b.
Crating I
Pyrometer

Top-loading ElectriKilns save t i m e . . , cut

power costs. All wiring and switches are
completely s a f e . . , approved by Underwrifers Laboratory. Exba-long-life elements in recessed grooves mean easier
replacement, no loose staples
T O P * L O A D I NG
MODEL NO.

HTL-I6
TL-8
TL-6
TL-5
TL-4

FIRING
WIDTH ; LI NGTH

16
18
12
I1
11

16
18
12
il
11

CHAMBER
HEIGHT

i~ iilzi

IN.

TEMP,

15
3840
1S
4860
10
1440
10
1210
61/2 786.5

2300
2000
2000
2000
2000

....

....

~:, :
1

SIDE-I rlArllldP~
ELE~
HT-0"~

l!

MAX.
CU.

~:

Crating $
Pyromete

F
F
F
F
F

Make your choice from a

wide variety of Side-loading ElectriKilns... range of
firing chamber capacity
from 216 to 9680 cu. in.
imm

SIDE-LOADING

HARROP CERAMIC SERVICE CO.

ElectriKiln Division, Dept. E

35 E. G a y

St., C o l u m b u s 15, O h i o

Please send me your free 36-page catalog of EleariKilnl

and supplies. I am a
[ ] Hobbyist
[ ] A r t Studio O w n e r
[ ] School o r College Teacher

H e m

,,,

APRIL, 1956

[ ] Occupational Therapist
I-1 P r i v a t e Class T e a c h e r

Zone

Slate.,

models listed in table

. . also many others

completely described in
free Harrop catalog
FIRING CHAMBER

MODEL N O ,

WIDTH

HT-15
HT-09
C-1214

14
9
12

c-soD

7V2

509

. . popular hobbyist

DEPTH

HEIGHT

14
9
14
9
9

15
9
!!
11
9

MAX,
CU.

IN.

TENP.

2940
729
1848
742
729

2300
2300
2000
2000
2000

F
F
F
F
F

G]obar slde-loadlng models available, t o o . . .

Globar is a registered trade mark of, and indicates manufacture by, the Carborundum Co.

HARROP SUPPLIES
Harrop is your one
r el i abl e source f o r
every ceramic need.
Glazes, colors, finishes . . . tools, kiln
furniture and supplies, wheels . . . nets and laces.
Yes, Harrop is Ihe ceramic house
that has everything you need.
S

f l o w e r s in t h e F e b r u a r y issue. I t h o u g h t
y o u w e r e g o i n g to h a v e a s e r i e s ? . . .
I j u s t l o v e d t h a t first a r t i c l e [ J a n u a r y ] . . .
MRS. WALTER SULLIVAN"
L i n d e n . N. J.
I~ I/'e aren't p l a n n i n g to /ade, nor are u'e
RE: RAISED SLIP
Gentlemen :
T h a n k y o u for t h e i n t e r e s t i n g a r t i c l e s
on r a i s e d slip d e c o r a t i o n [ J a n . , M a r c h ]
by Pearl Fitzpatrick. Having seen work
d o n e i n pate-sur-pate a t t h e V i c t o r i a a n d
Albert Museum and at the Smithsonian.
I a g r e e t h a t i t is o u t s t a n d i n g in b e a u t y .
I t m a y i n t e r e s t y o u to k n o w t h a t a p a i r
of M. S o l o n ' s v a s e s r e c e n t l y sold for $ 1 0 0 0 .
E. L. WALKER
N e w B r u n s w i c k , N. J.
W H E R E IS ITI
Gentlemen :
I agree with the many letters you have
p r i n t e d o n t h e b a s i c v a l u e of y o u r m a g a zine as a h e l p to t h e p e o p l e w h o w o u l d
l i k e to m a k e good p o t t e r s a n d c e r a m i s t s .
I have nothing against people making
j e w e l r y o u t of b e n t c o n e s - - b u t w h e r e w a s
the article by Tom Sellers [February]?
[You said] i t w a s g o i n g to b e a " n e v e r e n d i n g series." I n J a n u a r y all t h a t a p p e a r ed w a s " T h r o w i n g
T i p s " ; in F e b r u a r y ,
nothing . . .
I a m sure t h e s u b j e c t of t h r o w i n g is f a r
from exhausted . . . Don't fade out, please.
Y o u h a v e b e e n so g o o d so far.
MRS. J. w . CAMP, JR.
G a r d e n C i t y , N. Y.

Gentlemen :
I enjoy CM very much
pointed that there was

but was disapno article on

even taking time out [or second wind.

T h r o w i n g , flowers, and other a n n o u n c e d
series will continue to be p e r m a n e n t C M
sub)ects, but not necessarily on a strict
monthly basis.--Ed.

MONTY& PENNSY DUTCH

Gentlemen :
O u r F e b r u a r y issue a r r i v e d i n t o d a y ' s
m a i l , b u t w e d i g e s t o u r C M so t h o r o u g h l y
that we've just gotten through our January
issue.
As d a b b l e r s in P e n n s y l v a n i a - G e r m a n style p o t t e r y , w e s a y " b r a v o " a n d " l e t ' s
have more" . . . by Marge Montgomery.
S h e is a m a s t e r c r a f t s m a n in a n a r t
t h a t is a l m o s t lost. Y o u r p u b l i c a t i o n of
h e r l e t t e r i n g g u i d e [ " P e n m a n s h i p i n Pott e r y , " J a n . ] is a c o n t r i b u t i o n of t r e m e n d o u s
v a l u e to all of us w h o w o r k in the p e r sonalized pottery field . . .
RAY AND ANN WHITTAKER
Collegeville. Penna.

ENAMELS A N D CERAMICS
Gentlemen :
I h a v e b e e n a s u b s c r i b e r s i n c e y o u r first
issue [and] h a v e a d m i r e d y o u r w o r k u n t i l
r e c e n t l y . N o w . a b o u t o n e - h a l f of y o u r
m a g a z i n e is d e v o t e d to e n a m e l i n g a n d
w o r k i n g w i t h m e t a l . O n e s u b s c r i b i n g to
C M w o u l d e x p e c t a m a g a z i n e d e a l i n g exclusively with ceramics
I u n d e r s t a n d t h e r e are m a n y p e o p l e int e r e s t e d in t h e a r t of e n a m e l i n g , b u t w h y
not let them have their own magazine and
l e t us c e r a m i s t s h a v e ours. W h y n o t go i n t o
o t h e r c r a f t s also if y o u are d e t e r m i n e d to
deviate from ceramics?
HAL SWEEXEY
Scranton. Penna.

~" Enamels are ceramics even

though
plastic clay isn't involved in the art.
E n a m e l is glass: used as a coating on clay
it's called a glaze; on metal, it's called an
enamel. Deviationists? N o p e / - - E d .
Gentlemen :
Y o u r m a g a z i n e h a s b e e n nay i n s p i r a t i o n .
t e a c h e r a n d c r i t i c . . . As a n a m a t e u r
enamelist, my knowledge and experience
was a l m o s t nil. B u t w i t h C M I feel m y
work has improved a great deal . . .
I t h a n k you, a n d the e n a m e l i s t s w h o h a v e
c o n t r i b u t e d to y o u r m a g a z i n e so g e n e r ously . . .
I d o h o p e y o u w i l l h a v e m o r e a r t i c l e s on
m o s a i c s , e s p e c i a l l y for s m a l l p l a q u e s , t a b l e
tops, etc.
DEE FLOROS
I t h a c a . N. Y.

Gentlemen :
. . M a y w e h a v e m o r e f r o m Mrs.
Montgomery?
H e r w o r k i n this a r e a is
w e l l k n o w n . She is a m a s t e r c r a f t s m e n a n d
she c a n also w r i t e .
M a n y t h a n k s f o r t h e first r e a l l y h e l p f u l
article I've seen on Penna. Dutch pottery
( m y first l o v e ) .
MRS. CARLTON" E. CUTLER
Havertown. Penna.

I~ Sure. For more [rom M o n t y ,

page 18. Ed.

turn

I Your comments on CM and its contents

are invited. Wri+e +o the Editor,
417S N. High S+., Columbus, Ohio.

to

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mnm

49 OPAQUE UNDERGLAZE COLORS

B r i l l i a n t colors f o r g e n e r a l , a l l - a r o u n d c e r a m i c d e c o r a t i o n .

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24 t r a n s l u c e n t c o l o r s f o r a n y t e c h n i q u e
brushing . . . s p o n g i n g . . ,
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mmm

brushwork

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MA YCO GLAZES
E x c e p t i o n a l l y e a s y to a p p l y .

nmm

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Use on G r e e n w a r e

MAYCO LIQUID MASK

For e a s y p r o t e c t i o n of design a r e a s b e f o r e b a c k g r o u n d i n g .

For.
, . Beauti/td,
a s k ( , r .11.4 Y ( ' O

dependable

colors

S e n d 50c f o r M A Y C O ' S
latest mold
catalog. Includes instruction sheets
( o r U n d e r g l a z e colors, O n e S t r o k e a n d
31. t } ' ( ' 0

.II. t S K .

CERAMICS M O N T H L Y

"s
i

-w
Unique in that center
discs
are decorated
"as you
like it".
Then just "SNAP"
into the framed
setting.
No PASTING
or SOLDER
needed.
Copper
discs
or
porcelain
blanks
are standard
size and completely
interchangeable.
Hand-made
ceramic
shapes
or
cast jewelry
of your own design can also be inserted.
Available
made up as bracelet,
necklace,
earrings,
pinor cuff links in your choice of NEW Antique
Copper,
Antique
Silver and Hamilton
Gold finishes.

SEND
FOR
FREE
ILLUSTRATED
BROCHURE
AND PRICE
LIST ON "SNAP-IN"
SETTINGS,
SHOWS DOZENS
OF STYLES
AND INCLUDES
LIST OF COPPER
DISCS,
PORCELAIN
BLANKS
OR
BISQUE)TO
FIT
NEW
SETTINGS.

(EITHER
THESE

GLAZED
AMAZING

LP400-PIN
(illustrated)-takes
I disc.
H.G.
or A.C.
6 0 e a . , A . S . 6 5 ea.
LE400-EARRINGS-takes
Z discs.
H.G.
or A.C.
85 pair, A.S.
90 pair
LB400-BRACELET-takes
5 discs.
H.G. or A.C. $I.Z5
ea., A.S. $1.b0 ea.
LN400-NECKLACE-takes
4 discs.
H.G. or A.C. $1.75
ea., A.S. $2.10
ea.
Key to finishes: H.G. Hamilton Gold; A.C. Antique Copper; A.S. Antique Silver. Copper discs to fit--4e
ea., bisque porcehtin--4e ea., glazed poreelain--8e ea. In ordering specify finish and type of insert desired, include cost of discs with remittance.

FINDINGS

YOUR

CHOICE

OF GOLD,

SILVER OR COPPER

FINISH--Except where otherwise noted.

EAR WIRES

EW I
EW 2.
EW 3
EW 5-9ram EW 7-15ram
9mm cup
7ram cup f o r c e m e n t flatpad
flatpad
doz. 2.2
doz. 2.2 or solder doz. 2.Z
doz. 30
H.G. doz. 40
doz. 22. G & Sonly G & Sonly

EC Z
9mm cup
doz. 35

EC 5-13ram EC 8-Small
EC 6
DEC 1
flatpad
Pad For 8 m m cupl/4" b a l l t o p
doz. 40
doz. 35
doz. 65
doz. 75
EAR CLIPS

DR I-Ymm
concave

DR 2
half ball

for cement
doz. Z5
doz. 2.5 H.G. doz. 40

EWP 1
cement

EWP 2
cement

D R 7-Large
Ball Top

D R l0
Designed

half ball

doz. 60

Ball Top

doz. 30

EWP 4
half-ball

Doz. 75

EWP 5
plain drop

EWP 6 - l a r g e
cement

doz. 70
doz. 70
doz. 60
doz. 70
doz. 70
W I R E S F O R P I E R C E D EARS--Sterling or Gold Filled

II

solder
each 1Z

DR 3
designed

"R~k'~ so. . . . pad [

/ ~ ' ~ ) each Z5
v G & Sonly

//
~

SCL14-1/2"
round pad
each 16

~:t\

3/4"
xl"

SCL 1g-3/4" pad

each20
25
G & S only
G & S only
BERGEN p r e s e n t s the w o r l d ' s finest cuff link. P e r f e c t SPRING ACTION cuff link has "SNAP", STYLEj and
such amazing features BERGEN UNCONDITIONALLY GUARANTEES it NEVER TO COME APART at spring
or pad! "CUFFMASTER" gives j e w e l r y that p r o f e s s i o n a l look. Used by famous m a n u f a c t u r e r s of f i n e r
jewelry. Use "CUFFMASTER" with the hundreds of copper and p o r c e l a i n shapes shown in our catalog.
B E R G E N ' s first grade imported P O I N T E D B A C K rhinestones add life and
sparkle to necklaces, bracelets, dress decoration, ceramic figurines, eyes
inanimals, rosaries, vases, religious figures, etc. Pearls are also effective.
R H I N E S T O N E S available in Crystal, Peridot (It.green) Ruby, Aqua, Sapphire,

#I
Emerald, Rose, Topaz, Amethyst, Jet Black, Ice Blue. #6, #8, #Ii, #IZ are
~
#6
#8
#II
#12

Rh t0 ,P

10 per dozen. #14--lZ doz. #18, #Z0--15 doz. #30--Z5 doz. #40--50'dz.
IMITATION PEARLS a v a i l a b l e in White, Pink, Lilac, Green, Blue, and Grey. #18
06,08,#11,#1Z & #14--8 doz. #18--10 doz. #Z0 &030--25 doz. #40--50 doz.
B E L L C A P S .... ed for holding r e g u l a r or irregular
piece of ceramic, stone (or gem) so that it can be
used for a.pendant, drop ear wi .... tc.
patent
H a m . Gold or lint. Rhod plate -- 9~ each
pend.

Sterling Sil . . . . . . . . . . . . . . . . . . .
ss e e

ohu r

v aos t

Itll/'lll01dl

15

each.

dw
i s p l a y -r- o u r o

APII~'A

~IIA

f a co t o r y ~

It-

BC l
~

#Z0 e

[ l:atest 1956 Catalog

mggest

array

of J E W E L R Y

#30 I

Only 25.
MAKING

JAND COPPERENAMELLINGN~TER.
IALS AND SUPPLIES ever compiled.
at 173 Beech

Street

is now

open.

DEPT. (:DE " 1"/3 BEECH ST..HACKENSACK,

N. J.

Postal Char(les When You Order From This Ad--MINIMUM ORDER $2. SORRY.NO C.O.D..=-- Send Your Order N..,._ow!

APRIL, 1956

inest
Sales/

KILNS
Oft [~',e

Market/

U L APPROVED
FOR YOUR PROTECTION
Ask y o u r local Electric C o m p a n y or Fire Insurance
C o m p a n y a b o u t the i m p o r t a n c e of UL a p p r o v a l on a n y
e l e c t r i c a p p l i a n c e . O t h e r s claim that wire and switches
a r e OL approved, but their kilns a r e not!

ILH
~ feature-packed models from
which to choose . . . all quality constructed . . . all popularly priced O n l y i n a DYNAKILN will you find DYNAGLOW
PORCELAIN
ELEMENT H O L D E R S . . P I L O T
LIGHT

Plus $2.00
crating chg.

GRAVITY

DOOR

WEIGHTED,

PILOT

--

Harrisburg,

DYNA-

PORCELAIN ELEMENT HOLD-

ERS, a n d it's a t t r a c t i v e

. . Plug it in

anywhere!

Kilns

Manufacturing Co.
Chester

INQUIRIES

11, Pa.

INVITED

readers
plastic: clay at h a n d to take
impressions as you carve and
thus keep a constant check on
the progress. As you know,
everything nlust be done in reverse; the preliminary impressions keep you from carving
too deeply and from making
other mistakes.
For these tiny press molds,
it isn't necessary to use pottery plaster; ordinary p a t c h i n g
plaster, available in 5-pound
boxes at most supply stores,
works fine.

- - M r s . G. B. Hodges, ]r.
Williamsport, Pa.

SIMPLE SLING MOLD

Here is a quick and effective way to make free-form
shapes. Cut a slab of clay into
an oval or irregular shape and
place flat in the center of a
square of cloth (anything from
cheesecloth to b u r l a p ) . Pick
up the ends of the cloth and
and hold them together in one
hand, thereby suspending the
clay in the bottom as if in a
bag. Move your hand up and
down a few times, thus forcing
the clay down into the very
bottom of the " b a g " ; at the
same time. the cloth will pull
the clay sides up, forming a
free-form dish ready to dry.
T h e n h a n g up the bag, as it

Josephyne IValmer

COUNTER

LIGHT,

Electric

- - V i r g i n i a D. Voelker

EXTRA SHELVES
Unglazed tile. broken or
whole, make wonderful extra
shelves in your kiln. T h e y fit
into odd spots and are excellent for jewelry and other
small pieces.

WRITE FOR LITERATURE

DEALER

WHEEL.HEAD BAT
If you have been attaching
bats to the t h r o w i n g head of
your wheel by pressing clay
a r o u n d the edges, you may
w a n t to try this technique
which has proved Inore satisfactory to me.
Put a very shallow pool of
thick slip on the wheel head
and press the bat d o w n on it.
I n a inatter of seconds, the
bat absorbs the w a t e r and the
thin layer of clay acts as an
adhesive and makes a very
strong bond between the wheel
and the bat. You can test
the bond by twisting or pulling on the bat. If it moves, the
slip may have been too thin or
the bat too wet.

They're good looking, and

they're uneondi+ionally guaranteed!

Never before have there been so many

features . . . so much quality bui[t into
a kiln at such a price. It has a PYROMETER for visual temperature reading,
an I N P U T
CONTROL
SWITCH,

GLOW

GLAZE EFFECT
For an u n u s u a l effect, mix
black sand with slip and
brush on your leather hard
ware. Bisque fire. then glaze
with either an o p a q u e or a
clear glaze.
- - M r s . A. IV. GreeTz
San Carlos, Calif.

Asbury Park, N. J.

ENAMELING KILN

$74.80

our

. . 4 WAY SWITCH
2 PEEP H O L E S . . T O P
QUALITY
CONSTRUCTION.

A New High Quality

MODEL E 49
Chamber:
4" x 81/2 '' x 8 Y 4 "

from

Pa.

CARVE PRESS M O L D S
I have labored hard on
small clay models for jewelry
only to r u n into trouble when
I a t t e m p t e d to make the
plaster press mold. I finally
decided to carve the model in
h a r d plaster and have met
with m u c h more success.
I p o u r small blocks of plaster, using square dishes, and I
carve with any and all tools
that I have at hand. I t is very
helpful to keep a small wad of
Dollars

for

is, until the clay has hardened

enough to hold its own shape.
If you don't like the shape
of a piece, you can keep repeating the procedure until a
pleasing shape is arrived at.
And, if you want a flat bottom on the piece, t h u m p it a
few times on a flat surface
while the clay is still soft.

- - M i l d r e d Halzman
Bronx. N. Y.

your

Thoughts

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

bright ideas to Ceramics Monthly, 417S N. High St., Columbus 14,
Ohio. Sorry, but we can't acknowledge or return unused items.
CERAMICS

MONTHLY

Acclaimed
Everywhere
by
Teachers

and
Professionals
for
Performance!
This Nationally
Recognized
Power-Driven
Precision Wheel

only $ 5 7 . 5 0
(Shipped complete,
Less Motor)

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

Pottery Maker, first in the field, is still first in value and in
price! Simple operation, rugged construction, with all the
versatility required by professional workers! Many built-in
features . . . ADJUSTABLE arm rests: BUILT-IN water container; VARIABLE speed drive: QUIET bronze and babbit
bearings; ADJUSTABLE foot-pedal control: UNUSUAL size
range.
Before you buy, Write B & I . . . get full, free details; Pointby-point, we challenge comparison on QUALITY features...
Our price is stiff the best in the field!
B & I Pottery Maker shipped complete, less motor, f.o.b.
factory, Burlington, Wisconsin, for only $B7.S0.

B & I M f g . Co., Dept. C.

Burlington, Wisc.

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

'FJJ , with FINISHED JEWELRY

for the

COPPER
ENAMELING
HOBBYIST
EARCLIP #26
Price $1.00

and suggestions from leading ceramists all over

the nation.

A l l the f a m o u s D u n c a n Q u a l i t y a n d E-Z a p p l i c a t i o n c o m b i n e s w i t h t h e most r i g i d s p e c i f i c a t i o n s

t o g i v e Y O U a L I Q U I D t r a n s l u c e n t u n d e r g l a z e in
colors and vehicle of a quality never before
achieved.

~,.

Plus 10% Federal

Excise Tax
Available in
Antique Copper
and Antique
Silver, Gold
Plated and
Rhodium Plated,
Necessary copper
inserts are
supplied in
each package.

24 S p a r k l i n g O N E - S T R O K E s h a d e s t h a t can b e
b r u s h e d , s p r a y e d , a i r b r u s h e d , s t i p p l e d or s p a t tered. Good for fine detail work, China painting
t e c h n i q u e on g r e e n w a r e o r b i s q u e .

)
I
~'~

~.

Ask f o r tKem a t y o u r d e a l e r s o r d i s t r i b u t o r s . See

them demonstrated at the ceramic shows.

1/2 oz. jar

Ask your local dealer for Copper Cat

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

Cerami-eettlfied C0L0$

DEALER INQUIRIES INVITED

SALES OFFICE MAIN OFFICE

\~
~f'~l
~t ~, ~ , ~ ~

809 Main St.

Evanston,Ill.

RailroadSt.
Attleboro,Mass.

COPI R CflT,n:
APRIL,

1956

4Sc

Old Rose
Cinderella Pink "
Irish Green
Willow Yellow
Sierra Yellow
Forget-me-not Blue

Mahogany Brown
French Brown
Sienna Brown
Jet Black
White
Jade Green

Ruby Red

Grass Green

Royal Purple

Pansy Purple

Dark Turquoise
Chartreuse
Smoke Grey
Mulberry
Oark Orchid
Flesh Tone
Midnight Blue
Royal Blue Green

There's a Duncan Distributor near

W r i t e us f o r his a d d r e s s ,
F North Blackstone

Fresno, Calif.
9

FLORIDA, Coral Gables

April 15-29
Fourth Annual Miami National Ceramic
at Lowe Gallery.

The Heart of
Success
is in t h e . . .

REDHEAD

Send show announcements early--Where

o Show: three months ahead of entry
date; Where to Go: at least six weeks
before opening.
WHERE TO SHOW
"knational competition
CALIFORNIA, S a c r a m e n t o
M a y 16-July 1
Kingsley Art Club 31st Annual Exhibition at E. B. Crocker Art Gallery, 216
O St. Includes crafts. Open to residents
of the Central Valleys. Jury; prizes. Entries due May 4,5. For blanks, write Mrs.
George C. Brett, 2757 Curtis Way, Sacramento 18.
CONNECTICUT, Norwalk
J u n e 8-July 8
Silvermine Guild of Artists Annual New
England Exhibition. Media includes ceramic sculpture. Open to residents of New
England. Jury; prizes. Fee, $4. Work due
May 11-14.

Open Face Kilns

If isn't what's in a name that counts, it's
what's in the KILN. When the Kay Harrison INERA-REDHEAD Craffint lasts and
lasts, you K N O W you are getting your
money's worth.
The REDHEAD does
EVERY type of copper enameling you
could want--stencils, slush, foil, finger tip
enameling and above all, it's HOT
E N O U G H TO DO ITALIAN SCROLLING, that wonderfully beautiful method
that requires more heat than other processes. Yes, the REDHEAD will give you
all this and MORE. See the REDHEAD
before you buy ANY kiln, and if you
wish, come in and test it yourself on our
studio demonstrator kiJn that is ONE
YEAR OLD and still going sfronq wlth
the original element. Day in and day
out this REDHEAD has Been fired as
many of you know. W h a t a test THIS is.
We haven't had one customer disappointed in the REDHEAD, nor have we had to
replace a single element Because if became worn out. The REDHEAD is a
honey. See back issues for complete kit
listing. Kit is yours for . . .

$10.50
SCROLLING TOOLS
Mode, as they should be, of finest stainless steel with rocker points and wooden
handles to keep you comfortable while
scrolling.
per set postpoid

$2.00

Copper supplies galore, and Browsers are

ALWAYS welcome at . . .

"th ~ l e ~ ~ l ~ L l ~

Studios

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

UNiversity 2-9222
I0

INDIANA, South Bend

M a y 30-June 3
Annual Regional Ceramic Exhibition at
South Bend Art Association Galleries.
620 W. Washington Ave. Residents within 100 m. radius eligible. Fee, $2. Blanks
due May 1; work, May 1-6.
NEW YORK, Douglaston
M a y 6-19
"kArt League of Long Island 26th Annual
Spring Exhibition including ceramics.
U. S. residents eligible. Jury; prizes.
Fee, $5. Work due Apr. 21. For details:
Samuel Leitman, 44-21 Douglaston Pkwy.
OREGON, P o r t l a n d
M a y 12-June 9
Annual Exhibition of Northwest Ceramics
at Oregon Ceramic Studio. 3934 S. W.
Corbett Ave. Eligible: residents of British
Columbia, Idaho, Montana, Oregon and
Washington. Jury; awards. Entries due
Apr. 16-30. Write the Studio for blanks.
WHERE TO GO
CALIFORNIA, San Francisco
through April
9th Annual Exhibition of The Association
of San Francisco Potters at M. H.
De Young Memorial Museum.
FLORIDA, Clearwater
through April
Dutch Arts and Crafts (contemporary)
at Florida Gulf Coast Art Center.
CERAMIC HOBBY SHOWS
"SOuTHX~/EST"
April 18-22
At Women's Building, State Fair
Park, Dallas, Texas.
"EASTERN"
M a y 2-6
At Convention Hall, Asbury Park,
N.J.
"GREAT LAKES"
M a y 16-20
At Masonic Temple, Detroit, Mich.

GEORGIA, A t l a n t a
through April 15
American Craftsmen 1955 at Atlanta A r t
Association.
IOWA, Des Moines
through April 29
Eighth Annual Iowa Artists Show including all mediums; at Des Moines
Art Center, Greenwood Pk.
KANSAS, Wichita
April 14-May 15
Eleventh National Decorative Arts-Ceramics Exhibition at Wichita Art Association, 401 N. Belmont Ave.
KENTUCKY, Louisville
through April 29
Louisville Art Center Annual (Kentucky
and So. Indiana) at J. B. Speed Art
Museum. Crafts included.
MASSACHUSETTS, Boston
April 9-April 27
Massachusetts Crafts of Today at the
Society of Arts and Crafts, 145 Newbury.
MISSOURI, Springfield
through April 20
Twenty-Sixth Annual Exhibltlon: arts
and crafts; regional. At Springfield Art
Museum.
NEW JERSEY, Asbury Park
April 9-15
In conjunction with Cavalcade of Progress at Convention Hall: annual exhibit
by members of the New Jersey Society
of Ceramic Art, Inc.; demonstrations.
NEV YORK, Buffalo
through April 22
Western New York Artists (14 counties
annual at Albright Art Gallery.
NEw YORK, K e n m o r e
May 6
Annual Exhibit by Kenmore Ceramic
Guild; Memorial Hall, 3-8 P.M.
OHIO, Dayton
through April 30
Design in Scandinavia--over 700 massproduced pieces selected by top designers.
At Dayton Art Institute.
OKLAHOMA, N o r m a n
through April 15
California Designed--home furnishings
and accessories including ceramics--at
University of Oklahoma.
OKLAHOMA, Rockford
April 3-29
Work of Oklahoma Artists including
ceramics; at Philbrook Art Center.
PENNSYLVANIA, Philadelphia
through April 15
American Jewelry and Related Objects
(contemporary) at Philadelphia Art
Alliance.
WEST VIRGINIA, H u n t i n g t o n
April 22-May 20
Fourth Annual Exhibition 80 at Huntington Galleries.
CERAMICS M O N T H L Y

Delta's "Perma-Point" is designed to execute the most minute detail

with perfect precision. Each size is made to give you a needlefine point and a perfectly prop&rtioned b o d y - e v e n to the
extra-small 00000. Delta's " P e r m a - P o i n t " retains its
exacting shape and point and "snaps" back after each
stroke making the most delicate miniature work
a simpler task. It is made of the finest pure
red sable hair, set in a seamless nickel
ferrule and on a perfectly shaped and
balanced white polished handle.
The black tip distinguishes
Delta's "Perma-Point"-- a
wonderful example of
the art of brushmaking by
Delta.

O. H O M M E L . . .

MOST COMPLETE

o i n t ,,

CERAMIC
SUPPLIER
With the use of HOMMEL Ceramic and
pottery materials in art cJassrooms of today's modern schools, young artists can be
assured of best results in their search for
self-expression. Maintaining the first position in the industrial supply field, I-IOivlMEL always supplies the best at economical prices.

UNDERGLAZECOLORS
i
GLAZESTAINS
PREPAREDGLAZES
ENGOBESTAINS
PREPAREDCLAYBODIES
OVERGLAZECOLORS
GLASSCOLORS
GOLD-PLATINUM-LUSTRES
for glass and china

CHEMICALS,FRITS
KILNS-a//types
WOOD MODELINGTOOLS
TURNINGTOOLS
BRUSHES-fordecorating
DECORATINGWHEELS
BRASSWIRE SIEVES
ASBESTOSGLOVES& MITTENS
UNDERGLAZEPENCILS& CRAYONS
AIR BRUSHES
SPRAYBOOTHS
STANDARDPYROMETRICCONES

Style 520
Black-Tip

FREE

Series

HOMMEL CATALOG
Write for yourcopytoday.
Profusely illustrated.

Size:
Price each:

00000

0000

000

O0

.45

150

.55

.60

.65

.70

.75

.90

For yotlr col)!~ o[ "Ceramic Br,shes-their selection, use

trod care" by Carol ]anetcay, send 15c in coin or stamps to

,. O. HOMMEL CO.
PITTSBURGH 3 0 , PA.
West Coast Warehouse, Laboratory & Office

delta
APRIL, 1956

brush mfg. corp.

1 1 9 bleecker street, n e w york 1 2, n. y.

4747 E. 49th Street, Los Angeles, California

to, e gre

MODEL
New

2400F.

Hi-Fire

Kilns

These kilns are designed for the ceramic artist

to fire sculpture and stoneware items. No longer is
it necessary to have a gas kiln to fire stoneware.
The 2400 elements and 2600 refractories
backed by high t e m p e r a t u r e block insulation give
dependable service. Prices quoted on special sizes.

MODEL

HI FIRE

STONEWARE

Firing Chamber
113S

11

xll

x131/2

KILNS

Max. Temp.
2400F.

Price
$162.00

133S

131/~x131~x131~

2400F.

204.00

155S

15

x15

x15

2400F.

252.00

188S

18

x18

x18

2400F.

385.00

model ceramics, inc.

770

N.

Main

Street,

Akron,

Ohio

S. Paul Ward's 20th Year

If you want commercialresults

use commercialglazes
Sold through distributors only
California--Most maior studios
San Diego County, Calif.--Conville Ceramics
Detroit Mich.--Norwest Novelty
Portland, Ore.--Dobe Depot
Dallas, Texas--Norris Studio
Minneapolis, Minn.--House of Clay
Bradenton, Fla.--Toalecraft Studio
Provo, Uah--Margaret's Shop
St. Louis, Missouri--R. & B. Ceramic Studio

& Sculpture Supplies and Equipment Now

Offers the Most Complete Line of Metal Enameling Supplies Available In One Volume.
F o r your copy, send 25c in Coin or S t a m p s to

STEWART CLAY CO., INC.

DEPT. F-l, 133 MULBERRY STREET, NEW YORK 13, N. Y.

12

S. PAUL WARD, INC..

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b01 MISSION STREET

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

CERAMICS MONTHLY

S H O W TIME

MICHIGAN
<i~!~iiii!!!i!ii!i!ii!!i!i!i!i!{!i!i!!!iii!i!i!iiii~iiii~,ili,~i~ii~i~!i~
ii~!!~!~i!i!i!i!!!i!!iiii!i~i~i~

ARTIST-CRAFTSMEN

Top \VINNZR at the 1 lth annual Michigan Artist-Craftsmen Exhibition (held last month at the Detroit Institute of Arts! was Louis Raynor, East Lansing: his three
stoneware pieces with slip decoration (5) were awarded
the Founders Societv Purchase Prize. Other winners
among the 147 craftsmen represented included these
ceramists: Robert Cremean, Cranbrook Academy of Art
student, for stoneware bottles with copper-wire decoration (1): Donald Larkin, also a Cranbrook student, for
sculpture ( 4 / ; J. T. Abernathy, Ann Arbor, for bowl
with white and brown brush decoration (2); and Marc
Hansen, Grand Rapids, for a covered jar (3).

APRIL, 1956

13

ometMu9 et,,

[tte

un--

balloons
as

molds
by REINHOLD P. MARXHAUSEN

perimenting and exploring. You can push a bit, pull a bit,

with no danger of the pot's caving in. You have the feeling that someone is inside holding the wall of clay o u t
for you. This is particularly helpful when you are working
on a small-necked bottle.
You do, however, have to get used to the unfamiliar
feeling of give and bounce in the work under your hands.
And a number of props (chunks of clay) are needed to
hold the unfooted piece upright, especially during the
setting process. (While forming and welding, I like to
hold the work in my lap because, conveniently, it provides
more surface area of support.)
When the clay has set enough to stand by itself--you
can tell by the feel--the balloon should be deflated without delay. Remember that no drying will take place on the
inside surface of the clay as long as it rests on the
rubber. Deflate either by letting the air out gently or by
puncturing with a pin. Fish the collapsed "mold" out with
a wire or just leave it inside to burn out in the kiln.
Extra parts, such as handles, legs, a foot, a spout,
can be added to the basic shape once the clay has become
firm. Moreover, it is not necessary, in the forming process, to follow the exact contour of the balloon. Thinking
of it as a plaster hump mold, use all the surface or a portion of it; make shallow dishes or large-mouthed vases if
you like. The only difference is that much more time will
be required for the clay to set than would be the case if
the hump were made of plaster or clay.
For the ceramist who plans to try out balloon molds,
two general precautions are in order: although the balloon
should be collapsed as soon as possible to facilitate drying,
don't release the support too soon; experiment with
smaller objects until you get the feel of when to do what.
The method should save a lot of trouble. Don't bother,
for example, to make a head solid and then hollow it out
for firing safety, or to make it hollow with wadded newspaper stuffed inside for support. Use air--with a balloon
around it! o

14

CERAMICS MONTHLY

lown-up rubber spheres and tubes -tile toy balloons

that children love--are the answer to forming certain ceramic shapes when skill, equipment and time are
at a minimum. By experimenting, I have found that these
balloons can serve as ideal "hump molds" in that you
never have to worry about how to remove the mold even
though it may be completely surrounded by clay. Drape a
slab of clay on the balloon, let the clay set, collapse the
balloon and the mold is gone. It's as easy as that!
Balloons in varied shapes and sizes can be purchased
at any five-and-ten type of store (or the vendor in the
park). From your selection, choose one that resembles the
shape of the object you wish to p r o d u c e - - o r let one of the
balloons suggest an object to you. Blow it up to capacity
to stretch the rubber, then let out a bit of air so that
slack in the rubber can act as a buffer (something has to
give when the clay begins to harden and shrink and if the
balloon is too taut the clay will crack). The mouth of the
balloon can be tied off with string; or twisted and secured
with masking tape so that it can be undone easily and the
air let out slowly when the clay has set.
When it comes to using this new-type mold, regard it,
generally, as you would a plaster hump. But in order to
facilitate drying and setting, sprinkle a bit of dry clay on
the surface of the slab of clay which will be next to the
rubber (unlike plaster, rubber will not absorb moisture;
the inside surface of the clay will stay moist until the
balloon is deflated).
The slab, as it is, can be draped around the balloon,
welded together at the seams with slip, and then shaped
by cutting away or adding clay until you achieve the
creation you have in mind (facing page). But you may
prefer to save time (and perhaps grief) by pre-cutting the
slab to the general shape of the mold. In that case wrap
a sheet of paper around the balloon, cut out a rough pattern and then cut the slab similarly.
In forming shapes on balloons, the inner push or
buoyancy provides just enough resistance to permit ex-

PAPER PATTERN is used as a guide in this case.

Clay is tiffed to balloon and worked together. When clay
sets, the "mold" is deflated.

WITHOUT PRE-SHAPING, a slab of clay can be

wrapped around the balloon, then slashed as needed to make
a snug f i t Extras--foot and neck--are added.

HOURGLASS SHAPE above served as mold far

coln-bank owl (I). Another balloon (r)
was altered with masking tape
to provide a mold for the vase shown.

TOY BALLOONS are naturals as "hump molds"

says the author, and the photos on this
page bear him out. (Wise owl, left, came from
grinning rabbit, above.)

APRIL, 195b

15

~C~,.ENAM

ilLS

'-d
i

"x

x.~.

..... .

....

..~

i"iiiiiiiiiiiiiiii{ii!i
:ii"i
:iiii:!ililil;iii
i;iiiiiiii
;iiiiii
,:

i !

ii~i~ i~;ilil

MULTI-PIECE

Small Parts Make Mobile Earrings

/ ~ u l t i - p i e c e jewelry should be
carefully designed on paper
before work is begun on the actual
piece because practical aspects have
to be taken into consideration. Multipiece means the designs will consist
of m a n y parts which will probably be
very small (you may have four or
five parts to an earring, for example)
and these parts will be cut out of
metal which means thev must be
quite simple in shape.
Begin the design with rough
sketches, just to acquire general ideas.
I firmly believe in "pushing the pencil
a r o u n d " to put vague ideas into concrete form. H o w else can you come
up with an idea that has possibilities?
Even when this is accomplished, the
shapes usually have to be simplified
many times in order to facilitate cutting. ( T h e sketches below show how
a design might be developed from the
first rough idea into a finished pattern.) W h e n you have developed a
good sketch in black-and-white values,
choose the colors to be used and
match them carefully with your color
samples. T h e n make a final tracing
of the design to work from.
For small pieces, 20-gauge copper
is usually heavy enough. It is softened,
to make cutting easier, bv a prefiring in the kiln for a few minutes.
With either red or regular carbon
paper being used, the tracing of the
design is transferred to the copper,
and "then scratched in with a pointer

SIMPLE SHAPES are best for jewelry of

many parts. Make sketches until you get a
good rough idea, then develop the full detail. Earrings shown here are the finished
demonstration pieces and others by the author.
16

JEWELRY'

(carbon marks rub off during the

cutting operation).
T o show how multi-piece jewelry
may be prepared, enameled and assembled, let us go through the steps
involved in producing the littleMexican-nmsician earrings shown below.
t. It is very difficult to cut a neat
line when you are handling a large
sheet of metal. So the shapes which
are traced on the metal are first cut
out roughly, then precisely along the
scratched outlines. (I used ink lines
here so they would show in the photograph.) Even then the shape may be
rather crude but filing will refine it.
After finishiny, the pieces, remember
to in~'ert one complete set so you will
haa'e a "right" and a "'le[t."
2. Each piece, placed on a level,
hard surface such as an old iron plate,
is flattened by gentle pounding with
a rawhide mallet. (An ordinary hammer covered with an old piece of
leather to prevent marking the metal
will do the job nicely.)
3. For the filing process, a small
vice holds the pieces. It is lined with
leather so it won't scratch the metal.
Those shapes which are identical are
put together in the vice and filed
simultaneously so they, will be alike.
T h e file used is a meclium-coarse one
and, for the curves, a rat-tail: the
filing is done diagonally across the
edge of the metal, and the burr that
forms is left on because its brittle
teeth will keep enamel from receding
at the edges.
If the metal is bent during the
filing, it is again flattened on the
hard surface with the rawhide mallet.
4. The exact spots where holes for
jump rings are to be drilled are
marked off with the sharp pointer
and center punched. Each piece, in
turn, is braced against a nail driven
into a board to keep it from spinning
(or, taped to the board with transparent tape), and drilled with a 5/64
or 1/16-inch drill. The drill is pressed
firmly into the piece but the handle
is turned slowly: the metal core peels
out almost in one long strand like the
CERAMICS MONTHLY

1. General shape is cut out roughly, then

precisely along the scratched-in llne.

2. Each piece is flattened by gentle pounding with a rawhide mallet.

3. Held in a vice lined with leather, the

edges of the pieces are filed smooth.

4. Holes for jump rings are center punched

and drilled with S/64- or 1/16-inch drill.

5. In counterenamellng the backs, bare spots

are left on pieces where findings go.

6. The several colors of the design for the

top side are wet inlaid, one at a time.

Z_The edge of each color is straightened,

made neat, before next color is pushed up.

8. Joining line between colors is packed

down with leveling ool held at right angle.

9. When enameling is finished, the pieces

are fired; then stoned and cleaned as usual.

peeling of an apple.
T h e holes are then cleaned out
with a small needle file (small holes
tend to fill up with enamel a n d so
require more careful h a n d l i n g l, a n d
the pieces are flattened once more
with the mallet. W h e n a piece is to
be shaped or domed, however, it is
held against the h a r d metal surface
and t a p p e d with the mallet. I n p r e p a ration for the enameling process, all
the parts are cleaned thoroughly in
the regular manner.

should not be a very soft-fusing

enamel for this type burns out too
r a p i d l y ( a n d vou find the backs
b u r n e d black after successive firings!).
T h e c o u n t e r e n a m e l m a y be a p p l i e d
bv the sifting or by the wet-inlay
method. I n the case of tiny pieces,
however, I prefer the latter because
it takes less time. You d o n ' t have to
take the n u m e r o u s pieces back a n d
forth for spraying with a g a r a n d sifting; or to cut tiny friskets to cover
bare spots where findings are to go;
a n d wet inlay makes a n e a t e r job.
T h e b a r e spots can be m a d e simply
by picking up the e n a m e l with a wetp o i n t e d brush a n d then straightening
the edges of the area.
When
the c o u n t e r e n a m e l i n g is

finished, the edges of all the pieces

a n d the not-yet-enameled t o p sides
are w i p e d free of enamel. ( I t is easier
to clean now t h a n to stone later.) All
the holes are cleaned with a p o i n t e r
before firing; this is good p r a c t i c e because of the holes' t e n d e n c y to fill
with enamel. T h e pieces are then
slightly u n d e r f i r e d ; they should look
shiny a n d almost smooth.

5. A color which will blend with

the colors to be put on the front of
the earrings is chosen for counterenameling the backs. It m a y be either
an opaque or a t r a n s p a r e n t but it
APRIL, 1956

6. Because the design calls for several different colors on t h e front,

inlaying wet enamel will m a k e it
possible to finish the pieces in one
firing. ( T h e enamel has been sifted
onto a wet m i x i n g palette a n d sprayed with just enough w a t e r to s a t u r a t e
(Please turn to Page 37)
17

ennzsf ania
by MARGUERITE MONTGOMERY

The following is
the first part of
a two-part article.
Here, the author
tells us something of
t h e background of a
"common" people whose pie
plates, cooking pots and other
hand-crafted items are now museum
"pieces. In the next installment, she will
comment on the work of individual
early potters and on making adaptations of the Pennsylvanla-Dutch style.
Readers will remember Mrs. Montgomery's previous article, "'Penmanship in Pottery," in the January issue.
(For more about the author, see
"Ceram-Activities,'" page 35.)~Ed.
A

strong self-sufficient independent

people live on the rich fertile
land of Eastern Pennsylvania. They
are the Pennsylvania Dutch whose
forebears came from the Rhine Valley
late in the seventeenth and early in
the eighteenth centuries bringing with
them the character traits which have
persisted in each generation down to
the present day. The first arrivals, together with some Swiss and some
French Hugenots, came to America at
the invitation of William Penn.
We are wont to think of the Pennsylvania Dutch only in terms of quaint
--quaint dress, quaint speech, quaint
handcrafts. In fact, however, they are
a composite in which varying degrees
of worldliness as well as many sects
and dialects are represented. Among
them, the Amish, Mennonite, or River
Brethren may be easily distinguishable
because of "plain" garb, bonnet or
beard; but the Lutheran, Reformed
or Catholic looks the same as his
neighbor of English descent.
18

Although the dialects of these

people may differ slightly in different
sections, German was originally the
predominant language. The group is
bilingual to this day, a fact accounting
for certain expressions which we who
speak only English find rather quaint.
As for the "Dutch" designation:
there are various versions of how it
came into existence. According to one
authority, Benjamin Franklin started
it by calling the newcomers the "dumb
Dutch" when they refused to buy his
English-language newspaper. But another source believes it comes from a
misunderstanding of the meaning of
the word deitsch: when the German asked "Kannscht du Deitsch
schwetza?'" [Can you speak German?]
the English thought it meant "Can
you talk Dutch?" Whatever the origin,
the name "Pennsylvania Dutch" stuck
and is, in fact, preferred by many
of those so-called.
A thousand years of peace was the
promise William Penn held out to the
people who migrated to his lands.
Farmers for the most part and tired
of devastating wars at home, they
came with skills and hopes for peaceful existance. They fashioned crude
tools of wood. They cleared the fields
and found red-clay deposits, and the
clay was used to form eating and cooking dishes. As they were farmers in
Europe, so were they farmers here. A
man might be a potter but it was
his responsibility first to be a farmer
supplying the needs of his family, only
second a potter supplying the needs of
the community.
Love of fine European ceramic ware
was strong in these immigrants (one of
the potters among them expressing it

SLIP
G.

:.

PiE PLATE with serrated edge

is sllp decorated.

PLANT klFE springs from urn which represents the

earth: this recurring fertillfy theme is seen
in sgraffio-decorated sllp ware above. Fine balance in
slip design on jar (r) is characerisflc.

;//

vjtn arfg 5qrerican 3:bfgNrt

PEACOCK, often-used Oriental symbol, appears in Hubener plate which bears his
typical double border o| let'erlng.
Photos: (I & top r) Philadelphia Museum of Art;
~,~,-.~.....
others, The Metropolitan Museum of Art

in an inscription on an early piece of

P e n n s y l v a n i a - D u t c h ware) :
I love e v e r y t h i n g line,
A l t h o u g h it isn't m i n e ,
A n d t h o u g h I never o w n it
Y e t still I have the j o y o[ it.

At the time, the arts a n d crafts of

Persia and the O r i e n t were highly reg a r d e d in E u r o p e ; and simultaneously
a tulip craze was sweeping the Continent. Fortunes were m a d e a n d lost in
the sale of bulbs; the tulip b e c a m e a
favored decorative m o t i f for" the embellishment of tin, w o o d a n d cloth a:s
well as clay. A m o n g the Pennsylvania
Dutch, this tulip was used to such an
extent that the p o t t e r y d e c o r a t e d with
it became k n o w n as tulip-ware. T h e i r
word for t u l i p - - b o r r o w e d from the
Persian d u l b a n d long ago - - is still
dullebahan.

I n other ways, too, the O r i e n t a l

infhlence is reflected in the earlier
Pennsylvania - D u t c h designs, some
seeming to have been taken from Persian rugs or tapestries. W e see. for
example, the tree of life, crudely con-

,.0,.0,.~.

ceived on p o t t e r y but exquisitely executed in needlework; the peacock,

native of the Orient, occurring frequently as a symbol of reproductivity.
U r n s with flowers springing from
them are also f o u n d on m a n y of the
old Pennsylvania plates. T h e urn
represents the earth; the p l a n t has
been r e g a r d e d as life springing from
the earth. Thus, coming f r o m the
earth, are first the blades or leaves,
then the flower. Usually in the flower
is the seed which, when it goes back
into the earth, represents the cycle of
reproduction. (Inscriptions also app e a r to have been b o r r o w e d from the
O r i e n t for- one plate bears this in
German :
7"0 paiT~t [lowers ir eommot~ but o . l y
G o d is able to giz'e t h e m [ragraace.

T h e same verse, with the exception of

the second word, has been a t t r i b u t e d
to an O r i e n t a l p r o v e r b : " T o g r o w
flowers . . . . ")
Not all of the P e n n s y l v a n i a - D u t c h
birds a n d flowers can be t r a c e d to
(Please turn the page)

19

PENNSYLVANIA

DUTCH POTTERY (cont.)

USUALLY, design was done in either slip or sgraffito (I)

but occasionally technlques were combined
as below: (I) slip with sgraffito lettering:
(r) sgraffHo sfrokes highlighting polychromed design.

~ i~ ~III!~!~I~I~;I:~II!I:Z~I~i~i ~I~ i

i!

Photos: (above N below) Philadelphia Museum of Art:

r. The Metropolitan M~t.~eum of Art.

sources or identified. ( W h e n an unidentifiable b i r d grew out of the craftsman's imagination, it b e c a m e known as

a Distel[ink
which, u n d e r the circumstances, seems to m e a fine name. i
T h e early p o t t e r h a d no f o r m a l art
training; a n d he tried to d e p i c t a combination of old-world memories and
the n a t u r a l beauties f o u n d in the n e ~
country. Consequently, his style h a d
a freshness a n d a c h a r m which m a n y
of us try to imitate b u t fall short of.

! fi //f i/ili i!i/!i!if!i!i i !] i i i i i!

T h e ceramic pie plate of the

Pennsylvania D u t c h was a u n i q u e creation as were its fillings (fruit a n d
m e a t were plentiful so concoctions of
great variety came out of their ovens).
T h e pie plate, itself, was gently concave and w i t h o u t foot or r i m ; it was
rather flat so t h a t the pie could be
slipped out easily. T h e early pieces
were glazed on the inside only a n d
h a d serrated edges.
E v e r y d a y ware generally was glazed
on one side only so t h a t the pieces
could be stacked in the kiln without
the use of stilts; they were stacked one
row on top of the other in p y r a m i d
fashion. W o o d - b u r n i n g , the kilns required several days to fire and even
longer to cool. (Riots at the kilns
when the d e m a n d for utensils was
greater t h a n supply are on record.)
U n d o u b t e d l y , t h e Pennsylvania
D u t c h d i d not d e c o r a t e their very first
pieces of pottery. T h e s e were p r o b a b l y
u n d a t e d a n d unsigned t h o u g h we have
no certain w a y of distinguishing such
pieces f r o m later u n i d e n t i f i e d ware of
20

;~i;!!! i!(?!/(

i!!i ii~ii! ii!~ ~iiii! I ~i i~i~ii~ii

"~

/</i

(ill!

TULIP WARE became known as such because the favored flower, in stylized form, appears so consistently. Smudges
of color on these plates is typical of early work.
CERAMICS

MONTHLY

"K
<

~2
=
=_

%
-5

F2
&

2
~2
MOTIFS were often borrowed but some, like the
b~rd called "a disfilfink," came strictly from the imagination.

similar shape and glaze. When they

began to decorate, three techniques
were used slip trailing, sgraffito and
polychron~e, the latter being the least
commonly einployed. Occasionally,
two techniques were c:)inbined in the
same piece (sgraffito border with slip
design in the center, for example; or
sgraffito strokes emphasizing the elements of a polychrome decoration/.
Slip was the most commonly used
for decoration, white N e ~ Jersey slip
on red Pennsylvania clay. The earliest
designs were usually compo;ed of
wavy parallel lines and dots. The}'
were quickly done. the slip being
trailed from a cup having two to six
openings. For the most part the pieces
were not signed or dated. (Later, slip
ware in the form of commemorative
a n d / o r personalized pieces began to
be produced. I
Slip-trailed decoration on everyday
plates was somewhat different from
the general idea of such pieces. Since
the plates were meant to be w~ed, they
had lo be smooth. So after the slip was
trailed on and had dried a bit, it was
beaten into the clay body. None of the
slip was permitted" to stand out in relief for high spots wotdd have been
APRIL, 1956

the first to wear off. T h e piece was

then draped over a mold and dried for
firing.
As slip decoration became more
studied and tile subjects worked out
in detail, sgraffito ware (the design
scratched through slip) was also developed. In the earlier examples of
sgraffito, pictorial representation of
phrases from the Bible was the concern of the potter. T h e time of the
lily was identified with the tulip
flower, symbolic of love and peace:
the turtle dove, the pearl of great
price, the p o m e g r a n a t e through
these and other motifs, the potter expressed thankfulness to his Maker
for his place in the new homeland. As
his adept fingers gained more skill, he
bordered ware with verses from the
Scriptures, bits of hymns and pious
expressions, in either English or
German :
Consider
~,rozt'.

the

lilier

and

how

AS SYMBOL of reproductivi+y,
the peacock was very popular.

LETTERING
for folk sayings
was an important design element.

they

F o r lo. the a'i~lter is p a s t . . .

a ~ d t h e c o i c e o[ t h e t u r t l e ir h e a r d
in o u r land.
B l e s s e d are t h e y

that hunger

. . .

( P l e a w tur~ to Pa,4e ,112)

EUROPEAN style (example

above) was admired and imitated.
21

ANYONE FOR

CHESS?
The Ceramic Side of a Prize-winning Set of Chessmen
by WILLIAM H. WILBANKS
Bill Wilbanks" ceramic c/tess set won a
top prize--the Clay Club Award of
M e r i t - - a t the annual Northwest
Craftsmen's exhibition in Seattle
(last year). How about recreating
the process involved in such a work,
for the benefit of C M readers, we
asked him. He would be "'pleased and
honored," he said - - and forthwith
produced the following account.--Ed.

/i

/ ~ ' b o u t that chess set: Originally, I

~
sketched the basic idea of each
piece roughly on newsprint, then threw
a {ew trial pieces which changed considerably from the sketch to the round.
But I let them sit around the shop for
months before taking up the idea
again (and then it was because I
urgently wanted a chess set for myself).
All of the pieces--kings, queens,
knights, bishops, rooks, and p a w n s were thrown on the wheel: when
throwing repetitive shapes, as in the
case of the chessmen, I usually work
from a ten-to-twelve-pound cone of
clay, throwing each piece off the top
[see "'Throwing from a L u m p of Clay"
by T o m Sellers, CM, September]. The
clay was a fine-grained, dark-red terra
cotta which throws and carves easily.

The thrown pieces were put aside

to dr}, overnight before being worked
on f u r t h e r - - e x c e p t for the knight.
This piece, shaped like a horse's head,
was thrown in a tall cylinder shape
with bulges corresponding to the jaw
and neck. Before letting it dry, I cut
a long, thin diamond of clay from the
neck and jaw bulges, pressed the sides
of the neck together, and bent the
cylinder down so that the jaw fitted
over the neck. Finger dents made the
eyes, and the ends of the diamond cutout taken from the neck formed the
ears. A flat strip of clay was added for
the mane.
When the pieces were leather-hard,

KNIGHT is thrown as a cylinder, then is

cut and bent to shape. Other chessmen get

sTmple treatment. Wilbanks throws pawns from

top of cone of clay (r) in Oriental fashion.

22

I trimmed the bottoms with a knife

and did the carving. The rooks were
notched on the top edge to carry out
the idea of the castle. The bishop's
hat was embellished with a St. Andrew's cross front and back, and
carved at the sides to give it a more
hatlike appearance. The king's crown
received vertical lines around the base
and short notches along the top edge;
the queen's crown was also notched
but with long V's, and holes were cut
in a circle around the base. No carving was necessary for the pawns and
knights.
The pieces were bisque fired at
1800F. and partially glazed in either
glossy white or matt black, a color
combination used also for the tiles
which comprise the chessboard (glaze
formulas given at the end of text).
Each piece, held upside down, was
dipped in the glaze only as far as the
lower edge of the shoulder, leaving
the red clay showing at the bottom
section which in all the pieces is
basically the same shape; this, I
felt, would give a feeling of continuity which might not otherwise be
apparent.
The thirty-two chessmen and sixtyfour tiles made a full load in my gasfired kiln. I fired to cone 5 in a
twenty-hour cycle--eight hours up and
twelve hours down.
Set into a walnut-finished table
(Please turn to Page 36)
CERAMICS MONTHLY

ING
)TTER'S

ON
WHEEL

by TOM SELLERS

1. R o u g h e n base a n d

. . .

how

to

ADD

y throwing from a slnall ctmnk

B
of clay a t t a c h e d to the b o t t o m
of the pot, you can easily make a

2. Twist on small lump of c l a y . . .

3. Gener, o p e n , pull up wall . . .

4. A n d you h a v e a 'hrown fool.

APRIL.

1956

rather high foot rim, or stem.

Such a foot could be m a d e bv tooling in the usual way (see " C u t t i n g the
F o o t R i m , " J a n u a r y , 1955) if enough
clay were to be left in the b o t t o m of
the pot, but this way of obtaining a
high foot requires considerable tooling,
time a n d care. Moreover, the heavv
mass of clay w o u l d u n d o u b t e d l y present a drying problem. It is a good
idea, in any case, to know how to
throw a foot because there are times
when you find you w a n t a high foot
but the pot has" a l r e a d y been thrown
a n d not enough extra clay has been
left in the bottom. (Occasionally, a beginning p o t t e r fails to leave enough
clav in the b o t t o m for even a n o r m a l
foot r i m ; the technique to be described
here is one he can use to salvage his
pot.) K n o b s for lids, incidentally, can
be t h r o w n in the same way as the
stemlike foot.
This foot is thrown when the pot
has dried to the l e a t h e r - h a r d stage
the p o i n t at which you would ordinarily cut a foot rim. i n v e r t e d , the pot
is centered, fastened to the wheel head
with clay kevs a n d tooled as usual, but
extra clay is not left for the foot.

foot

T h e area where the foot is to be is

d a m p e n e d a n d scored (1). A small.
smooth ball of clay (wedged, of
course) is fastened to the r o u g h e n e d
area with a twisting motion of the
h a n d to insure a good weld with tim
pot (2). T h e n the clay is very carefully centered, opened, a n d p u i l e d up
to the desired height and shape (3, 4)
as in regular throwing.
W h e n the stem is finished the pot is
returned, still inverted, to the d a m p
box a n d allowed to dry a'ery slo:cl.l'
as a p r e c a u t i o n against the loot's
cracking off.
H e r e are a few tips which will help
vou in learning to throw a steinlike
foot:
I n the t h r o w i n g process, use a minim u m a i n o u n t of water so t h a t it will
not flow d o w n the walls a n d soften
the rim of the pot where the clay keys
a t t a c h it to the wheel.
If the wall of the pot is thin, use a
delicate touch in the centering operation so the p o t w o n ' t become deformed.
Above all, work as rapidly as vou
can when t h r o w i n g a high foot so (hat
the pot will not have a chance to
become too soft from w a t e r a n d
pressure.
23

iii

Flowers from Clay (3)

THE PANSY
demonstrated by BEA MATNEY
!

you know w h a t a pansy looks

D like? N o doubt can easily

recognize various flowers on sight, but
you

do you really know how m a n y petals

the simpler flowers have, w h a t their
shape is, a n d how they are g r o u p e d
to form the flower?
These things a n d more should be
familiar to you if vou p l a n to make
flowers from clay. Just as the sculptor studies tile bodv - - the skeleton,
the muscles, tile ent'ire structure
so
should you study the various flowers.
T h e best a p p r o a c h is to carefully observe a real flower, picking it a p a r t
piece bv piece, learning how the
various segments go together to make
the whole. If fresh flowers are not
available, study p h o t o g r a p h s in books,
catalogs or on seed packets. After
studying pansies, you will know that
rach one has five petals a r r a n g e d in
a p a r t i c u l a r way.
Soft colors in wide variety are found
in pansies a n d for this reason the
colored clays for flowers are well
suited for the motif. A l t h o u g h you
can use white clay, decorating after
the bisque firing with underglazes,
overglazes, or both, Mrs. M a t n e y prefers to use the colored clays, thus
eliminating the need for overall coloring of the leaves a n d flowers.
T h e f u n d a m e n t a l s of m a k i n g flowers, including details on the materials
and the pitocedm'es, were carefully
outlined in the first article of this
series ( ] a n u a r v ) . A review of this
inaterlal w o u l d be helpful to beginhers. Now, let's w a t c h Mrs. M a t n e v ' s
demonstration.
1. A small l u m p of clay is broken
from the bulk q u a n t i t y (left in its
air-tight p a c k a g e ! , k n e a d e d in one
hand. a n d then rolled out with a
small rolling pin. All the shapes to
be used are then quickly cut out and
set on a d a m p towel so that they will
retain their moisture. ( I f you work
with different colored clays, the roll(Please turn to Page 37)
24

CERAMICS MONTFTLY

briefs...
Decorate with String
by MILDRED and VERNON SEELEY
I f you w a n t to c r e a t e a p o t t e r y d e c o r a t i o n t h a t is
f r e s h a n d clean a n d " m o d e r n " looking, t r y s t r i n g . W i t h only
a l i t t l e help, s t r i n g will f a l l quite n a t u r a l l y into g r a c e f u l ,
flowing lines w h i c h are r e t a i n e d a f t e r f i r i n g . T h i s you can
see in t h e f i n i s h e d e x a m p l e s s h o w n h e r e ( t h e work of
Dr. Sue H i c k m o n t of O n e o n t a S t a t e T e a c h e r s College).
Wm'k on bisque-fired w a r e ; and, a l t h o u g h such s h a p e s as
v a s e s a n d t u m b l e r s can be d e c o r a t e d w i t h s t r i n g once t h e
t e c h n i q u e is u n d e r control, it would be e a s i e r a t the beginn i n g to work on a plate, bowl o1' o t h e r open, f l a t shape.
S p o n g e t h e piece as u s u a l to r e m o v e dust a n d t h e n
a p p l y a h e a v y coat of glaze o v e r t h e s u r f a c e (1). W h e n the
glaze is dry, t h e piece is r e a d y to receive t h e s t r i n g .
H e a v y b u t t o n t h r e a d will do as s t r i n g f o r t h e t r i a l
runs. Since a long t h r e a d m i g h t t a n g l e , it is b e t t e r to work
w i t h s e v e r a l s h o r t s t r a n d s - - e a c h a b o u t a foot long. W e t t h e
t h r e a d s w i t h w a r m w a t e r a n d place t h e m b e t w e e n p a p e r
towels to r e m o v e excess m o i s t u r e . T h e n , h o l d i n g it b y t h e
end w i t h a p a i r of tweezers, dip a s t r a n d in h e a v y glaze
a n d m a k e sure t h e e n t i r e l e n g t h b e c o m e s h e a v i l y coated.
Now hold t h e s t r i n g over t h e piece to be d e c o r a t e d a n d

APRIL, 1956

slowly l o w e r it onto t h e s u r f a c e (2) a c c o r d i n g to t h e d e s i g n

plan you h a v e in m i n d (it will be too late to m a k e a
c h a n g e once t h e s t r i n g is in place!) E x p l o i t t h e p l e a s i n g
n a t u r a l c u r v e s t h a t t h e s t r i n g f o r m s as it settles.
Use o t h e r l e n g t h s of t h e g l a z e - c o v e r e d t h r e a d a s needed
to c o m p l e t e t h e design. T h e n let the piece dry. A f t e r f i r i n g ,
you will f i n d t h e s t r i n g h a s b u r n e d out l e a v i n g t h e d e s i g n
clean a n d intact.
T h e s a m e p r o c e d u r e can be used f o r d e c o r a t i n g steepsided p o t t e r y . Such s h a p e s c a n be held in a h o r i z o n t a l position while t h e s t r i n g is b e i n g lowered into place; since it is
w e t w i t h glaze, t h e s t r i n g will a d h e r e s e c u r e l y to t h e
surface.
The choice of s t r i n g to be used in t h i s t y p e of decor a t i n g d e p e n d s on t h e effect desired: it need not be of a n y
one size or type. F i n e r t h r e a d will produce a d e s i g n t h a t
is delicate in f e e l i n g ; h e a v y s t r i n g or y a r n , on t h e o t h e r
h a n d , will give a bolder, s t r o n g e r line. C o m b i n a t i o n s of
d i f f e r e n t sizes m a y be w o r k e d out.
Color is also a m a t t e r of p r e f e r e n c e . ( S t r i n g s g l a z e d in
m o r e t h a n one color can, of course, be used in t h e one
design.)
T h i s t e c h n i q u e of d e c o r a t i n g is a n i n t r i g u i n g one. You
n e v e r quite k n o w w h a t t u r n t h e s t r i n g will t a k e as y o u p l a y
it out on the s u r f a c e . B u t if you d o n ' t force it, you m a y be
sure t h e t u r n will be p l e a s i n g to t h e e y e . - - O n e o n t a , N. Y.

25

POTTER'S WHEEL
[]

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

[]

HEAD
-INFORCED.
THROWING

[]

SEAT
-ROOMY
FOR COMFORT
-ERED--ADJUSTABLE

[]

SHAFT--ONE
PIECE--HYDRAU
L ICALLY
FORMED
STEEL
ONE
INCH
DIAMETER
-MACHINE
TOLERANCE
TO
PLUS
OR
MINUS

TWELVE
INCH
-RECAST
ALUMINUM
HEAD
-REMOVABLE

DRIVING

[]

[]

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Note these specifications: Kanthal AI Element--BabcockWilcox Fire Brick--Interior size 6 x 6 x 4Vz in. 12 Amperes.
Send check or money order to

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KEY.
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LEATHER
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OOZ.

FRAME
-TRICALLY"
TION.

ALL
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WELDED
CONSTRUC-

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ALIGNING

-SHAFT
IN
BALL
BEARING

Weight 250 pounds--Price FOB

River Rogue, Michigan $179.50-Crating charge $8.50.
PENSION
-ALL OILITE.
[]

SELF
SUS-

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--

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TRACTIVE

OTHER
THE

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TRAY

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IN

AT-

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h a v e - - a c o m p l e m e n t to the best w o r k of th e s e r io u s a r t i s t - - e x p e r t a i d
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Y o u r u n i q u e s i t t i n g p o s i t i o n a t th e F o s t e r W h e e l p e r m i t s you to w o r k
in a n e q u i l i b r a n t p o s t u r e t h a t is r e l a x e d , r e s t f u l a n d a l l o w s t h e u t m o s t
f r e e d o m of th e h a n d s a n d a r m s .
T h e r u g g e d m a s s i v e c o n s t r u c t i o n of th e F o s t e r W h e e l is f a r s u p e r i o r
to th e h e a v i e s t d e m a n d s of c o n s t a n t w e a r a n d use. I t a l o n e m e e t s a l l
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26

PENNSYLVANIJ

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CERAMICS MONTHLY

cMbriefs
Sp

ra

yi

ng

A piece of glass, some

wood,n a i l s a n d w i r e a r e all

you need to m a k e t h i s s p r a y lug p l a t f o r m . T h e w o r k it

s a v e s is w o r t h d e s c r i p t i o n ;
t h e c o n s t r u c t i o n , h o w e v e r , is
so simple you need only s t u d y t h e i l l u s t r a t i o n to be able
to m a k e t h e device.
W h e n a glaze, engobe, or s i m i l a r m a t e r i a l is s p r a y e d
on a piece, it u s u a l l y collects in puddles a r o u n d t h e base.
The s t r u n g - w i r e p l a t f o r m p r e v e n t s this completely. The
s h e e t of g l a s s w h i c h r e s t s below t h e wire p l a t f o r m collects
the o v e r s p r a y e d glaze w h i c h is o r d i n a r i l y d i s c a r d e d a n d
w h i c h o f t e n a m o u n t s to h a l f of all glaze used, if you do a
lot of s p r a y i n g .
The p l a t f o r m becomes t h e p e r m a n e n t place to s p r a y ,
e l i m i n a t i n g the f r e q u e n t , i r k s o m e job of c l e a r i n g off a work
area. The only cleanup you need do t h e r e a f t e r is a s i m p l e
m a t t e r of r u n n i n g a d a m p cloth o v e r t h e p a r a l l e l wires.
W h e n I r e c e n t l y produced s e v e r a l h u n d r e d s m a l l c e r a m i c
pins, each r e q u i r i n g s e v e r a l o p e r a t i o n s , I m a d e a n u m b e r
of work r a c k s also st~"ung w i t h wire. I could t h e n pick up
m a n y pieces a t a t i m e by l i f t i n g a s p a t u l a or f l a t stick upw a r d b e t w e e n t h e wires. T h i s sped up h a n d l i n g , a n d elimin a t e d a n y need to t o u c h t h e s p r a y e d surfaces. T h e r a c k s w e r e
used f o r all o t h e r p r e l i m i n a r y o p e r a t i o n s - - t o u c h - u p , s c r a p ing, d u s t i n g , a n d u n d e r g l a z i n g , so t h a t once molded, dried
a n d placed on a rack, t h e pieces w e r e n e v e r a g a i n t o u c h e d
u n t i l t h e y were glaze-fired. - - N o b l e D. Carlson, Wickliffe,
Ohio.
1~1

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28

THERE'S
THAN

MORE

TO

FIRING

TEMPERATURE

M a n y amateurs seem to be bothered

by a question that I a m asked again
a n d again: how hiy, h do you fire, at
u'hat de~ree . . . ? W h e n e v e r possible
I answer that I d o n ' t know. I do that
to bring home the point that enamels
have to be h a n d l e d in a very different
way than pottery. Enaxnelers: relax!
Most of the worry about degrees belongs to the potter.
It happens that there is no automatic heat control on my kiln, and I
d o n ' t feel the need for it. ( M i n e is a
gas kiln so there are no wire units a n d
therefore m u c h less danger of its
getting out of order through overheating.) While it i'~ true that automatic controls can be lifesavers,
especially in the case of electric kilns,
it takes more than a device to fire
enamels well. T h e beginner is inclined
to feel so secure with a n automatic
control that he thinks all he has to do
is follow a formula, fire at 1596F.,
set the clock and wait for the kiln to
turn out a perfect enamel. Most of the
time it comes out not perfect but more
or less overtired. Sad as that is, it is
le;s i m p o r t a n t than a more farreaching
consequence :
depending
comolete]y on automatic control, the
beginner forgets to learn to control
his technique. Instead, he allows himself to be controlled by a gadget
K n o w i n g the melting points of the
various enamels is one thing, a n d there
is nothing, of course, to say against
that. But r e m e m b e r this: if left in the
kiln only a short m o m e n t too long,
even with the control set at the exact
degree, your enamel will be overtired.
Yet it can emerge as a perfect piece
from a kiln set as high as 2000F. if taken out at the right m o m e n t !
How do you catch that most imp o r t a n t a n d oh-so-fleeting instant?
Well, this is where the enameler has a
great advantage over the potter. T h e
enameler can open the door of his kiln
whenever he wants to look at his work
of art while it is firing, without harming anything. He can observe the melt-

ing procedure from b e g i n n i n g to end.

Isn't he lucky?
This is my best advice to beginners
who w a n t to learn the technique so
well that their enamels can be taken
seriously eventually: turn on your
kiln, leave it alone for about 20 to 30
minutes, depending on how long it
takes the heating chamber to get hot.
Now watch it turn from dark red to
bright red to orange. O r a n g e is what I
want for my enamels and also for inv
temperature. It is just right, good and
hot, but not too hot. So. if you care to
try to work my way, set your automatic control at the point of temperature reached a n d don't worry about
it any more. (Working withotlt controls, I turn the heat down when the
color of the muffle or kiln wall turns
yellow. Yellow heat is too hot to work
with comfortably and you. have to
hurry terribly to get pieces out of the
fire in time to avoid overfiring.
So much for temperature. Now put
your enamel in the kiln. U n t i l you are
experienced enough to judge bv instinct the time required for firing a
particular piece, watch it constantly
through the peephole or, if you hav~"
none, open the kiln door sl'ightly to
have a look. This latter way will bring
the temperature down, of" course: so
make up for the loss by turning the
kiln a bit higher when it begins to get
down too much.
W a t c h i n g the enamel in the melting
process from the beginning, you will
notice the following: first it loses all
its color a n d appears dark: the texture is like sandpaper; then it changes
to red with an uneven texture like
orange peel. N o w - - o n your toes! It
tm'ns to a glowing gloss and out of the
fire it must c o m e - - b u t instantly. Don't
hesitate. D o n ' t look around for a tool
(prepare for this before you start the
procedure). Get the piece out. Every
second of firing connts when an
enamel has reached maturity.
Observe the few and simple rules
that have been suggested here, and
you will never cry again over an
[.namel that, all oTz its own, has overfired against your wishes!
CERAMICS MONTHLY

c~briefs
The d r y i n g of snmll I)ie('es
such as e a r r i n g s , pins and the
like can be a c c e l e r a t e d w i t h out ill effect to the ware. This
is p a r t i c u l a r l y t r u e w h e n the
.ewe.rj
pieces i n v o h ' e d have been
m a d e in a p r e s s mold because
the mold a b s o r b s some of the
m o i s t u r e and, if the d r y i n g isn't too rapid, t h e r e will be no
cracking.
I have put this t h e o r y to w o r k r e c e n t l y in an effort to
find a w a y to h a s t e n the p r o d u c t i o n of ceramic jewelry. I
lay a s h e e t of m e t a l across the t o p s of two tin cans f r o m
which the tops and b o t t o m s have been removed, and t h e n
place the entire a s s e m b l y on top of a r o o m - h e a t i n g stove.
As quickly as I r e m o v e a piece f r o m a p r e s s mold, I place
it on the m e t a l d r y i n g sheet. (It is a good idea to cheek the
d r y i n g p r o g r e s s and make sure the piece is not r e c e i v i n g
too much heat, t h e r e b y c r e a t i n g t i n y cracks and f i s s u r e s .
If you cannot r e g u l a t e the t e m p e r a t u r e of the stove, use
d i f f e r e n t - s i z e d p a i r s of cans to r a i s e or l o w e r the m e t a l
s h e e t as needed.)
It t a k e s only a s h o r t t i m e to m a k e enough pieces in m y
p r e s s molds to fill m y kiln. By the t i m e the last piece is
made, the f i r s t pieces are d r y e n o u g h f o r d e c o r a t i n g . By t h e
time the u n d e r g l a z e d e c o r a t i o n s h a v e been applied to the
last pieces, the f i r s t ones are r e a d y f o r glazing. As soon as
t h e y are glazed, t h e y are r e t u r n e d to the m e t a l s h e e t and in
s h o r t o r d e r t h e y are c o m p l e t e l y d r y and r e a d y f o r f i r i n g .
I have found t h a t this p r o c e d u r e enables m e to do small
i t e m s in h a l f the time. In m a n y i n s t a n c e s I h a v e been able
to c o m p l e t e a f i r i n g in the s a m e day the pieces w e r e
s t a r t e d . - - A r t h u r Witchey, P o r t O r c h a r d , W a s h .

Quick Dryer
for 1

lv

T h e r e are m a n y a d v a n t a g e s in a p p l y i n g glazes by
t)ouring l'ather t h a n s p r a y ing and b r u s h i n g . You will
be i m p r e s s e d w i t h the speed
w i t h w h i c h you can glaze
p i e c e s - - a n d this is p a r t i c u l a r l y i m p o r t a n t if you have
a l a r g e n u m b e r to be d e c o r a t e d and glazed. You can obtain
a smooth, even a p p l i c a t i o n ( m o r e difficult w i t h a b r u s h ) ,
and you have absolutely no w a s t e (which you get w h e n
spraying).
On the n e g a t i v e side, you need a l a r g e r q u a n t i t y of
glaze t h a n for b r u s h i n g or s p r a y i n g . Moreover, the thickness of the glaze m u s t be c a r e f u l l y r e g u l a t e d so t h a t too
thin or too thick a l a y e r will not build up on the piece.
The p r o c e d u r e is simple. P o u r glaze inside the vessel;
swish it a r o u n d ; then pour it out. FOl' the outside, s u p p o r t
the piece on two w i r e s and p o u r glaze overall. I t ' s t h a t
easy; but do not t r y this g l a z i n g m e t h o d on t h i n l y c a s t
green w a r e . The pieces will more t h a n likely become soggy,
and crumble and break. Use it on h e a v y g r e e n w a r e or
on bisque. Arlene H a r r i s , D e t r o i t , M i c h .

IF I
WERE

A BETTING

MAN

I'D GLADLY RISK

A MAN-SIZED SUM
THAT NOWHERE ELSE IN
THESE UNITED STATES CAN
YOU FIND A LARGER, MORE
COMPLETE STOCK OF CERAMIC

Suppliesand Equipment
Than Y o u Will Find A t

HOUSE of CERAMICS
329S Jackson Ave.,

MEMPHIS12, TENN.

Pour

Your Glaze

Subscription
Order
Form
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Whether you're an
amateur or an expert you'll find CM
to be a valuable
source tot ideas and
information on pottery and enamels.
Order your own personal copies now!!

CERAMICS
MONTHLY

TODAY

Ceramics Monthly
4175 N. High St.
Columbus 14, Ohio

MAGAZINE

NAME
ADDRESS
CITY

ZONE

[] 1 year $4.00

STATE

[] 2 years $7.00

[] 3 years $9.00

Canada and Pan America add 50c per year for

postage and service. Foreign add $I.00 per year.

[]

APRFL, 1956

Remittance enclosed

[]

Please bill me

29

fERGLAZE

Campana

A r t C o m p a n y is

now offering a new addition

to its famous correspondence
courses in a r t ~ C h i n a Painting! Everything is included,
four lessons, four 7" imported fine salad dishes, all
colors necessary for completing the colored models, directions for mixing and painting, brushes, mediums, patterns, graphite paper, etc.
Expert criticisms on each
plate from a man who is
noted for being" one of the
foremost promoters of china
painting.
Firing is included in the
low cost of $25.00.

CAMPANAARTCO.
442 North Wells St.
Chicago 10, III.

SCULPTURECLAY
Red or w h i t e cone 06-1. A M i n n . clay
rich in iron. W i t h w h i t e g r o g added g i v e s
a g r a n i t e t e x t u r e to your s c u l p t u r e . Build
l a r g e r a n d more solid figures.
M i n n e s o t a Clay C o m p a n y
3458-10th Ave. S., M i n n e a p o l i s , M i n n .

SCULPTURECLAY
Dealers

Wanted

For the s t a t e s of N e w York, M i c h i g a n ,

Ohio,
Illinois,
South Carolina,
Florida
and K a n s a s .
M i n n e s o t a Clay C o m p a n y
3458-10th A v e . , S., M i n n e a p o l i s , Minn.

THE HOLST NOTEBOOK

by

,i, M y luster painting does not have a n

iridescent quality and looks streaked. I t r y
to brush smoothly but do not get the effects
which I hare seen in other people's work.

You evidently apply the hlster with

long strokes of the brush, which give
the streaked effect, and you are too
exacting in the application. T r y short,
stippling and swirling motions with
the brush, and very unevenly. Do not
smooth out with brnsh strokes because
this removes the iridescence. Think of
lusters as a mottled background and
not one that is painted on. Application with your finger is often better
than with a brush. If you do not receive a good coverage in the first fire,
so m u c h the better. A second application in the same manner will give a
more beatitiful finish and be more
durable. Patting with a silk pad also
removes m u c h of the iridescence, so
avoid patting except in the case of the
very dark lusters which increase in
beauty with several smooth paintings
and repeated firings.
,II, What is the difference in the use
o[ "'best black" and "outlining black"?

Use "best black" for all flat painting. "Outlining black" has a hard
gloss and is used (with sugar) when
lines and dots in slight relief are desired. (Sugar-solution formula is 1
part sugar to 7 parts outlining black.
4, Can I wash out veins in leaves with
turpentine alter the paint is dr)'?

FIRE PHOTOGRAPHS . . . . . . . .
On Ceramics, Glass, or E n a m e l e d Metal
w i t h our special type of made-to-order decals. Color can be Black, Brown, Blue or
Green. Make d e l i g h t f u l jewelry,
personalized c e r a m i c s of m a n y kinds. P r i c e s s t a r t
at $1.00. Send f o r free booklet.

BATTJES PHOTOCERAMIC DECALS

Definitely, no! Turpentine alwavs

runs into the painting. Scratch out
lines with a sharp tool or toothpick.
For any other clean-up, use water and
a sable brush.

1453 Lyon N . E . , G r a n d R a p i d s 3, Mich.

S o l v e y o u r glaze p r o b l e m s

"Literature Abstracts of
CERAMIC GLAZES"

A c o m p r e h e n s i v e r e f e r e n c e u p - t o - d a t e book
to e l i m i n a t e costly e x p e r i m e n t s .
50 year l i b r a r y by K o e n i g & E a r h a r t (19001950). A m e r i c a n a n d F o r e i g n A b s t r a c t s
P r i c e : $7.50 pp. R e t u r n i f not satisfied
COLLEGE INSTITUTE
P.O. Box CM.
Ellenton, Florida

When writing to advertisers

please mention CM
30

PAGE

Is it possible, [or dark roses, to get

a good deep red that is not on the
purplish side?

Yes, if you use imported pigments.

I have not found anything comparable in domestic manufacture but
there are several domestic supply companies which have a good choice of
imported colors. Get the Dresden reds
in carmine, magenta, m a r o o n and
ruby. T h e English rose shades are very
good. O t h e r imported colors of special

ZENA

S. H O L S T

quality are the lilac and lavender

shades, coral, fuchsia, and of course
the roval purple colors.
What are powdered glazes /or?

The technique of using the powdered glazes sold for overglaze work is
a very delicate one. T h e purpose is to
give a higher gloss to colors, and the
glaze is dusted over the painting. T h e
technique requires extensive study because all colors will not take an extra
glazing and often the glaze will eat up
the color or leave it creamy-looking.
M y liquid metals are congealing.
What should I use to thin them?
E s s e n c e , a thinning product, is

specifically for this purpose.

i, W h y does liquid gold crawl and pull
away [rom wax-pencil lines?

If the metal is applied just tip to

the lines, you will not have this difficuhy. It is easier to outline the design
with India ink before filling in with
liquid gold. All metals and lusters will
pull away from either the wax-pencil
or graphite lines made in the transferring of a pattern.
4" A studio speaks of "gold" firing
when I take my china to be fired. What
is meant by this?

This is an expression started by

hobbyists before the old art of china
painting was introduced to the studios.
At that time, gold was the only overglaze decoration used bv the ceramists.
Care had to be taken not to overfire
the gold on certain kinds of glazed art
bodies or it would crackle, slurr or be
milky looking. As soon as experience
was gained in the use of other overglaze decorations, it was learned that
there were special golds made for different types of ceramic ware. Today,
there is no excuse for having to consider the gold alone as a controlling
factor in the firing temperature if the
proper kind of gold has been used. All
pigments used in overglaze painting
must be compatible with the ceramic
b o d y ; that is, with the soft or hard
composition. T h e body determines the
maturing temperature of the firing.
CERAMICS MONTHLY

uestlons
conducted by K E N

SMITH

Q. H o w do you keep gum solution [rom cloggi~g the

atomizer (u'hen used /or copper enameling)?
What ki~ld o/
atomizer do you recommend?
A. K a t h e Berl says: " I f your atomizer is clogged, it means
the g u m solution is too thick. Blow clear water t h r o u g h the
atomizer to rinse it clean after finishing work with the gum
solution. I use and recommend a simple m o u t h atomizer similar
to the type used to fix charcoal drawings."

~ . Can you recommend some type of label that is quickly

made and will remain "'permanently" on glass jars? So /at, my
students have been cery successful in ridding my glaze and slip
jars o/ any and ecery type o / l a b e l I haue tried.
A. Cellophane tape (like Scotch b r a n d ) will do the job.
You can identify the contents of the jar on an ordinary piece of
paper and cover this completely with the tape, leaving a generous
a m o u n t on each side and across the top to affix to the jar. T h e
cellophane tape holds tenaciously to glass and, of course, it is
waterproof as well as smudge proof. This should defy even the
nmst adept students.

Q. I ha~'e difficult)' doing fine-line u'ork in gold with a pen

or brush. It does not flow smoothly and, if I thin it, it turn~ out
dull or a purple color. I haz'e tried all kinds o/ pens and small
brurhes and have ez'en tried heating the article to be decorated.
A. You should not be having this m u c h trouble according
to our overglaze adviser, Zena Hoist. who offers the following:
" T h e r e are cartridge pens for holding small a m o u n t s of
liquid gold which work very nicely. These are available u n d e r
various trade nantes from most supply companies.
" Y o u will find that a heavier consistency is best for outlining with either a brush or pen. Paste metals can be softened with
pure oil of lavender (never t u r p e n t i n e ! ) for outlining. T h e best
liquid gold would be liquid coin gold: however, this would not
give as bright an effect. Liquid bright gold can also be used
satisfactorily: however, it should never be thinned. And, if it is
not thick enough, p o u r a small a m o u n t into a small, flat receptacle and allow surplus oil to evaporate. Avoid buying cheap
grades of gold that have been extended !"

~.

I have trouble with decals powdering off after /iring.

These particular decals are quite old; could that be the difficult),?
A. Ceramic materials are virtually ageless. If the decals
haven't cracked or peeled, then they should be just as good
today as they were w h e n they were first made. If they p o w d e r
off. it may be that you are not firing to a high e n o u g h temperature. It may also be that they were not properly made originally
and do not contain enough flux to enable them to soften and
become incorporated with the glaze u n d e r n e a t h at the firing
tentt)erature.

~ . Can you tell me u'hom I should contact to obtain oz,erglaze crayonr or pencils? Or do such things exist?
A. To the best of my knowledge a successful overglaze
crayon is not commercially available. You will have to be content with the regular overglaze materials.

All subscriber inquiries are given individual attention at C M : and,

out of the many received, those of general interest are selected
for answer in this column. Direct your inquiries to the Questions
Editor; please enclose a stamped self-addressed envelope.

APRIL, 1956

t ' IASTER POTTER'S I

Exclusive fully enclosed, safe ___ . _

W h e t h e r a m a t e u r o r skilled artisan .
. y o u ' l l find the s m o o t h
motorized
o p e r a t i o n . . . case of control in the B I G , all.steel precision b u i l t
MASTER POTTER'S
W H E E L enables y o u to o r i g i n a t e b e a u t i f u l , dist i n c t i v c p o t t e r y excelling an,,thing y o u ' ~ c e~er done before.
M a s s i v e steel c o n s t r u c t i o n c o m p l e t e l y encloses m e c h a n i s m to exclude clay
and m o i s t u r e . . . assures o p e r a t o r safety and p r o v i d e s v i b r a t i o n - f r e e
p e r f o r m a n c e . O t h e r teatures o r d i n a r i l y t o u n d o n l y in expensive whce!c
include: p r e . l u b r i c a t e d b r o n z e b e a r i n g s for quiet, long service, conv e n i e n t a r m rests, a d j u s t a b l e w e d g i n g w i r e , large 1 8 " t h r o w i n g t a bl e
w i t h p l e n t y of w o r k i n g space and a r e m o v a b l e w a t e r cup. 1 0 " t h r o w i n g
head has joggles for easy c e n t e r i n g , u n d e r s i d e reverses for casting
plaster bats.
Y o u have c o m p l e t e h a n d f r e e d o m at all times . . . smooth i n s t a n t
change of speed f r o m 30 to 150 r p m is controlled by a foot p e d a l .
Easy to use, even for h a n d i c a p p e d persons. U s e any 1/4 H P m o t o r .
S t a n d a r d I/4 H P m o t o r $ 1 6 . 9 5 w h e n p u r c h a s e d w i t h M a s t e r P o t t e r s
Wheel.
MASTER
POTTER'S
WHEEL
F l o o r M o d e l , I t e m 171,,
W t . 90 l b s . L i s t s a t $ 1 7 5 . 0 0
F a c t o r y P r i e e . . . . $~9.97,
MASTER
POTTER'S
WHFEL
Beneh Model, Item 4 7 : , ~
\Vt. 15 ]l,s. L i s t s a t Rl')5.iffl
FaOt Ol'y pl'lCe . . . . . .

l0 D A Y M O N E Y
DEPT. 4 7 - M

the

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Burlincjfon, Wis.

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SPECIALIZED
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Available

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They're here at last! The SPECIALIZED UNDERGLAZES you've been waiting for--underglazes
that are the answer to a hobbyist's dream.

SPECIALIZED UNDERGLAZES will not streak

or chip when used wlth our bodies. They are
scientifically prepared for all types of applications
--brush, airbrush, spatter or your own techniques.
Best of all, because of thls scientific preparation the beautiful, intense colors are uniform from
lot to lot. You can faithfully match a color at any
flme because SPECIALIZED UNDERGLAZES are
always the same. Of course colors can be intermixed to produce any desired hue.

AVA,'ABLE ,N 2 oz.

JARS--50C

"special effect" underglazes slightly higher.

*If not available JocaHy we will supply you directly.

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

31

Pennsylvania Dutch Pottery

SEE YOU AT BOOTH 63

(Begins on Page 18)

ASBURYPARK
CERAMICSHOW
Convention H a l l - - M a y 2 thru 6tk
DEMONSTRATIOK OF OUR FAMOUS

"TRAIL

GLAZES"

We will have a good supply of our original molds on hand plus some new
novelty numbers.

Ruth Denice Lauer, Inc.

135-06 Jamaica Ave. Jamaica 18, N.Y.

GLAZING

HELP

synthetic gum GLAZING COMPOUND

For use with All Dry Glazes

TOUCH-O-MAGIC
Make your own Brush-on,
f r o m a n y dry g l a z e .

One-fire

glaze

Hardens glazes, resists flaking or peeling.

F a c i l i t a t e s t r a n s p o r t a t i o n of w a r e ; g l a z e s
do not r u b off or c h i p off w i t h h a n d l i n g .
No odor, no s p o i l a g e
keeps indefinitely.
A n effective t i m e s a v e r f o r a l l e e r e a nists.
$1.00 p e r p k g . D i s c o u n t o n c a r t o n s (25 p k s . )

CERAMIC
Box 88C

ENTERPRISES
Wyandotte, Michigon

JAYDARH
A s e l f - g l a z i n g , one fire, v i t r e o u s body in p o w der form. Excellent for jewelry or inlay. No
special t r a i n i n g n e c e s s a r y . W o r k s l i k e c la y.
A v a i l a b l e also in a v o c a d o , c h a r t r e u s e , blue g r e e n a n d w h i t e to be colored to suit. I n s t r u c t i o n s in p a c k a g e , 4 o z . $1.00, 1/. lb. $1o85, 1 lb.
$3.50 e h e c k o r m e n e y o r d e r . A d d 15e p o s t a g e .

WILTON POTTERYSier Hill Rd., Wilton, Conn.

HANDLES
,o,

,:.

Bamboo, Rattan, Metal

Send For Descriptive Folder

AD-ART CO.
209 VICTORYBLVD.,NEW ROCHELLE,N.Y.

COPPER ENAMELING
SUPPLIES

Enamels Copper shapes

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

ILLIHI CERAMIg SERYICE

N.

WELLS
TELE:

ST. ,
MICHIGAN

CHICAGO

10,

I t was only after satisfying the

housewife's d e m a n d for "useful" ware,
however, that the p o t t e r h a d time to
decorate special pieces, a n d these were
rarely subjected to ex-eryday use.
Placed in a spot of honor, on the
mantlepiece or in the hutch cupboard, they were "just for fancy."
OUR HERITAGE from the early
P e n n s y l v a n i a - D u t c h potters constitutes
w h a t the t u l i p - w a r e authority, Dr.
Edwin A. Barber, has aptly called "a
ceramic literature." I t is an e n d u r i n g
record of the culture of their people,
for the religious theme t h o u g h constant is not the only one expressed in
their clay. Bits of lore, old G e r m a n
sayings, dialects, customs which might
otherwise have been forgotten, attitudes a n d episodes in the daily life of
these " c o m m o n " folk were depicted
a n d inscribed :

PROBLEMS?
Techniques

$3 Copy

S t e p - b y - s t e p h a n d b o o k c o n t a i n i n g l 0 complete ceramic a r t glazing projects.

H o w to f e t t l e ; p r e p a r e d r y g l a z e s f o r u s e ;
c o mb in e v a r i o u s ty p e s o f g l a z e s ; use decor a t i v e frets, etc.
" W o r k - i n - P r o g r e s s p i c t u r e s as w e l l a s photog r a p h s of finished w o r k . E n a m e l t y p e w a s h able cover, s p i r a l bound.
@ I n t e r e s t - h o l d i n g t e s t pieces s u g g e s t e d . Det a i l e d steps a r e s t i p u l a t e d f o r e a c h p r o j e c t .
T h e m a t e r i a l in t h i s h a n d b o o k c a n s e r v e as
a n i n t r o d u c t o r y c o u r s e to h a n d b u i l d i n g , o r
c a n be c o m p l e t e course in i t s e l f .
T E A C H E R S G U I D E B O O K - - $2.00 copy. Cont a i n s c la s s p l a n s f o r e a c h t e c h n i q u e . I t is corr e l a t e d step I)y step w i t h A R T
GLAZING
TECHNIQUES. Order now!
A ready-made simplified Fall i)rogram.

CERAMIC

ENTERPRISES

322 R I V E R B A N K

WYANDOTTE,

MICH.

ENAMELING SUPPLIES
N E W YORK CITY
Very
large
selections
at
big
savings,
(Special for the month: COPPER CUFFL I N K , finest q u a l i t y , a c t i o n b a c k s $7.00
gross). Retail and Whlse.--Catalog available.

CHARLES HARRIS CO.

2894

Broadway,

New

York

25,

N.

Y.

SPUN COPPER BOWLS, trays or cups.

Also--stomped circles or squares, plain
or slotted, for belts and links. Also--card,
match or cigarette boxes. The Old Viking
Shop, 1236 Delaware Street, Denver 4,
Colorado.

Visit our booth at the show

ASBURY PARK,N.J.
May 2-6, 1956
See what's new at

Eating is [or existence and li[e

Drinking is also good besides.

Roder Ceramic Studio

ILL.

This dish is made o/ earth

W h e n it breaks the potter laughs
There[ore take care o[ it.
In olden times it was so
T h a t an old man's words were taken
as true.

A wry, homely sense of h u m o r crops

up frequently. This h u m o i ~ a n d the
spirit of i n d e p e n d e n c e t h a t persists to
this d a y - - a r e illustrated in the story
of a p o t t e r a n d a minister. T h e minister commissioned a set of plates to be
inscribed with verses a p p r o p r i a t e to his
position as spiritual leader. T h e potter
arrived at the parsonage to discuss
the order. N o o n h o u r - - t h e usual time
for the m a i n meal of the d a y - - c a m e
a n d went b u t the discussion continued.
D i n n e r was served hours late. A p p a r ently the potter was not pleased with
the delay for when the c o m p l e t e d set
was delivered to the minister it included an extra plate inscribed:
I have neuer been in a place
Where people eat their dinner so late
In the ).ear 1812.

JEWELRY KITS
Bisqued or glazed white blanks with metal
f i t t i n g s to m a k e up e a r r i n g s , pins, cuff l i n k s
a n d b r a c e l e t s . Y o u d e c o r a t e a n d finish. W r i l e
f o r i l l u s t r a t e d s h e e t a n d prices.
Ref. 160
G . F . R . M i l l e r , 125 W . 16th S t . , N . Y . C . 11, N . Y .

D e s i g n s by E v e

COPPER BLANKS
Send 25c f o r c a t a l o g &
S a m p l e , r e f u n d e d on
first o r d e r .
WEATHERBY PRODUCTS
R o u t e 8, Box 532D
JACKSONVILLE, FLA.
P h o n e : F l a n d e r s 9-5456

W o r l d ' s finest

T For
I LDecorating
ES
S u p e r b E n g l i s h T i l e s , bisque o r g l a z e d ,
6" x 6 " , t h e y ' r e p e r f e c t f o r p l e a s u r e . . .
a r p r o f it.
ALSO AVAILABLE :
TRIVETS,
black WOODEN

2-3367

When writing to advertisers

please mention CM
32

Dear Father in Heaven,

W h a t T h o u givest me I eat without
question.

Glazing

1331 Race St. Philadelphia, Pa.

A ceramic turquoise stone at cone 09

439

God bless this house and all who

here go in and out,
God bless altogether and in addition
the whole country.

GLAZING
Art

( T o be c o n t i n u e d : in the next a n d
concluding installment, the a u t h o r
will highlight individual old potters
a n d c o m m e n t on m o d e r n a d a p t a tions.)

iron, rubber-foot- FRAMES

ed, for 1 and 2 TILE BACKS a n d
tiles
HANGERS
WROUGHT IRON
FRAMES

Write ~or FREE Descriptive

Price List No. C4

SORIANO
CERAMICS, INC.
L o n g I s l a n d C i t y 5, N . Y.

CERAMICS MONTHLY

THE~

SERIES

A Painting Lesson
by MADGE TUMMINS
Requests for instructions on painting specific motifs have been arriving
since the inception of this column was
announced. Most frequently requested
are fruit, vegetable and flower motifs.
We are, of course, happy to oblige,
although it was felt advisable first to
cover the fundamental information on
underglazes and on various brush
strokes. Now that these have been reviewed (January, February, M a r c h ) ,
we will utilize this information and
show how a specific motif can be
painted, using transhtcent underglazes
m combination with the opaque
underglazes.
One of the simpler of designs is a
green apple (the red apple was briefly
covered last m o n t h ) . Here, we will go
over the design in detail, using stepby-step sketches.

translucent underglaze applied by the

half-brush stroke.
L o a d the flat-ferrule brush (as described in the February issue) with
half HENNA and half DARK GREEN. Be
sure the brush is wet enough to allow
the colors to blend properly and re-

1. Lightly sketch the motif on the

green ware, using a soft ordinary
pencil. Then load the large sable brush

member that the darker color should

go to the outside of the motif. Also,
the pressure on the stroke should always be on the side of the brush that
has the darker color.
In one sweeping stroke following the
curve of the apple, put in your
shadow; then refill the brush and repeat the procedure on the other side.
These shadows should not be
labored over; instead, each should be
completed in one stroke as recommended. It is important, therefore,
that you have the thickness of application just right so that the color and
the blending will be right after glazing
and firing.

with CHARTREUSE opaque underglaze

and completely fill in the sketched
outline, using as man}' coats as the
manufacturer recommends for good
coverage.
Although this is a simple enough
procedure, many beginners run into
difficulty at this point. If the underglaze is applied too heavily, it can chip
away from the body after bisque or
glaze firing. If the coverage is thin,
the color will appear to have "burned
ont" in the kiln. You will have to
learn by trial and error not only how
many coats of underglaze to apply,
but how thick the underglaze should
be. If it is too thick for good brushability, thin it with medium (rather
than water see M a r c h ) .
2. Now apply the shadows, using
APRIL, 1956

New Molds
. . . originality, utility, exquisite
beauty combine to make famous
Ludwig Schmld molds. Long-lasfing molds that guarantee fine
castings retaining the minufesf
details. L U D W I G
SCHMID
M O L D S have proven saJes appeal. $1 sent for our cafaJog wil'~
be refunded on your first order.
If your dealer does not have our
molds, write us dlrecf.
342-Lamp

337-Vase

LUDWIG SCHMID
model and mold shop

838 Genesee Street, Trenton 10, N. J.

Simply
Amazing
For Glazing
. . .

3. Using the sable quill, rather

moist, take either CHARTREUSE or
YELLOUr translucent and flow in a
highlight slightly off center to one side

i
!
FREE--4 oz. b o t t l e of J A N E SNEAD
glaze with each order.
Put the finishing touch of the artisan
on
your
pet
ceramics
with
the
new
Burgess
Eleetrie Sprayer
. . . its the
s i m p l e , t h o r o u g h w a y to , z l a z e ; it b e a u tifies your work. Long, faithful
servlee
assured by the jeweled sapphire
nozzle
of t h i s s p r a y e r . . . p a t t e r n a n d v o l u m e
regulated
by
one
simple
adjustment,
which prevents
waste,
saves you time
and
money.
The
lightweight
'Burgess'
c o m e s e o m p l e t e , no c o m p r e s s o r r e q u i r e d .
For exactly the job you want . . . it's
best to
invest
in a B u r g e s s
Electric
Sprayer.
Send
cheek
or M.O.
today !

Dealer

of the apple. Here again judging the

correct a m o u n t of color and degree of
(Please turn to Page 34)

inquiries

invited

Bridgeport

3,

('~mneetieut

33

Underglaze

Series

NEW-

(Begins on Page ,7,?)

wetness will come from experience.

FROM Re-Ward

"DUL-MAT" GLAZE
(not satin)
SUPER - 1 - S T R O K E
ceramic color

4. O u t l i n e the a p p l e with the liner,

Write Trlnlfy for Re-Word

Ceramic Color Price List.

Send for our FREE 20 page catalog

pierce co.
Manufacturers

using one continuous stroke on each

side (see M a r c h ) .

Designers

TOOLS

MOLDS

WROUGHT
IRON
CERAMIC ACCESSORIES

ll5--Palo

I~

CHINA

TO A U T H O R S
seeking a publisher

and/or

CUSTOM-MADE FRAMESFOR 6x6 CERAMICTILE,

ENAMELEDTILE, ETC. MAKEYOUR OWN TABEESI
write today for description and prices.
16ooM.i.s.-.,
Racine, Wiscansin

MOVE-IN SALE NOW ON!

MOLDS--BARGAINS GALORE!
See us in our H e w Home
Sundays IINORWEST NOVKTY CO.

Open
1 32480 Northwestern Hwy.
Closed Mondays I Farmington, Michigan
[ Phone: MAvfair 6-6003

!__21

e x c m n g . . , n e w . . ong,na~
watch for our
new designs
S E N D 25e F O R C A T A L O G
S A H U A R O , BOX 133, STA. A,
PALO ALTO, CALIFORNIA

34

~ Sllght irregularities. Excellent for decorating.

POTTERY CRAFTS
L
~1029- - Northern
~
- -BIvd.,~
Roslyn,~N.Y.~

ORANGE

OAe

I WHITE

BAUMANN'S CERAMIC STUDIO

5~0 S. W a r r e n , Tel. : B R 9-5450, Columbus 4, O.

STUDIO

SAVE 4 0 %

Baumann's
C e r a m i c Studio, well k n o w n for
" U n u s u a l - O r i g i n a l J e w e l r y , " has compiled a
booklet of p a t t e r n s a n d d e s i g n s for j e w e l r y ,
This booklet includes p r o v e n best sellers. Profusely i l l u s t r a t e d . Step-by-step i n s t r u c t i o n s .
Mailed anywhere--Ppd.
$1.50
(3% Sales Tax ~or Ohio residents, please.)

HALLAM

P. O. Box 345B, 1000 Wickapecko Dr.

Asbury Park, N. J.
F

Alto, Cal.

CERAMIC JEWELRY BOOKLET

THE LEHRHAUPTS CERAMICS

5. If you wish to a d d some leaves,

the following colors are suggested: for
the leaves proper, CHARTREUSE or
JADE GREEN; the shadows, DARK GREEN

Catalog on request.
Pierce C o . - - B o x

See us at the Eastern Ceramic

Show, May 2-6 at Asbury Park,
N. J. for new molds, new decals and
new ideas.

HENNA;

and/or

the highlights, BURNT

CHARTREUSE.

The

leaves should be set off also by outlining.

W h e n you feel you have m a s t e r e d
the technique, glaze one of the pieces
a n d fire. A n inspection of the decoration after firing will tell you quickly
w h e t h e r you have become a d e p t at
b l e n d i n g a n d j u d g i n g the a m o u n t of
color needed.
T r y other motifs. H e r e are two sets
of r e c o m m e n d e d colors:
Pear - - opaque JONQUIL-YELLOV
b a c k g r o u n d ; BURNT-ORANGE a n d / o r
HENNA translucent shadow; translucent ROSE-PINK highlight.
Purple grapes--opaque ALICE-BLUE,
PALE-ROSE, or ORCHID b a c k g r o u n d ;
translucent GRAPE a n d / o r
BLACK
s h a d o w ; the highlight is cut in with a
sgraffito tool.
T h e colors I m e n t i o n are merely my
own suggestions. O t h e r teachers m a y
r e c o m m e n d other colors, a n d you
m i g h t have better ideas of your own.
I t certainly isn't suggested that you set
aside the underglazes you are a l r e a d y
using a n d use only those recomm e n d e d . And, as I suggested in the
very first article ( J a n u a r y ) , try a
variety of brands a n d colors.

Send for our free, i l l u s t r a t e d booklet titled

To the A u t h o r in S e a r c h o f a P u b l i s h e r . Tells
how we can publish, p r o m o t e a n d d i s t r i b u t e
your book. All subjects considered. New a u t h o r s
welcome. W r i t e today f o r Booklet C4. I t ' s free.
V A N T A G E P R E S S , Inc., 120 W. 31 St., N. Y. 1

Ceramic
MATERIALS AND EQUIPMENT
A C O M P L E T E L I N E OF' M A T E R I A L S
EQUIPMENT AVAILABLE

AND

POTTER'S WHEELS - KILNS - CLAYS

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

ENAMELS
JACK D. WOLFE CO.. INC.
62

HORATIO
ST.,
N. Y. 14
(WA
4-6019)
S E N D I 0 C FOR 3 2 PAGE C A T A L O G

The potte/s Wheel

Boston Post Road
Westport Southport Line
Westport, Conn.

CopperEnamelingSupplies
Dealer

Inquiries

Invited

CERAMICS MONTHLY

people,

places

MEET OUR AUTHORS:

[] Marguerite Montgomery (see page 18) is
a descendent of the original Pennsylvania
Germans. She lives on the outskirts of Philadelphia, in an old stone house built by
Welsh-Quakers Tn 1803. In this traditionsteeped setting, she seeks to capture in her
own ceramics the flavor of the early Pennsylvania-Dutch ware. Manly, as she is known,
took the crafts of her forebears for granted
until some of her architect-husband's enthusiasm for their architecture brushed off on
her. A product of the Pennsylvania Museum's

School of Industrial Art, blonty has taught

ceramics for adult-education groups and Girl
Scout troops. She participates actively in the
Philadelphia Chapter of the Pennsylvania
Guild of Craftsmen: gives talks on the history
and crafts oi the area. Her family, she says,
s confronted doily with her special interest:
their meals are served on plates of her own
maklng which bear such admonishing inscrlptlons as "Don t go to seed until you're ready
to be planted" and "It's better to wear out
+hen to rust out.'
[] Yes, Bill Wilbanks
is definitely a chess
player (read about
his ceramic chess set,
page 22) though he
rates himself strictly as
an amateur. As a professional ceramist, he
has so]d three of his
hess sets to date and
is planning others to
be made in the near
future. The oniy unique thing about him, he
claims, is that he's a practicing potter: that
is, he makes his living entirely by making and
selling pots. "1 do not teach or have other
outside income (although I have taught part
time quite a bit in the past). All my pots are
~,heel-throwr and I sell all I can make. I do
APRIL

!956

&

things

not have to compromise on design or quality.

When a craftsman says he can't make a living
at his craft ~n this day and age, I say he
hasn't tried, t find the market for good craft
items insatiable and growing rapidly."
Wilbanks had a retail shop of hls own for
three years, but now sells wholesale to West
Coast shops from Los Angeles to Seattle. He's
twenty-elght, married, father of four children
and proud owner of a dachshund. He lives
in Portland.
I A man who cannc"
be satisfied with lea,.,~ng well enough alone
is Reinhold P i e p e r
Marxhausen. In his irgenious hands, t o y
balloons (page 14)
become drape molds:
electric
light bulbs
serve a similar purpose (CM, September) ; discarded kiln cones turn up as
jewelry (CM, February). Nothing is safe
from his invention.
Creativity in all things rather than in confined areas such as painting pictures or
modeling clay atone is a way of llfe with
Marxhausen. An art teacher at Concordla
Teachers College (Seward, Nebr.), he encourages his students to explore and experlmenf: see what you can make of sundry materials but keep it simple is his keynote.
Always practicing what he preaches, Marxhausen invents educational toys for children,
makes his own furniture and countless house
hold objects, these last from whatever sets
off his imagination (chicken wire, for example, was one of the ingredients of a
]amp). He plays the cello--and we wouldn't
be surprised to hear that this too has been
pressed into service to perform some function
other than that for which it was intended!
[] And the Regulars: Jo Rebert (p. lb),
enamelisf and painter who now lives in
Los Angeles and has been writing on iewelry
and accessories in CM since ,June 19SB (see
CERAM-ACTIVITIES of that date and Dec.
for more details): Tom Sellers (p. 22), proFessional potter who directs the city's Arts
and Crafts Center at Columbus, O., and
started his throwing series in CM in Sept.
T954 (see Mar. C / A column); Bea Motney
(p. 24), California-fralned decorator-ceramist now living in Ohio whose specialty is
flowers and undergtazes (for details, see
Feb. 1955).

IModern Trend
L

GLAZES
---

_.... - ........

CRATORS,MATTSAND
PATTERNTYPES
\' EASYTO USE
~' UNUSUALEFFECTS
\' SENDFOR DESCRIPTIVE
LITERATUREAND PRICES
\/

perpetual
catalogue of
all ceramic
supplies S1.00

Willoughby Studio
407 E. Florence, Inglewood 1, Calif.
phone:
ORegon
8-7067

ENAMELING

EXCEPT THE KITCHEN SINK!.

Each item tested and proven in our
e n a m e l i n g classes. C o m p e t i t i v e l y
priced and easy to order...BY M A I L !

FREE

to :

CATALOG

Completely illustrated and priced !

SILVER, COPPER SHAPES...shown full size
STAINLESS STEEL TRIVETS,..our famous llne
"THOMPSON" ENAMELS ~HOTPACK" KILNS
JEWELRY FINDINGS PLIERS...SNIPS. . . .
'-~"
SLUSH COLORS
MORTAR AND PESTLES
BRUSH COLORS
LUMP ENAMELS
SCREENS
OVERGLAZES
FORKS...TORCHES
JARS...BRUSHES
INLAY TOOLS
KILN SHELVES
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PIN BACKS... EARRINGS
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$5,95 plus 55 packing and

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of shapes ...tools... glazes

...instructions...everything

HOBBY S H O W TIME: Again, it's the season

of the spring shows where manufacturers and
dealers display the newest as well as the
tried and true in ceramic equipment and

but a kilnl

Send for FREE CATALOG t o d a y !

(Please turn to Page 36)

35

Ceram-Activities
(Begins on Page 35)
supplies. These shows, held in various large
cities, are organized for the benefit of hobbyists and teachers. At them, an enormous
range of items--from molds and ready-made
glazes to kilns and wheels--may be seen.
Demonstrations are continually in process;
and representatives of the companies are on
hand to give information and advice. Competitive exhibits, with prizes, highlight the
shows. See "Itinerary" (p. 10) for dates
and places. Plan to attend; and, at Detroit
and Asbury Park, visit CM's booth!

F 0 R

SAL

Established Ceramic Business

Serving Central Florida.

For Sale with all supplies.

Reasonable
Reg. Real E s t a t e B r o k e r

Rt. 1, Box 73, Mt. D o r a , F l a .

Phone 2-6896

IMPORTED
WHITE CHINA
Send 25c for catalog
Deductible from first order
Maryland China Company
1436 N. G a y S t , B a l t i m o r e 13, Md.

WANTED: Information about Ceramic-ing

Vacation Spots. Some p e o p l e - - school
teachers, hobbyists and others--want to
work at potting or enameling during their
time off from regular jobs. Where, they
ask, can we go? If you, Dear Readers,
will let CM know immediately of camps,
schools, workshops specializing in summer
ceramics, we can list them in these
columns (see March issue for two listings). They can be large or small: in big
cities or in out-of-the-way spots. Who
knows--you may be helping a fellow ceramist to the best "vacation" he ever had!

COLORED CLAYS...
for flowers and jewelry. Ceramic and
porcelain. "See colors as you work"
Inquire at your dealer or write direct

AMERICAN

BEAUTY

raanu~aeturers and distributors

15648 Euclid Ave.

CERAMICS

o[ ceramic supplies

EastCleveland 12, Ohio

The f o l l o w i n g back issues of C e r a m i c s

M o n t h l y are still a v a i l a b l e a t s i x t y cents
per copy (Ohio residents add 3~:~ sales
t a x ) . We pay postage.
April,

July,

1953
A u g u s t , October,

December

1954
F e b r u a r y , March, A p r i l , J u l y , A u g u s t ,
September. November, December
1955
I:ebruary,
March,
April,
May.
July,
A u g u s t . September, October. N o v e m b e r ,
l)ecember
1956
~'ebruary, M a r c h
P l e a s e send r e m i t t a n c e (cheek or m o n e y
order) w i t h list of buck issues desired.
CERAMICS MONTItLY
4175 N. H i g h St.
Columbus, Ohio

36

New" 81/~"

Denver lO, Colorado

11"

Monthly

Magazine

CHINA DECORATOR
in old " K e r a m i c S t u d i o " style, designs,
studies, a r t i c l e s f o r d e c o r a t i n g all ceramics,
i n s t r u c t i o n s by a r t i s t s f o r b e g i n n e r s , classes
and p r o d u c t i o n lines. A l l subjects. Send
your ideas a n d a d v e r t i s e your s t u d i o s and
products. S u b s c r i p t i o n $3.75 per year.
N E T T I E E. P I L L E T
841 Barrows
Crt., Pasadena,
California

WROUGHT - IRON TABLE FRAMES FOR

6 X 6 CERAMIC TILE, MOSAIC TILE, ETC.
DISCOUNTS
to S T U D I O S and S C H O O L S
W r i t e t o d a y f o r D e s c r i p t i o n a n d Prices

ca,.mef'Wo,.k cente,., i,c.

P.O.

Box

T-1

Carmel by the Sea,

Calif.

CHINA PAINTING
INSTRUCTIONS
by an experienced teacher
DESIGNS
SUPPLIES
FIRING
Classes m a y be held in your own studio
by special a r r a n g e m e n t .

POLLOCK STUDIOS
436 W. T a b o r Rd.

P h i l a d e l p h i a 20, Pa.

r w-v-~v

SCHOOL TEACHERS and

ART DIRECTORS
;

Anyone for Chess?

(Begins on Paga 22)
fifty-four inches long and thirty-four
i n c h e s w i d e , t h e tile p l a y i n g s u r f a c e is
thirty-two inches
square.
I used
Miracle a d h e s i v e f o r s e t t i n g t h e tiles,
t h e b u t t e r i n g t y p e w h e r e a l i b e r a l am o u n t is a p p l i e d t o t h e b a c k of e a c h
tile b e f o r e it is p l a c e d ; n o g r o u t i n g
w a s n e c e s s a r y b e c a u s e t h e tiles w e r e
set f l u s h w i t h n o m o r t a r j o i n t .
N o w , it's y o u r m o v e .

Black M a t t - - C o n e 5
parts
Potash Feldspar . . . . . . . . . . . . . .
53
Flint . . . . . . . . . . . . . . . . . . . . . . .
18.5
Ball Clay . . . . . . . . . . . . . . . . . . . .
4.5
China Clay . . . . . . . . . . . . . . . . . .
4.5
Zinc Oxide . . . . . . . . . . . . . . . . . .
6.5
Barium Carbonate . . . . . . . . . . . .
13
Black Copper Oxide . . . . . . . . . .
4
Manganese Dioxide . . . . . . . . . . .
4
Cone 5

Nepheline Syenite . . . . . . . . . . . . . .
Colemanite . . . . . . . . . . . . . . . . . . .
White Lead . . . . . . . . . . . . . . . . . . .
Talc . . . . . . . . . . . . . . . . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . . . . . . . .
Ball Clay . . . . . . . . . . . . . . . . . . . . .
Zireopax . . . . . . . . . . . . . . . . . . .
Red Iron Oxide . . . . . . . . . . . . . . .

South Broadway

1248

White Gloss

50C

Catalogue sent to schools Free

HEINO TO CHOUINARD: Well-known potter

H a z e l S. H a v e n s

Illustrated Catalogue . . . . . . . .
Refunded on first order.

Vlvlka Heino has become head of the ceramics department at Chouinard Art Institute, Los
Angeles. The school now offers a four-year
course leading to a B.F.A. degree in ceramics.
Mrs. Heino was formerly of New Hampshire
but for the last three years has been teaching
ceramics of USC.

I~rl M P A N Y

SUPPLY

> Midwest's Largest and Most Cam> plefe Supply House of CIavs, Glazes,
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>
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parts
93
34
45
35
90
10
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HOUSE
OF CERAMICS
Z
3295 Jackson
Memphis, Tenn. ~,

S e e us a t the

ASBURY

PARK

SHOW

May 2 . 6 t h

Creek Turn Pottery

Rt. 38 Halnesport, N.J.
ShowToom open daily 9 to 5

A CRAFTS VACATION

in

moM

FLETCHER FARM CRAFT SCHOOL

LUDLOW, VERMONT
J u l y 9 - - A u g . 31, 1956. T w o week
periods. Courses offered in W e a v i n g ,

P o t t e r y , J e w e l r y , Gilding, Copper
E n a m e l , D e c o r a t i o n , R u g Hooking,
Block p r i n t i n g & Silk screening.
W r i t e f o r c a t a l o g u e to: Mrs. Leona
Phelps, Ex. See., Society of Vezznont
C r a f t s m e n ; Dept. 3, 5 F a i r f a x St.,
St. A l b a n s , Vt.
CERAMICS MONTHLY

Enameling: Multi-Piece Jewelry

(Begins on Page 16)

it. I f there is too m u c h water, making

it difficult to pick up the enamel with
a tiny spatula, the excess moisture can
be absorbed with a piece of blotter.)
These colors are laid in one at a
time; and where several pieces call
for areas of the same color, all are
completed before the next color is
introduced so that the tools won't
have to be cleaned so often.
7. I n the wet inlay process, the
edge of each color is straigthened and
m a d e neat before the next color is
pushed up against it. If the edge of
the color area is curved, a bit of
blotter cut with a rounded end, is an
aid in this cleaning-up operation. T h e
small individual pieces tend to slide
a r o u n d as vou work but this can be
prevented by holding any convenient
tool against the edge.
8. T h e joining line between any
two colors is packed down level, with
the leveling tool held at a right angle
to the line. A proper a m o u n t of
moisture in the enamels is essential
to neat leveling. If too m u c h water
is present, one color will float into
another or be carried over by the
tool. A miniature blotter can be used
to help control moisture.
W h e n the wet inlay is completed,
all the edges of the pieces are wiped
clean and the drilled holes again

Flowers: the Pansy

(Begins on Page 24)

ing and cutting is, of course, repeated

for each color.)
A pattern isn't needed for the
pansy. Use a leaf cutter for the
leaves; circles for the petals (Mrs.
Matney's are slightly under I/2-inch
in diameter); and, for this arrangement, a triangle for the base.
2. The leaves are thinned at the
edges, shaped and the veins scratched
in with a sharp tool. One leaf is set
at each corner of the triangle; a dab
of thick slip makes sure it stays in
place.
The base is alwavs made first so
that each of the subsequent pieces
can be set in place immediately after
forming with minimum handling.

freed of enamel.
9. N o w the pieces are placed on
stilts and fired. T h e n all edges are
stoned on the top side with fine Carb o r u n d u m , the stone pulled in a
d o w n w a r d motion away from the
enameled surface to avoid chipping.
T h e process is repeated for the
counterenamel edges, and the bare
spots for findings are also stoned. A
washing with detergent follows, and
then the findings are soldered (or
cemented) in place.
N o w the edges are given a final
polishing with fine steel w o o l - - b e cause an enameled piece should feel
perfectly smooth as well as look that
way! T h e last step consists of joining
the various parts of each earring together with j u m p rings.
A closing word about the findings
for jewelry. Usually those least conspicuous in color are most appropriate,
unless the findings are deliberately
used as accent. Silver findings, for
example, go well with a piece which
has blue, green or gray enamel, or
silver foil, as the dominating color.
Gold or brass findings might be used
with red, orange and yellow colors
as well as with gold foil; on the other
hand, copper findings look well with
copper luster and in cases where bare
copper is exposed as in champlev&
ing the bottom of the under petals.
T h e last petal is thinned all a r o u n d ;
that is, no thick section is left. This
is gently folded over the slipper end
of a lace tool to form a triangular
shape. This is the center of the pansy
and is placed in the lower portion of
the arrangement to complete the
circle. O f course, thick slip was used
to hold each of the petals in place.
5. T h e completed flower is speared
on the end of a pointed tool and immediately set in place. When all of
the elements for the pin and the earrings have been completed and
thoroughly dried, they are bisque
fired. No attempt should be made to
decorate the unfired pieces because
they are extremely fragile.

3. Now for the flower. Each of the

five tiny circles of clay is thinned toward the edges, leaving a thicker part
at one end, which will be attached to
the base. The outside edge is gently
ruffled. T w o such pieces are overlapped and set together on the base.

6. After the bisque firing, the decorations are applied. Since the flowers
and leaves were made of colored clay,
no overall coloring is needed here.
The faces of the pansies are brushed
in with underglazes, the leaves veined
in a darker green (if you like), clear
glaze applied overall and then the
final firing.

4. Two additional petals, made exactly the same way, are then placed
directly opposite each other, cover-

At the top of page 24 you see the

finished jewelry, out of the kiln and
ready for findings to be attached.

= P~IL,

!956

April, 1956
Ad-Art

Co .........................

American Beauty Ceramics . . . . . . . . . .

B and I Mfg. Co . . . . . . . . . . . . . . . . . . .
Basch, Bee, Designs . . . . . . . . . . . . . . . . .
Bafties Phofoceramic Decals . . . . . . . . .
Baumann's Ceramic Studio . . . . . . . . . . .
Bergen Arts . . . . . . . . . . . . . . . . . . . . . . . .
Campana, D. M . , A r t C o . . . . . . . . . . . .
Carmel Work Center, Inc . . . . . . . . . . . .
Ceramic Enterprises . . . . . . . . . . . . . . . . .
Ceramic Leagues, Inc . . . . . . . . . . . . . . .
Ceramichrome . . . . . . . . . . . . . . . . . . . . .
College Institute . . . . . . . . . . . . . . . . . . . .
Copper Cat, Inc . . . . . . . . . . . . . . . . . . . .
Copper Shop, the . . . . . . . . . . . . . . . . . .

32
36

9
27
30
34
7
30
36
32

Creek-Turn Pottery

4
30
9
26
4
36

Delta

11

Craffools,

[nc .......................
..................

Brush M f g .

Carp ...............

Detroit Fabricating C a r p . . . . . . . . . . . .
27
Duncan Ceramic Products, I n c . . . 9 , 3 4 , 3 6
Eastern Ceramic Hobby Show . . . . . . . C - 4
Fletcher F a r m C r a f t S c h o o l . . . . . . . . . .
36
Great Lakes Ceramic Hobby
Exhibition . . . . . . . . . . . . . . . . . . . . . . .
C-2
Hallam

Studio

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

34

Harris, C h a r l e s , C o . . . . . . . . . . . . . . . . .
32
Harrison, the Kay, Studios . . . . . . . . . . .
10
Harrop Ceramic Service C o . . . . . . . . . .
5
Havens, Hazel S. . . . . . . . . . . . . . . . . . . .
36
Holland Mold Shop . . . . . . . . . . . . . . . . .
26
Hommel, O . , C o . . . . . . . . . . . . . . . . . . . .
11
House of Ceramics . . . . . . . . . . . . . .
29,36
Illini Ceramic Service . . . . . . . . . . . . . . .
32
L and L Mfg. Ca . . . . . . . . . . . . . . . . . . .
8
Lauer, Ruth D., Ine . . . . . . . . . . . . . . . . . .
32
Lehrhaupt Ceramics . . . . . . . . . . . . . . . .
34
Maryland China Company . . . . . . . . . .
36
Master Mechanic Mfg. Co . . . . . . . . . . .
31
Mayco Colors, Inc . . . . . . . . . . . . . . . . . .
6
Miller, G. F. R. . . . . . . . . . . . . . . . . . . . .
32
Minnesota C l a y C o . . . . . . . . . . . . . . . . .
30
Model Ceramics, Inc . . . . . . . . . . . . . . . .
12
Norwest Novelty C o . . . . . . . . . . . . . . . . .
34
O l d Viking Shop, the . . . . . . . . . . . . . . . .
32
Olevia Ceramics . . . . . . . . . . . . . . . . . . .
28
Paragon Industries . . . . . . . . . . . . . . . . . .
2
Pieper Pottery . . . . . . . . . . . . . . . . . . . . .
28
Pierce Co . . . . . . . . . . . . . . . . . . . . . . . . . .
34
Pillet, Nettle E. . . . . . . . . . . . . . . . . . . . . .
36
Pollock Studio . . . . . . . . . . . . . . . . . . . . . .
36
Poffer's Wheel, Inc . . . . . . . . . . . . . . . . . .
35
Potter's Wheel, the . . . . . . . . . . . . . . . . .
34
Pottery Crafts . . . . . . . . . . . . . . . . . . . . . .
34
Pottery Workshop, the . . . . . . . . . . . . . .
28
Re-Ward . . . . . . . . . . . . . . . . . . . . . . . . . .
1
Rader Ceramic Studio . . . . . . . . . . . . . .
32
Rovin Ceramics . . . . . . . . . . . . . . . . . . . .
26
Sahuaro Molds . . . . . . . . . . . . . . . . . . . . .
34
Schmid, Ludwig, Art Ceramic S t u d i o . . 3 3
Snead, Jane, Ceramic Studio . . . . . . . .
33
Soriano Ceramics, Inc . . . . . . . . . . . . . . .
32
Specialized Ceramics Corp . . . . . . . . . . .
31
Stewart C l a y C o . , I n c . . . . . . . . . . . . . . .
12
Tepping Studio Supply C o . . . . . . . . . . .
28
Thompson, Thomas C., C o . . . . . . . . . . .
2
Torrance Glass & Color Works . . . . . . 4
Touch-O-Magic . . . . . . . . . . . . . . . . . . . . .
32
Trinity Ceramic Supply . . . . . . . . . . . . . .
34
United Artist Materials C o . . . . . . . . . . .
26
Van Howe Ceramic Supply C o . . . . . . .
36
Vantage Press, Inc . . . . . . . . . . . . . . . . . .
34
Ward, S. Paul, Inc . . . . . . . . . . . . . . . . . .
12
Weatherby Products . . . . . . . . . . . . . . . .
32
Willoughby Studio . . . . . . . . . . . . . . . . . .
35
Wilton
Wolfe,

Pottery
.....................
J a c k D., I n c . . . . . . . . . . . . . . . . .

32
34

37

SPECIAL MESSAGE
TO:
MANUFACTURERS
DISTRIBUTORS
DEALERS
STUDIOS
Put your products in the national spotlight of
in the
sales
. . . reserve
space
now
4th ANNUAL

Eastern Ceramic Hobby Show

May

2.-6

Convention

Hall

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

Asbury

Park,

N.J.

audience" ready, willing and able to b u y :

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

RESERVE YOUR EXHIBIT SPACE TODAY!

Write or Call:
Jerry Gasque, Director

Eastern Cerami
Convention. Hall,

L ~

OW