Here - Ceramic Arts Daily

APRIL
1958
• 50c
MOSAICS
Then and Now
ATTEND
THE GREATLAKES
CERAMICHOBBYEXHIBITION
and WORKSHOP
April 2 4 - 2 5 - 2 6 - 2 7 ,
1958
Conrad Hilton, Chicago
During the entire length of the show there will be demonstrations on all
phases of ceramics by these outstanding teachers.
Marc Bellaire Barbara Yagen
Richard Hyman Cula Kolb
Stangren
Zelda Burdick Edna Ferry
Jenness
Virginia Lee
A1 Schoellkopf
Justin Brady
Dorothy La Fleur Eileen Kane
David Owens
Madeline
Ella Coombs
Lorraine Hensley Lillian Kappeler Isabel Podezwa
Strackbein
Phyliss Cusiek Alice Hill
John Kenny
Dodie Raskin
Charles West
Lillian Czagany N. Hopkins
Kay Kinney
Joy Reid
Belva Woolsey
Edris Eckhardt Zena Holst
Herman Kleiner Juan Jose Segura
General Admission 90c. Registration for Wholesale Buyers $5.00.
(includes show pass)
Hours: Thursday thru Saturday
Sunday:
l l : 0 0 A . M , to I : 0 0 P . M .
l l : 0 0 A . M , to 12:30 P.M.
Registered lFholesale Buyer,~
Registered Wholesale Buyers
I:00P.M. to5:30P.M.
12:30 P.M. to 6:00 P.M.
General Public
General Public
7:00 P.M. to 10:00 P.M.
General Public
Check this list of exhibitors for the show--it's a record breaker! [ - - ~
Remember the open Hobby Competition. Display your own creative work. Write
for details.
lVant to [orget travel worries? Attend the Show with a group. Write to Mrs.
LaVerne Wood, 13885 McDougall, Detroit 12, Mich.
ARTHUR HIGGS, MANAGING DIRECTOR
414 N. Jefferson, Bay City, Michigan I
Phone: TW3-9492
Mayco, CallfornTa
Norman Kilns, New York
Dorothy LaFleur, New York
Hart's, Carifornia
Newell's, Californla
Mallory's California
Madeline, Michigan
Re-Ward, California
Sfonebrook, New Jersey
Bergen Brush Supplies, New Jersey
Holland Mold Shop, New Jersey
Joy Reid, Michigan
Duncan, CaJifornia
B. P. Woolsey, Pennsylvanla
Amaco, Indiana
Popular Ceramics, California
Creek-Turn Pottery, New .Jersey
Evanston Ceramics, Illinois
Laurine Brock, Texas
Arts & Crafts, Michigan
Ceramics Monthly, Ohio
Vernon Bernard, Illinois
Marx Brush, New York
Schoellkopf, Pennsylvan;a
Woodland, Illinois
Bell Ceramics, New York
Illini Ceramics, Illinois
Helen Ellioff, Texas
Alberta's, CaTifornia
Bee Basch, Florida
Campana, Illinois
Ceramic-Corner, Californla
Ceramic Creations, illinois
The Cusick's, Ohio
Oare, Massachusetts
Lee's T & V, Florida
Pierce Tool, California
Radiant, New Jersey
Kay the Patter, California
Tru-Fyre, California
Christine, California
Pemberton-Neal, California
Ceramichrome, California
Chula Kolb, Texas
Lorraine, California
American Beauty Ceramics, Ohio
National Artcraft Jewelry, Ohio
Zelbur, New Jersey
Paasche Air Brush, IIITnois
Starala, North Dakota
Ceramic Studio Workshop, Pennsylvania
Tylart, Michigan
H & R, Illinois
White Horse Mold, New Jersey
Creative Designs by Jenness, Calif.
NEW Products from Re-Ward
Set the Pace in "58.1
• SCOTCH PRIMER
Saves
glazing
1 firing
with
when
• CRYSTAL CLEAR GLAZE
Superb
greenware.
transparent
Clearer,
glaze.
" CAMEO GLAZES
Sheer
Brighter,
perfection
satin
in
finish.
Craze-Resistant!
Now
IN[[HI[nZ[
l l B I I I ~ °'"
Itilit/~':
"INTERGLAZE"
7:'
Guaranteed
to b r i n g out e x c i t i n g
h i d d e n b e a u t y in y o u r g l a z e c o m b i n ations.
Use only one coat I N T E R G L A Z E between glazes in
your favorite glaze combination. You will be rewarded
with rare and luxurious finishes.
Write for free list of glaze combinations
*Trade
Mark
Applied
For
_~e-~a,ld
c~,,,,c
1987 Firestone Blvd.
APRIL T958
co[o~
,~s..
,,c.
Los Angeles, California
I
UL APPROVED FOR YOUR PROTECTION
Ask your local Electric Company or Fire Insurance Company
about the importance of UL approval on any electric appliance.
Others claim that wire and switches are UL approved, but their kilns are not!
TOP
LOADERS
20 quality built, feature packed models from which
to choose. DYNAKILNS feature the patented DYNAGLOW porcelain element h o l d e r s . . . 4 - w a y switches
...2
peep h o l e s . . , pilot l i g h t s . . , and they are
designed with your safety in mind.
MODEL U15H
HIGH
: ;i
;i
A complete line of
bench and floor
models available.
TEMPERATURE
FURNACES
TO
° F
. . . using silicon carbide
heating elements.
MODEL eSS-G
s,
ENAMELING
KILNS
E NA M E L I N G
K I L N
C a n Also D o Ceramics!
Price includes Pyrometer,
Input Control Switch, Gravity Door,
Pilot Light, and Patented Dyna-Glow
Porcelain Element Holders.
Attractive . . . Plugs m anywhere!
$~28
MODEL E49
TEMPERATURE
MODEL
HOLD|NG
!iiJ
plus$2O0cr,allngcharge}
~P" m
Chamber slze: 4 ' x 8Y2" x 81/2''
E48
ENAMELING
KILN
WRITE
FOR
CHESTER
D
2
3000
E A L E R
I N Q U I R I E S
LITERATURE
11, P E N N A .
I N V I T E D
CERAMICS MONTHLY
Volume 6, N u m b e r 4
April
•
1958
50 cents per copy
in
this
issue
|st STEPTO BETTER
ENAMELING
of
On Our C o v e r : Detail of Alexander the Great taken from a
mosaic floor depicting the defeat of the Persian King Darius at
the Battle of Issus. This piece clearly shows how the Greeks
imitated painting techniques by pJacing the fesserae close
together like painter's brush strokes. Doting back to 100 B.C.,
this mosaic is on display in the Naples Museum. Photo:
Courtesy of "The World of Mosaic."
Letters
...........................................
Pic of t h e M o n t h
Itinerary
..................................
6
.........................................
Answers to Q u e s t i o n s
Suggestions
THOMPSON
ENAMELS& MATERIALS
4
for Teachers, Professionals,
Hobbyists end Students
8
.............................
9
.......................................
10
TCT
SPECIAL
FEATURE!
Mosaics: Then and N o w by Lawrence A. Hatch . . . . . . . . . .
12
Fingers f o r D e c o r a t i n g by Henry Bollman . . . . . . . . . . . . . .
18
Enamels assure best results . . . b e c a u s e t h e y g i v e you
g r e a t e r : Uniformity of enamel a Brilliance of color u Dependability
in use • Choice of many colors • Beauty of finish
Pottery
from Blocks of C l a y by Edris Eckhardt . . . . . . . . .
Stoneware:
Stoneware
Clay
Bodies
(part
21
5)
by F. Carlton Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
Enameling: Silver Plated Steel by Nelly Allan . . . . . . . . . .
26
Underglaze: Effective P r i n t i n g
demonstrated by Marc Bellalre . . . . . . . . . . . . . . . . . . . .
28
Enameler's Column by Ka÷he Berl . . . . . . . . . . . . . . . . . . . .
31
Ceram-Activities
33
Index
to
..................................
Advertisers
..............................
Editor
Business M a n a g e r
Managing Editor
Art Director
E d i t o r i a l Associates
Cireuhttion
36
Louis G. F a r b e r
S p e n c e r L. D a v i s
Shirley Abrahamson
R o b e r t L. C r e a g e r
Thomas Sellers
Mary Elliott
T h a n a Clay
A d v i s e r s a n d Special C o n t r i b u t o r s : C a r l t o n A t h e r t o n ; F. C a r l t o n
B a l l ; Marc B e l l a i r e ; K a t h e B e r l ; E d r i s E c k h a r d t : J o h n K e n n y : Z e n a
H o i s t ; Dorothy P e r k i n s ; Ken S m i t h ; Don Wood.
Ceramics M o n t h l y is p u b l i s h e d each m o n t h a t the L a w h e a d Press,
Inc., A t h e n s , Ohio, by P r o f e s s i o n a l P u b l i c a t i o n s , Inc., S. L. Davis,
Pres. a n d Treas. ; L. G. F a r b e r , V. P r e s . : P. S. E m e r y , Secy.
S U B S C R I P T I O N P R I C E in U . S . A . a n d P o s s e s s i o n s : one year, $5;
two years, 9 ; t h r e e years, $12. C a n a d a a n d P a n A m . add 50 c e n t s 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 t h e e d i t o r i a l offices a t 4175 N. H i g h St., C o l u m b u s
14, Ohio. E n t e r e d as second-class m a t t e r aL t h e post office a t A t h e n s ,
Ohio, as g r a n t e d u n d e r A u t h o r i t y of t h e Act o f M a r c h 3, 1879.
C o p y r i g h t 1958 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 , l n e .
A l l r i g h t s reserved.
Everyone appreciates the better results, the improved
workmanship, the beautiful pieces you get with T C T
Enamels. For 65 years, we have emphasized QUALITY,
VALUE and SERVICE to enamelers . . . now offer over
150 shades of enamel colors in lump and powder plus,
opalescent, crackle, glaze paint, separation enamel,
threads, liquid gold.
N E W for Glass Decorators
We offer a full line of Ice Colors for firing on glass. Write
for
complete information.
We Also Supply:
Kilns
Findings
Metal Shapes
Chains
Frames
Trivets
Enamel Threads Write f o r
Copper Wire
FREE
Silver Foil
CATALOG
/
~
/
~
evolve.
appear
errors,
modern
SOURCE FOR HANDLES
D e a r Editor :
I h a v e h a d very satisfactory reed a n d
b a m b o o h a n d l e s ( J a n u a r y ) f r o m the following supplier: J. T o q u r i M e r c a n t i l e Co.,
1124-1128 N o r t h Clark St., C h i c a g o 10,
Ill.
n . PATTEN
Gallatin Gateway, Mont.
I n this case, w h a t at first m a y
like child's play or a series of
n o t pots, m a y e v e n t u a l l y he o u r
pot.
MRS. O. B. H o b o E s , JR.
W i l l i a m s p o r t , Pa.
R O T H M A N POSES PUZZLE
ENAMELING CONVERT
Dear Editor:
I a m completely puzzled by the article
in the F e b r u a r y 1958 issue by Mr. J e r r y
R o t h m a n . Is it i n t e n d e d for h u m o r ? If so,
I a m afraid I find Mr. R o t h m a n ' s h u m o r
as h e a v y as his h a n d with clay.
If Mr. R o t h m a n a n d his associates truly
a n d seriously feel they are expressing " a n
age of e x p a n d i n g r e s e a r c h a n d e x p e r i m e n t
into heretofore u n k n o w n r e a h n s , " I feel
for t h e m only pity, t h a t their vision of the
f u t u r e s h o u l d be so tortured.
R e c e n t l y I h a v e b e e n so f o r t u n a t e as
to h a v e the loan of a c o m p l e t e file of y o u r
m a g a z i n e . It is interesting, i n s t r u c t i v e - a n d o f t e n provocative. B u t this article h a s
provoked m e into r e n e w i n g for one year
only, i n s t e a d of the t h r e e I h a d i n t e n d e d .
MRS. W. D. MORRISON
Owensboro, Ky.
Dear Editor:
R e c e n t l y after t h o r o u g h l y digesting y o u r
c o p p e r e n a m e l i n g articles f r o m A to Z
(I h a v e all y o u r copies) - - a n d loving
Bates, Berle, K r e t s i n g e r , H a r r i s o n , R e b e r t
- - I a m h i g h l y inspired. I h a d n e v e r
looked at t h e e n a m e l i n g articles b e f o r e - c o u l d n ' t afford to because I was too busy
w i t h porcelain. N o w I a m b e a t i n g the
b u s h e s looking for .003 s h i m copper a n d
wire a n d c o p p e r s h e e t (I d o n ' t k n o w w h a t
g a u g e to b u y a n d w a n t to "feel the
g o o d s ! " ) a n d mica, glass a n d all this
f a b u l o u s stuff . . .
MRS. R. G. ANTLE
S a g i n a u , Mich.
Dear Editor:
I a m n o t at all sure t h a t I like t h e
works of R o t h m a n , S o l d n e r a n d M a s o n ,
b u t I a m glad y o u h a v e p r e s e n t e d t h e m
a n d h o p e y o u will give us m o r e of the n e w
trends a n d works by today's potters. W e
read t h a t we m u s t m a k e o u r o w n t r a d i t i o n
in crafts a n d I feel t h a t it is t h r o u g h m e n
of this caliber t h a t s u c h a t h i n g c a n
SAID AND DONE
Dear Editor:
• . . F o r a while, all you r e a d in C M
was a b o u t P e t e r V o u l k o s ; b u t t h a n k goodness [ e v e r y o n e h a s h a d ] his say. A n y o n e
k n o w i n g P e t e r w o u l d k n o w he w o u l d n ' t
give a m e n t i o n to his wife, m u c h less
a prize, unless he felt it was deserving.
I t h i n k h e ' s great. T h i s t h i n g of s a m e
old pots by well-known eeramists, it is
r e f r e s h i n g to see s o m e t h i n g else . . .
ALTA B. ANDRE
Bellflower, Calif.
GEOMETRIC APPROACH
Dear
Editor :
I think correspondent M.C.S. (January),
w h o is interested in d e s i g n f r o m a geom e t r i c or naturalistic a p p r o a c h , would enjoy " A d v e n t u r e in G e o m e t r y " by A n t h o n y
Ravielli, noted illustrator of m e d i c a l books
a n d articles.
MARION NOBLE
Alliance Public L i b r a r y
Alliance, O h i o
H I G H SCHOOLERS ENTHUSIASTIC
D e a r Editor:
I feel t h a t I h a v e been remiss in n e v e r
before t h a n k i n g you for the g u i d a n c e a n d
inspiration
contained
in
CERAMICS
MONTHLY. M y high-school s t u d e n t s enjoy a n d follow your " h o w - t o " pages with
enthusiasm.
BERTHA WHEELOCK
DuBols, Pa.
T h i s c o l u m n is for C M readers. It's
open to everyone who h a s s o m e t h i n g to
s a y - - b e it quip, query, c o m m e n t or advice. All letters m u s t be s i g n e d ;
n a m e s will be withheld on request.
J u s t address your letter to:
The
Editor, C e r a m i c s M o n t h l y , 4175 N o r t h
H i g h St., C o l u m b u s 14, O h i o . - - E d .
f.g Flow
COVER
COAT
The Underglaze so ideal its almost miracuIous. Available in a large variety of beautiful colors. With PG-16 its application is a
dream. Positive results. A Masterpiece of
quality and formula by Duncans'.
!
4-
•
•
•
•
•
•
GLAZES
CERAMIC
4030
E-Z
•
The finest of Ceramic Glazes. Always sterling, consistent quality regardless of quantity. Duncan's famous E-Z to use feature.
Available in a tremendous variety of
exotic colors with limitless combinations.
Always results you can be sure of. Now
better than ever with PG-16.
•
•
•
•
•
PRODUCTS,
N. Blackslone
STROKE
YOU the hobbyist helped Duncans' formulate this quality Translucent Underglaze.
It is the result of your requests and extensive testing. Terrific color selection.
Consistency perfect far 1-stroke brushing,
spraying, stippling, etc.
Fresno
Inc.
3, Calif.
CERAMICS
MONTHLY
"A"
Acclaimed
Everywhere
by
Teachers
and
Professionals
for
Performance!
A New, Unique, Exciting Text
CERAMIC DECORATION
~r
This Nationally
Recognized
Power-Driven
Precision Wheel
only $ 5 7 . 5 0
(Shipped eomplete,
Less Motor)
Ideal for school, studio, home use . . . The famous B & I
Pottery Maker, first in the field, is s÷ill first in value and in
price! Simple operation, rugged construction, with all the
versatility required by professional workers! Many built-ln
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-polnt, we challenge comparison on QUALITY lectures . . .
Our price is still the best in the field!
B & I Pottery Maker shipped complete, less motor, f.o.b.
factory, Burlington, Wisconsin, for only $$7.50.
B & I M f g . Co. Dept. C. Burlington, Wisc.
"Originators and Makers of famous B & I GEM MAKHRS"
SCHOOLAPPROVED
CERAMIC COLORS
PREPAREDwith the STUDENTin MIND
to give
EXCELLENT PERFORMANCES
in
• Streak-proof brush on coverage
• O u t s t a n d i n g textures and finishes
• Reliable one fire results
After three years of research and writing, this
new 60-page 81/..2" x 11" book, CERAMIC DECORATION, is now available. It's the first practical
text devoted solely to explaining the nature of ceramic decorating materials, and the basic, traditional and modern techniques of application.
Beautiful layouts are enhanced by 177 photographed examples of contemporary pottery and sculpture the work of distinguished potters as well as
award winning National Scholastic pieces from
junior and senior high schools.
Learn scores of techniques from chapters entitled:
Glazes
Mosaics
Overglazes
Glass Colors
The Clay Itself
Slips and Engobes
Underglazes
Self-Glazing Engobes
The American Art Clay Company sponsored this
book as an educational service. Lois Culver Long,
the author, majored in ceramics at the University
of Wisconsin, has a masters degree from the University of Southel"n Illinois, and for 5 years has
been a member of the Amaco ceramic staff.
Order Your Copy Now/
CERAMIC DECORATION
$1.00
CERAMICHROME'S prepared water soluble underglazes
Postpaid
and glozes will meet your school budget. INSIST ON
THE FINEST. Ask for and use Ceramichrome Colors.
Visit Our Booths At All Ceramic Hobby Shows
CERAMICHROME LABORATORIES
Free C a t a l o g - - "Amaco Pottery Supplies & Equipment,
Metal Enameling Materials". Lists Kilns, Wheels, Clays,
Decorating Colors, Ceramic Supplies.
Write Ceramic Department
Manufacturers of Ceramichrome Products
2111 W. Slauson
Los Angeles 47, Calif.
AMERICAN
INDIANAPOLIS 24
APRIL, 1958
ART
CLAY
COMPANY
INDIANA
5
Z
--t
"1-
o
c~
:>
KarJ Martz, Bloomington, ind., won the Award of Merit in the recent
Fiber, Clay and Metal competition sponsored by the Saint Paul
(Minn.) Gallery and School of Art. Five inches in diameter, the bowl
is decorated with free brush work in soluble nickel and chromium.
This produces two shades of gray and a third, darker shade, where
CM's Pic of the M o n t h : Prize-winning stoneware bowl by
ovedaps occur. The inside of the bowl has a freeiy brushed fish which,
in the three shades of gray, has an elusive, shadow-like quality. Mr.
Mortz, who teaches ceramic arl- at Indiana University, enioys this
method of decorating because of the unexpected, but often pleasing,
shape relationships that develop from overlapping. The glaze is a
white matt.
HESITATION
m
m
m
m
m
m
m
m
m
m
m
m
m
new ~VIAYCO GLAZES
which give you unlimited possibilities
for interesting exotic ceramics.
HESITATION is applied over other brush-o• glazes includi•g clear glaze on underglaze colors. The HESITATION on firi•g cracks and separates into fascinati•g
patterns which reveals the u•derlyi•g glaze. Many color combi•ations are possible
with only a few colored HESITATION GLAZES. Comes in Black and White as well
as light Green, Sky Blue, Golden and Brown.
Dealerships available.
See your nearest
4 oz. jar 7Sc
MAYCO Distributor
-7~., ,'+~
.
SO
MANY
WAYS
TO
DECORATE
A--Mold #71--Plain long FreeIorm--$S.7S--ior your own decoration--121/2 " x 61/4 " x 11/4 "
;~
Tile TABLES and M u r a l s t
;,:++
B--Mold :~7lA--Celery long Freeform--$6.50
Designed specially for
above mold :~71
C--Podeszwa Pattern 71P-3,
Happy Clown--25c
D--Podeszwa Pattern 71P-2,
Sad Clown--25c
no]"
shown:
71P-I War Pony--25c
71P-4 Angel--2Sc
71P-5 Seaweed--25c
Send for Free Contest Entry Form
Send 25c for illustrated catalogs
~ ~ ~ : ~
• We carry everything for mosaic work. Imported Italian a n d "
m French mosaic tiles and tessarrae, brass and wrought iron II
g table frames, legs, mastics, tools and grout.
Wood Legs I
C o m e see us a t the
Eastern Ceramic
S h o w - C e n t e r Booth,
i
Center Aisle. We're
Brass Finish (Brass Tippedj
Legs--set of 4
set o f 4
I
Rectangular
I
Circular
I
6 " _ _ _ _ 6.95 6 " _ - - - 3.95 I
1 1 2 ~ x 1 2 ½ 1 5.50 L 1 8 - d i s . I 7.501
11" ....
8.95 1 2 " . . . .
4,50
118~,~x18½ I 8.50 I 2 4 - dis. I 9.~'0[
1 4 " . . . . 9.95 1 6 " . . . .
5.50 I
I
1 1 8 a ~ x 4 8 ½ I 19.95 I 3 0 " d i s . I 12,50[
1 6 " . . . . 11.95 Z2" . . . .
6.50 i
I
I 3 6 " d i a . I 13.501
2 2 " . . . . 12.95 2 8 " . . . .
7.50
I TILES ..............
$1.45 per s h e e t a n d up ( a p p r o x . I on. f t . ) i
i
SOLID BRASS I" STRIP .............
7Oc f t . , drilled w / s c r e w
SPECIAL
CUTTERS
......................
$1.50-$2.45 e a c h •
95e tube, $1.35 p i n t , $2.25 q u a r t i
MOSAIC MASTIC .............
MOSAIC TILE GROUT ............................
40e l b . "
All molds tc) Bee FOB Sara.
mE, 50c m i r n m u m .
Podeszwa
Patterns add 25c per order
for packing and postage. ~ o
' illini 1"4 r?l
COD's, please.
!
Mail Address--70 S. Englewood Beach Rd., Englewood, Fla.
Factory & Showroom--2124 Bee Ridge Rd., Sarasota, Fla.
APRILc 1958
Iron T a b l e F r a m e s
I
m
c o m i n g up from Florida with more N e w
ideos & Molds.
........
Wrought
m r4 service'!
"~.,UALITT C E R A M I C
m 439 N. Wells, Chicago 10, IlL
I
m
m
m
m
E=mm
SUPPLIES"
Phone MI 2-3367 I
m
m
m
m
m
J.
7
Art. Open to residents of specified area
and to former residents of Toledo. Ceramies, enamels, sculpture and any other
recognized art media included. Deadline
for entries: April 12. Jury, prizes. Fee:
$3. Write to Toledo Museum for prospectus.
Send show announcements early--WHERE
TO SHOW: three months ahead of entry
date; WHERE TO GO: at least six weeks
before opening.
WHERE TO S H O W
COLORADO~ DENVER
July 9-September 7
T h e 64th Annual Exhibition, sponsored
by the Denver Art Museum, open to all
artists in states west of the Mississippi
as well as those residing in Wisconsin
and Illinois. Sculpture and ceramics ineluded in media. Jury, $2,000 in prizes.
Fee: $2. Limit of two entries per artist.
Deadline for shipments: June 12. For
entry blanks, write Denver Art Museum,
West 14th Ave. and Acoma St., Denver 4.
N E W YORK, DOUGLASTON
May 17-31
~ T h e 28th Annual Spring Exhibition of
the Art League of Long Island. Ceramics and sculpture included in media.
Jury, prizes. Fee: $5. Entry cards and
work due April 25-26. For details, write
Edith
Brandenberg,
chairman,
Art
League of Long Island, Inc. 44-21
Douglaston Pkwy., Douglaston, L. I.
OHIO~ TOLEDO
May 4-25
T h e 40th Annual Exhibition of Toledo
Area Artists at the Toledo Museum of
TEXAS, AUSTIN
May 5-June 3
Spring Exhibition of the Texas Fine Arts
Association at Laguna Gloria Art Gallery. Open to members. Crafts included
in media. Fee: $3.50 membership dues.
Jury, prizes. Entries due April 20. For
details, write Texas Fine Arts Assn., P.O.
Box 5023, Austin 31.
Hobby Show at the Kansas National
Guard Armory, 620 No. Edgemoor. Commercial exhibits, hobby competition, and
demonstrations.
MASSAGHUSETTS~ WORCESTER
April 11-May 11
An exhibit of work by instructors at the
Craft Center of Worcester, to be held
at the Worcester Art Museum. Persons
represented in the exhibit are Verdelle
Gray, ceramics; William J. Brown, design and block printing; Anthony La
Rocco, woodworking; and Alden Wood,
metalsmithing.
MINNESOTA~ MINNEAPOLIS
April 20-May 11
WHERE TO G O
FLORIDA, CORAL GABLES
"Finnish Crafts," a Smithsonian Institution Traveling Exhibition, at the Walker
Art Center.
through April 20
"Sixth Annual Miami National Ceramic
Exhibition," sponsored by the Ceramic
League of Miami, at the Joe and Emily
Lowe Art Gallery, University of Miami.
ILLINOIS~ DEKALB
April 1-22
"American Jewelry and Related Objects," a Smithsonian Institution Traveling Exhibition. at the Parson Library,
Northern Illinois State College.
KANSAS, WIGHITA
April 12-May 19
" T h i r t e e n t h Decorative Arts-Ceramic Exhibition," at the Wichita Art Association, 401 North Belmont Ave.
KANSAS, WICHITA
April 18-20
T h e Annual Wichita Ceramic Art Society
NEW YORK, NEW YORK
April 15-26
"Ceramics '58" an exhibition of pottery
and sculpture sponsored by the Greenwich House Potters, at the Greenwich
House Pottery School, 16 Jones St.
OHIO, COLUMBUS
April 19-May 20
The l l t h Annual Exhibitiml of Contemporary Crafts, an invitational show of
Ohio craftsmen, sponsored by the Beaux
Arts Club at the Columbus Gallery of
Fine Arts.
TENNESSEE~ MEMPHIS
April 1-22
"Midwest Designer-Craftsmen," under
the auspices of the Smithsonian Institution, at Brooks Memorial Art Gallery.
T
mm
MAKE YOUR O W N SWEATER GUARDS!
S e n s a t i o n a l n e w f a s h i o n accessory t h a t is sweeping the
c o u n t r y ! C o m p l e t e g o l d - p l a t e d sets n o w a v a i l a b l e . . .
s i m p l y c e m e n t o n y o u r personal decorated ceramic or
e n a m e l e d piece t o m a k e a c u s t o m fashion accessory t h a t
will be b o t h d e c o r a t i v e and practical. N i c e for gifts, too!
EACH SET COMPLETE WITH PEARL CHAIN...
TWO SPRING CLIPS WITH PADS OR BEZELS
I.SG-3 %" Plain Pad . . . . . . . . . . . . . . . . . . . .
35c set
2. $G-54 s/d'x 1 ~ " oblong bezel setting
1
~
for Porcelain or Copper Blank . . . . . . . . . . . . .
45c sel
"
~ 3. SG-53 3/~"x 11,4" oval bezel setting . . . . . . . . .
45c set
Yl 4. $G-57 l"x 1¼" oval bezel setting
r
|
(for Porcelain or Bisque inserts only) . . . . . . . .
55c set
"~
~ 5.SG-12 1¼" Alligator Clips. . . . . . . . . . . . . . . .
45c set
VJ
I 6.$G-13 x,,'e"AlligatorClips . . . . . . . . . . . . . . . .
35c set
~
I
INSERTS--AnyPorcelain Blanks (specify size) 10c ea.
~ BisqueBlanks . . . . . . . . . . . . .
05c eo.
~ Copper for #54 . . . . . . . . . . . .
06c ea. ~ ' ~ - ~ 1
~"~,=~1~
Copper for #52 . . . . . . . . . . . .
O7c ea. (,~]o~/..c~,~
JEWELER'SADHESIVE. . . . 35c per tube
DEALER DISCOUNTS AVAILABLE
~ " - e
sweater g u a r d s
New G i a n t 112-Page Catalog for , ~
_ _ _ m a y also be ordered
J E W E L R Y a n d E N A M E L I N G . . . 25¢
with p l a i n gold-plated c h a i n
v
•
~ ~ ~ ~
~__.j~l~j~mw.-~
~
-
IIIIIIIIIIIIIIIIIBERGEN ARTS & CRAFTS
300 S.W. 17th A V E . . M I A M I • FLA.. (Dept.CM4)
Illllllll
CERAMICS MONTHLY
r eec
Harrop ElectriKiln
""
ii
uestlons
"Hi-Fire"
top-loading
ELECTRIKILN
Q
Can ceramic overglazes or china p a i n t s be fired on
milk glass? A t w h a t t e ~ l p e r a t u r e s h o u l d the m i l k g l a s s be
fired? W e are ~lsing B a v a r i a n blanks.
Milk glass can be fired to cone 022 (1085°F.) a n d no
h i g h e r . T h e o v e r g l a z e colors w h i c h a r e used f o r c h i n a
p a i n t i n g c a n n o t be used on g l a s s b e c a u s e t h e y do n o t cont a i n sufficient flux to a n n e a l a n d m a t u r e a t t h e low t e m p e r a t u r e r e q u i r e d f o r glass.
B u y o v e r g l a z e colors t h a t a r e m a d e specifically f o r
g l a s s p a i n t i n g . S t u d y m y a r t i c l e s on g l a s s d e c o r a t i n g in
the May, N o v e m b e r a n d D e c e m b e r 1955, issues of CM. Ins t r u c t i o n s a n d r u l e s a p p l y to milk g l a s s the s a m e as o t h e r
t y p e s of g l a s s w a r e . - - Z E N n HOLST
i
ModelHTL-16
for Cone 8
(2300 ° F.)
$201.25
f.o.b.
Can yote tell me how I can get a b r i g h t red, n e a r
t'ermilion? I have tried u n d e r g l a z e reds, special b r i g h t r e d
glazes, r~tby, c a r m i n e a~d crimson, special high a n d low
fire glazes and the best " r e d " I can g e t is a m a r o o n or
brown. I f I fire the glaze a t cone 06, the red b u r n s out,
son~etimes i t d i s a p p e a r s entirely. I f I fire at cone 010 or
012, the r e d will be good, b u t the glaze will be dull a n d
flat. I a m m a k i n g tiles a n d mosaics f o x table tops a n d
can get all colors b u t reds.
Columbus
Crating
$12
Pyrometer
$28.75
Econo~
Electri
p o w e r costs. E x t r a - l o n g - l i f e e l e m e n t s i n
recessed grooves mean easier replacement,
n o l o o s e s t a p l e s . M a n y sizes.
T h e r e a r e no b r i l l i a n t r e d u n d e r g l a z e colors a v a i l a b l e .
It is p e r f e c t l y possible, however, to o b t a i n t h e r e d color
you a r e s e e k i n g in a n e n a m e l f o r g l a s s or w i t h a n overglaze color. S e v e r a l s u p p l i e r s h a v e good glazes as h i g h as
cone 08-06.--KEN SMITtI
QWhy
does the enan~el o~ m y t r a y s r u n off the edges,
exposing the bare copper?
You p r o b a b l y overfire y o u r t r a y s . Besides, y o u r l a y e r
of e n a m e l could be too h e a v y . - - K A T H E BERL
Q
W e are c o n t e m p l a t i n g u s i n g a p a t t e r n of g l a z e d
6" x 6" x 1/~,, tiles as the f l o o r of a sheltered, b u t n o t
enclosed, e n t r a n c e to our n e w home. Can you tell u s i f the
tiles should be laid in concrete, a n d how t h i c k s h o u l d i t be?
Or should t h e y be laid on a wood base w i t h a d h e s i v e a n d
the spaces filled with g r o u t s i m i l a r to t h a t u s e d f o r
mosaics ?
W e would be r e l u c t a n t to use 6" x 6" x 14,, tiles as a
flooring material. These are not very hard-fired, and they
will not t a k e m u c h w e a r o r g e n e r a l p u n i s h m e n t . T h e s m a l l er t h e s u r f a c e a r e a of t h e tile, t h e t h i c k e r i t is, a n d t h e
h a r d e r the firing, t h e m o r e a p p l i c a b l e it will be f o r t h i s
type of use.
B u t to a n s w e r your q u e s t i o n directly, c e m e n t will be
the best w a y to set t h e tiles. T h i s will give m a x i m u m holding power a n d s u p p o r t . F o r d e t a i l s on t h e t y p e of c e m e n t
mix, thickness, b a s e s u r f a c e , etc., v i s i t y o u r local " b a t h room" tile shop or tile s e t t e r . T h e y will no d o u b t be able
to give you a few good p o i n t e r s . - - C M STAFF
All subscriber inquiries are given individual attention at CM; and,
out of the many received, those of general interest are selected
for answer in thls column. Direct your inquiries to the Questions
Editor: please enclose a stamped self-addressed envelope.
APRIL, 1958
w f wvl~g~l~l
~ w ~ f
V a r i e t y of s i z e s a n d t e m p e r a t u r e s , b e n c h a n d
floor models. All wiring and switches approved by Underwriters' Laboratory, as in
every ElectriKiln model.
II I l l l
Illl
Ilia n
I
Glazes
plaster,
~1
n
and
kiln
Nil
alml~ n
i
lIB
Underglazes,
furniture
and
aim ill
i
n
iim
ii
clays,
supplies
WRITE FOR FREE CATALOG
ElectriKiln Division of
C E R A M I C SERVICE C O .
Dept. E, 3470 E. FIFTH AVE., COLUMBUS 19, OHIO
9
from
our
readers
For Securing Glass Threads
B e g i n n e r s in copper e n a m e l i n g o f t e n like to m a k e des i g n s w i t h g l a s s t h r e a d s a n d f r i t , b u t find t h a t t h e s e small
pieces move a b o u t a f t e r b e i n g placed in t h e kiln. H e r e is
a r e m e d y t h a t we h a v e t e s t e d t h o r o u g h l y . U s e Tester's
c e m e n t ( e i t h e r f a s t or extra f a s t ) a n d c e m e n t t h e pieces
onto the e n a m e l e d s u r f a c e . T h e c e m e n t b u r n s a w a y in t h e
kiln, l e a v i n g t h e d e s i g n in t h e p r o p e r place. T h e c e m e n t
also is u s e f u l f o r r e p l a c i n g chips t h a t h a v e b r o k e n a w a y
f r o m a finished piece. T h e c e m e n t holds t h e m in place
while r e t i r i n g .
Tester's is t h e only c e m e n t we h a v e used, b u t o t h e r
b r a n d s p r o b a b l y would work as well.
- - M r s . Carl F. Waetck, Syracuse, N. Y.
SALAD DISH
TO M A T C H
H-178
H-797, $4.50
(8"x
71/4" }
[]
OTHER
NEW
H-793 Lilly Brooch & Earring
H-794 Rainbow Trout
H-49S Large Vani~ry Tray
H-798 Chick Bank or Planter
•
MOLDS
$ 2.90
$10.00
$ 5.50
$ 6.00
I
Protective Tabs for Pots
P r o t e c t i v e t a b s f o r t h e b o t t o m of p o t t e r y can be p u n c h ed f r o m r u b b e r i n n e r tubes, l e a t h e r , f e l t p l a s t i c a n d o t h e r
m a t e r i a l s by u s i n g a p a p e r punch. P u t a spot of glue on
t h e p o t w h e r e t h e t a b should go. W a i t a few seconds, t h e n
p r e s s t h e t a b in place. I m a k e a s u p p l y of t a b s in different
sizes a n d s h a p e s a n d keep t h e m on h a n d , t o g e t h e r w i t h a
t u b e of w a t e r - r e s i s t a n t glue.
- - G e r a l d L. Halbett, Topeka, Ka~.
Potter's Cutting Tool
H e r e is a s i m p l e way to m a k e a useful tool f o r t r i m m i n g t h e edge of a piece m a d e on t h e p o t t e r ' s wheel, while
t h e w h e e l is in motion.
T a k e a s h o r t piece of wood f r o m the h a n d l e of an
a r t i s t ' s p a i n t b r u s h , a n d m a k e a hole in the c e n t e r of the
w i d e s t p a r t . I n s e r t a t h r e a d e d d a r n i n g needle a f t e r p u t t i n g
~.. ~..~.:~ ~. :~.,
a little
needle.
thread
L e t it
T W O TEXTURES T W O COLORS FOR ONE C O A T ONE FIRE
I?= EXQUISITE C O M B I N A T I O N S OF FLEECY WHITE AND COLOR
AQUAMARINE •
BRIARWOOD
•
CHRISTMAS ROSE •
CORAL
FOREST GREEN • HARVEST YELLOW • HELIOTROPE • ONYX
PETAL PINK
•
SMOKE
•
SNOWFALL
•
SPRING GREEN
Y O U ' L L BE A S U C C E S S W I T H D U E T !
ORDER NOW[
~-LARGE
2oz.
JARS ~~9~_
ADD 35c HANDLING CHARGE NO COD'S OHIO RESIDENTS ADD 3% TAX
2811
10
WOODBURN
AVE.
CINCI;NNATI
6.
OHIO
~.~,:
:~.
.
.:,,.:
glue into t h e hole a n d also on t h e eye of the t h r e a d e d
To m a k e t h e needle secure, w i n d t h e r e s t of the
a r o u n d t h e h a n d l e a n d f a s t e n w i t h additional glue.
dry, a n d t h e tool is r e a d y to use.
- - S i s t e r Louis-Alphonse, Montreal, Canadrt
Flower Cutters
Mr. B o l l m a n ' s article, " P i e r c e d W a r e Goes Modern,"
(Oct. 1957) b r o u g h t to m i n d some of m y e x p e r i m e n t s in
m a k i n g f l o w e r c u t t e r s . I w a s asked to make eight-petaled
roses s u r r o u n d e d b y five leaves, to top h e a r t - s h a p e d boxes.
G e n e r a l i n s t r u c t i o n s were g i v e n to me a n d I was asked to
m a k e p e t a l c u t t e r s in two sizes as well as leaf c u t t e r s .
I w a s n ' t too c l e v e r a t m a k i n g s t r a i g h t cuts w i t h tin
snips, so I u s e d c a n s t h a t a r e opened w i t h keys. I removed
the
c a n top, c u t d o w n t h e s e a m a n d a r o u n d the bottom
.........
(Continued on page 30)
CERAMICS MONTHLY
Let our house be
your house
for all
your C E R A M I C
Our
needs
Stocks~complete
Our
Service~prompt
Our M e r c h a n d i s e ~ t o p
quality
Our Prices~reasonable
Do you have
our catalog?
~,
A big 68 page catalog, containing hundreds
of brand-name
items, will be mailed at once.
The cost is only 50c - - deductable from your first $5.00 order.
10 D A Y M O N E Y BACK G U A R A N T E E
~ASTER MECHANIC
Memphis 8, Tenn.
Y-28
Mfg.
Burlington,
Co
Wis.
I CREEK-TURN
~
300
~.~o:~
~"
~i~i~iiiiiiliiii
:::::::::::::::::::::::::::
iiiii!ii!i!~
::::::::::::::::::::::
i ~i i i i
iii~i~iil
i
~::::::::~
$69.9sI
O"'C'"ALS I
0
305
310
#583
,#584
#s~s
#58o
#s86
Molds are plain surtace--use tools for texturing.
MOLD
q~583
Vase
9¾"
Hi
-$7.00
584
"
13 "
Hi
-8.00
585
"
5
"
Hi
-5.00
580
91/2 ''
Hi
-4.50
$86
4 "
Hi
-S.00
Double end loop fool for deep carving (as shown) $1.00
(13.
3t5
32()
325
New Plaster Press Molds for CERAMICJEWELRY
$1.50 Ea. plus 5Oc Ea. PP in USA N e C . O . D . ' S ~ N Y C residents
add 3 0 Sales T a x - - A c t u a l size of molds 3 V a " x 7 V ~ " x 3/4".
MONITOR
TOOL
& FINDING
10 Saint Felix St., Brooklyn 17, N . Y .
APRIL, 1958
~!~!~!!~!!!~
.
Dept.
. . . .
m e c h a n l s m ili!i:iizz!iii:i~:ii~i
::::::::::::::::::::::::!i~
!ii!i~ili~i!~~i
iiiiiiiiiiiii::
!ii
Whether amateur or skilled artisan . . you'll find the smootb motorized
operati . . . . . . . . . .
f control in the BIG, all-steel precision buih
M A S T E R P O T T E R ' S WHEEL enables you to originate beautiful, distinctive pottery excelling anything you've ever done before.
Massive steel construction completely encloses mechanism to exclude clay
and moisture , . . assures operator safety and provides vibration-free
performance. Other features ordinarily found only in expensive wheels
include: pre-lubricated bronze bearings for quiet, long . . . . i. . . . . . .
venient arm rests, adjustable wedging wire, large 18" throwing table
with plenty of working space and a removable water cup. 10" throwing
head has joggles for easy centering, underside reverses for casting
piaster bats.
You have complete band freedom at all times .
.
smooth instant
change of speed from 30 to 1~'0 rpm is controlled by a foot pedal.
Easy to use, even for handicappod persons. Use any I/4 H P motor.
Standard 1/4 H P motor $16.95 when purchased with Master Potter's
Wheel,
Floor Model. Item 47b, W t . 90 Ibs. Lists at
$175.00--Factory Price ...................
$94.50
Bench Model. I t e m 4 7 a , W t . 45 lbs. L i s t s a t
$125.00---Factory Price ........................
House of Ceramics
2481 M a t t h e w s
Exclusive fully enclosed, safe design -- no exposed
CO.
For the best in design
CREEK-TURN MOLDS
For unusual textures
CREEK-TURN TOOLS
For smart decorator finishes
CREEK-TURN GLAZES
See us a t the Shows
CREEK-TURN
Rt #3B
Hainesport, N.J.
11
M
Mr~ Hatch, o[ the Department o[ Visual Communication
o[ the University o[ Cali[ornia, Los Angeles,
compiled the material presented in this article [rom
the [ilm, "The World ol Mosaic," just released
0
by the University Extension.
The photographs accompanying the article, also [rom
the [ilm, brie[ly suggests its scope: A review
o[ the major aspects oI mosaic art lrom its early
beginnings to the present. For additional
S
in[ormation, see the "Ceram-Activities'" section.
...
A
I
£
:4
£
0
S
THEN ANA
VOW
MOSAIC TABLE, designed and made by Sylvia Rosenthal under the guidance
ol Los Angeles mosalcM, George Millar, is a contemporary example o[ an ageold art. EMPRESS THEODORA (apposite page), is an early Byzantine mosaio
wh~ch was made about $47 A,O.
by LAWRENCE A. HATCH
C O N T E M P O R A R Y D E S I G N E R S , architects, interior
decorators and craftsmen looking for a new art medium
to relate art to architecture, have turned to mosaics. These
colorful ceramic and glass tiles--known as tesserae--are
strong and durable as well as beautiful. And, because
they are resistant to weather, they can be used to beautify
both exterior and interior surfaces. However, this "new"
medium is anything but new. This colorful art spans
some 5,000 years or more of man's history. One finds
on tracing the history of mosaics, that it is as fascinating
as watching an artist create an intricate mosaic mural.
The Egyptians appear to be among the first to integrate mosaics into their art. Some of their earliest methods consisted of inserting colored glass and earthenware into sinkages in tile or stone columns as well as
walls. Predominant designs of these early mosaics were
ornamental in character.
Like the builder and architect of our own time,
artisans of the past were apparently impressed with the
utilitarian qualities of mosaic. The earliest known use of
the medium was as pavement and the lining in water
cisterns. Then small designs and crude pictures were
worked out. Remnant examples showing early Sumerian
war scenes date back more than 1,000 years before Christ.
Turning to the Greeks and Romans, we find much
evidence of mosaic at a high level of achievement. In
Pompeii, some of the finest examples of floor mosaic are
to be found, dating as early as 200 B. C.
Skills developed by Greek mosaicists were passed on
to the Romans. The floors of sumptuous Roman villas
APRIL, ]958
and baths were covered with mosaic designs, arranged
in geometric patterns ranging outward from a central
medallion, which usually contained a scene of the pagan
gods. It is said that during festive occasions, when a
guest could no longer make out the symbol nearest him,
the time had come for him to leave the party . . . usually
supported or carried by his friends.
The Romans left a multitude of floor mosaics in
Italy, north Africa, Syria, France, Germany and even
England. However, they did not confine all of their mosaic works to floor pieces. Records indicate that they
used mosaics on walls of important buildings.
In approximately the sixth century A. D., a new
form of mosaic art began to take shape. Opposing the intricate detail of earlier mosaic endeavor, the Byzantine
era saw the emergence of a separate concept of mosaic
execution. In this period mosaicists abandoned the finely executed work of earlier periods, which at times resembled paintings, in favor of more crude and broad
execution of design.
As mosaics began to evolve into cruder forms, precluding mere imitation of design, a new kind of tesserae
came into use. These were gold tesserae, the production
of which consisted of placing gold leaf between two layers of glass. Good examples of Byzantine mosaic are to
be found in the mosaic work in the Triumphal Arch and
apse of St. Vitale at Ravenna.
Some of the most outstanding work of the Italian
Byzantine mosaicists is to be found in the half-dome mo(Please turn the page)
]3
.
.
.
MOSAICS
1. Joseph L. Young, a Los Angeles mosalcist,
makes drawings, to scale, for his mural for
{'he Police Facilities Building.
2. A full-scale sketch for the six-ton mural
next is drawn on cartoon paper. This is the
second step when using the indirect method.
saics of the apses of R o m a n basilicas. Beginning with
the middle part of the thirteenth century, Byzantine mosaic began to decline until all traces of it disappeared.
One of the m a j o r factors responsible was the emergence
of the great Italian mural painters. However, in Constantinople as well as in Greece, mosaics continued to
be used for church ornamentation until the fall of Constantinople.
It seems something of a contradiction that, with the
advent of the Renaissance period, the art of mosaic
should all but disappear. Titian did employ some mosaic
work in St. Mark's at Venice but for the most part it
was used mainly as an imitation of painting.
Although mosaic art seemed to die out during the
Renaissance in Europe, it continued to flourish independently a m o n g the Aztecs of Mexico. Their ceremonial
pieces and sacred structures were covered with precious
turquoise, quartz, obsidian and mother of pearl. O u t of
4. A steady hand is a must for the delicate
job of cutting the tessera. He uses a traditional mosaic hammer for the job.
14
3. Before the individual tessera are glued
to the cartoon paper, Mr. Young cuts the
large sketch into small sections.
these early traditions have come such contemporary masters as Juan O'Gmanan, Carlos Merida, Diego Rivera and
Chavez M o r a d o . . . the men whose work in mosaic on
the buildings of Mexico's University City has earned them
international fame.
M o d e r n day mosaic artists employ one of two general methods in making mosaics. I n the first method, the
tesserae are carefully put in place on the surface to be
decorated. T h e second and more common method is for
the artist first to draw on paper the general outline of the
finished mosaic. T h e surface that he uses for this outline
is actually the reverse side of the mosaic.
When the drawing is completed and the color scheme
determined the artist cuts the paper into small individual
sections which can be handled with ease. Then he begins the painstaking task of gluing each individual tessera into place on the heavy paper called cartoon pa( T e x t continued on pace 17)
5. Mr. Young glues the glass tesserae to a
section of cartoon paper. Notice how he
provides bins for each color.
CERAMICS M O N T H L Y
~,.~: ~ N ~
THE FINISHED MURAL which provides a division wall in the Los Angeles
Police Facilities Building is suspended from columns to provide eye-level viewing.
It took Mr. Young two years 'to complete the :36~ x 6' mural.
6. The pa~ially completed mural is spread
out on a table in Mr. Young's workshop.
Notice the detailed cartoon sections.
APRIL~ 19S8
. .:
7. Mr. Young achieves a feeling of waves
in the placement of the tiles, as shown in
this close-up view of the mural.
]S
CONTEMPORARY ARCHITECTURE employs the use of mosaic murals on the outside of buildings as well
as the inside. Above is a section of mosaic on one of the buildings of the University of Mexico. Modern
mosaics omit much of the intricate detail that was common in the early mosaics. Notice the detail in the
dome of the Mausoleum of Galla Placidia (below) in Ravenna, Italy. This is an example of 5th century
mosaic. Opposite is one of the rock-mosaic murals covering the University of Mexico Library. Executed by
Juan O'Gorman, murals like these cover an acre of exterior walls of the library at University City, Mexico.
]6
CERAM ICS MONTH LY
...
MOSAICS
per). The various sections now are reassembled on the
prepared surface, such as a wall, and held fast with cement. The tesserae are pressed into the cement while the
front of them still is glued to the cartoon paper. After a
relatively short period, during which time the cement
has hardened sufficiently, the heavy cartoon paper is
stripped of the face of the tesserae, revealing the completed mosaic. The joints are filled with cement and the
entire mosaic surface is cleaned.
There are many contemporary artists worthy of
mention. Charles Schlein, although not primarily a mosaic artist, has combined the art of mosaic with that of
wood sculpture.
Perhaps one of the best known contemporary mosaicists of this century is Gino Severini. Shortly after
the turn of the centu~', Severini journeyed to Paris
where he painted alongside other notables such as Picasso, and Utrillo. Some of his mosaic masterpieces can be
found in churches in Semsales, La Roche, Fribourg, and
Lausanne. He has produced a number of other outstanding mosaics in public buildings in Italy and France. Severini believes that mosaic art will be instrumental in
bringing back order, clarity and purity to art.
Another great contemporary mosaicist is Juan O'Gorman. Among his most outstanding work is his contribution in designing and executing the massive mosaics covering an acre of exterior walls of the library at University City, Mexico. His murals depict the rich history of
APRIL, 1958
Mexico and are alive with brilliant colors. O ' G o r m a n
worked with slabs one meter square, 4,000 in all, to
achieve his monumental mosaic masterpiece.
Joseph L. Young, the mosaic artist featured in the
film, The World o[ Mosaic, has completed several major
mosaic commissions which show an extraordinary degree
of achievement in this art medium. Mr. Young studied
in Rome as well as in several American schools. The
creation of one of his finest mosaics, the beautiful mural
in the main lobby of the Los Angeles Police Facilities
Building, is traced in the film from the first rough
sketches on cartoon paper to the hand cutting of the
tesserae and final installation. The gigantic mosaic mural
was divided into many panels which were numbered and
then assembled to form one huge mural mosaic of striking quality.
Measuring six feet high and 36 feet long, this six-ton
work of mosaic art is the world's largest glass mosaic
mural ever to be executed by an American artist. Mr.
Young spent two years of concentrated effort to bring
his work to fruition. This mosaic mural is the first to
depart from conventional installation in wall or floor.
By suspending the six-ton mosaic between two supporting
columns, an attempt is made to provide eye-level viewing.
Although this article illustrates Joseph Young's method for making a massive mural, hobbyists can use the
identical technique for making table tops, wall plaques
and numerous other smaller mosaic projects. With mosaics becoming more and more popular in the home,
and with mosaic supplies now easily available, hobbyists
can take full advantage of this colorful and durable medium.
•
17
rOng a favorite with
youngsters,
finger-painting
techniques a/so
can be used
for decorating
green or fired
ware using
ceramic co~ors
INGERS
Here's
How
To
Do It
by HENRY BOLLMAN
I. Using o camel hair brush and black overglaze, Poochie covers the entire glazed surface
with an even coat of color.
18
2. !'Finger painting is funl" After
trying several designs, she arrives at
one she likes.
CERAMICS MONTHLY
H E N T H E CERAMICS teacher asked how
many of the children knew how to finger paint, a
hands shot up in the air including Poochie's.
Her real name is Laura, but when she was very young
(which wasn't long ago) they called her Poochie for no
reason at all. But it seemed just fight at the time. Now
that she is in the third grade, it doesn't seem quite dignified enough--but why sacrifice charm to dignity?
Anyway, Poochie was chosen to demonstrate the
technique of decorating which employs ceramic colors
and finger-painting techniques. This technique lends itself very nicely to some kinds of pottery decoration. It
allows a freedom which is unattainable in any other way;
and moreover, it has a very individual quality because no
two hands are alike. Finger painting, long a favorite of
youngsters, is one of the most direct and personal forms
of pictorial expression. No brush or tool stands between
the painter and his work. However--as all finger painters
know--a rag, sponge or brush sometimes is used to supplement the fingers.
There are three types of ceramic colors best-suited
for finger painting on pottery: Underglazes, engobes and
overglaze. Overglaze (china paint) is the most suitable
type for children. It is applied to a fired, glazed surface
so, if the child isn't pleased with the results, the piece
can be wiped off as easily as the breakfast dishes. The
child then may begin again--immediately.
Prepared underglazes and engobes also can be used,
but of course, not on a glazed and fired surface. They
can be used on green ware or bisque, but not if the
ware is dry. Since it is very porous when dry, the piece
would absorb the water from the color, drying it immediately and making finger painting impossible.
W
dozen
Finger painting on green ware would have to be
done soon after the piece was fashioned while it is still
quite wet, but firm enough to hold its shape. Cast ware,
for example, would have to be used soon after it is
removed from the mold. You can easily see why this is
not the best method for children since green, cast ware
is fragile at best. If green ware is to be used, it will be
wise to stay with the rather heavily constructed types.
Bisque also has a dry, porous surface; but here
there is no problem. Just soak the piece in water for at
least 15 minutes (or overnight), until it absorbs as much
water as possible. (Since the piece has been fired, there
is no danger of getting it too wet or weakening it.)
Then you can proceed with the underglaze or engobe
just as you would with tempera paints on paper. However, children cannot dawdle too long because the piece
will dry out. But finger painting is supposed to be a
fast technique, so this should not be a problem. In fact,
it will help extract a spontaneous design from the child.
When working with green ware or bisque, add any
colorant to ordinary casting slip to make an engobe for
the finger painting. The colorant can be either a liquid
or in a dry, powder form. For example, you can use
liquid underglaze--either the "regular" or " o n e - s t r o k e " or powdered underglaze, glaze stain, body stain or any of
the coloring oxides such as cobalt oxide, manganese,
etc. With the latter, the color will be stronger and may
produce speckled effects if not carefully mixed.
Here's the way I make an engobe for finger painting. Mix a half teaspoonful of engobe stain, or other
colorant, with two tablespoons of white casting slip. Grind
thoroughly with mortar and pestle or with a spatula on
(Please turn the page)
FOR DECORATING
ii ¸¸'¸¸ .......... i i!i! i i C)! i i!! i
~i i i! ~
i~ i li ~i~ !:il/i!iiiill
i i:ii ~
3. Poochie decides to carry out the
same motif on a bowl. First, she covers
the inside wi~h color.
APRIL,
1958
.....
4.
Not pleased with the application, Poochie
shows n o c o n c e r n ms she "erases" her boo-boo
with a dry rag. Then she can begin again.
:
~m
5. Pleased as punch with her results, Poochie
proudly displays her finger-painted bowl which
also is shown on the opposite page.
19
•
.
.
fingers
for
decorating
a glazed tile. Apply a thin coating
of this engobe on the piece to be decorated, then use the finger painting technique.
In this demonstration, however,
overglaze color was applied to glazed
surfaces. The teacher prepares the
overglaze color, grinding the dry
powder with a spatula in a mixing
medium. It is advisable to buy the
medium ready-mixed together with
the colors, rather than to attempt to
mix oil and turpentine. Almost every
ceramic dealer carries his own type
of overglaze medium. All are satis-
factory for this purpose. The color
should be ground with enough
medium so that it flows easily and
can be brushed on evenly.
Poochie then was given an ordinary"
glazed tile. Using a camel hair brush,
she covered the whole tile with one
color (photo 1). Practicing ordinary
finger-painting techniques on the tile,
her trial designs can be "erased"
quickly with a dry rag. Other ideas
then can be tried out immediately. In
this respect, this approach is even
easier than working with finger paints
on paper. After several test designs.
FINGER-PAINTING TECHNIQUES bring about spontaneous designs like these. A direct and
personal form of expression, no brush or tool comes between the child and his work.
20
Poochie arrived at one she liked
(photo 2).
The "finger-painting" project may
end with the tile which can be used,
either framed or unframed, as a trivet.
Or the child may be encouraged, as
was Poochie, to try, his design on a
larger piece.
When Poochie finished her tile, she
was confident of both the technique
and her design; and she wanted to tDsomething else. She chose a glazed
bowl on which to car D, out the same
motif, although any glazed ceramic
object could have been used.
The procedure for decorating the
bowl was the same one used for the
tile. First she brushed the inside of
the bowl with overglaze (photo 3).
When she wasn't pleased with her resuits (photo 4), she wiped the bowl
clean with a dry rag, and began again.
Although Poochie used the same
motif for her bowl, the design was
altered. She elaborated on it, included more units, and adapted the design
to a different shape (photo 5).
As for firing, the overglaze colors
usually mature nicely at approximately 1500°F. for blacks, greens,
blues and browns. Reds and yellows
usually mature at a slightly lower
temperature, from 1300-1400°F. in
most instances.
If engobes or underglazes are used
on green ware, be sure to dry the
piece thoroughly before firing. When
the piece is dry, bisque fire first; then
apply a clear glaze and fire it to the
maturity of the glaze. If bisque ware
was used for finger painting, make
certain it is absolutely dry before you
fire it. You may place it in an oven,
on a radiator or on top of a hot kiln.
Then, when it is dry, follow your
usual firing procedures. You may
bisque fire the underglaze or engobe
first, and then apply the glaze and
retire; or the piece may be glazed and
fired in one operation.
When first working with this technique, especially with children, it is
advisable to use a single color until
control of the medium and method is
attained. Do not attempt to combine
different ceramic colors in a single
piece until you have had experience.
If additional colors are desired
later, mix separate batches of color on
separate glazed tiles. Apply darker
colors over lighter ones. Do not rub
separate colors together because they
tend to blend, forming a neutral
shade of gray. Ceramic colors usually
do not combine like ordinary oil
paints or temperas. For instance, blue
and green combined would not
necessarily produce brown. However,
with practice, it is possible to combine several ceramic colors, providing
you make test tiles in advance.
•
CERAMICS MONTHLY
TEACHING TECHNIQUES
Y O U N G STUDENTS of Miss Eckhardt carved
these pieces from blocks of clay,
using the method the author describes below.
Miss Eckhardt conducts ceramics classes
for children and adults at the Cleveland
Institute of Art.
A PROJECT IN CARVING
Pottery from Blocks of Clay
by EDRIS ECKHARDT
A R V I N G is a very important concept in sculpture,
Such pottery is carved from a solid block of clay,
because from carving the most solid and durable
in an upside-down position. T h e bottom and outside form
sculptures evolve. This particular project, which involves
is shaped first. T h e n the piece is turned right side up
carving, also is a very useful one. This was how bowls
and the inside is carved out.
were made before the potter's wheel was discovered.
We will not need too m a n y tools since this is a very
Primitive people probably drew their inspiration for this
simple project. I like to have two pieces of wood the
type of dish from scooping out gourds
same size or a little larger than the
to use as utensils, and carving out
piece to be made, a nail file for
stones to use for grinding. Both
cutting, a hacksaw blade for scraping,
gourds and stones are rather irreguand perhaps a simple wire loop tool
lar in shape, as were the tools
for scooping out the inside. Such a
that were used for hollowing them
tool might be made from a wire
out.
coat hanger or a piece of wire taped
So, for this particular project, we
to a stick.
can look to stones, gourds, pods and
T h e clay block is prepared a day
seeds for design inspiration. In ador two in advance, covered, and left
dition to nature's free forms, the kidto settle and firm up. Always stand
ney and tear drop shapes also are
up while you wedge the clay, and
very lovely and appropriate for a
keep it in a block rather than an
carved project. Since this method
irregular form. I always wedge a
allows us to do some of the modern
four-sided block, trying to keep equal
foi~ns, it is very adaptable for garden
pressure on all four sides. D o not
FEW TOOLS are needed for a project in
ornaments, bird baths, very large
wedge with too m u c h force or you
carving. Above are some of the tools the
fruit trays, exotic dishes that go on author uses: Fettling knife, ordinary nail file, will split the block. Wedge the clay
long low tables, and other shapes to piece of hacksaw blade, and two sculpture
for about 10 minutes, but during this
be seen from above.
tools. Well-wedged clay is a must, too!
C
(Please turn the page)
APRIL, 1958
21
...
CARVING
D R A W PATTERN of the
pottery shape you have
in mind. Draw the outside
view first, then the inside circle which indicates where the
pot is to stand. I also draw
action or "spine" lines.
C R O S S - H A T C H E D portions, representing areas
which are not wanted, are cut
away first. Using the nall file,
large sections are cut off at
one time. Remember to cut
straight down.
PLANES of the shape
come into play now. You
will notice how some of the
planes are concave and others
are convex. Use the loop tool
to resolve the planes, cutting
from the base to the lip with
rhythmic strokes.
CONVERGING
LINES
play an important part
in the pattern, giving the triangular d i r e c t i o n
to the
masses. Newspapers on the
floor are helpful, as you will
notice that this is a messyiab.
22
FROM
BLOCKS
time, check to see if the block is
getting too dry.
W h e n I a m sure all the air is out
of the clay, I wedge it into a block
similar in size and shape to the piece
I w a n t to m a k e - - a long, n a r r o w
block for a long, n a r r o w pot. etc.
T h e n I wedge the block to the exact
height as the pot I have in mind.
N o w the block is p u t a w a y in a
container that is not airtight in order
for it to set up or harden. W h e n the
block becomes firm, but not leather
hard, we are ready to d r a w a design
on it a n d proceed with the carving.
T h e first thing you do on this interesting block of clay is to d r a w out
the p a t t e r n of the pottery shape you
have in mind. D r a w the outside view,
sketching the shape of the lip or the
u p p e r edge. T h e inside circle always
should indicate where the pot is going
to balance or stand; in other words,
the base or bottom. I also d r a w w h a t
I call action or spine lines of the
shape. These are the converging lines
which give you the line of action or
m o v e m e n t and help dictate the planes
of your caiwing. This line not only
gives you the sense of action of the
pot, b u t also the sense of structure
that you are trying to achieve.
W e a r comfortable shoes while working on a carving project because most
of the time, you will be standing on
your feet. S t a n d i n g is advisable so
that your arms can swing in rythmic
movements while you work. You
should be above the object you are
m a k i n g at all times, so you can look
down on it. I also might say, at this
point, that newspapers on the floor
are a good idea. You start cutting
a w a y so fast, with a nice free movement, that the chips fly off in all
directions. Newspapers can save a
messy clean-up job.
Now we are ready to begin to
carve. Cross-hatch the sections you
wish to cut off. Large sections are
cut off first, cutting straight down.
This will be the outside of your pot.
T h e second step is to bring the planes
into play. Some of the planes will
be concave; some convex. This makes
the shape m o r e interesting. Start resolving the planes with the loop tool,
cutting from the base to the lip with
free, rhythmic strokes.
You will notice, in the accompanying photographs, how the converging
lines play a p a r t in the pattern. They
CERAMICS MONTHLY
give me the triangular direction of
the masses. T o study the threedimensional effect, cover the form
with the second board a n d invert tile
piece. Then, holding it at eye-level,
examine the profile of the piece.
Tile next step is to d r a w a line
from the base of the piece to tile
tip, so that it floats or rises up like
tile bow of a boat. ( S h o u l d you want
tile piece to be solidly based, you
would omit this line.) T h e n do the
same thing on the other side.
Flip the piece, using the boards.
and recut the planes on the sides.
Now the old center-action lines are
put in again, a n d the curve is redone.
W h e n the piece is turned right side
up, we find that it rises gracefully
from the base a n d curves upward.
Continue working in this m a n n e r
until your design looks good from all
directions. T h e n you can begin working on the inside. However. be sure
to do all the straightening a n d adjusting first because, once you begin
working on the inside it is too late
to change the exterior.
Allow the solid form to set up until
very firm before you begin to carve
the inside. W h e n lightly covered, the
piece usually is ready to be worked
with the following day.
Carefully d r a w the inside thickness
of the dish. Perhaps you will w a n t it
thicker in the back a n d thinner as it
comes up t o w a r d the lifted end to
give it a sense of lightness there.
D r a w all this in. You m i g h t wish to
sketch these lines m a n y times until
you are sure you like w h a t you have.
W i t h your loop tool, scoop out the
center of the form first. As you approach the sides, support tim outside
with one h a n d so you will not crack
or strain the wall with inside pressure.
Check to see that the walls remain
at least ~ - i n c h thick. T h e bottom
can be h e a v i e r - - 3 ~ to ~ - i n c h - - d e pending on the size of the dish. T a k e
care not to dig too deeply into the
bottom. I find that m a n y students
overestimate the depth of the piece
and make the b o t t o m too thin. Scoop
out the inside slowly, testing with
your t h u m b and forefinger as vou
progress, to avoid straining the walls.
T h e walls should be a p p r o x i m a t e l y
of even thickness. Every once in a
while. 1 suggest that my students shut
their eyes a n d just feel their way to
see if the walls are even.
You will notice on my design that
the inside of the dish is m u c h r o u n d e r
(Please turn
APRIL, 1958
the page)
STUDYING the three-dimensional effect of the
piece is done by holding it
at eye-level and examining the
profile from all sides. Use two
boards to turn the piece rightside-up.
DRAW A LINE from the
base of the piece to the
tip so it rises up llke the bow
of a boat. Do the same thing
on the other side of the piece.
If you wish a solid base, this
step may be emitted.
FLIP the piece again, using the boards. Now recut the planes on the sides.
The old center-action lines are
put in again, and the curve is
redone.
C O N T I N U E trimming the
planes until your design
looks good from all directions.
Be sure to do all ÷he straightening and adjusting at this
point because, once you have
begun work on the inside, it
is too late to change the exterior of the piece.
23
...
0 SCOOP OUT the center
of the form first, using the
loop tool. As you approach
the sides, support the outside
with your other hand so you
will not crack the walls or
strain them with inside pressure. Be careful not to make
the bottom too thin.
CARVING
FROM
BLOCKS
than the outside. This makes an interesting variation. Here again, we
can use nature for inspiration. If you
will look at a nutshell or the shell of
a gourd, often you will notice that
INSIDE thickness of the
the inside will be lighter in weight
wall is carefully drawn in.
at
the top and heavier at the bottom.
To give the piece a feeling of
When finishing your pot, remember
lightness in the uplifted end,
that all good pottery has rounded
you may wish to make the wall
edges. So do not leave knife-sharp
thinner there. Sketch the lines
many times until you are sure
edges on either the bottom or the
you like what you have.
sides. Such edges chip very easily
and are difficult to glaze successfully.
Here is an idea that you do not
see used too often, yet it works wonders for rounding edges. When the
form is finished, don an old cotton
glow'e, the palm and fingers of which
have been moistened, and gently
stroke the edges of the piece so they
become rounded and polished.
Resist the temptation to mold the
form. Do all the work by carving
and do not try to model by adding
clay or by stretching the piece. W h a t
you cannot do by carving, don't do!
When the form is completed, you
may wish to texture your piece. As
a rule, texture usually is on the outside of the object, not on the inside.
T h e inside generally is smoother and
lighter in color; the outside darker
and more richly textured. T h e exception is a bird bath. T h e birds do
not appreciate too slippery an inner
surface, so you can use some texture
or at least a glaze that is not too
AN OLD GLOVE works glossy when making a bird bath.
Glazes for this type of pottery must
wonders for rounding out
the edges of pottery. Moisten
be kept simple and earthy. Glossy,
the palm and fingers of the
bright-colored glazes seem out of
glove and stroke the piece
place here. Matts, vellum matts,
gently until the edges have
rutile glazes and engobes seem to
become rounded. Resist the
strike the proper note.
temptation to mold the form,
About three coats of glaze should
add clay or stretch the piece.
be applied to the sides, but not to
the bottom, of the dish. Usually this
means that the glaze must be thinned
ii!ili
i!i!i
iiiiii!i!ill down with water in order for it to
be
!i!ilili!ii;ii
!i! applied properly. The inside of
the dish m a y be glazed with a lighter
and brighter-colored glaze - - about
five coats.
Again let me advise you to stick
to the earth tones and colors. They
are more appropriate on these solid,
free-form sculptured shapes. Beware
of fancy" decorations or gay, gypsy'like colors! These forms are more
closely related to stones in shape,
texture and weight than they are to
flowers. •
1
2 FINISHED PIECE is glaz-
ed with earthy colors.
Remember that carved pottery
is more closely related to
stones in shape, texture and
weight than it is to flowers.
Steer clear of gay colors and
fancy decorations!
24
CERAMICS MONTHLY
Strictly
..
Stoneware
stoneware
clay bodies:
part
five
by F. CARLTON BALL
This month, Mr. Ball
concludes his present
series with a discussion
of coloring clay bodies.
Recipes for four basic
clay bodies are included.
together with a listing
o/ colorants. Mr. Ball's
next series will be on
glazes and glazemaking
materials.--Ed.
Clay bodies can be blended for
color and texture. When stoneware
clays are blended to achieve a beautiful color and texture, the outside of
a pot made from this clay blend
should not be glazed. Usually the
glaze does not improve the color or
texture.
Here are some recipes for colored
stoneware bodies. All tests are fox
cone i0 oxidation firing unless otherwise indicated. At cone 6, the tiles
are beautiful but lighter in color.
For Red-Browns:
Basic Clay Body A
per cent
20
20
20
20
20
Plastic China Clay
Ball Clay
Flint
Feldspar
Grog
For color, add the following coloring oxides :
For Greens:
Pale gray-green
Add chromium oxide
0.5%
Medium pale gray-green
Add chromium oxide
3%
Medium gray-green
Add chromium oxide
6%
Gray-green
Add chromium oxide
9%
For Blue-Greens:
Medium gray blue-green
Add cobalt oxide
0.5%
chromium oxide 0.55i
Strong gray blue-green
Add cobalt oxide
i ~i
chromium oxide
15~
Dark strong gray blue-green
Add cobalt oxide
1.59~
chromium oxide 1.5c~
For Beauti[ul Warm Grays:
Pale gray
Add iron chromate
Medium pale gray
Add iron chromate
Medium gray
Add iron chromate
Medium dark gray
Add iron chromate
Dark gray
Add iron chromate
APRIL, 1958
For Browns:
Medium brown
Add red iron oxide
2%
manganese dioxide 1%
Dark brown
Add red iron oxide
45~
manganese dioxide 2%
Warm brown (cone 6)
Add red iron oxide
65/manganese dioxide 3%
Chocolate brown (cone 6)
Add red iron oxide
8.0~/:
manganese dioxide 4.591
Warm black-brown (cone 6)
Add red iron oxide
109~
manganese dioxide 69/~
Note: At cone 6, the medium
brown mixture is a pale graybrown and the dark brown mixture is a dark tan. The other
three browns are for cone 6
or 7. At higher temperatures
they overfire, distort and turn
black.
35~
6%
9c~,
Red-brown (cone i0)
A d d red iron oxide
2.55/~
Dark buff (cone 6)
Add red iron oxide
2.59~Deep red-brown (cone 10)
Add red iron oxide
5%,
Pale brick red (cone 5)
Add red aron oxide
59~
'="Medium brick red (cone 6)
Add red iron oxide
7.55/~Strong brick red (cone 6)
Add red iron oxide
10%
~'Dark brick red (cone 6)
Add red iron oxide
15%
~Note: When these colors were
fired to cone 10, the results
were poor.
For Blues:
Light gray-blue
Add cobalt oxide
Medium gray-blue
Add cobalt oxide
Strong gray-blue
Add cobalt oxide
Very strong gray-blue
Add cobalt oxide
0.5%
15~
2c/~
per cent
30
20
20
10
20
This body mav be colored as follows :
12~
For Browns:
15c~
Medium brown
Add Barnard clay
10')/~
155,~
2054
For Browns
(without Barnard clay):
Pale brown
Add manganese dioxide 2 ~
Light brown
Add manganese dioxide 3%
Medium light brown
A d d manganese dioxide 4%
Medium brown
Add manganese dioxide 572
Dark brown
Add manganese dioxide 7%
Black-brown
Add manganese dioxide 10%
For Orange-Buff Colors:
Medium orange-buff
A d d rutile
Medium dark orange-buff
A d d rutile
Dark orange-buff
A d d rutile
Very dark orange-buff
A d d rutile
2%
45f
6%
8%
Basic Clay Body C
Plastic Fire Clay
Natural Red Clay
Flint
Grog
per cent
30
25
25
20
Color as follows:
For Blacks:
Black-brown
Add cobalt oxide
0.591manganese dioxide 5.0 91Black
Add cobalt oxide
0.5%
manganese dioxide 7.0%
Charcoal black
A d d cobalt oxide
1.5~+
manganese
dioxide
10.0~
Basic Clay Body D
3?~
Basic Clay Body B
Plastic Fire Clay
Ball Clay
Flint
Feldspar
Grog
Dark brown
Add Barnard clay
Very dark brown
Add Barnard clay
Brown-black
Add Barnard clay
5q;
Plastic China Clay
Ball Clay
Flint
Feldspar
Grog
per cent
30
10
20
20
20
This clay body may be colored as
follows :
For Yellow-Whites:
Ivory
A d d red iron oxide
Gray-Yellow
Add red iron oxide
0.5~
1%
(Continued on page 34)
25
SOMETHING
NEW
FOR E N A M E L E R S :
silver plated steel
By NELLY A L L A N
A D V E N T U R E awaits the
ANEW
,-namelist who hasn t tried enameling on silver plated steel. Either
opaque or transparent enamels can
be used, but the transparents give
beautiful silvery effects. The results
are the same as with fine or sterling
silver, only they are obtained at a
fraction of the cost.
Silver plated steel has been used
extensively in commercial enameling
for compact inserts, mirror backs,
cigarette lighters, etc. ; but only recently has this metal been made available
to hobbyists. In fact, it is so new that
most suppliers do not handle it. However, pre-cut sih'er plated steel shapes
are available from the Thomas C.
Thompson Co., Highland Park, Ill.
These come in a variety of shapes-circles, rectangles, squares, ovals, etc.
Silver plated steel is made from a
very low carbon iron, electroplated on
both sides with a heaxw coat of sil-
26
vet. Compared with copper, this metal is very strong and eliminates practically all of the problems of enamels
cracking. In addition, it is very light
in weight which makes it ideal for
jewelry. Like pure silver, no precleaning is required unless the piece
is tarnished, and firescale does not
form during firing.
O n the debit side, there are two
main disadvantages: Pieces cannot
be bent or shaped by hand without
damaging the plating; and cutting
pieces exposes a raw steel edge which
might rust if not protected.
Some precautions are necessary
when using this metal. Be careful not
to overfire silver plated steel. The kiln
temperature should be between 1450 °
and 1500°F., and the pieces should
be removed from the kiln as soon as
the enamel forms a smooth, glassy
surface. Overfiring can produce a
blistered effect.
The pre-cut shapes can be made into necklaces, bracelets, drop earrings,
etc. by drilling small holes and joining the pieces with links. Jewelry findings can easily be soft soldered to the
backs of the pieces.
Several enameling methods can be
used on silver plated steel. But, regardless of the method used, transparent enamels will bring out the
white silver background most effectively. However, remember to wash
your transparent enamels thoroughly
to remove impurities and overly fine
particles which can cloud your finished piece.
To wash transparent enamels, place
each color in a separate jar or bowl.
Be sure to allow sufficient room for
water. Add water, stir the mixture
thoroughly and allow the enamel
particles to settle out. Pour off the
cloudy water into another container
and set it aside.
CERAMICS MONTHLY
SILVER CLOISONNE shows off to full advantage when a transparent background
is used over silver plated steel. Photos at left show how shaped, silver wires are
put in place, and how the enclosures are filled with enamels.
A white scum on the surface of the
enamel indicates it is still not completely clean. Repeat the washing procedure until little or no scum remains. Three to five washings usually
are sufficient.
One of my favorite techniques invoh-es the use of sih,er cloisonne wire.
This is a thin, flat wire which is very
pliable. It is sold in coils and is avail'able from jewelry supply finns.
Draw a simple sketch for the wire
design which will fit into the shape
you wish to use. Using small pliers or
tweezers, bend the wires into the desired shapes. Keep in mind that the
wires must stand up and close, so the
moistened enamels can be placed inside the little "fences."
I usually clean siher plated steel
lightly with fine steel wool, then remove dust with a tissue. T h e manufacturer says it also can be cleaned
by brushing with a bristle brush and a
water paste of baking soda. After
cleaning. I apply a gum solution and
dust on transparent enamel. I use
a l i g h t e r application of enamel for silver plated steel than I do for copper.
When the enamel is dry, set on the
shaped cloisonne wire. It should stand
higher than the enamel. Fire briefly
(it is better to underfire) ; then cool.
APRIL, 1958
Mix the desired enamel colors.
either transparent or opaques, in small
bottle caps, using enough water to
form a paste. Using a small spatula
or dentist tools, fill in the shaped
wire with this enamel paste. Dry near
the kiln: then fire until glossy.
T h e "thread and lump" method
also can be used very effectively on
sih,er plated steel. However. ahvays
use transparent enamels for the background. Other interesting resuhs may
be obtained bv applying a transparent
"Continued
on
pa~e
34)
NECKLACE WITH D A N C I N G FIGURES also shows off silver. A transparent background
first is fired on. Then opaque enamel is dusted an, and the excess removed, leaving the design.
Silver plated steel allows hobbyists to get the results obtained with pure silver at a fraction of
the cost.
27
The~
UNDERGLAZESeries
demonstrated by MARC BELLAIRE
Effective
PRINTING
THE BUTTERFLY
and PUSSY
W I L L O W motif utilizes a specific
type of decorating stroke--printing.
Printing doesn't require any m o v e m e n t of the brush
whatsoever. T h e printed shapes are made by filling the
brush and touching its side to the piece, forming the
actual print of the brush itself.
I n this motif, the pussy willows are made with the
printing stroke using two colors at the same time. T h e
brush first is dipped into the lighter color; then into the
darker shade. T h e butterflies, done in a single color,
are m a d e with a modification of the printing stroke. The
brush is touched to the ware, pulled along slightly to
elongate the stroke, then raised abruptly T h e stems of
the pussy willow are made with a small liner brush using
a straight pull on the brush with varying pressures to
create the nodes. Monochrome colors are especially appropriate for this m o t i ~ y e l l o w with brown tip, pink
with purple tip, etc. T h e spattered background is done
with one of the colors. Follow the step-by-step instructions on the opposite page. •
TWO VIEWS of finished and glazed piece.
In this series o[ articles, no specific
brand o[ underyjaze is either
~uggested or implied. The national
brands are highly competitive
in quality and price. Mr. Bellaire's
advice is to use those brands
you [eel give you the best results.
28
CERAMICS MONTHLY
1. The shape is spaffered with
the lighter of the two colors to
be used, in this case--plnE. Then
the pussy willow stems are sketched in, using a pencil with a dull
point.
2. A little underglaze - - purple
and pink m is poured into jar
lids. The brush first is d~pped into
the lighter color. Then the tip is
dipped into the darker.
3. Holding the green ware in a
comfortable position, the brush is
touched down on the shape
the base first, then the tip. The
darker shade should be placed
nearest the stem.
4. Butterflies go in next, using
each color separately. The printing stroke is modified by pulling
the brush slightly after it is touched to the green ware, thereby
lengthening the stroke, and pulling it up abruptly.
5. The liner brush is used for
the pussy willow stems. Use a
straight pull on the brush, but
vary the pressure to suggest the
nodes. Stems are black.
6. The final step is puffing in
the fine details on the butterflies
and pussy willows. These also are
done in black.
APRIL, 19S8
29
. . . ,5"
Subscription
Whether you're an
amateur or an expert you'll find C M
to be a valuable
source |or ideas and
in|orma÷ion on pottery and enamels.
Order your own personal coples now[!
Order
Form
SEND
(Continued [rom page 10)
w i t h t i n snips, and used the s t r a i g h t edge f o r the c u t t i n g
edge. I used pliers to s h a p e the rose petals.
I m a d e m y c u t t e r s a b o u t one inch h i g h and used t a p e
(Scotch, a d h e s i v e or m a s k i n g t a p e will do) to cover the
s h a r p edges and p a d t h e top. I w r a p p e d m o r e of the t a p e
a r o u n d t h e c u t t e r to hold it in place and s t r e n g t h e n it.
To m a k e t h e leaf c u t t e r , I t r i m m e d t h e edge f r o m a
m e t a l milk bottle cover. I s h a p e d the leaf f r o m t h i s n a r r o w
CERAMICS
MONTHLY
TODAY
Ceramics Monthly
417S N. High St.
Columbus 14, O h i o
2a
rim, t h e n set it in p l a s t e r of P a r i s in an oval cocoa can
cover. W i t h t h i s c u t t e r I m a d e notched leaves s i m i l a r to,
if not e x a c t l y like, rose leaves. I m a d e 86 dozen roses w i t h
t h e s e c u t t e r s , and t h e y a r e good f o r m a n y more.
MAGAZINE
--Forence Smith Sutton, Miami, Fla.
Rough Texture
NAME
F o r a n i n t e r e s t i n g r o u g h t e x t u r e , use a h i g h p e r c e n t age of g r o g in t h e clay. A f t e r t h e piece is t h o r o u g h l y dry,
s p o n g e well u n t i l t h e g r o g is well exposed. A n o t h e r i n t e r e s t i n g t e x t u r e can be o b t a i n e d by s c r a p i n g a w a y t h e g r o g
w i t h a rib.
ADDRESS
CITY
ZONE
[] 1 year S5.00
Canada
postage
STATE
[ ] 2 years $9.00
---Lee Levy, Levittown, N.Y.
[] 3 years $12.00
a n d P a n A m e r i c a add 50c p e r y e a r for
and service. F o r e i g n add $1.00 p e r y e a r .
[ ] Remittance enclosed
Designs from Bottle Caps
Save t h o s e f a n c y tooth p a s t e and cologne caps and a n y
o t h e r s t h a t h a v e i n t e r e s t i n g designs. I use t h e caps to imp r i n t d e s i g n s on l e a t h e r h a r d g r e e n w a r e , a n d f o r t e x t u r -
[ ] Please bill me
- ~'.:~:~:-. 7g~.._. ' ~ ~ i ~ , ~ Y .
~*-'~-./~-- ,~'~.: --~ .
•
~- . . . . . .
, ..
m z ~. . . . . .
ing too. S o m e t i m e s I use t h e m on a f l a t s u r f a c e as s t a m p s
f o r gold designs. Be s u r e t h e gold is in the t a c k y s t a g e
t h o u g h . I t ' s lots of f u n . T r y it some time!
- - R u t h I. Wolf, Dayton, Ohio
that
have
have
back
special arTiCle you
in mind when you
a Binder for your
issues of CM.
For Square Sides
Holds
And you can be sure that
the issue you want will be
there ~ the steel blades
hold each issue firmly in
place. The Binder has a
green cover with
the
name plates in gold leaf. ,
12
issues
price $3.50
( w e pay postagel
Order one today!
r
m m
n
n
n
Col.,.b.s, Ohl*
|
Name
II
Address
I
City
II
I enclose $
|
I
I
i~ | |
,.- ~- llll
ii
|
~
n-'-.n-j
please send me a BINDER
|m: "my copies of Ceramics Monthly
|
I
I
A u s e f u l tool to h a v e in your studio is a chef's clock
or k i t c h e n timer. Set it to r e m i n d you to check your kiln
or t u r n off y o u r ball mill. Meanwhile, you can give undivided a t t e n t i o n to o t h e r n e c e s s a r y jobs.
- - B i m and Doris Newman, North Babylon, N. Y.
|
I
Z n ~
__
- - P e g Townse,zd, Tucson, Ariz.
Studio Helper
Yes ~
4|TSN. HJgkSt.
~Lam u ~ u ~
30
iii |
C:eramlos
Monthly
IJ
Jl
|
W h e n d r y i n g h a n d - b u i l t slab pieces t h a t you wish to
keep t r u e - - t r y p l a c i n g blocks of wood on all f o u r sides. Of
course, h e a v y slabs of p l a s t e r also would be good if t h e y are
available. L e a v e t h e blocks w i t h the project until the clay
is dry. No m o r e d i s a p p o i n t m e n t s w i t h w a r p e d sides. We
a l w a y s keep a n u m b e r o f 11~ '' x 3" or 2" x 4" pieces of
wood on h a n d in 12-inch l e n g t h s . This same principle also
applies w h e n m a k i n g tiles. To keep t h e m f r o m w a r p i n g ,
d r y b e t w e e n slabs of p l a s t e r or blocks of wood.
aunmmU
State
B
s.0dre~;.~co~;t~o~d.,.Ohio,es;~o~tsodd3%~1o,To,.
,m, ~ - - -
N---
mU--m ~
u--"
m ~
~m'~J
II
Dollars
for
your
Thoughts
CM pays $1 to $5 for each item used in this column. Send your
bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14,
Ohio. Sorry, but we can't acknowledge or return unused items.
CERAMICS ,MONTHLY
AlEnamehncj
~J
ww,,m,,mn~w,
~ L
FIRING ENAMELED DISHES
Last month I described Perfo-Trivlts' for
firing jewelry. This month we have something brand new to solve the problems
when firing dishes.
RINGS FOR YOUR FINGERS
We use enamel for all kinds of
jewelry - - pins, earrings, necklaces,
b r a c e l e t s - - b u t we do not make m a n y
enameled rings. Whv? T w o of the
reasons may be that it is quite an
effort to make a good ring, a n d commercial blanks cannot be used. O n l y
persons who can handle metal pretty
well will attempt to make a ring.
I know no other reasons whv enameled rings are not more popular.
E n a m e l rings can be quite striking.
I know, because I have m a d e many.
They also are quite exciting to make.
You can obtain rings in any color
vou desire, and vou are able to m a t c h
dress material and accessories. Besides, enamel rings hold up well.
Rings I have made have emerged
through the years u n c h i p p e d a n d
without a scratch. W h a t more can
you expect of an enameled ring?
There are m a n y ways to make such
a piece of jewelry, and I will try now
to describe some of them. T h e simplest
way, naturally, is to make the ring
cigar b a n d fashion. T h e o r n a m e n t
and b a n d are cut in one piece from
heavv copper (see sketch), bent to
shape, a n d hard soldered where the
ends meet. T h e n the ring is enameled.
O r you can cut only the o r n a m e n t
out of copper, bend it to an arch so
that it fits the finger nicely, a n d cut
the b a n d from silver (see sketch).
Either sheet silver or silver wire can
be used. T h e ends have to be soldered
LEFT: "Cigar band" ring in one piece:
RIGHT: Copper enamel ornament with adjustable silver band.
APRIL, 1958
or the strip cut a little longer so that
the ends overlap. This then becomes
a ring that is adjustable to any size
finger, a n d the seam does not hax'e
to be soldered.
T h e r e is a lazy way of m a k i n g a
ring too. T h e rigid ring can be soldered to the o r n a m e n t with the unsoldered seam u n d e r n e a t h the ornament, so the entire soldering job is
done in one operation. This eliminates one soldering.
Adjustable or not, the b a n d can
be soft soldered to the o r n a m e n t after
it is enameled, or hard soldered to
it before it is enameled. Both methods
make original a n d novel rings. Yes,
but they are not very precious a n d
also not very durable. Why not durable? Because the edges of the enamel are not protected and, sooner
or later, they will chip. H o w do you
protect the edges of a n enamel piece?
You put it in a metal setting with
enough metal a r o u n d it to protect it
from all the abuse a ring normally
is exposed to.
C o m i n g up are two good ring settings. O n e is traditional a n d the other,
a very practical one, is a "secret" of
mine. For both, we make the enamel
first. T h e piece to be enameled can
be cut from light copper, silver or
g o l d - - 2 4 or 26 gauge or heavier.
Never m i n d the gauge, a n d dome it.
E n a m e l it to your heart's desire; but
d o n ' t try to imitate a stone. Do not
be ashamed to make it look like what
it i s - - a n enamel. Be sure to counterenamel perfectly: First, for strength
and secondly, because the back of the
enamel has to be exposed with the
first method a n d can be with the
second, according to taste.
File the edges smoothly. T h e n you
can start getting in trouble bv m a k i n g
setting n u m b e r o n e - - t h e basic, traditional one. I t is a regular bezel
setting. First cut a strip of thin silver.
or take bezel wire about ~ - i n c h wide,
and make it as long as the circum-
(Continued on page 32)
There are several ways to fire an
e n a m e l e d dish.
6
1. You can leave a circle of
(i ~ bare copper on back so dish
~ will not fuse to t r i v i t - - l a t e r
~cover
circle with felt. At
~¢~
b e s t , t h i s is a m a k e s h i f t
. ~ . ~ method.
~
2. Rest the dish on wire
pointed stilts (this leaves
] ~
m a r k s on the back of dish).
3. C o m p l e t e l y c o u n t e r -,~
e n a m e l and suspend the dish
i
.~
on a trivit with 'wings'. This
is the only really satisfaci
tory method as the dish
touches the trivit only at
the rim, where t h e r e is no
P" "~ ~¢- enamel.
There have been several good
Trivits on the m a r k e t a n d we
have used them in m y classes
with a certain degree of success.
However, there was a l w a y s one
problem: if they were not properly locked, the dish w o u l d tip
over in the kiln. Only a n e n a m e l ist w o r k i n g day after d a y with
classes knows the a g g r e v a t i o n
both to teacher and s t u d e n t w h e n
this happens.
We have designed a t r i v i t which
eliminates this risk. Here are it's
exclusive features:
1. Completely a d j u s t a b l e - - a n y
dish up to 8" (larger models
available later).
2. Made of h e a v y gauge stainless
s t e e l - no flaking or w a r p i n g .
3. A n ingenious locking device
that has no nuts or bolts. The
wings lock positively a n d automatically in each position.
4. E x t r e m e l y easy to use and
completely foolproof.
This new trivit is the result of
two years of e x p e r i m e n t a t i o n . I
sincerely believe it will
solve the d i s h - f i r i n g
problem completely.
Order your 'COLS:,
',', TON-TRIVIT' t o d a y - !
;r o n l y 6.95 c o m p l e t e
with two sets of wings,
one for small dishes
and one for large
sizes.
i I
ml'
ii
,,
New 112 page catalogue for
Jewelry & E n a m e l i n g - . 2 5
BERGEn IIRT5 & (RRFT5
300 S.W. 17th Ave., Miami, Fla,
Dept. CM
31
BOOS T
Your
SALES
SELL ROCK CRYSTAL STARS, JEWELRY
NOVELTIES, JEWELRY PARTS, BAROQUE
GEMS, JEWELRY M A K I N G and GEM
C U T T I N G SUPPLIES, MATERIALS a n d
MACHINERY. 25c C O I N or STAMPS
BRINGS Y O U 1/2'" G E N U I N E ROCK
CRYSTAL STAR A N D BULLETIN DESCRIBING 240-PAGE CRAFT CATALOG. ASK
FOR FREE BULLETIN.
The Famous
KLOPFENSTEIN
POTTER'S WHEEL
Write for FREE information
H. B. KLOPFENSTEIN & SONS
R.F.D. # 2
Dept. A
Crestllne, Ohio
For Mosaics and Tile
ILLINI
439 N.
CERAMIC
SERVICE
Wells, Ch|cago
10, I I I .
MARC BELLAIRE
Will be teaching the latest techniques
in underglaze colors.
MAY 24-26-27-28-29-30
Register early - - classes filling rapidly
JEAN LEONARD
96-24 C o r o n a A v e .
Corona, N . Y .
H A 6-4120
15 E. Hartsdale
H a r t s d a l e , N. Y.
W H 9-4131
Mary Grohs Ceramic Decals
P.O. Box 34 West Orange, New Jersey
One of the largest decal houses ~n the East
Decals & Jewelry
Decal Illustrated catalog 50e
Jewelry Finding & medallion catalog 25c
Gold & Lustre instruction BooE $1.00
SPECIAL:
Sample pkg. decals $3.00 for $1.00
MOLDS ONLY
New Retail Price List &
Catalog 50e. New Molds
PIPER
324 Passaic Ave.,
POTTERY
Enameler's Column
(Continued from page 3l)
ference of the enamel. N o w bend the
strip into a ring so the ends meet
tightly, a n d h a r d solder. File the seam
so no solder shows, a n d also file w h a t
is going to be the top of the bezel
from the outside to the center. Get
the edges as thin as possible.
Now, give this bezel the shape of
the enamel a n d start m a k i n g a lining
for it. T h e lining consists of a strip of
m u c h heavier silver t h a t is soldered
to the inside of the setting, b u t does
not come up to the top of it. T h e
e n a m e l has to sit on the lining, so
leave ~ - i n c h of thin silver at the top
of the lining. W h e n the lining is
soldered in place, the e n a m e l sits on
it a n d cannot slip down a n d when
the thin rim is bent down over it, it
c a n n o t fall out of the setting. U n d e r stand? Well, I hope so!
A f t e r the lining is soldered in place,
take a large, h a l f - r o u n d file and
r o u n d out the b o t t o m of the bezel
until it sits nicely on your finger. If
you w a n t to, you can use the f r a m e
now, as it is. But, if you are a perfectionist, as I hope you are in this
case, you a r e n ' t finished yet.
Solder a b o t t o m - - c o n s i s t i n g of a
piece of sheet silver with a hole cut
out in the c e n t e r - - t o the setting,
leaving only a sort of frame. This
makes the piece look m u c h m o r e comp a c t and precious a n d takes away
the tinny a p p e a r a n c e of an u n b a c k e d
bezel.
T h e ring b a n d is soldered to the
sides of the setting a n d it is up to you
to invent an endless variety of these
bands. T h e b a n d is really w h a t
"makes" the setting. T h e way you
design the spot where the ring b a n d
a n d o r n a m e n t m e r g e needs great attention. N o t h i n g is left for you to do
now b u t polish the setting a n d sna.p
the e n a m e l in place. W i t h a very soft
touch, burnish down the bezel. Mis-
West Caldwell, N.J.
(Continued on page 36)
G
Contact Trinity
for Superior
CERAMIC and PORCELAIN
CLAYS
COLUMBUS, OHiO
G r e e n w a r e - - Slip - - Glazes - - U n d e r g l a z e s
S u b - D i s t r i b u t o r : A m e r i c a n B e a u t y Glazes
D e a l e r : Ez-Flo a n d G a l a x y g l a z e s ; Fiesta
Mi-glaze a n d W r o u g h t I r o n S t a i n s ; TruFyre Underglazes
C u s t o m Firing
(porcelain and ceramic)
Instructions in Glazing, U n d e r g l a z l n g , Hand
Building
GRA-ZLE CERAMICS
348 Yarmouth
hLW
Lane
b{,~" x I t "
TR 8-3274
Monthly Magazine
The CHINA DECORATOR
" K e r a m i c S t u d i o " style, designs, a r t i c l e s
for C h i n a D e c o r a t i n g . B e g i n n e r s ; A d v a n c e d ;
Studios. Studio discounts. A d v e r t i s i n g brir~gi n g w o n d e r f u l results. $3.75 yr., $7.00 two
yr. P.O. Box C-36, P a s a d e n a , Calif.
Also C H I N A P A I N T I N G BOOK $4.25
N E T T I E E. P I L L E T
825 N. M i c h i g a n
Pasadena, Callfor~ia
MOLDS
MOLDS
MOLDS
MOLDS
Molds by: AI Schoellkopf, JM Treasures, House
of A r t , H o l l a n d , Schmid, White Horse, CreekT u r n , Coulton, P i e p e r , Itobby Heaven, Bell, and
Dolly's.
MAYCO • S Y M P H O N Y $ D U N C A N P R O D U C T S
X-ACTO C E R A M I C T O O L S give added skill.
G A Y G L A Z E - - it enas costly failures.
Send for literature.
DABBLER'S CERAMIC SUPPLIES
740 K e a r n y Ave. K e a r n y , New Jersey
r.v ~.vv vvvvvvvvvvvvvvvvv~vvv~
CERAMICS
4
Instructlon--Supplies--Firing Finished and
Greenware. Distributor REWARD • DOBE
b GLO & WILLOUGHBY PRODUCTS.
¢
HAZEL HURLEY STUDIO
¢
830 Warren Ave.
DownersGrove, Ill 4
Call W O 8-0719
4
SEELEV'S CERAMIC SERVICE
Let us hell) you w i t h your ceramic needs.
We have a complete line of school supplies
and e q u i p m e n t : slips, clays, colors, kilns,
wheels, tools, brushes, sprayers, pens, and
books. Free c a t a l o g u e s to schools and cer a m i c teachers: Ceramic-Molds E n a m e l i n g .
7 ELM STREET, ONEONTA, NEW YORK
Inquire About Our Mosaic Tile Kits
# ! includes 3 molds, 5 glazes, grout, adhesive, kiln, 24" diam. table,
$47.90 value . . . . . . . . . . . . . . . .
$44.95
# 2 As above but without table,
$33.1S value . . . . . . . . . . . . . . .
$29.95
# 3 Same as # 2 but without kiln,
$13.20 value . . . . . . . . . . . . . .
$12.00
10% Handling. Shipping collect
Distributor of:
Petras Molds, Creek Turn Molds & Glazes,
Reward Colors, Mayco Colors, Norman
Kilns, Paasche Air Brush, La Fleur Stamps
CERAMIC STUDIO WORKSHOP
8027 F r a n k f o r d Ave. P h i l a d e l p h i a 36, P e n n a .
FOUR STAGES of the bezel ring.
32
Dealerships Invited, See Us
At Chicago Show
CERAMICS MONTHLY
Florence Co.
people,
places
G R E A T L A K E S HOBBY S H O W : The
c u r t a i n goes up on the 1958 G r e a t L a k e s
C e r a m i c s H o b b y Exhibitio.n and W o r k shop on April 24. The show, w h i c h will
be held a t t h e Conrad H i l t o n Hotel in
Chicago, will r u n for f o u r d a y s - t h r o u g h April 27. The show t h i s y e a r
will f e a t m ' e divided h o u r s f o r t h e benefit of those a t t e n d i n g .
A c c o r d i n g to A r t h u r Higgs, m a n a g ing director, t h e h o u r s a r e as follows:
Thursday through Saturday--registered wholesale buyers, 11 a.m. to 1 p.m.;
g e n e r a l public, 1 p.m. to 5:30 p.m. a n d
7 p.m. to 10 p.m. S u n d a y h o u r s - - r e g istered wholesale huyers, 11 a.m. to
12:30 p.m.; g e n e r a l public, 12:30 p.m.
to 6 p.m.
More t h a n 30 t e a c h e r s will be on
h a n d f o r classes and d e m o n s t r a t i o n s .
Included are f o u r CM special c o n t r i b u t o r s : Mare Bellaire, E d r i s E c k h a r d t ,
Zena Holst a n d J o h n Kenny.
O t h e r s in t h e e x c i t i n g g r o u p of t e a c h ers a r e Zelda Burdick, J u s t i n e B r a d y ,
Phyliss Cusick, Ella Combs, Lillian
Czagany, B a r b a r a F a g e n , E d n a F e r r y ,
D o r o t h y L a F l e u r , L o r r a i n e Hensley,
Alice Hill, N. H o p k i n s , R i c h a r d H y m a n ,
Jenness, Eileen Kane, Lillian K a p p e l e r ,
K a y Kinney, H e r m a n Kleiner, C h u l a
Kolb, V i r g i n i a Lee, David Owens, Isabel Podezwa, Dodie Raskin, J a y Reed,
Stangren,
Al Schoetkopf,
Madeline
S t r a c k b e i n , C h a r l e s West, B e l v a Woolsey a n d t h e well-known M e x i c a n a r t ist, J u a n Jose S e g u r a .
&
CERAMIC
things
In a d d i t i o n to t h e classes a n d d e m o n s t r a t i o n s , t h e show will f e a t u r e m a t e r i a l
a n d s u p p l y e x h i b i t s a n d a h o b b y comp e t i t i o n w i t h prizes. More t h a n 50 exh i b i t o r s f r o m New York to C a l i f o r n i a
will m a n booths a t t h e show.
T r a v e l a n d hotel a r r a n g e m e n t s can
be m a d e t h r o u g h Mrs. La V e r n e Wood,
1:3885 McDougall, D e t r o i t 12, Mich.
ASBURY
PARK
HOBBY
SHOW:
Deadline f o r a p p l i c a t i o n s f o r t h e A m a t e u r Ceramic H o b b y Competition, to be
held in c o n j u n c t i o n w i t h t h e S i x t h A n nual E a s t e r n C e r a m i c H o b b y Show at
A s b u r y P a r k , N. J., is A p r i l 24.
T h e 1958 show will be held M a y 8-11
in C o n v e n t i o n Hall. A m a t e u r s t h r o u g h out t h e c o u n t r y are eligible to e n t e r the
c o n t e s t a n d m a y s u b m i t as m a n y pieces
as t h e y wish. H o w e v e r , a s e p a r a t e ent r y f o r m is r e q u i r e d f o r each e n t r y .
E n t r y h l a n k s m a y be o b t a i n e d f r o m local studios, t e a c h e r s of c e r a m i c s or by
mail f r o m the C o n t e s t C o m m i t t e e , Cer a m i c L e a g u e s , Inc., e / o Mabel Morris,
1736 R i v e r Road, B e l m a r , N. J. All
work n m s t be in t h e h a n d s of t h e comm i t t e e a t C o n v e n t i o n Hall by noon on
M a y 8.
F o u r t e e n c a t e g o r i e s will be included
in the contest. A m o n g the divisions
will be t h o s e f o r c h i l d r e n u n d e r 12,
t e e n a g e r s , e n a m e l i n g on metal, and
c h i n a p a i n t i n g . S a v i n g s bonds, t r o p h i e s
a n d r i b b o n s will be a w a r d e d to t h e
(Continued on page 35)
STUDIO
543 Boulevard, Kenilworth, N.J.
Distributor
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Tru.Fyre
Gloss-Mafic
Willoughby
Creek-Turn
Renaissance
Specialized Ceramics
Pine A r t Brushes
Double B W o o d N o v e l t i e s
J a n e Snead Publications
G o l d Erasers
Silk Sponges
A m a c o Pan Paints
Podeszwa Designs
L & L Dyna Kilns
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Florence Cox
Greenware & firing
Price List
1957 Editi0n... $2.00
I
I
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
For sgramto, incising, slab work, template making, shaping, modeling, trim.
ruing and clean-up.
QUALITY: Finest precislon-made scraper
points and surglcally-sharp knife blades.
VERSATILITY: Slim all-metal handle takes
any of 6 scrapers as well as blades.
ECONOMY: Points and blades quickly
and easily interchanged or replaced.
~
4
5
6
,8
AWARD WINNERS in the recent hobby show sponsored by the Ceramic Art Guild of Fort
Worth, Texas. Left to right: Mrs. Marvin Shannon, Mrs. Bernice Powell, Mrs. Bobble Todd,
and Mrs. kucille Morris accepting the award for Mrs. Mary Livonius of Denver, Colo.
Mrs. Nettie Currle, Mrs. Ferrell Holbrook, and Mrs. Bess Todd. Accepting the children's
award for 8-year-old Colleen Seeley of Oneonta, N.Y., is Linda Whittleseyof.
APRIL, 1958
il
No. 63 Do u b l e Set: 2 handles, 6 paints, 2
knife blades . . . $2.75. Other sets at 75c
and $1.50. Refills available separately.
SEND
FOR
48-89
VAN
FLIER--FREE:
DAM
ST.,
CATALOG--ZSC
L. I. C. I. N . Y .
33
Silver Plated Steel
World's fin#st
(Continued from page 27)
Send for
FREE copy of the latest
CRAFTOOLS C A T A L O G of
ceramic equipment and tools.
CRAFTOOLS, Inc.
Dept. CM 396 B r o a d w a y ,
New York 13, N. Y.
Duncan's E-Z Flow • Paragon Kilns •
China Paints, Brushes, Sponges, Tools,
Molds, Porcelain Slip, Clays, A r t
Books • Large Selection of G r e e n w a r e
FRANCOISE CERAMICS
113 - 49fh St. So.
Tel. DI-335S2
St. Petersburg, Fla.
No Catalog
I n F L O R I D A it's
SUNNY'S CUSTOM C E R A M I C S
Manufacturer's Representative for
CERAMICHROME PRODUCTS
Dealer Inquiries Invited
Complete line of ceramic supplies
Wholesale-Retail. Air Conditioned Studio
1403-5 N.W. 7th Ave.
P L 4-540!
Miami, Fla.
Complete Supplies
MOSAICS • CERAMICS
COPPER
ENAMELING
Thurston Studio
3327 N. High St.
Columbus 2, Ohio
NORWEST NOVELTY
32480 NORTHWESTERN HWY.
FARMINGTON, MICH.
MA. 6-6003
Distributor for Re-Ward Products
Open Sunday--Closed on Monday
ART-CRAFTS SUPPLIES, INC.
Distributor for
Paragon--Duncan--Drakenfeld
Craffool~Bergen Brush--Hotpaclc Kilns
Perma-stain--Bee Basch and Lauer Molds
General Ceramic Supplies
180 NW. 62nd St.
Miami, Florida
background; then firing briefly. Next,
dust on a contrasting color of opaque
enamel. With a fine sable brush, remove the surplus opaque enamel,
leaving a design. (See photo of necklace with dancing figures.) The grisaille method, raised enamel on a
transparent background, also produces
a stunning effect on this metal.
Sih'er plated steel is not being suggested as a substitute for pure silver. There is no substitute for the inherent beauty of a precious metal!
Neither does it give the same shimmering effect of silver foil. But it does
open a new world to the hobby enamelist, and to many experienced
craftsmen, who cannot afford the expense of the precious metal and who
find working with foil too "tricky."
But, with the limitations stated, you
can enjoy the beauty of the white
metal gleaming through a transparent enamel; and siher plated steel
will add a new dimension to your enameling repertoire.
•
Strictly Stoneware
(Continued from page 25)
These bodies are excellent for ceramic sculpture for the colors can
be beautiful and the texture outstanding. No glaze is necessary. The
colors and bodies were created especially for tile work where a variety
of harmonizing earth colors is desired.
Beautiful tile mosaics with clay-like
texture and color may be made with
these bodies.
These clay bodies also can be nsed
for coil building, slab building and
drape molding; but in general, they
will not work well for throwing. More
of the plastic clays must be added
in place of flint and grog for a colored throwing body. The percentages
of color, however, will be a good
guide for coloring other bodies although the colors will vary depending
upon the ingredients of the body and
the temperature to which it is fired, e
NEXT M O N T H
OPPI
. . .
UNTRACHT
will
describe
how
Edith Heath
enhances her textured
p o t t e r y w i t h glazes. T h e a r t i c l e also
will f e a t u r e a p e r s o n a l i t y s k e t c h of
Mrs.
Heath.
ZENA H O L S T will be b a c k , g i v i n g h e l p ful h i n t s o n t h e a p p l i c a t i o n of lustres.
A n d man)* m o r e i n t e r e s t i n g f e a t u r e s .
34
TForI LDecorating
ES
Superb English Tiles, bisque or glazed,
6" x 6", t h e ~ r e perfect for pleasure . . .
or profit.
ALSO A V A I L A B L E
• TRIVETS,
black • WOODEN
iron,
rubber-footFRAMFAS
ed, for i and 2 • T I L E BACKS and
tiles
HANGERS
$ WROUGHT IRON
FRAMES
Write ~oT FREE Descriptive
Price List No. C4
SORIANO
CERAMICS, INC.
Long" I s l a n d City 5, N . Y.
Special
Discounts
If you teach ceramics, you are entitled
to teaching discounts. Write us on your
school or studio stationery for special
Teacher's Price Lists. Enclose 3c stamp.
Buffalo Ceramic Supply Center
437M Franklin St.,
Buffalo 2, N.Y.
~
Buy BUELL KILN
KITS
and build your own, at
low east. Easily assembled at home. Safe, offieiont, low o p e r a t i n g
.ost. Plugs into a n y
A0v d o u b l e
outlet.
N r i t e for literature
and "Quostione & Answers on Kiln BuildIng." C. M. B U E L L
KILNS, Box 302, Royal
Oak, Mich.. Tel. Li.
2-4258.
/M
KINGSPIN
Steel Wheel
Steel Top and Bottom
Kinalloy B e a r i n g
Knurled S t e m
Zinc P l a t e d Rust Proof
0 N L Y
$2.95
IAberal Dealers Discounts
Also available with ('asl Aluminum Head $3.95
See your Dealer or Distributor or write
Gilmour Campbell ~
Dept. C-4
14258 Maiden
Detroit 13, Michigan
eramlc
Materials and Equipment
SPECIAL PREPARED BODIES
Our business has been expanded to include all types of clay bodies--varied colors for sllp-casting, throwing and sculpture.
Cones 06 to 8 (art ware and stonewarel.
Write for special clay sheet.
OUR AIM |S QUALITY
JACK D. WOLFE CO., INC.
62 H o r a t i o St.
N.Y.C., N.Y.
( W A 4-6019)
Wholesale and Retail
Remember
to mention Ceramics Monthly
to suppliers
CERAMICS MONTHLY
Ceram-Activities
(Continued [rom page 33)
winners; and they will receive national
recognition for t h e i r work, according
to J e r r y Gasque, m a n a g i n g director.
Each morning, before the opening of
the show, special classes will be conducted by some of the country's leading teachers. Some of the instructors
are Mare Bellaire, Dick Belash, Lueille
Henderson, Alice Hill, Lillian Kappeler,
Isabel Podeszwa, Stangren, Charles
W e s t and Belva Woosley. Persons wishing to enroll in these classes should
contact
Mrs. Christine
Casey,
17
Bridge St., Chatham, N. J.
P R O F E S S I O N A L E X H I B I T : A new
feature of the 1958 Eastern Ceramic
Hobby Show to be held May 8-11 at
Asbury Park, N. J., will be a professional ceramic exhibit.
The members of Ceramic Leagues,
Inc., sponsors of the show, f e l t t h a t a
g r e a t service would be rendered to the
industry at large as well as to the
studio owners and teachers t h r o u g h out the country by providing exhibition space for professionals to display
their work.
Uniform cards, g i v i n g complete information, will identify each piece. Entries may be marked for sale if the
exhibitor desires. However, no entries
will be delivered to buyers until the
close of the show. Since m a n y visitors
to the show in previous y e a r s have expressed a desire to take home a finished piece, it is expected t h a t much
of the work submitted will find ready
buyers.
Certificates of m e r i t will be awarded to each e n t r y accepted. Professionals who wish to participate in this exhibit m a y obtain rules and e n t r y blanks
from the Chairman of Professional Ceramics Exhibit, Middieton Ceramic
Studio, 519 R u t g e r s Ave., Hillside,
New Jersey.
F L O R I D A C R A F T S : F r a n Williams of
Miami, recently captured the top prize
in ceramics at the 7th Annual State
TOP AWARD in ceramics at the 7fh Annual
State Croft Show of the Florida Craftsmen
was given to Fran Williams of Miami, for
her abstract earthenware tiles.
Craft Show of the Florida Craftsmen.
Her abstract of mounted e a r t h e n w a r e
tiles is illustrated.
Other award winners are Mary GraAPRIL, 1958
bill of Coconut Grove, for a stoneware
cookie j a r with a s g r a f f i t o design; and
Melvin H. Casper of M e r r i t t Island,
for a bottle with a brown glaze.
S O U T H W E S T HOBBY S H O W : The
Sixth Annual Ceramic and Hobby
Show, sponsored by the Southwest Ceramic Association, will be held April
10-13 at the T e m p l e Club, 944 Corinth
S t r e e t Rd., Dallas, Texas. The show will
be open daily f r o m noon to 9:30 p.m.
Admission is free, and door prizes
will be given. Trophies and cash a w a r d s
will be presented to winners of the hobby competition.
K A N S A S HOBBY S H O W : The Witchita Ceramic Art Society will sponsor its second annual hobby show
April 18-20, at the Kansas National
Guard A r m o r y , 620 N o r t h E d g e m o o r ,
Wichita, Kansas.
Three large rooms in the a r m o r y will
be devoted to commercial exhibits, competitive exhibits, and classrooms and
demonstrations. Continuous free demonstrations are planned t h r o u g h o u t
the course of the show. The competitive exhibits, in both a m a t e u r and professional classes, will f e a t u r e cash
a w a r d s and ribbons. Morning work
classes also are scheduled.
Show hours on April 18 and 19, will
be f r o m noon to 10 p.m.; and f r o m noon
to 8 p.m. on April 20. The annual
A w a r d s B r e a k f a s t will be held on April
20. V. A. Mueller, M. D., is 1958 show
chairman.
N E W F I L M ON M O S A I C S : The f i r s t
d o c u m e n t a r y film t r a c i n g the relationship of mosaic art to architecture f r o m
the earliest civilization down to the
present time recently was released by
U n i v e r s i t y E x t e n s i o n of the U n i v e r s i t y
of California, Los Angeles.
Called " T h e World of Mosaic," the
16 ram. color film condenses 4,000
years of mosaic history into 28 minutes.
Three years in the making, the film
was produced by Prof. E r n e s t Rose in
co-operation with the d e p a r t m e n t of
T h e a t e r Arts. The w r i t e r - d i r e c t o r of the
film was N. H. Cominos, and motion
picture star, Richard Widmark, serves
as narrator.
F o r information about purchasing
or renting this film, write Educational
F i l m Sales Dept., U n i v e r s i t y Extension,
University of California, Los Angeles
24, Calif.
S C H O L A R S H I P S A V A I L A B L E : Several tuition scholarships of $500 are
available in ceramics, sculpture and
p a i n t i n g f r o m the S i l v e r m i n e Guild
School of Art. H i g h school and college
g r a d u a t e s are eligible for the scholarships, but applications m u s t be in by
J u n e 1. F o r information, w r i t e to the
Silvermine Guild School of Art, New
Canaan, Conn.
Rooster
and Duck Heads,
Salt and Pepper
~ 4 3 9 , 3 " H . $4.50
Penguin.
Salt and Pepper
~ 4 3 5 , 3 " H . $4.50
M o l d s for 20
new items from
original
Ludwig
Schmld
Models
in
stock.
Poodle, modern
_~432, 7"H. $10.50
V i s i t o u r booth
at t h e C e r a m i c
S h o w, A s b u r y
Park,
N.
J.,
M a y 8 - I1 .
Complete catalogue and Price List,
$1.00, refunded with first mold order.
ARE YOU
BUMFUZZLED?
RELAX!??
ALL YOU NEED IS A HOBBY
Your best headquarters for:
CERAMICS
COPPER ENAMELING
& MOSAICS BY TYLART
IS
(the house of glazes
the usual and unusual)
8744 W. McNichols, Detroit 21, Mich.
Phone UNiversity 2-9222
Manufacturers of:
VELVA-PLY--the best ceramic
glaze. SWISH--the nan-smoking
binder for copper enameling that
eliminates all pre-cleaning. Distributors for: KINGSPIN DECORATING WHEELS.
Write Dept. CM--4 for prlce~
and list of other products.
35
I
I
I
h CRAFTS VACATION
in Vermont
FLETCHER FARM CRAFT SCHOOL
LUDLOW, VERMONT
,June 30-Aucjust 22, 1958
Two week courses in Ceramics,
Jewelry Decoration, Weaving and
other craffs.--Write for catalog to:
Society of Vermont Craftsmen, inc.
Dept. 3 Bristol, Vermont
Model Ceramics
M A N U F A C T U R E R S OF:
Kilns
Clay
Slip
Write for C a t a l o g - - W h o l e s a l e
764 N. M A I N ST.
Re-Word
& Retail
AKRON, O H I O
Distributor
CERAMIC DECALS MADE-TO-ORDER.
For
f i r i n g on any ceramic s u r f a c e - - i n c l u d i n g e n a m eled copper. D r a w i n g s , poems, p r a y e r s , s a y i n g s ,
emblems, t r a d e m a r k s , s i g n a t u r e s , etc. etc.
A n y t h i n g t h a t can be p h o t o g r a p h e d , i n c l u d i n g
p o r t r a i t s , b u i l d i n g s or scenes. One color rendition, One or m a n y decals. Send f o r o u r free
booklet which g i v e s full details.
BATTJES
PHOTOCERAMIC
1453 Lyon St. N.E.
DECALS
G r a n d R a p i d s 3. Mich.
The f o l l o w i n g back issues of C e r a m i c s
Monthly are still a v a i l a b l e a t s i x t y cents
per copy (Ohio r e s i d e n t s add 3% sales
tax).
We pay postage.
1953
J u l y , A u g u s t , October, l)eeember
1954
F e b r u a r y , March, J u l y , A u g u s t , September, November, December
1955
May, J u l y , A u g u s t , October, November,
l)ecember
1956
May,
June,
July.
August,
Octol)er.
l)ecemher
1957
April, May. J u n e , J u l y , A u g u s t , September,
October,
December
1958
February, M a r c h
Please send r e m i t t a n c e (check or money
order) w i t h list o f back issues desired.
CERAMICS MONTHLY
4175 N. H i g h St.
Columbus, Ohio
Enameler's
Column
(Continued /ram page 32)
sion accomplished, you can be proud
of yourself. Honestly!
N o w for my "secret." You will have
found out by now that they are always quite simple, these secrets of
mine. Trace the outline of your enanlel on a piece of sheet silver. Then,
on the outside of the tracing, add
another line about ¼ - i n c h from your
original tracing, and cut on this line.
Now draw lines from the outside to
the center so you get a sort of sunburst f r am e a r o u n d a solid center.
Cut small wedges between these radii.
T h e sketch will make the situation
lnuch clearer to you (I h o p e ) .
W h e n the stmburst is cut, file the
edges of each ray slnooth; and with
a pair of small, round-nosed pliers,
curl trader each ray until an even,
round rinl is fornmcl a r o u n d the first
tracing.
Now, repeat the sunburst, only
make tim rays shorter and cut a hole
in the center. Bend the rays up and
solder this piece to the first piece.
N o w solder on the band into the hollow f o r m e d bv the curled-in rays of
lhe first part. And there we are!
%#
36
American
Art Clay
Art-Crafts
Supplies
1958
Co ............
5
............
34
B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . .
S
Basch, Bee, Designs . . . . . . . . . . . . . .
7
Battles Decals . . . . . . . . . . . . . . . . . . . .
36
Bergen Arts & Crafts . . . . . . . . . . . .
8, 31
Bergen Brush Supplies . . . . . . . . . . . .
32
Buell Kilns . . . . . . . . . . . . . . . . . . . . . . . . . .
34
Buffalo C e r a m i c Supply C e n t e r . . . .
34
C a m p a n a A r t Co., D.M . . . . . . . . . .
C a m p b e l l , Gilmour . . . . . . . . . . . .
36
34
Ceraml
10
S
Center
...............
C e r a m l c h r o m e Laboratories . . . .
C e r a m i c Studio Workshop . . . . . .
32
Cox, Florence, C e r a m i c Studio
Craftoo!s, Inc . . . . . . . . . . . . . . . . . . .
33
34
Creek-Turn
Pottery
......
...............
11
Dabbler's C e r a m i c Supplies . . . . . . . .
Duncan C e r a m i c Products . . . . . . . .
Eastern H o b b y
Show
Francolse Ceramics
.....
32
4
Cover-3
..............
34
Gra-zle
....................
32
G r e a t Lakes Exhibition . . . . . . . .
Cover-2
Grleger's lnc . . . . . . . . . . . . . . . . . . . .
32
Grohs, Mary, Decals
...........
32
Harrison, the Kay, Studios
......
H a r r o p C e r a m i c Service . . . . . . . . . . . .
Holland M o l d Shop . . . . . . . . . . . . . . .
Hommel, O . . . . . . . . . . . . . . . . . . . . . . . . .
35
9
10
7
House of Ceramics . . . . . . . . . . . . . . . . .
Hurley, Hazel, Studio . . . . . . . . . . . . . . . .
32
11
IIlini C e r a m i c Service
...........
7, 32
FIVE STAGES of the sunburst ring.
Klopfensteln
............
32
Polish it, plact' the enamel into the
L & L Mfg. Co . . . . . . . . . . . . . . . . . . .
Leonard, Je,=n . . . . . . . . . . . . . . . . .
2
32
M a s t e r M e c h a n i c Mfg. Co . . . . . . . . . . .
M a y c o Colors . . . . . . . . . . . . . . . . . . .
Model Ceramics . . . . . . . . . . . . . . .
M o n i t o r Tool and Finding Co . . . . . . .
11
7
36
11
nice base forlned by the bent up rays
of the second piece, and curl these
under over the enamel so they serve
as prongs to hold it in the setting.
T h e r e now, that gives you three
basic ideas to have fnn with. N o w you
can use your inmgination to develop
a n d vat T thein to create your own
e n a m e l e d rings. •
Correction
The recipe /or Glaze C-8 in Tom
Sellers' article, "'Celadons at Cone 04,"
in the February issue contained a typographical error. The correct recipe
it re-printed below:
Glaze C-8--Opaque light blue,
striations of glossy green:
Frit: Ferro 3134 or
O. Hommel 242 . . . . . . .
Frit: Ferro 3396 or
O. Hommel 648
Kaolin . . . . . . . . . . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . .
per cent
SAY YOU SAW IT
in Ceramics Monthly
April
Add Reduction Mix . . . . . .
57.07
3.75
25.35
13.83
Wheels
Norwest N o v e l t y
Pieper Pottery
.
Pillet, Nettle E
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
Re-Ward . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
32
32
1
Schmid, Ludwig, Molds . . . . . . . . . . .
3S
Seeley's C e r a m i c Service . . . . . . . . . . . .
Soriano Ceramics . . . . . . . . . . . . . . . .
32
34
Sunny's Custom Ceramics . . . . . . . . . . . .
34
Tepplng Studio Supply Co . . . . . . . . . .
Thompson, Thomas C., Co . . . . . . . . . . .
Thurstor. Studio . . . . . . . . . . . . . . . . . . .
THnity C e r a m i c Supply . . . . . . . . . . .
34
3
34
32
Vermont Craftsmen, Society . . . . . . . . .
36
Wolfe, Jack D., Co. Inc . . . . . . . . . . . .
34
X-Acto, Inc . . . . . . . . . . . . . . . . . . . . . .
33
I00.00
3.30
CERAMICS MONTHLY
THE SIXTH
ANNUAL
EASTERN CERAMIC HOBBY SHOW of 1958
CONVENTION HALL
ASBURY PARK, N.J.
MAY
8-11
Show Hours:
1 P.M. fo 9 P.M. every day
HOBBYISTS!
DEALERS!
CERAMISTS~
Don't fail to personally meet and chat
with these national leaders of the
Ceramic Hobby industry a t the Eastern Ceramic Hobby Show.
Alberta's Ceramic Studio
South Pasadena,Calif.
Anday Ceramic Studio
Sea Girt, N.J.
Arts & Crafts Monthly
Detroit, Michigan
Bee Basch Designs
Englewood, Florida
Bell Ceramics, Inc.
Morris Plains, N.J.
Bergen Brush Supplies
Lyndhursf, N.J.
Bo-Peep Pottery
Berlin, N.J.
Byrne Ceramic Supply Co.
Ledgewood, N.J.
C & E Ceramics & Gifts
Dallas, Texas
C V H Color Laboratories
West End, N.J.
Carol Ann Ceramic
Studio
Freeport, N.Y.
Ceramic Colors, Inc.
Los Angeles, Calif.
Ceramicorner
Azusa, Calif.
Ceramic Studio Workshop
Philadelphia, Pa.
Ceramic Workshop
Sfewartsville, N.J.
Ceramichrome
Los Angeles, Calif.
CONY
E N rIo
N
Ceramics Monthly
Columbus, Ohio
Chuck's Ceramic Studio
West Hartford, Conn.
Chula's Ceramic Studio
San Antonio, Texas
Christine's Ceramic
Studio
Long Beach, Callf.
Florence Cox Ceramic
Studio
Kenilworth, N.J.
Creative Art Ceramic
Studio
Chatham, N.J.
Creek Turn Pottery
Hainesporf, N.J.
Dolly Ceramics
Clifton, N.J.
Duncan Ceramic
Products, Inc.
Fresno, Calif.
F & S Ceramics
Phoenixville, Pa.
Fine Art. Brush Co.
Carlsfadt, N.J.
Forvour-Morrow
Halnesport, N.J.
Garden State
Ceramics, Inc.
Rochelle Park, N.J.
Gare Ceramic Supply Co.
Haverhill, Mass.
HALL
A ~ ~ U ~ Y
Sybil Garvin Ceramics
Portland, Conn.
Gene's Ceramics
Singac, N.J.
Mary Grohs Decals
West Orange, N.J.
Winona Hale
Fort Worth, Texas
Hobby Heaven Ceramics
West New York, N.J.
Holiday House
Crofdon, Pa.
Holland Mold Shop
Trenton, N.J.
Hollywood Ceramic
Studio
Portland, Oregon
House of Art
Little Silver, N.J.
Jurene Ceramics
Copley, Ohio
Kay The Potter
Dana Point, Calif.
L & k Manufacturing Co.
Upland, Pa.
La Fleur Studio
Whitestone, N.Y.
Jean Leonard Ceramics
Corona, N.Y.
The kerhaupts
Asbury Park, N.J.
Ann Liebau
North Arlington, N.J.
PARK.
N
J
PHONE
Lorraine Ceramics
Gardena, Calif.
Marlene's
Linden, N.J.
Marx Brush Mfg. Co.
New York, N.Y.
Maryland Ceramic House
Baltimore, Maryland
National Artcraft Supply
Co.
Cleveland, Ohio
Newell Studios
IngIewood, Calif.
Norman Ceramics Ca.,
Inc.
Mamaroneck, N.Y.
Norris Ceramic House
Dallas, Texas
Cakes Ceramic Studio
Melrose, Mass.
Olevia Ceramics
Binghampton, N.Y.
Pemberfon Neal Ceramic
Supplies
Bellflower, Calif.
Pieper Pottery
Caldwell, N.J.
Popular Ceramics
Los Angeles, Calif.
Porcelain Button Beauties
Trenton, N.J.
Radiant Ceramic Corp.
Trenton, N.J.
P~OSP£CT
Mary Reed Pottery
Pleasantville, N.J.
Regina Ceramic Art
Studio
Newark, N.J.
Re-Ward Ceramic Color
Mfgrs., Inc.
Los Angeles, Calif.
Ludwig Schmid Model &
Mold Shop
Trenton, N.J.
AI Schoe/Ikopf
New Castle, Po.
Shell Craft Hobby Shop
Ocean Grove, N.J.
Arden Shorter
Dallas, Texas
Specialized Ceramics
Corp.
Pralnfield, N.J.
Starola Ceramic
Sioux Falls, South Dakota
Dorothy Streefer Studio
Providence, Rhode Island
Sylvia's China Studio
Klamath Falls, Oregon
Thalla Ceramics
Lynnhaven, Virgin~o
Annie Y. Warner
Richmond, Virginia
White Horse Mold Co.,
InCa
Trenton, N.J.
5 - ~ 9 0 0:
6 , ~ 2 6 ~"
2 NEW
BOOKS
REVRIEWED
and
ECOMMENDED
BY THE CM BOOK DEPARTMENT
Here are two brand-new books on two very
popular subjects; clay and glazes and
enameling on metal. Each title is written
by an expert in the field. These are
wonder[ul books of instruction as well as
authoritative re[erence sources. Both o[ these
latest additions to the C M Book Department
are sold on a money-back guarantee and
o[ course C M pays the postage.
RHODES, is
complete books in one! CLAY includes all fundamental details (origin, chemical and physical nature,
kinds, preparing, drying, firing, etc.) and also practical
information on formulating, blending, adjusting, colors,
textures, earthenware, stoneware, porcelain, etc.,-with recipes. GLAZES is also covered completely: basic
theory and fundamentals, originating and calculating
recipes, frits, textures, colors, blending, application,
firing, flaws, cures, reduction firing, special glazes and
effects--and much more. It is all in non-technical
language. A must for every hobby-craftsman, student,
teacher and potter. Illustrated.
$7.50
CLAY AND GLAZES FOR THE POTTER,by DANIEL
two
ENAMELING ON METAL, by OPPI
UNTRACHT,
is an excellent
addition to the existing literature. Although it covers
fundamentals, it excells in its descriptions of advanced
techniques. The step-by-step photo method is used to
describe champleve, cloisonne, limoges, plique a jour,
basse taille, grisaille, etc., and also newly developed and
experimental techniques. Projects include jewelry, bowls,
plates, mosaics, table tops, 3-dimensional sculpture, etc.
Profusely illustrated, the work of more than 40 contemporary enamelists is shown.
87.50
CERAMICS M O N T H L Y BOOK DEPT.
4175 N. High St., Columbus, Ohio
Please send me:
--copies
of CLAY and (]LAZES for the POTTER
@ $7.50 per copy.
----copies
of ENAMELING ON METAL
@ $7.50 per copy.
I
I
I PLACE YOUR
!
I
!
t
t
! ORDER HOW
I
I
NAME
ADDRESS
...
immediate
delivery from stock.
Use this handy order form.
CITY
~
_
............................................................................................
ZN
STATE
Ohio Residents: Add3% Sales Tax. CM pays postage.
l enclose
[~Check
F]Monev Order
[]Other
" ..........................