Ceramics Monthly Apr54 Cei0454d PDF
Ceramics Monthly Apr54 Cei0454d PDF
Ceramics Monthly Apr54 Cei0454d PDF
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APRIL 1954 I
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2 CERAMICS MONTHLY
Volume 2, Humber 4 APRIL • 1954
50 cents per copy
in this issue
Letters ............................................ 4
N e w & Useful ...................................... 6 SPRAY BOOTH
Itinerary .......................................... 8
for ceramists
A Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Complete with Motor and Exhaust
H a n d Building by the Strip M e t h o d . . . . A l l a n A . Eastman 11 SCHOOLS * STUDIOS
Iborcelain Bodies & Glazes . . . . . . . . . . D o r o t h y W . Perkins 14 SMALL MANUFACTURERS
Show Time:
and H O M E CERAMISTS
Potters of Vallauris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 S i Z E - - B o o t h Size is 2 ft. 4 in. d e e p , 2 ft. high
and 2 ft. w i d e on a 2 ft. 8 in. stand.
M i a m i G r o u p Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Ornamentation ..................... Carlton Atherton 16
Two-Piece Press Molds ................... John Kenny 20
Basic Decoration--~-" Lesson N o . 1: Lines . . . . . . . . . . . . . . . . . 22
Overglaze Decoration .................. Z e n a S. Hoist 2S
From the Hoist N o t e b o o k ........................... 25
Answers to. Questions ..................... Ken Smith 27 Finished in
Ceramic Counsel .................... Edgar Littlefield 29
Rust
Suggestions from our Readers . . . . . . . . . . . . . . . . . . . . . . . . 33 Resistant
Advertisers Index .................................. 37 Black
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4 CERAMICS MONTHLY
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APRIL 1954 5
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6 CERAMICS MONTHLY
ADVERTISEMENT
8 CERAMICMONTHLY
S
Here's Why You ShouldBuy A
o letter from the editor
APRIL 1954 ?
ADVERTISEMENT
Great Lakes
Ceramic Hobby
Exhibition
I0 CERAMICS MONTHLY
hand building by the
STRIP
METHOD
by ALLAN A. EASTMAN
I. 2.
EARLY everyone who builds pots Small jar with cover Be sure to smooth off any rough
N from coils of clay becomes dis-
couraged at one time or another
# 8 brush
Modeling tool with round end
edges on the template with a file and
steel wool or emery. If this is not done,
the imperfections will show on the clay
with the slowness of the process. W h y Elephant ear sponge
not try an excellent substitute--the Pointed stick or tool (which could prove desirable for cer-
strip method of hand building? Plaster bat tain textured effects).
Little has been written about the Banding wheel if available. Study the template at this point and
strip method. Yet this offshoot of the The form to be made must first of decide how wide the strips will have
coil technique is an effective way to all be conceived in the potter's mind; to be cut. Keep in mind that the greater
make a well-shaped pot in far less time then drawn on paper in slightly larger the curve, the narrower the strips
than it takes with coils. You work with dimensions to allow for clay shrinkage should be. For convenience in locating
wide strips of clay and control the (Figure l - A ) . The next step is to make later, let us number them as we mark
shape of the pot, as it is built up, by the template, or pattern. It may be them out (Figure 2).
using a template or pattern as a guide. made of stiff paper, cardboard or any
By this process, you can hand build pots
that have the smoothness and accuracy
thin scrap metal (a flattened out tin
can will do). Metal will prove the N Oclay.
W we are ready to prepare the
Thoroughly wedge (beware
characteristic of wheal-thrown pieces. most satisfactory because moisture in of air bubbles) a good-sized ball of
Let's go to work and see how it is done. the clay may soften and distort the clay, set it on the cloth side of the oil
These are the tools needed for build- edge of paper or cardboard. Lay or cloth, place the guide sticks in position
ing by the strip method: paste the original drawing (full size) (Figure 3), and flatten the clay with
2 guide sticks (approx. 3/8-inch on the material to be used (let us say the rolling pin until the pin rests on
thick and 2 feet long) metal). Since the original drawing the sticks. This will give you a uniform
Rolling pin represents the positive form, we must thickness of clay. If a rolling pin and
Thin-bladed knife cut out the negative shape (Figure guide sticks are not available, wooden
~2-yard oil cloth l-B). rulers may be used--two as guide sticks
APRIL 1954 11
if thick enough, and one as a spreader you work. W i t h a pointed tool,
(Figure 4); or you may spread the roughen or crosshatch the area on the
clay on the oil cloth with a large base where the first strip is to be
spatula until even, checking the clay placed; and do the same to one edge
for thickness by inserting a needle or of the first strip. Then coat these
pin at various points. roughened areas with a slip solution
A t one end of the clay slab mark a (Figure 6). (Make the slip of the same
circle (the base of your pot) with a kind of clay as the pot, combine with
compass and cut it out with a thin- water, and add a few drops of vinegar
bladed knife (Figure 5). W h e n the to keep the clay in suspension It should
pot to be made is a large one, the base have the consistency of heavy cream.)
should be thicker than the side walls. Slip makes the clay tacky; it insures
In fact, it is good practice in all cases a good joint because it acts as an ad-
to make the base thicker for better sup- hesive. Be sure to work it into any
port of the w a l l s - n e v e r less than ~ - marks that may go deep in the clay.
inch and preferably ~ - i n c h or more, This will eliminate air pockets.
3. depending on the size of the piece. Place one end of the first strip on
Set the base on a plaster bat or slab the base and check the angle with your
and fix it in place with slip. The bat template as the strip is forced down
should be slightly damp so the clay and welded to the base (Figure 7).
will stick, but be sure the bat is not W h a t you do next depends on the type
saturated for then the clay will n o t of joint you prefer. You may use either
stick. If this is done correctly, the the butt joint or the lap (bevel) joint,
piece will adhere to the bat until the latter having greater surface area
finished. for adhesion (Figure 8}. In either case,
W i t h the help of a straight-edged cut-the ends of the strip to fit (check-
guide, we can now lay out the strips ing with the template), crosshatch, and
(Figure 5) according to the figuring on stick together with slip. Then with
the template (Figure 2). A ruler or your fingers weld, or smooth, all the
pair of dividers should be used to mark seams, working back and forth, remem-
the widths. Be sure the slab of clay is bering to support the opposite side
big enough to allow for cutting strips with your hand.
long enough to go all the way around Then, using slip again, paint the in-
the pot without piecing. Cut the strips side edge where the bottom strip joins
with your thin-bladed knife, lift them the base. Make a small coil or worm of
carefully and put them aside, covered clay and work it into the edge for
with a damp cloth, until you are ready added strength (Figure 9 - - t h e strip is
to use them. broken to show operation}. Be sure to
(You may prefer to cut only one start at one end of the coil and work
strip at a time. In that case, fasten it it in a little at a time so that air pockets
to the base and let it dry slightly while will be forced out. Such reinforcement
the next strip is being cut. Such a pro- is necessary only when placing the first
cedure would actually be advisable if strip on the base.
your clay is too soft.) Again, check the form with the tem-
plate for accuracy. Then add strip # 2
T Hready
E template, base, and strips are
so we can prepare to build
and so on, using the same welding and
joining process, and checking con-
the walls. A banding wheel (whirler) stantly with the template. Never allow
will come in handy here because it the ends of strips to start in the same
enables you to turn the piece easily as spot because it will weaken your piece.
7. 8.
6.
12 CERAMICS MONTHLY
STUDENTS of the author hand build
by the strip method. Examples of
their work, shown here, include (left
to right) two va~es by G. Hopkins,
lamp base by Laura Dunlap, and
vase by Y. Wentz. The method offers
a faster way to build a well-shaped
piece of pottery, Mr. Eastman finds.
When using the template make cer- too much pressure during welding or ming is needed when the assembling is
tain the bottom edge rests squarely on by fitting the strips incorrectly. If such over. After the piece has been allowed
the surface of the bat (Figure 10). A distortion occurs, it can be corrected by to sit on the bat until leather hard,
common tendency among beginners is shrinking the clay; that is, by working minor humps and irregularities can be
to tilt the template slightly when check- the hands toward each other in a hori- removed by rubbing with the fingers
ing the piece and this, of course, throws zontal movement, pressing from the or with a wooden tool (see photo at top
the whole pot out of shape. outside only, the thumbs on the inside of page 11), or by using a damp ele-
After the first three or four strips acting as guides (Figure 11). phant ear sponge (a foam rubber make-
have been placed, allow the piece to You will observe that I advocate up sponge is a good substitute). Allow
dry or harden for a while. The clay cross hatching and the use of slip the piece to dry thoroughly before fir-
will then have the strength to support wherever two pieces of clay are to be ing. After firing, finish with a glaze
additional strips without distortion or joined. There are other schools of as you would if you had made the piece
collapse of the piece. thought but I have found, through by another method.
years of teaching children and adults,
that slip assures a good joint. What, I feel sure you will enjoy building
A Sworking
the piece progresses, rubbing or
at the seams should be after all, is more heartbreaking to the
beginner than to labor diligently only
a piece by the strip method because
the process gives you speed of assembly,
repeated several times; if not properly
welded the seams will continue to show to find his piece has cracked in the uniformity of wall thickness and
as the piece dries. One of the pitfalls firing because of faulty seams? accuracy of shape--all this, and your
for the beginner, however, is stretching One of the advantages of the strip piece still retains that handmade
a piece out of shape. It is caused by method is that little scraping or trim- look. ®
9. 10. 11.
APRIL 1954 13
PORCELAIN chessmen, by the author, were
made by drain casting. Porcelain bodies are
versatile. They may also be used for throw-
ing, hand building, and for solid casting.
In her first article about porce- terials, too. Some ball clays fire lighter ash are second, and those high in soda
lain (March issue), Dorothy Per- than others. Victoria Clay from United are third. Nepheline syenite is one of
kins discussed the subject in general Clay Mines is light-firing, as is Ten- the easily fused spars. Auxiliary fluxes
terms. The following and conclud- nessee Ball Clay # 5. such as whiting, dolomite, talc or com-
ing article gives more complete in. Certain feldspars fire to a grayish mercial body frits may also be used.
formation about the preparation of color. Nepheline syenite, however, fires Translucency. The more glasslike
bodies and glazes, and about firing. almost white and, being a "'soft" spar, the structure of the fired body, the
The author hopes the information is very helpful in producing porcelain greater the translucency will be. Ball
will encourage amateurs to try bodies at studio temperatures. Potter's clay has an adverse effect on trans-
translucent bodies in their high.fire flint does not affect the body color. lucency so if it is used, the percentage
electric kilns, in ordinary oxidizing Porcelain bodies are sometimes made should be kept low--use just enough to
atmospheres. to appear whiter by the addition of make the body workable. Translucency
minute amounts of cobalt. A soluble should not be expected in pieces that
HE BODY of early Chinese porce- salt .form of the colorant, such as co- have thick walls; and it is difficult to
T lains was composed of kaolin and
feldspar only, but present-day
balt sulphate, disperses more evenly
than an oxide form. The use of cobalt
throw porcelain thin enough to take
advantage of whatever translucency the
porcelain contains flint and, sometimes, has the same effect on a white body as body may have. Turning in the leather-
ball clay and auxiliary fluxes. Each bluing has on a white wash: it makes hard stage is ordinarily required. Jig-
material fills a need; and how they are the white appear whiter. gered and cast ware can be made thin
proportioned depends on what you de- Maturing Temperature. The degree enough to be translucent; lathing is
sire in the way of whiteness, maturity, of vitrification in a porcelain body is sometimes needed.
translucency and plasticity. determined chiefly by feldspar. Some Plasticity. In throwing or jiggering
Whiteness. Kaolin provides the feldspars fuse at lower temperatures bodies, plasticity is essential; and it is
white base and some kaolins fire whiter than others. Those high in calcium are also an important factor in casting
than others. Georgia kaolin, such as the most refractory, those high in pot- bodies if they are to be trimmed with-
Pioneer Clay from the Georgia Kaolin out tearing. Kaolin, feldspar and flint
Company, fires very light. A good, are all non-plastics, (although some kao-
light-firing, plastic kaolin from Florida lins may have a degree of plasticity).
is produced by the Edgar Plastic Kaolin Dorothy Perkins is a member of the Plasticity may be induced through one
Company. ceramics teaching staff at the Rhode or more of the following mediums:
Whiteness is affected by other ma- Island School of Design at Providence. (Please turn to Page 26)
14 CERAMICS MONTHLY
SHOW
TIME
BAUD: Brown platter and vase
Potters of Vallauris
L A R G E S T C E N T E R of ceramic become the center of the French The Artists and Potters of Vallauris
craftsmanship in the western world ceramic industry. Picasso provided a Exhibition which toured twelve mu-
today is the little town of Vallauris powerful stimulus when he moved seums in the United States in recent
on the Mediterranean coast of France. there in 1948 and began to produce months was the first comprehensive ex-
No less than one hundred potters (pro- pottery in one of the old workshops. hibit of contemporary French ceramics
fessionals and artists-turned-potter) are Other French painters--Arp, Chagall, to visit our country. Assembled by
at work in the town. Their production Leger, Matisse, Miro and Prinner Rene Bastigne, founder and director of
is remarkably diversified, ranging from among them--followed. The artists the town's Museum, the show was cir-
decorative objects of art to the simplest have worked side by side with the pro- culated by the Smithsonian Institution.
cooking vessels such as the earthenware fessional potters, and their influence Nearly one hundred examples of the
casseroles now found in our depart- on the work produced is apparent. The work of both artists and professional
ment stores (stamped with the name town now attracts not only ceramists potters were in the display, a small
of the town). but thousands of tourists who come to selection of which is shown in the
Although pottery is an ancient craft see displays in the new small Museum photos here.
at Vallauris, it has only in recent years of Vallauris. (Please turn to Page 37)
APRIL 1954
ORNAMENTATION
by CARLTON ATHERTON
Although the terms decoration and ornament have be, except in periods of artistic decadence. Orientals, however,
come synonymous to many of us, including the lexicogra- notably the Japanese, have used irregular balance to a great
phers there is a distinction between them which should degree. W i t h sure insight, they have created harmony
be clarified. Decoration, in its broad meaning, is a compre- through the kind of order which sets up stimulating oppo-
hensive term which embraces all the various types of adorn, sition between the decorative devices and the organization
ment or embellishment of an object. It is that element in of the pot, the asymmetric counterplay of embellishment
decorative art which supplies added interest by means of with the shape on which it is used.
detail; and it includes ornament as a particular type of
decoration. A N has two important kinds of need--the practical,
Ornament is decoration reduced to a system and is,
by its very nature, formal. Decoration, in its narrower
M and for want of a better word, the spiritual. It is
n:cessary for us to have those things which fulfill our
sense, is informal. Ornament is confined by symmetry physical requirements but without those which arouse emo,
while decoration has the ostensible freedom of asymmetry. tional response life would be intolerable. Since he first
Freedom, however, can be a dangerous thing because us'. fashioned fetishes and tools, man has demonstrated his pro-
can be turned to abuse in license and indulgence. Perhaps found emotional need for ornamentation. In primitive cul,
through instinctive awareness of this, primitive peoples have tures it amounts to a positive craving. It is relatively un-
almost invariably utilized ornament as a means of decorative important whether the desire sprang from a psychological
treatment, but more probably its use was the result of their aversion to blank spaces or was prompted by magico-
highly ritualistic pattern of living. religious motives. The cause may have been multi-rooted
Historically, occidentals also have been more at home but the need is still common to all of us.
with ornament and have rarely strayed from its formality The philosophy and the pattern of living of any given
time or culture affect ornament to a very great degree.
Primitive art clearly shows a desire to express a complete
sense of fulfillment. Ordinarily, each motif or repeat is
The author teaches at the Ohio State University, Co. obviously complete in itself. Its relation to the whole is
lumbus, Ohio, where he is a Professor of Ceramic Art. established by the simple expedient of repetition, the seem-
16 CERAMICS MONTHLY
ing intricacy due more to multiplicity than to complexity. of working the material, such as the marks left by the pot-
Elaborate effects which satisfy the desire for richness are ter's fingers in the throwing process. Primitive potters were
easily obtained in this manner. But as culture progresses, a quick to realize the decorative possibilities arising naturally
more involved ornamental i d e a - - a n extension which re, in hand-coiling and often left the coils on the outer surfaces
quires time to be perceived--is developed. Space elements untouched. A t other times the coils were impressed at
which lead the eye from one detail to another are established regular intervals with finger or tool as building progressed,
to encourage prolonged consideration and appreciation of possibly in imitation of basketry. W h e n ornamental, the
the piece. By this means the unity of the figures becomes secondary utilitarian feature~ handles, spouts, lids and
less immediately obvious. If the intricate but logical tracery knobs--can also b~ classed as factitious. Under a skilled
on a Persian bowl is contrasted with the pattern on a hand, structural ornament has a live quality, developing as
primitive pot, the differing ornamental idea is apparent. the pot develops and remaining as an integral part of it.
Intricate ornament is not intended to be seen at a Because it is controlled by the generating lines of the piece,
glance but must bear repeated scrutiny. That is the essence this type of ornament has unity, coherence, and a sense
of it. The longer it takes to perceive the idea, the longer of unerring logic.
interest and delight can be sustained. But herein lies a Applied ornament is that which is not necessarily
danger; if ornament is overextended or becomes too in- functional, is not manufactured with the pot, but is an
volved, it may tire the observer or be incomprehensible to embellishment of the material or its surface. This type of
him. It then defeats its purpose of prolonging consider- treatment can be used in as many ways as there are decor-
ation. Ornament, even though elaborate, should never bear ative techniques, and in various stages as the work pro-
sign~ of struggle or proclaim technical triumphs. It should gresses. Unfired wares can be modeled, combed, stamped,
be revealed with apparent ease, giving the appearance of sprigged, carved, slip-trailed, stenciled or painted. After
simple logic and the impression of having grown from with- the biscuit firing, the ware can be painted with underglaze
in, easily and with little effort. colors or soluble salts; or drawn upon with underglaze
crayon. Printed or transfer-patterns can be applied. After
O Rstructural
N A M E N T can be divided
and applied.
into two great classes: glazing but before the glost firing, glazes can be inlaid or
prepared stains can be painted upon the raw glaze. After
Structural ornament can further be divided (as set the glost firing, the ware can be painted, stenciled, printed,
forth by Herbert Read in A r t and Industry) as fortuitous or sprayed with overglaze colors, metallic lusters, metals and
and factitious. It is fortuitous when some inherent property enamel. The techniques and their combinations are limitless.
of the material produces a decorative effect such as irregular The type of application is relatively unimportant. It is the
coloring in some clays, or mottling and streaking of certain concept and the relationship of the ornament to the form
glazes. It is factitious when it develops from the manner which should be of primary concern, for the form can be
................... ~ i i l l ¸ i!
]
......... .............. i
CHARACTERISTIC differences be-
tween ornament and decoration can
be seen by comparing these pots, i
made in Crete during the second
millenium B.C. Ornament, above, is
a formal, repeat motif. Decoration
(right) is informal, allowing greater
freedom--and requiring greater de-
sign ability.
APRIL 1954 17
TIME-APPRECIATION can be compared in fine pieces
of pottery above. The South American jar is ornamented
by vertical panels containing repeated slmple units. The
arrangement on the Persian bowl to the left is far more
complex, and while there is a repetition of identical seg-
ments, no two of these segments carry the same pattern.
18 CERAMICS MONTHLY
ORNAMENT which wraps itself snugly around the form, arousing TECHNICAL SKILL featuring the dexterity of the maker, rather
curiosity and further investigation, is shown in the Chinese Tz'u than the nature of the material, is displayed above, right. A
chou vase (Sung) at left. Such fine relationship with form must Sicilian funerary vase, third century B.C., it is of terra cotta
have been created directly on the piece, not an a drawing board. with polychrome decoration. The piece might be compared with
The Danish contemporary vase by Thlrslund (center) shows an easy the cookie jar on the opposite page, although each was moti-
use of representational decoration, complementary to the form. vated by a completely different purpose, diverse in character.
a real knowledge and understanding of tools and materials into the exuberance of patterned surfaces. Their fertile
will be gained, fear will be dissipated, and a kind of vitality minds, and an almost unerring color sense, produced some of
will result to more than compensate for the effort. A t the the finest examples of decorated ware in the history of
same time, a decorative vocabulary will develop, for each pottery. The Persians were content to employ ornament and
pattern made will suggest new ones, each motif devised will color as a splendid accompaniment, full of felicity and
bring new ideas. graciousness. Although often elaborate, the ornament is
subservient to the form, and fits like an elegant raiment.
A C H shape should have special consideration; each
E calls for a treatment in keeping with its individuality.
It would be well to avoid drawing board decoration. The
The fate of this tradition when transplanted in Italy
should point a warning finger. Due to the influence of
Renaissance painters, the decorator slowly took precedence
flatness of the paper in no way resembles a curving plane
over the potter. Ornament imitated the work of the great
which has a specific character of its own.
Ornament should accentuate the form, or play over it, contemporary masters, losing its value as ornament without
in such a way as to prolong interest in the pot rather than gaining the distinction of painting. By the middle of the
in itself. The result should make us conscious not of orna- sixteenth century, ware was often made expressly as a
ment on a pot but of an o r n a m e n t e d pot. It is the form, vehicle for painted pictures which on the changing surfaces
the piece of pottery, which is important, not the ornament of pottery became meaningless both as pictures and as orna-
applied to it. The treatment should emphasize the form, ment. Italy, which earlier had led all of Europe in the pro-
become a part of it, persuade further investigation; incite duction of fine earthenware, consequently sank into com-
curiosity to explore, to move around it or to pick it up for parative ceramic oblivion. (The impressive art of medieval
further examination. Ornament is fulfilling part of its stained glass was earlier meted the same fate and was utterly
purpose when it arouses increased interest in the pot on destroyed in the attempt to imitate painting.)
which it is applied, when it invites handling and use. But Good ornament is an achievement which cannot be
it must be content, no matter how beautiful in itself, to be reduced to a formula but there are certain principles which
only a part of a larger whole; it cannot exist independent of govern it. Some of them, gathered from many sources, are
the mother form. Occasionally, when done with complete given in conclusion. Ornament should be appropriate to the
and sympathetic understanding by a sensitive potter, orna- form on which it is used. It should never deny the nature of
ment can sing out, but even then it must be incorporated the material but rather call attention to those qualities
as part of a larger harmony. which are peculiar to it. It should be scaled definitely in
Whether or not a potter becomes a fine decorator relation to the size and shape of the pot; and it should
depends on his discernment, perception, imagination and vitalize the surface. The form should not be consumed and
other capabilities. Some individuals and peoples seem to be absorbed to the advantage of ornament. Structural lines of
endowed with natural aptitude for producing good orna- the pot and ornament should be organically related. Orna-
ment, others apparently lack the capability. The Persians, ment should accentuate the form by focussing attention on
with their versatile and extremely logical minds, seem to the generating lines which regulate the mas,~. It should do
have been equipped with a special sense of decorative little more than continue the thought set forth in the
imagery. They, perhaps more than any people, have delved construction of the pot. Q
APRIL 1954 19
Two-Piece
Press
Molds
by JOHN KENNY
CERAMICS MONTHLY
is poured. Be sure to size the inside of the notches and yet
not allow any free size to remain in them.
N o w the other half of the bird model is placed on top
of the portion still remaining in the plaster. The edges must
match perfectly. The second half of the mold is poured and
after the plaster has set, the mold can be separated and the
model removed. i i~ i~ii~II~IIi~S~
W h e n a two,piece press mold of this type is used, clay
will be placed in the opening of one half of the mold and
then the two halves will be pressed together. This will force
the clay into all parts of the mold but there must be space
where excess clay can go when the two halves come to-
gether. To provide the space, a groove is cut completely
around the figure in each half of the mold. A hooked knife
is used to cut these grooves. W h e n the finished bird is re-
moved from the mold, the ridge left on it by excess clay
can be trimmed off with a knife.
M AareN Ymore
of the forms from which a sculptor makes molds
complicated than those we have studied so
far, and the molds often require more than two pieces.
The problem of deciding how many pieces a mold should
have, and where the division between the pieces should be,
is an intricate one. To solve it, we must consider the
problem of draft, and decide the direction in which each
section of the mold is to move as it comes away from the
model. Each piece of the mold should cover as large a
portion of the model as possible without reaching around
any projecting portion which would hold it fast. You
should be able to remove all pieces of the mold from the
model without marring it in any way (note--this does not
apply to waste molds; they are a special case). Molds of
complicated shapes must often have many parts, with special
pieces cast to fill undercut portions. Sometimes, too, the
sculptor finds it easier to remove some projecting portions,
like hands, and make molds of them separately.
Even though he d(~cs not plan to make duplicates of
his work, press molds have advantages for the ceramic
sculptor. The clay that is to be pressed into a mold can
have a courser texture and contain more grog than the
clay used for the ctriginal model; the piece, therefore, will
fire better. If the work is large, it is possible to make a wall
of more uniform thickness by pressing a layer of clay into
a mold than can be obtained by hollowing out the original
model--again making for better results in the kiln. And,
finally, the use of a press mold forces the sculptor to
simplify the form and in so doing, nine times out of tcn,
he strengthens the design. •
APRIL 1954
BASIC
DECORATION
LESSON NO. I: LINES
L I N E S offer the ceramist one of the which spacing is achieved, and good
simplest methods for embellishing his decoration depends on good spacing. It
work. W h e t h e r he is decorating a flat must be kept in mind, too, that the
tile, round bowl or plate, a symmetric areas must relate not only to each other
or asymmetric pot of any siae or shape, but to the piece as well. The choice of
he can achieve an interesting decor- space division, therefore, is of prime
ation by using only lines. And, whether importance and the first step in plan-
he chooses to use overglaze or under- ning a decoration.
glaze colors, slip paints, sgraffito, or any The sketches and captions presented
decorating medium or technique, here will help illustrate these points.
simple lines can serve him well. Note the difference, for example, be-
W e won't go along with the people tween tiles 3 and 4. Each is inscribed
who cry that they "can't even draw a with four lines, creating nine spaces.
straight line." A n y o n e can decorate The similarity, however, ends there.
L
ceramics with lines. To aid the un- Tile 3 is monotonous; each space or
trained or unsteady hand, various sup- area is identical with its neighbor. You
ports or guides can be employed; and see one space and, for all practical pur-
for decorating round objects, the band. pose, you have seen all nine. On tile 4,
ing wheel solves the problem. If people the nine spaces invite a second look.
cried that they didn't know where to On pottery, lines can be used to
place the lines for interesting decor- echo the form of the pot, or to em-
ation, we would be far more inclined to phasize some of its parts. A simple
agree. Lines can produce a monotonous, method is to parallel the mouth of a
or an imaginative and exciting, decor- vase, the lip of a bowl or the rim of a
ation. The ability of the decorator is plate. For variety and contrast, these
the controlling factor. horizontal lines can be cut by vertical
Too often a decorator sees only the lines. These can extend from the lip
3. line he has made, and is oblivious to to the foot, or divide one or more of
the fact that he has divided space and the horizontal spaces. The effectiveness
created areas. Lines are the means by of the resulting decoration will, of
22 CERAMICS MONTHLY
O N PLATES and other flat ware,
lines which parallel the rim assume
the same character as the straight
horizontal lines an the tiles. Avoid
the even spacing shown an the
first platel strive far greater in-
terest through variety. Groups ~ of
"vertical" lines can create added
action. It is advisable to treat
the flange and the well of a plate
as separate areas, in order to em-
phasize, nat destroy, the form.
i
VERTICAL lines added to the original horizontals, in-
m
creases tremendously the opportunity for invigorating and
stabilizing the pattern of space divisions. Try various
groupings of verticals, and experiment with the placement
k of these groups. They can run from mouth to foot; be wide-
ly or compactly spaced. As with the plates, it is general-
ly advisable to restrict vertical reenforcement to one area.
Try striping one of the zones with regular spaced lines:
or, use banding and striping both, for a compact "texture."
APRIL 1954 23
I M I TATI='D BEAUTY
BUT NEVER BY THE
DUPLICATED Ceramic Color M a n u f a c t u r e r s BRUSHFUL
GREETINGS to TEXAS
Oklahoma • Louisiana • Missouri • Arkansas • A l a b a m a • Kansas • New Mexico
TRINITY CERAMIC SUPPLY, 100 Howell St., Dallas, Texas,
supplies Re-Ward products to the following smart dealers:
TEXAS GENE'S CERAMICS ALABAMA LIVELY'S CERAMICS
Harlingen, Texas DEEDY'S CERAMIC STUDIO Shreveport, Louisiana
BRADSHAW CERAMICS CLARK'S CERAMICS Birmingham, Alabama RUTH'S CERAMIC STUDIO
Abilene, T e x a s Hillsboro, T e x a s PIXIE POTTERY Shreveport, Louisiana
CERAMIC ART SUPPLY ST. J O H N C E R A M I C S Trt~ssville, A l a b a m a WADDELL CERAMIC STUDIO
Austin, Texas Houston, Texas Shreveport, Louisiana
NAGIE CERAMICS WOMACK'S CERAMICS
Austin, Texas Houston, Texas ARKANSAS NEW MEXICO
BUCK'S CERAMICS ARTIFICER STUDIO
MAJORIE'S PLAYHOUSE lrvin:f, Texas 1 t. S m i t h , A r k a n s a s JORDAN'S SCIIOOL OF CER.
Beaumont, Texas CURRY CERAMICS GALE'S CERAMIC STUDIO Clay'ton, N e w Mexico
DIXON'S CERAMICS Irving, Texas L i t t l e Rock, A r k a n s a s
Corsieana, Texas IRVING CER. AND GIFT SHOP PULLEN CERAMICS OKLAHOMA
ANETTE'S CERAMIC~ Irving, Texas O~.ark, A r k a n s a s
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BRANNON CERAMICS Irving, Texas MISSOURI Atoka, Oklahoma
Dallas, T e x a s GENE YOUNG CERAMICS GENEVIEVE'S CER. STUDIO BE'I~PY'S C E R A M I C S
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Dallas, T e x a s Paris, Texas K a n s a s City, M i s s o u r i Duncan, Oklahoma
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Denison, Texas S a n An'tonio, T e x a s KANSAS O k l a h o m a City, O k l a h o m a
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Ft. W o r t h , T e x a s San Antonio, Texas RUTH BROTHERTON O k l a h o m a City, O k l a h o m a
HAILEY'S CERAMICS CERAMICS BY PAT l.t. Scott, K a n s a s K & M FURNITUR~ COMPANY
Ft. Worth, Texas San Antonio, Texas HARWICK CERAMIC STUDIO O k l a h o m a City, O k l a h o m a
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GLADEWATER CERAMICS CERAMIC STUDIO Shreveport, Louisiana FITZGERALD CERAMICS
Gladewater, Texas Weatherford, Texas FITZGERALD SPECIALTY Tulsa, Oklahoma
HUNT'S HOME CERAMICS KERMIT WOMACK CERAMICS SALES WALTER'S CERAMICS
Gladewater, Texas Yantis, Texas Shreveport, Louisiana Tulsa, Oklahoma
RE-WARD'S KOPPER KIT Copper enameling made easy for the whole family with simple
instructions--beautiful colors--tools--copper pieces--pin backs--earring backs, etc., etc.
Confacf Your Nearesf Re-Ward Dealer
first of a series: F I R I N G count on the colors having been pro- decoration. Hard porcelains requirc a
perly fluxed in a standard degree. firing up to cone 013, while at considcr-
Recognition of the type of ware you able amount of soft glazed ware should
A C K OF information about pro- are using decides the exact temperature not be fired over cone 017. The art
L per firing temperatures seems to
be the biggest problem that over-
at which it must be finished in the
decoration firing. A wide selection--
bodies produced in hobby studios must
be fired much lower, even though
glaze decorators have today. The from hard, medium and soft porcelains decorated with the same colors as the
trouble comes mostly from not realizing to art bodies and pottery--are now be- other bodies mentioned.
that overglaze colors can be fired over ing decorated with an assortment of
a wide range of temperatures; that the
proper annealment of the decoration
overglaze materials. The final results
will always be uncertain unless the fir-
p EousR H Atypes
P S a description of the vari-
of ware will be helpful
depends entirely on the glaze and ing is properly controlled following to the overglaze decorator. In any case,
ceramic body to which it is applied. certain precautions. an understanding of the terms used is
Annealment--fixing of the color The temperature chart rule, set forth necessary. Porcelain is classified as soft
during the firing--is of primary im- at the end of this article, applies to all and hard paste. English bone china is
portance. ~fhe overglaze decoration overglaze decoration. Mineral colors halfway b e t w e e n - - t h a t is, medium.
must become vitrified by correct temp- which are properly fluxed will sink into The term china is used to describe all
erature, melt and adhere perfectly to and combine with the glaze. Enamel sorts of semi-soft, soft and hard por-
the surface to which it is applied, ex- colors, which do not contain much flux, celain. Actually, it would be correct
pand and contract with that surface, will remain in flat adherance to the to describe "porcelain dinnerware"
and remain unaltered by atmospheric glaze. The pure metals and lusters also only as that which is made of hard
conditions. After firing, the color will anneal properly if fired according feldspathic composition, and to call
should be, as nearly as possible, the to the temperature chart. only bone china by the name "china."
same as it was before going into the Various ceramic bodies are not too Most domestic ware is really not por-
kiln. {Pure metals, lusters and enamels difficult to recognize, and the manu- celain but china, because it is manu-
are, of course, exceptions for their facturer or d:aler usually wiil give in- factured by methods different from
appearance does change.) formation as to his specific type of those used for what was originally
The vitrifiable mineral colors used ware. A range of temperature for called porcelain.
in overglaze decoration must be well china painting, from 1157 ° F., to 1517 ° True porcelain is a brilliant, white,
combined with the glaze for satisfactory F., does not seem wide, but, knowing translucent ceramic ware. Bone china
results. W i t h few exceptions, however, that glazes are sensitive and each type and soft wares are usually cream
the skill of the color manufacturers has becomes soft at a different temperature, colored or ivory. All imported dinner-
fulfilled all the conditions necessary for we realize how important each degrec ware can easily be classified; but with
proper vitrification in firing. W e can is for satisfactory annealment of thc (Please turn to Page 34)
APRIL 1954 25
BODY A. CONE 12-14
PORCELAIN Kaolin . . . . . . . . . . . . . . . . . . . . 47%
(Begins on Page 14) Feldspar . . . . . . . . . . . . . . . . . . 25
Flint . . . . . . . . . . . . . . . . . . . . . 28
a. Ball Clay. BODY B. CONE 12
b. Bentonite: exceedingly fine in Kaolin . . . . . . . . . . . . . . . . . . . . 25%
grain, bentonite is useful in throwing Feldspar . . . . . . . . . . . . . . . . . . 25
bodies. Some bentonites contain iron so, Flint . . . . . . . . . . . . . . . . . . . . . 30
if whiteness is an aim, it should be Whiting . . . . . . . . . . . . . . . . . . 20
added in amounts not exceeding 1 per BODY C. CONE 12
cent. Aside from this coloring effect, Kaolin . . . . . . . . . . . . . . . . . . . . 35 %
not more than 2 to 3 per cent should Feldspar . . . . . . . . . . . . . . . . . . 25
be used because the fineness of the Flint . . . . . . . . . . . . . . . . . . . . . 25
grain can impede the drying and the Ball Clay . . . . . . . . . . . . . . . . . . 15
loss of the chemically combined water
during firing and cause u n d u e warp- BODY D. CONE 10
age. Bentonite should not be used in Kaolin . . . . . . . . . . . . . . . . . . . . 48
casting bodies for it can eventually clog Feldspar . . . . . . . . . . . . . . . . . . 30
the pores of molds, retarding absorption. Flint . . . . . . . . . . . . . . . . . . . . . 22
v m . . n . . . . v w w . . . . . .
c. Organic plasticizers (such as those BODY E. CONE 10
Amaco Pottery Supplies and Equipment Cata- based on lignin extract, wax emulsions Kaolin . . . . . . . . . . . . . . . . . . . . 36%
log No. 42 offers metal enamels in 54 jewel- and synthetic gums): water soluble Feldspar . . . . . . . . . . . . . . . . . . 30
llke colors both 80 and 200 mesh, plus 2 plasticizers usually are not used in cast- Flint . . . . . . . . . . . . . . . . . . . . . 20
especially des;gned Amoco Metal Enameling ing bodies because they can work out Ball Clay . . . . . . . . . . . . . . . . . . 14
Kilns. There are many other new items such as into the molds, making them im- BODY F. CONE 10
Amoco High Temperature Electric Kilns and pervious to casting slip water. Since Kaolin . . . . . . . . . . . . . . . . . . . . 300~
ready-to-use Amoco Liquid Underglaze Colors. organic plasticizers fire out in the kiln, Feldspar . . . . . . . . . . . . . . . . . . 35
A 48-page catalog of the complete Amoco they have no effect on body color or Flint . . . . . . . . . . . . . . . . . . . . . 24
llne. Send for your free copy nowl firing temperature. Whiting . . . . . . . . . . . . . . . . . . 1
IAI .| r~ | ~ • d. Milling: the non-plastic portions Ball Clay . . . . . . . . . . . . . . . . . . 10
of porcelain bodies are often ball- BODY G. CONE 10
milled in industries. The process de- Kaolin . . . . . . . . . . . . . . . . . . . . 25~
creases the particle size, makes the Feldspar . . . . . . . . . . . . . . . . . . 25
bodies more plastic, and slightly lowers Flint . . . . . . . . . . . . ; ........ 25
the maturing temperature. Ball Clay . . . . . . . . . . . . . . . . . . 25
e. A g i n g in the plastic state for as
BODY H. CONE 9
N O W ! Get the richness of true stone- little as a week's time can have a bene-
Kaolin . . . . . . . . . . . . . . . . . . . . 5r2~
ware glazes from your own kiln with ficial effect: the longer the aging con-
Feldspar . . . . . . . . . . . . . . . . . . 42
OR GLAZES
ments--whiteness, maturity, trans-
Talc . . . . . . . . . . . . . . . . . . . . . . 4
lucency and p l a s t i c i t y - into account,
Zinc oxide . . . . . . . . . . . . . . . . 6
the potter attempting to fabricate his
Brush, dip or spray. Heat and acid resist- first porcelain body needs a little more Porcelain bodies are usually de-
ant. Exciting NEW rich, varied earthy solid information if he is to know flocculated with ease. Body "G", for
tones--all yours at Cone 04. where to begin. Bodies which have example, will make an excellent casting
six beautiful colors worked well are therefore given below.
Specific types and brands are not
slip with the addition of 40 per cent
water, 0.15 per cent sodium silicate and
White E n t e r p r i s e . . . Velvet matte
Black J a c k . . . matte listed because two studios rarely have 0.15 per cent sodium hydroxide. Its
Eldorado P l u m . . . rich red the same materials and because the drain casting time is approximately 7
Blue S t o n e . . . mottled body suggestions are for experimen- minutes, and when fired to maturity
Aubergine . . . rich, dark brown
Toiling T a n . . . khaki tation. The potter is advised to use (cone 10) it has an absorption of 0.5
ORDER N O W ! 6 oz. sample of any color materials at hand rather than buy new per cent, shrinkage of 12 per cent, and
$1 or all-color ass't, of 6-12 oz. pkgs. ones. The fired quality of a body pro- good translucency. If 1 per cent ben-
$8.95. Shipped prepaid. Money back vides the basis for evaluation, and it is tonite is added to Body ~'G", it may be
,.g.~.2r."."2".'._2[.s."t.i2122!;2."-. . . . . . . . . . . . . . very possible the materials you have used for throwing or jiggering. Other
NATURAL ORE GLAZE CO. will be satisfactory. For example: body sources may be found in various
Central City, Colo. Georgia or Florida Kaolin or English texts on ceramics.
Gentlemen Enclosed find $ _ _ for China Clay may be used for kaolin, Cleanliness is extremely important
which rush the following Natural Ore but if you already have kaolin and when working with porcelains. The
Glazes with complete instructions at
$1.00 each postpaid: don't know just what type it is, use it. most unexpected sources may offer con-
( )_____6 oz. pkgs. in following Feldspars which may be used include tamination: rust on tools or containers,
colors: Buckingham, Godfrey and Nepheline iron or other impurities in mixing
Syenite, but if you have some other water, red clay dust in the a i r - - a l l can
( ) 6 n 12 oz. pkgs. of assorted spar, use it, then judge from fired be troublesome.
colors at $8.95 postpaid. results whether you need a harder or
(Other quantities, price on request) softer spar. Tennessee Ball #5 and Vic-
Name
Address
toria, suggested as light-firing, do not R Eation,
GARDING GLAZE prepar-
the question may come up:
exclude the use of other ball clays. should the glaze be ball-milled, ground
City State The following batches are on a per- in a mortar, or merely dry-mixed and
DEALER INgUIRIES INVITED centage basis, the total being 100. (Please turn to Page 28)
2b CERAMICS MONTHLY
answers
to. CAN BE EXPRESSED
To ,Ts FULLEST
I
J
questions
CONDUCTED BY KEN SMITH
APRIL 1954 27
PORCELAIN GLAZE F.
COPPER
LOCAL REDUCTION
RED*
(Continued from Page 26) parts
Nepheline syenite ........... 126.1
Florida kaolin .............. 16.0
wet-screened? The answer depends on
Z i n c oxide . . . . . . . . . . . . . . . . . 16.4
the condition of the materials at hand
Whiting ................... 42.6
and the effects desired. Since most of
Talc. ..................... 12.5
STEWART'S NEW our materials reach us in fine particle
Flint ...................... 84.3
HIGH-FIRE size, milling is not usually essential
T i n oxide . . . . . . . . . . . . . . . . . . 1.8
ELECTRIC from the standpoint of grinding them
Silicon c a r b i d e ( 6 0 0 m e s h ) . . . . 1.2
If colorants are present in the glaze.
KILN however, it may be desirable to hand Copper carbonate ........... 1.8
H e r e is a n a m a z -
ing new inexpen- or mill grind the batch; otherwise, color *for a reduced iron glaze, use 1 . 1 . 5 ~
sive top loading iron oxide in place of copper.
kiln t h a t ' s ideal f o r will be speckled, rather than evenly
the hobbyist. Designe( distributed. Porcelain ware is often once-fired.
to fit all c e r a m i c a n d
e n a m e l i n g needs i n c l u d i n g r e s u l t s in porcelain. M a n y potters do not grind glazes, W h e n the glaze is to be applied to
F i r e s to 2300 ° F. a 3-way s w i t c h for high,
preferring the more casual interfusion green ware, the addition of a binder is
m e d i u m a n d low heat. Steel case c o n s t r u c t i o n
w i t h a g r a y h e a t r e s i s t a n t p a i n t finish. C o m p a c t , of the materials which frequently re- helpful. It not only decreases the
efficient. G u a r a n t e e d for o n e year. Only $60.00 amount of water needed to make the
Complete Line of Ceramic and Pottery
sults in a more pleasing visual surface
texture. glaze workable, but also acts to bind
Needs . . . Clays, Kiln (Electric) Slips,
Glazes, Bodies, W h e e l s ( K i c k and B a n d i n g ) K i l n The studio potter who is beginning the glaze particles together before fir-
F u r n i t u r e , Tiles (Glazed a n d Bisque) Sieves, ing, giving a harder unfired surface for
Molds, M o r t a r s a n d Pestles, Ball Mills, I m p o r t e d to explore porcelains may find the
Steel Plaster Tools, Modeling and Pottery Tools
following six glaze recipes helpful. All easy handling. Commercially available
( E v e r y P u r p o s e ) , Chemicals, P y r o m e t e r s , Scales,
Crocks, Sponges, Bushes-Quills. P o t t e r y Books, of them are cone 8-10, and the figures organic binders, gums, starches, glues,
P y r o m e t r i c Cones. Epsom Salts, or vinegar may be used.
A s k for S T E W A R T W H E N O R D E R I N G Ceramic given are batch weights. Glazes A, B,
materials. T h e y give you Quality, E c o n o m y and
Prestige.
D, and E are colorless bases which may
be used for color developments.
NEW C A T A L O G Send f o r
the big 52 p a g e S t e w a r t Clay
Catalog that c o n t a i n s e v e r y t h i n g
~ GLAZE A. WHITE GLOSS D Ubody
R I N G F I R I N G , a fine porcelain
is inclined to deform because
you n e e d in C e r a m i c s - - (Tools, parts of its glassy structure. For this reason.
Kilns, etc.) O n l y 10e 'to cover porcelains are usually fired dry footed:
m a i l i n g - and h a n d l i n g . You'll Buckingham feldspar . . . . . . . . . 171.3
want this catalog "at your F l o r i d a kaolin . . . . . . . . . . . . . 10.8 that is, no glaze is put on the foot of
fingertips" a l w a y s . Order N O W !
Z i n c oxide . . . . . . . . . . . . . . . . 16.2 the ware and stilts are not used. It will
be apparent that if the ware were thin
STEWARTCLAY CO,, INC,, D e p t . 6 Colem anite . . . . . . . . . . . . . . . .
Dolomite ..............
51.5
13.8 and the body glassy at maturing
133 Mulberry St. New York 13m N.Y. temperature, forms - - especially flat
Whiting ................ 17.5
Flint . . . . . . . . . . . . . . . . . . 83.3 f o r m s - could sag on to stilt points.
Rutile . . . . . . . . . . . . . . . . . . . . . 10.9 Smooth and evenly set kiln shelves
are essential. They should be covered
GLAZE B. SEMI.MAT
with kiln wash (equal parts of fire
parts
clay and flint; or of fire clay, ball
# 5 6 Glaze spar . . . . . . . . . . . . . 128.5
clay and flint for lower temperatures)
T e n n e s s e e ball clay # 5 . . . . . . . 22.7
t~ Colemanite ................. 36.1
so that glaze droppings or stuck ware
can be removed with least damage to
exciting . . . Dolomite .................. 23.0
both ware and shelves. If you have
_J new . . . Talc ................... 44.1
badly warped or bumpy shelves, it may
Flint . . . . . . . . . . . . . . . . . . . . . . 59.9
0 original . . . be advisable to set the ware in sand or
Send 25c ft r c a t a l o g
GLAZE C. COPPER BLUE flint, provided the body is not so
S a h u a r o Molds, P . O . Box 133, Sta. A parts glassy that the setting material will
Studio at 560 College A v e #56 Glaze spar ............. 136.2 fuse to it.
Palo AIIo, C a l i f o r n i a Whiting ................... 64.3 Slow firing and a little soaking
Borax . . . . . . . . . . . . . . . . . . . . . 44.9 (maintaining top temperature) are gen-
Flint . . . . . . . . . . . . . . . . . . . . . 124.2 erally considered to be conducive to
GAY-WAY Copper carbonate ........... 27.7 developing porcelain bodies and glazes.
"STUDIO TESTED" GLAZE D. SOFT MAT
This, however, is something the indi-
vidual potter has to work out for him-
CERAMIC MATERIALS parts
self. Kilns have personalities, much like
Buckingham feldspar ......... 46.8
Transparent Gloss Glazes potters, and each needs understanding
Godfrey feldspar ............ 45.5
True Majolica Opaque Enamels - - a n d sometimes patience!
Zinc oxide . . . . . . . . . . . . . . . . . 56.2
"Vitgobes"--Aztec Matts It may be said that more self-dis-
Whiting ................... 17.9
Suede Mafts--Engobes cipline on the part of the potter is re-
Flint . . . . . . . . . . . . . . . . . . . . . 26.3
"Sure-Fire" Red Enamel Glaze quired for work with porcelains than is
Catalog Free Rutile . . . . . . . . . . . . . . . . . . . . . 7.1
needed with lower-temperature and less
Dealer Inqui~'ies Invited GLAZE E. CRACKLE pure clay bodies, but don't be intimi-
GAY-WAY POTTERY parts dated by the aura of preciousness and
Dept. CM, Sharon, Conn. Buckingham feldspar . . . . . . . . . 101.6 unattainability which has often been
Florida kaolin . . . . . . . . . . . . . . 76.4 assumed as porcelain's right. It is an-
Whiting . . . . . . . . . . . . . . . . . . . 18.5 other material requiring consideration
r~j.,|oll||.t,,e|.l|.g|l,.,,.|,|.l||l||,lool||ll|||l|all**|ll.,|lll|l,lr~j
Cryolite . . . . . . . . . . . . . . . . . . . 29.4 just as any material does--nothing
i plan to a~fend the .~
Bone ash . . . . . . . . . . . . . . . . . 13.1 more. The material in itself is not im-
HOBBY SHOWS i
Lithium carbonate . . . . . . . . . . . 22.2 portant, but what the creator does with
: see "Itinerary," p. 36, for details "
[] m-|-m-----||um..|m||*.|..,|.|.*..|.,0||...|0,r~ Flint . . . . . . . . . . . . . . . . . . . . . . 33.3 it is of utmost importance! •
28 CERAMICS MONTHLY
SATISFACTION GUARANTEED
ceramic counsel OR YOUR M O N E Y BACK
fore incandescence has been reached. celain tube and is mounted as an in-
Even the lowest cone, 022, does not sertion through a small opening in the
W H Y TAKE CHANCES?
• • • • • • • • • • • •
operate until there is some light in the door or wall of the kiln, protruding
kiln. For measuring the sub-incandes- several inches into the kiln's interior.
cent progress of the firing, a pyrometer Since this type of pyrometer functions HOUSEof CERAMICS
is required, and there are two general at low, subqncandescent temperatures 3295 JACKSON AVE.
types--the optical and the thermo- as well as at high ones, it can be of Memphis 1 2, Tenn.
couple. great service in helping to control the
The optical pyrometer is a portable early progress of firing. Thermocouples
device consisting of a telescope-like tube may be permanently mounted in several
which has an eye-piece and contains a
wire filament. The tube is aimed at the
parts of a large kiln and readings taken
on a single instrument dial by means of
FIRST TIME OFFERED
plugs or switches. A system of this kind
interior of the kiln, and an electric
current is made to pass through the permits the operator to detect those JOHN
areas in his kiln which are lagging be-
filament, heating it to incandescence.
When the incandescence of the fila- hind or becoming too hot, and he can MARTIN'S
take steps to correct the situation.
ment exactly matches the light emitted
from the kiln's hot interior, the amount Pyrometers are invaluable in con- HEW
of current required (in milli-amperes) trolling the heat in enameling kilns
is read on a dial and this reading is
then transposed into Centigrade or
where it is desired to maintain constant
temperature. The simplest set-up would
DECAL
Fahrenheit degrees by means of a stan- consist of a thermocouple connected to CATALOGUE!
dard table. This type of pyrometer has a pyrometer dial, the enamelist in-
two disadvantages. First, like the pyro- creasing or decreasing the heat supply Beautifully illustrated. All subiects, intricate
details, exquisite deslgns--the finest im-
metric cone, it cannot operate below according to the indicated temperature ported and domestic decals ever made at
the range of incandescence and, second, fluctuations. A much more elaborate the lowest prices you ever paid. Contains
the readings will be somewhat affected arrangement can be obtained which the interesting history of decalcomania
by the type of surface at which it is allows the operator to set a pointer at and complete instructions on how to apply
and fire. Use it as a handy reference
aimed. If the device happens to be a desired temperature and have the book--lt's sure to inspire you with wonder-
directed at a piece covered with glisten, instrument automatically maintain it. ful ideas'!
ing, molten glaze, the same reading will Those who may wish to depend on U n m a t c h e d in price-- only 3 5c
not result as would be obtained if the pyrometers without using pyrometric SAMPLE KIT OF DECALSINCLUDING:
pyrometer were aimed at a piece of cones as an adjunct would do well to BRUSH, SPONGE & VARNISH--S1.00
glowing bisque ware. remember that t h e pyrometer is a ORDER BOTH TODAY.:
The second type, a thermocouple temperature measuring instrument and
pyrometer, depends on the fact that if makes no allowance for the time factor. WRITE FOR I N F O R M A T I O N AND
PRICES O N OUR SPECTACULAR
two wires of dissimilar metals are The heating elements in electric kilns METAL TRIVETS, TABLES & TRAYS!
joined at one end and this joined end is may change over a period of use and
then heated, a small electric current is may require a longer time to reach a
given temperature, though the total JOHN MARTIN
heat-work supplied may be greater. Re- treasures
This is the second in a series of monthly member, also, that thermocouples need $4S Valley Road, Dept. CM 4
theoretical discussions by Mr. Littlefield. periodic checking and calibration to in- Upper Montclair, N.J.
If you have a pet problem you would like sure accuracy since they, too, may de- Send for Free Mold Catalogue
to have aired in this column, write to CM. teriorate through abuse or extended use.
APRIL 1954 29
from the
it's from
UJE A/,9ow YOU'LL LiKt it HOLST NOTEBOOK
TILE TRIVETS IN BLACK M A T T FINISH (Begins on Page 25)
!6,0
"**"*WESTERNB'VO LOSANGELES62 OAL,F KERNIAN KRAFTS m
This is
a
MONEYMAKER
Jfl
GREEHWARE
JUSTPLUGIN THISAh~....u . c . s . L .
Think of it! You save time, trouble and money ONLY
when you test your glazes. Now you can ex- $ 1 9 9 5
periment with new glaze effects and glaze
your biscuit ware the same day. Excellent
the latest design for small pieces or jewelry. FOB New York
in our ashtrays Note these specifications: Kanthal AI Element--Babcock-
Wilcox Fire Brlck--ln~'erior size 6 x 6 x 4V2 in. 12 Amperes.
Send check or money order to Dealer inquiries invited
APRIL 1954 31
Subscription Order Form CONFUSED
for
Send this form to: CERAMICS MONTHLY 1985 Firestone Blvd., Los Angeles
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IN
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CERAMICS by MARLENE
CERAMICS MONTHLY 1214 E. St. George Ave., Linden, New Jersey
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CO. 23S Washington St., Haverhill, Mass.
32 CERAMICS MONTHLY
Ceramists who know
COLORS
are now saying
from our readers
Use an Alarm Clock
By keeping a written firing
tribution through the kiln
than if the tiles were stacked
~~~j~& •
UNDERGLAZES
(26 brilliant colors)
schedule, I can estimate the
time when the cones will go
horizontally on closely spaced
kiln shelves. • COLOR-GLOSS
(decorating one-fire glazes)
I use an insulating firebrick
/ .
and porcelain tubes to build
the rack. Cut a brick length- ... because Shasta Colors
wise into two equal parts and
insert the tubes at a slight
today are the finest Colors
angle. One brick can easily ac- ever bottled. And in our
commodate nine tiles. opinion t h a t makes them the
This method of firing the
tiles vertically is not recom- finest colors you've ever en-
down and I set an alarm clock mended, of course, for glazes joyed using.
for the approximate time. This which flow to any degree dur-
eliminates the horrible possi- ing the firing. If Your Local Supplier Cannot
bility of forgetting that the --Albert McKiernan Serve You, Write Direct to
kiln is on! Culver City, Calif. National Distributors
- - ( M r s . ) Douglas Berry EVERYTHING FOR THE CERAMIST
Plymouth, Mich. Match-stick Tools
W h e n modeling very small
Nylons for Clean-up objects, such as jewelry and
For cleaning up greenware, small figures, most tools seem
try using nylon net or nylon large and awkward. You will
tulle. W r a p a scrap of the
nylon around your finger and
find wooden match sticks to be
very helpful.
vVJ,, SUPPLYCO.
use a rotary motion. The nylon One match stick sharpened DEALE, MARYLAND Illustrated Price List
on request
net is coarse enough to use on
heavy seams. The nylon tulle,
or an old nylon stocking, pro-
vides just enough abrasivness
for that final clean-up. I find
this vastly superior to sand- to a point, another rounded
paper or steel wool. with sandpaper, and another
--Doris Windham cut square with a razor blade
Moultrie, Ga. will make versatile and handy
Tile Firing Rack tools.
A firing rack, which will Snip a small piece from a
enable you to place your tiles large sheep's wool sponge and
use this for finishing. The tools
and sponge fit neatly into a
penny match box.
- - ( M r s . ) Douglas Berry
Plymouth, Mich.
APRIL 1954 33
of body, although sometimes creamy in
American Beleek Company O V E R G L A Z E tone, and usually of great translucency.
Category 4 - - a r t bodies and pottery
Inc. DECORATION - - i s the most difficult temperature
"The Fine China of the W o r l d " (Begins on Page 25) range to control. The very soft glazes
are so sensitive that great care must be
our domestic ware being so varied in taken not to overfire. Crackles and
I'
composition and method of manu- slurring will result from overfiring, and
facture, and each manufacturer calling the colors will sink into the glaze until
his product "china," it is difficult some- you have a creamy or foggy look on
times to decide in which category each top. Do not be misled by the common
Trademark product should be placed. Our domestic notion that china paints must be fired
Belleek, for instance, is made mostly at cone 018. I must repeat that this is
34 CERAMICS MONTHLY
Instruction Catalogue
Now Available for Ceramlsfs
25c Postpaid
WALL MASKS
Dealers Ask for Discount Sheet.
ORIENTAL--GROTESQUE
LAURINE BROCK CERAMICS
1651 .W. Woodlawn, San Antonio 5, Texas (Begins on Page 8)
CERAMIC FLOWER setts Institute of Technology. One
INSTRUCTIONS (NO MOLDS OR CUTTERS) $2.00 hundred or more examples of dis,
CHINA PAINTING tinguished ceramics and textiles in-
VIA CORRESPONDENCE COURSE, EACH $1.00 cluded in display. This traveling exhi-
OR COMPLETE COURSE, 12 LESSONS SIO.OO bition is a selection from the Fourth
300 CHINA PAINTING DESIGNS $3.00
Biennial of the Museum of Cranbrook
S E N D F OR B R O C H U R E Academy.
NETTLE E. P1LLET
841 B a r r o w s Ct., Pasadena, California
MICHIGAN, Detroit
through April 11
Fecrfuring Exotic A r t Glazes Ceramics predominate at ninth annual
Complete line of Ceramic Supplies exhibition for Michigan Artists,Crafts,
Classes--Firing men. One hundred six ceramic objects
Open Sat. all day--Sun, by appointment shown. At Detroit Institute of Arts.
Irco & L and L Kilns, Tru-Fyre Glazes
Jlrele Ceramics 2116 N. Limestone MICHIGAN, G r a n d Rapids Mg0mGrotesque m 10" x SI/2" SS.0O
Ohlo's Largest Ceramic Studio A p r i l 19-May 8 M 9 1 - - O r i e n t a l m 91/# ' x 51/2" SS.00
SPRINGFIELD Phone 3-0632 OHIO Western Michigan Competition show,
sponsored by Friends of Art, includes Cash in on the growing popu-
ceramics and crafts. At Grand Rapids
MOLDS~Large Selection Art Gallery, 230 East Fulton St. larity of decorative Wall
Send $1.00 for new pictures and Price NEW HAMPSHIRE, Manchester Masks.
List. Refund given on first order.
A p r i l 4-25
CHARLES N. COULTON Well,designed British home furnish- Prices F.O.B. Port Arthur, Texas
Shop 55 N. Penna. Ave. (rear)
opposite post office, Morrisville, Pa.
ings, both handcrafted and machine, Add 10% Pkg. Charge
made, comprise "'Design from Britain"
(across the river from Trenton, N.J.) exhibition. Pottery included among W r i t e for FREE catalog
nearly two hundred obiects in this
traveling display. At Currier Gallery
of Art, 192 Grange St. M c D a n i e l .OLD co.
P.O. Box 3086 Port Arthur, Texas
NEW YORK, Brooklyn
April 17-May 16
Design in Scandinavia Exhibition at
Brooklyn Museum includes seven hun-
dred pieces of mass produced and KNAPINE CERAMIC STUDIO
RT. 13 8 e x 5 4 3 - ~ I FR~.ftvo CAUE
handcrafted items selected by top See-White Non-Crazing Slip
Scandinavian designers. A traveling Non-Crazing Transparent Glaze
Ceramic Molds and Supplies show sponsored by American Feder,
ation of Arts. MOLDS, MODELS, BLOCKS, CASES
Free Catalog • Free Molde Free Packing
S n o - W h i t e Bisque W a r e
Whols,ale~jrO~NNiA Ra,il
NEW YORK, Kenmore
May 2
Kenmore Ceramic Guild members show
212 S. l lth St., Phila. 7, Pa.
APRIL 1954 35
Selling to S C H O O L S
FREECeramicPattern is our specialty.
A complete line of matched ceramic
8 PAGE BOOK TELLS YOU H O W
TO MAKE JEWELRY supplies and raw materials available.
Make lovely artistic pin and earring sets. C A T A L O G AND TIPS ISc
Easy step-by-step glazing and color in- or Write on School Stationery.
structions. Learn how to apply jewelry BUFFALO CERAMIC SUPPLY CENTER
(Continued from Page 35) 76 Allen St. Buffalo 2, N. Y.
findings to ceramics. Valuable tips on
creative technique. Building. T o be on display at Public
Write for free pattern book and new price Library, Lockport, N.Y., April 26-27.
catalog of ceramic supplies.
OHIO, Cincinnati CERAMICS FOR FUN AND PROFIT
April 24-29 Let us help you set up a course for your
Ceramic Guild of Cincinnati sponsors school or community. Complete llne of
Greater Cincinnati Ceramic Show. A t supplies and equipment.
the A l m s Memorial Building of the
University of Cincinnati. Seeley's Ceramic Service
OHIO, Tolcd'a 7 Elm Street, Oneonta, N.Y.
May 2-30
Ceramics and other crafts included in
GENUINE 36th A n n u a l Exhibition of Toledo
SESSIONS CLOCKS Area Artists at Toledo M u s e u m of ,
Art. Fourteen counties represented. IVJ : *:e]~l I * ] : ~ [ * l : n ; [ e ] : E'd :~:~:
at New Lower Prices
SOUTH CAROLINA, C o l u m b i a i|F-" : e]:|llr_.ll~ ~.]/l:l:lB:|:kidl ,:l:r_.'r;,t[I
Many new Dials and Sizes April 4-2T J:'[II[ll,II :k]:tl:[~ Iilg,~,t~iil=:[o], ', /i~;I; I~[e
Now Available. A m e r i c a n C r a f t s m e n exhibition at Co, Send for Catalog g Dealerships Granted
lumbia M u s e u m of Art, 1112 Bull St.
Send for Pictures & Prices. More t h a n 100 examples of ceramics,
Pro?essional staff of long e×perlence
No Charge for Packaging. enamels, silversmithing and other work
by o u t s t a n d i n g contemporary craftsmen. TEPPING STUDIO SUPPLYCO.
Immediate Shipment Sponsored by Smithsonian Institution. 3517 Riverside Drive • Dayton 5, Ohio
APPLIANGESERVIGEandSUPPLYGo, WASHINGTON, Seattle
2019 Cedar Springs Dallas, Texas through April 7
N o r t h w e s t C r a f t s m e n ' s Second A n n u a l
All-Crafts Show at the H e n r y Gallery, schools
University of W a s h i n g t o n . Pottery,
enamel and ceramic sculpture included
in exhibition which represents Idaho,
3b CERAMICS MONTHLY
Ad Index
SHOW TIME April, 1954
(Begins on Page 15) American Art Clay Co . . . . . . . . . . . . . . 26
American Beleek Co., Inc . . . . . . . . . . . 34.
Angelo Brothers . . . . . . . . . . . . . . . . . . . . 35
Bastigne believes that ceramic art Appliance Service and Supply C o . . . . 36
has recently taken a new lease on life. Bergen Arts . . . . . . . . . . . . . . . . . . . . . . . 35
" T h e most famous artists, painters or Brock, Laurine, Ceramics . . . . . . . . . . . 35
sculptors do not think it beneath their Buell, C. M. Kilns . . . . . . . . . . . . . . . . . . 36
dignity to tackle the innumerable prob- Buffalo Ceramic Supply Center . . . . . . 36
lems set forth by clay, glazes, and fire. C l a y Haven . . . . . . . . . . . . . . . . . . . . . . . 34
This renewed interest in an art as old Coulton, Charles N . . . . . . . . . . . . . . . . . 35
as mankind has already given birth to Cox, Florence, Ceramic Studio . . . . . . . 6
a large and diversified production--in Craftools, Inc . . . . . . . . . . . . . . . . . . . . . . 5
fact, so vast and so different from the Cranbrook Academy of Art . . . . . . . . . . 36
past, technically and artistically, that Creek-Turn Pottery . . . . . . . . . . . . . . . . . 35
the time has come to compare the in- Ferro C o r p . . . . . . . . . . . . . . . . . . . . . . . . 6
dividual production from country to G a r e Ceramic Supply Co . . . . . . . . . . . 32
country." G a y - W a y Pottery . . . . . . . . . . . . . . . . . . 28
The ceramic craft in the United Great Lakes H o b b y Exhibition . . . . . . . 10
States shows intensive development and Griffith, Jane, Pottery House . . . . . . . . 30
draws an increasing number of fol- Harris, Chas., Co . . . . . . . . . . . . . . . . . . 34
lowers, Bastigne observed. He feels that Harrison, the Kay, Studios . . . . . . . . . . 4
our work has personality and vitality, Haystack Mountain School of C r a f t s . . 3 6
and the meeting of American and Holland Mold Shop . . . . . . . . . . . . . . . . 31
French ceramics should bring forth Hommel, O., Co . . . . . . . . . . . . . . . . . . . 3
interesting results. DELPIERRE: Woman bottle House of Ceramics (Tenn.) . . . . . . . . . . 29
Houston, Charles, Molds . . . . . . . . . . . . 35
Huff's H o b b y Center . . . . . . . . . . . . . . . 4
J & M Originals . . . . . . . . . . . . . . . . . . . 36
Jirele Ceramics . . . . . . . . . . . . . . . . . . . . 3S
Miami Group Exhibit Kernlan Krafts . . . . . . . . . . . . . . . . . . . . .
Knaplne Ceramic Studio . . . . . . . . . . . .
31
35
L and L Mfg. Co . . . . . . . . . . . . . . . . . . . 9
McDaniel Mold Co . . . . . . . . . . . . . . . . 35
Martin, John, Treasures . . . . . . . . . . . . . 29
M a r y l a n d China Co . . . . . . . . . . . . . . . . 35
Master Mechanic Mfg. Co . . . . . . . . . . 33
Mayen, E. P., Co . . . . . . . . . . . . . . . . . . B
Midwestern Ceramic H o b b y Show . . . . 7
Model Ceramics, Inc . . . . . . . . . . . . . . . . 2
Natural Ore Glaze Co . . . . . . . . . . . . . . 26
Paragon Industries . . . . . . . . . . . . . . . . . 1
Pemco C o r p . . . . . . . . . . . . . . . . . . . . . . . 27
Pillet, Nettle E. . . . . . . . . . . . . . . . . . . . . 35
Re-Ward . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Sahuaro Molds . . . . . . . . . . . . . . . . . . . . 28
Schmld, Ludwig, Art Ceramic Studio.. 5
Sculpture House . . . . . . . . . . . . . . . . . . . 34
Seeley's Ceramic Service . . . . . . . . . . . 36
Snead, Jane, Ceramic Studio . . . . . . . . 36
Southern Illlnols U n i v . . . . . . . . . . . . . . . 36
Specialized Ceramics Corp . . . . . . . . . . 30
Stewart C l a y C o . . . . . . . . . . . . . . . . . . . 28
Stewart's of California . . . . . . . . . . . . . . 35
Tepplng Studio Supply Co . . . . . . . . . . . 36
Trinity Ceramic Supply . . . . . . . . . . . . . S
United Artist Materials Co . . . . . . . . . . . 31
Vollmers ~ Ceramic Studio . . . . . . . . . . . . 35
Waller Art Exchange . . . . . . . . . . . . . . . 36
Ward, S. Paul, Inc . . . . . . . . . . . . . . . . . . 32
CERAMIC LEAGUE of Miami recently held Enamels first--copper card tray (right fore- Winthrop Ceramic Supply Co . . . . . . . 33
its fourth exhibition of work by the members. ground) by Juanlta May; s e c o n d - - s i l v e r Wolfe, Jack D., Co . . . . . . . . . . . . . . . . . 36
Pieces that won the awards are shown above: cloisonne pendant by Rosalie Brown; t h i r d ~
ceramics first--brown bottle form by Juanita free form copper tray (center) by June
May; second--low glazed bowl by Barbara Knouse. The League, an active, enthusiastic =•||||.||||||l|||l|||||l|l|l|l|||l||l||H|l||||||||||||||||n||||||l|||llll|l•
_~ plan to attend the -'..
Garrett; thlrd--tile panel by Kay Pancoast.
First in sculpture--Horse by Miska Petersham;
organization, last summer sponsored an open
competition show which drew more than four
HOBBY SHOWS
see "Itinerary," p. 36, for d e t a i l s
[
second--Two Little Girls ' by Dorothy Phillips. hundred ceramics and enamels from ten states. ~1 ii ill III,L i iiintl IIIII IIIiIIIIIII IIIIII Ilnllllllllllll|lllllnlllllllll ~ab
APRIL t954 37
FEATURING THIS MONTH
THE 7 BEST S EL L ER S
YES . . these are the
top 7 books in the
Ceramics Monthly
Book Department.
• ~ - ~ . . . . . . . . . . . . . . . . . . . . ~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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