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LIBRARY BINDER
for
Ceramics Monthly
Now you can keep your copies of "Ceramics Monthly" looking neat and fresh in
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These durable binders have been manufactured and designed for "Ceramics
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DECEMBER 1953 1
Spaciousness combined with Compactness
BARCLAY SPECIAL
A kiln built by one of the best known
and most reliable names in the field.
2 CERAMICS MONTHLY
a letter from the publishers
regular reading
Advertisers Index . . . . . . . 33 Letters ................ 4
Answers to Questions . . . 2 1 New & Useful ......... 6
Itinerary .............. 8 Suggestions ............ 29
Copyright 19.53 by
Professional Publications, Inc.
All rights reserved.
N0W! the first N E W G L A Z E
development in a c e n t u r y letters
NATURAL Frit Facts
Gentlemen :
A s one of y o u r s t a u n c h readers and avid
me. T h e Keith covers are quite special too
- - a l w a y s enjoyed• Mr. Smith's "'Questions
and A n s w e r s " are so clearly h a n d l e d a n d
helpful to read even when t h e material
ORE
supporter of your magazine, m a y I join
with one of y o u r critics w h o wrote in the u n d e r consideration is well k n o w n . . .
October issue that some of your articles fail FRANCES H. JOHNSON
to instruct sufficiently. It certainly would Drexel Hill, Pa.
be of real value to the reader if the facts
GLAZES
were more detailed and if y o u r a u t h o r s "Invaluable Contribution"
would state the formulas which they used
and give figures where indicated. Gentlemen :
Specifically, I refer to Mr. Saling's • . . If your magazine continues as well
article in the October issue on " D e c o r a t i n g as this first year would indicate, you are
with FElt." If there h a d been a precise m a k i n g an invaluable contribution to the
Get the richness of true reference to the type of frit used, stating field of ceramics in the United States. I, for
s~coneware glazes from your m a n u f a c t u r e r a n d n u m b e r , the reader one, am finding that it is almost indispens-
able, and am wondering what I did before
own kiln . . . brush, spray or would have gained knowledge• Instead,
it came into being•
dip . . . heat and acid resistant the a u t h o r refers to " o n e o f the best frits
• . . is the white cover coat porcelain It is invaluable in class work and a
. . . all with the earthy, rich enamel type." W o u l d it n o t have been challenge to the worker in the field,
varied tones science has never more informative if f u r t h e r details had w h e t h e r professional or teacher . . .
duplicated. been given, particularly t h e cone n u m b e r ANN JO~ES
of firing this frit? Boulder, Colo.
fires at Cone 04 M a y I take this o p p o r t u n i t y to con-
gratulate you on such a fine j o u r n a l - - m y (Not) Duck Soup
I six proved, tested c010rsI only regret being that the articles are too
brief and insufficiently detailed•
J. E. HOLZMAN
Gentlemen:
T h a n k you for u r letter regarding the
"'Suggestions fromY°Readers '' I have for.
Ceramic Originals by Jac warded. These suggestions came about from
Black Jack... matte N e w York City experiments (some successful, some dismal
White Enterprise... velvet matte failures) in trying to build and adapt
• The editors and the author have erred by e q u i p m e n t for m y little studio, since my
EId0rad0 Plum . . . rich red taking too much for granted. Actually, f u n d s were limited• Like H e n r y Bollman,
Blue Stone... mottled s~fficient information was given in the I tried to build a k i l n - - a gas-fired muffle.
It is now a fairly nice barbeque pit. A t one
Ziege's Brown G01d... semi-transparent phrase "white cover coat porcelain enamel time I tried to build a wheel using a decor,
Tailing T a n . . . khaki type . . . especially prepared for the por- ating wheel powered by an old treadle
celain enamel industry•" From the number from a sewing machine. T h a t thing was like
SPECIAL INTRODUCTORY OFFER. r~f letters asking for more information, it trying to eat soup with a fork. But I have
To introduce Natural Ore Glazes we ,,ppears this could have been more clearly had a lot of f u n and l a u g h s - - u s u a l l y at
myself . . .
will ship you prepaid a 6-oz sample stated. W e have checked with several frit HILLIARD M. STONE
of any color for $1 or a special all- manufacturers and find that the following Hilliard Studios
color assortment of 6 ~ 1 2 oz. pack- enamel felts are available to the art field: T e x a r k a n a , Texas
ages for $8.9S. Try these glazes in Ferro, fElts 3124, 1084, 1037, 674; 0.
your own kiln. Experiment with them. Hommel, frits 5600, 5 6 0 I , 5602; Pemco, Back Issues Available?
If you don't agree that here are the felts S.264, S.265,S,266. Details on colors Gentlemen :
finest glaze~if they fail to give you and prices can be obtained from local sup. I have really been re-inspired about
exciting new results~return the un- pliers or from the manufacturers.--Ed. " p o t t i n g " since I was introduced to your
used portion and your full purchase magazine! It doesn't seem possible but I
missed all of the first year's issues and I
price will be refunded. Viewpoint would really like to fill in the back numbers
that you still have left. Please send me a
Gentlemen :
USE ORDER FORM BELOWNOW I am very disappointed in y o u r magazine
list of those that can still be ordered . . .
orders shipped same day received of late. Y o u started o u t y o u r first issue (MRs.) J. W. SMITH
with an article a b o u t copper-red glazes, O k l a h o m a City, Okla•
giving exact formulas and explanation.
NATURAL ORE GLAZE CO. Since then, y o u r articles contain nice chit- Gentlemen :
Central City, Colo. chat b u t no d o w n to earth facts, formulas I have been a ceramic hobbyist for al-
Gentlemen: Enclosed find $ _ _ for for glazes . . . If the a u t h o r s of these most ten years. D u r i n g this time I found
which rush the following Natural Ore articles are so afraid s o m e o n e might steal enormous difficulty in securing information
Glazes with complete instructions at their pet formulas you o u g h t to get n e w suitable for the advanced hobbyist's needs
$1.00 each postpaid: authors . . . • . . Imagine m y joy at discovering today
( ) _ _ 6 oz. pkgs. in following EDWARD ~-IIGGIN S that you have started publishing a maga.
colors: Milwaukee, W i s . zine to fill this need• For over six months
I have been unable to attend the hobby
shop here in C h a t t a n o o g a so that I have
Gentlemen : been ignorant of your publication . . .
( ) 6 m 12 oz. pkgs. of assorted I am enclosing an a n n o u n c e m e n t regard- I would like to have all of the back
colors at $8.95 postpaid. ing a Guest Exhibit held at the C o m m u n i t y issues if possible . . .
Name A r t s Center, W a l l i n g f o r d , Pa., in which I JEANNE L. HOGE
was invited to participate• D u r i n g the sum- Chattanooga, T e n n .
Address_ mer months, while p r e p a r i n g pieces for the
City State show, y o u r articles were a c o n s t a n t source • The above letters are representative of
( ) Check here if you would like of inspiration. the many inquiries we receive for back
information on other glazes as T o m e n t i o n a few: Perkins' free form; issues. St'ill available (at 60 cents each) are
they are developed. M a r t z ' engobes and clay decoration; W o o d ' s
paddle pots. Practically every article con- April; July; August; September; October;
DEALER INgUIRIES INVITED
I. .... ......--m........... ..... . ..... t tains valuable and stimulating material for November.--Ed.
4 CERAMICS MONTHLY
ct, B U T NEVER I a
cWa J t
o
,uT.
BY T H E
~ t DUPLICATED BRUSHFUL
_ Ceramic Color Manufacturers
; Season's fireelJnqs
l
[
i Besl Wishes - i g
To all Ceramic HObbrYiSts, Teaehe~s~Sehoolsr Students, Studios, Dealers, ~
~ i~ar~e ~ ~ ~ i : ~el;W~'f aWmi~y:lan~ oLseal g o ~ ; ~ re t°p]elrm~ore; ~[
" p " o Ma and Pa to be in our lovely new home. ~
1985 Firestone Blvd. ~t
l Los Angeles 1, Calif.
*" We are now one of the nations largest manufacturers and distributors of "~
C ceramic glazes -- underglazes -- overglazes.
National Distributors for S. Paul Ward Inc. Unexcelled Fine Glazes
C write for new price list--packaged or bulk.
it's from
WE: ,A/,r/o/.u 'YDU'LL LiKE it
TILE TRIVETS IN BLACK MATT FINISH
/
It you have a product or a service you feel will be of I
inferest to the readers of "Ceramics Monthly," send
916 Scott Street the pertinent information and illustrations (if available)
¢. Wichita Falls, Tex. to the attention of the Editor, "Ceramlcs Monthly,"
3494 N. High St., Columbus 14., Ohio.
6 CERAMICS MONTHLY
ADVERTISEMENT
Detroit, the hub of ceramic interest in the middle West, takes great pride
in her role of hostess. Plans are being made to assure you of a real welcome,
whether you are a supplies exhibitor, hobby exhibitor, or a spectator. This
whole-hearted cooperation will make this a show you will remember.
DECEMBER 1953 7
,°MERRY itinerary
WHERE TO SHOW
MAYCO
AMERICA'S FINEST A N D
CANADA, T o r o n t o
February 5-13 MOST POPULAR CER-
Second Annual Canadian International AMIC COLORS- IN
.J~ ~ ! ! i i i ! f rom the Hobby and Homecraft Show. At the
i i!i~!i!i i li i ilzi i ~
Coliseum, Canadian National Exhi- LIQUID FORM - - READY
bition Grounds. Any hobbyist is en,
MANUFACTURERS of titled to enter articles, which are placed A N D EASY TO USE.
on display. Jury; prizes. Demonstra-
VELVA PLY tions. For entry information write MADE BY EUROPEAN
Cone 0 6 - - o n e - f i r e glazes. Ameri- Auguste A. Bolte, General Manager,
Canadian International Hobby and TRAINED CRAFTSMAN
ca's leading ready-mixed glazes Homecraft Show, Ltd., 880 Bay St.
with the velvety smooth body. FOR:
O v e r 80 glorious colors in satin, KANSAS, Wichita HOBBYISTS
gloss, matt and ART textures. N o A p r i l 1 1 - M a y 11
flaking, rubbing or chipping off. Ninth Annual National Decorative- PROFESSIONALS
Arts-Ceramic Exhibition. Prizes, special
REGULAR KITS (6 full 4 oz. jars) awards, Association medal. Jury. For 4 8 opaque
$3.50 plus postage entry blanks write Mrs. Maude G.
SPECIAL ART KIT Schollenberger, President, Wichita Art underglaze colors
S B E A C H S T O N E plus Association, 401 N. Belmont Ave. SHADES. 7 ART C O L O R S
41 R E G U L A R
I D E C O R A T O R FROST (SPECKLED EFFECT) FOR COVERAGE
NEw Yo~K, Buffalo SGRAFFITO ETC.
$4.50 plus postage
J a n u a r y 3 1 - F e b r u a r y 25
(60c east of Miss. 80c west} Annual exhibition by the members of
the Ceramics Section of Buffalo Mu- 2 4 translucent one stroke
ABRAZO seum of Science. In Print Room of the under and over the glaze
Grinds off stilt marks and ugly Museum. Entries will be received at
drips from the bases of your ware regular meeting, January 29. Demon-
(majoUca) colors
quicker than scat. The most strations January 31, February 7, 14, 3 KITS-- 8 COLORS EACH: #1 BASIC
thoughtful gift you can give for 21. Only hand-built creative ceramics COLORS, #2 PASTEL COLORS, ~3
eligible for prizes. Entry fee: $1. For IN BETWEEN COLORS. FOR FINE
just $1.00 postpaid. further details write Miss Neville
Cocker, 40 Vernon Place, Buffalo. DETAIL WORK, SHADING, CHINA
Send us your Christmas list and PAINTING EFFECT ON GREENWARE
we'll mail ABRAZO direct. ,Just ETC. NO SPECIAL TRANSPARENT
NEW YORK, Buffalo
enclose $I.00 for each gift to be GLAZE NECESSARY ON ANY OF OUR
March 3-April 4
sent, your card enclosed. Ceramists of 14 Western New York COLORS.
BLEND counties eligible for the 20th Annual
Western New York Artists show. At
We ask you to try EVERY glaze- the Albright Art Gallery. Jury; prizes. 15 M A Y C O SATINA
mix on the m a r k e t - then try Fee: $2. Send entry cards by February SELF GLAZING ONE FIRE
BLEND. 3, work by February 12. For more de- MATT CERAMIC COLORS.
tails write Miss Beatrice Howe, AI-
Compare results. You'll never want bright Art Gallery, 1285 Elmwood MAYCO MATT
to use any other, once you have Ave., Buffalo 22.
used BLEND. Enough to make THE TRANSPARENT MATT GLAZE
ONE-HALF GALLON of the most NEw YORK, New York
heavenly body for glaze. $1.00 January 21-February 7 the newest:
postpaid. Audubon Artists' 12th Annual Exhi-
bition, at the National Academy.
MAYCO MASK
SILVER KING Open to all U. S. artists. Jury; prizes. For masking off parts of a de-
Fee: $4. Send entry cards and work
Best news of all to every electric by January 7. Address Fiske Boyd, sign. Paint o n - - L e t dr y- - Peel
kiln owner is the arrival of SILVER 1083 Fifth Ave., New York 28. off.
KING ELEMENT MENDER. Mends (Please turn to Page 30)
those broken wires in less than 5 W e are National distributors
minutes, without removal from the for the well known original
kiln. So simple that even we gals TO EXHIBITION CHAIRMEN:
can do it. You couldn't choose a It's never foe early to send us an- Hazel W i g g i n s Designs for
more useful gift for twice the nouncements of shows and exhibits! underglaze and china paint-
money. Enough for 20 repairs for In fact, if you depend on publication ing. Also distributors for Tri-
just $2.00 postpaid announcements for informing exhibitors of
your show, you'fl find that starting one angle Wire Point Stilts.
Why not order a SILVER KING month early is far too late. Remember
that ceramists must have sufficient time to Write for your free price list
for yourself, too? You'll need it.
New dealerships available Jan. 1 prepare their work for entry--and mailing 12 page ;llustrated mold catalog--25¢
takes time too.
for Kay Harrison Lab. Products. In addition, publication deadlines being
(We ship from Florida to Alaska) the impatient things they are, "Ceramics
Monthly" editors must prepare copy a
month to six weeks before the magazine
E. P. MAYEN !]il.
t,. KAY HARRISONst..los is mailed on the first of the month. 10645 Chandler Blvd.
8746 W. McNichols Rd. Detro~t21, Mich. So at the latest, it would be wise to North Hollywood, Calif.
have announcements to us two months
UN 2-9222 UN 2-8607 prior to the deadline for entries. Mailing address: P.O. Box 224
8 CERAMICS MONTHLY
p##
CANADA
UNITED STATE
m----~old
holland sho~
TON. NEW JERSEY, ~~
INDIES
HAWAII
COLOMBIA
IS. PAULWARD,INC.
has j o g g l e s f o r easy c e n t e r i n g , u n d e r s i d e reverses f o r c a s t i n g
p l a s t e r bats.
You h a v e complete h a n d f r e e d o m a t a l l t i m e s . . . s m o o t h ,
i n s t a n t c h a n g e of speed f r o m 30 to 150 r p m is controlled b y
foot pedal. E a s y to use, even f o r h a n d i c a p p e d persons. U s e
a n y z/~ H P motor. ( N o t incl.) S h i p p e d assembled. W t . 45 lbs.
601 Miss;on Street SYcamore 9-2131 S t a n d a r d 1/t H P m o t o r $16.95 w h e n p u r c h a s e d w i t h M a s t e r
P o t t e r ' s Wheel. 10 DAY M O N E Y B A C K G U A R A N T E E - -
! South Pasadena, Californ|a PYram;d 1-25S2
W r i t e f o r C i r c u l a r I t e m C-47
Reg. l i s t $125.00 F a c t o r y P r i c e . . .
DEPT. 88D Burlingfon, Wis.
DECEMBER 1953 9
DON'T BUY ANY KILN "TIL YOU'VE SEEN
GREAT NEW L & L D fl ' I/ MODELS
37 IMPROVED MODELS
BUT NO INC,RE.ASE.
g .
I
IN PRICES
PRICES
Top Leaders to 20S0 ° I:
Model Firing Price Crating
No. Chamber FOB, Chester, Pa. Charge
Ng0 11 tp sq. • 9" $ 65.00 $3.00
FREE N100 11 °t sq. x 11" 80.00 3.00
9L 12 pp sq. x 9 e' 75.00 3.50
UL 12" sq. x 11 pp 90.00 3.50
send for 13L 12 n s(l. • 13],~" 106.00 5.00
16 p a g e 15L 1§" sq. • 13x/~ r 125.00 6.00
138L 18 rp sq. • 13]/z" 138.00 6.50
catalogue 158L 18" so_. x 15 n 181.00 6.50
188L 18" sq. • 18 pt 215.00 7.50
and name
of nearesf
Dyna-Kiln Top Loaders f o 2300" I:
Dealer 9H 12P' sq. x 9" $ 90.00 $ 3 .5 0
llH 12" sq. x 11 pt 110.00 3.50
13H 12" sq. x 131,~" 137.50 5.00
15H 15 pp sq. x 131/~" 152.00 6.00
138H 18" sq. x 131,~" 198.00 6.50
158H 18" sq. x 15 t ' 260.00 6.50
188H 18 pt sq. • 1 8 pt 295.00 7.50
I0 CERAMICS MONTHLY
ceramic
sculpture: SLAB'BUILT
ANIMALS
N I M A L S are fascinating sub- much of the detail eliminated. Animals m o n t h - - o f some household pet. Sketch
A jects for ceramic sculpture. The
earliest works of art we know
may be modeled in an imaginative
fashion, also; they can be made playful
the animal in repose, sitting or lying
down.
are outlines of animals scratched on and amusing, stylized and decorative,
the walls of caves in prehistoric times.
If we trace the outline of civilization
or exaggerated.
If your aim is to capture in clay I Fa Ynon-realistic
O U choose to model animals in
manner, an accurate
from the beginning until today, we the appearance and the spirit of real knowledge of their anatomy is not
find that in the art of every period, animals, then you must spend a lot important; however, their attitudes
sculpture of animals has an important of time observing them and you should
place. learn something about their physical SKETCH below shows how a flat pattern can
One reason for the great popularity structure. Your work will require an be cut and folded (along the dotted lines)
of animals is their almost infinite accurate knowledge of anatomy, with into an animal. Mr. Kenny cautions, however,
variety of character and movement. careful study of detail and action. that clay is not paper. It has plastic qualities
They come in all sizes and shapes. However, animals are more than con- and should not be merely cut and folded!
Like the human figure, too, animals structions of bone and muscle covered Model the piece and strive for interesting
can be modeled in different ways. The with fur; they are living beings. They form.
sculptor's approach may be realistic, or have feelings. Their movements are
he may use his animal model to pro- caused by such things as joy or fear,
duce a work in which realism is less anger, or affection. In order to capture
important than design. Here the form the true character of animals in your
of the animal will be simplified and work, you must know how they feel
and how they express their emotions.
THIRD IN A SERIES, this article is drawn You must understand their language.
from Mr. Kenny's recently published book One excellent way to become ac-
"Ceramic Sculpture." Slab-built pelican and quainted with the attitudes of animals
dog above are student work, University of is to make a number of small quick
California at Los Angeles. sketches in clay--as was explained last
DECEMBER 1953 I1
%••
S H A G G Y D O G evolves from single clay slab. Mr. Kenny first board with thumbtacks. Dog begins to look clay-like. As clay
cuts a pattern in clay with a pencil. Then it is folded and lald becomes firmer, clay prop is substituted. To add texture, long
over a support, in this case a strip of cardboard fastened to a coils of clay can be cut into halfqnch pieces and attached.
12 CERAMICS MONTHLY
and expressions still play an important
role, and the clay sketches will prove
to be a valuable experience to you.
Slab building is one method of mak-
ing non-realistic sculpture. It is simple
and quick, and is especially suitable
for classroom projects. If a pattern like
the one shown in the sketch is drawn
on a sheet of paper, cut out and folded
on the dotted lines, it will produce an
animal--a paper one. Do the same
thing with a layer of clay and the re-
sult is a clay animal. This can be made
into something good if you remember
that a layer of clay is not a sheet of
paper. Clay has a plastic quality.
W h e n you cut a pattern you can do
more than merely fold it together; you
can model it and achieve interesting
form, and that's where your "practice"
with clay sketches will aid you. Here
are the steps in making a slab-built
dog.
1. W i t h a rolling pin, roll out a
layer of clay to a thickness of approxi-
mately one-half inch. A pattern is
drawn on the layer of clay with a
pencil, then the pencil itself is used
for cutting. The pattern will look
somewhat like a bearskin rug.
2. Fold the clay pattern prepar-
atory to putting it on a support. A
piece of cardboard fastened with
thumbtacks to a block of wood can
serve as the support.
3. W i t h the pattern over the card-
board, additional form is added.
4. Modeling nears completion. The
clay is firmer now, so the cardboard
support is removed. A temporary prop
of clay may still be needed to support
the dog in the middle, however.
~. Let's make him a shaggy dog.
Long, thin coils of clay cut into half-
inch pieces will do as hair.
6. Our shaggy dog is completed.
DECEMBER 1953
DECORATE
CLAY
WITH
CLAY
by
KARL MARTZ
1.
2.
14 CERAMICS MONTHLY
DRAPING PROCEDURE for forming curved piece from a slab is rough shape is' cut out with a fetllng knife. Third, drape mold is laid
demonstrated by Mr. Martz as he decorates a piece with ropes and on the slab, then both are inverted, and the slab pressed down firmly
pellets. First, the drape mold is used as a guide in marking out the with strokes from a rubber kidney. The excess clay is tr;mmed away
rough shape. Arrows. should indicate the proposed edges of the tex- w|th a downward cut to avoid lifting the clay up from the mold.
tured area. Then, the ropes and pellets are laid in place and the Then--the finished piece--ready to be dried, glazed, and fired.
fingers. Alternately scratching, pinch- the area to be textured, and firmly slab, the rough shape needed was
ing, poking, and jabbing will achieve rolled into the soft surface. W h e n marked out with a pricker. Arrows
a rich counterpoint of texture. Figure pulled out, a deep, clear imprint of the were drawn to mark the proposed
1 shows an example. Since no two fibers is left. A rough shape is cut edges of the area to be textured, serv-
pinches are ever identical, these tex, out and formed over a drape mold. ing as a guide in laying on the clay
tures retain much of the human quality Many materials can be used for decoration.
about them and can never really be making an imprinted texture. T r y a The ropes and pellets were laid in
duplicated even by the same person. split-bamboo table mat, a section cut place. The ropes had to be laid out to,
My own introduction to this method, from a rolled bamboo window shade, or beyond, the edge of the rough
for which I am indebted to Marguerite or drapery and upholstering fabrics. shape to make sure the decoration
Wildenhain, potter of Guerneville, would meet the edge of the finished
Calif., left me with the feeling that for INCISED TEXTURE. The incised tex- piece at all points. W i t h a fetling knife
the first time I had experienced the ture in Figure 3 was made with a saw- the rough shape is cut out and laid
true nature of clay. (This after 20 toothed scraper. Variety in spacing of over the drape mold.
years of pot making.) It was for me lines can be achieved by breaking After pressing the slab very firmly
a new concept of clay, a new approach teeth out of a comb at selected intervals. onto the mold--a rubber kidney is an
to clayworking. The first of man's tools, LAIn-ON CLAY ROPES. Clay ropes excellent tool for doing this--you trim
his fingers, and the most ancient of all and pellets laid on the slab (in figure away the surplus clay. Be sure, if you
materials, the earth itself. It is so direct above) were pressed down flush with try this method, that trimming is done
and basic, so unencumbered. the surface as the piece was formed with a downward pressure to avoid
over the drape mold. One variation of lifting the clay up from the mold.
IMPRINTED TEXTURE. An imprinted this is to texture the slab lightly before You will find, I am sure, that the
texture might come from the frayed laying on the design. concept of decorating clay with clay
edge of an old apple sack (Figure 2) creates a new rapport between the
carefully pressed into the d a y with a
rolling pin. B RIEFLY, here is the method I fol-
lowed for making this piece; the
artisan and his material. It awakens the
sleeping magic in clay. •
This is the concluding article in this
A slab is rolled out and the surface same general procedure could be
is smoothed with a kidney rubber. applied to the others on these pages. series. Parts one and two appeared in Sep-
Coarse apple sacking is then laid over As the drape mold was held over the tember and October, respectively.
DECEMBER 1953 15
LOCAL
REDUCTION
COPPER
REDS
by EDGAR LITTLEFIELD
16 CERAMICS MONTHLY
say we have an oxidizing kiln atmos- silicon carbide, a material which ex- cent of copper oxide requires 0.2 per
phere. If copper-bearing glazes are hibited most of the desired character- cent of silicon carbide and 0.3 per
fired in an atmosphere which is de- istics. Silicon carbide is extremely re- cent of copper carbonate will work
ficient in oxygen the copper will sistant to heat, apparently remaining well with 0.3 per cent of silicon car-
usually give some shade of red. W e inert in the glaze until attacked by bide. Larger quantities of silicon car-
speak of an oxygen-deficient atmos- the molten glaze, at which time it bide will not adversely affect the color
phere as being a reducing atmosphere. breaks down into carbon and silicon. but will greatly increase the amount
Reducing atmospheres can be obtained A t the high temperatures involved of gaseous material released and may
by limiting the air admitted for com- both of these elements are hungry for thus cause excessive bubbling.
bustion or by introducing some oxygen and steal it from the nearest The presence of a small percentage
material into the hot kiln for the possible store, namely, the glaze itself. of tin oxide seems to be a "must" in
purpose of consuming the atmospheric Copper oxide releases its oxygen making copper reds by the local reduc-
oxygen. In either case the kiln atmos- rather easily and therefore offers a tion method. One per cent has been
phere will be unclear and smoky, being ready source of oxygen for the hungry found to be sufficient and this quantity
filled with minute particles of in- carbon and silicon. is used in all local reduction copper
candescent carbon, all avidly searching The oxidation of the silicon ferms reds at the Ohio State University. This
for oxygen. These oxygen-hungry car- silica and it becomes part of the glaze small amount of tin oxide contributes
bon particles rob the copper oxide o f . composition. The carbon oxidizes to nothing in the way of opacity as it is
part or all of its oxygen and the color form carbon monoxide and/or carbon either entirely dissolved in the glaze or
potential of the copper is changed to dioxide both of which escape from the is reduced to stannous oxide, a form
red. Because the hot carbon particles glaze as gases. The formation of the which has no opacifying power. In
reduce the degree of oxidation of the gaseous oxides of carbon is the one reds obtained by controlling the kiln
copper (take oxygen away from it) drawback to the use of silicon carbide atmosphere, ferric oxide (red iron
they can be collectively referred to as as a reducing agent. It is necessary oxide) is sometimes used to replace
the "reducing agent." to allow the escape of the gases and the tin oxide but in the local reduction
There seems to be no widely ac- this can be done only by providing a procedure iron has proved to have no
cepted general procedure in regulating glaze of sufficient fluidity to allow the value.
the nature of the kiln atmosphere. One ready passage of gas bubbles. A glaze The nature of the glaze in which
worker will have developed his own which is too viscous in the molten state the above materials, copper, silicon
particular method while his friend in may show copper-red coloration but carbide, and tin oxide, are used will
the next state will follow a quite will be a froth of bubbles. Because the naturally have an effect on the kind
different routine with equally good local reduction method demands a of red resulting. In general, soda has
results. That divergent procedures can rather fluid glaze, the results obtained been found preferable to potash in the
produce equally good effects does not tend to be somewhat streaked rather choice of alkalies, although this is at
mean that any method will turn the than uniform monochromes. Whether variance with the opinions of several
trick or that care is unnecessary. or not this is undesirable must be left researchers. Lime is beneficial. The
Rather, it simply points up the fact to the whim of the potter. presence of barium oxide gives a
that there are individual differences Regardless of whether one is using brownish tone to the red and is there-
in kiln behavior and other local con- the local reduction method or is firing fore generally to be avoided. Boric
ditions which demand methods peculiar in a reducing atmosphere, the amount oxide is valuable in adjusting the fluid-
to particular studios. of copper involved is surprisingly ity of the molten glaze but must be
small. The majority of the b~-tter cop- used with discretion if purplish tones
N T H E early thirties the author are not wanted. When boric oxide is
I collaborated with the late Arthur
per reds obtained in the laboratories
of the Ohio State University resulted present the silica must be kept rather
low to prevent a bluish opalescent
E. Baggs at the Ohio State University from batches containing not more than
in the development of the local reduc- 0.2 per cent of copper oxide or 0.3 effect which in combination with the
tion method for the production of per cent of copper carbonate. Fairly copper red will give purple or red
copper reds. The idea stemmed from brilliant reds can be obtained with violet. If the silica cannot be lowered,
a slight mishap in a glost kiln. A cop- copper oxide contents up to 0.5 per
per bearing glaze ran during the firing cent but above this amount the red COPPER-RED ON PORCELAIN vase, by
onto a silicon carbide shelf and the color tends to become liverish. Several Edgar Littlefield. The glaze on this nlne-lnch
drippings showed a brilliant copper quite brilliant reds were obtained in piece is dark copper-red flecked with opales-
red color. It was apparent, therefore, glazes having such a small content of cence. Neck is unglazed but stained with iron
that copper reds could be produced copper that the blue or green color oxide.
in an oxidizing atmosphere if a re- was virtually indiscernible when fired
ducing agent was present in the glaze. without reduction of any kind.
In the preliminary experiments, The silicon carbide used should be
several forms of carbon such as lamp- of fine grain size. That designated as
black, charcoal, and graphite were FFF (sold in hardware stores as an
added to copper bearing glazes. Some abrasive powder) is of sufficient fine-
of these showed promise at very low ness. Silicon carbide of much smaller
temperatures (cone 01~-012) but for grain size gives equally satisfactory
higher-fire work, they burned out and results but is more difficult to find and
were lost long before the glaze began shows no advantages over the easily
to melt. The search finally lead to obtainable FFF grade. The optimum
amount of silicon carbide to be used in
the glaze batch has been found to be
A Professor of Ceramic A r t at Ohio approximately equal to the amount of
State University, Mr. Littlefield has a copper oxide or copper carbonate em-
background in ceramic engineering as ployed, though there are exceptions to
well as art. this general rule. For example, 0.2 per
DECEMBER 1953
the opalescence can be decreased and IV. 'CONE 9.10 copper reds should regard the recipes
sometimes eliminated by increasing the Ferro frit . . . . . . . . . . . . . . . . . . . 8% as possible starting points for their
alumina. The purplish tones resulting Soda feldspar . . . . . . . . . . . . . . . . 49 own trials, making various changes in
from the development of opalescence Whiting . . . . . . . . . . . . . . . . . . . . 18 composition a n d in firing time and
are quite similar to that type of glaze Zinc oxide . . . . . . . . . . . . . . . . . . 4 temperature until success is attained.
known as "crushed strawberry" used Flint . . . . . . . . . . . . . . . . . . . . . . . 21
on C h u n flower pots and bulb bowls
in the Sung dynasty of China. A small
amount of zinc oxide, usually not over
Tin oxide . . . . . . . . . . . . . . . . . .
100
1.0 T HESE glazes should be applied in
a slightly heavier coating than
Copper oxide . . . . . . . . . . . . . . . 0.2 most glazes. If too thinly applied the
per cent, often has the effect of Silicon carbide . . . . . . . . . . . . . . 0.2 red color tends to fade, probably due
brightening the red color. to reoxidation. The same thing will
The above discussion of glaze com- happen if the glaze is overfired in
position pertains only to glazes in the The following low-fire copper-red
glazes were developed by Frank E. either time or temperature. Glazes
range of cone 7 to cone 10. A t lower applied too heavily will not be ad-
temperatures the oxide of lead may be Noyes in the course of a thesis study
at the Ohio State University. versely affected in color but will
used in addition to those mentioned. gather in unsightly rolls at the foot
V. CONE 04.03 of the ware. If excessive flowing
L IforS T Ecopper
D below are several recipes
red glazes which have Ferro frit 3191 . . . . . . . . . . . . . .
Ferro frit 3396 . . . . . . . . . . . . . .
12%
15
occurs even though the glaze is not too
heavily applied, the glaze should be
given satisfactory results. stiffened or the firing temperature re-
Pemco frit P.283 . . . . . . . . . . . . . 9
duced. If the glaze seems to be a mass
I. CONE 9-10 Zinc oxide . . . . . . . . . . . . . . . . . . 2
of bubbles when the ware comes from
White lead . . . . . . . . . . . . . . . . . 25
Soda feldspar . . . . . . . . . . . . . . . . 53% the kiln, it means either that the glaze
Kaolin . . . . . . . . . . . . . . . . . . . . . 19
Whiting . . . . . . . . . . . . . . . . . . . . 15 is too viscous in the molten state or
Flint . . . . . . . . . . . . . . . . . . . . . . . 18
Talc . . . . . . . . . . . . . . . . . . . . . . . 4 that it has been underfired. If no red
Zinc oxide . . . . . . . . . . . . . . . . . . 5 100 coloration is visible, or if red is present
Kaolin . . . . . . . . . . . . . . . . . . . . . 6 Tin oxide . . . . . . . . . . . . . . . . . . 1.0 only where the glaze has flowed into a
Flint . . . . . . . . . . . . . . . . . . . . . . . 17 Copper carbonate . . . . . . . . . . . . 0.1 pool or roll, a stiffer glaze or a lower
Silicon carbide . . . . . . . . . . . . . . 0.3 firing temperature is indicated.
100
T i n oxide . . . . . . . . . . . . . . . . . . 1.0 Should you wish to have areas of
VI. CONE 04-03 copper red on a background of copper
Copper oxide . . . . . . . . . . . . . . . 0.3
Silicon carbide . . . . . . . . . . . . . . 0.3 Ferro frit 3191 . . . . . . . . . . . . . . 4% green or blue, you can use the same
Ferro frit 3396 . . . . . . . . . . . . . . 16 glaze base for both colors, omitting the
Pemco frit P.283 . . . . . . . . . . . . 16 silicon carbide and perhaps increasing
II. CONE 9-10
Whiting . . . . . . . . . . . . . . . . . . . . 2 the copper in the background glaze.
Ferro flit 3191 . . . . . . . . . . . . . . 13 % Zinc oxide . . . . . . . . . . . . . . . . . . 3 The red glaze can be painted over the
Soda feldspar . . . . . . . . . . . . . . . . 45 White lead . . . . . . . . . . . . . . . . . 22 background glaze, or the red glaze can
Whiting . . . . . . . . . . . . . . . . . . . . 14 Kaolin . . . . . . . . . . . . . . . . . . . . . 10 be applied to the pot first and the
Kaolin . . . . . . . . . . . . . . . . . . . . . 3 Flint . . . . . . . . . . . . . . . . . . . . . . . 27 background glaze applied over all.
Flint . . . . . . . . . . . . . . . . . . . . . . . 25 Variations in the local reduction
100
100 Tin oxide . . . . . . . . . . . . . . . . . 1.0 method of making copper red glazes
Tin oxide . . . . . . . . . . . . . . . . . . 1.0 Copper carbonate . . . . . . . . . . . 0.14 are numerous and offer a fascinating
Copper oxide . . . . . . . . . . . . . . . 0.2 Silicon carbide . . . . . . . . . . . . . 0.30 field of experimentation. One may
Silicon carbide . . . . . . . . . . . . . . 0.2 spray (or paint in pattern) a solution
vii. CONE 04.03 of copper sulphate or copper nitrate
IlL CONE 9-10 Ferro frit 3396 . . . . . . . . . . . . . . 27% on a piece of bisque or green ware and
Ferro frit 3191 . . . . . . . . . . . . . . 15% Pemco flit P.283 . . . . . . . . . . . . . 14 then apply a glaze containing silicon
Soda feldspar . . . . . . . . . . . . . . . . 33 Whiting . . . . . . . . . . . . . . . . . . . . 3 carbide and tin oxide but no copper.
Whiting . . . . . . . . . . . . . . . . . . . . 15 Zinc oxide . . . . . . . . . . . . . . . . . . 3 Or, copper oxide may be mixed with a
Kaolin . . . . . . . . . . . . . . . . . . . . . 5 White lead . . . . . . . . . . . . . . . . . 19 clay slip and applied to the ware after
Flint . . . . . . . . . . . . . . . . . . . . . . . 32 Kaolin . . . . . . . . . . . . . . . . . . . . . 10 which a glaze containing silicon car-
100 Flint . . . . . . . . . . . . . . . . . . . . . . . 24 bide and tin is applied. Still another
Tin oxide . . . . . . . . . . . . . . . . . . 1.0 variation would use silicon carbide in
100
Copper oxide . . . . . . . . . . . . . . . 0.2 the slip, with the copper and tin being
Tin oxide . . . . . . . . . . . . . . . . 1.0
Silicon carbide . . . . . . . . . . . . . . 0.2 carried by the glaze. W h e n either the
Copper carbonate . . . . . . . . . . . 14
copper or the silicon carbide is in the
Silicon carbide . . . . . . . . . . . . . 30
slip it is necessary to use greater per-
centages than when they are in the
Although the glaze recipes listed glaze; three to five percent is recom-
have given some excellent copper reds,
mended.
it should be recognized that they will T o one who enjoys experimenting
not necessarily perform well under all with glazes, local reduction is an ab-
circumstances. Raw materials differ sorbing area for exploration. Metals
from studio to studio, as do firing other than copper give beautiful glaze
conditions. Readers who are interested colors when reduced. There are blues
in trying this method of producing to be had from titanium; celadon
greens from iron. Also, there are other
T~VO-TONED EFFECT obtained by technique possible reducing agents which may be
used on the plate (page l6). Two copper better than silicon carbide. Metallic
"red" glazes were used; however, in one the aluminum and pure silicon are two
reducing agent was omlffed. which should be fully investigated. •
CERAMICS MONTHLY
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w a r e in t h e kiln W I T H O U T W A S T E D electricity. F i r e P o r c e l a i n ,
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Direct your inquiries to Questions Editor, "Ceramics
Monthly," 3494 N. High St., Columbus 14, Ohio. Please Art Ceramic Studio
enclose a stamped reply envelope. Questions of general 838 Genesee Sfreef, Trenfon 10, N. J.
interest will appear ;n this column.
DECEMBER t953 21
SHOW
TIME
DESIGNER
CRAFTSMEN
i
USA
1953
CERAMICS MONTHLY
ANTONIO PRIETO, Oakland,
Cali|., was awarded $100 First Prize
in Tableware and Containers Div.
g~ r'T'SHE end result is a show of weaknesses, strengths, changes, new the national jury meeting at the
j. 243 pieces by 203 crafts- developments, and progress of the Brooklyn Museum in September. Each
*** men which represents, in American craftsmen; to obtain definite prize winner in the Ceramic Division
the opinion of the jury, the highest evidence of the regions where crafts is shown on these pages. In the Enamel
quality which can be found in Ameri- were strong and where they are weak, Division top honors went to Karl
can work at this time." So the jury to find the outstanding exponents of Drerup, New Hampshire, for a cross
summarized the Designer-Craftsmen, the various mediums, and to learn of and a bowl (photograph not avail-
U. S. A., 1973 show. the influences which have contributed able). It is interesting to note that of
The exhibition, which will be on to the contemporary craft development the three enamel prizes available, only
display at the Brooklyn Museum until in each region. one was awarded.
January 3, contains ceramics, furni- Almost 3,000 entries, with every Six thousand dollars was offered as
ture, rugs, fabrics, silverware, and state in the union represented, were cash prizes by individuals and business
jewelry. Its purpose is to "take stock" submitted to nine regional juries. Their firms. The exhibition was under the
on a national scale of the attainments, selections were evaluated for prizes by (Please turn to Page 33)
MARGUERITE WILDENHAIN,
Guerneville, Calif., $50
Second Prize in "Containers."
/Y
5:4-:?.i~..:'..;:.gVCe~-:--:..h
A CERAMIC CLASS
ON A BUDGET
by HERBERT KURTZ
{ { r ' l ' ~ H I S , " said the Superintendent This was true because the dealer was brushes, and other incidentals. That
.L of Schools of Troy, Ohio, sympathetic to my situation and set out was my basic ceramic department. It
"should enable you to start to help me as much as possible. wasn't complete by any means, I
a ceramic department at the high Obviously the first and most im- realized, but it was a start.
school. Go to it!" He handed me an portant piece of equipment to purchase From that point on, it was a matter
authorization for $300. was the kiln. W i t h seven students to (Please turn to Page 31)
I took the sheet of paper, thanked plan for, I decided a 12 by 12 by 12-
him, and left the room. But I was inch size was suitable for my needs.
smiling wryly to myself, for past Prices ranged from $79 to $1 ~0; I chose
observations had led me to believe that one that cost $91, delivered. By the
$300 would afford only a bare start. time I had added some furniture such
Like many a high school teacher, I was as shelves, posts, and stilts, expenditures
sure it would cost a thousand dollars v,-ere up to $110.
or so to do the job we had to do. The dealer gave me a rule of thumb
Actually I had one other asset be- for computing the amount of clay to
sides the check. That is the enthusiasm stock. In a year's class work each pupil
and showmanship that any teacher would use about 7~ pounds of clay, he
should have. A n d every teacher does advised. A n d I found that to be true.
who has a sincere desire to initiate a Seventy-five pounds for seven meant
ceramic department into a school. 525 pounds. Allowing for some extra,
M y first step, of course, was to spend I ordered 600 pounds at $10 a hundred-
wisely the money I had been allotted. pound lot, which came to $60.
To go directly to a local ceramic supply That left me $130 to spend. About
house turned out to be preferable to $80 bought enough glazes and under-
seeking aid from other sources. glaze colors to last the year. For color
IIIIIIlllllllllllllllllllSJllllllllll|lllllllllUllnJ glazes I bought red, blue, and yellow.
For four years Mr. Kurtz taught in These I supplemented with color stains
the Troy, Ohio, high schools. He is now which could be added to the trans- "A W I N D O W to the room we worted in
sales engineer in charge of school pro- parent base, cutting the cost of my fronted on a much-used corridor and made
gramming at the Tel~ping Studio Sup- glazes. The remaining money went for a fine display area when equipped with
ply Co., Dayton, Ohio. tools, sponges, scrapers, banding wheels, shelves."
24 CERAMICS MONTHLY
glazing techniques
POURING
(second in a series)
by
HE A P P L I C A T I O N of a glaze
T by pouring is commonly used by
those not having the more ex-
THOMAS SELLERS
1. AFTER CLEANING pot, half-fill
pensive equipment needed for spraying. with glaze. Quickly tilt the pot and
Pouring is also an economic measure roll glaze around until the surface is
in that the process takes much less completely coated.
glaze than spraying and it is faster.
In some cases it is a necessity. An
example is the glazing of the inside of
a small-mouthed piece that can't be
reached by dipping, spraying, or
brushing.
A general procedure is shown in
the accompanying illustrations. Of
course, in following this procedure one
must take the usual preliminary pre-
cautions. Always wipe dust or grease
spots from bisque ware with a damp
sponge before glazing. If your pot has
a small mouth, rinse dust out by swish-
ing water around inside, allowing it
to dry before proceeding. Should the
pot be very absorbent, dampen slightly
with a sponge before glazing.
As for the glaze itself, pour it
through a screen to eliminate lumps
and stir occasionally while using.
Because of the nature of pouring, it 2. EMPTY the excess without delay and shake vigorously. Check glaze at
is all too easy to obtain a too heavy pot's mouth to determine thickness. A/low piece to dry before glazing outsTde;
application. The glaze consistency if pot is too clamp the glaze will not build up quickly enough. 3. TURN
should, therefore, be like very thin POT upslde down on parallel sticks over pan. Then pour glaze over the pot
cream. It should flow, not drip, from until the outs;de is covered.
. the fingers when tested.
Pouring is not to be recommended
for mat glazes because these do not
flow readily, either in the raw state
or during the firing. Thus, the glaze
will not correct itself during the firing,
and heavy ridges present during the
application will still be noticeable after
firing. This is not a good technique for
glazing thin greenware, either, b~_cause
of the possibility of getting the piece
too wet, resulting in soft walls and
breakage.
Although other pouring techniques
would be equally valid, the one de-
scribed here is effective in that it
minimizes the amount of handling the
piece will undergo. The important
thing is to establish an orderly sequence
and follow it. •
******************************************************
4. CLEAN FOOT RIM with flexible scraper and damp sponge. Bevel the
Mr. Sellers, who holds an M. A. glaze edge in case the glaze runs slightly during firing. Do not handle until
from Ohio State University, is Director the glaze is firm. 5. GLAZING RIM, where pot has rested, is final step.
of the Arts & Crafts Center, Colum- Scrape the rim clean of accumulated glaze. With a brush, paint glaze on un-
bus, Ohio. glazed portion, giving several coats.
DECEMBER 1953 25
!!e
,n t h e ceramics field-it's
performance C
that counts"
you can depend upon it
rttting
TO ALL OUR FRIENDS
[
if it came from the Nation's Oldest
Hobbyist's Ceramic Supply House A N D CUSTOMERS
manufacturers & distributor
from the makers of
complete ceramic supplies Modo,po.oo,a,.s-,,-P
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WONFIREmThe superior one-fire
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W O N M I X - - T h e only white cast-
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• DEALERS crazing[
SpecializedCeramicsCorp.
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DEALE, MARYLAND Catalog on request
26 CERAMICS MONTHLY
PREPARED
by
LUSTERS
third in a series
p R O P E R D R Y I N G and firing
techniques are of maximum im-
portance when working with lus-
electric). Carefully set the ware in the
cold oven, set the regulator at 250°F.,
turn the oven on for approximately
turn the kiln off when cone 018 is
about one-fourth down. For a third
firing of the same piece, you can fire
ters. In my earlier articles (October, one hour with the door slightly ajar, to a full cone 019; and a fourth firing,
November), the general nature of pre- and then turn it off. The ware should a full cone 020.
pared lusters was discussed as were remain in the oven as it is until it has It is not necessary to s o r t the
lustering tools, methods of application, cooled down sufficiently to be held different luster colors and metals and
defects, and other pertinent inform- comfortably in the bare hands. fire them separately. They "get along"
ation. You no doubt concluded that A home-made "dryer" can be built with each other very well in the kiln
luster work requires careful attention by simply suspending an electric light and may be fired side by side. In fact,
to details, and this is particularly true bulb (25 to 40 watts) in an inverted they can be included with china paints
during the drying and firing periods. box. You can make several small holes or anything else you wish to fire to
Dust and lint are the chief foes of in the box or prop up one side to allow that specific temperature. The only
lusters during the drying period. Be- for ventilation. The heat from the bulb precaution necessary is with the pearls
cause of the oily, sticky nature of lus- will hasten the drying, while the box and opals which were mentioned as
ters and metals, they are a trap for protects the ware from the surround- needing less heat. Even these can be
every speck of dust and lint in the air. ing air. Another method of speeding fired in the same kiln, however, if they
Working in a clean, dust-free area up the drying is to place the piece are placed in the cooler areas.
is important and was suggested earlier. atop a kiln that is being fired or cool- The method of stacking the dried
However, this is not an absolute ing down; however, here it is exposed ware in the kiln is the same as that
guarantee that airborne particles will to the air and can pick up dust and used for a glaze firing, if the lusters
not find their way to the freshly lus- lint. have been applied to pottery which
tered surface of your ware. The pieces was glazed at cone 02 or below. (Do
should be protected during the drying
period for best results. A Sdry,SOON as a piece is thoroughly
it is ready for the kiln. Fir-
not attempt to use lusters on lower-
fired glazes such as cone 012-010.
Ample protection is afforded by a ing lusters before they are completely These will soften too much during the
cupboard with the door left open dry may produce too much vapor in luster firing and the decorations will
slightly for ventilation or by covering the kiln, resulting in scummy surfaces sink and blur; on 015-012 glazes they
with a clean box, with one end or white, spotty blotches. Since dust will very likely disappear entirely.)
propped up (again, for ventilation). If and lint will not cling to a dry luster Stilt the ware and do not allow them
you are working on a number of pieces surface, a piece can be set aside for to touch each other. With high-fire
at one time, the cupboard or box firing at some future time without (cone 5 or above) china and porcelain,
should be used to protect them until special attention being necessary. Be- stilts are unnecessary. These glazes will
all are finished. Left to itself, luster fore firing, any dust should be blown not soften at low decorating temper-
should be thoroughly dry in four to (rather than wiped) off. Wiping may atures and they can be placed directly
eight hours, the drying time depending introduce on the luster surface minute upon kiln-washed shelves. In fact, they
upon the temperature and humidity scratches which will be magnified can be stacked one atop the other, with
of the surrounding air and also upon when the piece is fired. stilts between, providing the stilts do
the thickness of application. Lusters and metals should be fired not touch any part of the luster or
Speeding up the drying period is to a maximum temperature of cone metal decoration. One of the advan-
desirable and can be accomplished in 018. The pearls and opals are more tages open to the luster artist who
several ways. One of the simplest is to sensitive and should be fired to slightly works on his own glazed pottery is
use a commercially built drying oven below cone 018; cone 019 well down that the glazing stilt may be left in
or your kitchen oven (either gas or is generally better. W h e n subsequent place for the later luster firing. This
0|l|||0|||l||||||lnl|0|l~|lHm|||lt||0a|J|e||l|||||m|r
firings of the same piece are required, eliminates the problem of slippery sur-
Mrs. Pruden, a former art teacher fire to slightly lower temperatures each faces skidding off the stilts.
in the public schools of Newark and time, to protect the previous coats. For Regarding the firing (in electric
Paterson, N. ]., now teaches in her example, if a second coat is required kilns) of lusters and metals, start
own studio in Riverdale, N. ]. or an application of luster over metal, slowly, and allow plenty of ventilation.
DECEMBER 1953 27
If your kiln has the plug-type peep
holes, leave these open. If yours is a Clay Haven
top-loading kiln with glass peep holes, Ceramic & China P a i n t i n g
prop open the lid about an inch using Supplies
a piece of refractory brick or kiln Evenheat and Jan-Ken Kilns
shelf or post. The kiln must be well Ceramichrome Distributors
ventilated during this slow heating-up 6912 Schaefer Rd. Dearborn. Mich.
LU 2-6871
period to permit the escape of steam
and gases from the oils and solvents in
the lusters. If confined within the
kiln, they would damage the luster IMPORTED
surfaces. WHITE CHINA
N o prescribed time can be stated S e n d 25c f o r c a t a l o g
for the pre-heating and ventilating, as
SEASIWS this varies with the size of the kiln and
the size of the load. A small kiln hold-
Deductable from first order
Maryland China Company
1436 N. Gay St., Baltimore 13, Md.
ing only a few small pieces will be
fiBEETINfiS ready to close long before a large kiln
completely loaded. As a suggestion,
the following might be offered: If it is
~" from your usual bisque or glost procedure
to ventilate for 30 minutes on low
heat, the same on medium and high
HcDaniel Hold Co. heat before tightly closing the kiln,
allow about twice that time for lusters
and metals. But be sure there is no RT./3 e o K $ 4 3 - ~ F~E#NO CA(IF..
home of condensation around the vents or the
rim of the lid, and no smoke coming
I Ruth McDaniel Originals from the kiln before you close it.
KNAPINE CERAMIC STUDIO
F T E R the kiln is closed you will She-White Non-CrazingSlip
i .O. Box 3086 Port Arthur, Texas A have to keep a fairly close watch Non-CrazingTransparentGlaze
i on the cones. If you have fired to
these low temperatures before, you
MOLDS, MODELS, BLOCKS, CASES
i know that the cones go down sur-
Sno-White Bisque W a r e
212 S. 11th St., Phila. 7, Pa.
prisingly fast. In a small kiln with a
light load a spread of cones from 020
to 018 can go down within five
P A J A X-3 W O N D E R TOOL
minutes of each other. For the first CERAMIC
for sgraffito., incising•, texturing MATERIALS a EQUIPMENT
•. c a r v i n g . , w i n g s . , f i n s . , shingles firing of a lustered piece, fire to cone
P L U S . . Gold Lining Pen 018 well down (but not to a melted Potters Wheels -- Kilns
Clays -- Glazes -- Tools
Instructions included Nob). I f you h a v e n ' t t r i e d o u r l i q u i d under-
$1.00 postpaid The cooling of lusters is very im- glaze colors, send for information.
ANKRAFT CERAMIC STUDIO J A C K D. W O L F E COMPANY
portant. Cool the kiln very slowly; too 62 Horatio Street, N e w York 14, N e w York
1239 W . South A v e . . I n d e p e n d e n c e , Mn.
rapid cooling will cause either the
luster or glaze or both to craze. Allow
about twice the firing time to cool: if
Featuring Exotic Art Glazes
the kiln took two hours to fire, allow
CERAMIC Complete line of Ceramic Supplies
at least four for cooling. As soon ,~.s Classes--Firing
LACES a n d NETS
WHEEL LACES every sign of glow has gone from the Open Sat. all day--Sun, by appointment
All Widths kiln, the plugs can be removed from Irco & L and L Kilns, Tru-Fyre Glazes
S. COLE CO. the peep holes and the door or lid Jirele Ceramics 2116 N. Limestone
P.O. Box 827 OMo's Largest Ceramic Studio
M a i n P o s t O f f i c e , L o s A n g e l e s 53, Cal.
opened about an inch. Do not open
SPRINGFIELD Phone 3-0632 OHIO
Please Write for Our Free Catalog the kiln all the way until you can com-
fortably hold your hand in front cf
the opening. A n d do not remove the CERAMIC FLOWER
ware unless it can be held in your bare INSTRUCTIONS (NO MOLDS OR CUTTERS) $3.00
hands. C H I N A PAINTING
Wholesale Retail One of the best practices is to fire in VIA CORRESPONDENCE COURSE, EACH $1.00
OR COMPLETE COURSE, 12 LESSONS $10.00
the morning, open the vents at night, 300 CHINA PAINTING DESIGNS $3.00
COMPLETE LINE S E N D FOR B R O C H U R E
OF and let the final "unveiling" wait
NETTLE E. PILLET
CERAMIC SUPPLIES until the following morning. The first 841 B a r r o w s Ct.. P a s a d e n a , California
time you try this you may not get
Everything for the Ceramic HobbyP,t
much sleep, but the improved condi-
W r i t e / o r free catalogue
tion of the ware will be worth it. •
PROMPT MAIL ORDER SERVICE Instruction Catalogue
Special Discounts to Schools W i t h this article Mrs. Pruden concludes Now available for Ceramlsts
her "Introduction to Lusters." In a forth.
Madge Tummins Ceramic Studio 25c Postpaid
coming article she will present a list of
" T h e Oldest in T e x a s " Dealers Ask for Discount Sheet.
luster colors with a description of each and
P. O. Box 717 Grand Prairie, Texas a discussion of how and where to use LAURINE BROCK CERAMICS
them, as well as their limitations. 1651 W. Woodlawn, San Antonio 5; Texas
28 CERAMICS MONTHLY
adapt the nest to its new use. Fascin-
s u gg e sti o n s fom reaaers
ating textures and honeycomb effects
evolve after the string, weeds, and
other combustibles burn out during the
firing.
Shelves Sagging? Some care must be exercised in the
You may find that your kiln shelves firing of such objects; in general, a low
begin to sag or warp after repeated bisque of cone 07 should be safe. If in
firings. One way to prevent this is to doubt, break off a small fragment from
alternate the "top side" of the shelf an inconspicuous part and test fire.
for each firing. - - T o m Barnard
One simple procedure is to place the Tucson, Ariz.
kiln-washed side of the shelf down for
bisque firings and invert the shelf New Use for O l d Nylons
(kiln-washed side up) for the glaze Don't throw your old nylons away!
firings. Over a period of time you You will find that a double thickness
should have an even number of firings is excellent for screening glazes and
for each position, and sagging will be
definitely minimized.
--Thomas Sellers
Columbus, Ohio
NEST of the Mud Dauber Wasp is shown
F r o m Bees a n d Birds above alongside a standard cone, for size
comparison. According to Mr. Barnard,
The nest of the Mud Dauber Wasp,
these can be easily fired to around cone 07,
when fired, provides an interesting
making interesting conversation pieces or
piece of ceramics. It makes an excellent
ornamental jewelry.
"conversation piece," and with simple slips. You can place the nylon across
mountings it may be converted into an tie clasp ornament, an earring decor- the top of a jar and fasten it with a
attractive piece of jewelry such as a ation, or a scatter pin. rubber band or you can make a more
Some bird nests, after having been permanent type of screen by clamping
Share your information. Suggestions, abandoned by the builder, can be fired the stocking between embroidery hoops.
facts, and other items of interest to and used as an ashtray or pin tray. --Nancy Gray
ceramists are welcome. Sender will Some carving may be required to elim- Lawton, Okla.
be paid for each item used. inate excessively thick portions or to (More Suggestions Page 32)
FILMS ON CERAMICS
Hobby Clubs, Schools, Art Leagues, Craft
Centers, and other groups will be particular-
ly interested in the comprehensive list of
ceramic films which will appear in the Jan-
uary issue of Ceramics Monthly. The list
of instructive and general interest films on a
a wide variety of ceramic subjects has been
compiled by the C M staff as a service to
ORIGINAL the readers. Complete information on how
and where to obtain the films, rental and
WILD DUCK ASH TRAY purchase costs, and other pertinent facts
are included.
No. 51 Another C M first--and another issue you
Ash Tray 61/8" Dia. Ducks 3 ~ " - 3 " - 2 : ~ " Long won't want to missl
Set of 4 Molds $7.00
(add 10% for packing and shipping) SEND your subscription in NOW-
SEND MONEY WITH ORDER "'to s t a r t with the January issue."
SIH[N[CInDY fINEnnll
404 Ballston Rd. Scotia, New York
3494
ceramics monthly
N. High St. Columbus 14, Ohio
DECEMBER1953 29
SCHOLARSHIPS
Six $750 merit awards for
1954-$5 school year for cer-
itinerary INTRODUCING
Jane Snead "LET-GO"
As a result of numerous inquiries on how
amists, architects, designers, (Begins on Page 8) to prolong the life of over-used molds, and
assure easy release of greenware, we have an
painters, metalsmiths, weavers, sculptors. item that is fool proof. All forms of powder
Applications rec'd, to Feb. 15. have been used and recommended but there
is nothing like "LET-GO." It is 99.99% sure.
CRANBROOK Academy of A r t OHIO, Youngstown Plaee small amount on finger and gently rub
141 Academy Rd., Bloomfield Hills, Mich. January 1-31, 19~4 into mold. Use dry brush and remove . . .
Presto, it does the trick.
Sixth Ohm Ceramic Annual at the 1 oz. Sample package---SOc
CERAWAX--a LIQUID wax for Butler A r t Institute. Open to all
present and former residents of Ohio.
wax resist decoration Pottery, enamels, other ceramics. More
$1.25 per quart than $500 in purchase prizes; jury;
entry fee. For further details write
THE ARCHIE BRAY Secretary, Butler A r t Institute, 524
FOUNDATION Wick Ave.
Helena Montana
WHERE TO GO
i 1723 Paxton St., Harrisburg, Pa. .
Selling to SCHOOLS ALABAMA, B i r m i n g h a m DISTRIBUTORS i
[ Religious Roman Gold Decals
is our specialty. December 13-January 10 =. Cross--25c, Lords Prayer (Fret. or
A complete line of matched ceramic =" Cath.) 25e each, 23rd Psalm 35c,
Some 185 outstanding examples of .= Little SheF,erdess 35e, Pansy Spray ==
supplies and raw materials ava;k:ble. British handcrafted and machine-made -= 10c, Ivy Glaze 10 lb. $10.00 .=
CATALOG AND TIPS 15c home furnishings, including ceramics,
or Write on School Stationery. := DEALER INOUIRIES INVITED "=
BUFFALO CERAMIC S U P P L Y CENTER
may be seen in the traveling exhi-
76 Allen St. Buffalo 2. N. Y. bition "Design from Britain." At the
Birmingham Museum of Art, 711 19th
St. N.
"CERAMICS MONTHLY"i
~IIIIIIIIIlllIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIB
bition, "'Textiles and Ceramics" in-
cludes 100 distinguished pieces of pot-
tery, ceramic sculpture, textiles.
SCULPTURE HOUSE
Dept. 9A 304 W. 42nd St., New York 36
30 CERAMICS MONTHLY
not to mention visitors . . . and the
A CERAMIC CLASS Superintendent made it his business to featuring . . . .
DECEMBE1953
R 31
BELVA WOOLSEY SUGGESTIONS To Insulate a Top Loader
To better insulate top loading elec-
OVERGLAZES (Begins on Page 29) tric kilns, I pack powdered asbestos
the Perfect around the lid and the top of the kiln
Prepared China Paints Rusty Pipe Handy.'; after all vents are closed, and the
for You can step up the red tones of a switch is put on "high." I do not
" EASIER APPLICATION! red clay body when covering with a
• QUALITY & BEAUTY! clear glaze. Just add approximately one
per cent iron rust to the glaze batch.
• CONVENIENCE! --Lynn Warren
" VALUE!
Introductory Box
Set of 12 beautiful colors plus
Niagara Falls, N. Y.
Lick Crawling
9
If a bisqued piece has to stay around
sample vial of Belva Woolsey the studio any length of time before
Painting Oil glazing, slip it into a plastic bag. These
$5,50 U.S. PostpaTd plastic bags are available in different moisten it, as that doesn't seem to be
necessary.
IMPORTED AND DOMESTIC The asbestos is left there until the
CHINA BLANKS kiln is in its last cooling stages, after
B. P. WOOLSEY which I remove it with a putty knife
CERAMIC SUPPLIES followed by dusting with a small paint
brush. Neither asbestos nor lid should
8905 West Chester Pike
Upper Darby, Pennsylvania be disturbed while the kiln is at high
temperatures. A n y asbestos getting into
the kiln while the glaze is molten will,
sizes at most grocery and hardware of course, stick to the glazed ware and
stores. The piece can always be seen ruin the surface.
through the transparent bag, while it --Lynn Warren
is protected from dust and finger Niagara Falls, N. Y.
marks until it is ready to be glazed.
This will help cut down crawling due
to glazing on an unclean surface.
t~ --Lizbeth Schaeffler
a exciting . . . N e w Rochelle, N. Y.
._j new . . . QUALITY KILN KITS
original . . . Sorted Supports $ 2 6 . 6 5 Up
O Sahuaro Molds, P.O.
Send 25c for catalog,
Box 133, Sta. A
Keep your kiln shelf supports
(posts) tied together with an elastic Easily Assembled af Home for
Studio at 560 College Ave. band in groups of four, of the same Ceramics--Porcelain--Enameling
Palo Alto, California length. You can save time when stack- Plug into any l l0-v. line.
ing a kiln if you don't have to hunt Safe, Efficient, Low Operating Cost
through a box full of posts of mixed Write for Descriptive Literature
sizes to find four of a kind.
GAY-WAY --Lynn Warren C. M. BUELL KILNS
Niagara Falls, N. Y. Box 302, Royal Oak. Mich.
"STUDIO TESTED" Tel. LINCOLN 2-4298
CERAMIC MATERIALS Portable Wedging Board
Transparent Gloss Glazes A small portable wedging board can
True M a j o l i c a O p a q u e Enamels easily be made by reinforcing a shal-
low fruit box and filling it with a good The Department SIore
"Vitgobes"--Aztec Malts for Ceramic Supplies
Suede M a t t s - - E n g o b e s Manufacturers of
"Sure-Fire" Red Enamel Glaze CALIFORNIA'S FINEST
Catalog Free BRUSHING GLAZES
Dealer Inquiries Invited Transparent - - Opaque - - Gloss - - Matt
Crackle - - Satln-Matt - - Art Glazos
GAY-WAY POTTERY
D e p t . CM, S h a r o n , Conn. J Write Dept. CM for Catalog #6
Underglaze Colors -- Tools -- Brushes
Kilns -- Books -- Sponges -- Electric
Wheels -- Kick Wheels -- Clays --
Slips -- Molds -- China Paints --
Lusters -- Ball Mills -- Scales --
Sprayers --Sieves
[ • l n IIIIIIIIIIIInll
l | l |I l n nl l l l l ll| l l l lll l l lll n l lll n l lll n n lll l l lll | l l l l ~ ' l Suppliers of
i start the new year right i plaster mix. The wooden box will give
Enameling Materials
Enameling Equipment
i SUBSCRIBEN0W TO i you a permanent support for your
block of plaster, enabling you to move
Write Dept. CM for free price list
Enameling Supplies & E q u i p m e n t ~
Also, free brochure, "Enameling for
i "CERANIC$NONIItLY" i it or store it without the danger of
having it crack. For use, it can be
Beginners"
Enamels -- Spun Copper
Copper Jewelry Shapes -- Enameling
Forms --
iuse the handy subscripti0ni easily secured to your work table with
a "'C" clamp.
K i l n s - - T o r c h e s - - F i r i n g R a c k s --
T o o l s - - J e w e l r y F i n d i n g s -- Screens
32 CERAMICS MONTHLY
Index
SHOW IE of
(Begins on Page 22)
Advertisers
December 1953
Angelo Brothers . . . . . . . . . . . . . . . . . . . . 30
A n k r a f t Ceramic Studio . . . . . . . . . . . . . 28
Archie Bray Foundation ............. 30
Brock, Laurlne, Ceramics . . . . . . . . . . . . 28
Buell, C. M., Kilns . . . . . . . . . . . . . . . . . . 32
Buffalo C e r a m i c Supply Center . . . . . . . 30
Clay Haven ........................ 28
Cole, S., C o . . . . . . . . . . . . . . . . . . . . . . . . 28
Cox, Florence, Ceramic Studio . . . . . . . 31
Craftools, Inc. . . . . . . . . . . . . . . . . . . . . . . 20
Cranbrook Academy of Art . . . . . . . . . . 30
JOHN FOSTER, Detroit, Mich., Creek-Turn Pottery .................. 30
$ 2 5 T h i r d P r i z e in Tableware Div- Draying, Chas. H . . . . . . : ............ 20
ision for five-piece porcelain set. Fairchild Ceramic Studio . . . . . . . . . . . . 2
G a r e C e r a m i c Supply C o . . . . . . . . . . . . 26
DAVID WEINRIB, Black Mountain, G a y - W a y Pottery . . . . . . . . . . . . . . . . . . . 32
N. C., Third in Decorative
$25 Great Lakes H o b b y Exhibition . . . . . . . 7
Accessories for tile hanging. Griffith, Jane, Pottery House . . . . . . . . . 5
Harrison, the Kay, Studios . . . . . . . . . . . 8
Holland Mold Shop . . . . . . . . . . . . . . . . . 9
House of Ceramics (Tenn.) . . . . . . . . . 31
Houston, Charles, Molds . . . . . . . . . . . . 28
Huff's Hobby Center . . . . . . . . . . . . . . . 6
J & M Originals . . . . . . . . . . . . . . . . . . . . 30
Jirele Ceramics .................... 28
Kernlan Krafts . . . . . . . . . . . . . . . . . . . . . . 1
Knaplne Ceramic Studio ............ 28
L and L Manufacturing C o . . . . . . . . . . 10
Maryland China Company .......... 28
Mason Color and Chemical Works . . . . 20
Master M e c h a n i c M f g . C o . . . . . . . . . . . 9
Mayen, E. P., C o . . . . . . . . . . . . . . . . . . . . 8
McDaniel Mold Co ................. 28
sponsorship of the American Crafts- Scheier, ceramics. Midwestern Ceramic Hobby Show . . . . 21
men's Educational Council, the Brook- After making their selections, the Model Ceramics, Inc. . . . . . . . . . . . . . . . 20
lyn Museum, and the nine museums jury wrote, "Fresh design was sought Natural O r e Glaze C o . . . . . . . . . . . . . . 4
at which the regional judging took and recognized so long as it was com- Paragon Industries . . . . . . . . . . . . . . . . . . 19
place. patible with sound craftsmanship, but Pemco C o r p o r a t i o n . . . . . . . . . . . . . . . . 26
The regional centers were: The Art occasionally slight technical defects Pillet, Nettle E. . . . . . . . . . . . . . . . . . . . . . 28
Institute of Chicago, the Brooklyn were overlooked in favor of stimu- Pollock Studio ...................... 30
Museum, City Art Museum of St. lating thinking. Re-Ward .......................... 5
Louis, The Cleveland Museum of Art,
"The jury felt that craftsmen, the Sahuaro Molds ..................... 32
Currier Gallery of Art (Manchester,
public, and even industry, would bene- Schenectady Fine Arts . . . . . . . . . . . . . . . 29
N. H.), The Denver Art Museum,
fit from the impact of a truly dis- Schmld, Ludwig . . . . . . . . . . . . . . . . . . . . 21
Detroit Institute of Arts, San Fran-
cisco Museum of Art, Virginia criminating exhibition of the best cur- Sculpture House . . . . . . . . . . . . . . . . . . . . 30
rent work. It was clear that many Snead, Jane, Ceramic Studio . . . . . . . . 30
Museum of Fine Arts (Richmond),
craftsmen were experimenting and Specialized Ceramics C o r p . . . . . . . . . . 26
and the Wadsworth Atheneum (Hart-
were responsive to trends, but the jury Stewart's of California . . . . . . . . . . . . . . 30
ford). made careful distinction between mere
The final jury meeting in Brooklyn Tepping Studio Supply C o . . . . . . . . . . . 30
striving for novelty and evidence of Touch-O-Maglc . . . . . . . . . . . . . . . . . . . . 30
consisted of John Van Koert, designer,
New York City; David Campbell, true sensitivity to the changing direc- Tummlns, M a d g e , C e r a m i c Studio .... 28
Director of the League of New Hamp- tions of our times." United Artist Materials C o . . . . . . . . . . . 5
shire Arts and Crafts; William Wool- The Exhibition will be on display at Vollmers Ceramic Studio . . . . . . . . . . . . 30
fenden, Curator in Charge of Educa- the Art Institute of Chicago from
Ward, S. Paul, Inc. . . . . . . . . . . . . . . . . . 9
tion, Detroit Institute of Arts; and March 15 to April 26. Its West Coast Western Ceramics Supply Co . . . . . . . . . 32
Hugh Lawson, merchandising expert, showing will be at the San Francisco
W i n t h r o p C e r a m i c Supply C o . . . . . . . . 26
Chicago. Technical advisers to the jury Museum of Art, June 17 to August
Wolfe, Jack D., C o m p a n y . . . . . . . . . . . 28
were Ruth Montrose, textile designer; 1~. The exhibition will then travel for
Woolsey, B. P., C e r a m i c Supplies . . . . . 32
Arthur J. Pulos, metals; Gerhard Ger- a year under the auspices of the
lach, leather; Tage Frid, wood; Edwin American Federation of Arts. •
DECEMBER 1953 33
CERAMICS MONTHLY
BOOKDEPARTMENTFEATURING THIS M O N T H
1 0 SelectTitles to ChooseFrom
CERAMIC SCULPTURE By John B. Kenny CHINA DECORATION.
The brand new book which promises to be By Kafhleen Mann.
This new book is a simple guide to the
as valuable as his "best seller'' on "Pottery china decorating art. M6ny illustrated ex-
Making." Mr. Kenny uses the same step- amples o| modern designs. $2.50
by-step pictorial technique and an identical
format. Containing over a thousand photos ENAMELING: PRINCIPLES & PRACTICE.
and sketches it covers all phases of the By Kenneth F. Bates.
The author, who has won many prizes for
sculptor's art from beginning essentials to his enamels, has penned a practical guide
advanced projects, including animals, for the beginning student and an authori-
chessmen, figures, and many others. $7.50 tative reference for the craftsman. Covers
all phases of the art of enameling. Pro-
THE COMPLETE BOOK OF POTTERY fusely illustrated, including plates in color.
MAKING By John B. Kenny. $3.7s
Exaggerated title? Not at dll. All of the
most popular pottery making techniques
are explained in detailed, step-by-step A POTTER'S BOOK. By Bernard Leach.
photo lessons. Included is basic informa- The famed Mr. Leach's book is the out-
tion on clays, glazes, bodies, firing, come of 25 years' work in the Far East
plester, many other subjects. Large format and England. It deals with four t~.pes of
( 7 " b y 1 0 " ) , 242 pages, more than 500 poffery: Japanese raku, English s.pware,
photos and drawings. $7.50 stoneware, and Oriental porcelain. Con-
siderable basic information is between
CERAMICS HANDBOOK° these covers as well. Illustrated, some in
By Richard Hyman. color. $6.00
Illustrated with almost 300 photos, it covers
all phases of pottery making, sculpture,
and jewelry. Includes recipes for low-temp- THE POTTER'S CRAFT.
erature glazes, instruction for building kilns By Charles P. Binns.
and wheels, and an "equipment review." Written by the man who since his death
Hard-bound edition. $2.95 has been called the "Father of Ceramics,"
MAKING POTTERY FOR PROFIT. the book discusses the various origins of
By Cole and Sfarr. pottery, the nature of clayworking mater-
How to make pottery pay. What to make, ials and tools, and careful instructions for
how to make it, how to price, how to a variety of projects. For the amateur as
merchandise. Has many ideas for new well as the student. $3.50
and original products. $2.95
CERAMICS ROOK. MARIA: THE POTTER OF SAN ILDE-
By Herbert H. Sanders. FONSO. By Alic.~ M a r r i o t t .
Just published. Complete step-by-step in- The story of Maria Martinez, who revived
struct;ons: on making specific pieces, Ex- the ancient Pueblo craft of pottery making
amples of pottery by well-known ceramists. and has become a legend in her own life-
Over-slzed format (8" by 11I/2"), 96 pages. time. A unique biography, skillfully told.
$1.75, paper back; $3.00, hard bound. Contains 294 pages; 25 illustrations. $3.75
Name
Address
City Zn__.State
I enclose $ . . . . . . . . Send remittance with order. Ohio residents add 3% Sales Tax.