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 BOOKSfor HOBBYISTSand SCHOOLS

r ............

ENAMELING: PRINCIPLES & PRACTICE CERAMICS BOOK CERAMICS HANDBOOK

By Kenneth F. Bates
The author, who has won many prizes
for his enamels, has penned a practi-
cal guide for the beginning student and
an authoritative reference for the crafts-
man. Covers all phases of the art of
enameling. Profusely illustrated, includ-
ing plates in color. $3.95
THE COMPLETE BOOK OF POTTERY
MAKING By John B. Kenny
Exaggerated title? Not at all. All of the
most popular pottery making techniques
are explained in detailed, step-by-step
photo lessons. Included is basic informa-
tion on clays, glazes, bodies, firing,
plaster, many other subjects. Large format
(7" by I0"), 242 pages, more than 500
photos and drawings. $7.50
By H e r b e r t H. Sanders
Complete step-by-step instructions on mak-
ing specific pieces. Examples of pottery by
well-known ceramists. Over-sized format
(8"x 111/2"), 96 pages. $1.75, paper back;
$3.00 hard bound.
CHINA DECORATION
By Kathleen Mann
This book is a simple guide to the china
decorating art. Many illustrated examples
of modern designs. $2.50
MAKING POTTERY FOR PROFIT
By Cole and Starr
How to make pottery pay. What to make,
how to make it, how to price, how to
merchandise. Has many ideas for new
and original products. $2.95
By Richard Hyman
Illustrated with almost 300 photos, it covers
all phases of pottery making, sculpture,
and jewelry. Includes recipes for low-temp-
erature glazes, instruction for building
kilns and wheels, and an "equipment re-
view." Hard-bound edition. $2.95
CERAMIC SCULPTURE
By John B. Kenny
This latest book by Kenny promises to be
as valuable as his "best seller" on "Pottery
Making." Mr. Kenny uses the same step-
by-step pictorial technique and an identi-
cal format. Containing over a thousand
photos and sketches it covers all phases of
the sculptor's art from beginning essentials
to advanced projects, including animals,
chessmen, figures, and many others. $7.50

Order Form Ceramics Monthy BOOK DEPARTMENT

3494 N. High St. Columbus,Ohio
Please send me the following books: W e pay postage

ORDER
Name
Address
TODAY!
City. Zn__State
I enclose $ . . . . . . . . Send remittance with order. Ohio residents add 3% Sales Tax.
A PORTABLE SPRAY BOOTH
KEEP YOUR HEALTH. HAS POWERFULL ELECTRIC
NO MORE SPRAY M A S K S . I10 I/. A.C. GO CY. MOTOR
HELPS ELIMINATE TOXICATION AND 4 B L A D E FAN
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MORE BEAUTIFUL DOLLS BY OR WOODWORK; JUST SPRAY
SPRAY METHOD. IN BOOTH, THE FAN AND
TRULY A BEAUTIFUL BAKED FILTER DOES THE REST.
ON ENAMELED FINISH. USE GLAZE DUST OVER./
STURDY WELDED CON&TRUC- EXTRA FILTERS ARE STAND-
TION OF 2 2 GA. STEEL. ARD, AND CAN BE BOUGHT
HAS 2 0 0 SG. INCHES OF FIBER FROM ANY HARDWARE OR
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C~.OSED F O R STORAGE
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JLl.~" O[fP 20WgDI[ 2 0 N ~ a .
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ACCEPTED. PLEASE NO
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BACK VJ EW

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7 5 2 1 ST. A U B I N ST.
DETROIT, M I C H .
F.O.B. D E T R O I T , M I C H .
DEALERS INVITED MICH. RESIDENTS ADD 3~SALES lX
SEPTEMBER 1954
 []1111111111111111111111111111111111111111111111111111111111111111111

i
TOP __~ We are now packing our GROUND and _~
~_ DRIED GLAZES i n . oz., 8oz., and 16oz. E
packages . . . . ~ E
II A.

u L App,,oved.1
E SUSPENSION MATERIALS are in the+e
glazes, making them suitable for BRUSHING. __~
~_ ****s++++ __-----
E Studios must furnish "RE-SALE" or "LI- E
CENSE" number to be entitled to distributor
E discounts. 5
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Please wrile for descriptive price list.

+s . PAUL
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WARD, INC. +
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CERAMIC KILNS MONEY CAN BUY!
IMPORTANCE OF UL APPROVAL
Your local Electric Company or Fire Insurance
Company will be happy to explain the extreme
importance of having the Underwriter's Laboratory "Patters Nook" Ceramic Designs
(UL) seal oi approval on any appliance that is
operated by electr+clty. NOTE: Others claim that
wire and switches are U/ approved, but their Kilns
ARE NOT!
PENNSYLVANIA DUTCH
especially adapted for
WRITE FOR LITERATURE underglaze colors $1.2S

Electric Kilns

Manufacturing Co.
Chester ! ! , Pa. GARE CERAMIC SUPPLY COMPANY
DEALER INQUIRIES INVITED 235 Washington Street * Haverhill, Mass.

2 CERAMICS MONTHLY
 What's
TRINITY CERAMIC SUPPLY
PATTERNS for BEAUTY'
Volume 2, Number 9 SEPTEMBER • 19S4
S0 cents per copy

in this issue
Letters ........................................... 4
Itinerary .................. : ....................... 5
New & Useful ..................................... 6
Throwing on the Potter's W h e e l ............. T o m Sellers 10
Ena~neling: Sift-and-Stencil T e c h n i q u e ...... Jean O'Hara 14
Decorating LessonsBNo. 6: Plant Forms . . . . . . . . . . . . . . . 16
The O v e r g l a z e Page .................... Z e n a S. Hoist 17
From the H o i s t N o t e b o o k ............................ 17
How to M a k e a Set of Coasters . . . . . . . . . . . . John Kenny 18 With these patterns, you too can create exquisite
C M " Briefs designs of fruits and vegetables that look unbeliev-
ably real--almost three dimensional. Complete
Ceramic Activities ......................... '. . . . 21
instructions can be included which will show you
Gardenful of Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 exactly how to use this exciting new technique called
Clean Y o u r Enamels! . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Ceramascope.
Decorating Idea ............................... 25
PATTERNS AVAILABLE: C-1 Mixed Fruit, C-2
Pomegranate and Peach, C-3 Pineapple, C-4 Banana,
Answers to Q u e s t i o n s . . . . . . . . . . . . . . . . . . . . . . . Ken Smith 26 C-5 Peach, C-6 Pear, C-7 Large Cherry Pattern, C-8
Suggestions from Our Readers . . . . . . . . . . . . . . . . . . . . . . . 29 Small Cherry Pattern, C-9 Large Lemon Pattern,
C-10 Small Lemon Pattern, C-11 Egg Plant and
State, Directory: Where to Buy Supplies . . . . . . . . . . . . . . . . 33 Corn, C-12 Squash and Peppers.
Advertisers Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
6 Patterns-.--assorted, with
instructions . . . . . . . . $1.25
1 Pattern--with instructions .50
1 Pattern---only . . . . . . . . 25
Editor: Louis G. Farber
Associate Editor: Mary Elliott
Business Manager: Spencer L Davis Velva-Tex Brush On Glaze
Art Director: Robert L. Creager Now it can be sold. After weeks of testing
Advisory Editors: Carlton Atherton: J. Sheldon Carey: John B. Kenny; for perfection we can now proudly add these
Edgar Littlefield
Contributing Editors: Henry Bollman: Zena S. Hoist; Karl Martz: Jean
new easy-to-apply Brush On Glazes to our
O'Hara; Dorothy Perkins; Thomas Sellers: Kenneth Velva-Tex line. Fires at Cone-06-05. Packed
E. Smith in 4-ounce jars, 50c. Also available in pints,
Cover design by Roberl L. Creager--from a 16th century sketch quarts and gallons.
Twelve beautiful colors:
Foliage Green, Golden
Amber, Antique Green,
Black, Yellow, Bronze, Pink,
Ceramics Monthly is published each month at the Lawhead Press, Turquoise, Cedarwood,
Inc., Athens, Ohio, by Professional Publications, Inc., S. L. Davis,
President and Treasurer; k. G. Farber, Vice President: P. S. Emery, Chartreuse, Burgundy and
Secretary. Transparent.
Subscription price in U.S.A. and Possessions: one year, $4; two
years, $7; three years, $9. Canada and Pan America, 50 cents a See us f o r all your
year additional: foreign, add $1 a year. Current issues, S0c, back Ceramic needs
issues, 60c.
Subscriptions, and advertising and editorial correspondence, should
be sent to the editorial offices at 3494 N. High St., Columbus 14,
Ohio. Entered as second-class matter at the post office at Athens,
Ohio, as granted under Authority of the Act of March 3, 1879. TRINITY CERAMIC SUPPLY
Copyright 19S4 by
Professional Publications, Inc.
100 Howell Street • Dallas, Texas
All rights reserved. Telephone PR-7248
AYCI
The most trusted
Florence
Ceramic Studio
Cox

e in Ceramic Colo, More Meat? (cont'd.) 543 Boulevard, Kenilworth, N. J.

Gentlemen :
I am greatly pleased with the A u g u s t Distributor
its BRIGHTNES issue of y o u r magazine; in fact, I believe it
is t h e best issue of the whole year. I thor-
its DEPENDABILIT' o u g h l y agree with the letter from H a r v e y Tru-Fyre • Renaissance • Won-
Coblentz headed " M o r e M e a t " . . . fire Glazes • Fine Art Brushes
its SMOOTHNES I fully realize that a great m a n y people
who dabble in pottery are satisfied with • Double B Wood Novelties • L
its EASE O boondoggling and gimmicks as Mr. Cob- & L Kilns • Altone Gold Eras-
APPLICATIOt lentz indicates. However, there are m a n y
ers • Jane Snead Publications
w h o look seriously at ceramics and are
encouraged when they can see and read • Silk Sponges • Florence Cox
about high grade work more advanced than
USED BY: the kindergarten class. Molds • Coxcraft Gold, China
ROBERT H. R O C K W E L L Paints, Palette Knives, Wood
eteran's Hospitals Jamesville, Va.
Wheels for Lace Work, Velvet
Red Cross Gentlemen : Picture Frame Backs, Water-
• In last m o n t h ' s issue I noticed a
. .

Army & Navy complaint asking for more " m e a t y " articles. mount Decals. Lycoming Wood
For the " a v e r a g e " ceramist you're doing a
Schools & good job of helping in m a n y a r e a s - - p e r h a p s Tile Frames. Ray's Finger Tool.
the specialist and advanced s t u d e n t will have
Kindergartens to be c o n t e n t with less " P h . D . " material!
Y o u ' v e certainly filled a gap in ceramic
Hobbyists publication in the U. S . - - m y compliments 1954 Greenware and Firing
and best wishes for the future.
Small & Large M a x I. ALLEN Price List 20 pages $1.00
Potteries M a n c h e s t e r College
N o r t h M a n c h e s t e r , Ind.
Four page supplement for your
AYC Likes Photos and Show Listings
Gentlemen:
• . . I appreciate your printing the very
1953 price l i s t - - 2 5 c
co|ors excellent photo of m y sculpture [Best of
Show W i n n e r at M i d w e s t e r n Ceramic
are in liquid H o b b y Show, see C M Briefs, J u n e ] . . . Y o u
are certainly to be c o m m e n d e d on the fine
Make Your Own
form, ready w o r k m a n s h i p in p h o t o g r a p h y , not only in
this particular instance, but t h r o u g h o u t the Glass Enamel Jewelry
magazine . . . Amazing New
easy to use Incidentally, m a n y people to w h o m I have

~8 Opaque under-
glaze colors
Translucent one stroke
Jnder and over the
glaze colors)
Satina, one-fire colors
~tin and Gloss finish)
,tt Transparent Gloze
:o Mask--for maskir
)art of a design . .
on .. let d r y . . Peel o
E FOR FREE PRICE LI
spoken and who receive y o u r magazine do
appreciate the fact that you a n n o u n c e com- T R I N K I T KIT
ing shows and exhibits. It proves to be a
h a n d i e r reference t h a n just picking up small Come,COMPLETE wlthKILN!
bits of information from local sources a few
days before an exhibit is to be held.
PATRICIA B E L L E T T
C u y a h o g a Fails, O h i o
POSTPAID
4' And incidentally, congratulations again:
MONEY
Patricia's sculpture placed second for the BACK
GUARANTEE
Grand Sweepstakes Award at the California Send only
Ceramic and Hobby Show at Long Beach $6.95 for
complete kit
early last month.--Ed. --M.O.'s
or checks. If
not delight.
C M Decoration Lessons Fill Gap ~d, return
Gentlemen : for cheerful
refund.
. . W h e n I read the first few issues I
.

t h o u g h t - - a l l the things I've needed, b u t of Now! Make lovely earrings, cuff

age mold catalog and ;
on leaflets for: Undergla
s • One Stroke Colors
I Serf Glazing Colors
o M a s k - .SOc
AYCI
[ors, inl
)645 Chandler Blvd.
Address: P. O. Box 22
"t H O L L Y W O O D , C
course they can't keep this up! But I was l i n k s , p i n s , etc. r i g h t a t h o m e ! C o m e s
w r o n g - - I guess I d i d n ' t k n o w there were c o m p l e t e - - e l e c t r i c kiln, s p a t u l a , 6
so many things I needed! tubes brilliant glass enamel, brush,
I, too, am very grateful for the series on oil, s a n d p a p e r , c o p p e r sqs., circles,
"Basic Decoration." I guess there are m a n y c h a i n , e a r r i n g s a n d p i n p a r t s , solder,
of us without art b a c k g r o u n d w h o are weary a s b e s t o s - - 2 8 pes. i n all! W o n d e r f u l
of the supercilious attitude of some of those gifts. N o m e s s , n o s p e c i a l skill
needed. Easy--fast--fun! O r d e r to-
who have such a b a c k g r o u n d . . . I have
always felt that this attitude stemmed from
the fact that the supercilious ones 1) forget
day-limited
CLIP
quantity.
THIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
that they ever had to learn the things they
n o w t h i n k are instinctive and 2) they d o n ' t PRICE & PRICE, BOX 56. DEPT. IOI
k n o w a n y words! BLOOMINGTON. ILL.
8o, m a n y t h a n k s for your factual articles NAME
and your consistently u n p a t r o n i z i n g tone of
voice . . . ADDRESS
"JUST AN AMATEUR"
Berkeley, Calif.

CERAMICS MONTHLY
SPECIAL OFFER! A N O T H E R first prize is glazed with

VELVA-PLY
One ounce trial package
Send show announcements early--
NATURAL at least three months prior to date
tor receiving entry cards and works
for exhibition.

OrE 25c WHERE TO SHOW

GLAZE
KANSAS, Lawrence
October 30-November 30
pos,,.,, 1st Kansas Designer Craftsmen Show.
Open to those resident in Kansas for
one year (residents of greater Kansas
City included). Mediums include cer-
Try these exciting NEW glazes for just 25c. amics. Jury; fee $2. Prizes. Entries due
See for yourself the results that match lost
arts in fine ceramic finishes. These NEW October 18, 19, and 20. Write: 1st
Natural Ore glazes have had astonishing
Kansas Designer Craftsmen Show, Uni-
acceptance with teachers', schools and exhibi- versity Extension, University of Kansas.
tors. Simple, easy to use. Fire at cone 04. LOUISIANA, New Orleans
Complete instructions included.
October 3-17
Thirtieth Annual Autumn exhibition at
Isaac Delgado Museum of Art includes
6 PROVED COLORS "creative craftwork." Open to mem-
bers of the Art Association of New Congratulations, Mary Williamson for
White Enterprise . . . . . . . Velvet Matte first prize at the Midwest Ceramic Show.
Orleans. Jury of awards; cash prizes.
Black Jack . . . . . . . . . . . . Matte Fee: membership dues ($5). Entries We're proud of Y O U and all the rest
Eldorado Plum . . . . . . . . . Rich Red due September 29. Obtain blanks from who won top honors with VELVA-PLY in
Blue Stone . . . . . . . . . . . . Mottled Association, care of Museum. the big shows. Just "shows to go you"
that VELVA-PLY is a blue ribbon winner
Aubergine . . . . . . . . . . . . . Rich, Dark Brown
MASSACHUSETTS, Worcester wherever it's seen.
Tailing Tan . . . . . . . . . . . . Khaki
October l~-November 27, 1 9 ~ Schools, Colleges, Artists
New England Craft Exhibition--1955,
at the Worcester A r t Museum. Open and Studios!
6 oz. pkg. $ 1 . 0 0 to New England craftsmen. Organized
by Junior League of Worcester, Craft I t ' s t i m e to place Y O U R V E L V A -
Get the richness of true stoneware glazes Center, and Worcester A r t Museum. PLY order before the rush begins.
from your own kiln. Our regular 6 oz. pack- Selections to be made by committee A r a i n b o w of o v e r 80 colors in tex-
age is available in all colors. Money Back from juried state and regional exhi- t u r e s as s o f t as a m o o n b e a m a n d
guarantee. Use coupon below to order. bitions this year. Arrangements for h u e s as g l o w i n g as a s u n s e t . S o m e -
individual entries after April 1, 1955. t h i n g f o r E V E R Y t a s t e . I f you love
M A T T S , t h e B e a c h s t o n e g l a z e s will
Write Craft Center, 40 Highland St., t h r i l l you: if p l a i n or speckled g l o s s y
6-12 oz. pkg. $ 8 . 9 5 Worcester. g l a z e s " s e n d " you, t h e y a r e r e a d y
N E W YORK, S y r a c u s e f o r you; if S A T I N S appeal, we h a v e
All color assortment. Shipped prepaid. Ideal t h e m , too.
for advanced hobbyists, instructors, schools, October 24-November 28
etc. Use coupon below to order. 18th Ceramic National (1st Biennial), W h y n o t t r y a R E G U L A R K I T of
(Other quantities priced on request) sponsored by Syracuse Museum of Fine these prize-winning VELVA-PLYS
Arts, Onondaga Pottery Company and of 6 a s s o r t e d colors in 4 ounce j a r s
Ferro Corporation at the Syracuse a t o n l y $4.20 P O S T P A I D ? The
"Museum of Fine Arts. Open to pot- S P E C I A L A R T K I T is o n l y $5.20
NATURALORE GLAZECO. ters, sculptors, enamelists. Entry fee,
$3; $2600 in prizes. Entries due at
P O S T P A I D . So L O W in price, y e t
so H I G H in q u a l i t y . M a k e Y O U R
CENTRAL CITY. COLORADO pieces p r i z e w i n n e r s w i t h V E L V A -
Regional Centers, Sept. 9, 10, 11:
Please send prepaid the following order School of Boston Museum of Fine PLY.
of Natural Ore Glazes: Arts; Cleveland Museum of Art; Los
Angeles County Art Institute; San Of course you k n o w t h a t M a r g e a n d
Francisco Museum of Art; Georgia I a r e a p a i r of d e s i g n i n g w o m e n ,
____pEg(s) Special Trial offer at 25c a n d so we h e r e b y e x t e n d a n i n v i t a -
Museum of Art, Athens; Syracuse
Museum of Fine Arts; Royal Ontario tion to come in a n d see t h e o r i g i n a l
ea. in colors n e w c o p y r i g h t e d pieces we h a v e
Museum, Toronto, Canada. Write 18th b u i l t especially f o r YOU. T h e y ' r e
Ceramic National, Syracuse Museum distinctive and far from the "run
of Fine Arts. of t h e m i l l " as t h e p i c t u r e will show.
__6 oz. pEg(s), at $1 ea. in colors See t h e m in h e a v e n l y n e w V e l v a -
OHIo, Massillon Ply color c o m b i n a t i o n s . Lamps,
October 31-November 30 vases, p l a t t e r s , p i t c h e r s , etc. t h a t
Massillon Museum's 19th Annual Show a r e a d r e a m to decorate. B e s t of all,
_ _ _ All color assortment (6-12 oz. pegs) is open to all mediums; recent work t h e y a r e f o r sale O N L Y a t o u r
at $8.95 ea. only; present and former residents of studio.
Ohio eligible. Jury; Baldwin Purchase
$ is enclosed. Ship to: Award. No fees or entry blanks neces, Oh yes. there's a new baby s{ster to V e l v a . Pl y
glazes on the way. Watch for the stork in
sary; submit work by October 23. October. Meanwhile, we'll be seeing you at
NAME_
WASHINGTON, D. C.
ADDRESS_ October 13-28 the KAY HARRISON,tud
os
4th Biennial Sculpture Exhibition, 8744 W. McNichols Rd., Detroit 21, Mich.
CITY sponsored by Smithsonian Institution. U N 2-9222.
Any permanent sculpture medium.
STATE
(Please turn to Page 8)

SEPTEMBER 1954
 INEXPENSIVE KILN

Enameling Kiln
An input control switch is one of
the features of the new enameling kiln
introduced by the L and L Manufac-
turing Co., makers of the Dyna Kilns. Ideal f o r School Use
D e s i g n e d for the firing • Reaches enameling
The control enables the enamelist to of enamels that have temperatures quickly
vary the rate of speed of temperature been applied to one side
of a metal piece. Pieces
• Sturdy and simple

rise, making it possible to quickly re- up to 43/8" in d i a m e t e r

and 11,_,'' high m a y be •
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L o w cost, t r o u b l e
cover temperature lost in opening and fir~d m r h > kdn free o p e r a t i o n
Schools closing the door. A pyrometer is in- FREE
Institutions 'Enameling on
Dealers C o p p e r and
Other Metals'
by Thomas E.
N E W 3 8 pg. c a t a l o g - 2 5 c Thompson
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e, CERAMICS MONTHLY
 Advertisement

THE NEW FOSTER POTTER'S WHEEL

The potter's wheel with saddle seat and
triangular frame was firsl designed in 1938
by John A. Foster, noted Detroit potter and
teacher, after a trip abroad, where he had
made a careful study of the wheels used by
potters in England and on the Continent.
Up to that time, the wheel in general use
in this country was the conventional, rectang-
ular-box-type, kick wheel. The potter was
forced to stand on one foot and bend over
his wore in an awkward, sideways positlon--a
tiring stance, hardly conducive to good crafts-
manship. Consideration of this problem led
to the development of the Foster Wheel,
which enables you to sit comfortably and
work with a minimum of effort.
The first of the wheels (of wood construc-
tion) was used in the Foster pottery studio for
many years. It was so well liked by all who
tried it that it was reproduced in small
quantities. During the past ten years, the
wheels found acceptance in many parts of
the country, giving satisfactory service in
school systems, and in the studios of hobby
and professional potters. The Art School of
the Detroit Society of Arts an~ Crafts has
been using six of the early Foster Wheels for
years; and the Ceramic Department at
Wayne University has seven of them in use.
Because the demand for such a top-quality
wheel was so great, it was decided to further
develop the wheel in terms of modern manu-
facturing methods. The engineering facilities
tlon; smooth, sensitive, responsive operation;
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equipment which is a pleasure to use and
a colorful addition to the studio or work
room.
Moreover, a complete llne of accessory
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for immediate production. The first item in
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dent~, hobbyists and professional potters.
The new, all-steel Foster potter's wheel
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enlisted: collaboration between Mr. Foster those who have purchased it agree that it
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Now, for the first time--through mass pro- $8.50 crating charge; f.o.b., River Rouge,
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available at a price any hobbyist, student, of potter's equipment to come is ROVIN
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SEPTEMBER 1954 7
 You're Missing
(Begins on Page 5)
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Original Molds by WISCONSIN, Milwaukee

N o v e m b e r 5-December 2 1954 Supply Catalog
34th Annual Exhibition of Crafts,
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Only the finest Plaster of Paris is used Dorothy Meredith, 2932 N. 69 St.
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log (refunded on 1st mold order). CALIFORNIA, Sacramento
25c ;n co;n or stamps.
through September 12
274 Tree, 275 Horse California State Fair and Exposition Deductible on First Order
features handcrafted ceramics plus of $2.50 or more
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Connecticut Crafts 1954 at Silvermine
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Indiana State Fair includes enamels,
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(Please turn to Page 30)

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I

SEPTEMBER 1954 9
 throwing on

THE POTTER'S WHEEL

first of a series by TOM SELLERS
of demonstrations:

the cylinder
Were any one method of working is a challenge that is hard to resist,
with clay to be singled out as the most especially after you have watched a
fascinating, the choice would almost good potter work swiftly and with
certainly be t h r o w i n g l f o r m i n g pottery apparent ease. But back of his skill
on the potter's wheel. The desire to see has gone a great deal of time and con-
a rough lump of clay take shape under centrated practice; and the beginner
your hands as it revolves on the wheel must face the fact that patience and
C M now introduces another "How.to" series
by a skilled ceramist who knows whereof he
speaks. The author, well.known to our readers
for his frequent, instructive articles, is director
and ceramics instructor at the Arts & Crafts
Center, Columbus, O. The new series gives,
we believe, the most thorough and easily fol-
lowed instructions on throwing ever to have
been published. In addition to the basic shapes
(cylinder and bowl), the articles will show how a
wide variety of other specific shapes are formed,
and how foot rims are made on the wheel.
devotion to the techniques of good
potting are required to achieve such
skill. The self-discipline which must be
imposed will not, however, lessen the
enthusiasm of an embryo ceramist, once
he feels the thrill of accomplishment in
any phase of throwing.
The best way to learn to work cor-
rectly on the wheel is to watch a potter
throwing. If you watch, then work
yourself, you will know what to look
for when next you see someone throw-
ing on the wheel. But slavishly copy-
ing another's technique may well lead
the beginner to grief, for each of us
is constructed differently and the differ.
ences may well prevent one person
from using another's methods. An in-
dividual with very small hands, for
example, may not be able to work in
exactly the same way as does a potter
with large hands. Strength is an im-
(Please turn to Page ! 2)

CENTERING. A lump at clay is rounded into a smooth ball after
careful wedging (left): a convenient size ball for beginners is shown.
The clay is held firmly in both hands and thrown down an the
center of the wheel head with enough farce to make it stick securely.
The wheel head, hands, and clay should not be moistened: the
wheel is not yet in motion. (Center) The clay is patted inward
and down, to place it more accurately in the center, and holcl it
more firmly to the wheel. (Right) The wheel is set in motion, counter-
clockwise, at speed 4 (see text for discussion of wheel speeds).
Hands and clay are lubricated with water, and centering begins.
Note the hands are interlocked for better control, and the forearms
supported: rigid control is vital. Hand pressure is IN with the right
hand and D O W N with left, to keep the clay from rising out of
shape. The pressure is nearly equal with both hands, but the right
is exerting more control. Don't forget to maintain wheel speed, and
also to lubricate the clay as often as it is needed.

I0 CERAMICS MONTHLY
CENTERING continues. Always, by the way, approach and leave the
clay gradually. Now the clay is shaped (left) under the rigid
control of the right hand fingers, which are held firmly together.
Note that they are held at an angle to the clay, to prevent horizontal
ridges. The little finger, often very weak, is riding. The left hand is
not only supporting the right hand, but also continuing to press
down on the top of the clay to keep it from rising. Centering is
completed (center) with the forefinger and knuckle, moving down-
ward, from top to bottom. The need for rigid control of the right
hand throughout the entire process cannot be overstressed. If you
feel you are not getting enough support, move your elbows in tight
OPENING. Once centered, the clay is opened. The wheel speed
is reduced to speed 3 for this operation. The hands now ride on the
wheelhead outside the centered clay, for support, and thumbs do the
wore (left). With the clay well-lubrlcated, the right thumb rides
easily in the center while the left thumb presses down on it for added
support. Gradually the thumbs press down toward the wheel head,
staying firmly in the center of the lump. The need for control ;;
ever present; note the forearms supported by the frame. Only enough
clay to form the bottom wall and a foot rim should be left in the
bottom--from one-half to three-quarters of an inch should be enough.
You can check the thickness by sticking a broom straw or pin in
SEPTEMBER 1954
against your body, or lay a wide board across the wheel frame to
support more of your forearm. When you think the clay is centered,
check, with the wheel in motion, by crouching down at eye level with
the clay, and observing the sides for irregularities. If the clay ap-
pears' motionless while it is turning, it is centered. You can also test
centering by supporting a pencil or stick against the wheel frame
(right), and moving it gradually toward the spinning clay wall
until it almost touches. If the space between the clay and the stick
is constant, the clay is centered. If the space alternates between
wide and narrow, the clay is not yet centered. Eventually, you will
know by feel, alone, whether or not the clay is centered.
the center of the bottom opening, through to the wheel head.
(Center) The inside diameter of the cylinder is to be established
at this point; the thumbs move off center, therefore, away from the
body, to spread the opening until the desired diameter is~ reached
inside bottom. The thumbs then move up slowly, at right angles
to the bottom, straight to the top. Note that the fingers support the
outside wall opposite the thumbs. You should lubricate the clay as
required, and frequently soak up throwing water from the opening,
with a sponge, to keep the bottom clay from becoming too soft.
A cros~ section of the opened lump is shown at right: this is the
basic shape from which the cylinder will rise.
11
 RAISING. The wheel speed is again reduced, to speed 2; lubricate
when needed. The right hand does most of the work here, riding
easily on the wheel head at first, and gradually pressing into the
clay with the forefinger knuckle until a roll of clay appears above
the knuckle. The middle finger of the left hand steadies the inside
of the wall to prevent the outside pressure from pushing the wall in.
Support and control are iusl as essential here as in the other steps.
Try to keep the fingers interlocked. The cross section (center) shows
more clearly the position of the right forefinger with the roll of clay
forming above it, and the inside finger position. Try to keep the
supporting fingers bent slightly; you will find there is greater
strength than with the fingers extended. (Right). The first pull is
being completed. Both hands, in position, move upward in one, slow
motion, with the same pressure as was exerted when the roll of clay
was formed. The roll is pushed up ahead of the right finger, and the
pot begins to grow taller. Remember that the clay is being pulled
up from the outside of the wall; the inside diameter should remain
essentially the same. 1he inside finger rides up the wall, a/ways
staying opposite the working knuckle. To prevent the roll of clay
from peeling off the wall, press the portion of the finger above the
knuckle inward, forcing the clay in and toward the top. Do not pull
up too rapidly, or deep ridges will form in the wall which might
make successive pulls difficult. Keep lubricating; and sponge the
inside bottom frequently so the clay won't soften too much.

RAISING continues. Another roll of clay is formed at the bottom and
pulled upward. In the cross section (left) the middle finger is being used
instead of the knuckle. Try both methods to see which you prefer. In
this case, the forefinger rides ahead of the working finger, keeping
the roll from peeling off. Note the left middle finger opposing the
outside finger and how the thumbs and right forefinger ioin forces
for added rigidity, the thumbs riding lightly on the top of the wall.
Note also the continued support of the arms, the left arm this time
tucked in tightly at the hip. The pulllng-up process is repeated sev-
eral times, always starting at the bottom, to bring the cylinder wall
up higher and thinner. During the learning process, leave the wall
slightly thicker at the bottom for more strength. (Center) The
cylinder may tend to spread at the top. To keep the walls vertical,
circle the piece at the bottom with both hands, gradually constricting
them as they come up. If the rim at the top is uneven it means that
the piece was not properly centered, or that unequal pressure was
exerted in pulling up the wall. To even the rim, cut the top off
using a sharp-pointed tool (right)• Support the hands carefully
and cut through the wall gradually, the wheel turning at about speed
1. The left forefinger rides on the inside, opposite the pointer. Don't
try to cut off too little clay because it will be difficult to remove•
Cut at least one-thlrd inch below the lowest point on the uneven
rim. When the pointer has cut completely through the wall, in
several revolutions of the wheel, and the pointed tool touches the
inside finger, raise the tool and the cut section, on the left hqnd,
and remove--while the wheel is still in motion.

portant factor, and a student with
comparatively weak wrists or forearms
will not be able to use the same tech-
niques as his more muscular friend or
teacher. This means, therefore, that you
must learn the fundamental techniques
and then experiment with individual
methods to find those which best suit
you.
If you have difficulty throwing one
way, try another and another until
you achieve the desired results. Experi-
ment with the clay, too. You may find
it easier to handle clay that is either
softer or perhaps stiffer; and you may
have more success with either a small
or a large lump of clay. Get what you
can from others, but handle it in your
own way.
THE CLAY
Some clays are particularly well
suited for throwing. In general, how-
ever, most clays which handle nicely
for hand-building methods can be used
for wheel work. Your supplier can help
you select a good throwing clay; if you
have fallen heir to a clay of question-
able throwability, take a good-sized
sample to a potter friend and ask him
to try it on his wheel. His experience
will enable him to tell you quickly
whether it is suitable for your purpose.
Clay for throwing should be especi-
ally well wedged, because hard lumps
and air bubbles in the clay will distort
your work. Use a fresh supply of clay

12 CERAMICS MONTHLY
FINISHING. Finishing of the pot now begins and the wheel turns
more slowly, at speed !. Burrs left when the rim was cut are being
removed. The left thumb and forefinger support the rim while the
right forefinger presses down on it and smoothes it. Note how the
fingers are braced: the forefingers, which are doing the work. are
braced against each other: the right thumb presses against the right
forefinger, giving it support and added strength. Except for some
cleaning up, the cylinder is now completed. If you want to make
the pot flare slightly at the top (center), start at the bottom, as for
a pull, but exert no pressure until you wish a change in the shape.
At that paint, increase finger pressure from the inside pushing the
shape from within: use the fingers of the right hand, now, far guiding
and supporting. This process will give you a flared pot. If a smooth-
surfaced finish is preferred to one showing the throwing marks,
(right) use a wooden rib or a soft sponge on the outside. The wheel
:ontlnues to turn slowly (speed 1) and sponge or rib moves slowly
up the wall, the inside hand giving support. Finish the rim as done
in the photo at the far left, using a sponge instead of your finger.

FINISHED pal has been cut in half to show the wall thickness.
Notice how the wall becomes thicker toward the bottom; this
excess clay is left so a foot rim can be made. Cutting down
through your pots is an excellent habit for the beginner. This is
the only way you can see whether the walls have proper proportions.
Actually, it would be hard to save the early pots because the be-
ginner usually overworks the clay, the walls becoming water-soaked
and weak, and therefore easily distorted. Start saving pots when
you are sure of your throwing.

THE CYLINDER is the basic shape for all

vertical forms thrown on the wheel. The cylin-
der is first pulled up, then altered to assume
the shape desired. Shown at right are the
cylinder and three simple shapes which evolve
easily--even for the beginner.

for each attempt on the wheel, and let
wet clay removed from the wheel dry
on a plaster bat before it is re-wedged
and used again.
WHEEL SPEED
The speed of the wheel is very im-
portant for successful throwing. It is
usually indicated as so many revolu-
tions per minute (rpm), but few of us
can look at a turning wheel and deter-
mine its speed. To help acquaint the
beginner with the speed to use for the
various throwing steps, therefore, I
will use a simplified "speed scale."
W h e n the wheel is at maximum
speed, it's called a speed of 4. W h e n it
is at a standstill, it is 0. Medium speed
would be halfway between, or a speed
of 2; medium fast, a speed of 3; and so
forth. In throwing, the initial process
on the wheel will require the fastest
speed, and each succeeding process is
accomplished with a slower speed. W e
can say, then, that the clay is centered
at a speed of 4, opened at 3, the walls
drawn up at 2, and the piece shaped
and finished at a speed of I.
In throwing on the wheel there are
two basic shapes--the cylinder and the
bowl - - from which all other shapes
evolve. Once the techniques for throw-
ing these basic shapes have been mas-
tered, you can, with confidence, at-
tempt any shape you wish. The cylin-
der is demonstrated here; the bowl will
be demonstrated next month. •

SEPTEMBER 1954 13
 ENAMELI NG
IV: Si
by JEAN O'HARA

Sift-and-stencil is one of the two techniques which are

most commonly used in enameling (the other being wet
inlay). W e can describe the method, in a general way, by
using a simple example--a leaf-shaped stencil to be applied
to a prefired enamel plaque of, let's say, opaque yellow color.
The stencil, cut from paper toweling and moistened jn
watcr, is placed on the plaque; a coat of gum solution is
sprayed on the area; and enamel color, perhaps opaque red,
is sifted around the paper leaf. The stencil is then peeled
off, leaving a yellow leaf shape outlined in opaque red.
If the negative, instead of the positive, part of the stencil
(see sketch on page 28) had been used, we would have a

1. Leaf shape, cul from paper toweling, 2. Enamel is sifted over the area, arot
and dampened, is lald on a prefired, the leaf shape and as far beyond
enamel-coated plaque. Excess moisture desired. If a second coat was want
in the paper (it might discolor the the area would be immediately spra~
enamel) has been blotted up with ab- again with gum to saturation, and dL
sorbent tissue, and a coat of gum is ed a second time with the enamel col
being sprayed on the surface. (The
atomizer, here, is held too c!ose to the
plaque--a license taken for photograph-
ing canvenlence[) Glossy paper, torn
I from a magazine, is used as a work
surface to catch excess enamel which
can be saved for sludge.

4. With the first coat of enamel still
unfired, a second paper shape has been
lald on the plaque. A second enamel
color is being sifted over the plaque.
This is one of the several ways of
using the slft-and-stencll method.
S. The second color is now remov~
with a dampened brush, from half
the large leaf area, the other half I
to "break up" the space. The dar~
: ..... ..... shadow on the plaque is the first col
~ showing through. Notice the way
bleeds into the second or smaller le,
This is the kind of effect--rich in s,
color and flexible in design--that c,
be achieved by the stencil process.

7. More paper shapes, same overlap-

ping the first leaves, have been added,
and gum again sprayed on, followed
< .... -

by another coat of enamel. Stencils are

removed. If edges of the enamel areas ii~ i¸ ~• i iili
crumble slightly they can be repaired
with the damp brush.

14 CERAMICS MONTHLY
 stencil method; and a de-
tailed demonstration of the
method is given in the
• for the beginner photos on these pages. The
beginning enamelist will
want to familiarize himself
with this technique. He
would do well, however, to
nd-Stencil Technique experiment before trying a
finished piece, using shapes,
perhaps geometric ones, cut
more or less freely f r o m
paper toweling. T r y thin
and thick coats of different
AUTHOR Jean O'Hara, who pre- overlapping colors, and
red leaf against a background of yellow. If we apply only pares the enameling lessons ap- overlapping shapes; and try
one coat of the red enamel, its color will be affected by pearlng regularly in CM, is a overlapping different color
Cleveland enamelist. areas before firing the
the yellow beneath. This overlapping, or bleeding-through,
of colors applied in thin coats is one of the advantages of enamel, as well as after firing. Don't begin with a complex
the stencil method, but if a more solid coat of one color is design which must be transferred literally from a piece of
wanted, a second application of gum and enamel will pro. paper. If you make a rough preliminary sketch, remember
duce it. (Three coats of enamel is the rule-of-thumb in that when a design is transferred to a form, no matter what
certain techniques but it does not apply here. If such a the technique of application, the design must be adjusted
heavy coat were used in stenciling, the edges of the enameled to fit the form; a stencil cut from a flat pattern or sketch
areas would be apt to crumble badly when the paper was may not have the same effect when placed on a steep form.
peeled off.) In order to avoid design difl]culties when experimenting
The foregoing gives the basic principal of the sift-and- with techniques, you might use the flatter metal forms.
(Please turn to Page 28)

3. Paper stencil is carefully removed.

A pointed tool (not shown) was first
slipped under the edge of the stencil to
start the delicate lifting operation.

6. Here the plaque has been fired once.

Prior to the firing, the stems, and the
light lines slanting into the left side of
the big leaf, were made by removing
enamel with the damp brush. At the
bottom right side of the large leaf, the
llne was made heavier by pushing the
damp enamel firmly into place with the
brush. Other outlines are not cleaned
up excessively because the panel is in-
tended to be in loose, soft colors and
overlapping shapes.

8. Sgraffito technique is employed here.
In enameling, this means you scratch
through one unfired color, exposing the
fired color beneath. A ieweler's pointer
is being used but another pointed in-
strument would do, each type producing
a different kind of llne. Or the damp
brush could be used as it was earlier
for the stems. The plaque is fired again.
9. More shapes are stenciled on. The stencil
shown has been only slightly dampened because
it lles on an unfired pattern. Since it doesn't hug
the surface, the resulting shape will have soft
edges. More sgrafflt~and the plaque is fired
again. Finally, dots and fine llne motifs (see
finished piece, top left) are added with a brush,
using overglaze. These further develop and sharp-
en certain areas, and contrast with the softness
of the larger leaf shapes.

SEPTEMBER 1954 IS
 Deeoratin9 Lessons I
No. 6: Plant Forms

Whether decorative motifs are
naturalistic, conventional or abstract,
nature is the great source for the de-
signer's point of departure. The grow-
ing season presents a never-ending
variety of plant forms from which you
can take ideas. The experienced de-
signer always has a sharp eye out for
ideas, but the beginner may miss the
opportunity of observing closely the
way nature organizes the various parts
of plant forms, and the way the various
parts are related to each other and to
the whole. This organic structure is
more important, in decorating, than the
actual appearance of any plant.
Flowers are beautiful in themselves
but a careful rendering of them on a
vase does not necessarily result in a
fine decoration. As pointed out pre-
viously in these lessons, each space to
be decorated requires special attention
and alteration of the motifs used. The
decorator must take liberties with
motifs in order to dispose them to the
best advantage of his scheme. His aim
is to draw attention to the character of
the form and to hold attention as long
as possible. He is not painting a pic-
ture which would attract the eye to
itself, but making a decoration which
must promote interest in, rather than
divert it from, the pot. Decoration by
its very nature is subservient, only a
part of a larger whole.
The virtue of good decoration lies
outside subject matter; it can follow
nature fairly closely or be completely
divergent from it. The Persians were
the nimblest of decorators and very
often adhered almost literally to the
natural objects used in their patterns.
The American Indians of the South-
west, on the other hand, so symbolized
natural forms that they became com-
pletely non-representational. The ex.
cellence of decoration in both cases
depended not on subject matter but
on the treatment. It depended on the
way the decorative material was organ-
ized with the pot.
You will find it helpful to make
sketches of plant forms as they grow
and develop. Your sketch-book will
prove to be a storehouse of ideas from
which to work later. Make careful note
of structure, the manner in which the
stems and leaves branch, the way in
which the flower usually dominates not
only through color variation but also
through contrast and complication of
details. The eye is almost invariably led
easily but forcefully to rest on the
flower. Try to analyze the manner in
which this happens. With such knowl-
edge you can do the same thing--lead
the eye wherever you wish, focusing it
finally to the best advantage of the pot.
Your original sketches will of neces.
sity be altered in the service of decor-
ation but, in any case, make many
variations. Each change you make will
suggest many others. Keep all of them
for reference later because they will
suggest still other ideas.
The simple variations shown here
are from the lily. They are neither
abstract nor literal but rather middle-
of-the-road. See what variations you
can make on the same theme, remem-
bering that it's not the subject
itself but the depth and liveliness
of the designer's imagination which
are important. •

W H E N you use plant forms as motifs in decoration, study the in decoration. Each time you make
arrangement and relationship of the parts carefully. Feature the whole processmwhen you do this
the element which appeals or seems important to you. In most treating the subject. If you should
cases the motifs shown on this page feature the recurring petals flowers, they can be combined in a
of the lily. Take as much liberty as you like but always remem- much the same way that floret~ are
ber that space divisions are the first and most important step phlox, or repeated along the stem of
a trial arrangement reverse
you may find new ways of
want to use rather small
cluster on a single stem in
arranged in the head of a
the gladiola or the canna.

16 CERAMICS MONTHLY
 T

Brushes for the easier to use. The style of brush used figurines, as explained in my "Note-
Overglaze Decorator depends on the design to be executed. book" section in the June issue. A Bad-
When working with metals, I like a ger blender is a rather large, round
Selection of brushes for overglaze short brush for gilding handles of brush set in a broken quill wired to the
decoration depends on the kinds of dishes and for filling in solid areas. handle; it is used for dry.dusting
painting and variety of mediums you methods. Do not let the sizes confuse
expect to use: one type or style of you. A #3 blender, which is a good
brush cannot be used for all phases of size for all purposes, really looks like a
the painting. The purpose of this duster or a mop in comparison to #3
article is to describe the different styles in other brush styles. Some ceramists
of brushes, how they are used, and how use them for blending wet mineral
to care for them so that they will last colors where there are deep inden-
a long time. I would also suggest that tations in the ceramic form which can-
you obtain the catalogs which are avail- not be reached with a silk pad, but I
able from the brush manufacturers, for prefer a softer brush for this purpose.
these are usually well-illustrated and A small square # 1 is good for narrow Camel hair brushes are too soft for
carry detailed information. The supply banding. For lines, there is a very long, enamel and paste work. Pointed sable
dealer in your area can also aid you. pointed style called a "liner" which is brushes are needed for these mediums.
Choice of Brushes indispensable in sizes 000 to # 1. It is not necessary to buy the very
W i t h the mineral pigments, camel There is also a Trenton tracer brush, expensive, imported red sable for there
hair brushes are used. These are made which is extra long and supple for free are inexpensive types which have good
of very soft hair set in quills, and the hand scrolls and outlines of designs, body and are well-pointed for lifting
styles are square and pointed. They and can be had in larger sizes than the and "flowing on" the enamels and
are inexpensive, ranging in price from liner. This style is difficult to control pastes. Sizes from #00 to #3 are most
35 cents to one dollar for the general and takes a good deal of practice. An useful and I choose a long-hair style.
sizes from #1 to #9. A beginner expert prefers these for achieving cer- Many ceramists use the very smallest
should have at least three of each style. tain effects in unbroken lines which sable for feature painting and for
I would advise #3 #6, a n d # 9 square, cannot be obtained with any other style fine gold outlines. I do not like the stiff,
and #2, #4, and # 6 pointed, as aver- of brush. A camel hair cut at a slant ness of sable when needing to paint
age essential sizes. Larger square shaders is used for banding and also takes prac- with freedom of hand; and I think the
are necessary, however, for painting on tice in handling. A slant brush for each camel hair permits a freer flow of
such objects as lamps, vases, platters, of the three mediums already men- paint, making it easier to manipulate in
etc., which have a wide area to be t i o n e d - mineral, luster and m e t a l - detail work. I like to fill a very small-
covered or decorated. Camel hair comes in handy for making nice sized camel hair liner with color and to
brushes also come in various hair straight or clean curved bands. roll it to a fine point so the color can
lengths, medium being best for general French stipplers are quite useful for be controlled for sharp lines. Sable
painting. They are used also for luster blending. These are of short stiff hair brushes are good for clean-up work and
and metal painting and separate ones set in round ferrules or quills cut splendid for painting dots.
must be kept for each of these mediums. square and slanting. I do not need to Painting with mineral colors which
For dipping into the small luster use these a great deal but find them need blending, and where there are
bottles, I find the longer-haired type indispensable for painting cheeks on ridges, indentations and hard-to-get-at
curves, makes it quite necessary to keep
ch|na painting hints a few extra camel hair brushes dry and
fluffy for the purpose. They are often
used in conjunction with a silk pad for
blending backgrounds. Creators of the
4' I have been advised that benzine is better than turpentine finest china painting use more dry
for cleaning gold brushes, but I don't like the idea. brushes than painting brushes because
Neither do I. W h y bother with so many vehicles? much of the finished softness is ob-
Better stick to denatured alcohol for all metal cleaning. tained with "fluffy blending."
The artist in overglaze decoration
4. I do not have cone holders but set my cones in wads of clay selects many brushes, but the invest-
for bisque and glaze firings. Can I do the same for china decoration ment is no more than what a water
firing?
colorist spends for two or three brushes.
Yes, if you prepare ahead of time so that the clay is
Consider carefully the essential brushes
(Please turn to Page 3 I)
(Please turn to Page 30)

SEPTEMBER 1954 17
Howto make A SET
2.
The author is well-known for his books on pottery-maklng and ceramic
sculpture. In response to our request he has prepared a number
of short features outlining the steps for creating ceramic objects
which are extremely easy to make yet have utility and appeal. The
following is the first o| these features.--Ed.
~'hen you start to work in ceramics, it's good to have a
workshop of your own but not absolutely essential--a small
corner in the kitchen and a table to work on will suffice.
Moreover, you don't need a clay pit in your backyard or a
chemistry laboratory in the basement; the ceramic supply
dealers can provide clay of good quality as well as prepared
glazes and decorating mediums of proven worth. W h a t you
m u s t have is love of the material and the desire to shape
things with your hands. Skill? Well, that develops as you
work. If you have enough skill to roll a pie crust, you have
enough to make ceramic objects by the slab-building
method.
You can, as a beginning, make a set of attractive
coasters--round tiles each with a slight depression in the
center to hold a glass--from a slab of clay, and decorate
them simply by the majolica technique.
4. 5.
18
OF COASTERS
by JOHN KENNY
3.
1. Lay a newspaper on the table to make a good working
surface. Take a well-wedged ball of clay the size of a large
orange and roll it into a layer ~ - i n c h thick, using rulers on
either side as guides. If any bubbles show up in the clay,
get rid of them by pricking with the point of a knife.
2. Use a jar lid, about 3~-inches in diameter, like a cookie
cutter, to cut circles from the layer of clay. To make cutting
easier, place newspaper on the clay. Press the lid down until
it cuts completely through both paper and clay, twist and
lift up the lid.
3. Leave the newspaper in place, and use a smaller jar
lid, about 2~-inches in diameter, to form a slight depression
in the center of the disc. (Unless the clay is quite soft, a
good deal of pressure is needed here so the jar is fastened
to the lid to make pushing easier.) Remove the paper, and
set the coaster aside to dry.
4. W h e n all the coasters are cut and dry, be sure that
the underside of each one is absolutely flat so it will not
rock. Any unevenness can be removed by rubbing the flat
side gently on the bare table top.
5. Trim off rough edges with a knife, and make sure a
glass will stand in each coaster without rocking. If you dis-
6.
CERAMICS MONTHLY
 PARAGONKILNS
for every Purpose
for every Purse
for Immediate Delivery!

Paragon PERFORM-
A N C E - P R O V E N de-
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Reasonable Prices are
of p r i m e i m p o r t a n c e .

cover a high spot in the center, scrape it down, then smooth

with a sponge. The set may now be fired.
6. A prepared, opaque white, semi-mat glaze was used
here. For dipping, it should have the consistency of heavy
cream. Soak the coasters in water and wipe the surfaces dry.
Lower each one, face down, held by your fingertips, into
the glaze, rotating the piece once or twice to eliminate any
air bubbles trapped beneath. Lift the piece and quickly set
it face up to dry. The glaze coating should be about 1/32-
inch thick, covering the entire surface smoothly. If the
dipping is not successful, the disc can be washed off and
glazed again.
7. As soon as the glaze is dry, paint your decoration on
top of it. You can use liquid underglazes, or if you wish,
use dry underglaze colors mixed with a little of the glaze
used on the coasters. Make simple shapes which can be done
in free and direct brush strokes, perhaps sketching on paper
first. For painting, use a small brush. If a design does not
turn out well, wash the coaster, reglaze and try again.
When decorating is completed, fire the pieces for the
second and last time. Paste or cement a layer of felt on
the back of each coaster a n d . . , the set is ready for use. •
P a r a g o n Non-Sag Dropped ., ~ Yt~
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3-Way Switches f o r c o m p l e t e
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w i t h a n y t y p e firing. E l i m i -
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1 Year Factory Guarantee on All P a r a g o n
K i l n s is b a c k e d by a n a t i o n - w i d e d e a l e r o r g a n -
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locality.
Large Stocks of: Craftool Potter's Wheels & Tools;
Wold Airbrushes; Paasche Airbrushes; Compressors;
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Representatis~s for :

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fine line F i n e A r t detail to b r o a d s p r a y f o r
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parts.
F R E E CATALOG No. K54: for complete information
and prices of all types of kilns and kiln room supplies.

F R E E CATALOG No. E54: for complete information

and prices of spray equipment and pottery equipment.

PARAGONINDUSTRIES
P. O. Box 4 6 5 4 . Dallas 6, Texas

SEPTEMBER 1954 19
 T.f mW JIFFY MOLD CLAMP
' ~=~ SIZES
•~ ~ ! AVAILABLE N O W

PROVEN Rail-Height # 6 #12

PERFORMANCE
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MANY THANKS TO °1|
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ALL WHO VISITED 12 ~ 6 ;~! : Single Clamps 3.50 5.50

Each
US AT THE SHOWS
Standard Boards--
1S in.-Lengths
Other SizesAvailable Soon
L_GrgerSizesOn Request
PATENT PENDING

YOU CAN NOW make professional molds by sired size. Equally suited and recommended for the
using the new Jiffy Mold Clamps m simple professional, amateur, teachers, students, hobbyisl.
and easy to operate~saves many hours of trouble- A product of long research and made of the
some rope tying, etc. Can be changed to any de- finest quality dle-cast aluminum.

Please send inquiries to the Sales Representative nearest you.

WESTERN SOUTHWEST EASTERN
L H. BUTCHER CO. TRINITY CERAMIC SUPPLY MOLD-CLAMPS
3628 E. Olympic Blvd. 100 Howell St. P. O. Box 549
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solution for Potters TR~NZ now available in larger sizes. " ~ s a f e f o r t h e S t u d e n t
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High firing on ALL Popular Porcelain & Stoneware Bodies
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ARE ALL PREPARED AND READY TO USE IN WIDE MOUTH, JARS.
All orders promptly shipped on these Quality Materials: H E A V Y DUTY FOOT SWITCH
• Thayer& Chandler Air Equipment A must for your:
• Halley Electric Decorating Wheels ATLAS SPRAYER • DRILL PRESS • AIR COMPRESSOR
• StudioStencils GRINDER a OTHER TOOLS UP TO I/a H . P .
e LucilleHenderson's Patterns Step on if to start, release to stop. Keeps hands free.
Plug into any convenient outlet. Size 3" x8". Shpg.
• Baldwin'sFree Hand Fine Line Patterns Wt. 21/4 Ibs. S6.SO. Include postage with all orders.
• Master Striping Tool In Calif., add Sales Tax.
• ~e~ Tools
• Paasche Air Equipment THREE NEW DISTRIBUTORS
• Craftool FERRY CERAMIC STUDIO
• Kilns b y - - P a r a g o n m l r c o m C r e s s and Dickinson 19291 Harper Ave., Detroit 36, Mich.
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C e r a m i c h r o m e P r o d u c t s Do N o t Contain Free Lead 300 W. Jefferson, Trenton, Mich. 19201Van Dyke, Detroit 34, Mich.
A n t i m o n y m o r B a r i u m C o m p o u n d s in T h e i r F o r m u l a t i o n . I f your local d e a l e r cannot supply you, w r i t e direct.
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20 CERAMICS MONTHLY
 Driels ,:,, ® @

m m m m m mm n n m mum n n m n m m m m m mm mm mm mm mm mm m am m m m u n m m n m n n n mm m m am

Teaching ceramics via TV was a project engaged in

jointly by the Midwest Ceramic Association of Ohio and
the Dayton Educational Television Foundation. Dayton's
W H I O - TV made the time available and a summer series
of eleven weekly programs of instruction evolved.
Supplementing the summer diet of cowboys and car-
toons, the lessons covered forming and decorating tech-
niques, firing, enameling, and draping. Herbert Kurtz,
right, art teacher in the Dayton Public Schools, handled
the demonstrations. Shown with him is Robert Camp-
bell, producer for the foundation. "A worthwhile pro-
ject," the sponsors report, "of which other areas might
take note."

Teaching overglaze decorating via the printed word has

been keeping CM contributing editor, Zena Holst, busy,
but evidently not busy enough. Her monthly "Overglaze
Page" has met with wide approval and has prompted
invitations to supplement her writings with personal
instruction. Energetic Mrs. Holst agreed to conduct
several seminars for advanced instruction, the first in
the Denver area last July, at the L and L Studio,
Aurora. The class, (one group shown in the photo) was
composed entirely of teachers, who spent a week re-
freshing themselves on the finer points of the art. (Mrs.
Holst is standing at the left; L and L co-owner Lola
James at right.) A command return to Denver is al-
ready scheduled for mid-September; and seminars in
Salt Lake City and San Francisco are in the offing.

SEPTEMBER 1954 2!
 Acclaimed
Everywhere
by
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and
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This Nationally
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" O r i g i n a t o r s and Makers of famous B & I GEM M A K E R S "

PLANT LIFE is the inspiration for table accessories by Joan

Thelan. The bulbous, tapering shape of a leek bud (magnified at
right) is seen in the body of the pieces. The four-sided shape
of a flower petal is apparent in the mouth and carried by soft
ridges from the four corners down through the body to the base.

JUSTPLUGIN THISAh,M..Im= .1~. ~,L.

Think o f it[ You save time, t r o u b l e a n d m o n e y ONLY
when you test your glazes. Now you ca. ex- $ 1 9 9 5
p e r i m e n t with n e w g l a z e effects a n d g l a z e
y o u r biscuit w a r e the same d a y . Excellent
for small pieces or j e w e l r y . FOB New York
Nete theme specification/: Kanthal AI Element--Babcock-
Wilcox Fire Brlck--lnter;or size 6 x 6 x 4V2 in. 12 Amper~.~.
Send check or money order to Dealer inquiries invited
CRUET STOPPERS, too, carry out the bud-petal shapes that gave
the ceramist her design idea for pitcherlike forms. The non-
geometric shapes are meant to complement conventional dinnerware,
add variety and a casual air to the table setting. Extremes in
design were avoided because "people like change to be gradual."

22 CERAMICS MONTHLY
 The garden is full of ideas. Joan Thelan plucked hers
'rom an ordinary kitchen leek (cooks use it in soup) and
L four o'clock flower when she designed the dinner table
~ccessories you see here. Her design idea was drawn from
h e bud of the leek and the petal of the flower as shown in
he sketches and photos.
Joan planned her group of free forms with one eye
C Jc
)n the housewife who likes to vary her table setting by
uixing free shapes with conventional circular dinnerware.
In order to be salable, the free forms would have to fit
n and complement geometrically-shaped dishes.
The young ceramist (a recent graduate of the Rhode
Island School of Design now living in New York) believes
b es
;he public shies away from drastic changes in design, and
more readily accepts a g~adual move away from tra-
Jitional shapes. This idea sent h e r to plant life for in-
spiration for the accessory group shown.
"The processes of nature are gradual," she explains,
'and the shift from the conventional to freer forms must
also be gradual. It seems only natural for the ceramist
Lo make use of organic form, such as seed pods or flower
b i!~i~::~ ¸ ¸¸¸¸¸:¸¸!2¸

petals, as a starting point for designs."

d
• . . the finest, most
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deserve.

Dealers! Write today on

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by Carol Janeway.

DESIGN plan called for handles but they were eliminated when
forms turned out to be pleasing and functional without such addi- brush mfg. corp.
tions. Pieces in the group have varied uses--as milk, syrup or
119 bleecker st.
batter pitchers; oil and vinegar cruets, cream pitcher and sugar
bowl. Salt dish and pepper shaker, also part of set, not shown. n e w y o r k 1 2 , n. y .

SEPTEMBER 1954 23
 NOTICE...
It's true--what they say about washing the powdered
Our new enlarged e n a m e l colors b e f o r e u s i n g t h e m . C l e a n i n g m a k e s a r e a l
location enables us to difference t h a t s h o w s i n t h e finished piece, p a r t i c u l a r l y i n
t h e t r a n s p a r e n t colors which f i r e to a g r e a t e r b r i l l i a n c e .
ship any quantity of (See " E n a m e l i n g " b y J e a n O ' H a r a , J u n e issue.)
ceramic supplies T h e n e e d f o r c l e a n i n g is in no w a y t h e f a u l t of t h e
manufacturer. Enamels inevitably contain particles which
anywhere in the a r e so fine t h e y can cloud t r a n s p a r e n t colors, a n d i m p u r i t i e s
~ country w h i c h c a n affect b o t h opaques a n d t r a n s p a r e n t s .
IMMEDIATELY... A n e a s y p r o c e s s f o r c l e a n i n g is i l l u s t r a t e d h e r e . 1. A
t r a n s p a r e n t e n a m e l is covered w i t h w a t e r a n d s t i r r e d w i t h
a clean g l a s s or s t a i n l e s s steel utensil. 2. T h e m i x t u r e is
6 Large stock rooms carry the mosl com- allowed to s t a n d u n t i l t h e h e a v i e r e n a m e l p a r t i c l e s s e t t l e
plete variety of supplies . . . Teachers, to t h e b o t t o m . T h e cloudy w a t e r above, c o n t a i n i n g t h e too-
fine p a r t i c l e s a n d i m p u r i t i e s , is s i p h o n e d off w i t h a s m a l l
Schools, Studios and Institutions can bene- s y r i n g e a n d placed in the second j a r w h e r e m o r e p a r t i c l e s
settle, t h e s e to be s a l v a g e d a n d used f o r c o u n t e r - e n a m e l i n g .
fit by using these pre tested, consistent
3. I n t h e j a r a t r i g h t , you see t h e h e a v i e s t p a r t i c l e s a t t h e
materials. b o t t o m a g a i n , t h e n a l i g h t e r colored l a y e r of f i n e r particles.
Some e x t r e m e l y f i n e p a r t i c l e s stick to t h e sides of t h e
CATALOG AND TIPS 15c j a r as a scum. T h e c l e a n i n g p r o c e d u r e s h o u l d be r e p e a t e d
or Write on School Stationery. u n t i l t h e w a t e r r e m a i n s quite clear. T r a n s p a r e n t s should be
w a s h e d f r o m t h r e e to five times, o p a q u e s u s u a l l y only once
BUFFALOCERAMICSUPPLYCEHTER to r e m o v e i m p u r i t i e s . In the j a r , a t left, a shallow b u t
definite l a y e r of e n a m e l h a s s e t t l e d on the b o t t o m .
437 Franklin St. Buffalo 2, N.Y. A f t e r c l e a n i n g , e n a m e l can be dried in the k i t c h e n oven
a t low t e m p e r a t u r e (250°F.). Place it on a n a l u m i n u m p l a t e
One of the Nations Largest Ceramic Supply Houses
lined w i t h a l u m i n u m foil g l o s s y side up. S t i r f r o m t i m e to
t i m e w i t h t h e g l a s s or s t a i n l e s s steel utensil, a n d p o u r off
excess m o i s t u r e . R e m o v e w h e n bone dry, a n d store.
W e l l - c l e a n e d colors are as i m p o r t a n t in e n a m e l i n g as
w e l l - w e d g e d clay is in p o t t e r y m a k i n g .

t h r o u g h o u t the United
states have been copying Dottle-#H-446
our molds. Naturally it is with great pride we
learned of these imitations. Unfortunately, to
maintain our quality and reputation, it was
our painful duty, in a few cases, to institute
legal proceedings.
Holland Molds are copywrited for your
protection. Be sure when you purchase our
molds that they are O R I G I N A L H O L L A N D
MOLDS.
Determine the cost of your mold by
the number of casts you get from it.

holland mold shop

1040 Pennsylvania Ave., Trenton, N.J.

24 CERAMICS MONTHLY
 %-briefs
NEWt
ANOTHER DYNA-
KILN BY L A N D L
• . . AND LOOK AT
THESE F E A T U R E S : .
• VISUAL TEMPERA-
TURE READING by
means of a Pyrometer
--Guesswork eliminated.
• INPUT CONTROL
S W I T C H regulates fir-
ing speed--You control
the kiln! • R A P I D RE-
COVERY TIM E by
M o d e l E 49 means of input control-
Chamber: 4" x 8½" x 8J,~" let! • G R A V I T Y D O O R
- - C O U N T E R -

$68.00
P l u s $2 c r a t i n g charge
WEIGHTED
loading & unloading!
• DYNA- GLOW PORCE-
for easy

LAIN ELEMENT HOLDERS

W r i t e For L i t e r a t u r e reflect heat . . . will not
chlp in replacing . . . ellm-
inate shock hazards!
O T H E R FEATURES
• More and Better Insula-
tion
• Cords & Wire " U L " Ap-
Color can be carved into c a s t w a r e , a n d t h i s is the proved
w a y it can be done. You use two slips of c o n t r a s t i n g color, MANUFACTURING CO.
• Pilot Light
say w h i t e and t e r r a cotta, p o u r i n g f i r s t one and t h e n the CHESTER 11, PA. • A t t r a c t l v e - - Use It Any-
o t h e r into the mold; t h e n you carve t h r o u g h t h e outside D e a l e r Inquiries i n v i t e d where!
color, e x p o s i n g the one b e n e a t h . In t h i s w a y , d e c o r a t i o n
which has p l e a s i n g y e t s h a r p l y d e f i n e d color c o n t r a s t can be
achieved.
The slips chosen should not only have c o n t r a s t i n g color
but also equal s h r i n k a g e so t h e y will n o t w a r p , crack or
s e p a r a t e . You can solve t h e p r o b l e m by u s i n g a w h i t e slip
as one body, and the s a m e slip w i t h c o l o r a n t added as the
c o n t r a s t i n g body. F o r the v a s e b e i n g d e c o r a t e d above, red
iron oxide w a s the colorant u s e d w i t h w h i t e slip.
The f i r s t , or outside, slip is p o u r e d into the mold and
allowed to set t h i r t y seconds a t m o s t - - e n o u g h to build a
l a y e r of clay no t h i c k e r t h a n a p o s t c a r d . G r e a t e r t h i c k n e s s is
u n s a t i s f a c t o r y f o r c a r v i n g t h r o u g h to the c o n t r a s t i n g color.
A f t e r the mold is drained, a n d s u r f a c e m o i s t u r e has dis-
appeared, the second or inside color is p o u r e d in a n d l e f t to
set the n o r m a l l e n g t h of time.
W h e n the piece is l e a t h e r h a r d , it m a y be carved. B u t
don't use an o r d i n a r y s g r a f f i t o p e n - p o i n t tool here. It will
not m a k e a b r o a d e n o u g h incision. I t leaves a t h i n line w i t h Exclusive fully enclosed, safe design -- no exposed mechanlsm i!i!i!i!!iiiii!i!i:iiii!i~
~
a h e a v y b u r r t h a t is u n d e s i r a b l e b e c a u s e the c l e a n i n g - u p of iiiiiiiiiiiiiii~i::
W h e t h e r a m a t e u r or skilled artisan • ° • you'll find the smooth motorized :i:~:i:~:i:~:i:!:~:
:::::::::::::::::5
carved a r e a s m u s t be k e p t a t a m i n i m u m . The b e s t tool f o r operation . . . ease of control in the B I G , all.steel precision built !~ii:::~iii~!~
the p u r p o s e is a w i r e - t y p e w i t h s h a r p c u t t i n g edge, one t h a t M A S T E R P O T T E R ' S W H E E L enables you to originate beautiful, dis. !::i:.i;::!iiiii:.!::i
tinctive pottery excelling anything y o u ' v . . . . r done bet . . . . iiiiiiiiiiiiii!::iii
will cut a t least 1/16-inch deep to s h o w t h e u n d e r color to Massive steel construction completely encloses mechanism to exclude clay i::i::::ii::iii
iii::i
a d v a n t a g e . You can see, in the photo, the clean cuts m a d e and moisture . . . assures operator safety and provides vibration-free ::::::::::::~::::::
performance. O t h e r features ordinarily found only in expensive wheels :::::::::5:::::i::i:i:i::i:!:!:::::
by tools r a n g i n g f r o m 1/16- to 1/4-inch in width. The s h a r p include: p r e . l u b r i c a t e d bronze bearings for quiet, long service, con, ::iiiii~iii~::i:i::!i
v enient arm r ests, adjustable wedging wire, large 18 tr throwing tab'e .:nn.n .n,
edges are beveled b y r u b b i n g g e n t l y w i t h a w a d of d r y with plenty of working sp . . . . . zt . . . . . . . hie war . . . . p. I 0 " t h r o w i n g !i:~:ii:iiii::i:~ii:i:ii!
cotton. F o r the f i n i s h i n g touch, a g l a z e w i t h some t r a n s - head has joggles for easy centering, underside reverses for casting :~:i:i:~:i:i:i:!:~:
piaster bats. ::::::::::::/::::::::
p a r e n c y is used so t h a t color c o n t r a s t will be r e t a i n e d You have complete hand freedom at all times . . . smooth instant !~i!~i!!!!!~!i~
effectively. change of speed from 30 to 1~0 rpm is controlled by a foot pedal, iii::i!iiii:ili
Easy to use, even for handicapped persons. Use any 1/4 HP motor. :::::::::::::::::::::::::::
The finished pieces s h o w n w e r e done b y the t e c h n i q u e Standard 1/4 HP motor $16.97 when purchased with Master Potter's ~!i~!~i!!:.~!i
Wheel. :I:Z:
:i~i:~:i:!:!:!:!
i~ii::i~::!
described here. F o r the scenic v a s e a n d f i s h bowl, the color MASTER POTTER'S WHEEL Floor Model, Item 47b, " . . . . . . . . .

scheme w a s r e v e r s e d , w i t h w h i t e slip as the outside coat, W t . 90 l b s . L i s t s tit $ 1 7 5 . 0 0 F a c t o r y p r i c e . . . . $ 8 9 . 9 5 ::iii:::ii:iii::i::!:!

MASTER POTTER'S WHEEL Bench Model, Item 47a. :~!iiiiiiiiiil
and red as the inside. The s t r i p e d vase h a s the r e d - o u t s i d e
and w h i t e - i n s i d e slip combination.
Lee L e v y
Levittown, N e w York

SEPTEMBER 1954 25
HOW Y O U C A N CREATE S T U N N I N G ENAMELED
JEWELRY .iN Y O U R O W N LIVING R O O M !

The secret is the

trinkit kiln . . . 41/4"
answers
in diameter. Heats
to 1S00°f. in 4 min-
utes . . . uses ordi-
nary house current
to
(11o v. A.C.-D.C.},
ordinary iron cora. questions
CONDUCTED BY K E N SMITtl
¢r 6 tubes of brilliant e n a m e l ~ r e d , blue, green, yel-
low, black and white--complete with plastic screens.
Copper discs and squares-enough trinkit jewelry
parts to make 2 pair earrings, a key chain, and 2 Q. W h a t kind of wax is best for wax resist decor-
pins. ation? Will the wax affect the kiln in any way during the
Spatula, brush, and asbestos board included. firing?
~r It solders foam(solder included)---each piece of A. A water soluble wax lends itself ideally to cer-
jewelry is cleaned with sandpaper and soldered on amics and has the trade name "Ceramul A." It will have
the lid of the kiln no ill effect either on the kiln or on the ware in subsequent
firings.
awonderful gift $ 6 ,95
a fascinating hobby Q. I have a small, top.loading, electric kiln. A plug
postpaid for the peephole was not supplied with the kiln, and I as.
complete with kiln sumed that the peephole was to be left open during the
additional enamels and iewelry parts available--see cuff links, but-
firing. I have since noticed references to peephole plugs in
tons, tie clasps, pins, etc. in our catalog--trinklt comes packed for catalogs and articles, and now I wonder if, and when,
remailing, weight 2 Ibs. the peephole should be closed.
A. By all means, tightly close the peephole, and any
ILLINI CERAMIC SERVICE
other vents in the kiln, during the later stages of the firing.
163 W . Illinois St. Chicago 10, III. The only time you leave the peephole open, or prop up the
Telephone: Michigan 2-3367 lid of the kiln, is when you are firing out combustible
materials such as the oils and other mediums used with over,
glaze colors or lusters. Once the kiln has reached dull red
GET THE BEST FOR LESS! m heat and all combustibles have been burned out, the vents,
including the peephole, should be tightly closed to prevent
I The Potters' Wheel is world-famous as a the escape of heat and to give even distribution of heat
source of Materials & Ideas. Our huge
inside the kiln.
volume means A M A Z I N G L Y L O W PRICES Peephole plugs can be purchased or you can make one
for you. from a piece of insulating firebrick. If you make your own,
be sure to leave a large enough piece to protrude outside
CERAMIC S U P P L I E S the kiln so that you can easily grasp it when you remove it
II YOU N A M E I T - - W E HAVE IT! A complete periodically during the firing to check the progress of
II line . . . thousands of unique ceramic items. the cones.
II SEND for our big, popular ceramic "Text-
II book-Catalog" . . . Reveals professional Q. Do you know where I can buy grog made from
II secrets, covers all phases of ceramic crafts, Albany slip?
II lists materials and prices. Get your copy A. This is the first time I have heard of Albany-
II while our supply lasts--RUSH O N L Y 50c slip grog. I doubt whether it would be commercially avail-
II today! able as it is such a highly specialized item. Since grog is
nothing more than clay which has been fired, crushed, and
ENAMELING SUPPLIES screened to the desired size, you can prepare your own with
- Your main source for: Complete, low-priced little difficulty. I think you will find that a good red-brown
trial enameling kits . . . Many new, exclusive shale will give you the same results as would Albany slip.
copper shapes designed and made by our
own artists and craftsmen . . . Compacts, Q. In the article on copper reds in the December
pill-boxes--ready for enameling. issue, Mr. Littlefield gave recipes for cone 04 and cone 9
glazes. Can local reduction copper reds be had at cone 6?
YOURS--FREE For the Asklng--Our Cat-
alog Sheets on original copper findings and A. It is certainly feasible to obtain copper reds at
shapes. cone 6. You would have to adjust one of the cone 9 glazes
for this lower temperature. As a suggestion, you might try
W E ARE K N O W N FOR F A S T SERVICE: systematic substitutions of Nepheline Syenite for the
II All orders filled within 24 hours! feldspar.
BIG NEWS & IDEAS ARE COMING
FROM THE POTTERS' WHEEL. Don't
deloy~Get on our mailing list today[ Direct your inquiries to Questions Editor, "Ceramics"
Monthly," 3494 N. High St., Columbus 14, Ohio. Please
enclose a stamped reply envelope. Questions of general
11447 EuClid Avenue Dept. P., Cleveland 6, Ohio interest will appear in this column.

26 CERAMICS MONTHLY
 did you know . . .

WONFIRE
distributorships

a r e still a v a i l a b l e ? *

Yes, you can still latch on to

these wonderful rapld-moving,
"fool-proof" glazes... W O N -
FIRE, the only liquid glazes
featuring reds that cannot runl
Write, wire or phone TODAY
for details.

Specialized CeramicsCorp. my millions of brothers-in-arms, are en-

literally thousands of manufacturers of ce-
to achieve better, more perfectly fired ware.
200 West Third St., Dept. CM, Plainfield, N. J.
b, in a nut shell, is to provide a visual double
,'in certain localities.
against under or over firing. Usually I'm
in the setting so that I can be seen through
.~phole. By keeping an eye on me and my
ning (deforming), the kiln operator has an
at opportunity to check on the time-tem-
NOW YOU CAN •e progress of the ware as well as obtaining
HAVE YOUR ~rate indication of the end firing point."

OWN HOME er fifty-five years O R T O N Cones have pro-

:eramic manufacturers with an accurate, in-
POTTER'S ire means of minimizing rejects, the result

WHEEL! ... of faulty firing. If you are not now using O R T O N

Cones why not try several plaques of them in your
THAT FITSANY ELECTRICHOME FOOD MIXER next setting--and see what they can do for you/
PORTABLE. Easily mounted, eosiJy ONLY
stored. USE ANYWHERE. No studio
needed. RUBBER CUSHIONED to re-
duce vibration and protect your mixer.
$1495 • W R I T E FOR O U R
Strong RUSTPROOF PAN. Instantly RE-
MOVABLE THR'OWING HEAD for easy POSTPAID INFORMATIVE BOOKLET
working. Exclusive RIGHT or LEFT
TURN with variable speeds from 30 (does not includo "the Properties and
to 200 rpm. food mixer) Uses of Pyrometric Cones"
NO R,SK
ANTEED MECCO POTTER'S WHEEL
ORDERYOUROU,,R Satisfaction
• . . NOW! Send cash, check or money
order, $14.95 (plus local sales tax, if
Guaranteed
any) direct
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

to MECCO INDUSTRIES DIV., Marine

Enterprises, Inc., Pasadena 12, Maryland.
I want to take advantage of your unusual offer. Enclosed find
$ for (quantity)
MECCO POTTER'S WHEEL(S)
•
•
•
NAME
STREET
CITY ZONE STATE i
SEPTEMBER 1954 27
 E N A M E L I N G . . .

WE fiAVE (Begins on Page 14)

BUY A QUALITY PRODUCT

•
YIIU . . .
Shasta Underglazes
"proven Dependability by
, 1 R Test and Time"
"~ Shasta C o l o r - G l o s s
"One Fire Matchless Glazes"
~k" Palette Underglazes
"Packaged in Tubes in 1947
NOW in bottles and 3 times
more." 19 Colors . . . . 50c ea.
"~ M a g i c Glaze Mix
"the perfect Glaze
~1 ~ X - I O 0 0 Clear Glaze
"never equalled Cone 06"
J AND NOW
The Sensation Of The 1954
ASBURY PARK SHOW
"New"
Shasta FLAME RED
CONE 06--Brilliant--Fire it with
your other glazes--won't burn out.
4-oz. Bottle $1.00 ea. plus 25c postage
It not available yet at your dealer write
NOW AVAILABLE . . . NEW LOW PRICE
~ EnamComplete C o p p e r
el K i t - S 3 5
I N C L U D E S:
--Enameling Kiln
~ . . . ~ (4x4x41/2), 8-2 oz.
pkgs. E n a m e l
c o l o r s , Firing
Rack, Handling
Fork, Asst. Stilts,
Brush, Metal Sif-
ter, Steel Wool, Cleaner, Gum Solution, Cop-
per Tray, and Blanks with Jewelry Findings.
Kiln O n l y - $23.95. Pyrometer m add $17.50.
DEALERS WANTED
Infinite variations in color and tex-
ture may be achieved with the sift-and-
stencil technique; and herein lies a
danger. The finished piece can have
ModelJ ilns
too much variation in surface: the i TOP OR FRONT LOADING
nature of the technique is such that WRITE FOR FREE
areas of the design are often built up
CATALOG S H O W I N G 4S MODELS
separately with individual firings, and
this may result in one area being higher
770 N. Main St., Akron, O.
GENUINE
Binder" SESSIONS CLOCKS
at New Lower Prices
Many new Dials and Sizes
Now Available.
Stencils: negative (1.) and positive (r.)
Send for Pictures & Prices.
No Charge for Packaging.
than the surrounding areas. If many
Immediate Shipment.
differing heights are combined on the
same surface, the piece may be such a APPLIANGESERVIGEandSUPPLYGo,
jumble of high-lights that none of the
design "'reads." For this reason, an 2019 Cedar Sprlngs, Dallas, Texas
enameled piece should have a surface
as nearly level as possible, except when
texture is being purposely exaggerated
as in the case of dots and similar in- Designs by Eve J
tentionally raised areas. The key to suc-
cessful stenciling is in thinness of appli.
COPPERBLANKS
Weafherby Products
cation: avoid heavy enamel coats. A
final coat of flux (clear transparent Route 8, Box 532D
enamel) often helps to level the sur- Jacksonville. Fla.
face. The flux should be very clean,
and the coating a thin and even one, to
avoid altering the colors beneath. If an
area is especially high, it can be stoned
down; then the piece is refired.
--LYSULS JJ[[
For the potter and e n a m e l e r
FINDINGS • GREENWARE • MOLDS
Copper Shapes • Chain • Accessories
It is quite possible, in stenciling, to KITS ADHESIVE STILTS
make a carefully controlled design- Glazes Enamels Color oxides
C H A R L E S H A R R I S CO. Folder I0e
where the colors do not overlap or CATHEDRAL STATION
N E W Y O R K 25, N . Y . Dept. CM
bleed. Usually, in such cases, one color
at a time is sifted on, with a firing
after each color application. Several
colors, however, may be sifted on for CERAMICS AND ART SUPPLIES
800 Hudson Ave., Rochester 21, N.Y.

~
one firing if negative stencils are used WHEELS • KILNS • CLAYS
Jack D. Wolfe Co., Inc. and color areas are widely separated as GLAZES • TOOLS • MOLDS
62 Horatio St., N.Y. 14, N.Y. in the sketch at left, below. Here, three New York Headq-arters for
dfferent colors might be used without TRANZ m CERAMICHROME
Dealer Inquiries Invited
getting grains of one into the other. Lueille Henderson will demonstrate Cerami-
But, in the sketch at right, if each area chrome & Tranz Nov. 8-9. Write for details.
were to be a different solid color,
separate stencils and firings would
be required, the areas being so close. • TOOLS- GLAYS- MATERIALS
D Y o u r l a r g e s t source for tools,
m a t e r i a l s , e q u i p m e n t . For l)ro-
fesslonals, a m a t e u r s , teachers,
students, hobbyists. Send for
free c a t a l o g .
SCULPTURE HOUSE
i~ exciting . . . Dept. CM9--304 W. 42nd St.,
_j new . . . J N e w Y o r k , N . Y.

original . . .

O S e n d 25e for c a t a l o g
S a h u a r o Molds, P . O . B o x 133, Sta. A
When Writing to Advertisers
Studio at 560 College A v e .
Please Mention
P a l o A l t o , California "CERAMICS MONTHLY"

28 CERAMICS MONTHLY
 from our readers
For the Kids
Don't throw your glaze-test
tiles or your decorating trial
samples away. The gaily col-
ored pieces will be a delight to
the children, who will find
many ways to play with them.
The "rocking chair" type of
glaze test pieces proves to be
particular fun,
--Mrs. E. Leslie Nicholson
Havertown, Pa.
Glazing Technique
In all the articles on glazing
I have read, I have never
noticed mention of a technique
I frequently use for applying
glazes to a wheel.thrown pot.
A flat brush, fairly soft, of
a size proportionate to the size
of the pot is used. The pot is
centered on a banding wheel;
the wheel is turned rapidly;
and the brush, filled with glaze,
is held against the turning
pot. This method has an ad,
vantage over the usual brush-
ing methods when the glaze
being used is not a flowing
type which would level itself
out in firing: even if the glaze
application is thicker or thin,
ner in places, the unevenness
conforms to the shape of the
pot just as the throwing marks
do.
It takes a little practice to
be able to avoid dropping ex-
cess glaze from the brush; how.
ever, I find the results well
worth the effort.
--Hazel McKeon
Burlingame, Calif.
DOLLARS FOR YOUR
Ceramics Monthly pays from $1 to $5 for suggestions used in this
column. Be sure to include photos and sketches if applicable.
All items of interest to ceramlsts will be carefully considered.
(We regret we cannot acknowledge or return items not accepted.)
SEPTEMBER 1954
"Kitchen Ceramics"
I find that a small vegetable
parer is a very useful tool for
hand building. It removes clay
in very fine parings, and helps
you obtain a smooth effect very
quickly. I also use various sizes
of spoons to smooth the curved
insides of bowls or trays.
--Florence Birks
Toronto, Can.
Clay Trimmer
A long stiff needle inserted
eye-end into a dowel makes an
excellent tool for trimming
excess clay from around a
hump mold. It cuts a smooth
clean edge without getting
flecks of plaster into the clay
trimmings.
--Joy Wallner
Bethpage, N. Y.
• . . A PEMCO ANTIQUE GLAZE
Bottle Holder
The small fired clay thimbles that produces exciting etfects
used for stacking plates in the
kiln, during the glaze or
decoration firing, come in very
It's unpredictable~that's what
handy for holding small vials
of metals and lusters, keeping makes it most interesting to
them from tipping over when
work with . . . every finished
piece is individual ~ . . unusual!
Fires at Cone 06 to beautiful golden
yellow with flecks of brown. Re-firing
to the lower temperature, Cone
010, causes a rich, maple red to
appear with the gold and brown.
Experiment with Pemco Autumn Gold
Antique Glaze . . . personalize your
in use. Although a wad of clay
if often recommended for this creations. Ask your dealer for it or
purpose, enamelists and decor-
ators rarely have clay at hand. write us for name of nearest distributor.
The thimble is readily avail-
able and, of course, will last
indefinitely.
--Leah Winkler POTTERY ARTS DIVISION
Cincinnati, Ohio
C O R P O R A T I O N
BALTIMORE 24, MD.
THOUGHTS
Manufacturer of a world-famous line of glazes,
colors and supplies for the ceramic industry.
29
 COMPLETE TEXTURALGLAZES
INSTRUCTIONBOOKS (Begins on Page 17)
SPECIAL OFFER
needed for good results in china paint-
5 - 4 oz. JARS
ing; and perhaps select an assortment Cone O 6 - 0 4
FOR THE of as many as twenty if you are using Shipped Prepaid $ 3.50

C ina all the mediums available for the

various techniques.
Preparation of Brushes
CREEK-TURN POTTERY
Route 38, Hainesport, N.J.

Decorator First you should prepare the new

brushes for use. The sable and badger
hair types do not need special prepar-
Catalogue 25c
DEALER TERRITORIES OPEN

ation but you should be sure they are

o
HANDBOOK FOR free from dust and loose hair. The
THE C H I N A camel hair brushes, however, should be
DECORATOR .... $I.00 o soaked in rather hot water until the
LUSTER APPLICA- quills are soft enough to place on the LO ~VqLOR[ L o N E ~ A t C H l ~ t S !
TION ON ~HUTSO~FD0W~Rro KILNAuI~ATICALLY WHeN I II
h ~ -~- , m
CHINA .......... 65 handles. This will avoid splitting of the 0|S*R(D TI/~PERATUR~t~ gFSKM[OOPEI~*4Kf[SfROm
(ONE t0 ¢mSTALL JUSTINC~[RIINP[|P~OL|. REA"
ENAMEL DECORA- quills and will also free any hair that SONASLVPRI([O ~ R O M t l 7 9 S OErA/L 5 FREE.
TIONS & PASTE might be loose. Leave the quills perma-
WORK ON nently on the handles. Toothpicks can
CHINA .......... 6S
be used as handles for the very tiny
FIRING OF CHINA
AND POTTERY .... 60
liners. The brushes are shaped to flat- ~vv~'v~'vvvvvvvvvvv'~ vv vv vvvv~e~
<3 ness, or points, whichever the case may
be, as you wipe out the surplus water Seeley's Ceramic Service
on a lintless rag. (Soft, old, cotton-knit Complete line of suppli . . . . d equipment
Slip, clay, glazes, kilns, wheels, books, 4
W. A. MAURERCOMPANY underwear or T-shirts are free from
lint and very absorbent.) Use a cushion
tools, etc. New Anti-back d r a f t spray-
booth. L a r g e selection of molds. Free
information.
4
4
4

316-318 West Grand Ave.

C H I C A G O 10, ILLINOIS
Established 1880
Instruction Catalogue
Now Available for Ceramists
2Sc Postpaid
Dealers A s k for Discount Sheet.
LAURINE BROCK CERAMICS
IbSI W. Woodlawn, San Antonio S, Texas
• Rhinestonesfor Figurines
• Pin Backsand Ear Wires
• Guff Link Backs,Gatches,Etc.
Plate Hangers, "Flea" felt strips,
Tile Frames and other fast moving
items.
Send for Free Studio Price List Today
B E R G E N A R T S , Dept. cM
128 Main Street, Hackensack, N.
Send Today
$1.00 for Mold Catalog that is really
unusual. Completely illustrated variety of
molds including Figurines, Animals, Christ-
mas items, Angels, Planters, etc. Catalog
also includes many suggestions for decor-
ating greenware produced from our molds,
also sketches for painting eyes and feat-
ures. Liberal discount to Bona Fide
Studios. $1.00 deductible an first $10
order.
Alberta's Ceramic Studio
1032 Mission St., South Pasadena Calif.
of folded rag, laid on the table, for 7 Elm Street, Oneonfa, N . Y . 44
wiping the brushes. If the brush is flat,
work down with the forefinger; if it
is pointed, use a rolling motion.
For fluffing brushes, denatured al- Clay Haven
cohol is used (no other kind is depend- Ceramic & China P a i n t i n g
able as to purity). Keep a supply in a Supplies
small jar with screw-on lid, label "for E v e n h e a t and Jen-Ken Kilns
Ceramichrome Distributors
fluffing" and renew as needed. W h e n
the brushes are dry after the water- 6912 Schaefer Rd. Dearborn, Mich.
soaking, dip them in the alcohol, wipe LU 2-6871
out surplus moisture, and reshape. If
you are in a hurry to use them, shake
or blow on the hair and it will fluff IMPORTED W H I T E CHINA
"The Best Is The Cheapest"
very quickly, retaining the natural
First Quality. Low prices.
shape of the brush. Discount to students & teachers.
Cleaning the Brushes Send for our free catalogue.
Before each change of color, the China Department
(Please turn to Page 32) FEDERAL SUPPLY COMPANY
]716 H. St. N.~(., Washington 6, D . C .
_•]|,l|l|l,|||||l|||l|lulln*ll||ll|ll||i|||8||ll|*l•|nl|||l|lli|l|ullilall•
[ Ra~/antceramic supplies[
J.
Glazes • Underglazes • Clay • China "
(Continued from Page 8) i Colors • Chemicals • Frits • Tools; !
crafted items selected by top Scandi- :" D i s t r i b u t o r for:
navian designers. At the Cleveland -: PARAGON KILNS • CRESS WHEELS--"
Museum of Art. --'AND KILNS • L AND L KILNS e "
.EGRUMBACHER BRUSHES • DOUBLE i
PeNNSYLVaNIA, Philadelphia " B. W O O D TOOLS • UNITED CLAY..-"
.=
September 12,October 10
German Ceramics, a traveling exhi. i MINES DEALERSHIPS OFFERED
bition sponsored by the Smithsonian
Institution, at the Carl Schurz Mem-
orial Foundation, Inc., 420 Chestnut
St. Sixteen pieces.
[ Stang,.en pottery i
=~ 28 Grove St. Wellesley, Mass. =
~lllI,ll,lmllilllnlllllllllllllllunuliullnlllllil,llllllilUlllllgl~
WASHINGTON, D. C.
through September 23
Creative Crafts Exhibition, at Smith-
sonian Institution, shows work of resi- When Writing to Advertisers
dents of the District, Maryland and Please Mention
Virginia. Sponsored by The Kiln Club "CERAMICS MONTHLY"
and The Potomac Craftsmen.

30 CERAMICS MONTHLY
 hints for the china painter
(Begins on Page 17)
dry. Moisture would not be good for china painting. For
emergencies, mix a thick paste of kiln wash and set cones
into wads of this paste. It will dry quickly. I use broken
pieces of stacking board, tiles, etc., for placing cones.

41' I painted a set of dinner plates in naturalistic design (using

Bavarian china) and sent it to a commercial studio for firing. The
plates came back dull looking and very rough. W h a t is the trouble?
Underfiring! Bavarian china must be fired to cone 013
~ IL, J a L O 0
for annealment and gloss of colors. You will have to rub the
decoration down well with emery paper or emery cloth,
clean the plates with soapsuds, and return them for proper
COLORS
firing before you paint them a second time. FOR DECORATING TABLEWARE, TUMBLERS,
4' Are pens ever used, instead of brushes, for outline work in LAMP GLOBES ETC.
china painting? I can't seem to find a small enough brush that I
can control for fine lines. Beautiful Low Firing Colors
Outlining pens are frequently used and are preferable (Cone 022-020)
for many designs. (There are some extra rules for con-
sistency of pigments and mediums applicable to pen use, A GENEROUS SAMPLE COLLECTION OF
which I will give in detail in a future issue. In the mean- FIVE GOLD CONTAINED COLORS
time, experiment with pen instead of brush, using your |Carmine~Ruby~Rose)
usual painting mixtures.)

4' Sometimes I have trouble sketching designs with china pencil: S 500"
it either marks too heavy or not at all.
Clean dish with turpentine first. Do not use alcohol Any other colors,
which leaves the china with a slick effect. collection of 20 colors
S 5oo*
CRESSPOTTERSWHEEL
CRYSTAL
! J AND

COLORED
ICES
SAMPLE COLLECTION OF
TEN COLORS

S Zoo,
GOLD, (LIQUID BRIGHT ROMAN BURNISH)
$99.50 COMPLETE WITH MOTOR PLATINUM, LUSTRES
A complete line available for Glass and China
TRU-FYREUnderglaze Speckels
e IMMEDIATESHIPMENT •
Strip-Ease m Stencils
*Postage pald when check accompanies order,
GLOSS-MATIC Crackles MEDIUMS INCLUDED WITH SAMPLES

Since 1891

O. HOMMEL CO. Pittsburgh 30,Pa.

"THE WORLD'S MOST COMPLETE CERAMIC SUPPLIER"
West Coast Warehouse, Laboratory and Office
1331 Race Street Philadelphia, Pa. 4747 E. 49th Street, Los Angeles, Calif.
i ml

SEPTEMBER 1954 31

J ANOTHER I (Continued from Page 30)
Ruth McDaniel Original
CAT & MOUSE SET
M-99 CAT 8" tall--Back can be slotted
for Napkin Holder or pierced for Mars
d'oeuvres sticks. Mold price $6.00
M-99 MOUSE SALT SHAKER. 31/2"
tall. Mold price $3.00
M-100 CHEESE OH WHEELBARROW.
Pepper shaker. 21/4" x 3". Mold price
$3.00
F.O.B. Port Arthur, Texas.
Add 10% Packaging Charge
WRITE FOR FREE C A T A L O G
McDANIEL
Mold Co.
P. O. Box 3086, Port Arthur, Texas
Featuring Exotic A r t Glazes
Complete line of Ceramic Supplies
Classes--Firing
Open Sat. all day--Sun, by appointment
Irco & L and L Kilns, Tru-Fyre Glazes
Jirele Ceramics 2116 N. Limestone
Ohio's Largest Ceramic Studio
SPRINGFIELD Phone3-0632 OHIO
L A M P PARTS
Everything you need!
tor
MAKING * REPAIRING
CONVERTING
SEND FOR OUR NEW CATALOG
Thousands of parts of every descr;ption
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We sell and ship I or 1000 pieces
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~You can
STUDIOS
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~and taking subscriptions on a commlssion~
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~RAMICS MONTHLY 3494 N. High St.,~
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32
O V E R G L A Z E PAGE
,' molds :'
painting brushes are, of course, cleaned
in turpentine (pure spirits). This tur- ~ "Selection of most wanted pieces many 4
originals by Raymond DiNicola who has I
pentine should be discarded because it F made models and molds in the Porcelain 4
becomes polluted. The jar of medium F Dept. of G.E. Ca. for over 20 yrs. Now
will contain bits of pigment fallen from operating own mold shop. Offers the
the brush each time a re-dip is made as finest molds in every detail at lowest I
F prices. Send S0c for catalogue. Will be
you progress with one color, but these F credited on first order.
fragments settle so the medium can , I
easily be poured off7 into a clean dish S C H E N E C T A D Y FINE ARTS 4
and used indefinitely. W h e n brushes P 404 Bal]ston Road Scotia, N. Y, :
used for painting with mineral colors 4
4
are cleansed with turpentine they do
not dry soft no matter how free of
color. All brushes so-cleaned should be
dipped in the alcohol to cut the tur- VOLLMERS CERAMIC STUDIO
1723 PaxtonStreet, Harrisburg, Po.
pentine, so they will be soft and fluffy
Its New Its Different
in preparation for the next painting. T.V. Ash Tray Mold
Storing the Brushes {Fits in the palm of your left hand)
There are several good ideas on how $3.7S post paid
to "put away the brushes" until the Penna Sales tax I% open eveningsti]9
next session of painting. It is important
to protect them from dust and some
ways are more convenient for some in- HOBBY CERAMICS
dividuals than for others. A closed cup- N e w i d e a s in m o l d s , g l a z e s a n d o t h e r
board is ideal since the best way to c e r a m i c s u p p l i e s . C a t a l o g u e - - 25c
keep brushes in good shape is to place a p p l i e d on i n i t i a l o r d e r .
D e a l e r s p r i c e list on r e q u e s t .
them upright in containers which can THE CRAFT SHOP
be set inside. W h e n I am painting regu- 3112 Montrose A v e .
P . O . Box 117B Mon trose, Calif.
larly, however, I use glass jars, keeping
them on the table. Each style of brush
is in a separate container and set in a
row before me so I can see at a glance IMPORTED
just the brush I need. The metal and
luster brushes are segregated. I have
WHITE CHINA
tried keeping luster brushes in separate, Send 25c for catalog
labeled vials but this necessitates remov- Deductible from first order
Maryland China Company
ing the handles, so I found it more
1436 N. Gay St., Baltimore 13, Md.
convenient to keep all in one tall glass.
with colors written on the handles. To
protect the brushes when they are not
in use, I have devised a system. I place N E W 5"0,000 word cloth-bound book ALL about
a wad of soft modeling clay in the bot-
tom of each container and stick an CHINA PAINTING
or Overglaze. No pottery, molds or glazes.
extra-long handle into it--long enough by Nettle E. Pillet
to clear the top of the brushes. I cover 841 Barrows Crt., Pasadena 6, Calif.
Retail $4.25 Trade and quantity discounts
the containers with a plastic sack, as an Also 12 Correspondence C.P. Lessons $10.00
umbrella, or spread a cloth overall as a Or $1.00 each. 300 designs--S3.00
tent--just so the brushes are free from
any of the weight of the covering and
cannot become misshapen. (Covered
palettes have a section for brushes but
it holds only a few and since they are Painting Bookbinding " Enameling
laid flat, they are apt to get out of Sculpture Silversmithing Jewelry
Ceramics Metalwork Weaving
shape.) W i t h proper care, brushes used Cabinetmaking
for china painting last indefinitely. • Men. W o m e n . Day, Eve. Catalog C
NEW
T.V.
Ash Tray
Mold
Approx. size 4" x 4" x 1~ " $3.75 Post Paid
No Cotolog available at this time
A L SCHOELLKOPF
137 Hillcrest Ave., New Castle, Pa.
CERAMICS MONTHLY
 Index of Advertisers
September, 1954
Cer micSupplie Alberta's Ceramic Studio . . . . . . . . . . .
American Art Clay Co . . . . . . . . . . . . . .
30
8
Mayco Colors, Inc . . . . . . . . . . . . . . . . . .
McDaniel Mold Co . . . . . . . . . . . . . . . . .
4
32
Angelo Brothers . . . . . . . . . . . . . . . . . . . . 32 Mecco Industries Dlv . . . . . . . . . . . . . . . . 27
Appliance Service and Supply Co . . . . . 28 Model Kilns . . . . . . . . . . . . . . . . . . . . . . . . 28
Natural Ore Glaze Co . . . . . . . . . . . . . . . 5
CALIFORNIA B and I Mfg. Co . . . . . . . . . . . . . . . . . . . 22
Bergen Arts . . . . . . . . . . . . . . . . . . . . . . . . 30 Orion, Edward Jr., Ceramic
LOUMARETH GIFTS AND CERAMICS
109071/2 Venice Blvd. Brock, Laurlne, Ceramics . . . . . . . . . . . . 30 Foundation ...................... 27
LOS ANGELES 34, CALIF. Buffalo Ceramic Supply Center . . . . . . 24 Paragon Industries . . . . . . . . . . . . . . . . . . 19
Ceramics and Art Supplies . . . . . . . . . . 28 Pemco Corp . . . . . . . . . . . . . . . . . . . . . . . . 29
ILLINOIS Clay Haven . . . . . . . . . . . . . . . . . . . . . . . 30 Pillet, Nettle E. . . . . . . . . . . . . . . . . . . . . . 32
CERAMIC CREATIONS Cox, Florence, Ceramic Studio . . . . . . . 4 Potter's Wheel Inc . . . . . . . . . . . . . . . . . . 26
4115 W. Lawrence Ave. Price and Price . . . . . . . . . . . . . . . . . . . . 4
Craft Shop . . . . . . . . . . . . . . . . . . . . . . . . 32
CHICAGO 30, ILL.
Craftools, Inc . . . . . . . . . . . . . . . . . . . . . . C-4 Re-Ward . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Creek-Turn Pottery . . . . . . . . . . . . . . . . . . 30 Roder Ceramic Studio . . . . . . . . . . . . . . 31
IOWA Ravin Ceramics . . . . . . . . . . . . . . . . . . . . 7
PARKER CERAMIC SUPPLY DIST, Delta Brush Mfg. Corp . . . . . . . . . . . . . . 23
Detroit Fabricating Corp . . . . . . . . . . . . . 1 Sahuaro Molds . . . . . . . . . . . . . . . . . . . . . 28
2204W. 23rdSt.
DES MOINES 10, IOWA Drakenfeld, B. F. and Co . . . . . . . . . . . . 9 Schenectady Fine Arts . . . . . . . . . . . . . . 32
Schmid, Ludwig, Art Ceramic Studio .. 8
MASSACHUSETTS Federal Supply Company . . . . . . . . . . . . 30 Schoellkopf, AI . . . . . . . . . . . . . . . . . . . . . 32
NEWTON POTTERS & SUPPLY INC, Care Ceramic Supply Co . . . . . . . . . . . . 2 Sculpture House . . . . . . . . . . . . . . . . . . . . 28
1021 Boylston St., Rt. 9, Harris, Charles, Co . . . . . . . . . . . . . . . . . 28 Seeley's Ceramic Service . . . . . . . . . . . . 30
NEWTON HIGHLANDS 61, MASS. Snead, Jane, Ceramic Studio . . . . . . . . 6
Harrison, the Kay, Studios . . . . . . . . . . . 5
Hi-Temp Engineering Corp . . . . . . . . . . 9 Specialized Ceramics Carp . . . . . . . . . . . 27
MICHIGAN Stangren Pottery . . . . . . . . . . . . . . . . . . . . 30
Holland Mold Shop . . . . . . . . . . . . . . . . 24
NORWEST NOVELTY CO, Hommel, O., Co . . . . . . . . . . . . . . . . . . . 31 Stewart Clay Co . . . . . . . . . . . . . . . . . . . . 8
15431 Plymouth Rd.
House of Ceramics . . . . . . . . . . . . . . . . . 8 Tepping Studio Supply Co . . . . . . . . . . . 6
DETROIT 27, MICH.
Thompson, Thomas C., Co . . . . . . . . . . . 6
Illlnl Ceramic Service . . . . . . . . . . . . . . . 26
NEW JERSEY Trinity Ceramic Supply . . . . . . . . . . . . . . 3
Jiffy Mold Clamps . . . . . . . . . . . . . . . . . 20 United Artist Materials Co . . . . . . . . . . . 22
GARDEN STATE CERAMICSI INC. Jirele Ceramics . . . . . . . . . . . . . . . . . . . . 32
108 Anderson St. Vollmers Ceramic Studio . . . . . . . . . . . . 32
HACKENSACK, N . J . Kernlan Krafts . . . . . . . . . . . . . . . . . . . . . 20 Ward, S. Paul, Inc . . . . . . . . . . . . . . . . . . 2
FLORENCE COX CERAMIC STUDIO* Kiln-Card ......................... 30 Weatherby Products . . . . . . . . . . . . . . . . 28
543 Boulevard
k and L Mfg. Co . . . . . . . . . . . . . . . . 2, 25 Winthrop Ceramic Supply Co . . . . . . . . . 28
KENILWORTH, N . J .
Wolfe, Jack D., Inc . . . . . . . . . . . . . . . . . 28
Maryland China Co . . . . . . . . . . . . . . . . . 32
NEW YORK Master Mechanic Mfg. Co . . . . . . . . . . . 25 X-acto Inc . . . . . . . . . . . . . . . . . . . . . . . . . 6
BETTY QUIGEL Maurer, W. A., Company . . . . . . . . . . . 30 Y W C A League . . . . . . . . . . . . . . . . . . . . . 32
Woodland Drive
PORT CHESTER, N . Y .
CULVER CERAMIC STUDIO
194 Sixty-First St.
NIAGARA FALLS, N . Y .

OHIO
Haven't YOU ub eribed yet 9
BEECHWOLD CERAMIC STUDIO
4299 N. High St.
COLUMBUS 14, 0HI0 SURELY you know there is an easy way to
McKINLEY'S CERAMIC SUPPLY get the best reading in ceramics--
2207 Nell Ave.
COLUMBUS 1, OHiO let the mailman bring CM, right to your
CERAMICS BY NONA doorstep, each and every month.
1816 Brown St.
DAYTON 9, OHIO
NOW is the time to reserve your
TENNESSEE own personal copies. One yearm$4..00;
HOUSE OF CERAMICS* Two yearsm$7.00; Three yearsm$9.00.
3295 Jackson Ave.
MEMPHIS 12, TENN.
WRITE: Ceramics Monthly, 3494 It. 11igh St.,
WASHINGTON Columbus, Ohio
CERAMIC SUPPLIES
8901 Rainier Ave.
SEATTLE 8, WASH.
BACK ISSUES: The following back issues of Ceramics Monthly are available a!
*See display ad in t h i s issue. 60c per copy (Ohio Residents add 3~/o sales tax). We Pay Postage. Please send
STUDIOS NOTE: New directory listings check or money order with list of back issues desired.
to begin with the October issue ac- 1953--April, July, August, September, October, November, December.
cepted up to 15th of September. 1954--January, February, March, April, July, Augusl.

SEPTEMBER 1954 33
For, . your Ceramic needs.., it's ~ C i l A F T O O L ~

• , No. 1010 No. 1128

No. 2110 • •

• THE VERSATILE • CRAFTOOL

CRAFTOOL • CRAFTOOL • I/3 HP
ELECTRIC COMPLETE VARIABLE
POTTER'S • VARIABLE • MOTOR
WHEEL " SPEED • ELECTRIC
• POTTER'S • POTTER'S
1598.50 • WHEEL, • WHEEL . .
i~ WITH MOTOR •
•

• [ ~ ~ 15179.50 • vtPLETE . . .
W i t h I/'4 H P motor . . . . 15114..00 "
• ~ ~ : • • 15189.50

--~ • U H A F T O O I • • • ! ~; '

~t~!~J:~ JAR0UIt0nMI"LLS •• ~kFTOOL •••

:~ Quart.• $16.50 • BALL •

Half-Gallon .$~i9:50 Gallon. $32.00 • iARING e
KICK
MORTARS AND PESTLES • ~EADLE) • C R A F T O O L
8 oz. . . . . $3.75 //~1~ • VHEEL • BALL M I L L ........ $57.50
DJUST- Also with I/4 HP motor
10 oz. . . . $4.00 ~: ~ ~ ABLE • and 2 Jar Mills . . . . . . . . $103.50
16oz... $4.75 ~ .......... :IGHT..• No. 7810
32 oz. . . . $7.00 • • CRAFTOOL UNIVERSAL
120.00 • BALL M~LL . . . . . . . . . . . . . $35.00

V • CRAFTOOL o CRAFTOOL
• ADJUSTABLE . MODELING
• KILN S T A N D • " AND

i • 17.50 • DECORATING
" " " WHEELS

L.._.~" • I ~ , • • ALUMINUM
............................................. No. Size Price
• CRAFTOOL " 9007 7" $ 4.95
CRAFTOOL STEEL CARVING • ADJUSTABLE • 9olo 1o" $1].5o
AND MODELING TOOLS MODELING
No. 600 6" set of 8 fools. $5.95 • • (MEDIUM DUTY CAST IRON)
.... • CABINET • 7008 8" $ 7.95
No. 800 8" set of 8 fools . . . . $7.95 • 15565.00 • (HEAVY DUTY ROLLER
No. 1000 10" set of 8 fools. . . . . $9.95 BEARING IRON.)
• 8008 8" $12.00

SEND FOR COMPLETE CATALOG OF THE ENTIRE CRAFTOOL LINEI

CI|AFTOOLS INC DEPT. CM, 401 BROADWAY,NEW YORK13, N.Y.