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"Bells are my favorites for many reasons," Mrs. Drexler states without hesitation. "They suggest so much joy and happiness. Have you ever listed the number of special occasions that are perfectly celebrated with bells?" Edith Drexler has, and with ingenuity and cleverness she has developed this list into a small paying business from which she derives even more pleasure than money.

"Making bells actually grew out of two other absorbing hobbies, babies and shut-ins," she explains. By training and experience she is peculiarly bent toward these interests. As a nurse in training at Michael Reese Hospital in Chicago, premature babies were her specialty, and though she has not practiced nursing in fifteen years, this concern with new babies has persisted. She makes regular visits to the hospital nurseries, meets the new mothers—just because she enjoys it.

This same quality in her personality draws her sympathetic interest to shut-ins. She has seven scattered over the United States with whom she corresponds regularly, and an ever-changing list of local people who are only temporarily confined to their homes. "Each one of them is an interesting person, once you get acquainted," she declares. "I easily get as much as I give."

MRS. DREXLER was once a shut-in, temporarily, herself, and out of the experience grew the ceramics hobby. In 1949 she had to undergo major surgery and the doctors suggested that she develop an at-home hobby that would occupy her hands as well as her mental faculties. In the occupational therapy room at the hospital she observed handcrafts of all kinds and chose ceramics. Here she learned the foundation steps from the casting in molds to the finished product.

Using the hospital's facilities, she completed a few pieces for herself, but when she was discharged to return home she had to be content with finishing bought pieces. But she continued to learn by reading books on the art. She found these three especially helpful: "The Potter's Primer," by James Snead; "How to Do Ceramics," by Hellen H. Lion, and "How to Make Pottery and Other Ceramic Wear," by Muriel P. Tuross.

Then for her birthday the following July, 1950, her husband gave her a kiln. Immediately she ordered a few molds, clay, supplies for painting and glazing and she was in business! Her first pieces, presented as gifts to friends, resulted in orders, which came in so fast she was soon able to increase her variety of molds and to buy special tools for making ornate trim.

Other hobbyists began to come to her for greenware (molded articles ready for trim and painting) and for bisque (articles after the first firing ready for glaze). She has taught a few friends the art but does not solicit pupils.

Because of her contacts with other hobbyists and the great amount of supplies her volume of business requires, she accepted the local agency for an art clay company. All this activity she conducts from her home as a hobby, though she displays finished pieces through a local gift shop.

After seeing Mrs. Drexler's bells used at a party, the shop owner who retails her products, approached her and suggested taking her ceramic ware on consignment. This arrangement and word-of-mouth advertising by friends and other hobbyists are her only selling methods. But they seem to be adequate, for though she has been "in business" only one year she has already sold approximately twenty dozen bells in addition to her many other items.

Prices range from $1.50 to $3 for "popular" items—shoes, picture frames, trays, cigarette boxes, etc.—to $15 for the highly ornamented clocks.

"I'll never get rich at ceramics," Mrs. Drexler acknowledges, "but it pays for my fun!" And the whole family enjoys it too. Her husband, Sam, and Peter, the only child, help out with rush orders and feel free to make suggestions for experimenting. Mr. Drexler, whose hobby is artistic photography, offers very successful ideas.

SEEKING AN especially appropriate gift she could mass produce inexpensively for her shut-ins, Mrs. Drexler thought of bells. She ordered the first bell mold in three sizes and was pleased with the results, but as her ideas developed and her enthusiasm grew she found she needed a great variety of sizes, both round and square. To solve this supply problem she began to cast her own molds in sizes from a dainty thimble to a small, old-fashioned dinner bell. Using pliable clay, she hand-molds her own models and casts them in plaster to make molds for mass producing.

Every bell has its individual tone. The clapper is a small ceramic ball suspended on a ribbon. The most popular, perhaps, is the small tray bell decorated with hand-molded rosebuds and leaves, or a hand-painted design. Some have decorative twisted ceramic handles, others are tied with ribbon. These Mrs. Drexler takes to her convalescent friends to use as call bells.

A variation of the same idea is the new baby memento, a smaller bell appropriately decorated, with the baby's name and date of birth painted in gold. Sometimes she does these in matching pairs for mother and baby—as congratulations and happy birthday. Every child in the Drexler neighborhood is sure to receive a happy birthday bell at some time. Young Peter Drexler gave each playmate a merry Christmas bell for his tree at the 1950 season.

MRS. DREXLER has exploited every possible occasion for using her bells. They are the perfect decoration motif for Christmas and New Years. She sold them, boxed by the dozen, for tree ornaments, arranged in clusters as holiday corsages, on wreaths, door swags and for interesting package wrappings. As co-hostess with a friend for a New Year's Eve party, she used bells in varying sizes as decorations, which also served as dainty noise-makers and party favors. The guests were delighted!

The bells are beautifully adaptable to wedding festivities—from the engagement party through showers, luncheons, teas, to the wedding ceremony and reception. They can be used as cake ornaments, for house and table decorations, place cards, favors and corsages. Mrs. Drexler is now working through the local bakeries with the idea of bells, appropriately silvered or painted gold as cake ornaments for wedding anniversaries. The bells serve as a lasting and practical souvenir of the sentimental occasion.

"Any happy occasion rates bells," Mrs. Drexler says. "Tied on the package of a gift for a graduate they add just the happiest note of congratulations. And what could be more fitting as an inexpensive and different 'thank you' gesture toward a hostess or an obliging friend? Then there is always the bell collector!"

The most unusual bell Mrs. Drexler makes is an old-fashioned serving maid in cap and apron. Her long skirt makes the bell and the clapper is her pantalette covered legs. This is a favorite collector's item.

Recently the local Business and Professional Women's Club had at a dinner meeting a guest speaker who lectured on bells. For display she used the beautiful collection of a local woman. Mrs. Drexler was given the pleasant assignment of making a special bell for the collector as an appreciation gift, and fashioning three bell corsages, one for the speaker and one each for the vocalist and the pianist who entertained.

"Special orders like this make my hobby exciting as well as satisfying," she says. "It is a challenge to your ingenuity, and very gratifying when your efforts are appreciated."

Her bells can be used lavishly as decorations because the prices are not exorbitant. he tiniest bells start at 10 cents to 45 cents each, with special prices for made-to-order items with intricate trim.

THOUGH THE success of ceramics depends largely upon individual skill and judgment in casting, testing, glazing and firing, this can be learned by experience. The satisfying, creative art in ceramics lies in the trim, deciding what to use and where to place it. This gives each piece individuality and charm.

Here Mrs. Drexler experiments to the extent of her imagination and originality. She uses many, many kinds of trim. Tiny bluebirds, cherubs and cupids of many sizes and positions she casts in molds and attaches as trim. She has made her own molds for some small flowers and fruits, pansies, violets, berries, etc. Roses, rosebuds, leaves, ivy, calla lilies, dogwood and clover leaves she hand-molds with her fingers on the ball of her hand. Daisies, blue-bells, forget-me-nots and lilies-of-the-valley are molded on a small tool called a daisy-cutter.

Lace is dipped in liquid clay, pinched between the thumb and forefinger to open the holes, and pleated onto the prepared article with a lace tool. When the piece is fired, the cotton foundation burns away, leaving the ceramic lace. Ribbon trim of all types is made in the same way. Many kinds of running border trims (as well as ribbon) are made with a tool very like a pastry tube. It comes fitted with different tips and is used like a cake decorator, filled with semi-liquid clay.

THOUGH A prospective hobbyist interested in ceramics would do well to read some of the many good books on the art, Mrs. Drexler herewith has explained briefly the materials and process for turning out a finished piece beginning with the making of the mold.

To make a one-piece mold of a simple object—a bell—these materials are required: a model (a plastic bell from the dime store will do); a cardboard box or paper carton two or three inches larger than the bell; modeling clay (or pliable art clay); tincture of green soap; a small amount of shortening or cold cream; prepared plaster in powder form; a sieve; water; and a container for mixing.

Cover the bell model with a thin coating of green soap and fill it with clay (so the mold will remain hollow). Grease the inside of the box very lightly with the cream and place the model, open end down, in the box.

Sift the powdered plaster on top of the water in the container (amounts according to directions on the package) and let stand for at least three minutes. Stir in one direction, until the slurry mixture thickens to pouring consistency. When pouring the mixture into the box, lightly coat the model first to secure it to the bottom. Prick air bubbles on the bell carefully to prevent holes in the mold.

Let set until solid, but not hard. Tear off the paper box, set the mold upright and carefully remove the model. Let the mold harden completely before using. The first bell cast in the new mold will not be good because it removes the remaining green soap.

EQUIPMENT and materials needed for casting and finishing the mold are: a kiln (although you can have your pieces fired commercially or by a hobbyist with a kiln); two pyrometric cones; a china cone; the mold; art clay powder; water; a glass or stoneware container for mixing; a sieve lined with a cloth; a container with a lip for pouring; liquid slip color; ceramic paint; china paint; gold paint; brushes of various sizes; a spatula; and trim tools.

Mix the powdered clay and water in the glass jar according to directions. Let stand for at least twenty-four hours. This liquid is called slip and small amounts can be colored for making trim by adding liquid slip color. Strain slip through the sieve and pour into the mold. The bell will harden from the outside toward the center. Test the rim of the bell with a spatula often until the slip is hardened to the desired thickness. Pour the surplus slip out of the bell. Turn the mold upside down to drain and let the bell harden. When it pulls away from the sides of the mold it can be removed.

With the round end of a trim tool, punch two small holes in the top of the still-soft bell—so the ribbon "handle" and the clapper can be attached. Or if the bell is to have a ceramic handle, it is formed by hand and "glued" to the top of the bell with liquid slip, which will harden quickly as you hold it in place. The clapper attachment for this type is made by rolling a bit of pliable clay in the hand. Bend it to the shape of a small u and "glue" the upper edges to the inside of the bell at the very top. Mold the clapper ball by rolling pliable clay in the hand. Pinch the ball slightly at the edge and through this thinner part punch a small hole, using the same trim tool.

At this stage the bell is called greenware, and must be handled very carefully, and only after it is completely hardened. "Clean" the bell with a soft brush and water to remove mold marks and any clay particles. Add trim by using liquid slip very much like paste or glue. Apply a small dab of the slip to the bell at the spot where the trim—say, a rosebud—is desired. Attach the rosebud and hold in place for a few seconds. It will harden quickly. Paint the decorated bell with ceramic paint, using a brush of convenient size. Place the greenware in the kiln and fire until the pyrometric cone (a temperature indicating device) bends—at 1900 degrees F. This requires approximately two and one-half hours. Turn off the kiln and let stand until cool, usually about eight hours.

Fired once, it is called bisque and is ready for retouching (if necessary) and glazing. The liquid glaze may be applied by dipping, spraying or brushing. Mrs. Drexler prefers painting it on with a brush because there is less chance of ruining an article by applying too heavy a coat, allowing it to run, or to collect in the crevices of the trim.

Repeat the kiln firing process. Now the piece is glazeware and is finished, unless gold or china paint is desired for ornamentation. This requires an additional china firing. Use a china cone as test control. It bends at approximately 1328 degrees F. after about one and one-half hours.

Remove the piece after eight hours cooling in the kiln and attach the clapper. Run a ribbon through the hole in the clapper ball and tie. Pass the loose ends of ribbon through the holes in the bell and tie again, leaving the ribbon lengths as "handle." Then the finished bell is ready for sale, or gift giving.