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Ackland Ceramics Guide
! ! CERAMICS!GUIDE! Ceramics:"objects"formed"from"moistened"clay"and"hardened"by"firing;"distinguished"by" permeability"and"firing"temperatures" • Earthenware:"Porous,"low<firing" • Stoneware:"Non<porous,"high<firing" • Hard<Paste"Porcelain:"Non<porous,"high<firing" Single!firing:"clay"mixture"and"glaze"reach"maximum"density"and"hardness"in"a"single"firing,"with" the"glaze"being"applied"directly"to"the"unfired"clay"beforehand" Biscuit!firing:"glazed"objects"can"also"undergo"multiple"firings,"the"first"being"the"firing"of"the" unglazed"(biscuit)"object;"helps"stabilize"a"work"before"a"glaze"or"painted"decoration"is"applied" Glost!firing:"fuses"glaze"to"an"object"that"has"already"been"biscuit<fired" Glaze:!natural"materials"applied"to"a"clay"object"(either"as"a"powder"or"mixed"with"water)," fusing"with"the"clay"when"fired;"makes"porous"ceramics"impervious"to"liquid;"also"used"on"non< porous"ceramics"for"purely"decorative"effects,"either"as"transparent"coating"or"colored"by"the" addition"of"various"metal"oxides;"comprised"of"ground"silica,"which"melts"to"create"a"glassy" surface,"as"well"as"(1)"an"alumina"stabilizer"to"increase"viscosity"and"(2)"a"mineral"flux"to"lower" the"silica’s"melting"point." Common!glaze!types:"distinguished"by"flux"material" th • Lead:"low<firing,"used"on"earthenware;"largely"discontinued"by"the"late"19 "century"due" to"dangers"of"prolonged"lead"exposure" • Tin:"lead"glaze"with"the"addition"of"tin"oxide,"resulting"in"an"opaque"white"surface;" originates"in"Middle"East,"9th"century;"European"tin<glazed"earthenware"classified"by" -
Colonial Archaeology: 070 333 Spring 2006 Prof C. Schrire Room 201
Colonial Archaeology: 070 333 Spring 2006 Prof C. Schrire [email protected] Room 201/202 RAB Phone: 932 9006 Course Outline: This course will teach the rudiments of identification and analysis of colonial artifacts dating from about 1600-1900 AD. Our teaching collection includes a variety of ceramics, pipes, glass and small finds. The course if taught largely by supervision and not lectures. Students will sort collections, draw objects, measure objects and identify them according to numerous criteria. Course Requirements: A prerequisite for this course is 070: 208, Survey of Historical Archaeology, normally taught in the Fall term. Students for whom this requirement was waived are expected to study a suitable textbook on the subject, such as Orser, C. 1995 Historical Archaeology and Deetz, J In small things forgotten. Students will attend one three hour class, once a week. During this time they will handle material, analyze it, and draw objects. Each student will need a clean writing pad or notebook, a pad of graph paper, pencils, colored pencils, eraser, a ruler, and a divider. There will be two exams, a midterm and final. Useful Texts: 1. Noel-Hume, I. 2001. The Artifacts of Colonial America 2. Fournier, Robert. Illustrated Dictionary of Practical Pottery. Paperback, 4th ed. 2000 Radnor Pa. Available at Amazon.com ($31.96) 3. Numerous additional sources will be present at class for used during the practicals. Colonial Archaeology: 070 330 Significant technical terms: (see Fournier 2000) Absorption: The taking up of liquid into the pores of a pot. The water absorption of a ceramic is an indicator of its degree of vitrification. -
Marguerite Wildenhain: Bauhaus to Pond Farm January 20 – April 15, 2007
MUSEUM & SCHOOLS PROGRAM EDUCATOR GUIDE Kindergarten-Grade 12 Marguerite Wildenhain: Bauhaus to Pond Farm January 20 – April 15, 2007 Museum & Schools program sponsored in part by: Daphne Smith Community Foundation of Sonoma County and FOR MORE INFORMATION ABOUT THE EXHIBITION OR EDUCATION PROGRAMS PLEASE CONTACT: Maureen Cecil, Education & Visitor Services Coordinator: 707-579-1500 x 8 or [email protected] Hours: Open Wednesday through Sunday 11:00 a.m. to 5:00 p.m. Admission: $5 General Admission $2 Students, Seniors, Disabled Free for children 12 & under Free for Museum members The Museum offers free tours to school groups. Please call for more information. SONOMA COUNTY MUSEUM 425 Seventh Street, Santa Rosa CA 95401 T. 707-579-1500 F. 707-579-4849 www.sonomacountymuseum.org INTRODUCTION Marguerite Wildenhain (1896-1985) was a Bauhaus trained Master Potter. Born in Lyon, France her family moved first to Germany then to England and later at the “onset of WWI” back to Germany. There Wildenhain first encountered the Bauhaus – a school of art and design that strove to bring the elevated title of artist back to its origin in craft – holding to the idea that a good artist was also a good craftsperson and vice versa. Most modern and contemporary design can be traced back to the Bauhaus, which exalted sleekness and functionality along with the ability to mass produce objects. Edith Heath was a potter and gifted form giver who started Heath Ceramics in 1946 where it continues today in its original factory in Sausalito, California. She is considered an influential mid-century American potter whose pottery is one of the few remaining. -
Bisque Or Biscuit: the First Firing a Pot Undergoes to Prepare It for Glazing
Glossary of Ceramic Terms: Introduction to Ceramic Terms and Definitions Bisque or Biscuit: The first firing a pot undergoes to prepare it for glazing. In industry this is done at a higher temperature than the subsequent glaze firing, the reverse is usually true of the studio potter. Burnishing: A technique where the Leather hard clay is polished with a hard instrument to force the smallest clay particles to the surface creating a soft sheen. This surface remains after the pot is fired so long as the firing temperature is kept below 1100oC. Clay: AL2O3 2SiO2 2H2O. The decomposition of Granite through the process of Kaolinization creates clay (see Kaolinization). Clay is a mineral with a plate (platelet) like structure; it is these plates, (about 0.5 microns across) when lubricated with water, slide against each other to form the plastic mass we know as clay (see Water). 'Primary ' clays are those found close to the area of Kaolinization and hence the purest (Kaolin or China Clays). Secondary clays are those moved by water away form the site of Kaolinization and get progressively more plastic and less pure (Ball Clays, Fire clays, Earthenwares). Clay Body: A clay designed for a special purpose. It is created by blending different clays of by adding to clays other materials, such as feldspar and flint in order to produce a desired workability, maturing temperature, or finished result. A clay body is the result of mans technology. Cobalt: One of the strongest coloring oxides used by the potter. Cobalt creates a dark dense royal blue in most cases. -
Ceramics: the History, Materials, and Manipulative Techniques of the Craft
Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 1-1-1965 Ceramics: The History, Materials, and Manipulative Techniques of the Craft James W. Mizener Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Mizener, James W., "Ceramics: The History, Materials, and Manipulative Techniques of the Craft" (1965). Plan B Papers. 447. https://thekeep.eiu.edu/plan_b/447 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. CERAMICS: THE HISTORY, MATERIALS, AND MANIPULATIVE TECHNIQUES OF THE CRAFT (TITLE) BY James W. Mizener PLAN B PAPER SUBMIITED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE Industrial Arts 452, Recreational Crafts IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS 1965 YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. TABLE OF CONTENTS CHAPTER PAGE INTRODUCTION . 1 I. HISTORY AND DEVELOPMENT • 3 Ancient People 3 Chinese Contributions . 8 Contemporary Application 10 Industry •••••• 10 Therapy •• 10 School 11 Recreation 11 II. CERAMIC CONSTRUCTION 13 Clay . 13 Classification of Clay 16 Earthenware • 16 Stoneware • 16 Porcelain •• 17 Tools and Equipment . 17 Methods and Techniques of Ceramic Construction 20 Wedging Clay • • • • • ••• 20 Hand-Built Modeling ••••••••••• 21 Free Form Modeling • • • • 21 Slab Building ••••••••• 23 Coil Building •••••••• 24 Casting Pottery From Molds •••• 25 Single and Multi-Piece Molds •• 26 Preparing the Slip • • • • • • • • • • 28 Casting . -
Untitled, 1984 221Fz" X J(Yh /L X 6/1
RAKU AND SMOKE NORTH AMERICA Organized by Salve Regina- The NeUJport College and the Newport Art Museum, Newport, Rhode Island This selection of works by contemporary approaches to to the entire ACM staff for its twenty-two ceramic artists has raku and smoke-firing, and dedication and efficiency. For been drawn from Raku and demonstrates the remarkable extending the loan of their Smoke North America, an ex degree to which contemporary works for this exhibition , we hibition assembled through a artists have expanded these an thank the participating artists, competition and by invitation. cient traditions. private collectors, and galleries. It was organized by Salve Re Finally, we wish to express ap gina-The Newport College, We are grateful to Jay preciation to International and the Newport Art Museum, Lacouture for contributing Paper Company and Interna Rhode Island. Ceramists Wayne the catalogue essay and for tional Paper Company Higby and Richard Hirsch his extensive involvement Foundation for the continued juried the competition, and Jay th roughout the organization of support which makes Museum Lacouture, chairperson of the this showing of the exhibition. II possible. art department at Salve Re Thanks are also due to Kathleen gina, curated the exhibition . Nugent Mangan for preparing PAUL J. SMITH It presents a cross-section of the exhibition catalogue, and Director September 14-November 3, 1984 AMERICAN CRAFf MUSEUM II RAKU AND SMOKE The combination of raku and derstated character epitomizes maker of Rikyu ware. His fam smoke-firing techniques has the Zen aesthetic. The tea cere ily has continued this tradition historical roots in both Eastern mony, "Cha-no-yu ," has left for fourteen generations. -
Archaeological and Historic Pottery Production Sites Guidelines for Best Practice Summary
Archaeological and Historic Pottery Production Sites Guidelines for Best Practice Summary This document provides practical guidance on how to investigate sites where pottery production has taken place. It describes how to anticipate and locate pottery production sites and the types of evidence that may be found. This document also provides advice on the available methods and strategies for examining, recording and sampling features and finds of various types at each stage of the work. The different techniques for establishing the date of pottery production, and for characterising the products of a site, are given particular emphasis. This document was compiled by Harriet White, Sarah Paynter and Duncan Brown with contributions by Joanne Best, Chris Cumberpatch, David Dawson, Peter Ellis, Jane Evans, Laurence Jones, Oliver Kent, Gareth Perry, The Prince’s Regeneration Trust, Ian Roberts, Kerry Tyler and Ann Woodward. It is one of four Historic England publications concerning industrial processes in the past, the other three being: ■ Science for Historic Industries: Guidelines for the Investigation of 17th- to 19th- Century Industries ■ Archaeological Evidence for Glassworking: Guidelines for Best Practice ■ Archaeometallurgy: Guidelines for Best Practice. First published by Historic England October 2015. All images © Historic England unless otherwise stated. www.historicengland.org.uk/advice/technical-advice/archaeological-science/ Front cover images: clockwise from top left Reconstruction of a 17th-century kiln from Potters A 14th-century -
Bisques and Biscuits
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Bisques and Biscuits The word biscuit (from the Middle French bescuit) is derived from the Latin words bis (twice) and coquere, coctus (to cook, cooked). The crustaceans in a French bisque are twice-cooked, as well, first sautéed lightly in their shells, then simmered in a mixture of wine and aromatic ingredients (before being strained), followed by the addition of cream. But in New Orleans, things are different. First of all, the etymology of the word bisque (meaning that cream- ladened Gallic variety) is thought to have originated from Biscay, as in the Bay of Biscay (and not from the same roots as biscuit). On some medieval maps, the Bay of Biscay is designated as El Mar del los Vascos (the Basque Sea). It’s that seafood-rich body of water nestled between Spain and France. Secondly, the classical French culinary traditions of bisque preparation have been superseded by South Louisiana’s dark roux-based soup, brimming with butter, but devoid of the cream as in the European variety. And like a prize in a box of Cracker Jack, our local version has flavorful stuffing encased in each crawfish head (the large red thorax shell), unsuccessfully hiding in our bowl. The famed international writer Lafcadio Hearn, who spent a decade in New Orleans, wrote about stuffing the heads and preparing the bisque “A LA CREOLE” back in 1885 in his popular La Cuisine Créole, a fine collection of culinary recipes from leading New Orleans Creole chefs and housewives. -
Nzpotter V23 N2.Pdf
New Zealand Potter V0123/2 SPRING 1981 Contents Wood Firing with a Bourry Box kiln 2 Peter Gibbs’ Bourry firebox 2 Glen Beattie’s Bourry firebox 5 Primitive pit firing 6 Some Coromandel potters 7 Paul Tobin 7 Dear potters, Warwick Lidgard—Shino 10 Ceramics 81 was a Articles should be specific, Andrew and Jeannie Van der Putten 12 milestone for the development with supporting diagrams or Barry Brickell 14 of pottery in New Zealand, illustration where necessary Urban Co-operative 16 providing us with a reference giving the kinds of details Firing updraught fibre & gas kilns 17 which we can go readers want to know. point from Outreach 18 forward. (Payment is made for Fletcher Brownbuilt Pottery Award 20 While a great deal of informative technical articles.) 21 potting will follow tried and Space allotted 'is usually Moyra and Gary Elliot—copper reds true techniques there are many determined by the quality of the John Parker—domestic wares 24 of you developing new thoughts contribution and the type of Gerald Hope—adapting to LPG 26 and materials and methods, information offered. When Wendy Ronald—hand pinched pots 28 extending existing techniques, judging an article’s worth we Copper reduction in raku firings 29 fOr example producing glaze ask: is it interesting: is it Summer workshops 30 ' effects, oil spots, crystals, helpful: are the ideas expressed Potting in Waikato 31 lustres, Shino and working on clearly: and above all, is it Elizabeth Woodfield’s ball mill 37 kiln and firingadvances. original and creative: You may New Zealand Potter is a non-profit making magazine published twice annually. -
Revolutionary Art of the Mao Zedong Era 1950-1976
> Asian Art & Cultures Art for the Masses: Revolutionary Art of the Mao Zedong Era 1950-1976 What are we to make of a traditionally shaped Chinese porcelain vase, of no obvious practical function, with a Asian Art > skilfully painted polychrome scene of a rosy-cheeked young soldier of the People’s Liberation Army threading a China needle for a peasant granny? Or a finely modelled biscuit porcelain statuette of an avuncular Lenin handing over power to an upstanding young Stalin? Devotees of revolutionary kitsch should not miss a small exhibition at the Royal Scottish Museum in Edinburgh of arts and crafts from China, dating from the early years of Liberation post–1949 to the death of Mao and the end of the Cultural Revolution in 1976, and containing some remarkable, indeed unique, pieces. By Alison Hardie Large porcelain vase with image of Chairman he title of the exhibition, ‘Mao: Art for the Masses’, is par- Mao, dated 1968 (height 65.5cm). On this vase, Ttially misleading as to its content. This is really two exhi- Mao's image is painted in under-glaze blue, a bitions in one. The first being that of genuinely ‘mass’ visu- high-risk process that often resulted in kiln fail- al culture – the propaganda posters and Mao badges which ure. In decorating the vase this way the maker were produced in their millions, and slightly less mass-pro- took an even greater risk of being declared a duced objects, such as a mould-cast porcelain lampstand in counter-revolutionary had Mao's image been the form of a scene from the ballet The Red Detachment of marred in any way. -
Some Continental Influences on English Porcelain
52925_English_Ceramics_vol19_pt3_book:Layout 1 24/7/08 09:12 Page 429 Some Continental Influences on English Porcelain A paper read by Errol Manners at the Courtauld Institute on the 15th October 2005 INTRODUCTION Early French soft-paste porcelain The history of the ceramics of any country is one of We are fortunate in having an early report on Saint- continual influence and borrowing from others. In the Cloud by an Englishman well qualified to comment case of England, whole technologies, such as those of on ceramics, Dr. Martin Lister, who devoted three delftware and salt-glazed stoneware, came from the pages of his Journey to Paris in the year 1698 (published continent along with their well-established artistic in 1699) to his visit to the factory. Dr. Lister, a traditions. Here they evolved and grew with that physician and naturalist and vice-president of the uniquely English genius with which we are so Royal Society, had knowledge of ceramic methods, as familiar. This subject has been treated by others, he knew Francis Place, 2 a pioneer of salt-glazed notably T.H. Clarke; I will endeavour to not repeat stoneware, and reported on the production of the too much of their work. I propose to try to establish Elers 3 brothers’ red-wares in the Royal Society some of the evidence for the earliest occurrence of Philosophical Transactions of 1693. 4 various continental porcelains in England from Dr.. Lister states ‘I saw the Potterie of St.Clou documentary sources and from the evidence of the (sic), with which I was marvellously well pleased: for I porcelain itself. -
AL300909 Sale
For Sale by Auction to be held at The Auction Rooms, Alphin Brook Road, Exeter Tel 01392 413100. Fax 01392 413110 th WEDNESDAY 30 SEPTEMBER 2009 Ceramics, Glass & Orientals Works of Art & Collectors’ Items Pictures Furniture SALE COMMENCES AT10.00am yeer Buyers are reminded to check the ‘Saleroom Notice’ for information regarding WITHDRAWN LOTS and EXTRA LOTS SALE REFERENCE AL15 Catalogues £1.50 On View: Ceramics, Glass & Oriental th Saturday 26 September 9.00am – 12.00 Lots 1 - 111 Monday 28th September 9.00am – 5.15pm WOA Books & Collectables Tuesday 29th September 9.00am – 5.15pm Lots 112 – 220a Morning of Sale from 9.00am Pictures Lots 221 – 260e Furniture Lots 261 - 388 GLASS, CERAMICS AND ORIENTAL ITEMS 1. Five Whitefriars glass vases and a Whitefriars square glass ashtray. 2. A George IV hobnail cut rummer together with three champagne flutes. 3. Five items of coloured glass and metal shot measures. 4. A collection of cut glass prisms and drops. 5. A collection of various Medina, Murano and other studio glassware. 6. An early 20th Century mottled glass shade and one other. 6A. A large blue glass dish. 7. A Scandinavian glass vase, a green glass vase and miscellaneous glassware. 8. A Venetian gilded and blue glass decanter with matching glasses and various other drinking glasses. 9. A Whitefriars triangular shape vase with relief moulded bark effect finish and smokey colour. 10. A large collection of various decorative glass including cranberry glass, studio glass a fruit bowl Babycham glasses etc. 11. A collection of six Royal Brierley tumblers, miscellaneous glassware, and a dressing table set.