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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. -
Color in Salt Glaze
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 8-1-1967 Color in salt glaze Daniel Lee Stevens Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Stevens, Daniel Lee, "Color in salt glaze" (1967). Dissertations and Theses. Paper 561. https://doi.org/10.15760/etd.561 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF Daniel Lee Stevens for the Master of Science in teaching in Cerami~s 'presented 0:0 August 7, 1967. Title: COLOR IN SALT GLAZE. , Abs tract approved: This thesis endeavors to bring a brief history of salt glaze to the reader, following i~s ge~esisin Germany to England and the American colonies and its continuation to the prese~t day. In order to conduct research on color in salt glaze~ a kiln had to be built for this purpose, meeting all the requirements 'that this tech- nique demands. Studies were ~ade on clay bodies to determine their throwing qualities as well as their ability to take a salt glaze. Finally, research was carried out 'in many serfes of tests studying the reactions of'various engobes and other coloring materials when ,fired in the salt glaze kiln. \ .' COLOR IN SALT GLAZE by Daniel Lee Stevens A THESIS submitted to .Portland State College, in partial fulfillment of the requirements for the degree of Master of Science in Teaching August 1967 \ I PORTLAND STATE COL~EGE LIBRARY' . -
Building Innovations
b BUILDING INNOVATIONS A MAGAZINE FOR ARCHITECTS NOV 2019 b BUILDING INNOVATIONS CONTENTS: FIND A PIC VISION - PAGE 6 NEWS - PAGE 14 INTERIOR DESIGN - PAGE 22 DOORS, WINDOWS & GLAZING - PAGE 42 ENVIRONMENTAL CONTROL - PAGE 50 VIEWPOINT - PAGE 60 PROJECT INSIGHT - PAGE 72 about Some of the colour photography used in Building Innovations is provided and paid for by contributors. The publishers do not accept liability for errors that may appear in the publication. Published in association with Jasper, Muz, and Kenny, who like to keep an eye on things in between meals. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without the consent of the publisher. Published by L2Media Ltd, Kingfishers Retreat, The Lodges, Dunston Business Village, Dunston ST18 9AB Tel: 01785 711591 Fax: 0845 862 8639 www.l2media.uk 2 3 i-build_rainguard:Layout 1 28/02/2018 14:59 Page 1 Always in tune with your style a comprehensive range of rainwater systems to accommodate all types of buildings and budgets Choose from modern, traditional and heritage rainwater systems, available in Aluminium, GRP, Copper, Zinc and Stainless Steel. Aluminium GRP For more information please call 0113 279 5854 Cast Iron Copper, Zinc & Stainless Steel or email [email protected] w w w . r a i n g u a r d . c o . u k VISION VISION Hotel PACAI, located in Vilnius, Lithuania, was named the winner of this year’s Surface Travel Awards in the category of large international hotels. The 104-room Hotel PACAI was selected out of seven short-listed hotels, and it was the only one listed that is not located in a traditional tourist destination or a metropolis. -
9. Ceramic Arts
Profile No.: 38 NIC Code: 23933 CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery".[1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2. -
CUNY Careerpath 3D Printing New York City College of Technology February 1, 2014
CUNY CareerPATH 3D Printing New York City College of Technology February 1, 2014 www.cuny.edu This work is licensed under a Creative Commons Attribution 4.0 International License. This workforce solution was funded by a grant awarded by the U.S. Department of Labor’s Employment and Training Administration. The solution was created by the grantee and does not necessarily reflect the official position of the U.S. Department of Labor. The Department of Labor makes no guarantees, warranties, or assurances of any kind, expressed or implied, with respect to such information, including any information or it’s completeness, timeliness, usefulness, adequacy, continued availability or ownership. The CUNY CareerPATH Program is an equal opportunity employer/program and auxiliary aids and services are available upon request to individuals with disabilities. New York City College of Technology The City University of New York CareerPATH Program - Green Advanced Manufacturing Collaborative (GAMC) Syllabus :: 3D Printing Description: Building on the foundations obtained in the prerequisite modeling course, students will further their modeling/computational skills to create water-tight designs and produce a number of types of 3D prints. Projects will provide students with experience in the use of a variety of tools, equipment, concepts, and emerging digitally-driven technologies, including parametric rule-based design, finishing and assembly techniques, and iterative design processes. Objectives: ● To demonstrate the ability to prepare a solid model and send to a fabrication software for printing. ● To extract and finish a fdm or powder printer ● To bring professional projects into the class and work through to process of rapid prototyping. -
Decorative Arts & Contemporary Ceramics
Decorative Arts & Contemporary Ceramics Contemporary Arts & Decorative I Montpelier Street, London I 13 November 2019 I Montpelier Street, 25323 Decorative Arts & Contemporary Ceramics Montpelier Street, London I 13 November 2019 Decorative Arts and Contemporary Ceramics Montpelier Street, London | Wednesday 13 November 2019, at 1pm BONHAMS BIDS ENQUIRIES FURNITURE & FURNISHINGS Montpelier Street +44 (0) 20 7447 7447 Mark Oliver Whilst we take every care in Knightsbridge +44 (0) 20 7447 7401 fax Tel:+44 (0) 20 7393 3856 cataloguing furniture which has London SW7 1HH [email protected] [email protected] been upholstered we offer no bonhams.com guarantee as to the originality of Please note that bids should Duane Kahlhamer the wood covered by fabric or VIEWING be submitted no later than 24 Tel: +44 (0) 20 7393 3860 upholstery. hours before the sale. New [email protected] Sunday 10 November bidders must also provide proof All furniture and furnishings 11am – 3pm of identity when submitting bids. Emily Mayson produced after 1 January 1950, Monday 11 November Failure to do this may result in Tel: +44 (0) 20 7393 3997 comprising an element of soft 9am – 4.30pm your bids not being processed. [email protected] furnishing, is strictly regulated Tuesday 12 November by statute law in the interests of 9am – 4.30pm Live online bidding is [email protected] safety. Such items in the sale Wednesday 13 November available for this sale were not originally supplied for 9am – 11am Please email [email protected] PRESS ENQUIRIES use in a private home or now with “Live bidding” in the subject offered solely as works of art. -
64997 Frontier Loriann
[ FRESH TAKE ] Thrown for a Loop factory near his Staffordshire hometown, Stoke-on-Trent. Wedgwood married traditional craftsmanship with A RESILIENT POTTERY COMPANY FACES progressive business practices and contemporary design. TRYING TIMES He employed leading artists, including the sculptor John Flaxman, whose Shield of Achilles is in the Huntington by Kimberly Chrisman-Campbell collection, along with his Wedgwood vase depicting Ulysses at the table of Circe. As sturdy as they were beautiful, Wedgwood products made high-quality earthenware available to the middle classes. his past winter, Waterford Wedgwood found itself teetering on the edge of bankruptcy like a ceramic vase poised to topple from its shelf. As the company struggles A mainstay of bridal registries, the distinctive for survival, visitors to The Tearthenware is equally at home in museums around the world, including The Huntington. Now owned by an Irish firm, the once-venerable pottery manufactory was founded Huntington can appreciate by Englishman Josiah Wedgwood in 1759. As the company struggles for survival, visitors to The Huntington can appre - what a great loss its demise ciate what a great loss its demise would be. A look at the firm’s history reveals that the current crisis is just the most recent would be. of several that Wedgwood has overcome in its 250 years. The story of Wedgwood is one of the great personal and Today, Wedgwood is virtually synonymous with professional triumphs of the 18th century. Born in 1730 into Jasperware, an unglazed vitreous stoneware produced from a family of potters, Josiah Wedgwood started working at the barium sulphate. It is usually pale blue, with separately age of nine as a thrower, a craftsman who shaped pottery on molded white reliefs in the neoclassical style. -
Earthenware Clays
Arbuckle Earthenware Earthenware Clays Earthenware usually means a porous clay body maturing between cone 06 – cone 01 (1873°F ‐ 2152°F). Absorption varies generally between 5% ‐20%. Earthenware clay is usually not fired to vitrification (a hard, dense, glassy, non‐absorbent state ‐ cf. porcelain). This means pieces with crazed glaze may seep liquids. Terra sigillata applied to the foot helps decrease absorption and reduce delayed crazing. Low fire fluxes melt over a shorter range than high fire materials, and firing an earthenware body to near vitrification usually results in a dense, brittle body with poor thermal shock resistance and increased warping and dunting potential. Although it is possible to fire terra cotta in a gas kiln in oxidation, this is often difficult to control. Reduced areas may be less absorbent than the rest of the body and cause problems in glazing. Most lowfire ware is fired in electric kilns. Gail Kendall, Tureen, handbuilt Raku firing and bodies are special cases. A less dense body has better thermal shock resistance and will insulate better. Earthenware generally shrinks less than stoneware and porcelain, and as a result is often used for sculpture. See Etruscan full‐size figure sculpture and sarcophagi in terra cotta. At low temperatures, glaze may look superficial & generally lacks the depth and richness of high fire glazes. The trade‐offs are: • a brighter palette and an extended range of color. Many commercial stains burn out before cone 10 or are fugitive in reduction. • accessible technology. Small electric test kilns may be able to plug into ordinary 115 volt outlets, bigger kilns usually require 208 or 220 volt service (the type required by many air conditioners and electric dryers). -
Arts of the Indus Valley
2 ARTS OF THE INDUS VALLEY HE arts of the Indus Valley Civilisation emerged during Tthe second half of the third millennium BCE. The forms of art found from various sites of the civilisation include sculptures, seals, pottery, jewellery, terracotta figures, etc. The artists of that time surely had fine artistic sensibilities and a vivid imagination. Their delineation of human and animal figures was highly realistic in nature, since the anatomical details included in them were unique, and, in the case of terracotta art, the modelling of animal figures was done in an extremely careful manner. The two major sites of the Indus Valley Civilisation, along the Indus river—the cities of Harappa in the north and Mohenjodaro in the south—showcase one of earliest examples of civic planning. Other markers were houses, markets, storage facilities, offices, public baths, etc., arranged in a grid-like pattern. There was also a highly developed drainage system. While Harappa and Mohenjodaro are situated in Pakistan, the important sites excavated in India are Lothal and Dholavira in Gujarat, Rakhigarhi in Haryana, Bust of a bearded priest Ropar in Punjab, Kalibangan in Rajasthan, etc. Stone Statues Statues whether in stone, bronze or terracotta found in Harappan sites are not abundant, but refined. The stone statuaries found at Harappa and Mohenjodaro are excellent examples of handling three-dimensional volumes. In stone are two male figures—one is a torso in red sandstone and the other is a bust of a bearded man in soapstone—which are extensively discussed. The figure of the bearded man, interpreted as a priest, is draped in a shawl coming under the right arm and covering the left shoulder. -
Southern Folk Pottery at Pebble Hill Southern Stoneware at Pebble Hill
Southern Folk Pottery at Pebble Hill Southern Stoneware at Pebble Hill Most of the impressive collection of Southern pot- tery owned by Pebble Hill, the home of Auburn Uni- versity’s Caroline Marshall Draughon Center for the Arts and Humanities, was assembled by noted art pa- tron Ann Draughon Cousins, the daughter of former Auburn University president Ralph B. Draughon and Caroline Marshall Draughon for whom the Center is named. Though regarded as art objects today, these An ovoid, mid-nineteenth century beautiful pottery forms represent essential household alkaline-glazed jug attributed to an items required by American lifeways in the nineteenth upstate South Carolina potter. century. Through their form, function, and glazes these pieces also reflect differing American pottery traditions and eras which speak to migration and technological change affecting the people who settled the South. The makers were artisans who worked in a family-based folk tradition in communities where clay suitable for pottery production could be found. Pottery and the Southern Frontier The pottery made and used in the historic South was different than that of the American Indian and West African traditions. The relatively low-fired, unglazed earthenware forms made by Africans and the first Americans, though well-constructed, were relatively fragile. Consequently, the sturdy glazed earth- enware and stoneware provided by European ceramic technology came to dominate the pottery market during the Colonial and early Republic periods of American history. These durable vessels were impervious to liquids and thus more suitable for travel and the storage, preparation, and service of food. The presence of a glaze is the signature feature of most European ceramics. -
Fiberclay.Pdf
Sculpting a Creature with Fiber Clay By Brant Palley, New Mexico Clay (Grade Level: High School) Objectives: The Student will learn about fiber clay construction, we will experience the advantages of Fiber clay (sheepdog Cone 04) over regular clay and over more traditional paper clay; we will construct a creature from premade, bone dry, body parts. The assembly is with slip and wet clay. The classroom advantages are obvious, you don’t have to worry if the sculpture (or coiled pot) has dried out because you can add on, and even cut off! You can get a project done in 30 minutes. Read more on www.fiberclay.com Learn of Rosette Gault and Graham Hay from Australia. Use the slip and denture cream method of attaching bone dry to bone dry clay pieces together that holds together adequately. Materials: • Pre made pieces (legs, arms, necks…) • 2- lbs orange sized pieces of clay per student • Water container for slip • Plastic Forks, Tongue Depressors, Cloth for covering tables. • Sheepdog Fiberclay from New Mexico Clay References: Present visuals of Artwork by artists such as Rosette Gault and Graham Hay. Rosette Gault http://www.paperclayart.com/ Graham Hay. http://www.grahamhay.com.au/ Discuss the medium clay, what it is made of and introduce clay vocabulary words such as fire, kiln, and paper clay. Procedure: Demonstrate how to attach bone dry clay to both bone dry clay and wet clay using the slip and denture cream method. Paint slip on all surfaces to be bonded, take a small piece of wet clay and wet it with slip, smush everything together. -
Perryman Ceramics Monthly
CONTAINING TIMEJane Perryman’s New Approach to the Vessel by Esther Carliner Viros 1 32 october 2015 www.ceramicsmonthly.org I am walking my dog Riley along a field ditch edged with hedgerows and trees. The sky is cloudy gray, the path muddy soft from heavy rains. The prints of horses, deer, and muntjac are etched into the ground. For a hundred meters ahead the line of hedging has been cut by the farmer, sliced by a chainsaw to reveal smooth yellow wood made indecent by sud- den amputation. A hazel tree lies across the path. Stunted catkins hang from the branches, their future pollination a thwarted dream. A hazel tree felled across the path Smooth yellow wood Sliced by a chainsaw Stunted catkins hanging limply —Jane Perryman 2 The multimedia installation entitled Containing Time, a segment of which is being shown in the context of a larger solo exhibition of ceramics and paintings at Vessels Gallery in Boston, Massachusetts, represents an important new direction for British artist Jane Perry- man. Internationally recognized as a ceramic artist, writer, photog- rapher, and film maker, Perryman has brought these various forms of expression together to create a new body of work. Found objects (such as the catkins cited above) inspire a text, are photographed, used to produce a frottage, incorporated into clay material, transformed into a vessel and fired, thus becoming a record of time and place. Well known for her books on naked clay and smoke-fired ceramics, Jane Perryman is also an authority on traditional Indian pottery. Her book, Traditional Pottery of India and a documentary recently released on DVD, are now essential archives of a disappearing tradition.