DOCSLIB.ORG

Student Handbook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Student Handbook Student Handbook WELCOME TO THE POTTERY LAB! We are so excited to have you join our community. Enclosed in your welcome packet you will Find information about the Pottery Lab, resources and recommendations For your pottery course, and a glossary oF related vocabulary. Words that appear with an asterisk (*) are listed in the Glossary (at the end of the Handbook). General Information Phone: (720) 379-6033 E-mail for general inquiries: [email protected] The Boulder Pottery Lab is located at 1010 Aurora Avenue in Boulder, Colorado. PARKING Parking for the Pottery Lab is on-street only. Some street areas near the Pottery Lab are restricted to 2- hour parking from 9am to 5pm, Monday through Friday (marked in red on the map). Other areas are less restrictive (marked in green on the map). ADA accessible parking is available in the driveway immediately in front of the Pottery Lab. Open Lab Hours One of the Pottery Lab’s greatest assets is its wealth of open studio time. These hours are available for all currently enrolled, adult program students (up to 12 hours each week) and are a fantastic resource for practicing and creating outside of your class time. Lab hours are for independent work and practice but staff members, students, and volunteers are available should you have a quick question. Open Lab Hours may change each session – you can find a current schedule online at studioartsboulder.org and posted throughout the Lab. 2 Pottery Lab Staff There is always staff on duty available to answer any questions regarding the Lab, to help you with equipment, get you a bag of clay* or offer some quick guidance with throwing, hand-building*, and glazing*. You can identify staff by their name badge, and there is often someone in the upstairs office. Staff members are a wonderful resource, so please feel comfortable asking for help when you need it! Additionally, the Pottery Lab thrives on its community of support. Most of our long-time students are happy to assist you with your questions! Director of the Pottery Lab: Aaron Winston Aaron studied printmaking for seven years, earning a master’s degree from the University of New Mexico. During that time, he began to practice a Japanese tradition of throwing porcelain. After graduating and a short, but life-altering visit to Japan, Aaron worked for two years with an industrial designer creating unique service pieces in porcelain. At this time, he also worked and studied at the San Diego Ceramic Connection. Aaron learned a great deal, not least of which is the many, subtle ways clay shapes those who collaborate with it. Aaron began teaching at the Pottery Lab in 2006. Executive Director: Kari Palazzari Prior to moving to Colorado in 2006, Kari earned a Certificate in Nonprofit Management from Duke University and a law degree from UNC-Chapel Hill. She served as Board Treasurer of Studio Arts Boulder for nearly two years, helping transition the Pottery Lab from a city-run program to an independent non-profit organization. Kari is primarily responsible for the growth & expansion of the organization, including the capital campaign and construction process. As Executive Director she also manages the nonprofit support functions of the organization - finance, marketing, and fundraising - and reports to the Board of Directors. Operations Manager: Colleen McCarthy Colleen graduated from Northern Arizona University with a bachelor's degree in Recreation and Leisure Services and a Management minor. She moved to Boulder in 1989, where she and her husband have raised their two sons. She began taking pottery classes at the lab in January 2008. Shortly after, she became a volunteer assistant for the adult and teen classes, and began working part-time at the Lab in 2011. She has been a children’s pottery instructor, and currently oversees the Pottery Lab’s operations. Assistant Operations Manager: Curtis Rindels Curtis grew up in Scottsbluff, Nebraska and trained as a chef at the Culinary School of the Rockies. He worked as an assistant butcher at Old Major in Denver, known for its carnivorous specialties. He also cooked at The Kitchen and Flagstaff House in Boulder, where he rose to the position of sous chef. After starting classes at the Lab, his passions for creativity shifted from food to clay and he fell in love with ceramics. He aspired to be a teacher and began instructing youth classes at the Lab shortly after becoming a studio assistant. He now has direct responsibility for the day-to-day operations at the Lab and all customer service needs. Manager of Advancement: Hannah Hanssens-Reed Art has been a consistent focus throughout Hannah’s life. She completed her Masters of Education in Arts in Education at Harvard University and has taught in Boston, Longmont, and in Spain and Peru. Hannah has worked in nonprofits that focus on expanding arts and education to low-income students and students with disabilities, and she is passionate about arts as a form of social change. Her work at Studio Arts Boulder includes grant writing, instruction of youth classes, and development of community partnerships within Boulder. 3 For the First Class Please note that we have size limits For ceramic work, which is based on our ability to Fit pieces into our kilns: Height- 17" maximum; Rectangle- 15" x 7”; no more than a 12" diameter base Please check our mock up kiln shelves if you have any questions! Please come prepared For the First class with the Following items: - Clothes that can get dirty – When washing clay-covered clothing, it is helpful to first soak the clothes in a bucket, so that the pieces of clay don’t go into your plumbing system. - A towel - Your own clay tools. For new students, there is an 8-piece beginner’s tool kit that is available for purchase, which includes: o Wire clay cutter o Metal scraper o Needle tool o Loop tool o A potter’s rib o Wood modeling tool o Ribbon tool Here are some stores where you can Find pottery tools: In Boulder: Arvada/Denver: - Meininger Art Supply - Stoneleaf Pottery - Guiry’s Fine Arts - Continental Clay - McGuckin Hardware Online: - Bigceramicstore.com - Japanese Pottery Tools: http://www.japanesepotterytools.com/ - Bailey’s Ceramic Supply http://www.baileypottery.com/index.htm - Laguna Clay: http://www.lagunaclay.com/ The Journey of Each Pot A notebook that tracks your pieces through the system can be very helpful! (See attached template.) Here are some useful things to track: - What the piece is: size (number of pounds of clay), shape (perhaps a photograph or illustration), and any noticeable alterations or decoration - Where the piece is, along with a date when placed there: make notes as the piece moves from wet (downstairs shelf) à leather hard* (downstairs shelf) à trimmed (drying rack upstairs) à bone dry* (move to “to be bisqued” shelf) à bisqued* (find on the bisque* shelves) à glazed* (place on glazed shelves in glaze room) à fired* (find in the kiln* yard, downstairs and outside, on shelves) - How the piece was glazed: name of glaze(s) and any additional information on decoration YOU MUST RECOGNIZE WHEN YOUR PIECE IS READY TO MOVE FROM ONE SHELF TO THE NEXT, AND MAKE THIS MOVE YOURSELF. STAFF WILL ONLY LOAD WORK PLACED IN THE APPROPRIATE AREAS. 4 Recognizing the Stages of Your Ware Wet: Fresh out of the bag. Still able to be manipulated and sculpted without much breakage. The surface of the clay will easily take an impression and attaching is easy. Leather hard*: When the piece is stiff enough to work with, without it becoming distorted. This is the time to do carving, apply decorative slips, or just leave it alone! Leather hard clay is ideal for trimming*. When leather hard, clay should come off in ribbons – when squeezed in the hand, it will stick together. If trimmings are crumbly like grated chocolate, the clay is almost too dry. However, some people like to trim porcelain when it is drier. The trimmings will come off and crumble like soap shavings. Bone dry*: Stoneware and terra cotta will be much lighter in color and feel room temperature. At this point, the piece is ready to be bisqued*. Pieces are quite fragile during this stage, so handle with care. Move your piece carefully to the to be bisque carts. Ask if you are unsure whether the clay is ready to fire and, “If in doubt, leave it out!” How To: Tips & Instruction There is a LIBRARY at the Pottery Lab! Ask your instructor where to find it, and feel free to look through its books for information, techniques and inspiration! CUTTING CLAY - Use a wire tool to cut your clay from the bag. It is best to cut your clay evenly / horizontally, so that you can seal your bag as tightly as possible. This helps to maintain the moisture content of your clay. Holding the wire in both hands place the wire against the side of the clay furthest from your body. Then, with one hand pressed against the block of clay to hold it in place, pull the other straight back toward you. WEDGING* - There are different reasons to wedge clay before throwing: to remove air bubbles, to mix different clays, consistencies of clay or additives into clay, to evenly distribute moisture content, to make stiff clay more malleable and to prepare yourself for throwing. There are also many ways to wedge: cut and stack, ram’s head, spiral, chrysanthemum. Most methods blend the clay in a repetitive, kneading motion that presses the clay out and down then rolls or lifts it up to repeat the motion.
Load more

Recommended publications
  • 2012 Fall Catalog
    Green Valley Recreation Fall Course Catalog The Leader in providing recreation, education and social activities! October - December 2012 www.gvrec.org OOverver 4400 NNewew CClasseslasses oofferedffered tthishis ffall!all! RRegistrationegistration bbeginsegins MMonday,onday, SSeptembereptember 1100 1 Dream! Discover! Play! Green Valley Recreation, Inc. GVR Facility Map Board of Directors Social Center Satellite Center 1. Abrego North Rose Theisen - President 1601 N. Abrego Drive N Interstate 19 Joyce Finkelstein - Vice President 2. Abrego South Duval Mine Road Linda Sparks - Secretary 1655 S. Abrego Drive Joyce Bulau - Asst. Secretary 3. Canoa Hills Social Center Erin McGinnis - Treasurer 3660 S. Camino del Sol 1. Abrego John Haggerty - Asst. Treasurer Office - 625-6200 North 4. Casa 5. Casa Jerry Belenker 4. Casa Paloma I Paloma I 9. Las Campanas Paloma II Russ Carpenter 400 W. Circulo del Paladin La Canada Esperanza Chuck Catino 5. Casa Paloma II Abrego Drive 8. East Blvd. Marge Garneau 330 N. Calle del Banderolas Center 625-9909 10. Madera Mark Haskoe Vista Tom Wilsted 6. Continental Vistas 906 W. Camino Guarina 12. West Center 7. Desert Hills Social Center - Executive Director 2980 S. Camino del Sol 6 Continental Office - 625-5221 Vistas 13. Member Lanny Sloan Services Center 8. East Social Center Continental Road 7 S. Abrego Drive Camino del Sol Road East Frontage Road West Frontage Recreation Supervisor Office - 625-4641 Instructional Courses 9. Las Campanas 565 W. Belltower Drive Carolyn Hupp Office - 648-7669 10. Madera Vista 440 S. Camino del Portillo 2. Abrego Catalog Design by: Camino Encanto South 11. Santa Rita Springs 7. Desert Hills Shelly Jackson 921 W.
    [Show full text]
  • Industrial Arts Courses. It Was Include a Glossary of Ceramic Terms
    DOCUMENT RESUME VT 002 002 ED 021 963 By-Hastings, James R., Ed CERAMICS, PROJECT IDEAS FORINDUSTRIAL ARTS. New York State Education Dept.,Albany. Bureau of SecondaryCurriculum Development. Pub Date 66 Note-185p. EDRS Price MF-$0.75 HC-$7.48 UNITS, Descriptors-*CERAMICS, HIGH SCHOOLS,*INDUSTRIAL ARTS, JUNIOR HIGHSCHOOLS, *RESOURCE *STUDENT PROJECTS This book of ceramic projectideas is for teacher orstudent use insecondary industrial arts courses. It wasdeveloped in a workshopby teachers. The content useful projects and unitsof instruction and togiVe direction objectives are to provide Forty-one to ceramics instructionwhich isin keeping with achanging technology. under these units: (1)Hand Forming, (2) SlabConstructing, project plans are presented Extruding, (8) (3) Free Forming, (4) PressMolding, (5) Solid Casting,(6) Slip Casting, (7) Throwing and Turning, and (9)Jiggering. Each unit givesproject plans,student activities, projectprocedures, related technicalinformation, teacher demonstrations, references. Similarly organized units cover13 tools or related- cultural information, and turning box. pieces of equipment such as...a.jiggerarm, stilts, anextrusion press, and a Information concerning the makingof glazes is also included.Supplementary materials include a glossary of ceramic terms, abibliography of books andperiodicals, and indexes to related technical andcultural topics. (EM) i, , U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. Cetaini,a, wied feaJ FOR INDUSTRIAL ARTS , THE UNIVERSITY OF THE STATE OF NEW YORK The State Education Department Bureau of Secondary Curriculum Development Albany, 1966 THE UNIVERSITY OF THE STATE OF NEW YORK Regents of the University (with years when terms expire) EDGAR W.
    [Show full text]
  • Ceramics Monthly Jun90 Cei069
    William C. Hunt........................................Editor Ruth C. Buder.......................... Associate Editor Robert L. Creager........................... Art Director Kim Schomburg....................Editorial Assistant Mary Rushley................... Circulation Manager Mary E. Beaver.................Circulation Assistant Jayne Lx>hr.......................Circulation Assistant Connie Belcher.................Advertising Manager Spencer L. Davis.................................Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio43212 (614) 488-8236 FAX (614) 488-4561 Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine address label and your new ad­ dress to: Ceramics Monthly, Circulation Of­ fices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (including 35mm slides), graphic illustra­ tions, announcements and news releases about ceramics are welcome and will be considered for publication. A booklet de­ scribing standards and procedures for the preparation and submission of a manu­ script is available upon request. Mail sub­ missions to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Infor­ mation may also be sent by fax: (614) 488- 4561; or submitted on 3.5-inch microdisk- ettes readable with an Apple Macintosh™ computer system. Indexing: An index of each year’s articles appears in the December issue. Addition­ ally, articles in each issue ofCeramics Monthly are indexed in the Art Index; on-line (com­ puter) indexing is available through Wilson- line, 950 University Avenue, Bronx, New York 10452.
    [Show full text]
  • AUD AP96 Page 1 of 148 City of Cedar Rapids Accounts Payable Expenditures for the Week Ending May 23, 2017
    City of Cedar Rapids Accounts Payable Expenditures for the Week Ending May 23, 2017 Name Vendor Department Name Voucher Invoice Date Description Qty Unit Price Amount 7G Distributiing LLC 0000027306 GLF Ellis Golf Clubhouse 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 6,500.00 6,500.00 7G Distributiing LLC 0000027306 GLF Gardner Clubhouse 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 6,500.00 6,500.00 7G Distributiing LLC 0000027306 GLF Jones Club House 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 3,000.00 3,000.00 7G Distributiing LLC 0000027306 GLF Twin Pines Club House 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 5,000.00 5,000.00 7G Distributiing LLC 0000027306 REC Tait Cummins 00611267 Prepaid Beer 2017-05-11 Prepaid Beer 1 6,300.00 6,300.00 A Shaw Investments 8359732346 Water 00008045 8359732346 2017-05-21 UTILITY REFUND 0 0.00 207.56 A1A Sandblasting 0000030259 Swimming Pool Improvements 00608746 44 2017-04-17 Caulking & Painting Services 1 21,890.00 21,890.00 AEC Contracting Inc 0000032798 Admin.-Housing Services 00611205 7428B 2017-05-03 CDBG - 384 19th Street SE 1 6,800.00 6,800.00 AEC Contracting Inc 0000032798 Lead Base Grant 00611204 7428A 2017-05-03 CDBG - 384 19th Street SE 1 19,747.80 19,747.80 AFSCME Local 620 0000000154 Misc Employee Deductions 00611135 AFSCME051 2017-05-19 Union Dues 1 11,175.63 11,175.63 AKM Property Management LLC 0000017300 Leased Housing - HAP 00328290 V1251-1 2017-05-01 Rental Assistance 0 0.00 258.00 ASI Flex 0000021324 Flexible Spending Accounts 00610736 ASIF051517 2017-05-15 2017 FSA
    [Show full text]
  • Create a Flock of Birds One Pinch Pot at a Time by Jennifer Hoolihan
    Lesson Plan #42 Create a Flock of Birds One Pinch Pot at a Time by Jennifer Hoolihan Jennifer Hoolihan, Asheville NC As we go about our day-to-day activities, birds are the most common form(Chickens: of wildlife LM-53 we encounterOrchid, on a regular basis. They live secret and fascinating lives that have longLM-41 piqued Chartreuse our imaginations. , LM-54 Coral) This has rendered them as important symbols and subject matter utilized throughout art history. From chickens to warblers, birds come in all shapes and sizes. Create a multi-species flock from pinched bowls and a few simple tools with firing or self-hardening clay over a couple of class periods. Start by looking at pictures of different types of birds and discuss their shapes and sizes. Birds can be sleek and minimal, like the Cat Bird, or have lots of visual texture, such as the Starling. The starting shape of the pinched bowl will influence the bird form. The birds can also be used to create functional items like salt and pepper shakers, bud vases, and rattles. Tools & Materials Lesson Plan Goals and Objectives l AMACO® Low Fire Clay (White #25 or Red #67) l Students will create a hollow bird using pinch and coil Optional: AMACO® air dry clays— methods, refine the surface, and then personalize with Mexican Pottery Clay™ (Red), Marblex™ (Gray) or texture and glazes. Stonex™ (White) l Students will learn to translate perceived 2-D volume to a l Scoring Tools or Forks 3-dimensional form. l Flexible Serrated Ribs l The lesson integrates natural history with art.
    [Show full text]
  • Elements, Principles and Pinch Pots
    Elements, Principles and Pinch Pots Footer Text 9/1/2015 1 Elements, Principles and Clay • Elements: • Principles: o Form: o Emphasis: • When space is • Calling attention to an added to a object by using a focal shape. point • 3 Dimensional • One object stands out objects have more than everything Height, Width, else! Depth. (geometric or organic.) Footer Text 9/1/2015 2 Form in Art Footer Text 9/1/2015 3 Organic Geometric Footer Text 9/1/2015 4 Emphasis: STANDS OUT Footer Text 9/1/2015 5 Emphasis Footer Text 9/1/2015 6 Footer Text 9/1/2015 7 Elements, Principles and Clay • Elements: • Principles: o Texture: refers to o Contrast: the surface quality • the arrangement of opposite elements or "feel" of an (light vs. dark colors, object (ie. rough, rough vs. smooth smooth, soft) textures, large vs. • Actual texture -can be small shapes, etc.) in a piece so as to felt create visual • Implied (or simulated) interest, excitement textures – shown and drama. through drawing Footer Text 9/1/2015 8 Creating Texture Footer Text 9/1/2015 9 Footer Text 9/1/2015 10 Contrast Footer Text 9/1/2015 11 Contrast Footer Text 9/1/2015 12 Clay • Made from earth, water and fire • Clay is different from mud, since it has plasticity: ability to hold together while it’s being shaped Footer Text 9/1/2015 13 Clay Terms • Ceramics: Clay objects that hold their shape after they have been heated to specific temperatures. Footer Text 9/1/2015 14 Clay Terms • Pottery: Functional ware, such as vases, pots, bowls or plates Footer Text 9/1/2015 15 Clay Terms • Wedge: pushing the clay on a flat surface to improve the workability of the clay and eliminate air pockets.
    [Show full text]
  • Gilded Pinch Pots the Most Basic Means of Hand-Forming Pottery Takes a Dazzling New Direction
    Copyright © 2018 Dick Blick Art Materials All rights reserved 800-447-8192 DickBlick.com Gilded Pinch Pots The most basic means of hand-forming pottery takes a dazzling new direction. The application of gold as a decorative element is known as "gilding" and has been practiced using a variety of techniques since ancient times. Artists in China developed a means of firing gold with molten glass onto porcelain to create gilded pottery pieces that were highly prized by collectors in many nations. Later during the same century, as gilding techniques spread westward to Europe, the Baroque and Rococo decorative styles of the 18th century saw high demand for gilded porcelain tableware and figures. In modern times, the combination of ceramics and gold is still highly desirable. Ceramic artist Jennifer McCurdy creates nature-inspired sculptures from delicate formations of porcelain, then applies gold leaf to the inside. The gilding creates the illusion that the pieces are glowing from within. The most basic technique for forming a three- dimensional piece of pottery is a pinch pot. It's usually the first method a potter learns. In this lesson, students will use air-dry clay to form a small vessel, then gild a portion of it with imitation gold leaf. The result is a dramatic and rich-looking container that can be useful in many ways. GRADES K-12 Note: Instructions and materials are based upon a class size of 24 students. Adjust as needed. Preparation 1. Cut block of clay into pieces and store in zip-lock bags until ready to use.
    [Show full text]
  • The Process of Pit Firing
    The Process of Pit Firing Introduction My interest in pit fired pottery comes from my desire to strip back the complexities of life and to demonstrate the essential processes involved in the production of pottery. So much of our lives is surrounded by mass production that is epitomised by catalogues of mass produced wares from Asia and these wares can be bought at very cheap prices from homewares shops . These items are functional, well produced but lack character or expression of individuality that would make them objects of art. Early pottery has been found in places such as Jomon, Japan (10,500 BC), but the earliest ceramic objects like the Venus of Dolní Věstonice figurine discovered in the Czech Republic, date back to around 25,000 BC, and pottery vessels from Jiangxi, China date back to 20,000 BC. The earliest pottery probably developed by accident and there are two main theories of development. It may have been from observing how the earth became baked around fire pits or it may have come from the accidental burning of clay-lined baskets. The clay was used to line baskets made of natural fibre in order prevent loss of grains or seeds that were stored in such baskets. Pottery developed in response to needs and so pots had a purpose. This included storing grains or flour, carting, cooking pots, ritual and funeral rites. The rulers of Egypt had their internal organs mummified in canopic jars. The first use of pottery vessels for storing water and food is probably around 9000 or 10,000 BC and so pottery is one of man’s most ancient industries.
    [Show full text]
  • Toured Through OSAC's Arts on the Move Program
    Digger, Clay and glazes, 12” x 18” x 4”, 2016 Toured through OSAC’s Arts on the Move program. Table of Contents Introduction to Clay_________________________________ 3 Vocabulary________________________________________ 6 Exhibition Essay _______________________________________________________________________ 11 The Tour 12 1. Focus Attention 12 2. Introduce the Exhibition 12 3. Questioning Strategy 13 Interpretation 14 Synthesis 15 Pre Tour Activities 16 The Elements of Art: Form 16 Pre-Tour Research: History of Ceramics in Saskatchewan 14 Composition: How Rules are Made/Made to be Broken 22 Tour Activities 24 Cut Out Poem 24 Description Game 26 Y-Chart 28 Post-Tour Activities 30 Warm-up Exercises- Responding to Clay Medium 30 Expressive Pinch Pot 32 Collaborative Clay Construction 34 How to Make a Clay Ocarina 35 Construct Your Community 42 Capturing Motion in Clay 46 Balance 47 The Vessel Form 48 Background Information 50 List of Works 51 OSAC Visual Arts Exhibition Schedule 52 Organization of Saskatchewan Arts Council 53 1. Introduction to Clay* *The following information has been designed and provided by Christy Schweiger, Gallery Educator at the Moose Jaw Museum & Art Gallery. Students will learn about: • different types of clay • how clay changes from beginning to end • different techniques used when working with clay • building a clay vocabulary i. What is Clay? Clay is a special kind of earth which is made by the decomposition of rocks through the action of weathering. What does that mean? Well basically, over time, bits of earth are carried from one place to another by water and deposited in areas where the water slows down to a trickle.
    [Show full text]
  • Iroquois Pottery
    Oneida Cultural Heritage Department By: Judith L. Jourdan Edit, Revision, and Layout (09/13) Iroquois Pottery the lands to accommodate the farms for their A brief History of Pottery: subsistence, the extensive clearing of land, from Early Discoveries the very beginning when they settled on the land for many years following, literally destroyed the Pottery was developed to fill the need ancient palisade ditches and sunken hollows for storage and cooking. The corded design over graves and storage pits, evidence of any adorning all early discoveries of pottery, earlier existence. whether from the Middle East, China, or the Ironically, it was the same plow action Americas was the basis for the theory that early which destroyed evidence that also led to the pottery occurred accidently when clay lined discovery of most of the Mohawk, Seneca, and baskets baked by hot coals became hard and Oneida sites. As earth was turned, attention was suitable for repeated usage such as cooking and drawn to the changes in the earths color and storage. It is also theorized that these content, revealing fragments of shells, wood ash, discoveries occurred independently in many and pottery shards. Fortunately for us, there areas around the world. were a few amateur archeologist and/ or All early pottery discoveries displayed collectors who actively sought these “Indian similar characteristics. They were all black in relics.” As a result of these early collections, color, the product of a low fire temperature such most of which were acquired over extended as a bonfire or kiln. They all had round bottoms, periods of time by accidental turns of the plow, which implied the use of a gourd or round stone the existence of Iroquois pottery has been as a type of mold form.
    [Show full text]
  • Multilingual Dictionary of Pottery Words
    Multilingual Dictionary of Pottery Words - English/French/Spanish Dictionnaire Multilingue de Termes de Poterie - Anglais/Français/Espagnol Diccionario Multilingüe de Términos de Cerámica - Inglés/Francés/Español by Robert Wilt, Edouard Bastarache, and Ronald Duncan Revised: 26 June 1999 Send comments and suggestions to: Envoyez les commentaires et les suggestions à: Envia los comentarios y sugerencias a: (English) [email protected] (Français) [email protected] (Español) [email protected] People (nouns) Les Gens (noms) La Gente (nombres o sustantivos) English Français Español Masculino/Feminino artist Artiste el artista / la artista craftsman Artisan el artesano / la artesana potter Potier (potière) el alfarero / la alfarera studio potter Artiste-potier (potière) el ceramista / la ceramista ceramist Céramiste el ceramista / la ceramista sculptor Sculpteur(e) el escultor / la escultora teacher Enseignant(e), professeur(e) el maestro / la maestra professor Professeur(e) el profesor / la profesora student Étudiant(e) el estudiante / la estudiante master Maître el maestro / la maestra apprentice Apprenti(e) el aprendíz / la aprendíz technician Tecnnicien(ne) el técnico / la técnica What it is that potters do (nouns) Que font les potiers (noms) Qué hacen los alfareros (sustantivos) English Français Español art Art arte craft Artisanat artesanía pottery Poterie alfarería ceramics Céramique cerámica sculpture Sculpture escultura What it is that potters do (verbs) Que font les potiers (verbes) Qué es lo que hacen los ceramistas (verbos)
    [Show full text]
  • 5 Great Handbuilding Techniques
    ceramic artsdaily.org ceramic artsdaily.org five! Five Great threex great Handbuildinghandbuilding techniquesTechniques variations onvariations classic techniques on classic for techniquesmaking contemporary for making contemporary handbuilt pottery www.ceramicartsdaily.org | Copyright © 2014, Ceramic Publications Company | Five Great Handbuilding Techniques | i five! www.ceramicartsdaily.org | Copyright © 2011, Ceramic Publications Company | ThreeX Great Handbuilding Techniques | i Five Great Handbuilding Techniques: Variations on Classic Techniques for Making Contemporary Handbuilt Pottery When you put a ball of clay in your hands, you just want to start making something—it’s so natural it’s uncanny. And while equipment is used to make a lot of the pottery in the world, using just your hands or a simple paddle and rolling pin can produce awesome results! Discover how to make pottery using three simple techniques, but with a twist. MakeHow a pinch to Make pot really big, make coil pottery from flat coils, save a step and make leather hard hump molds instead of ceramic bisque molds, use a paper plate as a press mold, or make square slab pots with great textures. All you need is a ballMolded of clay in Plates your hands. It’s all here in a free download – Five Great Handbuilding Techniques: Variations on Classic TechniquesUsing fora Paper Plate as a Press Mold Making Contemporary Handbuilt Pottery. by Amanda Wilton-Green How to Make Molded Plates Using a Paper Plate as a Press Mold by Amanda Wilton-Green How to Make Chinet® plates make excellent press molds that provide great surfaces. a Slab Bowl Using a Leatherhard Clay Mold How to Make a Slab Bowl Using a by Lauren Sandler Making slab plates is a great way to develop basic slab techniques, and using Chinet® plates for forms makes this an Leatherhard Clay Mold easy project.
    [Show full text]