Fewkes, Vladimir (1944)

Total Page:16

File Type:pdf, Size:1020Kb

Fewkes, Vladimir (1944) CATAWBA POTTERY-MAKING, WITH NOTES ON PAMUNKEY POTTERY-MAKING, CHEROKEE POTTERY-MAKING, AND COILING VLADIMIR J. FEWKES* University Museum, University of Pennsylvania (Read by title November 22, 1941) CONTENTS Introduction ................................... 69 Molding within a double form.............. 81 Methods and techniques of Catawba pottery-making. 72 Forms....................................... 83 Acquisition and treatment of raw material....... 72 Surface finish................................. 86 Natural conditions and supplies............... 72 Decoration ................................... 88 Clay pits................................... 73 Drying process ............................... 88 Preparation of paste......................... 73 Firing ........................................ 90 Process of manufacture ....................... 75 Post-firing treatment.......................... 93 General preparations........................ 75 Time duration of the potter's tasks................ 94 Building technique .......................... 77 Technological miscellanea ....................... 96 Modeling ................................ 77 Cherokee pottery-making ....................... 97 Segmental building ....................... 78 Pamunkey pottery-making....................... 103 The uninterrupted process............... 78 Some historical retrospects ....................... 105 The ring variant...................... 79 Concluding remarks and comments................ 107 The circuit variant.................... 79 Addendum: coiling .............................. 110 The sectional process.................... 81 Bibliography................................... 122 INTRODUCTION of view. The usefulness of such an inquiry may be increased the status THE descendants of the Catawba profitably by considering contemporary of the Cherokee of the a remnant of the Eastern pottery-making among Indians, Siouan-speak- Mountains in North and live on a state reservation near Rock Smoky Carolina, among ing stock, the of Tidewater These York South Carolina. The "na- Pamunkey Virginia. Hill, County, still the craft old traditional as the natives like to refer to the reserva- groups practice along tion," and both have been to Catawba tion several survivals lines, exposed group, preserves prominent influences and intercom- of culture. through intermarriage aboriginal Particularly noteworthy munication. among these is pottery-making. Since 1884, the The purpose of this publication is to examine date of the first written record of the craft by a contemporary Catawba pottery-making; to in- dependable observer (Palmer's notes, vide infra), vestigate its history by projecting retrospective Catawba women have been repeatedly mentioned inquiries as far back as positive evidence permits; as skillful potters. Collections of pottery repre- and to consider, and within senting the interim reveal unmistakable uniform- strictly objectively practical limits, and ity in style and in technical details. pertinent comparative sup- Moreover, data. The notes on became the modern product has close if plementary coiling very similarities, an inevitable addition with which to not full analogies, among archaeological remains approach the task of classifying construction in hand-made found at sites known to have been occupied by the Catawba in early contact times or even before pottery. In the United the of either arch- the whites appeared. This circumstance renders States, study or has been co- the study of the Catawba craft aeological ethnological pottery potter's particu- ordinated into a rational larly attractive from the culture historical discipline; currently, point several serious and * well-qualified investigators Owing to the death of Dr. Fewkes on December 11, are pursuing researches which promise further 1941, after the completion of this manuscript but before advancement. The efforts in the field the arrangement of the Mrs. Lucile Serrem Pater- pioneering figures must be credited to the late Dr. W. H. son, who had worked with Dr. Fewkes on the manuscript Holmes, shortly before his death, arranged the figures and inserted who over 50 years ago began to publish his references to them in the text. studies, of which several should ever enjoy the PROCEEDINGS OF THE AMERICAN PHILOSOPHICAL SOCIETY, VOL. 88, NO. 2, JULY, 1944 69 70 VLADIMIR J. FEWKES reputation of classics. It is in point to recall that his studies were continental in scope, that they embraced archaeological and ethnological evidence alike, and that they concerned them- selves also with lithic, textile, and other domestic industries. Perhaps some of Dr. Holmes's short- comings may be attributed to the inevitable dangers inherent in such widely spread and diver- sified work. In any case, he covered several areas in considerable detail, and his contempora- ries or immediate successors carried on quite successfully. In the East, several accounts of surviving native pottery were prepared, and some attempt was made to connect certain modern wares with archaeological material. The Missis- sippi Valley received little attention from the time Holmes published his famous "Aboriginal Pottery" (1903) until Federal Government ap- propriations of recent years helped to develop extensive exploration programs. In the South- west, however, favorable circumstances stimu- lated pottery studies and attracted many spe- cialists. Dr. A. V. Kidder may well be called the Nestor of modern research in Southwestern pot- tery. His acumen, foresight, and profound schol- attitude, with rich field arly coupled experience, MAP 1. Catawba rendered him fitted for the mission. Approximate locations of Cherokee and eminently nations. Shaded areas: territories in eighteenth cen- This was to prepare the ground for, and to initiate tury. Dots: present locations of East Cherokee and the practice of research in, pottery technology. Catawba reservations. As a part of Dr. Kidder's program, Dr. C. E. Guthe published his splendid "Pueblo Pottery ject. Technological work pursues precise deter- Making " (1925), which is replete with minute minations by employing various means of investi- details of manufacturing steps. Then appeared gation proved dependable in other endeavors of Miss A. O. Shepard's "Technology of Pecos Pot- cognate aims. The analytical data are compiled tery" (1936), as part of Dr. Kidder's second vol- not necessarily for classificatory purposes; rather ume on Pecos pottery. Miss Shepard describes they provide indices of qualitative and quantita- the aims and methods of the research, examines tive properties of the analyzed specimens. The critically the glaring errors committed in subjec- usefulness of such data, as against the pitfalls of tive interpretation, and presents convincing proof subjective deductions, is quite obvious. There is of the practical and indisputable value of tech- no excuse for speculation in such matters as nological pottery analysis. Such work is entirely nature and sources of clays and temper, chemical scientific, devoid of personal reckoning, and forti- and physical composition, or optical properties; fied by standards derived from repeatedly de- and one can also be fully objective in dealing with monstrable principles. conquests, dates, diffusional trends, migrations, Thus the study of pottery is now facilitated by trade contacts, etc. If the positive evidence at excellent descriptive and detailed analytical re- hand is insufficient to yield the necessary data for ports based upon a thoroughly objective ap- answering these questions, no attempt is made to proach. It is this quality that distinguishes the substitute opinions. That pottery in itself, no modern work from so many earlier studies which, matter how well analyzed, has its own limitations however well intentioned, are not always free in culture historical investigations, is readily ad- from subjective treatment. mitted. The signal factor to stress is that studies The value of scrupulously observed objective of pottery in general, excepting aesthetic values, methods in pottery studies is the more pro- lend themselves to a full application of the princi- nounced in view of the technicalities of the sub- ples of scientific procedure; technological analysis, CATAWBA AND CHEROKEE POTTERY-MAKING 71 as convincingly demonstrated, operates with pre- tive studies extended the intermittent inquiries cise scientific methods. And yet, irrespective of into August, 1941, at which time I last visited the remarkable refinements reached in techno- the Catawba (and also the Cherokee). The sum logical pursuits, of the splendid body of factual total of the successive investigations corroborates data compiled, and of the standards established, the initial findings in principle. The most recent the laboratory work is only one part of the pic- field work, naturally, was directed toward a gen- ture. For it is equally interesting and important eral collation and especially toward an under- to know how a given pottery was actually manu- standing of the contemporary status of Catawba factured. In this regard, the scope of techno- and Cherokee pottery-making. logical endeavors may be most profitably en- The population of the Catawba reservation, as larged by specific detailed studies of contemporary estimated by Chief Sam Blue in the late summer pottery-making among aboriginal survivals. In of 1941, numbered about 260 souls, representing the United States a very fruitful field exists for some 60 families. With the aid of Mr. Irving such investigations, with
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Holds the Key Ingredient... Contents
    2016 holds the key ingredient... Contents About Us 3 How To Choose The Right Clay For You 4 Our Clays 6 Terracotta 6 Alex Shimwell Stoneware 7 Earthstones 10 Professional 13 Porcelain 16 Earthenware 17 French Regional Clays 18 Paper Clays 18 Powdered Clays 19 Slips 21 Casting Slips 21 Pouring Slips 21 Decorating Slips 21 Raw Materials 22 China/Ball Clays 22 Raw Clays 22 Fluxes 22 Oxides 23 Groggs 23 Plasters 23 Deflocculants 23 Sundry Materials 24 Custom Clay Formulas & Special Order Clays 25 Warranties & Responsibilities 25 Technical Information 26 Jane Wheeler 2016 Price List 30 Distributors 34 Front cover images are provided by... Top: Clare Wakefield Bottom: Beverley Gee, Garry & Pollie Uttley, Susanne Luckacs-Ringel 2 INFO About Us In the heart of the potteries over the past 36 years over 90 clay bodies to choose from Valentine Clays has Valentine Clays, a family run manufacturer, has worked ensured that there is a product to suit a potters every directly with the studio potter community formulating need whether you are a beginner or a professional. and fine tuning clays using the best possible ingredients. For advice or help with any technical issues please call This close working relationship enables the world-leading 01782 271200 or email [email protected] clay manufacturer and raw materials supplier; based we will be only too pleased to help. in Stoke-on-Trent, to successfully develop ceramic clay bodies to suit the specific requirements of a long list of renowned British and International potters. The team at Valentine Clays prides itself on constant development of new and innovative clays bodies using Kind regards, the latest ceramic manufacturing equipment; with The Valentine Clays Team Thank you to the studio potters whose images, taken from our online gallery, have been used in this brochure.
    [Show full text]
  • Ceramics Monthly Apr04 Cei04
    editor Sherman Hall associate editor Tim Frederich assistant editor Renee Fairchild design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie publisher Marcus Bailey editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4213 advertising: (614) 794-5809 classifieds: (614) 895-4212 customer service: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add GST (registration number R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup­ port (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. We also accept unillustrated texts e-mailed to [email protected] or faxed to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue.
    [Show full text]
  • PSW-33-4.Pdf
    Volume 33, No. 4 DECEMBER 2017 WINTER 2017 ISSN 0738-8020 MISSION STATEMENT Pottery Southwest, a scholarly journal devoted to the prehistoric and historic pottery of the Greater Southwest (https://potterysouthwest.unm.edu), provides a venue for students, professional, and avocational archaeologists in which to publish scholarly articles as well as providing an opportunity to share questions and answers. Published by the Albuquerque Archaeological Society since 1974, Pottery Southwest is available free of charge on its website which is hosted by the Maxwell Museum of the University of New Mexico. CONTENTS Page Pots of Ethnicity? David H. Snow ............................................................................................................. 2-27 Shamanism, Hallucinogenic Plants and Prehistoric Ceramics: Do hairy gods and echinate pots now tell their secret narrative to an unintended audience? William J. Litzinger ................................................................................................... 28-42 Salado as a Technology: A New Perspective on Salado Polychrome Andy Ward ................................................................................................................. 43-48 Reports and Announcements ................................................................................................... 49 CDs Available from the Albuquerque Archaeological Society ........................................ 50-51 How to Submit Papers and Inquiries .....................................................................................
    [Show full text]
  • 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
    [Show full text]
  • Istilah Kejuruteraan
    ISTILAH KEJURUTERAAN Bahasa lnggeris — Bahasa Malaysia BUKU ISTILAH LAiN DALAM SIRI DAFTAR ISTILAH IN!: Istilah Arkeologi 1988 Istilah Perhutanan 1987 Istilah Biologi 1988 Istilah Perikanan 1988 Istilah Drama dan Teater 1987 Istilah Perpustakaan 1988 lstilah Ekonomi 1991 * Istilah Pertani~n1989 Istilah Farmasi 1989 Istilah Perubatan 1992* Istilah Fizik Jilid I 1991* Istilah Psikologi 1992* Istilah Fizik Jilid 111992* Istilah Puisi 1991 Istilah Geologi 1988 Istilah Sains Politik 1989 Istilah Kependudukan 1991 Istilah Sains Tanah 1989 Istilah Kimia 1992* Istilah Sejarah 1990 Istilah Linguistik 1991 Istilah Seni Logam Halus 1991 Istilah Matematik 1992* Istilah Seni Reka Grafik 1992 Istilah Media dan Perutusan Istilah Simpulan dan Ikatan 1989 (Komunikasi) 1989 Istilah Tatanama Kimia 1987 Istilah Pelayaran 1988 Istilah Teknologi Makanan 1988 Istilah Pembangunan Manusia 1988 Istilah Ukur dan Pemetaan 1992 Istilah Pendidikan 1988 Istilah Undang-Undang 1992* Istilah Penilaian Harta Tanah 1992* Istilah Usuluddin dan Falsafah Islam Istilah Pentadbiran Perniagaan 1992* 1991 Istilah Perbankan 1992 Istilah Pergigian 1988 * Cetak Semula 11 ISTILAH KEJURUTERAAN Bahasa lnggens — Bahasa Malaysia Dewan Bahasa dan Pustaka Kuala Lumpur 2002 Daftar Istilah Kejuruteraan i, dalam edisi semakan nanti mungkin bertambah jumlahnya atau mungkin diubah atau ditukar beberapa padanannya, jika perlu. Penukaran padanan hanya boleh dilakukan dengan persetujuan Jawatankuasa Istilah Kejuruteraan yang terdiri daripada pakar istilah, pakar bidang, pakar bahasa dan pengguna;
    [Show full text]
  • Clay Coil Materials for 30 Students • 25 Lbs
    LESSON PLANS HAND-BUILT PROJECTS Clay Coil Materials For 30 students • 25 lbs. white low-fire clay • Assorted small and medium round brushes • Concepts™ colors as noted in step-by-step instructions • Disposable plates to hold color • Newspaper • Paper towels • Plastic knives • Water containers • Wire cutoff tool Clay Coil Projects Step-by-Step Rolling Coils 1. With cutoff tool, cut clay into 1" square strips the size of a stick of butter. 2. Mold clay with hands into an oblong shape rounding off the square edges. 3. Place oblong shape on a flat surface and gently roll clay back and forth with the palm of hands to create a rounded coil. 4. Keep rolling coil until it is an even 1/2" thick in diameter from end to end. Note: Pushing too hard may flatten coil. If this happens, gently roll on flat area to reshape coil. Ideal coils are uniform in diameter. Small Coil Tray / Coil Pot Base 1. Score then paint slip on connecting edges of coil and tightly spiral clay into a circle so that no space or gaps appear between coils. 2. To make tray or base larger, add coils by placing one diagonal cut coil end next to another and wet with slip. When desired length is reached, cut remaining loose coil from the base. Tray Handles 1. Cut two identically sized coils to form handles; cut ends of coils diagonally. 2. Place handles on opposite ends of the tray and connect Artist: Leslie Allen, Age 10 edges by scoring and painting with slip. Coil Bowl 1.
    [Show full text]
  • Ceramic Terms and Vocabulary
    Ceramic Terms and Vocabulary Bag wall – firebrick structure which prevents intense heat from striking the ware Bat – A disc of wood, plaster or plastic used on the wheel head Beaker – a tall cup Blisters – bubbles formed in the body or glaze due to rapid gas release Bisque – ware which has been fired once and is unglazed Bottle Kiln – type of European updraft kiln in the shape of a bottle Calipers – tool for measuring diameter of pots, useful for making lids Celadon – traditionally a type of greenish Asian glazes Chatter – decorative technique using a tool to create marks on a pot while it spins on the wheel Chun Glaze – a traditional sung dynasty opalescent Chinese glaze Coiling – an ancient way of making pots with coils or ropes of clay to build the walls Collaring – Reducing the size of an opening by compressing the clay while it spins on the wheel Combing – a decoration technique that uses a comb to draw lines on the surface of the pot Crackle – Decorative craze lines in the glaze, looks like netting (not food safe) Crazing – Formation of a network of cracks in the glaze (not food safe) a glaze fault Crystalline – Crystal formations on the surface of the pot from certain glazes Damper – Device for adjusting or closing the opening from the kiln to the chimney De-air – To remove the air from clay via a machine called a pug-mill Deflocculate – To disperse the particles in slip so less water is required for fluidity Dehydration – loss of water from clay during firing Devitrify – to recrystallize on cooling Dipping – immersing pots in
    [Show full text]
  • Visitor's Guide
    VISITOR’S GUIDE INTRODUCTION Ceramics have transformed the world. For thousands of years, hu- mans have shaped and fired clay into practical, social, artistic, and ideo- logical objects that can be found in almost every culture around the globe. Important social and scientific information imbedded in manufacturing techniques and decorative motifs of ceramics has been passed on for generations, exchanged between cultures, and has revolutionized people’s way of life. This exhibition highlights the Art Museum’s ceramic collection which spans six continents and six thousand years. Looking through the lens of cultural and technological influences and exchanges, this showcase seeks to reveal the depth and diversity of the collection and the power these wares possess in shaping our functional, social, and esthetic lives. The Potter’s Tale: Contextualizing 6,000 Years of Ceramics Mount Holyoke College Art Museum Curated by Aaron F. Miller, Assistant Curator of Visual and Material Culture Yingxi Lucy Gong, Art Museum Advisory Board Fellow This exhibition is made possible by the Susan Davenport Page 1931 and Margaret Davenport Page Fales 1929 Art Fund. Technology & Production As the fragmentary pieces in this case demonstrate, there are three primary types of ceramics: earthenware, stoneware, and porcelain. These categories differ based upon both the clay and the temperatures at which the vessels are fired in the kiln. Earthenware is fired at the lowest tempera- tures, and as a result, is the most porous and susceptible to cracking. The higher temperatures used for stoneware and porcelain also require specific varieties of clays and other minerals to allow the process of vitrification to occur, in which the silica in the clay becomes glass.
    [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]
  • Ceramics the WORKSHOP GUIDE TO
    HOOSON & QUINN & DUNCAN HOOSON & ANTHONY QUINN A fully illustrated step-by-step manual: techniques and principles of design THE WORKSHOP This book has been designed as the essential guide for all who GUIDE TO work with ceramics, including weekend crafters, night school or other students, and practicing ceramicists seeking a one-stop reference on techniques and processes. THE WORK Ceramics TO GUIDE SHOP Ceramics EarthenwareEarthenware • StStonewareoneware • PPorcelainorcelain • WWedgingedging • KKneadingneading • PinchingPinching • CCoilingoiling • SlSlabab bbuildinguilding • Contains an extensive guide to forming techniques, including pinching, coiling, slabbing, wheel-throwing, mold-making, slip casting, and extrusion Wheel-throwingWheel-throwing • WhirlerWhirler turningturning • CollaringCollaring • TrimmingTrimming • SledgingSledging • IncisingIncising • SlipSlip castingcasting • Detailed sections cover slip and surface decoration, glazing, glaze recipes, and applications StrataStrata castingcasting • FettlingFettling • SpongingSponging • SplitSplit moldmold • PressPress moldingmolding • JiggerJigger andand jolleyjolley • ExtrusionExtrusion Includes a comprehensive guide to firing and kilns, complemented with quick-reference • charts and tables SlipSlip trailingtrailing • FFeatheringeathering • MMarblingarbling • WWaxax resresistist • SSgraffigraffi ttoo • TTerraerra ssigillataigillata • DiDirectrect prprintinginting • Covers generating ideas and translating them into ceramic realities BurnishingBurnishing • RoulettingRouletting • KilnKiln
    [Show full text]