HOOSON 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 GUIDE TO SHOP Ceramics

• Contains an extensive guide to forming techniques, including pinching, coiling, slabbing, EarthenwareEarthenware • StStonewareoneware • PPorcelainorcelain • WWedgingedging • KKneadingneading • PiPinchingnching • CCoilingoiling • SlSlabab bbuildinguilding wheel-throwing, mold-making, casting, and extrusion Wheel-throwingWheel-throwing • WWhirlerhirler tturningurning • CCollaringollaring • 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 , complemented with quick-reference charts and tables SlipSlip ttrailingrailing • FFeatheringeathering • MMarblingarbling • WWaxax resresistist • SSgraffigraffi ttoo • TTerraerra ssigillataigillata • DiDirectrect prprintinginting • Covers generating ideas and translating them into ceramic realities BurnishingBurnishing • RoulettingRouletting • KilnKiln packingpacking • MaquettesMaquettes • RakuRaku fi ringring • SaggarSaggar fi ringring • SaltSalt glazingglazing • Advises on ways to promote and sell your work through websites, exhibitions, and galleries GlazeGlaze recipesrecipes • MMajolicaajolica • ViVisualsual inspirationinspiration • TTechnicalechnical ddrawingrawing • EExhibitingxhibiting • TTransfersransfers EnamelsEnamels • LLustersusters • CColoringoloring slipslip • BBrushingrushing • PPouringouring • RRolleringollering • SSprayingpraying • DDippingipping Duncan Hooson is a practicing ceramicist and a teacher of in schools, hospitals, and on community ISBN: 978-0-7641-6461-3 SpongewareSpongeware • BandingBanding on thethe wheelwheel • CarvedCarved andand directdirect inlayinlay • AgatewareAgateware • ScreenprintingScreenprinting projects throughout London. ImpressingImpressing • CarvingCarving andand subtractionsubtraction • PiercingPiercing • SlakingSlaking • FumedFumed rakuraku • PitPit fi ringring • SlipSlip resistresist Anthony Quinn operates a successful London design EAN consultancy with a varied client base that includes withwith smokesmoke • UsingUsing compositescomposites • PhotographingPhotographing your workwork • SolidSolid blockblock modelingmodeling • AlteringAltering Wedgwood, Leeds , and British Airways. He also teaches ceramic desgn at Central Saint Martins College $34.99 Canada $39.99 formform • HHandlesandles • SSpoutspouts • LLatheathe tturningurning • SSelectiveelective llaseraser ssinteringintering • RRefiefi nninging process • OOxx hheadead of Art and Design in London, and is the author of Ceramic Design Course available in North America from Barron’s. www.barronseduc.com kneadingkneading • SSpiralpiral kkneadingneading • FlFloatingoating momoldld • CCylinderylinder momoldslds • CCenteringentering • AAssemblingssembling cascastt parpartsts

SGCE Barrons plc plus spot uv REV.indd 1 12/7/11 12:48 PM 4th Proof Title: SGCE_The Studio Guide to Ceramics (Quarto) : 29696 Job No: CPJ1211-5 / Alice ~ PLC_BARRON 68 Forming Techniques Hand Building: Slab Building 69

Ri b b e d s c u l p t u r e s Navigator b y Fe n e l l a El m s This pair of skeletal slab Materials, Tools and Process There are two main methods of slab building, which are dependent on the condition forms demonstrates the (pages 20–51) of the before forming. The sheets of clay may be either fresh and soft (soft slabs) extraordinary flexibility Forming Techniques or partially dry (leather-hard slabs). Soft slabs will allow you to manipulate and alter of working with soft (pages 52–169) sheets of clay. The making • Hand Building them by bending, folding, pressing and stretching as you build. Hard slabs allow you and drying of forms can Pinching to construct complex, angular, sharp-edged forms as though using sheets of wood. be assisted by resting on Coiling their sides on foam and

t • Slab Building Solid Block Modelling HAND BUILDING: Slab building insulating paper fibres. • Throwing • Model Making • Mould Making Slabs are used to create a variety of forms for both assembly. This gives you the opportunity to see, • Making function and sculpture. You can make exquisite assess and make adjustments to the final form • Extrusion • CAD/CAM small boxes that are beautifully carved; simple before spending any time making. It will also cylindrical tubes; create monumental-scale forms enable you to decide the type of clay best suited Prefiring Surface Decoration that stand tall, or that cover vast areas of to the scale of work you wish to make. (pages 170–217) walls and roofs. All of these are open to the possibility of varying textural surface qualities. Soft slabs Firing (pages 218–243) Soft slabs are used either to create undulating Glazing (pages 244–261) Leather-hard slabs forms or in conjunction with a range of semihard Post-glaze Surface Decoration Slab building using leather-hard slabs is one of or hard supporting objects and materials to (pages 262–283) the few techniques that enables you to design create a wide variety of forms for both function and make your form completely in card before and sculpture. Smooth, fine clay can be folded Design (pages 284–295) you touch the clay. You can then use these and pleated almost like cloth. If you do this, Professional Practice card templates in the same way a pattern cutter make sure you have not trapped air in sealed (pages 296–307) would, to cut out the individual elements before pockets. You can always push a pin into areas

you are not sure about to release air and keep Architectural clay bodies are available from clay Fo l d e d s l a b s the form from bursting during firing. Surface suppliers. These clays have been blended with b y An n v a n Ho e y decoration and texture may be left until the form very high contents of grog and have minimal These finely made slab forms is completed or can be an integral part of the shrinkage between making and finishing. Crank have been cut and folded like making of the slab. and raku clay bodies are similar in blend, feel paper while being supported and texture, creating what’s known as an ‘open during the making and drying Appropriate clays body’. Take care when using these clays; the more period in plaster moulds. The use of paper clay has changed some of textured the clay body, the more the clay will the rules regarding slab working, because you start to open out and crack as you manipulate can dry these slabs of clay and then assemble it. This characteristic is often used to highlight them with slurry. This has eliminated many of and create textured cracked surfaces. These the drying, cracking and wrapping problems bodies have very good mechanical greenware inherent in the use of other clays. strength (bone-dry stage) and are ideal for Other additives to clay have been used for medium- to large-scale working. Fine clays like Sl a b -b u i l t s c u l p t u r e many years – think of building walls with wattle offer the maker different challenges, b y Pe t r a Wo l f and daub. Makers have more recently used nylon but in time you’ll be able to use them just as When working with slabs you fibres, fibreglass, cloth and sawdust to build very successfully, and they offer their own qualities, can explore balance and tension. large slabbed forms. This means the clay shrinks such as translucency. The more you use a type of This sculpture emphasizes the and warps less and helps with bonding the clay clay, the more you will learn about its particular stress of where its weight has particles during the drying process. handling characteristics. produced surface cracks during the making process.

Title: SGCE-The Studio Guide to Ceramics : 29696 UK Text Title: SGCE-The Studio Guide to Ceramics : 29696 UK Text 1st Proof Job No: PJ1111-34 / Janet Black 1st Proof Job No: PJ1111-34 / Janet Black