Pottery Books
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
A Potterõ S Pots, by Suze Lindsay Clay Culture
Cover: Bryan Hopkins functional constructions Spotlight: A Potter s Pots, by Suze Lindsay Clay Culture: An Exploration of Jun ceramics Process: Lauren Karle s folded patterns em— robl ever! p a Mark Issenberg, Lookout M ” ountain d 4. Pottery, 7 Risin a 9 g Faw h 1 n, GA r in e it v t e h n g s u a o h b t I n e r b y M “ y t n a r r a w r a e y 10 (800) 374-1600 • www.brentwheels.com a ith el w The only whe www.ceramicsmonthly.org october 2012 1 “I have a Shimpo wheel from the 1970’s, still works well, durability is important for potters” David Stuempfle www.stuempflepottery.com 2 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 3 MONTHLY ceramic arts bookstore Editorial [email protected] telephone: (614) 794-5867 fax: (614) 891-8960 editor Sherman Hall associate editor Holly Goring associate editor Jessica Knapp editorial assistant Erin Pfeifer technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty Advertising/Classifieds [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel advertising services Jan Moloney Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production production editor Melissa Bury production assistant Kevin Davison design Boismier John Design Editorial and advertising offices 600 Cleveland Ave., Suite 210 Westerville, Ohio 43082 Publisher Charles Spahr Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. -
Grand Tour of European Porcelain
Grand Tour of European Porcelain Anna Calluori Holcombe explores the major European porcelain centres Left: Gilder. Bernardaud Factory. embarked on a modern version of the 17th and 18th century Grand Limoges, France. Tour of Europe in summer of 2010 and spent two months researching Right: Designer table setting display. porcelain (primarily tableware) from historical and technical per- Bernardaud Factory. Limoges, France. Photos by Anna Calluori Holcombe. Ispectives. The tradition of Grand Tour promoted the idea of travelling for the sake of curiosity and learning by travelling through foreign lands. On a research leave with a generous Faculty Enhancement Grant A factory was started in 1863 by some investors and, at about from the University of Florida (UF), I visited factories and museums in that time, an apprentice was hired 10 major European ceramics centres. named Léonard Bernardaud. He Prior to this interest in investigating European porcelain, I spent time worked his way up to become a studying Chinese porcelains with fascination and awe. On one of my partner, then acquiring the company in 1900 and giving it his name. many trips to China and my first visit to the famous city of Jingdezhen, I In 1949, the factory introduced climbed Gaoling Mountain, where the precious kaolin that is essential to the first gas-fuelled tunnel kiln in the Chinese porcelain formula was first mined more than 1000 years ago. France operated 24 hours a day, a Soft paste porcelain, which does not have the durability and translu- standard in most modern factories today. Although they had to cut 15 cency found in hard paste porcelain was in popular use in Europe prior percent of their employees in recent to their discovery of hard paste porcelain. -
Fast Fossils Carbon-Film Transfer on Saggar-Fired Porcelain by Dick Lehman
March 2000 1 2 CERAMICS MONTHLY March 2000 Volume 48 Number 3 “Leaves in Love,” 10 inches in height, handbuilt stoneware with abraded glaze, by Michael Sherrill, Hendersonville, North FEATURES Carolina. 34 Fast Fossils 40 Carbon-Film Transfer on Saggar-Fired Porcelain by Dick Lehman 38 Steven Montgomery The wood-firing kiln at Buck Industrial imagery with rich texture and surface detail Pottery, Gruene, Texas. 40 Michael Sherrill 62 Highly refined organic forms in porcelain 42 Rasa and Juozas Saldaitis by Charles Shilas Lithuanian couple emigrate for arts opportunities 45 The Poetry of Punchong Slip-Decorated Ware by Byoung-Ho Yoo, Soo-Jong Ree and Sung-Jae Choi by Meghen Jones 49 No More Gersdey Borateby JejfZamek Why, how and what to do about it 51 Energy and Care Pit Firing Burnished Pots on the Beach by Carol Molly Prier 55 NitsaYaffe Israeli artist explores minimalist abstraction in vessel forms “Teapot,” approximately 9 inches in height, white 56 A Female Perspectiveby Alan Naslund earthenware with under Female form portrayed by Amy Kephart glazes and glazes, by Juozas and Rasa Saldaitis, 58 Endurance of Spirit St. Petersburg, Florida. The Work of Joanne Hayakawa by Mark Messenger 62 Buck Pottery 42 17 Years of Turnin’ and Burnin’ by David Hendley 67 Redware: Tradition and Beyond Contemporary and historical work at the Clay Studio “Bottle,” 7 inches in height, wheel-thrown porcelain, saggar 68 California Contemporary Clay fired with ferns and sumac, by The cover:“Echolalia,” San Francisco invitational exhibition Dick Lehman, Goshen, Indiana. 29½ inches in height, press molded and assembled, 115 Conquering Higher Ground 34 by Steven Montgomery, NCECA 2000 Conference Preview New York City; see page 38. -
The Pennsylvania State University Schreyer Honors College
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF VISUAL ARTS FOR THE LOVE OF PIE LINDA M. N. STRUBLE Spring 2010 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Art with honors in Art Reviewed and approved* by the following: Del Harrow Assistant Professor of Art Thesis Supervisor Jerrold Maddox Professor of Art Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT For my senior research project I hosted the event For the Love of Pie in the Patterson Gallery of the Pennsylvania State University. I combined pottery, painting, and pastry to create pieces that encouraged attendees to interact with the objects in the gallery and to interact with each other. These interactions or relations became the ultimate component of my work. I wanted to elevate pie. So, I experimented with earthenware to develop different surface textures that created an aesthetic bridge between the ceramics and the pastries. In addition to pie, I incorporated elaborate desserts--croquembouche and kransekake. My work is ornate in the sense that it is composed of layers of complexity that engage multiple senses. I have a long history with pies and pastries, but I needed to look elsewhere for inspiration for the other elements of my work. Giorgio Morandi, Betty Woodman, and Luca Della Robbia provided plenty and I created works after each of these artists. Nicolas Bourriaud and Rirkrit Tiravanija introduced me to the concept of relational aesthetics while Gordon Matta-Clark’s ventures in aspic bolstered my reserve and helped me to articulate my goals. -
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. -
HAMK Opinnäytetyön Mallipohja
THE BULBS A conceptual artwork cast in porcelain Bachelor’s Thesis Hämeenlinna University Center Degree Program in Design Spring 2021 Anna Siukola Degree Program in Design Abstract Hämeenlinna University Center Author Anna Siukola Year 2021 Subject The Bulbs. A conceptual artwork cast in porcelain Supervisors Helena Leppänen, Mirja Niemelä The aim of this thesis is to create a porcelain artwork by using slipcasting. The work explains what slip means, what it is composed of and how it is produced; further on, it studies surface decoration applications such as glazes; and finally, it presents the created cast porcelain artwork variations. The thesis consists of a knowledge base and an implementation part. In the theoretical part, a porcelain slip, high-fire glazes, the principles of creating them, and what happens to the compounds in an electric kiln during firings, are studied. The target of this research is to build a theoretical platform supporting the making process. The practical part demonstrates the process of creating the artwork, which is a combination of cast porcelain bulbs of various shapes and sizes. The porcelain slip is created and used for casting, and the glazes are made and used for the surface decoration, the porcelain bulbs are finalized. Some bulbs are glazed partially, and some are left unglazed – to show the beauty of the contrast of a stunningly white porcelain and bright glazes. The final artwork variations are multi-colored and the parts within them – all have an original look. The artwork theme presented in this work is only one of possible variations. Depending on the number of bulbs, and the means of their attachments, they can be easily re-assembled into new artistic installations. -
Mass-Produced Handmade Ceramics Cynthia Vardhan
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 2004 Mass-produced handmade ceramics Cynthia Vardhan Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Vardhan, Cynthia, "Mass-produced handmade ceramics" (2004). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ROCHESTER INSTITUTE OF TECHNOLOGY MASS-PRODUCED HANDMADE CERAMICS A THESIS SUBMITTED TO THE FACULTY OF THE COLLEGE OF IMAGING ARTS AND SCIENCES IN CANDIDACY FOR THE DEGREE OF MASTER OF FINE ARTS INDUSTRIAL DESIGN DEPARTMENT BY CYNTHIA VARDHAN ROCHESTER NEW YORK MAY 2004 Approvals Chief Advisor, Professor David Morgan: David Morgan Date: Associate Advisor, Professor Stan Rickel: Stan Rickel Date: Associate Advisor, Professor Julia Galloway: Julia Galloway Date: School Chairperson, Professor Patti Lachance Patti Lachance Date: I I I, Cynthia Vardhan, hereby grant permission to the Wallace Memorial Library of RIT to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or profit. Date: Cynthia Vardhan 3 '//."1 II Copyright 2003 by Cynthia Vardhan All rights reserved To Aniket Love your experiments (as you would an ugly child) Bruce Mau "An Incomplete Manifesto for Growth" CONTENTS LIST OF ILLUSTRATIONS vi Chapter 1. THESIS SUMMARY 1 Components ofThesis Necessity ofThesis Goals Limitations 2. BACKGROUND OF PRODUCTION METHODS 6 The Handrnade-to-Machine-Made Continuum Current Processes in Use Case Studies My Niche in the Spectrum 3. -
1 Appalachian Center for Crafts Vince Pitelka, 2016 Glossary of Colored
Appalachian Center for Crafts Vince Pitelka, 2016 Glossary of Colored Clay Techniques Basalt Body: a clay body containing enough metallic oxides to fire to a gray-black or chocolate brown color. Basalt bodies may be fine-grained and smooth, as in Wedgewood black basalt ware, or may be grainy and rough, as in some sculptural works by Peter Voulkos and John Mason. Burnishing: historically the third stage in pottery decoration in almost every culture, after surface impressing and slip painting. Burnishing allows for a smooth, dense, glassy surface on any clay without the use of glazes. Color intensity is enhanced with burnishing almost as effectively as with the “wetting” effect of a clear glaze, and burnishing gives a satin texture achievable through no other method. Burnishing is generally done at the bone dry stage after re-introducing moisture into the clay with a thin coat of lard, glycerin, shortening, or cooking oil. One the lard or oil is absorbed, the surface is rubbed with a smooth hard object such as a shiny pebble or the back of a steel spoon. After firing, burnished wares are often polished further with pure tung-oil (a wood-finishing oil) or furniture polish. Clay Marquetry: similar to marquetry in wood. Small pieces of damp colored clays are assembled on a clay back-up slab (with a spray of vinegar water) to create pictorial imagery. Sometimes the designs are improvised during assembly, often overlapping components. For greater precision and pictorial clarity, an original design may be executed on poster-board, which is then cut up into individual templates. -
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 -
I AP42 Section: 111.7 Reference: DW Richerson, 4 Title
I AP42 Section: 111.7 - Reference: 4 Title: Modern Ceramic Engineering: Properties Processing, And Use In Design, D. W. Richerson, I Marcel Dekker, Inc., New York, NY, 1982. I1 PROCESSING OF CERAMICS The relationships among atomic bonding, crystal structure, and properties for ceramics, metals, and polymers were discussed in Part I. It was shown that the theoretical strength is controlled by the strength of bonding, but that in actual ceramic components the theoretical strength is not achieved due to flaws in the fabricated material. The objectives of Part Il are to review the fabrication processes used for manufacturing ceramic compo- nents, determine where in these processes strength-limiting flaws are likely to occur, and provide the reader with approaches for detecting these flaws and worldng with the ceramic fabricator to eliminate them. Most ceramic fabrication processes begin with finely ground powder. Chapter 5 describes the criteria for selection of the starting powder, meth- ods of achieving the proper particle size distribution, and requirement8 for pretreating the powder before it can be formed into the desired wm- ponent. Chapter 6 describes the processes used to form the ceramic powders into the component shapes. Uniaxial and isostatic pressing, slip casting, emion, injection molding, tape forming, and green machining are included. The shapes resulting from the forming processes described in Chap. 6 consist essentially of powder compacts that must be densified by high- temperature processing before they will have adequate strength and other properties. The mechanisms and processes for densification are explored in Chap. 7. Some processes combine formtng and densification in a single step. -
English Slipware Pottery
24 GETTING THINGS DONE NAN MUSGROVE is a young potter working in the English Slipware tradition. She trained in the workshop of John Pollex, one of the best-known contemporary slipware potters, and moved to Marsden, near Huddersfield, in March 1979 to establish her own workshop. Training in slipware was a deliberate choice for her, partly because it gives great scope for decoration and partly because she responds to its intrinsic 'Englishness'. Most people are familar with craft copy of the Willow Pattern, in the 1702 said that it was nicknamed 'Little pottery that is glazed with sombre col- customary brown and yellow colours London' by the locals, presumably ours: greys, dull greens and soft of earthenware. because of its activity and smoke. browns. Often it is decorated with There is a little rhyme about the subtle brush patterns, but the overall Yearsley pottery, which was estab- impression is usually restrained. This 0174 lished by a branch of the Wedgewood is stoneware pottery in the oriental family in the late seventeenth tradition, which was introduced into century: this country by Bernard Leach, who "At Yearsley there were panche- did more than any other person to ons made re-establish a tradition of hand- 4 ry By Willie Wedgewood that thrown pottery here. He was trained lle young blade" Ga in Japan and, when he set up his work- t These potteries produced a great shop in St. Ives in the 1920's, he Ar naturally continued to use oriental range of slipware dishes, jugs, cups City glazes, although he adapted his r and chamber pots as well as the big shapes to his English market. -
The Cup, the Mug 2020
THE CUP, THE MUG 2020 About the Exhibition The fifth annual The Cup, The Mug exhibition at Main Street Arts features work by 55 artists from 24 states. A national juried exhibition of drinking vessels, this year’s The Cup, The Mug exhibition was juried by Christina Erives of Helena, MT and Masa Sasaki of Atlanta, GA. Exhibition Dates: November 7—December 4, 2020 Award Annoucement (Facebook live): Saturday, November 7 at 6 p.m. “What a pleasure to get to examine so many wonderful cups. It was exciting to see such a wonderful range of material, form, and surfaces. I was particularly drawn to the amount of character and playfulness in many of these submissions. Many left such a lingering image in mind after viewing them that proved their quality and skill to be unforgettable. I think the toughest choice in this show will be which cup to take home!” — Christina Erives “It was a great pleasure to participate in the jurying process. All of the outstanding artists that submitted cups should be commended. Along with the demonstration of technical skill, I looked for artistic expression that embodies both esthetic quality and originality. Each of the cups we reviewed had exceptional desirable characteristics and choosing a winner was challenging indeed.” — Masa Sasaki FEATURING THE WORK OF: Hadi Abbas (Orlando, FL) Camilla Ascher (Baltimore, MD) Casey Beck (St. Paul, MN) Eve Behar (Sag Harbor, NY) Collin Blackmore (Earlville, NY) Sandy Blain (Tempe, AZ) Tracy L. Burton (Chicago, IL) Brooke Cashion (Alfred, NY) Joey Chiarello (Honolulu, HI) Marissa