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Leeds Pottery
Leeds Art Library Research Guide Leeds Pottery Our Art Research Guides list some of the most unique and interesting items at Leeds Central Library, including items from our Special Collections, reference materials and books available for loan. Other items are listed in our online catalogues. Call: 0113 378 7017 Email: [email protected] Visit: www.leeds.gov.uk/libraries leedslibraries leedslibraries Pottery in Leeds - a brief introduction Leeds has a long association with pottery production. The 18th and 19th centuries are often regarded as the creative zenith of the industry, with potteries producing many superb quality pieces to rival the country’s finest. The foremost manufacturer in this period was the Leeds Pottery Company, established around 1770 in Hunslet. The company are best known for their creamware made from Cornish clay and given a translucent glaze. Although other potteries in the country made creamware, the Leeds product was of such a high quality that all creamware became popularly known as ‘Leedsware’. The company’s other products included blackware and drabware. The Leeds Pottery was perhaps the largest pottery in Yorkshire. In the early 1800s it used over 9000 tonnes of coal a year and exported to places such as Russia and Brazil. Business suffered in the later 1800s due to increased competition and the company closed in 1881. Production was restarted in 1888 by a ‘revivalist’ company which used old Leeds Pottery designs and labelled their products ‘Leeds Pottery’. The revivalist company closed in 1957. Another key manufacturer was Burmantofts Pottery, established around 1845 in the Burmantofts district of Leeds. -
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. -
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' . -
Determination of Geotechnical Properties of Clayey Soil From
DETERMINATION OF GEOTECHNICAL PROPERTIES OF CLAYEY SOIL FROM RESISTIVITY IMAGING (RI) by GOLAM KIBRIA Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE IN CIVIL ENGINEERING THE UNIVERSITY OF TEXAS AT ARLINGTON August 2011 Copyright © by Golam Kibria 2011 All Rights Reserved ACKNOWLEDGEMENTS I would like express my sincere gratitude to my supervising professor Dr. Sahadat Hos- sain for the accomplishment of this work. It was always motivating for me to work under his sin- cere guidance and advice. The completion of this work would not have been possible without his constant inspiration and feedback. I would also like to express my appreciation to Dr. Laureano R. Hoyos and Dr. Moham- mad Najafi for accepting to serve in my committee. I would also like to thank for their valuable time, suggestions and advice. I wish to acknowledge Dr. Harold Rowe of Earth and Environmental Science Department in the University of Texas at Arlington for giving me the opportunity to work in his laboratory. Special thanks goes to Jubair Hossain, Mohammad Sadik Khan, Tashfeena Taufiq, Huda Shihada, Shahed R Manzur, Sonia Samir,. Noor E Alam Siddique, Andrez Cruz,,Ferdous Intaj, Mostafijur Rahman and all of my friends for their cooperation and assistance throughout my Mas- ter’s study and accomplishment of this work. I wish to acknowledge the encouragement of my parents and sisters during my Master’s study. Without their constant inspiration, support and cooperation, it would not be possible to complete the work. -
A Study of Unstable Slopes in Permafrost Areas: Alaskan Case Studies Used As a Training Tool
A Study of Unstable Slopes in Permafrost Areas: Alaskan Case Studies Used as a Training Tool Item Type Report Authors Darrow, Margaret M.; Huang, Scott L.; Obermiller, Kyle Publisher Alaska University Transportation Center Download date 26/09/2021 04:55:55 Link to Item http://hdl.handle.net/11122/7546 A Study of Unstable Slopes in Permafrost Areas: Alaskan Case Studies Used as a Training Tool Final Report December 2011 Prepared by PI: Margaret M. Darrow, Ph.D. Co-PI: Scott L. Huang, Ph.D. Co-author: Kyle Obermiller Institute of Northern Engineering for Alaska University Transportation Center REPORT CONTENTS TABLE OF CONTENTS 1.0 INTRODUCTION ................................................................................................................ 1 2.0 REVIEW OF UNSTABLE SOIL SLOPES IN PERMAFROST AREAS ............................... 1 3.0 THE NELCHINA SLIDE ..................................................................................................... 2 4.0 THE RICH113 SLIDE ......................................................................................................... 5 5.0 THE CHITINA DUMP SLIDE .............................................................................................. 6 6.0 SUMMARY ......................................................................................................................... 9 7.0 REFERENCES ................................................................................................................. 10 i A STUDY OF UNSTABLE SLOPES IN PERMAFROST AREAS 1.0 INTRODUCTION -
Frequency and Magnitude of Selected Historical Landslide Events in The
Chapter 9 Frequency and Magnitude of Selected Historical Landslide Events in the Southern Appalachian Highlands of North Carolina and Virginia: Relationships to Rainfall, Geological and Ecohydrological Controls, and Effects Richard M. Wooten , Anne C. Witt , Chelcy F. Miniat , Tristram C. Hales , and Jennifer L. Aldred Abstract Landsliding is a recurring process in the southern Appalachian Highlands (SAH) region of the Central Hardwood Region. Debris fl ows, dominant among landslide processes in the SAH, are triggered when rainfall increases pore-water pressures in steep, soil-mantled slopes. Storms that trigger hundreds of debris fl ows occur about every 9 years and those that generate thousands occur about every 25 years. Rainfall from cyclonic storms triggered hundreds to thousands of debris R. M. Wooten (*) Geohazards and Engineering Geology , North Carolina Geological Survey , 2090 US Highway 70 , Swannanoa , NC 28778 , USA e-mail: [email protected] A. C. Witt Virginia Department of Mines, Minerals and Energy , Division of Geology and Mineral Resources , 900 Natural Resources Drive, Suite 500 , Charlottesville , VA 22903 , USA e-mail: [email protected] C. F. Miniat Coweeta Hydrologic Lab , Center for Forest Watershed Research, USDA Forest Service, Southern Research Station , 3160 Coweeta Lab Road , Otto , NC 28763 , USA e-mail: [email protected] T. C. Hales Hillslope Geomorphology , School of Earth and Ocean Sciences, Cardiff University , Main Building, Park Place , Cardiff CF10 3AT , UK e-mail: [email protected] J. L. Aldred Department of Geography and Earth Sciences , University of North Carolina at Charlotte , 9201 University City Blvd. , Charlotte , NC 28223 , USA e-mail: [email protected] © Springer International Publishing Switzerland 2016 203 C.H. -
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. -
Iron and Manganese 2014 Clean Creek: Iron and Manganese
Clean Creek iron and manganese 2014 Clean Creek: Iron and Manganese Brief History of Abandoned Mine Drainage Curator’s Statement In Pennsylvania, coal has been mined for over 200 years. The Iron and manganese are commonly used in ceramics produced first known commercial mine was opened in 1761 on Coal by large scale factories as well as small scale studio potteries. Hill, which is now known as Mt. Washington in Pittsburgh. Iron oxide and manganese dioxide are available to ceramicists While coal has fueled our economy, heated our homes, and in chemically pure forms produced by industrial manufacture. provided countless kilowatt-hours of electricity, historical The Clean Creek iron and manganese are precipitated as a mining activities have left a legacy of scarred landscapes and by-product of a watershed recovering from a mine discharge. polluted streams. An estimated 4,000 miles of streams (more The recovered materials are available to ceramicists at the same than any other state) have been degraded by abandoned cost as the manufactured materials. The recovered iron and mine drainage (AMD). In many instances, metal precipitates manganese represent a new “green” option for ceramicists. have coated the bottom of streams destroying the habitat of the macroinvertebrates (“stream bugs”) that are so extremely Ceramicists have a tradition of sharing. mTechniques are not important in the aquatic food chain. Only the most tolerant of often kept secret. Clay and glaze recipes are usually given species are able to survive with some streams being designated freely from one artist to another. The aim of this exhibition is as “dead.” to showcase a variety of possible outcomes when using these materials. -
Earthenware Pottery Production Techniques and the Bradford Family Pottery of Kingston, MA Martha L
University of Massachusetts Boston ScholarWorks at UMass Boston Graduate Masters Theses Doctoral Dissertations and Masters Theses 6-1-2015 Ubiquitous and Unfamiliar: Earthenware Pottery Production Techniques and the Bradford Family Pottery of Kingston, MA Martha L. Sulya University of Massachusetts Boston Follow this and additional works at: http://scholarworks.umb.edu/masters_theses Part of the Archaeological Anthropology Commons, Cultural History Commons, and the United States History Commons Recommended Citation Sulya, Martha L., "Ubiquitous and Unfamiliar: Earthenware Pottery Production Techniques and the Bradford Family Pottery of Kingston, MA" (2015). Graduate Masters Theses. Paper 326. This Open Access Thesis is brought to you for free and open access by the Doctoral Dissertations and Masters Theses at ScholarWorks at UMass Boston. It has been accepted for inclusion in Graduate Masters Theses by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. UBIQUITOUS AND UNFAMILIAR: EARTHENWARE POTTERY PRODUCTION TECHNIQUES AND THE BRADFORD FAMILY POTTERY OF KINGSTON, MA A Thesis Presented by MARTHA L. SULYA Submitted to the Office of Graduate Studies, University of Massachusetts, Boston, in partial fulfillment of the requirements for the degree of MASTER OF ARTS June 2015 Historical Archaeology Program © 2015 Martha L. Sulya All rights reserved UBIQUITOUS AND UNFAMILIAR: EARTHENWARE POTTERY PRODUCTION TECHNIQUES AND THE BRADFORD FAMILY POTTERY OF KINGSTON, MA A Thesis Presented by MARTHA L. SULYA Approved as to style and content by: _____________________________________________ Christa M. Beranek, Research Scientist, Fiske Center for Archeaological Research Chairperson of Committee _______________________________________________ Stephen A. Mrozowski, Professor ______________________________________________ John M. Steinberg, Senior Scientist, Fiske Center for Archaeological Research ______________________________________ Stephen W. -
Ceramics Monthly Jan86 Cei01
William C. Hunt........................................ Editor Barbara Tipton ...................... Associate Editor Robert L. Creager ........................ Art Director Ruth C. Butler............................. Copy Editor Valentina Rojo ...................... Editorial Assistant Mary Rushley................ Circulation Manager Mary E. Beaver. Circulation Assistant Jayne Lohr .................... Circulation Assistant Connie Belcher .... Advertising Manager Spencer L. Davis.............................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con sidered for publication. A booklet describing procedures for the preparation and submis sion of a manuscript is available upon re quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. -
Volume 18 (2011), Article 3
Volume 18 (2011), Article 3 http://chinajapan.org/articles/18/3 Lim, Tai Wei “Re-centering Trade Periphery through Fired Clay: A Historiography of the Global Mapping of Japanese Trade Ceramics in the Premodern Global Trading Space” Sino-Japanese Studies 18 (2011), article 3. Abstract: A center-periphery system is one that is not static, but is constantly changing. It changes by virtue of technological developments, design innovations, shifting centers of economics and trade, developmental trajectories, and the historical sensitivities of cultural areas involved. To provide an empirical case study, this paper examines the material culture of Arita/Imari 有田/伊万里 trade ceramics in an effort to understand the dynamics of Japan’s regional and global position in the transition from periphery to the core of a global trading system. Sino-Japanese Studies http://chinajapan.org/articles/18/3 Re-centering Trade Periphery through Fired Clay: A Historiography of the Global Mapping of Japanese Trade Ceramics in the 1 Premodern Global Trading Space Lim Tai Wei 林大偉 Chinese University of Hong Kong Introduction Premodern global trade was first dominated by overland routes popularly characterized by the Silk Road, and its participants were mainly located in the vast Eurasian space of this global trading area. While there are many definitions of the Eurasian trading space that included the so-called Silk Road, some of the broadest definitions include the furthest ends of the premodern trading world. For example, Konuralp Ercilasun includes Japan in the broadest definition of the silk route at the farthest East Asian end.2 There are also differing interpretations of the term “Silk Road,” but most interpretations include both the overland as well as the maritime silk route.