Showing posts with label pottery. Show all posts
Showing posts with label pottery. Show all posts

Fired Up with Raku: Over 300 Raku Recipes Review

Fired Up with Raku: Over 300 Raku Recipes
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What needs improvement? The over 300 recipes do not have photos of test tiles associated with them. Artwork throughout the book in some places give the name of the glaze (ie: Copper Matt), however the name may not be explicit enough (ie: there are six copper matt recipes and many other copper matts not called "copper matt"). Some labels are incorrect (ie: "Vases" (Horsehair raku))--> these are actually two crackle vases and one horsehair raku vase. You could do without the personal statements of the invited artists. It is the wrong target audience for this type of book. It would be better to put additional techniques or photos of their work or them performing a technique that is visually aided.
Now the good! Even though there are no test tile photos, the comments are helpful (ie: requires heavy reduction or thin or thick coats). There is a good range of raku colors represented within the recipes and crackles, matts and glosses. There are a good range of construction techniques shown among the selected artists (ie: slab, wheel-thrown, wheel-altered, carved, sculpted, etc.) showing how these methods are best enhanced by raku glazes. There are also many glazing techniques (naked raku, slip resist, paper clay, etc.) that are interesting.
In all, the book is a good book and I would recommend it to others. I think a revision could make it an excellent book.

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The origins of raku can be traced back hundreds of years to Japan, where it was used as the traditional method of creating clay bowls for the tea ceremony. Over the years, potters have embraced and adapted these methods, celebrating the remarkable but unpredictable results achieved using raku techniques. Irene Poulton, who has specialized in raku firing for over 20 years, considers the origins of raku before offering 300 glaze recipes. A selection of other potters also share their ideas. With 100 color photos of raku-fired pieces, this is an outstanding source of information and inspiration for all potters.

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Repairing Pottery and Porcelain: A Practical Guide, 2nd edition Review

Repairing Pottery and Porcelain: A Practical Guide, 2nd edition
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Repairing Pottery and Porcelain is an in-depth guide to repairing pottery and porcelain. It gets pretty technical at times, but it is written in such a way that a beginner can easily learn the art of pottery repair. Instead of offering only one solution to a problem (i.e. cleaning), it offers many, explaining the differences in each.

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This fully-illustrated step-by-step guide clearly takes the student, the amateur, and the professional restorer through each stage of restoration, tackling the simple, the difficult, and the seemingly impossible jobs by providing practical information on every aspect of the ceramic repair process. With chapters on materials and tools; examination and identification of a ceramic body; cleaning; rebonding; filling, modeling and molding; retouching; as well as an international glossary of materials and a suppliers list, REPAIRING POTTERY AND PORCELAIN is sure to become a staple for every collector and potter.

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The Complete Potter: Sawdust Firing Review

The Complete Potter: Sawdust Firing
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This text is a great reference for the potter beginning to work with unglazed firing techinques, and for the experienced potter seeking new ideas. There are slip recipes, definition explanations, and interviews with contemporary working artists. Beautiful photos intersperrsed throughout the text, both color and black and white, illustrate a number of technique results. A variety of kiln assemblies are described, including pit fire kilns and above ground models. Sawdust Firing is an interesting, easy read packed with information and a number of artist's personal preferences regarding their techniques. I highly recommend it to any individual curious about the art - this book makes unglazed firing very accessible, even to beginners.

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Raku: Investigations Into Fire Review

Raku: Investigations Into Fire
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This book is well written by someone who obviously know their subject well. Easy to read and well illustrated. The book takes the reader on a journey from the beginng of the Raku process in Japan right through to the modern adaptions of the western world. The many examples shown are by some well known and some not so well known exponents of this exciting method of firing ceramics. The author gives recipes and showns some results of different ways of reduction.
The fantastic colour photographs alone are worth the price of the book. I would recommend this to every teacher of ceramics and a must have for every student.

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This text examines contemporary Raku work in the light of the 350-year-old aesthetic that led to its development. It explores how the details of this technique were communicated across continents, and explains the processes characteristic of Raku - crackle and lustre development. The book culminates in an analysis of the contribution made by Raku to practical and philosophical explorations into the nature of clay and fire, and is illustrated with images of new work and experiments with flame.

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The Soulwork of Clay: A Hands-On Approach to Spirituality Review

The Soulwork of Clay: A Hands-On Approach to Spirituality
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"We are," writes Marjory Bankson, "creatures of the earth and creators of possibilities." In The Soulwork of Clay, Bankson explores creation and possibilities on two different levels: working with clay, and approaching that work as "soulwork."
Bankson's instruction is more invitation than manual--each chapter provides exercises in shaping clay objects, from small unfired bowls to rattles, vases, etc. Readers are also invited in each chapter to reflect on the potential and meaning in each act: using the repetitive and "mindless" task of kneading clay as an opportunity for centering, seeing the work of shaping clay on a wheel as a dialogue between a creator's desire and the potentials in the object; firing as a practice in loosening control and patience. References throughout the text and at the end of the book provide readers who wish to go further--in pottery or reflection--next steps for their exploration.
Bankson brings clarity and authority of experience to her writing--she has been a professional pottery, a seminary student, and president of a national Christian ministry. Her current work includes the creation of unfired burial urns, designed to dissolve and release the ashes of the person they contain back to water or earth.
Bankson's approach grounds her discussion of spirituality in a medium and metaphor that is basic, familiar, and approachable. "We were all mud-loving children once," she writes--pointing out that claywork was discovered and developed in every human culture.
I bought a copy for myself, and it has fired in me a desire to sign up for pottery classes in my local community; another copy is going under the Christmas tree for a relative who is an accomplished potter, and who I hope enjoys the invitation to view this work through another lens--as soulwork.
"Working with clay," writes Bankson, "is a way to get our hands dirty and our minds clear. To reclaim an elemental sense of connection with the earth itself. To bring us home to our bodies. To express our soul's longing for life. To reclaim the sacred act of creation as essential to our wholeness." Who wouldn't want that?

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Let go of your pretensions--squeeze, shape, knead & play your way to spiritual growth."I am being formed by the clay. I am reconnecting with the earth, and with the other basic elements, too--air, water, fire--and life itself. Every gesture leaves its trail in the clay. Every fingerprint, a message. My breath fills the cavity. My touch curves the wall of a bowl. And inwardly, I am being formed by the outward practice. I am learning to trust the process, to lean into the possibilities rather than striving for some predetermined goal. I am being hollowed out, stretched and constricted, trimmed and sometimes reworked entirely."-from the PrologueDrawing from her first-hand experience of working with clay, Marjory Zoet Bankson takes you through the seven-step process of making clay into a pot, drawing parallels at each stage to the process of spiritual growth:Grounding--Connecting with our core elementsKneading--Awakening to the inner realmCentering--Gathering everything togetherShaping--Focusing inner and outer pressuresFinishing--Trimming away the excessDecorating--Adding a playful touchFiring--Committing to transformationThis simple connection with the earth has the potential to put you in touch with the whole of creation and, at the same time, your soul's longing to participate as an artist, creating something new and unique.Through reflective questions in each chapter--along with a wealth of unique clay projects that even beginners can do--Bankson invites you on a journey of spiritual discovery, a path of reconnecting with your body and spirit, and with the earth itself."Pairs insight with play in this invitation to inner awakening through creative time with clay. Guides us to embody an almost childlike awareness of the present moment while engaging in the mature work of becoming our fullest selves--for our own sake and that of the world."--Grace G. Ogden, director, Sacred Circles spirituality program, Washington National Cathedral, Washington, D.C. "Rich with wise reflections on the art of living with congruence and integrity so that the outer shape of our lives accurately reflects the inner space. You don't have to become a potter to benefit from this book."--Rev. Thomas Ryan, csp, author, Soul Fire: Accessing Your Creativity"Draws powerful parallels to our own process of spiritual growth, showing us why `the potter and the clay' is one of the most ancient and deep-reaching of all spiritual metaphors."--Parker J. Palmer, author, A Hidden Wholeness

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Potter's Bible (Artist's Bibles) Review

Potter's Bible (Artist's Bibles)
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As a beginner I am eager to learn all I can about my new hobby pottery.The Potters Bible is a great little book, chock full of helpfull tips on all aspects of pottery with inspiring photos.Well worth the money .I love it!

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An essential illustrated reference for both beginner and advanced potters, these photographic sequences guide you through a comprehensive range of shaping, firing and decorating techniques, so you can begin making wonderful ceramics even if you've never attempted pottery before. Learn about essential tools and equipment, different types and constituencies of clay, methods of production and much more. Includes dozens of ideas for creating textured surface effects and decorations. Over 45,000 copies sold worldwide.

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Great Ideas for Potters: Selected from Over Thirty Years of Readers' Suggestions Review

Great Ideas for Potters: Selected from Over Thirty Years of Readers' Suggestions
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What a wonderful book for any potter! More answers and ideas than you can shake your pointy tool at! I promise you, you will keep coming back to this book for more answers and ideas. The 30 years of compiled answers and questions will cover every aspect of pottery making that you could dream of. Keep this book in your studio for some of the most inventive, fun, practical, and economical answers and ideas! A suggestion to readers from me would be to make sure and photocopy pages you want to use or they will be covered in clay in no time. I'm happy to say I'm on my third copy!

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This outstanding collection of 'Suggestions' fromCeramics Monthly readers provides more practical ceramic informationthan can be found anywhere for amateur and professional potters, aswell as students.

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The Potter's Studio Clay and Glaze Handbook: An Essential Guide to Choosing, Working, and Designing with Clay and Glaze in the Ceramic Studio (Backyard Series) Review

The Potter's Studio Clay and Glaze Handbook: An Essential Guide to Choosing, Working, and Designing with Clay and Glaze in the Ceramic Studio (Backyard Series)
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Visually the book is inviting with excellent images of pottery, kilns, raw materials, and clay excavation mines. In one sense it looks like a "coffee table" book but will not overload the reader with dry technical jargon. Aside from its content which is substantial and informative, it is an easy read to the eyes and breaks down often misunderstood ceramic topics such as the chapters ,"Trouble Shooting Clay Imperfections" and "Glaze Chemistry" into easily understandable bits of information that will be useful to the studio potter. If you have ever encountered a clay or glaze defect this book will enable the beginning to advanced potter to diagnose and fix the problem.
For those potters who are interested in selling their work beyond their friends and neighbors the chapter on Marketing Your Pottery should more than pay for the cost of the book many times over. The appendix among other things contains images of pottery and then lists their clay body and glaze formulas which I found very useful and instructive. In a practical way you can make the pots you see or alter the clay and glaze formulas based on instructive topics covered in the text. This section is a practical addition as it tells the reader why the glaze is blue, red, etc. by reading the formula.
Making pottery is composed of many small bits of technical information, technique and practice. The author's skill is in presenting the information on an accessible level to the reader. While not the ideal book for the beginning student I feel they could easily grow into the detailed content and use the information as they progress in their craft. For the more advanced students it's like taking a graduate level ceramics course without paying the tuition.


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Every potter—home enthusiast to the art center doyenne—needs practical guidance on choosing and using clays and glazes in his or her work. Mastering clays and glazes is a feat of both art and science, and navigating everyday issues in the pottery studio requires an understanding of both fields. With The Potter's Studio Clay and Glaze Handbook, the art and science of ceramics is explored with accessible authority and insight. Whether choosing a high-fire clay or applying a high-impact engobe, any potter's craft will be enhanced and inspired by this book.


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Glazes from Natural Sources Review

Glazes from Natural Sources
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I am a self taught potter who is still very much a student when it comes to the craft. I have read a great many books on the subject and this one is very well done. It is packed with solid and useful information. It is a great technical book on any form of glaze testing, it only focuses on natural sources.
I gave it 4 of 5 stars for a few reasons.
It was a little difficult to understand in places and I wanted more examples. It does a good job of spelling things out for the reader, but it could have gone further I think.
Also, I wish the examples were in metric units, (ml instead of pints) because I find those easier to understand, but that could just be me.
I wanted many more photos of line blend tests! I'd have loved to see what kinds of things to expect and what the outcome is likely to be. Some rocks and common blends are bound to be fairly typical. I wanted to see pictures of those. Some more insight on what to blend with what when testing would have been good as well. Do I mix my rock with clay or whiting? I know I can try it and see, but some expert suggestions are always nice.
Some of the more complex blending patterns seemed to be a bit silly, like the author was showing off somewhat and I found them difficult to understand.
I have always mixed my glazes dry, but the author suggests it is better do mix them wet, having each material suspended in water to start with. I had many questions about this method that were not addressed in the book, but many that were. It was informative enough to prompt me to try it.
Over all, this is a great book on the subject and a great book for anyone interested in glaze development. It doesn't have much needless text, which is nice. Short and too the point.

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Any real education in ceramics must involve, from the outset, an appreciation of the source materials—the rocks around us. While good, throwable clay may be a regional commodity, there is no part of the world that will not yield potential glaze materials in abundance. Potters therefore need to know how to exploit the special properties of local rocks quickly, reliably, and methodically. This new revised and updated version of Brian Sutherland's classic book on making glazes from natural sources explains how to locate glaze material and construct, test, and use the glazes created.Glazes from Natural Sources discusses rock types and other likely sources of supply, the making of test pieces, and the use of blend systems and constructions. The author also clarifies the Seger system of glaze presentation for those who, like himself, have found it difficult to grasp and apply. He covers, and supplies, formulae for glazes for all temperatures—from raku to stoneware and porcelain—and includes sample recipes. The book emphasizes careful planning and control to ensure results that are repeatable. This makes the science behind making glazes from natural sources both understandable and feasible.Glazes from Natural Sources is fully illustrated, with diagrams of techniques demonstrated as well as images of the finished works of potters to show the results of these natural glazes. First published in 1987, this book is considered a classic by ceramicists. This edition includes a new chapter by glaze expert Nigel Wood.


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Hands in Clay : An Introduction to Ceramics Review

Hands in Clay : An Introduction to Ceramics
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This became one of those costly book purchases students have come to resent: required for an introductory level class in ceramics, part of the core requirements towards a studio degree, expensively imposed on a class the bulk of whom will never continue on in ceramics, therefore ultimately destined to become a neglected text sitting on a dusty shelf or returned during university book buy-back for a pittance. This is a shame, as the book is one of the more comprehensive and beautifully put together texts of its kind, and had it been required of students whose clear intention was to go on in ceramics, its obligatory purchase would have been more valued and appreciated.
Containing information well beyond the scope of an introductory survey of ceramic processes, this book is densely packed with information, providing a historical and cultural overview of the use and development of one of the most ancient of the arts, as well as detailed discussions of its various forms and construction, the mixing of clays, the necessary chemistry, kilns, and clay's many glazings and firings. Appendixes and charts containing quite a number of recipes for both mixing clay and creating slips, colorants and glazes are provided at the back, encouraging experimentation, as well as a basic description of the chemical constituents encountered in ceramics. In terms of the latter, both within the text and the appendixes, concerns of potential toxicity are highlighted, providing valuable and essential information often overlooked when working with the potentially hazardous components present in most clays and colorants. Additionally, the authors provide encouragement as to how to easily recycle the environmentally unfriendly waste by-products associated with ceramics, along with helpful tips as to how to set up one's studio in a way that is at once utilitarian and environmentally sound, offering a list of governmental agencies and associations that can assist the ceramicist in addressing these concerns. In addition to providing through the appendixes further avenues for exploration on the part of those working with clay, the authors must be applauded for not ignoring or obfuscating the obvious safety and environmental concerns involved in working with ceramics.
Well organized and detailed, the text is also liberally endowed with photographs and drawings, providing clear visual examples of both the equipment and techniques the ceramicist may encounter, as well as beautiful color plates showing contemporary examples of noted artists' work using a variety of forms and processes. These plates exemplify the diverse and often stunning manner of expression that can be captured in clay, ranging from the sculptural and painterly to installation and multimedia. Their inclusion, along with the depth and breadth of information presented here, certainly justify the price asked for this text, and this book should grace the library or studio of any serious student or practitioner of ceramics. And, I suspect, there is enough information provided here to allow the student that has access to a studio and equipment to begin learning ceramics without the necessity of a classroom.

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This is the only full four-color introductory ceramics text available that combines a thorough appreciation of the aesthetics of ceramic art with extensive discussions of the history of ceramics as well as techniques for working in clay.

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Handbuilt Ceramics: Pinching * Coiling * Extruding * Molding * Slip Casting * Slab Work( A Lark Ceramics Book) Review

Handbuilt Ceramics: Pinching * Coiling * Extruding * Molding * Slip Casting * Slab Work( A Lark Ceramics Book)
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This book is actually three books in one. First, it contains a large collection (310 images) of beautiful color plates showing a huge variety of ceramic work in a wide variety of styles that is nothing short of inspirational. This alone is worth the price of the book. It is the equal of any museum exhibition or juried ceramics show book I've seen. Secondly, it is an excellent basic-through-advanced 'encyclopedia' of handbuilt terms, techniques and materials written in a clear, unambiguous style with carefully photographed examples that clearly illustrate the topic being discussed. The text and photos combine to make this book an absolute pleasure to read. You never have to scratch your head and wonder if you understand -- everything is clearly and perfectly explained. And finally, the book contains a series of eight projects which serve to thoroughly introduce the basics of handbuilding with clear, 'how-to' photographs accompanying the text which serve to demonstrate exactly what is being talked about. There is also a materials list and a step-by-step discussion of problems, pitfalls, and the techniques involved. This book would be a bargain at three times the price.

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The Complete Potter Review

The Complete Potter
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This is a great book from cover to cover. I would recommend it for anyone interested in pottery/ceramics. It's loaded with full color photos. And it provides a lot of great how-to's. It covers everything from handbuilding to throwing, and slipcasting. Most topics are not covered in great depth, but the author does provide plenty of info to get you going. It has some good recipes for colored slip, and a great reference in the back. The example images alone are worth the price of this book.

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This book offers something for everybody interested in pottery! Beginning potters will find a complete course in the pages of this book. Experienced potters will find new ideas for designing and decorating virtually every type of ware. Heavily illustrated with more than 600 how-to photos, The Complete Potter takes readers through every phase of the potter's craft, from clay to kiln. Separate sections explain:
Clays: their different types and uses
Types of ware: terracotta, stoneware, porcelain, raku, and others
Design: how to draw and plan a piece before making it
The basic processes: clay preparation, tools, throwing and turning on a potter's wheel, using molds, tile-making, and more
Decoration: creating surface textures, using slips, glazes, pigments, and more
Materials and pigments for decorating: what they're made of and how to use them
Kilns and firings: kiln types, temperature controls, and more
Tools and equipment: from hand tools to semi-industrial equipment
Health and safety: a complete guide
This handsome and instructive volume also shows examples of work by some of the world's leading ceramicists, with information on how they achieve their fine results. Here is a book that lives up to its title: it is truly The Complete Potter.

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