Preface to the Third Edition | p. 8 |
The Safety Aspect | p. 11 |
The World of Ceramics | p. 13 |
Introduction | p. 13 |
Clay and Pottery | p. 13 |
History's Influence on the Ceramic Art of Today | p. 14 |
Functional vs Sculptural | p. 19 |
Types of Ceramic Wares | p. 19 |
Earthenware | p. 19 |
Stoneware | p. 21 |
Porcelain | p. 23 |
What is Clay? | p. 24 |
What is a Clay Body? | p. 25 |
Paperclay | p. 26 |
Alternative clays and additions | p. 28 |
Why Mix Your Own Clay Body? | p. 32 |
Methods of Mixing Clay Bodies | p. 32 |
Storing the Clay | p. 33 |
How important is fired shrinkage and absorption? | p. 33 |
How to reclaim scrap clay | p. 34 |
What is Glaze? | p. 34 |
Firing Ceramics | p. 35 |
The Craft of Working with Clay by Hand | p. 37 |
Getting Started | p. 37 |
Tools for Working | p. 39 |
Wedging Clay | p. 39 |
Building by Hand: Introduction | p. 40 |
Hand-building Techniques | p. 42 |
Pinching clay | p. 42 |
Coil method, smooth or textured | p. 43 |
Slab-building | p. 47 |
Learning from Techniques used by Indigenous Peoples | p. 54 |
Methods of forming | p. 54 |
Altering While Building | p. 54 |
Changing clay surface | p. 54 |
Coloring with mineral/ vegetable matter | p. 55 |
Working with Plaster | p. 57 |
How to make a mold | p. 58 |
Casting Slip into Molds | p. 59 |
Make Your Own Casting Slip or Buy It Ready-made | p. 60 |
How to Mix Plaster and Pour a Form | p. 63 |
Throwing on the Potter's Wheel | p. 67 |
Anyone can Learn to Throw... | p. 67 |
To the Beginner | p. 68 |
Steps in Throwing on the Potter's Wheel | p. 69 |
Wedging | p. 69 |
Position at the wheel | p. 70 |
Centering | p. 70 |
Opening the ball | p. 71 |
Practice These Five Shapes | p. 72 |
Pull up and shape a cylinder | p. 72 |
Half-spherical shape | p. 74 |
Full spherical shape | p. 76 |
Sphere and cylinder combined | p. 78 |
Low open form | p. 78 |
Other Shapes are Variations | p. 79 |
Pitcher | p. 79 |
Handles | p. 80 |
Casserole | p. 81 |
Lids and flanges | p. 81 |
Teapot, coffee pot | p. 83 |
Sets | p. 84 |
Closed form | p. 84 |
Do-nut | p. 84 |
Throwing off-the-hump | p. 84 |
Trimming Feet | p. 84 |
Large Forms from the Wheel | p. 85 |
Ceramic Sculpture | p. 97 |
What is Ceramic Sculpture? | p. 97 |
Using an armature | p. 101 |
Drape in a hammock | p. 102 |
Over-the-hump slab building | p. 102 |
Categories of Sculpture | p. 103 |
Sculpture Tools | p. 108 |
Materials | p. 108 |
Scale | p. 109 |
Fabrication Techniques | p. 111 |
Drying | p. 114 |
Coloring | p. 114 |
Firing | p. 115 |
Firing for a large sculpture | p. 115 |
Finishing Touches | p. 117 |
Enhancing the Clay Form | p. 117 |
Decorating with Clay | p. 118 |
Texture | p. 118 |
Adding clay to clay | p. 119 |
Engobes | p. 121 |
Engobe techniques | p. 121 |
Testing and Using Glazes | p. 125 |
Glaze composition | p. 125 |
Calculating glaze formulas | p. 125 |
Why Make Your Own Glaze? | p. 125 |
Coloring Glazes | p. 126 |
Glaze stains and oxides | p. 126 |
Basic glaze batches for low, medium, high temperatures | p. 127 |
Reds, yellows, and oranges | p. 128 |
Amaco glaze tests | p. 131 |
Duncan glaze tests | p. 133 |
Hobby-Carrobia (Germany) | |
glaze tests | p. 134 |
Mayco glaze tests | p. 134 |
Spectrum glaze tests | p. 134 |
Spectrum Multi-color series | p. 134 |
Mixing and Storing Glazes | p. 135 |
Glaze Application | p. 135 |
Methods | p. 136 |
Decorating with Glaze | p. 137 |
Sample Commercial Glazes | p. 141 |
Glass is a Ceramic Material | p. 142 |
Keep records | p. 145 |
Experimentation | p. 147 |
Line blends | p. 147 |
Glaze Improvizations | p. 147 |
Firing Ceramics | p. 155 |
Heat Principles | p. 155 |
Kilns | p. 156 |
Gas kilns | p. 157 |
Electric kilns | p. 158 |
Commercial Ready-made Kilns | p. 158 |
Paperclay Kilns | p. 161 |
Why Build Your Own Kiln? | p. 162 |
Firing Principles | p. 163 |
Temperature Indicators | p. 163 |
Guide-posts for temperature | p. 164 |
Pyrometric Temperature Devices | p. 164 |
Oxidation and Reduction Atmospheres | p. 165 |
Copper reds | p. 166 |
Iron celadons and tenmokus | p. 167 |
Stacking and Firing Kilns | p. 167 |
Bisque firing | p. 167 |
Glaze firing | p. 168 |
Alternative Firings | p. 169 |
Pit firing | p. 169 |
Raku firing | p. 169 |
Salku firing | p. 172 |
Salt firing | p. 172 |
Soda firing | p. 173 |
Wood firing | p. 173 |
Glaze and Firing Problems | p. 177 |
The Art of Ceramics | p. 179 |
From Idea to Art | p. 179 |
Pots and plates | p. 180 |
Birds and animals | p. 182 |
Figures and heads | p. 184 |
Walls | p. 189 |
Mixed media | p. 194 |
Sculpture | p. 196 |
Installations | p. 200 |
The Timeless World History of Ceramic Art | p. 206 |
Compendium | p. 214 |
Suggested Projects for Individual Work | p. 214 |
Decide on general procedure | p. 214 |
Basically functional | p. 214 |
Basically sculptural | p. 216 |
Suggested Projects for Beginning Hand-building | p. 216 |
Progression of Individual Steps in Throwing Projects | p. 217 |
Suggested Projects for Clay, Glaze, and Decoration Experiments | p. 218 |
Body and glaze development | p. 218 |
Decoration | p. 218 |
Design standards to keep in mind | p. 218 |
Experimenting with Material Additions to a Base Glaze | p. 218 |
Glaze Improvizations | p. 219 |
Glaze "Line-blend" Test | p. 219 |
Special Low-fire Information | p. 220 |
Egyptian paste | p. 220 |
Colors for Egyptian paste | p. 220 |
Mosaic cement | p. 220 |
Low-fire engobe | p. 221 |
Some Suggestions for Taking Photographs of your Artwork | p. 221 |
Example of a Pottery Studio | p. 221 |
Terms Easily Mixed Up | p. 222 |
Temperature Equivalents of Orton Cones | p. 223 |
Temperature Equivalents of Seger Cones | p. 223 |
Glossary | p. 224 |
List of Artists | p. 227 |
Residencies | p. 231 |
Information Sources | p. 233 |
Bibliography | p. 235 |
Photo Credits | p. 236 |
Index | p. 237 |
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