Art Pottery

Turkish ceramics Miniature Bowls

noreply@blogger.com (ali saidi) — Fri, 10 Jun 2011 17:21:00 +0000


more product

Indian pottery : Silver Pot Or Kalasam

noreply@blogger.com (ali saidi) — Fri, 10 Jun 2011 17:09:00 +0000

Prince Jewellery supplies Silver Pot or Kalasam. Prince Jewellery specializes in the variation of fashionable ornaments in gold, diamond, rubies, emeralds, silver, etc. The Silver Pot or Kalasam serves as an ideal gift item.

buy it

Slab Construction

noreply@blogger.com (ali saidi) — Fri, 18 Mar 2011 19:17:00 +0000

In this section you will learn how to put clay plates together to make a piece of pottery. The slab may have excellent results if you take your time and do not rush the process.
(Spreading the clay)
Begin with a smooth flat surface. Place newspaper or cloth over the surface to prevent the clay from sticking to your work surface. Spread the clay out by patting it with your whole hand.(Flipping the clay)
To flip the clay over - carefully hold top and bottom of the clay with the palms of your hands. This will prevent the clay from tearing while you are flipping it.

(Rolling out the clay)
To help you roll your clay to an even thickness, place a yard stick on each side and roll out until the clay is the same thickness as your yard stick.

(Cutting your slabs)
Use a ruler to help you cut a straight line. (Tip: If you want a 90` corner - lay a piece of paper over the clay to show the 90' corner.)

(Let clay firm-up)
After you cut out your bottom and sides, let them sit until the clay is leather hard. For most clay's this will take about an hour.

(Score or Scratch the edges)
When your clay is leather hard use a needle or sharp pencil to scratch the edges of the clay where the clay will be joined together. A criss-cross pattern works well for this.

(Apply slip to edges)
Make some slip by watering down a small amount of clay until it is the consistency of yogurt. Apply the slip to the areas you just scratched.
(Applying the slip)
Some potters use white vinegar instead of slip. I have not had good experiences with vinegar. I find I get more cracking in my pieces so I mainly use slip.
(Joining the pottery)
When placing the edges together slide the two surfaces together in a slight back and forth motion to strengthen the bond between the surfaces.

(When you have a good bond)
With experience you will get the feel of a good bond. You will know you have a good bond when most of the slip has squeezed out between the two surfaces being joined together. Also, the clay will not want to slide back and forth easily.

(Add a coil to the inside seam)
To make the seem stronger place a coil in the corners of the piece. Gently press the coil into the corner. Be careful not to break your corner away.

(Smoothing out the coil)
I like to use the top end of a brush to smooth out the corners. Notice my other hand holding the corner so I don't break it away.

(The final touches - Corners)
I use a damp brush to smooth out all the corners so the seams are no longer visible.

The final touches - Top edge)
To smooth out the top edge use a wet paper towel and carefully slid the towel up and down the length of each edge. This will round the edges so they will not be sharp.

(Measuring for a top)
If you plan to make a lid measure the length and width of the piece and write down the measurements. The piece will shrink as it dries and you will need these measurements to make the lid.

(Finishing touch - Handles)

Making Coil Construction

noreply@blogger.com (ali saidi) — Fri, 18 Mar 2011 19:06:00 +0000

In this section you will learn to make coils and how to make pottery pieces with them. Coil pottery is a simple technique that can have great results.

(Roll out coil)

Squeezing the clay into a coil or rolling between your hands are two ways to make coils. This technique can be difficult to make a smooth round coil because of the uneven pressure from your hands and fingers.

(Roll out coil)

When hand rolling coils, use a smooth surface and spreading your hands to apply even pressure. Gently roll the clay back and forth.

(A good thickness)

Roll the coils so that they are a little thicker than a pencil. Then stack the coils one on top of another.

(Scrape inside)

For strength, force the clay together on the inside of the piece. Use you finger and scrape the top coil onto the coil under it.

(Smooth inside)

When smoothing the inside of the piece hold you other hand on the outside so you do not damage what you have completed already.

(Leveling the top)

If you want the top level, gently turn your piece over and lightly tap it on a smooth surface.

(Dry slowly)

When you are finished with your piece let it dry slowly. The grooves in the piece are weak spots and if this dries too quick it will crack.

ROOKWOOD POTTERY PRODUCED FINE CHINA OF PAST

noreply@blogger.com (ali saidi) — Fri, 18 Mar 2011 18:38:00 +0000

At the turn of the century, the American art pottery was sometimes referred to as "the art of the devil." It seems funny now, but the Victorian purists were very serious.
At the time, the stakes have flocked to prayer meetings and revivals, and even sentenced laugh Sunday. In this nervous climate, pottery, American art was born.
How things are in our culture has always been the hook for me writing about things old. Against all odds, the creative spirit continues to create. No matter the obstacles. Regardless of the social climate.
American art pottery is a good example of this creative spirit. It happened because the two women, Mary Louise McLaughlin, Maria Longworth Nichols Storer.
Like many good ladies of the time, they have done their part of china painting. McLaughlin was part of a committee to select painted porcelain wares for the pavilion of women in the 1876 Philadelphia Centennial Exposition. His group has been accused of lapses in taste, but it was one of the first attempts to see ceramics as an independent artistic medium.
Then the women began to divert their attention from china painting, knitting and Afghans to work in wet clay.
"Some terrible and wonderful things were produced," said McLaughlin.
In 1880, Storer was dissatisfied with the local temperature of the oven. So she built her own and a place in the first and perhaps the most important corporate art pottery, Rookwood Pottery in an old school in Cincinnati.
The company was named after his family estate Walnut Hills.Their first work was described as a wild experiment.
Storer workers, mostly women, many mingled in the gilding, carving and cutting. The company was one of the first companies in America owned and operated by women.
Over the years, she hired a good chemists, managers and artists to create Rookwood Pottery, which has won international awards. Recognizable artists like Kataro Shirayamadani, Carl Schmidt, Matt Daly and William McDonald AR Valentien put their trademark on the basis of the pieces they have decorated.
high quality crafts and the glazing has been characteristic of Rookwood. They have produced vases, dishes, figurines, bookends and tiles.
The Company Gorham silver overlay applied to pottery, and department stores like Tiffany's performed songs. visiting dignitaries made a point of stopping at Rookwood. Even Mark Twain, Oscar Wilde visited and bought items. The plant site of origin is a restaurant today.
Over the last 10 years, Rookwood Pottery has grown in popularity and value. It is easily identified by the inscriptions. On the base are the trademarks of a symbol or name for himself, plus a dating system. In addition, there are brands of clay showing what color or type of clay the piece came from.
Collectors look for traces of the beginning. The quality of the decoration is important and the artist. Be on the lookout for the second, marked by an X. Cracks and imperfections incised can significantly affect the value.
On June 3, Treadway Gallery, Cincinnati, Ohio, introduced an auction Rookwood. Take a look at some highlights.

Highlights of the auction:
Rookwood bookends, pair of Rooks (bird), brown and green matte glaze, William McDonald, 1929, 5 1 / 2 inches tall, slender, smart, $ 350
Rookwood vase, vellum glaze with carved and painted stylized flowers and leaves, Margaret McDonald, 1920, 9 inches tall, mint, $ 1,600
Rookwood vase, iris glaze cactus flowers, AR Valentien, 1902, 13 inches tall, mint, $ 11,000
Rookwood vase, brown glaze high image, full-length Native American Indian Hair Full, Matt Daly, 1900, 20 inches tall, mint, $ 12,000
Rookwood vase, painted high enamel harbor scene with seven boats sailing, Carl Schmidt, 1923, 13 inches tall, mint, $ 12,000 Rookwood vase, Iris glaze with thirteen poppies detailed Kataro Shirayamadani, 1907, 16 inches tall, mint, $ 32,500
Rookwood plaque, green sea with three birds perched on a branch, executed by AR Valentien, 8 by 10 inches, in a vintage oak, mint, $ 45,000

Best Buy and Sell Roseville Pottery

noreply@blogger.com (ali saidi) — Sat, 19 Feb 2011 12:57:00 +0000

Cherub Cameo collection has often been attributed to the Roseville pottery, but there are collectors who believe that the model was made by Weller and Owens. It's a great line with a base color fern mat and gold leaves that extend upward. white columns provide symmetrical faces of cherubs and white are placed in circles in relief on the coins. The result is an elegant collection that stands strong on its own or as part of the line of Roseville. There are umbrellas, window boxes, planters, platters and other ferns different shaped bowls. Depending on its size and condition, parts of the range up Cherub Cameo $ 100 to $ 1500.

In the book of Mark Bassett, Understanding Roseville Pottery Art, he outlines the rationale for the model Cherub belonging to Roseville. Most forms found in this line, and above the door, were created solely by Roseville Pottery at this particular time. In addition, the body of clay and glazes are very similar to those used on Roseville Donatello and Ivory color. The problem with the line of pottery Cherub Cameo is the lack or inconsistency of brands.

Cherub pieces were found with a number of plant shape (584) die-impressed on the merits of various flower companies. However, Roseville historically placed the figures indicating the size of the garden immediately after the form number. For some reason, all parts marked Cherub were found with the notation of size below the number of forms. To add to the discussion, it is interesting to note that Owens Pottery Pottery sometimes marked with its size below the number and shape. However, Owens shape numbers and sizes are italicized unlike visible marks on Cherub.

At this stage we are firmly in the camp that believes that the model was produced by Roseville Pottery Cherub. However, if you're like me, you might discover that you are more interested in this collection remarkable for the beauty it adds to a collection, or independently, rather than who did. The greens and golds are simply striking, because they play off each other and cherubs centered in the circles only add to the uniqueness of this line of pottery. And also, the mystery of its author for great dinner conversation and only adds to its charm

The pleasures of the Kids Pottery

noreply@blogger.com (ali saidi) — Sat, 19 Feb 2011 12:42:00 +0000

The pleasures of the pottery wheel children can keep a child busy for hours. Ideas to keep them busy is the key to their appeal to their imagination. Paint finish their work of art is sufficient to induce them to move forward using the scroll wheel.

Kids love getting their hands dirty, so there should be no problem to get them to try out this toy. Start believing that he can do something. Could use another l'oncle ashtray? Or how to make a bowl for grandma? What about a tea for her sister's dolls? Suggestions of this kind can not help thinking.

Working on the wheel to encourage creativity and get the child's imagination flowing. Always encourage a child to use his imagination. His work can not be a masterpiece today, but it could grow encouraged to become a famous artist.

Provide a workspace for your child that is easy to clean if there are accidents. You do not want clay spilled on a white carpet clean, so think about where you let him do his work. The easiest to clean, less stress.

If he is old enough to work on a wheel, it will be old enough to clean up his mess. Two year old children clean their room, which should be a piece of cake for your child. Teach him what he needs to know. He will be happy to show you he is a big boy and can follow your instructions. After cleaning also make him feel more accomplished, in addition to making it easier for you.

Give her a place to exhibit their finished products, where family and friends can admire them. Encourage your child's creativity in this way will help in the future. It will be better able to do creative things at school, where they are needed. You never know where a child's imagination can lead them! Enjoy.

Stimulate your childs creativity! Make them a potter's wheel of their own! Before, however, discover the 3 things you should look before you buy a pottery wheel children.

12 Piece Basic Pottery Tool

noreply@blogger.com (ali saidi) — Thu, 10 Feb 2011 14:04:00 +0000

The 12-piece set includes a wire clay cutter, 2 brushes, 2 ribs, and essential ribbon, wire-end, needle, and boxwood tools.

Van Briggle Pottery Vase

noreply@blogger.com (ali saidi) — Thu, 10 Feb 2011 13:33:00 +0000

Rare and exceptional 1904 Van Briggle Pottery vase in a super brown mottled and suspended glaze

Slip Casting

noreply@blogger.com (ali saidi) — Mon, 07 Feb 2011 14:21:00 +0000

Slip casting provides a way for ceramic artists to make multiple identical artworks efficiently and accurately. The technique involves creating a mold in plaster of Paris in which slurry is poured and allowed to develop. Once dry, slip hardens and holds the shape of the mold.

Preparing to Slip Cast Pottery

Mixing and preparing the slip is key to pouring a successful casting. The slip is created by combining dry ceramic dust with water. The resulting liquid takes on the consistency of a milkshake. The slip must be mixed extremely well to ensure that all parts are equally distributed. This will be important while the slip sets up in the mold.

The mold also must be prepared before pouring the slip. To prepare the inside of the mold, make sure that the mold is clean and free of dust and small particles of debris. The mold should be dry before any slip is poured. Also examine the mold to make sure that it is assembled correctly so that slip won't spill out of the mold.

Removing and Finishing the Ceramic Piece

Before removing the ceramic vessel, use knives and smoothing tools to cut off any excess clay and smooth out rough edges. Remove the clay piece by inverting the mold and allowing the piece to come out naturally.

After the play was withdrawn, the use of smoothing tools to get in shape any problem in the room. Some areas may need to be smoothed, and others may have excess clay is removed. Once the room is acceptable, allowing to define the clay until it reaches a consistency very dry.
Once the clay is very dry it can be bisque fired in a kiln. He can take any glaze and placed in a fire in an oven finish. After the last firing, the piece is finished and can be used like any other piece of pottery.

The mold can be sprinkled over again to generate multiple identical pieces of pottery. The last layer should also be stored as it is kept in an airtight container. Be sure to stir up the form carefully before each casting.

Slip Casting to Mass Produce Ceramic Dishes and Art

Casting is a simple way for artists to mass produce their own creations. By following a few simple steps, ceramic artists can create multiple copies of designs and streamline their production. Remember to always mix well and let slip the walls harden before pouring the excess slip. Finish each piece by hand and fire the pottery once it has become very dry.

Aspinall Pottery

noreply@blogger.com (ali saidi) — Thu, 27 Jan 2011 15:03:00 +0000

Denise Aspinall shows us how she works with clay to create beautiful, practical pottery.

How to Pull a Handle Step by Step

noreply@blogger.com (ali saidi) — Wed, 26 Jan 2011 13:45:00 +0000

The Pulling Blank

Pulling may take some practice to master, but the results are worth the patience required. Start by filling a large slop bucket halfway with water. Set this way will it be directly below where you work. I prefer to shoot sitting with the bucket between my knees.

Corner of two to three pounds of the same lump of clay pot that the handle will be attached is made from. To successfully pull the clay, it must be perfectly uniform in stiffness. After the clay is completely stuck, he types in a form of carrot. The carrot is the draft of traction.

Begin Pulling the Clay for the Handle

Grasp the top of the draw in a white hand. (I use my right.) Wet the bottom of the blank by hand that will work with clay.
Keep your own work wet, take the middle portion of the blank, leaving enough clay above the hand working for a firm grip on the white top. As you enter the clay, your fingers should be on one side, with the thumb on the opposite side. Fingers and thumb should be flattened as if you were making a duck shadow puppet.
With light pressure, run down in a steady and continuous. The shape of the virgin core begin to grow. Continue stretching the clay with a series of pull stroke until the clay has reached the desired thickness and at least the minimum length of your handle or strap.
Tip: It is good to pull the strap a little longer than you think you might need, especially if you're new to the handles. The arc of a handle can take more length than you think. In addition, if you want to do decorative attachments, the extra length may be useful.

Dry the Pulled Handle Strap
Once you've pulled the clay so that the strap is the right thickness and long enough for your handle, discard the blank pulling the edge of a table or the bat of the pot handle is designed, which allows the strap to hang to the side. This allows air to circulate around the strap, which allows the clay dry evenly.
Press the heavier upper handle down from the surface so that it will comply with the table or bats. Cut the main part of the pull away empty. Continue pulling the handles as needed.
Allow the handle to stiffen enough that it can take a curve without falling when gently bent.

Trim and Cut the Pulled Handle from the Pulling Blank
Once the clay has hardened sufficiently to maintain once bowed to handle, cut the ends to length. Good for cutting tools that are your needle potter, a deburring knife or similar tool.
You can either wear the belt of clay on a solid surface, as you see in the picture, or you can cut the clay as it crashes, the support of the clay with your other hand as you cut. Do not use a cutting tool that can cut you if you cut your dough in this way.

Attach the Pulled Handle to Your Pot
The handles should be in place when the pot is leather semi-hard and the handle is just stiff enough to hold its curve is fixed.Determine where the handle as a whole should be placed. Make sure the handle is directly in front of the beak, if present.
The thickest part (if any) of the handle should usually be the upper end of the handle. The top of the handle should be placed on or near the top of the pot as possible. It is both aesthetic and also gives the best balance of the pot when it is used.
Score and slip the pot into which you want the upper end of the handle to secure. Be sure the bottom end will be directly under the upper part, the score where you want to join the lower end. Verify that the line between the two areas are marked perpendicular to the surface of the table.
Attach the upper end of the handle, pressing firmly on the handle and the support of the wall of the pot inside. You can usually weld the handle of the region marked and slid the pot simply by firm pressure, but you can also strengthen the weld by the addition of a roll of film of clay around the solder joint and both the handle and the pot.
Bow handle in a pleasant curve. Remember that the clay will shrink up to 15% before leaving the glaze firing. Be sure to give the handle a lot of length for a hand to grasp the handle comfortably when finished. Attach the lower end of the strap handle and weld the joint if necessary or desired. Leave the pot to dry slowly processed.

Hand Built Projects:Make a Basic Pinch Pot

noreply@blogger.com (ali saidi) — Mon, 03 Jan 2011 12:04:00 +0000

Start with a ball of clay than half as wide as gold, slightly smaller than your fist. Form it into a business, compact ball.

Do not mix work with clay you do Covered with plastic. If your soil istoo dry to function properly, seal it in a plastic bag with a damp paper towel overnight. The next day, corner of the earth or thedough to a piece of fabric moisture evenly Thanks to ground.

If clay is too wet and sticky, knead the corner or on a gold surfaceplaster is a piece of cloth until it dries slightly.

Hold the ball of clay firmly in one hand. Use the thumb of your otherhand to push the year of opening the ball. This opening should "endof a quarter to half inch of the Year The Other Side Of The Ball, donot push your thumb all along.

If the hole does eventually go through, Just squeeze the balltogether and start over.

Using your thumb, push your fingers in a pinching motion cons.This thin clay to create the pota ¢ floor and walls. Do not try to thin the clay with a pinch too. Instead, use a series of smallpinches more work up Clay outward as it thins.

Working to make the floor and walls have a uniform thickness as possible. This will help keep the pot from cracking when dry firinggold during Firing

Part of the charm of the pinched pot may be the rustic look it has when the top edges are left uneven. You can, however, also choose to trim the upper edge to give the pot a more refined look.

Don't throw away any small pieces of clay. Gather them into a bucket or other container and let them dry thoroughly. Because they will easily slake down and mix with water, they make the easiest way to make slurry, which is used in other forms of handbuilding and in throwing.

The finished pot should be placed somewhere safe and allowed to dry slowly. Fast drying will often result in cracks appearing in the greenware or during firing. After the pot is bone dry (no part of the pot feels cool to the touch) it is ready to be bisque fired.

Slab Pot Basics:Making Slabs

noreply@blogger.com (ali saidi) — Mon, 03 Jan 2011 11:48:00 +0000

Making Slabs
Tiles can be achieved in a variety of methods. The most common method is to deploy the slab by hand using a rolling pin. Other methods include using

Slab Rollers: large pieces of equipment that allow potters to roll large slab thickness uniform very quickly.
Extruders: an extruded pipe can be cut through the middle to form a slab.
Waving hand: the slab can be formed by throwing clay on a hard surface at an angle. The resulting slabs are not uniform in thickness and may give an organic feel to a room.

Soft-Slab Construction

Pots Pouch / Beth E Peterson

Many potters have developed a style that uses slabs which have been recently implemented and are still very wet. These flexible panels can be formed into a beautiful, fluid structures often evoke leather. They can be used with molds to slump or drape over the hump molds to make shapes reproducible, allowing the potter to concentrate more on form finishing with surface textures, decorations, or effects of fire. View slump and draping slabs for more information. Tiles can also be formed very soft, and then incorporated into a larger room once they have stiffened the leather hard

Stiff-Slab Construction

Beth E Peterson

The stiff-slab method is more appropriate for architectural and geometric forms. The slab is rolled then allowed to slowly dry to to leather-hard stage before being cut and joined with other stiffened slabs to create the form.

Stiff slab shapes can be merged with other leather-hard clay components, such as stiffened slump-molded slabs, thrown components, or pinched components. For example, a soft slab may be slumped into the opening of the stiff-slab pot as part of creating a lid for the pot. Another example is adding a foot to a stiff-slab pot by joining an open thrown ring to the pot's bottom.

The possibilities are nearly endless. If you haven't made a slab pot before, check out Make a Basic Slab Pot and let your creativity guide you.

Pottery Pattern:Old Rose

noreply@blogger.com (ali saidi) — Wed, 22 Dec 2010 14:30:00 +0000

This pattern is an undeniable classic and has been a favourite of our fans for years and years. Its richness is strong but understated, and the Old Rose red is a special colour hue that just laughs at yearly trends and fads. It has formed a foundation for many of our collectors as it mixes well with almost everything we make. And it is available in every shape we produce. It is sure to please for years to come.

Large Mug

Oval Platter

Vinegar Carafe

Covered Butterdish

Medium Jug

Pottery Pattern:Tulip

noreply@blogger.com (ali saidi) — Wed, 22 Dec 2010 14:16:00 +0000

The simple stylized tulip is used in a variety of arrangements in this Nicholas Mosse pattern. It groups, it circles, it scatters, and it always looks good, clean and modern. The red of the tulip is a cousin to our other red patterns, so they all sit well together.

Teapot

Vegetable Bowl

Medium Oval Dish

Tall Cutlery Drainer

you can buy some pottery tulip

Make Polymer Clay Beads With a Flower Pattern

noreply@blogger.com (ali saidi) — Fri, 17 Dec 2010 18:36:00 +0000

Making polymer beads with flowers is really easy, and between caning and sculpture the options are limitless as to what can be done with them. When most people think of flower beads, the first thing that comes to mind are beads done with a basic five-petal bull's-eye flower cane. This cane takes only three or four colors for the most basic manifestation of it and takes very little time. First, roll your main flower color into an even log. Cut that log into five pieces, then arrange around a like-sized log that is your center color (generally yellow, or a darker shade of the main color). Place wedges of a contrasting color around the arranged logs until the whole thing is roughly cylindrical, then encase the entire thing except the ends in a layer of the contrasting color.
To reduce the log you've just made, let it rest for several hours to let the clay stiffen. Many artists prefer to let it rest overnight or place it in a refrigerator for several hours to make sure all the elements of the cane have set up. Now it's time to reduce. Do not roll the log on a flat surface to reduce it as this will cause the pattern to distort. Instead, gently squeeze the log all the way around and along its length, evenly reducing the diameter and lengthening it. As the ends bulge outward, push the center back in with your thumbs while "pulling up" on the sides with your other fingers. When the log is reduced to the desired size, cut off the ends until both ends show a clear, undistorted picture. The cane is now complete, and can be cut into disk beads or thin slices can be rolled over a plain clay core for any shape of bead imaginable. Bake according to the directions on the clay package.
So there are the instructions for a very basic flower pattern. Some people choose to dress it up a little by covering each flower "petal" segment with a sheet of complimentary color to set off the flowers. Skinner blends are very popular and involve creating a blend that fades from one color to another as it goes toward the center of the log. The easiest way to make this blend is to cut two identical right triangles of clay, one of each color being used (the most common is white with a bold color), place the clay so that the two together form a rectangle, with the 90 degree angles arranged diagonally opposite each other. Fold the clay, then roll it out with either a rolling cylinder or a pasta machine. Continue folding in the same direction and rolling it out until the lines between the colors blend. You should have a sheet of clay that is one of the original colors on each end and gradually changes color over the length of the sheet. This can then be rolled into a log and used for any element of the cane.
Roses are a very popular cane as well, and nearly as easy to make. Once you've managed a skinner blend, a basic rose can be created using several narrow sheets of clay in graduated shades that are layered offset to each other and then rolled, creating the spiral petals of a rose. Veins can be created in individual petals by layering the clay and reducing, making a more realistic-looking flower. Petal shapes are all governed by the shape of the logs used for each individual element and are easy to manipulate to fit into each type of flower.
Leaves are used with most flower canes. In order to make a basic leaf, create a skinner blend using two colors of green (or preferred leaf color). Roll into a log, then cut the log into however many lengthwise sections you desire. Generally, four or five cuts are made. Place an even layer of the color desired for the veins (generally a darker shade of green or a shade of brown) in between each section. Put the sections back together in the order they were cut. Next, make a single cut lengthwise at an angle to the vein layers, halving the cane. Turn one half of the cane around so that the veins on both halves are pointing upward. Place an even sheet of clay between the two halves that is the color you want for the center "stem" vein. Pinch the top of the log to a point, using the center vein as a guide to keep it straight. You should now have a leaf-shaped cane which can be used as an element in your flower canes.
It is important to remember that ANY kind of flower is possible with caning. The only thing you need to remember is that the end of the logs is what makes your picture and that round or square logs are the easiest to reduce without distorting the pattern. Remembering this, you can find simple pictures of any flower and create logs for each individual element in the flower and recreate the flower in clay. Reducing the clay is often the most difficult skill to master, but once you have it down you can make any size of cane that is as complex as you wish.
Sculpted flowers are also very popular for making into beads or button covers and are done on a similar principal, except that now each element becomes a 3-D piece instead of a log. A sculpted rose can be made with four or more small disks of clay layered together and then rolled, cut the roll down the center to form two rose pieces. Carefully pull the clay on the "petal" side outward to create a simple rose. Attention must be given when making sculpted pieces for beads because some types of clay break easily or do not hold up to wear and tear, or some smaller elements can be broken off.
Polymer clay is a really exciting medium that knows no restrictions as to colors, textures and techniques you can use to create one-of-a-kind pieces or special low-cost elements for mixed-media projects. Play around with pearl powders, embossing powder, inclusions and more to make really unique pieces out of these basic canes or sculpted flower.

Folk Art Pottery Face Jugs

noreply@blogger.com (ali saidi) — Fri, 17 Dec 2010 18:32:00 +0000

Pottery face jugs are storage jugs that have been designed as a normal jug might be with the exception that the side has been decorated with a distorted face. These faces may appear humorous or they may look more sinister and scary. They first started appearing in the US around the 1700s, predominantly in the southern states of South Carolina and Georgia.

There are a few stories about the origins of face jugs and what the ugly face on the side of the jug is meant to signify. They were originally thought to have been used as grave markers by slaves to ward off evil spirits.
Later, the use of these face jugs were used to store moonshine with the scary faces used as a kind of childproofing. The thinking was that the scary face would keep children from investigating the contents and there is probably something to this theory with some of the very old pottery face lamps look fearsome.
There is also a theory, particularly with the face jugs that held moonshine liquor, that the face represented on the side of the jug was a depiction of how your face would look after you drank too much of the contents.

As mentioned, face jugs have been made for hundreds of years and this means it is possible to track down antique pottery face jugs. Every now and then they come up for sale at auction sites. It is important to ensure that a jug that is purported to be made during a certain period is authenticated before you buy it. As with all types of pottery there are different ways in which the markings can be checked.
Below is a selection of vintage and antique pottery face jugs for sale that may provide you with a valuable addition to your ceramic collection.

Hand Painting the clay body canvas

noreply@blogger.com (ali saidi) — Sat, 11 Dec 2010 13:22:00 +0000

Hand Painting the clay body canvas

Using clay slips

What are clay slips?

Liquefied Clays

Uses:

1. Adheres objects to a pot. Attaching handles, decorations, etc.

this usage of clay slips is found on the Handling page.

2. Used in the mass production of molded pottery.

3. The stage at which raw clays can be blended.

4. When a glaze color is added,

it becomes to a potter as oils are to a painter.

5. Used to enhance glaze firing affects.

In this section we are concentrating on Painting your clay body with slips.

Basic Clay Slip Recipe: Clay slips are a small amount of clay mixed

with just enough water to form a batter like consistency.

To Prepare Colored Slips: Add a small amount of glaze color

to your already prepared clay slip base.

Stir, make sure the slip is free of lumps.

A slightly thicker batter like consistency is better.

Paint your piece using an artist's brush or sponge.

There are different types of clay slips

depending on which type of clay is used.

Porcelain clay slips are made with porcelain clay and water,

stoneware clay slips are made with stoneware clay and so on.

There are also color active slips Color active slips are applied when the artist

wants to enhance the glaze colors with special affects,

such as glaze color flashes.

Slips can take on the characteristics of the clays from which they are made.

This is due in part to where the clay was mined and the minerals and ores

that were present at the digging site.

This makes some slips indigenous to a particular geographic area

and more rare and some are even quite rare and very hard to acquire.

Once such type is Albany slip The clay supply for this slip is no longer mined commercially. Albany slip is available only sparsely.

At this point a better understanding of the what is happening to glazes

during firing becomes important. Clay slips can actually turn liquid during

firing based on the firing point of the particular clay type used.

For example: If you are using an earthenware

clay type to make you clay slip, consider this:

Earthenware has a lower melting point than porcelain

or even stoneware clay.

Earthenware clay is usually fired at lower firing temperatures, I

if you fire a piece painted with earthenware clay slip

at high firing temperatures,

the slip may liquify and flow glazing your pot.

Understanding how slips and glazes react under

various firing conditions is essential to a successful piece.

This is an in depth topic combined with kiln understanding

which is covered at depth on the glaze and firing pages.

Pottery Tutorials:Pinch Pot Construction

noreply@blogger.com (ali saidi) — Sat, 11 Dec 2010 13:19:00 +0000

With pinching gestures, you can mold clay into objects such as animals or even make a bowl. While this form of pottery seems really basic, you can get a feel for the clay you are working with and you will get to know the limits of your clay. (Does it bend easily? Does it dry fast? Etc.)
To make a bowl...
(Begin with a ball of clay)
Begin with a ball of clay. Push your thumb into the center. Then pinch up the walls.
(Turn the piece as you pinch)
Turn the piece as you pinch. This will help you to keep an even thickness in the walls of the piece.
(Flatten the bottom)
Gently pat the bottom on a flat surface to create a flat spot on the bottom of the piece.

How to Shop at a Pottery Barn Outlet Store

noreply@blogger.com (ali saidi) — Sat, 04 Dec 2010 13:16:00 +0000

Pottery Barn Outlet stores are ideal for those who love the Pottery Barn look but want outlet prices. A tighter budget is not the only reason to shop at a Pottery Barn Outlet store; the outlets offer a different selection than the regular stores and are often the source of great furniture and home decor items. Here's how to find and shop at a Pottery Barn Outlet store:

Difficulty: Easy

Things You'll Need:

Time
Money

1

Find a Pottery Barn Outlet store
Find out if there is a Pottery Barn Outlet Store within driving distance to you. Go on the main Pottery Barn website, and scroll to the bottom of the screen. Click "Store Locator." On the next screen, click the text that reads "Potter Barn Outlet Stores." As of this writing, there are Pottery Barn Outlet stores in the following states: Georgia, Massachusetts, Michigan, New York, Ohio, Pennsylvania, South Carolina, Tennessee, Texas and Virginia.
2
Make a list and a budget for your Pottery Barn Outlet store shopping trip. Make sure you write down everything you want to look for, so you don't miss anything once you get there.
3
Browse the furniture and decor offered at the Pottery Barn Outlet Store. Look for good deals on marked-down furniture; checking carefully for flaws. Compare colors for the same room to each other to ensure a complementary decor.
4
Check out the linens, curtains and home decor selection. Some of the best bargains are found on discontinued styles. Be sure to get extras in the pattern you like because they may be sold out next time you're out shopping.
5
Pay for your Pottery Barn Outlet Store selections, first asking the store manager for a discount on any large items you are interested in. Mention that you are paying cash--it can't hurt to ask.

How to Clean Pottery After Glaze

noreply@blogger.com (ali saidi) — Fri, 19 Nov 2010 00:42:00 +0000

Techniques for removing drip marks and other imperfections once you've glazed your pottery piece. Learn all this and more in this free online art lesson on video about painting pottery taught by potter Jennifer Gravel.

Expert: Jennifer Gravel
Bio: Jennifer Gravel has worked with ceramics for nine years and owns a contemporary Paint-Your-Own Pottery Studio called Clay Caf?, located in Stratford, ON, Canada.
Filmmaker: Melissa Schenk

Pottery in the Arts and Crafts Tradition

noreply@blogger.com (ali saidi) — Fri, 19 Nov 2010 00:38:00 +0000

Sassafrass Pottery - Sarah Gutierrez. Pottery in the Arts and Crafts Tradition

Italian Pottery Ceramics

noreply@blogger.com (ali saidi) — Thu, 11 Nov 2010 14:35:00 +0000

Italian Pottery Outlet offers the finest in imported Italian pottery at discounted prices. the family scours the Italian countryside searching for the most interesting Italian ceramic designs and patterns, and proudly bring these hand-painted, hand-fired, one-of-a-kind ceramic delights to you. their huge selection of traditional Italian ceramics (Italian majolica) come from Umbria, Tuscany and Sicily, as well as new and exciting patterns from regions all over Italy. Our Italian ceramics are made in small workshops where artisans and their families produce individual works of art using techniques handed down through generations.

Pottery in the Making

noreply@blogger.com (ali saidi) — Sat, 06 Nov 2010 14:34:00 +0000

essa Fuchs trained at Salford Technical Art School and the Central School of Arts and Crafts, London. She set up her studio in London making sculptural pieces and some domestic ware using colourful matt glazes. Her work is inspired by her interest in animals, plants, gardening, trees, landscape and painting.

Art Pottery

Turkish ceramics Miniature Bowls

Indian pottery : Silver Pot Or Kalasam

Slab Construction

Making Coil Construction

ROOKWOOD POTTERY PRODUCED FINE CHINA OF PAST

Best Buy and Sell Roseville Pottery

The pleasures of the Kids Pottery

12 Piece Basic Pottery Tool

Van Briggle Pottery Vase

Slip Casting

Preparing to Slip Cast Pottery

Removing and Finishing the Ceramic Piece

Slip Casting to Mass Produce Ceramic Dishes and Art

Aspinall Pottery

How to Pull a Handle Step by Step

Hand Built Projects:Make a Basic Pinch Pot

Slab Pot Basics:Making Slabs

Pottery Pattern:Old Rose

Large Mug

Oval Platter

Vinegar Carafe

Covered Butterdish

Medium Jug

Pottery Pattern:Tulip

Medium Oval Dish

Tall Cutlery Drainer

Make Polymer Clay Beads With a Flower Pattern

Folk Art Pottery Face Jugs

Hand Painting the clay body canvas

Pottery Tutorials:Pinch Pot Construction

How to Shop at a Pottery Barn Outlet Store

Instructions

Things You'll Need:

How to Clean Pottery After Glaze

Pottery in the Arts and Crafts Tradition

Italian Pottery Ceramics

Pottery in the Making