An essential reference for anyone working with ceramics, from weekend crafters and students to practising ceramicists seeking a one-stop reference on techniques and processes, this workshop reference covers both traditional and contemporary practices, collecting the breadth and range of ceramic techniques into one definitive volume for amateur and specialist alike. A directory of materials, tools, machinery and furniture describes everything you need to set up an effective workshop. It includes an extensive guide to forming techniques, from pinch, coil, slab and wheel to mold-making, slip casting and extrusion, detailed sections on slip decoration, embossing and glazing, glaze recipes and applications. These techniques are explored thematically to facilitate the process of discovery that takes place in the workshop, supported by detailed descriptions and step-by-step photography. At the back of the book there is a comprehensive guide to firing and kilns, along with charts and tables for quick reference. All techniques are examined closely for relevance to practice and quality of finish. The practical processes of running a workshop are discussed alongside the more complex techniques of making unique work. Examples of how to set up a studio, good workshop practices, tool making, and recycling of materials act as a foundation to creating a strong workshop environment to carry out your work.

Featuring detailed guides to key tools and techniques from talented expert sculptors, the Beginner's Guide to Sculpting Characters in Clay is vital reading for anyone wanting to explore clay sculpture. Learn which tools are best suited to your needs and how to use them effectively, explore diverse materials and pick up helpful tips from leading professional sculptors as you start your journey into clay sculpture. With meticulous tutorials, a handy glossary of sculpting terms, and copious amounts of inspiration, the Beginner's Guide to Sculpting Characters in Clay is an excellent resource for anyone wanting to try their hand at creating incredible 3D characters.

Artists are increasingly interested in producing work that is not only beautifully designed and produced, but is also environmentally friendly and socially responsible. In Sustainable Ceramics, pioneer Robert Harrison draws on more than four decades of making, and a wealth of experience shared by other artists to present practical possibilities for ceramic artists. This book covers all the factors to consider when going 'green', from fuels and alternative firing technology to energy-saving methods, sustainable ways to collect and use clay itself, and ways to deal with or recycle waste materials and save water. He suggests simple and achievable methods by which to reduce the carbon footprint of ceramic art, and draws on interviews and examples throughout by practitioners who reclaim, reuse and recycle in their studio or work. Sustainable Ceramics is an essential resource for any ceramicist, studio or school looking for ideas on how to reduce the impact of their practice on the environment.

This book explores the persona of the artist in Archaic and Classical Greek art and literature. Guy Hedreen argues that artistic subjectivity, first expressed in Athenian vase-painting of the sixth century BCE and intensively explored by Euphronios, developed alongside a self-consciously constructed persona of the poet. He explains how poets like Archilochos and Hipponax identified with the wily Homeric character of Odysseus as a prototype of the successful narrator, and how the lame yet resourceful artist-god Hephaistos is emulated by Archaic vase-painters such as Kleitias. In lyric poetry and pictorial art, Hedreen traces a widespread conception of the artist or poet as socially marginal, and sometimes physically imperfect, but rhetorically clever, technically peerless, and a master of fiction. Bringing together in a sustained analysis the roots of subjectivity across media, this book offers a new way of studying the relationship between poetry and art in ancient Greece.

This broad approach to slab work shows a wide variety of building methods and highlights the work of high-profile ceramic artists. Slabs can be used to make a variety of forms ranging from the most basic to the more complex. The book covers many building methods using a varied range of pots and sculptures, demonstrated through step-by-step images. With fantastic images of finished work from high-profile ceramic artists for inspiration, you are also encouraged to experiment and find the methods that are most suited to you. Slab Techniques covers all the basics, such as making your slabs and joining well, simple building methods, use of supports, creating textures, decorating with slips and ways to avoid problems during the firing stage. The handbook also looks at innovative and original approaches, as well as building large-scale pieces and the potential issues associated with them. This book is an essential addition to the bookshelves of students and professional ceramicists.

Originally published in 1937, this book surveys the underlying scientific principles that produce the chief glaze effects on Chinese ceramics. Hetherington provides a general introduction on the nature of a glaze before describing how glazes with various chemical contents can be manipulated to produce striking effects in terms of colour and texture. This book will be of value to anyone with an interest in Chinese ceramics and the history of art.

Handmade Tile is a contemporary guide for ceramic artists and anyone interested in custom tile installations-from making, designing, and decorating to designing your space and installation. No matter how many years of experience you have as a ceramic artist or how many home-improvement projects you've tackled, nothing prepares you for the unique world of ceramic tile. From concept and design, through firing and installation, ceramic tiling is one of the few places in a home where art is permanently installed as a feature of a room. In Handmade Tile, Forrest Lesch-Middelton shares everything he's learned as the founder and owner of the custom tile business FLM Ceramics and Tile. From his years as a one-man operation to his current production facility, Forrest has seen it all and helps you every step of the way. Whether you want to make your own tile, or want to use artistic and custom-made tile in your home, this book has everything you need. Key features of the book include: Making Tile: key tools, rolling, cutting, extruding Decorating: glazes, image transfer, cuerda seca, underglaze, slip Designing Your Space: tile in context, choosing your tile, codes and standards Installation: removing old tile, backing, preparing surfaces, setting, grouting Galleries and interviews with today's top workings artists in tile round out the package. Featured artists include Allison Bloom, Boris Aldridge, Disc Interiors, PV Tile, and more.

The Egyptologist Samuel Birch (1813-85) began to study Chinese at school, and obtained his first post at the British Museum cataloguing Chinese coins. He maintained his interest in Chinese civilisation throughout his life, but also collaborated with C. T. Newton on a catalogue of Greek and Etruscan vases, and with Sir Henry Rawlinson on cuneiform inscriptions, while also specialising in the examination and cataloguing of the Museum's growing collection of Egyptian papyri and other artefacts. Birch describes this two-volume, highly illustrated work on ancient pottery, published in 1858, as filling a perceived need: 'A work has long been required which should embody the general history of the fictile art of the ancients.' Volume 1 covers the composition and techniques of the pottery of ancient Egypt and Assyria, with notes on Jewish Phoenician wares, and begins an examination of the techniques and art of the Greek ceramicists.

The Egyptologist Samuel Birch (1813-85) began to study Chinese at school, and obtained his first post at the British Museum cataloguing Chinese coins. He maintained his interest in Chinese civilisation throughout his life, but also collaborated with C. T. Newton on a catalogue of Greek and Etruscan vases, and with Sir Henry Rawlinson on cuneiform inscriptions, while also specialising in the examination and cataloguing of the Museum's growing collection of Egyptian papyri and other artefacts. Birch describes this two-volume, highly illustrated work on ancient pottery, published in 1858, as filling a perceived need: 'A work has long been required which should embody the general history of the fictile art of the ancients.' Volume 2 continues to examine Greek pottery, including the work of named or identified individual craftsmen, and then moves on to Etruscan and Roman wares, with a short final section on 'Celtic, Teutonic, and Scandinavian pottery'.

The fifth Baron Abercromby (1841-1924), a soldier and keen archaeologist, published this two-volume work in 1912. His especial interest was prehistoric pottery, and he introduced the word 'beaker' as a term to indicate the late Neolithic/Chalcolithic western European culture which produced these characteristic clay drinking vessels. His aim was to produce a chronological survey of British and Irish ceramics from the late Neolithic to the end of the Bronze Age, to classify these by type and geographical area, and to examine the goods associated with dateable pottery in burials and cremation urns. This heavily illustrated work also puts the British beakers into their European context and considers the possible indications of movements of people given by variations in style. Volume 1 examines burials, the associated grave-goods, and skeletal remains, especially skulls, which may provide ethnographic information.

The fifth Baron Abercromby (1841-1924), a soldier and keen archaeologist, published this two-volume work in 1912. His especial interest was prehistoric pottery, and he introduced the word 'beaker' as a term to indicate the late Neolithic/Chalcolithic western European culture which produced these characteristic clay drinking vessels. His aim was to produce a chronological survey of British and Irish ceramics from the late Neolithic to the end of the Bronze Age, to classify these by type and geographical area, and to examine the goods associated with dateable pottery in burials and cremation urns. This heavily illustrated work also puts the British beakers into their European context and considers the possible indications of movements of people given by variations in style. Volume 2 discusses cinerary urns, and the grave goods, including the so-called 'pygmy urns', associated with them.

Dramatic social and political change marks the period from the end of the Late Bronze Age into the Iron Age (ca. 1300 700 BCE) across the Mediterranean. Inland palatial centers of bureaucratic power weakened or collapsed ca. 1200 BCE while entrepreneurial exchange by sea survived and even expanded, becoming the Mediterranean-wide network of Phoenician trade. At the heart of that system was Kition, one of the largest harbor cities of ancient Cyprus. Earlier research has suggested that Phoenician rule was established at Kition after the abandonment of part of its Bronze Age settlement. A reexamination of Kition s architecture, stratigraphy, inscriptions, sculpture, and ceramics demonstrates that it was not abandoned. This study emphasizes the placement and scale of images and how they reveal the development of economic and social control at Kition from its establishment in the thirteenth century BCE until the development of a centralized form of government by the Phoenicians, backed by the Assyrian king, in 707 BCE."

Originally published in 1923, this book examines the history of glass-making in England from its origins in Imperial Roman techniques to the end of WWI. The text is richly illustrated with drawings and photographs of examples of glass and glass-making techniques though history. This book will be of value to anyone with an interest in the history of this decorative and practical art.

283 color photos of American Sandwich glass objects, including fine cut, etched and engraved ware; household, commercial, and scientific glassware; and bottles marketed in the 1800s. A supplement features objects not available when the other 4 volumes in this series were written. A roster of 1500 employees and their occupations is fascinating. Items from $10 to $35,000.

An in-depth analysis of Frans Wildenhain and his role in mid-century studio ceramics. Steeped in modernist ceramic aesthetics, Frans Wildenhain studied under Gerhard Marcks and Max Krehan at the Bauhaus pottery workshop in Dornburg, Germany. There, Wildenhain met another potter, Marguerite Friedlaender, his futurewife. Following World War II, Wildenhain emigrated to the U.S. Earning prizes for his art at the 1939 International Exposition in Paris and the 1958 Brussels World's Fair, Wildenhain also received a Guggenheim Fellowship in 1958,became a Fellow of the American Crafts Council and his work is in the collections of the Smithsonian Institution, Everson Museum and the Art Institute of Chicago. This book features archival images as well as more than 150rich, color photographs of the ceramics exhibited in 2012 at the Rochester Institute of Technology, NY. Six chapters offer contributions to scholarship on the artist, mid-century studio pottery and modern design, monetizing and commercial acceptance of mid-century handcrafted art at an innovative artists' cooperative, university education at the School for American Craftsmen, and an interview with collector Robert Johnson who donated his Wildenhain collection to RIT. The book is an essential document of the exhibition and an excellent reference for those interested in ceramics, crafts, mid-century design and art entrepreneurship.

This important book forms part of the Handmade in Britain partnership between the V&A and the BBC. Published as the culmination of a year-long season of programming over three series, it explores the history of making in Britain, looking across all media within the decorative arts. Handmade in Britain expands on the programmes, featuring key objects and makers in the V&A's collection as well as contributions from contemporary practitioners. It traces Britain's status as an unsophisticated importer of luxury Renaissance goods, to becoming one of the leading worldwide exporters of decorative arts by the end of the nineteenth century, and discusses present-day making - particularly the relationship between industrialized and craft-based processes and practice. It also shows how the history of making in Britain is not a London-centric story, but one of regional centres across the country often suited to different manufacturers for specific reasons. Like the programmes, the book takes each tradition in turn, looking at ceramics, metalwork, wood, textiles and stained glass.

First published in 1933, as the second edition of a 1913 original, this book was written to provide the general reader with a guide to surviving English stained and painted glass from before 1714. The text begins with Norman and Early English styles before moving chronologically through various periods to the beginning of the eighteenth century. The connections between glass-painting and other arts ancillary to architecture are also touched upon, with special reference to their common objects and use. Numerous illustrative figures are included throughout. This book will be of value to anyone with an interest in stained glass and art history.

Originally published in 1897, this book was written to provide both archaeologists and visitors with an accessible guide to Greek vases in the Fitzwilliam Museum: 'to publish and make accessible to archaeologists a record of the vases it contains, and to assist the visitor, and more especially the student in observing the history and technique of Greek vase-painting'. The text contains illustrations of every vase in the collection, except those that reproduce well-known and common types; these illustrations replace lengthy description and allow for easy identification of subject and style. This is a beautifully presented book that will be of value to anyone with an interest in the collections of the Fitzwilliam Museum, archaeology and Greek vases.

"This splendid catalog serves as the most current and magnificently illustrated introduction to Islamic ceramics now available. Essential."--"Choice"
Islamic pottery--the fine ceramics made in the lands of Islam, from the Arab world and Turkey through Iran and into Central Asia--is one of the hidden treasures of world ceramics. It has often been overshadowed by the ceramic legacy of China and Europe, yet it cedes nothing to these great traditions in technical inventiveness and beauty of design. Through close trading links and cultural interchange, Islamic potters have played a crucial role in the development of these other ceramic cultures.
A catalogue of the al-Sabah collection in Kuwait--one of the few truly great collections in private hands--this richly illustrated volume presents a comprehensive history of ceramics from Islamic lands and portrays the unfolding story of Islamic pottery over its thousand-year history.
Over four hundred pieces are described, providing both an examination of individual items and an overall history of the subject. Clear and informative introductory essays cover the study and collecting of Islamic pottery over the past hundred years, and trace its technical and chronological history, from the first fine wares made in the eighth century to the destructive impact of European industrialization in the nineteenth century. The individual objects, illustrated with some nine hundred color pictures, are grouped by type and geographically. A "Choice" Outstanding Academic Title. 921 color illustrations.

Ardmore ceramics are found in major collections in several European countries, the United States and South Africa and have been given as state gifts to, among others, Bill Clinton, Jacques Chirac, Queen Elizabeth II and Empress Michiko of JapanGiraffe stretch out their necks and bat-eared foxes curl their tails to make handles for jugs, vases and tureens. Inquisitive monkeys peer over the edge of a planter, teasing the leopards below them. Magical creatures wear cloaks of flowers, spots and stripes; a turbanned Zulu figure sits astride a hippo Colorful, imaginative, vibrant, delicate and dramatic these are just some of the hallmarks of the artworks that have garnered international accolades for Ardmore Ceramic Art in rural KwaZulu-Natal. It is here, in South Africa s most successful ceramics studio set in the verdant Midlands, that exquisitely handcrafted and highly detailed figurative works and functional ware are created by more than fifty artists who draw on Zulu traditions and folklore, history, the natural world, and their own lives for inspiration.In turn, it is the lives of the sculptors and painters of Ardmore that fire the vision of the woman behind it all: Fee Halsted is an artist whose love of teaching and determination to fight poverty and AIDS have set others on the path of creative self-discovery and ultimately worldwide acclaim."Ardmore We Are Because of Others" tells the extraordinary story of this famous studio from its humble beginnings in a poverty-stricken corner of South Africa to its fame as a producer of exceptional and irresistible objets d art prized by collectors, galleries and museums throughout the world. It is also the story of the indomitable Fee Halsted who is the driving force behind the enterprise, and the artists whose inventive spirit and fearless creativity are at the heart of Ardmore."

What was the impact of Romanisation on non-elite life in central Italy during the late third and second centuries BC? Focusing on the increasing spread of black-gloss pottery across the peninsula, this 2007 text demonstrates the importance of the study of such everyday artefacts as a way of approaching aspects of social history that are otherwise little documented. Placing its subject within the wider debate over cultural identity in the Roman world, the book argues that stylistic changes in such objects of everyday use document the development of new forms of social representation among non-elite groups in Roman Italy. In contrast to previous accounts, the book concludes that, rather than pointing to a loss of regional cultural identities, the ceramic patterns suggest that the Romanisation of Italy provided new material opportunities across the social scale.

Chinese ceramics are among the most significant and widely collected decorative arts produced anywhere in the world, with a history that spans millennia. Despite the saturation of Chinese ceramics in global culture-in English, the word "china" has become synonymous with "porcelain"-the function of these works and the meaning of their often richly decorated surfaces are not always readily apparent. This new installment in the successful How to Read series enlightens readers on Chinese ceramics of all kinds, using highlights from the outstanding collection of The Metropolitan Museum of Art as a teaching tool. Accessible to a general audience and written by an expert on the subject, this book explains and interprets 40 masterworks of Chinese ceramics. The works represent a broad range of subject matter and type, from ancient earthenware to 20th-century porcelain, and from plates and bowls to vases and sculptural figures. Lavish illustrations showcase these stunning works and the decorations that adorn them, including symbolic scenes, flowers, and Buddhist and Chinese historical figures. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

Learn to make dozens of unique gifts packaged perfectly in glass jars of various shapes and sizes. Do you have an aspiring gardener on your list? Make a "plant bomb" jar with your favorite flower seeds or an adorable terrarium featuring easy-to-grow air plants. Headed to a bridal shower? Pamper your friend with a manicure kit or mint mojito lip scrub. Who wouldn't love some homemade sugar cookie mix or healthy and delicious granola in an attractive and reusable jar? Glass jars are easy to come by, cute, and incredibly versatile. Fill them with customized treasures to delight anyone on your list. Projects include: Light-Up Fairy Jar Barbecue Rub Hot Fudge Topping Snowglobe Scenes Vanilla Citrus Sugar Hand Scrub Citronella Oil Lamp Bird Feeder And more! Complete with tips for decorating jars, suggestions for gift tags, and inspiring full-color photographs, Gifts in Jars is here to make your holiday gift list a whole lot more fun.

Philippe Rouet examines how Attic painted vases were interpreted by Edmond Pottier (1855-1934), founder of the Corpus Vasorum Antiquorum, and John Beazley (1885-1970), the master of attributions in the twentieth century. The comparison shows two markedly different approaches, one primarily archaeological, the other centred on the history of ancient art.

This book explores the great interest that Pablo Picasso had in ceramics, which he certainly didn't consider a minor art, but a means of artistic expression in its own right, like sculpture, painting and graphics. In Vallauris, at the Madoura ceramic laboratories, Picasso dedicated himself to working clay for a period of 25 years, from 1946 to 1971, producing thousands of unique pieces. This volume retraces this exceptional chapter of the Picasso's art, through 50 ceramics from the Picasso of the Musee National Picasso in Paris - a core of inestimable value, which represents almost half of the museum's large collection - placed in a fertile and unprecedented dialogue with the direct sources of his inspiration: classic ceramics with red and black figures, the Etruscan buccheri, Spanish and Italian popular ceramics, 15th century Italian graffiti, and examples of the Mediterranean area with iconographies of fish, fantastic animals, owls and birds, as well as terracottas from Mesoamerican cultures. A chapter is dedicated to the relationship between Picasso and Faenza through unpublished documents from the historical archive of the MIC, and to the historical video by Luciano Emmer of 1954 (Picasso a Vallauris). Text in English and Italian.