The ultimate guide to the potential of ceramic transfer printing as a creative medium. This book is ideal for anyone wishing to combine ceramics with print and transfers, a very exciting area which has enormous scope for creativity. Ceramic transfers or decals are one of the prime methods of decorating industrially-made ceramics. They also offer exciting creative potential for studio-based artists or designer-makers. A ceramic transfer is traditionally made by printing ceramic ink onto a special paper and allows pictures, patterns or text to be transferred onto ceramic forms - 2D and 3D. Importantly, print can achieve distinct aesthetic effects on ceramics that are not possible by using other decoration methods such as hand painting. Drawing on over twenty years of experience, Kevin Petrie offers a focused analysis of the potential of ceramic transfer printing as a creative medium. Discover the specific materials and techniques for making versatile screen-printed ceramic transfers - from the 'low tech' to the more sophisticated. In this book, you can also explore other approaches by artist researchers as well as recent developments with digital transfers. A range of case studies shows the potential and diversity of the transfer printing approach in this area, which extends beyond ceramics to include printing on enamel, metal and glass.

Potters and Patrons in Edo Period Japan: Takatori Ware and the Kuroda Domain traces the development of one of Japan's best-documented ceramic types, from its beginnings around 1600 until the abolition of the domain system in 1871. Using historical records, archaeological material from early kilns and consumer sites, and the results of comparative chemical analysis, this study explores the operation of Takatori as the official ceramic workshop of the Kuroda, lords of one of the largest domains in Japan. Spanning cultural, aesthetic, economic and practical aspects, this book presents Takatori ware as an ideal archetype with which to compare developments in elite ceramics in other parts of Japan throughout the Edo period. In addition to its scholarly examination of the operation of a domain-sponsored ceramics workshop over more than 250 years, the book includes illustrations of examples from each of the seven Takatori workshop locations, including beautiful pieces that have never before appeared in print.

An exclusive tour of one of the most diverse and high-quality collections of Scottish Wemyss Ware. Lavish illustrations cover an impressive range of Wemyss subjects - animals, flowers, insects, birds and more. Includes an essay on Wemyss production by historian Carol McNeil, as well as an introduction by collection owner George Bellamy. Wemyss Ware is an evocative name to anyone with an interest in pottery. It conjures grinning cats and pot-bellied pigs, jugs and plates and other items of tableware, often decorated with an intricate pink cabbage rose or other such bucolic scenes. Produced in Kirkcaldy, Scotland, from 1882 to 1930 (and in Bovey Tracy, England, 1930-1952), Wemyss Ware has an illustrious history. From the Wemyss family, the patrons of this pottery line; to the Queen Mother and Prince Charles, Wemyss Ware has caught the eye of many individuals of note. Among these was George Bellamy, now a legendary collector of Scottish Wemyss, who has been seeking out his pieces since 1976. A treasure trove of Wemyss Ware, this book catalogues a collection lovingly compiled over decades. Carol McNeil's essay traces the history of the Fife Pottery where Wemyss Ware saw its debut, while Bellamy's introduction guides the reader through several of the key figures involved in the locating and preserving of these works of art. Scottish Wemyss Ware 1882-1930 celebrates the labour, design and artistry that poured into each hand-decorated pot. Often inspired by the Fife countryside where they first originated, these characterful creations are just as delightful now as when they were first produced. This book was produced with the invaluable assistance of John Mackie, Director of Lyon & Turnbull.

This is the black and white paperback edition of Pattern, published in hardback in 2016 by Saltyard Books. If you would like the original colour illustrated version of Pattern it is available in hardback ISBN 9781444734942. Creativity, collaboration, inspiration Emma Bridgewater's patterns are as quintessentially British as marmalade on toast - and they have made her distinctive homewares best sellers across the world. Her inspiration is often deeply personal - a plate of her mother's, a favourite children's book - and as she tells the stories of each pattern's creation, she reveals the intricate processes of research and collaboration behind the familiar designs she has stamped on our kitchenware - and our hearts - for the past thirty years. Both an entrancing trip down memory lane and a behind-the-scenes look at a thriving creative business, Emma Bridgewater's PATTERN is essential reading for anyone who has ever turned over their mug after draining their tea and wondered about the human story behind that proud declaration: Made in Stoke-on-Trent, England...

Celebrating the 400th anniversary of traditional Japanese ceramic culture as interpreted by today's leading designers The art of Japanese porcelain manufacturing began in Arita in 1616. Now, on its 400th anniversary, Arita / Table of Contents charts the unique collaboration between 16 contemporary designers and 10 traditional Japanese potteries as they work to produce 16 highly original, innovative and contemporary ceramic collections rooted in the daily lives of the 21st century. More than 500 illustrations provide a fascinating introduction to the craft and region, while the contemporary collections reveal the unique creative potential of linking ancient and modern masters.

"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.

This exquisite gift book explores the phenomenon of 'garnitures', or matching sets of ceramic vases. From the 1650s such sets were used in elite European interiors as an integral part of the decorative scheme; displayed on chimney-pieces, cupboards, tables or over doors, they 'garnished' the interior and so enhanced the status of the owner. The fashion began in Europe using mismatched Chinese porcelain beakers and jars. As imports of Chinese porcelain ceased between 1657 and 1683, European potters at Never and Delft copied the originally exotic forms, unifying the sets with matching patters, or with metal mounts. The fashion continued throughout the 1700s, with almost every ceramic manufactory producing examples, but came to its conclusion during the Arts and Crafts period, when the singular vase became the rage and many sets were broken up and dispersed. This book brings together some of the National Trust's most important sets of garnitures, showing them in their historic context, many have never been published before.

An in-depth portrait of the life and work of Shoji Hamada, one of the key figures behind the development of studio pottery in the 20th century, and the legacy he left. Shoji Hamada was one of the seminal figures in 20th century ceramics. Along with the British potter Bernard Leach, he was instrumental in the development of the international Studio Pottery movement in the early 1900s. Their dramatic influences are still felt today, particularly in the United States and Great Britain. Hamada, also a major figure in Japan's folk art revival, was designated a 'Living National Treasure' by the Japanese government in 1955 and awarded the Order of Culture in 1968. Shoji Hamada is an ebullient and fascinating portrait of a great potter, tracing his place in the ceramic tradition and revealing a keen perception of his energetic lifestyle, dazzling work cycle, and intriguing specifics about the firing of his kilns. The text and over 200 new colour photographs from Peterson's stay at Hamada's compound in 1970 present a wealth of detail about techniques and processes. Equally important are the author's insights depicting Hamada's bequest to us: one whose life was concentrated toward the perpetuation and achievement of fundamental, unchanging and universal values and goals. In this completely re-designed and updated version of her classic book, Susan Peterson brings together the East-West connection personified by Hamada and Leach. In a completely new concluding chapter, she assesses Hamada's ongoing legacy to the world of studio pottery. This is an authoritative account of one of the towering figures in the ceramics world by one of the first people to welcome him to America in the early 1950s. The book is a must for anyone interested in the evolvement of hand pottery and the dynamics of ceramics in general.

The revised edition of our successful Raku book. Completely re-designed, black and white images have been replaced with colour and many new makers have been added to the gallery of artists, which is an overview of the contemporary scene and makes up about a third of the book. The text is almost completely re-written and updated with recent developments. This book is a comprehensive overview of raku, covering the history, clay types and firing of raku, as well as the glazes, techniques and reduction processes. The new edition also looks at the development of raku over the last 20 years, and at changes in the way it is perceived.

The Benaki Museum of Islamic Art in Athens has a substantial collection of Iznik ceramics (tableware, tiles and sherds). Although well-known to those who visit the museum, this collection has never been fully published. John Carswell first studied the objects in the 1980s and started cataloguing them with a view to publication. The project was revived and guided to fruition by the curator of the museum, Mina Moraitou. She has contributed a chapter on Antonis Benakis and the formation of the Iznik collection as well as working on the catalogue which includes 111 objects, 83 tiles and 143 sherds. All the objects are illustrated in colour, some with line drawings.

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.

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.

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, Dr Roth 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.

This text explains simply, step-by-step, how even inexperienced amateurs can achieve excellent results when they embark on porcelain restoration. Would-be restorers are introduced to the many options available and encouraged to discover which techniques suit their individual circumstances.;Each stage in the process is illustrated and there is advice on the functions and uses of specialist tools. The book should prove of use to the experienced professional restorer as well as the novice.

Bucchero is a very common type of fine pottery that was made by the Etruscans when their civilization was at its height, from the seventh to the fourth century BC. This study concentrates on the products of South Etruria, where the earliest and finest bucchero was made, and where the tradition lasts longest. Until recently bucchero has been little studied, and the aim of this book is to present a sequence of pottery from archaeological contexts, so that the development of the ware can be seen as a whole within a chronological framework. Many of the tomb-groups catalogued are published here for the first time. In studying the shapes careful consideration is given to the affinities with Greek and with other Etruscan wares. A full survey of the decorative techniques is included, and the pattern of distribution both within Etruria and further afield is discussed. An important feature of the book is a series of sixty pages of drawings of the profiles of every shape of bucchero pot studied. Bucchero is of considerable importance as a dating tool, and although the book is directed primarily at specialists, it will also be of interest to anyone who is curious about Etruscan art and archaeology.

The Attic white lekythoi, funerary vases long appreciated for their beautiful polychrome images, evoke the style of lost classical wall and mural paintings. This richly illustrated volume closely examines the four major types of scenes: domestic pictures; the mythological conductors of the soul; the prothesis (wake); and visits to the grave. John Oakley analyzes these pictures in context, documenting relationships between the "rites of passage," Athenian history, and the changing perceptions of death in fifth-century Athens.

Pottery tells us about religion, daily life, humour, trade, sex, folklore and creativity. Bearing the imprint of their maker more than any other crafted object, ceramics give us a unique physical link to the past, often the only evidence of long-forgotten civilizations that have otherwise crumbled to dust. From ancient Egyptian canopic death jars to ethereally beautiful porcelain, and from lewd Renaissance novelties to sleek contemporary vessels, Around the World in 80 Pots is an eclectic journey across time and cultures. Expertly selected from the unrivalled collection of the University of Oxford's Ashmolean Museum, this compendium shows that humankind's oldest craft is the perfect prism through which to view human history.

-- A unique mix of design and commentary by Walter Moorcroft.
-- Gives a rare glimpse into the life and works of the Moorcroft family and company.

Memories of Life and Living is a personal reflection by the renowned potter, Walter Moorcroft. on a life spanning eight decades. Walter inherited the factory from his famous father. William, when he was only 28.

This is a richly illustrated process volume. including many color plates of the author's designs to which are added his personal views and comments. The memoir contains descriptions of significant event and amusing anecdotes taken from Walter's diaries. This fascinating and often wryly humorous book is accompanied by a wealth of illustrations, providing a documentary of the family.

Learn the key techniques, tips, and tricks for pit, barrel, raku, and wood firing. Fall in love with flames, wood, and the effect that unique firing methods have on pottery. Move beyond the electric kiln and explore the dramatic surfaces of raku, the flashes of salt firing, and the rustic look of ash rivulets. In this book, Lindsay Oesterritter provides a crash course in the most accessible methods of alternative firing. Raku firing requires minimal equipment and can easily be fueled with a standard propane tank. Likewise, pit and barrel firing do not require much in the way of initial investment. Yet all these techniques provide an immediate glimpse into the magic of firing. Bright reds and blues, dramatic black and white crackle, even metallic luster are instantly possible. For more experienced potters and studios looking to offer more, Oesterritter also explores wood-fired kilns. Drawing on years of experience and extensive interviews with fellow wood-fire potters, there is no comparable resource on the market. Features on top potters working today get to the heart of specialty techniques and asides show firing variations and traditional kilns in different cultures around the world. A gallery of showstopping work from a diverse group of artists round out the package and inspire you to get started. The Mastering Ceramics series is for artists who never stop learning. With compelling projects, expert insight, step-by-step photos, and galleries of work from today's top artists, these books are the perfect studio companions. Also available from the series: Mastering Hand Building and Mastering the Potter's Wheel.

William De Morgan was the principal ceramic designer and maker in the Arts and Crafts Movement. Heavily influenced by the art of the Middle East, he was active for nearly thirty years from the 1870s onwards and was never content with an existing technical process if he thought it could be improved. He is famous for his vases and decorative chargers, but it is arguably his tiles - still to be found in homes and museums around Britain and the world - that have made the greatest impact. His tiles portray iconic images of animals, ships and floral designs, blending style influences to produce designs that featured new, stylized interpretations and a whimsical character. He combined a strong design style with rich glaze colours, making blue and green, and a deep orangey red into visual trademarks. There were important commissions from royalty and industry, and his ceramics were marketed to the growing middle classes by William Morris, the founder and leading light of the Arts and Crafts Movement. The tiles of the Arts and Crafts Movement are now highly collectible, and none more so than those made at William De Morgan's Chelsea, Merton Abbey and Fulham potteries. This highly illustrated book, by acknowledged experts on De Morgan, presents the first study of the tiles to be published in over thirty-five years and features an examination of De Morgan's lustre glazes using high sensitivity X-ray analysis.

Situated within the larger context of the post-Independence craft revival, this volume pays keen attention to the transnational histories of practice through five sections. The section Shift explores the local and international lineages of Indian studio pottery. Object discusses the ways in which clay has been a unique medium of expression for many artists. Utility considers the development of Indian ceramic industries, through lenses of economics and class. Form takes as its subject hereditary potters who negotiate modern-day artistic spaces. Perception focuses on the low-fired water container and its web of connections with its makers and users. The very mutability of clay and its shaper and the resulting dynamism, that produces both tensions and opportunities, are at the centre of this book.