This is the complete guide for anyone interested in mouldmaking and modelling. It is ideal for any purpose, whether for making repairs to picture frames or designing a pottery tea set, making a sculpture, creating shapes for printmaking, making a toy soldier, or even making chocolate Easter egg moulds. Highly illustrated, the book is filled with step-by-step instructions that guide the user through the process of making first-rate moulds and models. A wide variety of materials suitable for moulds are discussed including plaster, latex, resin, silicone as well as the equipment needed. There are also useful charts which show which types of moulds should be used for different materials such as chocolate, wax, plaster, lead and resin. All in all, this is an indispensable guide to the processes of mouldmaking and modelling and it should be on the reference shelves of all mouldmakers - amateurs and professionals alike.

Addressing topics ranging from production and distribution to iconography and museum collections, "Vessels and Variety" sheds new light on perspectives in the fields of ancient pottery studies. The contributors cover a wide span of time from the Geometric period to the Roman period, exploring both new materials from recent excavations in the Mediterranean--from southern Italy to the Black Sea--as well as new methodological approaches. With richly illustrated articles, this volume provides an important contribution to the ongoing debates on the role of pottery in ancient societies.

This work looks at ceramic contexts from Late Antiquity to Early Middle Ages (350-700), in rural settlements of Salamanca (Spain). It explores a whole series of ceramic contexts from six sites excavated in recent years, in the territory of Northern Lusitania (nowadays the province of Salamanca, Spain), covering the period between the end of the 4th century and the beginning of the 8th. The chronological frame of reference for the stratigraphy has been established by information provided by coins and radiocarbon dates. The pottery of this period in the central Iberian Peninsula has remained little known, and this present study relating to its classification and chronology represents a significant development, providing initially a common terminology to designate the diverse pottery productions, usually considered as local ware.

Discussions and scientific exchange are crucial for the advancement of a young discipline such as the study of Roman pottery in the Near East. Therefore, in addition to large conferences such as the 'Late Roman Coarse Ware Conference' (LRCW) where the Near East plays only a marginal role, an international workshop with 20 participants dedicated solely to the study of Roman common ware pottery in the Near East was held in Berlin on 18th and 19th February 2010. The goal of this workshop was to provide researchers actively engaged in the study of Roman common wares the possibility to meet and discuss the current state of research as well as questions and problems they are facing with their material. Some of the participants were able to bring pottery samples, which provided the possibility to compare and discuss the identification and denomination of specific fabrics on a regional and supra-regional scale. This volume presents 17 papers from this stimulating event. The Archaeopress series, Roman and Late Antique Mediterranean Pottery (RLAMP) is devoted to research of the Roman and late Antique pottery in the Mediterranean. It is designed to serve as a reference point for all potential authors devoted to pottery studies on a pan-Mediterranean basis. The series seeks to gather innovative individual or collective research on the many dimensions of pottery studies ranging from pure typological and chronological essays, to diachronic approaches to particular classes, the complete publication of ceramic deposits, pottery deposit sequences, archaeometry of ancient ceramics, methodological proposals, studies of the economy based on pottery evidence or, among others, ethnoarchaeological ceramic research that may help to understand the production, distribution and consumption of pottery in the Mediterranean basin.

VINTAGE MASON JARS, MODERN STYLE Packed with dozens of easy do-it yourself projects, this book shows how to transform the forever fashionable Mason jar into everything from a festive party decoration or fun children's toy to an elegant wedding favor or useful home decoration, including: * Cake Stand * Calligraphy Drink Glasses * Holiday Candelabra * Terrarium * Night Light * Piggy Bank * Clock * Herb Garden * Animal Hooks With helpful instructions and over 150 step-by-step photos, Mason Jar Crafts will have you fashioning inexpensive and stylish projects in no time.

Almost a century ago, Annette McConnell Anderson, a New Orleans society woman, vowed that her three sons would become artists. Turning her back on bourgeois life and abetted by her skeptical husband---a grain merchant---she bought twenty-eight acres of woodland on the Mississippi Sound. Beside a sleepy bayou, in the shade of towering pines and magnolias, she opened an art colony, one of the first of its kind in the South.

Backed by his mother's passion for art, her oldest son Peter Anderson founded Shearwater Pottery. Yearning "to make Shearwater synonymous with perfection," he drew the entire family into his adventure. His brothers, "Mac" and Walter, made strange, wonderful pieces, though Walter Anderson eventually left the pottery studio to search for his own artistic path.

Drawn by the exquisite work of Shearwater Pottery, the authors discover that painting, poetry, and storytelling---much of it by strong, unforgettable women---are still an essential part of the family's daily life. Intimate diaries, letters, and poems lead the reader into a stormy, passionate, sometimes heartbreaking past. Meticulously researched and compassionately written, "Dreaming in Clay on the Coast of Mississippi" gathers one family's eternal legacy of wisdom and beauty, the healing power of art, the consolations of writing and of memory, and the spiritual treasures given us by the natural world.

'The Mirror is an amusing jewel of a book, a sparkling reflection of the history of the mirror in Europe, and the role of the mirror in European imagination.' - Los Angeles Times

"The cultural history of the mirror is fully explored by Sabine Melchior-Bonnet. The book marries science and art, literature and philosophy." - New York Times

'This erudite meditation ... reveals how significantly the mirror has influenced Western culture...this beautifully illustrated study offers so many intriguing glimpses into the meanings of reflection that it will reward anyone who peers beneath its surface.' - Publishers Weekly

Glasgemalde aus der fruhen Neuzeit befinden sich im Kanton Schaffhausen kaum mehr an ihren ursprunglichen Bestimmungsorten. Dank den intensiven Bemuhungen von Schaffhauser Burgern und Institutionen konnte uber die letzten 150 Jahre aber ein ansehnlicher Bestand an historischen Glasgemalden fur die dortigen Sammlungen gesichert werden. Diese in der vorliegenden Publikation erstmals vollstandig erfassten, durchweg farbig abgebildeten 194 Werke vermitteln ein anschauliches Bild vom Reichtum der einstmals in oeffentlichen und privaten Schaffhauser Gebauden vorhandenen Glasmalereien. Zugleich kommt ihnen ein hoher kulturgeschichtlicher Wert zu, indem sie aufschlussreiche Einblicke in die vielfaltigen Beziehungen der Burger untereinander und zu ihren politischen Organen gewahren. Die dem Katalog vorangehende Studie behandelt die Entwicklung der Glasmalerei zwischen 1500 und 1800 in Schaffhausen und Stein am Rhein aus verschiedenen Perspektiven. Eroertert werden zunachst die Grunde fur den nach der Reformation erfolgten Aufstieg Schaffhausens zu einem fuhrenden Zentrum Schweizer Glasmalkunst, dessen Erzeugnisse sich auch in Suddeutschland einer grossen Beliebtheit erfreuten. Nach dem Eingehen auf die Trager dieser Nachfrage wird unter Beizug des reichhaltigen, hier erstmals auszugsweise veroeffentlichten Quellenmaterials die Organisation des Schaffhauser Glasmaler- und Glaserhandwerks durchleuchtet und seine enge Verflechtung mit den Malern aufgezeigt. Daran schliessen sich die Kurzbiografien der wahrend der fruhen Neuzeit uber hundert in Schaffhausen tatigen Glasmaler, Glaser und Scheibenentwerfer, zu denen neben unbekannten, bislang noch nie namentlich erfassten Meistern Kunstlerpersoenlichkeiten wie Tobias Stimmer oder Daniel Lindtmayer der Jungere gehoeren. Ganz anders liegen die Verhaltnisse in der bis zur franzoesischen Revolution unter Zurcher Oberhoheit stehenden Stadt Stein am Rhein. Wie die Studie aufzeigt, beherrschten dort fremde Meister das Feld der Glasmalerei, und zwar vor allem solche aus Zurich und Winterthur. Obwohl Stein am Rhein im Gegensatz zu Schaffhausen nie ein bedeutender Produktionsort fur Glasmalerei war, kann sich diese Stadt mit dem 1542/43 in sein Rathaus gestifteten Scheibenzyklus aber ruhmen, Huterin eines der glanzvollsten Zeugnisse Altschweizer Glasmalkunst zu sein.