March 15, 2010
Combine cast and handbuilt parts without the fear of different shrinkage rates. Paul Wandless demonstrates how to make a casting slip from your everyday clay body.Already Registered? Please sign in.
December 9, 2009
This is a book about variety and about possibilities. It's a compilation of techniques from a wide range of experienced clay artists who have figured out something unique in ceramics, perfected it, and documented it so others could take it to the next level. In this book you'll find techniques for double-walled vessels, miniatures, templates, carving, sculpting, mixed media, throwing, handbuilding, surface decoration, photo transfers, and much more.July 10, 2009
How to Make a Pinch Pot: Using a Pinch and Paddle Method to Create Large Pots
Kristin Doner produces pinch pots on a larger-than-usual scale. She began with 2 or 3 pound balls of clay but she wanted larger forms so she increased the clay and developed new forming strategies. After opening with a usual pinching method, she expands the pot by rhythmically paddling the outside. For more great handbuilding techniques, download your free copy of Three Great Handbuilding Techniques: How to Make Pottery Using the Pinch, Coil and Slab Methods! My journey with clay ...January 5, 2009
Throwing and handbuilding are at the core of all studio ceramics techniques. Through imagination and experimentation, some of the most skilled artists and craftsmen can take these basic techniques and often produce extremely creative works of art. With practice and patience, the coil pot or tall narrow form can become works of art suitable for galleries and collectors.December 17, 2008
Materials added to some claybodies, especially those high in kaolins, to increase plasticity and dry strength—includes bentonite, Macaloid, Veegum-T.December 17, 2008
Quality of moldable flexibility in damp clay—superior plasticity depends on smaller clay particle size, slight acidity, less nonplastic additives, aging of damp claybody, adequate water content, and/or addition of accessory plasticizers, such as Veegum T or Macaloid.December 16, 2008
Low temperature, porous earthenware claybody, fires red-brown due to high iron content, which also fluxes clay, making it the most durable low-fired clay after firing.December 16, 2008
Ultrarefined clay slip that can give a soft sheen when applied to bone-dry wares and if polished or burnished while still damp may give a high gloss.December 16, 2008
Gritty materials like sand, grog, volcanic ash, crushed seashells, etc., added to clay to open upthe body, give physical structure in wet-working and increase thermal shock resistance.December 5, 2008
Low-fired ware, usually still porous after firing—must be sealed with vitreous glaze to be functional.December 5, 2008
Refractory red stoneware clay, used to obtain rich red and brown colors in high-fire claybodies.December 5, 2008
Method of achieving a shine by rubbing clay or slip with smooth hard object.December 5, 2008
Slip clay with very high iron content, often used as brown colorant for claybodies.December 5, 2008
Initial kiln firing in which clay sinters without vitrifying, and though very porous, will no longer soften in water.November 5, 2008
For anyone interested in soda or salt firing, Soda, Clay and Fire covers the topic in great detail. The technical research and presentation surpass all existing literature on the topic, and the rich, vibrant examples of finished work are stunning and sure to inspire. With soda firing, the creative process continues until the kiln is turned off. Nichols' book discusses the principles behind this technique and delves into clays, glazes, loading protocols, firing schedules and more. Also included are profiles of other artists working with this technique and examples of their work.August 1, 2008
I had the good fortune to be one of Matt Long’s students when he was in graduate school at Ohio University. Sadly, I only had one class with him because I happened to take it the quarter I graduated. But, that one class had an impact on me. I really identified with Matt's philosophy on making pots and that is probably why clay has been a big part of my life ever since (ceramics was not my major, although it would have been had I taken the class earlier!). Matt is one of those gifted educators who really impacts his students both because he is an excellent instructor and because of his genuine enthusiasm for what he does. Today’s video is ...January 1, 2008
Ceramists choosing to work in home studios are praising the safety, convenience and economical benefits of the electric kiln. Now in its third edition, Electric Kiln Ceramics helps the ceramist create work exclusively intended for firing in the electric kiln. This valuable guide is an exhaustive review of clays, glazes and techniques designed to benefit the seasoned professional, as well as the less technically educated beginner. Renowned ceramist and respected author, Richard Zakin provides information on kiln construction, routine maintenance, loading and firing, the influence of firing temperatures and the application of oxidation surfaces. State-of-the-art health and safety concerns are also addressed, including the kiln atmosphere and the strengths and weaknesses of the oxidation atmosphere. Recipes for commercial and homemade ...July 5, 2007
Studio Practices, Techniques and Tips is a collection of articles, suggestions, and questions and answers from the Ceramics Monthly archives. Potters share their knowledge on a full range of topics including designing a studio, making and using tools and equipment, photographing work, marketing and sales, kilns and firing. Also the stories of problem solving, insightful solutions, and the individual stories of challenges and successes. This is a must-have book for any potter or clay artist setting a course for pursuing clay beyond the casual past-time.April 5, 2007
Mimi Obstler's Out of the Earth, Into the Fire studies glazes by examining the connection between the ceramic raw materials and the surface of a ceramic form. This book presents a twofold approach to the study of claybodies and glazes that is both empirical and historical in nature. It is empirical because it seeks to create and understand ceramic surfaces in terms of a hands-on experience with the primary minerals of our earth. It follows a historical approach in its focus on a single mineral as the core of the glaze or the claybody.September 5, 2006
In Beginning Handbuilding Graham Sheehan introduces beginning potters to basic hand-building techniques. After showing how to make simple pinch pots, he demonstrates coil and slab building methods using five different projects of increasing complexity. The video features close-ups that provide details about how clay should be prepared, how it can be joined to another piece and how glazes can be used to decorate forms. The program concludes with a demonstration of the finished pieces fired in an electric kiln.
