Preface to the Third Edition |
|
8 | (3) |
The Safety Aspect |
|
11 | (2) |
|
|
13 | (24) |
|
|
13 | (1) |
|
|
13 | (1) |
|
History's Influence on the Ceramic Art of Today |
|
|
14 | (5) |
|
|
19 | (1) |
|
|
19 | (1) |
|
|
19 | (6) |
|
|
21 | (2) |
|
|
23 | (1) |
|
|
24 | (1) |
|
|
25 | (1) |
|
|
26 | (2) |
|
Alternative clays and additions |
|
|
28 | (4) |
|
Why Mix Your Own Clay Body? |
|
|
32 | (1) |
|
Methods of Mixing Clay Bodies |
|
|
32 | (1) |
|
|
33 | (1) |
|
How important is fired shrinkage and absorption? |
|
|
33 | (1) |
|
How to reclaim scrap clay |
|
|
34 | (1) |
|
|
34 | (1) |
|
|
35 | (2) |
|
2 The Craft of Working with Clay by Hand |
|
|
37 | (30) |
|
|
37 | (2) |
|
|
39 | (1) |
|
|
39 | (1) |
|
Building by Hand: Introduction |
|
|
40 | (2) |
|
|
42 | (12) |
|
|
42 | (1) |
|
Coil method, smooth or textured |
|
|
43 | (4) |
|
|
47 | (7) |
|
Learning from Techniques Used by Indigenous Peoples |
|
|
54 | (1) |
|
|
54 | (1) |
|
|
54 | (3) |
|
|
54 | (1) |
|
Coloring with mineral/vegetable matter |
|
|
55 | (2) |
|
|
57 | (2) |
|
|
58 | (1) |
|
|
59 | (1) |
|
Make Your Own Casting Slip or Buy It Ready-made |
|
|
60 | (3) |
|
How to Mix Plaster and Pour a Form |
|
|
63 | (4) |
|
3 Throwing on the Potter's Wheel |
|
|
67 | (30) |
|
Anyone can Learn to Throw |
|
|
67 | (1) |
|
|
68 | (1) |
|
Steps in Throwing on the Potter's Wheel |
|
|
69 | (3) |
|
|
69 | (1) |
|
|
70 | (1) |
|
|
70 | (1) |
|
|
71 | (1) |
|
Practice These Five Shapes |
|
|
72 | (7) |
|
a) Pull up and shape a cylinder |
|
|
72 | (2) |
|
|
74 | (2) |
|
|
76 | (2) |
|
d) Sphere and cylinder combined |
|
|
78 | (1) |
|
|
78 | (1) |
|
Other Shapes are Variations |
|
|
79 | (5) |
|
|
79 | (1) |
|
|
80 | (1) |
|
|
81 | (1) |
|
|
81 | (2) |
|
|
83 | (1) |
|
|
84 | (1) |
|
|
84 | (1) |
|
|
84 | (1) |
|
|
84 | (1) |
|
|
84 | (1) |
|
Large Forms from the Wheel |
|
|
85 | (12) |
|
|
97 | (20) |
|
What is Ceramic Sculpture? |
|
|
97 | (6) |
|
|
101 | (1) |
|
|
102 | (1) |
|
Over-the-hump slab building |
|
|
102 | (1) |
|
|
103 | (5) |
|
|
108 | (1) |
|
|
108 | (1) |
|
|
109 | (2) |
|
|
111 | (3) |
|
|
114 | (1) |
|
|
114 | (1) |
|
|
115 | (2) |
|
Firing for a large sculpture |
|
|
115 | (2) |
|
|
117 | (38) |
|
|
117 | (1) |
|
|
118 | (7) |
|
|
118 | (1) |
|
|
119 | (2) |
|
|
121 | (1) |
|
|
121 | (4) |
|
|
125 | (1) |
|
|
125 | (1) |
|
Calculating glaze formulas |
|
|
125 | (1) |
|
|
125 | (1) |
|
|
126 | (2) |
|
|
126 | (1) |
|
Basic glaze batches for low, medium, high temperatures |
|
|
127 | (1) |
|
Reds, yellows, and oranges |
|
|
128 | (7) |
|
|
131 | (2) |
|
|
133 | (1) |
|
Hobby-Carrobia (Germany) glaze tests |
|
|
134 | (1) |
|
|
134 | (1) |
|
|
134 | (1) |
|
Mixing and Storing Glazes |
|
|
135 | (1) |
|
|
135 | (2) |
|
|
136 | (1) |
|
|
137 | (4) |
|
|
141 | (1) |
|
Glass is a Ceramic Material |
|
|
142 | (5) |
|
|
145 | (2) |
|
|
147 | (1) |
|
|
147 | (1) |
|
|
147 | (8) |
|
|
155 | (24) |
|
|
155 | (1) |
|
|
156 | (2) |
|
|
157 | (1) |
|
|
158 | (1) |
|
Commercial Ready-made Kilns |
|
|
158 | (4) |
|
|
162 | (1) |
|
|
163 | (1) |
|
|
163 | (1) |
|
Guide-posts for temperature |
|
|
164 | (1) |
|
Pyrometric Temperature Devices |
|
|
164 | (1) |
|
Oxidation and Reduction Atmospheres |
|
|
165 | (2) |
|
|
166 | (1) |
|
Iron celadons and tenmokus |
|
|
167 | (1) |
|
Stacking and Firing Kilns |
|
|
167 | (2) |
|
|
167 | (1) |
|
|
168 | (1) |
|
|
169 | (8) |
|
|
169 | (1) |
|
|
169 | (3) |
|
|
172 | (1) |
|
|
172 | (1) |
|
|
173 | (1) |
|
|
173 | (4) |
|
Glaze and Firing Problems |
|
|
177 | (2) |
|
|
179 | (27) |
|
|
179 | (27) |
|
|
180 | (2) |
|
|
182 | (2) |
|
|
184 | (5) |
|
|
189 | (5) |
|
|
194 | (2) |
|
|
196 | (4) |
|
|
200 | (6) |
|
8 The Timeless World History of Ceramic Art |
|
|
206 | (8) |
|
|
214 | (10) |
|
1 Suggested Projects for Individual Work |
|
|
214 | (2) |
|
Decide on general procedure |
|
|
214 | (1) |
|
|
214 | (2) |
|
|
216 | (1) |
|
2 Suggested Projects for Beginning Hand-building |
|
|
216 | (1) |
|
3 Progression of Individual Steps in Throwing Projects |
|
|
217 | (1) |
|
4 Suggested Projects for Clay, Glaze, and Decoration Experiments |
|
|
218 | (1) |
|
Body and glaze development |
|
|
218 | (1) |
|
|
218 | (1) |
|
Design standards to keep in mind |
|
|
218 | (1) |
|
5 Experimenting with Material Additions to a Base Glaze |
|
|
218 | (1) |
|
|
219 | (1) |
|
7 Glaze "Line-blend" Test |
|
|
219 | (1) |
|
8 Special Low Fire Information |
|
|
220 | (1) |
|
|
220 | (1) |
|
Colors for Egyptian paste |
|
|
220 | (1) |
|
|
221 | (1) |
|
|
221 | (1) |
|
9 Some Suggestions for Taking Photographs of your Artwork |
|
|
221 | (1) |
|
10 Example of a Pottery Studio |
|
|
221 | (1) |
|
|
222 | (1) |
|
Temperature Equivalents of Orton Cones |
|
|
223 | (1) |
|
Temperature Equivalents of Seger Cones |
|
|
223 | (1) |
Glossary |
|
224 | (3) |
List of Artists |
|
227 | (4) |
Residencies |
|
231 | (2) |
Information Sources |
|
233 | (2) |
Bibliography |
|
235 | (1) |
Photo Credits |
|
236 | (1) |
Index |
|
237 | |