Crafts & Hobbies

Dry glazes, also known as matte glazes, provide ceramic artists with an alternative to conventional glossy and transparent finishes. Potters such as Lucie Rie and Hans Coper frequently used matte and opaque coatings in their work. Contemporary sculptors employ dry glazes to add texture and depth to the surface of their pieces. Still, little information has been published on matte glaze techniques until now.

In Dry Glazes, artist and educator Jeremy Jernegan covers everything ceramicists need to know to create and manipulate a range of matte glazes, from satin to cratered. This compact yet complete guide contains more than 270 formulas and recipes for slips, sigillatas, vitreous englobes, oxides, and stains. Jernegan gives clear and thorough instruction on application and firing methods, including raku. He also explains safe and environmentally responsible ways to handle the chemicals involved. Dry Glazes not only contains step-by-step color photographs of test tiles and procedures; it features illustrations of works by contemporary makers who have used matte glazes to great effect.

With over one hundred illustrations and an in-depth treatment of techniques, materials, and creative approaches, Dry Glazes is a smart addition to any clay worker's library. It is a practical and inspirational resource for ceramics practitioners, instructors, and students who want to make or alter their own glazes.

An exploration of contemporary techniques in ceramic surface decoration, both conventional and unconventional

A remarkable diversity of techniques are used to treat the ceramic surface. Matthias Ostermann presents an exploration of the ceramic surface—focusing on the vessel and platter—that includes the nonfunctional, the metaphoric, the narrative, and even the sculptural. Through an examination of the works of 200 ceramicists from around the world, he provides a broad overview of contemporary techniques and approaches.

Ostermann covers a wide variety of techniques for making, decorating, and firing, as well as the full spectrum of clays and firing temperatures. Each image is accompanied by technical information, as well as a statement of the artist's inspiration and motivation that offers insight into the concept of the piece.

The Ceramic Surface provides inspiration to ceramicists, educators, and historians, while also celebrating the ingenuity and diversity of talent found in contemporary ceramics.

Now available in its sixth edition, The Potter's Dictionary of Materials and Techniques presents a comprehensive survey of all aspects of making ceramics for craft potters and ceramic artists. With its sound, practical explanations of ceramic processes, this indispensable reference book has gained a reputation as "the potter's bible." Professional potters, beginners, students, and collectors will find authoritative information clearly and logically presented.

Frank and Janet Hamer explain the sources and character of materials, the behavior of clays and glaze minerals during forming and firing processes, forming methods, and glaze construction. In addition to brief outlines and detailed articles with cross references to illustrations, color photographs illustrate glaze effects and surfaces featured in the work of inventive, contemporary potters. The varied techniques of Raku, maiolica, crystalline glazes, salt and soda, stoneware, and porcelain are also presented.

This new edition features over 500 full-color photographs and illustrations. With more than 300 diagrams to clarify everything in the ceramic world, in its sixth edition The Potter's Dictionary of Materials and Techniques will continue to serve as the authority on all things ceramic.

Soda glazing was, for many years, the neglected cousin of salt glazing. As pollution laws have become stricter, however, more potters have turned to soda and, to their delight, found not only the traditional orange peel surface but also a subtle palette of colors that have made them sit up and take notice.

In this book Ruthanne Tudball discusses the history of and techniques involved in soda glazing. She includes body and slip recipes, kiln designs, and firing methods specifically developed for soda glazing. She illustrates her text with the work of an international group of artists.

Selected by Choice magazine as an Outstanding Academic Book for 2000

Chinese glazes have been admired throughout history for their extraordinary qualities and colors—not least in China itself, where their appearance has been compared variously to jade, to tea-dust, to hare's fur, or to the "color of the sky after the rain." Some Chinese glazes are vibrant and brilliant in tone, while others are deep, complex, and subtle, their properties seeming to change according to ambient light. Chinese glazes have long presented a technical challenge to Western potters, and this book is the most complete account yet of their nature and their reconstruction. The story of Chinese glazes is also the story of Chinese ceramics itself, one of the most fascinating and influential traditions in ceramic history.

Chinese Glazes traces the development of China's great high-fired glaze tradition from its roots in the Bronze Age, through the famous monochrome stoneware glazes of the Song dynasty, to the fine porcelain glazes of southern China. The book also examines in detail the story of China's low-fired glazes, from the time of China's first emperor to the present day. The book shows clearly how the potters of ancient China were able to work their ceramic miracles from the simplest recipes, and how modern potters can use and adapt these principles for their own work. The book contains hundreds of recipes for formulating Chinese glazes with Western materials, simple and advanced calculation techniques, as well as efficient blending procedures with local materials.

The book is lavishly illustrated, with nearly three hundred photographs, one hundred in full color. These depict examples of the Chinese arts as found in pottery ranging from simple earthenware jars excavated at Neolithic sites to exquisitely designed dishes found in imperial tombs. They also show examples of modern Western ware that employ these remarkable glazing techniques.

Salt glazing, with its distinctive "orange peel" surface, has long attracted both ceramicists and collectors. In his new book, well-known potter Phil Rogers looks at all the aspects of this very special glazing technique.

Salt Glazing covers the history of salt glazing and the technical considerations—particularly kilns—that set this form of glazing apart from all other studio ceramics. Rogers also showcases the work of such leading salt glaze artists as Byron Temple, Jeff Oestrich, and Hans and Birgette Borjenson. Beautifully illustrated, Salt Glazing is a must for students, professional potters, and collectors of studio ceramics who enjoy the wonderful surface textures this popular medium makes possible.

Paperclay is an extremely versatile material for the contemporary potter. Now firmly established in the ceramics world, this mix of clay and paper fibers is remarkably flexible, strong, and easy to repair. This highly workable medium allows expressive freedom and imagination at every stage in the creative process, even after drying and firing. In Paperclay, artists will discover the world of possibilities offered by this blend of earth, paper, and water.

Building on the success of her previous books, artist and teacher Rosette Gault explains how potters and clay sculptors can make, fire, and reshape paperclay. This comprehensive guide covers a range of methods from dry modeling to slurry state. Going beyond the basics, the book introduces advanced techniques for building armatures, sculpting figures, and forming wall hangings. It also includes information on recycled and sustainable ingredients. Paperclay features all-new color photographs and diagrams of techniques and tools, as well as inspiring works by today's leading international ceramicists.

Packed with photographs and clear instructions, Gault's book is an essential introduction to paperclay for ceramics artists and educators.

Salt glazing, with its distinctive "orange peel" surface, has long attracted both ceramicists and collectors. In his new book, well-known potter Phil Rogers looks at all the aspects of this very special glazing technique.

Salt Glazing covers the history of salt glazing and the technical considerations—particularly kilns—that set this form of glazing apart from all other studio ceramics. Rogers also showcases the work of such leading salt glaze artists as Byron Temple, Jeff Oestrich, and Hans and Birgette Borjenson. Beautifully illustrated, Salt Glazing is a must for students, professional potters, and collectors of studio ceramics who enjoy the wonderful surface textures this popular medium makes possible.

Best known as one of the most widely used industrial ceramic techniques, slipcasting has become increasingly attractive to individual artists and craftspersons. Slip, a water and clay solution, is poured into porous molds. As the mold absorbs water from the slip, a layer of clay forms a cast. The excess slip is removed from the mold and the cast is stiffened, removed, dried, and fired in a kiln. Since the molds can be based on anything from delicate sculpture to found objects, slipcasting frees artists from the constraints of other ceramic techniques while allowing them to create multiples of their works.

Sasha Wardell's Slipcasting is a straightforward, practical guide for those interested in the boundless possibilities of the technique. The book contains more than one hundred color illustrations, diagrams, and slip formulas. An inspiring "Individual Approaches" chapter discusses the slipcast work of a variety of contemporary ceramicists from around the world.

In Introducing Pottery, international potter and teacher Dan Rhode shares more than twenty years of experience in a well-organized, fully illustrated volume. Rhode's comprehensive overview of the methods, techniques, equipment, and theory allows novice and more advanced clay artists to solve problems as they develop and to keep improving.

Introducing Pottery begins with a brief history of world ceramics and a practical discussion of the fundamentals of clay chemistry and composition. The guide quickly moves into step-by-step instructions for working in clay. It covers throwing and handbuilding methods, and even shows how to set up a clay studio. Introducing Pottery includes an in-depth look at glaze making, formulation, and application that goes beyond mainstream glazes and allows artists to express their own aesthetic. Readers will learn about the differences between firing techniques, and how to use them in variety of kilns. Each method is illustrated with full color photographs of professional ceramicists at work in their studios. Easy-to-read tables and charts also complement the clearly written instructions.

With 200 color illustrations and inspiring writing from a master ceramicist, Introducing Pottery belongs in every new clay worker's library. As potters gain experience, this guide will continue to be a valuable source of information, giving them the tools to evaluate and learn from their experience.

For more than 10,000 years, people have been shaping clay into brick for use in creating permanent shelter. With increased skill, they used brick to form arches and gateways in complex buildings of different sizes and shapes. Eventually bricks were used to decorate walls and floors, and what had once been a strictly utilitarian item began to take on an aesthetic role.

Current attention to architectural ceramics, the interest in installations, and the advance of public art have transformed brick into an increasingly popular medium. Artists now collaborate with brick factories to produce a wide range of work utilizing the unique properties of brick. Some of them carve the clay while it is green and then fire it; others use already fired bricks to produce their art.

In Brickworks, Gwen Heeney shows the amazing creations of an international group of artists who work with brick and also gives practical information about getting commissions, working with brick factories and designing with bricks. In addition she offers insight into the technicalities involved in producing brick artworks. She covers the process from the initial pile of raw bricks, through design, the making of the piece, dismantling, firing, and reconstructing in situ.

Illustrated with images that will both enlighten and engage artists, architects, and those involved in public art, Brickworks is the complete guide for anyone wanting to work creatively with this medium.

Lustreware, once associated with alchemy for its golden effects, may no longer be a guarded secret of potters and tillers, but the technique still intimidates many artists. The challenging mix of science and art requires a great deal of experimentation to achieve the desired results. Perfecting lustre demands patience, experience, and, above all, knowledge. Yet the iridescent beauty of this decorative technique makes it all worthwhile. Lustre takes on many appearances, from a warm coppery glow to a spectacular prismatic finish. In Lustre, ceramic artist Greg Daly demystifies the method and removes the guesswork from the process.

Lustre begins with a brief historical overview of the technique, from its origins in ninth-century Tunisia to the application of nanotechnology in the ceramics industry today. Daly then guides ceramicists through each lustre production method: pigment, glaze, resin, and fuming. In each case, he breaks down the essential techniques and important safety procedures through simple step-by-step instructions and recipes. The handbook provides detailed technical information in clear language and easy-to-read tables and charts. The results, presented in full-color photographs, are sure to inspire. Lustre features examples of some of the world's best ceramics.

Daly's encouraging and practical book gives intermediate to advanced ceramic makers and ceramic teachers the knowledge to produce an amazing variety of metallic finishes. This one-of-a-kind guide puts the magic of lustre within reach.

The use of wax, paper, clay, and other materials to prevent the effects of heat, fire, smoke, chemical reactions, colors, and glazes from altering or contaminating the surfaces of work is very popular with ceramicists. However, learning to use these techniques can be a long and frustrating process, particularly when complicated by considerations of the state of the clay and the form of glazing to be used.

In this book Peter Beard discusses the techniques of masking and resist and gives guidance as to how best to use various materials and firing methods to achieve a wide range of finishes.

Once a ceramic piece is finished it can be embellished or enhanced with other materials, such as a wooden or metal handle, glass stopper, or resin knob. Objects with varying textures such as feathers, recycled pieces of wood, metal, glass, or other ceramic pieces can be joined after firing with modern bonding methods. Ceramics with Mixed Media is a practical handbook that shows how other materials can be combined with ceramics for functional, decorative, or sculptural reasons.

In this book, Joy Bosworth examines the best ways of combining and fitting these materials together-including some inside the kiln. She covers the practicalities and specific problems that one is likely to encounter when trying to join different materials together. Helpful step-by-step illustrations are included along with the work of many contemporary artists, which will both inform and inspire the reader.

A growing number of ceramic artists now choose not to glaze their work. Instead, they use an unglazed—naked—surface to express their ideas and concerns. From slips and terra sigillata to burnishing, engobes, oxide washes, and additions to the clay body, there is a wide range of techniques artists can employ to achieve the finishes they desire. As these techniques are suitable for a broad spectrum of processes, subject matter and context (from slipcasting to handbuilding, from high to low firing temperatures, from figurative to conceptual, from domestic to public), the scope of the work produced by the artists represented in this book is enormous.

In Naked Clay Jane Perryman not only presents the finished ceramics and techniques of an international group of artists, she also investigates their ideas and areas of inspiration to further an understanding of their work. Each artist presented here has a unique style and way of working, but they are all connected through their committed relationship to the material and their desire to express their ideas using "naked" clay.

This beautifully illustrated book will inform and inspire not only students, professionals, and teachers, it will fascinate collectors and, indeed, anyone with an interest in contemporary ceramics.

Like clay, all glaze materials come from the earth. Traditionally, stones, plants, and other natural materials provided the elements for ceramic surface decoration. In an age of synthetic and mass-produced glazes, handmade glazes from locally sourced ingredients allow artists to produce unique pieces that reflect their surrounding landscapes. In Natural Glazes, Miranda Forrest guides readers through the process of experimentation and discovery to make amazing hues from organic materials.

Whether a glaze is mixed from scratch or local items are added to a commercial glaze, this concise book teaches the essential steps. A variety of glaze materials is available in any location, and Forrest shows artists how to recognize and gather appropriate ingredients and prepare them for blending. She explains how to work with vegetation and organic materials such as grass, wood, and seashells, giving step-by-step directions for mixing glazes and testing sample blends for optimal results. Natural Glazes covers application and firing techniques such as raku and offers health and environmental safety information.

Natural Glazes contains full-color photographs of completed works, charts and tables providing firing times and other data, and insightful essays from other ceramic artists specializing in natural glaze work. Using found materials in glazes is a creative way to add a local touch to ceramics. With Natural Glazes, inspiration may be as close as your own backyard.