Friday, June 10, 2011

Turkish ceramics Miniature Bowls

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Indian pottery : Silver Pot Or Kalasam

 Prince Jewellery supplies Silver Pot or Kalasam. Prince Jewellery specializes in the variation of fashionable ornaments in gold, diamond, rubies, emeralds, silver, etc. The Silver Pot or Kalasam serves as an ideal gift item.

Silver Pot Or Kalasam
buy it 

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Friday, March 18, 2011

Slab Construction

 In this section you will learn how to put clay plates together to make a piece of pottery. The slab may have excellent results if you take your time and do not rush the process.
(Spreading the clay)
  Begin with a smooth flat surface.  Place newspaper or cloth over the surface to prevent the clay from sticking to your work surface.  Spread the clay out by patting it with your whole hand.(Flipping the clay)
  To flip the clay over - carefully hold top and bottom of the clay with the palms of your hands.  This will prevent the clay from tearing while you are flipping it.
(Rolling out the clay)
  To help you roll your clay to an even thickness, place a yard stick on each side and roll out until the clay is the same thickness as your yard stick.
(Cutting your slabs)
  Use a ruler to help you cut a straight line. (Tip: If  you want a 90` corner - lay a piece of paper over the clay to show the 90' corner.)
(Let clay firm-up)
  After you cut out your bottom and sides, let them sit until the clay is leather hard.  For most clay's this will take about an hour.
(Score or Scratch the edges)
  When your clay is leather hard use a needle or sharp pencil to scratch the edges of the clay where the clay will be joined together.  A criss-cross pattern works well for this.
(Apply slip to edges)
  Make some slip by watering down a small amount of clay until it is the consistency of yogurt.  Apply the slip to the areas you just scratched.
(Applying the slip)
  Some potters use white vinegar instead of slip.  I have not had good experiences with vinegar.  I find I get more cracking in my pieces so I mainly use slip.
(Joining the pottery)
  When placing the edges together slide the two surfaces together in a slight back and forth motion to strengthen the bond between the surfaces.
(When you have a good bond)
  With experience you will get the feel of a good bond.  You will know you have a good bond when most of the slip has squeezed out between the two surfaces being joined together.  Also, the clay will not want to slide back and forth easily.
(Add a coil to the inside seam)
 To make the seem stronger place a coil in the corners of the piece.  Gently press the coil into the corner.  Be careful not to break your corner away.
(Smoothing out the coil)
  I like to use the top end of a brush to smooth out the corners.  Notice my other hand holding the corner so I don't break it away.
(The final touches - Corners)
  I use a damp brush to smooth out all the corners so the seams are no longer visible.
The final touches - Top edge)
  To smooth out the top edge use a wet paper towel and carefully slid the towel up and down the length of each edge.  This will round the edges so they will not be sharp.
(Measuring for a top)
  If you plan to make a lid measure the length and width of the piece and write down the measurements.  The piece will shrink as it dries and you will need these measurements to make the lid.
(Finishing touch - Handles)

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Making Coil Construction

In this section you will learn to make coils and how to make pottery pieces with them. Coil pottery is a simple technique that can have great results.

 (Roll out coil)
  Squeezing the clay into a coil or rolling between your hands are two ways to make coils.  This technique can be difficult to make a smooth round coil because of the uneven pressure from your hands and fingers.

(Roll out coil)
  When hand rolling coils, use a smooth surface and spreading your hands to apply even pressure.  Gently roll the clay back and forth.

(A good thickness)
  Roll the coils so that they are a little thicker than a pencil.  Then stack the coils one on top of another.

(Scrape inside)
   For strength, force the clay together on the inside of the piece.  Use you finger and scrape the top coil onto the coil under it.

(Smooth inside)
  When smoothing the inside of the piece hold you other hand on the outside so you do not damage what you have completed already.

(Leveling the top)
  If you want the top level, gently turn your piece over and lightly tap it on a smooth surface.

(Dry slowly)
  When you are finished with your piece let it dry slowly.  The grooves in the piece are weak spots and if this dries too quick it will crack. 

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At the turn of the century, the American art pottery was sometimes referred to as "the art of the devil." It seems funny now, but the Victorian purists were very serious.
At the time, the stakes have flocked to prayer meetings and revivals, and even sentenced laugh Sunday. In this nervous climate, pottery, American art was born.
How things are in our culture has always been the hook for me writing about things old. Against all odds, the creative spirit continues to create. No matter the obstacles. Regardless of the social climate.
American art pottery is a good example of this creative spirit. It happened because the two women, Mary Louise McLaughlin, Maria Longworth Nichols Storer.
Like many good ladies of the time, they have done their part of china painting. McLaughlin was part of a committee to select painted porcelain wares for the pavilion of women in the 1876 Philadelphia Centennial Exposition. His group has been accused of lapses in taste, but it was one of the first attempts to see ceramics as an independent artistic medium.
Then the women began to divert their attention from china painting, knitting and Afghans to work in wet clay.
"Some terrible and wonderful things were produced," said McLaughlin.
In 1880, Storer was dissatisfied with the local temperature of the oven. So she built her own and a place in the first and perhaps the most important corporate art pottery, Rookwood Pottery in an old school in Cincinnati.
The company was named after his family estate Walnut Hills.Their first work was described as a wild experiment.
Storer workers, mostly women, many mingled in the gilding, carving and cutting. The company was one of the first companies in America owned and operated by women.
Over the years, she hired a good chemists, managers and artists to create Rookwood Pottery, which has won international awards. Recognizable artists like Kataro Shirayamadani, Carl Schmidt, Matt Daly and William McDonald AR Valentien put their trademark on the basis of the pieces they have decorated.
high quality crafts and the glazing has been characteristic of Rookwood. They have produced vases, dishes, figurines, bookends and tiles.
The Company Gorham silver overlay applied to pottery, and department stores like Tiffany's performed songs. visiting dignitaries made a point of stopping at Rookwood. Even Mark Twain, Oscar Wilde visited and bought items. The plant site of origin is a restaurant today.
Over the last 10 years, Rookwood Pottery has grown in popularity and value. It is easily identified by the inscriptions. On the base are the trademarks of a symbol or name for himself, plus a dating system. In addition, there are brands of clay showing what color or type of clay the piece came from.
Collectors look for traces of the beginning. The quality of the decoration is important and the artist. Be on the lookout for the second, marked by an X. Cracks and imperfections incised can significantly affect the value.
On June 3, Treadway Gallery, Cincinnati, Ohio, introduced an auction Rookwood. Take a look at some highlights.

Highlights of the auction:
Rookwood bookends, pair of Rooks (bird), brown and green matte glaze, William McDonald, 1929, 5 1 / 2 inches tall, slender, smart, $ 350
Rookwood vase, vellum glaze with carved and painted stylized flowers and leaves, Margaret McDonald, 1920, 9 inches tall, mint, $ 1,600
Rookwood vase, iris glaze cactus flowers, AR Valentien, 1902, 13 inches tall, mint, $ 11,000
Rookwood vase, brown glaze high image, full-length Native American Indian Hair Full, Matt Daly, 1900, 20 inches tall, mint, $ 12,000
Rookwood vase, painted high enamel harbor scene with seven boats sailing, Carl Schmidt, 1923, 13 inches tall, mint, $ 12,000 Rookwood vase, Iris glaze with thirteen poppies detailed Kataro Shirayamadani, 1907, 16 inches tall, mint, $ 32,500
Rookwood plaque, green sea with three birds perched on a branch, executed by AR Valentien, 8 by 10 inches, in a vintage oak, mint, $ 45,000

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Saturday, February 19, 2011

Best Buy and Sell Roseville Pottery

 Cherub Cameo collection has often been attributed to the Roseville pottery, but there are collectors who believe that the model was made by Weller and Owens. It's a great line with a base color fern mat and gold leaves that extend upward. white columns provide symmetrical faces of cherubs and white are placed in circles in relief on the coins. The result is an elegant collection that stands strong on its own or as part of the line of Roseville. There are umbrellas, window boxes, planters, platters and other ferns different shaped bowls. Depending on its size and condition, parts of the range up Cherub Cameo $ 100 to $ 1500.
In the book of Mark Bassett, Understanding Roseville Pottery Art, he outlines the rationale for the model Cherub belonging to Roseville. Most forms found in this line, and above the door, were created solely by Roseville Pottery at this particular time. In addition, the body of clay and glazes are very similar to those used on Roseville Donatello and Ivory color. The problem with the line of pottery Cherub Cameo is the lack or inconsistency of brands.
Cherub pieces were found with a number of plant shape (584) die-impressed on the merits of various flower companies. However, Roseville historically placed the figures indicating the size of the garden immediately after the form number. For some reason, all parts marked Cherub were found with the notation of size below the number of forms. To add to the discussion, it is interesting to note that Owens Pottery Pottery sometimes marked with its size below the number and shape. However, Owens shape numbers and sizes are italicized unlike visible marks on Cherub.
At this stage we are firmly in the camp that believes that the model was produced by Roseville Pottery Cherub. However, if you're like me, you might discover that you are more interested in this collection remarkable for the beauty it adds to a collection, or independently, rather than who did. The greens and golds are simply striking, because they play off each other and cherubs centered in the circles only add to the uniqueness of this line of pottery. And also, the mystery of its author for great dinner conversation and only adds to its charm

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The pleasures of the Kids Pottery

 The pleasures of the pottery wheel children can keep a child busy for hours. Ideas to keep them busy is the key to their appeal to their imagination. Paint finish their work of art is sufficient to induce them to move forward using the scroll wheel.
Kids love getting their hands dirty, so there should be no problem to get them to try out this toy. Start believing that he can do something. Could use another l'oncle ashtray? Or how to make a bowl for grandma? What about a tea for her sister's dolls? Suggestions of this kind can not help thinking.
Working on the wheel to encourage creativity and get the child's imagination flowing. Always encourage a child to use his imagination. His work can not be a masterpiece today, but it could grow encouraged to become a famous artist.
Provide a workspace for your child that is easy to clean if there are accidents. You do not want clay spilled on a white carpet clean, so think about where you let him do his work. The easiest to clean, less stress.
If he is old enough to work on a wheel, it will be old enough to clean up his mess. Two year old children clean their room, which should be a piece of cake for your child. Teach him what he needs to know. He will be happy to show you he is a big boy and can follow your instructions. After cleaning also make him feel more accomplished, in addition to making it easier for you.
Give her a place to exhibit their finished products, where family and friends can admire them. Encourage your child's creativity in this way will help in the future. It will be better able to do creative things at school, where they are needed. You never know where a child's imagination can lead them! Enjoy.
Stimulate your childs creativity! Make them a potter's wheel of their own! Before, however, discover the 3 things you should look before you buy a pottery wheel children.

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Thursday, February 10, 2011

12 Piece Basic Pottery Tool

 The 12-piece set includes a wire clay cutter, 2 brushes, 2 ribs, and essential ribbon, wire-end, needle, and boxwood tools.
Basic Pottery Tool Set

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Van Briggle Pottery Vase

 Rare and exceptional 1904 Van Briggle Pottery vase in a super brown mottled and suspended glaze
Van Briggle Pottery 1904 Vase
Van Briggle Pottery 1904 Vase

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Monday, February 7, 2011

Slip Casting

Slip casting provides a way for ceramic artists to make multiple identical artworks efficiently and accurately. The technique involves creating a mold in plaster of Paris in which slurry is poured and allowed to develop. Once dry, slip hardens and holds the shape of the mold. 
A Slip Cast Ceramic Piece in the Mold. - Image by: Mike Wilson

Preparing to Slip Cast Pottery

Mixing and preparing the slip is key to pouring a successful casting. The slip is created by combining dry ceramic dust with water. The resulting liquid takes on the consistency of a milkshake. The slip must be mixed extremely well to ensure that all parts are equally distributed. This will be important while the slip sets up in the mold.
The mold also must be prepared before pouring the slip. To prepare the inside of the mold, make sure that the mold is clean and free of dust and small particles of debris. The mold should be dry before any slip is poured. Also examine the mold to make sure that it is assembled correctly so that slip won't spill out of the mold.

Removing and Finishing the Ceramic Piece

Before removing the ceramic vessel, use knives and smoothing tools to cut off any excess clay and smooth out rough edges. Remove the clay piece by inverting the mold and allowing the piece to come out naturally.

After the play was withdrawn, the use of smoothing tools to get in shape any problem in the room. Some areas may need to be smoothed, and others may have excess clay is removed. Once the room is acceptable, allowing to define the clay until it reaches a consistency very dry.
Once the clay is very dry it can be bisque fired in a kiln. He can take any glaze and placed in a fire in an oven finish. After the last firing, the piece is finished and can be used like any other piece of pottery.

The mold can be sprinkled over again to generate multiple identical pieces of pottery. The last layer should also be stored as it is kept in an airtight container. Be sure to stir up the form carefully before each casting. 

Slip Casting to Mass Produce Ceramic Dishes and Art

Casting is a simple way for artists to mass produce their own creations. By following a few simple steps, ceramic artists can create multiple copies of designs and streamline their production. Remember to always mix well and let slip the walls harden before pouring the excess slip. Finish each piece by hand and fire the pottery once it has become very dry.


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Thursday, January 27, 2011

Aspinall Pottery

 Denise Aspinall shows us how she works with clay to create beautiful, practical pottery. 

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Wednesday, January 26, 2011

How to Pull a Handle Step by Step

The Pulling Blank
This is a pulling blank used in pulling handles for pottery.
 Pulling may take some practice to master, but the results are worth the patience required. Start by filling a large slop bucket halfway with water. Set this way will it be directly below where you work. I prefer to shoot sitting with the bucket between my knees. 

Corner of two to three pounds of the same lump of clay pot that the handle will be attached is made from. To successfully pull the clay, it must be perfectly uniform in stiffness. After the clay is completely stuck, he types in a form of carrot. The carrot is the draft of traction.

Begin Pulling the Clay for the Handle
Pulling gently downward to create the pottery handle.
Grasp the top of the draw in a white hand. (I use my right.) Wet the bottom of the blank by hand that will work with clay.
Keep your own work wet, take the middle portion of the blank, leaving enough clay above the hand working for a firm grip on the white top. As you enter the clay, your fingers should be on one side, with the thumb on the opposite side. Fingers and thumb should be flattened as if you were making a duck shadow puppet.
With light pressure, run down in a steady and continuous. The shape of the virgin core begin to grow. Continue stretching the clay with a series of pull stroke until the clay has reached the desired thickness and at least the minimum length of your handle or strap.
Tip: It is good to pull the strap a little longer than you think you might need, especially if you're new to the handles. The arc of a handle can take more length than you think. In addition, if you want to do decorative attachments, the extra length may be useful. 

Dry the Pulled Handle Strap
Dry the pulled handle strap, allowing air to reach it on all sides.
Once you've pulled the clay so that the strap is the right thickness and long enough for your handle, discard the blank pulling the edge of a table or the bat of the pot handle is designed, which allows the strap to hang to the side. This allows air to circulate around the strap, which allows the clay dry evenly.
Press the heavier upper handle down from the surface so that it will comply with the table or bats. Cut the main part of the pull away empty. Continue pulling the handles as needed.
Allow the handle to stiffen enough that it can take a curve without falling when gently bent. 

Trim and Cut the Pulled Handle from the Pulling Blank
Cut the pulled handle away from the pulling blank.
Once the clay has hardened sufficiently to maintain once bowed to handle, cut the ends to length. Good for cutting tools that are your needle potter, a deburring knife or similar tool.
You can either wear the belt of clay on a solid surface, as you see in the picture, or you can cut the clay as it crashes, the support of the clay with your other hand as you cut. Do not use a cutting tool that can cut you if you cut your dough in this way. 

Attach the Pulled Handle to Your Pot
Attach the pulled handle to the pot using the slip and score technique.
The handles should be in place when the pot is leather semi-hard and the handle is just stiff enough to hold its curve is fixed.Determine where the handle as a whole should be placed. Make sure the handle is directly in front of the beak, if present.
The thickest part (if any) of the handle should usually be the upper end of the handle. The top of the handle should be placed on or near the top of the pot as possible. It is both aesthetic and also gives the best balance of the pot when it is used.
Score and slip the pot into which you want the upper end of the handle to secure. Be sure the bottom end will be directly under the upper part, the score where you want to join the lower end. Verify that the line between the two areas are marked perpendicular to the surface of the table.
Attach the upper end of the handle, pressing firmly on the handle and the support of the wall of the pot inside. You can usually weld the handle of the region marked and slid the pot simply by firm pressure, but you can also strengthen the weld by the addition of a roll of film of clay around the solder joint and both the handle and the pot.
Bow handle in a pleasant curve. Remember that the clay will shrink up to 15% before leaving the glaze firing. Be sure to give the handle a lot of length for a hand to grasp the handle comfortably when finished. Attach the lower end of the strap handle and weld the joint if necessary or desired. Leave the pot to dry slowly processed.

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Monday, January 3, 2011

Hand Built Projects:Make a Basic Pinch Pot

 Start with a ball of clay than half as wide as gold, slightly smaller than your fist. Form it into a business, compact ball.

Do not mix work with clay you do Covered with plastic. If your soil istoo dry to function properly, seal it in a plastic bag with a damp paper towel overnight. The next day, corner of the earth or thedough to a piece of fabric moisture evenly Thanks to ground.

If clay is too wet and sticky, knead the corner or on a gold surfaceplaster is a piece of cloth until it dries slightly.

Hold the ball of clay firmly in one hand. Use the thumb of your otherhand to push the year of opening the ball. This opening should "endof a quarter to half inch of the Year The Other Side Of The Ball, donot push your thumb all along.

If the hole does eventually go through, Just squeeze the balltogether and start over.

Using your thumb, push your fingers in a pinching motion cons.This thin clay to create the pota ¢  floor and walls. Do not try to thin the clay with a pinch too. Instead, use a series of smallpinches more work up Clay outward as it thins.

Working to make the floor and walls have a uniform thickness as possible. This will help keep the pot from cracking when dry firinggold during Firing

Part of the charm of the pinched pot may be the rustic look it has when the top edges are left uneven. You can, however, also choose to trim the upper edge to give the pot a more refined look.

Don't throw away any small pieces of clay. Gather them into a bucket or other container and let them dry thoroughly. Because they will easily slake down and mix with water, they make the easiest way to make slurry, which is used in other forms of handbuilding and in throwing.

The finished pot should be placed somewhere safe and allowed to dry slowly. Fast drying will often result in cracks appearing in the greenware or during firing. After the pot is bone dry (no part of the pot feels cool to the touch) it is ready to be bisque fired.

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