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Textured Pottery Techniques

January 1, 2012 By Leave a Comment

Slip Trailed Vase by Karen Brown Levy of K.Brown Pottery

by Susan Morris

Textured pottery is something that you may look for or have in your personal pottery collection. Those appealing textures can be created in a variety of ways. You may be interested in knowing how the variety of textures is achieved through the various steps of the creative process.
During the forming process, texture can be applied to the pot once the general shape and rim have been created. Roulette is a technique which creates texture using a gear or similar tool on the surface of the pot while the wheel is turning. Once the process of Roulette is completed the pot can be pushed out and reshaped by using a tool to apply pressure from the inside.
Chattering creates a texture on a completely formed and dryer pot. This method uses a flexible metal tool. The appearance of the final product is determined by the speed of the wheel and the pressure placed on the tool. A slow speed on the wheel increases the spacing between the lines created, the faster the speed of the wheel the closer the marks.

Chattered mug by Hsin Chuen

Stamping can be used on both wheel created pots, slabs, and other hand building techniques. Many clay artists will create their personal stamps with found objects, a variety of household items, or may carve them from clay. Different textures can be achieved through the use of rope, a fluting tool, textured rollers, and textured mats.
Appliqué creates a raised texture on the pots. Pieces can be cut individually and attached to partially dried or leather hard greenware to form a pattern. Slip can be applied to the pottery pieces when some drying has occurred creating exciting patterns in a variety of colors as well as a raised texture.

Appliqued Cookie Jar by Dana Morton

Carving is another technique and requires some skill. The piece should be leather hard for the best results. Swirls, pattern, and pictures can be created depending on the skill and the preference of the artist. Sgraffito is a specialized technique in which slip of one color is used over the pot built from another color of clay. When the piece is carved it shows the color of the clay beneath the slip to create the pattern. Carving can also be used to form a press mold. Once the original pattern is carved it can be transferred to a plaster cast or clay which is then fired creating a mold which can be used again and again.

Carved Jar by Lynn August

Texture can be created in the glazing process as well. Specialty glazed can cause crackling and bubbling. Some artists will develop their glazes to create the textured appearance that is unique to their pottery.
The textures that can be created on pottery is only limited by the imagination of the artists. It can be simple or complex but will always contribute to the appeal of the finished piece.

      

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Ancient Egyptian Pottery – Uses and Symbolic Meaning

December 1, 2011 By Leave a Comment

Source: Guillaume Blanchard, July 2004, Fujifilm S6900

By Carolyn Clayton

Ancient Egyptian Pottery was produced by the ancient Egyptians from as early as 5000 BC. The sculptures produced were both highly stylized and symbolic. Most of the early pottery vessels and clay seal impressions were found in tombs. Many of the symbols or hieroglyphics found carved or painted on pieces have an emphasis on life after death and the preservation of knowledge of the past.

The Pottery of that time was pretty much used in the same way we use modern kitchen containers today. The quality was very fine and usually made by women without the use of a potter’s wheel. The Pottery would have been fired in either primitive kilns or open fires . Up until the dynastic period, pottery was hand painted with images of animals, patterns, boats and human figures.

The symbols, in the form of humans, animals or objects, were part of a formal writing system that contained a combination of logographic and alphabetic elements. There are over 700 symbols and Ancient Egypt was one of the earliest literate societies. They used the symbols to convey information the same way ownership and production marks are used on pottery and other items today.

One of the most famous symbols found on ancient Egyptian pottery and other art is still being used today. The Ankh is the symbol of eternal life and today the symbol is being used as a Christian cross. There are many images depicting the gods holding an Ankh to someone’s lips, which is consisted to be an offering of “The Breath of Life”, the breath you will need in the afterlife. The symbol looks similar to the Christian cross we see today except the top part is a rounded looking like a one legged stick person.

The Eye of Horus, originally called the Wedjat or Oudjat, is another easily recognized symbol found on many Egyptian pottery and art. Horus was represented as the falcon-headed god, was an important god in Egyptian legend. The symbol, which is human eye and eyebrow, stands for protection, health and prosperity. The ancient Egyptians believed that this symbol had a very powerful and magical effect on restoring harmony to the unstabilized world and restoring wrong doings. Some of the symbols used in ancient art often carry more than one meaning, and with many myths and stories behind each one, it is near on impossible to be completely sure of the symbols origins.

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The Most Fascinating Attributes of Ancient Greek Pottery – Amazing Detail

December 1, 2011 By Leave a Comment

The Yorck Project, 10.000 Meisterwerke der Malerei

By Terry Kubiak

Ancient Greek pottery is highly valued for form and decoration. The Greek vases are artistic and technical masterpieces created by artists working in teams to construct, decorate, and fire the pottery. The most popular subjects of figural scenes are mythical. The most fascinating attributes of ancient Greek pottery is its amazing detail.

The history of Ancient Greek pottery is divided stylistically into periods: the Protogeometric from about 1050 BC; the Geometric from about 900 BC; the Late Geometric or Archaic from about 750 BC; the Black Figure from the early 7th century BC; and the Red Figure from about 530 BC. Their pottery, painting and poetry contain many exuberant romances and uninhibited activity in abundance. From the duke classical collection mythological images of warfare were often used on pottery to explore issues of life and death. A lekythos is a good example of this. The early days of the Greek alphabet brought both writing and figure scenes onto pottery in the eighth century. One scientist has shown that a sea monster depicted on an ancient Greek vase is exactly like a known, seagoing dinosaur. Ancient Greece pottery is one of the most prolific of archaeological finds, partly due to its plenitude.

Ancient Greek pottery factories did not have coal, gas or electricity, or the slip-casting possibilities using plaster of paris. The pottery survives in great numbers and can be viewed in museum and private collections around the world. It has had a lot of influence on modern society. The black-figure pottery technique is a style of ancient Greek pottery painting in which the decoration appears as black silhouettes on a red background. Many surviving vases of ancient Greek pottery are decorated in the limited colors of red, black and white.

Ancient artifacts and ancient jewelry. Greek antiquities. Ancient Greek pottery, jewelry, swords and coins. http://www.worldwidestore.com

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Kyusu Teapot Handles

November 1, 2011 By Leave a Comment

© Jmatthewgore | Dreamstime.com

By Steve N Green

Kyusu means teapot in Japanese (short, sweet, to the point). They brew and serve green tea either in a tea ceremony or just for drinking customarily. They are dissimilar from regular teapots because their handle protrudes from the side or back of the pot in a straight, horn-like manner. This is very unique compared to European style teapots.

The Chinese were the first to discover tea and create a religious ceremony using it. The Japanese added even more to that foundation. While the Chinese originally used black tea, the Japanese used green. Since metal tends to negatively affect the flavor of green tea, another kind of pot was required. The Japanese already were adept at making ceramic pottery so they made a ceramic pot just for brewing tea.

The town of Tokoname has beautiful red clay that created Kyusu. This clay is very rich in ferric oxide making the finished pot an orange-red. Tokonome is one of the famous Six Old Kilns of Japan.

The Kyusu pot has a distinctive design. It begins with a regular teapot but the handle comes out of the side at a right angle to the spout or from the back and looks like a big horn. It is narrow at the base of the pot, wide and open at the end. The handle is hollow so that it will not become hot and burn the hand when touched. It is very easy to hold and turn the handle to serve tea. The side handle Kyusu bear the title Yokode Kyusu and the back handle ones are called Ushirode Kyusu.

There are many different green teas suitable for brewing in one of these unique pots. The upper class preferred Macha. Everyday, most folk liked Sencha as an inexpensive tea. To make tea in a Kyusu you need boiled water. Place the correct amount of tea leaves in the bottom and pour water of the proper temperature over top. Green tea brews at160 – 180 degrees Fahrenheit. Steep for the recommended amount of time indicated on the package. That’s it! You’re ready for a cup of tea. The Kyusu catches leaves at the base of the spout before it hits the cup. Hold the hollow handle and turn the wrist to the side to pour the tea.

When finished wash the kyusu only with water. It is now ready for the next time a cup of green tea.

Steve Green writes for www.unityteapots.com [http://www.unityteapots.com/cast-iron-teapots.html] – an online source to shop for a kyusu [http://www.unityteapots.com/kyusu-teapots.html] or similar specialty Asian teapot.

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4 Key Things to Look For When Buying a Teapot

November 1, 2011 By Leave a Comment

The Vessel Pot by JudithEloise Hooper

By Lily T Chanel

Buying a teapot is not as straightforward as what you would initially think. To help you make the right purchase to suit your needs we’ve listed the top 4 elements of a teapot that you need to consider.

Size

The size and style of the teapot is important. If it is just for your usage and won’t be coming out at morning tea’s and luncheons a smaller, plain teapot is fine for everyday use. If you plan on entertaining and using the teapot for several people at once you might want to consider a larger, more decorative teapot.

Material

Teapots can be made from many different materials such as clay, cast iron, porcelain, glass, silver and metal. Each have their own distinct advantages.

Glass teapots are great because they don’t absorb the flavour of tea so you can use it for different flavoured teas and you don’t have to worry about the effect on the taste.

On the other hand, if you will be using the same type of tea in the one teapot clay is the preferred material as it absorbs the flavour of tea and over time this creates a richer taste.

For even heat distribution the cast iron teapot is optimal. However they do need to be fully lined up to the rim.

Porcelain teapots are lovely for decoration and are suitable for making most tea.

Shape

To ensure you achieve the best results when making a hot teapot full of leaf tea a round ball-shaped pot with a flat base is best. This is because the leaves need room to unfurl and without the right amount of room they won’t be able to steep completely.

Having enough room inside for you to be able to use a tea strainer or infuser is important so you don’t end up over steeping your tea.

Design

Apart from good looks, the design of your teapot should have complete functionality.

The lid should have a hole at the top to allow for air to enter the pot while pouring. Ideally, it will also have two wings to fit under the rim so that it stays in place.

The handle on a teapot should be on the opposite side of the spout and allow you to have a good grip of the pot without your hand touching the body of the vessel. Being able to grip the teapot is important especially when it is heated up with hot tea inside.

The spout needs to be level with the rim of the teapot. If it is lower you will end up having tea dribbling down the spout before you reach the cup. If the tip of the spout is too high, you’ll find that the teapot will need to be tipped to such an angle when pouring that tea might spill over the rim.

There are plenty of designer teapots perfect for adding that extra something to your home. Silver tea sets and intricately painted porcelain teapots look lovely on display as well as being completely functional.

I hope by reading our buying tips and what to look for we’ve made your quest for your ideal tea pot a little easier.

Teapot Shop has a huge range of higher end, designer teapots with discounted prices. For more information or to view the range of products, visit Teapot

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Sgraffito – Strange Name, Beautiful Technique

October 1, 2011 By Leave a Comment

Stoneware Platter with Sgraffito Pelican by Crystal Nolfo Brown

The word Sgraffito is the past participle of the Italian word Sgraffire, a word that means to scratch. The word goes back to describe the work done by pre15th century Italian potters, the technique itself goes much farther back. The word describes, in its purest form, redware pottery with decorations etched into a top layer of white clay slip so that the color of the clay comes through. The practice has progressed with a variety of mediums, clays, and slips but still retains the basic technique of scratching off a surface to reveal the colors of what lie beneath.
It is believed that the sgraffito technique was first used during the Sung dynasty (960 -1279) in China or by Islamic potters from Syria, Iraq, and Iran. Excavated work of both groups is almost indistinguishable and the question arises as to whom influenced who. The Northern Italian potters copied the technique which was initially simple incised patterns. Over the next century the technique evolved into the use of stylized shapes to which was added additional coloring. At this point, this style of Sgraffito work became the standard in Italy.
Western Europe was also introduced to the Sgraffito technique from Persia and the Byzantium World. Trade from Italy during the Renaissance had a big impact in its spread. Potteries in the Netherlands produced sgraffito earthenware for use in the home. Much of the notable sgraffito work done in Europe, especially Germany were murals created in plaster rather that pottery ware.
Of collectable American pottery, redware pottery embellished with Sgraffito work is some of the rarest. The iron rich clay used is plentiful along the Atlantic Seaboard however early pottery was created for utility. The majority of the Sgraffito redware was produced in the Pennsylvania Dutch region of southeast Pennsylvania and in North Carolina. Decorative sgraffito for the home was popular in the period between 1810 and 1840 but was replaced by fashionable society for newer trends around 1870.
An internet search of contemporary Sgraffito pottery turned up reference to the use of the technique in Southwest Traditional Pottery Production. Rosa Gonzales (1900 -1989) of the San Ildefonso Pueblo is given credit for using the technique and bringing it into the repertoire of pottery styles used in her pueblo. It can also be seen incorporated into the work by individuals from several Southwest Pueblos.
As with all art forms, contemporary potters have fused practices of the past with the variety and wide availability of new products. Individuals use their knowledge, talent, and creativity to put their own stamp on their work whether they stay true to tradition or fuse old technique with new. In contemporary pottery, Sgraffito work can be found as the singular means of decoration or part of a fusion of multiple decorative processes.

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