By Clary Illian
In A Potter's Workbook, popular studio potter and instructor Clary Illian provides a textbook for the hand and the brain. Her goal is to supply the way to see, to make, and to consider the varieties of wheel-thrown vessels; her details and notion clarify either the mechanics of throwing and completing pots made easily at the wheel and the rules of fact and wonder bobbing up from that conventional method.
Each bankruptcy starts with a chain of routines that introduce the rules of excellent shape and solid forming for pitchers, bowls, cylinders, lids, handles, and each different a possibility sensible form. targeting utilitarian pottery created at the wheel, Illian explores sound, energetic, and economically produced pottery varieties that mix an invitation to conscious appreciation conveniently of use. Charles Metzger's amazing pictures, taken less than excellent studio stipulations, completely supplement her energetic text.
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Extra resources for A Potter’s Workbook
All details add sculptural complexity and define style. All the discussion about pitchers to this point is also applicable to the making of mugs. One of the last shapes that student potters master is the mug. This might seem surprising since a mug is such a small and circumscribed object. In the pitcher are all the components of a good mug, for example, the importance of clearly articulated beginnings and endings. Because the mug is small, there is a tendency to think of it as footless and headless, changing it from a complete visual thought into a mere phrase.
They must be made with economy of movement and time. Even more than in the throwing of cylinders, each movement can sabotage the next. When making bowls the centered mass of clay should have a different shape from the centered mass for a cylinder. Begin with a centered mass shaped like a bulb on a stem and maintain the stem as you open up (figure 113). This shape is similar to the centered portion at the top of a cone of clay when the technique of throwing off the hump is used. 113 50 b ow l s 114 It takes awhile to develop the judgment to determine what proportion of the clay belongs in the stem part and what proportion in the base, but it is worth the struggle, because once you set up the centered mass correctly, the rest comes more easily.
Any mark made on the clay must have all the quality of a good drawing mark. It must have interest in itself (figures 102, 103). 100 p i t c he r s 101 Spouts in profile 102 103 45 46 p i t c he r s 104 Spout pulling stages 105 But it is true that the area where the spout grows out of the rim and walls must be attended to. After the spout is stretched into a shape, it is necessary to reaffirm the original shape out of which it grows and to decide what happens where the spout and the encircling rim meet (figure 104).
A Potter’s Workbook by Clary Illian