April 18, 2011

 How to Create Agateware Pottery Using Colored Clays and a Plaster Press Mold

by Michelle Erickson and Robert Hunter Read Comments (2)

Agateware pottery features swirling marbleized colors and was probably first developed to imitate the qualities of agate, a semiprecious stone with striated patterning. These swirling effects can be created either by throwing with a prepared mixture of colored clays, or by working with thin slabs of colored clay that has been layered to create patterns. In today’s post, Michelle Erickson and Robert Hunter demonstrate how to create agateware using the latter of these techniques. Glazing isn’t the only way to create sweet surfaces! – Jennifer Harnetty, editor. P.S. If you’re interested in the wheel-thrown version of this technique, check out How to Make Agateware Vessels on the Pottery Wheel in the Ceramic Arts Daily Features Archive.

figures 1-6 (click to enlarge)  Preparing the ClayMaking agateware is a complicated process; the marbling, instead of being produced on the surface, goes through the body and it requires a different set of skills other than just competent throwing. The initial preparation of clay is the key for creating laid agateware (figure 1). If using naturally colored clays, do tests first to be sure the clays are compatible. The shrinkage rates and firing temperatures need to be the same. Additional considerations include the density, plasticity, elasticity, and strength. The clay slabs are first stacked in a selected sequence (figure 2). Rather than wedging, the stacks are slammed onto a hard surface to elongate and consequently thin the slabs (figure 3). The process continues with cutting and restacking the slabs, thinning and increasing the numbers of layers (figures 4, 5, and 6). The ultimate success of the agate patterning lies in the care taken at this initial stage. If you want more colors in your agate pattern, the three color clay slabs can be prepared in the same way. Once the layered slabs are made, they are trimmed to equal rectangular sizes (figure 7).   figures 7-12 (click to enlarge)  Piecing Together a Pattern  After these slabs of thinly layered clays are prepared, they are rolled into tight coils (figure 8). These coils are then arranged, sometimes by alternating colors (figure 9), and carefully pressed into a single mass (figure 10). From this amalgamated mass, thin slabs are then cut and arranged on a flat surface to begin forming a sheet (figures 11 and 12). At this point, the outcome of the agate striations can be controlled by the placement of the slabs. Once a reconstituted clay sheet is made (figure 13), it is cut into strips and reassembled to emulate the arbitrary nature of the agate pattern (figure 14). Examination of antique pots suggests that such strips were cut and rearranged several times on both a horizontal and vertical plane or orientation. In working through his technique, it is clear that a number of variations are possible through the deliberate arrangement of the agate pattern.

Curt Benzle has been working in colored clays for more than 40 years. He demonstrates how to do neriage  and nerikome  (a.k.a. agateware) as well as work with colored slips in his DVD Expanding Your Creative Palette with Colored Clay. Check it out and view a clip!

For the demonstration, the patterning of the agate has been left moderately coarse so that is it easily observable in the photographs (figure 15). The slab is now usable.  figures 13-18 (click to enlarge)  Creating the FormsOnce a suitable agate pattern is created, the thin sheet of clay is ready for molding. In most cases, it appears that all elements of laid agateware were created by press molding (figures 16 and 17). This process requires a separate plaster or clay mold for each component of a pot. This would include the body, foot rim or feet, lid, finial, spout, and handles. As with the thrown agate, joins may show smearing, or distortion. The teapot shown here uses two-piece molds for the pecten shell body, spout, handle, and Fo Lion finial (figure 18). These molds were taken from original master models sculpted by Michelle Erickson. Once the two halves of each part of the teapot are pressed in separate molds, they are ready to be joined. The edges are lightly scored and moistened. The two molds are aligned, and the seam is closed by working from the inside through the opening in the neck (figure 19). The exterior seam is cleaned up, then the spout, handle, and any other added elements are attached to the body (figure 20). For lidded forms, keep the lid on during the drying process. If necessary, line the rim or gallery of the pot or lid with a sheet of paper to keep the two from sticking together. Once dried, it is possible to enhance the agate surface with a light scrubbing using the equivalent of a fine steel wool; however, any heavy smudging or distortion cannot be altered. Once dry, the pot is bisque fired, glazed, and fired again.   figures 19-20 (click to enlarge)  ConclusionA rich opportunity exists to further study the production history of English agateware. The laid agate technique is an extremely complicated procedure. Indeed, the replication of the processes presented here required nearly two years of trial and error research.  For laid agate, although the patterning is often described as random, we have concluded that it is very deliberate. This deliberateness can be seen in a variety of other agate patterns that have yet to be fully classified. Without question, agateware can generate a kaleidoscopic effect that some may find dizzying. A fierce competition for antique examples exists among a small cadre of collectors—past and present. Perhaps this fact alone substantiates the often heard claim that agateware is considered “the ultimate refinement of the potter’s art.” We hope this demonstration has provided some insight into the mysteries of the potter’s art and that new research on the history of agateware can be conducted with fresh eyes.

Successful Tips for Buying and Using Pottery Clay: How to Select, Process, and Test Clay Bodies for Better Results is our gift to you when you sign up for your free Ceramic Arts Daily newsletter.

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Buying or making the right pottery clay is one of the keys to success in your studio. There are many variables that determine the right clay body for your needs including color, temperature range, the type of pottery you make, and what kind of forming methods you use, just to name a few. Whether you end up using earthenware, stoneware, or porcelain (or perhaps all of these) depends on you understanding the properties, benefits, and drawbacks of each type of clay.

Most of the value in a piece of pottery is in the time and effort you invest, and the clay is one of the least expensive elements, but that does not mean it is the least important – quite the opposite. Becoming familiar with the types of clay bodies available will allow you to make smart design decisions and can open up new areas of creative exploration.

Here’s a sample of what you’ll find in Successful Tips for Buying and Using Pottery Clay: How to Select, Process, and Test Clay Bodies for Better Results:

Testing Clay Bodies At some point we all change clay bodies for one reason or another. Whether you want a body that shrinks less, has more/less absorption, a lower/higher maturation point or just a different color, there are hundreds of commercial clays to choose from. While most clays have pretty good general catalog descriptions of what they are and what they can do, once we apply our  specific working and firing processes other issues can arise. A combination of tests can give you plenty of information that makes choosing and learning about a clay body a little easier. Why Test Clay? Testing clay bodies provides you with information that you can observe, touch, and feel first hand in your own environment. While a catalog photo shows what a body may look like fired at one or several cones, it may not tell you what it will do at the cone you’re firing to. Basic clay bar tests give you information more specific to your needs, and a 25-pound sample is usually enough to complete all the tests you need. What to Test Tests should be done at multiple temperatures to yield the widest range of information on the body. You need to understand the same general characteristics at every temperature you fire to, and even at temperatures you may want to fire to in the future. I test at every potential cone I may fire to and keep records of all the results. The three important general characteristics are shrinkage, absorption, and warping/slumping. Other important qualities to note are color, texture, plasticity, and hardness. Some results are determined with visual and touch tests while others require simple formulas. All require consistency of procedure so the results you achieve are created under the same conditions. Download your free copy of Successful Tips for Buying and Using Pottery Clay: How to Select, Process, and Test Clay Bodies for Better Results to see the rest of this article!

The appearance of pottery village on the land in Binh Duong

Time appeared the first pottery to form pottery village, yet no documents confirm what exactly is in May, but certainly the pottery village appears to exist at the end of the development Age 19. Documentary proof for this has been reflected in the directory, address, Thu Dau Mot by the French to have recorded that: “At the end of the nineteenth and early twentieth century in Thu Dau Mot also kaolin mines, 10 pottery kilns and quarries “(Thu Dau Mot stopover birds – Department of Culture – Information Binh Duong – Van Nghe Publishing House, 1999). Some events may have occurred at that time associated with the formation of pottery village, can be identified as follows:

- Tan Phuoc Khanh village pottery (often referred to Tan Khanh old) is located near the clay pit, firewood forests more convenient for making pottery. In 1867, Thien Hau Temple Shrine (commonly known as Mrs. Temple) was built, the number of offerings on the inauguration of “Mrs. Temple” is the incense burners and ceramic flower vase. On the flower pots outside the painted bowl, also recorded self-Han Tan Khanh Hamlet. This suggests that pottery appeared in the New Khanh before her temple was built.

- Lai Thieu outdoor pottery village: As a writer, researcher Son Nam and the comments of a number of ceramic artists, the pottery was introduced to Lai Thieu in the foot by the U.S. trade delegations to the boat, or go through by road from Mong Cai to establish business Gia Dinh area. Among immigrants who have the capital that U.S. workers are pottery, see Lai Thieu area convenient for the manufacture of ceramics, so they settled and opened kiln pottery production (Nguyen Phan Quang – history through the yearbook and Binh Duong provinces Thu Dau Mot even the French – Thu Dau Mot cold ground birds). In a famous name from the old stove to the oven today The Hung Wang Xuan Kien said that his pottery begin trying to internal connections between his life from Phuoc Kien Wong named to this new career so far spent over 140 years.

- Pottery village chief means: (ancient outdoor pottery village called Mrs. Silk). Mrs Silk pottery village of Phu Cuong, Tan Binh (Nguyen Dynasty). In front of the pottery village of Phu Cuong village, province, Thu Dau Mot. It is at this stage appeared saying that many Pacific knives are known:

This evening he was late afternoon horse capital

Three soldiers took her to borrow my

Put on the market to sell bad tickets

Sell tea sets, mortars hit sales targets. ”

Based on the evidence in detail in the pottery village chief means: it is about the years 1840 – 1850, three pottery first appeared in this land, then gradually shaped pottery and development of villages crowded today.

One of three pottery kilns that first appeared as: Wang Liang oven that traditional oven called “Mr. Purple.” Furnace was built on low hills beside a canal and is very convenient for the transportation of products to Saigon River. Wang Lang (Lang Arabia – he died aged 92 in 1998), when alive he said that his grandfather called from Phuoc Kien Luong to the Kingdom, has built this pottery from the series in 1845, is This pottery has a range of other people is business. In particular, canal side pottery is still. Name the canal that is another name for pottery first appeared in this country, it’s “Rach Vam ray tube.”

Source: nhatbinhport

Lai Thieu Ceramics

Source: Vietcraft

Binh Duong Province is located in the eastern part of South Vietnam, with the town of Thu Dau Mot only 30 km south of Ho Chi Minh City. The province covers an area of 2,716 km2 of highland between the Sai Gon and Dong Nai Rivers and it has a population of 743,000.

One of Binh Duong’s significant cultural characteristics is its network of traditional craft villages spreading all over the province and specializing in ceramics, lacquers, sculpture, brass castings, etc. But it is traditional ceramics production that is the real pride of Binh Duong. Generation after generation, skilful hands and artistic minds have produced a great diversity of ceramics and outdoor pottery wares which have established their name in the entire world

According to historians, ceramics production appeared in Binh Duong in the 18th century and really started developing when some Chinese potters came to Binh Duong on trading ships. When they saw the high quality of the local clay, the large tree reserves available for firewood and the huge kaolin deposits that could be easily mined, they decided to stay in Binh Duong, giving birth to a profession that has remained active until today.
Although they have been very influenced by Chinese civilization, Vietnamese potters did not copy Chinese ceramics directly; they combined elements in original ways, experienced with new ideas and adopted features from other cultures such as Cambodia and Champa. This is one of the reasons why it has been said that Vietnam produced the most sophisticated ceramics in Southeast Asia.

Right from its infancy, Binh Duong ceramic produced a vast range of decorative motifs. Besides the traditional blue pattern ceramics, a new style soon became famous under the name of “Lai Thieu cock-figured pottery”. It mainly included items for household use: bowls, widely open dishes that invite a display of delicious items, teapots and cups, cooked rice containers with their tops like domes, bottles, etc. Decorative patterns were drawn on the glaze according to very elaborate and free styles. They were usually using three colours, either crimson red, green and black or red, black and indigo. Popular motifs were a cock, a banana tree or a bunch of chrysanthemums, but other patterns also included flowers and birds, or leaves and landscapes. Binh Duong ceramics remained a kind of porous earthenware, with mostly whitish (ivory-white) glaze. With time, decorative motifs carried on developing in terms of diversity for the satisfaction of domestic and foreign customers. Binh Duong’s ceramics are fired in chambered and pipe-typed kilns. Through time, products, kiln technology and production processes steadily improved as Binh Duong potters went through successive stages of modernization and mechanization in order to increase productivity as well as the quality of their products.

Clay Wedging 101: A Great Way to Teach and Learn to Wedge Clay Properly

by Dorian Beaulieu

In ceramics there are many things that you have to practice over and over before things click. Wedging is one of those things. At first, everybody wedges more air into the clay than they take out and it just takes time and experience to learn how to wrangle the clay into a nice homogeneous mass. I began teaching a beginning pottery class this week and I was reminded that wedging clay can be tricky to learn…and to teach. But I came across this video from potter Dorian Beaulieu that does a great job of demonstrating and explaining the wedging process. I am planning to model my instruction on Dorian’s from now on! – Jennifer Harnetty, editor.

Source: http://ceramicartsdaily.org

Window planters & window boxes~ for a contemporary look

try a metal or stone finish.

Fashionable years ago—window planters are making a big come back. What better way to add beauty and color to your home than with seasonal flowers, or a herb garden growing right outside your kitchen window or door.

The variety of styles available in window boxes has expanded significantly over the past few years. You can now take advantage of the lightweight materials such as fiberglass and resin in many styles—often with a contemporary look for newer homes.

You will also find a great variety of metals being used for window planters. Recently wrought iron window boxes have become very popular. A particular style of planter called ‘hayrack’ has become very popular recently as they create a less ‘boxy’ or heavy look. These planters are very attractive with moss liners or used as ‘cache pots’—planters that hold other planters. Also, consider self-watering window planters for those hard to reach locations.

Characteristics of Window Planters & Boxes

Benefits:

• Liven up the view out your windows with brightly planted boxes.
• Mount a planter outside your kitchen window for instant enjoyment of fresh herbs in your cooking.
• Gain extra planting space with window planters.

Considerations:

• Must ensure window boxes are mounted securely—carefully consider the weight of the planter, soil, plants and water at its heaviest.
• You’ll need easy access to watering and fertilizing your planters throughout the gardening season.
• Drainage from the window boxes should be created to run away from window sill or wall.

Terra cotta planters are made from one of the very first materials used by the human race. Terracotta clay continues today as the most popular material for planters. Although their appeal is undeniable, terracotta pots need a little extra care to ensure they last a long time in your garden. Look for the thicker, rather than the thin-walled planters, as they are more durable, stable and chip-resistant.

In addition to special attention when handling your terracotta pots (sometimes spelled terra cotta or terra-cotta) to avoid chipping or cracking, you will usually need to water your plants more often, as terracotta, clay and earthenware tend to dry out more quickly than other planter materials. When you first plant your container, it is a good idea to pre-soak it so it does not absorb moisture from the potting soil and rob the newly planted roots.

Terracotta pots are typically unglazed and low-fired, and remain porous after firing. Some may have a transparent glaze which reduces or eliminates porosity. Glazed planters, referred to as ceramic or stoneware, are non-porous and will hold moisture longer. Look for pots that are marked as frost or freezing resistant as these are better able to withstand extremes in temperatures.

Source: www.all-about-planters.com

pottery planters is a great way to create a color theme on your patio, balcony or in your garden. Glazed stoneware pots have a variety of finishes from matte, textured surfaces to brilliant glossy color. Keep in mind, choosing pottery planters to compliment the textures and colors of plants takes careful consideration to create a pleasing, harmonious look.

Stoneware pottery planters also require more careful handling and maintenance. Normally, ceramic garden pots will not withstand the cold temperatures of some of our winters and must be brought indoors when the cooler weather arrives. pottery planters also chip more easily than other planters, so must be handled carefully and placed in a stable location—they can serve double-duty as both indoor and outdoor planters and may often be a great way to tie your indoor and outdoor decor together. Look for contemporary and classic styles in faux or ceramic look-a-like planters that offer the benefits of the look of ceramics without the fragility or weight for your patio or garden setting.

Source: www.all-about-planters.com

Garden planters, outdoor flower pots and window boxes come in a large variety of materials, styles and sizes—wood, ceramic, terracotta, fiberglass or resin, clay, concrete and metal—there are so many choices! But did you know that the characteristics of each type will make some better-suited than others.

Making the right choices in both planters and plants for the growing conditions, location and size of your container garden will make a big difference in your results.

New production methods and materials result in outdoor planters that are more resilient to extreme weather, lighter in weight and bulk, and offer a greater variety of decorative styles, textures and colors. Look for innovations such as self-watering features, illuminated or extra large and lightweight outdoor planters.

Source: www.all-about-planters.com

Chu Đậu ceramic is a traditional one in Việt Nam, made in Chu Đậu and Mỹ Xá, Nam Sách

Chu Đậu ceramic was founded and flourished during XIII-XVII centuries. It rapidly developed in Lý, Trần, Lê, Mạc dynasties. Chu Đậu ceramic’s products were brought to many places in the world. People have recently gained more than 300,000 Chu Đậu ceramic antiques in a ship that came to Turkey but had sunk in the sea near Chàm. Island. Nowadays, Chu Đậu pottery is preserved at 46 famous museums in many different countries. Chu Đậu ceramic depicts unique shapes, special sense of beauty, high technical level and aesthetic value of Vietnamese craftsmen of our ancestors.

Chu Đậu pottery is ancient, fine in glaze, elegant in shape, flexible in pattern. It is ranged among beautiful ceramics of Việt Nam as well as the world. Chu Đậu ceramic depicts the gentle beauty of Vietnamese people and symbolizes for the Red River delta with 4000 national historical chronicle.

The most special thing of Chu Đậu ancient ceramic is HOA LAM (Deep-Blue Flower) vase and TỲ BÀ (Moon-shape lute) vase. They are called Father vase, Mother vase, representing for Phồn Thực (Good Reproduction) belief – Yin and Yang – Heaven and Earth – Husband and Wife. One bearing the feature of TỲ BÀ vase symbolizes the Yin (negative), the Earth, Mother manifesting grace and juvenility of Vietnamese woman. The LẠC VIỆT bird feathers surrounding the mouth of the vase show the tradition of descendants of Fairy and Dragon; On the vase shoulder, there is a pattern of five basic elements; A set of picture of four seasons depicting the four seasons (Pine, Chrysanthemum, Plum, Bamboo) and BÌNH THAN (name of a river wharf) waves is the common topic on vase body; Vase foot is decorated with lotus petals, a national character to praise Buddhism – the most popular religion of Việt Nam and Việt Nam beauty. HOA LAM vase represents for Yang (positive), the Sun, Father, Pillar. On the other hand, it is the foundation for family, and further more universe; vase body is a great combination between decoration of marguerite-a symbol of nobleness and gentle people.

Chu Đậu pottery is considered as wise, quintessential one: Deep bearing spirit culture value, human culture mark of Buddhism, Confucianism, Taoism; ceramic’s patterns help the spectators feel the national character, wild animals, plants and trees, flowers and leaves, silk and satin, mountains and rivers of Vietnam. At an auction held in USA, a 24cm high TỲ BÀ ceramic vase was sold with a record price of 521,000USD; The ancient HOA LAM vase has been being kept on Topkapi Saray Museum in Istanbul, Turkey and being insured US $1 million.

Source: scribd.com