Clays and Glazes in Studio Ceramics combines an absorbing text with a wealth of reference material and an abundance of color photographs, providing a clear examination of a complex, often bewildering subject. Suitable for all levels of ability--from beginning potter to expert--it is a lucid, accessible source of information. Nearly 200 color photographs place the subject in vivid contemporary and historical context. Clays and Glazes in Studio Ceramics is an ideal companion to help ceramists of all levels develop confidence and independence in their art. David Scott studied ceramics at the Royal College of Art and has exhibited his work throughout Europe. He has pieces in many collections, including the Victoria & Albert Museum.

My purpose in writing this book has been to present in as clear and understandable form as possible the important facts about ceramic materials and their use in pottery. The ceramic medium has a rich potential. It is so various and adaptable that each culture and each succeeding generation finds in it a new means of expression. As a medium, it is capable of great beauty of form, color, and texture, and its expressions are unique not only for variety but for permanence and utility as well. To make full use of the medium, the ceramist or potter not only needs skill, imagination, and artistic vision, but he also needs to have a sound knowledge of the technical side of the craft. This knowledge has not been easy to come by, and many of those seriously engaged in pottery have learned through endless experimentation and discouraging failures. It is hoped that the present work will enable the creative worker to go more directly to his goal in pottery, and that it will enable him to experiment intelligently and with a minimum of lost effort. While technical information must not be considered as an end in itself, it is a necessary prerequisite to a free and creative choice of means in ceramics. None of the subjects included are dealt with exhaustively, and I have tried not to overwhelm the reader with details. The information given is presented in as practical form as possible, and no more technical data or chemical theory is given than has been thought necessary to clarify the subject. This work is organized as follows: Part One—Clay Chapter I. Geologic Origins of Clay Chapter 2. The Chemical Composition of Clay Chapter 3. The Physical Nature of Clay Chapter 4. Drying and Firing Clay Chapter 5. Kinds of Clay Chapter 6. Clay Bodies Chapter 7. Mining and Preparing Clay Part Two—Glazes Chapter 8. The Nature of Glass and Glazes Chapter 9. Early Types of Glazes Chapter 10. The Oxides and Their Function in Glaze Forming Chapter 11. Glaze Materials Chapter 12. Glaze Calculations, Theory and Objectives Chapter 13. Glaze Calculation Using Materials Containing More Than One Oxide Chapter 14. Calculating Glaze Formulas from Batches or Recipes Chapter 15. Practical Problems in Glaze Calculation Chapter 16. The Composition of Glazes Chapter 17. Types of Glazes Chapter 18. Originating Glaze Formulas Chapter 19. Fritted Glazes Chapter 20. Glaze Textures Chapter 21. Sources of Color in Glazes Chapter 22. Methods of Compounding and Blending Colored Glazes Chapter 23. Glaze Mixing and Application Chapter 24. Firing Glazes Chapter 25. Glaze Flaws Chapter 26. Engobes Chapter 27. Underglaze Colors and Decoration Chapter 28. Overglaze Decoration Chapter 29. Reduction Firing and Reduction Glazes Chapter 30. Special Glazes and Glaze Effects

Master potters John Hesselberth and Ron Roy present this practical guide to making and using cone 6 glazes. Artists will be able to quickly learn the basics of glaze chemistry and firing, and even formulate their own appealing glazes. Mastering Cone 6 Glazes is an invaluable resource for do-it-yourself potters of all ages and experience levels.

Every potter wants to work in a safe environment and needs the extensive data presented in this unique reference. &break;&break;The potter's health and safety are covered in detail from ceramic toxicology to safe handling of raw materials. Guidelines for using clays, glazes, tools, kilns, and other equipment are presented. Questions such as "What's the best way to handle ceramic materials?" and "Is barium carbonate safe?" are answered in full detail. This is the safety guide that every student, teacher, and ceramic professional will refer to again and again while working with clay and glaze materials. &break;&break;Covers, in expert detail, all aspects of safety in the ceramics studio &break;&break;Text and detailed photos offer a practical "how to" approach to working in a safe environment &break;&break;Easy-to-understand, non-technical language

Practical Pottery is setup to teach you the essential photographic reference for beginners. Filled with the basics on getting started, equipment, materials, clay constructions, and more, this book offers insight into embarking on a new creative adventure. You'll learn: - A step-by-step photographic sequence guide to be as comprehensive as possible. - projects that range from beginner to expert allowing you to put the new skills to work. - Include 70 projects that reflect new and old concepts from Jon's wildly successful YouTube channel. - Highly photographic

"Every day, ceramic artists encounter techniques, processes, materials, problems, and more that leave them with questions such as: How? Why? Where? Clay: A Studio Handbook answers those questions with authoritative, comprehensive coverage of topics ranging from studio safety, finding, making, and improvising tools and equipment, firing processes and theory, and much more. Drawing on more than 30 years of experience in ceramics, Pitelka has created the most practical, all-inclusive studio handbook for students, studio artists, educators, and all those interested in the art of clay. Ten chapters, addressing the full range of ceramic processes, bring a lifetime of ceramic knowledge directly into the hands of potters. Written with concern for safe and efficient studio operation, diligent attention is paid to safety practices. A thorough table of contents, glossary, and index make finding answers quick and convenient. Numerous step-by-step illustrations guide readers through the many techniques."--Publisher's description.

According to Ceramics Monthly, most potters glaze their pieces at mid-range temperatures--and this complete studio guide eliminates the guesswork from the popular process. Along with hundreds of recipes, it explores mixing, application, specific firing and cooling cycles, and much more. See how to boost colors, achieve results that equal high-fire glazing, and stretch your boundaries with new techniques.

Formulating, mixing, applying and firing clay boolies and glazes.

An essential resource for all potters, containing a broad range of glaze recipes and clay bodies, illustrated with helpful test tiles.

(back cover) This is a complete course in designing ceramics with confidence. Focusing on the design process and principles of shape, form, surface, and function, it also includes practical instruction in studio techniques for rendering your ideas into reality. A complete range of practical advice is offered, organized into units covering each stage of the design process, from working out a brief and seeking inspiration to drawing up technical plans and developing the design. Design concepts with both practical and esthetic considerations are explored in detail, and real-life case studies give valuable insights into the world of practicing ceramic designers. Whether you want to create functional, hard-wearing pots or decorative fine art pieces, this book will demystify the design process and provide the inspiration and skills you need to design with flair. Anthony Quinn is a freelance designer for the tableware industry. Among his clients are Wedgewood, Royal Worcester, and Denby Pottery. He is a senior lecturer in ceramic design at the renowned Central Saint Martin's College in London and is a visiting tutor at the Royal College of Art. Anthony has recently launched a range of pierced oven and tableware with Hartley Greens pottery, designed in conjunction with the Victoria and Albert Museum in London. He has also recently designed the in-flight dining experience for British Airways First Class and Club World. He lives and works in London.