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 target is to supply the way to see, to make, and to contemplate the types of wheel-thrown vessels; her info and concept clarify either the mechanics of throwing and completing pots made easily at the wheel and the foundations of fact and wonder coming up from that conventional method.
Each bankruptcy starts off with a chain of routines that introduce the foundations of fine shape and solid forming for pitchers, bowls, cylinders, lids, handles, and each different achieveable sensible form. concentrating on utilitarian pottery created at the wheel, Illian explores sound, full of life, and economically produced pottery types that mix an invitation to conscious appreciation comfortably of use. Charles Metzger's outstanding photos, taken lower than perfect studio stipulations, completely supplement her lively text.
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Extra info for A Potter’s Workbook
There are many possible configurations (figures 47, 48). 44 Opened ball of clay with good bottom and inside corner cylinders as pots 25 45 Cylinder walls in cross-section 46 47 48 26 cylinders as pots 49 Structural variations in wall thickness And so each pot has two shapes: a shape delineating the volume and a shape within the wall itself. There is no rule that the inside and the outside profiles of the walls must be the same, as is often taught. A more sophisticated sense of form allows for differences between the inside and outside shapes as long as the pot is not bottom-heavy.
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.
Do the lines have interest in themselves? Do they have unique characteristics? Are they dynamic? Do they have strong beginnings and endings? Figure 39 shows sketches made of brush and ink lines executed individually, then paired up to generate ideas for cylinders. Where do the ends of the lines send the eye, out into space indefinitely, on an intersecting trajectory, or back into the pot (figures 40, 41)? Of particular interest to the beginner is the ability to create a shape in which the clay is well distributed throughout the walls of the pot, not only in fact but in terms of the impression it makes.