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By Clary Illian
In A Potter's Workbook, popular studio potter and instructor Clary Illian offers a textbook for the hand and the brain. Her objective is to supply how to see, to make, and to contemplate the varieties of wheel-thrown vessels; her details and concept clarify either the mechanics of throwing and completing pots made easily at the wheel and the foundations of fact and sweetness bobbing up from that conventional method.
Each bankruptcy starts with a chain of workouts that introduce the rules of fine shape and stable forming for pitchers, bowls, cylinders, lids, handles, and each different plausible sensible form. concentrating on utilitarian pottery created at the wheel, Illian explores sound, full of life, and economically produced pottery kinds that mix an invitation to aware appreciation conveniently of use. Charles Metzger's remarkable photos, taken below perfect studio stipulations, completely supplement her full of life text.
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Additional info for A Potter’s Workbook
The assignment is to make bowls with simple open curves. Leave about an inch of unformed clay at the bottom of the bowls to allow for choices of height, width, and shape of turned feet. Use about four pounds of clay. Centrifugal force causes the walls of a pot to flare, so bowls are a very natural product of the throwing process. The continuously curving inner profile seems simple, and some teachers prefer to start students out on bowls. However, though simple, bowls are not easy. It is hard to make a continuous, uninterrupted curve.
This means that the lowest point must be in the center, and the curve must rise, however slightly, from that center point. The most difficult task for a beginner is erasing traces of bottoms and sides as separate parts of the form. Bottom/side thinking shows up as a hesitation in the curve or, even worse, as the dreaded beginner’s hump (figure 114). A beginner’s hump often shows up as a kink or a small, convexshaped bulge in the inner profile located at the point where the stemlike platform of clay changes to a cantilevered curve.
In most cases the handle should widen where it flows out of the pot, just as it is desirable that it thicken at the point of attachment when viewed from the side (figures 90a, 90b). Without this flow the transition between handle and container looks like a two-by-four butted into a wall (figure 91). The shape and dimensions of a single handle can vary from top to bottom when viewed head-on, just as they can vary when viewed in profile. p i t c he r s 90a 90b 91 41 42 p i t c he r s The beginnings and endings of handles must be dealt with by employing the same clarity of intention you used on the beginnings and endings of the pot itself.
A Potter’s Workbook by Clary Illian