a piece of thrown pottery is created using this potter 's tool
potter 's wheel
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said to have formed the first humans on a potter's wheel. Potter's wheel In pottery, a potter's wheel is a machine used in the shaping (known as throwing) of round ceramic ware. The wheel may also be used during the process of trimming the excess body from dried ware, and for applying incised decoration or rings of colour. Use of the potter's wheel became widespread throughout the Old World but was unknown in the Pre-Columbian New World, where pottery was handmade by methods that included coiling and beating. A potter's wheel may occasionally be referred to as a "potter's lathe".
Potter's wheel
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about a stratification of the value which people attach to things. It would therefore be wrong to say that Egyptian potters were despised. There was a strong sense that the process was a creative one. Thus, the word for 'potter' ("qd") is the same one used for 'building' walls and structures. Even the activities of creator gods were depicted using the image of the potter. The ram-headed creator god Khnum was shown creating gods, men, animals and plants on the potter's wheel. This suggests high esteem for ceramic production. Stephan Seidlmayer investigated the social and organisational circumstances of pottery production
Ancient Egyptian pottery
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he was proving himself to be a skilled potter. He survived a childhood bout of smallpox to serve as an apprentice potter under his eldest brother Thomas Wedgwood IV. Smallpox left Josiah with a permanently weakened knee, which made him unable to work the foot pedal of a potter's wheel. As a result, he concentrated from an early age on designing pottery and then making it with the input of other potters. The pottery created in his father's and brother's business was inexpensive and low quality, black and mottled in color. In his early twenties, Wedgwood began working with the
Josiah Wedgwood
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Daunian pottery Daunian pottery was produced in the Daunia, today's Italian provinces of Bari and Foggia. It was created by the Daunians, a tribe of the Iapygian civilization who had come from Illyria. Daunian pottery was mainly produced in the regional production centers of Ordona and Canosa di Puglia, beginning around 700 BC. The early paintings on the pottery show the vessels with geometric patterns. The ceramics were hand-formed, rather than thrown on a potter's wheel. They consisted of red, brown or black earth color applied with the decor. Diamonds, triangles, circles, crosses, squares, arcs, swastika and other forms of
Daunian pottery
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Sue pottery. While Sue productions combined wheel and coiling techniques, the lead-glazed earthenware made under Chinese influence from the 8th to the 10th centuries include forms made entirely on the potter’s wheel. The original potter's wheel of the Orient was a circular pad of woven matting that the potter turned by hand and wheel, and was known in Japan as the "rokuro". But with the arrival of the "te-rokuro" or handwheel, the mechanics of throwing made possible a more subtle art. The wheel head was a large, thick, circular piece of wood with shallow holes on the upper surface around
Japanese pottery and porcelain
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tea ceremony tools, vases, cups, plates, and other forms of pottery made at Ōtani. Ōtani ware In 2003, Ōtani pottery was designated as a national traditional handicraft. The potter's wheel used in the production of Ōtani pottery is known as a 'nerokuro,' literally a 'lying potter's wheel.' One person must lie on his or her side and turn the wheel with his or her feet. The potter and the assistant must have perfect timing in order to create a successful product. Ōtani pottery is the only pottery in Japan that still uses this technique. The large containers were used to
Ōtani ware
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pottery, beginning over 1,000 years ago, traditional designs include thunderbirds, geometric patterns, and rainbows. The pottery is made of fine local clay found on the pueblo to create the distinctively thin-walled pottery. The pottery is made in white and black and polychrome colors. Designs are pressed into all-white pottery with a fingernail or tool. Potters from Acoma Pueblo during the 1950s include Marie Z. Chino and Lucy M. Lewis. Vera Chino Ely, the daughter of Marie Chino, is also a well-reputed potter of Acoma pottery. In historical times, Hopi created ollas, dough bowls, and food bowls of different sizes for
Art of the American Southwest
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glazed products as well as salt-glazed, hand-thrown, kiln fired items. Pottery was and is produced in Red Wing, MN by under various names from 1861 to the present. Many different ink stamped, impressed, and hand painted marks were used. Pottery produced by John Paul, a German immigrant potter, in a farm near Red Bull, over the years 1861 through to 1863, using the techniques he had previously learned. The pottery production was continued by William M. Philleo under the name of Red Wing Terra Cotta Works, altering John Paul recipe by adding silica to the natural red clay. An offshoot
Red Wing Pottery
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Byron Temple Byron Temple (1933–2002) was an American potter. Temple learned to throw on the wheel at Ball State University as an undergrad in his native Indiana. After college and serving in the U.S. Army, Temple discovered "A Potter's Book", written by the English potter, Bernard Leach, considered by many to be the grandfather of modern hand thrown functional studio pottery. This inspiring book motivated Temple to write Leach asking if he could apprentice with him at Leach’s St. Ives Pottery in Cornwall, England. The two happened to meet while Leach was giving a workshop in the United States, and
Byron Temple
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mother, Rose Williams, and her great aunt, Grace Barlow. The pots are created from clay found near the Black Mesa area in Apache-Navajo Counties in Arizona, and are then fired outdoors using juniper wood, with the firing process enhancing the clay's natural pigments. Cling and her mother and aunt were responsible for revitalizing traditional Navajo pottery. Cling is a coil potter, and was the first Navajo potter to use a smooth river stone to polish her pots instead of the traditional corncob. Her pottery is considered non-utilitarian, which represented a huge shift from function to art. In 1978, Cling's work
Alice Cling
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In using the soda-firing finish and a wide range of archetypal forms, Doherty attempts to question the vernacular of functionality. The vessels Doherty creates explore ancient layers of cultural resonance embedded in these archetypal forms. Looking at the rustic surface textures, the palettes of smoky and sometimes vibrant colours and the simplicity of the irregular shapes thrown by Doherty, the vessels exhume transient visceral qualities reminiscent of the Japanese aesthetics of Wabi-sabi and Shibui, no doubt having been influenced by the work of the late modernist Bernard Leach (Doherty being the previous lead potter of The Leach Pottery), as well
Jack Doherty (potter)
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Newcomb College. The marks would include an ""N"" inside of a ""C"" to indicate the school, along with the ciphers of the potter and craftsman who both created the piece. Also typically included would be a registration number indicating the year the piece was made. The registration number for a Newcomb piece consisted of a letter or combination of letters to indicate the year the piece was made, along with a number from 1-100. While most Newcomb pieces do have a registration number, some pieces, particularly earlier ones that were glazed but not otherwise decorated, do not. In addition to
Newcomb Pottery
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Especially large collections are at the Charles Hosmer Morse Museum of American Art, the Cooper-Hewitt Museum and the Cincinnati Art Museum, which has an entire wing dedicated to Rookwood wares. Arequipa pottery was produced at a tuberculosis sanatorium in the San Francisco Bay Area from 1911 to 1918. For two years (1910-1912) master potter Frederick Rhead taught there; later the potter Albert Solon taught there. Thrown and molded pots were produced, usually with a matte finish. The Cowan Pottery was founded in Lakewood, Ohio, in 1912 by R. Guy Cowan. It later moved to Rocky River, where it remained until
American art pottery
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most families here making a subsistence living through that and by growing corn. Recently, several innovations have been devised to try to help revive the pottery market. In the 1990s, the Mexican government developed lead-free glazes to be mass marketed. In the 2000s, a cooperative pottery market was created in the town, and the efforts of potter Dolores Porra, who created new designs and colors, has been recognized. About 90% of the people in the town proper are dedicated to making pottery, making it the basis of the town’s economy. Most of this pottery is created for kitchen use such
Green glazed pottery of Atzompa
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is the maximum amount that an employee can be exposed to in a day. The values are measured using a formula which works out the average (A) exposure over an 8-hour day. The values are therefore written as A(8). The rate of vibration of a tool or piece of machinery is then measured in metres (m) per second (s) and written as m/s². In order to help employers calculate the exposure levels using the formula, the Health and Safety executive created an exposure calculator. Regulation 5 requires any employer who exposes employees to risk from vibration to make a 'suitable
Control of Vibration at Work Regulations 2005
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Betty Woodman Elizabeth "Betty" Woodman (née Abrahams; May 14, 1930 – January 2, 2018) was an American ceramic artist. She began her career in the 1950s as a production potter, but her decision to become a potter dates back to her teenage years, when she took a class in high school and became "fascinated with the magic of ceramic glaze." She attended the School for American Craftsmen at Alfred University, where she created a custard cup for an assignment for a production piece. Her career moved from functional pottery to fresh and exuberant art culminating in a retrospective show at
Betty Woodman
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studio, Elizabeth, Hannah, and Mary Frances carried on the work. The studio operated with division of labor among the sisters. The sisters set up a design studio on the main floor of their home, a ceramics workshop in the basement, and a coal-fired kiln in a small shed behind the house. Elizabeth created the shapes, while Hannah and Mary Frances created the designs and decorated the pottery. The industrious women lived simply and used only basic tools for their artwork. Although Elizabeth made some wheel-thrown pottery, most of their ceramics were handmade using the coil method. The Overbeck Pottery closed
Overbeck Sisters
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This arrangement allows artisans to spend less time selling, and more time making pottery. At the end of each day, the accounts are tallied and each artisan takes home his/her earnings. This market has also had success attracting more national and international tourists to the town, which is helping the economy. While almost all of Atzompa’s pottery is of the traditional green-glazed variety, since the 1980s, a potter by the name of Dolores Porras has created the first glazed natural color and multicolored glazed pottery. Dolores Porras was born in 1937 in Santa Maria Atzompa into a pottery making family.
Green glazed pottery of Atzompa
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Clara pottery is distinguished for its red polychrome and shiny black pottery. It is also known for the having designs carved into the clay when the piece has dried to "leather hard." San Ildefonso pottery in noted for the black-on-black pottery brought to the San Ildefonso Pueblo in the early 20th century by Maria Martinez and her husband Julian Martinez when they rediscovered how to make the pottery. Juanita Suazo Dubray, a lifelong resident of Taos Pueblo, is a Native American potter who makes micaceous pottery, upholding the tradition of her mother and their ancestors. Dubray added an element of
Art of the American Southwest
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the absolute master of the black-figure style, which reaches its apex with him. His significance is not only due to his masterful vase painting, but also to his high quality and innovative pottery. He signed 12 of his surviving vessels as potter, two as both painter and potter. Exekias probably had a large role in the development of Little-master cups and the Type A belly amphora mentioned above, and he possibly invented the calyx krater, at least the oldest existing piece is from his workshop. In contrast to many other comparable craftsmen, as a painter he attached great importance to
Black-figure pottery
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a replacement for Delphis, it was never as successful. Poole Pottery giftware is currently created using "Living Glaze". This involves the application of different glazes which react with one another to achieve unique results on each piece. Leonard Curtis were appointed administrators in 2003, and sold the company as a going concern to Dorset businessman Peter Ford. They also raised funds for creditors by selling historic artefacts from the Pottery's museum. On 15 December 2006, it was announced that the shop would close, due to non-payment of debts mounting up since new owners took over in August. The company, including
Poole Pottery
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covered and filled with flammable material. It is placed on the a flat piece of ground, surrounded by a low wall, or put in a pit. During the firing process, the potter has relatively little control. The vessel is in direct contact with the flames and the fuel, which heats quickly and then cools down again quickly. Optimisation of the firing process became possible once the pottery was placed inside a chamber with a vent and separated from the fuel of the fire, i.e. a kiln. This technological leap was made in the early Old Kingdom at the latest, but
Ancient Egyptian pottery
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Richard Godfrey (potter) Richard Godfrey (1949 – 13 December 2014) was an English studio potter working in Battisborough Cross, Devon England. Godfrey graduated from Bristol School of Art in 1972 having been taught by Gillian Lowndes. From 1973 to 1981 he was Head of Art and Deputy Headmaster at Battisborough International School, Devon which was founded by Kurt Hahn. Having set up his first workshop, he made production thrown ware for Cranks restaurant. Godfrey was a fellow of the Craft Potters Association and known primarily for his brightly coloured earthenware pottery which used composite underglaze patterns. Godfrey won the Bronze
Richard Godfrey (potter)
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Dorothy Auman Dorothy Auman was a potter, whose works won a North Carolina Heritage Award, in 1989, from the North Carolina Arts Council. Dorothy Cole Auman belonged to the eighth generation of a potter family: her father owned a pottery business but wasn't a potter himself, though her grandparents and cousin were avid potters. Her ancestors came to the Seagrove area in the 1760s because of the plentiful potting clay and kiln fuel. As an adult, she married another person from a potter family, Walter Auman, and they created a business, "The Seagrove Pottery," in which they sold their work.
Dorothy Auman
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Warren MacKenzie Warren MacKenzie (born February 16, 1924) is a North American craft potter. He grew up in Wilmette, Illinois the second oldest of five children including his brothers, Fred and Gordon and sisters, Marge (Peppy) and Marilyn. His high school days were spent at New Trier High School in Winnetka, Illinois. MacKenzie and his first wife, Alix, studied with Bernard Leach from 1949 to 1952. His simple, wheel-thrown functional pottery is heavily influenced by the oriental aesthetic of Shoji Hamada and Korean ceramics. He is credited with bringing the Japanese Mingei style of pottery to Minnesota, fondly referred to
Warren MacKenzie
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Kumbha A kumbha () is a type of pottery in India. Traditionally, it is made by Kumbhars, also known as "Prajapati"s. In the context of Hindu, Jain and Buddhist mythology, the kumbha symbolises the womb. It represents fertility, life, generative power of human beings and sustenance and is generally associated with devis, particularly Ganga. According to Hindu mythology, the first kumbha was created by Prajapati on the occasion of the marriage of Shiva, so he was first "kumbhara" "potter". Another myth says that the first pot was created by Vishvakarman on the occasion of the churning of the ocean for
Kumbha
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build ceramic objects using the coiling technique. To do this, the potter takes a pliable material (usually clay) then rolls it until it forms a long roll. Then, by placing one coil on top of another, different shapes can be formed. One of the methods used in terra-cotta sculpture; the clay is rolled into cylindrical strips about the size of an ordinary pencil and wound up to create the desired shape. Coiling (pottery) Coiling is a method of creating pottery. It has been used to make clay into vessels for many thousands of years. It ranges from Africa to Greece
Coiling (pottery)
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the potter to improve the quality and appearance of the vessel, including more refined decorative designs and patterns. The result was a substantial variety of products such as bowls of different size and shapes, jugs, incense burners, lamps, candlesticks, trays, tiles and so on. These advantages also allowed greater control of carved decoration, the use of which the Seljuks refined and extended during the twelfth century. Carved decoration in ceramics, sgraffito, is an old tradition used in ninth-century Islamic pottery; it is an engraving technique based on incising the design with a sharp tool through a white slip to reveal
Islamic pottery
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a similar kitchen look and added to the demand for hand-made tableware. Harrod notes that several potteries were formed in response to this fifties boom. There was in turn a demand for potters trained in workshop practice and able to throw quickly. As this training was not offered by the art schools of the period, the Harrow Art School studio pottery diploma was created to fill the gap. According to Harrod, "the production potter of the Harrow type had a good innings well into the seventies", by which time the market for this style of pottery was falling away. From
Studio pottery
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Mary Rose Young Mary Rose Young is a ceramic artist who lives and works in the Forest of Dean, Gloucestershire, in the UK. Mary Rose Young was born near London in 1958. She studied ceramics at art college in Wolverhampton. Her first piece of her work to be featured in a magazine was a ceramic filofax. After leaving art college, she developed an interest in producing items using a potters wheel. Applying the bright colour she had used earlier onto her newly thrown pots. Working from home, she began selling pottery pieces from a barrow at the Dockside Arts Centre,
Mary Rose Young
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of necklaces, bracelets, rings, lockets, paintings, and medallions. These items would be embellished with strands of hair from a loved one. A pottery center/guest house in Avanos, Turkey created the Avanos Hair Museum; its displays are thousands of locks of hair, all from female visitors. Reportedly the local potter, Chez Galip, was bidding farewell to a friend of his when he asked for something to remember her by, and she cut off a piece of her hair to leave as a reminder. He put it up in his shop, and told the story to the visitors and tourists who passed
Hair museum
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the supervision of art professors William Woodward, Ellsworth Woodward, and Mary Given Sheerer. Among the first persons to be hired by the Woodwards to assist with the new pottery program were the potters. Unlike the artists who created and carved the designs for the Pottery, the potters were all men, as it was believed that a "male potter would be needed to work the clay, throw the pots, fire the kiln and handle the glazing." The first potter hired was Jules Garby in 1895. He was followed by one of Newcomb Pottery's most recognized potters, Joseph Meyer, in 1896. Notably,
Newcomb Pottery
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a well-behaved modeling clay would have been immediately noticed by the experienced prehistoric potter. Adding as little as 10-15% shell temper created an excellent pottery paste that was lighter, stronger and more able to withstand the drying process, and the clay's originally high plasticity was subdued. The calcium carbonate of the freshwater mussels also acts as a binding agent and created a stronger vessel. Thinner coils to make thinner walled vessel were a natural consequence. As the potter was probably also the cook, she was now able to construct a more effective cooking pot. Thinner walls allowed heat to transfer
Mississippian culture pottery
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as well as to people throughout the country. Both Cornelius Vanderbilt and Sir John Wedgwood visited him in his studio and purchased several sets of pottery from him. Gordy not only had his own signature style of pottery, but also created his own blend of clay and exclusive glazes. He was the first Georgian potter to use colors in his glazes. Gordy's pottery has been on display in the Smithsonian Institution since 1940. He received the "Governor's Award in the Arts" in 1983 and the "Heritage Award" from Bartow County. Encyclopædia Britannica lists W. J. Gordy as the "foremost potter
W. J. Gordy
19151773
Keith Brymer Jones Keith Brymer Jones is a British potter and ceramic designer, known for his homeware Word Range with retro lettering and punk motifs. In 2015, he debuted as an expert judge alongside Kate Malone on BBC2’s "The Great Pottery Throw Down" where his readiness to shed tears at the contestants' work attracted comment. At the age of 11 Brymer Jones made his first pottery object - an owl. It was then that he knew he wanted to be a potter and, after a brief stint as the lead singer of British punk band The Wigs, he became an
Keith Brymer Jones
19151775
he collaborates with other designers including Jane Foster, Scion Living, Hokolo and Becky Baur. Keith Brymer Jones Keith Brymer Jones is a British potter and ceramic designer, known for his homeware Word Range with retro lettering and punk motifs. In 2015, he debuted as an expert judge alongside Kate Malone on BBC2’s "The Great Pottery Throw Down" where his readiness to shed tears at the contestants' work attracted comment. At the age of 11 Brymer Jones made his first pottery object - an owl. It was then that he knew he wanted to be a potter and, after a brief
Keith Brymer Jones
7164524
Flake tool In archaeology, a flake tool is a type of stone tool that was used during the Stone Age that was created by striking a flake from a prepared stone core. People during prehistoric times often preferred these flake tools as compared to other tools because these tools were often easily made, could be made to be extremely sharp & could easily be repaired. Flake tools could be sharpened by retouch to create scrapers or burins. These tools were either made by flaking off small particles of flint or by breaking off a large piece and using that as
Flake tool
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that American society was being destroyed by industrialism, which inspired his search for American artifacts. Mercer founded Moravian Pottery and Tile Works in 1898 after apprenticing himself to a Pennsylvania German potter. He was also influenced by the American Arts and Crafts Movement. Mercer is well known for his research and books about ancient tool making, his ceramic tile creations, and his engineering and architecture. He was among the paleontologists who investigated Port Kennedy Bone Cave. He wrote extensively on his interests, which included archaeology, early tool making, German stove plates, and ceramics. He assembled the collection of early American
Henry Chapman Mercer
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hand embossing. Styluses are also used to engrave into materials like metal or clay. Styluses are used to make dots as found in folk art and Mexican pottery artifacts. Oaxaca dot art is created using styluses. Modern day devices, such as phones, can often be used with a stylus to accurately navigate through menus, send messages etc. Today, the term "stylus" often refers to an input tool usually used with touchscreen-enabled devices, such as Tablet PCs, to accurately navigate interface elements, send messages, etc. This also prevents smearing the screen with oils from one's fingers. Styluses may also be used
Stylus
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did the people of the Nodena, Walls, and Kent phases. Pottery made by the Parkin people was built up from strips of clay, and then smoothed out by the potter. This technique was much like that of other pottery in the Eastern America area, where the potters wheel was unknown. Slips using galena for white, hematite for red, and sometimes graphite for black were used to paint the pottery. The effigy head pots give an idea of what the people of the Parkin Site may have looked like, as shown by this bust on display at the Parkin Site museum.
Parkin Archeological State Park
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his prowess for creating pottery. It won the Coretta Scott King Award and was a Caldecott Honor book in 2011. During Dave's lifetime his pots were worth around 50 cents; However today, they sell for as much as $50,000. In contemporary auctions and sales, his work has sold for over $40,000 per piece. In 2008 Leonard Todd published a cohesive biography on Dave the Potter. Leonard Todd's interest lies in the fact that two of his ancestors were owners of Dave at some point in time. The 1998 exhibition "The Life and Works of the Enslaved African American Potter, Dave"
David Drake (potter)
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the many shapes shown below, or anything else he desires. Wheel made pottery dates back to roughly 2500 BC where before the coil method of building the walls of the pot was employed. Most Greek vases were wheel-made, though as with the Rhyton mould-made pieces (so-called "plastic" pieces) are also found and decorative elements either hand formed or by mould were added to thrown pots. More complex pieces were made in parts then assembled when it was leather hard by means of joining with a slip, where the potter returned to the wheel for the final shaping, or turning. Sometimes,
Pottery of ancient Greece
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out by the potter, much like other pottery in the Eastern America area where the potters wheel was unknown. Slips using galena for white, hematite for red, and sometimes graphite for black were used to paint the pottery, with a red on white swastika design being particularly popular. Sometimes incising was used (an example is the incised raptor image on the effigy head pot pictured), although it is rare in Nodena pottery. Women were probably the makers of pottery, as in most other Native American cultures. The grave of a woman at the Nodena Site contained 11 polishing pebbles and
Nodena Phase
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Joseph Lonewolf Joseph Lonewolf (January 26, 1932 - November 9, 2014) was a Native American potter from Santa Clara Pueblo, New Mexico, United States. He was known for his use of historical methods and his development of sgraffito and bas-relief techniques used a nail filed to a point as his main carving tool. The son of pottery artist and historical reconstructionist Camilio Sunflower Tafoya, Lonewolf was a precision mining equipment machinist until 1971, when a back injury forced him to retire. His works, which have often been referred to as "pottery jewels", are notable for the use of Mimbres designs
Joseph Lonewolf
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Juanita Suazo Dubray Juanita Suazo Dubray (born 1930) is a Native American potter from Taos Pueblo, New Mexico. She is a lifelong resident of Taos Pueblo and descends from an unbroken line of Taos Pueblo natives. Her mother Tonita made traditional micaceous pottery for utilitarian use. She became interested in the micaceous pottery tradition in 1980 after a career of working as a pharmaceutical technician. She started making micaceous pottery at the age of 50 with the encouragement of a neighbor who gave her some clay. When she first started making pottery she made one-of-a-kind micaceous pots using different ancient
Juanita Suazo Dubray
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in recognition of Heath’s commitment to business by design. After Edith Heath exhibited her work at her first solo show at the Palace of Fine Arts in San Francisco in 1944, a buyer from San Francisco retailer Gump's approached her to supply their store with her hand-thrown pottery using the company's pottery studio in San Francisco, and she accepted the opportunity. In 1947, Edith began to design and execute a limited hand-thrown production of her pottery and tableware with four apprentices in her own studio. Other retailers, such as Neiman Marcus, Marshall Field’s, Bullocks, and the City of Paris began
Heath Ceramics
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the Legion of Honor. She also participated in the Syracuse Ceramic Nationals 11(1946) to 15(1950). A buyer from San Francisco retailer Gumps approached Edith to supply their store with her high quality hand-thrown pottery using the company's pottery studio. She accepted the opportunity, while continuing to work in her own studio. "She became convinced of the opportunities that studio potters had if they would undertake production work to fill the wartime import void." In 1947, Edith began to design and execute a limited hand-thrown production of her pottery and tableware with four apprentices in her own studio. The Heath's purchased
Edith Heath
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Celtic graphite pottery Celtic graphite pottery – the term used in Polish terminology to describe a wheel thrown pottery which was made from clay with graphite fragments as an admixture. This is a characteristic type of ceramics for the La Tène culture whose discovery at Polish sites should be related to Celtic settlement or influences from the Celtic world. The most characteristic type is so-called graphite situla, but other vessels such as pots and bowls were also common. Graphite wheel thrown pottery occurs at Polish sites in layers dated to La Tène B to La Tène D and to the
Celtic graphite pottery
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800,000 dozen-piece sets of dinnerware. W. S. George Pottery Company The W. S. George Pottery Company was a United States pottery manufacturer with facilities in Ohio and Pennsylvania between 1904 and 1960. William Shaw George purchased the controlling interest in the East Palestine Pottery Company from the Sebring brothers in 1904, renaming the company The W. S. George Pottery Company. In 1910 the company opened a manufacturing facility in Canonsburg, Pennsylvania ("Plant #2"), and in 1914 another facility was opened in Kittanning, Pennsylvania ("Plant #3"). In 1912 fire destroyed most of the East Palestine, Ohio, facility, named "Plant #1". At
W. S. George Pottery Company
2581298
Andokides (potter) Andokides (; ) was a famous potter of Ancient Greece. The painter of his pots was an anonymous artist, the Andokides painter, who is recognized as the creator of the red-figure style, beginning around 530 BC. His work is compared with Exekias, who was said to have created the most detailed and best examples of black-figure pottery. Exekias is said to be the teacher of Andokides. Although the work of Andokides and his painter is considered inferior to that of Exekias, the invention of red figure was an important innovation. The most renowned work of Andokides is the
Andokides (potter)
17056983
appearance on its sister network's broadcast of the 2011 TeenNick HALO Awards. In March 2012, Potter began a recurring role on "", portraying Fred's best friend. Potter later voiced "Big Hero 6" protagonist Hiro Hamada and reprised his role in the and "Kingdom Hearts III". Potter was also lobbying for the role of Tim Drake and created a concept fight scene using the character's signature bō staff as an audition. He ended the video with a plea to Ben Affleck to cast him as Robin. He was then cast as Beast Boy (or Garfield "Gar" Logan) in Warner Bros.'s live-action
Ryan Potter
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at University of South Carolina's McKissick Museum was the first exhibition devoted solely to Dave's pottery. In 2010 contemporary artist Theaster Gates created an exhibition responding to and centering around the work of David Drake, titled "Theaster Gates: To Speculate Darkly" at the Milwaukee Art Museum. In this exhibitions Gates uses Dave's work to address issues of craft and race in the African American history. In 2016 an exhibition at the Vero Museum of Art titled "David Drake: Potter and Poet" contained 31 objects; 13of which are known to be from Dave's hand Dave's work is in various collections, most
David Drake (potter)
2581299
amphora depicting the god Dionysus and two of his maenads. Andokides (potter) Andokides (; ) was a famous potter of Ancient Greece. The painter of his pots was an anonymous artist, the Andokides painter, who is recognized as the creator of the red-figure style, beginning around 530 BC. His work is compared with Exekias, who was said to have created the most detailed and best examples of black-figure pottery. Exekias is said to be the teacher of Andokides. Although the work of Andokides and his painter is considered inferior to that of Exekias, the invention of red figure was an
Andokides (potter)
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this ancient pottery style. His intention was to place re-created pots in museums and thus preserve the ancient art form. Maria Martinez was known in the Tewa pueblo of San Ildefonso, New Mexico for making the thinnest pots in the least time; therefore, Hewett saw her as the perfect Pueblo potter to bring his idea to life. A long process of experimentation and overcoming challenges was required to successfully recreate the black-on-black pottery style to meet Maria’s exacting standards. "As almost all clay found in the hills is not jet black, one specific challenge was to figure out a way
Maria Martinez
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the finer variety of pottery. Shapes and decoration were varied in the mortuary pottery, from brighly colored abstract spiral designs, to elaborate effigy vessels depicting human heads, animals, and hunters and their prey. Pottery made by the Nodena people was built up from strips of clay, and then smoothed out by the potter, much like other pottery in the Eastern America area where the potters wheel was unknown. Slips using galena for white, hematite for red, and sometimes graphite for black were used to paint the pottery, with a red on white swastika design being particularly popular. Sometimes incising was
Nodena Site
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the region. Evidence of stone split with both methods indicate the evolution of this technique. The method using the cape chisel created long rectangular slots, whereas the newer method, using a plug drill, left round holes. The plug and feather method is still widely in use today. Plug and feather Plug and feather, also known as plugs and wedges, feather and wedges, wedges and shims, pins and feathers and feather and tare, refers to a technique and a three-piece tool set used to split stone. Each set consists of a metal wedge (the plug), and two shims (the feathers). The
Plug and feather
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screens throughout Japan. For comparison, "Ponyo" set the record of screens for a domestic film to 481 in July 2008 and "Harry Potter and the Half-Blood Prince" premiered in Japan in July 2009 on 844 screens. The first 1.5 million moviegoers received the "0th volume" of the "One Piece" "manga" series, containing a prequel story that depicts events from 20 years into the past of the "One Piece" world, as well as the materials Oda created for "Strong World"'s production. After the film's success on its first weekend of showing, Toei decided to extend the offer by another million copies
One Piece Film: Strong World
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over 50 years of design and planning by the current owner Mr William Podmore OBE. The gardens have a Tea room that is available during normal opening hours and the Gardens are also available for Civil Wedding ceremonies. Also in the Churnet Valley is Consall Forge Pottery where a craftsman potter makes and sells hand-thrown domestic stoneware ceramics. Consall Railway Station is on the Churnet Valley Railway network. The station was re-opened to passengers in July 1998 and it is possible to reach the villages of Froghall and Cheddleton from the station. For a considerable part of the journey the
Consall
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Jabez Vodrey Jabez Vodrey (1795–1861) was the first English potter west of the Appalachian Mountains. Vodrey was born on January 14, 1795 in Tunstall, an area in Stoke-on-Trent, Staffordshire. This is a centuries-old center of the English pottery industry. He is thought to be a cousin of Frederick Vodrey, who emigrated from Staffordshire to Dublin, Ireland in the late 19th century and founded an art pottery there. In 1827, Vodrey and his wife, Sarah Nixon Vodrey, emigrated to Pittsburgh, Pennsylvania United States, with another Staffordshire potter, William Frost. Vodrey and Frost operated a pottery in Pittsburgh for about two years.
Jabez Vodrey
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a stretch of road on which are a number of crafts towns such as San Bartolo Coyotepec, San Martin Tilcajete, Santo Tomás Jlietza and Santa Ana Zegache. While the men dominate the rug-weaving and woodcarving industries in Oaxaca, the women reign with their pottery. This is true in Ocotlan as well. The best known pottery family in Ocotlan is the Aguilar. The dynasty begins with potter Isaura Alcantara Diaz, a potter. Isaura learned the traditional pottery making techniques of the Oaxaca Valley, which was mostly limited to making utilitarian items. She began to experiment with figures and more decorative pieces,
Ocotlán de Morelos
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well as exhibitions around the country. Warren MacKenzie Warren MacKenzie (born February 16, 1924) is a North American craft potter. He grew up in Wilmette, Illinois the second oldest of five children including his brothers, Fred and Gordon and sisters, Marge (Peppy) and Marilyn. His high school days were spent at New Trier High School in Winnetka, Illinois. MacKenzie and his first wife, Alix, studied with Bernard Leach from 1949 to 1952. His simple, wheel-thrown functional pottery is heavily influenced by the oriental aesthetic of Shoji Hamada and Korean ceramics. He is credited with bringing the Japanese Mingei style of
Warren MacKenzie
5814453
Transfer printing Transfer printing is a method of decorating pottery or other materials using an engraved copper or steel plate from which a monochrome print on paper is taken which is then transferred by pressing onto the ceramic piece. Pottery decorated using the technique is known as transferware or transfer ware. It was developed in England from the 1750s on, and in the 19th century became enormously popular in England, though relatively little used in other major pottery-producing countries. The bulk of production was from the dominant Staffordshire pottery industry. America was a major market for English transfer-printed wares, whose
Transfer printing
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W. J. Gordy William J. "Bill" Gordy (born May 18, 1910 – August 19, 1993) was an American potter based in Cartersville, Georgia, who has won several awards and honours for his work. Trained as a folk potter, he branched off and created a style uniquely his own. His work is well known and loved by people throughout the country and by the people in his community. Gordy was born in Aberdeen, Georgia in 1910. His father was a potter who owned his own business in Alvaton, Georgia. He learned to make pottery by watching the men his father had
W. J. Gordy
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Virgil Ortiz Virgil Ortiz (born 1969, Cochiti Pueblo) is a Pueblo artist, potter, fashion designer and photographer from Cochiti Pueblo, New Mexico. Ortiz makes traditional Cochiti figurative pottery, experimental figurative pottery, traditional pottery vessels, and designer clothing. He is probably best known for his edgy pottery figures, his contemporary take on the traditional Cochiti pottery figures ("monos") from the late 1800s. Virgil's mother is noted potter Seferina Ortiz (1931-2007). She taught her son to make traditional Cochiti pueblo pottery. “The thought has never crossed my mind to be anything other than an artist and fashion designer. Art is in my
Virgil Ortiz
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with his business partner Abner Landrum. This pottery business and the area, within which Dave worked is known as Pottersville. Landrum was the publisher of a local newspaper called "The Edgefield Hive". It is unclear how Dave learned to read and write. Scholars speculate he was taught by Landrum, who was known to be a religious man and may have taught Dave how to read the Bible. During this time period it was unusual for slaves to be literate, especially in South Carolina. Most southern states in the early 1800's restricted black literacy, and in 1830's legislation was passed laws
David Drake (potter)
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by the addition of pulverized pottery shards. The pieces then are shaped, painted, and fired. Geometric patterns, thunderbirds, and rainbows are traditional designs, which are applied with the spike of a yucca. Upon completion, a potter would lightly strike the side of the pot, and hold it to their ear. If the pot does not ring, then the pot will crack during firing. If this was found, the piece would be destroyed and ground into shards for future use. Further reading Acoma Pueblo Acoma Pueblo () is a Native American pueblo approximately west of Albuquerque, New Mexico in the United
Acoma Pueblo
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the shrinkage rates of various clay/temper combinations to the 'green' state and yielded further information upon firing. Simple, round-bottom cooking jars were built using coil construction and the Mississippian pottery tool set, including a pottery anvil, wooden paddle, mussel shell scrapers and polishing stones. The research discovered that there were very good reasons for using shell tempering for Mississippi Valley clays. The nature of clays formed by such a large meandering river system are distinctive. The huge annually flooded backswamp areas create a clay that is composed of very minute clay particles (primarily silica) and a high proportion of organic
Mississippian culture pottery
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University City. The founder of University City, Edward Gardner Lewis, went bankrupt in 1911, and was no longer able to support the pottery studio. Doat was able to continue pottery production during 1912-14. Taxile Doat Taxile Doat (1851-1939) was a French potter who is primarily known for his experimentation with high-fired porcelain ("grand feu") and stoneware using the "pâte-sur-pâte" technique. His book on these techniques "Grand Feu Ceramics" was published in 1905 and helped spread his discoveries internationally. His influence is apparent in the types of glazes and approaches used in studio pottery in the twentieth century. Doat worked at
Taxile Doat
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a background of a light coffee color, light gray and sometimes green or blue. Each piece is individually created. The attraction of this pottery is its appearance, as it is too porous to hold any liquid or food. One exception to this are thick large tubs mainly to store water or for bathing. Water stored in this kind of vessel takes on a flavor from the pottery, which is desired by some people. Another exception is a water container with a fat body and long neck, with a ceramic cup placed upside down over the neck. These are called botellones,
Mexican ceramics
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to take up pottery in Japan. Miyamura spent over five years working with master potter Shurei Miura of Yamanashi, Japan. During that time, he experimented with over ten thousand test pieces, using countless formulas to develop original glazes. Through this process, he developed glazes that he describes as "yohen tenmoku," after a Chinese pottery tradition. More recently, he has conducted over two thousand additional test cases. Many of his glazes are inspired by the tenmoku style of 12th and 13th Century Chinese glazes used on tea bowls in monasteries on Mount Tianmu in the Zhejiang province in China. Some have
Hideaki Miyamura
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a young man helped turn the wheel. The pots were usually made in sections such as the body and feet and spout. Even the body, if it were larger than 20 centimeters, might be made in separate sections and glued together later with a thin watery clay called slip. After the pot is made then the potter paints it with a very pure black slip made from a specially prepared clay using brushes made from a single hair. It was thus slipped and then incised ready for the kiln. Previously it was believed that Greek pottery, unlike today's pottery, was
Pottery of ancient Greece
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under-glaze and over-glaze kiln at a local pottery shop in Cincinnati. Nichols was also having pieces of pottery created to her specifications locally, then painting them decoratively. The following year, Nichols founded the now famous Rookwood Pottery, the first woman from Cincinnati to own such a shop. Soon she employed a modest staff consisting of both men and women, including a potter and chemist named Joseph Bailey and, as her general assistant and a china decorator, Clara Chipman Newton. She encouraged her team to be creative, use new mediums and subjects to create fine art. American pottery was considered unrefined
Maria Longworth Storer
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Two typical methods using only hammer and anvil would be hammering on the anvil horn, and hammering on the anvil face using the cross peen of a hammer. Another method for drawing is to use a tool called a fuller, or the peen of the hammer, to hasten the drawing out of a thick piece of metal. (The technique is called fullering from the tool.) Fullering consists of hammering a series of indentations with corresponding ridges, perpendicular to the long section of the piece being drawn. The resulting effect looks somewhat like waves along the top of the piece. Then
Blacksmith
1279799
base of a HM Coastguard Search & Rescue Sikorsky S-92 helicopter, and was previously home to RAF Stornoway. Peat is still cut as a fuel in many areas of Lewis. Peat is usually cut in late spring with a tool called a "tairsgeir" (that is, a peat iron, peat spade, peat knife or tosg; sometimes "toirsgian") which has a long wooden handle with an angled blade on one end. The peat bank is first cleared of heather turfs. The peat, now exposed, is cut using the "tairsgeir" and the peats thrown out on the bank to dry. A good peat
Isle of Lewis
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that Voldemort split his soul, but also that there were likely other, better protected artifacts, given the risk Voldemort was taking by using the diary as a weapon. Rowling revealed on Pottermore that Quirinus Quirrell served as a temporary Horcrux when Voldemort's soul possessed his body during Harry's first year at Hogwarts. A notable difference, however, is that the piece of soul within Quirrell was able to exist without its container, as it abandoned Quirrell and left him to die in the underground chambers. Tom Riddle created his first Horcrux during his fifth year at Hogwarts, using his own school
Magical objects in Harry Potter
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Burr (edge) A burr is a raised edge or small piece of material remaining attached to a workpiece after a modification process. It is usually an unwanted piece of material and is removed with a deburring tool in a process called 'deburring'. Burrs are most commonly created by machining operations, such as grinding, drilling, milling, engraving or turning. It may be present in the form of a fine wire on the edge of a freshly sharpened tool or as a raised portion of a surface; this type of burr is commonly formed when a hammer strikes a surface. Deburring accounts
Burr (edge)
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Unit 88-9 (Kiyomizu Masahiro) "Unit 88-9" (Kiyomizu Masahiro) is a glazed stoneware sculpture by contemporary Japanese potter and sculptor Kiyomizu Masahiro, also known by the professional art-name Kiyomizu Rokubei VIII. This piece is currently housed in the Prince Takamado Gallery at the Royal Ontario Museum in Toronto, Canada. Kiyomizu Masahiro (清水 柾博) was born in Kyoto on April 22, 1954. His father was the sculptor Kiyomizu Kyūbei (清水九兵衛), who in 1981 became the seventh head of the Kiyomizu pottery atelier and took the name Kiyomizu Rokubei VII. Kiyomizu Masahiro graduated from Tokyo's Waseda University with a degree in Architecture from
Unit 88-9 (Kiyomizu Masahiro)
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locations. In the editing room the player is able to take previously recorded footage and splice them together into a single movie. Sound effects and music may also be added. Movies may be watched in this room. Such movies may come with the game, be created by the player, or be downloaded from the Internet. The game also comes with a tool called MAKEONE which may be used to generate a self-contained version of a movie, which may be played on a machine without the game by using the PLAYONE tool. "Computer Gaming World" in 1993 praised "Stunt Island"s graphics,
Stunt Island
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and documentation projects. Keeping the focus on himself and his surrounding has helped him connect to himself and the world around him. Artist, scientist, and inventor S. Mann also created a wearable interactive art piece, the HeartCam, July 2001 in order to reverse the male gaze. Others, including Nestle, have built upon this concept of reversing the "male gaze" using a bra as a point-of-view for a camera. Invisibility/Aposematic Suit, S. Mann, 2001, is a wearable art piece that has two modes of operation: it either (1) becomes "transparent", suggestive of a chameleon's invisibility cloak (to hide from predators). In
Sousveillance
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Electrical discharge machining Electrical discharge machining (EDM), also known as spark machining, spark eroding, burning, die sinking, wire burning or wire erosion, is a manufacturing process whereby a desired shape is obtained by using electrical discharges (sparks). Material is removed from the work piece by a series of rapidly recurring current discharges between two electrodes, separated by a dielectric liquid and subject to an electric voltage. One of the electrodes is called the tool-electrode, or simply the "tool" or "electrode," while the other is called the workpiece-electrode, or "work piece." The process depends upon the tool and work piece not
Electrical discharge machining
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blue-and-white porcelain. Major 20th-century English manufacturers include Crown Ducal, Enoch Wood, Royal Staffordshire, Royal Crownford, Alfred Meakin (Tunstall), Spode, Johnson Brothers, and Mason's. The process was popular in other countries including Germany. One particularly distinctive type of transferware, with an all-over floral pattern, is called chintz pottery, or chintzware. Transfer printing Transfer printing is a method of decorating pottery or other materials using an engraved copper or steel plate from which a monochrome print on paper is taken which is then transferred by pressing onto the ceramic piece. Pottery decorated using the technique is known as transferware or transfer ware.
Transfer printing
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the art department. As the Pottery grew and expanded, new craftsmen joined the program including: While the craftsmen did not typically pot their own pieces, they were responsible for creating and carving designs for each piece of pottery the program put out. During the lifespan of the Pottery, over 70,000 unique pieces were created and carved by the women. Early pieces at the Pottery closely reflected the arts and crafts era in which the Pottery was operating. The pottery often depicted Louisiana's local flora, done in blue, yellow and green high glazes. The high point of Newcomb is generally considered
Newcomb Pottery
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Danish potter Axel Brüel build a kiln, keeping notes about the project. When the Deichmanns returned to Canada they set up a pottery studio on their rural property, using Kjeld's notes as the basis for construction of the wood-burning kiln. Built of fire brick imported from Scotland, it had a capacity of 30 cubic feet (0.85 cubic metres) and a firing time of 20 to 40 hours.Their first firing, in August 1935, was unsuccessful as the pottery, made from clay dug on their own property, warped in the kiln. They continued to experiment with clays and firing temperatures, and in
Deichmann pottery
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pieces were pressed not thrown, each piece was individually designed, painted and woodfired —unique forms of art on their own. Lasky developed a one step firing process that enabled him to produce pottery inexpensively and quickly. The pieces were shaped and designed with the intent of reflecting artistically the best traditions of Puerto Rican culture and history. Lasky encouraged the artisans he stewarded to express themselves as they saw fit. Theirs was a collaborative effort. In a 2004 account Lasky wrote: " The first thing I did was to take away all the Pre-Columbian patterns they had been working with
Puerto Rican Pottery
96604
BC bangle from Yarim Tepe in northern Iraq and a slightly later conical lead piece from Halaf period Arpachiyah, near Mosul. As native lead is extremely rare, such artifacts raise the possibility that lead smelting may have begun even before copper smelting." Copper smelting is also documented at this site at about the same time period (soon after 6000 BC), although the use of lead seems to precede copper smelting. Early metallurgy is also documented at the nearby site of Tell Maghzaliyah, which seems to be dated even earlier, and completely lacks pottery. Analysis of stone tool assemblages from sites
Chalcolithic
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lack of decor. Three parts of a sickle were found and a fragment of an Amuq point arrowhead, showing signs of having been made hastily. One piece of obsidian was found in between the bronze age and neolithic levels. The pottery is quite eroded and the bone is not preserved. The remains of flint evoke a very expeditious technology. There was an abundance of pieces of pressure carved obsidian that were used as tools. In addition, presence of maintenance products and splinters found with pieces indicates that this was worked on site. The relative importance of obsidian as stone tool
Tell Ezou
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de la Tournelle, Paris. After a lapse the manufacture of "faïence fine" at Montereau was resumed in 1774 by an English partnership, Clark, Shaw et Cie, succeeded by Hall and Merlin-Hall, who found a new rival, 1796 - 1805, in another English entrepreneur, Christopher Potter (1751-1817). Potter first introduced in France the English technique of transfer printing from copperplate engravings onto earthenware and porcelain. This innovation transformed the pottery of Montereau from an artisanal phase to a proto-industry. Between 1805 and 1815, to avoid conflicts with the pottery of Merlin-Hall at Montereau, Potter set up works in a former tile
Creil-Montereau faience
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stitching. Loom-woven or machine-made candlewicks of the early 19th century are white bedcovers with designs created during the weaving process by raising loops over a small twig or tool. Contemporary candlewicking is most commonly used as a cushion cover. Candlewicking Candlewicking, or Candlewick is a form of whitework embroidery that traditionally uses an unbleached cotton thread on a piece of unbleached muslin. It gets its name from the nature of the soft spun cotton thread, which was braided then used to form the wick for candles. Motifs are created using a variety of traditional embroidery stitches as well as a
Candlewicking
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Mexico, where he began working exclusively as a micaceous clay potter. Vigil is singularly credited with reviving unpainted, micaceous pottery and establishing its credibility as a contemporary art form. He defines himself as a "PhD" in his field. An expert in micaceous clay pottery, he takes classic ceramic techniques and refines them to push the medium beyond the expected norms. He works primarily in micaceous clay, which is characterized by its sparkling mica flecks, using Nambe clay and slip and traditional outdoor firing techniques. He hand-gathers the clay for each of his pieces, adding sand to make it workable. Like
Lonnie Vigil
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a hand-thrown pot can be compared to blowing a mouth-shaped piece of glass. The opening of the glass is identical to the way clay handles. I only had to watch them make glass for a day or two. It came very naturally. Developing new designs at Blenko during Anderson's tenure was a multi-step process, which begin first with a cross section drawing or the creation of a pottery form. Following this, a wooden form would be made and Anderson would work closely with glass blowers and finishers deciding if the shape and size were correct, or if they needed improvement.
Winslow Anderson
13922016
decorated with hand-painted fish. Tremaen pottery The Tremaen pottery was established in 1965 in Marazion, Cornwall by Peter Ellery, the brother of Brenda Wootton, the Cornish poet and folk singer. Ellery was not a potter, having trained as an artist at Bath College. Despite this, his unconventional style became a commercial success and in 1967 the pottery moved to Newlyn in order to expand its workforce to 12. However, by 1988 the economic situation made Ellery decide to close the pottery, and he spent the last ten years of his life painting. The pottery is best known for its lamps,
Tremaen pottery
13922015
Tremaen pottery The Tremaen pottery was established in 1965 in Marazion, Cornwall by Peter Ellery, the brother of Brenda Wootton, the Cornish poet and folk singer. Ellery was not a potter, having trained as an artist at Bath College. Despite this, his unconventional style became a commercial success and in 1967 the pottery moved to Newlyn in order to expand its workforce to 12. However, by 1988 the economic situation made Ellery decide to close the pottery, and he spent the last ten years of his life painting. The pottery is best known for its lamps, "pebble" vases and dishes
Tremaen pottery
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with a hat and matching reversible coat from Liberty's. In 1897 Staffordshire pottery manufacturers James Macintyre & Co. Ltd employed 24-year-old William Moorcroft as a designer, and within a year he was put in full charge of the company's art pottery studio. Early in his employment at Macintyre's, William Moorcroft created designs for the company's Aurelian Ware range of high-Victorian pottery, which had transfer-printed and enamelled decoration in bold red, blue and gold colours. Moorcroft developed highly lustred glazes and used oriental shapes and decorations. Some of his techniques were closely guarded trade secrets. He then developed his famous Florian
William Moorcroft (potter)
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and Larry Rosler as "The Almost True and Truly Remarkable Adventures of Israel Potter." As few as six actors perform over fifty parts on a unit set - as such, the play easily lends itself to imaginative stagecraft and diverse and gender-bending casting. It is not a conventional period piece, but a show with a contemporary spin. It is suggested that actors dress in rehearsal clothes, using makeshift props and articles of clothing to evoke the period and characters. This highlights the physical and rollicking action of the play, as well as the deep, emotional current underneath its surface that
Israel Potter
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gained a first place WAN Facade Award in 2015 and is a finalist in the 2016 Surface Design Awards. The project involved making 10,000 hand-glazed ceramic tiles. Malone has said, “pottery is almost as good as sex – it’s so physical and so… fantastic”. Kate Malone Kate Malone, (born 29 January 1959) in London, is a British studio potter, ceramic artist and judge, along with Keith Brym Jones, on BBC2’s "The Great Pottery Throw Down" presented by Sara Cox. Malone is known for her large sculptural vessels and rich, bright glazes. Malone studied at Bristol Polytechnic (1979–82) and, after leaving
Kate Malone
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a set of parameters for what a culture can be based upon, variables such as climate, environment, resources, food, water, and population size etc., researchers could now compare their studies of Plains Indians to their studies of Great Basin Indians. Wissler also helped introduce statistics with the Pearson Correlation Coefficient Formula which could be used to compare different artifacts in relations to their geological location. This could help understand where a certain artifact, piece of pottery, or type of tool originated by testing if there is a high correlation of a certain artifact with sites in certain areas. Clark Wissler's
Clark Wissler
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its pots an orange color. When clay is first dug out of the ground it is full of rocks and shells and other useless items that need to be removed. To do this the potter mixes the clay with water and lets all the impurities sink to the bottom. This is called levigation or elutriation. This process can be done many times. The more times this is done, the smoother clay becomes. The clay is then kneaded by the potter and placed on a wheel. Once the clay is on the wheel the potter can shape it into any of
Pottery of ancient Greece
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Cornelison Pottery Bybee Pottery, historically known also as Cornelison Pottery, is a historic industrial facility in Bybee, Kentucky, United States. Located in a vernacular structure with the appearance of a barn, Cornelison is among the oldest pottery manufacturers west of the Appalachian Mountains still in operation. The facility now uses a modern kiln. Founded in 1809 according to local lore, the pottery's earliest years are undocumented; the earliest clear references to the facility are sales records from 1845, but even this date demonstrates that Cornelison is Madison County's oldest industry. Pottery was first thrown at Cornelison by a local farmer,
Cornelison Pottery
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2007. She and Kjeld Deichmann had one son and two daughters, one of whom is the novelist and poet Elisabeth Harvor. Erica Deichmann Gregg Erica Deichmann Gregg (; 23 July 1913 – 21 May 2007) was a Canadian studio potter. In the 1930s she and her first husband Kjeld Deichmann created Deichmann pottery, Canada's first studio pottery. Erica Luisa Matthiesen was born in Denmark, Wisconsin, one of five daughters of a Danish Lutheran pastor. The family returned to Denmark when Erica was seven years old and she spent her childhood there. In the late 1920s the family moved to Canada
Erica Deichmann Gregg
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Phil Rogers (potter) Philip (Phil) Rogers (born 28 May 1951) is a Welsh studio potter who has been featured in a number of books on studio pottery and has worked at Lower Cefnfaes Farm's Marston Pottery since 1984 and previously in Rhayader, Powys, Wales, from 1978 to 1984. Phil Rogers was born in Newport in south Wales, and taught for 5 years in secondary schools before becoming a full-time, professional potter in 1978. He was chairman of the Craft Potters Association of Great Britain for four years from 1994 to 1998 and has exhibited widely in the United Kingdom, Japan,
Phil Rogers (potter)
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number of heritage-listed sites, including: The Royal Hotel Carcoar is an historic hotel in the main street of Carcoar, a National Trust classified village. The Royal Hotel Carcoar has been awarded a "Two Schooner" Good Pub Food Guide ranking in 2010 and 2011 which is the pub equivalent of the Australian Good Food Guide "Two Hat" rating for restaurants. Master Potter Louise Purcell created Carcoar Pottery to showcase her unique designs in domestic and ornamental pottery. In the 2016 Census, there were 200 people in Carcoar. 88.2% of people were born in Australia and 94.4% of people spoke only English
Carcoar, New South Wales