Working With Paperclay And Other Additives

Paperclay is now widely recognized as a material that allows great freedom of expression, relieving the maker of many of the technical problems associated with conventional clays.

The idea of combining fibres with clay is not a new idea but the use of paperclay is a concept that has recently taken root with potters. Anne Lightwood's guide to using this material is fully illustrated in colour.

Freeing clay from technical constraints, lightening pieces, modeling large, slender forms . . . These ceramicists’ dreams become reality with paper clay! Complete Guide to Paper Clay thoroughly and accurately introduces this versatile material of clay and fibers, and showcases its distinctive characteristics and advantages. Liliane Tardio-Brise illustrates step by step the reactions of paper clay to the usual techniques of ceramics—pinch building, coils, slabs, wheel throwing, etc. The cellulose fibers in paper clay give it new properties that typical clay cannot attain. Rehydrating paper clay pieces brings back their suppleness and allows them to accept deformations, easily repair cracks, and be built on with new clay pieces. Paper clay lends itself to all finishes, can be air dried and/or fired, and, because the fibers burn off when fired, finished pieces are lighter and can be built taller and still maintain their stability. Explore the many possibilities of paper clay with the ten projects in the book, which each use very different properties of the clay to a variety of effects. Once you see the versatility of paper clay, you’ll be ready to try your own sculptures in this adaptable medium.

This new edition of Eric Yates-Owen and Robert Fournier's classic book on British studio potters' marks contains new and revised entries for many potters, with up-to-date information about the artists' styles, marks and addresses. Entries are arranged alphabetically, with each entry giving biographical data, information on the type of ceramics produced, the location of the pottery and dates indicating when marks have changed, as well as images of the different marks used. Three useful indexes enable the reader to search by mark rather than maker, in various categories such as creatures, monograms and signs. Revised by expert collector James Hazlewood, British Studio Potters' Marks, third edition, is the essential reference guide for collectors of British studio pottery.

Every 3rd issue is a quarterly cumulation.

Potters and collectors alike are captivated by the distinctive surface qualities of salt glaze. Its revival amongst studio potters has produced some beautiful and exciting work. In a rich and authoritative text, the author shares her own fascination with salt glaze, bringing together her practical experience and skills. Lavish illustrations throughout show the textures and colors that characterize old and contemporary salt glaze. Whether you wish to become involved in salt glaze by making and firing pots, or to gain a wider appreciation with an insight into the process, there is a wealth of information to enjoy within the chapters of this book.