ClayCraft

ClayCraft #47

ClayCraft magazine is a must-have for ceramic enthusiasts, packed with fun and inspirational pottery projects for all levels. A monthly subscription of ClayCraft magazine offers an exciting mix of information and inspiration on the world of ceramics, with practical step-by-step projects, essential clay choice and design tips, as well as interviews with individual pottery makers. Whether you are a beginner to the world of pottery, a student or a professional, ClayCraft magazine is an essential read for makers at any level. Inside every issue, you’ll find advice for pottery novices who are brand new to the world of ceramics, tips for intermediate makers looking to improve their skills and challenging projects for the professional clay makers out there. If you’re looking for a ceramics magazine that combines inspiration and information on the popular world of clay making, then ClayCraft magazine is the perfect read for you.

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Pays:
United Kingdom
Langue:
English
Éditeur:
Kelsey Publishing Group
Fréquence:
Monthly
5,14 €(TVA Incluse)
36,01 €(TVA Incluse)
12 Numéros

dans ce numéro

2 min
welcome

The latest lockdown suddenly seems a little bit more bearable. The Great Pottery Throw Down is back on our screens, airing weekly on Sunday nights on Channel 4. Rather like this magazine, when the show first aired, it was to mixed reviews. Amateur potters loved it, but ‘the establishment’ was slower to accept it. I can clearly remember comments about it ‘not being real pottery’, reflecting ‘badly’ on the craft, and so on. However, many have now come round to the idea that it’s an entertainment show, not a teaching aid. Yes, experienced potters can see that ‘best practice’ isn’t always used, but the time constraints involved in filming simply don’t allow for things like slow drying. What the show has done really well, is highlight the processes behind producing…

2 min
kintsugi the poetic mend

If you belong to any of the many clay-related groups on Facebook, you will have undoubtedly seen cries of 'Kintsugi it!' when a maker is lamenting a breakage. Kintsugi uses gold to join broken pieces together again, leaving behind a golden trace along the repair line. Throughout European history, the aim of repair has often been to make a broken object 'as good as new'. On the other hand, Kintsugi is a Japanese art that leaves an obvious repair – one that may appear fragile, but which can actually create a much stronger, more beautiful, and more valuable piece than before. Leaving bold lines with the appearance of solid gold, this type of repair does not conceal the object's damage. This intricate and historical technique, which requires refined skills and time-sconsuming labour,…

1 min
ceramic, art and civilisation

If you're after some excellent lockdown reading, Paul Greenhalgh's fascinating book could just fit the bill. With over 400 colour images, it traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it…

1 min
collect

The international art fair for contemporary craft and design will take place online from February 26 – March 2, 2021. Collect is one of the world's leading art fairs for contemporary craft and design, established in 2004 by the Crafts Council. Collect brings together international gallerists, experts in their fields, to showcase and sell work by living contemporary craft artists. Much of the work is made especially for the fair and soon finds new homes in private and public collections worldwide. When the pandemic is preventing us from coming together, a physical fair will not take place at Somerset House where the organisers held a very successful Collect 2020. Instead, Collect 2021 is working in partnership with online art platform Artsy.net where each exhibiting gallery will have their own online 'booth' to display their…

7 min
heart bowl and creamer

You will need: Clay – earthenware or stoneware, colour of choice. 680g (I ½ lb) in total Tools for throwing – water bowl, sponge, rib, cutting wire White and red glaze to fit clay type Latex resist (Copydex works well) Brushes for application of glaze Before you begin: A reminder when throwing – to save wordy repetition! Always compress the clay at the rim after each lift – pinch the rim gently between your fingers and thumb, at the same time resting the forefinger of your other hand on the rim and applying gentle pressure CREAMER Prepare 285g (10oz) of clay by kneading it well to remove any possible trapped air. You can work directly on the wheel head if you’re confident about lifting the creamer off when finished, otherwise fix a batt to the…

4 min
linda bloomfield

Dust It is essential to look after your health in the pottery studio. The leading cause for concern is dust. Silica dust is harmful to the lungs and can cause silicosis after many years of exposure. This used to happen to people who worked in industrial potteries, stone cutters and miners, but nowadays more precautions are taken. It is really important to wear a respirator when making glazes and to prevent dust accumulating by cleaning the studio. Silica is present in quartz and flint used for making glazes and in clay, feldspar, frits, talc, wollastonite, and other silicate materials, including ground-up igneous rocks such as granite and pumice. The best way to reduce dust is to clean work surfaces, batts and floors and wash towels, overalls and aprons frequently. Wet cleaning with…