Pottery Production and Supply at Bronze Age Kolonna, Aegina (Contributions to the Chronology of the Eastern Mediterranean)

!±8±Pottery Production and Supply at Bronze Age Kolonna, Aegina (Contributions to the Chronology of the Eastern Mediterranean)

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Post Date : Dec 25, 2011 20:31:49
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Aegina has long been recognised as a major production centre of a variety of widely exported ceramic containers not only in the relatively recent past but also in Classical antiquity and especially during the Middle and Late Bronze Age. Moreover, the prehistoric ceramic industry based on Aegina has become an increasingly important phenomenon in recent scholarship dealing with the rise of complex societies in the Aegean world during 2nd millennium BC. Such persistence on pottery production on Aegina through time renders obvious that a combination of factors, such as socio-economic, historical and geographical ones, as well as the locally available raw materials and the attraction of Aeginetan ceramics at other sites, must be taken into consideration in addressing the development of a specialized potting centre on the island. This study is the first to undertake a comprehensive look at the Aeginetan ceramic industry during much of the Bronze Age (ca. 2500-1200 BC), aiming at shedding light upon the factors influencing transformations in potting traditions, and the growth and decline of a specialised pottery production centre on Aegina. Advocating a landscape approach, it concentrates not only on pottery production but also on supply and consumption of ceramic vessels on the island. The systematic stylistic study of the formal attributes of local products and imports at the site of Kolonna is combined with the investigation of their manufacturing technology and the compositional characterisation of their fabrics through petrographic and chemical analysis. This integrated archaeological and scientific examination of the pottery, together with research on the island's resources, replication experiments and ethnoarchaeology, provides the ground for the reconstruction of the local potting traditions and the understanding variability observed within and across certain periods of the Bronze Age.

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Sax True Flow Gloss Glaze, 12-Color Set, Pints

!±8±Sax True Flow Gloss Glaze, 12-Color Set, Pints

Brand : Sax
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Price : $120.89
Post Date : Dec 20, 2011 18:06:18
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Sax True Flow No-Lead glazes are unusually bright and vibrant for a non-toxic, no-lead series. They meet the FDA standards set for food. Dinnerware safe, when fired to a Cone 06-05.As the awareness of potential health hazards in the art field grows, the need for glazes that are dinnerware safe becomes more and more important. Traditionally "no-lead" glazes are very muted tones. This is why we think you'll be as excited about the Sax True Flow No-Lead series as we are. Convenient liquid form glazes in pint containers. Bright, vibrant colors at budget-saving prices! Pints (473ml) Colors include wedgewood blue, Tahiti blue, wisteria purple, mosaic blue, violet, raspberry whip, shiny black, snow white, sassy yellow, glade green, ivy green and true red.

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Ceramic Vase Throwing on a Potter's Wheel : Ceramic Vase Clay Compression

!±8± Ceramic Vase Throwing on a Potter's Wheel : Ceramic Vase Clay Compression

Compress the clay in the ceramic vase foot to prevent cracking in the future. Learn how to compressclay with tips from a master potter in this free ceramics video. Expert: C. Laura Irmis Bio: C. Laura Irmis became a potter after she received her BA in Visual Arts from Eckerd College. Filmmaker: Christopher Rokosz

Ceramic Vase Throwing on a Potter's Wheel : Ceramic Vase Clay Compression

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Different Types of Pottery Clay

!±8± Different Types of Pottery Clay

Pottery clay is the clay used to make the three categories of pottery: earthenware, stoneware, and porcelain. Clay is baked in a kiln under intense heat, a process known as firing, and becomes solid. Firing is used both to harden the clay and to adhere glaze to it or color it. In this article, I will give a brief introduction as to the different types of clay available for pottery.

Earthenware - This type of clay is very common, and generally contains a fair amount of iron and is made from porous pottery clay fired at low temperatures. Because it is fired at low heat, the pottery clay retains its porous nature. Faience, delft, and majolica are all types of earthenware clays. Stoneware - Stoneware is a clay that is generally a mixture of other clays. It has a high degree of plasticity which means it is very easy to manipulate, and is fired at a high temperature, and so becomes nonporous. You have probably eaten off of dinner plates made of stoneware. Porcelain-This pottery is actually made with a mixture of several other types of clay and minerals. It is generally composed of kaolin, ball clay, feldspar and flint. Porcelain, also called china, is fired using very high heat, resulting in a white, nonporous, translucent pottery. It does not have much plasticity and can be a challenge to work with. Ball clay- Ball clay is a rare mineral found in few places around the world. Its name dates back to the early methods of mining when specialized hand tools were used to extract the clay in rough cube shapes. As the corners were knocked through handling and storage, these cubes became rounded and 'ball' shaped. This clay has a finer grain than fire clay, and shrinks a great deal during the firing process. For this reason, it is usually mixed with kaolin, as kaolin clay has a low degree of shrinkage. Fire clay- There are two types of fire clay: flint clay and plastic fire clay. Because of its stability during firing, it can be used to make complex items such as pipes and sanitary ware. Fire clay can be easy to work with or not, as its degree of plasticity is variable. It usually has a very rough texture, and is often added to stoneware. Kaolin- Kaolinite is a clay mineral and is very pure, with a white color. It does not shrink much when fired, and must be fired at a very high temperature. As it does not have a high degree of "plasticity," it is usually used in conjunction with other clays.
So there you have it. six different types of clay that you inspiring potters can try. I recommend trying them all and see what works best for you. Everyone has a different opinion on which one is best. Use your own judgment when trying them to come to a conclusion.

Different Types of Pottery Clay

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Speedball Boss Elite Pottery Wheel with Utility Shelf

!±8± Speedball Boss Elite Pottery Wheel with Utility Shelf

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1/2" thick polyethylene tabletop and expanded, raised work table. 1.0 horsepower (industrial motor) 175-lb centering capacity Adjustable feet allow for leveling on uneven floors and the ability to change the wheel head height Load-sensing control with 110v or 220v capability Reversing plug for quick change of wheel head direction 14" wheel head, same as the Clay Boss Foot pedal with smooth variable speed control (0-240 RPM) Tabletop is included with purchase of the Speedball Boss Elite! Easily removable Splash Pan included. Included with purchase of the Speedball Boss Elite SQ are 1 - 7 inch square bat. 2-part splash pan for easy clean up include. Load-sensing control with 110v or 220v capability.

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Evaluating Roseville Pottery

!±8± Evaluating Roseville Pottery

Unfortunately the supply of damage-free Roseville Pottery has declined over the years when most collectors prefer their pottery in mint condition to get the highest value when appraised at antique shows. This means that minor factory related damage will not depreciate the value of your pottery.

The hardest to find forms of mint pieces of Roseville Pottery are the Sunflower, Baneda, and Futura due to the high demand. Mint pieces still command the highest value at antique shows but it is understood that there just aren't that many mint condition original pieces and most production generally stopped in the 1950's.

Examples of the pottery vary greatly in terms of flaws, damage, color, style, you name it. While its obvious that the most perfect and flawless pieces will generate higher values than others; style, color, and good molding are subject to the antique store or road show appraiser's values in terms of what they are looking for. Most collectors prefer strong, rich bold colors and detailed molding designs and patterns. This of course, is subjective as well.

Flaws that will depreciate the value of your Roseville Pottery piece include, but are not limited to: extensive glaze pops, excessive crazing and peppering. Many of the tradeshows however, expect crazing as "standard" on all factory made pieces. Cincinnati Art Gallery, David Rago and Treadway Gallery are the appraisers that expect this as part of the process.

Beauty of the pieces is truly in the eye of the beholder and cannot simply be judged based on color, or glaze quality. What one may think is cracked glaze, another may appreciate as "character" or a unique-ness to the piece.

Collectors should focus the most on seeing their pieces as an investment and treat them as such to avoid depreciation factors that can come from misuse, improper care. Most appraisers do consider minor factory related flaws as non-depreciation factors but color glaze and detail of molding is subjective and specific to each individual piece.

Evaluating Roseville Pottery

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Amaco Underglaze Decorating Pencils - 6 Color Set

!±8± Amaco Underglaze Decorating Pencils - 6 Color Set

Rate : | Price : $53.11 | Post Date : Nov 27, 2011 03:44:38
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Now more intense with better working qualities, decorating pencils are ideal for shading, fine line drawing or identification. Applying the underglaze pencil to bisqueware creates a variety of unique decorative designs. Includes Black, Brown, Blue, Green, Rose and Yellow. Restricted from K-6 use.

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Speedball Big Boss Pottery Wheel with Splash Guards

!±8±Speedball Big Boss Pottery Wheel with Splash Guards

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Post Date : Nov 24, 2011 00:03:08
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The Speedball Big Boss equals BIG value and BIG performance!. Speedball offers you an alternative to the 1/2 HP Speedball Clay Boss with the powerful Big Boss model. You will be able to throw up to 150 pounds of you favorite clay on the Big Boss. Sophisticated load-sensing control - high tech 110 or 220 Volts controller maintains wheel head speed under changing loads. Variable Speed Foot pedal - smooth electronic control ( 0-240 rpm). 14" Wheel head - sturdy steel structure height 19.5") and long-life polypropylene composite surface. Bat pins included. 2-Part Removable Splash Pan included - for very easy cleanup and high volume liquid reservoir. Heavy-duty Steel Frame - with sturdy 26" x 21" table, protected by durable powdercoated finish. Custom Reverse Plug - standard, proprietary plug allows for quick change of wheel head direction. Micro V belt drive - Provides quiet, dependable performance. New horseshoe design shaped pan designed by potters to meet your needs and expectations! Heavy-duty plastic stands up to the worst wear and tear with an expanded space around the wheel head to give you twice the trim catch and yet leaves room for more work space than other pans. Deep reservoir catches and holds more water. Unique quick release tabs on the sides of the pan lock in place with a snap. Included with purchase of the Speedball Big Boss are 1 - 7 inch square bat and 1 - 12 inch round plastic bat. This is a value like no other in the industry. 1 Continuing the value, we are including a instructional DVD video that is a perfect choice for those new to wheel thrown pottery. A standard pair of bat pins are included.

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Mata Ortiz Pottery - Art Emerges From Historical Mystery

!±8± Mata Ortiz Pottery - Art Emerges From Historical Mystery

The origin of the now world-famous Mata Ortiz pottery is unique and mystifying. In northwest Mexico, 156 miles south of Deming, New Mexico there is the small town of Juan Mata Ortiz. The town is located in an area called Casas Grandes ("big houses") that once was a thriving population of indigenous people named Paquime. These people lived a well-developed life for their time (1130-1400 AD). Archaeologists and anthropologists have discovered evidences of sophisticated water storage and supply systems consisting of storage tanks and canals and a sewer system that allowed waste to be carried away from their pueblos. They lived in large, multi-storied adobe and wood buildings with many rooms. It is estimated that some of the pueblos may have had up to 2500 inhabitants. They raised scarlet macaw birds which they perhaps used in religious ceremonies. They also made bells and ornaments from copper and, most importantly, they were especially adept at producing earthenware pottery that was decorated with intricate detailing and designs. The ruins at Paquime would produce a large selection of Native American Indian pottery.

No one has been able to figure out how such a dynamic civilization could literally disappear from the earth and leave behind so much evidence of their existence. Sometime in the 1500's the pueblos were abandoned. There may have been a severe long-term drought that forced them to move elsewhere. There may have been marauding tribes from the north that burned the pueblos to the ground. There are many possibilities to be considered, but none that can be for certain.

One thing that is certain is that the discovery of shards of pottery by a young 12 year-old boy named Juan Quezada from the town of Juan Mata Ortiz, as he searched the Casas Grandes ruins for firewood, would be the inspiration for him to develop his own earthenware pottery. As he examined the shards he noted they were made from clay that could be found in the area. He determined how to make his own clay and mold it in to similar forms. He figured out how to harden the forms with heat from the fire of cattle dung. At first he mimicked the designs found on the ceramic remains of the Paquime. Then he began creating more of his own, unique designs and details. He became proficient enough that he decided to sell some of his pottery at the trading post in Deming, New Mexico.

The story from that point is remarkable. An American anthropologist named Spencer MacCullum made it a routine practice of visiting trading posts in the southwest. In 1976 he happened to stop in at the Deming trading post and he noticed the beautiful pottery that had been made by Juan Quezada. After inquiring about the origin of the pottery, he found his way to the town of Juan Mata Ortiz and the shop of Juan Quezada. He was so impressed with the quality and uniqueness of the work that he decided to provide money in advance to the potter to continue his artwork... and not necessarily only in pots. Juan became a mentor to members of his family and friends and taught them how to make the pottery and the artwork soon became a profitable business and a way of life for the town of Mata Ortiz. There are now over 400 potters working in the town and they each bring their own inspirations to their creations. Mata Ortiz pottery is now world renown, with many of the pieces on display in museums all over the globe.

Mata Ortiz Pottery - Art Emerges From Historical Mystery

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Ceramic Vase Throwing on a Potter's Wheel : Ceramic Vase Form Shaping

!±8± Ceramic Vase Throwing on a Potter's Wheel : Ceramic Vase Form Shaping

Add shape to a ceramic vase form by bulging out the center of the vase body. Learn how to shape a vase withtips from a master potter in this free ceramics video. Expert: C. Laura Irmis Bio: C. Laura Irmis became a potter after she received her BA in Visual Arts from Eckerd College. Filmmaker: Christopher Rokosz

Ceramic Vase Throwing on a Potter's Wheel : Ceramic Vase Form Shaping

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"Live" July 21st @ 8:00pm Fired-On Images with Terrie Banhazl

!±8± "Live" July 21st @ 8:00pm Fired-On Images with Terrie Banhazl

"Live" July 21st @ 8:00pm Fired-On Images for Factory Glazed Porcelain, Stoneware, Ceramic and Commercial tile with Terrie Banhazl. Want to make a pile of cash? Quite Literally!! Look no further... Terrie Banhazl will introduce you to Fired-On Images the exciting and revolutionary new product for permanently firing high quality photos, graphics or text onto any glazed or fusible glass surface. Fired-On Images are foodsafe and completely functional and when fired onto porcelain or stoneware they are even microwaveable. All you need is Fired-On Images transfer paper, any Black and White Only HP laser printer and access to a kiln. Check out our website www.fired-on.com for a list of distributors for supplies. In my 3 part webinar series through Ceramic Arts Canada I will be taking you taking you step by step through the process. On Wednesday July 21st at 8:00 pm EST Webinar #2 will show you how to use the Fired-On Images technique on Factory Glazed Store-bought ware. You will learn how to add color sepia images using colored surfaces, china paint and overglazes. China Painters, I will learn how to add text and photos into your cone 018 firings and plus I will show you how to customize traditional decals. Jewelry artists will learn how to fire images onto glazed clay blanks for heart tugging heirloom cameos. Contemporary studios and potters will discover a quick easy way to make extra cash by customizing inexpensive store-bought ware or by freshening up any unsold bits ...

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Privies and Prims Store

!±8± Privies and Prims Store

Located at 110 W. Main St., Burnsville, NC 28714. Aprox. 45 minutes NE of Asheville, NC and the Biltmore Estate. Selling locally made primitive/country crafts and a little bit of yesterday's treasures mixed in. Penny Rugs, Folk Art Primitive Dolls, Primitive Stitcheries, Stenciled Signs, Pottery, Vintage Quilt Re-creations, Jewelry, Antiques, Furniture & more! www.PriviesAndPrims.com or you can shop online at my etsy shoppe: www.PriviesAndPrims.etsy.com enjoy!

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Gas Ceramic Pottery Kiln Safety

!±8± Gas Ceramic Pottery Kiln Safety

Many potters are concerned about the safety aspect of gas ceramic pottery kilns and firing procedures. We will discuss some requirements of ventilation and flueing, but bear in mind that there are regulations which must be adhered to and you should check these with your local authorities before any installation. The most potentially dangerous aspect of gas kiln firing is insufficient fresh air, and inadequate exhausting of the combustion products. Never locate a kiln inside a sealed room, or where access to sufficient fresh air from outside is not available. Gas burners use enormous volumes of oxygen in order to complete combustion. Typically, a natural gas burner uses ten cubic meters of fresh air for every cubic meter of gas burned. L.P. type gas burners require 2 1/2 times the air volume. Fresh air should be available to the kiln by using fixed venting located at a low level in the wall or door or through a powered fan. The size of the vent is determined by the MJ/hour total burner rate. If air is drawn from the outside, the rate is 160 square mm per MJ/hour; thus a gas kiln with two burners and an input of 400 MJ/hour requires fixed ventilation of 250 x 256 mm. If the kiln draws air from an adjacent room, the area must be doubled. If using mesh, then the maximum hole size is 6 mm square. These figures are for natural gas burners; L.P. gas burners need 2.5 x the area. Note that all gasfitting and flueing work should be undertaken only by a licensed gasfitter.

Combustion in gas Amaco kilns produces hazardous gases which must be safely exhausted to the outside atmosphere. Natural gas burners which use one cubic meter of gas produce one cubic meter of carbon dioxide, eight cubic meters of nitrogen, and two cubic meters of water vapor. If the supply of fresh oxygen is restricted so that the combustion process is incomplete, then carbon monoxide gas will result. This gas is lethal, even in small quantities. Since this is a common occurrence in reduction firing, the need to make absolutely certain that the gases are removed from the work area safely is vital. The flue (chimney) should be of correct construction. While it is possible to build brick chimneys, it is more economical to use one of the metal types. A gas ceramic pottery kiln which is fitted with a venturi burner doesn't need an excessively long chimney. The flue on a modern, downdraft gas kiln is usually terminated near the kiln's top, and a canopy is fitted above this with a pipe going through the roof and a terminal connected to the outlet. The canopy helps to slow down draw from the kiln, since excessive draw will make the kiln operate inefficiently. The canopy pulls in air which helps to dilute the flue gases and cool them, thus ensuring that the chimney lasts longer, and is not as polluting to the environment.

Gas Ceramic Pottery Kiln Safety

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