Libros de Cerámica y porcelana, página 17 de 49

LOBO SAPIENS. 2007. Rústica. Nuevo. Nuevo

Título: Cerámica Medieval en el Norte y Noroeste de la Península Ibérica. Aproximación a su Estudio Autor: José Avelino Gutiérrez González, Ramón Bohigas Roldán (coord y ed.) ISBN/ISSN: 978-84-7719-175-9 Deposito legal: Dimensiones: 17x24cm Nº de paginas: 325 Año: 1989

This much-praised book aims to develop a theory of ceramics which will elucidate the complex relationship between ceramics and culture and society. Drawing upon the theoretical perspectives of systems theory, cybernetics and cultural ecology, Dr Arnold develops cross-cultural generalizations to explain the origins and evolution of the craft of pottery making. These processes are organized into a series of feedback mechanisms which limit or stimulate the initial production of pottery and its transition from a part-time to a full-time specialized activity. The author provides extensive ethnographic documentation, taken from a wide-ranging synthesis of the available literature and employing many data from his own fieldwork in Peru, Guatemala and Mexico, to illustrate the existence of these feedback relationships in societies around the world. Each mechanism is viewed, not as a relationship which exists in a few of the world's cultures, but as a universal generalization often based on some unique physical or chemical aspect of the pottery itself. Ceramic theory and cultural process is an innovative approach to the archaeological interpretation of ceramics which significantly extends our understanding of the social, cultural and environmental processes of ceramic production.

La comprensión de la técnica de la cerámica y la resolución de sus problemas tiene como base el conocimiento de la química propia del ramo. Por esta razón, este libro se inicia con una parte de química dedicando una especial atencion a las sustancias basicas para la resolucion de los problemas ceramicos. Las formulas que se citan en el libro deben considerarse orientativas, puesto que el resultado feliz solo se obtiene con la afortunada conjugacion de los materiales con el debido proceso de coccion.

This book is going to be one of the first in our exciting new ceramic series, which offers more space for both images and text, giving a more modern and contemporary feel to the books.This book is aimed at those in ceramics who wish to move into print and transfers, a very exciting area which has enormous scope for creativity. Ceramic transfers or decals are one of the prime methods of decorating industrially made ceramics. They also offer exciting creative potential for studio-based artists or designer-makers. A ceramic transfer is traditionally made by printing ceramic ink onto a special paper and allows pictures, patterns or text to be transferred onto ceramic forms - 2D and 3D. Importantly, print can achieve distinct aesthetic effects on ceramics that are not possible by using other decoration methods such as hand painting.Drawing on over twenty years of experience, Kevin Petrie offers a focused analysis of the potential of ceramic transfer printing as a creative medium. The specific materials and techniques for making versatile screen-printed ceramic transfers are explained in detail - from the ''low tech'' to the more sophisticated. Other approaches by artist researchers are also brought together in this book and recent developments with digital transfers appraised. A range of case studies shows the potential and diversity of approach in this area, which extends beyond ceramics to include printing on enamel, metal and glass.

SIN SINOPSISSIN SINOPSIS

Satire has been used in ceramic production for centuries. Historically, it occurred as a slogan or proverb written into the ceramic surface; as pictorial surface imagery; or as a satirical figurine. The use of satire in contemporary ceramics is a rapidly evolving trend, with many artists subverting or otherwise rethinking familiar historic forms to make a political point.Claudia Clare examines the relationship between ceramics, social politics, and political movements and the way both organisations and individual artists have used pots - predominantly domestic objects - to agitate among the masses or simply express their ideas. Ninety colour illustrations of various subversive, satirical and campaigning works illustrate her arguments and enliven debate.Claudia Clare explores work by artists from twenty-one different countries, from 500 BC to the present day. These range range from the French artist Honore Daumier and the enslaved African-American potter David Drake to contemporary artists including Lubaina Himid, Virgil Ortiz and Shlomit Bauman,whose work and the means of its production has addressed or commented upon issues such as disputed homelands, identify, race, gender and colonialism

Dry glazes, also known as matte glazes, provide ceramic artists with an alternative to conventional glossy and transparent finishes. Potters such as Lucie Rie and Hans Coper frequently used matte and opaque coatings in their work. Contemporary sculptors employ dry glazes to add texture and depth to the surface of their pieces. Still, little information has been published on matte glaze techniques until now.In Dry Glazes, artist and educator Jeremy Jernegan covers everything ceramicists need to know to create and manipulate a range of matte glazes, from satin to cratered. This compact yet complete guide contains more than 270 formulas and recipes for slips, sigillatas, vitreous englobes, oxides, and stains. Jernegan gives clear and thorough instruction on application and firing methods, including raku. He also explains safe and environmentally responsible ways to handle the chemicals involved. Dry Glazes not only contains step-by-step color photographs of test tiles and procedures; it features illustrations of works by contemporary makers who have used matte glazes to great effect.With over one hundred illustrations and an in-depth treatment of techniques, materials, and creative approaches, Dry Glazes is a smart addition to any clay worker''s library. It is a practical and inspirational resource for ceramics practitioners, instructors, and students who want to make or alter their own glazes.

Best known as one of the most widely used industrial ceramic techniques, slipcasting has become increasingly attractive to individual artists and craftspersons. Slip, a water and clay solution, is poured into porous molds. As the mold absorbs water from the slip, a layer of clay forms a cast. The excess slip is removed from the mold and the cast is stiffened, removed, dried, and fired in a kiln. Since the molds can be based on anything from delicate sculpture to found objects, slipcasting frees artists from the constraints of other ceramic techniques while allowing them to create multiples of their works.Sasha Wardell''s Slipcasting is a straightforward, practical guide for those interested in the boundless possibilities of the technique. The book contains more than one hundred color illustrations, diagrams, and slip formulas. An inspiring "Individual Approaches" chapter discusses the slipcast work of a variety of contemporary ceramicists from around the world.Award-winning ceramicist Sasha Wardell is a fellow of the Craft Potters Association and the author of Porcelain and Bone China.