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Terra cotta
I want to introduct something about Lagerstroemia indica plant. Lagerstroemia indica A terra cotta sculpture of Hanuman in India. The reddish color is due to iron oxide in the source clay. Clays with low iron content can result in paler colors on firing, ranging from white to yellow.Terra cotta designs outside the Kantaji Temple.Glazed building decoration at the Forbidden City, Beijing, China.The Etruscan "Sarcophagus of the Spouses", at the National Etruscan Museum.The Bell Edison Telephone Building, Birmingham, England.The Natural History Museum in London has an ornate terracotta facade typical of high Victorian architecture. The carvings represent the contents of the Museum.The examples and perspective in this article may not represent a worldwide view of the subject. Please improve this article or discuss the issue on the talk page."Terracotta" redirects here. Terra cotta, Terracotta or Terra-cotta (Italian: "baked earth", from the Latin terra cocta) is a clay-based unglazed ceramic. Its uses include vessels, water & waste water pipes and surface embellishment in building construction, along with sculpture such as the Terracotta Army and Greek terracotta figurines. The term is also used to refer to items made out of this material and to its natural, brownish orange color. In archaeology and art history, "terracotta" is often used of objects not made on a potter's wheel, such as figurines, where objects made on the wheel from the same material, possibly even by the same person, are called pottery; the choice of term depending on the type of object rather than the material. Plain unglazed pottery is often also called terracotta.Production and propertiesAn appropriate refined clay is partially dried and cast, molded, or hand worked into the desired shape. After further thorough drying it is placed in a kiln, or atop combustible material in a pit, and then fired. After pit firing the hot ware is covered with sand to cool, and after kiln firing the kiln is slowly cooled. When unglazed, the material will not be waterproof, but it is suitable for in-ground use to carry pressurized water (an archaic use), for garden ware, and sculpture or building decoration in tropical environments, and for oil containers, oil lamps, or ovens. Most other uses such as for table ware, sanitary piping, or building decoration in freezing environments require that the material be glazed. Terra cotta, if uncracked, will ring if lightly struck, but not as brightly as will ware fired at higher temperature, which is called stoneware. The fired material is weak compared to stoneware.Some types of terra cotta are created from clay that includes recycled terra cotta ("grog").The unglazed color after firing can vary widely, but most common clays contain enough iron to cause an orange, orangish red, or brownish orange color, with this range including various colors described as "terra cotta". Other colors include yellow, gray, and pink.HistoryTerra cotta has been used throughout history for sculpture and pottery, as well as bricks and roof shingles. In ancient times, the first clay sculptures were dried (baked) in the sun after being formed. Later, they were placed in the ashes of open hearths to harden, and finally kilns were used, similar to those used for pottery today. However only after firing to high temperature would it be classed as a ceramic material. The most famous terra cotta statues are those of the Terracotta Warriors in China.UsesSignificant uses of terra cotta have included Emperor Qin Shi Huang's Terracotta Army of China, built in 210209 BC. Mass producers of mold-cast and fired terra cotta figurines were also the ancient Greeks of Tanagra. French sculptor Albert-Ernest Carrier-Belleuse made many terra cotta pieces, but possibly the most famous is The Abduction of Hippodameia depicting the Greek mythological scene of a centaur kidnapping Hippodameia on her wedding day. American architect Louis Sullivan is well-known for his elaborate glazed terra cotta ornamentation, designs that would have been impossible to execute in any other medium. Terra cotta and tile were used extensively in the town buildings of Victorian Birmingham, England.Precolonial West African sculpture also made extensive use of terra cotta. The regions most recognized for producing terra cotta art in this part of the world include the Nok culture of central and north-central Nigeria, the Ife/Benin cultural axis in western and southern Nigeria (also noted for its exceptionally naturalistic sculpture), and the Igbo culture area of eastern Nigeria, which excelled in terra cotta pottery. These related, but separate, traditions also gave birth to elaborate schools of bronze and brass...(and so on) To get More information , you can visit some products about , . The Lagerstroemia indica plant products should be show more here!Â
Craft Designers - Starting Your Own Ceramics Business
If you have ever dreamed of owning your own business but just haven't gotten around to really thinking about it, well now is as good a time as any. There are so many different types of businesses out there for you to choose from, but if you really want to start your own business you probably already have a good idea what it is you want to do. If you are really artistic you could open up your own scrapbooking shop or stamping boutique. But if you really want to do something fun, perhaps you should consider going into making ceramics. Consulting with other craft designers is a great way to get some ideas to get you up and going.
One of the most popular types of ceramic shops in the marketplace nowadays are shops that have pieces of ceramic art already pre-made. These pieces can range anywhere from a plate to individual letters to unicorns. Each shop has a rather extensive selection of ceramic pieces that the customer can choose from. Once the customer has selected a piece, they simply apply acmi glazes to the piece to create the look they want. The great thing about shops like this is that the ceramic pieces are already to go into the kiln for firing. This omits the step of having the customer actually create a piece of artwork themselves. This is particularly important to the customer who is a little less artistic and would rather someone else do the hard work for them. After the customer has completed the painting of glazes onto their ceramic piece, it is then time for you to place their piece in the ceramic pottery kiln for firing. When their piece comes out of the kiln it will be ready for them to take home.
If you are looking to open your own business that will be a fun place to go to everyday, this type of shop would be perfect for you. Even if you yourself are not artistic, that really doesn't matter. All you really need to worry about is getting each customers piece into the kiln without breaking it. You won't even have to worry about creating all of those pieces of ceramics either, since these will be purchased from yet another business. The only other thing you will have to focus on is simply drawing customers to your shop. Painting some beautiful plates and placing them in your store window ought to do the trick!
One of the most popular types of ceramic shops in the marketplace nowadays are shops that have pieces of ceramic art already pre-made. These pieces can range anywhere from a plate to individual letters to unicorns. Each shop has a rather extensive selection of ceramic pieces that the customer can choose from. Once the customer has selected a piece, they simply apply acmi glazes to the piece to create the look they want. The great thing about shops like this is that the ceramic pieces are already to go into the kiln for firing. This omits the step of having the customer actually create a piece of artwork themselves. This is particularly important to the customer who is a little less artistic and would rather someone else do the hard work for them. After the customer has completed the painting of glazes onto their ceramic piece, it is then time for you to place their piece in the ceramic pottery kiln for firing. When their piece comes out of the kiln it will be ready for them to take home.
If you are looking to open your own business that will be a fun place to go to everyday, this type of shop would be perfect for you. Even if you yourself are not artistic, that really doesn't matter. All you really need to worry about is getting each customers piece into the kiln without breaking it. You won't even have to worry about creating all of those pieces of ceramics either, since these will be purchased from yet another business. The only other thing you will have to focus on is simply drawing customers to your shop. Painting some beautiful plates and placing them in your store window ought to do the trick!
So if you are looking for more information to help you get your ceramics business off the ground, start your search at AMACO for answers to all of your questions. AMACO is a great resource when it comes to choosing which ceramic pottery kiln you will purchase for your new shop. AMACO also has a wide selection of acmi glazes to choose from as well. If you are searching for further information on craft designers, AMACO can help you with that too.
Joining a Recreational Or Artistic Club
Life can bring with it a lot of stress. There are bills to pay, long hours to work, and sometimes a house to tend to. If you have children, you're always looking out for their well-being. That takes a lot of effort and focus. By the end of the day, life can really wear you out. Many days you probably just want to sink in the couch, watch the evening news, and drift off to sleep. You are probably not thinking about sculpting compounds-but maybe you should be! Whether it's crafting, books, or running, participating in a club can be a great way to relax and distress, while giving you a little "me" time. After all, with how busy and hectic life can be, sometimes you can forget about how important it is to carve out a little time for yourself, even if it's just an hour here and an hour there.
It's not really important what sort of club you join. The most important thing is you're doing something you love, something you've always wanted to learn, or something that's just fun. It's also great to interact with a lot of different people. Busy professionals may spend long hours at the office with the same coworkers. Parents may see their kids so much that need a little adult time. Whether you go to a crafting club and use some stroke 'n coat glaze on some pottery or you're in a gardening club where you learn how to apply organic fertilizer, it doesn't matter. The important thing is you are making an investment in yourself that will make you happier and healthier. Ironically, getting away from your life will probably allow you to handle it better!
Another great thing about clubs is they might allow you to dip your toe in the waters of a particular activity without having to make a huge investment. Sure, there might be dues or fees to pay, but say for instance you want to join a camping club. There might be other members who are willing to borrow you some gear, or they may have some gear that belongs to the club. That can be a lot less expensive than investing in your own! And if you're crafting, maybe you don't own your own potter's wheel or kiln silver clay. That may not be a big deal, as the club might be able to congregate at someone's house that has those supplies, or a local store that sponsors the club might provide the equipment. Really, joining a club is all positives-look into joining one today!
It's not really important what sort of club you join. The most important thing is you're doing something you love, something you've always wanted to learn, or something that's just fun. It's also great to interact with a lot of different people. Busy professionals may spend long hours at the office with the same coworkers. Parents may see their kids so much that need a little adult time. Whether you go to a crafting club and use some stroke 'n coat glaze on some pottery or you're in a gardening club where you learn how to apply organic fertilizer, it doesn't matter. The important thing is you are making an investment in yourself that will make you happier and healthier. Ironically, getting away from your life will probably allow you to handle it better!
Another great thing about clubs is they might allow you to dip your toe in the waters of a particular activity without having to make a huge investment. Sure, there might be dues or fees to pay, but say for instance you want to join a camping club. There might be other members who are willing to borrow you some gear, or they may have some gear that belongs to the club. That can be a lot less expensive than investing in your own! And if you're crafting, maybe you don't own your own potter's wheel or kiln silver clay. That may not be a big deal, as the club might be able to congregate at someone's house that has those supplies, or a local store that sponsors the club might provide the equipment. Really, joining a club is all positives-look into joining one today!
Joining a club isn't just for school-age kids-it can be for anyone! And quality sculpting compounds and crafting supplies are for anyone, too. Check out AMACO and see the difference. Whether you need stroke 'n coat underglazes or kiln silver clay, AMACO is the first and last place you should go!
Persian Tiles Featuring Glaze Chalk and Glaze Pencil Decorations
Persian tiles began to be manufactured in the thirteenth century, after Persia conquered Timur. Persian potters were fascinated with the Chinese pottery style they discovered, which permitted many colors to appear on one tile. Persian tile decoration, termed Ghlami, in which several colors are brush-painted on a tile in the intricate geometric patterns characteristic of Islamic art, reached its height in the eighteenth and nineteenth centuries. This technique can be reproduced in the modern classroom by painting the tiles using either the majolica technique, or more simply with liquid glazes. The majolica process, which arose in the Middle Ages and was refined during the Renaissance, is used to create elaborately decorated ceramics in which white tin-glazed earthenware is painted and decorated with oxides and stains. This traditional technique is still popular with modern artists, and can be reproduced with easier-to-use and safer materials.
To make majolica tiles, at least three coats of opaque white glaze are applied to 6" unglazed bisque tiles. Then the design is transferred to the surface of the tile using carbon paper, and the carbon outline is filled in with glaze pencils or by brush using majolica gloss color glazes. Backgrounds are also filled in with majolica gloss color glazes, applying at least three coats of glaze. Traditional Persian designs are usually repeated patterns of abstract renderings of floral, bird, animal, and geometrical forms. Since Persian tiles were often used to make murals or decorate walls and floors, designs must be made keeping in mind the precise number of tiles needed. For example, if the finished piece is a square of 4 tiles, then the original design must incorporate a 4-tile composition and measure 12" by 12". Finally, the tiles are fired to cone 04 (760°C = 1400°F) for 4 hours, to create the glossy surface and rich colors associated with majolica ceramics.
To make Persian tiles using liquid glazes, start with a 6" unglazed bisque tile, and transfer the design to the bare tile with carbon paper. The outline of the carbon paper tracing is painted in with colorful underglazes. The design can be filled in with several coats of underglazes or with glaze chalk to produce a solid coverage. When the underglazes are dry, two or more coats of clear glaze are applied and allowed to dry thoroughly. When the glazes are completely dry, the tiles are fired to cone 04 for 4 hours. Finished tiles can be glued to a wooden base with construction adhesive and grouted, then the finished composition can be framed.
To make majolica tiles, at least three coats of opaque white glaze are applied to 6" unglazed bisque tiles. Then the design is transferred to the surface of the tile using carbon paper, and the carbon outline is filled in with glaze pencils or by brush using majolica gloss color glazes. Backgrounds are also filled in with majolica gloss color glazes, applying at least three coats of glaze. Traditional Persian designs are usually repeated patterns of abstract renderings of floral, bird, animal, and geometrical forms. Since Persian tiles were often used to make murals or decorate walls and floors, designs must be made keeping in mind the precise number of tiles needed. For example, if the finished piece is a square of 4 tiles, then the original design must incorporate a 4-tile composition and measure 12" by 12". Finally, the tiles are fired to cone 04 (760°C = 1400°F) for 4 hours, to create the glossy surface and rich colors associated with majolica ceramics.
To make Persian tiles using liquid glazes, start with a 6" unglazed bisque tile, and transfer the design to the bare tile with carbon paper. The outline of the carbon paper tracing is painted in with colorful underglazes. The design can be filled in with several coats of underglazes or with glaze chalk to produce a solid coverage. When the underglazes are dry, two or more coats of clear glaze are applied and allowed to dry thoroughly. When the glazes are completely dry, the tiles are fired to cone 04 for 4 hours. Finished tiles can be glued to a wooden base with construction adhesive and grouted, then the finished composition can be framed.
Making an entire Persian tile wall can be an excellent school-wide project, teaching teamwork as well as how to use liquid glazes and kilns. Students can follow traditional Persian designs, or let their imaginations run wild with their own glaze chalk and glaze pencils designs.
The Art of China - Chou, an Era of Splendid Bronze Metal Work
The Chou Dynasty belonged to the Chinese Bronze Age and ranged from 1122 and 221 BC. During this 900-years rule, the Chinese culture saw several changes in its economy, politics, science, and society & traditions, especially art. The initial period of Chou Dynasty is called "Western Chou" (11th century BC to 771 BC) and the later half is referred to as "Eastern Chou" (770 BC - 221 BC). The Chou Art of China included mediums, such as bronzes, jades, ceramics, and textiles, embellished with varied designs.
The Chou Art witnessed improved artistry with the discovery of iron. Some of the ancient Western Chou Art works of China were the Bronze ritual vessels, used during Chinese ceremonies. These vessels were also used as decorated pots, wine jars, and water vessel. Most of these jars were modeled in animal shapes, like birds and dragons, while coated with the inscriptions of about 300 odd Chinese characters. These bronze vessels are testimonials to the ancient imperial attributes of Chinese culture and music. Later on, in the Eastern Chou Dynasty, these bronze jars and vessels moved away from having religious significance to becoming the social symbols of wealth and power. Bronze was also used to make bells, mirrors, belt-hooks, candelabras, and weapons. In addition, after 722 BC, the designs and the shapes of these bronze utensils got simpler with 'Abstract' patterns and minimal or no inscription.
During the Chou Dynasty, many meticulous techniques were used for making functionally purposeful potteries. The potter's wheel was rarely used; instead, the hard gray clay pieces were hand molded, leaving no sign of glaze on their surfaces. During the Chinese burials, these potteries were placed with the dead.
Under the Eastern Chou Art of China, several complicated jade ornaments & pendants were made with materials, like agate and glass. These ornaments had carved images of curling chih dragons, grain seeds, and also had cloud patterns on them. The jade ornaments were important objects in ceremonies and rituals and they also depicted a person's social stature. Eastern Chou Art forms of China also included lacquer craft, practiced in Southern China. Lacquer is a red colored sap of the lac tree. It was used to make lightweight boxes, dishes, and even small statuettes. In the last years of the Eastern Chou Dynasty, silk was used as a canvass on to which, the scenes of landscapes and people were painted.
The Chou Art witnessed improved artistry with the discovery of iron. Some of the ancient Western Chou Art works of China were the Bronze ritual vessels, used during Chinese ceremonies. These vessels were also used as decorated pots, wine jars, and water vessel. Most of these jars were modeled in animal shapes, like birds and dragons, while coated with the inscriptions of about 300 odd Chinese characters. These bronze vessels are testimonials to the ancient imperial attributes of Chinese culture and music. Later on, in the Eastern Chou Dynasty, these bronze jars and vessels moved away from having religious significance to becoming the social symbols of wealth and power. Bronze was also used to make bells, mirrors, belt-hooks, candelabras, and weapons. In addition, after 722 BC, the designs and the shapes of these bronze utensils got simpler with 'Abstract' patterns and minimal or no inscription.
During the Chou Dynasty, many meticulous techniques were used for making functionally purposeful potteries. The potter's wheel was rarely used; instead, the hard gray clay pieces were hand molded, leaving no sign of glaze on their surfaces. During the Chinese burials, these potteries were placed with the dead.
Under the Eastern Chou Art of China, several complicated jade ornaments & pendants were made with materials, like agate and glass. These ornaments had carved images of curling chih dragons, grain seeds, and also had cloud patterns on them. The jade ornaments were important objects in ceremonies and rituals and they also depicted a person's social stature. Eastern Chou Art forms of China also included lacquer craft, practiced in Southern China. Lacquer is a red colored sap of the lac tree. It was used to make lightweight boxes, dishes, and even small statuettes. In the last years of the Eastern Chou Dynasty, silk was used as a canvass on to which, the scenes of landscapes and people were painted.
Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art . Artists can join for free and their image upload is unlimited. Please visit the website at http://www.labedzki-art.com
Five Steps to Get Your Ex Back Or Get Even With Your Ex
Have you ever seen someone make a vase on a pottery wheel? If you have, you've witnessed an example of how relationships are formed and grow. You start out slow and gentle, developing the shape of the vase. The two hands have to work together or bad things happen. The lack of co-ordination between the two hands at any point and 'flop', it's ruined. Start over.
Relationships are like that, very fragile. You start off getting to know each other. You discover things you have in common, and you explore new things that you might both enjoy. Remember, you're still dealing with two people, each with their own personality, aspirations, etc...Too much pressure, or lack of involvement, from one or the other and 'flop', ruined.
You may be the one left with the mess. If you are you may be thinking of getting back at your Ex when the truth is you would rather get back together with your Ex. The truth is that getting mad, or getting even, never really gives you what you want - a relationship.
In fact the best way to get back at your Ex may actually result in you getting your Ex back. The key here is putting your Ex in a place where they feel the loss and may even have the desire to get back what they have lost.
Here are Five steps to follow:
1. You must be strong not needy. This is true if you hope to get back together and more so if there is no chance at all that you will get back together. You must stop looking weak - begging, pleading, clinging, and looking desperate. People in general, and future relationships in particular, are attracted to confident people. It is really hard to appear confident and together when you look desperate and weak.
You should appear strong and confident, like you've moved on. Next you should become confident because you have moved on. The rule here is "fake it 'til you make it." When you've moved on your Ex will realize that there was more to you than they perceived and that they have not moved on.
2. Become A Mystery. You really need to stop all communication and contact with your Ex. Sometimes this is hard because you and your Ex still go to the same places. That's fine, say "hello" and move on. Focus your attention on the people you're with and not your Ex. More on this in the Third step.
3. Staying Calm, Cool And Collected. Become 'easy going' with your Ex. Be flexible not forceful. If you are still living together do not demand that your Ex pick up, clean up, or move out. This can be a challenge and may require you to make serious changes. If you are separated physically and run into each other then say "hello" pleasantly, and move on. If your Ex wants to talk, then listen and quickly empathize, then move on. Don't get into a discussion, and DO NOT discuss your past together, this is not the time for that.
This may surprise your Ex and result in a desire to rebuild your relationship together. A little mystery goes a long way, and right now you are not a mystery to your Ex. So change that, be 'easy going' but 'unavailable for comment'.
4. Carpe Diem - Seize The Day, live your life, now. This is not the time to stay home and be depressed. Get up and go to work. Work hard, throw yourself into it like never before. Then, go out with friends. See a movie. Hang out at a coffee shop. Go out and eat and just stay and talk. Just go do something! The opposite sex may not provide good opportunities to you right now, but that's fine, spend time with friends. Friends unavailable? Make some new friends!
5. Be yourself. Often in relationships you can become what the two of you needed. That's alright, compromise is part of relationship - a little from him, a little from her. But sometimes one person, you, has done all the compromising and you forget who you really are. Other times you both have compromised, but the person you were when you were together is different from who you are on your own.
Go back to being just you. Stop and think about your life before you got together. And remember, there was something about you that attracted your Ex to you. Go back to being yourself and give your Ex the opportunity to remember why he/she fell in love with you in the first place.
You get to choose. Do you really want to get back at your Ex or do you want your Ex back. Getting Back at your Ex and getting your Ex back both require the same attitude and actions on your part. Independence and self reliance are extremely attractive qualities when someone, like your Ex, hasn't seen them for a while. The breakup may have been your Ex's idea, but the choice to get back together or not is yours.
Relationships are like that, very fragile. You start off getting to know each other. You discover things you have in common, and you explore new things that you might both enjoy. Remember, you're still dealing with two people, each with their own personality, aspirations, etc...Too much pressure, or lack of involvement, from one or the other and 'flop', ruined.
You may be the one left with the mess. If you are you may be thinking of getting back at your Ex when the truth is you would rather get back together with your Ex. The truth is that getting mad, or getting even, never really gives you what you want - a relationship.
In fact the best way to get back at your Ex may actually result in you getting your Ex back. The key here is putting your Ex in a place where they feel the loss and may even have the desire to get back what they have lost.
Here are Five steps to follow:
1. You must be strong not needy. This is true if you hope to get back together and more so if there is no chance at all that you will get back together. You must stop looking weak - begging, pleading, clinging, and looking desperate. People in general, and future relationships in particular, are attracted to confident people. It is really hard to appear confident and together when you look desperate and weak.
You should appear strong and confident, like you've moved on. Next you should become confident because you have moved on. The rule here is "fake it 'til you make it." When you've moved on your Ex will realize that there was more to you than they perceived and that they have not moved on.
2. Become A Mystery. You really need to stop all communication and contact with your Ex. Sometimes this is hard because you and your Ex still go to the same places. That's fine, say "hello" and move on. Focus your attention on the people you're with and not your Ex. More on this in the Third step.
3. Staying Calm, Cool And Collected. Become 'easy going' with your Ex. Be flexible not forceful. If you are still living together do not demand that your Ex pick up, clean up, or move out. This can be a challenge and may require you to make serious changes. If you are separated physically and run into each other then say "hello" pleasantly, and move on. If your Ex wants to talk, then listen and quickly empathize, then move on. Don't get into a discussion, and DO NOT discuss your past together, this is not the time for that.
This may surprise your Ex and result in a desire to rebuild your relationship together. A little mystery goes a long way, and right now you are not a mystery to your Ex. So change that, be 'easy going' but 'unavailable for comment'.
4. Carpe Diem - Seize The Day, live your life, now. This is not the time to stay home and be depressed. Get up and go to work. Work hard, throw yourself into it like never before. Then, go out with friends. See a movie. Hang out at a coffee shop. Go out and eat and just stay and talk. Just go do something! The opposite sex may not provide good opportunities to you right now, but that's fine, spend time with friends. Friends unavailable? Make some new friends!
5. Be yourself. Often in relationships you can become what the two of you needed. That's alright, compromise is part of relationship - a little from him, a little from her. But sometimes one person, you, has done all the compromising and you forget who you really are. Other times you both have compromised, but the person you were when you were together is different from who you are on your own.
Go back to being just you. Stop and think about your life before you got together. And remember, there was something about you that attracted your Ex to you. Go back to being yourself and give your Ex the opportunity to remember why he/she fell in love with you in the first place.
You get to choose. Do you really want to get back at your Ex or do you want your Ex back. Getting Back at your Ex and getting your Ex back both require the same attitude and actions on your part. Independence and self reliance are extremely attractive qualities when someone, like your Ex, hasn't seen them for a while. The breakup may have been your Ex's idea, but the choice to get back together or not is yours.
Knowledge is power, if you're interested in learning how to create and build a strong relationship check this out. I wish you all the best!
Production-Line Creativity: Make more $$$
*Article Use Guidelines*
Use in opt-in publications, or on Web sites, but please include the resource box (see end). If you could send a copy to me at email address: mailto:ab@digital-e.biz , I appreciate it. Many thanks. **
Summary: Maximize your productivity with these simple techniques.
Total words: 700
Category: Small Business/ Writing
Production-Line Creativity: Make more $$$ in the same amount of time
Copyright (c) 2002 by Angela Booth
Are you as productive and creative as you could be?
A few years ago I travelled up the north coast of New South Wales, Australia, and visited a client whose wife was a potter. She showed me around her large, well-lit studio.
I was envious.
Not because of the high-ceilinged work area. And not because of the location right in the middle of eucalypt-scented old growth forest, with wallabies and wombats on the doorstep.
I was envious because of the pottery mugs, cups, vases, plates, bowls, platters, serving trays, and planters piled on long tables, stacked in deep shelves on the walls, and rising in columns on the timber floor.
Pottery in stippled blue, pottery with a white and yellow glaze. Brown shiny pottery. Pottery lushly painted with bush animals and parrots. Unglazed and unfired pottery.
Pottery everywhere.
This was one productive lady.
At the time I thought I was productive because I was turning out a thousand words a day. I thought I was writing a lot. But the pottery lady made me realize that I was having myself on.
I asked her how much she worked. "I don't think about it. I'm here whenever I have time. I suppose I work a couple of hours in the morning, and another couple in the afternoon. And if I have something I want to finish, I'll work at night as well."
I've been thinking about the potter on and off since I met her. Because her pottery wasn't art. Don't get me wrong, all her products were good. Serviceable. But only around ten per cent of her products were wonderful.
Ten per cent... Which got me thinking. I had then, and still have, a real problem expecting perfection in my work.
The pottery lady was happy to make her pottery. And a percentage of it was wonderful. If she'd held back, and thought: "I can't make a coffee set with yellow glaze. It might not be good enough." How much would she have produced? How much excellent work?
So that's what the pottery lady taught me: Produce.
Just write (make pots, take photos, design, paint...). Like Nike, Just Do It. Get over your mental blocks to creativity: perfectionism, negative beliefs, and expectations.
She also taught me about production-line creativity, because you can't make a pot in one day. You need time. Time to create it on the wheel, dry it, glaze it, fire it.
SECRETS TO PRODUCTION-LINE CREATIVITY
= Multiple projects
You need lots of projects. Got an idea? Great! Start it.
The only thing is --- keep a master list. I tend to be disorganized, and have notebooks I don't remember writing in and directories on my hard drives I don't remember creating. Keep a list.
= A mix of short and long projects
You never know enough to write a book. But you can write a page. Tomorrow you write another page. Maybe next week you're hot and you write five pages in a morning.
No matter. If you're working on a long project do what you can when you can. It's lovely if inspiration strikes, and hard work when it doesn't, but keep at it anyway.
Do plenty of short projects too. You get a charge from completing a short piece that inspires you to work on your current long project.
= Create anywhere
Take a notebook, or a tape recorder and camera. Snatch five minutes (even if it's in a restroom somewhere) and write, or sketch.
= Collaborate
You need a creative buddy. Team up with someone else and collaborate on a project. Having a creative buddy teaches you things you didn't know about yourself and your work. And it's fun.
But make sure that it's a working relationship. Get the work done, and then you can socialize.
= Take time out
When you work all the time you need breaks to recharge and refill the well. You'll have slow periods.
I have days where I only want to read, and I might read five books in three days. I let myself do it, because I know I need it --- I need to have someone else's thoughts and images in my head for a while.
There you have it: production-line creativity. Happy creating!
***Resource box: if using, please include*** When your words sound good, you sound good. Author and copywriter Angela Booth crafts words for your business --- words to sell, educate or persuade. Get in touch today for a free quote: http://www.digital-e.biz/
Free ezine: Creative Small Biz ---subscribe at http://groups.yahoo.com/group/Creative_Small_Biz/
###
Use in opt-in publications, or on Web sites, but please include the resource box (see end). If you could send a copy to me at email address: mailto:ab@digital-e.biz , I appreciate it. Many thanks. **
Summary: Maximize your productivity with these simple techniques.
Total words: 700
Category: Small Business/ Writing
Production-Line Creativity: Make more $$$ in the same amount of time
Copyright (c) 2002 by Angela Booth
Are you as productive and creative as you could be?
A few years ago I travelled up the north coast of New South Wales, Australia, and visited a client whose wife was a potter. She showed me around her large, well-lit studio.
I was envious.
Not because of the high-ceilinged work area. And not because of the location right in the middle of eucalypt-scented old growth forest, with wallabies and wombats on the doorstep.
I was envious because of the pottery mugs, cups, vases, plates, bowls, platters, serving trays, and planters piled on long tables, stacked in deep shelves on the walls, and rising in columns on the timber floor.
Pottery in stippled blue, pottery with a white and yellow glaze. Brown shiny pottery. Pottery lushly painted with bush animals and parrots. Unglazed and unfired pottery.
Pottery everywhere.
This was one productive lady.
At the time I thought I was productive because I was turning out a thousand words a day. I thought I was writing a lot. But the pottery lady made me realize that I was having myself on.
I asked her how much she worked. "I don't think about it. I'm here whenever I have time. I suppose I work a couple of hours in the morning, and another couple in the afternoon. And if I have something I want to finish, I'll work at night as well."
I've been thinking about the potter on and off since I met her. Because her pottery wasn't art. Don't get me wrong, all her products were good. Serviceable. But only around ten per cent of her products were wonderful.
Ten per cent... Which got me thinking. I had then, and still have, a real problem expecting perfection in my work.
The pottery lady was happy to make her pottery. And a percentage of it was wonderful. If she'd held back, and thought: "I can't make a coffee set with yellow glaze. It might not be good enough." How much would she have produced? How much excellent work?
So that's what the pottery lady taught me: Produce.
Just write (make pots, take photos, design, paint...). Like Nike, Just Do It. Get over your mental blocks to creativity: perfectionism, negative beliefs, and expectations.
She also taught me about production-line creativity, because you can't make a pot in one day. You need time. Time to create it on the wheel, dry it, glaze it, fire it.
SECRETS TO PRODUCTION-LINE CREATIVITY
= Multiple projects
You need lots of projects. Got an idea? Great! Start it.
The only thing is --- keep a master list. I tend to be disorganized, and have notebooks I don't remember writing in and directories on my hard drives I don't remember creating. Keep a list.
= A mix of short and long projects
You never know enough to write a book. But you can write a page. Tomorrow you write another page. Maybe next week you're hot and you write five pages in a morning.
No matter. If you're working on a long project do what you can when you can. It's lovely if inspiration strikes, and hard work when it doesn't, but keep at it anyway.
Do plenty of short projects too. You get a charge from completing a short piece that inspires you to work on your current long project.
= Create anywhere
Take a notebook, or a tape recorder and camera. Snatch five minutes (even if it's in a restroom somewhere) and write, or sketch.
= Collaborate
You need a creative buddy. Team up with someone else and collaborate on a project. Having a creative buddy teaches you things you didn't know about yourself and your work. And it's fun.
But make sure that it's a working relationship. Get the work done, and then you can socialize.
= Take time out
When you work all the time you need breaks to recharge and refill the well. You'll have slow periods.
I have days where I only want to read, and I might read five books in three days. I let myself do it, because I know I need it --- I need to have someone else's thoughts and images in my head for a while.
There you have it: production-line creativity. Happy creating!
***Resource box: if using, please include*** When your words sound good, you sound good. Author and copywriter Angela Booth crafts words for your business --- words to sell, educate or persuade. Get in touch today for a free quote: http://www.digital-e.biz/
Free ezine: Creative Small Biz ---subscribe at http://groups.yahoo.com/group/Creative_Small_Biz/
###
Production-Line Creativity: Make more $$$ in the same amount of
*Article Use Guidelines*
Use in opt-in publications, or on Web sites, but please include the resource box (see end). If you could send a copy to me at email address: mailto:ab@digital-e.biz , I appreciate it. Many thanks. **
Summary: Maximize your productivity with these simple techniques.
Total words: 700
Category: Small Business/ Writing
Production-Line Creativity: Make more $$$ in the same amount of time
Copyright (c) 2002 by Angela Booth
Are you as productive and creative as you could be?
A few years ago I travelled up the north coast of New South Wales, Australia, and visited a client whose wife was a potter. She showed me around her large, well-lit studio.
I was envious.
Not because of the high-ceilinged work area. And not because of the location right in the middle of eucalypt-scented old growth forest, with wallabies and wombats on the doorstep.
I was envious because of the pottery mugs, cups, vases, plates, bowls, platters, serving trays, and planters piled on long tables, stacked in deep shelves on the walls, and rising in columns on the timber floor.
Pottery in stippled blue, pottery with a white and yellow glaze. Brown shiny pottery. Pottery lushly painted with bush animals and parrots. Unglazed and unfired pottery.
Pottery everywhere.
This was one productive lady.
At the time I thought I was productive because I was turning out a thousand words a day. I thought I was writing a lot. But the pottery lady made me realize that I was having myself on.
I asked her how much she worked. "I don't think about it. I'm here whenever I have time. I suppose I work a couple of hours in the morning, and another couple in the afternoon. And if I have something I want to finish, I'll work at night as well."
I've been thinking about the potter on and off since I met her. Because her pottery wasn't art. Don't get me wrong, all her products were good. Serviceable. But only around ten per cent of her products were wonderful.
Ten per cent... Which got me thinking. I had then, and still have, a real problem expecting perfection in my work.
The pottery lady was happy to make her pottery. And a percentage of it was wonderful. If she'd held back, and thought: "I can't make a coffee set with yellow glaze. It might not be good enough." How much would she have produced? How much excellent work?
So that's what the pottery lady taught me: Produce.
Just write (make pots, take photos, design, paint...). Like Nike, Just Do It. Get over your mental blocks to creativity: perfectionism, negative beliefs, and expectations.
She also taught me about production-line creativity, because you can't make a pot in one day. You need time. Time to create it on the wheel, dry it, glaze it, fire it.
SECRETS TO PRODUCTION-LINE CREATIVITY
=> Multiple projects
You need lots of projects. Got an idea? Great! Start it.
The only thing is --- keep a master list. I tend to be disorganized, and have notebooks I don't remember writing in and directories on my hard drives I don't remember creating. Keep a list.
=> A mix of short and long projects
You never know enough to write a book. But you can write a page. Tomorrow you write another page. Maybe next week you're hot and you write five pages in a morning.
No matter. If you're working on a long project do what you can when you can. It's lovely if inspiration strikes, and hard work when it doesn't, but keep at it anyway.
Do plenty of short projects too. You get a charge from completing a short piece that inspires you to work on your current long project.
=> Create anywhere
Take a notebook, or a tape recorder and camera. Snatch five minutes (even if it's in a restroom somewhere) and write, or sketch.
=> Collaborate
You need a creative buddy. Team up with someone else and collaborate on a project. Having a creative buddy teaches you things you didn't know about yourself and your work. And it's fun.
But make sure that it's a working relationship. Get the work done, and then you can socialize.
=> Take time out
When you work all the time you need breaks to recharge and refill the well. You'll have slow periods.
I have days where I only want to read, and I might read five books in three days. I let myself do it, because I know I need it --- I need to have someone else's thoughts and images in my head for a while.
There you have it: production-line creativity. Happy creating!
***Resource box: if using, please include*** When your words sound good, you sound good. Author and copywriter Angela Booth crafts words for your business --- words to sell, educate or persuade. Get in touch today for a free quote: http://www.digital-e.biz/
Free ezine: Creative Small Biz ---subscribe at http://groups.yahoo.com/group/Creative_Small_Biz/
###
Use in opt-in publications, or on Web sites, but please include the resource box (see end). If you could send a copy to me at email address: mailto:ab@digital-e.biz , I appreciate it. Many thanks. **
Summary: Maximize your productivity with these simple techniques.
Total words: 700
Category: Small Business/ Writing
Production-Line Creativity: Make more $$$ in the same amount of time
Copyright (c) 2002 by Angela Booth
Are you as productive and creative as you could be?
A few years ago I travelled up the north coast of New South Wales, Australia, and visited a client whose wife was a potter. She showed me around her large, well-lit studio.
I was envious.
Not because of the high-ceilinged work area. And not because of the location right in the middle of eucalypt-scented old growth forest, with wallabies and wombats on the doorstep.
I was envious because of the pottery mugs, cups, vases, plates, bowls, platters, serving trays, and planters piled on long tables, stacked in deep shelves on the walls, and rising in columns on the timber floor.
Pottery in stippled blue, pottery with a white and yellow glaze. Brown shiny pottery. Pottery lushly painted with bush animals and parrots. Unglazed and unfired pottery.
Pottery everywhere.
This was one productive lady.
At the time I thought I was productive because I was turning out a thousand words a day. I thought I was writing a lot. But the pottery lady made me realize that I was having myself on.
I asked her how much she worked. "I don't think about it. I'm here whenever I have time. I suppose I work a couple of hours in the morning, and another couple in the afternoon. And if I have something I want to finish, I'll work at night as well."
I've been thinking about the potter on and off since I met her. Because her pottery wasn't art. Don't get me wrong, all her products were good. Serviceable. But only around ten per cent of her products were wonderful.
Ten per cent... Which got me thinking. I had then, and still have, a real problem expecting perfection in my work.
The pottery lady was happy to make her pottery. And a percentage of it was wonderful. If she'd held back, and thought: "I can't make a coffee set with yellow glaze. It might not be good enough." How much would she have produced? How much excellent work?
So that's what the pottery lady taught me: Produce.
Just write (make pots, take photos, design, paint...). Like Nike, Just Do It. Get over your mental blocks to creativity: perfectionism, negative beliefs, and expectations.
She also taught me about production-line creativity, because you can't make a pot in one day. You need time. Time to create it on the wheel, dry it, glaze it, fire it.
SECRETS TO PRODUCTION-LINE CREATIVITY
=> Multiple projects
You need lots of projects. Got an idea? Great! Start it.
The only thing is --- keep a master list. I tend to be disorganized, and have notebooks I don't remember writing in and directories on my hard drives I don't remember creating. Keep a list.
=> A mix of short and long projects
You never know enough to write a book. But you can write a page. Tomorrow you write another page. Maybe next week you're hot and you write five pages in a morning.
No matter. If you're working on a long project do what you can when you can. It's lovely if inspiration strikes, and hard work when it doesn't, but keep at it anyway.
Do plenty of short projects too. You get a charge from completing a short piece that inspires you to work on your current long project.
=> Create anywhere
Take a notebook, or a tape recorder and camera. Snatch five minutes (even if it's in a restroom somewhere) and write, or sketch.
=> Collaborate
You need a creative buddy. Team up with someone else and collaborate on a project. Having a creative buddy teaches you things you didn't know about yourself and your work. And it's fun.
But make sure that it's a working relationship. Get the work done, and then you can socialize.
=> Take time out
When you work all the time you need breaks to recharge and refill the well. You'll have slow periods.
I have days where I only want to read, and I might read five books in three days. I let myself do it, because I know I need it --- I need to have someone else's thoughts and images in my head for a while.
There you have it: production-line creativity. Happy creating!
***Resource box: if using, please include*** When your words sound good, you sound good. Author and copywriter Angela Booth crafts words for your business --- words to sell, educate or persuade. Get in touch today for a free quote: http://www.digital-e.biz/
Free ezine: Creative Small Biz ---subscribe at http://groups.yahoo.com/group/Creative_Small_Biz/
###
Get Productive To Make Money From Your Creativity
Are you as productive and creative as you could be?
A few years ago I travelled up the north coast of New South Wales, Australia, and visited a client whose wife was a potter. She showed me around her large, well-lit studio.
I was envious.
Not because of the high-ceilinged work area. And not because of the location right in the middle of eucalypt-scented old growth forest, with wallabies and wombats on the doorstep.
I was envious because of the pottery mugs, cups, vases, plates, bowls, platters, serving trays, and planters piled on long tables, stacked in deep shelves on the walls, and rising in columns on the timber floor.
Pottery in stippled blue, pottery with a white and yellow glaze. Brown shiny pottery. Pottery lushly painted with bush animals and parrots. Unglazed and unfired pottery.
Pottery everywhere.
This was one productive lady.
At the time I thought I was productive because I was turning out a thousand words a day. I thought I was writing a lot. But the pottery lady made me realize that I was not as productive as I could be.
I asked her how much she worked. "I don't think about it. I'm here whenever I have time. I suppose I work a couple of hours in the morning, and another couple in the afternoon. And if I have something I want to finish, I'll work at night as well."
I've been thinking about the potter on and off since I met her. Because her pottery wasn't art. Don't get me wrong, all her products were good. Serviceable. But only around ten per cent of her products were wonderful.
Ten per cent... Which got me thinking. I had then, and still have, a real problem expecting perfection in my work.
The pottery lady was happy to make her pottery. And a percentage of it was wonderful. If she'd held back, and thought: "I can't make coffee set with yellow glaze. It might not be good enough." How much would she have produced? How much excellent work?
So that's what the pottery lady taught me: Produce.
Just write (make pots, take photos, design, paint...). Like Nike, Just Do It. Get over your mental blocks to creativity: perfectionism, negative beliefs, and expectations.
She also taught me about production-line creativity, because you can't make a pot in one day. You need time. Time to create it on the wheel, dry it, glaze it, fire it.
=> Creative Productivity Secrets
==> Multiple projects
You need lots of projects. Got an idea? Great! Start it.
The only thing is --- keep a master list. I tend to be disorganized, and have notebooks I don't remember writing in and directories on my hard drives I don't remember creating. Keep a list.
==> A mix of short and long projects
You never know enough to write a book. But you can write a page. Tomorrow you write another page. Maybe next week you're hot and you write five pages in a morning.
No matter. If you're working on a long project do what you can when you can. It's lovely if inspiration strikes, and hard work when it doesn't, but keep at it anyway.
Do plenty of short projects too. You get a charge from completing a short piece that inspires you to work on your current long project.
==> Create anywhere
Take a notebook, or a tape recorder and camera. Snatch five minutes (even if it's in a restroom somewhere) and write, or sketch.
==> Collaborate
You need a creative buddy. Team up with someone else and collaborate on a project. Having a creative buddy teaches you things you didn't know about yourself and your work. And it's fun.
But make sure that it's a working relationship. Get the work done, and then you can socialize.
==> Take time out
When you work all the time you need breaks to recharge and refill the well. You'll have slow periods.
I have days where I only want to read, and I might read five books in three days. I let myself do it, because I know I need it --- I need to have someone else's thoughts and images in my head for a while.
There you have it: production-line creativity. Happy creating!
Turn words into money! Subscribe to copywriter and author Angela Booth's new free ezine, Write For Cash.
Discover how to turn your own words, or someone else's into money. The new Web boom is upon us, so content has never been more important, or more valuable. Each issue contains a strategy and a product: information you can use immediately. If you want to build a global business from the comfort of your easy chair, subscribe today.
A few years ago I travelled up the north coast of New South Wales, Australia, and visited a client whose wife was a potter. She showed me around her large, well-lit studio.
I was envious.
Not because of the high-ceilinged work area. And not because of the location right in the middle of eucalypt-scented old growth forest, with wallabies and wombats on the doorstep.
I was envious because of the pottery mugs, cups, vases, plates, bowls, platters, serving trays, and planters piled on long tables, stacked in deep shelves on the walls, and rising in columns on the timber floor.
Pottery in stippled blue, pottery with a white and yellow glaze. Brown shiny pottery. Pottery lushly painted with bush animals and parrots. Unglazed and unfired pottery.
Pottery everywhere.
This was one productive lady.
At the time I thought I was productive because I was turning out a thousand words a day. I thought I was writing a lot. But the pottery lady made me realize that I was not as productive as I could be.
I asked her how much she worked. "I don't think about it. I'm here whenever I have time. I suppose I work a couple of hours in the morning, and another couple in the afternoon. And if I have something I want to finish, I'll work at night as well."
I've been thinking about the potter on and off since I met her. Because her pottery wasn't art. Don't get me wrong, all her products were good. Serviceable. But only around ten per cent of her products were wonderful.
Ten per cent... Which got me thinking. I had then, and still have, a real problem expecting perfection in my work.
The pottery lady was happy to make her pottery. And a percentage of it was wonderful. If she'd held back, and thought: "I can't make coffee set with yellow glaze. It might not be good enough." How much would she have produced? How much excellent work?
So that's what the pottery lady taught me: Produce.
Just write (make pots, take photos, design, paint...). Like Nike, Just Do It. Get over your mental blocks to creativity: perfectionism, negative beliefs, and expectations.
She also taught me about production-line creativity, because you can't make a pot in one day. You need time. Time to create it on the wheel, dry it, glaze it, fire it.
=> Creative Productivity Secrets
==> Multiple projects
You need lots of projects. Got an idea? Great! Start it.
The only thing is --- keep a master list. I tend to be disorganized, and have notebooks I don't remember writing in and directories on my hard drives I don't remember creating. Keep a list.
==> A mix of short and long projects
You never know enough to write a book. But you can write a page. Tomorrow you write another page. Maybe next week you're hot and you write five pages in a morning.
No matter. If you're working on a long project do what you can when you can. It's lovely if inspiration strikes, and hard work when it doesn't, but keep at it anyway.
Do plenty of short projects too. You get a charge from completing a short piece that inspires you to work on your current long project.
==> Create anywhere
Take a notebook, or a tape recorder and camera. Snatch five minutes (even if it's in a restroom somewhere) and write, or sketch.
==> Collaborate
You need a creative buddy. Team up with someone else and collaborate on a project. Having a creative buddy teaches you things you didn't know about yourself and your work. And it's fun.
But make sure that it's a working relationship. Get the work done, and then you can socialize.
==> Take time out
When you work all the time you need breaks to recharge and refill the well. You'll have slow periods.
I have days where I only want to read, and I might read five books in three days. I let myself do it, because I know I need it --- I need to have someone else's thoughts and images in my head for a while.
There you have it: production-line creativity. Happy creating!
Turn words into money! Subscribe to copywriter and author Angela Booth's new free ezine, Write For Cash.
Discover how to turn your own words, or someone else's into money. The new Web boom is upon us, so content has never been more important, or more valuable. Each issue contains a strategy and a product: information you can use immediately. If you want to build a global business from the comfort of your easy chair, subscribe today.
Political Satire in Sculpture
Dick Cheney has taken a variety of shots at the Obama administration over the last two weeks. He seems to have concerns regarding the current administration's ability to protect the United States from a terrorist attack. The former vice-president has made his opinion clear that he feels the previous administration was able to protect the American people better than President Obama's team. This constant criticism has political satirists fired up. Cheney is depicted in many political cartoons throughout the country; he is the focus of a variety of comedians, and editors have happily made him their focus of writing. We can expect more from the political funny people in future because Mr. Cheney has made it clear he will continue to give his opinion.
Perhaps a future artist will make a sculpture of the former vice-president as a large dominant figure controlling a small President George W. Bush puppet. This would take a lot of talent and careful use of many different gloss glazes. The two different figures would require a careful hand to create, and to properly show the separations of the two characters a variety of color patterns would be necessary.
The creation of two sculptures to properly point out a political point of view is not an easy task. Our neighbors to the south in Mexico have had plenty of corrupt, or just bad, politicians in the past. Even though this is true, we do not see a lot of mexican clay pottery being used by Mexican political satirists. The amount of work, time, and talent necessary to make humorous sculptures of real people is enormous, and politicians do not seem to be in office long enough to make the effort.
The artist looking to make a political statement may be able to save some time and effort by incorporating the use of a type of mold. Drape molds could easily help an artist make statement pieces within a sculpture. These "accessory" pieces could help the artist make a statement about a political figure quickly and easily. Thus, the actual sculpture of the politician would not be as important.
Perhaps a future artist will make a sculpture of the former vice-president as a large dominant figure controlling a small President George W. Bush puppet. This would take a lot of talent and careful use of many different gloss glazes. The two different figures would require a careful hand to create, and to properly show the separations of the two characters a variety of color patterns would be necessary.
The creation of two sculptures to properly point out a political point of view is not an easy task. Our neighbors to the south in Mexico have had plenty of corrupt, or just bad, politicians in the past. Even though this is true, we do not see a lot of mexican clay pottery being used by Mexican political satirists. The amount of work, time, and talent necessary to make humorous sculptures of real people is enormous, and politicians do not seem to be in office long enough to make the effort.
The artist looking to make a political statement may be able to save some time and effort by incorporating the use of a type of mold. Drape molds could easily help an artist make statement pieces within a sculpture. These "accessory" pieces could help the artist make a statement about a political figure quickly and easily. Thus, the actual sculpture of the politician would not be as important.
Those who are interested in making a political statement about Dick Cheney or another political figure can turn to AMACO for all of the necessary supplies. AMACO recognizes that there are many forms of ceramic art and that political artists have many important things to say. You will find a lot of information about gloss glazes and mexican clay pottery on AMACO's website. AMACO sells a multitude of molds; look to see which drape molds will work best for your next political piece. The politicians of today dream of having their forms forever made into a statue; AMACO will help the political satirist make that dream come true.
Vases From Different Places
When it comes to displaying your beautiful bouquets of flowers, you probably use a traditional vase. Your vase may be made of plastic or glass. It could be clear glass or maybe even a pretty blue glass. But there are many items that you may have around your home that could also be used as vases. Or if you are feeling really ambitious, you could even make your own homemade vase on some pottery throwing wheels.
To find items around your home that you could use as a vase, you should look in all of your rooms. If you look in your kitchen you might find a really neat glass pitcher that you could use. You might have a glass pitcher that has big sunflowers painted on it that you could put some bright yellow flowers in. You could also find some beautiful bowls that you could use as well. You could cut off the long flower stems and use the bowl to float some roses or peonies. If you have a clear glass bowl you could place it on an intricately painted pottery tile to add some extra color and decoration. If all you want to put into a vase is a single stem flower you could simply use a fancy water glass. The kitchen is a really great place to find vases wherever you look.
Another great place to find random vases is actually in your garage. Think of just how much stuff the average American has jammed into the space in which you could fit a car. Upon rummaging through all of these forgotten goodies, you might find an old watering can. Although you probably won't want to bring the can indoors, you can place the can somewhere outdoors where you can see it from a window in your house.
While searching through all the stuff you have long since forgotten in your garage, you might actually find an old vase you could use. The vase is most likely made with non-toxic glazes so you can clean that dingy vase right off and bring it on inside. If you have old tires lying around that you haven't gotten to taking to the dump, you could use those as well. Although they wouldn't be much of a vase per se, you could place the old tire in your garden, fill it with dirt and plant some flowers. It might sound weird, but it will turn out great!
To find items around your home that you could use as a vase, you should look in all of your rooms. If you look in your kitchen you might find a really neat glass pitcher that you could use. You might have a glass pitcher that has big sunflowers painted on it that you could put some bright yellow flowers in. You could also find some beautiful bowls that you could use as well. You could cut off the long flower stems and use the bowl to float some roses or peonies. If you have a clear glass bowl you could place it on an intricately painted pottery tile to add some extra color and decoration. If all you want to put into a vase is a single stem flower you could simply use a fancy water glass. The kitchen is a really great place to find vases wherever you look.
Another great place to find random vases is actually in your garage. Think of just how much stuff the average American has jammed into the space in which you could fit a car. Upon rummaging through all of these forgotten goodies, you might find an old watering can. Although you probably won't want to bring the can indoors, you can place the can somewhere outdoors where you can see it from a window in your house.
While searching through all the stuff you have long since forgotten in your garage, you might actually find an old vase you could use. The vase is most likely made with non-toxic glazes so you can clean that dingy vase right off and bring it on inside. If you have old tires lying around that you haven't gotten to taking to the dump, you could use those as well. Although they wouldn't be much of a vase per se, you could place the old tire in your garden, fill it with dirt and plant some flowers. It might sound weird, but it will turn out great!
If you are looking for new and fresh ways to display your flower arrangements there are many different options when you keep a look out for odds and ends around your home. If you are thinking of creating your own vases on throwing wheels, AMACO has plenty of information to get you started. AMACO also has plenty of information on working with non-toxic glazes which is important for your personal health as well. AMACO is also a great resource for how to create your own pottery tile for that added personal touch.
At home with... Priscilla Carluccio
I live in... a very simple, modern flat in Battersea.If my house was burning down... I would save a painting of my grandmother.Shopkeeping is… a dying art. Most retailers are only interested in profit. I find the business side of things extremely interesting, but without passion it’s completely banal.Few and Far is... a name, not a brand. The products we sell are the brands; I merely promote the suppliers.I want the store to be… accessible to everyone. I try to have reasonable prices but I don’t believe in selling to a socioâ€"economic group. It’s nice if people can buy something they like, but more importantly it’s a place for people to feel at home.A good buyer needs… to have an eye, excellent organization and a bit of cheek. I love working between the designer and the crafts person to interpret what is commercially viable.When I created Carluccio’s… the concept was for it to be a series. Few and Far is creatively very different. It’s a one off.My creative flair comes from… my mother. My father could draw, but my mother was very creative. She would have loved to have gone to art school. She always taught us if we had something to say, to say it, and she gave us our work ethic. She taught us to finish what we had started.I grew up… in a real working farmhouse â€" it wasn’t romantic at all. We had a pottery wheel and a kiln where we did 24 hour firings. I used to go out in the middle of the night to help.The second world war… changed things enormously. It brought out the humanity in people. We had some evacuees from London, all adults, and they were incredibly damaged. It was very hard for them to come to the countryside, but I think it did them good. I remember a lot of fear; people were very scared. I think in many ways we’re in a similar situation now. We can’t expect to go on buying things that are not kept and valued.When I was a girl, I wanted to be… a ballet dancer. I had a Russian governess, which seemed deeply romantic. I never did go to Russia, just so I could keep that romance intact. Later, I fell head over heels in love with Laurence Olivier and wanted to be on the stage.I was first inspired to work in design… at the Festival of Britain in 1951. Of course, Terence was exhibiting there, and after the war, it was like seeing a butterfly emerge from the ashes. It was so witty and fun.I studied photography… at the Guildford School of Art. It was the first place in the country to teach photography. There were thirty or so students from all over the world and we had to queue to use the dark room. We were taught to be sparing in shootingâ€" almost exactly the opposite of the way things are now.The person who taught me most about life… was a drunken welshman (my tutor) at Guildford. He would never have let me get away with work that wasn’t my best.I try to pass on to my children… the importance of freedom of expression and creativity. I want them to know joy, but also to have a work ethic.I’m not interested… in the avant-garde, unless it makes me laugh. I’m only interested in things that are beautifully made, from designers like Jasper Morrison or Nigel Coates, who I stock here in the shop.Design is very important in this country… but there needs to be a fundamental knowledge of materials. Manufacturing abilities have become enormously advanced so there is no excuse for things not to last for a long time. That's why I'm so keen on crafts, because if we don't support them, these skills will be lost.
Annie is an expert furniture and interior design writer. Her current area of specialism is tiles, bedroom furniture and design
Museum Tour Introduces 2004"05 Issue
Portland, OR September 10, 2004 -- Museum Tour Catalog launches its ninth annual issue. Founded by a former museum director in conjunction with 22 museums nationwide, Museum Tour's goal since its inception is to assist in the financial growth of its museum members. To date, donations total over $125,000.
What Sets This Catalog Apart?
Cataloger Aids Museums Nationwide
The fiscal health of museums depends on donors contributing general operating support. This type of financial support is often overlooked. Museum Tour's president, Marilynne Eichinger, experienced this need firsthand in her former position as a museum president. To address that need, she instituted the museum membership program at Museum Tour and developed the catalog to bring hands-on museum activities into homes around the country.
Museum Tour Catalog continues to grow through difficult economic times and continues to assist its museum members annually with financial aid. Museum members also benefit from the nationwide exposure from the catalog mailings to relevant consumers and educators across the U.S. (The complete list of museum members is on the back cover of every issue of Museum Tour.)
An Educational Approach to Fun
"Museum Tour's products motivate children to pursue careers in science, math, and engineering, provide educators with unique teaching tools and compelling teaching experiences, and bring the entire family together for exploration and discovery. We differ from other catalogs in that we espouse โ€˜side by side' opportunities that bring adults and children together as detectives and practitioners of learning," said Eichinger.
Some of Museum Tour's side-by-side tools include adult and child pottery wheels, rock tumblers, looms, metal detectors, junior and senior board games and beginner and advanced language CDs. This year the catalog also found unique items to explore family heritage. And for the first time, Museum Tour offers linguistic selections for language development. Anyone searching for eco-friendly fun or community projects will find the expanded environmental, health and outdoor sections in this issue to be a natural resource. (Several of the 2004-05 products are also available in Spanish.)
The Case Method
Placing the "Aha" in Education and the "Hmm" in Play
Solving problems is largely what life is about. When there are no challenges, people tend to be bored and often look for new avenues to explore. Imagine the excitement of having an "Aha" realization from self-directed exploration or piqued interest that leads to many "Hmm" moments?
Investigation is at its peak with science activities. Engineering and scientific inventions are usually the result of detectives using tools and techniques for exploring the unknown. Museum Tourโ€˜s science kits bring out the "Aha" experience that encourages the user to take the inventor's path and develop the skills and motivation needed to further inquiry. The "Aha" and "Hmm" books available in this issue inspire a young person to think of life as a series of challenges, explorations, and solutions that are exciting and fun to realize. Education arenas refer to this as the "case method."
Many education programs now use the case method to teach. This system puts the learner in the driver's seat by presenting challenging problems that need solving. In one sense, the child becomes a detective having to form hypotheses, conduct research, look for clues, and come to conclusions. Once interest is piqued, a child is willing to learn the facts and sits still for skill training. The question we should always ask is what is the best way to motivate children and adults to this end?
To quote Anatole France:
"Do not try to satisfy your vanity by teaching a great many things. Awaken people's curiosity. It is enough to open minds; do not overload them. Put there just a spark. If there is some good inflammable stuff, it will catch fire."
For further information, please contact:
Barbara Lund
503-794-7100
barbl@museumtour.com.
2517 SE Mailwell Dr.
Milwaukie OR. 97222.
Fax 503.794.7111
Consumers may visit museumtour.com or call 800-360-9116 to request a catalog. The Museum Tour Catalog is an annual publication of Informal Education Products, Inc.
##
What Sets This Catalog Apart?
Cataloger Aids Museums Nationwide
The fiscal health of museums depends on donors contributing general operating support. This type of financial support is often overlooked. Museum Tour's president, Marilynne Eichinger, experienced this need firsthand in her former position as a museum president. To address that need, she instituted the museum membership program at Museum Tour and developed the catalog to bring hands-on museum activities into homes around the country.
Museum Tour Catalog continues to grow through difficult economic times and continues to assist its museum members annually with financial aid. Museum members also benefit from the nationwide exposure from the catalog mailings to relevant consumers and educators across the U.S. (The complete list of museum members is on the back cover of every issue of Museum Tour.)
An Educational Approach to Fun
"Museum Tour's products motivate children to pursue careers in science, math, and engineering, provide educators with unique teaching tools and compelling teaching experiences, and bring the entire family together for exploration and discovery. We differ from other catalogs in that we espouse โ€˜side by side' opportunities that bring adults and children together as detectives and practitioners of learning," said Eichinger.
Some of Museum Tour's side-by-side tools include adult and child pottery wheels, rock tumblers, looms, metal detectors, junior and senior board games and beginner and advanced language CDs. This year the catalog also found unique items to explore family heritage. And for the first time, Museum Tour offers linguistic selections for language development. Anyone searching for eco-friendly fun or community projects will find the expanded environmental, health and outdoor sections in this issue to be a natural resource. (Several of the 2004-05 products are also available in Spanish.)
The Case Method
Placing the "Aha" in Education and the "Hmm" in Play
Solving problems is largely what life is about. When there are no challenges, people tend to be bored and often look for new avenues to explore. Imagine the excitement of having an "Aha" realization from self-directed exploration or piqued interest that leads to many "Hmm" moments?
Investigation is at its peak with science activities. Engineering and scientific inventions are usually the result of detectives using tools and techniques for exploring the unknown. Museum Tourโ€˜s science kits bring out the "Aha" experience that encourages the user to take the inventor's path and develop the skills and motivation needed to further inquiry. The "Aha" and "Hmm" books available in this issue inspire a young person to think of life as a series of challenges, explorations, and solutions that are exciting and fun to realize. Education arenas refer to this as the "case method."
Many education programs now use the case method to teach. This system puts the learner in the driver's seat by presenting challenging problems that need solving. In one sense, the child becomes a detective having to form hypotheses, conduct research, look for clues, and come to conclusions. Once interest is piqued, a child is willing to learn the facts and sits still for skill training. The question we should always ask is what is the best way to motivate children and adults to this end?
To quote Anatole France:
"Do not try to satisfy your vanity by teaching a great many things. Awaken people's curiosity. It is enough to open minds; do not overload them. Put there just a spark. If there is some good inflammable stuff, it will catch fire."
For further information, please contact:
Barbara Lund
503-794-7100
barbl@museumtour.com.
2517 SE Mailwell Dr.
Milwaukie OR. 97222.
Fax 503.794.7111
Consumers may visit museumtour.com or call 800-360-9116 to request a catalog. The Museum Tour Catalog is an annual publication of Informal Education Products, Inc.
##
How to Turn Everyday Clay into Ceramics
Step 1: Choosing your clay - you may prepare raw dug up clay or much preferred material for consistency purchase commercial clay.
Taking into consideration the temperature needed to turn clay into ceramics by way of a kiln, it is important to know the minerals that are present within the clay paste. (You can either use a beginner's chemistry set or preferably refer to your local yellow pages for experts in this field.) Keep in mind, certain materials need very high temperatures to turn. Please read information on firing temperatures for commercially prepared clays below for an idea of choosing the right temperature to turn your freshly prepared clay into ceramic.
- If you prefer to dig up and prepare your own clay, you can follow the guidelines below for best product:
a) Freshly dug up clay will have impurities such as plant material, stones, insects, even air pockets. Let your clay air dry before breaking it up for cleaning.
b) Next, make sure the dried clay is in small pebble like pieces. Use a hammer, mortar for grounding these pieces into powder. To get the right consistency for the next step, make sure to weight your powders in a plastic bag and set aside.
c) Third, Get a bowl, pure the powdered clay in bowl and slowly pour water to form a paste. Use a wooden spatula to knead. If the powder floats or does not seem to mix with the water, let it set for a while before kneading again. Remember it must form a thick paste. If it does not, possibly too much water was added or not enough powdered clay.
d) Fourth, the cleaning process is about to begin. Press your clay paste through the your 80-mesh sieve to remove all impurities.
e) Place your cleaned clay onto to a plaster bat and smooth. The clay will begin to harden, you will need to move the paste around frequently to prevent hardening.
f) Using a strong flat stick remove the stiff clay from the plaster bat by peeling it off. Now you can knead your clay for modeling and firing.
- If you prefer to purchase your clay it will come in the following form to choose from:
a) Earthenware - red or white (kiln fires from 1830 to 2160 degrees Farenheit);
b) Stoneware - beige to white (kiln fires from 2190 to 2370 degrees Farenheit);
c) Porcelain - white (kiln fires from 2340 to 2460 degrees Farenheit);
d) Grogged stoneware - slate (kiln fires from 2190 to 2340 degrees Farenheit);
e) Raku body - slate (kiln fires from 1830 to 2340 degrees Farenheit); or
f) T Material - cream color (kiln fires from 1830 to 2370 degrees Farenheit);
Unfired clay is quite flexible. By kneading and handling it you can determine what that lump of clay is best suited in making. Look for shrinkage rate, and strength to determine durability.
Primary clay is extremely pure however it is not very pliable.
As an FYI, there are about 6 types of clay:
Red clay - very common to find. Its high iron oxide mineral content gives the clay its rich red color as well as makes it very easy to use.
Fire clay - can be fired to extremely high temperatures. Has a beige to medium brown color when fired. Usually found near coal seams.
China clay - used as glaze with other clay products. It is considered as primary clay meaning that it has minimal pliability.
Ball clay - extremely flexible, but breaks easy. It has to be combined with other types of clay to maintain its strength, shape and durability. Commonly used for porcelain and decorations.
Bentonite -Small amounts are combined with primary clay such as China clay to make it more pliable for molding.
Stoneware clay - Rare. This is high mixed mineral content which when fired turns gray to white.
Step 2: Your clay is not ready for kneading. (This includes both freshly dug clay that has been cleaned and commercially bought clay.)
a) Place your clay on an absorbent firm surface for kneading and throwing the pockets of air out. Take a wire and cut clay in easily handy wedges. Pick up 1 piece of clay at a time, with cut edge facing you, heartily throw or slam clay on bench to remove pockets of air. (It is extremely important that no air pockets are present in the clay so as to prevent explosions, or other mishaps that can occur if clay is firing in kilm.) Continue to knead, slam and pivot clay until all sides of clay are thoroughly kneaded. Repeat about 10 times or more to be sure. As a check at the end of kneading, use your wire and cut the clay in half. Take a look to make sure the surface is completely smooth. It should not have bumps, lumps, or wholes. It should be absolutely smooth.
b) Use a damp sponge and wet your pottery wheel lightly so that your clay will adhere but not slip.
c) Next, slam a ball in the center of the wheel. With both hands lightly on clay use forward and backward motions to see if clay is sticking to the wheel. If the clay is slipping or sloshy, wipe moisture off wheel. Turn wheel on or begin kicking wheel. Place both hands steadily on either side of clay and begin pushing inward slightly and upward. The clay will resemble a cone.
d) At the top of the cone, use your thumb to flatten and eventually use one hand;makes sure the other hand supports the sides of the clay. While the wheel is turning, use 3 fingers with the flat hand at the top middle of the cone to form a pocket. Remember to keep supporting the sides. You will see a bowl forming. Now both your creative hand on top or by now in the middle of the bowl and on the side hand are working in unity. How you wish your bowl to appear is part of the creative process.
When done, use wire to remove clay bowl from wheel and place on drying rack. When bowl is completely dry it is now ready for the kiln.
By: Marjorie Broodie aka www.jewelscorner.org.
Part owner of Family Business aka jewelscorner.org. We specialize in Indoor and Garden Water Fountains, Scented Candles, various Aromatherapy products at below retail price. We provide FREE shipping and handling via UPS Ground Service. We are located on the web at: www.jewelscorner.org.
Taking into consideration the temperature needed to turn clay into ceramics by way of a kiln, it is important to know the minerals that are present within the clay paste. (You can either use a beginner's chemistry set or preferably refer to your local yellow pages for experts in this field.) Keep in mind, certain materials need very high temperatures to turn. Please read information on firing temperatures for commercially prepared clays below for an idea of choosing the right temperature to turn your freshly prepared clay into ceramic.
- If you prefer to dig up and prepare your own clay, you can follow the guidelines below for best product:
a) Freshly dug up clay will have impurities such as plant material, stones, insects, even air pockets. Let your clay air dry before breaking it up for cleaning.
b) Next, make sure the dried clay is in small pebble like pieces. Use a hammer, mortar for grounding these pieces into powder. To get the right consistency for the next step, make sure to weight your powders in a plastic bag and set aside.
c) Third, Get a bowl, pure the powdered clay in bowl and slowly pour water to form a paste. Use a wooden spatula to knead. If the powder floats or does not seem to mix with the water, let it set for a while before kneading again. Remember it must form a thick paste. If it does not, possibly too much water was added or not enough powdered clay.
d) Fourth, the cleaning process is about to begin. Press your clay paste through the your 80-mesh sieve to remove all impurities.
e) Place your cleaned clay onto to a plaster bat and smooth. The clay will begin to harden, you will need to move the paste around frequently to prevent hardening.
f) Using a strong flat stick remove the stiff clay from the plaster bat by peeling it off. Now you can knead your clay for modeling and firing.
- If you prefer to purchase your clay it will come in the following form to choose from:
a) Earthenware - red or white (kiln fires from 1830 to 2160 degrees Farenheit);
b) Stoneware - beige to white (kiln fires from 2190 to 2370 degrees Farenheit);
c) Porcelain - white (kiln fires from 2340 to 2460 degrees Farenheit);
d) Grogged stoneware - slate (kiln fires from 2190 to 2340 degrees Farenheit);
e) Raku body - slate (kiln fires from 1830 to 2340 degrees Farenheit); or
f) T Material - cream color (kiln fires from 1830 to 2370 degrees Farenheit);
Unfired clay is quite flexible. By kneading and handling it you can determine what that lump of clay is best suited in making. Look for shrinkage rate, and strength to determine durability.
Primary clay is extremely pure however it is not very pliable.
As an FYI, there are about 6 types of clay:
Red clay - very common to find. Its high iron oxide mineral content gives the clay its rich red color as well as makes it very easy to use.
Fire clay - can be fired to extremely high temperatures. Has a beige to medium brown color when fired. Usually found near coal seams.
China clay - used as glaze with other clay products. It is considered as primary clay meaning that it has minimal pliability.
Ball clay - extremely flexible, but breaks easy. It has to be combined with other types of clay to maintain its strength, shape and durability. Commonly used for porcelain and decorations.
Bentonite -Small amounts are combined with primary clay such as China clay to make it more pliable for molding.
Stoneware clay - Rare. This is high mixed mineral content which when fired turns gray to white.
Step 2: Your clay is not ready for kneading. (This includes both freshly dug clay that has been cleaned and commercially bought clay.)
a) Place your clay on an absorbent firm surface for kneading and throwing the pockets of air out. Take a wire and cut clay in easily handy wedges. Pick up 1 piece of clay at a time, with cut edge facing you, heartily throw or slam clay on bench to remove pockets of air. (It is extremely important that no air pockets are present in the clay so as to prevent explosions, or other mishaps that can occur if clay is firing in kilm.) Continue to knead, slam and pivot clay until all sides of clay are thoroughly kneaded. Repeat about 10 times or more to be sure. As a check at the end of kneading, use your wire and cut the clay in half. Take a look to make sure the surface is completely smooth. It should not have bumps, lumps, or wholes. It should be absolutely smooth.
b) Use a damp sponge and wet your pottery wheel lightly so that your clay will adhere but not slip.
c) Next, slam a ball in the center of the wheel. With both hands lightly on clay use forward and backward motions to see if clay is sticking to the wheel. If the clay is slipping or sloshy, wipe moisture off wheel. Turn wheel on or begin kicking wheel. Place both hands steadily on either side of clay and begin pushing inward slightly and upward. The clay will resemble a cone.
d) At the top of the cone, use your thumb to flatten and eventually use one hand;makes sure the other hand supports the sides of the clay. While the wheel is turning, use 3 fingers with the flat hand at the top middle of the cone to form a pocket. Remember to keep supporting the sides. You will see a bowl forming. Now both your creative hand on top or by now in the middle of the bowl and on the side hand are working in unity. How you wish your bowl to appear is part of the creative process.
When done, use wire to remove clay bowl from wheel and place on drying rack. When bowl is completely dry it is now ready for the kiln.
By: Marjorie Broodie aka www.jewelscorner.org.
Part owner of Family Business aka jewelscorner.org. We specialize in Indoor and Garden Water Fountains, Scented Candles, various Aromatherapy products at below retail price. We provide FREE shipping and handling via UPS Ground Service. We are located on the web at: www.jewelscorner.org.
Tin (10) Years Together - The Tin Anniversary & How to Celebrate It
Ten years together. One-hundred-twenty months of wedded bliss. Seems like yesterday you tied the knot, said "I Do", then headed off to your honeymoon in the Catskills, or Niagara Falls, or maybe the Grand Canyon and Vegas. Ten years later, and you're wondering where did the time go?
Traditionally, the tenth is celebrated as the 'tin' anniversary. The reason for this could be something exotic, such as the acknowledgment that tin is more durable than paper, used for the first year of marriage. Or it could be recognition that by ten years a couple's golden years are still a long way off. It could even be something as simple as the obvious connection between the words ten and tin. Who knows? The reality is, that in our culture, people recognize ten years with something crafted from tin. So what are some ideas for this? What tin items can be had, or created to salute ten years together? Here are tin (10) ideas to consider:
1 Pie plates. Why not purchase ten of them, then fill them with ten of your mate's favorite delicacies--pies of every description he or she may have mentioned during the past 120 months that they particularly enjoy? Can't eat that much Peach/Mango pie? Take it to a shelter, and serve the clients there. You'll feel better, and so will they.
2 Two tin cups. Take these cute cups, ask your spouse to put their left-over change in them, and when they're full, cash it in, and go on a date.
3 Tin picture frames (one or two). Fill them with photo memories of the past ten years. If done correctly, tin can be fashioned in many ways, twisted, tweaked and turned just so to make an attractive frame. It can even be tinted with the right paints & dyes.
4 A tin tree plaque. Just like carving your initials in a tree, only not as damaging, and available for additional inscriptions. Attach a section of tin that's big enough to scratch messages and other short expressions on. Use small brads, the smaller the better to preserve the tree, and post the message tin on a tree in your own back yard. Scratch a ten year message to each other, and watch the tree grow around it. This 'scratching tin' has the added advantage of being portable. If you move, take it with you and attach it to another tree.
5 Tin pocket reminders. It's been a good ten years, but ten years of marriage isn't easy, regardless of how much you love and care for each other. Instead of the usual romantic pocket reminder cards, scratch something on a tin the size of a standard business card, and carry it with you till number eleven.
6 Tin popcorn bowl. Remember that tin popcorn server you had when you were a kid? Go to E-Bay and look for one. I'm betting your spouse had one of those, too. He or she would love to fill it with buttery, fresh popcorn then sit in front of the TV and share ten years together with you. Recommendation for a movie? Try 'Ghost'. Just don't expect to make it through the pottery-wheel scene. Put the kids to bed first.
7 Tin earrings. She'll love the thought of having been married ten years enough that she'll wear them on that date you paid for with the change from your tin cups.
8 Tin cufflinks. He'll love these enough he (or she) may wear them on that date, and for many occasions afterward. There are jewelers everywhere who can craft such things for you, or you can look on-line for these items.
9 Your own tin memento. There are many places to have things manufactured, mementos that use items from your personal collection and turn them into heirlooms. On-line craft creators such as Etsy and others are just a mouse click away.
10 A tin '10'. Go on-line to the craft person you found and have them create a tin numeral ten to hang wherever you choose. You an customize it any way you want, with personal items and/or anniversary things used already.
Ten years of marriage is a milestone that any couple can be proud of. Though the traditional marker for ten years is something made of tin, it doesn't have to be something drab or unremarkable. Tin lasts a long time, and, unlike other similar metals in the periodic table, tin doesn't oxidize well, so it doesn't corrode. Indeed, tin is used to coat steel to keep that metal from corroding. Just so, a marriage recognized by tin (10) years, is well on its way to being steeled against any corrosive elements, and, happily, your union will last a very long time. Enjoy the popcorn, and the movie!
Traditionally, the tenth is celebrated as the 'tin' anniversary. The reason for this could be something exotic, such as the acknowledgment that tin is more durable than paper, used for the first year of marriage. Or it could be recognition that by ten years a couple's golden years are still a long way off. It could even be something as simple as the obvious connection between the words ten and tin. Who knows? The reality is, that in our culture, people recognize ten years with something crafted from tin. So what are some ideas for this? What tin items can be had, or created to salute ten years together? Here are tin (10) ideas to consider:
1 Pie plates. Why not purchase ten of them, then fill them with ten of your mate's favorite delicacies--pies of every description he or she may have mentioned during the past 120 months that they particularly enjoy? Can't eat that much Peach/Mango pie? Take it to a shelter, and serve the clients there. You'll feel better, and so will they.
2 Two tin cups. Take these cute cups, ask your spouse to put their left-over change in them, and when they're full, cash it in, and go on a date.
3 Tin picture frames (one or two). Fill them with photo memories of the past ten years. If done correctly, tin can be fashioned in many ways, twisted, tweaked and turned just so to make an attractive frame. It can even be tinted with the right paints & dyes.
4 A tin tree plaque. Just like carving your initials in a tree, only not as damaging, and available for additional inscriptions. Attach a section of tin that's big enough to scratch messages and other short expressions on. Use small brads, the smaller the better to preserve the tree, and post the message tin on a tree in your own back yard. Scratch a ten year message to each other, and watch the tree grow around it. This 'scratching tin' has the added advantage of being portable. If you move, take it with you and attach it to another tree.
5 Tin pocket reminders. It's been a good ten years, but ten years of marriage isn't easy, regardless of how much you love and care for each other. Instead of the usual romantic pocket reminder cards, scratch something on a tin the size of a standard business card, and carry it with you till number eleven.
6 Tin popcorn bowl. Remember that tin popcorn server you had when you were a kid? Go to E-Bay and look for one. I'm betting your spouse had one of those, too. He or she would love to fill it with buttery, fresh popcorn then sit in front of the TV and share ten years together with you. Recommendation for a movie? Try 'Ghost'. Just don't expect to make it through the pottery-wheel scene. Put the kids to bed first.
7 Tin earrings. She'll love the thought of having been married ten years enough that she'll wear them on that date you paid for with the change from your tin cups.
8 Tin cufflinks. He'll love these enough he (or she) may wear them on that date, and for many occasions afterward. There are jewelers everywhere who can craft such things for you, or you can look on-line for these items.
9 Your own tin memento. There are many places to have things manufactured, mementos that use items from your personal collection and turn them into heirlooms. On-line craft creators such as Etsy and others are just a mouse click away.
10 A tin '10'. Go on-line to the craft person you found and have them create a tin numeral ten to hang wherever you choose. You an customize it any way you want, with personal items and/or anniversary things used already.
Ten years of marriage is a milestone that any couple can be proud of. Though the traditional marker for ten years is something made of tin, it doesn't have to be something drab or unremarkable. Tin lasts a long time, and, unlike other similar metals in the periodic table, tin doesn't oxidize well, so it doesn't corrode. Indeed, tin is used to coat steel to keep that metal from corroding. Just so, a marriage recognized by tin (10) years, is well on its way to being steeled against any corrosive elements, and, happily, your union will last a very long time. Enjoy the popcorn, and the movie!
About the Author(s): Byron & Mariah Edgington are the creators of Caffection, LLC dba Caffection, a marriage enrichment website. http://www.Caffection.com offers happy couples a portal for daily quotes, weekly affirmations, a monthly e-newsletter, exclusive gift items, seasonal and remembrance items, several interactive pages and entry to a newly identified, exclusive club of married best friends.
Got Caffection? Go to http://www.caffection.com, and find out.
Vrysi, North Cyprus In History
A few miles east of Girne in North Cyprus, on the seashore, lies the Neolithic site of Vrysi. Archaeologists have examined a small part of the site, and left some of the house walls exposed. The sea has undercut the promontory on which the village stood, and the whole area will fall into the sea before long. Visitors may look at the site and walk around its edges, but may not enter it, lest they disturb this fragile place. If you have seen the artifacts from the site at the museum in Girne Castle, you can imagine them in use, here where they were found. Your guide is a woman who lived here and raised her family some seven thousand years ago, when the village was already very old.
"Welcome to our village, strangers. Please look, but do not touch. My people have lived here for over a thousand years, and our honored dead are buried beneath these stones.
"Imagine this place ringing with the laughter of children, busy with the sounds we made grinding grain, flaking stone tools, chopping wood. We were a happy people, able to raise or find plenty of food, and able to store it against the dry years and the bad crops.
"Though we lived by the sea, we did not fish much. We had our goats and sheep and pigs, and the men hunted in the great forests. The trees provided us with carobs, figs, lemons, and olives. We raised wheat and barley, lentils, even grapes for wine. We could keep pet dogs and cats, because we always had enough to eat.
"We used stone sickles, axes, knives, spindle weights, and chisels. We carved fishhooks and needles from bone.
"You can see just six of our North Cyprus houses. We had about twenty houses in my day. They were grouped in clusters since several extended families lived in our village. We stayed here all year long, generation upon generation. Before our ancestors learned to farm, only small groups of people could stay together all year. In those olden days, the people would come together for festivals and to arrange marriages, then scatter to harvest whatever the wild world provided. Late winter and spring were always starving times, when grandparents died and too often the little children died as well.
"In those days before farming, it was difficult to preserve food for the winter. Our ancestors dug pits in the ground and lined them with hides, but mice and other vermin always found their way into the cache. Of course people have known that some kinds of mud harden in fire ever since the first child tried to bake a mud pie. Pottery was simply no use to our wandering ancestors—too heavy and too apt to break. But we farmed, we lived a settled life, and we made pots. We could store food safely. We had no starving time.
"We lived here by the sea, but the spring where we draw water is some ways away. Without pots, we would need to carry water little by little in skin bags. Have you ever tasted water from a skin bag after a day in the hot sun? Ah, then you can appreciate a pottery water jug.
"You can see how important pottery was to us by this fact: the archaeologists who excavated here found sixty-two thousand sherds of pottery and only one thousand other artifacts of all kinds.
"We made pottery ourselves, each family having its own designs. You can see the grace and boldness of those designs in the museum. Our pottery was white and we painted it in dark red or in brown. We had no pottery wheel, but shaped each piece by hand and fired it in small ovens.
"The designs on our pots came with our ancestors when they left Mersin in Turkey to make a brave voyage across the sea to North Cyprus. At first they were afraid, those pioneers. Their houses were half underground, and they built a ditch as a defense against attack on this precious property. But, little by little, we learned we had nothing to fear.
"Our ancestors here at Vrysi lived in flimsy houses when they first arrived. But ours, as you can see, were sturdily built. We had paved walkways between our homes so we did not have too much mud tracked in.
"We liked rectangular houses, but sometimes the lay of the land forced an irregular shape. We rounded the corners, so they were easy to keep clean, and we had lovely walls plastered with clay. We covered our floors with woven mats. Wooden pillars supported our high thatched roofs.
"We built stone benches along the walls of our houses and had storage bins made of stone slabs. A large hearth was the center of each house. At night, our one-room homes were cozy with the firelight and with the glow of oil burning in stone lamps. We made small stone figurines which were honored in our homes, but that is a religious matter, which we do not discuss with strangers.
"My people lived here for over a hundred generations, until an earthquake made the place unsafe and we moved away. For five thousand years since then, the sea has undercut our promontory. In the not-too-distant future, the sea will swallow the whole village. Then all that will remain to recall our lives will be the pottery sherds and bone needles and stone spindle whorls in the museum at Girne, North Cyprus."
"Welcome to our village, strangers. Please look, but do not touch. My people have lived here for over a thousand years, and our honored dead are buried beneath these stones.
"Imagine this place ringing with the laughter of children, busy with the sounds we made grinding grain, flaking stone tools, chopping wood. We were a happy people, able to raise or find plenty of food, and able to store it against the dry years and the bad crops.
"Though we lived by the sea, we did not fish much. We had our goats and sheep and pigs, and the men hunted in the great forests. The trees provided us with carobs, figs, lemons, and olives. We raised wheat and barley, lentils, even grapes for wine. We could keep pet dogs and cats, because we always had enough to eat.
"We used stone sickles, axes, knives, spindle weights, and chisels. We carved fishhooks and needles from bone.
"You can see just six of our North Cyprus houses. We had about twenty houses in my day. They were grouped in clusters since several extended families lived in our village. We stayed here all year long, generation upon generation. Before our ancestors learned to farm, only small groups of people could stay together all year. In those olden days, the people would come together for festivals and to arrange marriages, then scatter to harvest whatever the wild world provided. Late winter and spring were always starving times, when grandparents died and too often the little children died as well.
"In those days before farming, it was difficult to preserve food for the winter. Our ancestors dug pits in the ground and lined them with hides, but mice and other vermin always found their way into the cache. Of course people have known that some kinds of mud harden in fire ever since the first child tried to bake a mud pie. Pottery was simply no use to our wandering ancestors—too heavy and too apt to break. But we farmed, we lived a settled life, and we made pots. We could store food safely. We had no starving time.
"We lived here by the sea, but the spring where we draw water is some ways away. Without pots, we would need to carry water little by little in skin bags. Have you ever tasted water from a skin bag after a day in the hot sun? Ah, then you can appreciate a pottery water jug.
"You can see how important pottery was to us by this fact: the archaeologists who excavated here found sixty-two thousand sherds of pottery and only one thousand other artifacts of all kinds.
"We made pottery ourselves, each family having its own designs. You can see the grace and boldness of those designs in the museum. Our pottery was white and we painted it in dark red or in brown. We had no pottery wheel, but shaped each piece by hand and fired it in small ovens.
"The designs on our pots came with our ancestors when they left Mersin in Turkey to make a brave voyage across the sea to North Cyprus. At first they were afraid, those pioneers. Their houses were half underground, and they built a ditch as a defense against attack on this precious property. But, little by little, we learned we had nothing to fear.
"Our ancestors here at Vrysi lived in flimsy houses when they first arrived. But ours, as you can see, were sturdily built. We had paved walkways between our homes so we did not have too much mud tracked in.
"We liked rectangular houses, but sometimes the lay of the land forced an irregular shape. We rounded the corners, so they were easy to keep clean, and we had lovely walls plastered with clay. We covered our floors with woven mats. Wooden pillars supported our high thatched roofs.
"We built stone benches along the walls of our houses and had storage bins made of stone slabs. A large hearth was the center of each house. At night, our one-room homes were cozy with the firelight and with the glow of oil burning in stone lamps. We made small stone figurines which were honored in our homes, but that is a religious matter, which we do not discuss with strangers.
"My people lived here for over a hundred generations, until an earthquake made the place unsafe and we moved away. For five thousand years since then, the sea has undercut our promontory. In the not-too-distant future, the sea will swallow the whole village. Then all that will remain to recall our lives will be the pottery sherds and bone needles and stone spindle whorls in the museum at Girne, North Cyprus."
Themed Parties - How to Pick a Theme
The reason people create themed parties is because it helps to provide some cohesiveness in decorations and activities, sometimes even in menu items. Birthday parties are just one example of a themed party, as are parties that celebrate a favorite season or holiday, to say nothing of the one-of-a-kind original event. A theme can inspire the food, activities and invitation design, neatly tying everything together.
So once you've decided what event you are celebrating it's time to get down to the nitty gritty - planning. As always, start with your budget. Be very clear on how much you can afford to spend and stick to it! Now consider your guests - what fun things do they like to do? Are they into books, hobbies, certain types of music? If you aren't sure, then start asking! You certainly don't want to spend a lot of time and energy putting together a party that very few people will want to attend because they think it will be a bore or simply no to their taste.
If you are planning a party for a guest of honor, then you might consider including that person in the planning. Together, select a fun theme tied to that person's interests and achievements. Decorate with personal pictures and mementos and even play favorite musical selections. The menu should definitely include favorite food items but don't be afraid to branch out and include a wider selection to cover all the guests.
Your theme of choice can also help determine your activities. For example, if your guest of honor loves photography then make sure that there are plenty of cameras to record this amazing event and make sure that you plan the ways to use all of the photos - whether it's to create a scrapbook, or a DVD, or even to create a webpage to share with everyone. I went to a really fun party for a friend who loved pottery - I mean making pottery. Everyone was encouraged to bring an apron to cover our clothing and we were given the opportunity to sit at a pottery wheel and create! I am sure you can imagine the laughter this evoked as our works of art were displayed!
Remember, no matter how old your guests are, everyone loves to have fun. So give them that opportunity. Not everyone will jump in, but those that do will spread their joy and sense of fun to the rest of the group and your party will be long remembered as a great success!
So once you've decided what event you are celebrating it's time to get down to the nitty gritty - planning. As always, start with your budget. Be very clear on how much you can afford to spend and stick to it! Now consider your guests - what fun things do they like to do? Are they into books, hobbies, certain types of music? If you aren't sure, then start asking! You certainly don't want to spend a lot of time and energy putting together a party that very few people will want to attend because they think it will be a bore or simply no to their taste.
If you are planning a party for a guest of honor, then you might consider including that person in the planning. Together, select a fun theme tied to that person's interests and achievements. Decorate with personal pictures and mementos and even play favorite musical selections. The menu should definitely include favorite food items but don't be afraid to branch out and include a wider selection to cover all the guests.
Your theme of choice can also help determine your activities. For example, if your guest of honor loves photography then make sure that there are plenty of cameras to record this amazing event and make sure that you plan the ways to use all of the photos - whether it's to create a scrapbook, or a DVD, or even to create a webpage to share with everyone. I went to a really fun party for a friend who loved pottery - I mean making pottery. Everyone was encouraged to bring an apron to cover our clothing and we were given the opportunity to sit at a pottery wheel and create! I am sure you can imagine the laughter this evoked as our works of art were displayed!
Remember, no matter how old your guests are, everyone loves to have fun. So give them that opportunity. Not everyone will jump in, but those that do will spread their joy and sense of fun to the rest of the group and your party will be long remembered as a great success!
Sandra Martinez can help you with all your party needs. She has great recipes and can help with your wine selection also http://www.partyplanningnews.com
Top Resources For Pottery and Glass Making Lesson Plans
If you search the web these days, you are almost guaranteed to find an extensive library of free lesson plans and project ideas for schools, occupational therapy, and craft centers. Collections of lesson plans, Power Point presentations, and technique sheets offer a very wide range of art topics, and give art teachers and occupational therapists a terrific place to begin creating educational lessons which combine art history with hands on activities in the classroom. Here are some examples of the lesson plans you may find today.
A lesson especially designed with younger students in mind starts with commercially-made flower pots which are cleaned by firing and then given to the children to decorate as their imaginations will. This lesson familiarizes students with basic ceramic theory and terms, and gives them hands-on experience in decorating pots with underglazes and velvets. Underglaze pencils and crayons can be applied to create individualistic designs; younger children can use sponge painting with liquid underglazes before placing their work on the ware cart to be fired in the kiln.
Another lesson which can involve students of all ages is Ceramic Tile Wall Murals. This is an art history lesson which traces the development of this art form from the first millennium B.C.E. to the present. Copiously illustrated with examples from ancient Persia, Babylonia, Greece, and China, the story continues through Renaissance Majolica tile-making; up to contemporary uses of tile wall murals in modern art and architecture. This Power Point Presentation concludes with instructions on how a group tile wall mural project can be used to bring school students, their parents, and faculty members together to create a delightful all school experience.
In addition to ceramics there are also lessons devoted to the history and how-to of fused, slumped, and cast glass. Warm glass techniques date back to the second millennium B.C.E. in Mesopotamia, and were considered the equal of gold and silver in ancient Greece and Rome. The era of blown glass objects d'art eclipsed the warm glass technique, but it has been revived and become a popular medium for contemporary artists. These lessons show how to use glass stringers, frits and confetti to create fused glass plates, shaped vessels, and jewelry.
Other popular lesson plans cover such topics as sculpture in both history and how-to; lithography and other print-making techniques; paper-making and paper sculpture; working in Chinese-style bronze; making Japanese-style tea bowls and garden lanterns; and making Mexican-style skulls for the Day of the Dead. There are also special lessons on dinosaurs, insects, life in a coral reef; and prehistoric cave art.
A lesson especially designed with younger students in mind starts with commercially-made flower pots which are cleaned by firing and then given to the children to decorate as their imaginations will. This lesson familiarizes students with basic ceramic theory and terms, and gives them hands-on experience in decorating pots with underglazes and velvets. Underglaze pencils and crayons can be applied to create individualistic designs; younger children can use sponge painting with liquid underglazes before placing their work on the ware cart to be fired in the kiln.
Another lesson which can involve students of all ages is Ceramic Tile Wall Murals. This is an art history lesson which traces the development of this art form from the first millennium B.C.E. to the present. Copiously illustrated with examples from ancient Persia, Babylonia, Greece, and China, the story continues through Renaissance Majolica tile-making; up to contemporary uses of tile wall murals in modern art and architecture. This Power Point Presentation concludes with instructions on how a group tile wall mural project can be used to bring school students, their parents, and faculty members together to create a delightful all school experience.
In addition to ceramics there are also lessons devoted to the history and how-to of fused, slumped, and cast glass. Warm glass techniques date back to the second millennium B.C.E. in Mesopotamia, and were considered the equal of gold and silver in ancient Greece and Rome. The era of blown glass objects d'art eclipsed the warm glass technique, but it has been revived and become a popular medium for contemporary artists. These lessons show how to use glass stringers, frits and confetti to create fused glass plates, shaped vessels, and jewelry.
Other popular lesson plans cover such topics as sculpture in both history and how-to; lithography and other print-making techniques; paper-making and paper sculpture; working in Chinese-style bronze; making Japanese-style tea bowls and garden lanterns; and making Mexican-style skulls for the Day of the Dead. There are also special lessons on dinosaurs, insects, life in a coral reef; and prehistoric cave art.
AMACO ceramics is not just the world leader in ceramic and glass-making supplies, but is also a major educational resource. Whether you need a throwing wheel or ware cart; clays, molds, and glazes; or glass stringers, frits, and glass kilns; look to AMACO for the widest selection in the world.
Six Styles of Pottery For Southwest Decor
Native American pottery is unique in that every tribe, Hopi, Navajo, Cherokee, Apache, and so on leaves a part of its heritage in the colors, patterns, and designs used. Therefore, to enhance your Southwest decor, all you need to do is look at the various options and choose what fits your needs. Of course, some people will mix and match pottery from several tribes for a more interesting display. Regardless, learning about some of the primary options is exciting, helping you when it comes time to buy.
Genuine Native American pottery is made by hand without the aid of a potter's wheel. While buying authentic pottery would be more expensive and some types more difficult to find, you can purchase gorgeous pieces from numerous brick and mortar companies, as well as online. However, if you have time to check around, you will probably find pottery that would work with your southwest decor with beauty and unique authenticity.
We wanted to provide you with information about six types of pottery that you might consider for your Southwest decor.
1. Hand-Coiled - This type of pottery was made with a very interesting method called coil and pinch. The base of the pottery piece began as a slab of clay, on which coils were added to create strength and durability. After the first coiled row, excess clay was trimmed and the outside edge formed. Row-by-row, the pottery piece was constructed, ending up as a gorgeous piece of Native American art. Typically, smaller pieces of pottery have 3/8 to 1-inch coils while the larger pieces were made with coils of 3/4 to 1 1/2-inches.
2. Hopi - Hopi Indians are known for making gorgeous pottery creations, also called Pueblo Pottery. Prior to being fired, the cream-colored clay was polished and then painted using dyes made from minerals and vegetables. The creator then added a design like a Pueblo village, kiva ladder, parrot, lightening or road runner depending on personal choice. Once fired outside, the pottery was packed in dry sheep manure. To compliment the Southwest decor, Hopi pottery is a favorite.
3. Horsehair Pottery - This type of pottery is another option that looks amazing in a home with Southwest decor. This pottery was created by Native American Navajo Indians, but also, many other tribes. Added to the surface of the pottery are strands of hair taken from a horse's mane and tail. This design is unlike any other and because of the technique: each pottery piece comes out as a one-of-a-kind creation.
4. Wedding Vase - Although pottery such as this was initially made for marriage ceremonies, this makes a great addition to a home with Southwest decor. The vase is rustic yet elegant. Designed with two spouts, one for the bride and the other for the groom, the spouts come together in one vase symbolizing two people becoming one.
5. Navajo - Another one of the Native American Indian tribes known for creating and designing pottery are the Navajos. In fact, pottery was a vital part of existence of these people. Using a pit for firing and an open fire, the pottery pieces were fired one at a time for hours. Prior to the pottery cooling, hot melted pinion tree pitch was carefully applied. Interestingly, this type of pottery was usually not decorated because its use was utilitarian, for holding water, cooking, and dishes for eating. However, some of the newer pieces reflect southwest decor with traditional symbols of the Navajo people.
6. Casas Grandes - This type of southwest decor pottery known as Mata Ortiz Pottery, is created using natural clay from the mountains near the Mexican village of Mata Ortiz. The design and color of this rustic pottery was done with natural pigments made of roots and minerals, applied using human hair brushes. Each piece of pottery was made by skilled artisans, all by hand.
Genuine Native American pottery is made by hand without the aid of a potter's wheel. While buying authentic pottery would be more expensive and some types more difficult to find, you can purchase gorgeous pieces from numerous brick and mortar companies, as well as online. However, if you have time to check around, you will probably find pottery that would work with your southwest decor with beauty and unique authenticity.
We wanted to provide you with information about six types of pottery that you might consider for your Southwest decor.
1. Hand-Coiled - This type of pottery was made with a very interesting method called coil and pinch. The base of the pottery piece began as a slab of clay, on which coils were added to create strength and durability. After the first coiled row, excess clay was trimmed and the outside edge formed. Row-by-row, the pottery piece was constructed, ending up as a gorgeous piece of Native American art. Typically, smaller pieces of pottery have 3/8 to 1-inch coils while the larger pieces were made with coils of 3/4 to 1 1/2-inches.
2. Hopi - Hopi Indians are known for making gorgeous pottery creations, also called Pueblo Pottery. Prior to being fired, the cream-colored clay was polished and then painted using dyes made from minerals and vegetables. The creator then added a design like a Pueblo village, kiva ladder, parrot, lightening or road runner depending on personal choice. Once fired outside, the pottery was packed in dry sheep manure. To compliment the Southwest decor, Hopi pottery is a favorite.
3. Horsehair Pottery - This type of pottery is another option that looks amazing in a home with Southwest decor. This pottery was created by Native American Navajo Indians, but also, many other tribes. Added to the surface of the pottery are strands of hair taken from a horse's mane and tail. This design is unlike any other and because of the technique: each pottery piece comes out as a one-of-a-kind creation.
4. Wedding Vase - Although pottery such as this was initially made for marriage ceremonies, this makes a great addition to a home with Southwest decor. The vase is rustic yet elegant. Designed with two spouts, one for the bride and the other for the groom, the spouts come together in one vase symbolizing two people becoming one.
5. Navajo - Another one of the Native American Indian tribes known for creating and designing pottery are the Navajos. In fact, pottery was a vital part of existence of these people. Using a pit for firing and an open fire, the pottery pieces were fired one at a time for hours. Prior to the pottery cooling, hot melted pinion tree pitch was carefully applied. Interestingly, this type of pottery was usually not decorated because its use was utilitarian, for holding water, cooking, and dishes for eating. However, some of the newer pieces reflect southwest decor with traditional symbols of the Navajo people.
6. Casas Grandes - This type of southwest decor pottery known as Mata Ortiz Pottery, is created using natural clay from the mountains near the Mexican village of Mata Ortiz. The design and color of this rustic pottery was done with natural pigments made of roots and minerals, applied using human hair brushes. Each piece of pottery was made by skilled artisans, all by hand.
Get "The Rustic Southwest Decorating Guide" a popular free download with room by room tips and ideas to help you. You can also get discount coupons and special offers on southwest decor from Mission Del Rey. http://www.missiondelrey.com
A Lesson From Pottery
Just last week, I discovered something which I intuitively knew all along, but needed to be reminded of: Children are more creative than adults. What brought this thought to me was when I attended a "pottery retreat" at our church. The three hour session was conducted by a local potter who demonstrated the molding of clay on a potter's wheel. In the presentation he brought out the spiritual implications of what a potter does, drawing attention to the prophet Jeremiah who was led to go to the potter's house to hear a message from God.
It's amazing how many spiritual lessons one can find in the process of sculpting a clay pot. The clay, the wheel, the potter's hands and even the house have so much spiritual significance. It doesn't take long to see yourself in that clay pot being shaped and formed on that wheel.
During the course of the event, we were given an opportunity to "play with clay" ourselves. The first task he gave us was to make anything we wanted out of the clay. I was amazed at the creativity in the small group of people we had. The youngest person in attendance was about 5 years old and the oldest about 70. There were of course many different items, including little people, houses, bowls, crosses, and even a cornucopia! Noticeably, however, all the projects represented things that had already been made... they were representations of things we are familiar with and maybe even use every day.
The second task the potter assigned us was to make something which "has no name", something which has never existed before. Now that took some real thought and contemplation. What I noticed in that exercise is that the adults had a more difficult time with that assignment than the children. The children came up with all kinds of different things, but the adults had real trouble tapping into the creative side of their brains.
This got me thinking: I wonder if we, as parents and educators, sometimes squelch the creativity resident within our children. We provide them with things that define the limits of their play and thus hinder their own creative abilities. I remember when our children were little. They could play in a cardboard box for hours while the toy truck would sit off in a corner. The truck was defined by wheels, windows and doors whereas the box could become a boat, a submarine, a spaceship or a playhouse. The possibilities were almost endless.
What can you do to stimulate your child's creativity? What steps should you be taking to make sure that you don't unwittingly crush that natural creative bent in your young one? Think about it!
It's amazing how many spiritual lessons one can find in the process of sculpting a clay pot. The clay, the wheel, the potter's hands and even the house have so much spiritual significance. It doesn't take long to see yourself in that clay pot being shaped and formed on that wheel.
During the course of the event, we were given an opportunity to "play with clay" ourselves. The first task he gave us was to make anything we wanted out of the clay. I was amazed at the creativity in the small group of people we had. The youngest person in attendance was about 5 years old and the oldest about 70. There were of course many different items, including little people, houses, bowls, crosses, and even a cornucopia! Noticeably, however, all the projects represented things that had already been made... they were representations of things we are familiar with and maybe even use every day.
The second task the potter assigned us was to make something which "has no name", something which has never existed before. Now that took some real thought and contemplation. What I noticed in that exercise is that the adults had a more difficult time with that assignment than the children. The children came up with all kinds of different things, but the adults had real trouble tapping into the creative side of their brains.
This got me thinking: I wonder if we, as parents and educators, sometimes squelch the creativity resident within our children. We provide them with things that define the limits of their play and thus hinder their own creative abilities. I remember when our children were little. They could play in a cardboard box for hours while the toy truck would sit off in a corner. The truck was defined by wheels, windows and doors whereas the box could become a boat, a submarine, a spaceship or a playhouse. The possibilities were almost endless.
What can you do to stimulate your child's creativity? What steps should you be taking to make sure that you don't unwittingly crush that natural creative bent in your young one? Think about it!
Next, go to this website Little Tikes Swing Castle where you will find tips and information on this child's outdoor toy playset.
http://www.little-tikes-swing-along-castle.com
Pottery Is The Eyes Of The Beholder
In the days of ancient Egypt, when the pharaohs rule the Nile
and Osiris lorded over them, and before the age of the Maoist
communism in China way back in the age of great dynasties and
divided kingdoms there was one distinct craft that was
considered the toast of kings and queens.
In those times the streets are filled and lined up with all
sorts of creations by different master that acclaim for
themselves the right to be called "master potter."
>From days of long ago when the art of pottery was considered to
be the greatest career anyone could ever venture and the pottery
techniques are solely-owned by one family.
Just like martial arts in some parts of the Asian region where
they pass on to the next generation of the family lines the
secret technique that can be found in their martial arts,
potters have handed down from generation to generation the
secret to what makes their pots stand out from the other.
And from generation to generation the secret to pottery making
has been a closely guarded knowledge up until the time when
commercial pottery has taken over the good old hand made pots,
vases, jars and other products of pottery.
Today's way of life has taken off by leaps and bounds and the
way we see pottery has greatly deteriorated from the time of the
great kings. Potters nowadays rides a broomstick, waves his
magic wand, has an owl for a pet and plays an out of this world
game where you can literally die.
The good years of the art of pottery has taken a back seat to a
different kind of potter. Sad as it is children, even adults at
this time never really recognize the historical and cultural
impact of pottery in our society.
Besides being one of the oldest means of livelihood in the post
cavemen society, pottery speaks about the kind of life that an
early civilization has. Pottery in ancient China was one of the
major industries back then.
Palaces were adorned with all shapes, sizes and kinds of
pottery. Yet, unlike the crude concoction of mud and water baked
until golden brown or dried under done for a day, the Chinese
discovered the wonderful use of ceramic. Chinaware--which is
what it's commonly called nowadays--is the pioneer product of
the pottery world.
Chinaware is intricately designed with scenery and calligraphy.
Potteries during the age of the dynasties are abundant because
of the diverse cultural influence of the Chinese.
Unlike in the pottery in ancient Egypt, where everything was
either made from red clay or dyed red and then painted on
designs with the juice of berries and trees, Chinese pottery has
reached a certain level of sophistication when it comes to
production process.
Pottery are not just crudely placed on a rotating wheel, shaped
to a certain form, and afterwards baked in the sun. Pottery
making in china offered not just a view at the kinds of
industries they had but the kind of culture that they have
developed.
And way before the western colonizers ever set sail to the
Newfoundland, the Asian and the African side of the world have
set up a civilization based on camaraderie and progress. And
thanks to the presence of ancient pottery, these truths are
realized today to give us an idea what's it like to the pottery
in the eye of the beholder.
and Osiris lorded over them, and before the age of the Maoist
communism in China way back in the age of great dynasties and
divided kingdoms there was one distinct craft that was
considered the toast of kings and queens.
In those times the streets are filled and lined up with all
sorts of creations by different master that acclaim for
themselves the right to be called "master potter."
>From days of long ago when the art of pottery was considered to
be the greatest career anyone could ever venture and the pottery
techniques are solely-owned by one family.
Just like martial arts in some parts of the Asian region where
they pass on to the next generation of the family lines the
secret technique that can be found in their martial arts,
potters have handed down from generation to generation the
secret to what makes their pots stand out from the other.
And from generation to generation the secret to pottery making
has been a closely guarded knowledge up until the time when
commercial pottery has taken over the good old hand made pots,
vases, jars and other products of pottery.
Today's way of life has taken off by leaps and bounds and the
way we see pottery has greatly deteriorated from the time of the
great kings. Potters nowadays rides a broomstick, waves his
magic wand, has an owl for a pet and plays an out of this world
game where you can literally die.
The good years of the art of pottery has taken a back seat to a
different kind of potter. Sad as it is children, even adults at
this time never really recognize the historical and cultural
impact of pottery in our society.
Besides being one of the oldest means of livelihood in the post
cavemen society, pottery speaks about the kind of life that an
early civilization has. Pottery in ancient China was one of the
major industries back then.
Palaces were adorned with all shapes, sizes and kinds of
pottery. Yet, unlike the crude concoction of mud and water baked
until golden brown or dried under done for a day, the Chinese
discovered the wonderful use of ceramic. Chinaware--which is
what it's commonly called nowadays--is the pioneer product of
the pottery world.
Chinaware is intricately designed with scenery and calligraphy.
Potteries during the age of the dynasties are abundant because
of the diverse cultural influence of the Chinese.
Unlike in the pottery in ancient Egypt, where everything was
either made from red clay or dyed red and then painted on
designs with the juice of berries and trees, Chinese pottery has
reached a certain level of sophistication when it comes to
production process.
Pottery are not just crudely placed on a rotating wheel, shaped
to a certain form, and afterwards baked in the sun. Pottery
making in china offered not just a view at the kinds of
industries they had but the kind of culture that they have
developed.
And way before the western colonizers ever set sail to the
Newfoundland, the Asian and the African side of the world have
set up a civilization based on camaraderie and progress. And
thanks to the presence of ancient pottery, these truths are
realized today to give us an idea what's it like to the pottery
in the eye of the beholder.
History of Mexican Talavera Pottery
Moors Contribution
During the 8th century, the Moors from Northern Africa conquered Spain. The Moors brought with them majolica pottery. Majolica is an art form that is known for its unique glazing process and exquisite design details. A major component of majolica is its glazing technique which contains tin as an ingredient. This technique for applying the glaze creates a creamy-white background that is perfect for applying colorful designs. The designs and use of mineral pigments originated from the Moors who conquered Spain and had tremendous influence on all the artistic expressions of Spain.
Egyptian Contribution
During the 8th century, the Arabs controlled Spain. The process of pottery making was first developed in ancient Egypt and was later refined by the Chinese. The production of pottery became very popular as a result of the Arab occupation of Spain. Muslim potters brought knowledge of using different materials and new techniques that radically changed pottery production in Spain. As a result, their influence was widespread. After the expulsion of the Muslims in the 16th and 17th centuries, many potters continued to use the intricate designs and vibrant colors such as copper green and manganese purple-black which were well known in Islamic pottery.
Chinese Contribution
In the late 16th century Spain opened trade with China by way of Mexico. As a result of the Chinese imports, the Mexicans began to incorporate the designs that were found on the Chinese porcelain. For example, the floral and feather motif to fill empty spaces on the blue and white Talavera exhibits Chinese influence. China contributed much of the motifs used today in Mexican talavera. The blue and white color, panel design, and even the barrel-shaped pottery were some of the Chinese influences that we still see today on modern pieces of talavera pottery.
Spanish and Mexican Contributions
The indigenous people of Mexico, long acquainted with making items from clay, had their own distinct method of producing earthenware, one which did not involve glazing or the use of the potter's wheel. The indigenous people of Mexico had a rich and long history of producing pottery long before the arrival of the Spaniards. However, with the arrival of the Spaniards in the 1600s new techniques such as the wheel, tin based glazes, and new styles were introduced. The combination of the newly learned Spanish techniques and the techniques of the indigenous people of Mexico gave birth to a new form of pottery, talavera. The name talavera is derived from the city Talavera de La Reina, Spain. The Spaniards from this city brought their pottery craftsmanship to the new world and taught the indigenous people of Mexico the art. Mexico was very proud of their new found success in the production of high quality talavera. In order to prevent th talavera from losing its high quality craftsmanship, the Potter's Guild was formed in 1653. The Potter's Guild set forth ordinances regulating the production of talavera pottery. The Potter's Guild was replaced by the Talavera Regulating Council in 1993.
The Moors, Chinese, Egyptians, Spaniards, and Mexicans should all be credited for the creation of Mexican talavera pottery. After thier creation, the Potter's Guild and the Talavera Regulating Council have worked hard to keep talavera authentic and of high quality. The lovely pieces of Mexican talavera pottery are a multicultural, regulated art form that expresses centuries of dedication and gratitude for its heritage. So next time you think, "Mexican talavera pottery," you will actually be thinking, "Moor, Chinese, Egyptian, Spanish, and Mexican talavera pottery!"
During the 8th century, the Moors from Northern Africa conquered Spain. The Moors brought with them majolica pottery. Majolica is an art form that is known for its unique glazing process and exquisite design details. A major component of majolica is its glazing technique which contains tin as an ingredient. This technique for applying the glaze creates a creamy-white background that is perfect for applying colorful designs. The designs and use of mineral pigments originated from the Moors who conquered Spain and had tremendous influence on all the artistic expressions of Spain.
Egyptian Contribution
During the 8th century, the Arabs controlled Spain. The process of pottery making was first developed in ancient Egypt and was later refined by the Chinese. The production of pottery became very popular as a result of the Arab occupation of Spain. Muslim potters brought knowledge of using different materials and new techniques that radically changed pottery production in Spain. As a result, their influence was widespread. After the expulsion of the Muslims in the 16th and 17th centuries, many potters continued to use the intricate designs and vibrant colors such as copper green and manganese purple-black which were well known in Islamic pottery.
Chinese Contribution
In the late 16th century Spain opened trade with China by way of Mexico. As a result of the Chinese imports, the Mexicans began to incorporate the designs that were found on the Chinese porcelain. For example, the floral and feather motif to fill empty spaces on the blue and white Talavera exhibits Chinese influence. China contributed much of the motifs used today in Mexican talavera. The blue and white color, panel design, and even the barrel-shaped pottery were some of the Chinese influences that we still see today on modern pieces of talavera pottery.
Spanish and Mexican Contributions
The indigenous people of Mexico, long acquainted with making items from clay, had their own distinct method of producing earthenware, one which did not involve glazing or the use of the potter's wheel. The indigenous people of Mexico had a rich and long history of producing pottery long before the arrival of the Spaniards. However, with the arrival of the Spaniards in the 1600s new techniques such as the wheel, tin based glazes, and new styles were introduced. The combination of the newly learned Spanish techniques and the techniques of the indigenous people of Mexico gave birth to a new form of pottery, talavera. The name talavera is derived from the city Talavera de La Reina, Spain. The Spaniards from this city brought their pottery craftsmanship to the new world and taught the indigenous people of Mexico the art. Mexico was very proud of their new found success in the production of high quality talavera. In order to prevent th talavera from losing its high quality craftsmanship, the Potter's Guild was formed in 1653. The Potter's Guild set forth ordinances regulating the production of talavera pottery. The Potter's Guild was replaced by the Talavera Regulating Council in 1993.
The Moors, Chinese, Egyptians, Spaniards, and Mexicans should all be credited for the creation of Mexican talavera pottery. After thier creation, the Potter's Guild and the Talavera Regulating Council have worked hard to keep talavera authentic and of high quality. The lovely pieces of Mexican talavera pottery are a multicultural, regulated art form that expresses centuries of dedication and gratitude for its heritage. So next time you think, "Mexican talavera pottery," you will actually be thinking, "Moor, Chinese, Egyptian, Spanish, and Mexican talavera pottery!"
Please visit our website http://www.LaCasaMexicana.us for a great selection of Mexican talavera pottery. At La Casa Mexicana.us we offer high-quality lead-free talavera made in the studio of Tomas Huerta in Puebla, Mexico
Hand Extruder Clay Pottery Art
Hand extruders are an indispensable adjunct to clay pottery art. Extruders can be used to form the main piece itself, or to add elements to wheel-thrown vessels. Even pulled handles can start out as extrusions. Although it may appear at first that using extruders to produce work enables the artisan to make scores of identical items quickly, in fact just the opposite is true. Extruded pottery requires measuring, cutting, smoothing, and joining, and therefore can require more time than a similar pot which is thrown. For some types of forms, extruding is the best way to go. Although manufacturers offer many different die configurations, serious extruder enthusiasts make their own dies. Designing and making dies is an integral part of the creative process; it requires thinking in a different perspective, because it is the negative die space which produces the form. With practice it is possible to shift one's spatial thinking so that it is easy to picture the three dimensional piece which is obtained from a shape outline cut into a die of two dimensions; and vice versa. Indeed, I sometimes look at everyday objects and try to picture mentally what the die which would be needed to form them looks like.
Pottery decorated with twisted coil handles and rims have been popular since antiquity. While twisted coils can be made by hand, they have a high rate of failure since they often crack during the drying or firing. One solution is to extrude the coils, which ends the cracking problem and also speeds up the job. For example, to make a Mexican clay pottery style bucket with braided rope top, start with a plain thrown cylinder. It is the extruded handle and rim which give this useful object its unique look. To form the bucket part, use 3 ½ lbs of clay and throw a 6" diameter cylinder which is about 7" high. Do not cut the pot from the bat when it is finished since it must be returned to the wheel later in order to attach the rim. When the pot is leather-hard, place a twisted rope extrusion around the top edge of the pot, beginning with one end and working towards the other. A fetting knife or cheese cutter can be used to cut the extrusion to the exact length needed, at an angle along the twisted extrusion lines. This provides increased surface area to form a tight joint. The rim is attached to the pot, both inside and outside, by gently pushing the clay into the bucket body. Then the join is smoothed and blended by rotating the wheel slowly, and gently throwing the join. The rim is pinched and extended at opposite sides of the bucket rim to make two lugs for attaching the handle.
Decorative coils or pellets can be added on either side of the lugs. Then, cut the bucket from the bat, and cover it to permit the moisture level to even out. When leather-hard, two holes for the bail of the handle are punched in the lugs with a piece of ¼" tubing. The bucket handle is made from a short piece of the twisted extrusion left over from the hand extruder when making the rim. Roll the extrusion over a handle roller, which is made by gluing short pieces of quarter round and cove molding to a board. Just before the handle is leather-hard, a hole is made through its length with a metal rod. It is easiest to work from one end for an inch or two, then switch ends and work towards the middle. After the pieces are fired, a 14" long brass rod (such as brazing rod) is inserted in the handle, centered, and then bent to shape. The ends of the rod can be threaded with a 6/32 metal cutting die, and secured to the bucket with threaded brass balls obtained from a lamp parts supply company.
Pottery decorated with twisted coil handles and rims have been popular since antiquity. While twisted coils can be made by hand, they have a high rate of failure since they often crack during the drying or firing. One solution is to extrude the coils, which ends the cracking problem and also speeds up the job. For example, to make a Mexican clay pottery style bucket with braided rope top, start with a plain thrown cylinder. It is the extruded handle and rim which give this useful object its unique look. To form the bucket part, use 3 ½ lbs of clay and throw a 6" diameter cylinder which is about 7" high. Do not cut the pot from the bat when it is finished since it must be returned to the wheel later in order to attach the rim. When the pot is leather-hard, place a twisted rope extrusion around the top edge of the pot, beginning with one end and working towards the other. A fetting knife or cheese cutter can be used to cut the extrusion to the exact length needed, at an angle along the twisted extrusion lines. This provides increased surface area to form a tight joint. The rim is attached to the pot, both inside and outside, by gently pushing the clay into the bucket body. Then the join is smoothed and blended by rotating the wheel slowly, and gently throwing the join. The rim is pinched and extended at opposite sides of the bucket rim to make two lugs for attaching the handle.
Decorative coils or pellets can be added on either side of the lugs. Then, cut the bucket from the bat, and cover it to permit the moisture level to even out. When leather-hard, two holes for the bail of the handle are punched in the lugs with a piece of ¼" tubing. The bucket handle is made from a short piece of the twisted extrusion left over from the hand extruder when making the rim. Roll the extrusion over a handle roller, which is made by gluing short pieces of quarter round and cove molding to a board. Just before the handle is leather-hard, a hole is made through its length with a metal rod. It is easiest to work from one end for an inch or two, then switch ends and work towards the middle. After the pieces are fired, a 14" long brass rod (such as brazing rod) is inserted in the handle, centered, and then bent to shape. The ends of the rod can be threaded with a 6/32 metal cutting die, and secured to the bucket with threaded brass balls obtained from a lamp parts supply company.
A hand extruder is quite useful in creating striking visual accents in clay pottery art. This simple Mexican clay pottery bucket with twisted coil rim is one example of the many possibilities.
Pottery: Functionality Verses Art
I have been involved in pottery now for about four years. I first became interested, when in my job; I travel North Carolina from the Coast to the Mountains and one day I happened to stop in at a pottery shop. I was taken away with pottery, as soon as I saw the many forms from cups to jugs. From that time on, I started stopping in at any shop that I ran across, in my travels. It was then, that I was hooked.
While being new to pottery, I saw it as art. Some of the first pieces I purchased were done so to decorate my home and as gifts for my wife. My wife, who is an avid collector of anything with North Carolina Lighthouses, was the reason for my very first purchase of pottery. I purchased a pie plate that had a lighthouse painted on it. I only saw it as art and not as functional. And most of the pieces I purchased afterward were also purchased as decorative pieces for our home. I looked at pottery as art. As my interest in pottery grew I wanted to learn how to make pottery on my own. On one of my trips I visited a local pottery in Sanford, North Carolina, known as, "The Cole Pottery". While there, Neola Cole let me have a try at the wheel and I was hooked.
It was not long that I purchased a wheel and began practicing at home. I am by no means a professional yet, but I am on my way. And in doing so, I have also got my youngest son hooked. Though only starting at seven and been turning for about a year, he is well on his way to becoming an excellent turner.
Since getting hooked on pottery, I have met many potters and continue to learn from each of them. But one thing that has truly changed is my thoughts on the art of pottery. I have since come to the conclusion that pottery is truly art, but not just art, but art to be used. So not only do I use hand made cups, but also bowls and many other pieces as well. I do not know your opinion of pottery. If you only see it as art, be forewarned, it is art meant to be used. And be warned, once you purchase your first piece, you may get hooked. Also don't be surprised if you get the pottery bug and begin playing in clay.
If you are interested in learning how to make pottery visit Wayne's web site http://www.TheSuccessfulPotter.com and get free tips on turning pottery.
While being new to pottery, I saw it as art. Some of the first pieces I purchased were done so to decorate my home and as gifts for my wife. My wife, who is an avid collector of anything with North Carolina Lighthouses, was the reason for my very first purchase of pottery. I purchased a pie plate that had a lighthouse painted on it. I only saw it as art and not as functional. And most of the pieces I purchased afterward were also purchased as decorative pieces for our home. I looked at pottery as art. As my interest in pottery grew I wanted to learn how to make pottery on my own. On one of my trips I visited a local pottery in Sanford, North Carolina, known as, "The Cole Pottery". While there, Neola Cole let me have a try at the wheel and I was hooked.
It was not long that I purchased a wheel and began practicing at home. I am by no means a professional yet, but I am on my way. And in doing so, I have also got my youngest son hooked. Though only starting at seven and been turning for about a year, he is well on his way to becoming an excellent turner.
Since getting hooked on pottery, I have met many potters and continue to learn from each of them. But one thing that has truly changed is my thoughts on the art of pottery. I have since come to the conclusion that pottery is truly art, but not just art, but art to be used. So not only do I use hand made cups, but also bowls and many other pieces as well. I do not know your opinion of pottery. If you only see it as art, be forewarned, it is art meant to be used. And be warned, once you purchase your first piece, you may get hooked. Also don't be surprised if you get the pottery bug and begin playing in clay.
If you are interested in learning how to make pottery visit Wayne's web site http://www.TheSuccessfulPotter.com and get free tips on turning pottery.
Pottery Classes - Promotional Tips
Pottery has existed since ancient times and is considered to be one of the oldest types of ceramic art. Pottery involves the shaping of a clay body into a specific shape and dried using a kiln until it hardens and sets. Pottery has been used as both functional and decorative items used in everyday rituals, celebrations, or even religious practices. Major types of pottery include earthenware, porcelain, and stoneware. Major groups of tools include shaping, rolling, cutting, and finishing tools. Pottery making techniques involve the human hand or use a potter's wheel. Lessons in wheel throwing, hand building, and kiln-drying are commonly given to individual or groups.Local pottery lessons can be a challenge to market given limited marketing resources and commercial competition. One effective and affordable method that pottery teachers can use is printed marketing materials. Examples of these printed marketing materials include:Brochures - Brochures are informative, illustrative, and handy tools for interested learners. Brochures, through a combination of text and graphic information can feature a list of classes, schedules, fees, instructors, and materials. They can be used to strengthen brand tools such as pottery class logos and taglines. Brochures can also feature a short history of the classes and a profile of its instructors. Bulk printing of brochures can be printed by convenient commercial online printing companies.Flyers - Flyers can serve as quick, easy, and direct materials for spreading awareness about pottery classes. They can also feature information about pottery class schedules, fees, instructors, and pottery methods. Wholesale orders of full color flyers can also be printed using the services of online printing companies.Posters - Poster printing can be used as affordable, high-impact marketing materials for a pottery class business. They can feature an entire collection of student-made or instructor-made designs along with model names, class schedules, dates, time, and venue. Pottery teachers can also print poster campaigns using a catchy tagline and a specific piece of pottery. These can be posted within the vicinity of the classes to create awareness for the pottery classes. Online printing companies offer wholesale or small quantity printing of posters at very reasonable prices.
For more resource information on print poster and poster printing, visit DigitalRoom.com.
Historical Origins of Italian Pottery
Italian pottery has a long and colorful history. The combination of earth, water, and fire provide the key components for the structural elements. Clay and water are mixed to form a consistency that can be used on a potters wheel. This is where the clay is formed into the shape of what will be the finished product. After a period of drying time, the pieces are then fired to produce the required hardness. Glazes composed of metal oxides are used to provide the colors. A second firing hardens the glazes of the finished product. This process of producing pottery is a tradition that dates back 1100 years.Although tin glazed earthenware has its origins in 9th century Middle East, the country of Italy is most well known for it in modern times. Maiolica, pronounced (ma-ya-li-ca), refers to much of the pottery produced in central Italy. It is commonly referred to as majolica these days. It is known as Italian pottery, Italian ceramics, and Italian dinnerware. Although many decorative pieces are also produced just for their ornamental beauty.Maiolica was first introduced to Italy by the Spanish Moors in the 13th century through the isle of Majorca. The Italians began making pottery using this process with their own artistic style and creativity. And so began the colorful history of this pottery. The use of metal oxides for color increased using manganese for purple, copper for green, iron oxide for orange, cobalt for blue, and antimony for yellow. In the centuries to follow, the making of this beautiful pottery and ceramics spread through many regions of Italy.As the production of Italian ceramics became more refined and increased, it became an important industry. It was no longer just for local use. By the late 1400's, a group of twenty three potters in Montelupo began producing and selling Italian ceramics. Montelupo has always been a center for artistic creativity. During the 15th and 16th centuries Montelupo and Deruta became two of the main producers of maiolica Italian pottery. They continue to produce very beautiful and artistic Italian pottery and Italian ceramics in workshops and studios throughout the region. This Italian pottery is sold worldwide.The International Ceramics Festival is an annual event held every June in the streets of the historical town of Montelupo. This is a celebration of Italian ceramics both past and present. Montelupo is the ideal place for the Museum of Ceramics. The Museo di Montelupo preserves the rich history of Italian pottery, and honors select artisans for their artistic contributions. With it's rich history and continued artistic activity, we can all appreciate and enjoy Italian pottery.
Ralph Ellendorf Started retail sales in 1984 with production and sales of decorative home decor. Progressed to internet sales. For Italian pottery, I recommend http://www.fineitalianpottery.com.
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