By Clary Illian
In A Potter's Workbook, popular studio potter and instructor Clary Illian provides a textbook for the hand and the brain. Her target is to supply the way to see, to make, and to contemplate the types of wheel-thrown vessels; her info and thought clarify either the mechanics of throwing and completing pots made easily at the wheel and the rules of fact and wonder coming up from that conventional method.
Each bankruptcy starts off with a sequence of routines that introduce the rules of excellent shape and strong forming for pitchers, bowls, cylinders, lids, handles, and each different available useful form. concentrating on utilitarian pottery created at the wheel, Illian explores sound, vigorous, and economically produced pottery kinds that mix an invitation to conscious appreciation conveniently of use. Charles Metzger's outstanding pictures, taken lower than excellent studio stipulations, completely supplement her lively text.
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Additional resources for A Potter’s Workbook
Decisions about a handle’s appropriate size, shape, and placement are usually made at eye level, but remember the view from the top. Looking down into the pitcher is the view you have while using it, and that view should have the same complexity of relationship as the side view. In most cases the handle should widen where it flows out of the pot, just as it is desirable that it thicken at the point of attachment when viewed from the side (figures 90a, 90b). Without this flow the transition between handle and container looks like a two-by-four butted into a wall (figure 91).
A useful notion for analyzing pitchers comes from Warren MacKenzie. He says pitchers have two parts: a part that contains and a part that delivers the contents (figure 55). Clearly, in the case of simple cylindrical pitchers, there is no distinction between the two parts. But utility is served; there is plenty of room and easy delivery of the liquid. One of the best arguments for this shape is ease of cleaning. A dynamic variation is a cylinder tapering in toward the top edge. This is a type of pitcher made to perfection in medieval England and copied by Bernard Leach in his own work and in the standard ware made by workers at his pottery.
62 63 64 65 34 p i t c he r s 66 67 The figurative analogy that comes so readily to mind when thinking about pots also applies to the next part of the assignment: handles and their placement. Handles can be thought of as arms, and like arms they need to be thicker at the place where they join on to the body. This gives not only physical but psychological strength at the point stressed most by lifting. Handles can have almost any shape in cross section. They can be round, strap-shaped, or triangular and any variation in between.
A Potter’s Workbook by Clary Illian