A Potter’s Workbook by Clary Illian

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 goal is to supply the way to see, to make, and to contemplate the varieties of wheel-thrown vessels; her details and thought clarify either the mechanics of throwing and completing pots made easily at the wheel and the rules of fact and wonder bobbing up from that conventional method.

Each bankruptcy starts off with a sequence of routines that introduce the foundations of fine shape and strong forming for pitchers, bowls, cylinders, lids, handles, and each different attainable sensible form. targeting utilitarian pottery created at the wheel, Illian explores sound, full of life, and economically produced pottery varieties that mix an invitation to conscious appreciation conveniently of use. Charles Metzger's notable pictures, taken below excellent studio stipulations, completely supplement her energetic text.

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A Potter’s Workbook

In A Potter's Workbook, popular studio potter and instructor Clary Illian provides a textbook for the hand and the brain. Her goal is to supply how to see, to make, and to contemplate the different 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 sweetness coming up from that conventional approach.

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Example text

Mug handles have all the potential for richness and relatedness as they have in their larger cousins. The only new element is the drinking rim, which must be comfortable and not cause dribble. Pitchers are a wonderful source of ideas for the shapes of mugs (figures 92 –97). p i t c he r s 43 92 94 96 93 95 97 44 p i t c he r s 98 99 The definitive element in a pitcher is the spout. Let’s begin with the view from the top and look again at the shape and size of the handle where it attaches to the pot.

There is a reason for these variations in thickness beyond mere sculptural delight. Modulations in the walls of the pot function structurally as well as aesthetically. The chapter on beginnings and endings explains that discrete rim and base shapes act as reinforcements while you continue to thin and shape the wall in between. ’’ 1 Why is it necessary to use a whole sequence of grip patterns? Why not simply pull up the walls into uniform thickness using one all-purpose position of your hands and then bend it into the desired silhouette?

The assignment is to make bowls with simple open curves. Leave about an inch of unformed clay at the bottom of the bowls to allow for choices of height, width, and shape of turned feet. Use about four pounds of clay. Centrifugal force causes the walls of a pot to flare, so bowls are a very natural product of the throwing process. The continuously curving inner profile seems simple, and some teachers prefer to start students out on bowls. However, though simple, bowls are not easy. It is hard to make a continuous, uninterrupted curve.

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