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Wind Yixing Ceramic Pottery Art Museum opened in China

By Ceramic Design

June 12, after nearly six months of meticulous preparation, “Tao is the wind – China Yixing Ceramic Art Exhibition” In the grand opening. NPC Standing Committee, Jiang Shusheng, vice chairman of the CPPCC National Committee vice chairman of Sun, Lin Wenyi, Yu Linxiang, political commissar of the Armed Police Force General, Deputy Minister of the Central Propaganda Department, Wang Chen, director of the State Council Information Office and the Provincial Standing Committee, Party Secretary Yang, Municipal Standing Committee, Yixing Municipal such as secretary, attended the opening ceremony and ribbon-cutting ceremony for the opening of the exhibition. Attended the opening ceremony were Wu Guanzhong celebrities such as the arts and cultural community.

The opening ceremony, Deputy Prime Minister of the Republic of Korea, the former South Korean ceramic culture of Mr. Jiang Qingzhi Association, China Association of Ceramic Technology Museum Curator Mr. Liu and Mr. Fan Dian China office said. UNESCO International Ceramic Association, USA and China Ceramics Society, Ceramic Society of Korea, the Chinese Arts and Crafts Association, the Chinese Arts and Crafts Society, the Chinese Nationalist Party Chairman of the Bureau of the CRIC, etc. Mr. Huang Zhengxiong and sent a congratulatory telegram.

Yang gave a warm speech. He said that the exhibition is to the National People’s Yixing presented a gift, but also the cultural life of the majority of the people of a big happy event. Yixing would hope that the exhibition as a new starting point, and further carry forward and promote the ceramic culture, the “Tao of China are” more ring called the “purple card” more brightly polished.

The “Tao is the wind – China Yixing Ceramic Art Exhibition” strong line-up, the entire exhibition area of nearly a thousand square meters, includes 20 classic works of history, as well as 10 countries Yixing masters of arts and crafts, arts and crafts 14 provincial master 27 provinces, including arts and crafts celebrity industry more than 100 elite 216 fine ceramics. This 216 (sets) of work covered by the purple, blue, are pottery, fine pottery, painted the United States “five golden flowers” of a variety of styles and genres, including purple works for more than 80%. A unique and perfect the art form Yixing thick highlights the context and the high level of ceramic art.

After the opening ceremony, around Yixing Yixing Ceramic Art is also the historical categories of the causes and the development trend of the cultural values purple on the impact of economic and social development, such as the contents of the invitation of the Chinese Art Research Association, the National Palace Museum, the leading experts in Tsinghua Academy of Fine Arts scholars in the China Art Gallery held a symposium. “Tao is the wind,” the exhibition will show June 12 to June 22, the capital, people and tourists around the world will be fortunate enough to see the unique Yixing Ceramic Art style.



Basics of Thrown Pottery Forms

By Ceramic Design

Thrown pottery forms can incorporate a number of specific areas, or parts. Bringing the knowledge of those areas to the forefront of your mind as you plan a pot or while throwing can help you create more pleasing pottery. It will also help you develop your own aesthetic or style in your work, simply by giving you a more concrete framework from which to launch your artistic “voice.”

The rim, also sometimes called the lip, is the open upper edge of the pot. Various styles of rims are possible, from the minimalist cut-like opening to elaborate compound ogee rims.

When thinking of your pots’ rims, remember to take into account the use that the pot is likely to be put to. Sharp openings are uncomfortable for drinking, and elaborate ones will make your beaker into a dribble glass. If the function is to hold flowers or some other object, think of how the rim area will help the viewer’s eye make the transition from the pot to the object it is holding.

Thrown Pottery Forms


The neck of the pot, if there is one, also needs to follow its function. Certain necks are impractical for pottery that is to be used in the kitchen, for storage, or for any purpose that requires a hand to be able to reach its bottom.

The neck should also enhance the feeling you want to impart to your audience. For example, long thin necks tend to “read” as elegant, refined, and sometimes as prissy. Shorter, stout necks often give the user the feeling of sturdiness, stability, and strength.


The shoulder is the area in which there is a fairly obvious and sharp delineation between the neck and the body of the pot. If included in a particular pot, it becomes a strong focal point for the form and should be treated with authority. Tentative direction changes in this area of a pot will weaken the aesthetic feel of the entire vessel.


Not all pots have waists. As you would expect, when they are present, the waist on a pot is an area in which the form is collared inward. Pottery waists may consist of a strong demarcation between the upper and lower regions, or be a gentle concave curve between the outward swelling of the upper and lower areas it joins together.


The widest outwardly or convexly swelling area of a pot, especially if it is centered in the lower half of the form, is known as its belly. The belly, waist, and shoulder of a pot, taken together, are often known as the body of the pot.


Pots may or may not have a foot. When present, the foot is an area that is distinct from the body of the pot, and which is smaller in circumference than the body. The foot raises the pot up and away from whatever surface the pot is standing upon.

Feet are generally viewed as giving a pot more elegance and “presence”; visually they make the pottery form read as lighter. Tactility they can make a pot feel more comfortable in the hand if the pot is small enough for the hand to cup around its base. An overly tall, spindly foot can make a pot look and often actually be unstable.



Ceramics Industry Exhibition – Guangzhou new case of crisis situation

By Ceramic Design

As has been successfully held 23 sessions, China and Asia’s largest exhibition of ceramic industry, Guangzhou Industry in promoting the development of China’s ceramic industry will undoubtedly play an important role and significance. However, from this year’s exhibition industry to reduce the traffic of the reality, the Chinese ceramic industry event in the current pattern of global ceramic industry has witnessed tremendous changes in the new situation, is faced with a breakthrough with the enhancement of a comprehensive crisis.

There is no doubt that the Chinese ceramic industry, especially ceramic machine, chemical and related industries, the current can be said to be outside of Italy in addition to the most complete and full, although in some areas, world-class level and there is a big gap, but the scale of to create the level of market share in the international market and so have an important role. As China’s ceramic industry in the direction of the international market scene, industrial exhibition size, grade and influence, no doubt the development of China’s ceramic industry has an important role to promote and facilitate.

Judging from this year’s show, customers from abroad, such as more concentrated in the Southeast Asian countries and regions, new ceramics, from Europe and the United States significantly reduced traffic areas. This is among the natural global economic downturn, H1N1 virus, the impact of such factors, but show organizers in the overseas market promotion and publicity is the key decision factors show traffic. The scene in the show, many exhibitors would like to increase the industrial exhibition organizer in the overseas market promotion efforts, the Industry Exhibition higher position, run a greater scale, so that it truly becomes an important international ceramics industry event rather than the show has hit brand, reap the profits. In the long run, the industrial exhibition in the ceramic industry of the status of the occasion will be further down, thus weakening the revitalization of China’s ceramic industry, the exhibition explore the role of the international market.

In the ceramic industry, Italy Bologna Fair, no doubt the influence of the absolute, it not only brings together world-class manufacturer of ceramics, and has extensive international procurement channels and customers, so that each enterprise participating in the show can find a great business opportunities, which is excluded from the Italian event for many years, refused to Chinese enterprises an important reason why exhibitors. On the ceramic industry, set aside in terms of industry, China is currently the largest outside Italy, matching the most complete national, as the center of Foshan in the major producing areas have been thousands of ceramic machine, chemical industry and related businesses, industries set group of the most complete, in some areas, and even catch up with and more than Italy. However, how to cluster and scale of this advantage to enter into overseas markets, show no doubt is an effective way out. In fact, during the exhibition industry in Guangzhou, Munich, Germany, held on-site ceramic industry in October this year, the Expo will promote the fight for customers cited the war to the front of the Guangzhou Exhibition Industry.

In addition, although the current industrial exhibition of overseas exhibitors and customers a certain number remain, but many exhibitors is based on many years of China’s ceramic industry show the brand recognition, more viewers in Southeast Asia is also the participating businesses to customers or co-operation partners, are invited from participating businesses. If the host name of strengthening in the overseas market promotion and publicity to further enhance the impact of Industry Exhibition in Guangzhou, and will attract more international top companies and customers to come and negotiate the exchange of exhibitors, which will show the size, grade and impact force and the level of China’s ceramic industry to match.

Only to go out in the broader market, the broader field of Chinese ceramics exhibition industry and its promotion and publicity in order to allow more customers the power of knowledge in China, to cooperation in the industrial exhibition in Guangzhou eyes. Only in this way can we make next year’s industrial exhibition in the international market to achieve greater influence, so that China’s ceramic industry in the direction of the international market scene, and then take power into the ceramic ceramic Powers of the mission.



Slab-Built Mug

By Ceramic Design


This slab-built pottery mug was created by KLX250

KLX250 (a Pottery forum member)

Potter’s Statement: [This is] from the last “Christmas” kiln firing. Info on this site has helped to eliminate pitting and crazing issues I was having. The mug is built using a pop can wrapped in paper for a slab form.

Comments by Beth: I love the patterning on the glaze. And the idea to use a paper-wrapped pop can is great! In addition to ease-of-use for making just one mug, it would be easy to make a set of matching mugs that way, too.



Mug Project Photo Gallery

By Ceramic Design


Mugs, perhaps more than any other ceramic form, require a potter to fully engage in thinking about the functionality of a piece. Mugs are often in daily use and as such they must be completely comfortable to use. Does the handle fit the form, allow proper room for fingers, and have a comfortable weight and shape in the hand? Is the rim smooth and rounded, thick enough for comfort as it rests against the user’s lips?



Ceramic Art and Design

By Ceramic Design


Sian is a ceramic artist based near Chichester, West Sussex in an area of outstanding natural beauty at the base of the South Downs, producing hand thrown smoke fired ceramics.

Sian trained at the West Surrey College of Art and Design in the early eighties by Henry Hammond and Sebastian Blackie and visiting tutor Paul Soldner.

After graduating she taught ceramics part time while developing her own work, experimenting with fibres and paper pulp resulting in exhibitions throughout the UK, Hungary, Germany, Spain and North America.

Recent work has been inspired by the Sussex landscape, abstracting nature through drawing and painting, translating these qualities directly through to the work in clay.

The smoke fired ceramic vessels are hand thrown on a wheel, turned, slipped and burnished. Other pieces are hand formed. Raku glazes are applied and a smoke firing is carried out using organic materials. Various oxides are used to bring out colour on the clay surfaces. The smoke firing enhances the form producing a timeless quality. Multiple firing allows further interaction of control and the unpredictability to fuel the creative process. The smoke fired pieces take several weeks to complete due to the nature of the working stages. Each piece is unique.

It is possible to purchase the ceramic pieces directly from Sian – check out her recent and previous work here.

Visitors to studio by appointment only.



What Is Pottery?

By Ceramic Design

Pottery is generally considered to be containers made from clay. “Pot” is a term used for any number of container forms. Both words derive from the Old English potian, “to push”. When we consider how the potter pushes as they throw the clay on the wheel, it is easy to see how the process got its name. The term “pottery” may also be used as an adjective with some objects, such as small figurines.

In industrialized countries, modern pottery can be classified two ways. There is commercial pottery or ceramics which are produced in factories, and there is studio pottery which is produced by individual craftsmen. You may also hear of “art pottery,” which may be either produced commercially or by an individual craftsman.




African Ceramics Conference

By Ceramic Design

The Centre for Visual Arts and the University of KwaZulu-Natal at the Pietermaritzburg Campus is hosting the second African Ceramics Conference September 18th – 27th. The conference will focus not only on ceramic fine arts and craft, but also on ethnology, anthropology, archaeology, and museology.

Papers presented will include “Figurative Forms and Changing Markets,” “Of Dreams, Clay and People: The Artistry of Seni Awa Camara,” “Women Potters of the Folona, Mali,” and “Ritual Vessels Amongst Some Traditional Healers in E. Mpumalanga.”

Also presented will be two films, and at least eleven different workshops, ranging from traditional forming and firing methods to firing in gas kilns. In addition, three different galleries will have ceramics exhibitions which conference attendees will be able to visit.

This sounds like a fascinating and very informative experience! You can get more information about the conference here… Follow the links on the left-hand side of the page.



Order ceramic enterprises into foreign trade in October signs of becoming warmer and more

By Ceramic Design

Cai chaozhou Anyang is a person in charge of ceramic enterprises. In recent months, he clearly felt a lot better than the days.The beginning of this year, export ceramics industry was very concerned about him. Workshop was to start the furnace less than half capacity, the workers work on time, the famous ceramics producing area, many companies have even suspended production.

From the beginning of June, ceramics enter the traditional peak season in the export of Cai anyang workers of enterprises not only have to work overtime every night, weekends are all full of. Despite the orders than in previous years it is with small and scattered, but it has been at the top of the October.

Cai anyang described, they are now the biggest difference is the mentality. 3,4 monthս?ders, regardless of good, single bad one had no choice but to follow what are now the most choice, and this year the export value of around 78 as of previous years, but as a result of increased domestic sales efforts at the same time, it is estimated that the annual performance the same can be achieved.

In fact, the province’s ceramics business is a huge foreign trade enterprises epitome of a small group. Although the first half of Guangdong’s import and export up to 20.7% year-on-year decline in ROC optimistic people, but from a number of industries and foreign trade enterprises of all sorts of positive signs that it shows that the decline in “market” are, in fact, not small “plate” and “stock” has been showing an exciting development.



Ceramic Technology Laboratory

By Ceramic Design

Ceramic Technology Laboratory

 The FLMNH Ceramic Technology Laboratory was established in 1977 under the direction of Dr. Prudence Rice, then UF professor of Anthropology (now at SIU, Carbondale, IL). Pottery analysis plays an integral role in archaeological research at FLMNH as it constitutes the predominant material remaining at most archaeological sites investigated by museum curators. In addition pottery constitutes a very significant proportion of the FLMNH Anthropology collections. The CTL is equipped for basic paste characterization studies: binocular microscope for gross identification of temper or paste constituents; a petrographic microscope for precise mineral identification in thin section; an electric furnace used for refiring experiments and for comparative investigation of clay samples collected from the vicinity of archaeological sites. Analyses of physical and mineralogical properties of the pottery are undertaken to provide precise data to address research questions regarding chronology, provenience or manufacturing origins, processes of production, culture change, and the development of social and economic complexity in prehistoric Florida, the Southeastern US, and the Caribbean Basin. The department is committed to the continuance of this research program as the capacity for in-house specialized analyses of pottery enhances the competitiveness for research grants.


The CTL houses an extensive pottery type collection of prehistoric and historic period aboriginal pottery from Florida and the Southeastern U.S. The Florida materials represent type specimens assembled by Ripley Bullen, John Goggin, and Gordon Willey, pioneers of Florida archaeology. The type collections serve as a primary comparative resource for museum scientists, graduate students, and visiting researchers. The CTL also curates fragments of pottery samples used in paste characterization studies.


The CTL operates under the supervision of Ann S. Cordell, (MA Anthropology, UF 1983; BS Geology, UF 1993), who also conducts all research projects undertaken by the lab.


From 1982 to 1986, the CTL supported a monograph series: Ceramic Notes: Occasional Publications of the Ceramic Technology Laboratory, Florida State Museum (edited by Prudence Rice). Ceramic Notes No. 2 is still available (Nos. 1 and 3 are out of print).