Ceramic glaze

wall or sit on a shelf, some artists think art should be used in everyday life. One of those artists is Miro Chin. Miro Chin is an artist who works with pottery and ceramics. However, you won’t find her work sitting on a shelf. Instead, you’re more likely to find it sitting on the dinner table. When Miro Chin enrolled in her first ceramics class in 2008, she knew she wanted to make something useful. Her goal was to make tableware. Even though her professor told her it would take at least seven years

Before I started to make the pots, I did some research about different types of pots. I looked through photos of variety types of ceramics, which gave me ideas and inspiration of what I want to create for my own pot. I also copied the vocabularies that we’ll use while working with clay such as coil and slab. After building a foundation towards ceramics, I started planning what I’m going to create and what my design’s going to be. I didn’t sketch out what I’m going to make, but I had a clear idea

Stinson - Bio Lisa Stinson is an artist and educator.  She is a Professor of Art and has worked in the Art Department at Appalachian State University since 1998.  She received her MFA in Ceramics from Rhode Island School of Design, a BFA in Ceramics from New York College of Ceramics at Alfred University and a BA in Psychology from Wells College. Her current studio practice focuses on works that explore her interests in mark making as it relates to a pattern, drawing and personal expression. Stinson

vases that were produced during the Qianlong dynasty (1736-95) and compares them to the textiles of the Rococo styles that help shape such styles. Chan opens the article with a brief description of the QIanlong dynasty great accomplishments in the ceramic arts, emphasizing the flamboyant style of the vases. He argues early on, that not enough time is spent discussing how the style came to be and later expounds on the technological advances and cultural influences that contributed to the production

bolstered by a shared interest in pottery making. They often sat in the communal courtyard on a summer’s evening, discussing their work in progress or the feasibility of new ceramic projects, each offering the other their considered advice. The threads of this amicable friendship began to fray when Parr began outlining his vision of a ceramic study of his son Malcolm, a cherub mounted on a large turkey bird. Vyse at once became vexed and angry. He wrongly assumed that Parr was poking fun of his successful

Greek Pottery Ceramics has played a substantial role throughout history, so that is why the Greeks made sure to make a sizable imprint on ceramics through their intuitive approach on clay objects. Before we can learn about the ancient Greek ceramics we must first learn about ancient Greek itself. The culture is believed to of had its first evidence of burials in 7250 BCE, and the culture lasted all the way to 146 BCE. Ancient Greek culture has influenced the present day more than most people

1540, is from İznik, Turkey. It is composed of fritware ceramic painted underglaze. The base of the tile is a white underglaze glaze, and all decoration is in various shades of blue underglaze. The shape is a hexagon with a circular, symmetrical floral pattern derived from a central focal point. This tile had meticulous work put into its design, showing the concern of its artist to emulate cultural tradition and destiny on a single ceramic hexagon. Fritware is a form of pottery where frit is added

Kyogi Koie in 1993. It has a nasty green glaze that actually drips skyward, adding to the overall disgusting appearance of the piece. It also has these strange scratches that appear to have a pattern or at least a connection. They angle up towards to the neck of the bowl and weren’t crafted with care because of their rough, unfinished look. This piece attracted me quite simply because of its horrible design. If their was an ugliest dog contest for ceramic pieces, this one would take first prize every

language. This support from the rulers promotes the culture exchange between traditional Chinese culture and Mongolian culture, to results in the formation of sino-Mongol. The Mongols can now be seen as a catalyst in the field of the arts, and realm of ceramics can be taken as a good

routes, thus breeding the production of a new style of decorative art that combined Eastern Asian motifs with Western Asian colors and pattern work. Islamic art styles expanded during the rule of the Ilkhanid Dynasty, and included objects ranging from ceramics, textiles, jewelry and manuscripts. The intricate bowl presently exhibited at the Asian Art Museum in San Francisco, CA, was produced in approximately 1275-1400 in the Kashan region of Iran, and inhabits the cross-cultural style that flourished during