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Mangbetu pots are mostly mono-chromatic, made entirely with clay and fired in its natural form. As a result, most decorative pots are a dark gray color while the nembwo and Small Pots lean more towards russet. To serve as a decorative quality, patterns are often carved onto the surface of the pots in addition to the animal/human figures.
White clay is a favorite to work with but many colors are used. A potter's wheel is not used. The bottom of the pot is molded and the upper part is created by the coil method. When the pot is dry, it is rubbed with a stone or other hard object to make it shine. This can take days. Pots are fired on the open ground using wood and manure for fuel.
Pinch pots and other small clay objects could be formed directly by hand. Hohokam potters and their descendants in the American Southwest employed the paddle-and-anvil technique, in which the interior clay wall of a pot was supported by an anvil, while the exterior was beaten with a paddle, smoothing the surface. [4]
William Staite Murray, who was head of the ceramics department of the Royal College of Art, treated his pots as works of art, exhibiting them with titles in galleries. Dora Billington (1890–1968) studied at Hanley School of Art, worked in the pottery industry and was latterly head of pottery at the Central School of Arts and Crafts.
The pot is then pushed on a flat surface to create a flat surface, thereby creating the base. A base can be made by rolling three coils and pressing them together, and then onto the bottom of the pot. Pinched, compressed clay may also be used as a base for building coil pots. The base of the pot is less prone to cracking when formed this way.
The "clay body" is also called the "paste" or the "fabric", which consists of 2 things, the "clay matrix" – composed of grains of less than 0.02 mm grains which can be seen using the high-powered microscopes or a scanning electron microscope, and the "clay inclusions" – which are larger grains of clay and could be seen with the naked eye or ...