Art and Design A comprehensive guide for creative artists - Aaltodoc

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As an example, a roulette made by twisting cords or knots from small strings of a papyrus, or a well-shaped piece of stick. All these can be shaped accordingly to decorate clay artworks. Here is a table explaining some basic techniques of decorating greenware: Embossing Burnishing Incising clay Stamping Inlaying Slip trailing The surface decorations of an embossed design display a (bas or low) relief. Just like the way images appear on the surface of a currency coin. Embossing can be done by carving or moulding. It makes greenware appear smooth “by polishing of leather-hard clay with a smooth tool.” (Müller 2007, 186) This technique can produce high quality smooth surfaces by using the smooth end of a spoon, 'stone' or a glass on the pottery surface to appear like glaze. Generates markings on a ceramic artwork by using a sharp tool. Michael et al. (2007, 146) allege, “incising involves scoring clay with various objects. The clay must be partly dry before incising can be done” or making necessary cuts, the incised decorations have to be smoothened with a sponge or a soft brush. Decorates pottery surfaces by impressing the surface with patterns. Peterson et al. (2003, 110) say, “since ancient time, pottery artists have pressed or rolled into clay objects that leave their impressions, when they are removed.” Indeed, stamping imprints decorative designs only when clay is still wet. Decorates clay by using two or more types of coloured clay. Pottery artists do inlaying by embedding different types of coloured clay portions to flush out on the surface of a pottery in contrasting colours. The techniques of inlaying vary; some creative artists use shells, stone and bones. Inlaying can be done after firing or before in different ways. Uses slip obtained from wet clay to decorate pottery. It can make decorative motifs into the surface of the pottery. Simple tools like a coneshaped-folded paper or a medical syringe can be contrived for making decorative slip trials of very fine lines, dots or any other desired patterns. Sometimes slip trails are enhanced by adding coloured powder paints into slip mixes to bring on coloured slip trails. 216 217 Excising/ relief carving Glazing A pottery surface can be decorated by using a sharp stick to create carvings and deep cuts. The problem with decorating pottery by excising is that; the thickness and depths of clay walls vary. Hence during carving, have a plan in mind before you begin. According to Hinshaw (2008, 86, 90), “glaze is liquid glass that melts and bounds clay through the heat of the kiln.” It can be used to decorate pottery by dipping, pouring or painting a glaze mix on the surface of pottery artworks. “Glazes are grouped into low-fire or high fires depending on the chemical makeup ... Low-fire glazes tend to have brighter colours; high-fire ... more tones. Low-fire glazes are most appropriate for elementary grades.” Ideally, before glazing consult a skilled person for necessary assistance. Throwing clay on a wheel In the words of Rhodes (2004, 29), “the invention of throwing speeded up the production of pottery and made possible light, highly symmetrical” functional earthenware. In the manner now being indicated, pottery is meant to be produced in lightweight. This practicability is done by throwing “on the wheel ... to get a hollow clay shape, ready to be finished or to be combined or cut up and added to something else ... it is the fastest method only when the potter is skilful and has total command of the wheel. This accomplishment can take ten years to acquire, although some people have a natural skill that allows them to develop control faster” (Peterson et al. 2003, 67) Apart from that, a clay throw must get to the centre of a wheel to avoid—strenuous efforts of positioning it. Wrong centering of clay may cause the wheel to run in a sluggish way. After placing clay in a proper position, start to roll the wheel and keep it running at a low speed. With hands wet, carefully start touching the wet clay using some strengths and energy of your whole body. Carry on and then press the clay slightly as the wheel keeps rolling. The shape of an anticipated pottery design/artwork will begin to develop. Remember to look at your sketch. Then, put the right hand down in a short straight motion.
Along with the left hand and add some limited pressure to retain the clay position. As the wheel continues to run, hold and manoeuvre clay with both hands to support the evolving pottery. Start to press clay on both sides and force it upwards to form a clay wall. This is a stage at which a pottery ware will also generate a mouth shape. Touch the mouth carefully and then, squeeze the advancing walls up by using your thumbs, as well as the next finger. At about this moment, increase the speed of a wheel by making more kicks to quickly obtain a size, which may be needed. Peterson (2003, 432) explains, “Potters ... prefer kick wheels to electronically driven ones, for reasons of sensitivity and empathy.” Kick wheels are cheap, they have less noise and they are more durable. Regardless of how, when a proposed pottery artwork is ready, remove it from the wheel carefully. Remember, a small knock can result into a bad fall. Thus, be care full. Then, keep the wet pottery aside on a safe ground without covering it—for some time, to allow moisture to evaporate and to be ready for an upcoming phase such as adding decorations on its surface. When wetness subsides, wrap it up in a clean polythene bag and keep it inside a cupboard or a storage shelves. Generally, the methods of making pottery differ. Most of the activities and processes are determined by tasks provided. Exercise 1. Once a year the community and your school have celebrated a very important solidarity ritual. Design and produce a decorative pottery artwork for the event. Use any two hand building techniques you know. The function of the final pottery artwork should be self-evident. 2. A friend of yours has been bothered with finding a suitable gift for a newly married sister. And you know how to make pots, cups and dishes using clay. Now you have been trusted to design a well decorated gift set containing 2 medium-sized plates, 1 bowl and 1 cup for that purpose. By using a pottery wheel and one technique of decoration produce the earthenware. The final products must be fired. 3. Candles and kerosene lamps (tadooba) are potential fire hazards in homes and boarding schools. Design a decorative candle holder for safe burning of candles and to avoid other fire accidents. Use the slab building method to execute the task. 218 219
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and Design Art and deign Art and de
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Preface The goals of this book 1. T
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• Decorating fabrics with more th
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CHAPTER ONE Art and design Art and
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Several examples of geometric patte
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Architecture A basic example of the
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Elements of design A closer look at
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Inset: halftone dots obtained from
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Jung (2004, 139) remarks, “Of cou
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Principles of design Principles of
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Play. A painting with proposing act
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Exercise 1. By associating each ele
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d) Charcoal is good and it is an ab
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A lakeside Background landscape sho
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Vebell et al. (2005, 202) prefer a
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A study of a cow. In the profile vi
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Scanty waters. Acrylic painting Siz
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Liquids for painting The types of l
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Although it is sometimes necessary
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Trowell (1951, 27) shares a rationa
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Well as computers have dominated a
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Phillips (2004, 9) reminds us that
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m) In conclusion, on any outstandin
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Lowercase The lowercase alphabets a
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Proportion It can be used to work o
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Illustrations can be done as painti
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Logo Trade Marks Label Notice sign
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Michaels (2010) points out some “
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The ultimate goal of designing a bo
Page 59 and 60: A raised surface b) Intaglio printi
Page 61 and 62: d. Outdoor signs are the major visu
Page 63 and 64: A collage artwork Materials: Dry le
Page 65 and 66: Apart from that, excess glue can be
Page 67 and 68: A small section of a floor surface,
Page 69 and 70: A pendant of a necklace Materials:
Page 71 and 72: f. Needle/long nose pliers uses it'
Page 73 and 74: The aggressive conduct of these war
Page 75 and 76: CHAPTER NINE Weaving Weaving is the
Page 77 and 78: Here we see that through trials and
Page 79 and 80: . Yarn is for fabrics as straw and
Page 81 and 82: Tod (1977, 172) laments, “Cloth m
Page 83 and 84: Exercise 1. By using found material
Page 85 and 86: To simplify the discussion, let us
Page 87 and 88: Here is an itemised set of methods
Page 89 and 90: B A A: An already made tie-die fabr
Page 91 and 92: Start by preparing a separate scree
Page 93 and 94: CHAPTER ELEVEN They made “clay re
Page 95 and 96: Examples of inverse relief can be f
Page 97 and 98: Sometimes plaster of Paris is used
Page 99 and 100: Maquette A maquette is a translatio
Page 101 and 102: Rich(1998, 250) offers a reasonable
Page 103 and 104: “Welding equipment is largely use
Page 105 and 106: . Porosity of clay is determined by
Page 107 and 108: • A pottery artist needs enough e
Page 109: owl, a cup. In size and shape it wi
Page 113 and 114: • Photography can be used to depi
Page 115 and 116: Explanatory photographs Descriptive
Page 117 and 118: Here is how: • Film cameras were
Page 119 and 120: Crafts other than those detailed ab
Page 121 and 122: 2. In an area of 25cm by 30cm, desi
Page 123 and 124: Q quill feather 68 R raffia 148 red
Page 125 and 126: Mills, John W (1990). The encyclopa
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