A Potter’s Workbook PDF
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A Potter’s Workbook A Potter’s Workbook Clary Illian Photographs by Charles Metzger UniversityofIowaPress IowaCity UniversityofIowaPress,IowaCity52242 Copyrightq1999bytheUniversityofIowaPress Allrightsreserved PrintedintheUnitedStatesofAmerica http://www.uiowa.edu/;uipress Nopartofthisbookmaybereproducedorusedinany formorbyanymeans,electronicormechanical,including photocopyingandrecording,withoutpermissioninwriting fromthepublisher.Allreasonablestepshavebeentakento contactcopyrightholdersofmaterialusedinthisbook.The publisherwouldbepleasedtomakesuitablearrangementswith anywhomithasnotbeenpossibletoreach. Printedonacid-freepaper AllphotosarebyCharlesMetzgerexceptthefollowing:page 93,right,TomMills;page94,top,PeterLee;pages20and97, topleft,HubertGentry;andpage103,bottom,MaryRezney. LibraryofCongressCataloging-in-PublicationData Illian,Clary,1940– Apotter’sworkbook/byClaryIllian;photographsby CharlesMetzger. p. cm. Includesbibliographicalreferences. isbn0-87745-671-2(paper) 1. Pottery—Design. 2. Pottery—Technique. I. Metzger,Charles. II. Title. nk4225.i45 1999 738.1—dc21 98-52161 99 00 01 02 03 p 5 4 3 2 1 Arealtraditionisnottherelicofapastthatis irretrievablygone;itisalivingforcethatanimates andinformsthepresent....Farfromimplyingthe repetitionofwhathasbeen,traditionpresupposesthe realityofwhatendures.Itappearsasanheirloom, aheritagethatonereceivesonconditionofmakingit bearfruitbeforepassingitontoone’sdescendants. igor stravinsky, poetics of music in the form of six lessons Anygreatcrafttendsatlasttowardacondition ofphilosophy. robertson davies, world of wonders Contents Acknowledgments ix TruthtoProcess 1 Wondrous 4 TheSpaceWithin 8 BeginningsandEndings 14 CylindersasPots 21 Pitchers 29 Bowls 49 PotswithLids 67 LearningtoSee 80 StyleandVoice 88 UtilityandTradition 100 Place 105 Notes 111 Acknowledgments I thought asking Charles Metzger to do the photos for this book wouldbeagoodidea.Itturnedouttobeaninspiredidea.Charlesis aprofessionalphotographerwhosepassionhasshiftedtomakingpots. Henotonlyknewhowtophotographtheexamplesbutwhywewere photographing them. In addition, he processed all the images digi- tally,anartforminitself.Icannotthankhimenoughforhisexpertise, generosity,andbeliefintheproject. Thephotographsareofgreenpotsmadeinworkshopsituations.I felt that black-and-white photographs taken of pots in an unfinished state would keep the emphasis on basic form without introducing thepersonalityofindividualmakers.Thankstomyassistantsandstu- dentsatPenland,theJillHinkleyStudioinWashington,D.C.,andthe West Chester Studio in Pennsylvania who so cheerfully gave permis- siontousephotographsoftheirpotswithoutattribution.Thanksalso to the leadership of these institutions for their unhesitatingsupport. The depicted pots are not meant to be standards of perfection or a catalogofpossibilities.Theyaredesignedtoillustratethepointsmade inthetext. My writer friend Linda Robinson Walker was my first reader and editor.Herwonderfullypartisanbutthoroughmarkingofthemanu- scriptenabledmetosenditoutintotheworldwithconfidence.Mary Barringer, Gerry Williams, Jack Troy, and Val Cushing all gave me helpfulreadings. Finally,justto provethat themaking of potsis acharmedactivity, somefaithfulcustomersrevealedtomeatexactlytheperfecttimethat they made books. Thanks to Holly Carver and Karen Copp of the UniversityofIowaPressformakingthepublishingofAPotter’sWork- bookapainless,evenjoyous,experience.
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