Grab your apron and try your hand at throwing, spinning and decorating your own wares at a pottery class or cafe in London.
The second pottery ceramic artists on the list is the London-born artist Nicolette Johnson. With a professional background in photographic art and social
Tranquility and creativity collide in pottery workshops that don’t just embrace Scandinese and Japandi elements—they live by them. These spaces, with their
Tranquility and creativity collide in pottery workshops that don’t just embrace Scandinese and Japandi elements—they live by them. These spaces, with their
For Lydia Cambareri, the pleasure of creating one-of-a-kind pottery pieces in the studio is is doubled, because her studio is a converted, 1920s train carriage.
It all begins with an idea.
The second pottery ceramic artists on the list is the London-born artist Nicolette Johnson. With a professional background in photographic art and social
Highlights The princess of rap is now the Chia Pet of your dreams, the Ice Spice Chia Pet! Just spread the seeds, water, and watch her majesty grow. The ultimate gift for the munchkin in your life. Handmade terracotta pottery planter comes with 1 packet of Chia® seeds good for 3 plantings, convenient plastic drip tray and planting & care instructions. In just 1-2 weeks your Ice Spice Chia Pet will achieve maximum growth. Chia Planters can be washed and replanted indefinitely. Description The princess of rap is now the Chia Pet of your dreams, the Ice Spice Chia Pet! The Ice Spice Chia Pet is sculpted terra cotta perfection. Just spread the seeds, water, and watch her majesty grow. The ultimate gift for the munchkin in your life. Handmade pottery planter comes with 1 packet of Chia® seeds good for 3 plantings, convenient plastic drip tray and planting & care instructions. In just 1-2 weeks your Ice Spice Chia Pet will achieve maximum growth. Chia Planters can be washed and replanted indefinitely.
Tranquility and creativity collide in pottery workshops that don’t just embrace Scandinese and Japandi elements—they live by them. These spaces, with their
Sharing some top tips and advice about how I set up my own pottery studio as well as some behind-the-scenes photography of how to throw on a wheel.
A glimpse inside my pottery home studio Since a couple of months I am working in my new pottery home studio. My girlfriend and me moved from Amsterdam to Geldrop, Brabant. The main reason for this move was that I missed my family a lot and wanted to be closer to them. Another reason was that I was working in a really small studio in Amsterdam. It was a little shed in our back yard, 2 by 3 meters, too small to grow my business in. I had reached a plateau and knew that I needed a bigger space to work and grow in. Not long after we had discussed about moving to another house, we had the opportunity to see a house close to my family. When we stepped in, it was an instant match and we saw ourself living there. So, after just one viewing, we decided that this was gonna be our new home. And the absolute best thing about this house is that it has a big attic where I could build my new studio. The attic is around 25 square meters and has beautiful lighting and a high ceiling. The perfect conditions for a pottery home studio. This new studio gave me so much good vibes and I was so excited to make a plan for where to put all of my stuff like my wheel, working tables and cabinets. The flooring was taking out of the whole house by the old owners, so that gave me the opportunity to put something really good and durable in it. I wanted a floor that was water resistent and easy to take care off. After some research on the internet I had found a company (verfbestelsite.nl) that makes water resistent floor coatings. They make these coatings in every colour that you can imagine, I choose a light grey one. And I absolutely love this water resistent floor coating. I can mop the floor everyday and all of the little clay-water drops gets off of it really easy. It was very clear to me where to put everything in the new space. I knew that I wanted to put my wheel in the spot where it is now. It’s such a bright spot and I love working there. The big tables that you see on the other side of the studio are basically Ikea frames with two big hardwood sheets of wood. I bought them at our local hardware store and they cut them for me in the right dimensions. I work directly on this wood, because it is hardwood it can get wet and won’t warp. I have used this for over two years now and it’s still in the same condition as when I first used it. Close to my wheel I have a shelving system that is soooo good! I have bought it at Hornbach and the best thing about it it that I can rearrange the whole unit. I can take out the little carriers and rearrange them if I need more space between the shelves. The studio is divided in two sections. The first floor is the little Studio Bloei Winkel (store). All of the finished products are displayed here and I have a small packing station where I can pack all of the orders. Close to the window I have an area where I can take pictures, so I left that whole area clear. I love all of the shelves and that the room is so bright and airy. I am so happy with how the new studio turned out and I am so thankful that I can work here every day. -X Robin
Tranquility and creativity collide in pottery workshops that don’t just embrace Scandinese and Japandi elements—they live by them. These spaces, with their
Splitting her time between London and Kuwait, Rawan Muqaddas celebrates the craft of clay combining aesthetics with functionality in the creation of a therapeutic workspace.
This Saturday we spent the day at Illyria Pottery, Oxford. We have wanted to visit the shop to meet Katie and Micah for so long!
Splitting her time between London and Kuwait, Rawan Muqaddas celebrates the craft of clay combining aesthetics with functionality in the creation of a therapeutic workspace.
If we take the words at face value, street style is a term penned to describe a centuries old tradition of inspiration, taken from the living breathing moments of the streets. Dirt, cobblestone and pavement are the stage for authentic uniforms of people living out a their daily lives. A welder clads himself in thick fa
In this beginners pottery class, participants will learn the basics of ceramic hand-building under a local ceramic artist’s loving gaze as they get to explore the endless possibilities and joys of working with clay. Participants will have the option of creating whatever they wish (mugs, planters, bowls, a sculpture, etc.) receiving guidance and knowledge along the way. Perfect for travelers seeking for fun activities in Buenos Aires, no prior ceramic experience is required and the class will taught in English and Spanish. The session will be around 2,5 hours, so we will have time to settle in, introduce ourselves and create something. In this comfortable and engaging atmosphere, we will have some snacks and wine and a carefully curated playlist to groove on while building our ceramics. You’ll also get to paint and decorate your creations using different tools and techniques.Materials, tools, light snacks and beverages will be provided. After the ceramic class, works made during the workshop will be glazed, fired and finished in our studio by us. Students will be able to pick up finished pieces on an arranged pick-up date. This may take up to 3/4 weeks. In case you'd be gone by then we can ship the pieces via FedEx to your hometown (please note shipping cost is not included in price). If you have any other questions regarding our art classes, please contact us at [email protected] We are looking forward to meeting you!
By Rooms Archive - ACH Collection Online Shop
The third post in our ceramics studio tour series, this week we'll be looking at the gorgeous Somerset pottery of renowned British potter Mike Dodd.
We thought we'd give you a look inside the studio of ceramic artist Keiichi Tanaka, who makes an impressive range of sculpture and tableware at his studio in Kawagoe, Japan.
Hi there🙃 Let's connect! I opened this shop hoping to find others who would appreciate my work 😗 Features of this product: The Silly Sheep Yarn Bowl with bamboo matching knitting needles, → handmade ceramic bowl -- hand drawn design on white background, high shine, → unique gift ideas, → home studio pottery, earthenware, pottery, non-toxic and leadfree materials, → yarn bowl approximately to 13cm wide and 11cm high from the outside. Needles around 15cm. Enjoy. Thanks for looking! Message me if any questions or ideas 😉 Hope all is well, Xin 🍍🌵🐝
This Saturday we spent the day at Illyria Pottery, Oxford. We have wanted to visit the shop to meet Katie and Micah for so long!
The Kylix, is the most common type of wine drinking cup used during these times. It has a broad shallow body raised on a stem from the foot and usually two horizontal handles. The almost flat inte…
For miart 2019 Elisa Ossino designed The Circle for Officine Saffi, the collection taking her quest for abstraction to the next level.
A road trip through Sweden that felt like all our dreams magically realised into one, inspiring creative people, botanicals and dreamy hideaways in Skane County.
Tranquility and creativity collide in pottery workshops that don’t just embrace Scandinese and Japandi elements—they live by them. These spaces, with their
Vase by Inayoshi Osamu, approx. 5"tall (12.5 cm) Feldspar granules were wedged into the clay and melted in the high fire to glassy phase. and gold lustre was applied all over the outside but only reveals itself on the melted feldspar granules. Otherwise, it is lavender over the clay. On the weekend of February 15, 2014, a few very lucky potters were able to spend two days with Inayoshi Osamu, a potter visiting from Toyohashi, Japan. Filled with a playful sense of humor and an amazing talent, Inayoshi spent two days showing us his very unique method of creating pottery, the results of which are stunning. Many of them look like rocks you would find while hiking. Yet, upon closer examination, you start wondering. How was this made? What is this? Who made this? I want to meet this guy! Left, an incense jar (closed), with beads of gold formed on feldspar granules. Right, opened jar showing gold lustre interior. Approx. 2" (3 cm) in diameter. Prior to his arrival in Bend, Oregon, I had spent some time looking at images of Inayoshi's work on his website and honestly I was stunned. However! I have to say that the only way to truly appreciate the genius in his work is to "see" each piece while holding them in your hands. The eyes give you one interpretation; the tactile feel give you another. Put together, you fully "see" the piece. But, don't let that stop you from looking at photos! Just try to get a chance to hold a piece - the rewards of the visual and tactile senses put together create an amazing experience. Tea bowls by Inayoshi Osamu. Note the front bowl was fired on sea shells. Inayoshi is a genius of clays and glazes. Most potters fire their wares twice before they create a finished piece. I had the pleasure of drinking out of one of Inayoshi's tea bowls that had been fired eight times, for fifteen hours each firing –"until it looked right" which was the answer I was given when I asked why so many firings. His firings start with a traditional bisque and then he will do between one and seven glaze firings, at ranges between cone 1 and cone 7. He gauges the readiness of the kiln being done by the look of the pot in the kiln. He does not use cones. I for one would be completely lost if I did not use cones for my firings. What is going on here? The Process Inayoshi's studio in Japan is unique: right behind the studio there is a clay deposit that contains seven different clays. He processes his clay the old fashioned way, with shovel, wheelbarrow, and buckets. He laboriously cleans and mixes his clay until he gets the desired body for the work he is creating. However, for his workshops in Oregon, he used commercially prepared clay. In order to get the texture he wanted, he wedged about 10% sand into the clay. Wedging up to 10% sand into the clay We went to the Badlands to the east of Bend looking for rocks. I was not certain what the rocks were for, and there was a language barrier, so many of the rocks I proffered to Inayoshi were tossed amidst much laughter. However, I soon saw what the rocks were used for! Inayoshi adds texture with a rock to a lump of solid clay. The larger items were prepared prior to the workshop and left overnight to dry. To the left of the texturized clay, some of the objects used for texture. Inayoshi prepared his trimming tools for use the next day. Sharpening a wooden trim tool. Inayoshi's trimming tools. The next day, Inayoshi showed us his unique techniques of working with wet and leather hard clay. Unlike most potters who hand build using either the coil technique or pinch pots, Inayoshi developed a way to work with solid shapes of clay which allow him to use natural objects to impress patterns without deforming the shape of the piece. In the photo below, he is cutting a small football shaped piece of clay in half after having made the patterns, which will become sake cups. Cutting sake cups. While the sake cup forms set up to dry, he started making a tea bowl. This is done using a wooden mold, over which a piece of material is placed to keep the clay from sticking to the wood. He presses the clay onto the mold until it is about 1/2" thick (1.25 cm), and then uses rocks, pine cones, corn or anything that he has found to press texture into the clay. Pressing clay onto a wooden mold to make a tea bowl. Texturizing the tea bowl. While the tea bowls set up, Ina scoops out the interior of the sake cups so that they are about 1/2" thick. Sake cups with middle scooped out. Just like a cantaloupe! A row of tea bowls, which were formed on a wooden mold, setting up prior to trimming. Teabowls. While the tea bowls set up, Ina scooped out the bigger pieces. Scooping out the larger pieces. Day Two When we arrived for the second day of the workshop, the pieces that Ina had started the previous day were leather hard and ready to be finished. Inayoshi started by trimming the bottoms of the sake cups. Trimming a sake cup - you can see the marvelous texture the sand adds to the clay. And then he used his trimming tools to thin out the walls of the tea bowls, sake cups, and bigger pieces. When done, the tea bowls and sake cups are incredibly thin with an amazingly precise uniformity of thickness. They are an absolute pleasure to hold and use (and that ain't the sake talkin' neither!) Trimming the inside of a tea bowl. Using a loop tool to trim trim the inside of a sake cup. Inayoshi brushes out the interior of the finished bowl with a stiff brush and water to give it a nice smooth surface. The larger pieces were sliced in order to allow for Inayoshi to evenly thin the walls with his trimming tools. Here he has joined the two pieces back together. When he is finished you will not be able to see the seam. Even the interior seam is not visible - details like this are the mark of a true craftsman. Inayoshi works on the seam. And with a bow, Inayoshi finished a covered jar at the conclusion of the workshop. One of the wonderful things about this workshop was the informal nature of it. And, we got to work on our own pieces. Much laughter was had and I am finding that as the days and weeks go by that I have been inspired on deep levels not only by the techniques that Inayoshi Osamu has originated and shared with us, but also by his joyous personality. I am now seemingly cursed in such a way that every time I go out for my walk that I find myself scanning the trail for rocks to take home. Susan and I were happy to have hosted Inayoshi for four nights which gave us more time to laugh, share stories, and enjoy each other's company. Inayoshi is planning on coming back to Oregon in 2016 to do more workshops which will include glazing and firing the pieces he created while here. I can't wait! Glazing and Firing The more I work with clay, the more I feel that it is all about the glazes and the firing. By that I mean that there comes a point in time when you become competent with wet clay and your interest turns to the composition of clay and glazes and learning different firing techniques. While this is not true for every potter, some of you out there will recognize a bit of this in your own development as a potter. So, as much as I enjoyed seeing and practicing Inayoshi's techniques of forming clay, I am very, very curious about his glazing and firing process. Ina told me that he is constantly testing glaze recipes and has many, many failures. But occasionally a glaze works, more often than not to fail in further developmental tests. But when one works!!! He and I understand each other perfectly on this level - it's all about that feeling of victory, satisfaction and blessing from the pottery gods that is so sweet, so compelling, and so addictive. So - for as much as I learned in the workshop with Inayoshi (which was a LOT) I feel that this is only the tip of the iceberg in terms of the knowledge that Inayoshi has, and I hope in time to learn more from this great potter. Inayoshi Osamu: You are to pottery as Neil Young is to music. Thanks for coming to Bend! The workshop gang, Feb. 15 2014 at Central Oregon Community College. Have I taught you well enough? Melissa works on a tea bowl. Inayoshi, Yasuko (the amazing interpreter!) and Peter share a laugh. Diana works on a sake cup. Hank Murrow, who brought Inayoshi to Oregon and set up the workshop tour makes a tea bowl. Inayoshi took photos of all the food he ate in Bend. Here, he is documenting a gummy worm from his frozen yogurt at Cuppa Yo. I can only imagine what his friends back in Japan think of Bend after seeing his photos! This was way cool - Inayoshi brought a few 400 year old pottery shards that he found at an ancient kiln site in Japan. It was really something to hold these pieces and see how perfectly uniform they were and to feel a connection to another potter from another time.
Take a broken ceramic dish and transform it into a beautiful work of art with gold by using Japanese Kintsugi pottery repair.
During the summer of 2018, i built a pottery studio. here’s how I did it (in brief)…
30cm AMPHORA Geometric circa 750 B.C. This vessel was used by the ancient Greeks to store their grains and liquids. A scaled down reproduction of the antiquity attributed to the Dipylon workshop and housed in Munich’s Antikensammlungen. The geometric design is the first intimation of the ancient Greek artists’ interest in the almost mathematical disposition of complex patterns and images. HAND MADE IN GREECE BY SJS DESIGNS.
We love sculpture as nothing elevates a surface quite like it. Designed by Abigail Ahern the lust worthy Valencia sculpture adds distinctive flair and steals the show. Due to the handmade nature of Valencia sculptures, each is truly unique and any imperfections should be celebrated. Valencia looks fabulous in any room. Dimensions: 16.5 x 12.5 x 33.5 cm Materials: Cement Due to the handmade nature of our sculptures, each is truly unique and variations in shape, texture, colour may occur.
