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I am encouraged to stretch myself in my own work. I am pleased and inspired by this book.
I've been energized to try new things, and share them with my students as well. Since receiving this book as a gift, I have tried several of the decorating techniques. I was really excited by her latex resist techniques as well.
I have been a "potter" for 12 years, and sometimes find myself in creative ruts. But there are new ways to present techniques and I think Maureen did this very well. I found this book full of great ideas and techniques.
She works in slip-trailing like no one else I've seen. This book is a great addition to most potter's libraries, something I look forward to browsing for many years to come. This book came to me at a time I really needed to explore some new ideas.
There is nothing "new" in pottery.
It's a delight to see so many New Hampshire potters represented. Maureen Mills' considerable experience as a teacher informs the book. After the (too short). Helpful hints abound, clear and concise, never with the pedantic verbosity that has often made me turn the page to escape an author's self-centered intrusion on process. Her finished pieces are fine illustrations of process. If you're looking for techniques to try as you work in clay, the recently published Surface Design for Ceramics may be just your cup of tea. No how-to book showing how to execute someone else's ideas, New Hampshire Institute of Art Ceramics chair Maureen Millls' book exxposes the reader, with helpful detail, to a wide range of decorative processes. While the tools employed are simple, possibilities for their use are many, as are the examples of pots and details of pots showing how the effects are achieved.
Inclusion of pieces by potters in New England, both well and lesser-known, is refreshing, as it reveals her interest in and personal connection to other people's work and style. She and her husband, Steve Zoldak, are remarkable as educators. You can jump right in, and imagination is stimulated, not to copy, but to move through and past, to one's own expression. There is something in this book for most potters, and discreet but crucial suggestions are what intrigue me the most, such as: "It's best to take time to visualize the finished piece before you get started." Truly, we are being taught to make our own choices, and the possibilities are endless. I found myself drawn in, wanting to know which tools and techniques were used, and in what sequence. Options for firing and post-firing finishing are thought-provoking, as one sees the results and can identify the methods of firing. Close-up photographs show her hands at work demonstrating at every stage of making, from freshly-thrown clay, through biscuit to post-firing.
chapter on design, dividing the book into clay stages is useful, as it avoids the confusion of figuring out at what stage which technique is appropriate. Mills' own pieces are augmented by photos of other artists' work, both contemporary and from historic periods. The layout of pages is balance and attractive. There is plenty of explanation.
whether you are a new or seasoned clay addict it is a nice addition to your library. easy to follow instructions for the techniques covered along with great pics.
It arrived today and I have to say I was very disappointed with it. There's really nothing new in it and I've seen all of the information presented in other books in a much more dynamic way. I'm a potter. It's not a bad book but I found it uninspiring. I was hoping for more. I love Lark books and refer to them often for ideas and techniques. I was looking forward to this book and pre-ordered it several months ago.
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