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Chinese Glazes by Nigel Wood (455 WOOD) Reviewer: Jane Crick The latest revised edition of an outstanding, well-respected and academic reference. Fabulous photographs of fabulous pots and more than a little history. A serious read for the serious student and a stimulating browse for those more relaxed. These traditional glazes are mostly stoneware and reduction fired. That does not mean they cannot be tried in an electric kiln, the recipes will work but the results will be different. Do not be discouraged by the chemical analyses of glazes that occur at dauntingly regular intervals throughout the text - Chapter 14 is called "Glaze Recipes" and all becomes clear. A book to take, taste, devour and drool over.	Go to top of page
Smashing Glazes by Susan Peterson (455 PET) Reviewer: Jane Crick A visual feast. The work of 53 independent artists is shown as full-page images, each supported by a personal statement of philosophy and/or process by the clayworker. Each entry is accompanied by technical information on glaze and firing. Great to see an internationally recognised U.S author featuring international artists, including some Australians. A book to stimulate the imagination.	Go to top of page
Rock Glazes, Geology and Mineral Processing for Potters by Steve Harrison (455 HAR) Reviewer: Jane Crick Last but definitely not least is this overview of using found materials to make glazes - which after all is how it would originally have been done. A book for browsing for many potters but a serious text for those who wish to take the traditional route. Steve Harrison lives in the Southern Highlands and has found many of his glaze materials locally. Take up your pick and shovel and follow his example.	Go to top of page

Practical Solutions for Potters by Gill Bliss, published 2002. In the library at 105 GIL

This book is filled with a huge range of helpful hints covering all aspects of making pottery. Often the author gives several different approaches for a problem. The explanations, which are very detailed and step-by-step, are accompanied by lots of clear diagrams and colour photos. The topics are well organised and clearly written. The reader is given extra help in a variety of ways to find their topic of interest. This book will be useful for beginners and also for more advanced potters.

This lavish production takes us on a photographic journey through the work of Vic Greenaway, one of Australia’s most respected ceramists. Of the 140-odd pages, about 100 are photographs, showing his development and mature pieces over the past forty years. The recipient of numerous grants and fellowships, Greenaway has work in all the major Australian ceramic collections. There is a lengthy introduction by Tim Jacobs.

Ceramics in the Environment: an international review, by Janet Mansfield. Published by A & C Black, 2005, in the CPS Library at 355 MAN.

This handsome work lavishly illustrated with colour photographs is a truly international survey of the work of 100 masters whose works are found in gardens, in wilderness, on and around and in buildings, both public and private. For some artists, the ceramic is the structure; as for example, where handformed bricks create a wall; for others the ceramic work finishes the structure, as mosaic does; other works stand alone. The range of size is from quite small units, to large pieces fired in situ where the ceramic is both kiln and fired piece.

Janet Mansfield is in a unique position to bring this work together. She is the longstanding editor of two international journals CeramicsTECHNICAL and Ceramics: Art and Perception. She regularly travels the world seeing the vast range of ceramics available and talking with the makers. And she organised and hosted Clay Sculpt at her property at Gulgong some years ago. The works that were created during that event by the leading ceramists, who were lecturing and demonstrating, are a feature of this book.

Naked Clay: Ceramics Without Glaze by Jane Perryman. Published by A & C Black, 2004 (405 PER)

Jane Perryman is the author of Smoke Firing, which has become a bible for that sort of work. This book follows a similar pattern with beautiful colour plates and a focus on individual ceramists whose works exemplify the processes and, to a lesser extent, it describes their practice. It is not a “how to do it” book though there are bits of technical information included, which can be used by the reader as a starting point for their own explorations.

There are four sections: Clay with surface pigment (use of slips, oxides, stains);Clay marked by fire (saggars, smoke, raku, black firing); Pure clay; Clay with additions (colourings, neriage, aggregates and combustibles). Functional and non-functional works are included.

The coverage is mainly UK and European but three Aussies are represented : Sandra Black, Fleur Schell, and Petrus Spronk. Fleur is one of the guest speakers for Gulgong next year. The work of Yo Akiyama (Japan) is included. He was part of that fabulous ceramic exhibition at the National Gallery at the end of last year and he does amazing things with blow torches. All very interesting.

These books, published by Lark as part of a series where each volume focuses on one form, represent incredible value for money. Each of these books is a glorious collection of photos illustrating the huge range and variety of contemporary practice for that form. Just when you think you have seen it all, another potter produces something new that is unique, exciting, and skilled. The examples range from the sublime to the ridiculous, the highly serious to the totally wild and whimsical. If there is one thing that annoyed me as a reader, however, it is the overwhelming predominance of US examples. I would have appreciated more European/Asian/ and, dare I say, Australian examples.

The Artist’s Complete Health and Safety Guide 3rd edition 2001, by Monona Rossol (630 ROS)

Definitely a must-read for all serious potters, this book includes detailed information on health and safety aspects of all facets of ceramic practice. It is in fact quite scary, but it is the sort of information we all need in order to protect ourselves while we pursue our passion. Passion need not be reckless, but tempered with knowledge and good practice.

This book was recommended by Tanya Laycock, our CPS Health and Safety Officer. It covers many other art forms as well. In the nineties Rossol brought out a book for potters but this is no longer in print and all the information we need is in this more comprehensive volume.

This is a new edition by Rosette Gault, one of the world authorities in paper clay. There are now many practitioners using paper clay. The maturation in knowledge and practice- how to make it, work with it and the expansion of the boundaries that has occurred since the early nineties (when the first edition was published) justifies a revisit of this topic.

Given Rosette Gault’s status as a senior international ceramist, I selected this book with those members in mind who want to change direction perhaps, or free up their practice in some way. This book is packed with hundreds of ideas, suggestions and “take-off” points. It is the absolute opposite of the Project books where step by step instruction is given, including the images to be used. Gault avoids prescription entirely, and the reader is left to develop such ideas as appeal and turn them into reality for themselves. I shall be interested in feedback from readers as to how they find this book.

One small criticism is that I found the book lacking in editorial assistance, with mis-captions, wrong index pages and such like. I have the impression that the book has been prepared in a rush. This should not detract from its intention, but it is a pity more care has not been provided in the publishing.

Mastering Cone Six Glazes, by John Hesselberth and Ron Roy. Published 2004. It is in the Library at 455 HES.

This up-to-date glaze book is an extremely good introduction to modern glaze technology. Even if you are working in a different temperature range, the chapters on how to go about achieving glaze fit and the sections on safety and tests for functional glazes are relevant and helpful. I have used some of their recipes and found them excellent. The book is clearly written and very practical.

Handmade Potter’s Tools. 2nd edition, by Gordon Wong and Philip Whitford. Published 2004. It is in the Library at 144 WON.

Whenever I attend a class or demonstration, I am struck by the number of “best” tools that people use, which they have made for themselves (or had a handy friend make for them). They are usually introduced as “This is the best tool for…. And you can’t buy it but this is how you make it”

Here is a book which explores such tools. It covers all areas of the making process, and some you will be familiar with, while others are new. The authors have gathered a lot of information about traditional craft practice from the world’s ceramic cultures and combined this with modern materials and making techniques. They also cover new developments. I particularly enjoyed the section on press moulds, a technique we are all familiar with, but which the authors have developed further than the usual.

Porcelain and Bone China by Sacha Wardell. Published 2004. It is in the Library at 275 WAR.

This is one of those magical books where I went from one gorgeous picture to the next, devouring the wealth of creativity and consummate skill showcased there. It is the only current publication I know of, which covers the technical aspects of bone china.

The book is divided into sections such as Making Methods, Decorating Techniques and Glazes and the Firing Processes. Each section has a brief technical introduction for both porcelain and bone china and then shows work which illustrates the utilisation of those aspects. Lots of different potters are represented and their work is quite dizzying for its beauty and mastery. For each potter, there is a brief description of the processes used, some of which seem unique to that individual, but it cannot be regarded as an instruction manual – more like a set of clues.