Lee Love on wed 30 aug 06
*Ceramics (Paperback) *
by Philip S. Rawson
"
- *Paperback:* 223 pages
- *Publisher:* University of Pennsylvania Press; Reissue edition
(March 1984)
- *Language:* English
- *ISBN:* 0812211561
- *Product Dimensions:* 8.0 x 6.1 x 0.6 inches
http://www.amazon.com/gp/product/0812211561/002-6270646-0557636?v=glance&n=283155
*Pottery Form (Paperback) *
by Daniel Rhodes
- *Paperback:* 256 pages
- *Publisher:* Dover Publications; Dover Ed edition (July 16, 2004)
- *Language:* English
- *ISBN:* 048643513X
- *Product Dimensions:* 10.8 x 7.6 x 0.4 inches
http://www.amazon.com/Pottery-Form-Daniel/dp/048643513X
The Art of Contemporary Pottery" by *Kevin Hulch*. ISBN: 0-87341-906-5
*The Unknown Craftsman: A Japanese Insight into Beauty (Paperback) *
- *Paperback:* 230 pages
- *Publisher:* Kodansha America; Revised edition (January 1990)
- *Language:* English
- *ISBN:* 0870119486
http://www.amazon.com/Craftsman-Japanese/dp/0870119486
*Hamada Potter (Paperback) *
by Bernard Leach,
Shoji Hamada
- *Paperback:* 232 pages
- *Publisher:* Kodansha America; Reprint edition (April 1997)
- *Language:* English
- *ISBN:* 0870118285
http://www.amazon.com/Hamada-Potter-Bernard/dp/0870118285
Lee in Mashiko, Japan
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
Elizabeth Priddy on wed 30 aug 06
I think there are two design principles that pretty
much cover it.
I know this sounds simple.
But still here goes:
There is the chinese painting factor of 5 of nine, a
ratio of tight to loose meaning to divide the visible
area of any three dimensional object into nine
squares, roughly. Only 5 of them can be active at any
angle visually.
There are books about this, but they are in chinese.
I am not kidding. I can't help you more than to lead
you to the "Mustard Seed Garden Book of Painting"
which is the book Leach studied to learn to decorate
his surfaces.
Search the archives for a more indepth discussion of
this book.
The other concept, and there are hundreds of books on
this, is the Golden Section.
This snip from a website should get you started and
you can find a LOT about it online.
http://www.noteaccess.com/RELATIONSHIPS/GSection.htm
"Golden Section of an area or plane.
From line we could move directly to the Golden Section
of an area or plane--a matter of greater interest to
designers than the Golden section of a line. Here the
square becomes the key figure. We could proceed in one
of two ways: By starting with our line AB and drawing
a perpendicular from E, its Golden Section, the same
length as AE, and, with ruler or triangle, completing
a Golden Section rectangle, consisting of a square and
a smaller Golden Section rectangle oriented
vertically; or by starting with a square and placing
the point of the compass precisely at the center of
the base line describing a semicircle from left to
right (or right to left) across the upper corners.
Extension of the base either to the right or left of
the square would give the Golden Mean Proportion to
the square.
The Square in the Semicircle: The Root-5 Rectangle
The two extensions, right and left, create another
rectangle that was the special delight of Greek
architects, if we can believe the various diagrammatic
analyses of their works. The two Golden Section
rectangles overlap to the extent of the square. Viewed
in another way, this is a double Golden Section
rectangle capable of being read both ways: to the
right or left from the central square. More
importantly, it can be divided into five equal parts,
each having the same proportions as the parent
rectangle. Parent and children are all so-called
root-5 rectangles. Division of the rectangle is
achieved by drawing its diagonal from corner to corner
(say, upper left to lower right), then a shorter
diagonal from (in this instance) the upper-right
angles. The shorter one becomes the principal diagonal
of a vertical rectangle one-fifth the size of the
original root-5 rectangle. More divisions still may be
made within this smaller rectangle.
The versatility of the root-5 rectangle (if we may
take the analyses on total faith) is seen in the
several arrangements of squares, Golden Section
rectangles, larger and smaller root-5 rectangles,
juxtaposed and interlocking, known in antiquity and
still worthy of attention . . . .
During the late twelfth and early thirteenth century,
at the height of the so-called first Renaissance,
there lived an Italian merchant-traveler-mathematician
by the name of Leonardo Fibonacci,..."
Just search on Fibonaci + pottery + aesthetics
and you will find many books of which you would have
to choose your own level of mathematical depth.
I understand it and apply it to my paintings. When I
remember to edit according to these principles, my
paintings are much better than when I don't.
This is a good example, also incorporating the
concepts from the mustard seed garden book of
painting.
http://www.elizabethpriddy.com/crit2006/tiles_egret_profile_dtl.html
If you divide it into 9 squares and notice how many
have activity, you will find 5. This piece shows
these principles of composition in practice. Three
dimensionally, examples are found readily in greek red
and black ware. You have to superimpose a grid on the
work from any angle and it should work from any angle
to find the golden mean (or fractal proportion).
Hope this helps.
E
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
__________________________________________________
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Ivor and Olive Lewis on thu 31 aug 06
I cannot recall seeing this one in the Digest so it may have got =
misplaced in last week's hiatus. Anyway, since then I have not noticed =
any responses to the topic. Thank you Joyce Lee for getting things =
sorted quick time smart.
Dear Friends
A short while ago I asked if people might recommend text books which =
taught the philosophies, processes, and skills for judging works in =
clay. So far there seem to have been no responses or if there have, they =
have been lost in cyberspace
So, either this task is a difficult one to address because such books do =
not exist or there are other reasons for a lack of response. Perhaps it =
is dealt with in esoteric courses at some institutions of higher =
learning where records which might be published are treated like State =
Secrets.
There is also the possibility that the capability of delivering =
Aesthetic Judgements of Ceramic Artefacts is based on experience, of =
years of looking and handling myriads of works by countless =
practitioners. Through this process, those who are called upon to be =
Judges or Jurors are able to make faultless and flawless statements =
about the aesthetic value of the things they examine.
Should we might expect Aesthetic Judgement to differ, in a absolute =
sense, from a Critique. In which case, where are the instructions for =
learning the philosophies, processes and skills of making a Critique of =
a Ceramic Artefacts?
I look forward to reading your ideas. Remember, I do not ask for a =
discussion, just practical information.
Best regards to all,
Ivor Lewis.
Redhill,
South Australia.
BrendaZ on thu 31 aug 06
Ivor,
Robin Hopper's book "Functional Pottery" is subtitled "Forms and Aesthetic in Pots of Purpose".
In the concluding chapter, entitled "Standards and Aesthetics", Mr. Hopper states that "aesthetics, like philosophy, are intangible". Therefore, he is not giving a concise description of what he considers proper aesthetics to be. His book discusses the considerations that a potter should make when designing functional pottery. I am not sure if this is the kind of information that you are looking for, but you may be interested in reading his thoughts.
Brenda
Ivor and Olive Lewis on fri 1 sep 06
Dear Lee Love,=20
Thank you for your list. Spot on ! !.
Yes, I have the Rawson and the Rhodes. I will attempt to borrow the rest =
from the library.
Best regards,
Ivor
Ivor and Olive Lewis on fri 1 sep 06
Dear Brenda,
Thank you for that prompt to Robin Hopper's book. Yes I have read what =
he has to say and I admire the examples he uses to illustrate his =
philosophy.
But, apart from this lists of things to observe in Ch 16. =
"Considerations" There is little to guide the learner in the processes =
of Criticism. Learning to become a Designer, yes, a most worth while =
text book for students.
Enjoy your weekend.
Best regards,
Ivor Lewis.
Redhill,
South Australia.
Ivor and Olive Lewis on fri 1 sep 06
Dear Elizabeth Priddy,=20
I appreciate your instruction. Are you telling me that knowledge of the =
Golden Mean and the Rule of 9 are sufficient information to critique =
works of ceramics ?=20
Best regards,
Ivor
Elizabeth Priddy on fri 1 sep 06
Dear Elizabeth Priddy,
I appreciate your instruction. Are you telling me that
knowledge of the
Golden Mean and the Rule of 9 are sufficient
information to critique
works of ceramics ?
Best regards,
Ivor
___________________________________
What I am saying is that those two general principles
apply ALMOST universally to ANY artwork in an honest
evaluation of beauty.
They determine composition, positive and negative
space, placement in composition, degree of detail,
most of what makes something beautiful or not is
loosely related to these two principles.
I am saying that once you take command of these two
ideas, you will certainly be able to explain why
something is ugly, or NOT beautiful.
Both principles speak directly to proportion and
balance of form, placement, and volumetric decisions.
I think there is more to it, of course, but if you are
starting a conversation and exploring it in a
meaningful way regarding criticism...it's a very good
place to start.
And it doesn't really matter whether the work is 2 or
3 dimensional, so it covers surface design as well as
form.
The principles also apply to color, but this forum is
probably not interested in the details of how, so I
will just leave that for you to explore.
Or write me offlist, a sincere offer if you would like
to discuss this.
So....maybe!
E
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
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Vince Pitelka on fri 1 sep 06
Many cultures through history have offered generalizations or guidelines
governing the creation of art, such as the Golden Mean (a severely flawed
and unreliable guideline) and the Rule of Nine (interesting but way too
limiting). These concepts apply continuity of ancient tradition, perhaps
still valid in some circumstance, but representing only a small fraction of
the range of posibility in art and design. The minute you impose rules or
generalizations, you limit what art can be, and that doesn't work unless
your intent is to make formula art like Thomas Kinkaid. To varying degrees,
art can be decorative, narrative, realistic, abstract, conceptual, symbolic,
literal, and on and on. But most important is the experiential effect -
what you really experience when you view the work. Application of the
Golden Mean and/or the Rule of Nine have little to do with the experiential
power of the work. They are more concerned with pure formalist design
layout, which is always a good learning experience but valuable in
application only to the degree it serves the needs of the artist and the
experiential power of the work. If you judge artwork (including pots)
purely on aesthetics, then you are searching only for beautify, and will
probably miss much of what the work has to say. Remember, appreciation of
an artwork has very little to do with whether or not you like it.
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
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