Synopsis
""A Handbook to the Practice of Pottery Painting"" is a comprehensive guide to the art of painting pottery, written by John Charles Lewis Sparkes and originally published in 1879. This book covers a wide range of topics related to pottery painting, including the history of the craft, the materials and tools needed for painting, and a variety of techniques for decorating pottery. The book is divided into several sections, each focusing on a different aspect of pottery painting. The first section provides an overview of the history of the craft, tracing its origins back to ancient times and exploring the different styles and techniques that have been used over the centuries. The second section of the book is devoted to the materials and tools needed for pottery painting. Sparkes provides detailed information on the different types of paints, brushes, and other equipment that are used in the craft, as well as tips for selecting the best materials for different types of projects. The third section of the book is where Sparkes delves into the various techniques used in pottery painting. He covers a wide range of techniques, from simple brushwork to more complex methods such as stencil cutting and transfer printing. Each technique is explained in detail, with step-by-step instructions and helpful illustrations to guide the reader through the process. The final section of the book includes a series of practical exercises and projects that readers can undertake to practice their skills and develop their own style. These exercises range from simple designs to more complex patterns and motifs, and are designed to help readers build their confidence and develop their own unique approach to pottery painting. Overall, ""A Handbook to the Practice of Pottery Painting"" is an invaluable resource for anyone interested in the art of pottery painting. Whether you are a beginner or an experienced painter, this book provides a wealth of information and inspiration to help you develop your skills and create beautiful, unique works of art.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
About the Author
From the Introduction.
The singular interest that has been excited in late years in the subject of Pottery is at this time bearing remarkable fruit in the shape of a widespread effort to produce forms, and surface decoration on forms, that shall rival those done in such old times as are regarded as being peculiarly rich in artistic light and insight. The rivals to the ancient works are seen daily in increasing numbers and in varying beauty, and of most diverse colours and characters. Scarcely a month now passes but some addition is made to the number of wares decorated by new methods, which take the impress of the individual minds that have invented them. We thus have had revivals in Majolica, Faience, Lustered ware, &c. &c., and with all we may say truly, that as examples of pottery -- that is, more especially in the mechanical and material construction of the new wares -- they greatly exceed the old ones in perfect finish, durability, and chemical combination of their parts, both in body and glaze. But this is not everything; and it is well known and seen that the ancient works, and those of the Renaissance, excel our own in their taste, artistic freedom, and wealth of ideas; and in thesa particulars we have still much to do to equal, still more to do to excel, these old-world productions of the potter's art.
But the spirit is abroad, and in all European countries the same active interest in pottery is perceived. Among a large class of amateurs in this country there is a want of practical information on the methods of work in pottery decoration; and no doubt the absence of this practical knowledge is the reason why so much less china and pottery painting is done by amateurs in this country compared with Germany, for instance.
For these this little handbook is mainly intended, and the writer will feel well rewarded for his work in putting it together, if it should conduce to the spread of a wider appreciation and practice of the beautiful fictile art, that has from the most ancient times been the object of admiration to legions of persons of taste and of cultivated mind.
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