Arts and Crafts vs Studio Pottery
アーツ・アンド・クラフツ / スタジオ・ポタリー
Arts and Crafts comes from Craft Movements and Studio Pottery from Ceramic Styles. They are reached for with some of the same intent, which is where they get confused.
Arts and Crafts
Returns material and handwork to the center of design, joining every detail of daily life under one conviction.
Studio Pottery
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Ceramics made by individual artist potters in their own workshops, where one person carries a pot from forming through glazing to firing. It emerged in the early twentieth century as part of a wider revival of crafts and is deliberately non industrial. The Leach Pottery, opened at St Ives in Cornwall in 1920, became its best known centre.
| Arts and Crafts | Studio Pottery | |
|---|---|---|
| Era | 1860s–1910s | 1920s– |
| Family | Craft Movements | Ceramic Styles |
| Kind | Style | Style |
| Cues | Repeating plants / Flat contours / Density of handwork / Colors from nature | Throwing rings, or the seams of coils and slabs, left visible instead of smoothed away / High temperature glazes: ash, celadon and tenmoku, returning again and again to brown black and grey green / Streaked copper red and purple glazes that ran in the kiln and stayed as unplanned marks on the wall / Incised lines inlaid with coloured slip under a white glaze, with a different glaze at rim and foot alone |
| Best used for | Honesty for long-lived tools and household brands · Uniting pattern, letter and material in one story | Pulling a product away from factory evenness by keeping the forming marks and the glaze runs in the finish · Selling one off pieces online, where the photography has to show that no two of the same form match |
| Type | Serifs or ornamented letters that feel hand-cut | Keep any lettering small and thin, naming only the piece and the potter, and never decorative. |
| Composition | Repeat plants and creatures with the seams hidden | One piece large with space around it. Do not align a row; let heights and tilts stay uneven. |
| Material | Deep indigo, plant-dye tones, off-white; keep the texture of paper and cloth | High fired stoneware, porcelain and raku. Ash, celadon and tenmoku glazes and running copper reds, laid thick enough to let the coarse body show through. |
| Caution | A floral print alone loses the conviction. Align material, making and a structure that lasts. | Copying only the marks of the hand and adding wobble leaves out the high firing and the behaviour of the glaze, and produces a mass made object that merely looks uneven. |