Pottery Ladies. Miss Cooper, Miss Cliff, Miss Rhead and all the forgotten girls...... (Susie Cooper) - ACE156.3

Paper records of designs and their colours. Cooper painting leaf on cup; hands it over to Dobbs. She talks about how designs were developed and used; paintresses would specialise in certain shapes and. Dobbs adding to basic Cooper painted design. Photograph of Cooper. Dobbs talking about Cooper’s perfectionism; pieces in a set had to look as nearly alike as possible. Examples of pieces with animal and fish designs. Cooper showing a lidded vegetable dish which was stackable, could be used in two parts, and which didn’t spill steam when the lid was removed. She suggests that male designers didn’t consider such things. Cooper talking the importance of "the space you leave behind" in a design. Kestrel coffee pots with different motifs, egg-cups, a morning set (Cooper’s VO comments on the low prices charged at the time). Cooper saying that it was just as important then to produce items in volume to maximise profit. A variety of pieces with "raised spot" decoration; Cooper’s VO says simple patterns were used to train paintresses to work with particular colours and to space decorative features properly. Paintress talking about the thorough training they received. Cooper says her sense of responsibility for her workers influenced what she achieved as it was all part of industrial design. Certificate recording Cooper’s election to the faculty of Royal Designers for Industry by the Royal Society of Arts, 1940. Eatwell talking about this honour and about Cooper’s 1979 OBE. Examples of pottery which made full use of skills of paintresses as well as whatever techniques were available including aerographing and scraffito. Cooper talking about use of aerographing and scraffito. Examples. Examples of use of crayon line and crayon loop designs. Eatwell talking about Cooper’s work for the Wedgwood group, and the wide availability of her pieces. Examples of crayon loop ware.