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man poduhvat, a ja sam se sa zadovoljstvom vratila jednostavnijimizazovima kursa konzervacije keramike. UVelikoj Britaniji bi se ovakav kurs zvao Konzervacija irestauracija keramike i porcelana. Definicije raznih tipovakeramike su različite u Srbiji, tako da bi trebalojoš malo da se poradi na trenutnom nazivu – Porcelan,majolika i fajans, iako on praktično odslikava ono čimesmo se bavili.Kao član UKIC-ovog Veća 1998-2001, teško da mogubiti u nedoumici po pitanju znanja koje jedan konzervatortreba da poseduje. To Veće je implementiralo ubrzaniprogram i nadgledalo veliki broj prijava po važećemakreditacionom planu koji su pripadnici struke u VelikojBritaniji konačno usvojili 2000. godine. Ja sam senajviše pozabavila načinom pružanja dovoljne količinepraktičnog znanja u roku od 4 nedelje, kako bi dobijeneinformacije bile upotrebljive i istovremeno bezbednekako za predmete, tako i za konzervatore. S obzirom daimam kvalifikacije za podučavanje odraslih, kurs je biorazumljiv i pažljivo iskreiran, tako da su učesnici dobiličvrstu osnovu i mogućnost da se razviju u bezbednosnoi etički svesne konzervatore, bez obzira sa kakvom vrstomkeramike se suočili. Shvatila sam da je to zaistapreviše informacija da bi ih svaki polaznik usvojio za 4nedelje, tako da sam podelila svima kopije kursa po predavanjima( uobičajno je da polaznici sami stvaraju svojebeleške, ali zbog nedostatka vremena, bila sam neštostriktnija). Tokomvremena sam sakupilapopriličanbroj radova saC.G.C.G. konferencija,koji dajumnogo širu slikukonzervacije keramike,nego što bilokoji pojedinac možeda pruži. Zahvaljujemse LesliAkton za predavanjeo promišljenojpraksi, njenom sinuDžejmsu za doprinospod naslovom«Hemija», BobuČajldu za«Upotrebu i zloupotreburastvarača», Deniz Ling za «Oblaganje laponitom»,Kenu Vatu za «Čišćenje keramike», Šeliji Ferbrasza «Hemiju rastvarača», autoru rada «Izbor lepka zakonzervaciju keramike», Stefanu Kobu za «UpotrebuAkriloida B72 u konzervaciji arheološke keramike»,kompanijama Micromash i Golden Paints za veoma razumljivauputstva za upotrebu njihovih proizvoda, kao irad na temu «Desetogodišnjice razvoja Golden Airbrushboja kao i novog akrilnog sistema».Zahtevala sam da svaki polaznik dobije po tri predmetaza rad, po jedan keramički, porcelanski i hibridni,po mogućnosti da nisu u pitanju muzejski predmeti. UDIJANI postoji stalni sistem teorijskih predavanja, takoda sam se ja skoncentrisala na praksu, materijale, tehnikei metode njihove upotrebe. Akrilna boja može oštetitipredmet ako se nepravilno koristi. Dobili smo grupuadekvatnih predmeta, sa jasnim presecima keramike ibez dodatnog pritiska oko njihovog porekla i vrednosti(što ne mora istovremeno da bude i finansijska vrednost).Takođe smo se zabavili razlepljivanjem starog,stvrdnutog sloja epoksi smole svežim ananasom, ali činjenicaje da taj proces može da privuče insekte.Polaznici su radili sistematično, iako užurbano, uz168Serbia’s Museums is a is a huge undertaking and I washappy to return to the more manageable challenges ofmy ceramics course. In the UK the course I deliveredwould be called the Conservation and Restoration ofPottery and Porcelain. Definitons of various types potteryare different in Serbia so there is some work to bedone on the wording of the current title of Porcelain,Maiolica and Fiaence, though it does express what westudied.As a member of the U.K.I.C. Council from 1998-2001I could hardly be in any doubt as to what a conservatorneeds to know. That was the council that implementedthe fast track scheme and oversaw the numerous draftsof the mainstream accreditation scheme that was finallyadopted by the U.K. profession in 2000. My main concernwas how to impart enough practial knowledge in 4weeks so that the information would be useable, andsafe for both the objects and conservators. I am a fullyqualified adult education teacher so the course wascomprehensive and carefully constructed so that theparticipants received a solid grounding enabling themto develop into safe and ethical practioners whateverkind of ceramics they encounter. I realised that this isfar to much information for a single student to absorb in4 weeks so each student received a copy of my coursenotes plus handouts [it is usual to let the student buildtheir own file but due to lack of time I was more rigidthan usual]. I havecollected quite acomprehensive collectionof papersfrom C.G.C.G. conferencesover theyears, giving a farwider overview ofceramic conservationthan any individualcan provide.My thanks go toLesley Acton forher work on teachingreflective practice,her son Jamesfor his contributionentitledChemistry, BobChild for SolventUse and Abuse, Denise Ling for Laponite Poulticing,Ken Watt for Cleaning of Ceramics, Shelia Fairbrass forThe Chemistry of Solvents, whoever wrote the Selectionof an Adhesive for Ceramic Conservation paper, StephenKoob for Using Acryloid B72 for the Repair ofArchaeological Ceramics, Micromesh and Golden Paintsfor their comprehensive product information sheets andpaper on The 10 year Development of Golden AirbrushColours Defining a New Acrylic System.I had requested that each student should have 3objects to work on one each of pottery, porcelain andone hybrid, preferably not museum objects. There is anongoing rolling programme of theory lectures alwaysavailable at Diana so I wanted to concentrate on understandingreflective practice, materials , techniques andmethods for using them. Acrylic paint can still damagean object if incorrectly applied. A good selection ofobjects arrived that provided us with a comprehensivecross-section of ceramics without the added stress ofprovenance and value [not necessarily financial value].We also had some fun , sucessfully reversing some longterm hard epoxy resin with fresh pineapple, but thatprocess does tend to attract insects.