Most of us think of stencils as being rather impermanent, but Hanna Lore puts that notion to rest. She makes stencils from clay and bisque fires them so they can be used over and over again for some very interesting airbrush effects.
A handheld extruder comes in handy for adding decorative elements to your work. Daryl provides a rundown on how to make a simple extruder from a caulk gun, or buying kitchen gadgets from the housewares department or by rummaging through yard sales. Check out Daryl’s book, The Extruder Book in the Ceramic Arts Bookstore.
For many years, I was a ceramic designer, manufacturer, and educator. I
made molds, slipcast, Ram pressed, and jiggered thousands of pieces for
a diverse base of clients. I enjoyed the problem solving and the
conceptualizing, design, and drawing phases of every project. My staff
were able to move the work through the studio from start to finish.
During this time, I also established the ceramics program at Colorado
Mountain College in Steamboat Springs. All of my time was devoted to
others at the expense of myself and my own ceramic work.
The cluttered, clay-dusty halls and studios of Greenwich House Pottery
(GHP) are alive with people in jeans and tee shirts, all busy
handbuilding here or throwing on the wheel there, in the background
music and/or talk and, usually, the roar of the 60-cubic-foot updraft
gas kiln as well. In this fertile contemporary creative context, it’s
hard to imagine that GHP was once a single room in which the classes
were filled with boys in knickers or women in floor-length skirts and
shirtwaists. GHP today is a prism in which, from certain angles, one
can see back into 100 years of history.
For years I have been using a multi-purpose glue to apply wadding and
shells to my pieces for wood and salt firings. These glues are very
frustrating to use because of the long drying time and the sticky mess.
Recently, all of the glue bottles were missing, so I plugged in a hot
glue gun and started gluing the wadding to my pots. It worked like a
dream! It was quick and if the wadding came off before the work was
stacked, we simply had a glue gun near the kiln to replace it. The
clean up was a whole lot easier as well. This truly is a no brainer.
This ingenious wire tool and throwing wheel adaptation is for anybody
who is tired of searching through a pool of muck or untangling a
twisted, wiry mess.
Attach a wire tool to one side of the throwing
wheel at the same height as the bat or the wheel head. Screw an eye
bolt into a thin wood block and attach the block to the splash pan
using a C-clamp or similar device. Tie the tire tool to the eye bolt
allowing enough room for the wire to stretch across the diameter of the
wheel head. The small wooden dowel used to make most wire tools can
also be easily clamped for a quick use and remove system. This simple
set-up allows for easy one-handed use and a clean cut giving a smoother
bottom for trimming!
Some of our glazes can be very runny and we need to have something to
put under them to protect our kiln shelves. We keep thin, dry
paper-clay sheets on hand to cut for placing under the pieces. A quick
brushing of kiln wash makes them slightly pliable and lay flat.
The sheets and pots are placed in the kiln and the excess sheet is cut away
between the pieces. For some of our pots, we also use a wadding made of
equal parts sand and ball clay. It is crumbly enough to grind away
easily. Between the two, we don’t have much trouble with glaze on our
A three-year graduate program in the Midwest boasts five instructors and fourteen graduate candidate positions.
image here Some Text – Jennifer Harnetty, editor. If you would like your event to be considered for future editions of the Editor’s Picks, email a press release and images at least one month in advance of the event to [email protected] To see a more complete listing of ceramic exhibitions and events, please check out… Read More »