Theme: Seattle and Northwest Artists
Mistakes–If there’s one thing all of us potters have in
common it’s our ability to make mistakes and keep going. Whether it’s
an S-crack through a bottom, a crawling glaze, or getting wax resist in
the wrong place, the only rational thing to do is say “oh, well” (maybe
after an expletive) and move on. Why do we do it? Because not working
in clay is worse. —Bill Jones, Editor
As the holiday season approaches, I’m doing a lot of thinking about what gifts I’ll be making this year, and as usual, I look through some of the past issues of PMI for ideas. What I find are not just ideas about how to make or decorate something, but also some bits of inspiration to think about in general. A good example is in this issue with Sarah Jaeger, our featured artist. She thinks a lot about the person who will use a piece she forms, glazes and decorates, and imagines how they will hold and view the work. By altering her thrown forms she adds a tactile quality to an otherwise plain bowl. And with her decoration, she even adds a little design work inside the foot that reveals itself when the bowl is in the dish rack. —Bill Jones, Editor
Theme: Surface Decoration
The holiday season may seem a long way off as we enjoy the last days of summer, but it closer than you think. If you’re planning on trying out some new techniques for gift ideas this year, now’s the time to get started. And do we have some great ideas you can start with! We’re happy to have Jason Bige Burnett, Kristin Pavelka, Connie Norman and Kate & Will Jacobson as our featured contributors in this surface decoration issue, and we’re sure you’ll enjoy every new technique. —Bill Jones, Editor
Even the beginner knows that ceramics is filled with choices. Choices of forming techniques, materials, firing options, decorating styles, and on and on. And that’s why even in our 14th year of publication, we’re still at it – there’s just so much to choose from.In this issue you’ll get to take a look at throwing a bowl upside down, throwing a box, making and decorating a tile with piece missing, and even building your own tabletop slab roller for under $150. Beyond these featured choices, you’ll also get a glimpse of a product called Pyrofoto, a couple of stellar DVD reviews, making handles with plaster dies, using lusters, making a jewelry dish and some design ideas for flower pots. Where do you start? You’ve got a lot of choices – go ahead and choose. —Bill Jones, Editor
I’ve recently been experimenting with translating my drawings onto ceramic objects using the majolica technique. The direct nature of applying color through this brush technique has a nice appeal because the fired result looks pretty close to the way it was applied. In an effort to get some of my advanced students to expand their experience with different firing ranges, I’ve been introducing majolica as a way to explore what the character and the color palette this technique has to offer. For the type of imagery I’m trying to achieve, I’ve found that simple, refined forms with smooth surfaces are best, but thinking outside of the box might lead you beyond the conventional interpretation of this technique.
The way that clay stamps can activate and transform the clay surface has been a constant source of fascination to me, helping my work evolve and grow over the last 35 years. I’ve worked with traditional, impressed designs, and more recently with raised designs created via a two-step process. The platters with raised patterns are created using a hump mold and slab construction. First a pattern is stamped into a slab that’s been draped over a form, then this slab is dried and bisqued to create the mold. The surface designs on the mold create a convex, or raised pattern rather than the typical concave surface achieved with stamps. I came up with this idea a few years ago after becoming frustrated with the way traditional stamped patterns did not hold up when using drape molds. I wanted to make utilitarian forms that were elegant, had fine detail and could be reproduced. It was also essential to me that making these pieces kept my joy for working with clay alive!
In this ceramic art lesson plan, Arthur Halvorsen demonstrates how to build a flowerbrick that’s inspired by cake shapes and cake decoration using soft slab techniques combined with slip trailing.
Theme: Endless Techniques
When Geoffrey Chaucer said back in the 15th century “The life so short, the craft so long to learn” he could have been speaking in the 21st century. Pottery making is an art and craft that has no limits for learning, and this is borne out once again in this issue of PMI. Just when you think you’ve mastered enough techniques, we roll out some more, which we think is a good thing. We take a look at some cool throwing techniques and tips in this issue we know you’ll enjoy.
Theme: Part of the Story
When we artists reveal their techniques in Pottery Making Illustrated, we often run out of room. But we’re more than happy to accommodate them when they have more to share. In this issue, we welcome back Paul Barchilon to give us some tips on using die-cut stencils and Bowie Croisant shares his technique for mold making and slipcasting. On the flip side we have Martina Lantin and her Crown Jars but she has more for a future issue.
Maquettes have long been used by artists as a way of planning out a
sculpture. They are basically three-dimensional sketches in miniature
of the eventual larger-scale work. In today’s post, an excerpt from the January/February 2011 issue of Pottery Making Illustrated, Magda Gluszek walks us through her ceramic sculpture process, from maquette to form. – Jennifer Harnetty, editor.