Ben Carter thinks about design at every stage of the game when making pots. When he is throwing and altering, he is specifically considering the decoration that he will apply later.
In today’s video, an excerpt from his brand spanking new DVD Design for the Soft Surface: Throwing, Handbuilding, and Slip Decorating, Ben shows how he uses slip trailing, sgraffito, and underglaze painting in his work, and explains the thought process in deciding where the marks go. Though Ben works with earthenware at the low end of the firing range, but the colored underglaze technique can be used at any temperature range with a suitable transparent overglaze.- Jennifer Harnetty, editor.
A couple NCECAs ago I bought some rice paper transfers from a supplier at the conference. They are super fun to play around with and very easy to use, but as with anything commercially made, they are not unique to me.
So I loved this article from the Pottery Making Illustrated archive vault (buy the pdf of the issue in which it appeared here!) about making custom rice paper transfers. Read on to get the scoop! – Jennifer Harnetty, editor.
Making thin lines on pottery is a challenge with a slip trailer, but there are a couple other options that can get the job done: mishima, slip inlay with wax, and maybe some others. In today’s post, we’ll focus on slip inlay with wax. Doug Peltzman uses this technique, combined with some latex resist to create his beautiful segmented decoration. Read on to see how he does it! – Jennifer Harnetty, editor.
Today’s video clip didn’t quite fit onto the new Meredith Host DVD because we ran out of space. But I just couldn’t bear having it languish on the cutting room floor, so I decided to share it with you all today. As we all know, transferring two-dimensional designs onto a three-dimensional surface can be challenging – especially if that surface is curvy. In this clip, Meredith shows how she approaches screen printed and stenciled decoration on one of her curvy mugs. – Jennifer Harnetty, editor.
Wheel throwing isn’t the only way to make seemless cylindrical forms on the wheel. Mitch Lyons uses a technique he calls the broomstick method. What’s great about this method is that you can roll your cylinders over pieces of colored clay to inlay various designs. In today’s video clip, Lyons demonstrates how he inlays figurative colored clay motifs into his broomstick vases. I have also included a step-by-step recap of the technique below.
An interest in architecture and geometric design combine in the forms and surfaces of Matt Repsher’s vessels, jars, mugs, bowls, and sculptures. From the choice of clay — a red bricklike body — to the carved ornamentation, Repsher gives a nod to these influences. In today’s post, an excerpt from the October 2013 issue of Ceramics Monthly, Matt explains his process for carving and decorating his surfaces with slip.- Jennifer Harnetty, editor.
Bakersville, North Carolina, is a pretty idyllic place, especially if you are a potter. Not only is there a big clay community, but there is breathtaking beauty all around from which to draw inspiration, and most of the potters I’ve met there work in studios that take advantage of those views. Suze Lindsay is one of those potters. Her studio backs up to a beautiful forest, and the critters in that forest have no doubt made their way into her pottery. In today’s post, an excerpt from her DVD Pouring Vessels: Making and Decorating Expressive Functional Pottery, Suze shows us how she decorates one of her animated bird-inspired pitchers. – Jennifer Harnetty, editor.
The options are many when it comes to creating decoration on your pottery with resists. In the latest issue of Pottery Making Illustrated, Deanna Ranlett put several of them to the test.
In today’s post, we’re sharing Deanna’s assessment of wax resist and latex resist. For more, check out the September/October 2013 issue of Pottery Making Illustrated! – Jennifer Harnetty, editor.
Angelique Tassistro’s intense layered surfaces came about through what we in the ceramics world call a happy accident. After spending hours creating a checkered pattern on a large platter, she dripped an unwanted blob of glaze smack dab in the middle. Halfway through cleaning off the platter, she saw a lovely line that was softer and less rigid, and she realized she was onto something. In today’s post, an excerpt from the September/October 2013 Pottery Making Illustrated, Angelique explains how she creates her signature surfaces.- Jennifer Harnetty, editor.