When you look at Lana Wilson’s layered slip and sgraffito surfaces for the first time, you probably find yourself wondering, “wow, how did she do that?” It isn’t immediately obvious how she creates the intense colors and intricate patterns.
Well, wonder no more! In today’s video, an excerpt from her much-anticipated new video Handbuilding with Color and Texture, Lana walks us through her process. Enjoy! – Jennifer Harnetty, editor.
I admit it. I completely lack the patience (and, since I am being honest here, I might as well just say it: skill!) to do detailed drawn decoration on my pots, so I am really awed when I see other potters pulling off intricate imagery. Such was the case when I saw Terri Kern’s work in the November 2010 issue of Ceramics Monthly. Today, I am sharing that recent Ceramics Monthly article so that you can all share my awe.
Workshops and conferences are such fantastic ways to enrich your art making. You leave brimming with new ideas to try, and these ideas can then morph with your own way of working and take you in a whole new direction.
In today’s post, Tracy Gamble explains how after a week-long surface symposium, she blended two artists’ techniques to take her own work in a new direction.
For a printer-friendly version of this article, be sure to download your free copy of Five Great Pottery Decorating Techniques: A How-to Guide for Decorating Ceramic Surfaces!- Jennifer Harnetty, editor.
I am in love with the surfaces Jen Allen’s pots (not to mention the forms!). While each of the techniques in today’s clip stands on its own beautifully, they are magnificent when combined.
In this clip, an excerpt from her new video Darted and Decorated, Jen shows how she creates a subtle brushstroke texture with an engobe, and then layers glaze-trailed patterns on top. – Jennifer Harnetty, editor.
Slip, glorious slip. This versatile liquid form of clay can be used in a multitude of different ways to create and embellish ceramic art. One such method involves using colored slips to create a marbleized look on pottery, which is reminiscent of Staffordshire-style English marbled slipware. In today’s post, Michelle Erickson and Robert Hunter demonstrate this process..
Carving into a form is a great way to add imagery and texture to pottery. But Michell Swafford came up with a different twist on carved texture. She carves a design into a leather hard slab, then makes very thin sprigs from that carving, which she then adheres to the surface of her pots. She then takes the decoration a step farther by carving additional detail in the attached sprigs. Genius! Read on for the details! – Jennifer Harnetty, editor. ps. This post is excerpted from the January/February 2015 issue of Pottery Making Illustrated. To learn the rest of the process, subscribe to PMI!
One of my favorite handmade texture tools that Amy Sanders demonstrates on the DVD we filmed this past summer is what I like to call her “rolly line tools.” In today’s video, an excerpt from that technique-packed DVD, Amy demonstrates how to make and use these tools. So Simple, so smart.
Screen printing on ceramic work can produce some pretty exciting surfaces. But combining screen printing with other surface techniques, like stamping and staining, can take it a step further. Jason Bige Burnett masterfully combines screen printing with other techniques in his work. In today’s post, he explains how he uses underglazes as stains, which gather in his stamped textures and add depth to his screen printed patterns. What’s great about using underglazes for this is that the color palette is practically limitless! – Jennifer Harnetty, editor.
Lindsay Scypta’s pots are intricately textured with stamps and sprigs and glazed with runny glazes that enhance these textures beautifully. All of this requires careful planning, which begins when the pots are still on the wheel. In today’s post, an excerpt from the December 2014 issue of Ceramics Monthly, Lindsay explains her glazing process and shares one of her Cone 6 glaze recipes.
PS. Check out the December 2014 issue of Ceramics Monthly, to learn more about Lindsay’s stacking sets and see more images of her work.- Jennifer Harnetty, editor.
For Brenda Lichman, form and surface go hand in hand. She accentuates her soft, simple forms with thick porcelain slip and then further accentuates the volume by pushing out from the inside. The results are forms that almost look like they have been froze mid-motion.
In today’s post, an excerpt from the December 2014 issue of Ceramics Monthly, Brenda explains this process. – Jennifer Harnetty, editor.
PS. Make sure to check out the December 2014 issue Ceramics Monthly to read Brenda Lichman’s article discussing her functional work. Lichman also shares more information about her soda firing process, including slip and glaze recipes.