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.
What’s not to love about texture and clay? After all, it’s clay’s wonderful malleability that got us all hooked in the first place. And textured clay can work so well with glaze. In today’s post, an excerpt from her new video Low Tech Clay: High End Results, Kari Radasch shares a simple technique for creating texture on the inside of a bowl by using an easy-to-make tool and a bisque hump mold. An added bonus of this technique is that, because your mold is a hump mold, you can attach the foot right away so everything can dry at the same time, thus avoiding cracks! – Jennifer Harnetty, editor.
There are myriad ways to get texture on clay – one of these being the handmade bisque stamp. But sometimes you just want more immediate gratification. That’s where carving block printing material comes in. In today’s post, Ann Ruel explains how to use these printing tools to easily create your own stamp designs (with no need to own a kiln). These could come in handy for someone who works at a community art center and doesn’t want to wait for a bisque stamp to be fired.
It is a very exciting time to be a ceramic artist. There is a wealth of information available to help you do virtually anything you can dream up with pots. This is especially true when it comes to image transfer. Over the years, artists have been experimenting and discovering new ways to get imagery onto pots using high-tech and low-tech methods. In today’s post, an excerpt from our new book release Image & Design Transfer Techniques, Martina Lantin explains a fairly low-tech way to use a photocopy or laser print out to transfer a pattern onto a pot.
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!