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.
In today’s post, an excerpt from the May/June 2012 issue of Pottery Making Illustrated, Kip O’Krongly demonstrates how she uses those stencils, along with slips and sgraffito to make powerful pots that explore our relationship with our food system.
Slip trailing is a fabulous technique for creating both visual and tactile decoration on pottery and ceramic sculpture. Most of the time, this technique involves trailing a design in slip onto a pot. In addition to slip trailing in the traditional way, Lisa Orr makes sweet little swirly patterns on cloth, lets them stiffen up, and then uses them to make fancy handles for the teeny tiny salt scoopers on her salt centerpieces.
In this excerpt from her new video, Lisa shares this process. I love everything about this technique, including the very idea of having a salt centerpiece as opposed to a salt shaker.- Jennifer Harnetty, editor.
I love using stencils in my work. I’ve tried lots of different materials as stencils, but I had never thought to use cardboard. Karmien Bowman uses cardboard for stencils to create lively imagery as well as dimensionality on her slab built pottery. In today’s post, an excerpt from From a Slab of Clay, Daryl Baird explains Karmien’s process. Having dozens of clay tools is by no means a prerequisite for slab work. But, don’t be surprised as you work on your initial projects that you start looking at the utensils in your kitchen drawers or at the hand tools in your garage and find yourself thinking, “I wonder how those would work on clay?” If so, good for you!
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.
Belgian potter Russel Fouts has done a great deal of experimenting with various “permeable” resists and today, he shares some of the results of his experimentation.
Ceramic artist Bede Clarke has explored a number of different paths in his career. Recently, after focusing primarily on wood firing for a number of years, he shifted his concentration to painting on the slipped surfaces of earthenware pots to satisfy a love of painting. In today’s post, an excerpt from the September issue of Ceramics Monthly, Bede explains his decorating process.