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.
Painting a repeating pattern on a round vessel presents challenges. To be convincing, the pattern needs to expand proportionally with the roundness of the pot. Tony Merino wanted to do this, but really wasn’t too excited about revisiting high-school trigonometry class. So he set out to find an easier way, and he did. In today’s post, an excerpt from the September/October 2014 issue of Pottery Making Illustrated, he (and co-author Pam Luke) share the process.- Jennifer Harnetty, editor.
The pottery of Lauren Karle is influenced by the beautiful garments of the indigenous cultures of Guatamala, where she lived for 2 1/2 years. The pots reference these garments both in the way they are constructed (cut, altered, darted, “stitched” together) and in their decoration. In today’s post, an excerpt from the October issue of Ceramics Monthly, Lauren demonstrates how she creates colorful patterns with a slip transfer technique.
Ceramic stains and underglazes mixed with water painted on unfired white-glazed bisque is pretty similar to watercolor painting on paper. The main difference is that the glazed bisque surface absorbs the color and water mixture more quickly. But once you get used to that, you can create beautiful watercolor-like surfaces. In today’s post, an excerpt from the July/August 2014 issue of Pottery Making Illustrated, Laurie Curtis shares her simple technique.- Jennifer Harnetty, editor.