There are a number of ways to make stencils, with the easiest method being making stencils out of paper. But for more complex designs or designs with very fine components, adhesive stencil film and a screen are really handy. In todays video, an excerpt from Fundamentals of Screen Printing on Clay, Paul Wandless explains this process. Enjoy!
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.
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.
With a seamstress mom and a quilting grandma, Colleen Riley was surrounded by textiles growing up so it makes a lot of sense that her clay surfaces resemble fabric designs. In today’s post, an excerpt from the January 2013 issue of Ceramics Monthly, Colleen explains the techniques she developed for creating surfaces that resemble batik fabric.
Another cool way to make custom stamps is to attach coils to a lug of clay. In today’s video, an excerpt from her DVD Creative Forming with Custom Texture (which is now available as a download), Amy Sanders demonstrates this technique.
I love working with paper stencils and underglazes. There’s something so satisfying about removing the stencil to see your crisp design below. But I haven’t found an easy way to make multiples of more complicated stencils – until now. In today’s post, an excerpt from the November 2012 issue of Ceramics Monthly, Zygote Blum shares how he makes stencils in bulk – 48 or so at a time using a jeweler’s saw and frame and some other basic supplies.
After pursuing multiple careers that stifled her creative voice, Janice Strawder decided to go back to school for ceramics. While in school, she met Linda Arbuckle, who generously shared her vast majolica knowledge. From then on she was a convert. Enamored with the majolica technique for its simple lines and deliberate, repetitive brushstrokes, Janice has been honing the technique ever since. In today’s post, an excerpt from the November/December 2012 issue of Pottery Making Illustrated, Janice shares her majolica knowledge, just as Linda did for her.
Today, potter Jim Gottuso (a.k.a. Sophia’s Dad) explains how he uses shellac resist and hydro-abrasion to create his intricately patterned surfaces.
Using thick slip as a decorative device is an exciting way to retain the appearance of malleability in a finished fired work. In today’s video, Steven Hill demonstrates his slip decoration process, and explains how it informs his glazing process.
If I wasn’t a potter, I would probably be a printmaker – not that you can’t be both, but these days I barely have time to be a potter. So for now, I just satisfy my love for printed things by printing on clay.
One printing technique that I have been meaning to try lately is printing with linocuts. I love the “wood-blocky” effect that these prints have. In today’s post, Paul Andrew Wandless demonstrates how linocuts can be made and used for printing onto clay and stamping into clay. Fun!