Slip trailing is a great way to add decoration to pots. Most ceramic artists use a fairly liquid slip when slip trailing. But after watching a baking competition on television Sharon Romm started experimenting with using thicker slip to decorate pots like a pastry chef would decorate a cake. She shares her results in today’s post.- Jennifer Harnetty, editor.
I have seen many potters use tar paper as a pattern making tool, and have seen stencils used to create colorful designs with underglazes or glazes. But in today’s post, they are used slightly differently. Ben Carter explains how tar paper can be cut into a shape or pattern and then pressed into soft clay creating low relief. He also shows how to use stencils to make low-relief with thick slip.- Jennifer Harnetty, editor.
There are lots of ways to create texture on pottery, the most obvious being stamping the malleable surface. But Lisa Naples creates beautiful random texture on her work with slips of varying consistencies. In today’s post, an excerpt from her our compilation DVD Handbuilding: Texture and Surface, she demonstrates how her thin, thick, and thicker slips can build up different textures creating lovely surfaces.- Jennifer Harnetty, editor.
Oribe ware is a type of ceramics that originated in the 16th century and is known for its copper green glaze and bold patterns. Ben Krupka is a fan of the experimental and playful feel of Oribe. In today’s post, Ben explains how he uses slips, wax resist, sgraffito and inlay techniques to create his own interpretation of this historical style.- Jennifer Harnetty, editor.
While in graduate school, Elizabeth Sparks became interested in traditional slipware pottery. So she tore through books and magazines to learn about the technique. She combined that research with an interest in using local raw materials. In today’s post, she shares her slip dotting and feathering techniques.- Jennifer Harnetty, editor.
Karen Swyler takes a subtle approach to her glazing, juxtaposing raw white porcelain
surfaces with ribbons of shiny clear-glazed lines or small accents of
color. Today, in an excerpt from an upcoming Ceramics Monthly profile, she explains her less-is-more glazing technique.
I love the look of screen printed images but I avoided trying screen printing on my clay work until I discovered a super easy way to make the screens using the sun as an “exposure unit.” Now I have been having lots of fun experimenting with the technique. In today’s post, an excerpt from her DVD Form, Pattern, and Underglaze, Meredith Host demonstrates how easy it is to make these screens and get started with screen printing on clay.- Jennifer Harnetty, editor.
Today, in an excerpt from the November/December 2010 issue of Pottery Making Illustrated, Arthur Halversen takes us through the coil building process he uses to construct his flower brick forms. He also shares his recipe for the frosting-like glaze he uses – the icing on the cake, as they say. – Jennifer Harnetty, editor.
In this excerpt from his new DVD Ceramic Decals: New Ideas and Techniques, Justin Rothshank takes us step by step through the process of creating and applying an inverse laser decal, including the photoshop portion.