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.
As Dana Bilello-Barrow was developing her voice and her skills with clay, she realized that she would often be disappointed by her post after glazing. What resonated with was the tactile connection she had with the raw clay so she decided to try to find ways to maintain that through the firing. Her solution was barrel firing. In today’s post, an excerpt from Naked Raku and Related Techniques, she shares a cool way to develop organic patterning on barrel fired posts.- Jennifer Harnetty, editor.
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.