Ceramic sculptor Lisa Merida Paytes tells us about her work and takes us through the process of creating and raku firing one of her skeletal fish sculptures.
Making large ceramic jars with flat coils has been done for centuries in many parts of Asia. One big advantage with this method is you can make most any shape because you can change direction as you build the form, which is next to impossible on the wheel. Once you get the technique down, you can use the same flat coil technique for a variety of clay sculpture forms as well.
In this excerpt from his great full-length DVD, Get a Handle On It, Tony Clennell demonstrates a nifty little way to add interest to handles on pottery.
In today’s post, ceramic artist Dee Schaad presents a project that combines two simple handbuilding techniques – pinching and soft slab building – to make figurative sculptures.
Looking for some interesting new ideas for the teapot form? Today we’ll show you how potter Ray Bub throws and assembles teapots that would make Picasso proud.
Today, we’ll explain how ceramic artist Eva Kwong uses slabs, coils and other handbuilding techniques to make her biologically influenced ceramic sculptures.
In the upcoming April issue of Ceramics Monthly there is a full-length feature article on potter Liz Zlot Summerfield. Today, we’ll give you a sneak peek of the work you can expect to see in the article and share a little bit of Liz’s handbuilding process.
Today’s video features potter Jeffrey Nichols demonstrating a great technique for a handbuilt teapot spout. In addition to the technique, Jeffrey discusses and gives pointers on what makes a teapot spout function properly.
I keep a lot of things in my studio that I think may one day be useful for texture or as a tool of some sort. I also cannot bring myself to throw any kind of wood in the garbage. I have a scrap collection that would be the envy of many a woodchuck. The other day, these two passions (let’s just call them passions for now) came together in a very useful way. I ran out to the garage and gathered every single dowel scrap I had and transfered them to the studio, thereby fulfilling both obsessive habits (okay, let’s call them what they really are). The reason I did this was because I watched the DVD Handbuilding with Mitch Lyons. He demonstrated a method for making cylinders that employed these dowels, and then went on to explore wonderful surface inlay and texture treatments that really got me excited about handbuilding again. And I got to use some of my scrap wood! — Sherman Hall, Ceramic Arts Daily
Sometimes, when I’m really on a roll in the studio, I find it difficult to be patient and let the work dictate the pace of the process. If it’s not ready to be trimmed, and I go ahead and trim it while it’s too soft, I pay the price in deformation or S-cracks after firing (from not compressing during trimming). The same can be true with drying. Rushing the process is almost never good. Luckily, it’s not difficult to dry your work evenly—assuming you can make yourself leave it alone. In today’s feature, Snail Scott walks us through the basics of drying and some simple ways to ensure success.