After many years of just throwing, I have been doing more and more handbuilding. Part of the reason for is that we made a video with Liz Zlot Summerfield. Not only is it fun to watch the facile way Liz manipulates clay, but her explanations of her processes are excellent. Not to mention the work itself!
In today’s clip, an excerpt from her video Handbuilt Forms with Soft Slabs, Liz shows how to handbuild a simple darted cup with a foot that I absolutely love (and which I jokingly refer to as “the foot that changed my life.”) – Jennifer Harnetty, editor.
The Tower of London’s dry moat was recently flooded again, but not with water. This time it was with 888,246 ceramic poppies. Paul Cummins and Tom Piper, with the help of countless volunteers, created the epic installation commemorating those who served and perished in World War One.
For more about this fascinating and moving project, have a look at this excerpt from the February 2015 issue of Ceramics Monthly by Holly Goring. – Jennifer Harnetty, editor.
Darting pots is yet another thing on my long list of to-dos in the studio. I love the way simple darts can really change the look of a piece and give it personality. In today’s post, an excerpt from the January/February 2015 issue of Pottery Making Illustrated, Deb Schwartzkopf provides some tips for altering straight-sided cylinders. Her handy-dandy illustration of what forms are created by different darts is really helpful in visualizing the final result. – Jennifer Harnetty, editor.
Most potters do their very best to avoid cracks in their work. But some deliberately try to create cracking, and the results can be gorgeous. In today’s post, an excerpt from our new Ceramic Arts Handbook Surface Decoration Techniques, Eric Seritella explains how he creates beautifully textured trays by heating and stretching rough slabs of clay. – Jennifer Harnetty, editor.
Slab-built plates seem like a pretty simple endeavor, but it can be challenging to get the feet just right. Coil feet often have that pesky bump where the coil is joined and if you throw a foot on a slab plate, you can often have problems with cracking. In today’s post, an excerpt from the January/February 2014 Pottery Making Illustrated, my good pal Liz Zlot Summerfield shares her nifty technique for getting a slab foot just right.
ps. Stay tuned for Liz’s how-to video, due out in the Spring of 2014!
Handles can be the bane of a potters existence – at least they are for me a lot of the time. So I am always happy when I learn new ways of approaching them. Today, in an excerpt from Gail Kendall’s new DVD Slab and Coil Building (which debuts today in the Ceramic Arts Daily Bookstore!) Gail shows us three great handle techniques. This DVD was so fun to watch because Gail has such a good sense of what her material can and cannot do. She definitely has me inspired to try her slab/coil techniques – and this clip in particular has cured my “handle block.”
Chris Pickett’s puffy forms reference stuffed
animals and inflatable toys and the visible seams give the work a casual
and relaxed feel. Chris creates his inflated forms through
double walled construction using slump molds and paper patterns. In
today’s post, Chris takes us through this fun way of working.
In today’s post, Lisa Naples shares her technique for making a slab-built handle for a cream pitcher. I love this handle because it is an interesting shape that complements her slab-built pitcher really well, and because, just by looking at it, you can tell it is comfortable. Have a look! Jennifer Harnetty, editor.
Handles are something I struggled with for a long time. Once I started to get my handles the way I wanted, I realized that my pieces as a whole looked better. Another example of how paying attention to all the details in a piece can make a world of difference.
In today’s video, Martha Grover shows how she “fancys” up a pulled handle to make it look perfect (and function well) on one of her elegant butter boxes. – Jennifer Harnetty, editor.
The pinch pot is the most elemental of pottery forms requiring simply one’s hands and a lump of clay. Because of this, it is often the first technique most of us learn when introduced to clay. But that doesn’t mean it is merely a beginner technique. Many artists use pinching techniques to make sophisticated or complex forms. Lily Zuckerman makes beautiful vessels starting from a solid lump of clay, with no clay added and very little cut away. In today’s post, she explains her process. – Jennifer Harnetty, editor.