It’s that time of year again. Students and teachers are heading back to school. So we thought we’d have a back-to-school sale on of our most popular DVD for the education set – Neil Patterson’s Clay Projects and Fundamentals. Perhaps the best way to gain an understanding of clay and all it’s properties is to pick up a lump and start shaping it. And modeling clay into the human form is a great way to learn about proportion, symmetry, and gesture. In today’s post, Neil takes us through a simple figure sculpting project. This project also ties in well with history and world cultures lessons.
Texture in clay can be addictive. Who doesn’t love pressing objects into a piece of soft clay? And why stop at the handles? As Annie Chrietzberg demonstrates in today’s post, textured slab handles are a great way to carry texture throughout a piece – plus they are less messy than pulled handles and can provide instant gratification. Have a look!
Nick Ramey started out making high-fire, wheel-thrown pottery, but during graduate school became enamored with handbuilding low-fire earthenware sculptures. After grad school he decided to combine his various new skills and interests to make thrown and altered functional work, but add sculptural details to infuse it with humor. In today’s post, Nick explains his forming process. To learn about his decorating processes, check out the September/October 2012 issue of Pottery Making Illustrated!
Pottery Video of the Week: The Puffy Handle – Sandi Pierantozzi Demonstrates a Great Alternative to a Pulled Handle
Pulled handles are lovely, but they are not the only option for creating great handles on your pottery. With a little imagination and skill, you can make successful handles in a multitude of ways. Our good friend Sandi Pierantozzi, who is not lacking in the imagination or the skills department, returns today with a great idea for an alternative to the pulled handle. In this clip, Sandi shares the technique for making her “puffy” handles. Enjoy!
Today, Charlie Tefft explains how he throws and alters his “wren” pitchers.
In this clip, Joyce Michaud demonstrates the traditional east Asian coil technique, which combines coiling with potter’s wheel concepts. Joyce shows us how to “hand throw” with the grace and fliudity of someone who has been doing this for a long time. During this demonstration, she explains how this method can make work more structurally sound because it compresses and aligns the clay particles with the form, which can then open the doors for trying new and more-challenging forms. Along the way, she passes on great tips such as a cool way to establish a concave foot on a coil-built piece.
Refining a process often leads the way to artistic and financial success. For Larry Elardo, developing a more effective method for creating his highly-textured containers posed an interesting challenge. By experimenting with different methods, and using engineering tools to assist him, Larry found that handbuilding upside down, combining slab and coil methods, and beveling edges considerably reduced the time he spends making each creation.
Denver potter Annie Chrietzberg demonstrates her creative technique for making nesting pots from slab-built forms. This step-by-step how-to project illustrates how to use tart tins from a kitchen store as templates, how to cut darts in slabs to make square forms and how to work with textured surfaces to get truly unique dishes.
Handbuilding Video: How to Make a Handbuilt Textured Ceramic Hors D’oeuvres Tray Using Just, Your Hands, a Lump of Clay, a Spring and a Sponge
Today we have a cool little video from Mark Peters. Mark is so good at taking a simple idea and the most basic of tools – a lump of clay, a sponge, and a stretched-out spring – and turning it into a loose, yet elegant piece of pottery. Have a look and then give this one a try!
You might recall a recent CAD video in which Deb Schwartzkopf demonstrated one of her sweet little dessert bowls. In today’s post, an excerpt from the January/February 2012 Pottery Making Illustrated, Deb expands on that demonstration to show some variations on that form. If you find a little time to experiment, you’ll see that the possibilities are endless with this technique.