Kansas City Art Institute, Kansas City, Missouri
Instructors: Carry Esser, Paul Donnelly
CM: Could you talk a little bit about the technical procedure for drawing on the surface of your pots?
All of my work is made of porcelain and fired to cone 6 in an oxidation atmosphere. The surface decoration is applied to each piece at the leather-hard stage. Once the pot is leather hard, I paint wax over the entire surface and allow it to dry. I then sketch my design through the wax into the piece. Once I have a basic layout of where everything goes, I go back and add any remaining details.
Once the drawings are complete, I inlay them with underglaze. I use a variety of colors. I like to mix the underglazes to achieve colors specific to the glazes that will also be applied. I wax the pieces before the inlay process because the excess underglaze tends to bead up on the waxed surface allowing for a “blurred” effect once a glaze melts over the underglaze.