November 2, 2009
Adding Dimension to Stenciled Imagery on Pottery
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Stenciling is a great decorative technique for pottery. A traditional method for applying stencils is to cut or tear paper shapes, adhere them to leather-hard clay and then apply slip over the entire clay surface. Once the slip dries, the paper is peeled away to reveal the design. While this technique can yield some lovely patterns and surfaces, sometimes more dimension is desired. In the latest issue of Pottery Making Illustrated, Ann Ruel shares her ideas for getting a stenciled look with more dimension. I thought her ideas were pretty nifty so I have excerpted from the article in today’s post.- Jennifer Harnetty, editor. |
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Looking for Dimension To get more dimension on pieces without airbrushing and layering stencils, I began to search for other materials with interesting textures. The materials needed to be lightweight, durable, and possess a unique shape or pierced surface to create the illusion of texture. I found candidates such as pierced shelf liners, photo corners, doilies, lace, and lace paper. 
Although pleasing, avoid the temptation to use the whole doily stenciled onto the center of a piece. Don’t be afraid to cut the doily apart and explore the possibilities. |
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For more great ideas for decorating pottery, be sure to download your copy of Getting the Most out of Ceramic Glazes and Underglazes: Using Commercial Ceramic Glazes and Underglazes to Achieve Color, Depth, and Complexity, which is free to Ceramic Arts Daily Subscribers. |
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Lace comes in a beautiful array of patterns that can be cut apart and
rearranged to come up with new and exciting designs. There are several
types available, including lace made from thin netting and a lace
that’s made from heavier cotton or stiff polyester. The thicker
cotton and polyester lace tends to be more durable for masking surfaces
and holding up against repeated slip applications. Lace contains
beautiful design elements and cutting it apart can yield some exciting
designs.  Japanese
paper called - lace paper - (shown at right) is made from 100% manila
hemp and is available at art supply stores. This hemp has long thick
fibers and a porous appearance similar to Swiss cheese. The patterns
are created by dripping water onto the newly formed sheets, causing a
separation of the hemp. The fibers can be gently separated into long
strands to create a totally different texture.Building Texture By experimenting with these or similar materials, you can design stencils with a repetitive pattern or create cutouts of more recognizable objects. If you decide to make cutouts, be sure to keep the outlines as simple  as
possible. The texture of the material creates the details within the
shape you’ve cut out. After you’ve pieced together a design, test it
using paint on a separate surface first before putting it on your clay
piece. This simple method for testing stencils will save you lots of
cleanup time that might happen otherwise if you don’t do a test and end
up dissatisfied with the stencils you’ve created on your greenware
piece.Once you’ve tested the stencil design, glue it to the clay using a glue stick. Water does not work well for holding these non-traditional materials on the clay surface. Generously spread the glue to the back of the material and apply the stencils to leather hard clay (as shown at top of page). Be careful to avoid excessive globs of glue which may clog the perforations and prevent slip from easily penetrating. Lightly tap or rub the stencil into place, making sure that it is secure, especially around the edges.  As
soon as the stencils are in place, begin the slipping process. If the
glue dries before the slip can be applied, the contact between the
stencil and the clay will loosen. Always double check and reinforce the
stencils before spraying or brushing slip on top, or when dipping a
piece into a bucket of slip. One loose stencil can throw off the whole
design.Glazing The most effective way I have found to apply slip over these delicate surfaces is to use a spray gun. Spraying ensures complete coverage over even the most intricate designs. Caution: Always wear a mask and have adequate ventilation when spraying slips and glazes. Before spraying, disconnect the glaze canister and give the stencils a quick blast of air to see if they will adequately adhere to the clay surface. Generally speaking, all of the stencil materials recommended here can handle up to three rounds of spraying before breaking down, so limit yourself to no more than three colors of slip for a single piece. Allow the slips to dry between rounds and be careful not to peel the stencils away from the clay until the slips are fully set or else you risk bleeding into the masked off areas.  Once
this slip has dried to the touch or lost its sheen, take your needle
tool and carefully lift up the stencils. You will now see that at this
point, the thick texture of the stencils has allowed for a thick
build-up of slip thereby adding texture to an otherwise two-dimensional
decorating process.At this point, you can decide whether the design is complete or whether to overlay this initial stenciling with another layer for added dimension or to outline portions of the shapes with black slip using decorative brush strokes. Once the piece is bisque fired, cover it with a clear glaze and fire to the required temperature. Ann Ruel resides in Chesapeake, Virginia and is a potter and frequent contributor to Pottery Making Illustrated. |
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Eilat | November 2nd, 2009 at 9:39 am
Very interesting.
pj | November 2nd, 2009 at 9:44 am
that is a great idea. What do you use for a slip recipe?
Emilie | November 2nd, 2009 at 9:52 am
I’d like to try this for kids classes using paint on slip rather than spray. I’d have to have enough slump molds for them to dry their clay and then we could use hairdryers to make dry faster before applying the slip.
Joan | November 2nd, 2009 at 9:58 am
And I’ve bewen spending my time drawing on the clay I wanted to decorate. Thank you for a new-to-me way of doing this.
Linda | November 2nd, 2009 at 10:12 am
Very interesting, I will have to try this.
maggie | November 2nd, 2009 at 12:56 pm
I have been using paper stencils, lace and mesh bags as an all-over design for a while. I hadn’t thought about cutting those bags and lace into shapes or using perforated paper! Great tips!
Pat | November 2nd, 2009 at 2:28 pm
Can I use underglaze instead of slip. Or by chance are underglaze and slip the same thing in ceramic speak?
Your examples are very pretty and I want to try this technique.
Donna | November 2nd, 2009 at 5:12 pm
Thanks for sharing your ideas. I am always looking for new textures and slip applications and now I have some great ones!
Jenny | November 2nd, 2009 at 7:50 pm
Sure you can use underglazes instead of coloured slip. If you are going to use a slip make sure it is made of the same clay as the piece you are going to decorate as this will reduce any cracking and peeling of the slip decoration. Happy decorating!!
Gaik Sim | November 4th, 2009 at 9:49 am
Is it possible to use stencils on bisque ware ?(with of course a suitable slip for bisque)
Angie | November 7th, 2009 at 6:39 pm
This has inspired me to try stencilling on my g/ware
and bisque. Thanks for the tips!
Barbara | November 10th, 2009 at 12:29 pm
I would like to know what you use to spray with. Is it a slip, and undergaze, or what. I did very a very similar technique int the 70’s. I used a combination of stencils, and the slip applied with a stenciling brush that also gives nice textures.
Kelly | November 13th, 2009 at 5:26 pm
I would like to create many tiles using a stencil, does anyone have expereince using carbon paper to trace an outline, so that I can use as a guide to fill in my differnet color glazes on Bisc. then I will have it fired. I wonder if the carbon creates issues with firing?
Love to hear you experience before I start :-)
Kelly