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Connecting the Dots: Slip Dotting and Feathering

Posted By Elizabeth Sparks On February 24, 2014 @ 7:27 am In Ceramic Decorating Techniques,Daily,Features | 3 Comments

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While in graduate school, Elizabeth Sparks became interested in traditional slipware pottery. So she tore through books and magazines to learn about the technique. She combined that research with an interest in using local raw materials. In today’s post, an excerpt from the March 2014 issue of Ceramics Monthly, she shares her slip dotting and feathering techniques.- Jennifer Harnetty, editor.

 


 

This particular approach to using slip was born during graduate school at The New York State College of Ceramics at Alfred University, in Alfred, New York, where I was encouraged to look beyond the surface of what I like and to really understand why. I began using the local Alfred clay there, designing a new glaze palette at cone 3, and studying old slipware pots. I learned the techniques of feathering and marbling from an old magazine. I then tore through books and ceramic history while gaining an awareness of the process of inquiry, going deeper and allowing my work to come from within after digesting all the research. Creating patterns with dots came from a sense of play and discovery, and has been an exploration ever since. I have to be totally present and mindful to execute the pattern well, and the best ones come out differently than originally planned. Geometric structures and plant life are the main themes.

 

 


 

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Base Form

 

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click to enlarge

For plates, I begin by pounding out enough wedged clay to make multiple slabs at once. I pound it to a circular shape about an inch larger in diameter than the mold I will use. This allows for some shrinkage, some curvature, and a way to crop the image nicely later on. I then use slab cutters, made from notched wooden sticks and a cut-off wire to cut 3⁄8-inch-thick slabs (1).

 

After cutting the slabs, I compress the top surface before taking it off the pile, then flip it and compress the other side. I put each slab on a bat and trim it to the edge of the bat so it is perfectly round.

 

I pour a base coat of slip onto the slab (2). The slip is thick enough that it stays wet while I feather the added dots or lines before they dry. I create a slip using a light clay body and a dark clay body with the same shrinkage. Alternately, you could choose a slip recipe with a high amount of silica, as this allows the slip to be thick without cracking as it dries.

 

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click to enlarge

Slip Trailing and Feathering

I then begin applying the dots in different colors of slips on the base slip (3). I like to use a few different kinds of slip trailers in order to get a variation in the size of the dots. Metal-tipped bottles are nice, as well as simple ear syringes from the drugstore.

 

I then feather the dots by dragging through them with the fine tip of a porcupine quill (4). I do this first, while the slip is the wettest. After completing the outline, I fill in the pattern with dots that will not be feathered (5–6).

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click to enlarge

 

Shaping the Form

 

I let the slip dry to leather hard. I want it to be dry enough that the pattern stays clear and crisp without smudging as it is put against the mold, and the slab to be flexible enough to be compressed into shape over the mold (7). I leave it on the mold until it is stiff, then shave the edge with a Surform up to the edge of the mold (8). I then either shave the bottom flat, or put it on the wheel and thrown a coil for a foot. I place it upright and press the inside edge with multiple marks of my porcupine quill to refine the rim (9). I dry the form upright before glazing.

 

 

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click to enlarge

Glazing

 

I use a cone 3 clear ash glaze over the decorated surface. Some slips flux more than others in the firing, and I like the way that some of the pattern is clear while other parts are slightly blurred. Still, my favorite phase of each pot is right after the slip has been applied and is still wet, showing the traces of each moment and glistening with potential.

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click to enlarge

 

the author Liz Sparks is an artist and teacher. She has taught at Montana State University and Penland School of Crafts, and is currently living in Pune, India, researching pottery and teaching at Door Step School, an NGO for underprivileged children. www.lizsparks.net.

 

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click to enlarge


 

For more ways to add texture to your work, download your free copy of 
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