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For more cool handbuilding techniques, download your free copy of Three Great Handbuilding Techniques: How to Make Pots Using the Pinch, Coil and Slab Methods!

August 24, 2009

Designing With Texture: Using Textured Plaster Slabs to Incorporate Surface Detail into Pottery in the Design Stage

by Jennifer Harnetty Read Comments (17)

To many of us, surface texture is an afterthought. We throw or handbuild our pottery and then stamp, scratch or carve texture into the surface. And while we have an idea of how we would like the texture to work with our pot’s design, the two parts of the process (design/construction and surface decoration/finishing techniques) are often separate.

Today potter Dan Gegen explains how he begins working with texture before the construction process even begins, and therefore makes it integral to the design of the pot. He also shares the glaze recipe for the lovely celadon-esque glaze featured on the pot to the left. As Dan explains, all sorts of fun things can happen when you design with texture! Take it away Dan! - Jennifer Harnetty, editor.

One of the greatest challenges for a potter who decorates their work is finding an image or texture that fits the form of the pot. For the past thirteen years, I’ve taught my students to use texture as a design tool. Recently, I started using textured plaster slabs as a way to apply decorative surfaces directly to the clay before the construction process begins. Interesting things happen when the textured surface is manipulated into a vessel form. Textures can overlap one another to create contrast or add visual tension. The result is similar to the way patterned fabric looks when it is made into clothing, except that I am more interested in how the patterns don’t line up on the seams. Often I push the slabs out from the inside of the vessel to create volume, which softens and distorts the surface texture as well.

Discover challenging, complex and unusual pottery making techniques in Throwing and Handbuilding: Forming Techniques in the Ceramic Arts Daily Bookstore!
Begin by flattening and rolling your clay using a rolling pin and wooden slats or dowels to create an even thickness. I used 1/4 inch-thick slats for this project. Flip the clay over repeatedly after each rolling so it doesn’t stick to the canvas.

Use a template cut from card stock to cut out two hourglass silhouette shapes. Use heavyweight paper so that you can save and reuse your patterns.

Tip: To create symmetrical templates, fold the paper in half and cut out the shape.
Place one of the hourglass shapes on a textured plaster slab and tamp into place. Use a rolling pin to press the clay firmly onto the texture, and bevel the edges using a pony roller. Repeat this step using a contrasting texture for the other half of the vase.
Lay the textured clay shapes onto a rolling pin. Gently start forming the curve of the oval vase. Let stiffen until the two halves can stand on their own.
Stand the two halves up and score the inside surfaces using slip to join them together. The seams can fall on the sides of the pot, but I place the seam in the middle of the form to create an emphasis on the two different textures. Gently press the two halves together, slightly overlapping, taking care not to distort the texture. Blend the seams on the inside, but leave the external seams visible if you want the viewer to see that the vase was constructed by hand from slabs.
Attach a slab bottom (texture also could be applied to the bottom slab). Cut the bottom slab 1/8 inch larger than the vase. Bevel the bottom and top edges to give a more finished look.
Create the looped handles by rolling out a 3/8 inch-thick coil of clay. Lay the coil in between two soft cloths.
Flatten the coil between the cloths using the ridge in your palm. The cloth will soften the edges and help create a half-rounded effect to the handle.
Use a sponge to moisten the clay so that it can be bent without cracking.
Cut the handles to the desired length and fold the ends toward each other creating a loop.
Attach the handles by pressing in on the base of the loop while supporting from the inside.
Carefully soften any rough edges with a damp sponge. Cover the finished form with plastic and let it dry slowly to ensure that the seams stay together.

For more cool handbuilding techniques, download your free copy of Three Great Handbuilding Techniques: How to Make Pots Using the Pinch, Coil and Slab Methods!
Glaze Recipe
Weiser Blue Cone 10
Barium Carbonate 4.6%
Colemanite 11.9%
Whiting 7.8%
Frit 3110 2.7%
F-4 Spar 36.5%
Grolleg 3.7%
Flint 31.9%
Tin 0.9%
Total 100%
Add:
Barnard 2.3%
Bentonite 2.0%

To learn more about Dan Gegen and see more images of his work, visit www.danielgegen.com.

 

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17 Comments

  1. Char | August 24th, 2009 at 2:31 pm

    Beautiful! Is the glaze in reduction or oxidation?

  2. joy | August 24th, 2009 at 4:39 pm

    beautiful - thank you for sharing

  3. David | August 24th, 2009 at 5:11 pm

    Could you tell me how thick the plaster slabs are?

  4. Cindy | August 24th, 2009 at 5:44 pm

    He said he used 1/4″ slats, so probably slightly less than that–after texturing.

  5. Cindy | August 24th, 2009 at 5:45 pm

    Oops–sorry I misread your question.

  6. April | August 24th, 2009 at 7:41 pm

    Beautiful vessel! Does the glaze formula work in oxidation, and how high do you fire it?

  7. Jennifer | August 25th, 2009 at 3:12 am

    a wonderful idea for teaching..simple and practical

  8. Daniel | August 25th, 2009 at 9:35 pm

    The celadon glaze is fired to cone 10 in reduction

  9. Annette | August 28th, 2009 at 3:14 am

    I would love more information about the texture slabs. It there any reason why A slab couldn’t be made of bisqued clay? That is how I make stamps and texture worms. How big are the slabs, and how thick?

  10. Daniel | August 29th, 2009 at 10:34 am

    You could use a slab of textured bisque clay for this tecnique. The plaster slabs I use are about 12 inches square and 1 inch thick. I make them that thick for durability.

  11. Lindy | September 1st, 2009 at 6:04 am

    This is a lovely technique. Thank you so much for sharing.

  12. Judith | September 10th, 2009 at 7:09 am

    Hi Dan, great technique and suggestions.
    I always try to avoid barium carb. too hazardous even in firing.
    Is your glaze practicable at come 6 ?
    That would be lovely ! Many thanks for your contribution.

  13. Maylin | September 27th, 2009 at 8:05 pm

    Great - Thanks for sharing. I’m going to try this with my students.

  14. Brenna | October 14th, 2009 at 4:39 pm

    I tried this and couldn’t get the 2 pieces to fit together.

  15. Ann | October 21st, 2009 at 9:15 am

    Wonderfull, thank you for sharing,am going to try this soon.

  16. Barbara | November 4th, 2009 at 11:35 pm

    Love your work. Is it difficult to make the plaster texture molds. I teach art and can’t afford the ready made ones but would like to expose my classes to you technique. I would appreciate any help or sites to go to.
    Thank you.
    Barbara in San Jose

  17. Robin | November 14th, 2009 at 1:44 pm

    Love this, thank you!

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