It is a misconception to think that plates are easy to make because the challenge of achieving height isn’t there. But plates can be tricky. Issues of warping and cracking can be common if you don’t know what you’re doing. So, we’ve gathered four talented artists to demonstrate how they approach making plates.
Forrest Middelton makes the largest wheel-thrown plate on the compilation, beginning with 12.5 pounds of clay, and gives great advice on how to center this much clay without wrecking your wrists. Then he shares how he uses a process similar to how he throws cylinders to make a plate with a wide rim that can be darted and altered. He finishes it all off with his signature screen printed image transfer.
Ceramic artist Bede Clarke has explored a number of different paths in his career. Recently, after focusing primarily on wood firing for a number of years, he shifted his concentration to painting on the slipped surfaces of earthenware pots to satisfy a love of painting. In today’s post, an excerpt from the September issue of Ceramics Monthly, Bede explains his decorating process.
Painting a repeating pattern on a round vessel presents challenges. To be convincing, the pattern needs to expand proportionally with the roundness of the pot. Tony Merino wanted to do this, but really wasn’t too excited about revisiting high-school trigonometry class. So he set out to find an easier way, and he did. In today’s post, an excerpt from the September/October 2014 issue of Pottery Making Illustrated, he (and co-author Pam Luke) share the process.- Jennifer Harnetty, editor.
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In this installment of the Ceramic Arts Daily Presents video series, Marcia Selsor draws from her extensive experience with raku firing to show a variety of techniques that can easily be done in any raku kiln. She starts out with the basics of raku, covering equipment, safety, and suitable clays and glazes for the process. From there, she moves on to preparing pots for firing with a variety of decorative techniques. Finally, it’s time to play with fire! Marcia demonstrates four exciting post-firing techniques for the raku kiln: basic raku, horsehair and feather raku, saggar firing, and obvara. If you’ve been wanting to experiment with raku and other post-firing techniques, this video will get you off to a great start!
In this installment of the Ceramic Arts Daily Presents Video Series, Lisa Naples shares her insights and techniques on sculpting animals in clay to tell stories. She begins with a mixed media project, explaining not only the ins and outs of sculpting convincing mammal forms in clay, but also the technical issues of building clay pieces to successfully mesh with non clay materials. She also explores the process of pairing animal parts with pottery forms, creating a sculptural bird vase. In addition, Lisa shows how to make the figures come alive through her fabulous brush work and dry-brush slip application.
Annie Chrietzberg explains Lana Wilson’s process for decorating pottery with colored slips and shares the clear cone 6 glaze recipe she uses to finish these pieces.
The pottery of Lauren Karle is influenced by the beautiful garments of the indigenous cultures of Guatamala, where she lived for 2 1/2 years. The pots reference these garments both in the way they are constructed (cut, altered, darted, “stitched” together) and in their decoration. In today’s post, an excerpt from the October issue of Ceramics Monthly, Lauren demonstrates how she creates colorful patterns with a slip transfer technique.
We have posted a few videos on Ceramic Arts Daily over the years of artists using screen printing techniques on clay in one way or another. But until filming Forrest Lesch-Middelton’s DVD Volumetric Image Transfer on Clay, I had never seen anyone screen print on the inside of a wheel thrown bowl. In today’s post, an excerpt from the DVD, you’ll see the ingenious method Forrest came up with to get his screen-printed imagery onto what he calls his inside-out jars. – Jennifer Harnetty, editor.
As detailed in the direct and stencil approaches shown previously, glaze application methods are as infinite as our imagination. Nearly every item around the studio or house has the potential to be a glaze applicator. It just takes a little imagination to see the potential, and experimenting is key to discovering new ideas. Today, Frank James Fisher will present the transfer method that he uses to create beautiful patterning on his pots.