Sometimes I feel like I was born in the wrong era because I just love old things: antiques, weathered old buildings, vintage clothing. If you can relate, then you’ll love today’s feature because we’re going to show you how to create a crackled, craggy texture on your pottery. Canadian potter Robin Hopper explains how some heating, some stretching and a little sodium silicate can transform a freshly thrown pot into what looks like a weathered antique.
Screen printing on pots is definitely a trend these days and one of the main trend setters in this area is Jason Bige Burnett. Jason draws on his background in screen printing and graphic design to create his super fun work.
In today’s post, Jason shows how to transfer a screen printed image to a slab and then turn that slab into a simple plate. An extra cool thing about this clip is that Jason shows how you can hand color various parts of your print in a technique comparable to monoprinting. Have a look! – Jennifer Harnetty, editor.
Clay tools are a potter’s best friend – especially homemade tools designed to be perfect for specific tasks. Just by doing some creative searching, it’s amazing how many useful tools can be gleaned from around the home. As Deb Oliva explains in today’s post, you can use everything from beads to discarded plastic-wrap boxes to create what you need exactly when you need it. – Jennifer Harnetty, editor.
There are myriad ways to get texture on clay – one of these being the handmade bisque stamp. But sometimes you just want more immediate gratification. That’s where carving block printing material comes in. In today’s post, Ann Ruel explains how to use these printing tools to easily create your own stamp designs (with no need to own a kiln). These could come in handy for someone who works at a community art center and doesn’t want to wait for a bisque stamp to be fired.
In today’s post, an excerpt from the May/June issue of Pottery Making Illustrated, Jake Allee shares what he learned when he recently delved into the Majolica technique. I really like the advice he gives on experimenting in your work. This may be just the impetus I needed to start some majolica experiments myself.
Nancy Gardner loves commercial glazes and underglazes because the color choices are virtually unlimited. And she has no qualms about using commercial products instead of mixing her own.
In this article, an excerpt from our free download Getting the Most out of Ceramic Glazes and Underglazes: Using Commercial Ceramic Glazes and Underglazes to Achieve Color, Depth, and Complexity, she shares how she layers them up to create bright and beautiful floral designs on her pottery. – Jennifer Harnetty, editor.
It is a very exciting time to be a ceramic artist. There is a wealth of information available to help you do virtually anything you can dream up with pots. This is especially true when it comes to image transfer. Over the years, artists have been experimenting and discovering new ways to get imagery onto pots using high-tech and low-tech methods. In today’s post, an excerpt from our new book release Image & Design Transfer Techniques, Martina Lantin explains a fairly low-tech way to use a photocopy or laser print out to transfer a pattern onto a pot.
When you look at Lana Wilson’s layered slip and sgraffito surfaces for the first time, you probably find yourself wondering, “wow, how did she do that?” It isn’t immediately obvious how she creates the intense colors and intricate patterns.
Well, wonder no more! In today’s video, an excerpt from her much-anticipated new video Handbuilding with Color and Texture, Lana walks us through her process. Enjoy! – Jennifer Harnetty, editor.