Plates require more clay that a lot of other forms and Adam Field starts off with great tips on how to set the clay up right from the beginning to make your job easier. Throughout the demo, Adam discusses structural considerations that he takes to make his plates function as beautifully as they look. In addition he shares some nifty tips on some improvised tools he uses from items that most of us would just throw away. Rather than decorating the center part of his plate, Adam Field chooses to decorate the rim with his carving and shares the secrets to setting up his intricate repeating patterns.
Some folks feel like using commercial glazes is cheating, but I say, hogwash! I have been using commercial glazes for the past couple of years because, with very limited time in the studio, I don’t have time for mixing and testing. I have discovered some commercial glazes that I am very fond of and if I can find any ways to maximize my time making, I am all for it. Plus, with a little experimentation, you can make them your own.
In today’s post, an excerpt from the September/October 2014 issue of Pottery Making Illustrated, Deanna Ranlett explains some ways she has found to create great surfaces with commercial glazes.- Jennifer Harnetty, editor.
Ceramic glaze recipes are to potters and sculptors like candy is to a kid on Halloween. We just can’t seem to get enough! The cone 6 oxidation glaze recipes in today’s feature were contributed by Lou Roess.
When you make animated pots, you have to be sure the glazing and decorating complement the movement in the form. Nick Joerling does this beautifully on his pots by creating simple wax resist brush decoration to contrast with different glaze layers. In today’s video, Nick demonstrates this technique, plus he explains how he can approximate a salt-fired surface but using gravity to vary the glaze thickness. Awesome! – Jennifer Harnetty, editor.
Ceramic stains and underglazes mixed with water painted on unfired white-glazed bisque is pretty similar to watercolor painting on paper. The main difference is that the glazed bisque surface absorbs the color and water mixture more quickly. But once you get used to that, you can create beautiful watercolor-like surfaces. In today’s post, an excerpt from the July/August 2014 issue of Pottery Making Illustrated, Laurie Curtis shares her simple technique.- Jennifer Harnetty, editor.
In this installment of the Ceramic Arts Daily Presents video series, Liz Zlot Summerfield demonstrates her techniques for making handbuilt functional pottery with soft slabs and energetic surfaces. Liz explains how to develop interesting forms and the how to effectively use various materials to develop a creative look and feel for the surface. You’ll enjoy the easy-to-follow step-by-step instructions geared to clay lovers at every skill level.
Oribe ware is a type of ceramics that originated in the 16th century and is known for its copper green glaze and bold patterns. Ben Krupka is a fan of the experimental and playful feel of Oribe. In today’s post, Ben explains how he uses slips, wax resist, sgraffito and inlay techniques to create his own interpretation of this historical style.- Jennifer Harnetty, editor.
If you have ever experienced using a tried and true glaze in one firing and had the exact same glaze come out completely differently in a later firing. There are lots of different reasons why this could happen, but a common one is that the glaze density was not consistent from one glazing session to the next. In today’s post, an excerpt from her new DVD Flat to Functional: Handbuilding and Slip Decorating, Lisa Naples gives some great tips for making sure your glaze results are consistent.- Jennifer Harnetty, editor.
Karen Swyler takes a subtle approach to her glazing, juxtaposing raw white porcelain
surfaces with ribbons of shiny clear-glazed lines or small accents of
color. Today, in an excerpt from an upcoming Ceramics Monthly profile, she explains her less-is-more glazing technique.