Where do you find inspiration for your art? For some it is in nature, for some inspiration lies in the work of a favorite artist, for others, it can be found in their friends or family. But inspiration doesn’t always have to come from things traditionally thought of as beautiful or profound. As ceramic artist David Gamble demonstrates, mundane objects can serve as inspiration too. All you have to do is look around with an open mind. Today, we’ll show you how David turned manhole covers and sewer grates into wall-worthy art. Plus, we’ll show you a great way to hang wall tiles. Enjoy!
Throwing and handbuilding are at the core of all studio ceramics techniques. Through imagination and experimentation, some of the most skilled artists and craftsmen can take these basic techniques and often produce extremely creative works of art. With practice and patience, the coil pot or tall narrow form can become works of art suitable for galleries and collectors.
Denver potter Annie Chrietzberg demonstrates her creative technique for making nesting pots from slab-built forms. This step-by-step how-to project illustrates how to use tart tins from a kitchen store as templates, how to cut darts in slabs to make square forms and how to work with textured surfaces to get truly unique dishes.
In this ceramic art lesson plan, Arthur Halvorsen demonstrates how to build a flowerbrick that’s inspired by cake shapes and cake decoration using soft slab techniques combined with slip trailing.
step-by-step demonstrations on how to prepare the clay, handbuild and
throw, Dennise’s instructions are clear and thorough. Her precise and
light-hearted teaching methods make it fun to learn the joys of
handbuilding and the art of throwing on the potter’s wheel.
Throwing large work is a challenging area and takes a different approach than throwing normal ware. This book looks at throwing purely from the perspective of making very large work. It assumes you can already throw, but different techniques are needed when making large work because of all the added problems. This book covers the various techniques used as well as how to avoid disastrous pitfalls.
Because the process of working with clay is so enjoyable to us, it’s easy to forget that this material we love so much has some physical characteristics that, if not understood and respected, can do us harm. One of those characteristics is plasticity, which of course is a good thing—it’s what makes clay workable. Heck, if clay wasn’t plastic, it would just be dirt! At the same time, that quality that sticks all those clay particles together makes a large lump of it fairly resistant to the pressure of a human hand—or foot, or elbow or head… Over time, the stress and pressure of pushing clay around can do damage to our joints and tissue. But this is why we have clay tools. They make our studio lives easier, they make our work better (if we use them right) and they maximize the physical effort of our bodies. In today’s feature, Don Adamaitis demonstrates how to make a tool that can protect us from injury and make our working process more enjoyable. And it’s easy!
I keep a lot of things in my studio that I think may one day be useful for texture or as a tool of some sort. I also cannot bring myself to throw any kind of wood in the garbage. I have a scrap collection that would be the envy of many a woodchuck. The other day, these two passions (let’s just call them passions for now) came together in a very useful way. I ran out to the garage and gathered every single dowel scrap I had and transfered them to the studio, thereby fulfilling both obsessive habits (okay, let’s call them what they really are). The reason I did this was because I watched the DVD Handbuilding with Mitch Lyons. He demonstrated a method for making cylinders that employed these dowels, and then went on to explore wonderful surface inlay and texture treatments that really got me excited about handbuilding again. And I got to use some of my scrap wood! — Sherman Hall, Ceramic Arts Daily
Today, we bring you the work of Margaret Bohls who stretches the limits of porcelain to explore the ideas of expansion and restraint. Margaret’s vessels have the appearance of soft, cushy upholstery. They seem like they are being inflated from within. She achieves this effect by painstakingly creating each bulge in her slab building process, which author Glen R. Brown elaborates on below.