Using horsehair and feathers in raku firing yields incredible marks that can’t be created in any other type of firing. But for optimal results in horsehair and feather raku, you should have a smooth surface. Marcia Selsor creates this ideal surface with terra sigillata and I loved her no-muss-no-fuss method for mixing sig. In today’s video, an excerpt from her brand new video Raku Firing: Expanding the Potential of the Raku Kiln, Marcia demonstrates this technique and a horsehair/feather firing.- Jennifer Harnetty, editor.
Belgian potter Russel Fouts has done a great deal of experimenting with various “permeable” resists and today, he shares some of the results of his experimentation.
In today’s post, an excerpt from the November/December 2011 Pottery Making Illustrated, Courtney Murphy explains how she combines underglaze decoration over a majolica glaze to create her delightfully simple illustrations. She also throws in a couple of recipes!
Not even Jenny Mendes herself can explain the mystery of how her imagery makes it out of her subconscious and onto her clay tile paintings. But she can explain the technical details of scratching her drawings into moist clay and layering various colors of terra sigillata to create her rich illustrations. That’s exactly what she does in today’s post. Enjoy!
In today’s post, an excerpt from his DVD Slabs, Templates, Texture, and Terra Sigillata, Jeremy demonstrates the mixing and decanting process for terra sigillata and shares the terra sig recipe he uses. Plus, he demonstrates how to test sig for specific gravity to make sure you get it just right.
In this installment of the Ceramic Arts Daily Presents Video Series, Jeremy Randall presents the handbuilding and decorating processes he uses to create his vibrant architecturally-inspired vessels. Jeremy uses textures and asymmetry to reference aging industrial and agricultural structures. He explains his tar paper template system-including a bonus feature on using tar paper templates to sketch in three dimensions-which allows a bit of control in form, but also leaves room for alteration.
Terra sigillata means ‘sealed earth’ and comes from the name of a type of Roman pottery mass-produced around the first century AD. But the Romans copied the Greek technique used in their famous black and red pottery for hundreds of years before that. Here is a complete guide to making and applying terra sigillata, recipes, and troubleshooting.
As Clay Cunningham explains in today’s post about Posey Bacopoulos, majolica is the perfect technique for potters with small studios because it requires only one glaze, a few overglazes, and an electric kiln. I am sure many of you can relate to the small studio factor, so I thought this would be a good technique to excerpt from our latest free download: Three Great Ceramic Glazing Techniques: How to Formulate Successful Crystalline Glazes, add Depth Through Carving and Layering, and Glaze in the Majolica (Maiolica) Style.
In today’s video, an excerpt from her new DVD Pit Firing and Burnishing, Sumi von Dassow demonstrates how to mix and apply terra sigillata to burnish into a beautiful sheen.