Ceramic Surface Design

It’s time for another trip down the rabbit hole. I have been dabbling in ceramic surface design on and off for a number of years. You can see some examples here and here. I have been interested in screen printing on ceramic clay. (I got started with screen printing with polymer clay, and wrote a couple of articles on how to burn your own screens for Polymer Cafe Magazine, now out of print.)

I am still interested in screen printing on ceramic clay and have read a lot of articles on the subject. There is a lot more information available now than when I first started. A lot of the early articles threw around terminology without clear explanations. (One that especially galled me was referring to the screen printing medium used on pottery as “ink” without an explanation of the composition of this so-called ink. Not helpful by any stretch of the imagination.)

My current fascination is ceramic decals. As usual, I am more interested in making my own decals than in buying someone else’s designs. The technique basically involves putting a design on newsprint or rice paper with underglaze or another substance that will withstand firing, and transferring it to a pot. There are different types of decals and many ways of making them. I wanted something that was low tech, that could withstand a cone 04 firing, and that used readily available relatively inexpensive materials.

I discovered a video and a tutorial by potter and teacher Kate Missett. They were just what I am looking for! She gives clear, concise directions and doesn’t leave out information that might be useful (like what side of the rice paper to use.)

You can see my first efforts in the pictures below. First, I mixed up some red and black “ceramic ink” for which Missett actually gives the formula, and tried the technique out on newsprint.

Here’s a bare, leather hard pot, the decal (the colors will appear in reverse order on the pot) and the decal applied to the pot.

Here’s the pot after I removed the decal. I decided to put another design on the pot which didn’t transfer so well, but I was able to touch it up. As is usual for me, my first efforts turned out better than my later attempts. I have a long way to go, but I am already enjoying this technique very much!

More Cats in the Pottery Studio

These three cats are on one mug. I don’t know if they would get along in the real world.

I think this puss would get along with anyone. Well, maybe not a d*g, but who knows?

Syd Carpenter

I went to an exhibition at Rowan University Art Gallery a couple of weeks ago to see an exhibition called Earth Offerings: Honoring the the Gardeners, that featured the ceramics and mixed media of Syd Carpenter

Mother Pin Transitions.
Clay, graphite, water color, rototiller blades.
Farm Bowl with Chicken.
Stoneware

Press here for more information on Syd Carpenter and the work in this exhibition which closes on March 26, 2022. If you can’t make it in person, you can take a virtual tour by video here.

Not Your Mother’s Majolica

Majolica glaze is a white tin or zinc-based glaze that provides a smooth coating on terracotta clay and acts as a perfect foil for underglaze decorations which are painted on top of the Majolica glaze.  The beauty of the Majolica is that it doesn’t move,  so anything you paint on top of it stays put.   For an explanation of the process, press here and here.

Here are some classic examples: tiles from Portugal.

MajolicaTilesPortugal

So I probably should not have been delighted when I took this out of the kiln.

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And yet, I was.   To be fair,  I didn’t start off conventionally.  I took a terracotta bud vase, dipped it in a cone 04 dipping glaze called Ice Blue (you can get the recipe in a free booklet on the Ceramic Arts Network site here. ) 

The glaze has chunks in it and it’s supposed to run and collect in crevices.  It can look interesting when you use it on white earthenware (see right) and beyond boring over terracotta (middle). 

We have a bucket of Majolica glaze in the studio and I decided to experiment.  I had to dip the vase three times to get a good coat, letting the glaze dry completely between coats.  You can see the crackling and crazing from the Ice Blue glaze in the right hand picture below that might have looked interesting had it been on the right kind of clay.

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I let the glaze dry overnight before adding the underglaze decoration.

7-underglaze-decoration

And here’s what I got!  This was fired at cone 06.  I surmise that the Majolica and the underglaze shifted because the Ice Blue glaze beneath it moved.  I am not sure what I expected.  Not everyone will like this, but for me it was a pleasant surprise.

Make Stamps for Ceramic Clay with Polymer

Another thing I did at  Clay ConneCTion was to make myself a bunch of new stamps to use with my pottery.    You can make pottery stamp from ceramic clay but polymer is so much easier!   Since polymer does not shrink, you know how big to make the design.  Plus you can cure the polymer much more quickly than you can fire ceramic stamps.  And they don’t break when you drop them on the floor.  And you can use scrap clay!  All you need to do is roll sheets of clay on the thickest pasta machine setting and then cut and stack the sheets to make a rectangle about one-inch square and two inches long.  You can make designs by carving the soft clay,  adding coils and shapes, or impressing textures into the clay.  If your clay is pretty firm, as mine was, you can put a design on each end and use the sides for more designs.  After you bake the clay, you can make more stamps with the design in reverse.  I recommend that you condition the clay well and bake the stamps for an hour.

There’s another polymer stamp making tutorial on the Ceramics Network site. And there are plenty of design ideas around the Internet.   Check out Hair of the Rabbit  And don’t forget Pinterest.

 

Beads

Porcelain beads ready for the kiln.  I can’t wait to see how they come out.

There’s Many a Slip ‘Twixt the Mug and the Lip

 

Isn’t that the old artistic dilemma?  You have a vision and you can’t quite realize it.  But for me, the fun is in the exploration.   I experimented with handle shapes and tried mixing Mason Stains into  Amaco Velvet Underglazes to enhance the colors of the surface decoration.

The mugs are glazed with a clear satin glaze on the outside and a white glaze on the inside.  I like the way the colors turned out.  The handles are another matter. Some of them look great but are not comfortable to use.   Other handles look awkward but are extremely comfortable in the hand.  Unless your handle is tried and true, there’s no way of knowing how the mug will feel until it’s fired and filled with its first serving of Java or tea.   But experimenting is all part of the fun.

 

The Wopperjawed Pot

Woppy Jawed,  Wapper Jawed,  Whopperjawed,  Whomperjawed.  What do these words mean?    Something that’s askew.  Crooked.  Not straight.  Uneven, even.  And they all apply to my work.  I come from the measure three times and cut for the rest of the day school of crafting.  I wonder how I ever managed to make two quilts.  I used to fret about my crooked lines and uneven seams.  But as I got older, I got smarter.  Or maybe wiser (in the Equus africanus asinus sense, of course).  I embraced my flaws, including my wopperjawdiddidity. (I made up that word in case you’re wondering.)    Hence the Wopperjawed Pot.    The  Wopperjawed Pot is about 12 inches tall and is hand-built of white earthenware using the tarpaper technique.  I used colored underglazes,  stains, and chalks for the surface decoration.  Everything is covered with a clear matte glaze.  It took third place in ceramics in the Fleisher Art Memorial Student Show (the 120th annual!) and was the inspiration for the menorah.  Which is also wopperjawed.   Here are some pictures.

 

 

 

 

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The Menorah . . . and Boris

I made a menorah for my stepson and his family to welcome them into their new home.  The shape of the menorah was inspired by a vase I was working on (still unfinished) and I used the tar paper technique of hand building ceramic shapes that I described earlier in the year.  

Here are some construction pictures.  The menorah is hollow.

And here is a picture of the final product after bisque firing and glazing.

2.M

Ever wonder what happens if you give a cat a dreidel?  If he’s Boris he’ll play for treats and clean you out.

1.DreidlecatBoris

Happy Holidays!

Tarpaper Technique

 

I am having a good time in the pottery studio experimenting with the tar paper technique.   The items below are white earthenware in different stages of finishing.  The tar paper supports the soft clay slabs and allows you to make all kinds of crazy shapes. Of course I have to see how far I can push it.  Stay tuned.

 

 

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Beware of sharks in the slip bucket!

 

Pottery Experiments

And that is what they are:  experiments.  I spent the summer trying different hand building techniques and seeing what I could do with white porcelain.  I threw a lot of what I made away mostly because of mishaps during the glaze firing.  And I made a few pounds of unglazed beads, pendants and trinkets that are colored with Mason stains. Those will get a ride in the rock tumbler which should give them a smooth, shiny satin finish.  I also made a few  bead trees so I can make glazed beads.  So, here is what I ended up with:

 

Some bangles (I wish I had made more of these) some nerikomi dishes, one mug, a platter with a feathered slip design, and two mid-century modern-looking vases that I will find good homes for.