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Ceramic
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Handbook
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Surface
Decoration
Finishing
Techniques
Surface
Decoration
Ceramic
Arts
Handbook
Series
Edited by Anderson Turner
The American Ceramic Society
600 N. Cleveland Ave., Suite 210
Westerville, Ohio 43082
www.CeramicArtsDaily.org
iv
Contents
Unearthing Beauty: Pushing the Limits of Surface
Eric Serritella
11
15
Rolling Stamps
19
23
27
31
37
39
Pice de Rsistance
42
48
51
57
61
64
Ginger Steele
Ryan McKerley
Roger Graham
Russel Fouts
Dennis Maust
Dori DeCamillis
Amy Norgaard
Billie Mitchell
Nicole Copel
67
71
73
81
86
90
Majolica Madness
97
101
No-Fire Decals
108
112
115
118
125
129
134
Brendan Tang
Mandy Ginson
Rafael Molina-Rodriguez
Frank James Fisher
Judy Wagonfeld
Surface
Decoration
Preface
Everyday I enter the studio, the first thing I pick up is a paint brush. I dont do
this to go hit the canvas with oil paint. Rather, I have found that I am much
better with a brush than a pencil when I try and sketch out my ideas. This fact
has transferred into several water logged sketchbooks and tons of works on
paper. However, it is a gift that I have to use the brush, because I am able to
see pattern and design before I ever touch clay. I even go so far to add scraps
of clay to whatever paint or ink I might be using to give color and texture. So,
in a very real sense I am worrying about the final look of the piece I want to
work on right out of the gate, not just form. I worry about texture, shadow any
number of variables.
Too often, Ive met other artists working in clay who fail to consider the surface of their work. They leave it up to the glaze they like or the firing process to
make most of the decisions for them. I love the surprise of opening the kiln . . .
leaving it to chance, as they say. The only problem is that they are not leaving
things to chance. They have fallen into the most predictable of practices. We
know that flame will do certain things, and we can learn how to make glazes
and kiln atmosphere effect change to whatever it is we have made. However,
thats not leaving things to chance. If you know roughly what should happen,
then where is chance? Much if not most work fails at this critical juncture of
design and firing, control and proper use of materials. It is a fact that separates a quality glaze and piece of work from a pretty good form, but Im not
surethere is something missing.
We who work in clay have all struggled with surface decoration. I dont think
it ever gets fully resolved, because if you are trying to express an idea, often
you have to step outside of your comfort zone. It would seem that the only
thing that changes is the opportunity to keep learning more about our chosen
material. In a very real sense, knowledge is power when it comes to surface
decoration.
Anderson Turner
vii
Unearthing Beauty
Surface
Decoration
Stoneware teapot,
9 inches in height.
The natural colorants from wood
firing complements the surface
textures.
Technique
Surface
Decoration
10
11
12
Variations
After throwing your form, score the
pot vertically or horizontally with a
needle tool or other sharp tool (figure
7). (Note: Ive omitted sand on this
piece for a softer texture.) Heat the
outside (figure 8), then expand the
wall and finish the top (figure 9).
One of my favorite texture tools
is a stiff wire brush for tight patterns that are great for many firing
processes (figure 10). This tool creates shallower crevices and thinner
walls. I usually use this tool without
added sand.
Another patterning technique is to
apply a random flowing design with
Surface
Decoration
13
Slab Work
The following example is for a sushi
plate or teabowl tray, although heated and stretched slabs can also be
manipulated to make bowls, mugs,
teapots and other forms.
Pound out a slab 13 inches thick,
using your hand or a mallet (figure
14). Impress a pattern into the clay
(figure 15. Heat the top and sides,
but not the underneath or bottom
14
15
17
18
16
CAUTION
Always work in a well-ventilated area when heating
the clay, preferably with an
exhaust or fan pulling the
heated clay and torch fumes
away from you. Also, exercise
caution with an open flame.
Remember that the tip of the
torch will be very hot even
after you turn off the flame.