clay workshop

handbook
Clay Workshop Handbook
clay projects and studio resources
Welcome to your workshop! Whether you enjoy throwing, handbuilding, glaze testing or all of the above, we’ve pulled
together several things for you to try out once you get back to your studio.
If you’re familiar with Pottery Making Illustrated and Ceramics Monthly, then you already know they’re packed full of prac-
tical information, projects, and techniques you can use. The articles in this Clay Workshop Handbook provide a sampling of
some of the great content you’ll discover in each issue. Enjoy your workshop!

Calculating Clay Shrinkage

by Audry Deal-McEver
Have you ever broken the lid to a fully finished teapot and needed to make a replacement? Learn how to use a copy machine to help you make a near
perfect replica.

Designing Function
Drawings by Robin Ouellette
Using these simple shapes, you can create an infinite variety of complex utilitarian forms.

Pasta Blates (bowl + plate)

by Wendy Eggerman
Are you interested in how a well-designed plate can enhance fresh-made-pasta? Try this dish that is occasionally referred to as a “blate” (bowl + plate).

Bringing Joy to Life with Melissa Maya Pottery

by Maya Rumsey
Working in batches and retaining the marks of making, Maya Rumsey creates functional pottery with surfaces inspired from her childhood.

Efficient and Effective Slab Plates

by Galen Sedberry
Love to make plates but discouraged by the number of steps involved in the throwing and firing process? Try this creative technique, which mixes throwing and
handbuilding for better results.

Transferring Images
by Shawna Pincus
Surface design techniques are endless, but often favor application on flat planes or greenware. Here’s a process suitable for bisque-fired pots that yields
graphic imagery.

From Firm to Fantastic

by Anne B. Crabbe
Reclaim blocks of clay that have become too firm to form, with this simple damp-towel wrapping technique.

Silicone-Tipped Tools
by Christina Orthwein
Do you need a flexible tool to smooth and compress seams that are a little too large for conventional rubber-tipped tools? Making your own silicone-tipped tool may
be the answer.

Building a Weathered Surface

by Angelo di Petta
Discover a unique surface decoration technique that creates a layer of color and patterns.

Red Clay Ready

by Ruth Easterbrook, Megs LeVesseur, and Taylor Mezo
Recipes from three working potters accentuate red clay bodies at low- and mid-range temperatures.

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 Calculating Clay Shrinkage
by Audry Deal-McEver

1 Photo of broken teapot lid. 2 The lid taped back together. 3 Enlarged pho-
tocopy of the underside of lid being measured with calipers (the broken lid is
also included in photo for comparison).

Have you ever broken the lid to a fully finished teapot and needed to shrinkage ruler. (Several great Ceramic Arts Network videos pop up on
make a replacement? If you simply measure the lid with calipers, the YouTube if you search for “determine clay shrinkage.”) As for the math,
measurement won’t be accurate. Some clays shrink 8% or even 14% use the following equation, where X equals the shrinkage percentage:
from freshly formed to the fired state. That can be enough of a difference (100 ÷ (100 – X )) • 100 = unfired equivalent size
to sabotage attempts to remake the broken piece, unless you accurately To simplify this process for my students, I created a Clay Shrinkage
calculate how much larger it was before it shrank. Calculator on my website that allows you to enter the percentage your
While helping a student with this exact problem, I had an aha mo- clay shrinks, click the “calculate” button, then the “unfired equivalent
ment. I had recently used a copy machine to enlarge a small image. copy size” is determined. Punch this into the photocopier settings to en-
What if I photocopied the broken lid, then used the copier to enlarge it large by that percentage, tape your broken lid back together, photocopy
by the correct percentage? it, then take a measurement off of the printout using calipers. Voila! Now
This solution involves knowing how much your clay shrinks, then you can remake the piece with fresh clay using the copy as a guide.
doing some math. Most clay companies list shrinkage rates on their To use my calculator, visit www.AudryDealMcEver.com and click on
websites. If you mix your own clay, you can figure this out by making a “Clay Shrinkage Calculator” in the menu.

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 Designing Function
Architecture and pottery have much in common. Architecture is the art of enclosing space. Pottery is, in essence,
miniature architecture, displacing and enclosing space by the development of three-dimensional forms. Spheres,
cylinders, domes, arches, and cones are forms associated with both architecture and pots. The development of
complex forms is infinite in variety, and the above two-dimensional drawings show a montage of utilitarian forms
using the circle, square, rectangle, triangle, and ellipse. —Excerpted from Functional Pottery: Forms and Aesthetic in
Pots of Purpose by Robin Hopper.

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 Pasta Blates (bowl + plate)
by Wendy Eggerman

bat (to about 3 o’clock, if you’re throwing right handed). This part
will be the floor of the plate, so be sure it is even and leave ½–¾
inch thickness. I use the side of my fist to drag the clay because I
find it keeps the floor more even and gives me more strength than
if I used my fingers. The heel of my left hand pushes down and
in, to keep the clay firmly attached to the bat. Drag the clay until
it’s about 8½–9 inches diameter, leaving the edge a little thicker,
so there is some clay left to pull up (2). But before you pull the
edge, be sure to compress the floor. One of the most common
reasons plates fail is that the floor is not sufficiently compressed,
thus causing cracks.
Many people consider pasta to be one of their favorite foods, but Now you’re ready to pull up the edge. Pull the last, outermost
few people have ever attempted to make it themselves. As some- bit of clay up and out—this won’t be very tall (about two inches
one who loves to make pasta from scratch, I find it very reward- from the bat) (3). The goal is to make the plate about 10 inches
ing and surprisingly simple. And of course, being a potter, I am in diameter, any smaller and there might not be enough space
equally interested in how a well-designed plate can enhance the for a full serving of pasta. Remember: the magic of a pasta blate
fresh-made-pasta experience. I have found (after enjoying many is found between a plate and a shallow bowl. If you want a wide
pasta meals), that the best type of dish to use is something be- rim, pull the clay up and then out much farther (this might re-
tween a bowl and a plate. Some people might refer to this shape quire you to start with a little more clay).
as a “blate” (bowl + plate). They have the spaciousness of a plate Before you take the thrown pasta plate off the wheel, there are
combined with the containment of a bowl. It might seem like a few items to consider:
a small adjustment, but you’ll find the slight curve of the rim • Are you happy with your rim? Try not to make the rim too
enables you to easily catch every noodle while keeping the sauce thin (or it will be prone to chipping). You’ll want to com-
in the dish. press the rim (again, compression helps avoid cracks).
• Compress the floor again. (Yes, again; compression is the
Throwing name of the game). At this point I use either a stiff plastic
The first step in making pasta plates is to weigh out and wedge 3½ kidney rib or similarly shaped metal rib.
pounds of clay. Much of this weight will eventually be trimmed • Make sure the transition from floor to wall is seamless. Here
off, but it is needed to provide a substantial foot. a rounded rib can help smooth out any lumps or bumps.
Center the clay on a bat into a low puck (1). Once you’re cer- Once you are happy with the shape of your pasta plate, it’s dry-
tain the clay is centered, drag the clay toward the outside of the ing time. Plates take a long time to dry and the rim dries much

1 2

Center 3½ pounds of clay (or a little more if you want a wide rim) into a Drag the clay out to create the floor. The clay should measure about
low puck. 9 inches before pulling the walls.

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 3 4

Make sure the inside of the pasta plate is smooth and compressed Center the plate. I tap to center and use an old jar lid to hold the plate
before taking it off the wheel. down.

5 6

Trim the extra clay until even, while being mindful of the outside surface Wendy Eggerman’s finished pasta plate, shown with handmade pasta
texture. I use a serrated rib to create texture when done. and tomato sauce.

faster than the middle. Depending on the humidity of your studio hard, as soon as I’m done trimming. Texture gives the terra si-
space, it could take a few days and you might need to cover just the gillata depth and can be achieved many ways. I usually use a
rim and leave the middle exposed. You know best how your pots dry, serrated rib (5), chattering, or slip, but really, the world is your
just make sure to check regularly until your plate is evenly leather hard. oyster. At this point, keep in mind how you are going to glaze
your pasta plate. If you have a thick matte glaze, any surface
Trimming
detail would be lost. If you are using a translucent glaze, some
To trim, I tap the form to center it and use an old jar lid to hold
underglaze or mishima might look nice.
down the pot on the wheel head (4). As you trim, be sure to leave
When it’s time to glaze, I use a glossy, off-white liner glaze on
a sturdy foot ring about midway in from the rim when viewing it
the interior of my pasta plates. I find a simple glaze looks nice
from the bottom of the plate. Remember, you’re going to remove
with pasta (6). Also keep in mind, pasta is almost always eaten
a lot of clay while trimming. The clay should come off in long
with a fork, and a dry glaze is going to give a nails-on-a-chalk-
ribbons; if it’s getting stuck to your trimming tool, it’s too wet, so
board feeling. Be sure that your liner glaze is food safe.
leave it to dry a bit longer.
When you think you’re getting close, pick up the plate and
check the thickness. How does the floor feel? The walls? Is every-
thing even? Is the pot heavy?
Wendy Eggerman is a full-time potter in Saint Paul, Minnesota.
Finishing Her pots are inspired by antiques and informed by her love of
All my pots are made with earthenware and finished with terra cooking. See more at: www.FunctionalHeirlooms.com or Insta-
sigillata. I like to add texture to my pots when they are leather gram @FunctionalHeirlooms.

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Bringing Joy to Life with
Melissa Maya Pottery
by Maya Rumsey

In my work, I try to balance clean, simple lines while allowing my

hand as an artist and maker to show through. When coming up with
new work, I like to create designs that are stripped down to their
basic elements. I like to see how much I can simplify a design while
keeping it warm and engaging, as well as obviously what it’s meant to
be whether that’s a mug, vase, planter, or a little figure. I find myself
gravitating toward work that honors the clay itself and allows you
to see how it was made. When I throw on the wheel, I leave a swirl
in the bottom, or when I handbuild, I will leave some of the rough
texture. I think of these as clues to show that hands have shaped
each piece and give a sense of how it was made. There is something
captivating about handmade work that’s hard to put into words. I
want to honor that.
When I make mugs, I work in batches that are divisible by 4, typ-
ically 16 or 20 at a time. I’ll make vases in batches divisible by 3. I
think this is a good metaphor for working as a functional potter. We
all have our own little arbitrary rules that guide how we make our
work. Maybe we heard them somewhere, maybe we made them up
to match our own studio rhythm or keep ourselves on task. I don’t
believe there’s one right way to do it. If, in the end, you have a cup
that is food safe that you can drink out of, you’ve succeeded in mak-
ing a cup. This is simply how I currently make my mugs—in five
years that might change, and I want to give myself room for that.
Beginning a Mug
When I am coming up with a new design, I can spend a lot of time
simply daydreaming about it. This phase can last a day or years.
When I’m ready to start designing, I’ll go to Google images first. As
an example, I might search pictures and drawings of magnolias in
bloom. I like to print out some of the images to have a hard copy.
While I don’t make a lot of sketches before I work, the sketches I do
make are typically silhouettes and rough ideas for designs (A). I pre-
fer to make first-draft pieces when working on a new design. From
there, I can tweak and fine tune it with further iterations to get the
desired results.
I throw mugs on the wheel using between 1 to 11/4 pounds of
Georgie’s Trail Mix Toast clay for each mug (B). I used a white porce-
lain/stoneware mix for eight years before switching to dark clay. After
a lot of testing, I chose this clay body because I loved the rich brown
color when fired in the electric kiln. It has some grog that helps with
1
making bigger pieces but not so much that it’s a pain to throw with.

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 2 3

1 Maya Rumsey in her studio. Photo: Keely Brennan. 2 Gray Bird Mug, 3 in. (8 cm) in length, wheel thrown, 2022. 3 Magnolia Bowl, 131/2 in. (35 cm) in length,
handbuilt, 2022. 4 Memorial for George Brown Vase and Cups, to 7¼ in. (18 cm) in height, wheel thrown, decals, ashes, 2020. 5 Rumsey’s mom (Moira MacAvoy),
grandma (Peggy MacAvoy), and Polly in front of their magnolia tree. Photo: Moira MacAvoy. 2–4 Georgie’s Trail Mix Toast clay, underglaze, glaze, fired to cone 6.

After working for so many years with a more fine-grained clay, I was ea- my design on the mug (G). The pencil lines act as a guide when
ger to get my hands into a rich stoneware that I could push a little more. adding underglaze colors. I work with Amaco Velvet Underglazes. I
The next day, I pull the handles for that batch of mugs from a large use paintbrushes that have a beveled edge on the end of the handle
lump of clay. I start by pulling the blank form. This is approximately for large areas. These brushes give me the ability to scoop up more
how thick I want the handle to be at the top and bottom. Then I go in underglaze and use the beveled edge to spread it where I would like
and pull the middle of the handle to the thinness I am looking for (C).
it (H). For some of the designs, I mix the colors on the pot to create
After cutting it off of the hump, I place it on my ware board to dry.
a swirled effect. To do that, I paint the first color in a thick layer,
Then, I trim my mugs on the wheel with a Giffin Grip and my Do
then add the second color while the first color is still wet. Before it
All tool from Mudtools (D). When the handles are dry enough that I
don’t leave a fingerprint on the surface, but they are still pliable enough dries, I use the brush to swirl the two colors together (I).
to bend, they’re ready to be attached to the cups (E). I cut the extra After the underglaze is dry, I use the underglaze pen from Axner/
material off, press the ends into the side of my table to fatten up the Laguna with an extra-fine tip to apply black lines around the forms.
top and bottom, and then pinch out a little skirt around the parts that Typically the underglaze will be a bit too thick when poured into
will be attached. After scoring the mug and handle with a little water, the bottle on the underglaze pen, so I add a few drops of water at
I push the handle into place. The skirt that was pinched out earlier a time until it flows smoothly (J). I can carefully wipe away little
provides enough clay to smooth the handle onto the cup. I’m looking mistakes if needed, but try to avoid that. I find those little bumps
to create a clean, seamless transition between cup and handle (F). and wobbles to be evidence of the artist’s hand, and so I leave them.
Adding Surface Designs After decorating the mugs, I go over my designs with Aftosa wax
The decorating phase for any pieces that will have drawings on resist. I put the wax around the whole design, so that the underglaze
them begins after the bisque firing. Using a 2B pencil, I sketch out is left raw and there is a halo effect around the design where the dark

4 5

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 A B

C D E

F G

A Maya Rumsey’s sketchbook. B Throw the body of the mug. C Pull a handle from a lug of clay, then curve it into the desired shape and set aside
to reach soft leather hard. D When the mug reaches leather hard, trim a foot ring into the bottom of the form. E Cut the handle to length, widen the
ends, score the attachment areas, apply slip, and attach. F Adjust the angle of the handle to the desired contour. G Sketch surface design motifs
using a pencil.

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 H I

J K

L M

H Apply underglaze to the surface designs. I Mix underglaze colors to achieve a swirled effect. J Apply a darker underglaze using a fine-tipped slip
trailer to outline the colored underglaze shapes. K Apply wax resist over the underglaze surface design on the bisque-fired mug. L Dip the mug into
glaze. M Clean any glaze drips and dots off of the waxed areas of the surface. All process photos: Keely Brennan.

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 clay will show through (K). I apply it in a pretty thick layer and let it
dry for at least 12 hours (preferably more). When the mugs are ready,
I dip them into glazes that I mix myself (L). I use a damp sponge to
clean up any stray glaze on the waxed areas (M). One of the main
glazes I’m using is a white matte glaze from Jen Allen that I saw in
a past issue of Ceramics Monthly. After testing it, I realized that on
my clay body, when fired to cone 6 with a slow-cool program, this
glaze turns out glossy and drippy, mostly off white with toasty brown
coming through. This is why I call it my “Toast” glaze. It looks very
different on Jen’s work! When I add 5% 6600 Mason stain to it, the
glaze turns into a beautiful satin-matte black. Finally, after the cone-6
firing, I wet sand all of the unglazed areas. A mug is born!
6
Design and Inspiration
I first drew my magnolia motif on a special project I made for my dad
two years ago. My dad was an eccentric person. Sometimes he was
a lot of fun, other times he was scary. He often seemed to be living
on a completely different planet from the rest of us. The Victorian
house we lived in was a sort of obsession of his. Taking care of it was
practically a full-time job for my mom, and when she divorced him
after I left for college, it fell apart around him. Even so, he always saw
it as his palace.
In 2018, my dad passed away. After his death, his hold on my
mind loosened, and I found it was easier to look back at my child-
hood and remember the good times and things that brought me
joy—like the big magnolia tree in front of our house. I designed vases
7 and cups that incorporated decals of our house along with drawings
of magnolia blossoms. I used my dad’s ashes as a wash under the
glaze on all parts of the vases and on the bottoms of the cups, where
it looks like a crater glaze.
Much of my inspiration comes from what brings me joy. I love
drawing magnolias because they remind me of that joy I would feel
every spring when our tree would burst into pink. Even if things felt
impossible to get through at home, it was still magical when the mag-
nolia tree bloomed. I like to draw houseplants because with them,
my house feels more alive. And I love birds. My mom and grandma
passed that love on to me. I have many fond memories watching
the birds at the feeder with them or looking up new arrivals in the
field guide. When I was in college, I became more interested in birds
because this interest gave me a way to connect with these important
women in my life. Over time, I’ve grown to love our feathered friends
that are always around us, and incorporate them into my drawings
8
on pots as well as sculptural forms.
I like to make work that brings me and my audience some sort of
joy. I like my work to be approachable, comfortable, soothing, and a
bit nostalgic. I also want it to be ever evolving. For people who have
experienced my work, whether through using a piece in their home
or watching one of my videos online, I hope it brings them a sense
that, in some way, we are going to be okay.

Maya Rumsey is from Toledo, Ohio, and graduated with a BFA

from Bowling Green State University in 2008. She now lives with
her husband and two daughters in Coeur d’Alene, Idaho, where
she works in her basement studio. To learn more, visit melissa-
maya-pottery.myshopify.com or follow her on Instagram @melis-
samayapottery.
6 Black Magnolia Mug, 3 in. (8 cm) in height. 7 Monstera Adansonii Mug,
23/4 in. (7 cm) in height. 8 Rainbow Triangle Mug, 3 in. (8 cm) in height.
9 9 Toast Magnolia Mug, 3½ in. (9 cm) in height. 6–9 Pieces are wheel-thrown
Georgie’s Trail Mix Toast clay, underglaze, glaze, fired to cone 6, 2022.

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 Efficient and Effective
Slab Plates
by Galen Sedberry

As a second-generation potter and the son of a prolific plate maker, finishing process of work. I have found the following method of
I grew up in a household that used exclusively handmade dinner- plate making and firing to offer one solution to these hurdles.
ware at meal times. After becoming a maker myself, I wanted to
continue and propel that celebration of daily ritual with others. Rolling the Slab
I set out making slab-plate forms about four years ago in re- Start by rolling out a slab to approximately ½ inch in thickness
sponse to the question: How do I produce a consistent form in the using a slab roller. This can also be accomplished with a rolling
most efficient manner both in construction and firing? Typically, pin and two dowels of equal thickness. I usually roll slabs large
thrown plates require the cutting of a foot ring—producing a bur- enough to make four or five plates at a time. Using a rubber rib,
densome amount of scrap clay that then needs to be recycled. Plates thoroughly compress one side of the slab before flipping it over
can also require a less-than-efficient use of stacking space within a and compressing the other side (1). Compressing the slab ensures
kiln, potentially becoming a limiting factor when considering the a smooth surface as well as strengthening the clay in order to

Grass plate, 71/2 in. (19 cm) in diam-

eter, handbuilt North Carolina stone-
ware, wood fired to cone 10, 2022.

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 1 2

Roll a slab to approximately 1/2 inch thick. Compress both sides of the Using a thick-gauge paper template, cut out the basic plate shape from
slab using a soft rubber rib. the slab.

3 4

Transfer the slab to a hump mold, making sure the shape is centered on Gently compress the slab with a wooden roller to the curve of the mold.
the mold.

5 6

Score the back of the slab in the approximate area where the foot ring Drape a coil over the scored area, then cut off any excess length on a
will be attached. bevel. Score the ends and blend to make a continuous loop.

prevent drying and stress cracks later on. Using a thick-gauge pa- workability that is less prone to denting and ripping while han-
per template, cut out the basic triangular plate shape from the dling. The hump molds I use can be handmade simply by throw-
slab (2). Make sure to remove all the scrap pieces of slab from ing a large plate form with the interior curve or throwing a large
between and around the cut plate shapes, wedge, and then wrap dish and then trimming the same curve on the back side in lieu of
them in plastic to be used later in the process. a foot ring. Once you have an original shape you are happy with,
multiples can be made from it once bisque fired.
Transferring to the Bisques Mold Using concentric rings that have been applied to the bisque
I like to leave the slab shapes out to dry for at least a few hours mold with a marker, center the triangle shape on the mold by
to stiffen slightly before transferring to the mold, allowing for a making sure the tips of the triangle overlap the ring evenly on all

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 7 8

Using a light amount of water, blend the clay of the foot ring into the slab. With a metal rasp, do a final shaping of the form. Soften hard edges us-
ing a soft rubber rib.

9 10

Starting in one corner, slip trail the stems of the grass pattern in a fan Use quick and decisive brush strokes to create the leaves of the
shape across the plate. grass pattern.

11 12

Pour an ash glaze over the face of the plate using a ladle. To fire, stack the plates (foot ring to foot ring) on top of a three-point trivet with wadding
and shells. All process photos: Jan Cavanaugh.

three sides (3). Using a handheld wooden roller, gently push a coil to approximately 18 inches in length. Prior to placing the
the clay down toward the bisque mold (4) in order to generate a coil onto the slab, use a serrated rib to score an approximate ring
little bit of clay memory, which will prevent the plate from flat- on the back side of the plate (5). Scoring this ring helps both to
tening and twisting while drying. center the foot ring on the back of the plate, as well as making a
secure connection between coil and slab. Loop the coil on top of
Throwing the Foot Ring the slab and cut off the excess on a steep-angled bevel (6). Make
Using a grip for your wheel head, or using the tap-to-center sure to cut the bevel in the same direction as the spin of the wheel
method and clay lugs, center and secure the mold to the wheel. head, ensuring your fingers are compressing the attachment point
Next, wedge the clay from the slab scrap, then extrude or roll out during throwing. Using a sponge and a light amount of water,

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 pots lends itself well to this kind of decoration,
as there are clear starting and stopping points
found in corners.
I use the same slip with a brush to produce
the leaves of the grass pattern. Moving from the
same starting corner as the trailed lines, I be-
gin with the larger leaves and work my way up
the plate, finishing with the smaller ones (10).
I find the key with trailing lines and making
marks with a brush is simply to be deft and de-
liberate with your movement and to let your
hands do the work, or simply put: Be confident.
Top left and right: Grass plates, 71/2 in. (19 cm) in diameter each, handbuilt North Carolina
stoneware, wood fired to cone 10, 2021–22. Above left and right: Wine cups, 31/2 in. (9 cm) Glazing and Firing
in height, wheel-thrown North Carolina stoneware, wood fired to cone 10, 2022.
I am looking for a truly variegated surface on
my work, and I employ several techniques to
gently compress and center the coil before using the tip of your produce it. The rice-hull ash glaze I use is formulated to move
finger to move a small roll of clay down both sides in order to slightly during the firing and is applied by pouring using a metal
blend the foot ring into the slab (7). Then, make sure to round off ladle (11). Pots are glazed after the bisque firing. Pouring the glaze
the top of the foot ring in order to prevent any sharp edges. Wait allows me to get an intentional, uneven distribution of glaze on
until the plate is a soft leather-hard consistency before removing the surface of the pot, resulting in areas of clearly defined imagery
it from the mold and placing the foot ring down on a table to and areas that are more abstract.
equalize for a day. The ability to finish a substantial amount of plates in a single
firing seems to be a limiting factor for a lot of potters, as plates
Final Shaping generally take up a lot of stacking space. To resolve this problem,
Once the plate (including the foot ring) is leather hard, place it I fire two plates stacked together, foot ring to foot ring, on top of
on a banding wheel and shape it using a metal rasp (8). Round a three-point trivet with wadding and shells (12). Firing the plates
off the points of the triangular shape and take off any sharp edges in this way not only allows me a more efficient means of firing a
around the sides. As I see these plates as true daily-use pots, re- larger quantity, but also puts half the plates in a position where
moving any sharp edges reduces the risk of chipping over time. the glaze can move to the outside edge, producing surfaces that
Finally, use a soft rubber rib to do a final shaping and softening of appear to flow upward and outward. Note: For extended wood
edges, and to remove any marks left by the metal rasp. firings and soda firings, consider wadding between the foot rings.
My work gets fired to cone 10 in a single-chamber, sprung-arch
Slip Trailing and Brushwork kiln with an external firebox for approximately 18 hours.
I use a black-stained porcelain slip to do all of my trailing and
brushwork. I start by trailing the lines of the grass pattern in one Galen Sedberry is a second-generation studio potter living in
corner, moving across the plate in a fan shape and accentuating western North Carolina. To see more, check out @galensedberry
the triangular form itself (9). I find that working on off-round on Instagram, or visit www.sedberrypottery.com.

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 Transferring Images
by Shawna Pincus

Surface design techniques are endless, but often favor application on flat planes or greenware. Here’s a process
suitable for bisque-fired pots that yields graphic imagery.

Combining ceramics and printmaking can be a wonderful way underglazes come in a variety of colors and work well with the
to add depth and interest to the ceramic surface, but there are screens. Underglazes will need to be thickened before using them
challenges to printing on fully formed vessels. While investigating with this process. This can be achieved by simply leaving the jar
ways to transfer images to clay, I found that I could silk screen lid open for a few days, and stirring occasionally, until a sour
onto a Gelli printing plate, and then transfer the print directly cream–like consistency is reached. I find that different brands of
onto bisqueware. A Gelli printing plate is a soft, translucent, flex- underglaze, and even different colors within the same brand, need
ible material, normally used to transfer paint to paper, but can be to be slightly different consistencies in order to print properly, so
used to transfer underglaze to ceramic surfaces. Since the plates some experimentation is needed.
are flexible, they can print a crisp, detailed image along the curva-
Method
ture of a pot. The translucency of the plate is perfect for position-
To give a little extra cushion before printing, place the Gelli print-
ing the underglaze print accurately, and since underglaze dries
ing plate onto a sheet of thin craft foam. Lay a screen face up
quickly, there is no wait time after transferring the print, allowing
on the printing plate, keeping in mind that your image will be
for limitless possibilities for layering of images and colors.
transferred in reverse (make sure to consider this when designing
Preparing to Print your image, especially if you are incorporating text). Apply a small
Gelli printing plates are readily available at local craft stores, or amount of thickened underglaze to a squeegee or flat rubber rib
online. They come in a variety of sizes, so find the size that works (2), then, holding the screen with one hand, drag the squeegee
best for you and your work. I tend to use smaller 4-inch circles across the screen at a 45° angle, making sure to evenly distribute
to print on small items, 5-inch squares for singular or vignetted the underglaze over your image (3). Lift the squeegee and drag
images, and an 8×10-inch rectangle for larger, continuous designs it across the image again, angling the squeegee up a bit more to
(see 1). Creating a screen with artwork is its own process. There collect the excess underglaze. You may need to repeat these steps
are many screen-printing kits you can buy through a variety of to completely cover the image with an even layer of underglaze.
online and physical stores (see the Resources list at the end of this Lift the screen from the Gelli printing plate (4). Working
article). Screens are pretty simple to expose, easy to store, and quickly so the underglaze doesn’t dry out, gently roll your pottery
fairly inexpensive. over the image on the printing plate (5). The dry ceramic surface
Since traditional printmaking ink won’t stand up to the kiln’s will absorb the underglaze, immediately transferring the print
temperatures, a ceramic pigment must be used. Commercial from the printing plate to your clay (6). To print on a flat surface

1 2

1 Materials for printing from left to right: 8×10 in. Gelli plate, yellow squeegee, Amaco Velvet Velour Black underglaze, silkscreen with hand-drawn berry
illustration. 2 Place the silkscreen onto the Gelli plate and apply the thickened underglaze.

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 3 4

5 6

3 Use the squeegee to spread the underglaze over the image, making sure to apply the color evenly. 4 Gently peel away the silkscreen to reveal the
image remaining on the Gelli plate. 5 Using gentle pressure, roll the pot over the print. 6 The image transfers from the Gelli plate to the pot and is ready
for further decoration.

or interior, pick the printing plate up and gently press it onto the Although it can take some trial and error to find a comfort zone
surface of your piece. Once you have completed a print, clean up with this process, the ability to merge ceramic forms with imagery
the Gelli printing plate with a damp sponge, dry it off, and repeat opens up endless possibilities.
the process. The screen can also be cleaned with a damp sponge;
Resources:
however, there is no need to clean it between prints unless the
Gelli Printing Plates
underglaze starts to dry and clog the screen.
www.gelliarts.com
Troubleshooting Silkscreens
Many Gelli printing plates come with a thin film on them, www.ezscreenprint.com
which can repel water, making it difficult for the underglaze www.maycocolors.com/creative-tools/designer-silkscreens
to stick to a new plate. To counteract this, add a light dust- www.speedballart.com/speed-screens
ing of cornstarch before printing to break in the plate. If your
underglaze continues to bead up, you may need to adjust the
consistency of the underglaze. Shawna Pincus is a ceramic artist living in Baltimore, Maryland,
Finding the right underglaze consistency is important. If your with her husband, daughter, and their very fluffy cat. She grew
image isn’t showing through, and you have made your screen up near Philadelphia, Pennsylvania, and attended the Maryland
Institute College of Art in Baltimore, Maryland. She currently works
correctly, then the underglaze ink is likely too thick. Add small
full time in her studio in addition to teaching pottery classes at
amounts of water incrementally until you get a good print. If the Baltimore Clayworks as well as through various online workshops.
image is beading up on the plate, the underglaze is too thin and You can find more information on her process and artwork at www.
will need to thicken more. pinkkisspottery.com or @pinkkisspottery on Instagram.

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 From Firm to Fantastic
by Anne B. Crabbe

About a year after my retirement in 2008, I enrolled in a one-

day-a-week Introduction to Pottery class at nearby Montgomery
Community College in Troy, North Carolina. The school has a
very impressive setup and is reputed to have trained many of the
potters who live and work in the pottery-rich Seagrove, North
Carolina, area. I quickly realized that I was the only beginning
student in the 18-student class, which meant that, in addition to
the instructor, I had 17 other teachers. That was 12½ years ago.
Many of the students, like me, have been enrolled in the “in-
troductory’’ class ever since, and we continue to learn from and
support one another—in pottery and in life.
Within 18 months after walking into that first class, I was able
to add a 25×12-foot studio to my home. Having made that great
financial investment and being half Scottish, I knew the new stu-
dio had to be more than just a playroom. Consequently, I became
a pottery junkie, spending time almost every day in my pottery
haven.
As I continued to grow and improve, I learned that I could save
considerable money by buying clay in bulk, so I started buying
my clay in 500-pound purchases—the amount at which there was
a price break. Time progressed, and so did I. A few years ago, I
discovered that the next price break came at 2000 pounds. Egads!
A ton. Who could possibly use a whole ton of clay before it dried
out? Still, the savings was considerable, and by then, I was using
mostly porcelain, which is pretty darn pricey. So, I bit the bullet
and ordered 2000 pounds of porcelain.
Fortunately, there was plenty of room in the garage to store the
clay. Since the garage is attached to the house, there was no fear 1

of freezing. However, I have to admit that by the time I got to the To reclaim dry clay, soak several towels in water, wring them fairly dry,
last few hundred pounds of clay, it was getting mighty firm, and then fold them around 1-inch slices of clay. Wrap the entire set in plastic
and allow it sit for a day or two.
though I am pretty strong, it was a major challenge to throw with
it—as in, impossible.
A potter friend advised me to add half a cup of water to the bag
of clay, seal it tightly, and soak it in a large bucket of water for 24
hours. Sounded like a plan. Except, the result was 25 pounds of
mushy porcelain, which had to be dried on a large plaster slab.
in towels (1). The block of sandwiched clay is wrapped well in a
Definitely more malleable, but what a mess.
plastic bag and allowed to rest for a day or two.
Next, I tried a technique advised by another potter friend. This
When the bag is opened, it is like a miracle. The clay is moist,
time I used a chopstick to poke holes in the clay, added a little
but very workable. Since I like to use a softer clay, it is perfect for
water and wet towels, wrapped it up in plastic, and waited. The
me. Though I try to do a thorough job of wedging, there are still
result was pretty decent: a nice soft, wedgeable clay. But when I
a few air bubbles, but nothing like the chopstick method.
began throwing, I discovered that even though the clay had been
Though I have only used this method with porcelain, I imagine
wedged extensively, it still contained air pockets. I tried another
it would work for every type of clay that has become too firm
few approaches, then came up with one that has worked for me.
to throw with ease. If it gets too wet, try wringing your towels
So far.
out more, so they are only moist, not wet. A longer wait will
The Slice-and-Fold Method also result in a drier clay. If that doesn’t work, try buying some
First, I soak several small bathroom or kitchen towels in water, chopsticks.
then wring them fairly dry. One is folded in half and laid on the
table. On top of the end of the damp towel, I place a slice of clay Anne B. Crabbe earned degrees from the Universities of Wis-
consin, Iowa, and Nebraska, before spending 42 years in edu-
(about one inch thick) from the 25-pound block, and then fold
cation as a teacher, instructor, and administrator. She lives with
the towel over it. Another slice of clay is added, with towels wrap- her two Siamese cats (ChoiChoi and Sipsong) and two rescue
ping each slice until the block of clay is all sliced and wrapped dogs (Winston and Dickens) in Pinehurst, North Carolina.

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 Silicone-Tipped Tools
by Christina Orthwein

Do you need a flexible tool to smooth and compress seams that are a little too large for conventional rubber-tipped
tools? Making your own silicone-tipped tool may be the answer.
I have often wished to have a soft, round rubber tool on the end equal parts of the two colors of putty. I found that a half teaspoon
of a stick for pressing coils into the inner seams of my slab ves- of each was plenty to make the size of tools I wanted.
sels or for smoothing hard to reach parts of a sculpture. There are Next, squish and blend the two putties together with your fin-
many rubber shaper tools on the market, but they are too pointy gers until they are well mixed, maybe 15 seconds or so (2). It will
and small for my needs. I wanted something more the size and be oily and have a soft, plastic feel. Roll the mixture into a nice
shape of my thumb, but with a longer reach. So, I decided to smooth ball in your palms (3). Then, attach the ball to the stick
make my own. or handle. Press your stick into the rolled ball and squeeze the
I happened to have just the thing in my studio—a two-part putty around the screw end to give it a nice tight grip (4).
silicone putty for mold making. (It can be purchased at most art Finally, form the tip of the silicone to the desired tool shape (5).
stores or online at retailers like Blick or Amazon.) This putty is If you want a sharp angle, you can press it onto a smooth work
very easy to work with and will keep its shape but remain soft surface or cut it with a razor blade. Finish with gentle finger taps
after it cures. A little goes a long way, so there is no need to buy to smooth and perfect the edges.
a large box. It takes just a few minutes for the putty set up enough to hold
My first attempt was to form a rounded silicone nub over the shape, and about 30 minutes to be ready to use (6).
the bristles of an old paintbrush, which worked well, but the
Tips
silicone didn’t adhere to the brush at all, and it pulled right off
• The thinner you make the silicone tip, the more flexible it
the end. It works better to shape the silicone around something
will be.
with a protruding edge that it can grip around and hold tight.
• The silicone sets up after just a few minutes, so work quickly
Some examples of items found around my studio that worked
and only mix up enough to make one tool at a time.
well for the stick base: a really long screw, an eye hook screwed
• Rest the tool vertically while the silicone sets, with the ball
into the end of a wooden dowel, a screw drilled halfway into
end up in the air to keep it from touching anything that
the end of a pencil, a broken loop tool, and the eraser end of a
might distort the shape while it sets. I stick mine into a lump
mechanical pencil (1).
of clay to hold it upright.
A Few Simple Steps Bonus tip! This silicone putty also works fairly well to make
Begin by measuring the ingredients. The silicone will come with small press molds, even ones with minor undercuts. Just press
directions. The kit I used works by scooping out and hand mixing the freshly mixed putty around the object you want to dupli-

1 2 3

1 Examples of common things that work well as a stick base. 2 Measure and mix equal parts of the two silicone putty ingredients. 3 Roll the mixed
putty into a smooth ball to eliminate cracks in the silicone.

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 4 5 6

4 Shape the soft silicone onto the stick base and squeeze it tight so it grips on well. 5 You can make any shape you need; thinner silicone will be more
flexible. 6 These tools work very well to smooth clay in hard-to-reach places.

cate, leaving the back open, then let it set up, remove the object, Christina Orthwein is a long-time ceramic artist who has
and voila! Your mold is ready to use. The trick for casting in clay worked in pottery, tile, jewelry, and most recently is lov-
is to brush a good release agent like olive oil onto the mold before ing a switch to figural sculpture. For more information on
Christina and to follow her process videos, go to Instagram
pressing in your soft clay. Then, gently flex the silicone mold open
@ChristinaSculpture or visit ChristinaOrthwein.com.
to remove your clay. There are limitations to this kind of clay cast-
ing, but I’ve had some success whereas a plaster mold would have
been too rigid to release a complex shape.

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 Building a Weathered Surface
by Angelo di Petta

Like a lot of potters and ceramic artists, I pretty much stumbled the dominant clay used for functional and decorative objects,
into working with clay. I didn’t know much about it when I en- tiles, and architectural elements. Imagery plays a very important
tered art school. My interest in architecture motivated me to pur- part in all these applications. So it was there that my journey with
sue studies in interior design. low-fire clays and the use of molds began.
One of the required courses in my first year was an introduc-
tion to the craft studios. This involved five-week sessions in ce- Inspiration
ramics, metal, wood, and fiber. I enjoyed this introduction to The natural and built environment are a major inspiration and in-
materials and processes so much that it became clear to me that fluence on the work that I make. I see ceramic forms and surfaces
working with my hands as well as my head gave me great satisfac- in everything around me; abandoned buildings, layers of paint
tion. So, I abandoned my desire to study interior design. In my peeling off concrete walls, insect-eaten bark on trees, polished
second year of studies, metal was my favorite medium, but by beach stones, etc. This is all visual information that eventually
the end of my fourth year, I was fully immersed in the ceramics finds its way into my work. Each piece I make is an exploration
studio and graduated with a major in ceramics. of the natural process of weathering and the gentle wearing away
A turning point for me was a third-year class visit to a sewer-pipe of surfaces by water and sand. This process reveals layers of colors.
factory. Enormous lengths and diameters of clay pipe were being The patterns suggest some other mysterious activity. My etching
extruded. Seeing this changed my ideas about how clay should be process mimics natural phenomena.
formed and what clay objects should look like. My fourth year was
spent making dies and extruding stoneware and porcelain forms. Casting Slips
In the mid 1970s, I spent a year in Faenza, Italy—a center of I use several types of casting-slip in my studio, including a red
pottery production and majolica since the 13th century—study- and a white earthenware, mid-range porcelain, and black stone-
ing ceramic design and production processes. Earthenware was ware. Red and white earthenwares are my preferred clays. I have

Angelo di Petta’s low-fire cups,

underglazed and etched.

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 1 2 3

Pour a red-earthenware casting slip into a dry Drain the mold and leave it upside down for Trim the reservoir away, then allow the piece
plaster mold to create a small oval-shaped approximately 10–15 minutes. to firm up until it pulls away from the mold.
cup.

4 5 6

Remove the piece from the mold, leave it to Apply a coat of black underglaze to the exte- Apply a layer of blue underglaze then tur-
dry, then clean up the seams. rior of the piece. quoise, followed by other colors.

used them since the 1970s for small functional and sculptural of ways to create one-of-a-kind pieces. Molds can be used for slip
objects as well as large architectural installations. casing, press molding, and combinations of both.
In the early 1970s, reduction-fired stoneware ruled. Earthen- To make a small vessel from a two-piece mold, pour red-
ware was considered hobby clay. But I liked the fact that it could earthenware casting-slip into a plaster mold and leave it for about
be fired at lower temperatures. And since it had no otherwise 20 minutes (1). The plaster absorbs water from the slip. This pro-
outstanding visual qualities, it could be considered a blank canvas cess results in the build-up of a clay wall against the inside of the
for an infinite variety of surface treatment and imagery. mold. Drain the mold of the remaining, non-absorbed slip when
I use Red Earthenware Casting Slip 805 made by Pottery Sup- the desired thickness is achieved (2), then flip the mold upside
ply House in Oakville, Ontario. It has very good casting qualities, down for a few minutes so that the slip fully flows out. After 15
is smooth, and has a warm terra-cotta color when fired to cone minutes, turn the mold back over, trim the top (3), and allow it to
04. It casts a bit slower than white earthenware and porcelain. sit until the cast releases from the mold and can be removed (4).
Once the cast form is dry, clean it with a damp sponge to remove
Slip Casting the Forms
any sharp edges or unwanted marks.
Since I discovered slip casting, using molds has been my preferred
method of making forms. I enjoy the process of thinking through Designing the Surface
how I will make the model and the mold of the imagined form. I have used the etching process for many years, but what inspired
Forms can be made this way that would normally be more diffi- this particular series was the plastic netting that I found on cartons
cult to create using other methods. Once the mold is made, I can of clementines. It seemed like the perfect material—simple cut-out
make as many copies of the form and embellish them in a variety pattern, thin, flexible, reusable, and free. It worked very well with

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 7 8 9

Use a stencil to apply the final layer of orange Using plastic mesh, remove layers of under- Once the etching is complete, the piece is now
underglaze. glaze with a damp sponge. ready to be bisque fired.

10 11

Bisque-fired mugs with liner glaze. Note the orientation of the plastic mesh can be rotated to cre- Apply a liner glaze to the interior and a clear
ate a variation of the etched pattern. glaze to the exterior. Fire again.

the layering of colors and patterns. My goal was to create as much away the underglaze layers until the black layer or the base clay is
visual activity as possible on a limited surface. revealed (8). The neat part of this process is the control one has as
to how much to etch, or how little.
Etching the Surface
The first step to creating the surface is to layer many colors of Finishing the Surface
underglazes on to the greenware piece. I start with a black layer When I feel the etching is complete, I apply 3 or 4 coats of red
to coat the entire exterior of the form (5). Then, I use blue, tur- terra sigillata to seal the bottom. The piece is then ready to be
quoise, red, yellow, and orange layers in random patterns. I use bisque fired to cone 04 (9).
masking tape and stencils to create these shapes (6). The lighter After the bisque firing, I apply a commercial liner glaze to the
colors are used last (7). I apply one coat of each color of under- interior (10) and a clear glaze over the etched exterior (11). The
glaze. I prefer the consistency of the underglaze to be thicker rath- glaze firing is taken up to cone 06.
er than flowing and use a soft ¾- or 1-inch brush to apply it. This
gives me a smooth surface. I allow the layers to dry between coats.
The next step is to create the relief patterns. This is done by Angelo di Petta’s home and studio are located in the rolling coun-
etching, essentially wiping away to reveal the layers of colors. I tryside near Millbrook, Ontario, Canada. He graduated from the
Ontario College of Art (now OCAD University), and for 46 years has
use a masking material, in this case the plastic netting that comes
shared his knowledge of ceramics, model and mold making, and
with boxes of clementines. The netting is stretched over the design through teaching, lectures, mentorships, and workshops.
form (see 8), taking care not apply too much pressure that could To see more of Angelo’s work, visit dipetta.com and @angelodipet-
break the greenware. I then use a damp sponge to gently wipe taceramics on Instagram.

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 Red Clay Ready
by Ruth Easterbrook, Megs LeVesseur, and Taylor Mezo

The following glaze and terra-sigillata recipes accentuate the deep earthy tones of red clay bodies at low-fire and
mid-range temperatures.

Megs LeVesseur’s Recipe

TERRA SIGILLATA (2)
Cone 5 Oxidation
Water. . . . . . . . . . . . . . . . . . . . . . . . 20 lbs
OM 4 Ball Clay/XX Saggar . . . . . . . . 10 lbs
Darvan 7 . . . . . . . . . . . . . . . . . . . . . 30 g
This recipe is based on Kari Radasch’s formulation.
Mix contents thoroughly in a 5-gallon bucket with
a drill and place on a tabletop. Let the mixture sit
for 10 hours. The water, terra sigillata, and heavier
slip particles should separate into 3 parts. The next
step is to siphon the center layer (which is the terra
sigillata) into a bucket on the ground with the help
of gravity. Store the terra sigillata in an air-tight
container until needed. I make 5–6 batches at a time
1 because the older the terra sigillata is, the easier it is
to work with—a very helpful tip I learned from Mark
Arnold. When adding colorants/Mason stains to
small batches, I use 1 teaspoon to ½ tablespoon of
Ruth Easterbrook’s Recipe various Mason stains to 1½ cups of terra sigillata to
achieve my desired color tint. Measuring the Mason
TONY HANSEN SILKY MATTE (1) stains by volume rather than by weight yields a
Cone 6 Oxidation wider variety of colors from batch to batch.
Wollastonite. . . . . . . . . . . . . . . . . 26.47 % I consistently use the following Mason stains to
Ferro Frit 3124. . . . . . . . . . . . . . . 35.29 make colored terra sigillatas:
4150 Red/Pink, 4200 Orange, 6236 Chartreuse,
EPK Kaolin. . . . . . . . . . . . . . . . . . 19.61 6242 Bermuda, 6315 Turquoise, 6343 Mediterra-
Calcined Kaolin . . . . . . . . . . . . . . 13.73 nean, and 6363 Sky Blue.
Silica . . . . . . . . . . . . . . . . . . . . . . 4.90
100.00 %

2 Add: Best Black Mason Stain. . . . 2.94 %

Sage Mason Stain. . . . . . . . 1.96 %
I use this recipe as a background glaze. I Taylor Mezo’s Recipe
originally found this glaze on DigitalFire
(https://digitalfire.com) when searching for matte BASE GLAZE (3)
glazes. It is a lovely surface but can be a little sensi-
Cone 04 Oxidation
tive to application; if applied too thick, it blisters.
This is a great base for adding color. Note that I Ferro Frit 3124. . . . . . . . . . . . . . . . . . 80 %
use a black and sage green Mason stain together Nepheline Syenite . . . . . . . . . . . . . . . 10
in the glaze, which will have a greenish tint on
OM 4 Ball Clay. . . . . . . . . . . . . . . . . . 10
white clay but not on the red clay that I use. There
is also a very high percentage of clay in this recipe, 100 %
so I add more water than I do for most glazes at Add: Zircopax . . . . . . . . . . . . . . . . . . 10 %
80–85% hydration.
Bentonite. . . . . . . . . . . . . . . . . 2 %
For Teal:
Mason Stain 6219 French. . . . . 5 %
For Light Pink:
Mason Stain 6029 Lobster . . . . 7 %

1 Ruth Easterbrook’s Garden Cake Plate, 12 in. This is a very versatile base glaze. I didn’t formulate
(30 cm) in diameter, wheel-thrown red stoneware it myself, but I can’t recall the source. I automati-
clay, multiple glazes, including Tony Hansen Silky cally add 10% Zircopax to get an opaque white,
Matte Glaze, fired to cone 6 in oxidation, 2021. and 5–10% Mason stains. This glaze is opaque
2 Megs LeVesseur’s Botanical Short Mug 1 (Red), enough on the red clay body that I use that I don’t
4 in. (10 cm) in height, Sheltowee red stoneware need to prime the surface with a white slip. All of
claybody from Kentucky Mudworks, handbuilt, my work is bisque fired to cone 1 and glaze fired
altered slab construction, terra sigillata, clear glaz- to 04. When I glaze, I use a little squeeze bottle to
es. 3 Taylor Mezo’s Blue Arch Candelabra, 11 in. deposit glaze onto the surface (this helps it adhere
(28 cm) in height, red earthenware, terra sigillata, better than brushing or dipping). I usually add a
Base Glaze (Teal color variation), black underglaze, splash of CMC gum solution as well.
3
fired to cone 1 in oxidation, 2021.

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