About two months ago I recycled a couple of big buckets of porcelain clay scraps.

I’ve learned over the years the best way to recycle clay is to let the scraps dry completely and then add distilled water to the scraps. The dry clay absorbs water much better and faster than damp clay. Once the water has been absorbed, I spread out the goopy clay onto a big sheet of cement board and then wedge it on a plaster bat a little at a time. It’s a slow, labor-intensive undertaking but it’s way better than throwing away good clay and the results are several bags of super plastic, awesome, easy-to-use clay.

I used the recycled porcelain to make this series of plates and some large sgraffito serving bowls (a future post will be dedicated to those). For this series, I wanted to see how many ways I could apply the tessellating orca design to a plate (or shallow bowl). They include:

1. underglaze pencils/wax resist and sprayed underglaze
2. underglaze transfers on greenware/glazes applied with needle applicators
3. carving the surface of the clay
4. brushing underglaze/sponging underglaze
5. sgraffito (applying a layer of underglaze and carving through it to reveal clay beneath)
6. drawing glaze with needle applicators
7. slip trailing/glazes applied with needle applicators
8. carving design into a plaster mold/glazes applied with needle applicators
9. silver marker resist/glazes applied with needle applicators

I’m sure I missed some great techniques. Please let me know if you can think of anything I should try out.

I don’t want October to slip away without posting anything for this month. The Honey Bee palette has been a big seller these past few months so I’ve been in production mode. I’ve made a lot of them to fill orders, as well as, making extras in case the holiday season gets busy. In addition to the palettes, I’ve designed a simple water cup and brush rest to go along with them. Hopefully, I’ll get a few of these poured and glazed in time to list the sets in my Etsy shop by mid November.

As much as I love making tiles, it’s nice to take a break from it and make other things.

Over the years, I’ve been making clay stamps. Most are tessellating shapes – some are simple shapes, some more complex shapes, some are figurative, and others are abstract. I love the way they look pressed into clay. I’ve made vessels from the stamped slabs in the past but haven’t really spent much time or energy on these projects. A few weeks ago, I decided it was time to make some stamped mugs that I really like.

Since I have about 10 bags of porcelain that’s too hard for tile making but fine for rolling out slabs, I decided to use it for the mugs. I rolled out about a dozen big sheets of porcelain and stamped out my patterns. I then cut and assembled the mugs. I knew from previous attempts that there would be some warping and cracking along the way. I did everything I could think of to minimize this including drying them slowly and waxing the most fragile parts but nothing worked. Eleven of the twelve mugs completely split down the side. It was amazing (and annoying) how consistent the problem was.

I decided to literally bag the porcelain and try a more forgiving clay – stoneware with grog. I chose this clay because it is specifically geared to sculpting. I assumed it would be considerably stronger and more plastic than porcelain and it is. The first few cylinders I built were so stable that I decided to put them on the potters wheel and alter the shape. I could never do that with porcelain.

While I love working with the stoneware, I do have one major reservation. Unlike the smooth white porcelain surface, stoneware is a dull putty color. Most of my glazes are translucent celadons and they look muted on stoneware. As you can see in the side-by-side monkey photos above, the porcelain monkey is jade green but the stoneware monkey is a dark yellowish green. I guess both have their merits but I prefer the jade green.

I could try some new glazes that might work well with the stoneware but one of the things I like best about the stamped clay is the way celadons pool into the recesses of the texture when dipped into the glaze. I decided that maybe if I spray the stoneware with a thin layer of white underglaze, like gesso, it will provide the white surface needed to get the colors I’m looking for. Unfortunately, the white Amaco underglaze I’ve been using for years is completely sold out everywhere (supply chain issues). I decided to use this Speedball underglaze as a back-up. It looks off-white in the jar and has an odd pudding-like consistency but when thinned with water, it sprays pretty well.

It will take a few more days for everything to dry before I can fire these mugs. I’ll have a better idea once they’re fired if the underglaze coverage is good. If I need to add more underglaze I can probably apply it to the bisqueware as well. Hopefully, I’ll have some nice photos of glazed mugs in a week or two.

These two vessels came out of the kiln yesterday. They’re first attempts at experimenting with underglaze transfers. I saw a demonstration on Facebook of a similar technique and thought it would be fun to try. Basically, you fill a small squeeze bottle with thinned underglaze and draw on newsprint. When the drawing dries, cut around it with a scissors or Xacto knife and position it on your pot. Using a fairly wet sponge, carefully press it onto the surface. When the newsprint is wet, it clings to the pot. Using the sponge, or a soft rubber rib, gently press on all areas of the transfer. After a couple of minutes, you can peel the newspaper away and your image should be on the pot. I did notice that the longer a transfer sits after drying, the longer it takes to “rehydrate” it.

So, after throwing what seemed like a hundred cylinders in my class these past two months, I couldn’t take it anymore. I had to make things.

Inspired by the book Ceramics for Beginners, Animals and Figures by Susan Halls, I decided to make some animal containers using wheel thrown cylinders. With a title like “Ceramics for Beginners”, what could be easier? Well, as I discovered, many things are easier. Here are a few of the challenges that I encountered:

First, my elephant’s back legs and my sheep’s butt blew off in the kiln. Either I didn’t score them well enough or they weren’t completely dry when they went into the kiln. I was able to salvage the elephant by sticking with low-fire glazes (to minimize warping) and then gluing the legs on after with epoxy. With some carefully painted underglaze lines and splatters, the glue lines are barely noticeable. All I could do for the sheep was sand down his backside and then, using a dremel tool, carve a subtle tail where there was once a sculpted tail.

Next, the lids on my kangaroo and seal fused to their bodies during a cone 5 glaze firing. Guess I didn’t clean up those areas well enough before placing them in the kiln. Fortunately, the kangaroo survived but the seal broke while trying to detach the lid 🙁

So, besides improving my throwing skills, what this class has really taught me is that I need to be a lot more careful and that, when working with clay, most problems can be solved (more or less). 🙂

Brrrrr, when the temperatures drop and the days get shorter, my studio space gets cold and dark.  January is the perfect time to take a class in something that I’ve tried a few times but never really had the patience for – Wheel Throwing. This time around I’ve decided to focus on process rather than product. I see the class as an opportunity to “practice my scales”. Since I don’t plan to make many pieces, I won’t need to find places to store my amateurish pots and, at the same time, I’ll get a good workout recycling all that soggy clay at the wedging table. More photos to come (or not).

I’m always trying to keeps things simple in the studio (and in life) but here’s an instance where my efforts were kind of backfiring. For the past 5 years or so, I’ve insisted on rolling out all my slabs the old fashioned way – with rolling pins. The problem is, this is difficult to do without a lot of patience (which I don’t always have). I knew if I wanted to enjoy making vessels it was time to invest in a slab roller. I don’t have much space in the studio and they typically require 8 to 10 square feet. I’d seen table top versions but they seemed kind of cheap. Then, I came across one on Etsy that looked pretty good so I bought it. https://www.etsy.com/listing/449252632

So far, I’m very impressed. It was designed by the husband of a potter who was dealing with some of the same challenges. It’s well constructed of steel and wood (no plastics) and, although it required some assembly, the instructions were clear. The only flaw with this roller is that there should be measurements near the adjustment knobs. I printed out rulers and taped them on.

I couldn’t wait to try it out so I decided to make some mugs based on the “darted cups” by ceramic artist Liz Zlot Summerfield who posted a great demonstration video. https://www.youtube.com/watch?v=w63bZyZ9svo

Everything went smoothly at first. I build the cups, painted the sides with underglaze, and carved my coffee beans. Then I made the mistake of attaching the handles at two points. My clay body is not very forgiving and all the handles broke. I managed to scrape them off but it’s kind of odd having tea cups decorated with coffee beans. I did make one cup with a different handle design that works as a mug but I’m still exploring other ideas. It’s so nice to be making vessels again 🙂