The Porcelain Star Fish box was colored with underglazes and colored pencils. It was low-fired.
The Black Mountain plate (below) was incised inlay. The lines are incised into the leather-hard clay and then the contrasting slip (almost liquid clay) is brushed into the lines and it is cleaned up with a metal scraper. It was bisque fired and then glazed with a very light coat of Korean Blue Celadon.
This Porcelain cup was glazed inside with Kie Ito and then the outside is a "cuerda seca" technique. The lines are drawn with an oil/manganese mix. Then the glazes are applied and the oil resists the color and burns away in the high-fire.
This Porcelain cup was glazed inside with Kie Ito and then the outside is a "cuerda seca" technique. The lines are drawn with an oil/manganese mix. Then the glazes are applied and the oil resists the color and burns away in the high-fire.
The Scottie was cut from a slab of clay that was a mixture of agate (two different clays mixed together to create patterns) and rolled inlay. Thin sheets of colored clay in a pattern on a soft slab of clay is rolled into the surface. The patterns distort slightly as it stretches under the rolling pin. It was bisque fired and then glazed with a light coat of Korean Blue Celadon.
On the bowl below a white low-fire (majolica) glaze was applied to the entire surface and then it was painted with underglazes. It was low-fired.
On the bowl below a white low-fire (majolica) glaze was applied to the entire surface and then it was painted with underglazes. It was low-fired.
My final piece was done with a slip trail. While the Porcelain piece was leather hard, a thick Black Mountain slip was trailed on to create the pattern. It was then bisque fired and then the glaze was trailed in-between the lines and it was high fired.
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