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Defining space with slip trailing, sgraffito, and underglaze

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This tutorial will demonstrate one way to slip trailing.

Show Transcript

then my studio practice at found it's helpful to separate the making days from the decorating days so I'm going to demonstrate a few techniques that I used to decorate my pots I have a plate here then I'm to do some slip trailing on and I do very traditional slip trailing but I use a very different method something to use a cake bag to have a off cake bag and in this cake bag I'm going to put what was around tipped cake nearby think I believe is what you call these and I have used pliers to squash it down and it allows me to make a really nice long wide slip Trail line if you use a bulb flip trailer tend to have a very thin line which can be nice it can be nice line quality but for me I want my pots to have the sense that they're very full of volume and occasionally I want to have a very wide line to fill up this cake bag I have slipped its next to the consistency of pudding it's best to have a slip that is your actual clay body cuz then you know it's going to fit there will be no shrinkage problem some of the fill up the bag it's important that I don't overfill it if I do that when I fold down the top to create some pressure for the slip Trail little squeeze out of the top and then I'm not being a huge mess I need to have it about three-quarters of the way full I filled up the slip trailing bag and I've rolled down the half of it that's important because I want to be able to not only hold it securely but I want to be able to put pressure on the bag that's what makes it either come out very quickly or very slowly and that's important when I'm using this as a drawing tool when I think about slip trailing it is a three-dimensional decoration I think about it in a very two-dimensional way so on this plate I'm going to be dividing up the space and using slip trailing to distinguish two of the pedals turn the other three pedals so to do this I'm going to use just a very simple line of water to distinguish the five loads of this plate tell me to do some quick water sketches to show you how you can Define each of these loads on this panel right here I'm going to do must like a lattice structure  so you can see what that would look like the nice thing about sketching with water is it a just absorbs in so there's commitment to this decoration  it's a really quick easy way to show the white something can look this next one I'm going to do is I'm going to mimic what sing in the rim and also the interior section  by just putting a line  that's very similar to those curved line so those are just two of the many choices I can do for slip trailing I found it's best for me to keep things pretty simple so I'm going to go back and I'm going to do this round bouncing line when I'm going to lay on the slip itself I'm going to start up from the rim I'm going to squeeze the bag and I'm going to slowly move down towards the center  I would like to have a wide flat line some people that want a quick just roll and if you move this quickly you'll get a very quick uneven line but for this pot to have these be similar I want them to be very stable Lions I want them to almost be an architectural division of space on the pot surface now I'm going to go in and I'm going to do almost like a rainbow type shape  Domenic's what's happening in the rim and also that interior section  Amazon doing this I am squeezing the bag so I'm squeezing as I go and that how's me to control the flow  if I really don't like what I just did I can actually go back and just wipe it off with a rib it's a very easy way to have two shots  and making each line I'm not going to let this set up it's going to take about 20 or 30 minutes the slip will dry and it will harden up and then I'm going to go in and I'm going to tighten what is lines with an exacto knife for a five lobe plate there are two sections that have slipped railing and then there's two other sections one native one pan when one made of two panels that need to have some decoration for this I'm going to use a honeysuckle pattern which is a long Vine like pattern and what's what's about that is that can really get the eye of the viewer to follow any line that I make so I'm going to start with this two panel section here and I'm going to draw straight line with white underglaze and I'm going to jump over this middle section I'm not going to have any decoration in the middle that's where the food is going to sit on the plate and ultimately the what is going to be the decoration that finishes this form  someone make two long lines here spin over and I'm going to make one line over on the 1 panel section but it needs to be parallel to the two panel section so that visually your eye wants to jump across the middle and can Des Plaines  how to put a really small line read out here now I'm going to go in and I'm going to put some of the honeysuckle balloons whenever I'm painting a pattern I try to think about the bloom first cuz that's always a natural focal point and then I'm going to go out from there and then draw the leaves because I paint flowers I'm often breaking down the flowers into how many strokes I can make with a brush this is something that I learned from Chinese ink painting if you ever look at the paintings they're really Adept and making very simple Strokes that Define the form  so now I have one here I'm going to put another one over here  then I'm going to switch colors to Yellow and I'm really going to Define this as the focal point of the whole plate just by changing the color this is a very intense yellow Sam mediately when you look at this form it's going to jump out what are the important things about using a very bright color like a yellow or an intense orange is it a can overwhelmed form so one of the things that I'm interested in in a form like this is how do I add pattern to this side and side without taking away from the textural pattern that's made with the slip trailing so I'm going to have a completely monochromatic plate except for that yellow now I'm going to go in and I'm going to add a few leaves trying to emphasize the gestural nature  honeysuckle leaf now I have this other line over here I am going to add leaves in there but I'ma decrease the scale of each to make it look like that this line receives in space that it's going back towards the background this is another thing that I learned from Chinese painting when you look at Chinese scroll painting there is always a very defined foreground middle-ground and background often town the middle ground is actually negative space it's the nest that you see if you look at the river paintings and then the mountains would be the far background and then usually is there really small painting of a human up close and those paintings are about putting us into human perspective to make it look like that we are the smallest as a part of this landscape cuz that reflected the philosophy  of the culture at that time  now I'm going to skip over to this side and this way I'm going to paint the leaves going this direction so as to where this goes this way these are going to go this way for this one I'm also going to increase the spell dramatically and I'm going to put less leaves but larger leaves  Somali going to put to hear so there is a a descending relationship scale here you have largest Liam and then farthest away now I'm going to let this pot set up for just a few minutes and then I'm gonna go in and screw feet are around those marks  the underglazes Harden and so now I can go in and carve Astra feet online around these blooms so I'm using a little triangular trim tool because it makes a wider line so I'm going to go in in a car ride around the bloom I'm not too concerned that I carve exactly where it was painted  because for me it's more interesting to little bits of overlap what I am interested in is having a very fluid gestural line the parts of this that will have the greatest line quality in terms of thickness or this Bloom and then these larger leaves over here but having a Caroline it makes it look like it's closer to you so you have some sense of depth now I'm going to switch tools and I'm going to go in and I'm to use a smaller pin tool but having a sharper point I'm going to have a thinner line and I'm the find the smaller leaves this way now I'm going to Define actual Vine number to do that by drawing a line straight down through the white brush stroke for this side because the leaves are larger I want to increase that illusion of this thing closer to me so I'm going to do two lines to represent that vine for the small will I never hear I don't have any leaves on that but I want this to have some almost like a space holder within the composition so I am going to draw a very thin line cuz I'm finishing up the smaller leaves you can see them I'm doing this that they're little bits of clay drawn up through this process and I'm going to brush those off with a large dry brush that use for oil painting when I'm ready to dry brush this it's best to wear a mask so that you don't have the dust particles in your lungs  that looks really cool  especially if you're playing a few plates at the same time it's important as you're doing this that you clean the work surface around you and that you clean your studio floor when you're walking around on these little bits of clay that you're brushing off here you're often setting them up into the air which can later be at Hazard and pollute your studio decoration on the front side I've also done the same on the backside once this pot is completely finished I'll let it air-dry and then biscuit and apply clear translucent glaze all over the surface and then fire 203 in an oxidation kilm

Uploaded by Elsa Flores.

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Defining space with slip trailing, sgraffito, and underglaze

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