heather rosenman ceramics

Carved cylinder stamp pressed into cone 5 clay body, fired in oxidation.

At bisque stage, white underglaze was brushed on and wiped off, remaining in the lows of the stamped texture.

Neriage thrown cup with porcelain, black mountain, granite, rods bod. Waxed with the tip of a brush, glazed with gloss white. Everything is fired at 10^ reduction from this point.

Results: the tip of the brush was less consistent than I desired for this piece. Reflection: the sponge tools may give me the uniform shape I envisioned.

is always an opportunity.

Neriage thrown cup with porcelain, black mountain, granite and rods bod. Waxed spots, glazed with matte white. Glaze is opaque and yet the iron in the clay body is strong and peeks through giving it great dimension.

Fuming (orange halo) around the wax "windows".

is for the person sitting across from you.

A wide haki brush was used to paint porcelain slip on Soldate. Drawn through with a pin tool to reveal the clay body underneath. Clear glaze liner.

Clay bodies wedged together to create a Neriage block. Rolled out into a slab and combined with Nerikomi and Porcelian slabs.

Slab was then put on a hump mold and secured to a wheel head, combining handbuilding and throwing. In our workshop, I scored and slipped a coil to the slab and then threw the foot ring upward on the mold.

Using a spent sheet of circular stickers, I glazed 3 dots in anticipation of gold luster. The contrast of glossy gold with the unglazed clay bodies is what I'm going after. Again, we can see the fuming halo blushing :)

Nerikomi and Mishima. Tape resist with super clear and yellow underglaze.

Notice the color change with super clear glaze vs. no glaze

with super clear glaze.

The nerikomi slab was too thin for the small leg size underneath in a 10^ firing > it pushed the clay design open and warped the bowl in firing. Reflection: use a thicker slab of nerikomi design in clay or roll it onto another slab or use a foot ring.

Remember to compress any clay slab in all directions with a rolling pin, even after you use the slab roller.

Many techniques were used for this piece. 1. Painting with Yellow and black underglaze (dry brush). 2. Scoring with an Exacto blade and pushing from the inside outward. 3. Sgraffito. 4. Glaze with gloss white in the texture and Piglet Pink for liner.

Pink, Yellow, White, Black and B-Mix.

Painting, spraying, carving, scoring.

Scoring and pushing out

Mishima: porcelian inlayed in the Bmix

I had this piece prepped for demonstration but used the BMix Cylinder during our workshop. I finished this and wanted to share the same Sgrafitto and Mishima techniques but on a different clay body > Ganite with super clear glaze overall.

Mishima is a technique of inlaying slip or underglaze, into a contrasting clay body.

Carved and detailed with a stiff brush used for texturing.

Super clear with "cloud" washed away with a sponge.

I like the result of the brushed porcelain on the gray granite, it feels like a gossamer veil.

The design was painted in ModPodge on leatherhard to bonedry porcelain.

Water eroded away porcelain that was not protected by the ModPodge.

Glazed with a clear liner

Rods Bod thrown upside down on a bat.

Sgrafitto: at leather hard, painted with porcelain and carved.

Sgrafitto with super clear.

Soldate stamped and painted with yellow underglaze to enhance texture.

Waxed to reveal stamping, gloss white glaze.

is part of the design.

Haki brush was used to paint a field of yellow underglaze.

Dry brush technique to apply "scratchy" black underglaze. Pin tool to further detail.

My Scribe linear design was painted in Mod Podge, similar to the water carving.

The underglaze was washed away from areas not protected by Mod Podge.

Glazed with Blue Bray Shino first.

Design is painted in wax.

Additionally, wax is carved down to the claybdy to create the fine lines.

Bowl was then quickly dipped in to Temoku.

Wax and Cobalt metallic oxide was mixed together.

The lines are then painted with the Wax/Oxide mixture.

The bottom was painted with a thinner, less oxide to wax mixture so you can see the clay body through the line.

The top was painted with a wax+oxide mixture with more cobalt. The line is opaque with cobalt.

Glazed with gloss white first.

Underglaze was painted on top of the gloss glaze. A pin tool was used to draw though the underglaze.