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surface design
workshop : xiem clay center
Stamping with Cylinder Seals
Carved cylinder stamp pressed into cone 5 clay body, fired in oxidation.
Stamping with Cylinder Seals
At bisque stage, white underglaze was brushed on and wiped off, remaining in the lows of the stamped texture.
Neriage Cup
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.
Brush vs. Sponge
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.
the bottom
is always an opportunity.
Nariage Tumbler
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.
Neriage Tumbler
Fuming (orange halo) around the wax "windows".
the bottom
is for the person sitting across from you.
Soldate Sgrafitto
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.
Neriage + Nerikomi
Clay bodies wedged together to create a Neriage block. Rolled out into a slab and combined with Nerikomi and Porcelian slabs.
Footring
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.
Glazing for Luster
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
Nerikomi and Mishima. Tape resist with super clear and yellow underglaze.
Mishima and Yellow Underglaze
Notice the color change with super clear glaze vs. no glaze
Nerikomi
with super clear glaze.
Gut Splitting!
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.
Slash!
Remember to compress any clay slab in all directions with a rolling pin, even after you use the slab roller.
Frankenstein Vessel
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.
Color Palette
Pink, Yellow, White, Black and B-Mix.
Frankenstein detail
Painting, spraying, carving, scoring.
Frankenstein detail
Scoring and pushing out
Frankenstein detail
Mishima: porcelian inlayed in the Bmix
Granite Sgrafitto
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
Mishima is a technique of inlaying slip or underglaze, into a contrasting clay body.
Granite Sgrafitto
Carved and detailed with a stiff brush used for texturing.
Granite Sgrafitto
Super clear with "cloud" washed away with a sponge.
Granite Sgrafitto
I like the result of the brushed porcelain on the gray granite, it feels like a gossamer veil.
Cylinder: Water Carving
The design was painted in ModPodge on leatherhard to bonedry porcelain.
Water Carving
Water eroded away porcelain that was not protected by the ModPodge.
Water Carving detail
Glazed with a clear liner
Demo: Double Wall Bowl
Rods Bod thrown upside down on a bat.
Double Wall Bowl
Sgrafitto: at leather hard, painted with porcelain and carved.
Double Wall Bowl
Sgrafitto with super clear.
Slab Cup
Soldate stamped and painted with yellow underglaze to enhance texture.
Slab Cup detail
Waxed to reveal stamping, gloss white glaze.
The Bottom
is part of the design.
Big Yellow Scribe
Haki brush was used to paint a field of yellow underglaze.
Big Yellow Scribe
Dry brush technique to apply "scratchy" black underglaze. Pin tool to further detail.
Big Yellow Scribe
My Scribe linear design was painted in Mod Podge, similar to the water carving.
Big Yellow Scribe
The underglaze was washed away from areas not protected by Mod Podge.
Wax Intaglio Bowl
Glazed with Blue Bray Shino first.
Wax Intaglio
Design is painted in wax.
Wax Intaglio
Additionally, wax is carved down to the claybdy to create the fine lines.
Wax Intaglio
Bowl was then quickly dipped in to Temoku.
Cuerda Seca
Wax and Cobalt metallic oxide was mixed together.
Cuerda Seca
The lines are then painted with the Wax/Oxide mixture.
Cuerda Seca
The bottom was painted with a thinner, less oxide to wax mixture so you can see the clay body through the line.
Cuerda Seca
The top was painted with a wax+oxide mixture with more cobalt. The line is opaque with cobalt.
Majolica Plate
Glazed with gloss white first.
Majolica Plate
Underglaze was painted on top of the gloss glaze. A pin tool was used to draw though the underglaze.
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