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Follow Steps 1-5  to get started on Tinkercad ------  If you want to make something more sculptural like an animal - see video for Nomad Sculpt

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Follow Steps 1-5  to get started on Tinkercad ------  If you want to make something more sculptural like an animal - see video for Nomad Sculpt

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I suggest holding it in your hand, not resting it on the table

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I suggest holding it in your hand, not resting it on the table

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Wheel throwing basics 10 steps in 10 minutes

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Wheel throwing basics 10 steps in 10 minutes

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How to throw a cylinder   10 steps in 10 minutes

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How to Center Clay on The Wheel Easy   A 5 Step Beginners Guide

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Throwing Basic Pot | Pottery Wheel Step By Step Tutorial

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Step-by-step illustration of how to throw a clay pot on the pottery wheel | beginners throwing pot lesson | Learn Pottery

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Design Thinking - How to come up with new ideas -S.C.A.M.P.E.R.

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Design Thinking - How to come up with new ideas -S.C.A.M.P.E.R.

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Access Google Sites with a personal Google account or Google Workspace account (for business use).

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Maria Martinez Biography:Few craft artists, Native American or otherwise, can claim worldwide fame and appreciation, but these accompanied the life of potter Maria Martinez of San Ildefonso Pueblo. Through her hard work and generous sharing of her techniques, Maria reintroduced the art of pottery making to her people, providing them with a means of artistic expression and for retaining some aspects of the pueblo way of life.

San Ildefonso Pueblo is a quiet community located 20 miles northwest of Santa Fe, New Mexico. Inhabited since A.D. 1300, the pueblo saw many changes that resulted in a rich culture, in which ancient traditions mix with Spanish festivals and Anglo conveniences. Life in the Tewa-speaking village on the Pajarito Plateau is filled with love for one's neighbor and respect for the God-given gifts of the earth. Into this community, at a time of great transition from isolation to increased contact with other peoples, Maria Antonia Montoya was born, probably in the year 1887. For nearly one hundred years, until her death in 1980, Maria lived in the pueblo, eager to greet visitors and to share her craft with those who would like to watch and listen.

Maria's fascination with pottery-making started at a young age, when she would watch her aunt making pots, after her chores were done. Although many women in the pueblo knew how to make pottery, by Maria's time it was no longer a necessary part of daily life. Inexpensive Spanish tinware and Anglo enamelware had replaced traditional containers and cooking pots. In many ways, the art of pottery making was facing extinction. Fortunately, Maria's interest and willingness to experiment with techniques prevented this from occurring.
Photo Courtesy B. Schroeter
Not long after her marriage to Julian Martinez, Maria was asked to replicate some pre-historic pottery styles that had been discovered in an archaeological excavation of an ancient pueblo site near San Ildefonso. These excavations of 1908 and 1909, led by Dr. Edgar Lee Hewett (who was also the director of the Museum of New Mexico), produced examples of many pre-historic pottery techniques. Dr. Hewett asked Maria, who already had a reputation in the pueblo for being an excellent pottery-maker, if she could make full-scale examples for the museum of the polychrome ware. It was then that Maria and her husband, Julian (who painted the designs on the pottery after Maria shaped them), began an artistic collaboration that would last throughout their lives together.

Maria and Julian refined their pottery techniques and were asked to demonstrate their craft at several expositions, including the 1904 St. Louis World's Fair, the 1914 Panama-California Exposition in San Diego, and the 1934 Chicago World's Fair. Part of their success came from their innovations in the style of black-on-black ware.

Although other pueblos, such as Santa Clara, had been producing black wares, Maria and Julian invented a technique that would allow for areas of the pottery to have a matte finish and other areas to be a glossy jet black. Through experimentation that began in 1919, they created a style that would become world famous.

Part of the unique-ness of San Ildefonso pottery is the clay that is used, which comes from their reservation. Dried clay and volcanic ash are collected yearly from selected locations throughout the reservation, and later combined with water in small batches. The clay from each pueblo has its own mineral composition, allowing for rich differences in texture and color. The watery clay slip that is used on the black wares, for example, has a rich iron content that turns black when fired in a particular way.

After a batch of clay is mixed and has set for a few days, a "pancake" of clay is formed and pressed into a puki, beginning the process of building a pot. The puki is a bowl-shaped form that supports the bottom of the pot as it is being built. Most commonly, pots are formed with a coil technique, in which long snake-shaped coils are circled around the base of the pot and blended together to create the walls of the vessel. A potter's wheel is not used in traditional pueblo pottery making. When the height and the amount of clay are just right, the walls of the pot are smoothed and shaped into curves with pieces of gourd, called kajepes.

The pot is left to partially dry after the form is completed. In its semi-dried state, the pot is ready to be scraped, which refines the shape and removes any irregularity. Then the pot is sanded with sandpaper to rid it of any grit. The red slip is applied next, and the pot must be burnished with a stone before the slip dries completely. This step is most critical for the glossy nature of the black wares.

A decoration is painted onto the polished surface, resulting in matte areas once the piece is fired. Traditionally the men of the pueblo do the painting, but women were taught the process and painted during the times that the men had left the pueblo for work. Julian replicated and was inspired by many pre-historic designs. He was fond of many motifs, using ancient symbols in new combinations. He often painted the avanyu, the horned water serpent, which he saw as a symbol for the rush of water after a hard rain, and as a metaphor for the pueblo itself.

Black wares become so in the firing process. This labor-intensive task is done after many pots have been made, to maximize efficiency. Wood and dried cow manure are piled around an iron grill, upon which the pottery has been carefully stacked. The pile is lit and left to burn for a specified amount of time, until the fire has reached its maximum heat. At this time the fire is smothered with ash or fresh manure, producing a smoke-filled reducing atmosphere that turns the pots black. Variations in the process can produce pottery with black areas and red areas, which are also popular.

For many years, Maria and Julian produced their pottery together amid raising a family and carrying out traditional duties for the pueblo. Their children were taught the importance of the craft, and they participated in various ways. After Julian's death in 1943, Maria began working with her daughter-in-law Santana Martinez. Santana provided the painted decoration that was her father-in-law's legacy. After 1956, Maria also worked with her son Popovi Da. It was Popovi who helped market her work, building a shop at the pueblo and speaking about the pottery tradition of San Ildefonso at lectures across the country. One of the family's most innovative potters is Maria's grandson Tony Da (1940-2008). Tony combined sculptural techniques with traditional forms to create unique forms. Due to a motorcycle accident, Tony no longer makes pottery, but he continues to work as a painter. Many other family members and people from San Ildefonso continue to make pottery, carrying on the tradition so openly shared by Maria.

Maria signed her pieces several different ways over the course of her life, and to some extent, these signatures can help to date her work. At first, she signed her pots "Marie" because she was told that this name would be more familiar to those who would buy her work. Through the years her pieces were signed "Poh ve ka," "Marie," "Marie & Julian," "Marie & Santana," "Maria Poveka," and "Maria/Popovi."

Since her death in 1980, the pottery of Maria and her family has become increasingly more collectible and difficult to find. J. Mark Sublette, Medicine Man Gallery continually searches the country for fine examples of her work.
Photo Courtesy Laura Gilpin, Santa Fe
Tony Da Biography: Tony Da, (pronounced day) was the grandson of Maria and Julian Martinez, and the son of Popovi Da all were talented potters and masters in the art of watercolors. Popovi Da Tony's Da's father was born Anthony Martinez in 1922; his Tewa name was Popvi Da which he legally changed in 1948. To understand Tony Da's artistic career, one must start from his artistic influences.

Julian Martinez, Tony Da's grandfather, was the first to create black on black pottery when polychrome pottery was the mainstay of San Ildefonso pueblo. Popovi Da, Maria and Julian's son began making his pottery in 1962 and experimentation with different pottery types. In 1964 Popovi Da made a pot he referred to as "Carmel" which became known as Sienna. In 1967 Popovi Da added scraffito, (incised design elements) to his pottery and inlay turquoise a first for a pueblo potter. This process his son, Tony Da would take to another level of artistry accomplishment.

Tony Da was born in 1940 Anthony Edward Da also known in San Ildefonso as Thun-Phoe-She or Sun Dew. Tony learned to make pottery from his famous Grandmother, Maria Martinez after he finished his Navy duty in 1964. Tony lived with Maria Martinez and began his apprenticeship at twenty-six from one of the most well-known pueblo potters. Maria encouraged Tony to become a potter and " go ahead and make good pottery".

Tony Da would make thinner pots than his grandmother Maria Martinez, and over time he began his own style. He first started producing pottery that he signed in 1967. In August of that year he entered the Gallup Inter-Tribal Ceremonial and won four first-place awards and one second for pottery. His pottery career had begun in a spectacular fashion and was recognized in the "Albuquerque Journal" for his excellence.

The first signature used 1967-68 was D'a or D'A from that point on he would use simply DA, he used this same signature for his paintings from 1975-1982. Tony would use carve his DA usually on the bottom of the pot after firing and used a beveled appearance a characteristic of his signature.

With Maria Martinez's encouragement, he switched the majority of his time from painting to making pottery. In Tony's mind, he was always a painter, but most of his fame came from his ornate pots.

Tony was known for his intricate designs, inlay and unusual forms. The avanyu or plumed water serpent was a favorite of Tony's. He also employed numerous designs from the prehistoric Mimbres culture of southern New Mexico. Like his grandfather Julian Martinez, he liked to use a feather motif. Deer and Buffalo imagery using a heart line design were also favorite. Like his father, Popovi Tony Da used inlay turquoise in his pots, but Tony took the endeavor to a new level using large high-grade turquoise cabs, heishe, and Zuni inlay motifs. Animal pottery including turtles and bears, which became a trademark for the artist. His intricate turtle designs have brought some of the highest prices of any of Tony Da's pottery styles.

His Great Aunt Clara, Maria Martinez's sister, who was deaf, was known in the family as one of the great polishers of clay. She would help Tony polish his vessels until she retired around 1978-1979. Popovi would help Tony fire his pots, often using a gunmetal finish a process that Popovi had perfected which required an extremely hot fire and careful use of fuel to keep the fire's oxygen reduced yet to burn very hot. This gunmetal slip is now considered some of the most desirable finishes on pueblo pots.

Tony Da is considered to be one of the finest pueblo potters. His artistic life was cut short on April 15, 1982; he was only 42, a motorcycle accident left him damaged for life. Tony Da had hit his unprotected head when he laid down his bike, which caused a significant brain trauma. The accident robbed him of a long career, not unlike his father Popovi who died in 1971 at age 48 and his grandfather Julian Martinez who died in 1943 at age 46.

Tony would continue to make occasional watercolor paintings in a much more simplistic design but would never return to working with the clay.

His legacy however is insured with the exquisite varied pottery he left the world, which can be found in most of the major Southwest Museums. The Millicent Rogers Museum in Santa Fe has one of the best collections of Maria Martinez and Tony Da pots. A seminal book on Tony Da "The Life and Art of Tony Da" is a must read for those who appreciate the artistic talent of Tony Da.

Permission to reproduce photos and paintings in this online catalog secured by J. Mark Sublette. All rights reserved. No portion of this online catalog may be reproduced in any manner whatsoever without written permission from J. Mark Sublette, Medicine Man Gallery, Inc.

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Maria Martinez Biography and San Ildefonso Pottery - Maria Martinez Pottery

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Maria Martinez Biography, San Ildefonso Pottery, Tony Da Biography and Maria Martinez Photographs. Learn how Maria made her Pueblo Pottery and signatures.

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Create a Google Jamboard with all kinds of things that inspire you. Images, Artist, Techniques, Video Links, etc. Share it with Miss Pratt - dpratt@wpusd.org

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SCAMPER is a technique you can use to spark your creativity and help you overcome any challenge you may be facing. In essence, SCAMPER is a general-purpose checklist with idea-spurring questions - which is both easy to use and surprisingly powerful. It was created by Bob Eberle in the early 70s, and it definitely stood the test of time.

In this posting, I present a complete SCAMPER primer, along with two free creativity-boosting resources: a downloadable reference mind map and an online tool that generates random questions to get you out of a rut whenever you need.

SCAMPER Primer

SCAMPER is based on the notion that everything new is a modification of something that already exists. Each letter in the acronym represents a different way you can play with the characteristics of what is challenging you to trigger new ideas:

To use the SCAMPER technique, first state the problem you'd like to solve or the idea you'd like to develop. It can be anything: a challenge in your personal life or business; or maybe a product, service or process you want to improve. After pinpointing the challenge, it's then a matter of asking questions about it using the SCAMPER checklist to guide you.

Consider, for instance, the problem "How can I increase sales in my business?"

Following the SCAMPER recipe, here are a few questions you could ask:

S (Substitute): "What can I substitute in my selling process?"

C (Combine): "How can I combine selling with other activities?"

A (Adapt): "What can I adapt or copy from someone else's selling process?"

M (Magnify): "What can I magnify or put more emphasis on when selling?"

P (Put to Other Uses): "How can I put my selling to other uses?"

E (Eliminate): "What can I eliminate or simplify in my selling process?"

R (Rearrange): "How can I change, reorder or reverse the way I sell?"

These questions force you to think differently about your problem and eventually come up with innovative solutions.

A classic example is MacDonald's founder Ray Kroc. In hindsight, it's easy to identify many of the ideas he used through the SCAMPER lens: selling restaurants and real estate instead of simply hamburgers [P = Put to other uses]; having customers pay before they eat [R=Rearrange]; letting customers serve themselves, avoiding the use of waiters [E=Eliminate] - just to mention a few.

SCAMPER Reference

You will find below a comprehensive help guide to using SCAMPER. There are more than 60 questions that can be asked, along with almost 200 words and expressions you can create associations with.

Substitute

Think about replacing part of the problem, product or process with something else. By looking for replacements you can often come up with new ideas. You can change things, places, procedures, people, ideas, and even emotions.

Helper Questions

Can I replace or change any parts?

Can I replace someone involved?

Can the rules be changed?

Can I use other ingredients or materials?

Can I use other processes or procedures?

Can I change its shape?

Can I change its color, roughness, sound or smell?

What if I change its name?

Can I substitute one part for another?

Can I use this idea in a different place?

Can I change my feelings or attitude towards it?

Trigger Words

alternate, colorize, exchange, fill in for, locum, proxy, relieve, rename, repackage, replace, reposition, reserve, shape, stand in for, surrogate, swap, switch, take the place of

Combine

Think about combining two or more parts of your problem to create a different product or process or to enhance their synergy. A great deal of creative thinking involves combining previously unrelated ideas, goods, or services to create something new.

Helper Questions

What ideas or parts can be combined?

Can I combine or recombine its parts' purposes?

Can I combine or merge it with other objects?

What can be combined to maximize the number of uses?

What materials could be combined?

Can I combine different talents to improve it?

Trigger Words

amalgamate, become one, blend, bring together, coalesce, come together, commingle, conjoin, fuse, intermix, join, link, merge, mingle, mix, package, relate, unite

Adapt

Think about adapting an existing idea to solve your problem. The solution of your problem is probably out there already. Bear in mind that all new ideas or inventions are borrowed to some degree.

Helper Questions

What else is like it?

Is there something similar to it, but in a different context?

Does the past offer any lessons with similar ideas?

What other ideas does it suggest?

What could I copy, borrow or steal?

Whom could I emulate?

What ideas could I incorporate?

What processes can be adapted?

What different contexts can I put my concept in?

What ideas outside my field can I incorporate?

Trigger Words

acclimatize, adapt oneself, adapt, adjust, alter, amend, become accustomed, bend, change, conform, contextualize, copy, emulate, familiarize, find your feet, fit, get a feel for, get used to, incorporate, make suitable, match, modify, readjust, refashion, revise, rework, settle in, transform, vary

Magnify

Think about ways to magnify or exaggerate your idea. Magnifying your idea or parts of it may increase its perceived value or give you new insights about what components are most important.

Helper Questions

What can be magnified or made larger?

What can be exaggerated or overstated?

What can be made higher, bigger or stronger?

Can I increase its frequency?

What can be duplicated? Can I make multiple copies?

Can I add extra features or somehow add extra value?

Trigger Words

amplify, augment, boost, enlarge, expand, extend, grow, heighten, increase, intensify, lengthen, make seem more important, multiply, overemphasize, overstress, raise, strenghten, stretch out

Put to Other Uses

Think of how you might be able to put your current idea to other uses, or think of what you could reuse from somewhere else in order to solve your own problem. Many times, an idea only becomes great when applied differently than first imagined.

Helper Questions

What else can it be used for?

Can it be used by people other than those it was originally intended for?

How would a child use it? An older person?

How would people with different disabilities use it?

Are there new ways to use it in its current shape or form?

Are there other possible uses if it's modified?

If I knew nothing about it, would I figure out the purpose of this idea?

Can I use this idea in other markets or industries?

Trigger Words

abuse, apply, avail yourself of, behave, benefit, bring into play, contextualize, deplete, draw on consume, employ, enjoy, exercise, exhaust, expend, exploit, get through, handle, luxuriate, make use of, manage, manipulate, mistreat, operate, reposition, source, spend, take advantage of, take pleasure in, tap, treat, use up, utilize, waste, wear out, work

Eliminate (or Minify)

Think of what might happen if you eliminated or minimized parts of your idea. Simplify, reduce or eliminate components. Through repeated trimming of ideas, objects, and processes, you can gradually narrow your challenge down to that part or function that is most important.

Helper Questions

How can I simplify it?

What parts can be removed without altering its function?

What's non-essential or unnecessary?

Can the rules be eliminated?

What if I made it smaller?

What feature can I understate or omit?

Should I split it into different parts?

Can I compact or make it smaller?

Trigger Words

abolish, control, curb, destroy, disregard, do away with, eradicate, exclude, excrete, expel, exterminate, get rid of, jettison, kill, lessen, limit, liquidate, lower, moderate, modulate, pass, play down, purge, reduce, reject, remove, restraint, restrict, shorten, simplify, temper, throw out, tone down, underemphasize, waste, wipe out

Rearrange (or Reverse)

Think of what you would do if part of your problem, product or process worked in reverse or were done in a different order.

Helper Questions

What other arrangement might be better?

Can I interchange components?

Are there other patterns, layouts or sequences I can use?

Can I transpose cause and effect?

Can I change pace or change the schedule of delivery?

Can I transpose positives and negatives?

Should I turn it around? Up instead of down? Down instead of up?

What if I consider it backwards?

What if I try doing the exact opposite of what I originally intended?

Trigger Words

adjourn, annul, back up, change the date, change, delay, drive backward, go backward, invalidate, invert, move backward, move, overturn, postpone, put off, quash, readjust, rearrange, relocate, render null and void, reorder, reorganize, repeal, reposition, reschedule, reshuffle, retreat, swap, switch, transpose, turn around, undo, withdraw
(icons by Everaldo Coelho)
SCAMPER Resources

1. SCAMPER Random Question Tool

There are many ways to use SCAMPER. For example, you can sequentially go through all the questions in the previous section as fast as you can; or you can stay on each question until you think you exhausted all possibilities.

However, when it comes to creativity, getting random - and unexpected - input can really help your mind find a solution for that 'impossible' problem. With that in mind, as a companion to this article, I created the SCAMPER Random Question Tool: it shows you an unexpected question drawn from all the SCAMPER questions in the previous section. Think about a problem that has been nagging you then give the tool a try to see how many options you can generate.

2. SCAMPER Reference Mind Map

I've put together all the SCAMPER questions from the previous sections in a mind map, formatted for a single printed page. Think of it as a handy one-page reference you can use whenever you are stuck or just need a kick start to get your creative juices flowing.

3. Thinkertoys Book

The best resource I know about SCAMPER is Michael Michalko's wonderful book Thinkertoys: it has more than 40 pages dedicated to SCAMPER alone. Michael's book is the most comprehensive creativity reference I have put my hands on: there are more than 40 creativity techniques that should suit every taste - from the most logic to the most intuitive types. Highly recommended!

Related Posts

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Creative Problem Solving with SCAMPER - Litemind

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SCAMPER is a technique you can use to spark your creativity and help you overcome any challenge you may be facing. In essence, SCAMPER is a general-purpose checklist with idea-spurring questions - which is both easy to use and surprisingly powerful. It was created by Bob Eberle in the early 70s, and it definitely stood the test of time.

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Photo Lithography on Clay: A Surprisingly Simple Way to Print Images On Clay

Learn how to print on clay!
A couple of years ago, I had the pleasure of watching Kristina Bogdanov demonstrate a really cool way to transfer photographic images onto clay surfaces. And, don't worry! We captured the whole thing on video to share with you, my faithful readers! Though the name sounds a bit intimidating, photo lithography image transfer onto clay, is not a terribly difficult process. You just need to get a couple of tools that you might not have on hand, but once you do that, it's a piece of cake. In this video, Kristina shows us how. - Jennifer Poellot Harnetty, editor.
For best finished results, Kristina suggests using darker Mason Stains, such as:

Royal Blue 6339
Deep Brown 6109 or 6190
Black 6657 or 6666

Some oxides can also work, although Mason Stains are the most reliable for strong color.

Want more image transfer techniques?

Check out these articles on transferring images using carbon copy paper, transferring images using photo copy paper, and using screens to print images on clay.
To learn more about Kristina Bogdanov or see more images of her work, visit www.kristinabogdanov.com/ceramics Do you have an easy way to transfer imagery onto clay? Tell us about it in the comments!
**First published in 2010.

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Photo Lithography on Clay: A Surprisingly Simple Way to Print Images On Clay

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A couple of years ago, I had the pleasure of watching Kristina Bogdanov demonstrate a really cool way to transfer photographic images onto clay surfaces. And, don't worry! We captured the whole thing on video to share with you, my faithful readers!

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7 Fun Ways to Decorate with Slips and Engobes

Amp up your surfaces when you decorate with slips and engobes

Slips, engobes, and underglazes are a lot of fun to use for ceramic decoration and there are endless ways to use them. In this post, the late Robin Hopper explains how to decorate with slips and engobes. With these techniques, you can achieve many different types of surface decorations and patterns in a short period of time using only a simple slip trailer. The post is an excerpt from Slips and Engobes Making Marks: Decorating the Ceramic Surface, a must for every potter's ceramic library. - Jennifer Poellot Harnetty, editor.
Slips are predominantly liquefied clay; they usually are applied on wet to dry greenware. Engobes usually have a lower clay content and also can be used on bisque-fired ware. The word slip generally is used to describe any clay in liquid form. All slips and engobes can be colored with oxides, carbonates and stains. Sometimes very crusty surfaces can be made by applying slips and engobes over the fired glaze surface and then refiring.
This post is excerpted from Robin Hopper's Making Marks: Discovering the Ceramic Surface, available in the Ceramic Arts Network Shop.

Learn the fundamentals of clay and glaze materials when you download this freebie, Ceramic Raw Materials.

Casting slips give extremely good properties for use as a drawing medium in a fine-to-medium aperture trailer. To produce slips for casting into plaster molds, the ingredients for slip are mixed with water to which 1 percent to 2 percent of a deflocculant, such as sodium carbonate (soda ash) and/or sodium silicate, has been added. Since there is much less water in the deflocculated slip, it will leave a crisp, raised line drawing when applied to leather-hard surfaces. To remove sharp points or develop a low relief, raised line slip drawings can be flattened slightly by rolling the surface with a small rubber-coated roller or printmaker's brayer.

Slips used for decorating usually are mixed with water only, unless specific qualities of fluidity or viscosity are desired. For these qualities, a flocculant such as vinegar or Epsom salts can be used for increased viscosity or thickening. Or a deflocculant, as mentioned above, can be used for increased fluidity. Decorating slips traditionally are used to coat the surface of clays in a variety of ways. They can be made from naturally occurring clays or from mixed materials and colorants to provide a range of decorative effects. They can be applied to wet, leather-hard or dry clay bodies, depending on the technique being used and the dry strength of the body. The slip decoration usually is covered with a glaze after bisque firing, although many people prefer to leave the slip patterns unglazed. Slips can be used to coat another clay to make it lighter, darker or colored. They also can be used as a coating through which designs can be cut or scratched, resisted with wax or latex or layered with other slips to create a wide range of potential imagery.

7 Methods of Slip Decoration

Engobes and Underglazes

The word engobe is used most often in North America and describes a wider range of uses in the development of the decorative surface. Underglaze is basically the same thing, and it can be colored with any colorant or stain. Many commercially made underglaze products are available, offering a wide range of color potential. They are applied easily by brush or spray. Whereas the simple liquefied slip commonly is used to coat greenware, an engobe can be formulated for use at any stage, including over bisque-fired ware. Engobes also often are used without a covering glaze, giving a wider potential for experimentation with the surface. An engobe or underglaze is more like a glaze in structure and may contain very little plastic clay.

Materials for making engobes fall into six groups:

1) Clays, with kaolin or calcined kaolin usually used in place of ball clay to counteract shrinkage 2) Fluxes as used in glazes; 3) Fillers (usually silica); 4) Hardeners (borax, calcium borate, and various gums) 5) Opacifiers (tin, zircopax, titanium, superpax) 6) Colorants.The following three recipes for basic engobes give a good starting point for further experimentation. The engobes can be colored in any of the usual ways.

Basic Engobe Recipes

Raw Material Cone 04-3 Cone 4-6 Cone 6-10

Total
100%

100%

100%

**First published in 2012

Learn the fundamentals of clay and glaze materials when you download this freebie, Ceramic Raw Materials.

Related Posts

Tags
achieve, applying, arts, balance, ball clay, bisque, brush, calcined kaolin, carbonate, casting, ceramic, ceramic decoration, ceramic surface, clay, coating, color, colorant, colorants, colored, combing, complex, content, covering, create, cut, decorating, decoration, decorative, deflocculant, depending, design, designs, develop, development, dots, drawing, drawings, dry, engobe, engobes, epsom salts, excerpt, excerpted, experimentation, fired, fluxes, following, frit, glaze, ingredients, kaolin, latex, layered, layering, line, lines, liquid, make, making, materials, medium, methods, network, opacifiers, options, patterns, people, period, piece, place, plaster, plastic, potential, practice, products, qualities, raised, range, recipes, remove, robin hopper, roller, salts, settle, shake, sharp, short, shrinkage, slip, slip decoration, slip trailer, slips, small, smooth, sodium silicate, stand, stick, strength, structure, surface, surface decorations, surfaces, technique, thick, time, trailing, types, underglaze, underglazes, use, uses, variety, viscosity, Water, wide range, word.

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7 Fun Ways to Decorate with Slips and Engobes

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Slips, engobes, and underglazes are a lot of fun to use for ceramic decoration and there are endless ways to use them. In this post, the late Robin Hopper explains how to decorate with slips and engobes. With these techniques, you can achieve many different types of surface decorations and patterns in a short period of time using only a simple slip trailer.

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Using Clay Wax and Black Stain to Create a Weathered Look on Pottery
Scot Cameron-Bell has never been afraid of color. Living by the motto that "your art does not have to match your sofa," she has been creating brightly colored pottery for years. When she found some old pottery shards washed up on a beach, she was inspired to add a weathered, crackle effect to her colorful surfaces.
Rather than using a crackle glaze, Scot wanted to stretch the clay and create crackles in a more deliberate fashion in specific areas of her drawings. In today's post, an excerpt from the January/February 2017 issue of Pottery Making Illustrated, she shares how she gets the look she wants using a damp box, clay wax, and black stain. - Jennifer Poellot Harnetty, editor.

PS See how Scot Cameron-Bell designs her vases and learn about how she glazes her work in the January/February 2017 issue of Pottery Making Illustrated.

Clay Wax Technique Helps Create an Aged Look

Designing a Surface

Remove the vase from the moisture box. First, I sketch on the pot with intended drawings and color selections, then I lightly draw on the vase with a sharp wooden skewer to create a visible outline of the narrative. I paint the drawings with bright shades of AMACO, Duncan, and Spectrum commercial underglazes (1). When the underglazes are dry on the vase, I use a cosmetic sponge to gently wipe off some of the color to give the vase a weathered look (2).

It's one thing to decorate on the surface of pottery. But to truly integrate the surface and the form, makes pots stand out! In her video, Gestural Imagery & Form, Mel Griffin shares her techniques for making pots that truly merge form and surface into a cohesive (and beautiful) whole. Along the way she throws in throwing and trimming tips, a wonderful drawing primer, and tons of information on her slip, terra sigillata, and glaze techniques!

Because I want a crackled surface to emphasize the weathered appearance, I coat the exterior with clay wax (I use Forbes wax) (3). After it dries, the wax cracks when manipulated. I find that more cracks result after I use thicker wax. I let the wax thicken by a exposing it to the air until it reaches a cream-like texture. After applying wax, I put the piece back into the damp box to dry the clay wax, but not let the clay dry out. I still need the vase to be flexible.

I carefully take the waxed vase out of the damp box. The surface should not be sticky. I begin to gently use my fingers or my long-handled handmade sticks to push out and shape the vase from the interior of the pot (4). Cracks will appear on the surface of the wax. At this point, I can decide how many cracks I want on the surface, then I let the vase dry under plastic for a few hours to set up.

Now, I use a wooden skewer to outline the drawing through the wax (5). Wearing rubber gloves, paint a black stain wash all over the vase. The black wash seeps into all the drawing lines and wax cracks (6). Let the vase dry overnight; then, put your gloves back on to wipe off the wash with a damp sponge. In addition, I wipe the surface with a green kitchen scouring pad sponge to soften the burrs created from the drawing stick. Allow the pot to fully dry. I bisque fire to cone 06, firing the ramp/cooling schedule as advised in the Skutt kiln manual.

**First published in 2017.

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Using Clay Wax and Black Stain to Create a Weathered Look on Pottery

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Using Clay Wax and Black Stain to Create a Weathered Look on Pottery Scot Cameron-Bell has never been afraid of color. Living by the motto that "your art does not have to match your sofa," she has been creating brightly colored pottery for years.

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Practical Trimming Tips and Design Advice for Unified Wheel Thrown Forms

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Trimming is a part of the wheel-throwing process that potters either love or hate. Regardless of where you fall on the love/hate scale, today's video clip

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A typical paper bag that can be stored completely flat. This template can be used to create both a cute little goodie bag, a large grocery bag or a wine bag.

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#lakesidepottery

The Tools - Surface Texture on Pottery

The information below will illustrate (pictures and video clips) how to quickly create beautiful and unique texture on your pots using some basic tools, simple techniques and slip. Have fun!

Gears (carpet seam roller).

Slip - no grog and sieved
How to make slip

Spring flat metal.

Chatter Pot on the Wheel - Tall and Flat Forms

A chatter texture can be created with any springy metal. The chatter design is determined by, the speed of the wheel, the pressure of the metal on the clay, the softness or hardness of the clay, and the distance between the end of the metal plate and where it is held. Once the metal starts to chatter, hold that position until the chatter sound gets really loud. When done, move the metal away from the clay very quickly and then turn the wheel off to prevent smearing of the texture.

Chatter texture close up

Using Gears or Roulette Tall and Flat Forms

Roulette is a technique used to texture the pot while it is turning. You apply the gear (see a few options below) to the clay while the pot is turning which turns the gear. Typically, the texture is created when the pot's walls are vertical and a bit thicker. When done with the texture, the pots shape can be changes to create a nonlinear potters.

Gear - Tall form

Use of Slip for Surface Texture

Using slip can be really rewarding if used properly. The slip should not have any grog in it, if made from different clay, test for compatibility with your clay (e.g., cracking) and it thickness should similar to yogurt where the shape can stay and hold the design achieved. It can be applied and formed by hand or with tools such as Mudtool red rib or a brush. Make sure the pot is hardens a bit (wait a few hours or dry with a heater / torch. If clay is too wet, the moister from the slip will weaken the pot and it will collapse. If the pot is too dry, the slip will not bond to the pot properly and will crack or peel off. The fun part about it is that if you do not like the design, you can try several times until you achieve the liked results. Eventually, the moisture from the slip will absorb in the clay and it be less applicable. Remember that whatever texture you achieve, it will shrink about 50% when the slip and the pot dry. In addition to having our students make beautiful pots using slip, children love to play with it and can easily achieve aesthetically pleasing results while having a lot of fun with the slimy texture of the slip. How to make slip

Apply slip with brush

Slip design when glazed

Kids - street fair

How to make slip How to throw a large platter with Surface texture

Use of Other Surface Texture Tools

Curving can be a lot of fun and there are some sample below.
A) With a small piece of rope, one can create variety of textures pushing the rope against the clay as while moving it around.
B) Fluting: This stainless steel fluting tool makes it easy to carve pots with beautiful designs and exacting control. The unique design includes panels on the side of the cutting loop that act as "runners" (like on a sled) to maintain a consistent depth as you cut. This makes for a fluid stroke. Each tool has two fluting designs: rounded and pointed.
C) Various stamps and texture mats or texture molds can be purchased or made to order.

B. Fluting tool:
Claytools.com

C. Slab mat texture supply

D. Texture mold supplier

C. Stamped clay example

D. Hand building projectusing slab mats - clay quilt

View My Stat s

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Surface Texture Tools Use and Tricks | Pottery Wheel

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lakesidepottery The Tools - Surface Texture on Pottery The information below will illustrate (pictures and video clips) how to quickly create beautiful and unique texture on your pots using some basic tools, simple techniques and slip. Have fun! Gears (carpet seam roller). Slip - no grog and sieved How to make slip Spring flat metal.

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Website with lesson plans

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Create a self-portrait made up of objects, symbols and/or imagery that represent key elements of your identity. You must be able to explain how your artwork represents your identity. We will be doing this by carving bas Reliefs on clay tiles.
Requirements:

Inspiration:
Understanding Identity- 5 points
Art and Identity- 5 points

Development:
Who are you?- 5 points​
Symbol Sketch- 5 points
Composition Sketch- 5 points
Final Sketch - 5 points

​Creation:
Tile is rolled out to proper thickness- 5 points
Transfer sketch- 5 points
Background carved- 5 points
Other layers carved- 5 points
Craftsmanship- 5 points
​Oxide wash applied- 5 points

​​ Reflection:
Self review- 5 points
Peer review- 5 points
​
Total points- 65

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Create a self-portrait made up of objects, symbols and/or imagery that represent key elements of your identity. You must be able to explain how your artwork represents your identity. We will be doing this by carving bas Reliefs on clay tiles.

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Design Thinking - How to come up with new ideas -S.C.A.M.P.E.R.

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Design Thinking - How to come up with new ideas -S.C.A.M.P.E.R.

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Website that shows clay sgraffito technique

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Website that shows clay sgraffito technique

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Sgraffito designs are black and white detailed designs that are carved in clay

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Sgraffito (in Italian "to scratch") is a decorating pottery technique produced by applying layers of color or colors (underglazes or colored slips) to leather hard pottery and then scratching off parts of the layer(s) to create contrasting images, patterns and texture and reveal the clay color underneath. The layer(s) of color can be underglazes or colored slips. Below is an example of one technique and what can be achieved.

Tools and Materials Tools: Wire stylus or loop tools or mini ribbon sculpturing tools (Kemper Tools is a good source). Use rubber shapers or wooden tools to clean fine lines from debris. When complete, clean thoroughly with a dry brush.

Clay: Make sure the clay item is leather hard and not too dry but hard enough to hold shape when pressure is applied.

Transfer design to tracing paper and then use sharp pencil and trace design to clay. Tracing paper is flexible and able to withstand the wet clay and multiple tracings. If using black underglaze, we like Amaco V-370 or LUG-1 (V-370 has slightly better coverage). Both perform well up to cone 6 glaze firing.

Apply 2-3 coats of underglaze, apply additional coats in alternate directions, and wait to dry before starting the scratching-off process. The tools and the pressure you decide to use is dependant on the affect you wish to see on the clay. If looking for rougher surface texture, push the tool a bit harder and take more material using more pointy tools. Scratches can have uniform or random patterns. NOTE: Only use a soft dry brush to remove debris to avoid damaging the colored areas.

Apply underglaze evenly (2 coats)

The cups below use a slightly different technique than above. Only the traced pattern is painted on and the outline and lines within the pattern are scratched off.

Note: After your design is bisque fired, you'll have another opportunity to touch-up with underglaze before applying clear glaze and glaze firing.

Firing underglazes to cone 6 firing - Tips

Another example on a vase

** We use brush-on AMACO Sahara HF-9 cone 6 clear glaze. Use soft brush and be carful with 1st coat to avoid underglaze details smearing.

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What is Sgraffito | Pottery Technique and Tools

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Sgraffito (in Italian "to scratch") is a decorating pottery technique produced by applying layers of color or colors (underglazes or colored slips) to leather hard pottery and then scratching off parts of the layer(s) to create contrasting images, patterns and texture and reveal the clay color underneath.

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Watch the video from about 35 minutes in to see how to make an easy mug handle.

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Three Variations on Making a Simple Cylindrical Slab Cup With Three Different Handles

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01 First Steps - Stop Motion Studio Tutorial

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How to needle felt love penguins - Tutorial

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STEP #1  Tinkercad Join Code for Miss Pratt's Classes

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STEP #1  Tinkercad Join Code for Miss Pratt's Classes

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https://www.tinkercad.com/joinclass/9z7u6sxzg

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Tinkercad is a free, easy-to-use app for 3D design, electronics, and coding.

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What is Sgraffito | Pottery Technique and Tools

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Sgraffito (in Italian "to scratch") is a decorating pottery technique produced by applying layers of color or colors (underglazes or colored slips) to leather hard pottery and then scratching off parts of the layer(s) to create contrasting images, patterns and texture and reveal the clay color underneath.

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Artist makes high-priced sculptures from old books

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De fabuleuses créations avec des livres – Book Art

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Students will explore the concept of low relief sculptures by rolling tubes of magazine in various colors to depict an animal of their choice.

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HOW TO MAKE A CLAYMATION  | |  For Beginners!

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Stop Motion Animation - Everything you need to know - NFI

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Stop motion is an animated filmmaking technique in which a physical object is moved in small increments and photographed at every step. When these images are stringed together and played rapidly, the things in them appear to carry on their own. Stop motion differs from a traditional 2D hand-drawn animation using a physical object instead [...]

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Winners of the “Raccoon Burglar” Challenge

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Galleries, tutorials, interviews, reviews and animated shorts for your daily dose of inspiration! Discover the most gifted and influential artists working in animation, comics and illustration, today.

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What makes a good short animation story?

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What makes a good short animation story?

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There are typically four reasons an animated short film succeeds, you don't have to do all of these, but your project should have at least two of the four:

1. Original Technique
2. Appealing Story or Characters
3. Humor
4. Design

1. Original Technique:

Try something that nobody has ever done, or build on something that you think not enough people know about. Painted mural animation had been around for a while, but it took BLU to pick it up and run with it, going further than anyone before. Same thing can be said for PES, who completely built upon what others had already done, but brought to it an original and fresh approach. Original technique is possibly the strongest and most effective way to make a successful film. If you can find something that nobody has done, or done well before, people will be interested.

2. Appealing Story:
Create a story/idea everyone can relate to, and create it within your own personal experience. Dig deep and find what images and ideas you want to communicate to the world. If you're having trouble, focus on the difficulties you've had in your life, and try to illustrate them in a simple, perhaps humorous way. Be sure to use analogy instead of a literal translation of the story, for example, PUPPET isn't about a boy and a hand puppet, it's actually about my relationship and difficulties with my own creative process. Finding accurate analogies can be very rewarding, and often communicates your experience more effectively and to a broader audience.

In "Lavatory Love Story", although the design is good, it's the story that makes this film work.

Arthur Metcalf's "Bubblewrap" is simple and crude, but hilarious and an audience winner every time.

3. Humor:
A tremendously funny film will simply do better. I don't make funny films, but I see this fact time and time again, and I'm always quite jealous. Typically if your idea is based in humor, you film will most likely be shorter. Humor is very difficult to pull off though, and if you're not a funny person by nature it will be even more of a challenge. I find the funniest films are intent on expressing a humorous character or idea, not a string of gags. The overall idea of Bill Plymptons "Your Face" is entertaining and hilarious, in harmony with the music and design, it's not a gag film.

It would be difficult for a film like Tomasz Bagiński's "Fallen Art" to fail with the impeccable art and design.

4. Design:
Quality design is related to original technique, it's just one step further inside the aesthetic. When you approach the design of your project, keep in mind all the elements that make characters appealing. Rely heavily on influence, build on what attracts you, whether it's an illustrator, a painter, or an animator/filmmaker. Go above and beyond what influences you, add your individual twist to it, and use the brilliant principles that others have set for us all. You would be shocked at how well they work within your own style!

The most important thing of all is to make the film for yourself. Make it your own. It's great to think about the audience and attempt to bring them into your piece, but the audience will do what they do with or without you most the time.. best not to spend too much time trying to please them. Have fun, and good luck!

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Animation 101: What makes a good Short Film?

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There are typically four reasons an animated short film succeeds, you don't have to do all of these, but your project should have at least two of the four: 1. Original Technique2. Appealing Story or Characters3. Humor4. Design 1. Original Technique: Try something that nobody has ever done, or build on something that you think not enough people know about.

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If playback doesn’t begin shortly, try restarting your device.

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How to Make Clay Portrait | Step by Step Clay Mask Tutorial

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Reed & Paper Lantern - 3D Design Project (P1)

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Slip Transfer Demo with Karen Snyder-Kadish

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How to needle felt a Snowman ornament - tutorial

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How to needle felt a poinsettia Christmas tree ornament: part 1 - tutorial

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For many artists, the digital sphere has been a necessary tool in reaching larger audiences and sidestepping possible gatekeeping from institutions. Instagram, with its emphasis on all things visual, has been particularly helpful.

Since the 2018 rollout of a feature that allows users to share other peoples' posts in their Instagram stories, profiles on the social media platform have become reminiscent of the blogs on LiveJournal or Tumblr, with personal posts placed between music suggestions and images meant to boost an imagined aesthetic. Queued after videos from, say, a hike or a meal, you may catch the work of an unknown artist your old friend or little cousin admires - and find that, after visiting the artist's profile, you admire them, too.

ALL ARTS has always been a platform meant to bolster the work of artists through a supportive community that transcends genre, and the ALL ARTS Instagram is no different. Now, with the aim to foster an arts community, we're talking with emerging artists in our series: Artists of Instagram.

Meet Simone Elizabeth Saunders (@simoneelizabethtextiles), a 38-year-old visual and textile artist based in Calgary, Canada.

Saunders has been involved in the arts in some way since childhood.

"My mom encouraged and nurtured it," she said. "When I was young, it was Royal Conservatory Piano to level 11 whilst doing competitive dance. Then it was theater school for university: acting, producing and writing. This was my career for some time. "

The world of theater and film pushed Saunders to set design, which further ignited her interest in visual arts - specifically fiber arts. She eventually returned to school at Alberta University of Arts, and during her studies, took up the tufting gun and punch-needle. "And [I] have not looked back!" she said.

We spoke with the artist about her work, her inspirations and what art means to her.
What does art mean to you? How does it fit into your story?
Art is an incredible expression of self, and in the same breath, is a way to impact people, to share a story. Art impacts my life everyday - the experiences I have, the life I lead, the people I meet and look up to, what I'm reading, what's happening in the world all influence my art. Art is crucial; it captures time and timelessness.
How would you describe the type of art that you create?
I create textiles with a tufting gun and punch needle. My pieces portray narratives that highlight Black womanhood: showing the strength, resiliency and joys of being a Black woman. I draw from my ancestry, my personal landscape and inspiration from within our modern world to create colorful portraits. I am forever inspired!
How has social media and the digital sphere helped you with your art career?
The digital realm has unveiled opportunities and connections for me with my art. Mostly, accessibility for people to see my art - it is so important to me. We all know it's not always easy to face the online world, but there is a gift in being able to showcase my art and have it seen on a global level.
How has the current global climate affected your art?
Every day, the global climate affects my art. I leave space for it within my practice to influence me. My pieces tell a story, lifting up the Black community, inspired by the roots of a powerful history and looking forward to an even stronger tomorrow.
How do you find inspiration?
I find inspiration from the day-to-day, drawing from pop culture, being moved by music lyrics or literature (Toni Morrison, Alice Walker, Maya Angelou, even Shakespeare) and forever inspired by art history. I am very conscious in honoring my ancestors and representing their history, while looking to our present (the Black Lives Matter movement) and forward to a bright future.
What other artists inspire you?
Wangechi Mutu, Kara Walker, Yinka Shonibare, Lorna Simpson, Amy Sherald, Nick Cave, Diedrick Brackens, Mary Sibande, Kehinde Wiley, Yung Yemi, Rajni Perera, Gustav Klimt and Alphonse Mucha.
To see more from Saunders, follow her on Instagram or visit her website. To see other featured artists, follow the ALL ARTS Instagram. This interview has been edited and condensed for clarity.
Top Image: Courtesy of Simone Elizabeth Saunders

Nahal Amouzadeh is a Digital Content Editor at ALL ARTS. She can be reached at amouzadehn@wnet.org.

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Meet textile artist Simone Elizabeth Saunders

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For many artists, the digital sphere has been a necessary tool in reaching larger audiences and sidestepping possible gatekeeping from institutions. Instagram, with its emphasis on all things visual, has been particularly helpful.

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Artist Paolo Del Toro uses needle felting to create massive masks and sculptures out of wool and foam. His creations depict mythical faces in expressions that range from grotesque grimaces to contemplative introspection; all of his works feature open mouths. While Del Toro's work is not tied to any particular cultural visual heritage, the shifting personalities of his characters are reminiscent of Japanese Noh theater masks, which are designed to show different emotions from different angles. The artist tells Colossal that viewers describe his work as ugly and beautiful with equal frequency, which is exactly what he hopes for.

I try to find a place in my sculptures that unifies beauty and ugliness. That's not to say finding somewhere in the middle, but rather finding the place where both coexist at the same time... I hope that by challenging our perspectives, we might look upon one as also the other, and, through that notion, become able to encroach further into the otherness of our dreams and imagination than we might otherwise fear to tread.

Del Toro originally hails from the UK, and began sculpting in 2011 as a hobbyist wood carver. Since settling in the United States in 2015, he has begun to explore larger and more involved work: his most recent felt sculpture is nearly seven feet tall and took four months to complete. The artist currently calls eastern Pennsylvania home, where he is an Adjunct Professor at Pennsylvania College of Art and Design. You can see more of the artist's work, including his woodcarving, on his website, as well as on Instagram and tumblr. (via Colossal Submissions)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. You'll connect with a community of like-minded readers who are passionate about contemporary art, read articles and newsletters ad-free, sustain our interview series, get discounts and early access to our limited-edition print releases, and much more. Join now!

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Gargantuan Felt Masks of Beautifully Disturbing Characters by Paolo Del Toro - Colossal

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Artist Paolo Del Toro uses needle felting to create massive masks and sculptures out of wool and foam. His creations depict mythical faces in expressions that range from grotesque grimaces to contemplative introspection; all of his works feature open mouths.

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10 Contemporary Felt Artists you HAVE to Follow | SST

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Felting is making a comeback. Get ready to be inspired by checking out these 10 contemporary felt artists you simply have to follow.

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Online portfolio of felted wool sculpture and drawings by Bay Area artist Stephanie Metz.

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Paper Cut Out Animation- workshop 2014 THE WIND - Il VENTO

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STEP #2...Eleven Basic Tinkercad Tutorials

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STEP #2...Eleven Basic Tinkercad Tutorials

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Learn how to design and print in 3D, code, and create circuits using our free, easy-to-use app Tinkercad.

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STEP #3  CHOICE 1... Make a simple 3-D Printed Keychain

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STEP #3  CHOICE 1... Make a simple 3-D Printed Keychain

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This project can be done after completing the basic Tinkercad Tutorials

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STEP #4  CHOICE 2.....How to design a Commemerative Coin

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STEP #4  CHOICE 2.....How to design a Commemerative Coin

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This project can be done after completing the basic Tinkercad Tutorials

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Step #5   Tinkercad Tutorials for slightly more advanced projects

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Step #5   Tinkercad Tutorials for slightly more advanced projects

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Learn how to design and print in 3D, code, and create circuits using our free, easy-to-use app Tinkercad.

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3-D Design program for 3-D printing

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Tinkercad | From mind to design in minutes

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Tinkercad is a free, easy-to-use app for 3D design, electronics, and coding.

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[1DAY_1CAD] SPORTS CAR (Tinkercad : Know-how / Style / Education)

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TinkerCAD - Tutorial for Beginners in 9 MINUTES!  [ COMPLETE ]

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PDF of shortcuts and important information

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