Once I think the slip has adhered to the clay, I slowly start pulling the newsprint away (5).

I then use a soft silicon rib to gently press the slip against the clay through the back of the newsprint (4), and move to using a medium stiff rib with a bit more pressure. The sponge helps take away some of the extra moisture and allows the leather-hard piece to absorb the slip’s moisture. I wrap the newsprint around the cup and use a squeezed-out sponge to press the paper against the clay (3). If I want it to have a stiffer line, I let the slip dry until it doesn’t have a shine. If I want a blurred texture, I apply the paper to the pot when the slip is wetter. I let the slip set up for a few minutes and then wrap the newsprint around the cup. I often layer two colors for added depth and texture (2). Next, I brush colored slip onto newsprint, using a chip brush with stiff bristles so that it leaves the texture of the brush marks.

This layer will ensure some bare clay appears through the next layer of transfer. I wet the paper and place it on the leather-hard cup, then go over it with my finger or a rib to make sure it is sealed onto the pot (1). Creating a Backgroundįirst, I cut a paper resist of a flower or other design. The ground/earth and also provides blank space to expand some element of the image as texture, usually in the form of slip-trailed dots or lines. I often give my cups a gentle curve and a section that has a directional change that I leave as the bare clay. When throwing cups, I aim to keep the forms fairly simple to make transferring the slip onto them a bit easier. I translate vegetation into loose drawings that represent the natural world around me, and use these drawings to bring color and texture to my functional pottery. Many of the images I draw come from flowers and plants I see on walks with my dog. I use red clay to give an earthy background to my colorful slip transfers. From there, I have developed ways to transfer slip onto clay to get my desired effects. In the spring of 2016 I assisted a workshop at Penland with Susan Feagin where I learned several different techniques involving slip transfers and layering of images. I was first introduced to monoprinting on clay in a workshop led by Jason Burnett at Penland School of Crafts in the fall of 2014. This allows me to constantly keep things changing-the images, the texture, the colors-so each piece becomes its own little world. My primary process for decorating pots is monoprint slip transferring. Pottery Making Illustrated Archive Issues (Print and PDFs).Ceramics Monthly Archive Issues (Print and PDFs).Pottery Making Illustrated Submission Guidelines.Pottery Making Illustrated's Print Mailing Schedule.Ceramics Monthly's Print Mailing Schedule.Workhouse Clay International ICAN Merit Award.

ICAN Making a Difference in Ceramics Award.

Annual National K-12 Ceramic Exhibition Award.

Our ceramic pen caddy is roughly 3.5' x 3.5' x 5' in dimensions. There is a small white border on the top and bottom of the exterior of the pen holder, setting apart your design from the interior's color. We print your designs on the exterior of the pencil cup, covering most of the outside surface. The options are endless!īoth the blue and black pencil holders are a ceramic material, giving you a sturdy and long-lasting pen and pencil holder. The best part about our custom desk pen organizers is the two-toned look! Choose one from either our black or blue interior and customize the outside of the pencil holder with your own personalized design! Use our online design studio to create logos, monograms, or even print a favorite photo to display on the cup holder! Create a cute pencil holder for the kid's desk, or add a cool design to hold any brushes. Our custom pencil holders are ideal for holding pens, pencils, and even brushes to keep your area from any clutters. Need help with keeping the workspace clean and tidy? Try using our customizable pencil holders! They're great desk accents for the office, kids desk, or even vanity mirror.

Ceramic pencil cup