The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
There are two main inspirations for my work: my experience working in restaurants and bars, and the connections I hold to people, places, and things. It is because of my time in the service industry that I have gained an appreciation for how food and beverages are prepared, served, and shared. It is the many moments and memories I have with the people I love and care for that inspire the imagery on my work.
The nourishment and libations that we share together inspire the vessels I make: cheese and fruit on small plates, neat spirits poured into sippers, water-filled pitchers, and so on. Each pot is like a different diary entry for me; my surface decoration is an attempt to document my memories and experiences onto a material that will long outlive my existence. I like to layer my work with symbolism; every pattern, form, and image has a specific role to play in the stories I tell. I use a refined slip that is applied in layers to achieve varying transparency—reminiscent to me in the same way that memories can vary in their transparency or vividness.
Tools and Materials
Before I begin building, I assemble my tools. I use a few rubber ribs and wooden tools for shaping, with an assortment of brushes and drawing tools for finishing the surfaces. I have a range of tools to create line variation: a double-ended knitting needle, a pointed wooden tool, and my personal favorite, the mechanical pencil with a sewing needle dropped inside. This last tool was something I picked up at a workshop with Kari Radasch years ago, and it is probably the most important tool I use (1).
For my surface decoration, I use terra sigillata (terra sig), an ultra-refined slip, to which I then add Mason stains, so I can achieve the colors I want. I can usually get 2–3 gallons (7.5–11.3 L) of terra sig with every batch which will last me a little over six months. I choose to use terra sig in my work because it is more cost-effective than underglaze and because of the velvety appearance of the terra sig when it is left unglazed. Terra sig also allows me the ability to play around with layering to add more depth to the surface; by applying multiple coats of the terra sig, I can achieve a memory-like quality in my surface imagery.
Building the Base
All of my pots are built using a combination of slab, coil, or pinched techniques. To begin building a basket, start with a slab. Use a rubber rib to compress the slab before using a stencil to draw an outline of the foot of the basket (2). Once you have an outline, cut away the excess clay, and score around the edges of your clay footprint. It is very important to slip and score every attachment in the process; the clay body I use acts similarly to porcelain and can be a bit temperamental in the drying and shrinking process.
Roll out a coil (3), then pinch it around the bottom of the scored basket (4), creating a skirt or playful foot (5). Once the coil is attached, use a wooden tool to help blend the coil into the floor of the basket, followed by a small rubber rib to further compress the clay. Now, begin to build up the walls of the basket. When I am building upward in my work, I use strips of slabs instead of coils because of the patchwork look it gives my pots. I use a ruler with a cork backing (to prevent sticking to wet clay) to ensure the slabs are cut to consistent widths (6). Before attaching each slab, I recommend using a small wooden roller to smooth the slab edges to a softer angle for attachment. Then, slip and score before pinching the slab around the base of the basket (7).
Once you have the first strip of clay attached, use a wooden tool to help blend it into the floor (8). Repeat the previous steps, adding more height to the basket by slipping, scoring, and attaching another strip of clay. After the second layer is attached, use the straight side of a rib to exaggerate the indentation of each scallop around the basket (9). This will both shape the form of the basket and add additional depth to the surface. Allow the clay to set up before moving on to the next step. When you feel confident that you can make additions without altering the form too much, add another coil around the rim of the basket. Do not blend this coil; instead, pinch it so that it creates another skirt around the rim (10).
Handling Handles
My handles are a series of pinched-out coils attached together. Begin by rolling out coils around ½ inch (1.3 cm) thick, cutting them to 4 to 5 inches (10.1 to 12.7 cm), and pinching them out to the desired length and thickness (11). Once you have two horseshoe-shaped coils, use them to help make a decision on where they will be attached to the basket. Use a needle tool to mark their desired location and then score both coils and the areas of attachment on the rim. First, attach the back half of the handle; pinching and applying a little pressure to make sure it is firmly attached (12). Next, attach the second half of the handle from the inside of the basket. Apply slight pressure and pinch the handle into its desired shape. Repeat this step on the opposite side of the basket. Sometimes, depending on how wet my clay is, I will add a little piece of clay between the inside of the handle and the rim of the basket to briefly support the handle while it sets up.
I do not wait for the handles to set up before adding the smaller coil additions to them. Roll out less than ¼-inch (6.4-mm)-thick coils and cut them down to 1–2 inches (2.5–5.1 cm) in length. As you did with the handle components, pinch out these small coils to the desired length and thickness. Again, mark where you plan to attach them, both on the handle and the rim of the basket. Score and slip both the tiny coil and attachment points. As you attach them, apply a slight but firm pressure to ensure attachment, but not so much pressure that the coil goes flat or begins to blend (13). This is the final step for building. Now, let the basket get to the hard-leather-hard state.
Surface
I begin with 2–3 coats of the base layer terra sig (white sig, no stains added). It’s best to let the terra sig dry between coats for best absorption. Be careful not to apply the terra sig too thick, as this can be a potential cause of flaking after firing. After the base coats are applied, I paint on the first layer of a pattern and follow up by carving or tracing over the top of that pattern. I use a lot of cityscape imagery in my work, so I often lay down some simple elements of the cityscape first, like traffic lights or utility poles. I’ll paint the gestures in the illustrations, then follow up by carving over them to give the image more detail and definition. I will repeat this process to build up the background before painting and drawing in the focal point of the surface imagery.
I proceed to decorate the basket with various patterns; viewing the surface as an equation, I plug in color interchangeably to create balance no matter the combination (14, 15). My process to achieve depth in my surface is simple: paint on a layer, draw into that layer (16), repeat. The carving is not very deep, less than a 1/16 inch. I draw into the clay with pretty much the same amount of pressure as I do when I am drawing onto paper. As I add layer upon layer, I am careful to consider how the previous interacts with the current (17). I will look for moments where the imagery creates opportunities for interesting interactions between objects, such as PBR cans lining the tops of electrical poles. While never possible in real life, it is a call to the meshing of the cityscape into my nightlife as a young adult. My ultimate goal is to keep the viewer finding something new every time they hold the work (18).
After you finish the surface work, slowly dry everything before bisque firing it. I choose to only apply glaze in some areas and take advantage of the play between raw and glazed surfaces. I brush on two layers of my glossy clear glaze; if I apply anymore than that, the surface will become foggy. Lastly, I use a few different grits of sandpaper to soften any raw clay surface.
the author Autumn McKay is an artist originally from Louisville, Kentucky, who is currently making and teaching as a long-term Artist-In- Residence at Queen City Clay in Cincinnati, Ohio.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
There are two main inspirations for my work: my experience working in restaurants and bars, and the connections I hold to people, places, and things. It is because of my time in the service industry that I have gained an appreciation for how food and beverages are prepared, served, and shared. It is the many moments and memories I have with the people I love and care for that inspire the imagery on my work.
The nourishment and libations that we share together inspire the vessels I make: cheese and fruit on small plates, neat spirits poured into sippers, water-filled pitchers, and so on. Each pot is like a different diary entry for me; my surface decoration is an attempt to document my memories and experiences onto a material that will long outlive my existence. I like to layer my work with symbolism; every pattern, form, and image has a specific role to play in the stories I tell. I use a refined slip that is applied in layers to achieve varying transparency—reminiscent to me in the same way that memories can vary in their transparency or vividness.
Tools and Materials
Before I begin building, I assemble my tools. I use a few rubber ribs and wooden tools for shaping, with an assortment of brushes and drawing tools for finishing the surfaces. I have a range of tools to create line variation: a double-ended knitting needle, a pointed wooden tool, and my personal favorite, the mechanical pencil with a sewing needle dropped inside. This last tool was something I picked up at a workshop with Kari Radasch years ago, and it is probably the most important tool I use (1).
For my surface decoration, I use terra sigillata (terra sig), an ultra-refined slip, to which I then add Mason stains, so I can achieve the colors I want. I can usually get 2–3 gallons (7.5–11.3 L) of terra sig with every batch which will last me a little over six months. I choose to use terra sig in my work because it is more cost-effective than underglaze and because of the velvety appearance of the terra sig when it is left unglazed. Terra sig also allows me the ability to play around with layering to add more depth to the surface; by applying multiple coats of the terra sig, I can achieve a memory-like quality in my surface imagery.
Building the Base
All of my pots are built using a combination of slab, coil, or pinched techniques. To begin building a basket, start with a slab. Use a rubber rib to compress the slab before using a stencil to draw an outline of the foot of the basket (2). Once you have an outline, cut away the excess clay, and score around the edges of your clay footprint. It is very important to slip and score every attachment in the process; the clay body I use acts similarly to porcelain and can be a bit temperamental in the drying and shrinking process.
Roll out a coil (3), then pinch it around the bottom of the scored basket (4), creating a skirt or playful foot (5). Once the coil is attached, use a wooden tool to help blend the coil into the floor of the basket, followed by a small rubber rib to further compress the clay. Now, begin to build up the walls of the basket. When I am building upward in my work, I use strips of slabs instead of coils because of the patchwork look it gives my pots. I use a ruler with a cork backing (to prevent sticking to wet clay) to ensure the slabs are cut to consistent widths (6). Before attaching each slab, I recommend using a small wooden roller to smooth the slab edges to a softer angle for attachment. Then, slip and score before pinching the slab around the base of the basket (7).
Once you have the first strip of clay attached, use a wooden tool to help blend it into the floor (8). Repeat the previous steps, adding more height to the basket by slipping, scoring, and attaching another strip of clay. After the second layer is attached, use the straight side of a rib to exaggerate the indentation of each scallop around the basket (9). This will both shape the form of the basket and add additional depth to the surface. Allow the clay to set up before moving on to the next step. When you feel confident that you can make additions without altering the form too much, add another coil around the rim of the basket. Do not blend this coil; instead, pinch it so that it creates another skirt around the rim (10).
Handling Handles
My handles are a series of pinched-out coils attached together. Begin by rolling out coils around ½ inch (1.3 cm) thick, cutting them to 4 to 5 inches (10.1 to 12.7 cm), and pinching them out to the desired length and thickness (11). Once you have two horseshoe-shaped coils, use them to help make a decision on where they will be attached to the basket. Use a needle tool to mark their desired location and then score both coils and the areas of attachment on the rim. First, attach the back half of the handle; pinching and applying a little pressure to make sure it is firmly attached (12). Next, attach the second half of the handle from the inside of the basket. Apply slight pressure and pinch the handle into its desired shape. Repeat this step on the opposite side of the basket. Sometimes, depending on how wet my clay is, I will add a little piece of clay between the inside of the handle and the rim of the basket to briefly support the handle while it sets up.
I do not wait for the handles to set up before adding the smaller coil additions to them. Roll out less than ¼-inch (6.4-mm)-thick coils and cut them down to 1–2 inches (2.5–5.1 cm) in length. As you did with the handle components, pinch out these small coils to the desired length and thickness. Again, mark where you plan to attach them, both on the handle and the rim of the basket. Score and slip both the tiny coil and attachment points. As you attach them, apply a slight but firm pressure to ensure attachment, but not so much pressure that the coil goes flat or begins to blend (13). This is the final step for building. Now, let the basket get to the hard-leather-hard state.
Surface
I begin with 2–3 coats of the base layer terra sig (white sig, no stains added). It’s best to let the terra sig dry between coats for best absorption. Be careful not to apply the terra sig too thick, as this can be a potential cause of flaking after firing. After the base coats are applied, I paint on the first layer of a pattern and follow up by carving or tracing over the top of that pattern. I use a lot of cityscape imagery in my work, so I often lay down some simple elements of the cityscape first, like traffic lights or utility poles. I’ll paint the gestures in the illustrations, then follow up by carving over them to give the image more detail and definition. I will repeat this process to build up the background before painting and drawing in the focal point of the surface imagery.
I proceed to decorate the basket with various patterns; viewing the surface as an equation, I plug in color interchangeably to create balance no matter the combination (14, 15). My process to achieve depth in my surface is simple: paint on a layer, draw into that layer (16), repeat. The carving is not very deep, less than a 1/16 inch. I draw into the clay with pretty much the same amount of pressure as I do when I am drawing onto paper. As I add layer upon layer, I am careful to consider how the previous interacts with the current (17). I will look for moments where the imagery creates opportunities for interesting interactions between objects, such as PBR cans lining the tops of electrical poles. While never possible in real life, it is a call to the meshing of the cityscape into my nightlife as a young adult. My ultimate goal is to keep the viewer finding something new every time they hold the work (18).
After you finish the surface work, slowly dry everything before bisque firing it. I choose to only apply glaze in some areas and take advantage of the play between raw and glazed surfaces. I brush on two layers of my glossy clear glaze; if I apply anymore than that, the surface will become foggy. Lastly, I use a few different grits of sandpaper to soften any raw clay surface.
the author Autumn McKay is an artist originally from Louisville, Kentucky, who is currently making and teaching as a long-term Artist-In- Residence at Queen City Clay in Cincinnati, Ohio.
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