When searching for a way to bring the quality of lines found in her tattoo work to her ceramics, Inbal Hoffman discovered how to make a thin-line bulb applicator using a plastic pipette as a squeezable reservoir.
Every few years, when life gets tough, I go and learn something new to keep my mind engaged and away from trouble. Three years ago, I took a tattooing course, even working as a tattoo artist for a while, just to find it wasn’t my thing. Later, when things became hard again, I began studying pottery.
By then, my studio—once devoted to tattooing—had transformed into a potter’s space. A mix of pottery equipment, medical supplies, graphic design stuff, computers, printers, rulers, and odds and ends occupied the shelves.
As a tattoo artist, my style was ‘fine line’—delicate, precise drawings made of thin, flowing strokes. When I started working with clay, I discovered that the stencil paper I had once used to transfer designs onto skin could also transfer images onto wet or bisque-fired pieces. That realization sparked a question: could I find a way to draw curves on clay with the same grace and precision as I once did on skin?
I began experimenting with tools that might recreate the sensitivity and precision of a tattoo needle. Starting from a familiar object—the slip trailer—I made several adjustments until I developed my own underglaze applicator, capable of producing a thin, consistent line.
Preparation
Begin by modifying the pipette. Cut off the tapered tip with a craft knife, leaving the bulb intact (1). The hole should be slightly smaller than the metal applicator connector so it fits tightly.
Then, fill the bulb with color (2). Use another shortened pipette to draw underglaze into the bulb almost completely, then attach the applicator tip. Make sure to seal the connection. I recommend wrapping medical tape around the joint between the bulb and applicator (3). The tape’s elasticity ensures a snug, airtight seal.
With the color filled, next, wrap a layer of grip tape over the medical tape for a more comfortable hold during long sessions (4). Finally, attach the needle. The 26-gauge applicator tip is the smallest usable size for underglaze, but larger blunt tips would also work. Twist the blunt applicator tip about half a turn into place—and your applicator pen is ready (5).
Usage Tips
This applicator works best on bisque-fired pottery. On wet or soft clay, the needle tends to carve grooves and clog, but on bisque it glides smoothly, leaving clean, even lines. Choosing the right color is very important. I use Colorobbia’s Bisque Stroke Underglaze Colours in a paste-like consistency. Avoid using slips or pigment suspensions—the powders will clog the needle. There’s no need to dilute the underglaze.
Before starting your project, always draw a few lines on paper or scrap clay first to check flow and consistency (6). And, if the needle clogs, remove and replace it. To clean, attach a water-filled pipette and flush through. Soaking used needles in water usually dissolves dried pigment, making them reusable. Make sure to refill the bulb regularly, because as the color level drops, squeezing becomes harder. Keep the bulb filled for smooth, effortless flow. If the color feels too thick, don’t thin the underglaze itself—instead, rinse the needle with water. A damp needle slightly loosens the flow, though it may cause dripping. When layering colors, you can draw over underglazed bisque, but make sure the base coat is completely dry. Otherwise, the needle may scratch or lift the surface.
Finally, when you are finished, there’s no need to empty or disassemble the pen. Simply flush the needle with water using a pipette, dry it gently with a cotton swab, and reattach it. Store the pen upright with the needle facing upward. It can stay ready for months without drying out. I keep one applicator prepared for each color (7). All of the materials are standard and easily available on Amazon.
What began as a small improvisation—born from the meeting of tattooing and pottery—has become one of my favorite tools. It bridges two crafts that once seemed worlds apart, allowing me to keep drawing delicate, flowing lines—whether on skin or on clay.
the author Inbal Hoffman is a contemporary artist with a BDes in Design and an MFA in fine art. Hoffman moves fluidly between several craft-based processes, has presented several solo museum exhibitions, and has participated in numerous group shows. To see more of Hoffman’s work along with video tutorials, visit her Instagram @inbalhoffman.
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When searching for a way to bring the quality of lines found in her tattoo work to her ceramics, Inbal Hoffman discovered how to make a thin-line bulb applicator using a plastic pipette as a squeezable reservoir.
By then, my studio—once devoted to tattooing—had transformed into a potter’s space. A mix of pottery equipment, medical supplies, graphic design stuff, computers, printers, rulers, and odds and ends occupied the shelves.
As a tattoo artist, my style was ‘fine line’—delicate, precise drawings made of thin, flowing strokes. When I started working with clay, I discovered that the stencil paper I had once used to transfer designs onto skin could also transfer images onto wet or bisque-fired pieces. That realization sparked a question: could I find a way to draw curves on clay with the same grace and precision as I once did on skin?
I began experimenting with tools that might recreate the sensitivity and precision of a tattoo needle. Starting from a familiar object—the slip trailer—I made several adjustments until I developed my own underglaze applicator, capable of producing a thin, consistent line.
Preparation
Begin by modifying the pipette. Cut off the tapered tip with a craft knife, leaving the bulb intact (1). The hole should be slightly smaller than the metal applicator connector so it fits tightly.
Then, fill the bulb with color (2). Use another shortened pipette to draw underglaze into the bulb almost completely, then attach the applicator tip. Make sure to seal the connection. I recommend wrapping medical tape around the joint between the bulb and applicator (3). The tape’s elasticity ensures a snug, airtight seal.
With the color filled, next, wrap a layer of grip tape over the medical tape for a more comfortable hold during long sessions (4). Finally, attach the needle. The 26-gauge applicator tip is the smallest usable size for underglaze, but larger blunt tips would also work. Twist the blunt applicator tip about half a turn into place—and your applicator pen is ready (5).
Usage Tips
This applicator works best on bisque-fired pottery. On wet or soft clay, the needle tends to carve grooves and clog, but on bisque it glides smoothly, leaving clean, even lines. Choosing the right color is very important. I use Colorobbia’s Bisque Stroke Underglaze Colours in a paste-like consistency. Avoid using slips or pigment suspensions—the powders will clog the needle. There’s no need to dilute the underglaze.
Before starting your project, always draw a few lines on paper or scrap clay first to check flow and consistency (6). And, if the needle clogs, remove and replace it. To clean, attach a water-filled pipette and flush through. Soaking used needles in water usually dissolves dried pigment, making them reusable. Make sure to refill the bulb regularly, because as the color level drops, squeezing becomes harder. Keep the bulb filled for smooth, effortless flow. If the color feels too thick, don’t thin the underglaze itself—instead, rinse the needle with water. A damp needle slightly loosens the flow, though it may cause dripping. When layering colors, you can draw over underglazed bisque, but make sure the base coat is completely dry. Otherwise, the needle may scratch or lift the surface.
Finally, when you are finished, there’s no need to empty or disassemble the pen. Simply flush the needle with water using a pipette, dry it gently with a cotton swab, and reattach it. Store the pen upright with the needle facing upward. It can stay ready for months without drying out. I keep one applicator prepared for each color (7). All of the materials are standard and easily available on Amazon.
What began as a small improvisation—born from the meeting of tattooing and pottery—has become one of my favorite tools. It bridges two crafts that once seemed worlds apart, allowing me to keep drawing delicate, flowing lines—whether on skin or on clay.
the author Inbal Hoffman is a contemporary artist with a BDes in Design and an MFA in fine art. Hoffman moves fluidly between several craft-based processes, has presented several solo museum exhibitions, and has participated in numerous group shows. To see more of Hoffman’s work along with video tutorials, visit her Instagram @inbalhoffman.
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