How to Make a Traveling Clay Kit to Create Textures on the Go Frank James Fisher

Frank James Fisher loves incorporating found textures into his work and is always on the lookout for interesting patterns to press into clay. In an effort to never miss an opportunity to gather a new texture, Frank has developed an ingenious "Traveling Clay Kit." The kit is a portable studio packed into a toolbox that lets him capture surface impressions straight from the world around him.

In this post, an excerpt from the July/August 2026 issue of Pottery Making Illustrated, he shows how you can make your own Traveling Clay Kit. –Jennifer Poellot Harnetty, editor

PS. To learn how Frank uses the textured clay pieces to make finished pots, check out the full article in the July/August 2026 issue of Pottery Making Illustrated. Not a subscriber? Subscribe today!

Texture is everywhere once you start looking. Finding an interesting texture is about slowing down and observing. It’s about noticing the interplay of light and shadow across uneven surfaces, or how pattern and irregularity coexist. Whether natural or constructed, textures invite curiosity. They remind us that beauty can be found in the small, tactile details we often overlook. 

My texture ‘sketches’ are gathered out in the wild, far beyond the studio. With my Traveling Clay Kit (A), I carry my ceramic studio into the world. Packed inside a toolbox are the essential tools needed to create small objects. This approach is my ceramic interpretation of plein-air painting—a way to work directly within the landscape. I collect authentic impressions from architectural remnants, sewer covers, lamp posts, tree bark, doormats, broken pavement, gravestones, rocks, wicker— anything with a compelling surface can be transformed into surface texture. Later, whether in a hotel room or other available space, I shape those clay impressions into an object—a functional object that is visually engaging, tactile, a bit unexpected, and a memento of my travels. 

Workspace and Clay Prep 

The first step is to locate a workspace (1)—a desk or side table in a hotel room, or a kitchen counter or coffee table at an Airbnb. 

Next, prep your traveling clay kit for a day in the wild (I want to make a small flask from the textures that I discover). Divide your clay into four pieces. Roll out three of the pieces of clay into 5/64-inch (2-mm)-thick slabs (roughly the thickness of a house key or two stacked credit cards). 

Tip: I use a set of paired color-coded sticks of descending thickness to roll and set the thickness of my slabs. I recommend taking a look at my article, “Slab Perfect,” in the December 2010 issue of Ceramics Monthly. I cut the sticks and the rolling dowel short enough to fit into the clay kit box. 

Before each roll, flip the clay and rotate it 90 degrees to minimize curling of the clay slab. Dust the sheets with cornstarch. Trim the clay slabs to a size that fits inside a protective candy box. Place the slabs back-to-back ensuring there is cornstarch between the layers to prevent sticking (2). 

For the flask neck, press a clay wad around the shaft of a cut-down paintbrush handle (3). A paintbrush handle is tapered—the taper assists in sliding the clay neck off the handle later. Dust the clay surface with cornstarch, then place it into the candy box. All these items, plus a scrub brush and the cornstarch pounce pouch, are placed into a backpack or bag. This is all you need to hunt for your next texture. 

Why a Candy Box? 

Many of the textures I collect are in public areas. I prefer to be covert. The candy box provides a quick visual explanation of my intentions to a casual passerby. I appear to be sitting down and enjoying a box of candy. The candy box also protects the clay from bumps and gouges in my backpack. 

Out in the Wild 

Once you locate a texture you wish to collect, use the scrub brush to clean away any loose dirt and dust (4). Determine how the texture will imprint on your flask—which will be the image for the front, back, and sides. Pull out the candy box and slide out a bagged clay slab. Position the clay slab over the texture— cornstarch-side facing the texture—and press the palm of your hand against the clay to impress the clay. When satisfied with your imprint, peel up an edge to remove the slab (5). Repeat the impressions on the two other slabs. Note: Both of the narrow sides of the flask are cut from the same slab, so the impression for both is done at the same time on the same clay sheet. 

Next, pull out the clay-covered brush handle. Position the clay against the texture and press down. Do not roll the handle while pushing down; this will loosen and distort the clay. Instead, lift the handle slightly, rotate, and push down again (6). Repeat the process until the clay neck is covered with texture. 

Return all the items to the backpack. With practice, the entire process will only take 5 minutes—as fast as a graffiti artist! 

Frank James Fisher is a full-time ceramic artist living and working in Milford, Michigan. Fisher’s art is recognized for its strong graphic design aesthetic, narrative content, and unique approach to the ceramic medium. Fisher is an exhibiting artist, author, and teaches workshops demonstrating his methods and philosophy on art. To learn more about Frank and his work, visit www.frankjamesfisher.com or follow along on Instagram @frankjamesfisher.