Fresh air and a hint of dirt beneath your nails . . . There is something truly magical about communing with the earth, the art of noticing the small moments from the vibrant, natural world that we exist alongside. As an avid gardener, flora and fauna serve as the main source of inspiration for my explorations in surface design. My great-grandmother’s daylilies are a colorful testament to resiliency. Stargazer lilies, a lesson in patience. Dahlias, a reminder that there is beauty to be found in impermanence, for change is inevitable. The sphinx moth, a note on knowing your worth; for we are all interconnected and have a role to play.
Underglaze on a dark, iron–rich clay body has become my primary canvas. The colors are reminiscent of my sanctuary, the garden. From a background in painting to explorations in stained glass, my process is informed by decades of media exploration gleaned from my time as an art educator.
Designing the Stencil
While there are a multitude of ways to bring an image to life, my process incorporates technology to create an original stencil. It begins with a simple black-and-white line drawing in the digital drawing app Procreate on an iPad (1), along with the use of a craft die-cutting machine. A drawing stylus and a screen protector on your tablet can give a similar feeling to drawing on paper.
A good rule of thumb for designing stencils is that every line should touch another line; this creates a durable stencil that can be easily handled and later reused.
When drawing your image, consider varying line weight, using both thick and thin lines for visual interest. For a successful stencil, your design must have a transparent background. To do this in Procreate, create your image in a separate layer from the background. When the drawing is complete, turn off the visibility on your background layer (2), then export your image as a .PNG file (3).
Cutting and Weeding the Vinyl
I use a Cricut brand die-cutting machine to cut my images into stencil vinyl. Upload your drawing file to the vinyl cutter design software (4), then finalize the layout and begin the cut (5). Next, remove the vinyl from the negative space around your image. This process is called weeding. Use fine-point tweezers to remove the excess vinyl, so that only your line drawing remains (6). A low-tech alternative is to hand-cut your stencils with an X-Acto knife.
Creating the Canvas
Using a dark clay body can provide dynamic, high-contrast linework. A simple thrown form is an ideal canvas for surface design. Consider keeping the walls of your vessel reasonably vertical to provide a sufficient surface for the image. While stencil vinyl is flexible, it is easier to work on a surface without extreme curves. An added taper at the base creates a change in plane, becoming an opportunity for exploring additional surface techniques.
Use a ball stylus tool to create lines denoting the lip and the foot of the cup (7). The interior glaze will later be brought over the lip of the cup to create a more comfortable surface to drink from. An undulating line gives a more pleasant, organic feel.
Applying the Stencil
Stencil vinyl adheres best to a soft leather-hard surface. Fill a flat container with water, then dip your stencil into the water. This will provide a better seal between the vinyl and the clay. Gently place the wet stencil on the pot. Allow the vinyl to run off the edge of the canvas for visual interest. The loose edges of the stencil will also allow for easier removal. Use your fingers to gently rub the stencil flat against your pot, then rub a soft finishing sponge over the stencil to improve the seal (8). If the clay body contains grog, use a soft polymer rib to burnish the surface of your vessel once the stencil is applied.
Applying Underglaze
Using a fan brush, apply a thin layer of underglaze over your stencil (9). A lighter value, like white or yellow, will allow you to see the stencil better atop the dark clay body. This layer will further seal the edges of the stencil in place.
Add a drop of gum solution or Darvan 7 to improve the flow of your underglaze. Use a small handheld mixer, like a milk frother, to blend your underglaze smooth. Working in layers to build opacity, apply 2–3 coats of various underglaze colors over your stencil (10).
Some considerations for color: analogous colors (adjacent on the color wheel) work well for creating color blends, while complementary colors (opposites on the color wheel) work well for creating high contrast between your subject and the background. Explore mixing your own underglaze colors for an infinite palette.
Removing the Stencil
Timing is key for removing the stencil. Too wet, your underglaze may move and smear. Too dry, and your underglaze may crack or chip. Allow the wet sheen of the underglaze to slightly dissipate then, using the loose edge of the vinyl, gently lift the stencil (11). Use a ball-stylus tool to remove any rogue underglaze. If desired, repeat this process on the back of your pot (12).
Cleaning and Storing Stencils
Place the stencil back into the water container and allow it to soak for several minutes. Use your fingers to gently rub away any remaining underglaze. Lay your clean stencils on a paper towel to air dry. I like to store my stencils in clear plastic report covers, which can be found at an office supply store. This will prevent the stencils from sticking together while allowing you to view and organize your designs easily.
Filling the Negative Space
Filling the background areas with underglaze after removing the vinyl will give you a cleaner image. Allow the area where you removed your stencil to dry to the touch. Using a soft paintbrush, apply three coats of underglaze to the negative space around your main subject, allowing your underglaze to dry between coats (13).
Finishing the Foot
Adding a carved pattern into the tapered area near the foot ring adds variety and interest. Add a thin base coat of underglaze to the area. Divide the surface area into equal sections with a pencil and a dividing tool. Sketch your pattern lightly, then repeat the design in each section. Use a fine-point carving tool to incise the pattern into the underglaze (14). Fill the pattern with two coats of underglaze (15). Have fun; more is more!
Final Touches
Bisque fire the dry work to cone 04. Use a fan brush to apply 3–4 coats of a glossy, food-safe glaze to the interior and the lip of the vessel (16), then fire to cone 5. Wet sand the foot to a smooth finish using sanding pads up to 1500 grit (17). Add a final polish with a 2000-grit, wet-dry sandpaper. Gently sand the exterior surface of your cup for a soft, velvety feel. Allow the piece to dry for 24 hours.
Finally, apply one thin coat of Liquid Quartz ceramic sealer to the exterior over the underglaze areas for added stain protection and ease of cleaning (18).
Closing Thoughts
As a lifelong learner, I want to tip my hat to all of the educators out there who generously share ideas, resources, and techniques; the ceramics community is like no other. We are in this together, and there is room for everyone here. I hope my work sparks joy and encourages others to pause and notice the quiet moments of beauty in the world, reminding us of our connection to the earth and to one another.
Following a 17-year career as an art educator in public schools, Ellen Duvall now works as a full-time ceramic artist in her home studio in Austin, Texas. She enjoys gardening, live music, and spending time with her family and her rescue pups, Zay and Bubby. To see more, visit ellencduvallceramics.comor follow her on Instagram @ellencduvall.
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Fresh air and a hint of dirt beneath your nails . . . There is something truly magical about communing with the earth, the art of noticing the small moments from the vibrant, natural world that we exist alongside. As an avid gardener, flora and fauna serve as the main source of inspiration for my explorations in surface design. My great-grandmother’s daylilies are a colorful testament to resiliency. Stargazer lilies, a lesson in patience. Dahlias, a reminder that there is beauty to be found in impermanence, for change is inevitable. The sphinx moth, a note on knowing your worth; for we are all interconnected and have a role to play.
Underglaze on a dark, iron–rich clay body has become my primary canvas. The colors are reminiscent of my sanctuary, the garden. From a background in painting to explorations in stained glass, my process is informed by decades of media exploration gleaned from my time as an art educator.
Designing the Stencil
While there are a multitude of ways to bring an image to life, my process incorporates technology to create an original stencil. It begins with a simple black-and-white line drawing in the digital drawing app Procreate on an iPad (1), along with the use of a craft die-cutting machine. A drawing stylus and a screen protector on your tablet can give a similar feeling to drawing on paper.
A good rule of thumb for designing stencils is that every line should touch another line; this creates a durable stencil that can be easily handled and later reused.
When drawing your image, consider varying line weight, using both thick and thin lines for visual interest. For a successful stencil, your design must have a transparent background. To do this in Procreate, create your image in a separate layer from the background. When the drawing is complete, turn off the visibility on your background layer (2), then export your image as a .PNG file (3).
Cutting and Weeding the Vinyl
I use a Cricut brand die-cutting machine to cut my images into stencil vinyl. Upload your drawing file to the vinyl cutter design software (4), then finalize the layout and begin the cut (5). Next, remove the vinyl from the negative space around your image. This process is called weeding. Use fine-point tweezers to remove the excess vinyl, so that only your line drawing remains (6). A low-tech alternative is to hand-cut your stencils with an X-Acto knife.
Creating the Canvas
Using a dark clay body can provide dynamic, high-contrast linework. A simple thrown form is an ideal canvas for surface design. Consider keeping the walls of your vessel reasonably vertical to provide a sufficient surface for the image. While stencil vinyl is flexible, it is easier to work on a surface without extreme curves. An added taper at the base creates a change in plane, becoming an opportunity for exploring additional surface techniques.
Use a ball stylus tool to create lines denoting the lip and the foot of the cup (7). The interior glaze will later be brought over the lip of the cup to create a more comfortable surface to drink from. An undulating line gives a more pleasant, organic feel.
Applying the Stencil
Stencil vinyl adheres best to a soft leather-hard surface. Fill a flat container with water, then dip your stencil into the water. This will provide a better seal between the vinyl and the clay. Gently place the wet stencil on the pot. Allow the vinyl to run off the edge of the canvas for visual interest. The loose edges of the stencil will also allow for easier removal. Use your fingers to gently rub the stencil flat against your pot, then rub a soft finishing sponge over the stencil to improve the seal (8). If the clay body contains grog, use a soft polymer rib to burnish the surface of your vessel once the stencil is applied.
Applying Underglaze
Using a fan brush, apply a thin layer of underglaze over your stencil (9). A lighter value, like white or yellow, will allow you to see the stencil better atop the dark clay body. This layer will further seal the edges of the stencil in place.
Add a drop of gum solution or Darvan 7 to improve the flow of your underglaze. Use a small handheld mixer, like a milk frother, to blend your underglaze smooth. Working in layers to build opacity, apply 2–3 coats of various underglaze colors over your stencil (10).
Some considerations for color: analogous colors (adjacent on the color wheel) work well for creating color blends, while complementary colors (opposites on the color wheel) work well for creating high contrast between your subject and the background. Explore mixing your own underglaze colors for an infinite palette.
Removing the Stencil
Timing is key for removing the stencil. Too wet, your underglaze may move and smear. Too dry, and your underglaze may crack or chip. Allow the wet sheen of the underglaze to slightly dissipate then, using the loose edge of the vinyl, gently lift the stencil (11). Use a ball-stylus tool to remove any rogue underglaze. If desired, repeat this process on the back of your pot (12).
Cleaning and Storing Stencils
Place the stencil back into the water container and allow it to soak for several minutes. Use your fingers to gently rub away any remaining underglaze. Lay your clean stencils on a paper towel to air dry. I like to store my stencils in clear plastic report covers, which can be found at an office supply store. This will prevent the stencils from sticking together while allowing you to view and organize your designs easily.
Filling the Negative Space
Filling the background areas with underglaze after removing the vinyl will give you a cleaner image. Allow the area where you removed your stencil to dry to the touch. Using a soft paintbrush, apply three coats of underglaze to the negative space around your main subject, allowing your underglaze to dry between coats (13).
Finishing the Foot
Adding a carved pattern into the tapered area near the foot ring adds variety and interest. Add a thin base coat of underglaze to the area. Divide the surface area into equal sections with a pencil and a dividing tool. Sketch your pattern lightly, then repeat the design in each section. Use a fine-point carving tool to incise the pattern into the underglaze (14). Fill the pattern with two coats of underglaze (15). Have fun; more is more!
Final Touches
Bisque fire the dry work to cone 04. Use a fan brush to apply 3–4 coats of a glossy, food-safe glaze to the interior and the lip of the vessel (16), then fire to cone 5. Wet sand the foot to a smooth finish using sanding pads up to 1500 grit (17). Add a final polish with a 2000-grit, wet-dry sandpaper. Gently sand the exterior surface of your cup for a soft, velvety feel. Allow the piece to dry for 24 hours.
Finally, apply one thin coat of Liquid Quartz ceramic sealer to the exterior over the underglaze areas for added stain protection and ease of cleaning (18).
Closing Thoughts
As a lifelong learner, I want to tip my hat to all of the educators out there who generously share ideas, resources, and techniques; the ceramics community is like no other. We are in this together, and there is room for everyone here. I hope my work sparks joy and encourages others to pause and notice the quiet moments of beauty in the world, reminding us of our connection to the earth and to one another.
Following a 17-year career as an art educator in public schools, Ellen Duvall now works as a full-time ceramic artist in her home studio in Austin, Texas. She enjoys gardening, live music, and spending time with her family and her rescue pups, Zay and Bubby. To see more, visit ellencduvallceramics.com or follow her on Instagram @ellencduvall.
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