Since the beginning of my journey with ceramics, adding something to the surface has always been a constant nourishing way to keep me curious from the heartbreak that comes with the territory of being a ceramic artist. The process of learning can be very steep, but fortunately, in my own journey, I have had the good fortune of always working with others in a studio who can keep the questions flowing. Even if it is not my question, I have learned that maintaining an open mind is key. Make lots of notes and take videos; trust that in the future you will probably nod to this information and say, “Of course! That makes sense!” Journaling in this way has been super helpful in my process, especially coming from a background where you only learn as much as you demand of yourself.
Drawing From Tradition
Drawing and painting have always been a deep interest of mine ever since I was very little. I first started decorating pots when I was nineteen, and an older man, named Bekir from Turkey, passed on to me what he knew of traditional folk-art decoration. Many of the motifs featured birds and mandala-style designs. Blue, white, and red were the central colors of this practice. The first thing that Bekir taught me was the importance of line weight, geometry, and the distance between two lines.
We first started with learning how to decorate birds. Growing up in Mexico and among Mexican Talavera pottery in the folk-art tradition of Tonala, I was very familiar with bird motifs in ceramics. I continue to be struck by the similarities in designs in different cultures across the globe, and it is my life goal to continue to learn about the history of these traditions and how it is that so many use very similar subject matter and colors.
Inspiration and Intention
Currently, in my practice, I have chosen to steer away from traditional designs, and yet, that first introduction to brushwork has very much influenced my own designs. The line weight and movement in my strokes are a continuation of that practice. When I start a design, I have a few points from which to begin. If it is a pitcher or a mug, I will begin very close to the handle with a stroke that has movement and life spaced to allow room to be in relationship with the next stroke. I also like to saturate my strokes with little embellishments that create more vibrancy in the pattern.
I often have found myself inspired by old painting frames in museums, carved-wood doors from other cultures or old buildings, and by calligraphy, graffiti, and traditional paintings. I am interested in what makes a shape stand out, and I try to learn from other techniques to bring them into my work.
Choosing Materials, Tools, and Shapes
When I first started learning how colored slips worked, I experimented with the potency of one color on a darker colored clay body. When choosing colors to start with, perhaps it is good to limit oneself to just a few and learn from what those two colors are doing. Playing around with a white base and adding your own Mason stains is part of the fun. Mason stains have varying potencies, and if you want deeper colors, be sure to test a range of percentages.
I love finding antique Asian brushes on eBay, but I have also made my own brushes during workshops. I collect different types of animal hair and branches for handles. Start with a good brush that is tear-drop shaped. It must be able to hold ink or material well and have a nice point on the tip. A flat brush is also wonderful to have if you want more background strokes in your canvas.
The shape you are decorating on—a tile, a mug, a tumbler, a bowl, a pitcher, or a vase—makes a big difference. Each demands a different way to think about pattern. Play around with all of them to see what feels comfortable. It is imperative that you don’t get stuck in discouragement. Worry about that later and start with what feels right and practice that. Pay attention to what brings you joy.
Process
Brush a white base slip onto a leather-hard piece. Be sure the brush is wet before adding the white slip, so it lays down smoothly. With your brush, paint your framing parameter lines to help guide your design strokes. On this bowl, add two frame lines slightly below the rim and two more above the foot ring (1).
Glide the tip of the brush with the help of your well-secured pinky finger or wrist to anchor and control your stroke. Carry on with the same technique, adding a design within the frame lines both on the exterior and interior (2, 3).
Sometimes, if I know that my slips are not very strong, I will emphasize the strokes by carving the outline of the design (4). This adds a nice depth and detail. Once the piece dries slightly, brush off any of the clay debris from the carving (5).
After bisque firing, add a thin layer of clear glaze and fire it to cone 6 or 10 (6).
Turiya Gross was born in a small town and raised by musicians in Mexico. She was taught that art was as important as food. Most of what she knows of ceramics was learned in a craft school in Upstate New York, and by taking workshops across the nation, as well as apprenticeships and residencies, talking to makers, and going to shows.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Please enjoy this complimentary article for the month.
For unlimited access to Pottery Making Illustrated premium content, please subscribe.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Subscribe to Pottery Making Illustrated
Since the beginning of my journey with ceramics, adding something to the surface has always been a constant nourishing way to keep me curious from the heartbreak that comes with the territory of being a ceramic artist. The process of learning can be very steep, but fortunately, in my own journey, I have had the good fortune of always working with others in a studio who can keep the questions flowing. Even if it is not my question, I have learned that maintaining an open mind is key. Make lots of notes and take videos; trust that in the future you will probably nod to this information and say, “Of course! That makes sense!” Journaling in this way has been super helpful in my process, especially coming from a background where you only learn as much as you demand of yourself.
Drawing From Tradition
Drawing and painting have always been a deep interest of mine ever since I was very little. I first started decorating pots when I was nineteen, and an older man, named Bekir from Turkey, passed on to me what he knew of traditional folk-art decoration. Many of the motifs featured birds and mandala-style designs. Blue, white, and red were the central colors of this practice. The first thing that Bekir taught me was the importance of line weight, geometry, and the distance between two lines.
We first started with learning how to decorate birds. Growing up in Mexico and among Mexican Talavera pottery in the folk-art tradition of Tonala, I was very familiar with bird motifs in ceramics. I continue to be struck by the similarities in designs in different cultures across the globe, and it is my life goal to continue to learn about the history of these traditions and how it is that so many use very similar subject matter and colors.
Inspiration and Intention
Currently, in my practice, I have chosen to steer away from traditional designs, and yet, that first introduction to brushwork has very much influenced my own designs. The line weight and movement in my strokes are a continuation of that practice. When I start a design, I have a few points from which to begin. If it is a pitcher or a mug, I will begin very close to the handle with a stroke that has movement and life spaced to allow room to be in relationship with the next stroke. I also like to saturate my strokes with little embellishments that create more vibrancy in the pattern.
I often have found myself inspired by old painting frames in museums, carved-wood doors from other cultures or old buildings, and by calligraphy, graffiti, and traditional paintings. I am interested in what makes a shape stand out, and I try to learn from other techniques to bring them into my work.
Choosing Materials, Tools, and Shapes
When I first started learning how colored slips worked, I experimented with the potency of one color on a darker colored clay body. When choosing colors to start with, perhaps it is good to limit oneself to just a few and learn from what those two colors are doing. Playing around with a white base and adding your own Mason stains is part of the fun. Mason stains have varying potencies, and if you want deeper colors, be sure to test a range of percentages.
I love finding antique Asian brushes on eBay, but I have also made my own brushes during workshops. I collect different types of animal hair and branches for handles. Start with a good brush that is tear-drop shaped. It must be able to hold ink or material well and have a nice point on the tip. A flat brush is also wonderful to have if you want more background strokes in your canvas.
The shape you are decorating on—a tile, a mug, a tumbler, a bowl, a pitcher, or a vase—makes a big difference. Each demands a different way to think about pattern. Play around with all of them to see what feels comfortable. It is imperative that you don’t get stuck in discouragement. Worry about that later and start with what feels right and practice that. Pay attention to what brings you joy.
Process
Brush a white base slip onto a leather-hard piece. Be sure the brush is wet before adding the white slip, so it lays down smoothly. With your brush, paint your framing parameter lines to help guide your design strokes. On this bowl, add two frame lines slightly below the rim and two more above the foot ring (1).
Glide the tip of the brush with the help of your well-secured pinky finger or wrist to anchor and control your stroke. Carry on with the same technique, adding a design within the frame lines both on the exterior and interior (2, 3).
Sometimes, if I know that my slips are not very strong, I will emphasize the strokes by carving the outline of the design (4). This adds a nice depth and detail. Once the piece dries slightly, brush off any of the clay debris from the carving (5).
After bisque firing, add a thin layer of clear glaze and fire it to cone 6 or 10 (6).
Turiya Gross was born in a small town and raised by musicians in Mexico. She was taught that art was as important as food. Most of what she knows of ceramics was learned in a craft school in Upstate New York, and by taking workshops across the nation, as well as apprenticeships and residencies, talking to makers, and going to shows.
September/October2026: Table of Contents
Must-Reads from Pottery Making Illustrated
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
Click the cover image to return to the Table of Contents