Every part of the making process involves a decision, and choosing a texture is one of the many decisions I make when creating my work. I started thinking more about this after using commercially made texture rollers. I began noticing the same rollers being used by other potters, and the textures I had chosen for my own work started to feel less personal. I wanted a way to customize my textures and incorporate my own ideas into the surface of my work.
I have seen several methods online for making your own texture rollers, including using hot glue on a rolling pin. When I tried this method, I found the hot glue difficult to control. I already use craft foam frequently in my studio, so I wondered if I could use adhesive-backed foam to create a roller instead. After some experimenting, I found a method that was inexpensive, easy to customize, and has held up surprisingly well over the years.
Gathering Supplies (1)
2-mm adhesive-backed craft foam
1¼-in. × 48-in. round wood dowel
Scissors
Ballpoint pen
Saw (optional)
The wooden dowels I use are available at most home-improvement stores for around $6 each. I typically cut each 48-inch (1.2 m) dowel into three 16-inch (40.6 cm) rollers, but you can make them as long or short as you want. The length of the roller can also become part of the design depending on the size of the slabs you typically work with.
I originally experimented with PVC pipe because I had some available in my studio. While it worked, I found that clay tended to stick to the plastic more than it does to the wood.
Making the Roller
Start by cutting your wooden dowel to your desired length. I usually make mine about 16 inches (40.6 cm) long because of the size of my large platters. Then, cut shapes from the adhesive-backed craft foam and arrange them around the dowel. Once you are happy with the arrangement, peel off the backing and press the foam firmly onto the dowel.
I typically cut my shapes by hand with scissors. I like that this keeps the process simple and low-tech. If you want to create more precise or complicated shapes, a vinyl cutting machine such as a Silhouette or Cricut can also cut craft foam.
One of my favorite things about working with the foam is that the surface can be altered before it ever touches the clay. A ballpoint pen can be used to impress lines, dots, or other details directly into the foam (2). These marks create a softer, subtler impression in the clay than the edges of the cut foam do. You can also experiment with different spacing, orientations, and repetitions. I have not experimented with layering the foam, but I imagine there are plenty of possibilities there.
Once the shapes are cut and detailed, remove the adhesive backing and adhere the shapes directly to the wooden dowel (3).
Rolling Out the Texture
To use the roller, roll it across a freshly rolled slab with even pressure (4). I find consistent pressure gives the most predictable results.
One of the reasons I prefer rollers over texture sheets is their flexibility. A roller can be used on a small slab or rolled repeatedly across a much larger slab without changing the scale of the design. You can rotate the roller or change where to begin and end a pass to make the pattern feel less repetitive (5).
I often tell people that I can’t help but decorate every part of a piece. Because we work in three dimensions, we have the responsibility—and the privilege—to consider every part of a form. Leaving an area blank can absolutely be an intentional choice, but adding texture can bring attention to an overlooked part of the piece. A small amount of texture on the underside of a plate or cup, or across an otherwise quiet area, can make those overlooked parts feel just as considered as the rest of the piece.
Making It Your Own
What I like most about these rollers is that they don’t require much investment to make something that feels unique to your studio. You aren’t limited to the textures available in a catalog, and you don’t need complicated equipment to get started.
Grab a pair of scissors, start cutting some shapes, and see where it takes you. Try adding details with a ballpoint pen or experiment with different arrangements. There are lots of ways to make these rollers your own (6), and I’m sure there are plenty of variations I haven’t thought of yet. Have fun with it, make it your own, and go make some new marks in your studio!
Catie Miller is a ceramic artist based in Fargo, North Dakota, where she makes pots featuring her brightly illustrated surfaces. For more about her work, visit catie-miller.com.
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Every part of the making process involves a decision, and choosing a texture is one of the many decisions I make when creating my work. I started thinking more about this after using commercially made texture rollers. I began noticing the same rollers being used by other potters, and the textures I had chosen for my own work started to feel less personal. I wanted a way to customize my textures and incorporate my own ideas into the surface of my work.
I have seen several methods online for making your own texture rollers, including using hot glue on a rolling pin. When I tried this method, I found the hot glue difficult to control. I already use craft foam frequently in my studio, so I wondered if I could use adhesive-backed foam to create a roller instead. After some experimenting, I found a method that was inexpensive, easy to customize, and has held up surprisingly well over the years.
Gathering Supplies (1)
The wooden dowels I use are available at most home-improvement stores for around $6 each. I typically cut each 48-inch (1.2 m) dowel into three 16-inch (40.6 cm) rollers, but you can make them as long or short as you want. The length of the roller can also become part of the design depending on the size of the slabs you typically work with.
I originally experimented with PVC pipe because I had some available in my studio. While it worked, I found that clay tended to stick to the plastic more than it does to the wood.
Making the Roller
Start by cutting your wooden dowel to your desired length. I usually make mine about 16 inches (40.6 cm) long because of the size of my large platters. Then, cut shapes from the adhesive-backed craft foam and arrange them around the dowel. Once you are happy with the arrangement, peel off the backing and press the foam firmly onto the dowel.
I typically cut my shapes by hand with scissors. I like that this keeps the process simple and low-tech. If you want to create more precise or complicated shapes, a vinyl cutting machine such as a Silhouette or Cricut can also cut craft foam.
One of my favorite things about working with the foam is that the surface can be altered before it ever touches the clay. A ballpoint pen can be used to impress lines, dots, or other details directly into the foam (2). These marks create a softer, subtler impression in the clay than the edges of the cut foam do. You can also experiment with different spacing, orientations, and repetitions. I have not experimented with layering the foam, but I imagine there are plenty of possibilities there.
Once the shapes are cut and detailed, remove the adhesive backing and adhere the shapes directly to the wooden dowel (3).
Rolling Out the Texture
To use the roller, roll it across a freshly rolled slab with even pressure (4). I find consistent pressure gives the most predictable results.
One of the reasons I prefer rollers over texture sheets is their flexibility. A roller can be used on a small slab or rolled repeatedly across a much larger slab without changing the scale of the design. You can rotate the roller or change where to begin and end a pass to make the pattern feel less repetitive (5).
I often tell people that I can’t help but decorate every part of a piece. Because we work in three dimensions, we have the responsibility—and the privilege—to consider every part of a form. Leaving an area blank can absolutely be an intentional choice, but adding texture can bring attention to an overlooked part of the piece. A small amount of texture on the underside of a plate or cup, or across an otherwise quiet area, can make those overlooked parts feel just as considered as the rest of the piece.
Making It Your Own
What I like most about these rollers is that they don’t require much investment to make something that feels unique to your studio. You aren’t limited to the textures available in a catalog, and you don’t need complicated equipment to get started.
Grab a pair of scissors, start cutting some shapes, and see where it takes you. Try adding details with a ballpoint pen or experiment with different arrangements. There are lots of ways to make these rollers your own (6), and I’m sure there are plenty of variations I haven’t thought of yet. Have fun with it, make it your own, and go make some new marks in your studio!
Catie Miller is a ceramic artist based in Fargo, North Dakota, where she makes pots featuring her brightly illustrated surfaces. For more about her work, visit catie-miller.com.
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