Like many artists, my art education involved a fair amount of art history readings—both assigned and self-inflicted by my own curiosity. The Renaissance period is a particular favorite of mine and where I first encountered tondo artworks (tondo: a Renaissance term for a circular painting or relief sculpture.) The tondo artwork frame provides a unique window for the artist to fill. No corners, just a spy-glass viewpoint.
Ceramic artists, who enjoy the creativity of the wheel, will quickly see the similarity of form in the tondo frame. Over the last decade, I have pushed myself and my wheel in my tondo pursuit. The round frame is a natural form to throw on the wheel. By increasing the width and decorative grooves of the rim, the rim imitates a frame to surround the illustrated center of the plate. My only production stipulations are that the resulting artwork must be made from a single piece of clay and must still qualify as a plate, but a plate destined to hang on the wall as artwork.
In this example, I use the humble hamburger as the image. This process will work with any letterpress print plate. The challenge will always be the printing plate and stencil positioning, and a steady hand when impressing the plate into the soft clay.
Throwing the Tondo Plate
Throw a disk of clay on the wheel to ½ inch (1.2 cm) thickness and 9 in. (22.8 cm) in diameter. The disk should have a very slight incline toward the center. Use a flexible steel rib to smooth the surface and remove any wet clay (1). To define the main image area of the plate, use a pencil to lightly mark the clay while the wheel turns. I use Rovin Ceramics RO-95 American Porcelain, www.rovinceramics.com.
Adding Decoration
Remove the bat from the wheel head. Using a blending brush, apply two coats of underglaze over the center of the disk (2). Choose a plastic stencil, position it on the disk, and lightly roll a pony roller over the stencil to seal the stencil to the clay surface (3). I use Speedball underglazes, www.speedballart.com.
Using a palette knife, spread a second color of underglaze across the stencil surface (4). This action is like buttering toast. Remove the stencil by gently peeling it back. The stencil design should be slightly raised with crisp, clean edges (5). When the wet sheen is gone from the underglaze, place a dry sheet of newsprint over the raised design and roll the surface flat with the pony roller. Run your fingertips across the newsprint to confirm the surface is flat. Remove the newsprint to reveal the smooth, flat clay surface with the checkerboard design clearly defined but without any raised areas (6).
Next, spread a large dab of white underglaze across the disk’s surface (7). This area predicts the future placement of the hamburger print plate. Place a dry, flat sheet of newsprint over the raised design and roll the surface flat with a pony roller. Remove the newsprint to reveal the smooth, flat clay surface with the white porcelain shape clearly defined and without any raised areas (8).
Next, we want to create a rectangular shape. Cut a stencil from a sheet of Mylar (specifically: Dura-Lar 0.005 Mylar film) and place it over the underglaze, bridging the yellow and white colors. Lightly roll a pony roller across the stencil to seal it to the clay surface (9). Spread Carmine Red underglaze across the stencil’s opening with a palette knife (10). Peel away the Mylar to reveal a clean-edged rectangular shape.
Position perforated, adhesive-backed drywall tape on the disk. Remove the backing sheet and press it gently against the disk surface. Using a palette knife, spread red underglaze across the tape surface (11). Peel up the tape to reveal a pattern of dots (12). Again, place a dry, flat sheet of newsprint over the raised design and roll the surface flat with a pony roller.
Adding an Image with a Print Plate
Select a print plate (I am using an image of a hamburger) and give it a light coat of WD-40 (13). This will act as a releasing agent between the print plate and the underglazed clay surface. Position the hamburger print plate on the disk and press and imprint the print plate design into the clay surface (14).
Now, select the text using individual letterpress type—I selected E, A, and T (15). To maintain control and improve alignment, tape the lead letters together and give them a light coat of WD-40. Then, press type into position on the clay and slightly rock them to ensure a clean, crisp impression. Use a pencil tip to make the impression for the period (16).
Defining the Rim
Place the bat back on the wheel head and mount it with bat pins. Determine the width of the rim of the plate by using a wide trim tool to clear away the unwanted remnants of underglaze (17). Then, use a small trim tool to precisely define the image area (18). Dampen the rim with a sponge, but avoid touching the center image area, or it could be compromised.
Using a wooden rib, lift the outer edge of the disk to define the shape of the plate rim (19). Once the rim is sitting up, select a piece of wood molding to add grooves on the rim—this is done to replicate the appearance of a round picture frame (20).
Slowly rotate the wheel. While supporting the underside of the rim, press the molding against the clay (21). Use plenty of water to allow a smooth throwing motion. You may also press the clay into the molding from the underside of the rim. Once the grooved pattern is established, gently pull the molding away. Set the plate aside until firm enough to trim.
Trimming and Refining the Back
Now, center the plate upside-down and begin trimming to define a traditional raised foot (22). Once satisfied with the trimming, smooth the foot and underside with a chamois (23). Sign the bottom with your mark or signature at this time.
To create holes for a hanging wire, use a 1/16 drill bit. Determine the placement of holes based on the position of the image on the front. Press down on the rim while twisting the drill bit with your hand into the foot (24). Pressing down on the foot will prevent the foot from blowing out as your drill. Brush away shavings and clean the area with a sponge (25). Insert and rotate the bristles of a small, pointed brush to smooth the holes.
The wet clay work for the tondo plate is complete. Allow the plate to dry slowly, then bisque fire it.
Glazing
Using a 0 or 00 round brush, apply black underglaze into the impressed image of the hamburger (26). If you brush outside the line (27), wipe away the glaze with a damp sponge.
To underglaze the lettering impressions, pick a contrasting underglaze color to the background and thin it with water. Soak up the watery underglaze with a pointed brush and puddle the underglaze into the recessed letters (28). Apply several coats to achieve opaque white letters. Wipe away any excess underglaze with a sponge (29).
Invert the plate and center it on the wheel. With the wheel head turned off, brush several coats of glaze into the center of the foot ring. Turn on the wheel head to a slow rotation. Apply a light wash of clear water to slightly dampen the bisque-fired rim. This will reduce the thirsty bisque surface from clumping the glaze, making it easier to apply the glaze as the wheel head turns. Now, load up a brush with glaze and apply several layers of glaze to the underside of the rim (30). Clean any glaze excesses off the foot ring with a damp sponge. Next, apply a red glaze right to the rim’s edge (31).
Flip over the plate. Center and secure the plate. Turn on the wheel head to a slow rotation. Slightly wet the bisque rim with water. Define the color edges by brushing glaze to the color edges. First, the inner edge next to the art image, then the outer edge of the rim (32). The area in between the outer and inner glaze edge can then be filled in solid, or a blend of glaze colors can be applied. In this example, I applied a gray glaze, which was then blended (33).
The last part to be glazed is the rim edge with a red glaze (34). Let the glaze fully dry, then fire the plate to the final glaze temperature.
To seal and protect the image area on the plate surface, Liquid Quartz is applied with a brush (35). Wipe any excess Liquid Quartz off the glazed area as it will create a different sheen than the satin glaze used on the rim. When Liquid Quartz dries, it will enhance the colors and leave a matte sheen.
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 author, exhibiting artist, and teaches workshops revealing his methods and philosophy on art. To see more, visit frankjamesfisher.com.
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Like many artists, my art education involved a fair amount of art history readings—both assigned and self-inflicted by my own curiosity. The Renaissance period is a particular favorite of mine and where I first encountered tondo artworks (tondo: a Renaissance term for a circular painting or relief sculpture.) The tondo artwork frame provides a unique window for the artist to fill. No corners, just a spy-glass viewpoint.
Ceramic artists, who enjoy the creativity of the wheel, will quickly see the similarity of form in the tondo frame. Over the last decade, I have pushed myself and my wheel in my tondo pursuit. The round frame is a natural form to throw on the wheel. By increasing the width and decorative grooves of the rim, the rim imitates a frame to surround the illustrated center of the plate. My only production stipulations are that the resulting artwork must be made from a single piece of clay and must still qualify as a plate, but a plate destined to hang on the wall as artwork.
In this example, I use the humble hamburger as the image. This process will work with any letterpress print plate. The challenge will always be the printing plate and stencil positioning, and a steady hand when impressing the plate into the soft clay.
Throwing the Tondo Plate
Throw a disk of clay on the wheel to ½ inch (1.2 cm) thickness and 9 in. (22.8 cm) in diameter. The disk should have a very slight incline toward the center. Use a flexible steel rib to smooth the surface and remove any wet clay (1). To define the main image area of the plate, use a pencil to lightly mark the clay while the wheel turns. I use Rovin Ceramics RO-95 American Porcelain, www.rovinceramics.com.
Adding Decoration
Remove the bat from the wheel head. Using a blending brush, apply two coats of underglaze over the center of the disk (2). Choose a plastic stencil, position it on the disk, and lightly roll a pony roller over the stencil to seal the stencil to the clay surface (3). I use Speedball underglazes, www.speedballart.com.
Using a palette knife, spread a second color of underglaze across the stencil surface (4). This action is like buttering toast. Remove the stencil by gently peeling it back. The stencil design should be slightly raised with crisp, clean edges (5). When the wet sheen is gone from the underglaze, place a dry sheet of newsprint over the raised design and roll the surface flat with the pony roller. Run your fingertips across the newsprint to confirm the surface is flat. Remove the newsprint to reveal the smooth, flat clay surface with the checkerboard design clearly defined but without any raised areas (6).
Next, spread a large dab of white underglaze across the disk’s surface (7). This area predicts the future placement of the hamburger print plate. Place a dry, flat sheet of newsprint over the raised design and roll the surface flat with a pony roller. Remove the newsprint to reveal the smooth, flat clay surface with the white porcelain shape clearly defined and without any raised areas (8).
Next, we want to create a rectangular shape. Cut a stencil from a sheet of Mylar (specifically: Dura-Lar 0.005 Mylar film) and place it over the underglaze, bridging the yellow and white colors. Lightly roll a pony roller across the stencil to seal it to the clay surface (9). Spread Carmine Red underglaze across the stencil’s opening with a palette knife (10). Peel away the Mylar to reveal a clean-edged rectangular shape.
Position perforated, adhesive-backed drywall tape on the disk. Remove the backing sheet and press it gently against the disk surface. Using a palette knife, spread red underglaze across the tape surface (11). Peel up the tape to reveal a pattern of dots (12). Again, place a dry, flat sheet of newsprint over the raised design and roll the surface flat with a pony roller.
Adding an Image with a Print Plate
Select a print plate (I am using an image of a hamburger) and give it a light coat of WD-40 (13). This will act as a releasing agent between the print plate and the underglazed clay surface. Position the hamburger print plate on the disk and press and imprint the print plate design into the clay surface (14).
Now, select the text using individual letterpress type—I selected E, A, and T (15). To maintain control and improve alignment, tape the lead letters together and give them a light coat of WD-40. Then, press type into position on the clay and slightly rock them to ensure a clean, crisp impression. Use a pencil tip to make the impression for the period (16).
Defining the Rim
Place the bat back on the wheel head and mount it with bat pins. Determine the width of the rim of the plate by using a wide trim tool to clear away the unwanted remnants of underglaze (17). Then, use a small trim tool to precisely define the image area (18). Dampen the rim with a sponge, but avoid touching the center image area, or it could be compromised.
Using a wooden rib, lift the outer edge of the disk to define the shape of the plate rim (19). Once the rim is sitting up, select a piece of wood molding to add grooves on the rim—this is done to replicate the appearance of a round picture frame (20).
Slowly rotate the wheel. While supporting the underside of the rim, press the molding against the clay (21). Use plenty of water to allow a smooth throwing motion. You may also press the clay into the molding from the underside of the rim. Once the grooved pattern is established, gently pull the molding away. Set the plate aside until firm enough to trim.
Trimming and Refining the Back
Now, center the plate upside-down and begin trimming to define a traditional raised foot (22). Once satisfied with the trimming, smooth the foot and underside with a chamois (23). Sign the bottom with your mark or signature at this time.
To create holes for a hanging wire, use a 1/16 drill bit. Determine the placement of holes based on the position of the image on the front. Press down on the rim while twisting the drill bit with your hand into the foot (24). Pressing down on the foot will prevent the foot from blowing out as your drill. Brush away shavings and clean the area with a sponge (25). Insert and rotate the bristles of a small, pointed brush to smooth the holes.
The wet clay work for the tondo plate is complete. Allow the plate to dry slowly, then bisque fire it.
Glazing
Using a 0 or 00 round brush, apply black underglaze into the impressed image of the hamburger (26). If you brush outside the line (27), wipe away the glaze with a damp sponge.
To underglaze the lettering impressions, pick a contrasting underglaze color to the background and thin it with water. Soak up the watery underglaze with a pointed brush and puddle the underglaze into the recessed letters (28). Apply several coats to achieve opaque white letters. Wipe away any excess underglaze with a sponge (29).
Invert the plate and center it on the wheel. With the wheel head turned off, brush several coats of glaze into the center of the foot ring. Turn on the wheel head to a slow rotation. Apply a light wash of clear water to slightly dampen the bisque-fired rim. This will reduce the thirsty bisque surface from clumping the glaze, making it easier to apply the glaze as the wheel head turns. Now, load up a brush with glaze and apply several layers of glaze to the underside of the rim (30). Clean any glaze excesses off the foot ring with a damp sponge. Next, apply a red glaze right to the rim’s edge (31).
Flip over the plate. Center and secure the plate. Turn on the wheel head to a slow rotation. Slightly wet the bisque rim with water. Define the color edges by brushing glaze to the color edges. First, the inner edge next to the art image, then the outer edge of the rim (32). The area in between the outer and inner glaze edge can then be filled in solid, or a blend of glaze colors can be applied. In this example, I applied a gray glaze, which was then blended (33).
The last part to be glazed is the rim edge with a red glaze (34). Let the glaze fully dry, then fire the plate to the final glaze temperature.
To seal and protect the image area on the plate surface, Liquid Quartz is applied with a brush (35). Wipe any excess Liquid Quartz off the glazed area as it will create a different sheen than the satin glaze used on the rim. When Liquid Quartz dries, it will enhance the colors and leave a matte sheen.
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 author, exhibiting artist, and teaches workshops revealing his methods and philosophy on art. To see more, visit frankjamesfisher.com.
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