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!
Clay Pieces Prep
Back in your room, pull out the candy box and remove the clay slabs and brush handle (7). Using the postcard templates from the traveling clay kit, choose the best part of the impression by looking through the flask cut-out (8). Then, place the template and cut along the edge (9). Repeat for the back clay slab.
For the sides of the flask, cut the clay into two narrow strips. I use one of the color-coded sticks as my template and cut along the edge on both sides (10). For the base, select a small clay remnant and cut it to match the width of the sides.
Next, slide the clay neck off the paintbrush handle. It will take some coaxing and steady pressure. Before attempting, remove any clay from covering the tip of the handle, or an airtight vacuum will prevent it from sliding. Use a paintbrush or a wet chamois corner and water to smooth the neck opening. Years ago, I found the nose cone of a model rocket on a beach. I insert this into the opening to create a flared, perfectly round opening (11). Repeat this on the base opening of the neck. All the parts are now ready to be assembled.
Assembly
Gather all your pieces, tools, and clay slip. Begin by attaching the base to the front panel. I recommend using a toothbrush to score the surface, as the clay panels are thin, and using a metal scoring tool risks chewing away too much of the clay. The toothbrush scrubs away and re-wets the drying clay surface, allowing for strong adhesion with the assistance of a thin bead of clay slip (12). To attach the base, position and press the base into the front panel, rocking it slightly side to side until you feel the clay connect and bite the surface. Repeat the process with the toothbrush scrub and brush load of slip for attaching the sides. Clean up all the joints with a soft round brush (13).
Some pre-measuring is needed to align the two side panels for a perfect fit at the top of the flask. Next, score and slip the back panel (14). Positioning the panel over the top of the side edges takes patience, but will fit nicely with a little maneuvering and adjusting. Clean up all the joints by using the brush to push and prod the clay into better alignment as needed (15).
To prepare for attaching the neck, locate the exact center at the top of the flask’s shoulder. Insert the tip of a pen knife and twist it in place to create an opening (16).
At this point, the flask may look a bit collapsed. Press the flask opening against your lips and gently inflate the flask body to its full volume (17).
To attach the neck, scrub the surface of the flask neck opening and base of the clay neck with a toothbrush to soften the clay. Then, add a dab of slip to both contact points and press into place. Use a soft brush to smooth and clean the joint (18).
Set the flask aside to dry. Later, when you are ready to travel, pack the flask into a soft cushion and place into a small box to ensure a safe ride home.
Firing and Glazing
Once you are home, and after the flask is fully dry, bisque fire. After firing, glaze the inside with a food-safe gloss black glaze. This is thinned with water so the glaze will pour smoothly in and out of the flask opening without clogging (19). Wipe the outside of the flask with a slightly damp sponge to remove any dust.
Thin black underglaze with water and brush a coat all over the outside of the flask surface (20). Then, delicately wipe the underglaze from the top surface of the flask using a damp sponge (21). The black underglaze will accent the recesses, and the bare clay will highlight the textures.
Apply thick dabs of the same black glaze to the interior of the flask’s opening. Once the glaze is dry, fire the flask to temperature. Finally, give the flask’s exterior a thin coat of Liquid Quartz to protect and seal the bare and underglaze surface. Add a small cork stopper if desired.
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.comor follow along on Instagram @frankjamesfisher.
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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!
Clay Pieces Prep
Back in your room, pull out the candy box and remove the clay slabs and brush handle (7). Using the postcard templates from the traveling clay kit, choose the best part of the impression by looking through the flask cut-out (8). Then, place the template and cut along the edge (9). Repeat for the back clay slab.
For the sides of the flask, cut the clay into two narrow strips. I use one of the color-coded sticks as my template and cut along the edge on both sides (10). For the base, select a small clay remnant and cut it to match the width of the sides.
Next, slide the clay neck off the paintbrush handle. It will take some coaxing and steady pressure. Before attempting, remove any clay from covering the tip of the handle, or an airtight vacuum will prevent it from sliding. Use a paintbrush or a wet chamois corner and water to smooth the neck opening. Years ago, I found the nose cone of a model rocket on a beach. I insert this into the opening to create a flared, perfectly round opening (11). Repeat this on the base opening of the neck. All the parts are now ready to be assembled.
Assembly
Gather all your pieces, tools, and clay slip. Begin by attaching the base to the front panel. I recommend using a toothbrush to score the surface, as the clay panels are thin, and using a metal scoring tool risks chewing away too much of the clay. The toothbrush scrubs away and re-wets the drying clay surface, allowing for strong adhesion with the assistance of a thin bead of clay slip (12). To attach the base, position and press the base into the front panel, rocking it slightly side to side until you feel the clay connect and bite the surface. Repeat the process with the toothbrush scrub and brush load of slip for attaching the sides. Clean up all the joints with a soft round brush (13).
Some pre-measuring is needed to align the two side panels for a perfect fit at the top of the flask. Next, score and slip the back panel (14). Positioning the panel over the top of the side edges takes patience, but will fit nicely with a little maneuvering and adjusting. Clean up all the joints by using the brush to push and prod the clay into better alignment as needed (15).
To prepare for attaching the neck, locate the exact center at the top of the flask’s shoulder. Insert the tip of a pen knife and twist it in place to create an opening (16).
At this point, the flask may look a bit collapsed. Press the flask opening against your lips and gently inflate the flask body to its full volume (17).
To attach the neck, scrub the surface of the flask neck opening and base of the clay neck with a toothbrush to soften the clay. Then, add a dab of slip to both contact points and press into place. Use a soft brush to smooth and clean the joint (18).
Set the flask aside to dry. Later, when you are ready to travel, pack the flask into a soft cushion and place into a small box to ensure a safe ride home.
Firing and Glazing
Once you are home, and after the flask is fully dry, bisque fire. After firing, glaze the inside with a food-safe gloss black glaze. This is thinned with water so the glaze will pour smoothly in and out of the flask opening without clogging (19). Wipe the outside of the flask with a slightly damp sponge to remove any dust.
Thin black underglaze with water and brush a coat all over the outside of the flask surface (20). Then, delicately wipe the underglaze from the top surface of the flask using a damp sponge (21). The black underglaze will accent the recesses, and the bare clay will highlight the textures.
Apply thick dabs of the same black glaze to the interior of the flask’s opening. Once the glaze is dry, fire the flask to temperature. Finally, give the flask’s exterior a thin coat of Liquid Quartz to protect and seal the bare and underglaze surface. Add a small cork stopper if desired.
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.
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