When I began my journey in clay, I wanted to create work that felt fresh, fun, and perhaps selfishly, that I enjoyed making and using. I have always been attracted to patterns and textures, and many of my early inspirations took a more illustrative approach, using bright colors and lots of underglaze—two things that do not always fare well in cone-10 reduction, which was what my community studio fired to. Though I faced a logistical challenge, I experimented with different materials in an attempt to recreate the same feelings I felt when I encountered a pot that spoke to my heart. Through trial and error, I found that using wax resist as a way to overlay patterns over my surfaces with glaze allowed me to create patterns that were as tactile as they were illustrative, and mixing the clay underneath added an extra layer of dynamism that brought my pieces to life in a space. My forms have evolved, my motifs have changed, and my firing styles have shifted, but I always find myself returning to using wax on my pots; both because the results are clean and crisp, and because I enjoy the process of applying it to the pot.
To me, one of the most magical aspects of ceramics is the way that the medium allows one to combine and juxtapose different materials to create widely different effects. There are visual and tactile qualities that clay and glaze can achieve that cannot be easily replicated in other mediums. One of the goals that has persisted the most in my practice is to display the unique attributes of each material that I use when I create a piece, and to exemplify the best aspects of each physical component.
Preparing the Clay
In my experience, it is easier to get an even and organic-looking marbled vessel using stoneware with sand or grog. The smooth nature of porcelain creates thin, wispy striations that I don’t find as nice. It is important to consider that the end surface result is determined before the clay even touches the wheel, when I begin to place the two different clays together.
I tap into my creativity as I combine the two clays; I can stack thick slabs together, but it doesn’t have to stop there—I can cut them in half and place them together askew, twist the ball with my hands, or spiral wedge (1). Taking a more abstract approach to combining the clays prevents something that I like to call the “Soft-Serve Icing Look,” where the clay takes the appearance of a mixed-flavor ice cream cone, with equal-thickness spirals that travel to the top of the vessel. I make sure as I’m combining the clay that I’m not accidentally incorporating air into my clay, and also try not to over-combine the clay, as it will continue to blend together as I manipulate it on the wheel.
If I have the time to spare, I find it helpful to take my newly combined balls of clay and place them in a plastic bag overnight to allow the moisture content in both clays to equalize. This makes the clay a little more agreeable and easier to throw. I use 11 ounces of each colored clay body for a medium-sized mug, which holds approximately 10 ounces of liquid.
On the Wheel
In order to get the two clays properly integrated, I cone the clay up higher than I would if my only goal was to center; when coning the clay down, I kick the speed of the wheel up and cone down slowly (2). When I skip this step, I have found that I’ve gotten less cohesion overall. If I am able to sense some air bubbles beneath the surface of the clay, I’ve had a ton of luck poking holes into any suspected problem spots with a needle tool when it is coned up, as the air is forced out when I cone back down.
The different textures of clay require a firm touch to pull an even wall (3). If I am using one kind of clay that’s been colored with stains, then I tend to have an easier time controlling my pulls, as both clays will have more or less the same consistency. I make sure to keep my walls a little thicker than I would normally, in preparation to trim.
Trimming
When dried to leather hard, the surface of the clay will take the appearance of a blurred image, even if the slip is removed before taking the piece off the wheel. To sharpen the surface up, trim the entire side of the vessel (4), including the bottom (5).
Tool Tip: I try to be mindful of the kind of trimming tools I use. A dull trimming tool will drag any grog through the surface of the clay, and the remaining marks will make it difficult to get a clean resist with the wax, which tends to be difficult to work into small holes or fine lines.
Sometimes I have to trim more clay off than I expect to get a clean look with no blurry patches. Avoid smoothing the surface with a rib at any stage, as the sharpness of the marbling will blur and appear less uniform.
I attach my handles while they’re leather hard (6), and score them heavily before applying a small amount of thin slip to the attachment. I try to have the handles take the appearance of being stuck on, and avoid blending them into the body of the mug.
Bisque Preparation and Waxing
Once out of the bisque kiln, check the mug for any slip fingerprints, and tape around the rim of the mug (7), as well as where the handle meets the body of the mug (8). The tape on the rim will remain until you are finished applying the wax, which allows you to get a straight layer of glaze around the rim, creating a better drinking experience overall. I use low-tack masking tape.
I always use cold wax as opposed to paraffin wax, and l like to use one with color to make it easier to see (I use Ceramic Supply USA wax resist). To prevent the wax from hardening on the brush, I recommend keeping a small container with warm water and dawn soap next to you.
I draft my patterns in graphite pencil, and have found that the graphite helps hold the wax within the margins of where I have drawn. I try to create patterns that accentuate and complement the overall form of the mug. Once drafted, begin to paint the wax onto the cup using a small, firm paintbrush, being very careful not to get it on your hands so that you don’t transfer any onto the piece (9).
Glazing
I use a glossy white glaze and prefer to dip my bisqueware instead of brushing the glaze on (10). Make sure to get a thick enough layer of glaze on the pot that you are able to create some physical depth where it collects and settles. I dip the mug into the glaze by holding the handle, which still has tape on the sections that are close to the body of the mug. Once you pull the piece out of the glaze (11), vigorously shake it to keep the glaze moving off of the areas that are waxed, then set it aside momentarily to dry. Once dried, use a tool with a curved end to clean up any edges that seem uneven (12), and wipe larger waxed areas with a sponge.
Nowadays, I usually fire to a hot cone 5 in oxidation, but this technique holds up well in reduction or when soda fired.
Tips and Tricks
Resist the urge to get the glaze looking totally perfect before firing. As the wax burns off, the glaze has a tendency to pull away from the margins, leaving a really clean end result. As long as you get any larger bits of glaze sitting on top of wax cleaned up, you will likely be pleased with the result.
When firing in oxidation, it is important to consider that not all clays complement each other well from a color perspective. When I am testing new clay combinations, I like to make small test tiles with both clay bodies blended together. That provides a better glimpse into how a piece will end up than simply holding two solid-colored test tiles together.
Avoid marbling porcelain and stoneware, particularly at a larger scale. You will not have issues where they are well mixed, but on the bottom you can sometimes get cracking where the porcelain has shrunk away from the other clay.
If you make a mistake with the wax that you think you will struggle to cover up, start over by bisque firing the pot again.
Alex Maldonado is a Texas-born studio potter and ceramics instructor residing in Seattle, Washington. They maintain a personal studio practice as well as working part time at several local ceramics studios, and have shown their work in galleries across several states. To see more, visit @fullspectrumceramicson Instagram, or fullspectrumceramics.shop.
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When I began my journey in clay, I wanted to create work that felt fresh, fun, and perhaps selfishly, that I enjoyed making and using. I have always been attracted to patterns and textures, and many of my early inspirations took a more illustrative approach, using bright colors and lots of underglaze—two things that do not always fare well in cone-10 reduction, which was what my community studio fired to. Though I faced a logistical challenge, I experimented with different materials in an attempt to recreate the same feelings I felt when I encountered a pot that spoke to my heart. Through trial and error, I found that using wax resist as a way to overlay patterns over my surfaces with glaze allowed me to create patterns that were as tactile as they were illustrative, and mixing the clay underneath added an extra layer of dynamism that brought my pieces to life in a space. My forms have evolved, my motifs have changed, and my firing styles have shifted, but I always find myself returning to using wax on my pots; both because the results are clean and crisp, and because I enjoy the process of applying it to the pot.
To me, one of the most magical aspects of ceramics is the way that the medium allows one to combine and juxtapose different materials to create widely different effects. There are visual and tactile qualities that clay and glaze can achieve that cannot be easily replicated in other mediums. One of the goals that has persisted the most in my practice is to display the unique attributes of each material that I use when I create a piece, and to exemplify the best aspects of each physical component.
Preparing the Clay
In my experience, it is easier to get an even and organic-looking marbled vessel using stoneware with sand or grog. The smooth nature of porcelain creates thin, wispy striations that I don’t find as nice. It is important to consider that the end surface result is determined before the clay even touches the wheel, when I begin to place the two different clays together.
I tap into my creativity as I combine the two clays; I can stack thick slabs together, but it doesn’t have to stop there—I can cut them in half and place them together askew, twist the ball with my hands, or spiral wedge (1). Taking a more abstract approach to combining the clays prevents something that I like to call the “Soft-Serve Icing Look,” where the clay takes the appearance of a mixed-flavor ice cream cone, with equal-thickness spirals that travel to the top of the vessel. I make sure as I’m combining the clay that I’m not accidentally incorporating air into my clay, and also try not to over-combine the clay, as it will continue to blend together as I manipulate it on the wheel.
If I have the time to spare, I find it helpful to take my newly combined balls of clay and place them in a plastic bag overnight to allow the moisture content in both clays to equalize. This makes the clay a little more agreeable and easier to throw. I use 11 ounces of each colored clay body for a medium-sized mug, which holds approximately 10 ounces of liquid.
On the Wheel
In order to get the two clays properly integrated, I cone the clay up higher than I would if my only goal was to center; when coning the clay down, I kick the speed of the wheel up and cone down slowly (2). When I skip this step, I have found that I’ve gotten less cohesion overall. If I am able to sense some air bubbles beneath the surface of the clay, I’ve had a ton of luck poking holes into any suspected problem spots with a needle tool when it is coned up, as the air is forced out when I cone back down.
The different textures of clay require a firm touch to pull an even wall (3). If I am using one kind of clay that’s been colored with stains, then I tend to have an easier time controlling my pulls, as both clays will have more or less the same consistency. I make sure to keep my walls a little thicker than I would normally, in preparation to trim.
Trimming
When dried to leather hard, the surface of the clay will take the appearance of a blurred image, even if the slip is removed before taking the piece off the wheel. To sharpen the surface up, trim the entire side of the vessel (4), including the bottom (5).
Tool Tip: I try to be mindful of the kind of trimming tools I use. A dull trimming tool will drag any grog through the surface of the clay, and the remaining marks will make it difficult to get a clean resist with the wax, which tends to be difficult to work into small holes or fine lines.
Sometimes I have to trim more clay off than I expect to get a clean look with no blurry patches. Avoid smoothing the surface with a rib at any stage, as the sharpness of the marbling will blur and appear less uniform.
I attach my handles while they’re leather hard (6), and score them heavily before applying a small amount of thin slip to the attachment. I try to have the handles take the appearance of being stuck on, and avoid blending them into the body of the mug.
Bisque Preparation and Waxing
Once out of the bisque kiln, check the mug for any slip fingerprints, and tape around the rim of the mug (7), as well as where the handle meets the body of the mug (8). The tape on the rim will remain until you are finished applying the wax, which allows you to get a straight layer of glaze around the rim, creating a better drinking experience overall. I use low-tack masking tape.
I always use cold wax as opposed to paraffin wax, and l like to use one with color to make it easier to see (I use Ceramic Supply USA wax resist). To prevent the wax from hardening on the brush, I recommend keeping a small container with warm water and dawn soap next to you.
I draft my patterns in graphite pencil, and have found that the graphite helps hold the wax within the margins of where I have drawn. I try to create patterns that accentuate and complement the overall form of the mug. Once drafted, begin to paint the wax onto the cup using a small, firm paintbrush, being very careful not to get it on your hands so that you don’t transfer any onto the piece (9).
Glazing
I use a glossy white glaze and prefer to dip my bisqueware instead of brushing the glaze on (10). Make sure to get a thick enough layer of glaze on the pot that you are able to create some physical depth where it collects and settles. I dip the mug into the glaze by holding the handle, which still has tape on the sections that are close to the body of the mug. Once you pull the piece out of the glaze (11), vigorously shake it to keep the glaze moving off of the areas that are waxed, then set it aside momentarily to dry. Once dried, use a tool with a curved end to clean up any edges that seem uneven (12), and wipe larger waxed areas with a sponge.
Nowadays, I usually fire to a hot cone 5 in oxidation, but this technique holds up well in reduction or when soda fired.
Tips and Tricks
Resist the urge to get the glaze looking totally perfect before firing. As the wax burns off, the glaze has a tendency to pull away from the margins, leaving a really clean end result. As long as you get any larger bits of glaze sitting on top of wax cleaned up, you will likely be pleased with the result.
When firing in oxidation, it is important to consider that not all clays complement each other well from a color perspective. When I am testing new clay combinations, I like to make small test tiles with both clay bodies blended together. That provides a better glimpse into how a piece will end up than simply holding two solid-colored test tiles together.
Avoid marbling porcelain and stoneware, particularly at a larger scale. You will not have issues where they are well mixed, but on the bottom you can sometimes get cracking where the porcelain has shrunk away from the other clay.
If you make a mistake with the wax that you think you will struggle to cover up, start over by bisque firing the pot again.
Alex Maldonado is a Texas-born studio potter and ceramics instructor residing in Seattle, Washington. They maintain a personal studio practice as well as working part time at several local ceramics studios, and have shown their work in galleries across several states. To see more, visit @fullspectrumceramics on Instagram, or fullspectrumceramics.shop.
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