Slabs, Templates, Texture, & Terra Sigillata with Jeremy Randall
Jeremy Randall presents the handbuilding and decorating processes he uses to create his vibrant architecturally-inspired vessels. Jeremy uses textures and asymmetry to reference aging industrial and agricultural structures. He explains his tar paper template...(Scroll for more.)
$39.97 — $52.97
$26.49 — $39.97
Runtime: 3 hours
Sneak a peek!
Purchased downloads are available to download for three days. Video files are compatible with Quicktime Player, Windows Media Player, and most other current video players. They are delivered as zip files containing the video files, and they require a broadband Internet connection to download (at 4 Mbps, this file can take 30–45 minutes to download.). Do not attempt with a dial-up connection.
…system, including a bonus feature on using tar paper templates to sketch in three dimensions, which allows a bit of control in form, but also leaves room for alteration. Through a series of projects, you’ll gain a mastery of a textured slab technique and decorating style that you can incorporate into your own work or expand on in your own way. Original List Price: $69.97
“LOVE Jeremy! Great teacher. And he walked me thru entire constructions so clearly! I am once again on fire with clay. Ready to paint my “milk paint ” on a piece today!” — Jan, California
“Techniques were very well explained. I plan to use some of what I’ve learned in my own pieces. His unique style sets his pieces apart from others.” — Mary, Massachusetts
Off to a good start
Jeremy Randall constructs awesome pieces using textured slabs. He begins his DVD with a demonstration showing his technique for making slabs without the use of a slab roller by throwing them onto a work surface. Since his home studio is small, this technique is ideal and it also creates slabs that are stable.
Learning through projects
A great way to learn new techniques is by making something. Jeremy leads you through four unique projects—flower holder, hump mold tray, bale-handled bucket, and oval-lidded jar—where he takes you step-by-step through the texturing and construction process. Each project reinforces basic techniques while introducing new ones along the way.
“Great DVD, he is a very good instructor. Keep doing construction type DVD’s….lots of handbuilders out here!” — Ronda, Phoenix
“Very educational. Spot on instructions.” — Janekav, Delaware
Part of Jeremy’s aesthetic is in how he builds forms with individual sections that have different textures and exposed seams. He also uses non-clay materials like nichrome wire and steel tacks to add even more visual interest and provide a jumping off point for further exploration on your part.
Complete finishing details
When you see Jeremy’s work, you’ll definitely be curious about how he gets such colorful surfaces. He describes his technique for how to make terra sigillata, add colors, and burnish a surface to create beautiful, naturally-sealed surfaces without glaze that will remind you of antique milk paint.
“This DVD has transformed my making! I now slab build as my main method of making ceramics thanks to Jeremy’s tips and techniques.” — Debbie, Oxford, UK
“It’s a great video. I have watched several times, and each time I pick up something new. Very well done. I would recommend it to anyone who is interested in hand building, terra sigillata and texture.” — Inge, Michigan
A Review by Sumi von Dassow –Pottery Making Illustrated July/August 2012
. . . I watched the 2-disc set, Slabs, Templates, Texture and Terra Sigillata, with Jeremy Randall. Randall uses templates to create jars, buckets, and trays from textured slabs—although what I found more interesting than his use of texture was his use of nails and wire in his work. Since he fires to earthenware temperatures, he is able to embed these items in the clay for both decorative and structural purposes, something my students are always asking me about. Also interesting is his use of terra sigillata along with glaze and a copper stain to finish his work. The resulting pots are functional but feature a unique distressed surface reminiscent of old barns and industrial equipment.
Actually, from a texture point of view, I am most interested in trying out the crackle slip that he uses. I could also see myself experimenting some with terra sigillata instead of glazes, the way he does. If you are new to terra sig, he explains not only how to make and use it but also how to test each batch to be sure it won’t cause trouble (such as peeling). The slip and terra sigillata recipes are at the end of the DVD along with a few of his glaze recipes.
Jeremy Randall’s artist statement
Familiarity evokes memory and I look to this association to present nostalgia through form. My reference to rural American architecture and antique rural implements places the viewer in a familiar setting which is layered with time, function and history while color creates celebration in these iconic objects. The vessel forms tie these objects back to the domestic space, enriching ones living environment while allowing for quiet contemplation and a reminder of a simpler time. The colors used refer to milk painted surfaces, layered and stained by generations of use and the elements and steel tacks are placed in the clay surface to give a direct connection to ideas of construction and joinery. The vessels relate to buckets, tool caddies, toolboxes, connecting the ritual of use back to the everyday, creating a connection to the importance of our most simple actions.
A quote by Pete Seeger states… “The greatest paradox of our time in history is that we have taller buildings yet shorter tempers, we have wider freeways yet narrower viewpoints, we spend more yet we have less, we buy more yet we enjoy it less, we have bigger houses and smaller families, more conveniences and less time.” As members of the American society we are caught up in the hurried lifestyle that surrounds us. Work pervades our every thought and action and we allow no time for peaceful contemplation or personal reflection. We as a society are caught in a cycle that is unraveling the very fabric, the connection to person and place that binds us. We are no longer attached to our community, we no longer know our neighbors, and, at times it seems as though we don’t even know ourselves. It is through my work that I am addressing these issues of loss of community, loss of sacred place, loss of personal history, and the need to pay attention to what is around us. I believe that we need to re-connect to our surroundings, people, objects and community. My work is meant to be the catalyst for those connections.