On Thursday and Friday In Ballroom A of the convention center, you will find the Process Room. This room is designed to allow potters to demonstrate a quick technique or process and, in many cases, to allow onlookers the opportunity to try it out. Each session in this room will be a half an hour long, with a half an hour between sessions. Here are the great presentations you will find in this room:
Weaver will demonstrate the application of multiple layers of raw slips and glazes on leatherhard red earthenware press-molded bowls. Aaron incorporates granular materials in the making and glazing, as well as sgraffito and spritzing for surface variation in his electric firings.
Try out slips that contain 100 percent cotton paper pulp that has been beaten to different fiber sizes using a beater. Compare fired results and take a sample home from a small mold.
By Ryan Myers
I will transfer an image/drawing onto a pretrimmed porcelain cup, bowl, or teapot. After transferring the image, I will use an x-acto knife and small loop tools to carve the image. I will talk about the stage of the clay, spacing, and influence of wood cuts on potters.
Using natural processes as a blueprint I have developed a way of making sculpture from multiple pieces of clay united inside of the kiln. The assemblage are positioned in beds of sand to hold the individual elements in place, and then fused with glaze and other natural materials at Δ10.
Using clay slabs and bisque molds as a starting point, Willers creates delicate, handbuilt earthenware vessels that are enriched with weathered colors and textures. Join her for a demonstration of handbuilding methods and surface enrichments with layered terra sigillatas and washes. Handouts will be provided.
By Michael Schael
Using the wheel, I will demonstrate how I add volume to my small thrown forms and convey my sense of generous proportions.
This demonstration will explore glaze application using wax resist with to develop pattern, imagery and eutectic. Wax resist provides an excellent aide to separate and place adjacent glazes to encourage interaction during the firing process while retaining their singular characteristics. When used together, even a few well-chosen glazes can provide endless decorating options.
Baskets offer a playful format to explore function within a set of loose parameters. This demonstration will focus on ways to generate these forms by combining wheel and handbuilding techniques.
This demonstration will illustrate the steps involved in making a sculpture from Kluge’s ongoing Measured Chance series. Discussion and techniques will include developing a clay body as a finished surface, working with plywood press molds, as well as the benefits and considerations of sculpting from solid clay.
Double Walled forms have both functional and sculptural applications. When the microwave plays a major role in food preparation, the double walled form has the advantage of the outer wall remaining cool. As a sculptural consideration, the imposing visual volume is defied by the actual light weight.
The cup is a 3-dimensional composition. Its function, simplistic in nature, has many variables that require attention. Kraft will demonstrate his sensibilities about hand pinching cups and the finishing process, alongside the importance of balancing his forms using pinched handles and simple line drawings through terra sig.
By Leanne McClurg Cambric
New printmaking products like Soft-Kut and polymer plates revitalize the process of relief printing on clay. Thicker and more flexible than traditional linoleum, Soft-Kut linoleum allows for a deeper impression into clay. In addition, using polymer plates for detailed, computer-assisted designs can open-up a range of printing possibilities on clay.
Glazed and fired doesn’t always mean its done. This demonstration will focus on post-firing surface decoration techniques. Discussion will focus on using readily available, commercial glazes and materials in combination with down-firing to create innovative and surprising surface treatments that build depth and add texture to ceramic work.
By Mark Skudlark
With a cast concrete flywhell placed on a Brent banding wheel, this low cost, low tech method of making large pots is perfect for any potter with limited space and budget.