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Hansen-Gard The Ceramic Surface: Surface Techniques

 There are many ways to decorate the ceramic surface, and glazing is only one

of them. You can begin decorating by pressing into soft clay or by using post-

firing techniques such as luster. I am going to outline a few techniques that

could easily be explored in the high school classroom. If you are interested in

learning more, use the resources I provided below as a guide.

ImpressingWhen the clay is still moist to leather-

hard it is easy to create designs by

impressing into the clay. Impressions

can be made with objects such as

forks, feathers, or rope. Stamps can be

made by carving into plaster or clay.

Clay can also be pressed into designs

and then stamped onto the clay. For

example, the bottom of shoes usually

provides an interesting design.

Figure 1 Surface: impressing

Carving & IncisingCarving should be done when the clayis stiff but still damp in the leather-hard

stage. Marks can be made with

different tools to create a variety of

line thicknesses. A thin line can be cut

with an xacto knife, and a thick line

can be created with a metal trimmingtool. I recommend using a tool that will

create a clean line. Something with a

sharp point works the best. I have

found that needle tools do not work

well, espec ially if you plan to inlay the

line. Figure 2 Surface: carving & incising

Mishima/InlayOnce you have incised lines in the clay, you can inlay slip or underglaze with a

paintbrush. Make sure the line is completely filled, and let it dry before scraping

off the excess with a metal rib. I found that a metal rib works best for this process.

However it is very easy to take away too much clay, so work slowly when

removing the top layer. The benefit to inlaying is that it allows you to create an

image that contrasts the color of the c lay body without a raised surface.

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Hansen-Gard The Ceramic Surface: Surface Techniques

Figure 3 Surface: mishima/ inlay

Sprigging“A sprig is a small, decorative element

made from soft clay pressed into a small

mold” (Hopper, 2004, p. 84). When

applied, it creates a raised textured

surface of clay relief. Sprigs come from

molds that can be created with clay,

carved from plaster, or plaster can be

poured on a found object to make a

mold (Figure 4). Clay is pushed into the

mold and any extra clay should be

scraped off. Remove the sprig with as

little pressure as possible to the clay and

then attach to the piece using slipping Figure 4 Surface: sprigging

and scoring when both are leather-hard.

Figure 5 Surface: applying Murphy’s oil soap & wax resist

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Hansen-Gard The Ceramic Surface: Surface Techniques

Resist Techniques“The resist method as it is used in ceramics consists of blocking off areas with any

material that will keep an applied coating of colored slip or glaze from adhering

to the ware” (Spleight, 1997, p. 134). A resist can be created with wax, latex,

paper, or masking tape. Separate brushes should be used to apply wax resist. To

extend the life of the brush you can dip it in Murphy’s Oil Soap before applying

the wax and clean with soap immediately following use (Figure 5). Resist

methods can be used during any stage. It is helpful to apply wax to the bottom

of the piece before glazing. Once wax is applied it will not come off and the

piece will need to be heated to melt the wax off if a mistake was made. Latex

resist is a stretchy and rubbery material that can be easily removed from the

surface (Figure 6).

Figure 6 Surface: latex resist

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Hansen-Gard The Ceramic Surface: Surface Techniques

Slip/Underglaze Decoration 

(brush, sponging, spattering, stencils, slip trailing, scraffito)

Figure 7 Surface: brushing

Slip and underglazes are both

examples of liquid clay that can be

applied to the ceramic surface prior to

glazing. While slip is often used to

attach pieces of clay, it can also be

used to decorate a piece by applying

slip to the surface. Underglaze can be

applied with a brush and used in a

similar fashion as painting. You can use

a sponge or splattering techniques to

apply the underglaze and to build up

a surface texture. Slip trailing is the process of extruding liquid clay out of a

bottle with a fine tip. The material creates a raised mark on the clay surface. Youcan purchase a slip trailer/underglaze applicator from any ceramic supplier with

different gauge tips to create line width variation. Trailers can also be reused

from bottles from your kitchen or even cake decorating tubes. They are best

applied when clay is a moist leather-hard.

Figure 8 Surface: slip trailing

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Hansen-Gard The Ceramic Surface: Surface Techniques

Stencils can be cut with paper and applied to the surface. The stencil can be

dipped or sprayed with water to help it adhere temporarily to the clay. When a

stencil is adhered, the underglaze is painted over the top. Make sure the stenc il

is laying flat. If there is space between the paper and the clay the underglaze

will run out the side. Both parts of the stencil can be used. One will create a

positive and the other a negative of the image. Both can be easily removed

with a needle tool.

Figure 9 Surface: stenc ils

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Hansen-Gard The Ceramic Surface: Surface Techniques

Scraffito is the proc ess of applying a

layer of colored slip and incising lines

by scratching through the surface to

the clay body underneath. It is best to

apply the slip while the clay body is

leather-hard but you can scraffito any

time before it is fired. Scraffito is a form

of incising or carving, and you should

use the same tools for both processes .

For more surface techniques check out

the sec tion on image transfer.

Figure 10 Surface: scraffito

Bibliography & recommended readings

Hopper, R. (2004). M a k ing m a rks: Disc ove ring the c eram ic surfac e . Lola, WI: KP

Books, An Imprint of F+W Publications Inc.

Kieffer, K. (2010). Surface decoration: Suede to leatherhard.

http://www.filmbaby.com/films/4671

Mattison, S. (2003). The c om p le te p o t te r . London: Barron’s Educational Series,

Inc. (p. 128-169)

Peters, L. (1999). Surfac e d ec orat ion for low -f ire c eram ic s. Ashville, NC: Lark

Books.

Peterson, S. (2000). The c ra f t and a rt of c la y . Upper Saddle River, NJ : Prentice-

Hall Inc. (p. 101-125)

Speight, C . (1989). Hand s in c la y : An in t rod uc t ion to c eram ic s. Mountain View,

CA: Mayfield Publishing Company. (p. 307-358)

Spleight, C ., & Toki, J . (1997). Ma ke it in c la y : A b eg inne r’ s g u id e to c eram ic s. 

Mountain View, CA: Mayfield Publishing Company. (p. 107-136)

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Hansen-Gard The Ceramic Surface: Surface Techniques

Artists of Interest: J ennifer Allen www.jenallenceramics.com 

Linda Arbuckle www.lindaarbuckle.com 

Posey Bacopoulos www.poseybacopoulos.com 

 Tom and Elaine Coleman www.tomandelainecolemangallery.com 

Chandra DeBuse www.chandradebuse.com 

Harris Deller www.accessceramics.org/results/artist/53/ 

 J ana Evans www.janaevans.com 

Kathryn Finnerty www.kathrynfinnerty.com 

Erin Furimsky www.erinfurimsky.com 

 J ulia Galloway www.juliagalloway.com Silvie Granatelli www.silviegranatelli.com 

Ursula Hargens www.ursulahargens.com 

Molly Hatch www.mollyhatch.com 

Robin Hopper www.chosinpottery.ca 

Ayumi Horie www.ayumihorie.com 

Surgei Isopov www.sergeiisupov.com Kristin Kieffer www.kiefferceramics.com 

Suze Lindsay www.forkmountainpottery.net 

Lorna Meaden www.lornameaden.com 

Doug Peltzman www.dougpeltzman.com Kari Radasch www.kariradasch.com 

Kurt Weiser www.ceramicstoday.com/potw/weiser.htm 

Adero Willard www.aderokai.com