Tag Archives: leatherhard

Peace, love and leather hard pots.

One of my favorite moments when I’m making pots is that moment in time when the clay has firmed up enough to handle without distortion. The moment when you can take a trimming tool to the bottom of the pot and you get nice long ribbons of trimmings that don’t gum up your tool.

Normally, the moment in time when the pots are perfect for stamping, carving, slipping and trimming is a moment that I experience in solitude with my pots. But I thought that I would try to share a bit of this moment with you. Below are some images of cups that I made today. They are freshly stamped and awaiting a second trip to the wheel for trimming.

You can see in the image (below) on the left that the soft clay is impressed deep enough that you can see the stamping on the inside of the cup. I hope that you can get a sense of the depth of the stamping from the image on the right from the pictures (click on them to see the image larger). The clay has to be dry enough that the stamp doesn’t stick to the clay, but soft enough to get a deep impression without cracking. More to come on this series in future posts!

 

I know that I am not alone in my love of leather hard clay. I see lots of freshly made pots in the posts of my fellow clay bloggers! I have put together some pictures (and links) from their sites to share with you.
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Eleanor Hendricks of Fenelon Falls, Ontario, shared some great pictures on her blog last week illustrating her love of the process of making. She ended her post with this question:

Does anyone else sometimes treasure the process more than the finished products? 

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Amy Sanders, of Charlotte, North Carolina, shared this image on her blog of her carved plates. What beautiful lines! As usual, with pots, it’s all about the timing!
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I love how these drying beer cups from Euan Craig caught the sunlight in Mashiko, Japan. The perfect moment of leather hard met the perfect moment of sunlight streaming in his studio.
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Cheryl Alena Bartram of Golden, British Columbia, shares this great image of tumblers on her blog. I can imagine the board of cups going on and on and on and on…. I have been known to base the amount of pots that I throw in a sitting based on the length of a board or the size of the table.
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Douglas Fitch makes pots “in middle of nowhere, north of Exeter, Devon, United Kingdom,” far from my studio in Chicago. But when I see these images of the rough leather hard pots I think I can smell the mustiness of the clay… and that’s a great thing.
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I find that there is little more satisfying in a day’s work that a table covered in finished pots.
John Zhender (from my home state of New Hampshire) posted this satisfying image of finished banks and lidded cups on his blog:
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Look at these gorgeous plates that Ron Philbeck made at his studio in Shelby, North Carolina! I think I have to throw some plates tomorrow…
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One of my favorite clay books is A Potter’s Workbook by Clary Illian. The images in the book are almost all photos of leather hard pots. The focus is on the forms without any distraction of decoration or firing technique. If you make functional pots, I highly recommend adding this book to your collection.

Surface Decoration Techniques: wax resist and underglaze/ slip inlay

I have been creating, soda firing and documenting simple straight sided cylinders with a variety of surface treatments for examples for my classes and this blog. The original idea was to create demos to show students that aren’t specifically “my pieces.” The fun result of this project has been that it’s given me an excuse to return to things long forgotten, or try something new.
Watch out for upcoming tutorials with lots of pictures and slip and glaze recipes.

Wax resist and underglaze/ slip inlay
A great way to make a clean line without too much mess, step by step.

 

Step 1: Paint slip on leather hard piece.
I used several porcelain slips (grolleg mixed with Mason stains) on Lillstreet Soda Clay 

Step 2: After the slip dries (no longer tacky), paint wax over entire surface.

Step 3: Using a small loop tool, carve in your lines.
Step 4: Paint underglaze into the carved lines.Step 5: Wipe away any excess underglaze.
This is a great way to get make a nice clean, sharp line in the leather hard stage.

 

The inside of the piece is glazed with a simple matte black glaze, and soda fired to cone 10 in reduction.
Because the line is inlaid, it’s protected from the soda and doesn’t “bleed” when hit directly.

 

Some close up images