The Chandra DeBuse Workshop was absolutely fabulous! Check out the photos, videos, and handout sheet.

Chandra is an inspiring and skilled teacher who hand-builds pots that are lively, amusing and functional.

She uses plywood drop molds and craft foam to make beautiful pots.

Movie: Using a Plywood Drop Mold to make a spoon

Movie: Making Several Types of Spoons

Movie: Making a drape mold dish with puffy feet

Sunday: Cleaning and Decorating Pots.

Movie: Cleaning and waxing before Underglazing

Movie:  Carving decorative lines on waxed and unwaxed ware,  decorating a spoon, fixing carving mistakes

 Potters playing with clay!!

Come join us. Sign up for a class, workshop, or membership.

Calendar of Events

Chandra DeBuse                                                            

Craft Foam + Clay

Craft foam comes in a variety of thicknesses.  The 2 or 4 mm thickness is common and easy to cut with scissors or a craft knife.

I use craft foam in a variety of techniques in my studio:

  • Excellent wedging surface
  • Use it as a non-textured surface to roll out slabs or coils
  • Use it as a template for slab-built forms
  • Use it to make textured slabs (either positive or negative cut-out shapes)
  • Use it as a monoprinting device to transfer underglaze to clay
  • Use it as a flexible stamp both on or off the wheel

Underglaze Inlay through WAX RESIST

**There are many techniques for underglaze inlay (mishima).  These instructions are exclusively for use with wax resist:

  • At the late leather hard stage (before bone dry), coat the entire surface with a resilient and quick-drying wax, such as Forbes from Highwater
  • Use a sharp needle tool or craft knife to incise lines through the wax and into the clay body. This technique requires a fine (thin) line.  Slip inlay (different from underglaze inlay) can be used with a thicker line. 
  • Allow the piece to dry until it is almost bone dry. Drier clay will absorb the liquid better than wet clay.
  • Brush watery underglaze over the surface, allowing it to seep into the incised lines
  • Before the underglaze dries on the piece, use a clean, wet sponge to remove underglaze from the surface. Continue cleaning the sponge and wiping the surface until clean. A clean sponge is very important—otherwise smearing will occur.
  • Bisque slowly to overcome any drying issues that the wax might have caused. The wax will burn away in the bisque firing.  Lightly sand the bisque-fired surface to clean any underglaze residue and smooth any ridges left from incising.

EM Satin Glaze (from Eric Mirabito)—Cone 6

Silica 21

Neph Sy 20

Whiting 20

EPK 20

Frit 3124 20

Bentonite 2

Add:  4-6% Mason Stain for color

**Like many glazes, the surface of this glaze is responsive to rates of cooling in the kiln.  Cool slowly for a true satin matte surface.  Fast cooling will show the glossier side of this glaze.

Chandra’s steps for glazing her bisque-fired pieces:

  • lightly sand surfaces
  • wash pieces
  • mask off drawn areas of pot (anywhere there is mishima decoration with blue painter’s tape
  • dip, pour or spray pieces with colored glazes (EM Satin + Mason Stain)
  • Remove masking tape
  • “Color in the lines” decoration with underglazes. Use underglaze brushtrokes on the surface for areas you want to run (see step 8).
  • Dip, pour or spray clear glaze across the piece
  • To encourage areas to run (midrange only), apply Lithium a light coat of lithium wash (lithium carbonate 9.5g + Bentonite 0.5 g + 2TBSP water) to select areas to encourage running. Use sparingly on upper 1/3 of pot.  Not the insides!
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