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.
Chandra DeBuse firstname.lastname@example.org
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
Neph Sy 20
Frit 3124 20
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!