![]() ![]() I start in the middle and work toward the outer edges. Next, I use different sized nozzles (a brush or a stick will also work) on the plastic bottles to start making dots with the porcelain slip (6). ![]() The clay slip will stick to the paper and the layer of silk between the paper and the clay facilitates the peeling off of the paper later I then smooth down a layer of fine, water-soaked silk on top of the print with a squeegee (5). It can be re-used many times and has the added advantage of non-directional stretch (normal paper, when wet, stretches much more in one direction than the other, which will skew the pattern). I then dampen the graphic print (4) which is a master grid of 20 inches (52 cm) in diameter (I print to this size because it is the maximum size I can fit into my kiln and it can just be lifted onto a kiln shelf when it is dry without disintegrating in my hands), constructed in Adobe Illustrator and printed on archival paper. A dry bat is not a desirable surface to work on as the drying clay slip starts to flake off. I soak a plaster bat in water to keep the humidity constant for a day (3). ![]() For this plate I only use white porcelain slip, but one can add oxides or stains for different colors. I start in the morning by preparing a basic porcelain slip. Starting with absolute grids frees one to work with infinite possibilities.Ĭonstructing a plate takes an entire, uninterrupted working day.I begin by preparing my tools: three or four plastic bottles with different size nozzles, a jug of porcelain slip, a fine silk cloth, a firm cotton cloth, a graphic print, a brush, a wooden skewer, and ten pre-made and high-fired porcelain cones (2). In short, the patterns reflect the geometry of life and nature’s tendency to construct complex geometries on micro and macro levels such as DNA strands and stellar configurations. The geometry in my art is inspired by this aperiodic tiling pattern and Euclidian lace. In his writing/research, I encountered pentaplexity and realized, “this is it.” In these grids, the patterns of pentagons do not tile regularly, but aperiodically. I have always been interested in geometry, and responded strongly to Roger Penrose’s aperiodic patterns when I first saw them 15 years ago. In today's post, an excerpt from the Ceramics Monthly archive, Christina walks us through the process of making her delicate, porcelain slip platters. These translucent plates are a slip-casting marvel but not nearly as impossible to make as you would think. Now think even thinner porcelain and you have the plates of Christina Bryer. Pottery Making Illustrated Submission Guidelines.Pottery Making Illustrated's Print Mailing Schedule.Ceramics Monthly's Print Mailing Schedule.Workhouse Clay International ICAN Merit Award.ICAN Making a Difference in Ceramics Award.Annual National K-12 Ceramic Exhibition Award. ![]()
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