Work in Progress: How pieces are created
Each of my pieces is totally unique and completely hand-sculpted... no moulds.
Different clays are used for different pieces: I use paper clay, crank clay, buff clay, raku clay, smooth black clay and white earthenware clay - each has different properties and 'personalities'.
Seals and Plumptious Babes are all hand burnished after they are constructed and fine details modelled. This is a process where hours are spent polishing the clay surface when it is at the leatherhard stage with a range of tools eg. back of spoon, polished stone, plastic bag and finger, to create a glass-like surface... very tactile. This can then be enhanced after firing by waxing and buffing the clay surface.
I love the 'raw' clay surface that burnishing creates - you just have to touch it.
The first image shows a Plumptious Babe, "Lounging Extravagantly", at the greenware stage, which is when the construction, fine modelling and burnishing are completed and it is drying out before being fired.
The second image is after she has been fired and the clay has achieved its matured colour.
The third image shows one of my seals, "Seal Balance", at the greenware stage. It shows clearly the glass-like surface achieved with burnishing.
The fourth image shows "Seal Balance" with its finished surface. This is achieved after it is fired by painting liquid clay (slip) on to the fired clay as a resist. The seal is then fired a second time in a fire pit outside, instead of in the kiln. Careful selection of material for burning in the pit produces smoke which penetrates the clay surface not covered by the slip resist. The finished result is the beautiful dappled coats of the seals which is then waxed and polished to further enhance the sleek appearance.
Different clays are used for different pieces: I use paper clay, crank clay, buff clay, raku clay, smooth black clay and white earthenware clay - each has different properties and 'personalities'.
Seals and Plumptious Babes are all hand burnished after they are constructed and fine details modelled. This is a process where hours are spent polishing the clay surface when it is at the leatherhard stage with a range of tools eg. back of spoon, polished stone, plastic bag and finger, to create a glass-like surface... very tactile. This can then be enhanced after firing by waxing and buffing the clay surface.
I love the 'raw' clay surface that burnishing creates - you just have to touch it.
The first image shows a Plumptious Babe, "Lounging Extravagantly", at the greenware stage, which is when the construction, fine modelling and burnishing are completed and it is drying out before being fired.
The second image is after she has been fired and the clay has achieved its matured colour.
The third image shows one of my seals, "Seal Balance", at the greenware stage. It shows clearly the glass-like surface achieved with burnishing.
The fourth image shows "Seal Balance" with its finished surface. This is achieved after it is fired by painting liquid clay (slip) on to the fired clay as a resist. The seal is then fired a second time in a fire pit outside, instead of in the kiln. Careful selection of material for burning in the pit produces smoke which penetrates the clay surface not covered by the slip resist. The finished result is the beautiful dappled coats of the seals which is then waxed and polished to further enhance the sleek appearance.