I'm a ceramic artist that makes both sculptural and functional pieces from my own designs. I like to share, thru my video demonstrations, how to create unique ceramic wares with various hand-building and surface design techniques which lead to one-of-a-kind pieces.
My finished ceramic pieces are available for sale on my website - check them out: rebeccagerendasy.com/
I use a plain newsprint from a pad; Strathmore is the brand I buy, but there are others. And yes, that is a slip I apply at the end. It has a bit of blue added to it, but it's a slip. I find that works better than a solid coat of underglaze.
I started taking pottery classes this year and found this video an inspiring key to how I can combine clay with my painting. Even before you began the tutorial, however, you won me over with the Walter Inglis Anderson poster! My favorite watercolorist ever since I saw an exhibit in DC years ago. It was fascinating to observe how his pottery roots influenced his the shape of his imagination when it came to 2D work. Now I have a whole new level of appreciation. Looking forward to viewing your other videos.
I love Anderson's work so much - and sadly he is still a relatively unknown artist! So glad you have started your clay journey and I hope you love it as much as I do. =)
I have found cheap glass filigrana at the craft store, from frameworks, come 104. I think that filigrana could be used this way so the colors are already encased in clear. Hmm
I keep trying but I run into several technical difficulties. Patches of glaze is left on the paper so there are big holes in the thing I've been painting. What am I doing wrong?!
I made a short reel for my Instagram page that shows this in sped up fashion, but you get the idea. I use a cheese cutter. Here's a link to it: instagram.com/reel/CwVX9P7otSV/ And thanks!
The brown is an underglaze - specifically Amaco's Velvet underglaze, Chocolate Brown. Hopefully I answered your question and you can get this translated, for je ne parle française.
I used Amaco's Velvet Underglazes - really easy to work with and they can be found in most ceramic supply stores or online. I often blend colors together to come up with new ones. Thanks for watching!
That's one of the things I like about this technique - how bits of the underglaze doesn't transfer and shows the raw clay beneath. Kind of an aged look. If there are areas that aren't transferring that you want to transfer (this only works if you haven't removed the newsprint from the slab completely), dampen (using a spray bottle) the backside of the paper where the 'stuck' underglaze is, gently rub the area again with a soft rib, and slowly peel the paper away again to check if enough of the underglaze color transferred. Hopefully this helps.
Ciao! Intanto complimenti. Volevo chiederti che tipo di colore utilizzi per creare la prima fare del disegno e anche per colorare all'interno. Sono colori e gobbi? O sono terre colorate con la barbottina? Grazie
If I'm understanding your question, the colors are from a commercially made underglaze (from AMACO Brent), and are used in a similar way as you would an engobe. You could also create colors by adding stains (or underglazes) to a white slip. I often blend different underglazes together to make even more colors. Did that answer your question?
On this project, I’m using Amaco’s Velvet Underglazes. Some are straight out of the bottle, some are blended to give me a totally different color. And thanks for watching!
Thank you! You could, but you might not know how well it transferred before firing and it would be harder to fix. Another thing is the burning off of the paper with the underglazes might cause a whole different effect than you had in mind with just a peeling away of the transfer/paper. It might be an interesting result though - something to be tried. If you do, let me know how it goes - I'm definitely curious!
Great video with clear explanations. I wish you would show the finished product after clear glaze and final firing at the end of the video as a reminder :) Thank you.
Thanks for your feedback! Hopefully you saw it at the start. I often put the finished product at the beginning so you see what you’re getting into, but I hear how it could be beneficial to see it again at the end. 🤓 Glad you liked the video - thanks!
Hello Mrs. Gerendasy, and thank you for the reply. I did in fact see it at the beginning which inspired me to watch the entire video. I learned a great deal and look forward to trying the technique myself. As you stated above, a reminder at the end would be satisfying :) @@RebeccaGerendasy
Thanks for the great video, Rebecca. Can you tell me if you would need an oil based wax resist for this process? If so, do you have one you would recommend? I only seem to be able to find water based wax resist. Thanks again!
As you may have discovered, there are many wax resist brands on the market; the one I use is Reed Wax Resist and it is water-based. I've never used an oil-based wax resist. I'd be concerned of the effect it might have when burning off in the kiln - maybe bad fumes or smokiness. Hope this is helpful. And thanks for watching!
A week later… I just read an article by Maggie Boyd and she highly recommends an oil-based wax resist for her water-etched wares. She doesn’t mention a brand tho. Just thot I’d let you know. =)
Thanks, Rebecca. I just did an experiment with water-based wax resist, shellac, and mod podge. I think going forward I am going to go with the shellac (my kiln is in it’s own separate shed). Thanks again for the great videos and your response. 🤗
This is applied to bone dry greenware. It wouldn't work quite the same with bisque-ware. The areas that were waxed would feel a bit raised from the rest of the surface when applied to bone dry greenware, but not on a bisque-fired piece. Also, if applied to bisque-ware (application of underglaze then wax before washing off), you'd have to fire the piece a third time in order to add a glaze because you need to burn off the wax in the 2nd firing before applying the glaze. Hopefully this makes sense! (And thanks for watching!)
The results are different when you apply the underglaze directly on the clay. When you transfer from the newsprint, the surface has a unique texture to it because not all of the underglaze transfers over onto the clay surface. If you paint directly onto the clay surface, the colors are solid and flat looking. You can see the difference in a photo I share on my blog page that talks more about this process: rebeccagerendasy.com/how-to-make-a-mono-print-for-ceramics-video/ So it really depends what look you are going for!
Hello! I’m using underglazes, which I apply to newsprint, as a design, before transferring it onto a still wet clay slab (in a soft - like butter - leatherhard stage). I talk more about the different underglaze colors around 2:32. You can use slip instead of underglazes, adding mason stains to them to get the colors you like. Hope that helps!
Could one do a monoprint on fired bisque? If the bisque gets wetted prior to applying the glazed paper, that is. I suppose that would work best on flat pieces if it works at all.
I’ve never tried it on a bisque-fired piece, but can’t imagine it would have the same results, even if you dampened it first. I suggest testing it out on a small item and go from there. Something is bound to stick and it may be very interesting - or not. Let me know if you have any results; I may even try it myself!
Thank you! I’ve never tried it on bisque wares and I’m not sure it would adhere very well - or at least in the same manor as the transfer method - but you could try. I’d be curious of the results…now I’m thinking of trying it!
