The Journal of Australian Ceramics Vol 50 No 3 November 2011

Focus: Ceramics + Narrative
Opposite page: Tools shown on top of hand rest, which provides support when working at angles and is made from a block of
wood covered with lambswool; photo: Grant Hancock
different directions lays down even basecoats, which can then be worked over in fine line detail. I use a
transparent earthenware glaze and decorate both under and on top of the glaze.
I use flat Japanese slip brushes and Hake-style round brushes, a mix of both goat and squ irrel ha ir. For
fine work I use round squirrel and fine-tipped Kolinsky brushes. I rarely work out designs beforehand.
I sketch directly on to pots (usually bisqued) and may use stencils of masking tape, paper or shellac to
isolate areas as I build up layers of decoration, preparing the background first, or working in reverse,
where the background (if using enamels or gold lustre) might be done last.
Currently, I mostly use MFQ clay and bisque all decoration to 1025°C before I glaze to about 1165°C.
Decoration takes place across several distinct steps, i.e. stencil, sponging, rag-rolling, spraying/airbrush,
followed by brush work.
I dip large plates and spray bottle forms. Once dry, I fettle the glaze to minimise pinholes and blisters.
Being left-handed, I work from right to left across the surface to avoid smudging work during
painting. When doing fine line work I may add a fixative (like edible gum) to colours. Various fixatives
are available from art suppliers, but hair spray also works. To avoid touching painted areas directly whilst
working, I lay down soft dry-cleaning plastic bags. Background layers of decoration are less likely to rub
or smudge if colours are prepared properly and painting is done with care.
Designs can be drawn with a range of pencils, from soft 6B on damp and leather hard clay, to fine HB
on bisque ware (I use cheap retractable pencils). Keep pencil outlines spare as too much graphite on the
surface acts as a res ist to slips and colours. Mistakes on bisque can be erased with a soft rubber. Pencil
burns out during the bisque. To transfer an image on to a pot, try tracing over it with tracing paper
or oven baking paper, cut it out and trace round it onto the pot (or just draw it freehand). To repeat
an image, I make a cut out stencil of stiff cartridge then coat it with good varnish to add strength and
waterproofing, which helps if you're sponging on decoration.
To transfer an image, trace heavily over your selected image on a piece of lunch wrap or baking
paper in a soft 6B pencil, then turn the tracing over and hold the traced lines where you want the
image and rub firmly over the lines. The soft 6B line work will transfer faintly to the pot giving you a
fast start on your image.
Draw as much as possible. Start by learning styles and techniques. Do not be afraid to repeat and
copy; learning any hand skill requires understanding and confidence which can be gained through
study, and drawing on the curved surface of a pot will teach you about anamorphic1 images. You will
soon feel that drawing is a key skill within your practice when you make drawing with pencil and brush
an integrated part of your everyday studio routine.
1 Anamorphosis is a distorted projectIOn or perspective requiring the viewer to use s.pedal deviCes or occupy a SpecIfIC
vantage point 10 reconstitute the image
Stephen Bowers is a Field Researcher with the Australasian Institute of Backyard Studies.
His ceramic work was shown at Robin Gibson Gallery, 27B Liverpool Street Sydney,
15 October - 9 November 2011, and will be shown at BMG Gallery, 33 North Street, Adelaide,
24 February - 17 March 2012.
32 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2011