I’ve seen this technique before done by a few artists I reallly like.
It’s a much better way to get clean linework & details in your stamps. Because you
actually draw the design you want to see first, and then carve it out so the stamp
is the same as your drawing. A much better way if you want illustrative, figurative,
lettering or intricate lines. I’ve only “played” with it before, this time, I’m going to
focus & make more… and we’ll see where this new direction may take me?!

First off, I started drawing some different patterns on grid paper. I love using grid paper
for all of my doodling. I find it so much easier for me to get good proportions and more
balanced designs. Trying to remember that they’re just doodles. Draw lots of them!!!

Once you find a few designs that you think would make good stamps, the design needs
to be transferred to a sheet of plaster. So I started by flipping over the paper and rubbing
my pencil all over the back side of the design. Basically leaving carbon all over the “back”
of the design. Then you flip over the paper, place it on the plaster slab and trace over the
design. If you press hard enough, the carbon transfers to the plaster. Then you can trace
over it easily to get an “exact” replica of your doodle.

Once your design has been transferred onto the plaster, you can start carving away the
plaster “under” your design. Basically tracing over your design with a sharp tool. Use
whatever tool seems to work the best for you. A needle tool was a little too thin & pointy
for my liking. This tool has a pointed Xacto blade on one end and this curved tip on the
other. It seemed to work the best for me. But of course, different tools with different
points & different widths will give you different results. I must admit, it’s not as easy
as Kristin makes it look in her video. The plaster is very scratchy, and somewhat tough
to keep a clean, straight line. But… the cleaner your lines, the cleaner your stamps!

You do need to be very careful to keep your work area clean of the plaster dust.
I covered my work area with a sheet of plastic to catch the dust. I can then empty it easily
into my garbage can. Plaster dust & chips can ruin your clay if it gets mixed in. So by all
means DO NOT let the dust carvings get mixed in with your clay, fall in your splash pan,
or get into your reclaim buckets. And as always, be sure you are not breathing in any of
the plaster dust as you are carving your designs.

Once you design has been carved out, take a piece of clay and carefully press it into the
carved relief pattern. Be sure to press hard enough to get clay into all parts of the pattern.
One good thing about this technique is you can press a stamp at any time in your carving.
Carve part, press a stamp. Carve some more, press another stamp. Keep testing it until
you love the results! And then press a couple stamps... and save the mold for later!!!

When you get to the the “final” stamp, press in your clay and keep a little extra clay
in the center to act as the knob. Press all around the design and what clay “pops up”
through your fingers becomes the knob.

After you press in the clay, give it a couple seconds and then remove the clay very carefully.
The resulting stamp will be on the bottom of the clay.

But when you’re going to be using them as stamps, remember that what you’re pressing
into your clay will leave a lasting impression. So it’s not just the raised design, but it’s also
the perimeter of the pressed clay. So to clean them up a bit, and get the perimeter to go
along with the design, I took my Xacto blade and trimmed away the excess edges.

And when you’ve made a couple, do it again and make some more!!!
You can use the same slab of plaster over & over again. Put your carvings all over the place.
Doodle. Draw. Carve. Test. Carve. Refine. Press. Trim. Finish. Repeat. Repeat again.

After making a couple of these “raised line” stamps, I was wondering if I could add a bit more
of my own technique? So I added a few impressions ala my own stamp making style into the design.
My thought is that it might add a nice contrast to the clean line work of the raised stamp pattern.
Nice lines AND a little geometric “pop-out” in between!

After I had made a few, it was time to let them sit out to dry. Once they’re dry they can go
into a bisque kiln. Remember, you want to keep your stamps porous so they release cleanly
from the leatherhard clay.

We’ll see how they work after they’re bisqued. I’m excited to be trying something new…
and yet a bit apprehensive to see how I can work them into my own style.

Over the past year, I’ve gotten a lot of comments on this blog and Facebook asking for me
to show how I make my stamps. To me, it’s pretty simple. It’s a piece of clay. Some tools.
A little squishing & carving. Nothing too technical. In case you’re still feeling a little
apprehensive, here’s a photo tutorial of how I make my stamps. And thanks for asking.

I start by rolling some simple coils. Different sizes. Different widths. I try to keep them
clean, uniform and smooth. But that’s just me. I do roll a few of them out so they have some
time to stiffen up a bit before adding the designs.

Then I pull out a collection of tools. Anything I can use to press into the clay to make an
indentation. Nothing special. Just some random tools.

Then I start pressing the tools into the ends of the coils to make my stamps. I always put
a different design on each end of the coil. That way I get two stamps for one piece of clay!
What could be better?!

But before you start randomly pressing in patterns, there are a few things to remember…
1. Whatever pattern you press IN to your clay coil will be what sticks OUT where you press
it into your pot.
2. The impression left in your pot will appear to be the opposite of design on your stamp.
3. If you try to do letter stamps, they’ll need to look reversed on your stamp to turn out
correctly when you press them into your clay.
4. It’s not just the design, but also the perimeter shape that will make impressions.
5. You need to make sure your indentations & lines are wide enough & deep enough for clay
to be able to get in there. A lot of people try to “draw” with their needle tool, but then find
out later that they’re not getting a clean impression. That’s because they either left it all
scratchy from the needle tool… or more likely it’s too thin – no clay can get squished in there!
6. All of your stamps need to be dried and then bisque fired prior to pressing into clay.
7. I generally wait until my pots are on the slightly wet side of leatherhard for good stamping.
If your pot is too wet, the stamps will stick too much. If your pots are too dry, the stamp
won’t go in far enough to make a clear impression… or worse yet, crack the pot.
8. When pressing my stamps into the pot to create the design, I make sure that I have a finger
inside the pot opposite where I’m pressing the stamp. So that I have even pressure –
stamp pressing in, finger pressing out, squishing clay between the two.

So here’s a few examples of a few new stamps. I won’t really know how they’re really going to
work until after they’re bisqued and I can actually use them for the first time.

After some time, I’ve made a few new stamps. Each one a little different. Of course,
when they come out of the kiln and I use them for the first time, there will be favorites….
and there will be some that aren’t quite what I was looking for. But that’s okay. You can always
make more. And just because they’re not making the mark you intended does not mean that it
is a bad stamp. Save it for awhile, try it a couple times, and you may grow to love it more later.

One last thing before I set them out to dry… I print my name on the side of each one.
Working in a group studio area and teaching classes, you never quite know where your
stamps may end up. I don’t think that I’ve ever really “lost” one, but it never hurts to label
your things just in case. So yes, every stamp gets labeled before they dry.

Once they’re dry, they will go into a bisque kiln firing. All of my stamps are fired once
so they are sturdy and porous. If they were fired to cone 10, they would become vitrified
and no longer porous – which also means they would stick to the clay. If your stamps stick,
they will not release from the clay cleanly and your impressions will not look as clean.

So there’s my quick photo tutorial of how I make my stamps.
My biggest suggestion is to make LOTS of stamps, and learn from every batch.
Learn how to make the stamp you want. Learn how to use your stamps on your pots
to get the stamped designs you want. Learn to make pots with stamps you love!!!

During this past holiday season, my metalsmith friend Sarah Chapman and I were already
planning the “next” holiday season. You know how we’re never satisfied… that’s us, always
moving forward… always working on the next project. So there we were working in Sarah’s
booth at the “One Of A Kind Show.” We both decided that she needs to try making Christmas
ornaments. And you know I’m always up for a challenge… always willing to “gently push”
my friends to play along with me. Thus the “2013 Ornament Challenge” was born.

So here’s the deal…
We’ve both committed to making a new & different holiday ornament every month in 2013.
I will post all of our ornaments here on my blog and we’ll both link to it on Facebook so
everyone can keep up with us. As we get closer to Christmas, there’s a really good chance
we may be asking for your input as to which of the monthly designs were your favorites
to help us decide which ones to make more of to sell for the holidays. Some ornaments may
be one-of-a-kind… some may be production… some may be a disappointment…
some may even be a Gary & Sarah collaboration of clay & metal.
Who knows where the ornament challenge may take us?… dare to dream, huh?!

Here’s Sarah’s entry for January. With a wonderful message to kick-off the New Year.
And according to Sarah… “It’s what everyone could use more of !”

And here’s my entry for January. Mine’s not quite a “done” as Sarah’s is. That’s me… slacker.
But working in clay is a little different than metal. It’s really tough to fire just one piece.
Or even five pieces. The problem is, you need to fill an entire kiln before you can fire them.
So I hate to say that the majority of mine will be somewhere in the leatherhard or greenware
state. I’ll try to re-post them again whenever they’re glazed and finished. So my ornament
this month is a wreath… trying to stay in my own style, use my own stamps, but still making
something new! I made five wreath ornaments so that I have a couple to play with when I get
to glazing & finishing. Hoping at least one of them turns out great…

Well, there it is… the kick-off of our “2013 Ornament Challenge.”
Our plan is to keep this up every month. To push each of us out of our comfort zone…
and force each of us to work on something new & different throughout the year.
And a great chance for Sarah & I to play with each other even though she’s
up & moved to Minneapolis. With this, we get to play long-distance every month!!!

For more about my metalsmith friend Sarah Chapman…
WEBSITE: Click here to see more incredible work by Sarah Chapman.
FACEBOOK: You can also follow Sarah on Facebook by clicking here!

Click here to follow me and Fire When Ready Pottery on Facebook.
Just be sure to click the “LIKE” button… and to “SHARE” with your friends!

Towards the end of last year, I had become kind of enamored with my new, slightly larger,
textured tiles. Now don’t get me wrong… they’re by no means large. They’re just a smidge
bigger. And I’m still digging ’em… so I had to make more!!!

By the end of the night, I had pretty much covered my entire work table. So I was done.
I put all of my tiles on a plastic grid so they can dry more evenly. It doesn’t always work,
but they seem to dry more evenly, with less warpage, when they have air drying them from
all sides, top & bottom. It’s a little “trick” I learned from friend & tile-maker Mike Skiersch.
It’s a simple “trick” using the plastic grids they put in suspended ceilings to help “hide” the
fluorescent light fixtures. Any hardware store has them… and they’re pretty darn cheap!!!

I got my hands dirty tonight… yeah!!!

I finally made it back into the studio and started working on a “new project”
for the New Year!!! I hoping that something comes of it… we’ll see…

It’s been a busy week setting up for this coming weekend’s Holiday Home Show…
let alone a whirlwind tour of Dallas, Washington DC and Boston (more to come).
But I also took time out today to help my friend Catherine Tweedie fire her soda kiln.
She unloads on Monday… and I can’t wait to see her lovelies!!! While we were firing,
I did manage to make another batch of tiles in a new, slightly larger size!

Here’s a sneak peek into my recent soda kiln. It’s always such  fun surprise to unbrick
the door and see what’s waiting for you inside! So you take out the bricks one-by-one
revealing what’s inside layer by layer. When they’re all gone, the kiln is wide open…
and ready for some quick photos before packing it all up!

As I unloaded the kiln, most of the pieces go straight into crates & boxes so I can get them
home. Along the way this time, I stopped and took a few more photos than normal to share.
Nothing too professional, no graduated gray background… just some quick snapshots in
the empty spray booth with existing lighting! Like I said, nothing too professional…

Plus, something that photos can’t always show… both sides of some pots! Frequently, the
beauty of a pot is in the holding, touching & fondling. Being able to see the pot from all sides.
Noticing all of the details – both inside & out. So here’s one of my new stamped bowls…
both inside with temoku glaze, and outside with more stamping & flashing slip!

And another bowl… this time squared off with a very light layer of temoku glaze inside
along with some flashing slip on the outside.

And I love when you can see the direction of the flame as it passed the pot during the firing.
Where the slip is orange, the flames hit it and deposited some soda. Where the slip band
is still white, the soda couldn’t quite “hit it” as the flames could wrap around the bowl before
moving on & exiting the kiln. So on this bowl, you can see that the flame hit the left side,
and not so much on the right.

Plus, we also have a new Stoneware clay with Ochre in it at Lillstreet. The clay is darker than
regular stoneware and it fires to a dark chocolatey brown. This is the first “ochre” bowl I’ve
ever fired in the soda kiln. It’s a little more dramatic, a little darker… and the flashing slip
band around the foot ring has a great “directional” flash to it. Kinda likin’ it…

Unfortunately, after emptying the kiln, the work continues. It takes quite a while to scrape
and clean all of the kiln shelves, put on a new layer of kiln wash, clean the fire boxes, sweep
& mop the floor… let alone shlepping it all home at the end of the night! A long evening.
But a great reward to have a full kiln’s worth of pots ready for the Holiday Home Show!

So my handmade studio rolling cart made it safely down  to the first floor kiln room.
The masking tape “safety belts” really did the trick again as we traveled down the rickety
freight elevator. Nothing jumped off the cart as we hit every bump along the way.

And then the loading began… an arduous task as I try to pack in everything I can!

The back stack of the kiln always seems to load a lot faster. Not only because it’s only
one shelf deep, but I think it’s also that there’s a lot of work to choose from. Later on,
your searching and hoping for that perfect sized piece to fit that precise spot.

I finally squeezed in pretty much everything I possibly could. It took hours!
It’s a delicate balancing act as you stack shelves and try to leave enough space so that the
soda vapors can travel through – versus packing it tight to get the most work you can into
the kiln to help justify the kiln & gas fees. So as you can see, I err on the side of packing it
tight. And I love have smaller pieces like ornaments & tiles that make the perfect kiln filler.
Very little of the white, kiln-washed shelf even show after I place hundreds of tiles in the kiln!

After housr of packing the kiln, you still need to bulid the dor brick-by-brick.
It’s very “old-school” but still a lot more fun than a new-fangled metal door!
So once I have it closed up, I turn it on low for maybe 15 minutes while I’m gathering my
things from my studio. As I’m ready to leave for the night, I turn off the kiln and close the
dmaper to try and hold in some heat. As I know that it’s just a few short hours until I’ll be
back to start the firing early tomorrow morning!

Last night I got a lot of glazing done. It was another late night, but I got most of the
“smaller” pieces glazed & wadded. Today I need to focus on the larger ones… and then
load the kiln for tomorrow’s soda firing! Looks like it’s going to be another long day…

Last

My bisque kiln from last night was still warmer than I would like.
So I decided to let to cool longer and dive into glazing some pieces from an earlier kiln!
I generally start by painting a lot of temoku glaze into all of the stamped impressions.

And then, once the glaze is dried, I take a moist sponge and wipe off the top surface
so that the temoku glaze stays inside the stamped impression – but not on the surface.
I love how the inlaid glaze really shows off the pattern of the stamp, instead of covering
& obliterating it with too much glaze!

But don’t think that they’re done. Oh no, I’ve got a lot of work to do on them first.
Liner glazes, sprayed accents, wadding, etc. So there’s still a lot to do… and even more
coming out of the bisque kiln tomorrow night. Not a lot of time to get everything done.
It’s my plan to load the soda kiln on Friday evening, and fire all day Saturday!