Playing Around with Design

Even though I don't have a studio right now, I never stop thinking and studying ceramics.

Some time ago, I made small templates of basic forms: Round and square plates. The forms are small enough to dash off a sketch or toy around with a design and variation. I can run off a copy on my printer and expand the idea or upload it into my computer.  

Here's an example:

The first one is a bit busy on the right side. And I would remove the small connecting lines at the bottom of the branch like figures.  

All in all, I think this would make a good wax resist platter. It would be interesting to try this in scraffito too.

 

   Here's a positive and negative of the same drawing.  (The darker snake is the original drawing.)  Although the snake image is about the same, the second image seems more of a 'fat snake'.

The third variation seems more dynamic just by adding another outline.

A lot of people do not like snakes. I'm not crazy about them, but I find their image fascinating. 

Maybe no one would want to eat an hors d'oeurvres off a plate like this.

Interpretation

Featured Tiles:  I like to think of this set of tiles as an example of relationships:

The tile on the left is the opening statement:  "This is what I am; This is the standard."

The tile on the right is a variation or response:  It takes the example of the above and elaborates as if it were saying, "I accept your statement and respond. I am an elaboration of you." Or, "I see your bid and raise you one."

Also working in this design dynamic is the shape and strong black framing of both tiles, bouncing the eye back and forth toward the center. The outer curves work in the same way, leading the eye back and forth between the tile: The left tile has a larger outer margin on the far left; the right tile sweeps toward the far right border, but a similar strong outer border on the right and the strong vertical in the center of the image stops the eye at the far right. 

The tree-like center designs are isolated as images, but relate to each other in motion toward the center, also bouncing the eye back and forth, yet slowing the flow by corresponding dark verticals.

How wide the center division between the two tiles is also important. If hung too widely apart, this dynamic would not work as well.


I don't think these things as I am working. These design elements are almost subconscious and are part of an artist's "eye". They either look right or they don't.


This same back and forth happens a lot in music:  Theme and Variation and so it can be in clay.

So, what do you think is going on here?

These guys are fun to move around to get different impressions.

A Square Teapot

Today I'm going to make another square teapot. It's sorta become my signature piece. I've made and sold several. They're a real bear to make, but I love to do them.

All the slabs that make up the piece must come from the same bag of clay. That way I hedge my bets on compatibility in joining and shrinkage. All the pieces must be assembled in one go. It just won't work to put part of the pot together even in two component parts and hope the whole thing will work.

The slabs must be the right wet/dry condition to join and manipulate the form. As soon as possible, the handle must be fabricated and attached, but it is thinner, so that part of the operation has to be orchestrated after the base of the pot is done.

I've invented a way to attach the handle which is my trade secret. So don't ask. (insert smile here).

At any time during the process, the pot can develop a crack, the handle can get temperamental or any one of a good number of things can make the whole thing go south.

Glazing is the same story. Just holding this pot during glazing is a real pain.

...............why do I go through all this? 'Cause I love how they come out. And I love to experiment with variations in handles, feet, height and width of the pot and lids. Every one has a personality of it's own.

Two variations are in 500 Teapots.

P.S. The last one I made, I didn't measure the shorty kiln I have and had to take the feet off in order to get it in the kiln.

Round Answers Round

Round forms make great flower vases. And they are fun to throw on the wheel.

Putting a good lid on a very round form is another matter altogether.

"The Bishop" is a small piece with a totally experimental lid. It may not look it, but this lid really works well as far as ease of grasp and access to the jar. It has a flange inside.

It can be difficult to find a distinctive lid that holds it's own with the form, yet relates to it in design.

This is a fairly unassuming lid on this brown teapot, but then there's a lot of 'round' going on above it.

Same with the large green basket.

I like to see a lot of 'air' in the negative space. It makes you feel you can slip your hand inside the space with no problems.

Relating the curve of a handle with a very round vessel is another design consideration--you want the negative space to be neither too large or too small and to relate well to the roundness of the pot.