IMAGE & DESIGN Ceramic TRANSFER Arts Handbook TECHNIQUES Series Edited by Paul Andrew Wandless IMAGE & DESIGN TRANSFER TECHNIQUES Paul Andrew Wandless currently For many years, ceramic artists have used printmaking, drawing lives and works in Chicago creating and photography to enhance the surface of their work. Using art that combines ceramic processes underglazes, slips, and glazes it’s entirely possible to take and printmaking techniques to advantage many 2-D mediums to decorate both functional and create clay prints that are also sculptural work. incorporated into freestanding and Image & Design Transfer Techniques covers more than thirty wall-mounted clay sculpture. In techniques that can be used on greenware, bisqueware and addition to authoring several glazeware. You’ll discover ways to create and transfer images and numerous magazine articles, and designs using appliqué and transfers, decals, stencils, Wandless is also featured in Ceramic silkscreening, etching, stamping, embossing, and more. Art Daily’s video Fundamentals of Screen On Clay featuring An expert printmaker-turned-clay artist, Paul Andrew Wandless his techniques. Wandless holds an presents you with many of his own discoveries where he found MFA from Arizona State University, clay receptive to his many printmaking skills. In addition, an MA from Minnesota State he includes the methods of many talented artists who have University-Mankato, and a BFA from developed a variety of applications that can add a whole new University of Delaware. dimension to your clay surfaces. Whether you’re looking for the perfect to start decorating or you need expert information to expand your skill set, Image & Design Transfer Techniques contains a wealth of information for every clay lover. Wandless

The American Ceramic Society www.CeramicArtsDaily.org Printed in China The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 © 2015 by The American Ceramic Society, All rights reserved. ISBN: 978-1-57498-345-6 (Paperback) ISBN: 978-1-57498-580-1 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review. Authorization to photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The American Ceramic Society, 600 N. Cleveland Ave., Westerville, Ohio 43082 USA. Every effort has been made to ensure that all the information in this book is accurate. Due to differing conditions, equipment, tools, and individual skills, the publisher cannot be responsible for any injuries, losses, and other damages that may result from the use of the information in this book. Final determination of the suitability of any information, procedure or product for use contemplated by any user, and the manner of that use, is the sole responsibility of the user. This book is intended for informational purposes only. The views, opinions and findings contained in this book are those of the author. The publishers, editors, reviewers and author assume no responsibility or liability for errors or any consequences arising from the use of the information contained herein. Registered names and trademarks, etc., used in this publication, even without specific indication thereof, are not to be considered unprotected by the law. Mention of trade names of commercial products does not constitute endorsement or recommendation for use by the publishers, editors or authors. The Publisher advises the reader that certain decal applications onto glossy substrates may be subject to Patent No: US 7,622,237 B2. Publisher: Charles Spahr, Executive Director, The American Ceramic Society Managing Director: Sherman Hall Series Editor: Bill Jones Editor: Paul Andrew Wandless Graphic Production: Pamela S. Woodworth Series Design: Melissa Bury

1 Cover Image: Swirls and Stripes, 10 /4 in. (26 cm) in diameter, earthenware, slip, underglaze, glaze, laser-toner decals, commercial decals, and gold luster, by Jason Bige Burnett. Frontispiece: Wheel-thrown and altered platter with layers of pattern created using both monoprinting and toner-resist techniques, by Martina Lantin.

iv Table of Contents

1 Image Transfer & Application Slip Transfers 1 Jason Bige Burnett Ink Transfers for Greenware 6 Doug Gray Underglaze Transfer Paper 11 Jessica Knapp Projecting Patterns 13 Shana Salaff Monoprinting and Toner-Resist Transfers 16 Martina Lantin Photolithography Transfers 21 Kristina Bogdanov Graphite Transfers 26 Judith Berk King Transfers 32 Kate Missett

2 Decals No-Fire Decals 35 Brendan Tang How to Make Laser Toner Decals 39 Frank Gaydos Using Laser Toner Decals 41 Justin Rothshank Designing Custom Full-Color Decals 46 Linda Gates Masked Patterns and Laser Toner Decals 50 Andrew Gilliatt Acrylic Medium Images 53 Juan Granados

v 3 Relief, Etching & Stamping Printing and Embossing with Linocuts 55 Paul Andrew Wandless Reliefs with Photosensitive Polymer Plates 62 Paul Andrew Wandless Etching a Glazed Surface 69 Ann Ruel Light Sensitive Emulsion 71 Jessica Knapp Underglaze Stamp Pads 74 Holly Goring

4 Stencils & Masking Using Single-Color Stencils 75 Kip O’Krongly Multi-Color Stencil Decoration 80 Paul Andrew Wandless Friskets 85 Frank James Fisher Die-Cut Stencils 89 Paul Barchilon Using Stencils 94 Hannah Lore Hombordy Dimensional Stencils 99 Ann Ruel Wax Resist Inlay 102 Sumi von Dassow

vi 5 Screening Building a Silkscreen 105 Paul Andrew Wandless Using Photocopy Film Negatives 111 Paul Andrew Wandless Ultraviolet Light-Sensitive Emulsion Screens 114 Paul Andrew Wandless Silkscreen Printing on Wet Clay 117 Brad Menninga Thermal Screen Printing 121 Alice Drew Screening Multi-Color Images on Clay 127 Paul Andrew Wandless Image Transfer for Volumetric Forms 132 Forrest Lesch-Middelton

vii Preface

Clay has a history of being combined with, and included in, other creative practices, such as printmaking, drawing and photography. Clay and print have an especially unique relationship due to their natural com- patibility. Utilizing printmaking techniques with underglaze, slip, and glaze to address clay surfaces allows one to take advantage of the best of both mediums. Image transfer onto clay is a great way to explore and experiment with different mediums and see what exciting possibilities can be visually incorporated in your clay work. Having the ability to transfer an image, design, or text gives you the ability to take full advantage of your creative ideas. Over the years, several informative articles have appeared in Ceramics Monthly and Pottery Making Il- lustrated addressing clay and image transfer. A wide variety of methods have been covered to address the surfaces of greenware, bisqueware and glazeware with printing and transfer techniques. This book is a collection of information curated from these past articles, along with a few new ones written specifically to be included in this book. Most of the processes covered are water-based and safe to use in your studio, which makes it user friendly for everyone to try. Along with process information, there are also tips and instructions on how to make some of the printing tools to help you customize your work even more. Appliqué and paper transfers are a great introduction to transferring images if you’re new to this way of working. All you need is newsprint and underglaze to get started. Patterns and designs can be created on newsprint with both underglaze and slip, then transferred to greenware to create new and dynamic sur- faces. This can be done on flat slabs for handbuilding purposes or directly onto the curved walls of vessels. Decals have been a popular choice for artists to add photographic images, designs and text to clay for decades. A variety of decal options are covered, which address different visual effects that can be created on work. Non-fired decals are a great choice to add images, but not add another firing. Laser toner decals are a good choice for sepia-toned images that have a more subtle visual impact. Commercial decals, die- cut decals and layering decals to make a complex collage are more options to explore, if you’re interested in further personalization. Relief and embossing are image transfer techniques that allow imagery to be printed or impressed into clay. Relief in the forms of linocuts and photosensitive polymer plates are used to print and emboss on clay. Your ideas can be carved into linoleum and photographic images can be burned into photopoly- mer plates. For simpler ideas, rubber stamps can be used to create small reliefs to decorate greenware or bisqueware. Glaze etching and light sensitive emulsions can be used to work on glazed surfaces and bisqueware. Work that’s already glaze fired can have patterns and designs etched into the glaze surface. The matte, etched areas contrast nicely with the glossy, un-etched areas. Photographic images can be projected onto bisqueware that’s been coated with light sensitive emulsion. The emulsion hardens and leaves an image behind that can be fired. These two techniques produce unique results and are readily available as com- mon art supplies. While stencils seem like a fairly simple tool, they can be used to make very complex images. They can be used on greenware, bisqueware and glazeware. You can go from cutting silhouettes for simple, single-color images, to combining multiple stencils to create a complex, multi-color image. If hand-cut stencils are not

viii for you, you can have them commercially made. Information to have die-cut stencils is covered so you’ll know how to prepare the image files for best results. Friskets are another variation of masking technique you can employ directly to the surface of your work. Screen printing is the natural evolution of stencils to use images with greater detail. This certainly is one of the most widespread and popular image transfer technique used by artists. Instructions of how to build your own screen for printing, will allow you to build custom screens that are best suited for your ideas. All you will need are common hand tools and a few supplies from an art store. Photocopy film negatives are a cost-effective way to make custom images to burn into screens using diazo-sensitive emulsion. This saves the trouble of making transparencies or darkroom film negatives. If you want to work without a darkroom to burn screens, UV sensitive emulsion screens are covered. The unmounted screens give you the option to print on flat or curved surface and can be used on greenware, bisqueware and glazeware. A variety of screening techniques are introduced to screen single color images, multi-color images and even screening on vessel forms. This collection of clay and printmaking techniques has something for everyone, regardless of your level of experience. There are several easy-to-follow processes for someone just wanting to experiment with clay and printing for the first time. There are also several processes for someone looking to expand their current skill set or learn new variations for screens, relief, paper transfers and decals. Then there are some technical articles for those who like to make their own tools and equipment. Regardless of where you fall in this spectrum, there will be something to try and hopefully make that image, pattern or design you always wanted to, but weren’t quite sure how to do.

Paul Andrew Wandless

ix Image Transfer & Application NEWSPRINT SLIP TRANSFERS by Jason Bige Burnett

Too Much Television, uses newsprint and slip decoration combined with incised decoration, decals, luster, and glaze, creating dimensional surfaces that also pop with color.

My childhood interest in television cartoons in- on a metal plate and transferring the image to fluenced my current ceramic forms and surfaces. paper, I’m drawing on then transfer- The bright colors, graphic patterns, and illustra- ring directly to clay. As with all monoprints, keep tive qualities recapture and celebrate my fascina- in mind that the image you create will be reversed. tion with whimsical domestic representation. I’m Text must be backwards and layers of color must inspired by the stylized hand-drawn utilitarian be applied foreground to background (figure 1). objects like a coffee mug in a cartoon character’s Whether it be stripes, shapes, illustrations, or a hand or the mixing bowl displayed on the shelf in color field, start with an idea of how you would their kitchen. like to approach the surfaces of your piece before The combination of commercial stained slips you start. and newsprint is a paper transfer process. By ap- Apply your pattern or drawing to strips or plying slips saturated with bold colors onto news- blocks of newsprint, varying the colors of slip us- print, then transferring the drawn images to a ing brushes, slip trailers, and sponge stamps. Use slipped clay object, I can achieve an animated caution as the paper causes the slip to dry; and surface. Playtime doesn’t end there; I continue by if it dries too much, it may chip off. Use a spray introducing stamps, stains, and stickers to further bottle to keep the image damp but don’t spray too enhance the ceramic surface until the desired ef- much water as it could puddle and smear the slip. fect is fully achieved. Regular newspaper works well but I prefer using Strathmore brand Newsprint Paper available at Creating Newsprint Transfers any art supply store. The thickness and tooth of This newspaper transfer process mirrors the tra- this paper is durable and tough enough to hold ditional monoprint process. Instead of drawing and transfer slip.

Swirls and Stripes, 101/4 in. (26 cm) in diameter, earthenware, slip, underglaze, glaze, laser-toner decals, commercial decals, and gold luster. 1 Image & Design Transfer Techniques

1. Create patterns with colored slips. Paint the fore- 2. When leather-hard, blot and brush on the back- ground layer first and the background last. ground slip, which also serves as a transfer coat.

3. Gently apply the newsprint to the piece. Use a soft 4. When the slip has had time to absorb and the news- rib to ensure contact and pierce any trapped air. print has lost a lot of its moisture, slowly peel it away.

Slip it and Stick it decoration on the newsprint are both at leather After you’ve completed the newsprint image, wait hard, you are ready to print. There is a narrow for the slip to become leather hard and then ap- window of time here where the surface of your ply a slip coat over the drawing. Lightly dab the piece and the newspaper are perfect for applica- first coat of slip on (figure 2), wait for this coat tion. If one or the other is too wet when applied, to become leather hard and then brush on a sec- the result could be sloppy and undesirable. If the ond coat. A hair dryer assists in getting the slipped image and object are too dry, then this affects the newsprint to leather-hard. If the slip has a glossy quality of adhesion. When the slip on the object is sheen then it’s too wet to continue. soft but not tacky and all the slip on the paper has The slip application works best on leather-hard lost its sheen, you’re ready to transfer the image. clay. Using a hake brush, apply a moderate coat of Carefully pick up your piece of newsprint and slip to the surface. This layer of slip shouldn’t be slowly bring it toward the object. You’ll see the im- too thin or too thick and it should be the consis- age through the newsprint and that assists with tency of heavy whipping cream. This slip coat cre- placement. Once any part of the newsprint trans- ates a tactile surface perfect for pressing newsprint fer touches the object, gently press the rest of the into and absorbs transferred slip and imagery well. newsprint onto the surface (figure 3). Note that When the slip-coated clay piece and the slip air pockets result on curved surfaces. These are

2 Image Transfer & Application

5. Apply damp newsprint strips and press down all edges 6. Brush additional slip coats of any colors you wish to prevent the second slip coat from seeping underneath. over both the first layer and the damp newsprint strips.

7. Create more of a tactile surface by applying another 8. After allowing the slip to absorb into the surface layer of thick slip onto a fresh piece of newsprint and for a minute or two, peel away the newsprint again to wrapping it around the object. reveal the varied, textured surfaces.

addressed later. Gently press the transfer onto the derneath or tear through the paper. Practice and surface with your hands, working over the general experience with this method is the best way to find area. The trapped air pockets can be removed by your limits. piercing them with a needle tool or a small X-Acto Grab a corner or take the edge of the newsprint blade. If the air pockets are not taken care of, they and slowly begin to peel away (figure 4). It’s im- can cause defects or misprinting of the transfer. portant to do this slowly so you’ll catch the spots Now that the newsprint has been applied to the that did not adhere to the surface. Just place it object, there’s a layer of moisture trapped between back down gently and massage the spot down the object and the paper. Within the first minute or into the surface with the medium-soft rib. Repeat two the clay object begins absorbing that moisture. if necessary. Not addressing the spots creates po- Using a soft rib, press the newsprint down, ap- tential reservoirs for stain and glazes later. Now plying more pressure than before. Between thirty that your image is transferred, handle the piece seconds and two minutes is about the time when carefully. Applying slip onto leather-hard clay will you’ll notice the newsprint drying out again. Take make the clay soft and malleable again. I suggest a slightly harder rib and, with more force than waiting until your piece becomes firm and the slip before, rub the newsprint one last time into the isn’t sticky to the touch before applying anything clay. Rubbing too hard could smudge the slip un- else to the surface.

3 Image & Design Transfer Techniques

9. Mark the surface with stamps, rollers and carving 10. Take advantage of the piece being leather hard and tools, creating new patterns and echoing the lines of carve away some larger areas of the slip, revealing the the form or of the colored bands. contrasting color of the clay.

11. After the work has been bisqued, apply underglaze 12. Apply soda ash wash, wax resist, and glazes to or stain over the object and wipe away to accentuate desired surfaces. This is the time to plan for a final layer the process marks. of decals and lusters.

Additional Decorations relaxed with this and just gently pat down the strip. If you want a contrasting decoration in an adjoin- Give it a variation of rubs and pressings, then peel ing area, apply another coat of slip to the leath- away and notice the loose quality and nature of the er-hard clay. This time, try cutting out stripes or slipped surface (figure 8). Any sharp edges of slip shapes of plain newsprint, spritz with water un- should be tapped down or pressed in with your fin- til slightly damp, and lay them over the slip coat gers. After this surface has been bisqued, stains and to act as a stencil resist (figure 5). Brush over the washes enhance the loose look, suggesting surfaces piece with another slip, again any color works, and such as torn or chipped paint. let sit until the slip firms up (figure 6). Next, carefully peel the stripes away. If locating On top of the slip and strip layer, I also like creat- ing built up textures of slip. Brush a moderate coat the paper and peeling it away is difficult, lightly heat of slip onto a wide strip of newsprint and vary the the surface with a blow dryer until the slip above thickness of application. Once leather hard, place the newsprint becomes noticeably different in color the wide strip over the slip-coated object with the and dryness. Now the paper can be removed with newsprint stripes still in place (figure 7). Be more the aid of a needle tool or an X-Acto blade.

4 Image Transfer & Application

Stamp It Out wash over the piece in two generous brush coats. Since the object is still leather hard after the news- To make the soda ash wash, combine 57 grams of print and resist techniques, more adornment may soda ash to 1 cup of heated water and stir to dis- be applied. You can create additional marks using solve the ingredients. Allow the piece to dry again. stamps, etched lines, and texture rollers (figure 9). The soda ash wash will cause the matte surfaces to Larger areas of slip can also be carved away and retain a moist and saturated look. I fire the stains, create more surface depth (figure 10). glazes, and soda ash wash together to cone 05–04, and then do a second firing of the iron toner decals Layering After the Bisque (see 39) to cone 08. Finally, I do a third firing Staining the work with an underglaze creates more of gold luster and commercial decals together to depth and enhances the process marks and inden- cone 017. I’ve fired the soda ash wash up to cone 2 tations previously made on the surface. Coat the but not past that. entire piece with one or two layers of underglaze, let I use a variety of shop-made and commercial dry, and sponge it away from the high points leav- ing it in the recesses (figure 11). I use a black un- glazes. For many, glazing is the last and final step, derglaze to give my work a distressed look. Let the but I find glaze firing is only an intermediate step underglaze dry prior to applying wash and glazes. when pushing surfaces even further. When glazing, Since the whole object will not be covered in try setting up areas for decals and lusters by selec- glaze, some areas will remain matte. If the matte tively applying the glaze (figure 12). Remember, surfaces remain untreated, they come out looking decals and lusters reflect the surface below them chalky and dry. To prevent this, apply a soda ash and work best when applied to a shiny surface.

Circus Stars and Stripes, 7 inches in height, earth- enware, slip, underglaze, glaze, iron-toner decals, and gold luster.

5 Stencils & Masking USING SINGLE-COLOR STENCILS by Kip O'Krongly

Corn Duster, 17 in. My work in clay is inti- (43 cm) in diameter, handbuilt earthenware mately connected to the with hand-cut stencils, slip, exploration of layers. The sgraffito, underglaze, and terra sigillata. Single fired in oxida- physical layers built up through tion to cone 04. ceramic processes allude to the more ab- stract layers of issues currently occupying my I cut stencils out of thin plastic tablecloth, pots; the following leads you through my current which makes them reusable. Since these cut- process of handbuilding and decorating a platter outs often take more than four hours to create, using stencils. I cut through as many layers as possible at one time to create multiple stencils. If you leave the Making Stencils tablecloth folded out of the package, you’ll cut Before I make a platter, I come up with a design through six layers of plastic and end up with six and stencil for the imagery. Stencils can be as sim- identical stencils. ple or as complex as you like, but I find the detail After choosing your imagery and determining that’s achievable an exciting aspect of the process. the areas to be cut away, tape the photocopy to You can work from any drawing or photograph, the still-folded plastic (figure 1). Using a fresh but high contrast images are the most straight- X-Acto blade and working on a self-healing , forward to cut. Once you select an image, make begin by cutting the interior sections of your a photocopy (don’t ruin your original!), and use stencil. Starting with interior cuts provides the a permanent marker to clearly delineate the areas most structure possible during cutting. Com- you will include. All of the sections you intend to press delicate areas to prevent the layers of plastic retain in the final stencil must be connected to the below from shifting out of place (figure 2). Try to whole or they will drop out of the image. begin each cut from one end of a line, cut to the

75 Image & Design Transfer Techniques

1. Tape a photocopy of the image to an unopened part 2. Cut interior sections first to keep the stencil strong. of tablecloth. Retain black areas, cut away white areas. Compress delicate areas to keep plastic from shifting.

3. The stencil with all interior sections removed prior to 4. Drape a ½-inch thick clay slab over a bisque hump cutting the exterior. mold. Trim the edge and immediately attach a foot ring.

midpoint, then cut from the other end to meet Building a Platter in the middle. This method helps avoid inadver- Platters are an ideal vehicle for surface decora- tently slicing beyond joints. Have tweezers on tion. To form a platter, drape a ½-inch thick slab hand to remove small areas as you cut, so you can over a bisque mold (figure 4) and attach the foot see your progress. immediately after draping. Once dried to firm Once all interior segments are removed (figure leather hard, flip the platter and attach a coil rim 3), carefully cut along the exterior image bor- (figure 5). I roll out or extrude a coil, then lay der to release it from the surrounding plastic. If it in a spiral on a banding wheel. With the plat- you’re careful, you can use the negative image as ter on another banding wheel, I attach the coil, a stencil as well. For this particular project, I cut then slowly spin the platter’s banding wheel as I four stencils: One crop duster from a full-size work so the coil always feeds to the rim at the copy of my original, one stencil of the dust using a second photocopy of the original, one stencil same spot. Let the rim and platter set up togeth- from a photocopy of my drawing reduced to 75 er under plastic overnight. The following day, percent of the original size, and one from a 50 mask out the rim and foot with latex to protect percent sized copy (plus a few canaries to add from slip while decorating (figure 6). I use La- into the dust). Once all stencils are cut, you’re guna’s Goodrich Latex because it is water based ready to build a form for surface application. (no stinky ammonia, and it can be thinned with

76 Stencils & Masking

5. After allowing the clay to set up overnight, attach a 6. Mask all areas that you want to remain bare with coil rim to the platter. latex and let set for 24 hours under plastic.

7. Tack the first stencil down with water once you’re 8. After the base layer of stencils is secure, apply a layer satisfied with the placement. of slip over the surface. water). Applying latex allows freedom of gesture too much water, the stencil will “float” on the clay with slip decoration and gives a clean, crisp line rather than stick. when removed. Let the platter with latex set up Following the lines of your cutout, gently work under plastic another 24 hours prior to decorat- the stencil into the clay. If you’re decorating a ing. This extra time under plastic makes for easi- curved form (concave in particular) your cutout er latex removal following surface work. may need to fold to accommodate the shape. En- Layering the Surface courage folds that disrupt the image as little as possible and take extra care to ensure edges firm- Plastic stencils adhere best to leather-hard clay so keep forms well wrapped prior to decorating. ly adhere. Once the first layer of stencils is set and Once you have determined placement for the no wet areas remain on the clay, brush slip over first layer of stencils (three crop dusters in this the surface (figure 8). Apply with care so that if case), tack them down with a small brush dipped brush strokes show, they appear intentional and in clean water (figure 7). The beauty of using fit with the movement of the piece. this thin plastic is the ability to see water spread After the slip sets to leather hard, use a very under the stencil, which helps ensure edges seal soft pencil to sketch out areas of sgraffito. A light to the clay. Use as little water as possible—just spritz of water will erase pencil lines. I use a Kem- enough to make the clay surface tacky. If you use per K23 tool for most sgraffito decoration (figure

77 Image & Design Transfer Techniques

9. Sgraffito areas of drawing into the surface. Note the 10. Mask out any areas of corn that fall within the dust crop duster stencil still under the slip. stencil using latex.

11. With the dust stencil set, brush underglaze into the 12. Apply the canary stencils and more underglaze, then unprotected space. remove the bird stencils.

9), but sometimes use an X-acto knife or pin tool When the surface is back to leather hard, care- for variation of line quality. fully remove the latex masking the corn (figure With sgraffito complete (minus the corn tas- 13) along with all layers of stencils (figure 14). sels), use latex to mask out corn that will fall Note that if you remove stencils too early, the slip within the dust stencil (figure 10). This results in may run underneath. In contrast, if you wait too corn imagery that appears in the foreground and long, the edges may be ragged. Try to find a win- visually pops off the platter surface. Once the la- dow where slip is firmly set, but not yet dry. If tex has set (10–20 minutes in this case), apply the slip has dried too far, mist with water to soften dust stencil. Use extra care when adhering this before removing stencils. If you find spots where stencil to avoid marring the slip below. With the slip has bled under your cutouts, use a sgraffito dust stencil in place, apply slip or underglaze into tool to scrape the clay body clean. Alternatively, the stencil area (figure 11). After the underglaze use a small brush with water to “erase” any areas loses any of its sheen, add canary stencils using of unwanted slip. Once all stencils are removed, the above method of stencil application, filling add final sgraffito details or any other cutouts to them in with additional underglaze. Once set, the surface (figure 15). gently remove each canary stencil with tweezers I single fire my work to cone 04, so prior to (figure 12). removing latex from the rim, I coat the sur-

78 Stencils & Masking

13. When the surface returns to leather hard, peel the 14. Next remove all layers of stencils and clean up any protective latex coating off of the corn imagery. areas where the slip bled under using a sgraffito tool.

15. Sgraffito in the corn tassels and any other details 16. If single firing, apply glaze prior to removing latex you would like to add. from the rim and foot. face with glaze (figure 16). To apply glaze at the blot clean with a sponge. Once dry, the stencil leather-hard stage, ensure that your glaze recipe will stick to the Plexiglas until next needed. Note has a healthy portion of clay so it shrinks along that the more complicated your stencil, the more with your piece. If you have minimal clay in your likely it is to twist up following use. To help with glaze, it may be better to wait and spray the glaze untangling, choose a plastic tablecloth that has a on at the bone dry stage to single fire. With the pattern on only one side. That way, you can easily glaze firm, remove latex from the foot and rim identify which side is up and which is down as and let the platter dry slowly. If you’re working you clean and reshape your cutouts. with earthenware, apply terra sigillata to any ar- Working with stencils provides the freedom eas of exposed clay at the bone dry stage to seal to explore possibilities of repeating imagery in the surface and add a lovely satin sheen. different combinations and on different forms. While there is an initial investment in creating a Cleaning and Storing Stencils new cutout, once cut, there are many decorative possibilities. Since this process works at any fir- To clean stencils after use, place on a smooth sur- ing temperature and to range from simple shapes face (a piece of Plexiglas works well) and spray to intricate designs, I find this surface method a liberally with water. As you spray the stencil, it valuable and inspiring studio tool. relaxes and becomes easy to manipulate. Gently

79 Screening ULTRAVIOLET LIGHT-SENSITIVE EMULSION SCREENS

by Paul Andrew Wandless

Image on a hi-res screen by Chicago artist Tom Lucas, used to print on clay.

Screen printing ranks as one of the most popular EZScreenprint Stencils are screens pre-coated printmaking techniques because it can be used to with ultraviolet (UV) light-sensitive emulsion. In- apply images to virtually any surface. stead of needing an exposure unit to expose (burn) Clay artists are always looking for simple op- an image, you simply use the sun as your light tions to transfer complex images, designs, pat- source to expose (burn) the screen for 7 minutes. terns, digital images and photography onto their Its then soaked (developed) in tap water for about ceramic pieces. While some image transfer tech- 15 minutes. After the exposed areas have developed niques, such as decals, require chemicals and and set during the soaking, rinse the screen with equipment, I’ve discovered a simple, commer- water to wash away the unexposed emulsion and cially available screen that requires minimal ef- create an open, stencil version of your image. The fort and items to create an image for printing. final step is going back out into the sun for another The product is called EZScreenprint Stencils 20–30 minutes to harden the emulsion. Experiment (available at www.ezscreenprint.com) and it’s de- with the test strips included in the kit to get the signed for use with simple black-and-white pho- hang of exposing and setting the screen before us- tocopies and the sun. You can go from an idea ing a full sheet for your final image. Exposing times to screening an image on clay in about an hour! can vary based on the time of year and the strength How cool is that? of the sun for where you live.

114 Screening

1. Peeling protective covering off the screen. 2. Black felt covered board, screen centered over photocopy placed on Plexiglas and fastening clips.

Image, Paper and Screen the screen in a group, leaving half-inch spaces be- For best results, the type of image and screen tween individual images for easier printing. You mesh size and must be suitable and compat- can also fill the screen with just a single image, ible with each other. Though your image can be pattern, text or any combination of these. The simple or complex, it must be black and white. It image was printed on standard printer paper. can be line art, an illustration, photograph, digi- Setting up the Exposure Frame tal image or halftone. Line-art images have few, if With the black-and-white image on paper, you’re any, small details and consist more of bold lines ready to set up the exposure frame. Everything and shapes or silhouettes with high contrast and needed is supplied in the EZScreenprint starter no mid tones, so those are considered simple im- kit—one 10×12-inch exposure frame (black felt- ages. Illustrations, photographs, digital images or covered board with clips and Plexiglas), two sheets halftone images that typically have finer lines and of 8½×11-inch Standard Stencils, small test strips, smaller details are considered complex images. a plastic canvas and a small squeegee. Work in (Note: If the line or image parts are too fine or a dimly lit room while setting up the exposure small, the screen may clog when printing.) Once frame to avoid prematurely exposing the screen. you choose an image, make a black-and-white Remove the protective covering from both sides print or photocopy using standard printer paper. of the Plexiglas and place it on a flat surface, then EZScreenprint screens come in two mesh siz- align your black-and-white image in the center. es for simple or complex images. The Standard Take one of the screens from the protective black screen is 110 mesh and the HiDef screen is 200 then close the bag tightly so the unused mesh. The 110 mesh has larger openings and is screen inside is still protected. Peel the protective best for simple images, while the 200 mesh is a backing off the screen (figure 1) and immediately tighter screen (with more threads per square place it shiny side down on top of the black-and- inch, resulting in smaller openings) and is best white image (figure 2). Place the black board on for the more complex images. Both screen mesh- top of the screen with the black felt side down and es come in a variety of sizes. clamp together with the clips provided in the kit. The image in figure 1 started with digital pho- When done, take the frame out into the sun- tographs of tools in my studio, which were altered light. Keep the Plexiglas side down to keep light in Photoshop to make them high contrast black- from hitting it or cover it with a towel to protect it and-white images. You can arrange the images on from light before and after exposing it to sunlight.

115 Image & Design Transfer Techniques

3. Rinsing screen to remove unexposed emulsion. 4. Dabbing off extra water from screen.

Exposing and Setting there are some small detail areas that did not rinse Once outside, turn the exposing frame Plexiglas out well. This happens more with complex images side up to face the sun. Expose for 7 minutes dur- in the HiDef screens because of the tighter mesh. ing a regular sunny day and for 9 minutes if it’s When thoroughly rinsed, hold screen up to the a slightly overcast day. Dark, cloudy days with no light to check it. You should only see the white real sunlight are not optimal and success varies threads of the screen itself in the open areas. If if exposed under these conditions. I exposed this you still see a thin film of residue, rinse again. Af- screen for 6 minutes on a partially cloudy day, but ter completely rinsing, place the screen emulsion had good sunlight through the light clouds. side up on a and dab off all the excess Once exposure is complete, turn the frame water (figure 4). Put a fresh dry paper towel un- over (Plexiglas side down) or cover with a towel der the screen with emulsion side up and take it and go inside. Unclamp the frame and submerge outside to re-expose in the sun for 10–20 minutes. This hardens the stencil and making it durable and the screen in a sink or container filled with cool long-lasting. water for a minimum of 15 minutes to develop your stencil. Soaking longer than 15 minutes Using the Screen doesn’t harm the stencil in any way. After a min- Once the screen is hardened, it’s ready to use! ute or two, the unexposed areas blocked by the Since the screen is unframed, it’s flexible and can dark parts of your image appear light green. The be used around a vessel or on a flat slab. Any sur- exposed areas turn dark, and these darker areas face you can bend the screen around is fair game become the stencil. to print your image. Be careful not to make creases After 15 minutes, place the perforated plastic in the screen if you try to bend it around sharp canvas provided in the kit under the screen and corners. If you group several images onto one rinse with cool water from a faucet or kitchen screen, you can use scissors to cut it into smaller sprayer (figure 3). The plastic canvas acts as a pro- individual screens (stencils). tective backing for the screen during the rinsing Experiment and have fun with this easy to use process. Rinse both sides of the screen to remove product. It’s a great way to create images for screen the unexposed emulsion (light areas). Take more printing on clay that you thought were only pos- care when rinsing the emulsion side. Keep rinsing sible with a darkroom. You can screen images di- until all the residue from the unexposed emulsion rectly onto greenware, bisqueware or decal paper is completely removed. Use a soft brush if using both underglaze and glaze.

116 IMAGE & DESIGN Ceramic TRANSFER Arts Handbook TECHNIQUES Series Edited by Paul Andrew Wandless IMAGE & DESIGN TRANSFER TECHNIQUES Paul Andrew Wandless currently For many years, ceramic artists have used printmaking, drawing lives and works in Chicago creating and photography to enhance the surface of their work. Using art that combines ceramic processes underglazes, slips, and glazes it’s entirely possible to take and printmaking techniques to advantage many 2-D mediums to decorate both functional and create clay prints that are also sculptural work. incorporated into freestanding and Image & Design Transfer Techniques covers more than thirty wall-mounted clay sculpture. In techniques that can be used on greenware, bisqueware and addition to authoring several books glazeware. You’ll discover ways to create and transfer images and numerous magazine articles, and designs using appliqué and paper transfers, decals, stencils, Wandless is also featured in Ceramic silkscreening, etching, stamping, embossing, and more. Art Daily’s video Fundamentals of Screen Printing On Clay featuring An expert printmaker-turned-clay artist, Paul Andrew Wandless his techniques. Wandless holds an presents you with many of his own discoveries where he found MFA from Arizona State University, clay receptive to his many printmaking skills. In addition, an MA from Minnesota State he includes the methods of many talented artists who have University-Mankato, and a BFA from developed a variety of applications that can add a whole new University of Delaware. dimension to your clay surfaces. Whether you’re looking for the perfect book to start decorating or you need expert information to expand your skill set, Image & Design Transfer Techniques contains a wealth of information for every clay lover. Wandless

The American Ceramic Society www.CeramicArtsDaily.org Printed in China