So much of the process of making pottery is in the preparation of an idea. Often that process starts with sketches and time spent referencing images to use and deciding how best to incorporate a design onto a form. At other times the design process is more intuitive and spontaneous. I'll often stare at a piece until the right pattern or motif comes to mind to suit a particular form, and then sketch directly onto the clay.
Carving, sculpting, and creating incised line designs needs to be done when the clay is at, or a little beyond the "leather hard" stage. Although time-consuming, for me it's the most satisfying part of the process.
Discovering the right glaze for a particular clay or effect requires a tremendous amount of testing, and record-keeping when starting down a new idea path. Below are a few of my test "tiles" produced to work out glaze/clay combinations.
Glazing is often a multi-step process requiring more than one glaze application.
Sections may be masked with latex or wax resist to control which areas are covered.
The Maker's Mark.
No piece is complete without the mark of the artist. These are two of the stamps that I imprint onto each piece. Earlier work will show my initials signature "MAV"