I was glazing this week, and felt like cracking out the greyscale crewelwork idea I was playing around with last spring. Here it is again… This time the footrim on the bowl is different… a little more elegant, and much fancier-looking. I brushed on the black outline rather than use the squeeze bottle; this gave me less splooginess in the line, but I think I should have gone over it a second time. Up close, the black looks washed out next to the grey infill, which got two coats.

And I used a matte turquoise glaze on the inside instead of underglaze and glossy clear. I put the matte right around the rim, to see what it looks like dripping down over the design on the outside. Can’t say I like it that much. I think I’d much prefer the colour firmly on the inside, and only greys and black on the outside.

Fresh Fish 6

Fresh Fish! 6 was this weekend at the Anna Templeton Centre. Different venue, different organizers, largely different crowd of vendors (but a few long-timers, too). I had a good day. Got to meet some new people and see some old faces. Also got to acquire a neato-cool moose mobile and a genuine Andrew Harvey t-shirt[1], and eat some stellar food.

Some of this spring’s crewelwork experiments came along, too. They seemed to go over well. I sold half of them, which is a good debut. I’d like to have a full line by the time the big craft fair rolls around… bowls and plates and maybe a teapot, to go with the mugs. Maybe even teacups and/or saucers.

[1] It’s light blue, and says, “I miss cursive writing” in slightly incorrect[2] cursive.

[2] By the standards of Mme Brouard. I don’t know what Andrew’s grade three teacher’s rules were for the formation of “m”. Perhaps she just taught a different style of cursive.

Crewelwork teacups

One side, and the other:

I love them. I love woodcuts and lino cuts, and sgraffito can so very easily mimic the look of those mediums. It’s very similar, really–in each one, you’re creating an image by carving away parts of a flat surface.

The only trouble is the crumbly bits of coloured clay that get all over the work. If the piece is still wet enough that carving it is easy, bits of removed colour fall on it and want to stick. You get little coloured crumbs all over your nice white clay. If you wait until it’s drier, you don’t have removed pieces leaving marks where you want blanks, but the clay is much harder to carve through. Doing large numbers of pieces would really put a lot of strain on my wrist. So this is a decorating technique I’m only going to be able to trot out for very special occasions.