Unlocking Pottery Magic: A Guide to Resist Techniques

Resist techniques are a fantastic way to add intricate designs and patterns to your pottery by preventing glaze, slip, or other decorative elements from sticking to specific areas. *It’s like giving your pottery a little mask for a spa day*, but instead of cucumber slices, we’re using materials like wax, latex, paper, or even shellac. Let’s dive into some common materials. Wax resist is a classic for masking areas from glaze on both greenware and bisqueware. Commercial waxes, like Forbes wax, are super popular because they’re easy to use. You can even tint them with ceramic stains or oxides to make them easier to see—imagine a cool blue wax made with cobalt carbonate! Just remember, wax is pretty permanent once it’s on, so *no take-backs* without another firing! You can learn more about decorating with resists at the Ceramic Arts Network. Then there’s latex resist, which you can peel off after glazing. It’s great for layering glazes and creating complex designs, and brushes on super easy. The only downside? Thick glazes can hide the latex, and firing latex can sometimes cause glaze flakes, plus those with latex allergies should steer clear. The Ceramic Arts Network also has an article about latex resists. Paper resist is another fun option, especially on greenware. Cut out shapes from paper—newsprint or flip chart paper works great because it’s absorbent and flexible—and stick them to the clay with a damp sponge. Slap on some slip or underglaze, peel off the paper, and voila, a design appears! You can see how to do this yourself at Sian Ellis’ website. And don’t forget shellac, which you can use to create etched designs on dried, unfired clay. Paint on the shellac, sponge away the exposed clay, and you’ve got a relief effect. *It’s like magic*! The Ceramic Arts Network explains how to make relief surfaces with shellac resist. This video from Clay Corner Studio gives a great overview of the basics of ceramic glazing:

Resist techniques aren’t just about the materials; it’s about the designs you can create! Think about using shellac to make raised patterns, almost like delicate calligraphy, as potter Jim Gottuso does. You can learn more about creating etched designs at the Ceramic Arts Network. Or try paper resist to create intricate illustrations of characters and animals, just like artist Polly Fern. You can see Polly’s method on Ceramic School. Wax resist inlay is another cool trick: wax over a glazed surface, carve a design, and then apply another glaze. Sumi von Dassow creates detailed line work and contrasting colors with this method. Sumi’s technique is explained in more detail on the Ceramic Arts Network. Newspaper resist, a form of paper resist, can give you complex, layered designs – Bentham Pottery uses it to create stained glass window effects! Check out Bentham Pottery’s website to see the effects in action. And of course, there’s sgraffito, where you carve through layers of slip or underglaze to reveal the clay underneath, or even Dabu printing, a traditional Indian resist technique that can be adapted for pottery. With shellac resist you can create raised surfaces to delineate pattern and shapes on the surface of your object. Clay Bucket explains the process of shellac resist.

***Resist techniques aren’t just about the materials; it’s about the designs you can create!***

Now, let’s talk about how the type of clay affects your resist techniques. The clay’s porosity, thermal expansion, shrinkage rates, and surface texture all play a big role. High porosity can cause cracking and staining, so for functional ware, you want a clay with low absorption. Ceramic Materials Workshop explains the secrets of clay body absorption. Thermal expansion is all about how much the clay expands and contracts during firing; a mismatch between clay and glaze can lead to crazing or shivering. Learn more about clay body building at Ceramic Arts Network. Shrinkage rates vary too – stoneware shrinks less than porcelain. Big Ceramic Store explains how to choose the right clay. And the surface texture, especially with additives like grog, affects how well your resist materials stick and how the final piece looks. And finally, think about firing temperatures. Earthenware is fired at lower temperatures than stoneware or porcelain, so your resist materials need to be able to handle the heat. Low-fire resists like wax or latex are great for earthenware, while you’ll need high-fire resists for those hotter kilns. Wikipedia has an overview of pottery if you want to learn more. ***Always make sure your resist material is compatible with your firing temperature, and consider the kiln atmosphere, as that can affect how cleanly your resist burns off.*** By keeping all these tips in mind, you’ll be creating stunning, intricate designs with your resist techniques in no time!