Hi, we’re Hannah McAndrew, and Doug Fitch. And we’ve put together a film about slip, and decorating techniques with slip. So, if you’d like to make some stuff like this – then sign up for the workshop!
When you buy this workshop, you get:
- Instant Access to Watch our pre-recorded Workshop
- The workshop is 1 hour 45 minute long.
- You can watch it as soon as you purchase this workshop & login to your account.
- Bonus Q&A
- Watch our bonus 1 hour Q&A where we answered questions about our process face-to-face
- Lifetime Access to the Replays
- The workshop and the Q&A are recorded, and you will have lifetime access to it. You can watch it online, or download it to your device to watch offline at any time
After this workshop you could be making amazing work like this:
About Hannah McAndrew:
“The pots that Hannah McAndrew makes have precision, enabling her to enrich the surface with the most fluent slip trailing seen in modern times. She deftly creates elegant motifs to not just fit the pot’s form but to extend its creative potential and in so doing creates objects of consummate beauty.” Alex McErlain.
Britain boasts a particularly fine tradition of slipware pottery. I draw on this rich heritage and use it as the basis for my own work, where I attempt to capture the essence of these historical pieces, reinterpreted in a contemporary style.
Predominantly, I make pots with a purpose. However, I enjoy the challenge of creating a piece that will not simply perform its task well, but will be attractive to the eye and instil a sense of comfort and warmth to its surroundings. My pots are thrown in red earthenware clay and decorated using coloured slips. The decoration is applied to the surface of the pot by use of a slip trailer, while the surface is still glistening wet. Sometimes I allow the slipped surface to dry a little, so that I can inscribe motifs with sgrafitto lines. These slips are subsequently enhanced by the addition of a layer of rich honey glaze.
Although personal fulfilment takes precedence over financial gain, I am able to survive by spending my days investing time and passion into the thing that I love. My life is my work and my work is my life. This is a rare and fortunate privilege that I never lose sight of.
Mashiko Museum of Ceramic Art, Mashiko, Japan.
About Doug Fitch:
”Work that preserves that almost indescribable tremor of wheel and hand… His big jugs and storage jars have a reassuring solidity and are full of engaging character and personality.” David Whiting
I work in red earthenware clay, the pots simply decorated, with appliqué decoration or sgrafitto, using a basic palette of traditional slips that are made from natural raw materials. The majority of my pots are thrown on the wheel with some press moulded dishes, decorated with freely trailed lines.
The forms, principally large jugs, draw influence from the work of the medieval potters of England and the subsequent tradition of slip decorated country pottery that was prevalent in this country until the early twentieth century.
I’ve been making pots for most of my life. It’s a strange thing, to be excited by something as simple as a brown clay jug and I can’t explain it, but it seems that it happens to some people; it just gets under your skin.
The Fitzwilliam Museum, Cambridge, UK
Plymouth City Museum and Art Gallery, Plymouth, UK
Centre of Ceramic Art, York, UK
Shipley Museum & Art Gallery, Middlesborough, UK
Ceramic Museum of Mun-Gyeong, South Korea.