Gift Guide for Artists who Paint and Draw

This guide has more than 30 ideas for artists who paint, draw, and create. Most suggestions are priced between $25 and $100, along with a few higher ticket items. There are plenty of ideas for the painter or artist in your life, or perhaps you’ll find a gift for yourself. In general, this guide focuses on high-quality art supplies, equipment, and books.

Note: This site uses affiliate links for sites such as Amazon and Blick. If you click the links and complete a purchase, we may receive a percentage at no extra cost to you.

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Blick Noir French Easel

The Blick Noir French Easel.

Perfect for in the studio or on the go, this black French-style wooden easel from Blick is stylish, functional, and a great deal. The easel combines a sketchbox, easel, and canvas carrier into one unit. Folded, it measures a compact 22 x 16 x 6.5 inches, and it can extend up to 73” tall and accommodate canvases up to 34” tall. It weighs about 10 lbs. This is a great easel for someone setting up an at-home studio and can be carried or folded down for painting in plein air. It retails for around $100.

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Golden A-Z Acrylic Explorers Kit

The Golden A-Z Acrylic Explorer Kit.

This popular set introduces artists to a variety of products Golden Acrylics—the company bills it as a workshop in a box and it basically is. It includes heavy body (i.e. thick) acrylics, fluid acrylics, high flow acrylics as well as pastes, gels and mediums. It’s a great intro to Golden’s high quality product line, and can really expand an artist’s skill set. The kit retails for around $28 and includes 4 tubes of paint, 5 small bottles of paint, 4 tubes of different mediums and a bottle of clear painting medium.

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Aquabee Super Deluxe Sketchbook

The Aquabee Super Deluxe Sketchbook.

The Aquabee Super Deluxe Sketchbook from Bee Paper is a favorite mixed media pad that came out on top in our recent review of mixed media pads. It can do everything from light watercolor to ink to marker, colored pencil, and anything else. The sketchbooks are available in a variety of sizes (9x12” is a great option) and has a stiff cardboard back and a leatherette cover with a wire binding for easy turning of pages. The 93 lb / 150 gsm paper is light cream color and is a pleasure to use, and the books range from 6x4 inches to 14x17 inches, with 50 or 60 pages per book.

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Williamsburg Oil Paint Sets

The Williamsburg Oil Paint Signature Series has 9 colors in 11 ml tubes.

Williamsburg is known for its intensely pigmented, handmade oil paints that are the favorite paints of many professional artists. Available individually or in a variety of sets, try the Signature Series set of 9 for an introduction to these wonderful oil paints. An oil painter will appreciate this, or any set of the high quality Williamsburg paints. The Signature Series set has 9 tubes with 11 ml of paint each, or about 1/3 of an ounce.

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The Artist’s Way by Julia Cameron

The Artist’s Way by Julia Cameron

This classic, first published almost 30 years ago, helps artists, writers, and creative types unlock their full potential. Through a series of exercises, such as a letter to yourself and the famous “morning pages” of free writing (visual artists can just substitute sketching) everyone can discover their creative path in an open-ended way that accommodates everyone. At times a bit new age-y, this book is still worth a read for the ideas and exercises. The book grew out of a series of workshops that Cameron ran, and the book feels like you are in the room with Cameron’s gentle but insistent guidance.

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Faber-Castell 9000 Series Drawing Set

Faber-Castell 9000 Series Drawing Set.

Faber-Castell makes some of the best pencils and is the choice of professionals and serious artists. It’s easy to just reach for the signature green pencils first. This set of 12 pencils from F-C’s signature 9000 series has one pencil each ranging from the soft and dark 8B up to 2H. There’s also a set for designers that ranges from 5B to 5H. The sets come in a hinged metal tin or a soft bag and usually retail for around $15-$20. This is the perfect set for anyone who loves to draw. Pair it with a sketchbook and a sharpener for a perfect gift.

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Tote Bag for Tools, Pencils, and Brushes

JJRing Nylon Tote Bag

Every artist can use a little organizational help, and a tote bag keeps everything is at hand and easy to find. The JJRing nylon art/craft bag is has a 16 pockets, is available in eight colors, and is a great value, typically priced at $15 to $25.

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Caran D’Ache Luminance Colored Pencils

The Caran D’Ache Luminance pictured here in the 20 pencil box.

The ultra-premium Luminance colored pencils are a joy to use and the entire set is 100 percent lightfast, which means that the pigments are designed to withstand UV rays. Under museum conditions, these colors will hold up for at least 100 years. The Luminance (and the Derwent Lightfast) were our top picks in a recent test of colored pencils based on the color intensity, quality, and the lightfast ratings. The Luminance also has an easy-to-use cardboard box where each pencil is inset into foam, so the pencils don’t jumble around. Prices range from a set of 20 pencils for $55 to a set of 76 pencils for around $225.

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The Story of Painting: How Art Was Made

The Story of Painting: How Art Was Made from DK.

This 2019 book covers the entire 25,000 year history of painting with illustrations, texts, and guides to technique, composition, and subject matter. It’s a great overview for a beginning painter, or a wonderful reference book for the more experienced artist. The details, images, and texts make this more than just a coffee table book. It’s available in hardcover for around $25.

The book includes detailed examinations of numerous paintings.

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Utrecht Artists’ Watercolor Paint Box

The Utrecht Watercolor Box is a complete painting kit.

This set has everything an artist needs to get started with watercolor painting and it’s made by Utrecht, the Brooklyn, NY company known for high quality, artist-grade paints and mediums. It comes in a beechwood box and includes a 9x12” watercolor block, four brushes, a flat knife, a needed eraser, plastic palette with 24 wells, and 18 tubes of watercolor paint. The box usually retails for around $225.

Utrecht also sells smaller sets of just watercolor paints.

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Anker Soundcore Q20 Noise Cancelling Headphones

The Anker Soundcore Q20 Noise Cancelling Headphones.

Over-ear noise cancelling headphones can really help you focus on your work, especially if you work in a shared or noisy environment. There are a lot of options for this type of headphone, but the Anker Soundcore Q20 strike a balance between quality and affordability, especially considering they will probably get covered in paint at some point. These headphones have an impressive 40 hour playing time, and a dynamic sound quality that while not quite audiophile level, really deliver a lot for the $50 price tag.

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Liquitex Acrylic Gouache

The Liquitex Acrylic Gouache 12 color essentials kit.

Gouache is a type of opaque watercolor paint, and the Liquitex Acrylic Gouache is an interesting twist on this product that is really nice to use. Think of it as a matte acrylic paint that is fluid right out of the bottle and will result in a matte finish that doesn’t show brush strokes or cracks. It’s become a favorite acrylic paint of many. It’s available in small squeeze bottles—to use, just press out what you will need on a tray or palette. The colors are available individually or in a variety of sets. Try the 12 color essentials set for around $55 or the fluorescent set is also fun.

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Blick Super Value Bulk Canvas Pack

The Blick Super Value Bulk Canvas Pack has 40 16x20” pre-primed canvases.

Almost a gag gift for the extreme size, this bulk pack of 40 stretched canvases are great for anyone who paints a lot. These 16x20” canvases are pre-primed with acrylic gesso on 5/8” thick stretcher bars. At around $120, these canvases work out to about $3 each—an incredible value. And a gift like this will provide plenty of surfaces for an artist to get to work.

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Winsor & Newton Artisan Water Mixable Oil Paint

Winsor & Newton Artisan Water Mixable Oil Paint.

Water mixable oil paint is an interesting innovation made by a variety of manufacturers. It allows you to thin paint with water (although most companies do make some mediums as well) but more importantly, you can clean up this paint with water and soap. This makes it so much easier to keep hands, brushes, palettes, and everything clean, especially if you are painting at home. Winsor & Newtown makes a great line of water mixable oil paint called Artisan, and it’s available individually and in sets. The set of 10 colors in the smaller 0.7 ounce tubes is a great introduction to this line.

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Foam Daubers

Foam daubers aka sponges on a stick.

These sponges on a stick are a fun craft tool for artists of all ages. Variously known as spouncers, daubers, or stick sponges, these are a great way to add polka dots and round shapes to any surface. Use with acrylic, watercolor, or inks. Available in bulk packs for around $10–20, they are a great tool for any artist.

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Create Dangerously: The Power and Responsibility of the Artist by Albert Camus

Create Dangerously by Albert Camus.

This 1957 speech by the Nobel Prize winner was first published as a standalone text in 2019 in this small, pocket-sized book. A call to arms for artists to participate in society, it’s an interesting read for anyone considering a career in the art or who is interested in what role artists might take in civic discourse. The paperback usually retails for $8.

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Canson XL Black Drawing Pad

The Canson XL Black Drawing Sketchbook

A sketchbook with black paper is a fun way to mix things up in the studio. Pair it with opaque colors from pens or pencils, and you’ve got a whole new way to approach color and design. A studio favorite is the student-grade Canson XL Black Drawing Pad. Each pad features 40 pages with 92lb black paper, with micro-perforations at the side if you want to remove a drawing for framing or other purposes. Available in 7x10” or 9x12”, expect to pay $7 to $10 for these pads. For a great gift, pair this with gel pens or colored pencils.

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X-Acto Basic Knife Set and Case

The X-Acto Basic Knife Set with case.

Every artist needs X-Acto knives at some point, and this basic set of 3 knives and 10 replacement blades is a great introduction to the variety of blades from this venerable company. Use this for trimming watercolor paper, collages, or any art and hobby purposes, these will get used all the time. This set typically retails for around $23. Pair it with a cutting mat (see below) for a great gift.

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Self-Healing Cutting Mat

Alvin Cutting Mats are one option for self-healing cutting mats.

Self-healing cutting mats are a great way to protect both your tables from cuts and it helps your knife blades stay sharp longer. Available from a variety of manufacturers (Alvin, Blick, Cricut, X-Acto etc) the main thing is to pick the size and color that works for your space. Traditionally available in green and black from Alvin, there are now a variety of colors and sizes. For at-home use, an 18x24” mat or 24x36” sizes are usually best, but you can go bigger or smaller. In addition to cutting, these make great surfaces for using liquid or hot glue, or for moving around drawings or paintings that are not yet dry. The larger sizes are also useful for covering tables used for drawing, painting, and crafts.

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Arches Watercolor Blocks

Arches watercolor blocks come in a variety of paper thicknesses and finishes.

Arches makes some of the best watercolor paper and watercolor blocks are a great way to try out their paper. Sealed on the side with glue, each sheet stays in place and won’t warp, and can then be cut off using a dull knife. Then the next sheet is ready to go. These come in hot and cold press in a variety of thickness. Cold press paper has a bit more texture and the mid-weight 140 lb / 300 gsm paper is a good place to start, such as an 8x10 block of 20 sheets that retails for around $33. Pair this with a high-quality set of watercolors (such as Sennilier, Utrecht, etc) and you’ve got a great gift for a watercolor artist.

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Sennelier Watercolor Travel Set

Sennelier La Petite Watercolor Travel Set

Sennelier makes some of the best watercolors that are rich in hue, depth, and just enough transparency. They are a pleasure to use and when paired with a watercolor block (see above) make a great gift. This travel set includes 12 tubes of watercolor paint and a small palette for adding water. The tubes hold 10ml or .33 oz of watercolor paint, which can go a long way—especially if they are mixed with water and used wet on wet. It’s a great introduction to the Sennelier line of watercolors, and generally retails for $35-$40.

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JBL Bluetooth Speaker

The JBL Flip 4 portable bluetooth speaker.

It’s always great to have music or podcasts in the studio, and a portable bluetooth speaker makes it easy to play anything from your phone, tablet, or laptop. The JBL Flip 4 is slightly older (meaning it’s available at a discount) but is still a great option that sounds great, is easy to pair with devices, and comes with long-lasting build quality. For something bigger and louder, check out the JBL Charge line of speakers. The JBL Flip 4 is waterproof, available in a variety of colors, and usually retails for around $90.

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Studio Designs Fusion Center Drafting Table

Studio Designs Fusion Drafting Table and Stool. (Cabinet is not part of the set).

Studio Designs is known for high quality but affordable studio furniture (I’ve been using the Graphix II Workstation for years) and the Fusion Center is a great introductory table and stool for artists who draw, paint, or craft. Featuring a work area that is just under 24 x 35 inches, the table can adjust from flat to a 60 degree angle. There’s also a pencil and brush rack, and a slide-out side table, giving the table an overall potential footprint of 24x48 inches, and the table is adjustable from 26.75 to 35.35 high. It’s a great first desk for the serious hobbyist or art student who is ready for their own dedicated table. It typically retails for around $125.

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Daybook: The Journal of an Artist by Anne Truitt

An older edition of Daybook by Anne Truitt.

This classic journal by the American sculptor has been in print continuously since it was published in the early 1980s. In it, Truitt details her daily observations about artmaking as well as her history as an artist and mother. It’s an enlightening read that ranges from the mundane, to money concerns, to the theoretical underpinnings of her works and how she made them. It’s available new and used, including a recent digital edition that includes Daybook and two more books of Truitt’s journals. For more, check out this excerpt of the book. Daybook is available in paperback for around $15.

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Holbein Artist’s Gouache Set

The 12 color set of Holbein Artists’ Gouache.

Gouache is the opaque version of watercolors and Holbein makes some of the finest gouaches around. These professional grade paints are vibrant, dry to a matte finish, and can be thinned with water if less intensity is desired. The colors are available individually or as sets, ranging from five colors for around $30 to all 84 colors for over $700. A set of 12 or 18 colors makes a great introduction to this line of colors and in the smaller .2 ml tubes, these sets range from $44 to $53.

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Pentel Pocket Brush

The Pentel Pocket Brush Pen with two refills.

The Pentel Pocket Brush is a portable, easy-to-use, and refillable brush pen that can lay down a super-fine line or a heavier stroke. Perfect for travel and on the go ink sketches, it can also be used in the studio for finished work. It’s good for painting, cartooning, and more, and is available with gray, black, or sepia-colored ink. The brush and two refills typically retails for around $13, and refills are about $3 for a two pack. Pair this with a mixed media sketchbook (such as the Aquabee Super Deluxe Sketchbook) and you’ve got a great gift.

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Alice Neel: People Come First

Alice Neel: People Come First is a 2021 monograph published by the Met Museum.

This 2021 monograph focuses on Neel’s history, social activism, and portraits. Published by the Metropolitan Museum of Art in New York and based on the blockbuster exhibition there, the hardcover book includes high-quality reproductions and essays on Neel and her work. A sense of life was in every mark that Neel made and this book is a deep look into a fascinating artist and her body of work.

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Sennelier Abstract Kit

The Sennelier Abstract Acrylic Paint Kit with 8 tips.

Sennelier Abstract acrylic paints are a new twist on painting. The paint can be squeezed out on a palette like any other paint, or try the various tips directly on these plastic pouches to squeeze paint right out of the bag. It makes the act of painting physical and immediate, and can open up a new way of working for any artist. The set includes 5 paints and 8 tips, and typically retails for around $35.

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Blick Studio Black Cotton Canvas

Blick Studio Black Cotton Canvas are pre-primed and stretched and ready to paint.

Black primed canvases are a completely different way to approach painting, and these pre-primed and stretched cotton canvases from Blick allow you to get right to painting in acrylic or oil. Available in 5 sizes ranging from 8x10 inches to 20x24 inches, these canvases have a traditional 3/4” deep stretcher bar and are suitable for hanging or framing. Pair these with an acrylic or oil painting set for a great gift.

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Golden Fluid Acrylics Set

The Golden Fluid Acrylic Set includes 10 paints.

Golden fluid acrylics are high flow, thin paints for artist that spray, brush, stain, or paint. They are highly saturated with pigment and they are almost ink-like in how they lay down and dry. They are a great way to mix things up and can be used with various mediums or thinned even further with water. The set of paints includes 10 colors in 1 oz jars and usually retails for around $42

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Blick Super Value Hardbound Sketchbook

The Blick Super Value Hardbound Sketchbook two pack.

Hardbound sketchbooks are great ways to keep all your sketches, thoughts, and notes in one place and this 2 pack is simply an incredible deal. At around $12 for two sketchbooks, it’s the same price you’ll pay for one hardbound sketchbook at other stores. The 65 lb paper measures 8.5x11 inches and is smooth, white, and acid free.

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Caran D’Ache Pablo and Supracolor Gift Box

The Caran D’Ache Pablo and Supracolor box set.

This handsome wooden box has a full set of Caran D’Ache Pablo colored pencil and Supracolor water-mixable colored pencils. The two lines blend together easily, giving you an unlimited range of possibilities for drawing, shading, blending, and working wet. At $464, it’s quite the statement gift but it includes 180 pencils, for an average cost of $2.58 each.

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Other Gift Ideas

Classes: A set of classes at a local studio or art studio can be a great gift.

Magazine Subscriptions: Magazines are great sources of ideas and inspiration.

Tours, Trips, or Conferences: Look for painting-specific travel tours, retreats, or conferences.

What are your favorite gift ideas for artists? Let us know in the comments.

Gift Guides

Check out these posts:

Gift Guide for Potters

Gift Guide for Young Artists and Creative Kids

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"If you can walk, you can dance" Louise Nevelson on making art

Louise Nevelson: Light and Shadow by Laurie Wilson

Louise Nevelson: Light and Shadow is a 2016 biography of the artist by Laurie Wilson. It’s a comprehensive, detailed overview of Nevelson’s life and approaches to art and is a great read.

From a young age, Nevelson was always making art but a combination of factors kept her on the margins of the art world until her late 50s, when she began to show in New York City and then, around the world. In her 60s and 70s, Nevelson became one of the most prominent sculptors in the world, working with installations, public art, and making numerous museum and solo gallery shows with her sculptural works.

It’s an inspiring story, and one that probably rings true to most artists in both the joy of art making but also the struggles to forge an artistic life and create your own path.

Below are a few excerpts from the book, with words by Wilson and quotes from Nevelson. The book is available in hardcover or digital editions.

Nevelson on making art:

“I’d rather work twenty-four hours a day in my studio … than do anything I know. Because this is living. It’s like pure water…. The essence of living is in doing, and in doing, I have made my world, and it’s a much better world than I ever saw outside.”

Sculpture is like a person…

One of Nevelson’s observations about this work could describe her aim as an artist: “I tell people who ask, that I don’t use wood; I don’t use black; I don’t make sculpture. If the sum of this wall doesn’t transcend wood and black and making something, then I’ve failed. Sculpture is like a person, who adds up to a lot more than a few cents worth of chemicals. I’m trying to communicate. Not to make something.” For Nevelson, this went beyond a statement about art; she was trying to articulate what she knew about the human condition: We are all alike and we are all different. And she saw her mission as expressing these contradictory truths, not in so many words, but through the formal decisions she made in her art.

On terra cotta clay, and approaches to different mediums.

Nevelson claimed that she worked on stone only when she was “a little exhausted creatively.” When she felt in full power, she preferred terra-cotta because “it gives flight and does not retard or restrict … the quick response of the clay to each idea; it permits a simplicity of approach.

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It seems Nevelson was repeatedly driven to create new formats and new versions, when she approached a familiar medium, as though the tried-and-true was never quite so satisfying as what had yet to be attempted or seen.

From the book: a 1944 experiment with found wood and a tire.

On sexism in the arts:

When asked if men treated her as an equal, Nevelson was quick to answer. “Originally, no—at 70 years, yes.”

“When I first started, nobody took me seriously. In the galleries—a woman! I’d look in the mirror and see the gestures they made behind my back. Meshugganah! A woman wanting to be a sculptor. A man sculptor said to me, ‘Louise, you don’t want to be a sculptor. To be a sculptor, you’ve got to have balls.’ ‘I’ve got balls,’ I said. But it hurt inside.”

Ferocious Bull, 1942. Another sculptural experiment that was lost.

If you can walk…

Jean Lipman, who had written Nevelson’s World a few years earlier, recalled a moment when Charles Kuralt asked Nevelson toward the end of the TV interview how, at age eighty, she could possibly maintain the energy and quality of the work that had made her famous. Nevelson paused for a full minute and said: “Look, Dear, if you can walk, you can dance.”

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Louise Nevelson: Light and Shadow

512 pages, 2016, by Laurie Wilson.

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The "Arena of My Own Spirit." Anne Truitt on Finding Certainty in Her Work

Daybook by Anne Truitt, the 1984 Penguin paperback edition.

This text is from Anne Truitt’s journal Daybook. First published in 1982, it’s been in print since and is a wonderful book that should be on every artist’s bookshelf. Truitt was known for her minimalist sculptures and paintings. She also published three journals, including Daybook, Turn, and Prospect, that chronicled her approaches to art making, parenthood, memories, and thoughts on life as an artist.

This journal entry is from 1975, but is reflecting on 1961, about a year after the birth of Truitt’s son. In this passage, she describes how she started making the work that became her signature style.

From Daybook, by Anne Truitt:

27 March, 1975

It was in this familiar context that, one year after Sam’s birth, my work suddenly erupted into certainty. I was taken by surprise and to this day do not know why it happened.

When Sam was a few months old, fairly launched, I rented a room at 1506 30th Street, across from our house. On the third floor, looking west from a sort of turret that jutted out into the air, it was rather pokey but exceedingly convenient as I could run back and forth easily. I picked up my work where I had left off in San Francisco and continued to make loose drawings with black and brown ink. These were done very fast, on sheets of newsprint paper into which the ink was absorbed in such a way as to make them look more expressionistic than they were in my mind. I was on the track of square and rectangular shapes, articulated back into the depth of the ink, echoing the structures I had seen on archeological sites in Mexico, most particularly those of Mayan temples. I began making these obsessively repetitive shapes in the summer of 1958 after Mary’s birth, not only in drawings but also in three dimensions. I used very dark brown clay, heavily grogged, and built up the sculptures from the inside out, using the classical method taught me by Alexander Giampietro. I still sometimes miss the marvelous feeling of rolling the clay between my fingers and thumb and then pushing the warm, full shape against its fellows to swell the unity of a structure growing slowly under my hand. This satisfaction with the certainty of a familiar and compatible process was one of the pleasures I had to forego when my work changed direction and forced me to go against the grain of my own taste and training.

On a visit to my studio early in 1961, Kenneth Noland pointed out to me the possibility of enlarging the scale of these sculptures. I remember my reluctance to absorb this idea, partly because I was afraid and partly because of my pleasure in using clay in a way that gave me such satisfaction. I think, however, that his suggestion opened up my thinking and combined with my obsessive concern with the weights of squares and rectangles to pave the way for the change that took place some months later.

The change itself was set off by a weekend trip to New York with my friend, Mary Pinchot Meyer, in November 1961, almost one year to the day after Sam’s birth. We went up on Saturday and spent the afternoon looking at art. This was my first concentrated exposure since 1957, when I had moved to San Francico, and I was astonished to note the freedom with which materials of various sorts were being used. More specifically, how they were being put to use. That is, I noticed that the materials were used without particular attention to their intrinsic bent, as if what I had always thought of as their natural characteristics was being disregarded. For the first time, I grasped the fact that art could spring from concept, and medium could be in its service. I had always rooted myself in process, the thrust of my endeavor being to seek patiently and unremittingly how an idea would emerge from a material. My insight into the art I saw that afternoon reversed this emphasis, throwing the balance of meaning from material to idea. And this reversal released me from the limitations of material into the exhilarating arena of my own spirit.

At the Guggenheim Museum, I saw my first Ad Reinhardt. I was baffled by what looked to be an all-black painting and enchanted when Mary pointed out the delicate changes in hue. I remember feeling a wave of gratitude—to her for showing me such an incredibly beautiful fact and to the painter for having made it to be seen. Farther along the museum’s ramp, a painting constructed with wooden sticks and planes also caught my attention, setting off a kind of home feeling; I do not remember the artist’s name but liked his using plain old wood such as I had seen all my life in carpentry. And when we rounded into the lowest semicircular gallery, I saw my first Barnett Newman, a universe of blue paint by which I was immediately ravished. My whole self was lifted into it. “Enough” was my radiant feeling—for once in my life enough space, enough color. It seemed to me that I had never before been free. Even running in a field had not given me the same airy beatitude. I would not have believed it possible had I not seen it with my own eyes. Such openness wiped out with one swoop all of my puny ideas. I staggered out into the street, intoxicated with freedom, lifted into a realm I had not dreamed could be caught into existence. I was completely taken by surprise, the more so as I had only earlier that day been thinking how I felt like a plowed field, my children all born, my life laid out; I saw myself stretched like brown earth in furrows, open to the sky, well planted, my life as a human being complete. My yearning for a family, my husband and my children, had been satisfied. I had looked for no more in the human sense and felt content.

I went home early to Mary’s mother’s apartment, where we were staying, thinking I would sleep and absorb in self-forgetfulness the fullness of the day. Instead, I stayed up almost the whole night, sitting wakeful in the middle of my bed like a frog on a lily pad. Even three baths spaced through the night failed to still my mind, and at some time during these long hours I decided, hugging myself with determined delight, to make exactly what I wanted to make. The tip of balance from the physical to the conceptual in art had set me to thinking about my life in a whole new way. What did I know, I asked myself. What did I love? What was it that meant the very most to me inside my very own self? The fields and trees and fences and boards and lattices of my childhood rushed across my inner eye as if borne by a great, strong wind. I saw them all, detail and panorama, and my feeling for them welled up to sweep me into the knowledge that I could make them. I knew that that was exactly what I was going to do and how I was going to do it.

Anne Truitt, First, 1961. Acrylic on wood, 44 1/4 x 17 3/4 x 7 inches. Image via annetruitt.org.

Mary Meyer and I returned to Washington the next day, and early Monday morning I bought some white shelf paper and went to my studio. There I drew to full size three 54” irregularly pointed boards, backed by two rectangular boards, placed on a flat rectangular board. I went straight down 30th Street to a lumber store and ordered the boards cut to the size of my drawing; I bought clamps and glue and some white house paint. When the boards were ready, I glued them together, painted them, and there was my sculpture: First.

I returned immediately to the lumber store with two more drawings. While I was explaining to the man what I wanted and what I intended to do, he said mildly, “You can have them put together across the street if you want to, in our mill.” “Oh, can I?” I said. “Thank you.” And I seized my daughter Mary in her dark blue snowsuit from the counter where she had been perched to watch what was going on. I had to rush off for a carpool and hadn’t time to go to the mill right then, but I remember stopping outside the store and going down on my knees in the snow to hug Mary and tell here that I could make whatever I wanted to now, overcome by the possibilities that surged into my mind. I had seen that size would be a problem and had had no idea how I was going to make what I saw in my mind in that little studio with my meager equipment, time, and strength.

When I got back to the mill, I went in to see the manager. He placidly looked at my roll of drawings and allowed as how he could make them up for me. But, he suggested, I could make scale drawings and that would be easier for us both. So off I went and bought a scale ruler. A young architectural student was buying something at the same time and showed me how to use it. So I set up a system: scale drawings and mill fabrication. I also telephoned the financial advisor who had charge of the money I had inherited and asked him to transfer five thousand dollars into a new, special checking account. I used this account exclusively for my work from then on, replenishing the funds from my capital without giving it too much thought.

Anne Truitt, 1978.

In 1962, I made thirty seven sculptures, ranging in size from that of the first fence up to around ten feet tall. Most of these I made in Kenneth Noland’s studio in Twining Court, which he generously allowed me to rent for ten dollars a month after his departure for New York. It was a ramshackle old carriage house with a huge hayloft equipped with a large hay door and hooked lift, which I used to hoist the larger sculpture in and out. There were also four other rooms, two crammed with rusted bedsprings; I had these carted off, and then whitewashed one of the rooms so I had a place for finished work. No heat, no water, rats—I used to stamp my feet when I came in—and the place was dismally damp. No matter.

— Excerpt from Daybook by Anne Truitt, 1984 paperback edition, pages 148–153.

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“Is that enough?” Richard Hamilton on Painting, Representation, and Skill, from 1971

British artist Richard Hamilton gave a talk to students in 1971 during his show “Metamorfose van het object” at the Palais des Beaux-Arts in Brussels. The talk was recorded by Jef Cornelis and a transcript was first published in a 2014 catalogue that accompanied a Tate Modern retrospective of Hamilton’s work. Here’s an excerpt of that text along with part of the introduction by Mark Godfrey. The whole text can be found in the catalogue.

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Richard Hamilton at the Palais des Beaux-Arts, Brussels, 1971

From the introduction by Mark Godfrey:

Hamilton begins with a succinct analysis of four categories of painting that he deploys in his work: figuration; diagrammatic representation of information or space; painting which foregrounds the material qualities of paint; and semiotic painting, where a work might include signs or words. Remarkably, Hamilton shows that each kind of painting can be useful (and deployed without parody or quotation) even if he does not subscribe to the belief system around it. He acknowledges the Abstract Expressionist mark for instance, even though he does not find a drip of paint to be “sensuous.” Other European artists were beginning to juxtapose different kinds of abstract strokes to represent modernism as an exhausted set of options (for example Sigmar Polke) but no one else was putting together these four kinds of painting to explore their different functions.

Another still image from the film of Richard Hamilton’s 1971 talk.

Hamilton later connects his tendency to make different versions of a work and his skepticism towards a signature style…Many of the Conceptual artsist would have criticized such a work, and painting in general, but at the end of this talk Hamilton comes up with an extraordinary justification of painting through the language of Conceptual art. If anything that documents an artist’s thought is a work of art, then ready-made, a neon text, or photostat of a dictionary definition is no more or less valid an art work than a painting. With razor-like thinking Hamilton cuts through the discourses of the tie that would deny works like his own their place among radical practices.

Richard Hamilton:

I find that everything I do is concerned with one of four means of representation, that is, concerned either with one way of doing something or with a number of ways superimposed on one another. The first way is probably pure figuration, pure photographic rendering—the kind of traditional way in which people perceive the world and the way they perceive and experience of the world through a two-dimensional surface. A lot of the work that I have done is concerned with photography. Rather than paint it in a laborious kind of way, I say: “All right, I know that we can paint it but the camera can do that kind of job perfectly well.” So very often I find myself using the camera at the one level: information about imagery.

Then I find that there’s a geometrical approach, a diagrammatic way of providing information or receiving information—so that perspective is sometimes elaborated in a very precise way. Then there are occasions when I remember that paint itself has some quality, that the medium of paint is important; American Abstract Expressionism was concerned almost entirely with that plastic quality of paint. So I put paint in a very direct way onto a photograph or onto a drawing. But I don’t think I use it for a sensuous enjoyment of the paint. I’m saying that there is that other response to paint, and if I put it on, on a print or on a painting, I feel that it’s kind of token, it’s a representation. It simply signifies that kind of mark is a category: the plastic quality of the paint.

There are also other ways of receiving information. For example, a cross is a mark which has some plastic quality, but it also means something—it has a meaning as a sign: it means “no”, so a tick means “yes.” I think that signs appear sometimes in my work. Sometimes I’m interested in language expressed in a literary form. So some of these prints have words attached to them, and what I think they’re all about, really, are ways of communicating at a visual level. The interest for me in painting is to explore the whole of that territory, rather than to find a style which I can say is my own and to go on working in that vein. In a way, I try to exploit my talents: I think that it’s possible to use any kind of technical facility, any skill of handling that I might have received from institutions, even those which have a rather bad reputation. These days no one has any respect for the Royal Academy in London, but I have a very high regard for the skills it gave me, because I like to think that I can do a certain number of things. I feel I can do what I want to do because I have this technical facility given me by an education in a very stuffy academic art school.

And from the end of the talk:

A lot of artists now, I think, don’t look at the world directly. The paintings up to the end of the nineteenth century were all a direct experience of the world. People looked at the world and they experienced something and they tried to record that experience. But now I think the general experience of the world comes through magazines, through television, through cinema. There are many ways of experiencing the world, but the most important ways now are these secondary ways. The direct way of perceiving the world is of less importance to everybody, and I think that’s very significant…

Pages 206-207 of the Richard Hamilton catalogue, published in 2014.

There’s an exhibition in Nuremberg at the moment and I suppose a lot of conceptual art will be there. The theme of the exhibition, because it’s on the occasion of the 500th anniversary of Dürer, is a statement they’ve taken from Dürer: “What beauty is, I don’t know.” And so I’ve tried to think not only what beauty was but also what art was and is now, at this present time. I decided first of all that a work of art is really no more than evidence that somebody has thought of a work of art. I think Duchamp establishes that the work of art itself is of no importance, because the work of art can change. It changes after its production through , in the first place, decay, and it also changes because the people who look at it change. This is one of the facts that one accepts about a work of art, now that we understand that it isn’t a permanent, timeless thing. So that you can say only that the work of art is telling you something about what the artist thought. What is important about the work of art is that it carries some thread, some information, from the mind of the artist.

One has to say: “This is what’s important—it’s what happened in the artist’s mind that is important, not what happened on the piece of paper, or that canvas, or the object. This is an intermediary vehicle.” I’ve carried this process further and said that anything that communicates an artist’s thoughts is a work of art. It doesn’t need even to be made by the artist—it doesn’t need to be in any particular style, because you can work in another person’s style and it will still be a work of art. You can work ironically or seriously you can do anything—anything is possible. The only thing that’s important is that what is produced is a document which relates to an idea. I ended up by saying that a painting is evidence that an artist has proposed a work of art. And I don’t see why a painting isn’t just as good evidence that a work of art has been produced as, well, any other kind of activity that artists can engage in.

… Is that enough?

The cover of the book.

Read the entire statement in on pages 201–207 in the catalog Richard Hamilton, 2014, published by the Tate Modern.

The catalogue includes numerous images and reproductions of Hamilton’s work, an introduction by Paul Schimmel and essays by:

• Victoria Walsh

• Benjamin Buchloh

• Alice Rawsthorn

• Hal Foster

• Mark Godfrey

• Fanny Singer

What do you think about Richard Hamilton’s statement? Let us know in the comments.

You may also be interested in:

• A Time For New Dreams by Ben Okri

• Shoji Hamada on making pots.

• Centering by M.C. Richards.

For more posts like this, click here.

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Best Glues and Adhesives for Ceramics

Glues and adhesives are a vital part of any ceramics studio. Used for repairing and creating, it’s important to have the right glue for the job. This post will cover a variety of glues and adhesives, each with their own features and drawbacks. There’s no shame in using glue, some prominent ceramic artists are even known to say that epoxies and glues are “one of their mediums.”

TOP PICK: E6000 Industrial Strength Adhesive

E6000 is the one glue that should be in every studio. It’s ready to use right out of the tube, dries in a relatively short amount of time, and can be used with ceramic, metal, wood, fabric, glass, and polymer clay. It’s equally at home for making jewelry as it is for repairing things like ceramic mug handles. And it can often be found with precision tips so you can apply just the right amount.

E6000 also dries quickly, staying tacky for 4 to 5 minutes. Then, allow at least 24 hours to cure to full strength. When fully cured (may take as long as 48 to 72 hours) it has a strength of 3,500 PSI or pounds per square inch. E6000 also can be painted, sanded, or scraped away, and it is resistant to water upon application. It’s also available in a variety of sizes, including small 1 oz tubes suitable for precision work.

For info on more glues and adhesives, keep reading.

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Table of Contents

• Top Pick: E6000

• Devcon and other 2-part epoxies

• PC-7 and PC-11

• JB Weld

• Magic-Sculpt

• Gorilla Glue

• Modge Podge

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Devcon 2 Part 5 Minute Epoxy

Devcon 5 Minute Clear epoxy is a two-part adhesive that can be found in plungers (pictured) or larger volumes in separate bottles.

Two-part epoxies are strong and are a better option than the various “super glues” found everywhere. The clear versions of these epoxies also do a great of mimicking the shiny look of a fired glaze, although they are available in off white as well. My go to brand is Devcon, although any clear two-part epoxy will get the job done. Look for plunger barrel option (pictured) although some come in larger sizes in two bottles. Also be sure to pick a “5 minute” epoxy. Some have longer set times up to 30-60 minutes, and than can be frustrating to use with a runny glue.

To use, squeeze out equal amounts of the resin and hardener on something disposable such as a piece of scrap paper, and mix with a kraft stick or even just a twisted up piece of cardboard. Then apply to what needs to be glued and press together. You may need to hold it in place for 5 to 10 minutes (tape or rubber bands can help) and then you should be good. The pictured Devcon Home 5 Minute Epoxy has a 5 minute handling time, an 8-10 minute set time, and a 60 minute curing time, with a strength of 1500 PSI when it is cured. Fast and strong! That’s why 2-part epoxies are handy to have in the studio. Below are links to the Devcon (pictured) and Gorilla 2 part clear epoxies.

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PC-7 and PC-11

PC-7 is a charcoal gray 2 part paste epoxy. The smallest 2 oz (56g) option is pictured.

PC-7 and PC-11 are really interesting two-part paste epoxies that bond to ceramic along with wood, metal, glass, tile, masonry, rubber, fiberglass, and some plastics. PC-7 is charcoal gray, while PC-11 is white and rated for underwater uses. (PC-11 will even cure underwater.) Both are great options for working with sculpture as they will fill gaps, hold things in place on a vertical or upside down surface, and just do things that other adhesives won’t do.

PC-11 is a two part white, marine-grade paste epoxy.

Described by the manufacturer as “thicker than peanut butter but less thick than bubble gum,” these products can be a bit of a pain to work with because they are so sticky. My technique is to scoop out equal parts (eyeball measure) with kraft sticks and mix on a piece of cardboard until the colors are homogenized, wait a bit for the epoxy to thicken, and then apply. For cleanup, I’ve found that a small bowl of vinegar with quickly clean up any PC-7 or PC-11 on my fingers, although be careful to not get vinegar on your working surfaces or the adhesive won’t stick as well. If you have excess epoxy on a sculpture or anywhere, it can be wiped away with a cloth or paper towel.

Both epoxies have a working time of about 30 minutes, and will fully cure in 12 to 24 hours for a strength of 2150 PSI (PC-7) or 1710 PSI (PC-11).

I stock both of these in my studio, usually in the small 2 oz package. They always come in handy and can be used to attach tiles to mounting wire or cleats, and are paintable when cured. I even had a friend who (not recommended!) bisque fired PC-11 as a gap filler and then would glaze over it. It’s a crazy adhesive that you can push to the limits.

PC-7 and PC-11 are available in a variety of sizes, ranging from 2oz to 10 gallons.

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J-B Weld

J-B Weld is a two-part, paste epoxy pictured here with the smallest 2 oz package (I oz per tube).

J-B Weld is similar to PC-7 (both are made primarily with bisphenol-A) but it is a bit runnier when mixed and has a much higher strength, rated at 5020 PSI. Invented as an alternative to welding plumbing, it bonds to ceramic, metal, wood, plastic, PVC, fiberglass, and more. It also has some metal in the mix, so it can withstand temperatures up to 550 Fahrenheit when fully cured. For many, it’s their favorite epoxy.

After mixing, J-B Weld has a set time of 4 to 6 hours, a cure time of 15-24 hours, and is dark grey, just a bit darker than PC-7. J-B Weld is a paste epoxy but it’s a trade off between it’s much higher strength versus PC-7, while having a slightly less pasty quality and a longer set time. But for the right job, there’s nothing better.

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Magic-Sculpt

The 5lb Magic-Sculpt kit comes with 2.5 lb tubs of resin and hardener.

Magic-Sculpt is truly magic. A two-part epoxy, when the resin and hardener are mixed you have a non-sticky, almost clay-like substance that can be sculpted, be used as a gap filler, or even be used to attach cleats or other attachment. Once mixed, the working time is 45 minutes to an hour and in 12 to 24 hours, the material will be rock hard.

The material can be smoothed with a bit of water while it’s soft, and once hard, it can be painted, sanded or even drilled through. Magic-Sculpt is available in seven colors, including natural (gray), white, tan, light brown, dark brown, green, and black.

See below for pictures of how the natural gray color is mixed and the sculpting potential.

An example of how Magic-Sculpt can be mixed:

The resin and hardener in the tubs

Equal amounts are mixed by volume

Mixing the two parts together

After mixing, the color is still light gray

The material can take any shape

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Gorilla Glue

Gorilla Glue is a polyurethane adhesive that is most commonly used in woodworking but can bond a wide variety of materials, is waterproof, and expands after application, making it an excellent gap filler. Note that Gorilla now makes a wide variety of glues, but the original Gorilla Glue is what is being reviewed here. It’s a pretty original product that can bond wood, stone, metal, ceramic, foam, glass, concrete, and more.

Because Gorilla Glue expands after application (up to three times) it does take a bit of work. You’ll need to wipe away excess glue as it expands for about 15 minutes. As it expands, excess glue can be chipped or sanded off, and the object being glued should remained clamped for at least two hours, and a full cure is reached after 24 hours.

The original Gorilla Glue has a honey color, but it is also now available in clear. (Some reviewers have noted that the clear Gorilla Glue has less stickiness, so make sure to clamp pieces tightly.) Gorilla Glue can harden when exposed to air, so make sure to keep the glue squeezed to the top of the bottle and only buy the size needed.

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Summary

This post has covered a variety of adhesives and epoxies that are useful in ceramics studios, but can be used for sculpture, crafts, really just about anything. You may find that one glue, such as E6000, will cover most of your studio needs but you never know, the right glue or the right tool can make all the difference when you need it.

What adhesives do you use in the studio? Let us know in the comments.

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Special Effect Glazes by Linda Bloomfield

These days everyone seems to be interested in over-the-top glazes that drip, ooze, and crawl. Inspired by the work of artists such as Takuro Kuwata, Brian Rochefort, and Nick Weddell, many ceramic artists and potters are experimenting with glazes that push the limits.

If you are looking for an overall guide, Special Effect Glazes by Linda Bloomfield is a good overview and introduction. Published in 2020, the book details glaze materials, chemistry, and recipes to make your own glazes. The book is well illustrated throughout, and primarily includes glazes for mid range (cone 5-6) and high fire (cone 8-10), though there are some low fire recipes too. It’s a paperback with 160 pages, listed at $34.99 but often retails for less.

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The table of contents page for Special Effects Glazes.

Overview

The book includes 20 chapters, with the first half of the book devoted to understanding glazes and materials. If you have another book on glazing, such as John Britt’s Complete Guide to Mid-Range Glazes, this will largely be duplicate information. But it is necessary to include this information so that anyone can pick up this book and learn about glazes. Throughout these intro chapters, special attention is paid to how to push glazes outside of the “traditional” range of satin, glossy, transparent or functional glazes. There’s also a lot of information on the chemistry of glazing, including how to read a Stull map.

If you read and work to understand this info, you can begin to unlock the secrets of how to take a glaze and push it to get the effects needed for your work, and it will also help you understand things like crazing that many functional potters work to avoid.

Special Effects Glazes is beautifully illustrated throughout with full-color images.

The most interesting chapters for me were the individual sections on different types of glazes, including crackle, ash, copper red, drippy glazes, crystalline glazes, lichen / crawl glazes, lava, spotted, and metallic glazes. I don’t particularly think of all of these as “special effect” glazes. For example, most glaze books include sections on ash or copper red glazes. Some of the chapters are more in depth, such as seven pages devoted to crystalline glazes and their chemistry, and just four devoted to ash glazes.

When I bought the book, I was hoping for something that would unlock the secrets of the recent bombastic glaze trends of huge drips, inch-thick crawl “glazes” and the like. While there are pictures of some of these, they aren’t covered with specific recipes. Instead, there are hints such as on page 101: “To make a very thickly applied drips and globs of glaze, it may be better to use a slightly more viscous glaze with a higher clay content.” Ok…so give us some recipes!

Page 102 and 103 in the book.

On page 102, a picture of a Nick Weddell piece “Alien Gum Bowl” includes info that the piece was decorated with porcelain and glazes mixed to a thick paste with sodium silicate and fired to cone 10. The book also has a cover image of a 2018 piece by Brian Rochefort, but doesn’t detail any glaze recipes related to that piece.

So while the book did not exactly deliver on my desire for a guidebook to the recent extreme glaze trends, there is a ton of information and a variety of recipes in this book. If you are a frequent user of glazy.org, you may recognize some of these recipes (such as the venerable Marilee’s Lava glaze) but personally, I like to have a printed copy for handy studio reference and I’m sure I’ll be studying this book for hints as to how I can push glazes to extreme effects in my own work.

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A two-page spread from the chapter on spotted glazes.

Conclusion

Special Effects Glazes is a useful studio reference with a lot of information. You might be able to find much of this online in various forums, but I think it is useful to have it as one book. And while it didn’t include the super-extreme recipes I was hoping to find, there are many useful clues and ideas of how to test and push the glazes in a direction that works for your studio.

Special Effects Glazes by Linda Bloomfield
Published 2020 by Herbert Press, Bloomsbury, and The American Ceramic Society
160 pages, paper

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Tips and Ideas for Extreme Special Effect Glazes

And here are a few of my own thoughts on how to achieve your own special effect glazes:

1. Paint a thin layer of a crawl glaze on top of a glossy glaze, such as a black crawl over a pink transparent

2. Pick a bead / crawl glaze and make tests by pushing the percentage of one ingredient higher and higher, such as adding more clay content, or silica. Keep track of your experiements!

3. Think of clay and glaze as a continuum. Find that middle spot between clay and glaze for something that stays thick but melts a bit, and then mix it into a paste (with or without sodium silicate). Apply thickly.

4. Underfire a glaze, such as taking a cone 6 glaze and only firing it to cone 1. If you apply this as a gob, you may then get a nice fat “drip” on the side of your piece.

5. Reglaze and refire with glaze and /or underglaze. Commercial underglazes generally have gums that allow them to dry and stick to just about anything. Experiment with underglazes painted on top of crawl glazes

6. Buy fine silicon carbide (such as 400 to 600 grit) and add it to any glaze starting at around 0.3 percent by weight up to about 3 percent, to create a lava or bubble glaze.

7. Think about the contrast between matte and glossy, and textures. A contrast in the surface can accentuate certain parts of your piece.

8. Embed colored glaze fragments in your greenware for extra drippy runs.

9. Play around with double or triple layers of glaze. For example, a crawl glaze under a glossy glaze will give different results that a gloss over a crawl.

Any more thoughts on how to make extreme / special effect glazes? Please share in the comments.

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Gift Guide for Young Artists and Creative Kids

Art supplies make a wonderful gift for kids and this guide will cover a wide variety of quality tools and kits for kids of all ages.

As an artist and a parent, my philosophy is to provide quality supplies such as colored pencils and paper and let kids follow their own ideas. But it can also be fun to work with a kit or set, so I have included a few favorites here too. And sometimes a special tool or supply is just the thing to unlock a whole world for a kid, and for adults too.

This post has a variety of ideas for kids of all ages, including art supplies, kits, books, and supplies.

Note: This site uses affiliate links for sites such as Amazon and Blick. If you click the links and complete a purchase, we may receive a percentage at no extra cost to you.

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Faber-Castell Young Artist’s Essentials Gift Set

This kit, from the venerable German art supply manufacturer, includes 64 pieces in a handsome wooden box. The kit includes colored pencils, watercolor pencils, graphite pencils, oil pastels, markers, small sheets of watercolor paper, and a sharpener. Pair this with a drawing pad and your kid is set for hours and hours of drawing and painting. Kids love having these sets and it also helps organize their materials. This kit is listed at $50 but I’ve seen it on sale for half that.

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Strathmore Vision Sketchbook

Strathmore Vision Mixed Media sketchbook is great for anyone.

The Strathmore Vision Mixed Media sketchbook has great paper and a second, customizable cover in slate blue cardstock. Simply rip off the first cover and start drawing and painting! And the thicker, 98lb mixed media paper works well with pencils, crayons, markers, and can even be used with ink and light washes of watercolor. Any mixed media pad is better than a drawing sketchbook because of the thicker paper (check out our mixed media sketchbook review here) but this pad is a great option for kids, teenagers, and students. It usually costs around $10 for a 9x12'“ pad.

The customizable, blank cover is a great feature of the Strathmore Vision mixed media pad.

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Prismacolor Premier Colored Pencils

The Prismacolor Premier 24 count pack in a metal tin with two plastic trays of pencils.

Prismacolor Premiers are some of the best and most affordable artist-grade colored pencils on the market. They are great for adults but kids will also appreciate the soft cores and vibrant colors. And they are quite affordable too. They do cost more than Crayola or other school brands, but those pencils are have hard cores and inferior pigment. Go with the bold colors of Prismacolor Premiers, or click here to see our full review of colored pencils.

Prismacolor Premier Colored Pencils are available individually or in sets ranging from 12 to 150 colors. A 24-count tin typically costs around $25.

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Magic Clay Kit

This set of air-dry clay comes with 36 colors, 47 accessories including a few tools, and will generate hours of fun crafting and creating. The clay dries in about 24 hours and has mess-free clean up. There’s also a larger kit with 50 colors of clay. Recommended for ages 6 and up.

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The Original Spirograph

No childhood is complete without this classic geometric drawing tool, first released in 1965. It’s equally fun for adults and allows you to explore patterns, math, and hand control. Create endless designs and try it with pens, pencils, and any sort of drawing media. The sets do come with fine point pens as well.

There are a variety of sets including a Spirograph Jr., scratch art, or a small travel version, but the Original Deluxe for around $24 is a great option.

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Arnold Grummer Zig-Zag Books

These prefolded, acid-free, accordion-style zig zag booklets give kids a fun way to make their own books, stories, or extended drawing panels. Available in three different sizes, the packs come with 12 booklets. Pair these packs with colored pencils or markers for a gift that will provide hours of fun and creativity. The packs come with chipboard covers and insert pages too.

The Arnold Grummer Zig Zag book packs typically range from $16 to $23.

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Jovi Plastilina

For sculptors of all ages, Jovi Plastilina is a non-hardening modeling clay that holds fine detail and can be reused over and over. It’s great for model making, small sculptures, or can be used to make stop-motion animation.

The colors will blend, if desired, or you can work to keep them separate. The clay is gluten free, is non-staining, and cleans up easily. The recommended pack costs around $29 and comes with 30 bars, 2 each of 15 colors, but there are a variety of pack sizes available that range in price from $9 to $75. This is a great, basic art supply that provides amazing, open-ended sculpting possibilities.

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Dough Builders

These plastic body parts—essential generic Potato Head parts—pair well with Plastilina, Play-Do, or any sort of modeling dough. Make fun creatures, characters, monsters and animals.

Amazon sells a huge 260-piece tub for around $30, while Blick has a more modest sized set for around $6.50 with 25 assorted parts. The large tub has 26 styles of pieces with 10 of each, so a smaller set might be enough for most kids but the big tub is great for parties, classrooms, or larger gatherings.

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Alphacolor Biggies Tempera Cakes

These semi-moist cakes of non-toxic tempera paint respond immediately to a wet brush. These cakes will never spoil or dry out, making them a long-lasting addition to your craft drawer without dealing with a bunch of bottles of paint. These opaque colors will blend, and stay vibrant and velvety smooth when dry. Pair these with a pad of mixed media or watercolor paper, and your kid will have unlimited possibilities.

These are available as an 8 pack in a plastic tray, or as 12 individual cakes. There are some complaints about the tray (it can get messy) but consider putting the paints inside separate deli containers or styrofoam trays, or any sort of system that makes sense to you. For $20 for the 8 pack, they’re an awesome set of paints for young artists.

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ArtBin Sketch Board and Storage Bin

The ArtBin Sketch Board is great for drawing or watercolor on the go, or to simply organize art supplies at home. ArtBin makes simple, functional storage bins and this takes their basic bin to the next level with pencil storage, pocket, and a clip inside and on the top to hold a pad or paper in place. Note that the plastic molding is not perfectly flat, so plan to use this with cardboard behind your paper such as a sketchpad or watercolor block.

The ArtBin Sketch Board typically retails for between $26 and $30. It measures 11.5” x 16” x 1.5” deep, and will easily hold a 9x12” sketchpad.

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Canson XL Black Drawing Pad

Black paper really makes colors pop and pairs well with colored pencils, pastels, and gel pens. It’s a fun a way to switch things up and the Canson XL Black Drawing Pads have great quality at an affordable price. Available in two sizes: 10x7” and 9x12”, they typically retail for $7 to $10.

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Sakura Gelly Roll Pens

Gel pens look great on all sorts of media, including black paper or on top of other paints, and the Sakura Gelly Roll Pens are some of the best out there. These may not be best for younger kids, but older elementary school children and older should be able to use these without too much mess—just let the ink dry before touching. Available in a variety of sets, try the Classic set of 10 pens for a young artist for around $12 to $14. There are other sets available, including metallic pens or the complete line of 74 Gelly Roll pens retails for around $85.

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Arnold Grummer Dip Handmade Paper Kit

Turn your scrap and waste paper into beautiful homemade paper with this 8 1/2” x 11” paper making screen. It’s super fun to explore this process, and you can use the results to make more projects! In addition to this screen, you’ll need a tub that can fit the screen (such as a plastic dish tub or deep cake pan), blender, and recycled paper or buy speciality paper fiber. The kit does come with some dried botanical pieces to get you started.

The 8 1/2 x 11” screen is a great size to start, but there’s a smaller screen available, as well as a deluxe kit that comes with a variety of templates. Kids will love making paper but you might find yourself experimenting with your own paper.

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Jumbo Crayons and Pencils

Small hands will love extra big pencils and crayons, but even as an adult, these are some of my favorites. Here’s a few different quality options for jumbo-sized art supplies:

Stabilo Woody

The Stabilo Woody is a “3 in 1” pencil that combines the features of a colored pencil, watercolor pencil, and a wax crayon. It can even be wiped off flat surfaces such as glass windows or tiles. It has an extra thick, 10mm thick core. Available in sets ranging from 6 to 18 pencils.

Faber-Castell 9000 Series Jumbo Pencils

The Faber-Castell 9000 Series pencils have been in production since 1905 and they are an artist-grade classic. But hands old and young will appreciate the Jumbo version (these are my favorite sketching pencils too) that comes in a set of 5 with hardnesses ranging from HB to 8B. Be sure to get a large pencil sharpener that will accommodate these pencils, such as a Faber-Castell sharpener.

Jumbo Colored Pencils from Cretacolor, Jolly or Faber-Castell

There are a variety of jumbo colored pencils that are well made and will provide extra-thick, durable cores for hours of vibrant drawing. Some adults love these big pencils for coloring book work too!

For colored pencils, check out Cretacolor Megas or the Jolly X-Big options.

Faber-Castell Albrecht Dürer Magnus

For oversized watercolor pencils, check out the Faber-Castell Albrecht Dürer Magnus pencils. These are professional, artist-grade pencils with 5.3mm cores that will be appreciated by any artist including kids. Use dry as a colored pencil, or blend with water and brush to activate the line. Available individually or in sets of 12, 18, or 24.

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The Arts: A Visual Encyclopedia

Recommended for ages 8 and up, this visual encyclopedia from DK covers the history of art including painting, sculpture, and photography. The 9x11” book has 304 pages that are full of images and info on art history classics. Available in paperback or hardcover, it’s a great deal at $18 to $22.

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Elmer’s Slime Kits

Make your own slime at home! These are so fun for kids and get their hands moving and imagination going. Just be prepared for some cleanup, but the good news, is it’s all washable.

Add metallic glitter, confetti, and other fun effects to customize your slime.

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Make Ink: A Forager’s Guide to Natural Inkmaking by Jason Logan

Use this book as a guide to turn things you find inside or outside into ink. Beautifully illustrated and full of info and recipes, this book will show you and your kid how to make ink from flowers, plants, acorns, bark, copper, turmeric and more. Middle school and up will be fine with this book but elementary-age kids will need parent help.

The book is available in hardcover for around $26.

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Marbling Kits and Supplies

The Boku-Undo marbling dye kit is sold at Blick and Amazon, and Amazon also carries an option (linked below) with brushes.

Making marbled paper is fun for kids, teens, and adults. There are a variety of kits and supplies, some require mixing a thickener with water and waiting for everything to mix overnight. But the inks from Boku-Undo float on plain water and can be used right away. You will need some sort of tray or tub, inks, brushes, and paper such as watercolor paper. You will only be limited by the size of your tub and paper, and your imagination.

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Alginate / Plaster Casting Kit

The Luna Bean Hand Casting Kit is a foolproof way to make a mold in a bucket using skin-safe alginate, and then cast the mold with the provided gypsum plaster cement. But you don’t have to just make hands. Make a mold of a toy, a Playdoh sculpture, heck—make a mold of anything! Teenagers will be able to use this on their own (make sure they wear a dust mask) and you can work with younger children to introduce them to the casting process. It’s really fun, and if you’ve never made a mold, the resulting detail will astonish you. This $40 kit includes a bucket, alginate, and plaster. There are also larger and smaller kits.

If you are looking for your own skin-safe casting material without the bucket, try Smooth-On Alja Safe

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Blick Studio Table Easel by Jullian

This table top easel is stable, well made, and will hold canvases up to 24” tall. It also folds flat so it can be put away when not in use. It folds to 10 1/2” x 18” x 2” deep, making it small enough to take on the go too. For $18, this is a great option that will be equally useful to adults as kids. Inspire the painter in an artist of any age with this table top easel.

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Blick Studio Canvas Panels

Canvas panels are an economical way to introduce beginners to painting on canvas. Each panel is approximately 1/8” thick and features double-primed, 5oz canvas stretched over a stiff board. Lightweight, warp resistant, and acid free, these canvas panels are ready for acrylic, oil or any painting medium. Available in packs of 5 or larger classroom packs, young painters can make lots of work without taking up a ton of room with these. These panels are available in sizes ranging from 4” x 5” to 20” x 24”.

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Sargent Art Acrylic Paint Pot Set

This set of acrylic paints includes 6 or 12 paint pots with screw on caps. The pots are not removeable, so the paints all stay together and are less likely to be tipped over. And the pots can be refilled with other acrylic paint as needed. This is a great set for elementary-age painters or any artist looking for a bit of organization in their studio. These cost around $5 for 6 colors, or $10 for 12 colors.

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Klutz Friendship Bracelet Kit

Making friendship bracelets is a classic childhood activity and introduces ideas of pattern making, detail work, and craft skills. This book and kit includes everything a kid needs to make 12 bracelets. Recommended for ages 8 and up, the kit comes with 10 skeins of thread.

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Wear’m Denim Apron

This simple denim apron with a back tie and a front pocket comes in two sizes, the smaller is perfect for kids while the large will work for teens and adults. Easy to launder and long-lasting, just make sure to tie the string together before washing, or it may pull out. These are just about the cheapest aprons out there, and they work great. $6 for the small or $9 for the larger size.

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Lomida Flip Book Kit

Young artists can create their own cartoons with this complete kit! It includes six 4.5” x 2.5” flip books with 90 pages each, a set of 12 pencils, sharpener, and pencil. This is sure to entertain and inspire, and gives kids insights about cartoons and stop-motion animation. The kit is $15.

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Craft Bin

A craft bin full of supplies is a sure way to entertain kids. With glue, scissors, pom poms, and tons of other pieces, they can go crazy making whatever they want. The Funzbo bin is a good option, with a regular and mega size, but there are a wide variety of craft bins to choose from, typically ranging from $12 to about $30. Recommended for ages 4 to 10.

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Tempera Paint Sticks

Tempera paint sticks are sort of like markers, but with non-toxic, washable tempera paint. An easy way to paint with no need for water or brushes, these are great for when time is tight or clean up is a concern. Kwik Stix makes highly reviewed and recommended tempera paint sticks in a variety of colors and styles, including metallic, neon, and thinner sticks too.

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How to Draw Books

Kids often appreciate a guidebook for learning how to draw and there are a lot of books out there on learning how to draw animals, faces, or they might appreciate a book on comic book and manga drawing styles.

For budding comic book artists, check out our guide to making a booklet with a long-reach stapler. Kids love having their own little booklet to draw in, or a simple sketchbook to carry around.

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Scratch-Art Boards

Scratch art is a cool way to make colorful images. Typically black over a colorful base, the color is revealed by scratching through the black with a metal or wooden stylus, stick, toothpick, or anything that can pull off the top material. Kids really love this and the scratch art paper is typically available in packs of 5, 10, 30 or more sheets. I haven’t really encountered a “bad” brand so order what seems best to you but the links here are to Scratch-Art Brand.

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SunPrint Paper

Cyanotype is an early photographic process first discovered in 1842, and the SunPrint Paper is a great way to introduce this process to artists of all ages. To use, place flowers, objects, or anything on top of the paper and expose it to the sun where the exposed paper will turn blue. Then, rinse the paper in water to “fix” the image, although they may fade somewhat over time. A fun activity for all, this can get kids thinking about image making, materials, and the basic fundamentals of photography. Each pack comes with 15 sheets of 8.5 x 11” paper.

For larger sheets than SunPrint or raw materials to create your own cyanotype, shop Jacquard Cyanotype products at Blick.

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Blick Studio Adjustable Activity Easel

This easel is an affordable and flexible model that can be used on the floor or tabletop. It’s great for younger kids and it can be raised to a top height of 54”. The easel is 26 inches wide, and comes with a 25 foot roll of 18” paper. Typically priced around $90, this should provide years of use for painting and drawing.

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The Year of Knots by Windy Chien

Knots as art? Why not! (lol sorry). This book details Chien’s year long exploration of knots and while it is aimed at adults, older elementary school kids and up will appreciate it too. Beautiful illustrated with a ton of knots, plan to spend some money on rope to do these projects too. Knots and knot art touches on math, hand skills, macramé, craft, and so many other topics. It’s a fantastic jumping off point to explore more than just rope.

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U.S. Art Supply Adjustable Portable Easel

This compact wooden easel has a drawer for supplies and can accommodate paper or canvas up to 11” x14”. It measures 13.25" wide, 10.25" deep, and 2" high, and includes a wooden painters palette. It also includes a handle for carrying. For $30, it’s a nice little unit that should see years of use if treated carefully. It’s also a great gift for a young painter—pair it with a watercolor or acrylic set and they are ready to get to work at home or outside.

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Conclusion

Giving kids art supplies is a great idea as it sparks their creativity, introduces motor control skills, and gives them the freedom to make their decisions and follow their ideas. This gift guide has more than 35 recommendations of art supplies and kits. For the most part, these are supplies that can used in open-ended ways rather than a kit that can only do one thing.

What are your favorite ideas for kids art supplies? Let us know in the comments.

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Matisse on Drawing Trees

Study of a Tree, No. 19 by Henri Matisse, 1941

In a 1943 letter to the writer André Rouveyre on drawing trees, Henri Matisse outlined how he learned to draw with feeling rather than just observation. The letter begins with Matisse listing two ways of describing a tree:

1. by using the imitative drawing you learn in European art schools,

2. by using the impression suggested by the way you approach it and contemplate it.

Matisse continues:

Many times I have tried to draw trees and not succeeded. I started out by using imitation. No one ever encouraged me to go further down that route, because the result was always lifeless, and bore no relation to the feeling that had driven me to try and draw the tree. Then, when I only used my feelings and my emotions I was also so taken by the beauty of the trunk its power and its mystery, that I couldn’t get past the main branches.

Matisse then details how he was never satisfied with his drawings of trees, or that he was happy with the trunks but the branches and leaves were drawn as an afterthought, leading to an unsuccessful result. Then he writes:

Study of a Tree, No 3, 1941 by Henri Matisse.

So I had been constantly repulsed in my repeated attempts to study trees until a few months ago when, quite by chance, I took a pad of letter paper and tried to draw branches in leaf using the simplest means possible, and as the ink flowed from pen to paper, I saw the leaves take shape.

Using the simplest means possible, and not adding very many details such as veins, Matisse had found a way to draw trees that pleased him. This is decades into his career as an artist. Then he writes:

It’s rather like a juggler, who learns to juggle with two balls, and then moves up to 3, 4, 5, 6, and then adds a spoon, and his hat. You can’t work with nature until it has been filtered by your feelings.

This letter was republished in full in the wonderful book Matisse Cut-outs published by Taschen in 2014. It’s a large coffee table book with color and black and white reproductions throughout. It’s big, measuring 12 x 15 x 1.5 inches thick with 334 pages and weighs almost 8 pounds. In addition to letters and correspondence, it has sections on Matisse’s trip to Tahiti in the 1930s, studies for his mural The Dance, a section on his cutouts for Verve and Jazz, his Oceania cut outs, details on the planning and construction of the Rosary Chapel, and a final section on Matisse’s large gouache works. It’s truly a monumental publication that makes for an amazing coffee table book and presents Matisse’s work at a scale that really pops off the page.

Matisse Cut-outs
Taschen, cloth bound edition, 2014, 334 pages

Study of a Tree, No. 16 by Henri Matisse

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Handheld Clay Extruder Buyer's Guide

The Shimpo Nidec Handheld Extruder comes with 5 aluminum dies and one blank.

Handheld extruders or “clay guns” are useful tools for making small runs of handles, coils, and small hollow forms. If you are looking to make a repeatable shape in a quick, efficient way, then a handheld extruder is what you need.

These extruders work like a caulk gun: you fill the barrel with clay, screw the cap over the die form, and repeatedly squeeze the trigger to push clay through the die. It can be a bit of a wrist workout, so definitely use soft clay with these.

There are four options when choosing a handheld extruder: 2 sizes from Scott Creek, and one each from Shimpo and Kemper. There are also two miniature clay extruders such as the Kemper Klay Gun, for making extremely small shapes, which I’ll cover at the end of the post.

It’s really a coin toss as all four handheld extruders are well made, but for most studios and hand sizes, I would recommend the Shimpo Handheld Extruder. For about the same price, the Shimpo Handheld Extruder comes with a few more dies than the Scott Creek, and I prefer the circular handle at the back as opposed to the bar handle on the Scott Creek models. And as this is a handheld extruder, I prefer the shorter and wider barrel of the Shimpo because it is easier to squeeze out the clay.

A full review of handheld extruders follows, including the three options from Shimpo or Scott Creek, and two options for smaller decorative clay extruders. For larger extruders, check out our guide to wall-mounted extruders here.

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Table of Contents

1. Shimpo Handheld Extruder

2. Scott Creek Super Duper Clay Gun and Clay Gun XL

3. Kemper IKEG Klay Extruder

4. Small Extruders: Kemper Klay Gun and Bailey Clay Gun

5. Summary

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Top Pick: Shimpo Handheld Extruder

The Shimpo Handheld Extruder comes with 5 dies and one blank die.

The Shimpo Hollow Die Kit has 8 shapes. The middle of each shape is screwed on to the larger piece at the bottom.

The Shimpo Handheld Extruder is a quality tool that lets you easily make shaped coils, small hollow forms, or handles. It’s basically a caulk gun with an aluminum barrel and dies. The threaded barrel is 2 1/4” wide and about 10 inches long. The entire model measures about 13 x 9 x 3 inches, weighs just a few pounds, and can easily be stored in a drawer. It can be entirely submerged in water for cleanup, but you may want to oil the hinges and moving metal parts as needed.

Shimpo 4-in-1 Die Kit has 8 shapes of varying sizes and an isolator die.

The Shimpo Extruder is the top pick because the kit comes with five dies and one blank, and I prefer the circular handle. I also find the the shorter barrel makes it easier to squeeze out the clay, even though that means more frequent refilling. But it’s really a coin toss if this is better than the Scott Creek Clay Gun and the choice really comes down to personal preference. In my studio, I use a Shimpo Handheld Extruder along with a mixture of dies from Shimpo and Scott Creek.

Shimpo has two die kits: one with a selection of eight hollow forms and another with eight “4-in-1” shapes of varying sizes. You can extrude all four sizes at once, or use the isolation die to select just one. The hollow forms are what most people go for, as those shapes would be extremely hard to make without a die, but both kits would really expand the options in your studio.

The Shimpo Handheld Extruder generally retails for around $60 and the die kits are about $40 each. You can find this tool at ceramic supply stores or online at Blick.

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Scott Creek Super Duper Clay Extruder and Clay Extruder XL

The Scott Creek Super Duper Clay Gun.

The Scott Creek XL Clay Gun has a 15” barrel.

Scott Creek makes two handheld extruders and five die kits. The Super Duper Clay Gun has a 10 inch barrel while the XL has a 15 inch barrel. Both feature a bar handle at the rear as opposed to the circular handle on the Shimpo. The barrel is 2 inches wide, which is 1/4” smaller than the Shimpo. Note that the Scott Creek die kits will definitely fit the Shimpo Extruder, but the Shimpo dies may not work with the Scott Creek guns. Both Scott Creek extruders come with one coil die and two blank aluminum dies.

The Scott Creek Handle Die Kit features 8 shapes cut out of clear acrylic. The Scott Creek Dies are compatible with the Shimpo Extruder.

Scott Creek extruders are rugged, well built, and will get the job done. They are a bit harder to find in stores, but are readily available direct from the manufacturer. Scott Creek also makes a hollow aluminum die kit with the same shapes as Shimpo, along with an aluminum die kit of small forms. There are also three die sets made out of clear acrylic including a “shape and coil” kit, tile trim kit, and handle kit. The handle kit is my most used die kit and I would recommend that kit regardless of which extruder you purchase.

Although it might seem attractive to use the larger XL Extruder, keep in mind that the longer barrel may be harder to clean and store, and it is that much harder to squeeze clay out. (Any handheld extruder really relies on wrist strength.)

The Scott Creek Super Duper Clay Extruder usually retails for around $55-60, and the XL goes for around $70, and the die kits generally cost about $40 each.

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Kemper IKEG Klay Extruder

The Kemper IKEG Klay Extruder

The Kemper IKEG Klay Extruder is an interesting offering from the venerable clay tool manufacturer. It’s even longer than the Scott Creek XL, with a barrel measuring 20 inches in length by 2 inches wide. It comes with 3 aluminum coil dies, 1 blank die, and 2 plastic spouts.

As stated above, I feel that a shorter barrel is easier to use but if you decide to go with this option, you can always just fill the barrel with less clay to make it easier to use. Aside from that, the trigger of this gun is virtually identical to the Shimpo with a circular handle. Kemper has a limited offering of dies, but Scott Creek dies will work with this extruder.

The Kemper IKEG Klay Extruder typically retails for around $60 and can be found at ceramic suppliers such as Bailey.

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Mini Extruders: Kemper K45 Klay Gun and Bailey Clay Gun

These miniature clay extruders are useful for making texture or super small coils, such as for hair. They also work with polymer clay, so if you are working in miniatures, this is the clay extruder for you. For typical clay studios, these mini guns often sit unused in studio drawers but if you need a really specific shape, they may work for you. They are virtually identical but the Bailey set also comes with a handy plastic carrying case.

The Bailey Clay Gun is a miniature extruder.

Bailey Clay Gun

The Bailey Clay Gun has 19 dies and a carrying case. It typically costs around $13. Make sure that whatever you put in the barrel is very soft.

Shop at Bailey

Kemper Klay Gun

The Kemper Klay Gun also has 19 dies and typically costs around $13. It may be exactly the same thing as the Bailey Clay Gun, but it doesn’t have a case.

Shop at Blick

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Summary

Handheld extruders are a great way to make small batches of similar shapes, such as handles or hollow shapes. For a long time, I thought of them as an extraneous tool but once I started using them, I found that I really liked the look of extruded handles. Definitely don’t get one of these if it will simply sit unused in a drawer.

With only four models on the market, all are basically the same with just a few minor differences, so you can’t go wrong. For me, I prefer the slightly wider and shorter Shimpo barrel but my favorite dies are the handle kit from Scott Creek. You will find your own combination that works for you.

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The Best Black Acrylic Gesso for Preparing Canvas

Utrecht Black Artists’ Acrylic Gesso is our top pick for its ultra-matte quality and affordable price.

The four black gessos tested: Blick, Golden, Liquitex, and Utrecht.

Black acrylic gesso provides a stable, flexible painting surface that is a complete contrast to a white gesso ground. Black gesso is also very opaque, allowing you to use it as a primer to cover up just about anything, and it will stick to a variety of surfaces including canvas, paper, wood, and more. Certain colors will change when painted on top of black gesso, especially transparent colors, but it also makes other colors really pop.

For this post, four black gessoes were tested and analyzed for ease of application, the matte or satin quality, and cost. All the gessoes were quite black, no questions there, but based on its ultra-matte quality and affordable price point, Utrecht Black Artists’ Acrylic Gesso was the top pick. This gesso was the most matte of the gessoes tested, which is a real plus.

The only drawback for the Utrecht Gesso was its gel-like nature (which can be fixed with a bit of water) but other gessoes each had their own features and attributes. A complete analysis and sample pictures follows, to help you choose the right black gesso for your studio.

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Table of Contents

• Top Pick: Utrecht Black Artists’ Acrylic Gesso

• Golden Black Gesso

• Liquitex Black Acylic Gesso

• Blick Artists’ Acrylic Gesso

• Testing Methodology and Images

• Tips for Applying and Working With Black Gesso

• Summary

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Utrecht Black Artists’ Acrylic Gesso

Utrecht Black Gesso is available in 16 and 32 oz sizes.

Utrecht Black Gesso is our top pick for a black acrylic gesso because of its ultra-matte quality and affordable price point. Of the gessoes tested, it was the most matte with a deep, flat-black surface that stayed completely matte even with 5 or 6 coats of gesso. And though this test did not include sanding in between coats, the gesso developed a relatively flat surface as layers built up.

Available in 16 or 32 oz jars, the gesso usually costs between $0.70 to $0.85 per ounce, making this the second cheapest black gesso tested. It’s a great deal for a top quality product.

There are two tradeoffs with this gesso: it’s gel-like quality and the limited availability of jar sizes. In multiple jars of this, I’ve always found it to have a gel-like quality right out of the jar that is a bit harder to use. Simply mix in a bit of water and you should be fine though. Regarding the jar size, the tall 32 oz jar is easy to store but it can be hard to get all the gesso out of the bottom. It would also be nice if it came in gallon buckets. But in reality, these are minor complaints because the ultra-matte results are what I’m looking for in a black gesso, and this is my go-to favorite.

About Utrecht: Founded in 1949 in Brooklyn, New York, Utrecht was one of the first manufacturers to develop acrylic gesso. Acquired by Blick in 2013, the products are still made in Brooklyn and are available online and at Blick stores in the U.S. They are not marketed this way, but I think of Utrecht as the premium “house brand” at Blick stores.

Utrecht Black Artists’ Acrylic Gesso sizes, typical price, and price per ounce:

• 16 oz, $13.34, $0.83 per ounce

• 32 oz, $22.06, $0.69 per ounce

Test images for Utrecht Black Acrylic Gesso:

In a simple test, Utrecht Black Gesso gave a ultra-matte, flat surface.

Stripe test from top: 1 coat, 2 coats, 3 coats. Utrecht Black Gesso stayed matte.

Angle view of the flat test.

Various acrylic paints on top of Utrecht Black Gesso.

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Golden Black Gesso

Golden Black Gesso is available in jars ranging from 8 to 128 ounces.

Golden Black Gesso was the second favorite gesso in the test. Available in jars ranging from 8 oz to 1 gallon, it’s a premium gesso that is easy to apply directly out of the jar and creates a slightly satin, deep-black surface. Although it is the most expensive option tested, Golden Black Gesso can be ordered in 1 gallon (128 oz) buckets that make it essentially the same price per ounce as the top pick.

The tradeoff with this gesso is that it is slightly satin. In testing, I found that both the Liquitex and Utrecht gessos were more matte than this gesso, especially the Utrecht. Some may find the slightly satin quality to be a drawback, but if you are planning to cover most or all of the gesso with paint, it won’t really matter much.

Available in 8 oz, 16 oz, 32 oz, and 128 oz (1 gallon), Golden Black Gesso ranges from $0.70 to $1.55 per ounce. The wide mouth jars are easy to use directly from the jar, or it can be poured out.

About Golden: Founded in 1980 but with a paint-making history that stretches back many more decades, Golden is known as one of the premier manufacturers of acrylic paint in the United States. Manufactured in upstate New York, the paints are widely available but for larger sizes you may need to order online.

Golden Black Gesso sizes, typical price, and price per ounce:

• 8 oz, $12.38, $1.55 per ounce

• 16 oz, $20.85, $1.30 per ounce

• 32 oz, $31.98, $1.00 per ounce

• 128 oz (1 Gallon), $90.01, $0.70 per ounce

Shop Golden Black Gesso at Amazon

Test images for Golden Black Gesso

In a simple test, Golden Black Gesso resulted in a slightly satin surface.

Stripe test from top: 1 coat, 2 coats, 3 coats of gesso.

Angle view of stripe test

Various acrylic paints over Golden Black Gesso.

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Liquitex Black Gesso

Liquitex Black Gesso in an 8 oz bottle.

Liquitex Black Gesso is a smooth flowing, easy-to-apply gesso that in testing came out the second most matte. Of the gessoes tested, it was also the most likely to build up some texture. Be sure to apply it evenly or sand between coats. For a black gesso, I’m looking for a matte surface so this was almost the second pick after the Utrecht, but the lack of sizes available and relatively high price are drawbacks for using this product.

This gesso is only available in 8 oz bottles with a squeeze dispenser. It’s not designed for using straight out of the jar but the squeeze function makes it easy to dispense, which may be helpful if you apply gesso with a foam roller. If you squeeze out too much, unscrew the top and use a palette knife to add it back to the jar.

About Liquitex: Founded in the U.S. in 1955, Liquitex was one of the earliest manufacturers of acrylic paints and continues to be an industry leader. Now owned by London, UK-based art supplier conglomerate Colart, Liquitex is manufactured in the UK, France and China. The bottle of black gesso I used indicated it was made in France. Liquitex also makes clear and neutral gray gesso.

Liquitex Black Gesso sizes, typical price, and price per ounce:

• 8 oz, $11.57, $1.45 per ounce

Shop Liquitex Black Gesso at Amazon

Test images for Liquitex Black Gesso

In a simple test, Liquitex Black Gesso resulted in a matte black surface.

Stripe test from top: 1 coat, 2 coats, 3 coats

Stripe test angle view

Various acrylic paints over Liquitex black gesso.

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Blick Artists’ Black Gesso

Blick Artists’ Black Gesso is available in 32oz widemouth jars.

Blick Artists’ Black Gesso is a solid, dependable black gesso that is very economical and resulted in a satin surface. Although I prefer the ultra-matte surface of the Utrecht Black Gesso, especially where the gesso will be exposed, the Blick gesso is a good option too.

As can be expected from a house brand, it has a few tradeoffs: It is not as smooth and flowing as the Golden or Liquitex Gessos. You may find that you’ll need to add water to get this to brush or roll on. And as mentioned, it is more satin than the matte Utrecht gesso. This gesso is also available in just one size, an economical 32 oz wide-mouth jar that typically costs about $0.60 per ounce, making this the most affordable gesso tested.

I’ve used this gesso and to be honest, I don’t mind the satin quality for certain paintings but my taste is usually to go with the most matte gesso I can find. It’s hard to see in the pictures below and I hope this makes sense: but it’s on the less satin side of things. It’s still completely opaque and one coat will usually cover up anything below it.

About Blick: Founded in 1911, Blick is one of the largest art suppliers in the country. The house brand paints and materials are often of a high quality, although they have a bit of a confusing array of different levels of house brands. This is the only black gesso they make, however, and it is manufactured in the U.S.

Blick Artists’ Acrylic Black Gesso sizes, typical price, and price per ounce:

• 32 oz, $19.14, $0.60 per ounce

Test Images for Blick Artists’ Black Gesso

In a simple test, the Blick Artists’ Black Gesso resulted in the most satin surface of gesso tested.

Stripe test from top: 1 coat, 2 coats, 3 coats

Angle view of stripe test

Various acrylic colors painted over the Blick Artists’ Black Gesso

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Testing Methodology and Images

1. Stripe / Coat Test

The first test involved painting one, two, and three coats of gesso on to stretched, unprimed, 12 oz cotton duck canvas. The gesso was used directly from the jar without mixing with water, and the coats were allowed to dry completely before another coat was applied. It may be more easy to see in the angled images, but Utrecht was the most matte, the Blick was the most satin, and Golden and Liquitex were in the middle of that range.

Click any image below to see larger images. The top line is a single coat of gesso, middle is two coats, and the bottom has three coats. Images are in alphabetical order by manufacturer

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Stripe / coat test angle view. This may better show the differences in satin or matte qualities of the various gessos. Click to enlarge.

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2. Flat Square Test

After the coat test, an additional three coats of gesso were applied to the same area of canvas. In between the previous stripes you will see areas of 3 coats, while the other areas now had 4, 5 or 6 coats of gesso. This is probably an extreme amount of gesso, but it was a further indicator of how the satin or matte qualities of the gesso would develop with more coats.

The most notable thing in this test was that the Liquitex stripes had built up a bit of texture where a bead built up from painting and it dried upraised, which was only exacerbated by more coats. While no sanding was used in this testing, a simple light sanding can fix any problems with texture, especially if you want an ultra-smooth surface. (My preference is for a flat surface with a bit of tooth, so I usually try to avoid having to sand.)

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3. Color Test

Finally, various acrylic paints were tested on top of each black gesso. There was not a big variation in the results here, although the Golden and Utrecht gessoes seemed to provide a more smooth surface for painting. But it was just a very slight difference.

From top to bottom, the tested paints included: NovaColor Hot Pink; Liquitex Neon Pink Acrylic Gouache, Utrecht Studio Series Medium Yellow, Blickrylic Neon Yellow, and Blick Matte Acrylic Dark Blue Light.

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Tips for Applying and Working with Black Gesso

Gesso is a primer or ground that both protects your painting substrate and creates a suitable painting surface. It must be used if you are working with oil paints, as those will eventually eat through and destroy unprimed canvas. If you are working with acrylics, you can paint directly on to canvas or other surfaces, but you may find that a gesso provides a matte, even surface that makes it easier to apply other layers. Here’s a few tips:

Water down your gesso

Although the test above did not employ this, it’s often a good idea to thin your first layer of gesso with water. This helps the gesso get into every nook and cranny of canvas and really begin to get a good seal. The second and third layers of gesso (and fourth if desired) will result in an even surface.

Brush or Roll — your choice

Some apply gesso with a foam roller, while other brush. It’s really up to you. Either way has its advantages and disadvantages. If you are worried about any texture building up, use a sanding block and medium grit sandpaper (around 150 or so) to sand each layer after it dries. If you want a really smooth surface, you can keep sanding and applying layers, and move towards using finer and finer sandpapers.

Cover up other paintings

Black gesso is especially effective at covering up anything below it, often with just one coat. Use it to cover other acrylic paintings so you can start fresh. But keep in mind, acrylic should not be used on top of oil paint as that will cause problems and degradation down the road.

Make colors pop

Certain paints, such as neons, yellows, and bright blues, can really pop when you put them on a black ground. Other colors, such as transparent colors, can really sink in and be hard to see. It’s best to test things out and see how your favorite colors change or not.

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Summary

This post included a test of four different black gessoes, including Blick, Golden, Liquitex, and Utrecht. All the gessoes resulted in a deep black ground, and they are very opaque. The Golden and Liquitex gessoes were the most fluid and easy to apply; the Blick was the most economical and also the most satin; and the Utrecht was the top pick because of its ultra-matte, even surface and relatively affordable price.

Black gesso is an interesting option that can really mix things up in your studio. Do you have a favorite black gesso? Let us know in the comments.

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Plato on the Role of Potters

In Chapter 5 of Plato’s Republic, ‘The Guardians’ Life and Duties,’ the philosopher outlines the roles of three classes in society: guardians, auxiliaries, and workers. The workers are divided into castes and Plato believes there is little room for change in the castes. The goal, as Plato puts it, was to form “a community which is happy as a whole” without making just a few members of the community happy. Thus, everyone had a role to play but they had to stay in their role and place in society.

Here’s what he had to say about potters, from Robin Waterfield’s 1993 translation (419d-e, 421a). Bold text my own:

‘Suppose we were painting a statue and someone came up and criticized us for not using the most beautiful paint for the creature’s most beautiful features, because the eyes are the most beautiful part and they hadn’t been painted purple but black. It would be perfectly reasonable, in our opinion, for us to reply to this critic by saying, “My dear chap, you can’t expect us to paint beautiful eyes in a way which stops them looking like eyes, or to do that to the other parts of the body either. Don’t you think that if we treat every single part in an appropriate fashion we’re making the creature as a whole beautiful?

Likewise, in the present case, please don’t force us to graft the sort of happiness on to the guardians which will make them anything but guardians. You see, we know we could dress our farmers in soft clothes and golden jewelry and tell them to work the land only when they have a mind to, and we know we could have our potters lie basking in their kiln-fire’s warmth on a formal arrangement of couches, drinking and feasting with their wheel beside them as a table, and doing pottery only as much as they feel like, and we know we could make everyone else happy in this sort of way, and so have a community which was happy overall; but please don’t advise us to do so, because if we follow your recommendation, then our farmers won’t be farmers and our potters won’t be potters and no one else will retain that aspect of himself which is a constituent of a community.

Now, this isn’t so important where the rest of the community is concerned. I mean, if cobblers go to the bad and degenerate and pretend to be other than what they are, it’s not catastrophic for a community; but if the people who guard a community and its laws ignore their essence and start to pose, then obviously they’re utterly destroying the community, despite the fact that its good management and happiness are crucially in their hands and their hands alone.”

‘Now, if we’re creating genuine guardians, who can hardly harm their community, and the originator of that other idea is talking about a certain kind of farmer and people who are, as it were, happy to fill their stomachs on holiday, but aren’t members of a community, then he’s not talking about a community, but something else. What we have to consider is whether our intention in putting the guardians in place is to maximize their happiness, or whether we ought to make the happiness of the community as a whole our goal and should, by fair means and foul, convince these auxiliaries and guardians that their task is to ensure that they, and everyone else as well, are the best at their own jobs. Then, when the community as a whole is flourishing and rests on a fine foundation, we can take it for granted that every group within it will find happiness according to its nature.”

Hmmm, I would have to say that lounging on couches by the warmth of the kiln sounds pretty nice! But it doesn’t exactly match up with the role that Plato envisions for potters and other workers.

What do you think?

Republic by Plato, translation by Robin Waterfield, 1993

Click here to read more about books, podcasts, videos and other sources of inspiration in the studio.

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The Sarpedon Krater

The Sarpedon Krater arrived in New York City in 1972 as “the hot pot,” a million-dollar vessel that made the news, was the most expensive Greek pot ever sold, and immediately became a big draw for visitors to the Metropolitan Museum of Art. Painted by Euphronios in 515 BC, the pot had somewhat unknown origins — it was claimed to have been found in pieces in a shoebox of an antiquities trader — but it actually had been recently looted from an Etruscan grave north of Rome. For more than 30 years, it was the centerpiece of the Met’s collection of Greek vases, but in 2008 the vessel was repatriated to Italy.

The first few chapters of Nigel Spivey’s excellent book, The Sarpedon Krater, details this recent history and the cast of characters, including grave looters, shady antiquities dealers, and attention-loving museum directors. But Spivey doesn’t stop there, further exploring the history of the vessel painter Euphronios, the function of the krater as a celebratory vessel in ancient Greece and Italy, and the art historical implications of the imagery.

The krater depicts the slain Homeric warrior Sarpedon being carried from the battlefield into the heavens, and is widely regarded as one of the best of the 27 vases attributed to Euphronios. The image of Sarpedon, draped, bleeding, with an arm falling, became an iconic image that has permeated throughout art history in different forms.

The book is illustrated throughout with images and drawings detailing the work of Euphronios, and a variety of sculptures, reliefs, bottles, and other shapes have a similar image. It’s an enlightening introduction to the world of Greek vase painting.

After reading, I dug deeper into the story of the Sarpedon Krater and revisited the history of ancient Greek red-figure pottery. I found a few great videos, which I’ve shared below, along with some images from this engaging book.

The Sarpedon Krater: The Life and Afterlife of a Greek Vase by Nigel Spivey, 2019

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Images from inside the book

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Making a contemporary interpretation of red-figure pottery:

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SmartHistory video on the Sarpedon Krater by Euphronios with Erin Thompson and Steven Zucker:

Anything to add about the Sarpedon Krater? Let us know in the comments.

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Vintage films from the Mingei Film Archive

I love vintage pottery films so it was a pleasure to discover some newly digitized films that have been put online recently. These show famous Mingei potters Shoji Hamada and Bernard Leach at work.

The Art of the Potter is a 51 minute film from 1970. It was filmed by Sydney Reichman, produced by David Outerbridge, and was posted by Marty Gross on Vimeo.

A Visit to the Leach Pottery, 1973 is a recently digitized film that was shot by Kim Schuefftan and Toshio Sekiji, and includes John Bedding in Conversation with Marty Gross. It was posted by Marty Gross on Vimeo.

View more videos like this by clicking on Marty Gross’s Vimeo page here. Learn more about the Mingei Film Archive Project by clicking here.

If you’d like to learn more about the Japanese folk art movement known as Mingei , there are quite a few museum and exhibition catalogs, but a great place to start is with The Unknown Craftsman by Soetsu Yanagi with a forward by Bernard Leach. First translated into English in 1972, it is an enduring text on the handmade, the meaning of craft arts, and the power of beauty.

Shop The Unknown Craftsman at Amazon

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Best Ceramic Textbooks and Guidebooks

Updated June 10, 2021

The Workshop Guide to Ceramics by Duncan Hooson and Anthony Quinn, our top pick for a ceramics textbook.

These days, there’s a ton of information, guides, and videos online that will help you learn about ceramics. But it can also be nice to have everything in well thought out and comprehensive book. This is especially the case when you are in the studio with dirty hands and it’s hard to use a device.

There are a lot of speciality books for ceramics, focusing on aspects such as wheel throwing or glazing, with more coming out every year. But the goal of this post is to review a few books that cover the whole spectrum of the ceramic process, not just one specialized area such as wheel throwing or hand building.

Many of these books are more than a decade old and out of print, but they still are good resources for a comprehensive overview of clay, pottery, and ceramics.

TOP PICK:

The Workshop Guide to Ceramics

By Duncan Hooson and Anthony Quinn, published 2012

The top pick for a complete guide to clay is The Workshop Guide to Ceramics by Duncan Hooson and Anthony Quinn. Published by Barrons in 2012, the hardcover book has 320 pages full of information, technique, and full-color images. Divided into eight parts, the text covers everything from a beginner’s guide, forming techniques, glazing and firing, to thoughts on how to have a professional practice. It’s a remarkable book, both for the breadth of information covered and how it is accessible and useful for beginners and professionals alike. It’s also full of images that illustrate technique and lots of finished work by accomplished artists.

Written by artists and educators (Quinn is a professor at Central Saint Martins College of Art and Design in London and Hooson is a teacher in London) the book is the best laid out and comprehensive textbook on ceramics that I have seen. Handbuilding, mold making, wheel throwing, glazing, surface decoration, lathe turning, you name it—this book has info on it. Flip through the images above to see some inside shots of the book, including the table of contents.

As of this writing, the book appears to be out of print (like almost every book covered in this post) but it’s available used. This book is worth it.

Shop Hardcover version:

Note: There is also a newer, paperback option by the same authors from 2017 that appears to be the same book but with a different title called Ceramics: The Indispensable Guide.

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Other options:

The following guides and textbooks are all great options for your studio too. Most of these books are out of print, but that means you can often find a great deal used. And the books are often full of great examples of artwork by a wide variety of potters, artists, and ceramic specialists.

The cover of the third edition of Working With Clay by Susan and Jan Peterson.

Working With Clay

By Susan and Jan Peterson, most recently published in 2009.

Working With Clay is full of color images throughout the book.

Working With Clay is a concise, illustrated guidebook of everything you need to know to work with clay and ceramic. It includes chapters on hand building, wheel throwing, glazing, firing, ceramic history, and a lot more. Written by ceramics legend Susan Peterson and her daughter Jan, it is illustrated throughout with many color photos. Although it is more than 10 years old, it contains all the main information you will need to get started with clay, and it has a lot more that makes it useful for advanced students and educators. Designed as a textbook, it’s still available used for around $30 at the time of this post. The color pictures in this text are great and the spiral binding makes it easy to leave open to the page you may need for reference.

Working With Clay by Susan and Jan Peterson, most recent edition is 2009 but any editions will be helpful reference books.

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Although it’s almost 20 years old, Make It In Clay is still one of the best concise and comprehensive guidebooks to the ceramic process.

Make It In Clay: A Beginner’s Guide to Ceramics

By Charlotte F. Speight and John Toki, most recent edition is 2001

An interior page spread from Make It In Clay.

Almost 20 years old, this is still one of the best options for a comprehensive but concise overview to all aspects of ceramics. Similar to Working With Clay, it can be found in an easy-to-use spiral binding. This book covers every aspect of clay and ceramics, and includes a lot of suggestions for projects to get started. The book is illustrated with just black and white photos, making it less visually dynamic than our top pick. But it has great info and although it is almost 20 years old, this is still a worthy addition to your ceramic library. The information in the book is clearly presented, easy to follow, and covers all the basics. I’ve seen used copies online for between $20 and $40, which is a great deal for the amount of info packed into this book.

Make it in Clay, by Charlotte F. Speight and John Toki, 2001

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The cover of the fourth edition (2003) of The Craft and Art of Clay, a ceramic textbook by Susan and Jan Peterson.

The Craft and Art of Clay

By Susan and Jan Peterson, multiple editions but most recent is fifth edition, 2012

An interior spread from the 4th edition of The Craft and Art of Clay.

This is one of the most comprehensive guidebook / textbook covering ceramics. One Amazon reviewer describes it as the “end all, be all” of ceramic books. It has plenty of information for beginners, including step-by-step instructions. But it goes so much deeper than Working With Clay, which is by the same mother-daughter team, including a serious amount of ceramic history, profiles of contemporary artists, chart after chart of technical information. Written as a textbook for college classes, this is the book you’ll want if you are super serious about ceramics. I have owned the 3rd edition since I started working with clay, and after all these years I’ll flip it open and find new information or a deeper understanding of something I’m researching, such as glaze materials or firing info.

The book is illustrated with a combination of color and black and white photographs. The book is out of print and though any edition is probably fine, I would look for a used copy of either the fourth (2003) or fifth (2012) edition. At the time of this post, used prices for these editions were around $20 to $80 depending the the edition and condition of these books. The 3rd edition (1999) is often under $10 used and is great too, it’s just missing a bit of the updated information.

The Craft and Art of Clay, by Susan and Jan Peterson, various editions.

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Hands in Clay

by Charlotte F. Speight and John Toki, multiple editions, most recent is 2003

Hands in Clay is the other option if you are looking for a big, comprehensive ceramics textbook. Continuously updated since the 1970s, this book has everything you need to get started in clay or if you are looking for one big book that is a ceramic reference. Full of how-tos, project ideas, and information on ceramic history, it’s a great option. The book is illustrated with a combination of color and black and white images. Of particular interest is the images and info detailing how to make large scale ceramic sculptures.

At the time of this post, used copies of the fifth edition ranged from $25 to $50, and the fourth edition was available for under $10. It’s a good deal for a large book!

Hands in Clay by Charlotte F. Speight and John Toki

An interior spread from the fifth edition of Hands in Clay, 2003

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The Potter’s Dictionary of Material and Techniques

By Frank and Janet Hamer, sixth edition, 2015

Continuously updated for more than 20 years, this Ceramics Dictionary is a great resource for intermediate to advanced students and ceramic professionals. Arranged alphabetically, this is a well-researched and comprehensive resource. But the drawback of a dictionary versus a textbook, is that you need to know where to start, so if you are a beginner it’s best to start with one of the books listed above. But, this can be a fun book to just flip through and read an entry or two that catch your eye. Many potters and ceramists swear by this book and it’s a great addition to any ceramic studio or library.

The Potter’s Dictionary of Materials and Techniques, by Frank and Janet Hamer

The Potter’s Dictionary, sixth edition

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The Ceramic’s Process: a Manual and Source of Inspiration for Ceramic Art and Design

By Anton Reijnders and the European Ceramic Work Centre

This 2005 book is an impressive overview of techniques, recipes, and working processes used at the European Ceramic Workcentre in the Netherlands. The EKWC is an international center where ceramic specialists help artists, designers, and architects realize their projects in clay and ceramics. Reijnders worked there for many years, and the book contains recipes, how-to guides, and lots of pictures. The recipes use European ingredients, which makes it a bit hard for someone working in the United States, but if you read it carefully you can translate the materials into something available at your local clay supplier in any country. The recipes are also on the more general side, so expect to do some testing to get things to work in your studio.

The Ceramic Process by Anton Reijnders

The best part of this book is the color photographs throughout. The EKWC has been a place where countless artists and designers have realized their projects, and this book documents much of that work from 1990 to 2005. There is probably no better guide to this period of large-scale ceramic sculpture in Europe, and for that alone, the book is worth it. There is also information on paper clay, large-scale plaster sculptures, and other adventurous approaches to clay, making this a useful resource for ceramic sculptors and designers.

Out of print, this hardcover book is often listed at $200 to $500 used. If you see a copy available for $150 or less, it’s probably worth it. Or see if you can find a copy at your local library. The book was around $60-80 when it was in print. But it is a unique book that does cover every part of working with clay.

The Ceramic Process by Anton Reijnders, 2005

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Summary

This post has covered a variety of ceramic guidebooks and textbooks. Although so much information is available online, it can still be useful to have a book where the information is laid out thematically or by alphabetically order. Due to changes in publishing, many of these books are out of print. However, the information is still good and a reference book can be a vital resource in the studio.

For more posts on books and ideas, click here.

Do you have any favorite ceramic guidebooks? Let us know in the comments.

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How To Mix a Ceramic Glaze From Scratch

A red iron oxide glaze in the process of being run through a Talisman Glaze Sieve.

This post is an overview of how to mix a ceramic glaze from dry ingredients, including the tools, techniques and procedures to get you started.

Whether you buy a pre-mixed dry glaze or weigh each ingredient, there are a lot of advantages to mixing your own glaze:

• Save money: Mixing glazes in your studio is always cheaper, sometimes as much as 80 to 90 percent cheaper than bottled glaze.

• Customize: Learn how to modify slips and glazes to suit your kiln and clay bodies.

• Learn glaze chemistry: Even a bit of info can help you get the results you want.

A variety of our favorite glaze recipes are posted here, and there are lots of websites and books with glaze recipes. There are endless amounts of glaze recipes, so if you are new to this, just start with one basic one such as a glossy clear. There are also pre-mixed, dry glazes which are effective and still save some money over buying bottled glazes.

Keep reading for the complete how to instructions.

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Table of Contents

• Glaze Mixing Tools and Accessories

• How To Mix Glazes From Scratch

• Testing and Storing Glazes

• Summary

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Glaze Mixing Tools and Accessories

Here’s what you need to mix glaze in your studio:

• Scale that can measure to 1 gram accuracy or better (Read our scale review here)

• Dust mask, preferably a respirator

• Bowl or pan for the scale (Read our glaze accessories recommendations here)

• Electric drill with mixing attachments, or a large whisk

  (Read our review of cordless drills or corded drills here)

• Fine Sieve (80 mesh) from a ceramic supply store, and a coarse sieve, from a supermarket or hardware store

• Buckets for mixing and storing glaze, 1 gallon to 10 gallon or larger depending on your needs

• Large plastic scraper, for cleaning sides of buckets

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How To Mix Glazes From Scratch

1. Review recipe.

   Check to make sure you have enough of each ingredient. It can be helpful to calculate and write out the amount of each material, to be used as a checklist.

2. Prepare work area

   Put on a dust mask, clean your scale and work area. Get your materials, buckets, and scoops together.

3. Zero scale

   Place your measuring pan or bowl on the scale and turn it on. If needed, press the tare button so that the scale is zeroed out.

4. Weigh ingredients

   Weigh each ingredient (this is where your checklist is handy) and put them in a dry bowl or bucket. After measuring all the ingredients, mix the dry ingredients together. Some glaze ingredients, such as bentonite, are prone to clumping so it is important to mix everything dry first.

5. Add to water and mix

   Add the mixed glaze materials to water and mix until it is thick cream or buttermilk consistency. An electric drill with a proper mixing blade greatly speeds up this process. A large plastic scraper will dislodge material from the side of the bucket. Once all the dry ingredients have been mixed with water, you can remove your mask if desired.

   Note: it’s best to add glaze materials to water. If you add water to a bucket of dry materials, it’s hard to get everything in the bottom corners mixed.

6. Sieve and homogenize

   Prepare another clean bucket with a sieve, preferably a fine 80 mesh sieve. Run the glaze through the sieve this first time, to break up any clumps. A brush can help push material through the sieve, or a Talisman Glaze Sieve is a tool made specifically for mixing glaze into 5 or 10 gallon buckets.

   Then, clean the bucket where you will be storing the glaze. Run the glaze through the sieve a second time into this clean bucket.

7. Test glaze consistency

   Glazes are typically mixed to a specific gravity, which measures the amount of dissolved solids in the water. Usually glazes are around 1.50, which means 50 parts dissolved solids to 100 parts water. Keep records and mix the glaze to a consistency that works for you.

   Specific gravity can be measured with a specialized (but fragile) hydrometer, or you can use a graduated cylinder on your scale. With your cylinder zeroed out on the scale, pour in 100ml of the mixed glaze and check the weight. Add water as needed, and mix.

8. Label and store

   Glaze containers and lids should be labeled with the name, temperature, and any other information that will help you. Laminated, waterproof labels are best but packing tape can also protect a label for some time.

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Testing and Storing Glazes

Testing Glaze

It is helping to make a test tile of a glaze, on each clay body you use. Vertical test tiles such as tubes from an extruder are best, as they show how a glaze will “move” with gravity. Dip your test tile with one and two dips to show how different thicknesses of glaze affect the color.

Some studios choose to make a test tile with each batch of glaze. But if you are careful to mix the glaze accurately to a similar specific gravity, and your firings are repeatable, you should get roughly the same glaze results each time. There are no guarantees with glaze though. It is important to keep records, both in a glaze book and a kiln log, in order to get standardized results. But, glaze materials do change over time so as necessary you can make new test tiles.

Storing glazes

Glazes can be stored in sealed containers or buckets almost indefinitely. Most glaze ingredients are inorganic and will not rot. But some ingredients, such as bone ash, can cause some rotting smells. To avoid this, make sure the glaze is mixed with some frequency. If the odor persists, you can add a trace amount of copper to any glaze (even white glazes!) without affecting the color. Copper is an anti-fungal and can cut down or eliminate odor. Read our post on that here.

Remixing glaze

As they are used, glazes do lose some moisture to evaporation and bisqueware can suck extra water out of the glaze mix. It can be helpful to mix and then do a quick visual check of the glaze. If necessary, you can re-check the specific gravity and add water. If a glaze seems thick or is glopping onto your pieces, it’s definitely time to check it and probably add water.

In addition, when I mix glaze, I will usually run all the old and new glaze through a sieve. Small bits of bisque and other contaminants can fall into a glaze bucket. When I’m using it, I want to know what I’ve got in that bucket. It does take extra work but having a double-sieved, homogenized glaze will result more even glaze application and hopefully, better results.

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Summary

This post has covered a basic overview of mixing glazes from scratch. It covered the tools, techniques, and a few helpful hints to mix and store glazes. If you can follow a recipe, you can mix glaze. There is an overwhelming amount of glaze info out there, but if you start with just one basic recipe and grow from there, you will be a glaze master in no time and you will be able to customize and mix glazes to suit your own needs.

If you are looking for more info on mixing glazes, the glaze books by John Britt are some of the best resources.

The Complete Guide to Mid-Range Glazes

Buy at Bookshop.org

Buy at Amazon

The Complete Guide to High-Fire Glazes

Buy at Bookshop.org

Buy at Amazon

Questions or comments? Let us know in the comments.

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The Best Corded Drills for Art Studios and Workshops

A corded drill is always worth having in a studio or home workshop. They are powerful, durable, and affordable. The trade off is that you have to deal with a cord. But if you are working near a power source and don’t mind the cord, there is nothing better and more powerful. This post will review a few recommended drills, cover the advantages and disadvantages of a corded drill, and share some tips on how to use drills for mixing glazes and other studio tasks. If you are looking for a cordless drill, check out our review here.

TOP PICK: DeWalt DWD 115K 3/8” Variable Speed Drill

The DeWalt DWD 115K Drill is my top pick for a corded drill. It’s what I use — my DWD 115 from 2008 is still going strong after more than a decade of heavy use. The newest model, the 115K, is virtually unchanged from previous models. Why mess with a classic? The drill is on the heavy side, weighing just over 4 lbs, but it is solid, evenly balanced, has a ton of torque, and will do almost everything you need it to do in a very affordable package. It’s especially great for drilling and using with mixing blades. It’s not a contractor-grade jobsite drill, but for the rest of us, this is the best corded drill. A full review of this drill is below

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Table of Contents

• Top Pick: DeWalt DWD 115K 3/8” Drill

• Runner Up: Metabo HPT 3/8” Drill

• Third Pick: Bosch 3/8” Drill

• Other Corded Drill Options

• Favorite Mixing Blades and Drill Accessories

• Corded vs Cordless Drills: Advantages and Disadvantages

• Background and Research

• Summary

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Top Pick: DeWalt DWD 115K 3/8” Drill

The DeWalt DWD 115K 3/8” Drill with variable speed and keyless chuck.

The DeWalt DWD115k 3/8” Drill is my top pick for a corded drill and it’s far and away the best drill in this category and price among any brand. It is durable, powerful, and affordable. I’ve used a DWD115 model for more than a decade, and it is held up under heavy use. I expect my drill to last for decades longer! The DeWalt 115 model is a classic and the newest model is little changed. The 115K is not a lightweight drill, weighing 4.1 lbs, but it feels evenly balanced and despite the weight is comfortable to use. It has a convenient flip-switch right above the pistol-trigger, to toggle between forward and reverse without moving your hand. It has a well-built keyless metal chuck, but there is a model with a keyed chuck, if that is your preference.

My drill: a DeWalt 115 Drill that is still looking good after more than a decade of use. This model of drill is a classic.

The drill doesn’t come with a very long cord, so you’ll most likely need a quality extension cord to put this into use. You’ll also need to get drill bits and mixer blades, which are covered farther down in this post.

I used to work in a busy academic studio where one of these DeWalt drills was used for mixing glazes. The DeWalt endured all sorts of misuse at the hands of the students (glaze splashes, dirty hands, etc.) and it kept going strong.

If a corded drill is what you need, this is the drill to get. It is tough, powerful, and well-built. If it’s maintained, it might be the only corded drill you ever buy.

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Second Pick: Metabo HPT 3/8” Drill

The Metabo HPT 3/8” Drill

The DeWalt DWD115K is such a leader in this category that it’s hard to recommend other drills. But the Metabo HPT 3/8” Drill is a distant second.

Metabo is a rebranded version of Hitachi Power Tools (hence, the HPT in the name) and it has many great features: an all-metal keyless chuck, decent amount of power, good ergonomics, and an affordable price of around $50. You can definitely get a lot more features if you step up to a 1/2” drill and are willing to spend $100 or more, but this drill is a good compromise.

Close up of the variable-speed dial on the trigger. It’s a funky, awkward design.

Hitachi made quality, long-lasting tools and the rebranded Metabo should be the same. But it’s just been since the Fall of 2018 that the Metabo rebrand took place so the jury may still be out on what changes, if any, happened with the name change.

Compared to the top pick, you get a similar all-metal keyless chuck, almost as much power (7.0 amps as opposed to 8.0) and a drill that is 1 pound lighter, at just over 3 lbs. I will happily trade a bit of power for a lighter drill that is comfortable to use over time.

The trade off comes in the trigger. It’s got a variable-speed dial built right into the trigger, which is a very funky design. And flipping between forward and reverse is not as easy with just one hand as the on the DeWalt.

This drill will run you about $15-20 less than the DeWalt and occasionally, Amazon has refurbished or “renewed” versions of this drill for $25. You can’t beat that for a decent drill, and if money is the bottom line, this is a good drill.

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Third Pick: Bosch 1006VSR 3/8” Drill

The Bosch 1006VSR 3/8” Drill.

The third pick is the Bosch 1006VSR 3/8” variable-speed, corded drill. Bosch makes high-quality, well-respected products and this is a good drill. It’s just not as good as our top pick, but it’s also $10-15 cheaper. Rather than an all-metal chuck, it has a metal chuck with a plastic collar. In my experience, these plastic collars or plastic chucks just don’t stand the test of time but when I make this consideration I’m thinking about heavy use over 5 or 10 years in a communal studio, where the drill is getting used on an hourly basis for mixing glazes. Your use may vary.

Aside from the partially-plastic chuck, this drill has 6.3 amps (as opposed to 8 on the DeWalt), has a large, two-finger trigger, and a button to switch between forward and reverse. The button is not as ergonomic as the DeWalt, but it does stay locked in place.

The drill weighs 4 lbs, about the same as the DeWalt but 1 lb more than the Metabo. Aside from that, it’s a standard, well-built drill that should handle most things needed in a studio or at home.

As stated before, the DeWalt is the clear market leader for this type of drill. But if I was choosing between the second pick and the Bosch, I would evaluate my trust in the Bosch name, how I felt about an all-metal chuck versus this plastic-collar chuck, and the difference in the weight of the drills. The Bosch was almost my second pick but I don’t have as much confidence in the chuck.

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Other Corded Drill Options

As with any electronic tool or gadget, there’s an innumerable amount of options and designs from both name-brand and generic makers. Hopefully the three drills above will give you a starting point. But there are some other drills to consider, which I’ll cover briefly.

The first drill I ever bought was a Craftsman, and the Craftsman 7 amp 3/8” drill is very similar to the model I had and used for almost 10 years. Generally, I’m a fan of Craftsman products (Must be all those years of hanging out in my grandfather’s woodshop with his Craftsman tools) and this drill is ok. But with a plastic chuck? I don’t know. It does have a toggle forward/reverse switch like the DeWalt, and a “lock on” switch for continuous use. But it’s just not as good as our top picks.

The Porter Cable 6-amp, 3/8” drill looks quite similar to the Craftsman model in make and build, including a plastic chuck and a toggle forward/reverse switch, and the “lock on” button on the handle. It’s another old-school brand that I want to trust, but a drill like this makes me wonder if it is coasting on its history and basically rebranding a generic drill.

The Black and Decker 6 amp 3/8” Drill is in many ways similar to the drills above, but it has a plastic chuck. Online reviewers noted that there was some “play” in the chuck if they didn’t get the bit set just right. I mention this drill here as a comparison. Generally, I don’t ever buy Black and Decker tools as I find that they are cheaply made and do not last over the long haul.

More Powerful / Larger Drills

So far, every drill I’ve mentioned has a 3/8” opening in the chuck. If you want a step up in power or size, there are some great 1/2” models that don’t cost too much more than our top pick.

Dewalt has a 7.8 amp, 1/2” drill with a keyed chuck that runs about $100, or a more powerful 10 amp, 1/2” drill for about $120. These are both great drills with the same level of DeWalt quality throughout.

Milwaukee also has an 8 amp 1/2” drill with a keyed chuck for around $120 that is well built, powerful, and long lasting.

If you are really having a hard time deciding what kind of drill you need, the best thing is to go to a store and handle them and see what feels good to you. If the store will let you try drilling something, then you’ll really know what is the best drill for you.

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Mixing Blades and Accessories for Your Drill

With your drill, you’ll need bits, screws, and mixer blades to put it to work. Here’s what I recommend:

DRILL BITS AND SCREWS

Any quality brand of screws and drill bits should get the job done. But just like drills, there are tons of options out there. Your local hardware store might be the easiest way to see what you need in person, but for shopping online, here are some links:

Drill bits: This basic 14-piece set from DeWalt is a great place to start.

Screwdriver set and bits: This set from DeWalt covers all the basics.

Hollow Core Diamond Drill Bits from Neiko

DIAMOND BITS

Diamond bits really help if you are working with glass, tile, hard plastic, or ceramic. For glazed ceramics, diamond bits are your only option for cleanly drilling a hole.

This 5 piece set of diamond-dusted, hollow core bits from Neiko has decent quality despite being less than $10. It will cut holes right through bisqueware (make sure to do it under running water) and it will also work on glazed ware. Just be slow and steady when using these on glazed ware, and use proper protection such as goggles.

The small Jiffy LM10 Mixer Blade

SMALL MIXER BLADE

To mix pint jars and small cups, the Jiffy LM10 Mixer Blade is just the right size. It’s 10 1/4” long with a 1 1/4” head.

Helix mixer blade for 1 to 2 gallon buckets

MEDIUM MIXER BLADE

For one to two gallons, I prefer a helix mixer designed for 1 gallon buckets. It’s cheaper than a metal blade but it can really mix. As long as you don’t grind the plastic blades against buckets, these economical blades should last for years and also work well for jobs such as mixing plaster.

Jiffy ES Mixer Blade closeup.

LARGE MIXER BLADE

For 5 or 10 gallon buckets, the Jiffy ES mixer blade is the way to go. It has a 20 1/2” long, 3/8” shaft and the head is 3 3/4” wide.

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Corded vs. Cordless Drills

A corded and cordless drill each have their advantages and disadvantages. I like to have both but most people get by with just one drill. If you are looking for a cordless drill, check out our cordless drill recommendations here. Here’s some things to consider when choosing a drill:

Advantages of a Corded Drill

• Affordable: Cheaper and more powerful than a cordless drill.

• More power: You’ll get a stronger motor and heavier build quality on a corded drill than a cordless drill at similar prices.

• Instant torque: You don’t have to wait for a corded drill to get up to speed.

• No stopping to change or recharge batteries.

• No future expense of replacing batteries as they wear out.

• Less wasteful: A corded drill won’t result in worn-out batteries that need to be recycled or disposed.

Disadvantages of a Corded Drill

• A corded drill limits you to being plugged in to a power source or working with an extension cord.

• Usually Heavier: The extra weight may not work for everyone. I’m thinking of shared ceramic studios with students of all ages. A lighter cordless drill is more accommodating for all.

• For certain projects, such as drilling screws, corded drills are almost too powerful. Crazy, huh? Cordless drills are generally weaker and you’re not as likely to over-torque or damage screws, etc. A gentle touch on any corded, variable-speed drill should work, but if you have a heavy trigger finger, get a less powerful drill. Or — this is another reason to have both types of drill. A corded drill is great for drilling and using with mixing blades, while a weaker cordless drill is perfect for driving screws.

Considerations for all drills

• Keyless or keyed chucks? Generally, a keyed chuck can be locked in super tight, but you’ll need to use (and not lose) the key. Keyless chucks are more convenient but can wear out

• How often do you use the drill? If it’s infrequent, you may find that a cordless drill always has a dead battery when you need to use it.

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BACKGROUND

I have used tons of different drills over the years, and this review is based on that experience along with looking at many recent reviews of corded drill reviews and every other source I could find, include user reviews on Amazon and checking out models in person. In the studio, I like to use the best tools at the lowest price. What that means in practice is I avoid the super-cheap brands such as Black and Decker, or Ryobi, and will generally choose the base models of top quality brands such as Milwaukee, Bosch, and DeWalt. I totally understand the need for a powerful, $200+ drill for a construction job site. But in my experience, the entry-level drills are powerful enough for most uses. They work for me and I think they’ll work for you too.

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Wrap-Up

This post covered top picks for corded drills, as well as some useful tools and accessories. My top pick was the DeWalt DRD115K 3/8” drill. It’s a durable, powerful drill that is versatile, comfortable, and should work for most situations in a studio or home workshop. With this drill, I keep a variety of mixer blades, as well as drill bits, screwdriver bits, and hollow-core diamond bits.

A corded drill is a vital tool in the studio. What type of drill do you like to use? Let us know your favorite models and accessories in the comments.

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The Best Cordless Drills for Art Studios and Workshops

A good cordless drill is a must have in any studio. Between a corded and a cordless drill, I’ll always grab the cordless first. But with numerous options, it can be hard to know where to start in picking a drill. This post will review the best cordless drills for a ceramic or art studio, share my philosophy on how to shop for tools like this, and list a few favorite drill attachments for use in a ceramics studio.

TOP PICK: Milwaukee M12 3/8” Drill/Driver

Before jumping into the complete post, the top pick is the Milwaukee M12 3/8” Drill/Driver. It’s a compact, lightweight, and powerful drill that is not too expensive but has excellent build quality. It also has a comfortable grip and the M12 battery system makes it compatible with a huge variety of Milwaukee tools. It’s what I stock and use in my own studio, but the smaller size and light weight make this a drill that can be used by just about anybody.

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Table of Contents

• Top Pick: Milwaukee M12 3/8” Drill

• Runner up: Dewalt 12V Brushless 3/8” Drill

• Third Pick: Bosch PS31 3/8” Drill or Bosch PS32 3/8” Brushless Drill

• Other Drill Options

• Favorite Mixer Blades and other attachments

• Cordless vs. Corded Drills

• Background and Research

• Wrap-Up

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Top Pick: Milwaukee M12 3/8” Drill/Driver

The Milwaukee M12 3/8 Drill Driver

The Milwaukee M12 3/8” Drill/Driver is my top pick for a cordless drill, and it’s the drill that I use and stock in my studio. It’s compact and lightweight, but with enough power to really mix a 5 gallon bucket of glaze and just enough power to mix a 10 gallon bucket. The build quality is excellent, and it includes variable speeds, a battery charge light indicator, and the keyless chuck makes it easy to change bits as needed. I use a variety of mixer blades including an ES Jiffy Blade, and this drill can go slow enough to mix a pint jar and is powerful enough to mix 5 or 10 gallon buckets of glaze.

The Milwaukee M12 3/8 Drill Driver Kit

This is the drill that I have stocked in academic and community studios, which are used by scores of students weekly. This drill holds up under those intense conditions. In educational spaces, these tools get used hard and are often subject to misuse, such as splashes of glazes. So far, this drill has survived everything but if it was damaged beyond repair, the basic drill without a battery is especially affordable and would be easy to replace. You can buy just the bare drill with no battery for around $55. The 2407-22 Kit, which includes a drill, charging station, 2 batteries, and bag, costs around $115 at the time of this review. Without a battery, this drill weighs 2.1 lbs.

Additionally, the M12 battery makes this an attractive option if you wanted to use any of the other 100+ Milwaukee tools in the M12 System, such as a jig saw, circular saw, or compact leaf blower.

For extra batteries, definitely get the official Milwaukee brand batters, such as this extended capacity option. Speaking from experience, the generic batteries I tried were completely dead after about 12 months of use.

The drawbacks of this model would be the relative lack of power. It’s not a super-powerful drill, especially for something like a construction job site, but it has enough juice to mix up to 10 gallon buckets of glaze, which is everything I need and might cover your needs too. For an art studio, whether home or educational, this is a great compact drill that does a lot and will last for years. That it has all of this in one of the cheaper models is also the reason why it’s my top pick.

Milwaukee M12 3/8” Drill/Driver Kit

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Runner Up: Dewalt 12V Brushless 3/8” Drill/Driver

The DeWalt DCD701F2 Xtreme 12V Max Brushless 3/8 in. Cordless Drill/Driver

This is a very compact, powerful drill that does cost more than the top pick but comes with a more powerful and responsive brushless motor. Dewalt tools are always great quality and this one is no exception. Other reviewers love this drill, such as the Wirecutter, which named this their top pick for a small household drill. (And if you’d like to read an explainer on brushless motors, check out this article from Popular Mechanics.)

This kit includes the drill, two batteries, charging station, and a bag. Without the battery, this drill weighs 1.9 lbs. The DeWalt 12V Max battery system includes a variety of tools, including other drills, lights, and sensors, but not as many options as the Milwaukee M12 system.

The flat-bottomed battery that comes with this drill also allows it to stand up. With the Milwaukee, you’d have to order the extended capacity battery for that feature.

DeWalt makes some other entry-level drills that are cheaper than this drill and seem suitable for a studio, but they have very mixed reviews. This model does cost more but the brushless motor should provide more torque and hopefully last longer. The compact size of this drill makes it an attractive option for any studio, as space is always at a premium.

In the end, you have to decide if the extra money for this drill is worth it. It’s a great option and one that I heartily recommend.

DeWalt DCD701F2 12V Brushless 3/8” Drill/Driver

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Third Pick: Bosch PS31 or PS32 3/8” Drill/Drivers

The third pick is two different Bosch drills that match many of the specifications of the top two picks. The cheaper PS31 model is similar to the Milwaukee M12, and the PS32 option has a brushless motor like the DeWalt. Both are great drills that will work well, depending on your needs and price range.

The Bosch PS31 3/8 Drill kit with drill, two batteries, charger, and case.

Bosch PS31 3/8” Drill/Driver

This compact drill is similar in many ways to the top pick with a 3/8” inch chuck, variable speeds, and the kit comes with two small batteries. Without a battery, the drill weighs 2.1 lbs. This drill was picked by the Wirecutter as the runner up for their best household drill, and it generally has favorable reviews on Amazon and other sites. Some complain about the ergonomics, however, and an uneven balance. But Bosch tools are generally high quality and this drill will do everything you need to do. This is a great drill, but I prefer the Milwaukee for the wider variety of tool options that comes with the M12 system.

Bosch PS31 3/8” Drill/Driver Kit

Bosch PS32 3/8” Drill/Driver with Brushless Motor

The Bosch PS32 3/8 Brushless Drill Driver kit. Note that the motor area is slightly larger than the Bosch PS31 but the two drills have about the same weight.

The PS32 has many of the same specs and design as the PS31 but is a stepped-up model with a brushless motor that should provide more torque and longer battery life. Head to head, it’s a very similar to the DeWalt drill mentioned above, so choosing this comes down to design and other features. Without a battery, the bare drill weighs 2 lbs and the kit comes with two batteries, charging station, and bag. Personally, I would go with the DeWalt for an entry-level brushless drill but many people love Bosch tools. This PS32 drill was named as a top pick recently by Consumer Reports. It’s not my top pick, but it will do the job for you. Bosch doesn’t have as many tools that use the same batteries in their product line, so if you were looking to start an expandable set of studio tools that utilize the same batteries, you’d want to consider other manufacturers such as DeWalt or Milwaukee.

Bosch PS32 3/8” Drill/Driver with Brushless Motor

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Other Drill Options

The main thing I use drills for is mixing glazes. All the drills reviewed above will do a great job mixing 1 to 5 gallons of glaze, and they have enough power for a 10 gallon bucket of glaze. But if your studio is full of lots of 10 gallon buckets, you may want to get a more powerful cordless drill, or think about going with a corded drill. In general, these more powerful drills weigh more and the designs get more awkward. You’ll have to think through who is using your studio and if they are able to handle the size of the larger drills.

DeWalt 20V 1/2” Brushless Drill/Driver

For a more powerful cordless drill, the DeWalt 20V Max 1/2” Drill Driver Kit is really great. It’s a step up in power, and will accommodate larger mixing blades. It is quite a bit larger and heavier, weighing 3.4 lbs. This is 1.5 lbs heavier than the DeWalt model reviewed above, but with the heavier weight you will get a larger motor with more power. There’s even an option with bluetooth connectivity, which is mostly useful if you lose your drill or for jobsite inventory management.

Milwaukee M18 1/2” Brushless Drill Driver

The Milwaukee M18 1/2” model is also another powerful cordless drill. The kit clocks in at a lower price than its competitors, but that’s because the kit has just has one battery! So if you go this route, definitely factor in the cost of an extra battery. Battery aside, you’ll get a great drill that packs a punch in a well-built design. Without a battery, this drill weighs 2.5lbs, which is just a half pound more than the M12 model. Milwaukee has been able to squeeze more torque and power into a drill without much added weight.

Milwaukee M18 1/2” Brushless Drill/Driver

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Mixing Blades and Accessories for Your Drill

With your drill, you’ll need bits, screws, and mixer blades to put it to work. Here’s what I recommend:

DRILL BITS AND SCREWS

Any quality brand of screws and drill bits should get the job done. But just like drills, there are tons of options out there. Your local hardware store might be the easiest way to see what you need in person, but for shopping online, here are some links:

Drill bits: This basic 14-piece set from DeWalt is a great place to start.

Screwdriver set and bits: This basic set from DeWalt covers all the basics.

DIAMOND BITS

Hollow Core Diamond Drill Bits from Neiko

Diamond bits really help if you are working with glass, tile, hard plastic, or ceramic. For glazed ceramics, diamond bits are your only option for cleanly drilling a hole.

This 5 piece set of diamond-dusted, hollow core bits from Neiko has decent quality despite being less than $10. It will cut holes right through bisqueware (make sure to do it under running water) and it will also work on glazed ware. Just be slow and steady when using these on glazed ware, and use proper protection such as goggles.

SMALL MIXER BLADE

To mix pint jars and small cups, the Jiffy LM10 Mixer Blade is just the right size. It’s 10 1/4” long with a 1 1/4” head.

The small Jiffy LM10 Mixer Blade

MEDIUM MIXER BLADE

For one to two gallons, I prefer a helix mixer designed for 1 gallon buckets. It’s cheaper than a metal blade but it can really mix. As long as you don’t grind the plastic blades against buckets, these economical blades should last for years and also work well for jobs such as mixing plaster.

Helix mixer blade for 1 to 2 gallon buckets

LARGE MIXER BLADE

For 5 or 10 gallon buckets, the Jiffy ES mixer blade is the way to go. It has a 20 1/2” long, 3/8” shaft and the head is 3 3/4” wide.

Jiffy ES Mixer Blade closeup.

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Cordless Vs Corded Drills

A corded and cordless drill each have their advantages and disadvantages. I like to have both but most people could get by with just one. If you are looking for a corded drill, check out our recommendations here. Here’s some things to consider when choosing a drill:

Advantages of a Cordless Drill

• No cord! You’re free to take the drill anywhere. This is especially good for tight locations, or if it’s not easy to access a power source.

• Usually lighter: Cordless drills are designed to be carried around. The models reviewed here are compact and light, which makes these drills more easier to use for everyone.

• Good for drilling, but especially good as screwdrivers.

Disadvantages of a Cordless Drill

• More expensive: The batteries and charging station add a cost that you don’t have with corded drills.

• Less power: Not as much power as a corded drill, and the power may wane as the battery loses charge.

• Less torque: This may be good in some cases, such as for use as a screwdriver. But cordless drills are not as good for loosening stuck bolts, or for situations where lots of power or torque are needed.

• You will need to stop to change or recharge batteries.

• Future expense: batteries wear out and need to be replaced.

• More waste: Worn out batteries have to be recycled or disposed.

Considerations for all drills

• Keyless or keyed chucks? Generally, a keyed chuck can be locked in super tight, but you’ll need to use (and not lose) the key. Keyless chucks are more convenient but can wear out

• How often do you use the drill? If it’s infrequent, you may find that a cordless drill always has a dead battery when you need to use it.

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BACKGROUND

I have used tons of different drills over the years, and this review is based on that experience along with looking at many recent reviews of cordless drill reviews and every other source I could find, include user reviews on Amazon and checking out models in person. In the studio, I like to use the best tools at the lowest price. What that means in practice is I avoid the super-cheap brands such as Black and Decker or Ryobi, and will generally choose the base models of top quality brands such as Milwaukee, Bosch, and DeWalt. I totally understand the need for a powerful, $200+ drill for a construction job site. But in my experience, the entry-level drills are powerful enough for most uses, and they are lighter, more compact, and easier for most people to grip. They work for me and I think they’ll work for you too.

Other Considerations when choosing a cordless drill:

Beyond the drill, there are a few other considerations when selecting a cordless drill:

• Committing to one company / battery style? Batteries vary by manufacturer, so you may have the option to swap batteries between multiple devices. This can save money, but also locks you in to that brand. Having multiple tools with one model of battery and charger can simplify your life.

• Off-brand batteries: These are available for most brands. My advice is to avoid them as they usually wear out faster and don’t hold a charge as long. Be careful of aftermarket kits on Amazon. Many of the cheaper kit options combine brand name drills with cheaper, aftermarket batteries.

• Size of the chuck and what attachments you will be using. What kinds of mixer blades and bits will you be using? Make sure they will fit the drill. The drills reviewed above usually have a 3/8” chuck. Only rarely have I needed a 1/2” chuck to accommodate larger shaft sizes.

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Wrap-Up

This post covered top picks for cordless drills, as well as some useful tools and accessories. My top pick was the Milwaukee M12 3/8” Drill/Driver. It’s a well-made drill that is versatile, comfortable, lightweight, and is still powerful enough for most uses. With this drill, I keep a variety of mixer blades, as well as drill bits, screwdriver bits, and hollow-core diamond bits.

A cordless drill is a vital tool in the studio. What do you like to use? Let us know your favorite models and accessories in the comments.

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Tools for Home and Studio

There are many tools that are equally valuable at home or in the studio. Sometimes, it seems like most tools that are useful in a kitchen can also be put to use in the studio.

This post includes reviews of a few favorites that will hopefully give you some ideas for new tools to use, either at home or in the studio. What do you use in both the kitchen and studio? Please share in the comments.

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Swedish Notched Rolling Pin

This notched, diamond-pattern wooden rolling pin or kruskavel can be used in the studio to roll out textured clay slabs. It’s especially useful for making test tiles. Or put it to use at home making crackers. It’s designed to make Swedish knaackebrods but the simple pattern looks great on a variety of baked goods.

Uses:

At home: roll out dough crackers, flatbreads, Swedish knaackebrods, or add notches to baked goods
In the studio: add the diamond texture to clay slabs and test tiles

Linden Sweden Deep Notched Rolling Pin

Swedish Notched Rolling Pin

Patterned Wooden Rolling Pins

This set has 10 wooden rolling pins with a variety of patterns. It’s is probably more useful in the studio than at home, but it can be used on crackers and flatbreads just as easily as clay slabs. These roller are relatively small, ranging from 3.5 to about 5 inches wide.

Uses:

At home: patterned crackers
In the studio: textured slabs, roll patterns on to thrown pots, create textured slabs to add to other pieces.

10-pack of textured clay rollers

Set of 10 Wooden Pattern Rollers
This set is listed twice on amazon. Find it here or try this link.

Wooden Meat Tenderizer Mallet

An all-wood meat tenderizer mallet is another texture tool for the studio, or a useful addition to your kitchen. Wood is less likely to stick to clay than metal, so this all-wood option is the way to go.

Uses:

At home: tenderizing steaks, fish, poultry, etc. Great for making flattened chicken breasts.
In the studio: similar to the diamond-pattern of the Swedish rolling pin, this is also a great tool for making patterns on individual test tiles

Double Side Heavyweight Wooden Meat Tenderizer Mallet

Round Cutters in Graduated Sizes

The Kayaso nesting round metal cutter set

This set of circular cutters is another tool that is equally at home in the kitchen or studio. Great for biscuits or other round baking needs, it’s also perfect for making circles out of clay slabs. The simple design makes it easy to clean, and the container helps organize the pieces for storage.

There are also fluted circular cutters, which can add some nice patterns to your work. It’s best to stick with firm metal cutters, the softer plastic options are often not strong enough for the kitchen or studio.

Uses:
At home: cut biscuits, bread, English muffins, fondant decoration
In the studio: cut circular slabs, trace circles

Nesting Round Metal Cutters Set
There are name brand and many generic versions of this type of tool. Pictured is the Kayaso version, but there are other options such as this or this 6 piece option from Wilton.

For a fluted option, try this 11-piece set from Jokumo, or a 6-piece set from Wilton.

Wooden Thread Spiral Rolling Pin

Another simple but useful tool, this wooden rolling pin will add texture to your baking or clay projects. All wood is great because it’s less likely to stick to clay.

Uses:

At home: add texture to cookies, dumplings, pastas
In the studio: add texture to slabs. Great for adding texture and then stretching

Spiral Threaded Wooden Rolling Pin

Silicone Mats for baking or studio use

The Amazon Basics silicone mat

A non-stick work surface is vital if you are baking or working with clay. Products like Silpats or silicone baking mats give you that flexibility and are a tool for the home or studio. It’s handy to have these around for working on craft projects, or handbuilding with clay.

If you are looking for ceramic-specific work mats, the Ceramic Shop in Philadelphia has a variety of options. Those are nice options, but a silicone baking mat is often cheaper, almost as stiff, and can be used in a variety of ways.

Amazon Basics Silicone Baking Mat

Green Bell G-1008 Nail Clippers

The Green Bell G-1008 Nail Clipper

If you are cooking or working in the studio, long nails can get in the way. Nail clippers may seem like the most mundane thing, but upgrading to a pair of Green Bell clippers shows how just about any other clippers is not as good.

I discovered the Green Bell Clippers years ago via this rhapsodic review, and they truly are the best nail clippers I’ve ever used. Made in Japan, these clippers effortlessly cut nails with a perfect tension. They also have a built-in nail file and are constructed with a weight, finish, and somewhat hefty quality that is just a step above any other nail clipper. Sure, they are now about $21 but you’ll most likely never need another clipper.

Green Bell Nail Clippers
I recommend the Green Bell G-1008 at amazon. For a smaller, narrower option, try the Green Bell G-1205

GorillaPod Phone Tripod

GorillaPod GripTight Pro

A flexible phone tripod is a handy tool to have anywhere these days, but especially at home or in the studio. Need to set up your phone to read a recipe? Trying to capture the perfect selfie? Or maybe you’re getting into timelapse recording of your work? This is the perfect tool for that.

GorillaPod Mini

There are numerous knockoff options, many that will do a fine job, but I have been very happy with the original version of this product, the Joby GorillaPod. I frequently use the phone option, and I have the larger 3K kit that can hold my big DSLR camera. They do cost a bit more, but Joby products stand the test of time.

Currently, there are two options for phone holder. The pro-grade phone stand that retails for almost $60, and a newer mini option that is $15 or less. The pro-grade model gives you longer legs that will allow the tripod to grip unusual objects, such as a stick or pole. The smaller option is good for a simple tripod or to stand on an uneven surface, but I wouldn’t expect it to grip too tightly.

GripTight GorilliaPod Phone Stand / Tripod

What are the essential tools that work in your home or studio? Please share in the comments.

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Centering by M. C. Richards

“It is not the pots we are forming, but ourselves.” — M. C. Richards

Centering In Pottery, Poetry, and the Person by M. C. Richards is a pottery classic but also a great read for anyone interested in making, writing, and creating. First published in 1964, it remains Richards’s most popular work, a defining text of the time, and is a still relevant today.

Centering in Pottery, Poetry and the Person by M.C. Richards

Richards was a poet, essayist, and potter who first learned about clay at the famed Black Mountain College in the 1940s and 50s. She went on to teach and make pots, with the goal of using the malleability of clay to inform how people saw themselves. She was free-spirited and embraced an interdisciplinary approach to art and teaching long before it was fashionable to do so. In the book Live Form, Jenni Sorkin calls Richards an “enlightened amateur” who valued process over skill, and placed more value on experience than finished objects. She usually gave away or sold her ceramics for very low prices, and encouraged students to make clay forms and then recycle them or return the clay to the ground.

Sorkin cites Richards’s 1958 event Clay Things to Touch, to Plant in, to Hang Up, to Cook in, to Look at, to Put Ashes in, to Wear, and for Celebration as one of the earliest happenings and a prime example of Richards’s approach to making art. The show was just the one-night opening and clay and ceramic objects were sold or given away, prefiguring later happenings by Allan Kaprow or projects such as The Store by Claes Oldenburg. This event had the same spirit of Richard's’s teaching and Sorkin writes: “In guiding students toward non-object, process-based production, such as returning unfired clay to the ground after making a collective pot, Richards treated pottery as a secondary to its process. In this way, Clay Things anticipates the collectivity and vitality of socially engaged artistic practice fifty years later. . .”

Live Form: Women, Ceramics and Community by Jenni Sorkin

In Live Form, Sorkin devotes a chapter-length essay to Richards, along with chapters on Susan Peterson, Marguerite Wildenhain, and the Black Mountain Pottery Seminar. Live Form is a highly recommended read (one of the best books on ceramics) and makes a great companion to Centering. The idea of centering, whether on the potter’s wheel or in life, is the root of Richards’s book, and allowed her to spin off in many directions.

Richards writes: “As human beings functioning as potters, we center ourselves and our clay. And we all know how necessary it is to be “on center” ourselves if we wish to bring our clay “into center” and not merely agitate it or bully it.”

She also turns to wider themes of making:

“The creative spirit creates with whatever materials are present, with an umbrella, or a wineglass, or a torch. We are not craftsmen only during studio hours. Any more than a man is wise only in his library. Or devout only in church. The material is not the sign of the creative feeling for life: of the warmth and sympathy and reverence which foster being; techniques are not the sign; “art” is not the sign. The sign is the light that dwells within the act, whatever its nature or its medium.”

Centering is great read and highly recommended for anyone interested in clay, pottery, or the creative process. The book is also densely packed with great quotes. Here are just a few:

M. C. Richards Quotes

“Poetry often enters through the window of irrelevance.”

“In order to teach, you must be able to listen.”

“You don’t need me to tell you what education is. Everybody really knows that education goes on all the time everywhere all through our lives, and that it is the process of waking up to life.”

“It is not the pots we are forming, but ourselves.”

“I believe that pots have the smell of the person who makes them: a smell of tenderness, of vanity or ambition, of ease and naturalness, of petulance, uncertainty callousness, fussiness, playfulness, solemnity, exuberance, absent-mindedness. The pot gives off something. It gives off its innerness, that which it holds but which cannot be seen.”

On copying:
“Some craftsmen seem to be troubled by the question of originality and imitation. My only standard here is that a person be led into a deeper experience of himself and his craft. Human beings learn by imitation; certainly, in the years of childhood, almost exclusively by imitation. One is inspired by someone else’s example”

“It is the physicality of the crafts that pleases me: I learn through my hands and my eyes and my skin what I could never learn through my brain. . . And if it is life I am fostering, I must maintain a kind of dialogue with the clay, listening, serving, interpreting as well as mastering.

Add the books to your library:

Centering in Pottery, Poetry, and the Person by M.C. Richards
Buy at amazon.com
Buy at abebooks.com

Live Form: Women, Ceramics, and Community by Jenni Sorkin
Buy at bookshop.org
Buy at amazon.com

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How to Make Colorful Pancake Paintings

For years, I have been making colorful pancakes. It’s a great way to spend a morning, it’s fun for kids and adults, and the results are stunning. You can mix any pancake batter recipe with food coloring in a kitchen squeeze bottle, and make your own.

In this post I’ll cover the tools and ingredients needed, the method I use, share a sourdough pancake recipe, and a gallery of pancake paintings.

Have fun!

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Tools and Ingredients

Americolor Gel Food Coloring Student and Electric sets

Here’s what you’ll need:

> Pancake batter from scratch or a mix.
Use your favorite recipe or try a mix. A sourdough recipe is included at the bottom of this post. My favorite mix is Kodiak Cakes Buttermilk mix.

Shop Kodiak Cakes at Amazon

> Food Coloring
The key to the whole operation. I use the Americolor Electric and Student set, but you can use any food coloring. Or try making natural food coloring from blueberries etc.

Shop Americolor Electric Food Coloring at Amazon

> Wide-mouth plastic kitchen squeeze bottles .
My preference is 16 oz bottles, but you can use anything that will squeeze out batter with some accuracy. I have tried the pancake batter dispensing bottles and they aren’t as accurate for painting as basic ketchup/condiment squeeze bottle.

Shop 16 oz Squeeze Bottles at Amazon

> A cup and funnel to add the batter to the bottles.
I like colorful kitchen accessories such as the orange funnel set linked below. You will also need a whisk and chop sticks to mix batter in the bottles.

Shop Orange Funnel Set at Amazon

> Wide spatula or turner
If you keep your pancakes small, any spatula will do, but a jumbo plastic spatula or an oversized steel turner might help with larger creations. Look for a spatula with a low handle angle, which makes it easier to get underneath your pancakes.

Shop Nor-Pro Pancake Spatula at Amazon

> Large griddle
A low-side griddle or pan will make it easier to get your spatula underneath your pancakes, and a 2-burner griddle will give you plenty of room for pancake painting or making multiple pancakes at the same time. I use a 12x20” stainless steel griddle but there are a lot of cast iron and non-stick griddle options. If you want to really control the low heat needed for pancake painting, a standalone electric griddle is a great way to go too, if you have space to store it.

Shop 2 Burner Griddles at Amazon

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View this post on Instagram

Here’s a video tutorial on how I make pancake paintings. I also wrote out instructions, link to that post in bio. Stay healthy everyone! 🥞❤️🥞❤️🥞 #pancakepainting #pancakes #pancakeart #pancakemorning

A post shared by Matt Merkel Hess (@mattmerkelhess) on Apr 11, 2020 at 7:19am PDT

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How to Make Pancake Paintings

Step by step tutorial

Step 1: Mixing in a custom Merkelware batter bowl

Step 1: Mix

Mix a semi-thin pancake batter from scratch or a mix.

The batter should be free of any lumps. It needs to be thin enough that it will squeeze out of the bottles, but thick enough that your pancake has some body. Adjust as necessary; you may need to add milk or water to thin your batter, or more flour to thicken it up.

Lately, I’ve been using sourdough batter for a few reasons:
1. I have leftover sourdough starter from baking bread and more importantly,
2. the sourdough culture stays active in the bottles so the batter doesn’t get “flat.”

Each pancake takes a few minutes to paint and cook, so if you want to have tasty pancakes, sourdough really helps. But if you’re not into the trouble of keeping sourdough (and it is a lot of time!) just use any pancake recipe or mix.

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Step 2: Add to Bottles

Step 2: Add batter to squeeze bottles

After mixing add batter to your wide-mouth squeeze bottles.

A funnel really helps this process. These days, I usually make 6 bottles of batter, but I have done up to 12. It’s fun to have a lot of colors but. . . there’s always clean up to consider too.

For clean up, I’ve found that cold water works best for getting flour off of bottles and utensils. Once free of stuck-on flours, then use hot water and soap.

Step 3: Add Color

Step 3: Add color to bottles and mix

You can make awesome pancake paintings without color. But adding color can be a lot of fun and really opens up what you can do on the griddle.

Typically, I will do one bottle of plain batter with 12-16 oz of batter. And then I’ll do 5 more bottles with about 1 cup / 8 oz of batter each.

To make colors, I’ll start by adding 3 drops of food coloring per cup of batter, and mix with the back end of a chop stick. If the color is not intense enough, I’ll add a few more drops. You can also mix colors. But be aware, if you add too much food coloring you can introduce off flavors into your pancakes.

Be sure to mix well. You may need to turn the bottle to the side to really get the bottom mixed.

More images of mixing batter:

Step 3: mixing

The back end of chop sticks are great for mixing

A bottle that needs a bit more mixing

The finished line up of colors. Even one or two colors can be a lot of fun.

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Step 4: Paint

Step 4: painting. The “top” side can be a bit more colorful than the side that is on the griddle first.

Preheat your griddle. Give it time to heat up so the temperature is evenly distributed, then oil your pan. Make sure the temperature is on low to give yourself time to paint. The hotter the griddle, the faster you will have to paint.

After oiling the griddle, it’s time to paint!

If it’s your first time painting, be sure to cut the nozzles on your bottles wide enough (approx 3mm) so that batter will dispense easily. I use a pair of kitchen shears for this, or a knife.

Step 4: The flipped pancake.

The painting is up to you, have fun and just see what happens. The results will always be tasty. 😋 You can make patterns, landscapes, portraits, marbleized color—anything. One of my favorite projects was making a self-portrait on Father’s Day for my kid to eat.

The first side that cooks can be a bit less colorful than the second side. But that first side is where you can be more exact. Remember, you paint “backwards” in that the first thing you put down will be at the front of the finished pancake.

Step 5: Enjoy

Time to enjoy your tasty creations. Will you go with the traditional maple syrup and butter? Yogurt and jam? Or do you make your own fruit sauce? Whatever you do, it will taste good and look great.

Have fun.

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Sourdough Pancake Recipe

I use a modified version of this recipe. In short, I took out the baking soda and baking powder and added more flour, some milk, and time. You have to let the sourdough grow a bit after mixing, but the result is a batter that stays fresh in the bottle and tastes great.

Ingredients:

• 500 g (approx 2 cups) mature 100%-hydration sourdough starter

• 3/4 c all purpose flour

• 1/2 c milk

• 2 T. maple syrup

• 2 T. vegetable oil

• 2 eggs

• 1/2 t. salt

Directions:

1. Mix all ingredients together with a whisk

2. Batter should flow easily, add milk if necessary

3. Cover and let stand for 1-2 hours until bubbles form on surface, then add to bottles for painting.

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Image Gallery

I started making pancake paintings in 2013. I saw this article and realized I could do the same thing, but with color. Here’s a few of the pancakes I’ve made.

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Do you make pancake paintings? Let us know about your experience in the comments.

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