All my pieces include the use of a detailed patterned porcelain block in some way
    First I need to make a colored sketch of how I want the patterns to become. Then stripes of colored porcelain are laid upon each other, with black slip in between, in length of 50cm. Different shapes such as triangles and circles are made by hand extruder. It takes about 5 days to make such a block.
   The block is placed upside down on top of a chipped wood surface. Then thin sheets of the block are being cut by using to 0.5mm thick pieces of cardboard and a thin guitar string.
   The thin porcelain sheets are placed precisely and closely beside each other on top of a stoneware slab that includes 40% grog.
   It might seem strange that the porcelain will stick to such a rough stoneware, but as long as the sheets are thin enough, and as long as I am using my rolling pin eagerly to remove all the air bubbles in between, it works perfectly.

   When the slab is totally covered by the patterned porcelain sheets, I turn the slab upside down on top of the plastic.
   Because I also want the patterns to cover the platter, I am cutting away stoneware clay along all four sides of the slab. The plastic helps me folding up the edges without having to touch and disturb the patterns.
   Now when the slab is upside down I am making the hanging for the wall.
   In this case, because the piece is quite heavy, I need to have a very secure hanging. By closing the two grows with clay, which are having twisted toilet paper inside, I am, after firing, getting two nice channels in which I can thread the string into.
    In this way the hanging is 100% safe because the string goes straightly through the material. Another advantage is that it is not visible when watching the piece hanging on the wall .
    To make a contrast to all the detailed patterns, I will transfer a rough, more uncontrolled, wave pattern upon the geometrical patterned surface.
    A thick paper, which is glossy on one side, is strong enough to carry thickly onto the paper before I am drawing my fingers through the slip in a soft wavy movement.
   I do not know how I could smile to the photographer just at this moment, because it it is quite heavy for me to turn and to lift this paper covered with lots of soft clay. But by twisting the paper around two wooden sticks makes it easier.
    After making the hanging and folding the sides of the slab, it was turned over between two boards on top of two pieces of cloth. The two pieces of cloth are necessary when I want to lift and drop the piece inside a curved plaster mold.
    When my always helpful husband and I are lifting the piece, we are lifting in all four corners of the dark cloth. This cloth does not stick to the piece and in this way the shape of the piece will not be stretched or disturbed.
    When the paper is laid upon the slab, I am pressing my hands lightly upon the paper to make sure that the thick slip will be transferred.
    The two sticks that were used as handles when lifting the paper are now removed and I can tear the paper away. The piece is now left to dry in a curved plaster mold for about two or three weeks.
   Because the piece has an even curve, and therefore is resting on one little spot, I am placing the piece upon a ring made of clay which gives an even support all around the piece when bisque to 950℃ .
    After the bisque rubber latex is painted on top of all the waves, the piece is sprayed with a transparent glaze.
   The latex is removed and leaves no spots of the glaze such as wax does. The latex is bad for the brushes, but when adding some soap to the brush before dipping it into the latex the brush can be cleaned easily.
    The platter is finished after being fired to 1280℃ in a electric kiln.
    I just want to say a few words about how this "printing" technique was developed.
    For many weeks I was struggling with the making of a more direct and spontaneous contrast to the very detailed and constructed patterns. Lots of patterned slabs were destroyed and turned up to be just a miserable mixture of patterns and soft clay that did no express anything else but frustration. After some weeks I gave up and started cleaning my working table. While cleaning and throwing away all the rubbish that had piled up after many weeks my eyes suddenly discovered a piece of paper that was placed upon some of the black slip. When removing and looking at the paper I saw to my great surprise and joy that the thick slip had made some interesting structured at the paper. So my conclusion was: What if I did it the opposite way by putting thick slip onto the paper and then transfer it to the patterned slab? And so I did and I achieved in the end the contrast that I was looking for .
    After this episode I am now much more aware about what is happening around me while working. I find that a solution to a problem, or rather to say a challenge, sometimes is lying there just in front of me, just waiting to be discovered.
    Another time sunbeams helped me when hitting the three dimensional surface of a piece I was making. The sun draw such lovely optical shadows and I knew immediately that these patterns were exactly what I was looking for to finish my piece in a successful way .