#dried clay tutorial

[1800titz]

HI. HELLO. Here is my Valentine’s Day contribution. POTTERYINSTRUCTOR!HARRY!! POTTERY MAN! WOOO. Basically almost 7K of clay sexualization and sexually charged fluff (ish). Enjoy! :D

CONTENT/WARNINGS: ridiculous sexualization of clay (I think I’ve managed to fetishize clay in this one??? OOPS), overly suggestive usage of pottery terms, a red-hot, hands-on tutorial for wheel throwing, and embarassingly long descriptions of Harry’s fingers coated in wet clay.

WC: 6.6K

slip: small bits of dry clay mixed with water to create a thick, creamy consistency

Clay is innately erotic. 

Wheel throwing is, arguably, the most pornographic art form, its only competing opponent being, maybe, literal body-painting. And that latter one still falls as a close second. Close, but second. 

Y/N decides that when she wanders into a little ceramics shop tucked away in a busy plaza downtown. There’s no method to her exploration, but the broad glass windows are adorned with dripping, colorful graffiti and its innards call to her. GLAZED, reads the large sign over the awning in blocky, white lettering, stippled with un-glowing light bulbs that she’s sure light alive in the night. 

It’s a cute shop. 

Upon entrance, the young woman discovers tables, as if set up for arts and crafts, crackling, clay covered wheels with shorter stools, and long, tall rows of shelving brimmed with colorless sculptures lining the walls. Despite its packed interior, the studio seems empty of people and quiet besides the soft notes of RÜFÜS DU SOL leaking from the overhead speakers. She roams beside the line of wheels over to a shelf by the door, admiring the myriad of statues there, some obviously crafted with expertise and elegant artistry, and others lopsided efforts that probably deserve a pitied gold star for effort. 

Her eyes are caught on an unpainted little ashtray that’s got a crooked sort of bee in the center when her gaze breaks away to the sound of footsteps. Maybe the shop isn’t as abandoned as she’d previously believed — a man appears from behind a row of white shelving stacked with more unfinished pottery. 

He’s a pretty man, that much she can decide from the downturned slope of his nose and his distracted lash line, focused on twisting the navy rag in his left hand over the tip of his right index finger. A dark baseball cap shrouds his hair, but little brunette tufts sneak out in curled bunches around his ears. That’s where Y/N finds a fun, little red-tinted pearl dangling from one lobe. He’s tatted in patchwork art — a mermaid with its tits out peeks at her from his forearm, soaked over and shining. She assumes he must have just been rinsing clay from that forearm, from his hands, no longer visible over his skin. However, streaks of dried gray stain over his white tee in crackling lines, like an old lamination on a well-loved t-shirt that’s been cycled through the washer one too many times. When he pulls the rag away, she discovers a shade of bright red that’s been painted over his nails.

Almost as if he can sense her presence without looking, his sneakers pause on the tile and he steals a peer up. Yes, he’s quite a pretty man, even when his features shape something caught off guard.

“Hello.”

His voice is rich — this smooth, bass-deep sort of sound driving a foreign lilt, and Y/N thinks that if it weren’t for his lengthy fingers and his cherry polished nails, if it weren’t for his handsomely sculpted face, if it weren’t for his seemingly innate effortless demeanor and style, that voice alone could make her fold.  

“Hello,” she returns, aware that a nervous note plucks at her cadence, unlike his own casual greeting. I promise I’m not shoplifting clay pots in silence, she nearly tells him. 

Thank fuck for the ability to physically bite your tongue. 

“What can I help you with?” the man asks, sauntering forward a bit. It’s probably sort of a polite manner to say what the fuck are you doing here, and the longer the young woman stands in the middle of the empty shop the more out of place she feels, almost like this a private, little haven and she shouldn’t be in here right now.

The song shifts into its choral bass drop of electric keys. That fills the void of the silence as she swallows and fixes a little smile onto her face, fingers tightening over the strap of her tote. 

“Oh, I’m just looking.” 

The man purses his mouth and walks over to the counter, where the register is littered with paperwork and an eclectic collection of faux plants. He sets the rag down beside a floppy one with its green tendrils dangling over the edge. 

“See anything you like?” his hand pinches over his nose, like he’s scratching an itch, before he sniffs and pivots to apparently decrease their proximity, “We’ve got loads — you can make something yourself, or,” another step, and Y/N’s eye bounce from his shorts to his tattooed knees to the hems of his white socks. “…If you know sculpting isn’t your craft, we’ve got ready-to-paint-one's on that shelf there.”

Her gaze follows the direction of his finger, where pasty ceramic bunnies, and angels, and cars line the shelving in multiples. 

“I think—“ the young woman’s tongue peeks out to swipe over her mouth, words growing drier the longer she captures his stare. She focuses back on a lopsided rendition of strawberry, its leaves cradling over as a disconnected lid and its stem a crooked handle. “I like these. They’ve got so much character.” 

She blinks back over to him and watches a soft smile shape over the cushiony pink of his mouth.

It only takes a moment — one where her sight draws back to the strawberry jar for a smidge of a second, before he’s so close that she can smell his cologne, spiced and clean. She ogles his arm, his hand, the way he reaches out between them to cull the piece, mildly appalled by the way he palms the sculpture and dwarfs it in his easy grasp. It’s such a casual maneuver, made almost as if he’s not fondling over something it’d take anyone else two hands to hold. Y/N imagines the dimpled form of clay coated over to match the color of his nails.

“They do, don’t they? I like this one, too. S’a little …ugly, but, s’in, like, a…” the man’s features twist into something silly and pinched, and the young woman rolls her lips into her mouth to avoid exposing her amusement at the brutal candor. His words catch in his throat and bubble as a short laugh, “I dunno. It’s art.” 

He sets it back onto the shelf with a light clink, and turns to face her, posturing against a post in the shelving where the tiers have a break. An exhale becomes paired with his nonchalant lean, arms crossing over his pecs, and Y/N tries intensely not to stare like a hawk at the muscle there. 

“I’m afraid people are coming back for these, though. This row came out of the kiln…” forest green skids to the assortment and then bounds up to the ceiling like he’s in thought, before he casts his gaze back onto her, “…yesterday. And there’s a month-and-a-half window for someone to come back and glaze before we toss or sell them to be painted.”��

He’s chewing gum. Y/N realizes it when she admires the soft stubble coating his jaw, his cheeks — that’s when she notices the work of his jawline over the minty piece. He tips his head. “Did you want to try sculpting something?” 

The edges of her lips break bashfully. “I don’t know if I’d be any good at it.” 

One corner of the man’s mouth curls up lopsidedly, and the beginnings of a dimple nudge into place. He blinks and chews a little slower, “Have you ever worked with clay before?” 

Her delayed, little no is met with the lopsided beam growing even. He nudges with his chin, deliciously bulging arms still tucked over his chest, his playfully raised eyebrows like a wordless notion of have more faith in yourself, “Then you may just be the next Magdalene Odundo. We’ll make a pro sculptor out of you, yet.” 

Magdalene Odundo. Somehow, the name isn’t familiar, but simultaneously, somehow, it feels like a compliment. 

Y/N inhales as his digits shift over his tri’s. “Okay.” 

“Okay,” plush pink shapes a handsome smile, bordering bright white teeth in straight lines. The man tips his head towards the curved berry vase, and then looks back at her, “Did you want to do something like this? All these over here were made on the wheel.” 

Y/N muzzles telling him that she’s no inkling of an idea how someone can morph a lump of clay into a vase, nevermind on a big, spinning platform that moves faster than her eyes can keep up with. The man seems to pick up on the hesitation in her silence. 

“S’easy, I promise. I’ll show you how to throw.” 

Show her. Okay. At least she’s not going to head into vase-sculpting or wheel-throwing or …whatever he’d called it blindly, fumbling over a block of clay on a twirling tray like a slapstick skit personified. At least it means she’s going to stay in his presence. After a moment of thought, though, (and the way she notes that his eyes make unwavering, relaxed contact with her face the entirety of the silent pause), Y/N decides she’s not sure whether that last bit is actually a good thing, considering she’s probably milliseconds away from, like, bracing a hand onto a the shelf to match his level of coolness, or something. And then subsequently sending ceramic pots spilling and shattering over the tile.

She blinks. Her shoulders rise on her nervous inhale, and he makes one of those playful faces, like he’s waiting for her to agree. The young woman’s eyes wander to the line of chairs pressed to its counterparts of wheels. 

“I don’t wanna, like, trouble you—“ 

“You’re not. S’my job,” he tells her, crimson fingertips drumming. She catches sight of his fabric-clad pectorals flexing when he leans forward a little to tack on, “…And to be honest, it’d give me something to do besides fucking around with clay, which is what I’ve been doing for the last hour.” 

Her mouth purses and then settles. “Okay.” 

“Okay,” he says again, and then winds around through a row of little tables that resemble the set up of an art classroom, like the kind she’d have in school. She’s ashamed that her gaze wanders down the back of his arm to ogle the rest of his ink. 

“You can have a seat at one of those wheels,” he tosses over his shoulder as he heads, she assumes, to wind back around the same shelf he’d surfaced from behind, “Just give me a mo’, and I’ll be right back with some clay.” 

It takes Y/N a moment — mostly because she admires the view of his stature from behind as he migrates to a back hallway, irises roaming down the projection of muscles in his back showcased through his tee. They skim down his legs, down the backs of his knees, rest on toned calves. He’s gone far too quickly for her viewing pleasure. The young woman takes another glance at the uneven strawberry-esque vase, and then she pivots to step around the crowded assortment of wheels to crouch into one of those little roll-y stools, feet crossing and uncrossing in the cramped space. 

He’s a sexy man, Y/N decides. That’s the word she’d been looking for all along, although pretty would match the descriptors of his long lashes and his pouty pink mouth. He’s sexy, though, in his baseball cap and his little six-inch-inseam shorts (which show off the sculpt of his tanned thighs and the ink over his kneecaps). He’s sexy when he comes out from the back over to her wheel, a gunmetal gray ball of clay cradled in his palm like it’s not the size of two of her own. He’s sexy in the green eye contact he makes when he settles into a stool similar to her own, right across, when his thighs splay because he doesn’t have enough room to sit otherwise, when he rests his elbows over his knees and stretches one arm out to pass off the clay. That’s when their digits brush, because it’s sort of unavoidable. He manages to make eye contact through that, too. Sexy. 

“Okay. Clay,” the chilled ball the man hands off weighs her hand down, and Y/N’s gaze flickers up to meet his own when he instructs, “Toss it onto the wheel. Aim for the center.” 

The young woman pauses like she’s calculating her aim, gearing up without visibly gearing up, and a little smile tugs at the instructor’s mouth as he waits. The clay lands with a thud onto the plate. 

“Great,” he tells her, monitoring the centering, and then jade bounces back up to her face as he coaxes, “Smack for good luck.” 

Y/N curbs the corners of her mouth out of mirth, hesitating for a moment before her palm lands over the smooth, gray lump in a halfhearted pat. She blinks up, hoping for assurance. The handsome man’s mouth purses like he’s restraining a grin. 

“Harder,” he encourages after a second, the corners of his muted raspberry mouth seeping up a smidge, more openly, “S’not gonna cry. You can go a little harder than that.” 

The young woman rolls her lips into her mouth, raises her hand, and follows his request, molding it flatter under the solid thud of her palm. Evidently, it’s a better attempt, because she earns a, “Very good,” in response from him.

She casts her gaze up to find him dipping his hands into the pot of murky water beside the wheel before a fist knocks lightly at the pedal-resembling lever on the opposite side, sending the wheel into a speeding twirl. And to add to her list of shame, the liquid that coats his fingers — that’s. 

Yeah. 

Y/N swallows and watches those wet hands cup over the clay, partly mesmerized by the way he coaxes the priorly deformed lump into a symmetrical cylinder, stroking up from the base up and back down, and partly mesmerized by the way the cherry polish becomes daubed with slicked clay. 

“I’m just gonna get it nice and easy for you, and then you can get to the fun bits,” the man tells her as if he isn’t currently awakening some deep, deviously sexual desires in her by fondling clay. Jade flickers up. “M’Harry, by the way.” 

“Y/N,” the young woman tells him in response, unsure whether to focus on his searing eye contact or the gentle press of his hands over … oddly erotic artistry in motion.

Harry unwittingly makes the decision for her by breaking the eye contact and glancing down at his work. 

“Y/N,” he says, as if testing the taste of her name on his tongue. 

Y/N takes a breath, smoothing her hands down her thighs. 

“Y/N,” his strawberry mouth parts a tad for a soft breath in, honey smooth cadence glazed in concentration as he presses a flat palm over the top of the clay, keeping his other hand cupped over the length. 

She watches the cylinder mold under his grip into something shorter, and then back up. She watches the way his arms flex, anchored to his body as he presses with the heels of his palms to sculpt. 

“This is called coning. Makes the clay centered so your grip stays nice and even when it spins. Otherwise, s’gonna wobble, and you’ll feel it when you’re trying to work with it.”

Sure enough, after a few moments, when the man takes his clay-sullied palms away, what’d priorly been a lopsided hunk twirling over the platform stands symmetrically, shining post his wet grip. When he balls his hand into a fist and punches over the lever a handful of times, the plate slows to a stop. He blows out a breath and the music shifts to the next track in the background.

“Take your bracelet off for me.” 

The comment is made totally innocuously. Its purpose is solely to preserve the condition of her jewelry — she knows that when his eyes go to meet hers again and he mentions, “Otherwise, it could get covered with clay, or break. Wouldn’t wanna ruin such a pretty piece.”

But it’s the way he says it, right? Two little words, so easy off his tongue. So nonchalant, so purely intended with no ulterior motive. For me. For me, for me, for me. 

It’s shameful — she’s ashamed. She’s no better than a man, Y/N decides, as she peers to the silver bangle with the sliver of warmth slithering through her chest and snaking to her tummy. She’s no better than a man, objectifying this poor, effortlessly sexy ceramics instructor and his casual commentary on a Wednesday. She swallows. 

“Right. Thanks— thank you,” the young woman tells him, her tone garbled with nervous enthusiasm as the fingers of her opposite hand wriggle under the clasp to pop the piece off. 

She’s still feeling dubious about the morality of her thoughts once she’s slipped the bracelet into her tote by her feet and sat back up. 

“Alright,” Harry starts again, elbows braced to his sturdy thighs, “We’re gonna go over what this little thing over here does, because it’s good to know. It sets your speed. We’ve got options—“

Y/N watches the way his arm stretches, she eyes the tail of the mermaid, the lines of scales etched into his skin. His eyes meet her own again. 

“…Fast,” Harry knocks over the lever again with the butt of a vertical fist, a couple more nudges rocketing the wheel into a motion that dissolves priorly visible remnants of clay rings into fast-moving swirls with no decipherable borders. 

Another few nudges has the wheel skidding to a full-stop, and then stuttering back up into a spin when he taps over the pad once more. 

“…Slow,” Harry fixes his gaze back onto her face and watches the curious concentration there. The man sits back up a tad, elbows bracing over his splayed thighs and fingers crooked and lax, coated with slippery wetness and clay. “Find what feels good for you. S’different for everyone.”

Despite the way the directions are made so innocently, so obviously stated as a tutorial that’s not intended to be taken as something suggestive, Y/N finds a heat teeming over her cheekbones. 

“But, I recommend—“ her teeth lodge into the inside of her cheek with subtlety as the instructor hunches a little again, just a tad, to rap over the lever in a pair. The wheel speeds. “—Sticking to something around this.”

The pace of the wheel settles into an easy spin — something that’s still too quick for her eyes to keep up with, but apparently not the fastest setting, judging by the higher speeds he’d displayed moments prior. 

“Alright. Here’s where you come in with your undiscovered ceramic talents,” the instructor tells her, the edges of his mouth so obviously restrained, like he’s amused with his own playful banter. His eyes glinting softly under the buttery light cast by the overhanging lanterns,”M’gonna show you how to drill, but you’ll need to get your hands wet first.”

Harry sits back, elbows still braced to his thighs, hands now coated with slippery clay as he waits for the young woman to douse her own into the bucket. The liquid greets her palms with a welcome chill, and when she lightly cups over the cylinder, it slips under her hands with ease. The man clears his throat, and their digits graze again when he touches over her fingers to guide her grasp. Y/N tries not to focus on the way his hands make her own look as if they belong to a child. 

“You’re gonna take your thumbs—” Harry coaxes, all concentrated seriousness now, and the pad of his own brushes against the knuckle of her left, “—and press over the top, here. Right in the middle, just like that.” 

He takes his hands away and the clay rolls under her fingertips, a divot forming from the pressure of her thumbs. 

“Good. Now what you’ve done is you’ve indicated where you’re going to make the opening. And to do that—“ his hands return, unintentionally persuading her own to fall away and sort of hover stagnantly mid-air, in sullied awe, as he dips the tip of his index into the cleft they’d created together. 

As if hungry for the finger, the clay parts to swallow the pad of the digit. It broadens its starving mouth, and Harry steadies the spread with his thumb, his pointer delving against the inside of the deepening wall. His opposite hand cups over the body as he molds the opening wider. 

Anyways, what Y/N manages to learn from the impressive showcase, before Harry steals a glance to make sure she’s been observing (which she has, very focused, actually), is that clay-working is a dirty, dirty, lustrous art form. Especially under his fingertips. This is all very educational stuff. Perhaps the most impressive step of his tutorial, thus far, is the way that, in mere moments, he cups and strokes and caresses over the clay, drawing the opening tighter. It shrinks until it disappears, and when he smooths his hands over the rounded edges a few more times, the vessel that’s left is an entirely clean slate. Almost as if she hadn’t just spent the last few seconds ogling a weirdly pornographic display of a clay cavern opening in response to the touch of his long finger. This was a horrible mistake, Y/N thinks pitifully — she’s getting aroused by clay working. If there was ever a blaring red indicator that she needed to get laid, this is it. 

“I want you to try now,” Harry directs, totally nonchalant. This is just a casual Wednesday for him, Y/N realizes. He casually fingers clay with his sexy, long fingers, and thinks nothing of it. Maybe she’s just a horribly wound-up pervert. 

Still sort of stunned, she reaches out and cups over the cylinder, clumsily positioning her thumbs in a replication of the manner he’d shown her, aiming for the center and driving a divot into the top. 

“Mm. That’s good. Keep your elbows closer to your body,” he prompts, eyes flickering from her posture to her hands. “Like this.” 

Following his body language, Y/N mimics, ducking a tad and tucking her arms to her torso. After a few moments, she lifts her thumbs to find a centered indent, one that’s similar to the one they’d created together. 

“Lovely. Now,” the chair makes a little rolling sound over the tile as Harry shifts forward, clay-slicked hands (warm, despite their cool coating) cradling over her own to position, “You’re gonna cup here, and then take this finger and push here. Yep. Jus’ like that.” 

The instructor takes his grip away and encourages, “If you need more water, get your hands wet. You can tell you need it if there’s friction — you want it a little wet.” 

She wants it a little wet. Y/N decides, as she dunks her hands into the bucket and returns to the clay, she in fact does not want anything wet right now. This is the last place she wants something wet. Her thoughts are disturbed by the way he grasps her at her hands again and repositions — twisted by the slippery feel of his own wet fingers. The clay over his palms has begun to dry now, morphing lighter and crackling, but the tips of his digits are still soaked and darker in shade. She’s awed when the cylinder gives under her touch, the same way it had for him to encompass her finger. It’s like magic, sort of. Very slippery, wet, weirdly erotically undertone-d magic. 

“There you go,” Harry tells her, baritone soft, “You’re a pro.” Then, after a moment, “You can go a little harder. Don’t be shy. Open it up.” 

She’s not blushing. She’s not blushing, because that would be silly. She presses harder, and the opening widens until it gapes. 

“How long have you worked here?” the young woman asks, naturally trying to change the subject from wet and hard things. Hopefully in an organic enough manner that doesn’t imply how affected she is by said wet and hard things. 

“I bought this place a few years ago,” Harry responds after a second, tone concentrating as he reaffixes the firmness of her grasp (she tries not to verbally apologize, glancing up), “…Both units. It was a smoke shop before, I think.” 

“Oh!” her hands stutter again in surprise, “Are you the owner?” 

He fixes them again, brows pinched, and when he glances up, his brow bone is smooth and there’s a soft smile playing over his mouth. “Indeed I am.” 

“It’s …beautiful in here,” Y/N tells him, gaze walloping from shelf to shelf for a moment, lantern lined ceilings to vine-coated crown molding, trusting that his hands will keep her own grounded to the piece. 

“Thanks. It’s a little crowded, but if you manage to get lost among the …phallic statues and the clay bongs,” he cocks his head, blatantly bridling a simper as he shrugs. At the response of her snort, jade flickers up and the plush of his mouth curls more obviously, “…You’ll find your way out of the maze soon enough.” 

As the walls of the clay grow thinner, the instructor takes his grip away, swiping at his forehead with the back of his hand. “Alright. What are we going for here? A mug? A vase? A bong masquerading as a vase?” 

Y/N takes the lack of his touch as an indication to lighten her own. She purses her lips thoughtfully. “A vase.” 

“A vase,” the instructor parrots, voice low, and then he hunches back over and cups the clay. The young woman returns her hands to meet his own. “I can work with that. We’re gonna build it up. You’re gonna squeeze and lift. Right—“

If his fingers keep brushing hers for the duration of the next …half hour? Hour? (How long does throwing take?), Y/N decides she’ll simply combust. His hands cup lightly over her own, two digits pressed to hers, and hers pinned to the inner wall of the clay in sin. 

“—Here. That’s it. You can be a little aggressive. We’ve gotta get it tall.”

Y/N swallows.

“You said you own both units?” she ponders aloud, “Is there …more?” 

“My place,” Harry tells her nonchalantly, as if it’s the most casual, normal, every day thing to live over a ceramics studio, “S’just over on the next floor.” 

“That’s—“ she realizes her grasp has lightened again, the integrity of the structure mostly only crawling up under the pressure of his own (steady, firm) grip over hers, “…so cool. To have, like, a whole studio right under you.” 

“Mm. I think right now…” Harry cranes his neck to peer up at the ceiling, “We’re under my kitchen.” 

A little breath of mirth tumbles from her when he grins and tacks on, “I think this is way cooler, though.” 

This is The Turning Point. 

And if it was a scene title in a play, Y/N thinks it would be capitalized to denote the importance. It’s important, because somewhere along the trail of her perversions, as Harry had guided her hands into the innards of the clay — fittingly describing it as the body — when he’d pressed his hands against her own to widen its base, when he’d shown her the sponge, things had clicked. It had clicked because she realized she wasn’t fucking crazy. Because Harry then said this thing — this one little thing that would have launched her into a frenzied, internal mess of dubious morality on the basis of her perversions—

But then it clicked. 

“Careful with the amount of water you’re using now, yeah?” he’d told her, maneuvering her grip over the sponge as they’d smoothed over the lip together, “S’all about balance. …If you go too hard, you’ll make a wet mess.” 

Y/N had glanced up. That’s when she’d noticed the way the instructor gnawed into his cheek, almost immediately, almost as if he was amused by some sort of devious inside joke. And then his blocky front teeth had dug lightly into the plush of his pink bottom lip. It was nearly unnoticeable — but she had noticed. Clay was innately erotic, and he was doing it on purpose. It was one, or the other, or both. 

For a little while from there, they work in blatantly charged silence. It’s a very short while, all things considered, and she’s willing to clam up altogether and daydream about his digits for the duration of the lesson, but the tone of his next words nearly gives her whiplash. 

“So what are you doing on this lovely Valentine’s day?” Harry breaks the silence, once again, his tone so even and nonchalant that Y/N can’t begin to fathom where his composure comes from. 

The young woman clears her throat, “Oh. Y’know. Trying my hand at ceramics. The yuzh.” 

Jade doesn’t immediately jolt up when he ponders aloud, “Dinner plans?” 

“Not any on the calendar …that I’m aware of.”

His touch doesn’t lighten, but he does glance up, mouth all (apparently) disbelieving mirth, “You’re telling me you’re not being wined and dined tonight?” 

Feigning offense, the young woman sets her mouth into a line and nudges with her chin in a nod, joking, “Thank you for the reminder.” 

Harry laughs softly, one of those little breaths expelled through his nostrils, and he looks back down to the vase-in-progress, gentle grin undeniable. Y/N matches his amusement, faux indignation crackling. 

“You’re too pretty not to have a Valentine,” the instructor tells her, then, decibel low, almost like it was meant to be under his breath but also entirely not, and all Y/N can do is sit there with instant heat seeping to her face. Because that’s flirting. That’s definitely flirting. Her sexy ceramics instructor is helping her craft a vase out of clay on a wheel with his sexy hands, and he’s openly flirting. 

Y/N stuffs down how initially stunned she is to chew into her bottom lip and volley, “I bet you say that to every girl that comes in here.” 

Harry shrugs. It’s still almost an enraging level of cucumber-cool and composed. 

“Just the pretty ones.” He tacks on, after a moment, “And only on Valentine’s day. Don’t think that line would fit well on a random Wednesday.” 

Y/N snorts. She’s still basking in the pleasant warmth of the flattery when the man peers up and tells her, “I do accept tips, by the way, so. Feel free to leave a tip for the friendly service.” 

“I will—“ she snorts, restraining her open amusement at the way his brows crinkle in concentration as he helps her grip, “—definitely do that.” 

“Sick,” his tongue peeks out to swipe over his lips, disappearing back into his mouth as quick as the pink had showcased. Jade flits up, the corners of his mouth curled up in a little pause of silence, almost he wants to make it crystal clear he does not actually want a tip for hitting on her. 

Anyways, this is all a flustered mess. All of it. Y/N, the pot she’s sure will grow off-center and wobble under her shaky grip, all of it. 

“What about you?” the young woman takes a deep breath, hoping some sort of breathing exercise will help slow the buzzy flutter of her heartbeat, “Any wining and dining? For Valentine’s day?” 

“Not on the calendar,” Harry responds, sliding her own words back to her, his gaze still honed on the work ahead of them, now impressively morphed from a lumpy, shapeless ball into the beginnings of a vase, “As for how I’m spending my Valentine’s day, I did just show this one pretty girl how to shape and smooth. And now, …m’gonna show her how to shape some more.”

Y/N bats her lashes, and then she observes the work of his clay caked fingers, the way they curl and press over the vase in different points of the body, some motions widening the rim and some drawing it more narrow. He bids their tutorial a pause shortly after, explaining, “I’m gonna give you some creative freedom now. Figure out what shape you like.” 

Despite the slight disappointment budding at the close of their conversation, for now, the daunting task of unsupervised throwing is what probably surfaces on her face, more. The instructor catches it when he rolls back in the stool and stands, ogling her for a moment, mirthy mouth caving up in a way that suggests she must look like a deer in headlights. 

“It’s intimidating, but I believe in you. I’ll just be in the back for a sec, give me a shout if you need me.”

Y/N shifts her legs, pressing her thighs together when he adds, “Play around with it.” 

All in all, they manage to end the wheel session with (Y/N thinks, impressively) only a couple of hiccups, both being opportunities presented with unsupervised sculpting. When she’d played around with it (his words) a little too much and had coaxed a priorly even shape into something lopsided and petrifying, it’d swung around on the wheel, each turn quickening its slow but sure collapse. She’d called out for the instructor with a frantic note to his name. Of course, both times, Harry had come out from the back and patiently squeezed over the clay, hands and forearms jolting and flexing deliciously as he’d encouraged it back into something centered (yet another opportunity to stare at slick clay glazing over his fingers all over again), reassuring her that it was normal to struggle, especially with her first time. 

Y/N wonders if he’s constantly full of innuendos, or whether a ceramics studio is just innately an opportunity for double entendres. 

She tries not to make it too obvious when she stands on wobbling legs, when she brushes past him and catches soft notes of his cologne, clean and musky. When he directs her to the bathroom where she rinses clay from her hands into one of those artsy, utility sinks. When she sits at one of the tables, waiting for him to bring the vase over to her, torched and ready for additions, when he gives her another colorless lump. She tries not to make it obvious when she ogles more of his arms, the peek of his nipples through the white, clay-stained fabric of his tee shamelessly. She fears it’s utterly obvious how affected he’s made her, though, when she blinks up at his face, when he shows her what the different little tools in the cup do for sculpting. Y/N doesn’t even look away from him at the introduction of the first tool. She thinks that’s the one that must cross-hatch, driving little lines into the clay. 

“This is called slip,” Harry explains, dipping the tips of his index and middle fingers into the cup near the brushes with no hesitation. The consistency over his fingers, when he pulls them out, is like a wetter, creamier, sloppier variation of the same clay she’d worked with. 

Christ. 

“You put it over the lines you’ve carved to make more clay stick,” the instructor expands. 

Y/N swallows when he smears the consistency coating his fingers onto the lines he’d drawn, his gaze bouncing from his touch to her face. 

“Like, if you wanted to add a handle to a mug, you’d use this method. Or, alternatively,” the young woman focuses on the way the pads of the digits rub over the lines. They fade away. “It’s like an eraser. Careful with erasing, though. …Wet mess.” 

The latter is tacked on as a reminder, and it wonderfully reminds her of the heat coiling in the pit of her tummy. Wonderfully. She swallows again. 

“You can probably use that brush to apply the slip, though, if you don’t want to get your hands dirty again.” 

Flowers. She sculpts flowers with a searing heat between her thighs, because his added little comment of, “I don’t mind,” as he glances to the slip still glazing his fingers, implying that he doesn’t mind to get his hands dirty, does that to her. Y/N sculpts flowers and they settle into a comfortable sort of silence. It’s one where the only sounds are the soft music playing over the speakers and the occasional noise of pages turning from behind the counter as he leans over it and works through some kind of paperwork. She draws lines into the vase, and brushes on the slip, and presses creased flowers to decorate the bulbous body, concentration etching her features. 

She doesn’t notice when she goes over the hours of operation, and Harry doesn’t disturb her, doesn’t tell her that the shop’s been closed for nearly half an hour by the time she peers up and declares, “I’m done.” 

“You’re done,” the man repeats and sets the paperwork down, making his way over to the table where she’d set up, “Let’s have a look.” 

Y/N sits back admiring her artistry. All things considered, it’s sort of an ugly vase. Despite this, a sense of accomplishment buds in her chest as she stares at her creation. 

“I like it,” Harry tells her, nodding like he’s proud of a promising protégé, “It’s quite sweet.” 

“Thank you. What now?” 

“Now—“ the instructor props one hand onto the countertop and the other against his hip, “You wash your hands, you take a picture, and you come back in three weeks to sand it and glaze it.” 

Simple. It’s a simple set of instructions. Y/N brushes crackling, dried clay off of her fingertips against the cloth laid over the table, instinctively reaching for her purse. 

She blinks up at him expectantly, “How much?” 

Dimples wink awake with his soft simper, and he shifts his stance before he asserts, “Don’t worry about it.” 

The young woman’s features shape into something crinkled, something bemused and unwilling of a discount. She shakes her head and glances back down to the tote, “No, I have to pay you. What about your tip?” 

Harry crosses his arms over his chest, pecs flexing with the motion. Flexing, flexing, flexing, when will his muscles stop rippling? He sighs, cushiony mouth still smiling, “I think I’ll live. My tip was that I’ve helped you discover a hidden talent—“

Y/N snorts, eyeing the sloppy attachments to the shapely base, fingers still tucked over her wallet. 

“—It’d defeat the satisfaction and all the pride I’ve got now,” the man declares, shrugging. 

The unconvinced look she gives him coaxes him into a good-natured roll of his eyes, and Harry tuts before he compromises, raising his eyebrows, “But if you must tip me, you can tip me when you come back in three weeks, yeah?” 

Begrudged, the young woman takes her hand from the edges of her wallet. “Fine. Okay.” 

“Okay. Three weeks,” the man reminds her, a little smile playing over the plush of his mouth.

The world of ceramics is oddly pornographic, Y/N decides. But maybe clay isn’t innately erotic. Maybe it’s the way the man’s fingertips mold its shape, the way his digits look soaked in slip, the way his hands cradle over it as a wheel spins under his ducked stature. Maybe it’s the way his jade irises flit to her face when he makes an educational comment that’s obviously suggestive, Maybe it doesn’t have to do with clay, at all. Maybe it’s Harry.  

Maybe it’s the way he tells her, “If I were you, I wouldn’t miss it. Glazing is my favorite part.”

[porblegames]

I've gotten some requests on how to make my trash terrain for 6mm sci-fi or modern miniatures. So I made a little tutorial. Enjoy!

The stuff you'll need: - Plasticard - Brass rod - Air drying clay foam - Bits of 6mm miniatures

Start by making a plasticard footprint, cut into an organic shape. Can't go wrong with kidney bean!

Gather some miniatures to use in our junk pile. We're not gonna cover the whole pile with them, just sprinkle them throughout. This is a good use for your misprints and broken minis, so don't throw them misprints away; use them for terrain.

The trash pile needs a "spine" of brass rod. Attach the brass rod with some glue and let it dry. If you don't give the plasticard a sturdy spine, the plasticard will bend and curl as the glue dries and you'll be super sad.

This is the kind of clay to use. Its super light and dries rubbery, not brittle like regular clay.

Attach some clay blobs onto the plasticard with glue and smooth them out. You'll need less clay than you think because the miniatures are gonna go into it and make it expand.

Sink your miniatures into the clay. I like to add cut up rectanlges of platicard to help cover the edge where it isn't smooth. Let the whole thing dry overnight.

Prime it black.

I usually paint it in sections. Base coat with a dark color. I'm going with purple, but you could brown or blue or gray too.

Free hand some geometric shapes with black. The shapes should be of very irregular. You can let the lines be messy at this step, we're just mapping out the freehand portion. Color in some of the shapes with black to imply negative space.

Base coat the shapes between the black lines in a couple different colors. I mix a little orange into the purple to make a warm brown. I base some of the shapes with a gray blue. A few others I pick out by mixing green or grey with the purple. This is the step where we want our lines to be (relatively) neat and tidy. Let the shapes expand a bit beyond their black line borders from the previous step.

Add another layer to the shapes to raise the intensity. Some shapes get more coverage than others, to make it more random.

More layers, mixing in more orange into the purple. I brighten the slate blue by adding a light pink.

Finish with some highlight layers. This is done by adding light pink to the blues/oranges/greens.

Add some dots of random colors in the remaining black space.

Go around the whole pile like so, until you cover the whole dang thing.

Then paint the miniatures in it. I paint the miniatures a bit brighter and with different colors than the freehand to make them stick out. And there you go. Trash time! Thanks for reading!

[aceofspadespop]

ATTENTION ALL PEOPLE THAT ARE ON THE ACESEPC here’s the many ways that you can own a black ring

Get clay, make a ring that’s the size of your right middle finger and when it dries, paint it black

Take any black bendable object and wrap it around your middle right finger (not to tight)

Make a paper ring the size of your right middle finger and paint it black( there’s some tutorials on YouTube)

Hope this helps for anyone who wants a black ring for their middle finger

[madisockz]

Hello! I wanted to share my process of how I made my Easter Pony! She is my second ever custom and she made all the trouble I had with the first one seem like a walk in the park in comparison ಥ_ಥ Let's begin!

DISCLAIMER: Custom ponies like this one are not to be played with by children nor made by children. This pony was made with the use of nail polish remover (acetone) which is toxic. You need to wash your hands throughly after use and use in a well ventilated area. This pony was also made with sharp tools such as an xacto knife, sewing pins, rehairing needles, and an awl.

First, the concept art! Trial and error caused her to look a little different than the concept art but I still love the end result!

I wanted to start with a white base to give myself a clean canvas for dyeing so I got this G3 Breezie off Ebay for only $3. I decided to first remove her mane and tail which requires removing the head. If you know anything about G3 pony customzing, you know their heads are difficult to get back on once they come off. Even when you run them under warm/hot water. So to get it back on for dyeing, I tried trimming a little excess of vinyl off the neck ring with my xacto knife. It slipped and got me right under my nail! Bad omen for what's to come!

After getting her prepped (removing her mane and tail, cleaning her, using acetone (nail polish remover) to remove her cutie mark) she was ready for a dye bath! I used Rit DyeMore as regular Rit Dye won't dye the vinyl material that ponies are made of. This was my first ever time dyeing anything that wasn't fabric so I was thrilled when she came out this warm rich brown! So pretty!

I read online that dyed ponies will leach dye onto other ponies if they touch, so I wanted to try and prevent this as much as possible with some matte sealer. Lesson #1: Even though she was dry, the matte sealer reactivated the dye! The smallest touch left a print! :(

I pushed forward! And tripped immediately after! I thought, "Surely matte Modge Podge will seal her just that much more" and to my dismay, the Modge Podge kept every brush stroke I made when it dried!! She looked like a leather hand bag! ˚‧º·(˚ ˃̣̣̥᷄⌓˂̣̣̥᷅ )‧º·˚ I learned later you can buy matte Modge Podge spray online but all I had was the type you brush on to your surface.

Thankfully, with the help of sixteen cotton balls and a q-tip with acetone, I managed to remove all the sealer but she was no longer that nice rich brown. Oh well I still loved her!

And whoever said the paint will protect the eyes from the dye has clearly never dyed a dark pony! Her eyes were so brown after this lol

Painting, adding of polymer clay easter themed confetti, and adding her 3D chocolate bunny cutie mark went great! It was all going well until the eyes.

I had never fully painted pony eyes before so the first attempt was pretty bad. Not even my multiple attempts at glitter and using clear nail polish as a cheap gloss on the eyes could save them.

It was so bad that I almost didn't take any pictures but when I went to seal her head, this weird white powder covered half of her face?? I had never seen this before and it freaked me out thinking I just ruined her. I managed to get it off with a cotton ball and some acetone but her paint was fully damaged.

Turns out this was caused because I didn't shake the can of sealer well enough. I needed a break....

While I took a break for a few days, I decided to watch tutorials on how to paint doll eyes and learned that it's actually pretty common to use high quality watercolor pencils; either Faber Castell or Derwent (which is what I ended up buying).

When I came back, I made the hard decision of removing all the paint and decorations from the head and starting over. Hours of work gone but it was so worth it! 🩷 Removing the paint with acetone ended up making her head lighter than her body so I had to redye her head lol. This time I mixed Derwent pencils with acrylic paints for her eyes.

Time for the hair! I've never done curls before and my original plan was to buy curly hair online but it's so hard to find in the color and curl size I wanted.

So my second idea was to buy small curlers to use on regular nylon doll hair bought from ShimmerLocks on Etsy. But when I tested them out on poor Flower Bouquet it looked so bad ಥ_ಥ

I discovered a Youtube channel you may know called Dollightful where in one of her Stock Box videos she used yarn that she unraveled to make super cute tight wavy hair for a doll. It was a perfect solution! It looks so good but omg it was tedious haha! I used it for her tail too; sectioning off the colors hoping they'd stay separated (they didn't lol).

She's nearly complete! Time for small decorations! I tried so many different ears from air dry clay to stealing some from bunny decorations I bought at the store and nothing was working! But I had one last idea...

I gave these old Littlest Pet Shop costume bunny ears some use with a flat top sewing pin and some glue so now my pony has bunny ears! Yay!

I forgot it in the concept art, but I originally wanted to add flowers to her mane but I couldn't figure out how to do that without glue which I didn't want to do, too permanent, so I opted for some beads I had on hand. I didn't have any light blue so I made some with the use of acetone (nail polish remover in my case) and boom! Light blue beads! Then I washed them off so the acetone wouldn't damage anything :)

I used a gold topped sewing pin, a butterfly charm, a felt flower and two faux flowers to create a cute hair accessory!

Finally I sewed a hair tie to a puffball to give her a removable cottontail if I ever wanted to take it off.

And DONE! She looks so good after so much time and effort! I worked on this girly for two weeks I think? She actually had a partner I designed but I've run out of time to make her :') Maybe next year? 👀 🩷🩷

[tiramisuwithmascarpone]

Flowers you gave to Gods have withered away? no problemo, reuse them!

Hello guys! I believe I made a post before in which I talked about my habit of picking up flowers for Lady Aphrodite, Lord Hermes, and Lady Athena whenever I come back home. However, since they do not have dirt in which to expand their roots and absorb water, they wither away very soon. Generally, I would advise you to not leave expired food or dried-up flowers on your deity's altar. But there comes the question

,, Jelly, what do I do with them afterward?"

Well, fear not, because I've got just the solution as your fellow devotee and flower enjoyer!

1. Make homemade Potpourri!

A potpourri is basically a jar full of flowers, fruits, spices, etc. Which you leave in your room for its scent. Once your flowers get all dry, you can make one of these and place them in your room as to fill it with scents that remind you of your deities! and it is also a way more natural alternative to room freshener. I personally follow this recipe:

– Spread your flower heads and petals on a baking sheet. – Dry your flowers in an oven at 93° Celsius (200° Fahrenheit), which may take up to two hours. – Place dried flowers in an airtight container with a lid and add two or three drops of essential oils for your ideal scent. Rose, lemon, lavender, and cinnamon are among the most common fragrances for the home. – Store for six to eight weeks to allow the flowers to absorb the essential oils.

PS: Can also be a good freshener for your altar!

2. Homemade dried flower body scrub!

I actually only found out abut this today. But, apparently, if you mix up dried flower petals with Epsom salt, sea salt, baking soda, and essential oils you can basically create a scrub! I dunno if I would recommend it to people with sensitive skin tho...

3.Scented room spray

Mix together essential oils, alcohol, and dried flowers, and BOOM natural room spray! poof a little on your altar every morning!

4. If they are roses, make rosaries out of them!

Even though rosaries can be found a lot in Catholicism, many other religions use them. Buddhists, Muslims, and so much more! and, they actually used to be made out of actual roses. @jekraftbooks has a very good tutorial on TikTok about this, but basically, you need to:

1.Take your dried roses and throw them in a blender

2.Cook them down for several days at a low temperature. Only simmering, never boil.

3.When it begins to form like a clay ball, it is ready to go! Get a cheese cloth and squeeze all the water you can out of the clay. (Keep it for later)

4.Roll them into balls. Put a needle through them to make the hole, then leave them on cardboard for a few days to dry.

5. Once they dry, they will be rough, but we need them to have a smooth texture. Use the water from step 3, then rub some oil on them to give them some shine and protection from water ✨

6.Your beads are done! congrats! make necklaces, earrings, bracelets, any type of jewelry you wish for with them! You can also dedicate them to a deity as devotional jewelry or use them for prayer. Let your creativity go wild!!

[tkatsuro]

how did you make that ken puppet!

Hello! It was a very long project because i dont really have experience in making dolls, but it was very fun and ive learned a lot!

Its going to be a pretty long post though. First i drew the Roy siblings in the style of moral orel, that's where the idea came from. (i kind of want to make the rest, including Connor)

Then i printed out Ken's drawing on a4, and i think i made him 20 centimeters tall...?( i think its ~8 inches) its 15 without the head. Okay, then you have the carcass. All i used for his body was soft copper wire, thick thread and air dry clay!

I looked up how to do this from looking at youtube tutorials! I wanted to make a stop-motion animation for my 3rd year,but didnt finish it. So if you want to make a more complicated/fleshed out puppet carcass, i suggest you look there! I cut out 3 pieces of this wire,and you have to fold each one in half. After that i twisted each one to make it sturdier. The tricky part is wrapping the one for the "spine" around the ones used for the arms and legs. After that i just wrapped the thread around him, to make him more dense, but dont make it too tight or the puppent wont move! and youll waste material.

I changed my mind about his clothes and thought that l to the og outfit would be cooler. This is the first pass haha! I had to re-sculpt his face because i didnt like it. The polo shirt was the first thing ive finished.

Here how it looked! I suggest to sew on top of the figure because when i made his shirt the first time, it was too tight and 1) the sleeve ripped out when i put it on him. 2)the polo shirt looked awful on top, they stuck together. Also i dont really have much sewing experience and im cannot make sewing patterns! I had my grandmother help me with figuring it out, im sure if you can sew this will be easier!

Here how it looked assembled, i added hooks to the shirt and sculpted his legs/arms. The mic is detachable. Attaching the head was TRICKY😭 The hole in his neck was made while the clay was still soft, and i made it bigger after it dried by like....drilling it with a wire. I thought i'd be able to sculpt the neck on top of the piece that stuck out but no. So i just superglued his head on it and put some clay at the back to resemble his neck, i think it worked out.

Oh also i didnt take pics of making his face....but like in the style of the show his mouth is just a piece of paper glued on, and the eyes and brows are from clay. It was a nightmare to do though, because theyre small and i kept messing it up.

Aaand i think thats it!! It was super fun , and i really liked it......honestly it makes me want to start making dolls and puppets, we'll see. Thanks for asking!

[elviraaxen]

elvira, i am begging and pleading for a tutorial on a how you jUST MADE THAT NEEDLE-FELT ALBIN (or recommendations on tutorials elsewhere, no actual pressure, im just being dramatic and silly lol) HOLY SHIT, YOU DID SO GOOD, CONGRATULATIONS!!

AIUUGH I should've read this earlier I just started on Donna and am almost finished with her face, and didn't take any progress pics!! 😫

I'm really flattered you like my Albin!!! Unfortunately I made Albin like I do most things; sorta dive head first and figure it out as I go so unfortunately I don't have much to offer besides looking up basic tutorials on needle felting :'D

BUT apart from that, I have learned these things on my own:

ARMATURE:

- use thick aluminum wire for the base and stainless steel to hold it together and for the fingers.

- if you're making a skinny guy like Albin, make the arms, legs, and neck only one wire thick, or else it'll be bumpy.

- make the limbs longer than you think you'll need, you can always cut them down to make them shorter

- Sculpt the head, hands and shoes separately and add thembto the body once finished! It's too hard to do them all on one doll.

FELTING:

- The head takes the longest bc shaping the ball just takes... Ages...., and if you're making lots of little details like eyebrows, eyes, nose, and ears, it's easier to sculpt them seperately and attach onto the head

- use a heat gun to melt down little stray fibres if you want a smoother look

- to get the little needle holes out after felting, rub the surface or wet felt it. Caution as it may shrink if you do!

- I wet felted almost anything that was small. Albins hair tufts are wet felted and then glued onto bent pins and stuck into his head. His hands are also wet felted directly over the hand armature.

- Once you've finished felting, you can dilute Elmer's glue with one part water and lightly brush a thin layer all over the doll, it'll prevent fibres from unraveling and is great for keeping hair styles in place! (Albin's hair is so much glue it's basically a helmet lmao)

CLOTHES:

- make mockups.... Like four or five different ones.... And you will still mess up

- if you're gluing, use contact cement or e6000 (toxic! Use respirator, gloves, and open window!!), not hot glue or all purpose glue... It doesn't work 🥺

- stretch polyester fabric is your friend!! You can scorch the edges to keep it from fraying and stretched fabrics are more easily put over the doll.

- for shoes and accessories I recommend making a clay called cold porcelain. I used polymer clay and it was really hard to get details down and it cracked! Cold porcelain you might already have the materials for if you have corn starch and Elmer's glue.

- for impossibly small clothing details, you can sculpt them instead using watered down glue and cotton balls!! Use a paint brush with glue on it to pick up a piece of cotton and smooth it down onto the figure. Once dried you have a somewhat moveable but solid piece of clothing that can even be painted! I'm thinking of doing this for Ricky's hat for example!

THINGS I WANT TO TRY:

- twist ties for fingers! Idk I just think they might work well 🤔 free, easily bent but never breaks (?) and protected from moisture!

- dyeing wool with fabric dye, I don't have colors for any of the other characters!! I need to try!

- plush bodies for the bigger dolls (Ricky and Lune, bc felting THAT much will kill my hands

[toughtinkcosplay]

let's make fearne horns!

a step-by-step tutorial for making foam horns for cosplay

this was originally posted to twitter last year, but since twitter’s decided to ram itself through a brick wall repeatedly for some reason, i’m reposting here.

materials/supplies:

wire (the hardware store kind, not the flimsy jewelry kind. you want it bendable but sturdy enough to hold whatever size horns you’re making.)

craft foam/eva foam (thickness depends on project needs)

triangular foam dowel

tape or paper for patterning

barge cement (or other brand contact cement)

foam clay

plastidip spray

acrylic paints

gloss spray

heat gun

scissors

paint brushes

something to wrap horns around depending on curl needs

headband or something else to attach the horns to for wearing

the process:

1️⃣ pattern horn curl using tape or paper. mine is going to be a long triangle shape along it’s top face.

2️⃣ cut out of craft foam & trim/taper triangular foam dowel to match. cut wire to match this length plus a couple extra inches for attaching to a headband later on.

3️⃣ carve valley into dowel & glue wire into it using barge cement. tape is helpful for holding the wire down while it dries. be sure to follow glue instructions for use which usually requires good airflow/ventilation in the space! for me, that means opening the window, turning on a fan, and wearing a mask to avoid fumes.

4️⃣ glue foam dowels to craft foam.

5️⃣ spiral horns carefully around a cylinder, heat forming tips where wire can’t reach. the hardest part here is to get both sides even. (i think i used a wooden dowel or a curtain rod for my spirals??)

6️⃣ fill gaps between dowel & craft foam with foam clay, using finger + water to smooth it out. if you want to add any ridges or scars to your horns, do it once this part is dry and before the next step—but i wanted mine to be smooooth.

7️⃣ once dry (give it a couple days just in case), heat seal with a heat gun & spray with plastidip. do multiple coats to get all the angles because spirals are WEIRD!

8️⃣ paint with acrylics.

9️⃣ gloss spray!

🔟 using the bit of wires sticking out, attach to a headband or wig to wear! mine actually poke through my wig and attach to a headband that sits inside the wig which fearne’s ears also attach to.

i hemmed and hawed over how to approach these originally because i know most folks would either 3d print them or do a proper full craft-foam pattern, but i’m crap at cutting craft foam and i hate sculpting digitally and ALSO don’t have a 3d printer. so i did it my way! and it was fun!! plus, the final horns are super lightweight which makes them great for wearing all day! the flexibility of the wire also allows them to have some pose-ability which can be nice for photos to make sure they’re visible.

[claypigeonpottery]

if you want to attach something to a piece thatll no doubt melt/burn during firing… example my friend loves flowers and ik i could do flower presses but would there be any way to incorporate the actual flower? or... ig these are 2 diff things. 1: is there a way to make a piece with flowers (dried or not)? 2: would it be possible use epoxy sculpt over a finished piece to attach something that wouldnt have been able to be fired? like attaching a glass doll eye to a finished ceramic piece with an epoxy sculpt or something else. (google hant been helpful and i dont know anyone who has clay knowledges). ty much for reading

as far as I know, there’s no way for a flower to survive the kiln.

you’re right, you can use them to press into the clay, and even add colour to make them look lifelike, like Hessa Al Ajmani does

one other suggestion that doesn’t incorporate the actual flower is to use an overglaze decal like Lindsay Dyck

you can buy them on Etsy, I’m pretty sure I’ve seen pressed flower designs before.

you could try using a food safe resin after the piece is fired? I don’t have any experience with resin unfortunately, but apparently it can bond to ceramic.

hmm orrrr you could use air dry clay? here’s a tutorial from Mud & Bloom. I know it’s not the same but it depends on what you want to do with the piece

[firespunalchemy]

San and Ashitaka Build

This pile (well, there's other stuff mixed in there) is in fact the San and Ashitaka costumes I built earlier this year. I tried to do a vaguely historical approach to shapes and materials since the film is also vaguely historical, but I used modern sewing because I barely know how to sew in general. This is also why I started with the bow.

To make a fake bow, for some reason I didn't like the usual PVC option, so I decided to make a long noodle out of EVA foam, carve it into shape with a craft knife, then add exaggerated wood texture with a wood burning tool. That then got covered in Worbla and painted with several layers of acrylic + a leather strap glued for a hand grip. The bow's 'string' is just thick elastic cord.

Arrows are dowel rods cut to length with EVA foam points at one end and foam fletching at the other. I accidentally made all his arrows the samurai's arrows (oops) and have no idea why I felt the need to not use real feathers. The quiver is just a muslin bag, pretty boring lol.

His sword is balsa wood and a napkin ring all glued together then covered in Worbla (featured here by another costume's progress). The blade and ring got spray painted metallic, the handle got a leather wrap like the bow. The sheath is just a foam box wrapped in fake suede, not really worth an action shot.

Ashitaka's (happi? haori? not really sure) took two attempts and still doesn't quite fit, oops. I dyed the fabric to a shade I liked, then used a YT tutorial on making the coat. His pants were bought online, and I made a lil pouch for his mysterious dried rations.

I fully just kind of made the sleeve happen; sketched a shape, cut it out, then continued adding scraps until I got something that fit okay.

Delicious bowl cut...his wig was a struggle, since I needed it to be rough and basic but not Lord Faarquad. It came out okay, but it truly is giving home haircut from the 80s.

Let's switch to San! Most of her clothes were bought, and I made the accessories. So this giant pile of fur will turn into a separated cape and hood. You may notice two tones of color there: I chose a longer Mongolian fur for the outside and a shorter Sherpa for the inside, because no one likes to see the raw inside of fake fur. There are curtain weights sewn into the paw shapes and front drapes of cape and hood to help them not fall back.

For most of San, I used Kinpatsu Cosplay's patterns as the base, and adjusted them to be slightly more masculine (and a lot longer) to fit my San. The apron was made of linen and hemmed so the outer edges can fray over time. We'll get to weathering in a minute (I did not take many WIP pics during making all of this).

I made the mask really round and the eyes slightly farther apart to up the uncanniness of it. The mask and ears got base coated in black matte acrylic, then color slowly added using sea sponge.

The dagger was made of a mix of foam and balsa wood that got glued together, then covered in Worbla. I spent way too long staring at the movie to decide the arrow shapes on the blade were raised rather than recessed. The blade got spray painted metallic, the arrows hand painted red, the pommel spray painted black. The handle got a leather strap wrap.

Her necklace was a mix of wood and stone beads, and three toofs made of some very crusty foam clay I had sitting around. They got formed and dried around paintbrushes to make the stringing hole, sanded, then painted with acrylic to get that old tooth look. San's wig was basically used out of the bag, and her accessories were just foam wrapped in fabric with shell beads glued on.

Weathering, the second most fun part of this build! I used a mix of dry brushing on acrylic paint in various brown and tan tones, spraying/splattering with a strong black tea, and using an airbrush to add dirt and wear to everything. A lot of edges and corners also got sanded to soften them and look less crisp and new.

And then we got fancy professional photos! If you're in Texas, check if Wild Momo Photography is heading to your con. She's fantastic, truly. Hope you enjoyed reading through this journey, and it's potentially helpful if you're building your own cursed prince and wolf girl.

[design303progress]

Week 5

This week, I experimented with air-dry clay by testing different forms, from slim little designs to thicker ones – to test my new techniques and get more comfortable with the material. I consciously compared the new methods and techniques I used to my older clay methods, which felt more rushed and less refined. I created a few pieces, including a hair clip base that could be attached to a metal hair clip and a thick Polaroid holder:

The newer techniques I used felt stronger as there were fewer cracks, and I used a paintbrush dipped in water to smooth out cracks and bumps and had more control. One challenge was that trying to get the desired shape was quite time-consuming. Still, despite how I usually am, I decided to let my pieces stay a little bit imperfect with a human touch as the clay sometimes had a clear way it wanted to be shaped, and it was hard to shape it differently, but I embraced it. With the thick piece, since it was smaller and I couldn’t use hollow pieces as it was too delicate, I did do a thick slab (unlike what the tutorials told me to do). Still, I followed how to air-dry it properly, which took significantly longer than my other pieces. It was great that sanding it down after it was dried gave a smooth base and was simple to do before painting.

Before Sanding:

After sanding:

The shift from digital to physical shows my positionality as a maker – I am way more of a hands-on person. I like sensory-based creation, and using materials hands-on aligns with how I like to think, feel and solve problems, and it made me feel like I can make better design decisions where I can be expressive and thoughtful in my practice. A success of this week was that after experimenting with clay and researching more about what I could do with it, I realised I wanted to create something functional and expressive. It felt natural that I wanted to merge my love for clay into a wearable everyday object, as I love fashion. This direction was strongly influenced by the affordance theory by James J. Gibbons, which is used in design by Don Norman it refers to “the perceived and actual properties of an object that determine how it could be used”. So, how does the shape, texture, or material invite a certain interaction? The small, tactile way of these clay clips invites me to explore how their form and material can be used for an attachment, customisation as you can paint onto it and everyday usability. After discussing this with my peers, we explored how we can also link to my passion for sustainability and allow people to swap clay hair clips from the metal hair clip part to make them interchangeable. It can be used for multiple places and settings with the same metal hair clip and different clay; focusing on this aspect has inspired me as I can almost focus on creating ones that people can use to express their interests/personalities. We even talked about making different ones for different job occupations, like ones with martinis for a bartender or a plaster-inspired one for doctors, etc. This gives me a clear plan for my next steps in this part: to test the functional form, durability, and design ideas and ensure they are still user-centred. However, I have to wait a week or so to get the metal hair clips in the mail, and since I came to this idea late, it will take a while for the order to come in and I will have to wait to experiment with it until then.

Proposed Bartender inspired hair clip:

How I’ll do my experimenting for this next week is that I want to create a final design for my hair clip and a rough prototype to see how it works initially. I also want to test its personalisation with painting on a design that means something to me. Because this week, I didn’t intend for the drying process to take so long, I’ll take this into note for future thicker clay designs so that I can use my time as wisely as possible. I could even look into exploring smaller magnets, loop and slot designs to see if clay pieces are detachable and swappable but I’ll have to wait for my stronger magnets to come in the mail. What I am also going to explore is a higher quality gloss on finalised clay pieces to see if it looks more refined than regular strong glue.

Day                       Action 

Weekend            Paint base colours

Mon+Tues.        Create design for hair clip 

Wed                      Finalise design, and seal clay in mod podge  

[divergentprbreckenridge]

post class presentation, a tutors recommendation was that i attempt making from porcelain paper clay.

was introduced and given private tutorial on wed 25th oct.

felt this particular clay was more malleable and forgiving than your orthodox clay.

samples of rolling "rods" and placing them as if to make an automatic drawing and taking an imprint from a dried piece of alginate.

Also for the capabilities of rolling until thin without cracking issue you would get with ordinary clay, i created natural chance forms with gripping the flat rolled clay and dropping from varied heights.

was pleasing to have a different result each time and feel this is a fundamental development for my divergent module.

should get them bisque fired this week and await results next week

[bananna-threads]

Idk who actually reads these, but I figure it may be a good reference to somebody at some point 🤷‍♀️ My process reblog as promised:

Very early on in my costume design for the haunted house, I decided I wanted all of the characters to wear masks. Since I was working with a very limited budget, I figured it was an easy way to make all of the characters look unsettling, while also making them all somewhat cohesive as a group. In my head, these masks represented how "lost" each of the characters were in the woods. The more lost they were, the less human they became, and the mask would change to reflect that. I kind of imagined that each character was once a lost human or soul and slowly became corrupted by the forest, at which point they would be given a mask--made from they very trees they were trapped within--to live out the rest of their lives as the role they were given. Did any of this make it into the writing or story? Not really 😅. But it helped to give me some direction with the look of each character. Problem was, I've never made anything like this before 🤷‍♀️

As with most things I've never tried, I started on YouTube. I had heard of foam clay after seeing cosplayers use it for costume armor and helmets and such, and figured that seemed like a good material to start with. After searching for 'foam clay tutorial' on YouTube, I watched this video by Kamui Cosplay. I mostly followed the steps they laid out, with a few changes here and there for cost and skill level.

First, I gathered up my paper patterns--as previously mentioned, I got three off of etsy, and the last two were made by a friend with blender, and turned into a paper pattern using Pepakura.

I printed them out on cardstock (100 lb weight), then folded and glued them. I used these paper versions to check the fit on the actors. The bat and fish masks had to be made more than once at different scales for a better fit.

I took the final paper versions and divided them in a way that probably only makes sense to me, making sure to add registration marks that would help me to put them back together later. These were then transferred to foam and glued together with contact cement. The stuff has potent fumes, so be sure to do it near a window and wear a respirator!

I then waited 24 hours for the glue to set, and covered the fronts in foam clay to smooth the features and give them a more organic look. The foam clay expands as it dries, so some of the masks lost a lot of the definition I had sculpted originally. This was especially the case for the multi-faced mask:

You'll notice that the furrowed brow and nose in the final version is missing a lot of the details that were in the above pic, which I took while the foam clay was still wet.

Once the foam clay had dried after 24 hours, I used a heat gun to 'seal' the foam. Idk how necessary it was, but that's what the tutorial said to do, so that's what I did! The heat gun was also useful for re-shaping the things that warped as they dried. Instead of plastidip, like most websites suggest, I just primed the mask with three coats of mod-podge. This added some needed strength and a better surface to paint on top of.

After that was dry, I did three coats of the lighter base color. I then did one pass of the darker "grain" color, using a fan brush like this:

I found that dipping just the tip of the bristles in the paint caused some hairs to clump together, making stripes of different widths when I painted. The friend I mentioned who knew how to use blender also kindly made me references to follow 🙏 This made it much easier to see how the wood grain would fall on a 3D figure!

After one final coat of mod podge, they were all done!

It really helped getting to know other people in the theater world because they were very generous with their time and materials 😭 I was given the contact cement and eva foam that I used, and I would have never been able to get it all done within the budget without so much generosity!!! It blows my mind how kind and willing to help people can be. Makes me want to pay it forward 🥲

Foam masks I made and painted to look wood-carved!

Three of the original paper patterns are from etsy:

The Raven

The Fish

The Bat

The last two patterns were made by a very talented friend who knows how to use blender!

[moonburncreations]

I have acquired some rock hard clay! Joy... This is a 25lb block. Dry. Solid rock. I have 3 of these to try to rehydrate. I started with one already and had some fair success and did so quite simply.

I've done my fair share of research on how to rehydrate clay, asked some seasoned potters, and such. Much involved drilling holes, or putting it in a bucket to turn to mush.

I wanted something that wouldn't require TOTALLY reprocessing the clay. So on a whim I poured some water in the bag with one of the rocks. Dug a couple divots in the top and added some water. The divots were maybe a half inch deep, if that. I then tied that bad boy shut TIGHT! All the water went to the corners of the bag which is not optimal...I put it in a small tote and squished it to one side so the water level was most of the way up the side of the clay. Added some other items to keep it mushed.

I let it sit a few days, cracked it open today, flipped it while still in the bag, divots are now down. The clay that was at the bottom? Now viable, albeit wet, clay. After about 20 minutes out the 3/4 inch slab was dry enough to roll and form.

One of 5 pieces I was able to get out of my slab. These are drying and will go into a bisque fire so I can get a feel for how this stuff faired. This clay is actually pretty infamous, it's been floating around my parent's house for probably 20 years, my mom claiming she threw it in the back yard ages ago because it was dry. Well due to flooding it was found! And now I'm the proud owner of some age old, brand new, clay that happens to be low fire and the brand I use!

[gasterofficial]

@kanrix too many pictures to put in a reply or anything so i'm just gonna make a post FHLDSKJFHDLSKf this also goes out to anyone else who could benefit from my little gaster cosplay tutorial fhjkghkfg

aight this is the earliest picture i have but basically I cut an oval out of 4mm foam, and used scrap pieces of the same size foam that i just had laying around to do another layer on top for added support and thickness. after that i did my best to roughly mark where my eyes, nose and mouse were and cut the eyes out so that they would line up with my own, and used the markings for the mouth and nose to cut a hole into the inside of the mask for my nose to fit into. the mask has a higher layer of foam only on the very tip of the nose because i had to keep my nose from sticking out or pushing the mask too far off my face lol.

anyway after all of that i used a heat gun to heat the foam (WITHOUT melting it and preferably in a well-ventilated area) on both sides and then held it to my face in position to help it mold better to the shape of my head. it looked like this when i was done (i also cut into the upper layer of foam to make the eye scars)

after that I covered the entire thing with this amazing thing called foam-mo, it's basically like foam in a water-based binder that behaves like craft clay. it's easy to work with and SUPER lightweight when it dries and it's absolutely perfect for making organic textures

it lost a bit of the dimensionality in the drips after it dried, but I just went over it with another layer where I wanted more texture, and used a dremel tool with a sanding bit to sand down parts that I wanted more depressed.

then after that were the first and second paint jobs. this included using an ultra dark carbon nanotube ink in the scars to get them as black as possible (and matte). after the second paint job I used a type of fabric called "speaker cloth" to cover up the eye and mouth holes. I hot glued the speaker cloth down from the inside and then painted over the fabric on both sides with fabric stiffener on the mouth hole ONLY (it can make it harder to see through the eye holes) since the mouth hole is so wide and is most subject to the shape distortion from how the mask was heat-shaped.

then finally the last paint job which included final shading touchups AND some extra work with white puffy paint, which I used to give the effect of the face dripping down.

the very last step was adding the pupils as a dot of intense blue glow in the dark paint. it took a few coats to get it thick enough, and then on top of the bead of glow in the dark paint i added a tiny dot of plain white paint to make them pop even more. add a 1/2 inch elastic strap around the back of the mask glued down on the inside and you're done!

also, here's some pictures of the first glove I painted, if the reference would be helpful. The gloves were sewn using a self-made "hand turkey" pattern from tracing the shape of my hand onto paper. it's not a perfect pattern, but it's serviceable enough for stretchy fabrics. and I did use a stretchy fabric: white moisture-wicking athletic wear fabric, because I was worried my hands would sweat a lot. and I was right! but this choice of fabric makes that much less of a problem. and also makes you feel like your hands are freezing off (being in the void simulator ig)

the painting job was done with just plain black and white acrylics mixed with a fabric paint medium. i traced the finger joints where my fingers actually creased, and just kind of... did my best to make the palm holes match up lmfao

As for the cloak and robe, I did sew those both myself, so I can't point you to a seller. BUT what I CAN do is tell you what patterns and fabrics I used and whether or not it was worth the intense labor of love! (short answer, for the cloak? yes! for the robe? NO.) I'd have to go dig up the patterns though, so let me know if that's of interest to anybody

but yeah, hope this post is informative and potentially helpful!

[fairybluecosplay]

How to make a King Clawthorne mask tutorial! This mask took a few days to make but I’m pleased with the outcome!

Materials and tools

Acrylic paints in white, cream, black, and brown for his skull, horns, and shading.

Mod podge for filling cracks should they arise (we had some pretty major cracking. We just filled them layer by layer with mod podge and it worked perfectly)

Tinfoil for the horn cores - this makes your mask lighter!

Air dry clay. We just used Crayola air dry clay, but again, it cracked a bit so you may want to try a different kind of clay

Paint brushes, one small brush for details, one large brush for easy coverage of larger areas.

Optional: hot glue. I found that the hot glue did not stick well to the clay and peeled off easily but it was useful for filling the parts where the horns had lifted from the mask during shrinkage while drying. You could definitely just use mod podge for this but it would take longer and hot glue was easier for me personally.

Optional: face paints for painting his eyes behind the mask as well as a black cloth face mask for covering your mouth/bottom of face!

Steps

Cut off the right ear of the mask to better create King’s broken horn: shown in photo one

Start wrapping tinfoil around the ears and mold to generally create kings horn shapes: shown in photo one

Start covering tinfoil cores with clay: as shown in photo three

Sculpt King’s fangs. Since they were so small we didn’t use tinfoil cores for this part: as shown in photo two

Allow the clay to dry, for us that meant letting it sit for a few days. Cracking may occur. We filled our cracks slowly with mod podge: shown in photo two

After the clay and mod podge has dried, begin painting. This will probably take 2-3 coats. Allow time to dry and then go in with a smaller brush in brown and trace the details on the mask. I wiped my paintbrush (with paint on it) on a paper towel first so the lines wouldn’t be super harsh/strong. Shown in photos four and five

Cover the entire mask in mod podge to make it not as easy to chip! Acrylic paint usually gets scratched off pretty easily, so this will secure your paint job :) I used a matte mod podge so it wouldn’t be super shiny.

Accessorize with face paints and a black face mask if you so choose and you’re done!

Stay tuned for us making his collar and the rest of this costume :)