The main reason is really that I enjoy this way of working; the pace of it and the uniqueness of each object (which is my 'craft' side coming through...). By the time you have planned, built and refined the form you've got to know it pretty well. I like this investment of time, particularly in the context of today's fast paced technological developments.
Not that I'm against these developments; quite the opposite...! But there is still so much scope for making artwork with traditional methods that can reflect contemporary ideas.
The next stage is brushing on layers of slips to build up the base layer of imagery. I tend not to call it 'decoration', as the drawings are actually the starting point and the main focus of the work. They're an integral part in combination with the form, and not simply added later to enhance the form. For me decoration implies something less substantial (there is a place for it on some work of course where the form is the focus). The layers of colour will create a backdrop for the glazes and then drawings to be added later. At this stage I have a rough idea where the images might go, but make that decision once I'm applying the decals and so creating the final part of the composition.
And the last couple of the jars fired and glazed. The interiors are left red with a clear glaze. I don't tend to get very excited by glazing I have to say; after many years of doing glaze tests and not using glaze for a long time, I now use commercial brush on glazes.
The slips are the main source of colour and mark making.
So once I have my decals back from the printers I'll be applying the drawings to these pieces and they will be finished. I rather like the contrast of this stage. Starting with the more earthy and messy stage of building leads to the development of digital images and the clean application of the decals.
On a final note; I have some older pieces in a show at a gallery in Hull currently: Blueprint.