Inlaid clay is also called Mishima. It simply involves embedding a colored clay in a contrasting clay, using techniques like carving, stamping, drawing, or pressure, to get liquid or solid clay into the surface of the other color. I’ve discovered a number of amazing studio potters using the technique for marvelous overall effects in small sizes. I wanted to see what carved stamps would do, and what would result from filling the impressions with semi-liquid clay. A few very satisfying results came from it, and the motifs that resulted have been pulled from the fired clay and adapted on the computer as digital outlines, which I used in my Flowerburst textile design. I see endless possibilities in these open-ended experiments and cross-pollinizations. I think many artists in clay feel the same way. Choose your adventure!