Production progress and plastic chasing

Setting goals does seem to work. I spent the weekend in the studio ( I managed a solid 12 hours) and was able to trim and throw way more than I normally would. I have a list of items that I will need to have for next fall which has helped me immensely. I know what I need to make now. In the past, I would walk into the studio and would not get down to business right away as I did not know what I wanted to make, or should make. This solves that problem. Now I just need to decide which items to make that are on the list. I managed to bang out some shallow baking/serving dishes. At first I was going to make them a bit square, but thought they looked contrived, so I stuck with the round ones and altered the rims a bit. I am continuing to try to make a new butter dish form. The way I make them is to throw the lid as a closed form and measure the outer diameter, then the base is thrown and I use the measurement from the lid to determine where to place the seat that will accept the lid. The only difference with these dishes is that the area where you would put your butter is actually a 2.5" - 3" tall cylinder that the dome lid fits over. The idea is that when people use a traditional butter dome and scrape their knife off, butter gets into the lid seat and then the lid gets all buttery and it can't be placed on the counter/table without getting butter all over the place. I am hoping that this will allow people to still clean off their knife without gumming up the lid. The trick is getting the lid to fit properly. I have added a little ledge right at the base of the butter reservoir that acts as a stop for the lid. I want to glaze all but the base of the lid and it's seat and didn't want it to accidentally move when being loaded into the kiln and becoming permanently welded to the base. This little ledge will hopefully help keep the lid seated properly during the glaze firing. So far I have made 6 of these new dishes and the proof will be in the glazing.The rest of the time I was throwing bakers, salt and pepper shakers, trimming, attaching handles and generally just chasing plastic around as things were drying.

The weekend was muggy (pardon the pun)

I was finally able to pick up a couple boxes of Bmix on Saturday. It has been a while since it has been in stock and I have had to resort to using clay I don't really like to throw and to reclaim all my scraps. I threw the last of my reclaim on Friday night and it was a bit wet, but I wedged it really well and went for a really big bowl. The problems started pretty much right away. I couldn't centre it for love 'nor money. I got it to a reasonably centered state, opened it up, and found a large sponge. It was really full of clay and I never saw it during wedging. I picked it out and continued to throw but there were all kinds of spongy bits still in there. The bowl survived, but it was a bit of a challenge. Saturday I opened up the new non-spongy bmix and threw these mugs. I threw another large bowl but managed to tip it onto the floor on Sunday, overall not a great weekend for productivity.

Getting stuff done

I was teaching class last night and had a couple of new students to indoctrinate. I could see the fire in their eyes. They really, really wanted to make stuff. By the end of class, I don't think the fire had been extinguished, just smoored. There was the inevitable struggle as they tried to do battle with the clay instead of working with it, but first night was fairly successfull. They both made a few pots, and that is the only goal on night one. Make at least one pot that you will be able to trim next week. That's it, the rest is all play/mud wrestle etc. Here are some pictures of a few pots from the glaze load I fired on Sunday, as well as 2 of the very wide platters I made on the weekend that I trimmed and then slathered with underglaze and then attacked with a rubber tipped clean up tool.

a bit more snow

I just checked the weather forecast and it looks like one more week of cold with a bit more snow. We will finally be busting out of this cold and moving directly into warm weather. We don’t fool around with spring for too long, gotta get green quick. I see that it will be 10 degrees by the end of next week. This winter has been very, very long, with very little in the way of Chinooks. I can not wait. We will be able to put pots outside to dry soon. No more waiting forever for things to be stiff enough to trim, or even fire. Speaking of firing, I put a load in for bisque on Sunday. In that load is a whole bunch of little bowls that were thrown off the hump very quickly. I will be using them purely to calcine Alberta Slip for our new “purple rain” glaze. The recipe comes courtesy of Plainsman Clays, but we need cool studio names, not a boring number, so as I was the one to push for it to be included in the studio glaze repertoire, I got to name it. I have had a lot of water in my life, so purple rain came to mind. The purple is a bit transient, in that if you get it too thin, it will be more of a light amber brown, but when applied properly to a buff stoneware or white porcelain, it is a floating lavender blue on a brown background. When applied to a dark body, it is a beautifully intense and compellingly juicy (too many adjectives?), floating blue. It also works really well with all of our studio glazes. If you are curious, the recipe is this: 40% Raw Alberta Slip 40% Calcined Alberta Slip (fire the raw to ^022 and hold for about an hour to drive off excess moisture) 20% Ferro Frit 3134 4% Rutile I will hopefully be mixing up a slightly larger test batch for the studio this weekend. I am using my labor as the incentive to include this glaze in the studio glaze line up. If Dave doesn’t have to do it, then he gets more agreeable. We are quite limited in colour choices. We have dark brown, celadon green, turquoise, hares fur blue, pale stone blue, periwinkle blue, white & clear. You can see the trend. The addition of a purple(ish) glaze will hopefully get the creative juices flowing. We try to keep the costs down with each glaze, as well as ensuring that they are all as non toxic as possible. We don’t use barium or lithium or anything that could leach out or cause problem. Fairview Studios is a reational studio where there are times when nobody is there to ensure that students are not eating, drinking, breathing, or bathing in the glaze buckets, so we try to keep it simple, the result being quite a neutral pallet. The cost of frit is also quite a challenge to overcome. We try to make glazes that use very little, if any, to avoid not only the cost, but the inevitable hard panning that occurs with heavily fritted glazes. This new one should be quite acceptable. The cost is a bit more with the 20% frit, but there are only 2 other ingredients, 80% of which is clay (AB Slip). Even though it settles quickly, it does not hard pan, even after sitting undisturbed for 3 or more months. I guess glazing is the next thing on the agenda, I have a sale looming on the horizon (end of May), and I just don’t have the stock. I did however do a down and dirty studio sale this past week. Essentially, cleaned out all the pots that have been sitting on my shelves, that have travelled to one too many sales and never sold, or are just not quite good enough for the galleries and sell them off to the students. I put all the pots on a rarely used hand building table with a note saying to take these pots if you want them and if you feel the need to pay, to put what you feel is fair in a jug on my shelves. It worked great. I cleared a lot of space and made a few bucks in the process. So that has been my life lately: cold, waiting for summer, working, glazing, mixing etc.

Oh ya, this one is waiting for the snow to melt too, she doesn't know it though. She has only ever known snow.

There’s A Lot Going On

Well, I guess fall is over. It was a lovely 19 degrees on Saturday, the sun was out, the sky was blue and it was warm. Sunday however was a completely different story. It started out by raining over night on Saturday and by the time I left for the studio at 8:30, it was quickly becoming snow. It then proceeded to snow all day.

But with the snow comes looming sale deadlines, so I managed to finish handling all the mugs I made on Friday, I sgrafittoed 4 mugs in very unique freehand designs, made a couple of glazes, loaded and fired off a bisque and topped my day off by throwing some medium sized bowls.

The 2 glazes I made are very similar; in that they are the same base and that they both contain 4% rutile. One of them however contains 4% tin. I am working with the Plainsman Clays recipe using Alberta slip and Frit 3134. It is the simplest glaze formula, and comes out really, really nice. It feels lovely, it doesn’t craze and it applies beautifully. The only crabby thing about this glaze is that you have to calcine half of the Alberta Slip to drive off excess moisture to reduce the plasticity. Not a difficult job in and of itself, but it just adds another step to the process as well as making you think ahead when deciding to mix glazes. I pop it in the kiln in bisque bowls, fire to 022 and hold for a bit. I do this overnight so I can mix it first thing the next day. It comes out looking like chocolate milk powder. So the one with just the rutile is a lovely purplish lavender colour floating over an amber background. It breaks nicely and is reminiscent of our true Orange Blue Rutile glaze from our cone 10 reduction days. The other great thing is that it plays really, really nicely with our other glazes which can always be an issue when making a glaze that will probably end up being layered with other glazes. This one will hopefully become a studio glaze for all to use.

The second glaze is the same as the first but with the addition of 4% tin. I have not really tested this one, but according to Plainsman, it is a light gloss brown. It isn’t the brown I am after so much, but when a thin wash of Titanium Dioxide is brushed over top, it changes colour to a creamy green and blue variegated glaze that breaks nicely on texture etc. This glaze will not become a studio glaze. The tin is just too expensive for the quantities we would require.

I can foresee that my future for the next couple of weeks will entail more mug carving. I have a few flood mugs I need to finish. I have 19 or so mugs to carve and I will probably do half flood mugs and half whatever comes out of my brain. I will also be glazing and firing as much as I can. There is the Fairview Christmas sale on November 23^rd, and the Moe Shelley Craft Market the following weekend on Sunday December 1^st. I won’t have much, if any, time in between to restock, so I will need to have stock ready for both.

My nose will be on the grindstone (what a weird saying – how does grinding off your nose mean that you are working hard?) for the next while as I try to get ready with my own work in amongst the student firings that always take precedent in the weeks coming up to a studio sale.

Tonight I will be sending out the reminder email about the sale, so If you are anxiously awaiting the info, it is coming. But until then, I will post the info here.

That Was Exhausting

I taught my regular Tuesday class last night and it was jam packed (14 people I think?) In contrast, I taught on Monday night, and there were only 5 people there, 2 of which are taking some time off to have a baby and were only there to finish glazing their pots. I like teaching smaller classes, but of course, that doesn't keep the studio doors open. Fairview Studios is in fact looking for more students as enrolment has been down for quite a while. This past summer we dropped the Wednesday night class as nobody was showing up. I know we would like to bring it back on line, but the demand has just not been there. Hint - if you are looking for classes and you live in Calgary, check Fairview out.

I can usually deal with large classes, but I had a couple of fairly new students, and I had to do 3 demonstrations when normally it is usually just 1. First the throwing demo (normal), then I had 2 new students from last week that needed a trimming demonstration, and finally I had students that had yet to glaze anything so they needed a glazing demonstration. I usually arrive at the studio at 5:30pm right after work so that I can get a few of my own things done before class begins at 6:30, and then I can usually continue to work on my own stuff throughout the class in between the odd question. Not so much last night. I was going to load a bisque last night, but that definitely did not happen. I will see if I can load it on Friday and glaze on Sunday. I really need to get some work finished to take to the galleries and complete commission work etc.

Sgraffito

The pictures suck, but they were taken with the old iphone under fluorescent lighting on my desk at work.

This is an example of what I was up to on the weekend. The previous weekend I had thrown a few "Christmas" bells as well with the idea that I would carve holly leaves into them. So I did. There were many many bells, and they took me 3 days to finish, including the mugs. I also managed to wear my pin tool and a small kemper triangle ribbon tool down to wee little nubs. They came out of the kiln on Tuesday and I wrapped them up to take home. I did manage to "ring" one bell before I got out the door. I tested it against the concrete floor. Not recommended.

After sgraffitoing 4 mugs and 16 bells I was beginning to get a weird tingling shooting pain running up my forearm. I might have found a way to speed up the progression of carpal tunnel syndrome. I was also doing a pretty good impression of Quasimodo by the end of the day.
On another note, I am going to be learing the art of wood turning. Maybe tonight even. I am leaving it at that though, I don't want to give away my Christmas gift ideas to the possible recipients of said gifts.

Another way to make me crazy

In an attempt to apply what I learned at the Potters Council Workshops last weekend, I went to the studio on Saturday after work to see what I could do. I had thrown and trimmed a vase before I left and it was bone dry, just waiting for me to do something with it. I thickened up my terra sig, it was just too thin. After decanting off the excess water, it went on really well, and really black. Then I began marking out my design for a little sgrafitto action. When in Karen's class, she did a lot of this. She completed one large pasta bowl with a relatively intricate design in a fairly short time. The workshop was 3 hours and she managed to fit a lot of stuff into it. I would say the bowl probably took her 1.5 hours to complete from start to finish, probably less, even with all the talking and answering of questions. So I figured it shouldn't take me very long to get the vase done. Wrong. I probably spent 2 hours on Saturday and then another 2 hours on Sunday finishing it off. It looks pretty good, and is in the bisque kiln right now. But afterwards, my neck was throbbing, my hand was a little cramped and I could feel the start of a headache by the time I left for the day. I don't think I will be making my fortune this way. After finishing my OCD sgrafitto pot I did a little trimming and throwing. I was quite happy with my output. I got 1 large bowl done. This one was thrown without a bottom and then a slab bottom applied after it stiffened up a bit (with the help of a fan). I am also attempting a casserole thrown in the same manner as the bowl, but with a slab lid. I have attempted this before, but with limited success as my square bowls always comes out slightly rhomboid, so the lid never really works out as the edge of the lid is a mirror image of the rim of the pot. But I am ever the masochist and will see if I can get it to work this time around (or square in this case). Finally, I threw a more standard casserole to work on in tuesday night's class for lug demonstrations if they are interested. I picked up a nifty paddle while in Lexington. It has a grid texture on one side and a linear texture on the other. I found that if I roll the lug blanks on the linear side, I can make some pretty nice handles. Of course I did not take any pictures of my weekend accomplishments, but will endeavour to do so tomorrow. I may even swing by after work and take some pictures if the kiln has cooled enough to unload.

How Fast Can a Pot maker Pot?

I will soon find out just how quickly I can push the making process. Can I go from wet clay today to glazed pot in 1.5 weeks? Probably not, but I’m ‘gonna give it a go. The 18 mugs I made for a custom order took me from June 6th to the 24th to throw, dry (barely), bisque, glaze and fire again. I was just able to squeak in under the 1 month minimum deadline I usually give for this type of order due to the fact that I had, coincidentally, already thrown 10 mugs on June 3rd and was able to use them for this order. So in reality, I actually started the making 3 days earlier, so that means the whole process took 3 full weeks to complete. The other and more crucial factor was that I had the minimum amount of greenware waiting for bisque to be able to fire a fairly full load of pots in the bisque. I will not fire a load less than that so as not to waste energy, or run the risk of cracked pots. In the end, the planets were all lined up just right for getting things done on time.
Now we come to why I am going to attempt the improbable (if not the impossible). The customer for the mugs picked them up yesterday evening and today she has asked if I had any extras. She needs 2 more, but this time, could the text that was impressed into the mug be raised up on an appliqué? That’s doable, but the kicker is that she wanted to pick them up next Friday (I kyboshed this Friday right away). That is 9 days away, not including today. The other kicker is that I will not be back in the studio until Friday this week, so really, I only have 1 week. I know that will not be a goal I can achieve, so I think I can get away with 2 weeks, she just does not want to wait a month. My only issue once they are complete is how to fire them. I will probably have to use the small test kiln at Ceramics Canada to get them finished on time, at least to bisque. I have more than enough to fill a glaze load, but I will NOT have enough for a reasonably full bisque load.
It's my fault for saying yes, I know, but I am always up for a challenge, just not sure how the clay feels about it. It has been extraordinarily wet here for the past few weeks. 80% humidity in Calgary is pretty rare, but that’s what it was yesterday and the day before that, and the day before that etc. Then there is the 100% humid rain, the rising rivers and ground water seepage. Work that would normally be dry in a few days is still very squishy after a week. I will have to take advantage of the natural drying powers of the sun (if it can keep shining long enough for me to finish this), as well as strategically placed fans. I just have to keep thinking of this as a “marketing opportunity” that may result in future customers. I have said that a lot about similar “marketing opportunities” but then I start to count chickens before they hatch and I usually end up with a basket full of rotten eggs. I am what you would call a pessimistic optimist. I try to always look on the bright side of things, but I know that in the deep dark recesses of my mind, in the pessimistic corner where my alter ego lives, I am thinking of all the ways this could go off the rails. Handles will crack, appliqué’s will start to peel off, glaze will crawl, or pinhole, or they will just plain warp and come out looking slightly rhomboid. But then, maybe I worry too much.

Late onset ADD?

I meant to post this on Friday, but as the tittle suggests, I have been a bit scattered lately. My fingers are getting itchy. I was in the studio almost every day over the holidays, but now I am back to my regular schedule of Tuesday teaching, Friday night , Saturday after working at Ceramics Canada (maybe) and early morning Sundays. It seems I always go through a bit of withdrawal after having been in the studio so much, my brain just won’t shut up. Today is proving difficult. I will just have to think of what I need to work on over the weekend and what I could begin working on more long term. Perhaps I will see if there is interest in putting together a small group of people to do a salt firing this summer if we can get some kiln space. I would go back to Medalta, but they don’t have a lot of time in the summer due to their workshops and residencies. I understand that they also raised the cost of renting their soda and salt kilns, which makes it a little out of my budget. I will  probably look into North Mount Pleasant and see what they have to offer in terms of renting the kiln. I hear it is very inexpensive and If it is really cheap, I may just go by myself (I tend to overproduce and then never get it all in the kiln when I share). The plus for this option is that I can sleep in my own bed. Medicine Hat is a 3 hour drive and would require at least 3 or 4 days in a hotel to finish the firing (load on day one, fire on day 2, cool down day 3 and then unload on day 4). I also need to go on a wood hunting trip (just a walk along the river will do). I am looking for some pieces of driftwood about 6 inches long that I can use as handles for a few stretched out platters and more of a unique piece of wood for a smoke fired jar (Mum, if you are reading this, if you see anything while beachcombing in Hawaii…). I pierced the lid of the jar during construction to accept wire or leather cord to attach the wood, and it has been sitting on a shelf unfinished since the summer, just waiting for its handle. Perhaps I will do that this weekend. I need to go by my parent’s house, and they live near the Bow River with lots of pathways and wood strewn river banks…

I also need to revisit the glazes I was testing over the holidays. Although the “frontal lobe” reticulated glaze is interesting, I was really looking for a snowflake crackle glaze (see Nov 2011 issue of Ceramics Monthly, I used the original snowflake crackle recipe). The glaze had less than 5% Magnesium Carbonate, but apparently that was enough to cause the insane reticulation. I have used other glazes that have way more Mag. Carb and have not had this degree of reticulation before. I did omit the 2% bentonite as I thought it was more for suspension, but perhaps it had another function? I will try mixing a 100 g batch including the bentonite, as well as 100g batches of other snowflake crackle glazes.  I also want to look at the matte lavender glaze. I want to know how it looks as a white glaze, but I also want to revisit the lavender, so perhaps a 1000g batch split into 2 parts (1 white, 1 lavender). What I am really looking for is a microcrystalline white with a smooth, waxy matte surface that appears frosty and thick (if that makes any sense at all). Describing glazes is like describing wine….Notes of honey, plum & leather with a smoky, earthy finish…blah blah blah.

Sorry for the slightly scattered thoughts here. Like the title suggests, perhaps I need to take Ritalin?

Neither snow, nor rain....

The United States Postal Service Creed (no Canada Post equivalent) should apply to potters too. Saturday saw an official snowfall of 9 cm on Saturday night / Sunday morning. I crawled out of bed at 8am, shoveled off the car and set off to go open up the studio and throw a few pots. I knew that I would be the only soul there for a while, as it was still snowing quite a lot when I got there and it continued to do so until noon or so. This meant I could spread myself out, turn up the tunes (today it was all Imogene Heap), and get into it without any distractions. I don’t mind the distractions, as it comes with the teaching territory, but the weekends are my own time, and although the students usually respect this and try not to ask too many questions, there are always a few interruptions throughout the day. I got the pots I threw on Friday night trimmed, assembled a teapot, added my high temp wire decorations to a tall lidded form, threw another large lidded thing, and threw eight 600g mugs. Not a whole lot accomplished but that’s OK. I suggested a method to trim mugs to Sallie so that it would go faster, and wouldn’t distort the rims, she was very pleased. I talked to Sonia about how to glaze her pots and talked to 3 or 4 different people about how a particular glaze result was achieved on someone else’s mugs that recently came out of the last glaze load. Oh ya, I also finished constructing my pendant hanger. I was inspired by a student to come up with a simple way to fire pendants that did not have to be fired flat, and therefore only glazed on one side. I had originally suggested bead bars but, she would have to purchase a set of the posts and bars and they take up a lot of horizontal space in the kiln, and end up costing a fair bit to fire. So, I thought, what if I threw a thick walled cylinder and inserted kanthal wire hooks into the cylinder at intervals to allow for multiple pendants to be hung on it . I have created a few pendants to give it a shot, and have incorporated little loops of thinner high temp wire  right into the pendants so they can hang from the kanthal wire, we will see how this works.  I left the studio at 3pm and went to my friend Christy’s house to deliver a set of 6 tall mugs, 2 medium bowls, and a teapot. So all in all it was a relatively productive day. I made some pots, and I made some money, can’t complain about that.

Aftermath of Studio Sale....gettin' ready for the next one

The studio sale on Saturday was relatively successful. I cannot however make any sense of the buying public. In the fall of 2007, before the market took a nose dive, they were not buying much. Then, in the fall of 2008, they were buying a whole lot more, even though everyone was freaking out about the housing bubble. 2009, in the middle of the World Economic Crisis, sales were flat, but not too bad, and then in 2010, we broke records. This year we are down again, not drastically, but still, what is the thinking? Or is there any? Everyone keeps saying that locally made work is making a comeback as the consumer is thinking more about where there dollars are eventually ending up. In other words, they would rather their money went into the pockets of local businesses instead of China.

I made pretty much the same as I always do, maybe down about $100 overall. This now leads to a bit of a supply crisis on my end. I have a 2 day sale coming up on the weekend, and although in the past, it has not had the best turn out, you never know, there could be hoards this time. The CCAA sale is a new event, and this will only be the 2^nd year in this location, and I know that it takes time to build a following, so it is better to always be prepared for the best case scenario.

Anyway, I sold about ½ of my work this past Saturday, and now I need to get into the studio and glaze like a demon and get a load in tonight if possible to help fill in the holes. The tricky thing is that I don’t have a lot of work bisqued. I do have some large bowls and casseroles ready to glaze, but nothing very small to fill in the smaller areas in the kiln and help it fire more evenly. Oh well, such is the lot of a procrastinator. I put off glazing too much, too early, and then I pay for it. On top of all this, I still need to put together a catalogue sheet for this sale. I don’t have to do it for any of my other sales, and I don’t like having to do one for this sale, procrastination wins again. I will have to dig through all my smoke fired pieces to fill in any gaps in inventory and price the ones I don’t want to part with really high. That way if they sell, I am not that broken hearted about it. Money sooths a lot of wounds J

working on some new pots

I had an unexpected day off from work today. I normally work 10-3 at Ceramics Canada, but the construction that is going on in the bay next door required that they turn the power off today, so no work. I went into the studio around 11 and left at about 4:30. In that time, I didn't throw a lot, but I got a faceted teapot trimmed and assembled, as well as 8 small mugs handled. I know, slowest potter in the world. 

vacuuming shmackuuming....gotta make pots!

TGIF! What  a week. I have been super busy at work, and my personal life, such as it is, has been suffering. Not that I’m complaining, gotta work to pay the bills.  

On a good note, the 2 days I requested at the end of the month were approved, and I can now go to Medalta to fire up the salt & soda kilns. I will be making up a flashing slip, a few stains, a terra sig, and a nice opalescent liner glaze, and a couple of stains to augment what Medalta will already have down there for us to use. I am very excited, and it is only 2 weeks away! I am keeping my fingers crossed that the weather will remain mild. It can snow all it wants on the 28^th, just please stay dry until then.

The Studio had a pot luck a couple of weeks ago, and apparently I was nominated in absentia to provide the entertainment and comic relief. A few people brought their spouses, and many of the attendees were students from nights that I don’t teach so Dave asked me to throw a demo. He then had me do another demo of his choice. The only proviso was that I had to be blindfolded. The sighted pot I threw never made it, I got too cocky and it collapsed after throwing a rather dramatic spiral into it that the thin walls, and rather bulbous form could not support. On to the blind pot...no issues, was able to get a rather well made bowl off (nothing complicated). Just goes to show you, throwing on the wheel has very little to do with the eyes, and a whole lot to do with touch. The food was fantastic too, it always is.

If I can, I will be firing a glaze load or 2 this weekend. I need to get stocked up for the spring. I have a couple of sales this April, and wouldn’t you know it, it is already almost half way through Feb and that means I only have 2 months to make sure I have everything I need, plus keep the galleries stocked up. Tonight I will wash my bisque, wax my feet, and let the pots dry overnight before I get at the glazing (sounds like a very strange spa experience to those that don’t know what I’m talking about)

 

Oh my aching back!

I was teaching again last night, and all of the newbies came back (good sign). I ended up demonstrating how to throw several different forms off the hump, like mugs, bowls, bud vases, little closed in orbs that could be turned into lidded jars etc. Wouldn’t you know it, the first piece that I cut off went flying off the mound. I must have been distracted as the wheel was definitely going way too fast for safe removal :)

I ended up spending quite a lot of time with a couple of them, working on coning up, getting the feel for when it is centred, and just generally trouble shooting their problems. It seems to be mostly hand position, and not utilizing the geometry of your body to assist you instead of working against you. Essentially just small adjustments here and there and they were on their way. I am sure it will click sometime next week, or if they manage to get into the studio for practice time on the weekend. After all this crouching down my back is a wee bit touchy this morning, but I will work the kinks out I am sure.

Here are a few filler pics of some of the stuff I am working on

 

The weekend

I was able to get into the studio for my Me Time on Friday. It was just me, Lorraine (another self directed student on Friday nights), and another student named Dave who does quite well on his own, and doesn’t ask too many questions unless he is stumped.

I was able to get my dinner plates, side plates, and salad bowls thrown, but not much else. I always go to the studio full of ideas, but I seem to always lose steam at about 7:30. Not surprising as I get up at 7am and work a full 8 hours in the office.

I did my usual 5 hours on Saturday at Ceramics Canada. I was actually kinda productive there, in that I was able to resurrect a painting of mine from near death. Amazing what you can do when you slap another coat of thick modeling paste on and obliterate the nastiness from previous attempts at artfulness...I left it to dry there, so still not sure what it looks like, but It looked 1000 times better than before. I should say that I have absolutely no painting skills, so I create according to my abilities. My paintings are purely abstract, and I work primarily in goo. That is, I use a lot (I do mean a lot) of modeling pastes, acrylic gels etc to build up texture. Then, I use the squirt method. I use acrylic inks and they come in little glass bottles with eye droppers and I just squirt away. I do use a brush, but that is used mostly to move the ink around and add water to help it flow. We (the potters that work at CC) formed a little painting group that meets the 1^st Sunday of every month, so my work this Saturday was in preparation for next weekend.

After my 5 hours at CC I went to the studio and put in some more time there, approx. 4 hours. I trimmed, and finished off some of my boat forms. I will try to take some pics tomorrow night. I do like the form, so I picked up some ^10 Bmix to make some for the salt kiln.

I went back to the studio first thing on Sunday morning and worked from about 9am-2:30. I managed to get a few things done in that time. I made some dinner plates for the salt kiln out of Plainsman P700 porcelain (I may do some carving on them, not sure), as well as 9 or so tall drinking vessels (haven’t decided if I will handle them or not). I am slowly trying to get enough high temp stuff made for this salt firing, and I am, my problem is that it is taking up all my shelf space for my other works that I have on the go, like the turning the table show, the Fairview sale, and now this CCAA Christmas sale.

Tomorrow, I will be teaching, and I have 4 newbies to think about, but now that I have done 1 basic bowl demo for them, I will jump back to more complex forms. I may introduce the boat shape. It is pretty simple to make, but requires patience. You have to let it get to the right state of leather hard before you start using the clay shredder to pare away the extra clay and smooth over the seam on the bottom, or I might do a covered jar for them. It requires patience as well, as I use the clay shredder to true up the corners and straighten out any unwanted curves. I’m trying to keep the demos interesting for everyone every week, so they don’t get bored. I did see 2 of the newbies on Sunday, it is always good to see them coming in to the open studio time right off the bat.

Oh, and my tea service was delivered in one piece and they apparently really liked it, so I can stop sweating over it.

I will be sweating enough tonight anyway, as it is my Jazzercise night. I only get one a week now, as the other class available to me is on Friday nights, and as we all know, mistress clay is a task master and I am chained to a potters wheel every Friday night. When I say chained, I really mean a daisy chain of puppy dogs and rainbows :)

This is a picture of one of my paintings taken last winter. It is a bit dim, but you can see the painting on the wall behind my television and all my plants.

Me time?

Finally, I might get some me time in the studio tonight. I always go to the studio on Friday night, but sometimes there are other students there, and that kinda cramps my style. One, as I am a part time teacher there, I do get quite a lot of questions (I don’t mind, but it can eat up the time); Two, I like to spread out when working, and if there is more than just the 2 of us that are usually there on Friday nights, it can get quite crowded, and I am a space hog.

 I am going to continue exploring the canoe form that I saw on Mandy’s page. I was going to work in some high temp porcelain, but apparently I can’t read and when I was working at Ceramics Canada last Saturday, I put a box of Plainsman H550 Stoneware in my car instead of the P700 porcelain.

Oh well, I will correct that error tomorrow. So right now, I am working with the last of my Laguna cone 5 bmix and Dove Porcelain. The Dove is going to be my dinner ware set for the Table Ware show (assuming I am in). I was not having much success with it last week, and I think I was just over tired and not reading the clay very well. My issues were when I would cut it off the wheel, the rim would flop down. I was thinking about the WHY WHY WHY, and I came to the conclusion that this clay is very thixotropic, and as soon as I add any force to the finished piece (in this case it was the centripetal force of the wheel, and the opposing force of the cutting wire) the clay transformed from a “solid” to a “liquid” (like quicksand) and the rim would become unstable and flop. So, to correct this, I think throwing the rim a little less flat will help with the removal. My other option would be to throw on plaster bats, but I don’t have room to store them. I use ¼ inch thick hard plastic bats, and they are fantastic bats, they just don’t release the ware if you don’t cut it off right away. I need to make a few more dinner plates, side plates, mugs etc..

Life is funny

I was just thinking about the paths that we follow in our lives, and how we end up on these journeys. I remember reading an article about how human beings are wired to make our own paths instead of following the ones laid out for us. The article used a university campus as an example. The designers of the university grounds laid out carefully thought out pathways to connect each of the buildings on campus, but the students and faculty seemed to always avoid using the nicely paved sidewalks and paths and instead would pave their own way and the results could be seen in the aerial photograph of the grounds. The lawns were criss-crossed with trails made by all these people who refused to use the sidewalks. I think life is kinda like this university. It seems that there are those that like to limit us by delineating where we should and shouldn’t go, and then there are the rest of us who seem to always walk on the lawn.

I tend to work like this too. I enter the studio with a fixed idea of what I need to do, and then I start walking on the “lawn” and end up doing something completely different. It is almost as if the second someone asks for something specific, I don’t want to make it, and I will wander off on unrelated tangents until the time crunch hits and I have to knuckle down and just do it.

On the road...

At least my pots are on the road and on the way to Comox. I finally got the glaze loaded and fired on Friday night. I was able to unload Saturday evening as it was not packed very tight.

I have mixed feelings about this last glaze.  The tea set worked out, but I am personally not happy with the glaze. It looks fine to the casual observer, but to me, knowing what I was going for, it gets a passing grade, but no gold stars...

I was however pleasantly surprised by the tall handled urn that I threw a while back in 2 parts for a demo. I was not sure if I was going to keep it, but I bisqued it and finally managed to fit it into a glaze firing. I just did some wax resist stripes over a clear glaze, and scratched lines through the wax and then dipped it again in a blue hares fur glaze . The result is quite funky (in a good way).

On Sunday, I went for brunch with the parental units and my sister and her fiancé (man it sounds weird saying that) at Diner Deluxe (excellent food btw). After brunch, mum and dad were off to the coast with my fresh out of the fire tea set, and I was back to the studio for more throwing. I am currently working with Dove porcelain, and I gotta say (again), I don’t like working with it. It does some specific things really well, but the sound of dinner plates flopping was deafening. I did manage to get 4 proper plates thrown, and then a large plate that flopped, I just flipped it upside down between 2 buckets and let it dry all wobbly.

I also began investigating a new form for me. I give 100% of the credit for this form to Mandy Parslow, an Irish salt firer. I was looking at her website and at her new work and this elongated form filled 2 gallery pages on her site. I love them. I love them so much that I am going to see what I can do with it. Essentially it is a collar of clay opened clear down to the wheel head and then smooshed together to make an oval boat shape. The rim must be narrower than the base so that when you smoosh, the rim doesn’t take a nose dive and hit the deck.

I never seem to learn my lessons

My demo for last night’s class should have been titled “how to make mud pies”. I was roving around on the interweb yesterday and came across some nifty neato altered vases. I thought to myself “Hey, those would make great teaching demos, I can do that”. Yeah right. I know that I should never attempt a new form (to me) for the first time in front of an audience. I threw the body of the vase too wide, and the neck too narrow so when I started pushing out the ribs with my finger, the shoulder collapsed and that was good by vase. It still demonstrated the essentials of throwing, ie, centre, open, collar, raise, collar, raise, raise, shape etc... but the “wow” factor was definitely not there. They all gasped when it collapsed, and they all made helpful suggestions on how it could be saved, but it was also a lesson for them on when to just throw in the towel and start again, learn from your mistakes and make the next one better.

While I was in the studio last night I was also attempting to glaze what I bisque fired on Sunday. I know I should never attempt to glaze during a class night. One, the time to do it is not enough; and two, there are constant interruptions from students. So, in an attempt to get a jump on glazing, I think I just made more work for me on Friday when I will be in the studio again. Another lesson left unlearned.