Bowl with scalloped rim

I spent a few hours in the studio over the weekend. I glazed a load of pots, loaded the kiln and fired it off on Sunday. I also messed around with a "fancy" rim on a rolled rim bowl. I made several batter bowls with the new curved handle and thought that it might be interesting to repeat these handles all the way around the bowl to add height and interest to an otherwise plain bowl. We will see how it does. The potential for failure increases dramatically with multiple attachments and the rim can warp, or crack with the stress of mucking about with it. Fingers are crossed that it makes it. I still need to clean it up, but it was way too floppy/fragile at that point.

Batter Bowl in the hen house

Nothing special today, just a view of a trimmed bowl with a pouring spout and a somewhat different handle. It has a bit of a chickenish look to it.

The doofer attachments to the side of the actual handle appear to be a bit cockeyed. Will have to do better next time.
Definition: Doofer - Term used locally (Fairview Studios, originated by Dave Settles) to describe the little clay wads that are pressed out with a finger or thumb to decorate pots.

New jug

Not much to report today, just a picture of a very different style of handle for this very large pitcher.Each section is actually made of 2 pulled handles. The pulled handles were made with a very deep channel so the profile of each pulled section was "U" shaped. They were then laid edge to edge to create a hollow handle, shaped into "doughnuts" and cut to fit. This pitcher is definitely not truly functional, as it is way too large and the handle(s) will probably not be very ergonomic. But it will make a great vase...

It's that time of year again. The spring pottery sale is set for May 31st this year. As per usual, I don't think I have enough stuff, but as per usual, I will probably have way more than I anticipated. The email notices will go out at the end of April, so don't worry if you have not gotten your notice, it is coming...

Pig update

Spring has sprung....a leak

I am going to develop webbed feet if this rain keeps up. I think we have had ~100mm over the last week or so, and if that keeps up, along with the spring runoff from the mountains, we are all going to be learning how to quack pretty soon.

In non soggy news, the studio has been scrubbed down. Well, not precisely scrubbed, but wiped, swept, stacked and tidied in preparations for the OPEN HOUSE this weekend.

We will have 2 out of 3 instructors there as well as an assortment of students. We will all be ready and willing to talk pots, throwing, classes, etc. Ellen's famous carrot cake will be on the menu, as well as coffee. I will be firing up the raku kiln at 12:30 into which I will attempt to fit as many tea bowls as possible (if you come, you might just get to take one home with you as a THANK YOU for coming. I anticipate the firing to be over around 2:30, and the pots should be ready to take home around 3 ish.

So, if you are in the area and are looking for a fun and informative afternoon out, swing by the studio. You might just find the hobby/passion/obsession you have been looking for. The weather is supposed to be nice  (little to no rain) so the big door will be open wide. Come on in and check it out.

Studio Time

The first long weekend of the summer is now over (sigh). I did manage to get 3.5 full & uninterrupted days in the studio, so that is a bonus. I did a lot of black and white sgrafitto, I threw some mugs, and I may have lost my mind a bit, as I threw 1 20 lb canister, 1 10 lb canister, 1 5 lb canister and then topped it off with a 10 lb pitcher. I know full well that I will probably not sell these. Nobody in this town buys jars, let alone massive ones with no actual purpose other than to look pretty.

 This is the 20 lb canister

 Pretty jars all in a row(I know, the handles/lugs suck)


 I was asked to come up with a "chicken" teapot for a student that collects chickens, so this is what I came up with first:

and then just in case it wasn't that obvious, I made this one:

I filled in the time spent waiting for things to dry with these:

OPEN HOUSE - Fairview Studios

If you have ever wondered how pottery was made and that you might like to give it a whirl, come to the Fairview Studios Open House. You can check out the studio, meet the instructors, watch throwing demonstrations and partake in a raku firing and you might even get to take a little treasure home with you. If you missed the Spring Sale, there will also be a selection of work for sale made by the instructors and various students.

Getting Ready for Salt

I have been throwing cone 10 clay almost exclusively since the end of December in preparation for my upcoming trip to Medalta in April to fire off their salt and soda kilns. I have made a lot of stuff in that time, but I am in that place right now where I don't know if I have made enough, or if I have made too much. Each kiln is 20cu feet and I am splitting the firing with my friend Susan (aka Sooooozin). So I have a full 20cu feet to fill, plus all the extras like on bag walls, the space under the bottom shelves etc. The end of my last bag of clay was actually where I started to make really good pots (I hope – I still need to trim them). They are gnarly and full of texture just waiting for the salt to juice them up and soften all that craggy goodness. It would be ok if the kilns were here, but alas, they are 3 hours away and I need to transport them down there, and if I have left overs, I really can't do anything with them except wait for another high fire opportunity. I think I may just go for broke and make as much as possible. If I have way too much, then so be it, at least I will have lots to choose from. I got a bit stuck on the sgrafitto, so there is a LOT of it, but everything from now on is plain old clay that will get flashing slips or shinos.

Other than that, a few students and myself are going to put together an open house sometime in early to mid June to help boost the enrolment at the studio. It is located in an industrial area in the city's south east and the feeling is that some people are put off by the location. It is not in a trendy area with lots of cafes and boutiques. It is not in a residential area either. It is in a light industrial/business park area and because of this, we think that some people are nervous about it. It is not a bad area, it just isn't very busy at night, and it can feel a little isolated. The building is a Quonset, and that may not give it a very homey feel either. But you take what you can get in this town. Rents can be a bit steep for small business owners, let a lone a pottery studio owner. If we have an open house in June on a nice sunny day, when the birds are chirping, then we can open up the very large overhead door to let as much light in and make it look inviting. We can have demonstrations going on throughout the day with perhaps a stinky raku demo to attract the pyromaniacs and give away small raku bowls to the attendees. I really hate doing raku firings, but it does have that WOW factor as well as immediate gratification. I always go home feeling like I have been camping and sitting around wet smokey fire pits, but without the added bonus of smores. I usually also look like a bit bedraggled, my face is all red, my hair usually gets a bit fried from looking into the kiln to check glaze melt, and some article of clothing always gets a burn mark or two. Ya, raku and me are not friends. So, if we blitz our FB friends, our twitter followers (of which don't have), our personal e-mail lists etc, as well as advertise in all the free weekly magazines we can, then hopefully we will have a good day. If nobody shows, then it will just be a regular day at the studio. More on this to follow.

Post Sale Blues

Another sale is in the books, but not the record books. We began arriving to set up the hall at 6:45 on Saturday morning. I managed to forget to bring coffee cups, so I had to run off and buy some at Safeway. I have never been the first person in a grocery store before, but now I have. Gotta say, the employees are mildly crabby at 8am. The set up went well, not rushed. I only broke one thing :(. I tipped a plate over onto a teapot and cracked the lid. The doors opened at 9am on the dot, and although the crowds were nothing compared to the black friday freakyness in the US, I took my life in my hands opening the doors up. I'm pretty sure that if I had not gotten out of the way quickly enough I would have been knocked down and run over by crazed pottery buyers and their rolling suitcases and I would have been just a stain on the linoleum. As per usual, the crowds rushed around grabbing everything they saw, shoving it into their boxes and bags to be picked over in a corner of the hall when the frenzy subsided. I must say I still don't understand the buying public's thought processes. The things that attract me and make me oooh and aaah are obviously not the same as what attracts their attention. It apparently doesn't matter if a piece is perfectly thrown and glazed just right. They like the bling. If it has super busy glazes, then that is what they love. If you spent hours carving a piece, no matter, they don't care. They just want cheap. So, if it is lumpy, bumpy and much less than perfect, but only costs $10, then they will take it, doesn't matter. Perhaps it matches their drapes. One shopper came with a friend and was heard saying “this isn't a seconds sale, I thought it was a seconds sale”. We have never advertised it as a seconds sale. I don't know who told her it was, but we gotta nip that in the bud. She was pleased that the quality was much better than a seconds sale, but would she have come on her own if she did not know? Probably not. I think the sale was above average in sales, but mine were down a bit from previous years, so I guess that is what has me bummed a little. What I thought would fly off the table did not, so I guess I will need to rethink my new work, or just bombard them with it at the next sale and not give them a choice.

I wish...

That there was a way to make money from procrastination. If there was, I would be soooo rich.
I have put off the inevitable, and now I am down to 1 night (the night before I go away) to clean my house (do all my dishes, throw out all the crud that has accumulated over the last little while, do laundry etc and pack for my trip. I can't do it tonight as I am teaching...so tomorrow it is. At least my flight does not leave until Noon, that should give my laundry time to fully dry before I pack it. Did I mention that my dryer is still toast? Yes, It died a while ago and as the subject of this post may suggest, I have put off getting it fixed. I seem to be doing ok without it though, less energy waste anyway.

I got around to updating my musical selections for the trip, but in the process, I managed to delete almost my entire iTunes library and had to redo it all. So while doing that, I got rid of all my duplicate songs and there seemed to be a lot of them for some reason. While I was at it, I updated my ipad software as well (that was long overdue, iOS6 has been out for a while). I was up a little bit past my bed time, that's for sure. I never really took a look at how much music I really have and was amazed, especially considering that I only listen to a fraction of it. Next, I need to update my phone and get that all sorted out. Other than that, I am ready to go (HA). I'm not sure where I got my procrastination genes from (probably my Dad, it sure wasn't from either set of Grandparents. The moss never grew under their feet, that's for sure.  My mum is one of those people that is ready to go at least a week or two before leaving, so I can't blame her either. I am an always on time and somewhat annoyingly early person (I don't do fashionably late), but I'm never really ready to go until the last minute.

Anyway, tonight I will be teaching, and at least I know what I am demonstrating well in advance of the class (not normal). I will make one of those altered serving dishes I posted about yesterday. I will scale it down so that it is not so overwhelming for the students. It can be tricky to manoeuvre the bottomless walls onto the slab bottom for both the marking and attaching phases, so we will start small (small for me that is).

a couple pots from the kiln

Here is a before and after shot of the tall bottle with the tree motirf. I was playing around with different coloured terra sig slips on this one. I started with a mason black stain, graduated into a pale bluish green and finally into a golden rutile. I was not sure how it was going to look as I was just dumping a little of this, and a little of that into the sig.

Here is a really drippy jar. A really thick slip was slathered on all over and then "combed" through with a rippled vegetable cutter (gotta love the dollar stores). The glaze is one I have been testing, hoping for a satin matt surface with hints of pale grey/lavender and copper green, but alas, it just runs all over the darn place.

Back to work on Saturday

After having had 2 whole months off from working Saturdays, I will be going back to Ceramics Canada this weekend. My biceps have had 2 months off from shifting boxes of clay and I know they are not going to like this drastic change in activity level. It will however be nice to reconnect with the community of clay people. I have not seen the CC people at all over the summer and it will be nice to catch up with what has been going on there. To be quite honest, I am ready for this summer to be over anyway. Not that I had a bad summer, I just need a change of scenery and a few different faces (plus I get to go on a mini holiday in just over 6 weeks!). Having spent most Saturdays at the studio this summer, with not many people around has been a bit solitary and now it is time to pick the socialness up a little. I got a lot done this summer, not as much as I would have liked in terms of glaze testing, but I did fool around with some hand building, which just reaffirmed why it is best left to those that really know what they are doing. I don't have the patience for it. I tend to assemble too quickly, or not quickly enough and scale has always been an issue as well. My pieces always seem a bit unwieldy and wonky as I don't know when to stop (kinda like when I was a kid at a salad bar). For example, I made a flower brick/vase. Some of it was thrown, some slab, some pinched. By the time it was done, it had more of a “Noah's Ark” massiveness to it. The only good thing I can say about it is that it did not crack during the making process and it managed to survive the bisque.

On the crock front, I have completed the 12 8"x8"crocks for my friend's wedding. Here are 3 of them with the name stamped in cobalt blue slip. I have removed the smaller text, as it just read as blobs. I have a half a bag of the clay I used for them left over, so I will probably just make a few smaller crocks as well.

Residency Envy

I'm Soooo Jealous....


I have been reading more than a few blog posts lately regarding artist residencies and the potters that are currently in them, will be in them, or just finished them. I am so green right now.

I sometimes wish that I had a less stable life. One that afforded me the time (although perhaps not the money) to pursue these opportunities without having to worry about how to take a prolonged “holiday” and still have a job when I got back. I guess that is a conundrum for most people. When you have the time, you don't have the money, and when you have the money, time is in short supply. I only get 2 weeks paid holiday a year, so that would need to be banked for a while in order to even think about taking a long sabbatical from work. Other than people like Warren Buffet and Bill Gates, who can afford to go for any length of time without a pay cheque? I keep trying for the lottery (through work). I don't want to be that schmuck that didn't put in and then they win and you are the only one running the joint when they are all sitting on a beach somewhere drinking mojitos.

The Renaissance guys had some of it right, they had the Patron. I think we need these to come back. To have a wealthy benefactor that supports an artist or artists in what they do, thereby allowing them to focus fully on their ideas and expand their creative horizons without having to worry so much about the mundane things in life that pull our attentions away. I'm just dreaming of course and I'm sure that there were some problems with that system of support. Like what happens when your patron dies, or loses it all in the stock market etc. All I want is someone to pay me to make stuff that I love because they love it, is that too much to ask? I jest of course. The 1% don't want to support me and the other sort of starving artists out there. Unless they do, and we just have not asked them nicely.

Dear Mr. Gates,


I am writing this to you in the hopes that you really need a new dinner service, teapot, coffee mug, soup tureen, casserole... but just can't find what you are looking for. If you could pay my way in the world, I will make you the most KICK A$& dinner service, teapot, coffee mug, soup tureen, casserole... ever.


Sincerely,


Ashley



Do you think it will work?

Probably not.

Back to the Lottery plan it is then.

It’s Here…

Thursday, July 5th was the first “unofficial” night of the Calgary Stampede. On the Thursday evening before the stampede begins they have a “Sneak a Peak” night that lets you get into the grounds to check out all the new and different ways you can spend your money and churn your stomach on the Midway before the official opening on Friday.

I may have mentioned before that I live very close to the grounds. According to Google, I only live (as the crow flies) 777m from the Grandstand (where they hold the Rodeo, the grandstand show, shoot off fire works etc). This is just over ¾’s of a km (just shy of half a mile). If the wind is blowing right I could spit that far. This short distance, and the fact that this is the 100th anniversary of the first Stampede, made for an especially loud evening. I think they also turned all the deep fryers on at the same time. I could smell deep fryer fat on my patio (must have been the mini donuts). The Coca Cola stage was in full swing, the rides were flinging screaming people around and the fireworks were, as promised, very, very loud. Even though I live close, I don’t get to see them. I face the wrong way. So all I get is the noise and perhaps some reflected light off of one of the taller buildings in my area. Not that exciting.

It’s not all bad. I do get to see some funny things while the stampede is in full swing. I was sitting on my patio on Saturday night, just reading a book and listening to the sounds of the inner city when I watched a “cowboy” walk by. Of course he was not a real cowboy. This was one of those urban cowboys that only dress the part for 10 days of the year. Anyway, the path he was describing was not the straight line of the sidewalk, it was more of a meandering swerving back and forth, and he was walking really oddly, more of a jerky shuffle as if his feet didn’t know when his body had stopped and vice versa.

On the clay front, I was in the studio all weekend, but it was just too hot to do much of anything. I decided to pack it in yesterday when the sweat began to drip down my face while throwing. I did manage to get the 2 extra mugs for the special order glazed and fired. They went into the test kiln, but they came out all gross. The ^5 BMix decided to bloat, and now they have little bumps all over them. I think the test kiln just gets too hot. If I had been able to fire them in a regular kiln load of pots I don’t believe this would have happened. These are the things that happen when you rush clay faster than it wants to go.

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.

A Potters Nightmare / Girl Interrupted

Sunday/Monday

As I mentioned in one of my last posts, I am in a bit of a time crunch to get some mugs finished that I have been commissioned to create. I backfilled all the handles on Friday and left them loosely covered over night until I could get back to them on Saturday after work. I left them uncovered in the sun on Saturday afternoon for about an hour and then put them uncovered on the plaster to hopefully wick out more moisture. On Sunday, I got to the studio bright and early (9am) & put the mugs outside to dry again for several hours. If a non potter were watching me, they probably wondered what the heck I was doing. Every half hour or so I would wander outside, pick a mug up and press the base of the mug against my cheek, shake my head and put it back down. This is the only method I know of to tell if there is any moisture left in the clay. If it is cold, it is probably still wet & my cheek is the body part I rely on to gague the level of dampness. I nervously began loading the bisque kiln at bout 2:00 and set it for a 2 hour delay and a 2 hour preheat, so it wouldn’t start until 4:00. I went home and that night I sweated bullets in my sleep worrying about the mugs. Could they have been a little too damp? Will the handles and bottoms get blown out by the moisture being boiled out too vigorously? All the worrying was for naught. I checked them on Monday, and all was well, now I am a couple days ahead of schedule. I was originally going to wait until Tuesday to fire the bisque, but now I can glaze instead and take my time to get that part right instead of rushing through it and then I can load on Friday night and unload Sunday. Even thought these are very simple mugs, I am really happy with how they have turned out so far. The handles are perfect (in my opinion). They are not too big, and not too small, they are juuust right. I also had a few shellacked pots in there that have the layer of coloured terra sig slip. I am eager to see how these come out in the glaze, especially since the process is rather time consuming. I want to know that going cross eyed from all the dots and squiggles was worth it. I am not 100% sure how they will end up glazed, but probably in the translucent Amber as I love the way it reacts with the rutile in the sig).

Tuesday
I taught my Tuesday class last night and the kiln was on from a firing that one of the other instructors had loaded and fired. It should have been done a long time before that. About a half hour into the class, the computer on the kiln started beeping indicating that it was not heating fast enough, and it shut off at 2140 F when it was trying to reach 2175 F. I have a sneaking suspicion that this load only reached cone 4. So that means that my load of mugs etc will not be fired in that kiln this weekend as I had planned. Now I will be madly glazing on Friday night in order to pack it all up and take it to Ceramics Canada on Saturday to load in their kiln. I got the feet waxed on the mugs and a few other pieces, so I’m a little bit ahead.

One before bed

I applied a black slip tonight and then spent the evening after I got home shellacking the pattern and dotting the dots then wiped back the slip to reveal the white clay underneath. Now to bed to dream of dots and swirls.

Dodging Murphy's curve ball

It might just work out in the end, but its gonna be tight (just like OJ's glove). The kiln is getting a new element today (fingers crossed) and then my stuff will be re-fired tonight. So Friday I will be unloading that kiln, then pricing and cataloguing everything else. it's gonna be a long Friday night.


I must say that even though everything was just a tad bit under fired, the glazes looked OK. I still want to refire though, the feet felt a little dry and the glazes were not 100%. The gloss liner glaze was satin, the translucent brown had a purple/bluish haze with little depth, the black and rutile slip on my bas relief stuff did not develop as nicely as it has in the past (begins to react with the glaze and forms a milky opalescence where the glaze pools) and again, the F96 brown clay was still quite orange. I always worry with a refire that the glazes will run off the pots and stick to the shelf. They had already started to flow the first time round, and now will be subjected to a full firing again. Luckily, most of my feet are quite substantial. I love a nice fat foot. However, I have several tall jars and vases that have flat bottoms and the glaze stops quite close to the bottom. Everything should be ok, but you never know.

So, if all goes well, I will have everything priced and packed on Friday night. If I don’t sell anything, then on Sunday I will be posting a whole bunch of stuff on Etsy, so look out...

More shellacky shellackery...

They say that imitation is the sincerest form of flattery…well I sure hope so. I have been working away on my shellacking and have found out quite a few things in the process. One, don’t be so impatient. The first few pieces I shellacked, I was so anxious to find out if it actually worked I may have begun the abrasion process a wee bit early. The shellac did feel like it dried really quickly and I even went to far as to dry them with a fan for a while, but once I started wiping them down with the wet sponge, I could definitely see a loss of detail as the shellac started to dissolve away with the clay. I did get some interesting results, but not enough depth to the texture. I was acting a bit like a kid on Christmas eve who could not wait to get into all the loot under the Christmas tree. I will admit that I have some experience with this as well, but no amount of subterfuge and precision re-taping on my part could ever fool my Mum. So after some so so results I managed to curb enthusiasm and wait it out. My last, and so far the best piece to date was a plain old tall cylindrical vase that I had coated in a purple/blue slip when still wet. I let it get bone dry and then waxed on my first initial design. I let it dry for 24 hours and then began abrading. Once I got enough depth and let it dry out. I brushed on my second coat of shellac, so that the first design was completely covered, as well as a little bit on the outside of the initial design. I waited another 24 hours, came back and wiped down again. After it was dry, I brushed on the last coat of shellac. I filled in most of the unshellacked spaces, leaving only the narrowest gap between the new coat and the previous coats. This time I waited 48 hours and then abraded again, this is where I was able to get the most depth as I wasn’t as worried about the shellac wearing off. Finally, once it had dried sufficiently, I brushed on a coat of black decorating slip that I had left over from a soda/salt firing I did at Medalta last February. It is a terra sig based slip with Mason 6600 black stain and rutile. I put on 2 coats for good measure and let it dry a bit then wiped down the shellacked areas, leaving the un shellacked areas black. When it was all said and done, it did appear very similar to Jim Gottuso’s pots, albeit the brushwork is not as precise and the decoration is definitely not as well thought out as Jim’s, but for a newbie, it was not bad. I also did the slip thing to some mugs I had previously shellacked, but used various other terra sig based decorating slips that were again left over from the soda/salt firing, but had different oxides added. There was a chrome green, a blue/green and a rutile slip. None of these have been glazed fired yet, but will post some in progress pics as soon as I get a chance to take the pictures. I have been a bit sheepish in posting them, as I would never want to be accused of copying someone else’s style, but I will just have to get over it. Like I said at the beginning, imitation is the sincerest form of flattery (I hope). In lieu of my bas relief pots in progress, here are some interesting little things I picked up at the studio the other day. Dave was cleaning house and had a collection of pots that he was giving away. They had actually been given to him as the original owner couldn’t sell them, and did not want to consign them to the midden heap for future archaeologists to dig up. Warning, they are very ‘70’s, so if you are easily offended by heavily reduced, dark brown groggy stoneware clay and iron spotted buttermilk glazes, please look away now ;) This little mug was made by Connie Westrom (now Connie Pike of Pike Studios), before she met/married Bob Pike I am assuming

And this slightly bigger mug is by Ed Drahanchuk

A wee little pitcher and matching sugar bowl, maker unknown...

Have a good one