Matty's Blog

Plates

2011-01-28T18:07:00.001-08:00

I have been out of the studio for a little while for various reason but I am now back in the cold garage getting into the swing of things. I have started out making a couple of prototype plates. I know the general design I want for the plates but I have been playing with some small details trying to find the right balance.

I changed several parts of the process for making these most recent plates. One of the major changes was that I threw these on bats as opposed to off the hump. I wanted to get a more consisted thickness to the plates and also to be able to leave less clay in the bottom. This allows me to do less trimming which means less reclaim and more spontaneous marks.

Plates are an interesting form to me because although they are not technically difficult to make there are numerous small details that can make or break the pot. I like the sort of routine quality that can come out of such simple pots. When a pot is made up of virtually one plane it brings attention to the smaller details and marks on the surface that you may overlook on other more complicated forms. The quality that I am after with these plates is a sort of fresh spontaneous imperfect look and feel. For me that freshness comes out when things are done quickly but with precision and a knowledge of the marks and amounts of clay you want to leave throughout the pot.

10% off Holiday Sale

2010-12-14T23:46:00.000-08:00

Anouncing a 10% of sale on ETSY. Enter holiday as a coupon code at checkout and recieve 10% off of your order.

Happy Holidays

Pitchers

2010-12-08T19:01:00.000-08:00

I have been making a lot of the same pitcher form trying to fine tune all of my ideas. One of the main things for me is making the handle continue the line created by the bottom section of the pot. This form needs a handle to complete it, but if the handle is wrong it throws off the whole pot.

I have also noticed that I like the pitchers to be more narrow and cylindrical shaped. I think that on the wider ones the angle created by the two planes meeting is too sharp visually. I made a couple pitchers in various sizes to create a sort of set. I'm not sure if I will photograph the finished pitchers as a set or as individuals. But I think if done well, sets like these can be a pretty powerful image.

Just a Slab

2010-12-02T22:09:00.000-08:00

Jan Mckeachie Johnston
Simon Levin

Shoji Hamada Ruggles & Rankin

I have been working on making some slab hump/drape mold plates and platters. I like the idea of slab plates for several reasons. First off, they are different from anything else that I am currently making. They also offer lots of variety in surface decoration and texture techniques, like Simon's wadding resist or Ruggles and Rankin's brushwork. I learned a while ago that making molds and pots from molds is not easy; however, Once you have made a good mold it is a relatively easy process to produce multiple good pot's.

It is frustrating to me that the thought of using molds takes away from the idea of handmade pot's. I know this is many peoples first reaction to the idea because it used to be mine. The word mold has a negative connotation for whatever reason. I think that making pots from molds, when done well, is just as valid of a process as throwing. It is definitely not easy and deserves better recognition.

I am very excited about the new possibilities that this opens up and I will post some pictures of my interpretations of these great pots shortly. And if all goes well they will eventually wind up on my Etsy page.

What is your opinion of pots made from molds?

New Pots and Etsy

2010-11-29T15:44:00.000-08:00

Pitcher with Flashing SlipYunomi with Flashing Slip
Mug with flashing slip (a favorite of this firing) Rice Bowl fired upside downLidded Pitcher

Some new pots from the latest firing at Mark Terry's Anagama. I had Kindof a lot of variables going into this firing new clay body glazes and slips. All in all im pretty happy with the results. The only problems I had were some issues with the functionality of some of the pots, all my fault. I was really happy with all of the surfaces though and I have a lot of new information to go off.

I would also like to anounce my first etsy sale. I have posted a couple items in my etsy store from this last firing and they are all waiting for you.

progress in the studio

2010-11-18T15:39:00.000-08:00

I have been focusing a lot on feet lately. When I think of good feet words that come to mind are satisfying, and confident. These words seem to contrast somewhat because a satisfying foot needs to be of a certain size; however, enough material needs to be removed in trimming in order to show confidence with your chosen tool. When these two factors are well balanced the resulting foot can be spectacular but if a foot is to skimpy or to chunky then it can ruin a pot. On the bowl pictured above I wanted to create a very tall foot. I feel that I may have over emphasized the satisfying part of the foot with its large scale, while not successfully conveying a confident statement with the foot because of how much cutting is required to produce this larger foot.
I have been having some problems with these inset lids. I need the knob to be a certain height to be easy to grab but I do not want it to be too tall and break up the flow of the pot. I have also been working on cleaning up the knobs and adding the same texture to them as the rest of the pot.

This is a new vase form for me. It is kind of inspired by Bede Clark, but I think they are still evolving. I am usually not one for the little pellets or smeared balls of clay but I think they work as little handle accent things.
I also revisited a faceted bottle form I haven't made for a little while. These pots are really about the small details and proportions, which makes them very difficult and frustrating to make. I'm not sure if I will make anymore of these, they may have to be one of those pots that I admire of others but never make myself.

Feet: Round Two

2010-11-09T14:18:00.000-08:00

Some more good feet, no repeats this time, any guesses?

Pitchers

2010-11-01T19:57:00.000-07:00

I have been working on a new pitcher form. I have continued to explore the idea of creating distinct planes with different textures. The bottom section of these pitchers are skimmed over with a trimming tool while still wet on the wheel. This exposes the sand in the clay and creates a kind of raw looking surface.
Another aspect of these pitchers I am working on is continuing the flow of the form in the handle. I want the handle to continue the line created by the profile of the lower section. I like the idea of creating a form that needs a handle to make it work visually. I think that this helps to integrate the handle as part of the pot and not as an afterthought. These are probably the last pots I will make before my next firing, more on that later.

Feet-any guesses?

2010-10-28T21:28:00.001-07:00

Here are some pictures of some of my favorite feet. These are all pots that I own and non of them were made by me. I really like feet (of pots) for whatever reason, I think most potters do. Feet are often times the best part of a good pot, for me. They are also often what make bad pots bad. I think the pots above represent a wide enough variety and display well what I am interested in. Anyone care to guess who these pots were made by. There are two pots made by the same person but other than that there are no repeats.

Lidded Pitchers

2010-10-18T19:33:00.000-07:00

I am finally getting to a point with these lidded pitchers where I feel like I know what I want from them. Meaning that I feel that I have worked out enough of the details so that I can actually be somewhat satisfied with them. This does not mean that they are done evolving, It just means that they are to a point were I will fire them.

The two pitchers above are quite small. I think I would envision them as personal teapots. I am avoiding telling you to many of my ideas about them because I would like to request some feedback on them. I would like anyone who has time to give me a one word critique of the two pitchers above. Just simply comment on the post with the word that comes to mind when you see them. All feedback will be much appreciated.

Mill Creek Pots

2010-10-15T13:31:00.000-07:00

Semi Famous Firing

2010-10-15T00:25:00.000-07:00

I spent the better half of this past September in Gresham, Wisconsin assisting Simon Levin in firing his Anagama. To date, this has been my most influential experience in ceramics. Working with Simon and his apprentices, who are all very talented potters, has taught me a lot. Through working with them I have learned the importance in deciding who you surround yourself with. It is very inspiring to me to be at the bottom of the pack and feel the need to catch up.

We fired Simon's Anagama for six days and then downfired. Downfiring is a technique Simon developed. It is similar to reduction cooling but he lets the kiln re-oxidise after every stoke in the downfiring as opposed to keeping the kiln in reduction during the entire cooling cycle.

Simon also fires his kiln a lot cooler (in temperature) than most people. Cone ten's were down in the hottest parts after firing for six days. The kiln never got over 2200 degrees. The ash was melted by the heat work as opposed to just temperature, meaning heat over time.

The kiln is fired in a very controlled manor with a detailed hourly kiln log and thermocouple. Simon's goal is to produce lots of "information" on the surface of the pots. He has adapted the firing schedule in order to emphasize the surfaces he wants. He is also very conscious in loading the kiln. Every pot is very carefully wadded in place and some wads are hung between pots to create more information and flame path on the pots.

pouring pots

2010-10-13T12:44:00.000-07:00

I have Incorporated a cup form that I have been working with into some pouring pots. I took the essential form of the cup and changed the proportions and size of them in order to make them work with a teapot and lidded pitcher form. Although the cup form was originally influenced by a cup of sequoia millers that I have, I feel that I have stolen the form rather than borrowed it. Stealing means that you take the idea and make it your own while borrowing suggests that you use the idea but do not change it. I have found that using the same essential form for a teapot and cups helps to make sets that "work" visually.The spout and lugs on this teapot help to balance the angular form of the pot. This teapot will eventually have a woven reed handle. The handle will also aid the balance and help to soften up the angular body of the pot.

I have been working with a sketch book a lot, drawing pots that I may eventually make. I arrived at this lidded pitcher form by drawing different versions of the aforementioned cup form and stretching the proportions. Then I think about what form it could be and add the necessary parts to the drawing. I think that drawing pots really helps to balance out the proportion of pots and also to weed out a lot of bad ideas.

Mugs Continued

2010-09-30T23:05:00.001-07:00

I have been working on the same mug form and made a few changes. I changed the handle by making the bottom attachment similar to the top. I also made the handle a little bit thicker and wider. I really don't like small skimpy handles and I felt that the previous ones were a little thin for my liking. I have also been working more with throwing these off the hump. I found that I would cut them off so that the bottom was very thick. Since I do not want to trim these this was a problem. I think judging the thickness of the base will come through practice more than anything but I have definitely been paying more attention to it. I want the handles to taper to both ends. I want the bottom attachment to be the thickest and significantly larger than the top attachment.

I have also started to make a sort of travel mug shape. I am not interested in making big bulky travel mugs, in fact I really don't like the idea of travel mugs at all. My idea is to kind of mock the form of a "travel mug" but bring it down to a smaller size, and also tweak the proportions a little. Since I find these "travel mugs" big and ugly I thought it would be an interesting challenge to make some that I actually like.

I have also been working on a new yunomi form. This form is kind of inspired by a Michael Simon cup that I saw at Guillermo Cuellar's house. I think that it is a very interesting form with a lot of potential. My cups are definitely still in a very rough prototype stage but I am interested to see how they work out. I like how the foot kind of stands out in the profile of the cup.

I have been looking at a lot of Michael Simon pots lately. I think Michael is probably one of my favorite potters. I think he is very under appreciated currently, it is pretty obvious when looking at his pots to see how many people have been inspired, or flat out copied them.

Working on Mugs

2010-09-28T21:19:00.000-07:00

I have started to work on a new mug form. Its kind of Ruggles&Rankin/Clary Illian/Sequoia Miller inspired. This mug form is pretty different than the mugs I have been making recently (Simon's mugs). I just got back from a trip, which I will write all about soon (I promise Ryan). Anyways, this trip made me think a lot about the pots I am making and the pots that I want to make. Being surrounded by a lot of good pots and potters made me think a lot about what makes a good pot. This is kind of an unanswerable question but it is very thought provoking.

The point that I am trying to get at is that I am back in a very "investigative" place in making pots. I am trying lots of new things and following lots of new influences. I am very excited about these new influences and new ideas to try out. This has caused me to get back into the mode were all I want to do is make pots. I am trying new things with clay bodies and also I have been throwing almost everything off the hump. I was inspired to throw and trim off the hump by Simon. He throws most of his pots off the hump, including plates.

Throwing off the hump can be difficult to begin with but provides many advantages in my opinion. There are the obvious benefits of not having to make individual balls of clay and increasing how fast you can make pots. But for me one of the biggest things is that the pot is raised up on a pedestal of sorts (the hump). This allows you to see the pot from a more objective angle while you are throwing it. I also like the freedom of making many pots quickly and I also like the process and the marks left from cutting the pot off the hump.

Trimming off the hump (soft clay chuck) allows you to keep the pot steady without using wads and without flattening the rim by sticking it to the wheel head. The pot also moves around a little which allows you to have a little more movement in your pots.

I believe that working in this way, using the processes described above, allows me to move closer to making the pots that I like. I have a lot more ideas I am currently working on and I will share them with you soon.

Arizona Pots

2010-09-03T17:27:00.000-07:00

(stoneware with flashing slip- small train)

(porcelain with flashing slip- wood-soda/double cat)
(stoneware- side stoke of double wide train)

Here are some finished pots form my Arizona trip. I have plenty more pots from my trip but I thought these were the best. Feel free to ask if you have any questions about the pots/firings etc.

Teapots

2010-08-19T00:31:00.000-07:00

After reading Don Piltcher's guest post on Sawdust & Dirt I have been somewhat cautious about what I choose to post here. This has resulted in less frequent posts but I hope better posts. I am not trying to write magazine articles here but I respect a well written post and try my best to contribute something of worth.

I have been making teapots lately. I made a new press mold for the spouts and I like this one a lot better than the previous one. The shape and scale of the spout are much more fitting to the teapots I want to make. The mold itself is also much better, I guess the more you do something the better you get at it.

I also changed the handle a little. I made it wider than past handles as I find that a wider chunkier handle is more comfortable and also more sturdy feeling. I made the handle attachment on the front overlap the seem of the top of the spout. I have had problems with the spout cracking in this area so I figure this will solve that problem. I also like the look of the handle kind of wrapping around the spout. I also made the negative space created by the handle more of an elliptical shape as opposed to round. This reflects the shape of the pot better and also leaves less room for error as with a round handle it is very easy to detect any bumps in the form.

The body of the pot is new as well as the lid and the feet. I have not made teapots for a while so, naturally, I have found lots of new ideas I want to try. I am continuing on a process that I have described several times of working in a sort of evolving series that will eventually 'hopefully' end with my ideal teapot form.

I have been looking at a lot of medieval English/ancient Japanese inspired pottery, such as the pots of Hamada, and Bernard leach. And more recently, Phil Rodgers and Jim Malone. I am finding it hard to incorporate these ideas into my work while still keeping the pots 'simple' enough for an Anagama firing. I find that the best pots, for me, out of any wood firing but especially an Anagama are strong and confident but simple. This minimalist style sort of leaves a blank canvas for the kiln to paint on. With teapots especially, I find it very challenging to have all of the elements of the pot working in harmony in an uncluttered way.

There are countless small details that aid this minimalist style. Several that I have chosen to incorporate into my design are as follows. A press molded spout- Simple, smooth, and flowing design helps to not distract from the pot as a hole. A lid that completes the spherical shape of the pot- Simple, completes the profile, continues the texture to the last 1/16in of the pot.

The pictures are arranged in the order in which they were made. The first teapot is at the bottom and the latest teapot is at the top of the page. On the latest teapot I switched to a handle on the back of the teapot as opposed to the over the top handle. I found that this handle helps to balance out the spout. The line is continued from the tip of the spout down to the bottom of the spout through the teapot to the bottom of the handle and ending in the top of the handle.

I am reasonably happy with the latest teapot, but I have some new ideas which will drastically change the design. I think they are moving in a good direction and I am excited to see how my new ideas translate in to a three dimensional object.

Lidded Jar Series

2010-08-11T03:10:00.000-07:00

I recently made a series of larger lidded jars. This is a form that I have made a lot of in the past but I haven't for a while. I like making big round pots because they are very satisfying when everything works out. On the other hand, I don't like making these big pots because it is very frustrating when things don't work out. I tried and continued several ideas with this series. I continued with a style of knob which I have been working with. I like this idea because it gives a nice finish to the top of the piece and it gives your eye an upward motion. For whatever reason, to me, upward motion is a positive feeling in a pot. On some of the jars the proportions were a little off, or as with the center jar in the picture below, the form makes the lid appear to sit higher, which I do not like. I think the the jar pictured above, as well as on the left of the picture below, has appropriate proportions as well as a nice form. My criticism of these jars in general is that the form is to round, aka- it does not match the undulating rhythm of the rest of the pot(lid, foot, texture, and trimming marks). The walls of the pot are a little more lively on the rope textured jar on the right of the picture below; however, I would like to find a way the create this liveliness in the wall without relying on the texture to do so.

I also tried a new way of signing these pots. I decided to place a small ball of clay inside the opening of the knob and stamp that instead of the bottom of the pot. The theory behind this is that, when examining the finished pot, it may be awkward to pick up this larger pot and search for a makers signature around the foot. However, a viewer will most likely remove the lid and therefor see my stamp on it, making awkwardly handling the large pot unnecessary. Although the scale of these pots may be a bit modest for this feature, I felt that it would still be effective. I have also been working more on my cup sets project. I have been making lots of smallish cups similar in style and pattern. I have been using porcelain, an iron rich stoneware, and a porcelainious white stoneware. I also made the first larger 'trays'. I think that four cups is the right amount for these pieces. I am learning a lot about little details that I like in my cups and enhancing them, which results in better cups, simply by making a lot of them. This also helps to make them more 'my own' and to stray further from their original influence.

Progress in the Studio

2010-08-08T00:27:00.000-07:00

I have been working on some new ideas as well as refining some forms I have been making for a while. I have been making this mug form for a while but they are still evolving. I have recently changed the feet on them as well as the texture.

I have been working on a new bottle form recently. These bottles are made in two sections, the body, and the neck. I trim the foot on the body when it is leather hard and then attach the leather hard neck. I like the simplicity of this process but it is hard to get the proportions right this way. I am going to try throwing the neck on top of the body, I have done this before and it makes it much easier to get the shape and proportions right. I like the marks made on the body of the pot by attaching the neck.(surform, trimming, and slip) I attach the neck, then surform it to get the profile I want, then trim off some of the surform marks, then add slip over the join and smooth it with a rib. The slip creates a better join and also comes up over the shoulder which makes it look as though the neck comes from inside the body and not on top of it. I learned this technique from Jason Hess, this is how he makes his bottles.

I have been trying to find a way to group several cups or yunomis as a set. I have been making slab trays, such as the one pictured above, to hold these "sets". My idea is to make lots of cups out of several different clays and then group them after they are fired. I'm not sure why but I really like the idea of grouping "sets" after they are fired. I think that this gives the opportunity to make a lot of pots that are for a specific project, as well as to pick the ones that are best after the firing as a set as opposed to making matching forms and grouping them regardless of how they turn out. I think that, with the design I have chosen to go with, they will also have somewhat of a sculptural presence. This is not to say that I don't want people to use my pots but I think these sets may be a special circumstance. I like the idea of taking a cup and putting it in a nonfunctional setting. There is nothing different about these cups that makes then nonfunctional but they will be part of a bigger piece as opposed to standing alone. My intent is to make people think of cups as art. I want to show that cups serve a purpose other than there intended function of holding your drink.Here is a sneak preview of the pots from NAU. This platter was tumble stacked in the side stoke of the double wide train. The blue color is from the pearl ash that we introduced into the kiln. I am going to take some "real" pictures of the new pots soon and I will post them when I do.

NAU

2010-08-01T02:16:00.000-07:00

(small train)

(wood soda side of double cat)

I just got home from a two week wood firing workshop at Northern Arizona University with Jason Hess. We fired the small train (pictured at the top of the page) as well as the double wide train, the wood soda side of the double cat (three times) and the other side of the double cat which is fired with just wood.

I learned a lot about different slips and glazes for wood firing and about firing in general. I met a lot of cool people, had a lot of fun, and fired a lot of kilns. I also got some pretty sweet pots which I will post pictures of in a week or so.

Thanks to everyone who made the workshop possible.

Rice Bowls

2010-06-29T23:13:00.000-07:00

I just finished making some rice bowls. I was inspired to make this form by Simon's rice bowls that you can get at Red Lodge and AKAR. Starting from Simon's bowl I chose to accentuate certain details that I liked, as well as adding some. The biggest thing I changed was adding a lid. I have seen this style of lid on some Japanese rice bowls, the kind you get at a restaurant with rice or miso soup. I like this lid because the knob is really a foot. This foot being at the top of the pot makes it the focal point of the entire pot. This is a really interesting detail to me because usually feet are not looked at very closely. This makes it impossible to ignore the foot. I have also found that making both of the feet the same diameter helps to balance the proportions of the pot.

Another detail I have chosen to emphasize on this pot is the transition from the thrown surface to the trimmed surface. I like having a clear distinction in the form between the two plains, I feel that this helps to balance out the abrupt transition from the lip of the bowl to the lid.

I have a lot to go off of from making only two of these bowls and I am excited to continue this series. I think I may make some with out lids as well as with different textures. I also want to make some with deeper feet as well as a deeper gallery for the lid to sit in.

Working Away

2010-05-31T23:17:00.000-07:00

I have been working away in the studio making a lot of pots. I have especially been making a lot of cups. Partially to fine tune what I want my cup/mug form to be, and also because I feel that they are a good pot to try new ideas with. Several ideas I have been experimenting with include, hakeme, backslipping, feet, clay body, size, and shape.

I have also been making some plates and large platters. For me plates are more about concepts and ideas because they are not all that hard to make. I had the idea for this plate form so I decided to make some and I really like the way they turned out.

I have found that when I am making a lot of pots and being productive I let my wheel get really dirty. I guess that is a good thing but it sometimes makes its harder to work.

new pots

2010-05-25T13:29:00.000-07:00

sectional vasesectional vaseside fired stoneware mugporcelainious stoneware mugside fired mugstoneware mugteapotfaceted bowl

faceted bowl

I just got a fresh load of pots out of Nils Lou's East Creek Anagama this past weekend. I was really happy with all of the pots I got out, but some favorites are the faceted bowls and the sectional bottles. All of these pots were made with my regular porcelainious stoneware or a rougher stoneware I have been trying out. I really like the look of the stoneware, however It is a little rough to the touch. I think that this is because of the large amount of grog in the clay but, since I do not mix my clay I do not really have any control over the recipe. Any ideas on getting a smoother (not glossy) surface? All of the pots have no glaze on the outside and a shino or oribe liner glaze. Let me know what you think?

Tea Set

2010-05-20T19:24:00.000-07:00

I finished up yet another teapot today. The main difference between this teapot and past ones is the lid. I made more of an inset lid on this one. My hope was that the lid would look more part of the pot; however, I don't know if I like it. I think that I might need to make the gallery deeper as to make the lid sit lower. This teapot is a little bit smaller than the ones I have been making (only 2lbs of clay) I like smaller teapots because I can actually see myself using them.

I have been focusing on making the strainers better on my teapots as well. I know that it is difficult to make a strainer that would actually strain loose leaf tea but I think that they should at least look good. For some reason it is difficult for me to make all of the holes aligned and symmetrical so I have to focus on this in order to make it the way I want (even though nobody will ever see this)

I also made the handle on this teapot a little bit taller. On the first series of these teapots I made the handles too short which made it difficult to remove the lid. On the second series I made the handles about the right size and I am thinking this time I made it too tall. I want to make some teapots with handles on the back as opposed to over the top. I also may try some Japanese style side handles(maybe). I am still very much working out all of the kinks with this form but I definitely like were it is going.

I have been thinking a lot about designing pots recently. By this I mean finding what you like to do to your pots, what original ideas you bring to make it 'your' pot. I have been thinking, specifically with this teapot rampage I have been on, what do you do after you have come up with a design that you are satisfied with? Do you just produce a bunch of the same form over and over again. I have seen people do this a lot, most of the more well known potters in America (not all).

This seems limiting to me because when I am making pots, even ones I have made lots of, I almost always find something new that I could do or change. I feel that if I had a standard form or design of say a teapot that I was known to make and had made lots of I would be expected to continue with this design. This may cause me to disregard a new idea that could make a better pot.

The whole idea behind the philosophy I follow of working in a series is to grow and better your pots throughout the series. It seems that maybe once you get the potential of a form maxed out then you come up with your interpretation of this form. This becomes your 'style'. But once you come up with this do you just become a machine and keep reproducing the same pots over and over again?

I think I will stop rambling now (this post is about teapots, right?)

Another Teapot

2010-05-17T21:09:00.000-07:00

I finished up another series of teapots today. I made two but I am not to happy with the other one so you only get to see this one. On this teapot I tried a new idea with the lid. I made a sort of hallow nob on it as opposed to the domed surface that I have used in the past. I think that a nob is necessary on these teapots because the handle makes the lids somewhat hard to take off and put on. I also made the handle fatter. I think that fat handles add a sense of comfort and security to the pot. I recently had someone say that they were afraid that the handle would break off of one of my teapots had they picked it up. This was somewhat of an eye opener to me so I am trying to solve that fear. I also played around with the spout a little attaching it wetter and at a higher angle. This allows me to integrate in more with the pot as opposed to it looking like an afterthought. This pot need to be cleaned up a little but I will do that when it is bone dry with a green scrubby pad. I have found that I have the most control doing it this way and it looks the least "fussy".

Let me know what you think.

Covered Jar Series

2010-05-05T22:39:00.000-07:00

I have continued to increase the size of my covered jars. I started this series with small tea caddy's and have progressed towards bigger jars. This jar is the largest so far and it is about 11 by 11 inches. I used the rope texture pattern on this jar like I have throughout this series. I feel that adding any sort of texture creates a more interesting pot. This texture also makes the pot a little bit out of round, which also makes the pot more exciting to me. I like these "loose" textures over the very clear round form. This underlying clarity of form is one of the major factors I look for in a "good pot".

New Pots

2010-04-28T15:44:00.000-07:00

(side fired jar with wadding resist deco)(sake set)(stoneware bottle)
(Porcelain cups)

I finally got some pictures up of some of my most recent pots posted. The top two pots were made from the porcelainious stoneware body I usually work with. The top jar I decided to play around a little with a wadding resist design that I think turned out really well. I plan to try this technique more in the next firing. The sake set was commissioned however I was able to make really whatever I wanted as long as it was a sake set. I am really happy with the way it turned out and the bottle also influenced the larger stoneware bottle I made. I really like the stoneware bottle and have already made some more pots with that clay body. The porcelain cups were made from a very white and expensive porcelain that I have been playing around with. I like the way they turned out but I think that this clay body could look very nice a little further back in the kiln. Overall I am very happy with the results and I am very excited for the next firing.

Teapots

2010-04-26T20:30:00.000-07:00

I have been working on a new teapot design. After a long struggle to make a mold I was finally able to make and use a press mold for teapot spouts. For a long time I was strongly opposed to using molds of any type to make my pots. After some investigation I realized that using a mold was the way to construct this type of spout that made the most sense for me. After actually making the mold and the spouts from the mold I have gained a lot more respect for this process.

I also tried to translate the Simon Levin handle into a larger teapot handle. I feel that on my third attempt (the teapot pictured at the top of the page) I succeeded. I had to alter my process a little in order to accommodate the larger scale of the handle but over all I am happy with the results. In my three pot series I used the rope texture I have been working with as well as the green scrubby pad texture. All of these textures are very nice in the wood kiln, which is how I plan to fire these. I am very excited to see how these turn out and also how the spouts pour.

What do you think?

2010-04-21T15:44:00.000-07:00

I have been working on continuing ideas lately. I have continued with refining the Simon Levin handle, as well as continuing my series of three handled bowls, and making a larger jar in the spirit of some small tea caddies I got out of the last firing.

I really like this mug for a variety of reasons. First off the texture "from a green scrubby pad" fires really nicely in the wood kiln. secondly the handle continues the line created by the profile of the cup. This allows for the handle to seem more of a integral part of the piece rather than an after thought. Lastly, the handle is very round and full which is what I strive for when making handles. This jar was inspired by some smaller tea caddies that I made for the last firing. I wanted to make a larger pot simply because I haven't done so in a while. This pot is not particularly large, just in relation to the pots I have been making as of late. It is nice to get back to throwing largish full bulbous forms. They are very satisfying to make and I am glad that I "still got it". This jar still needs to be trimmed Which is very important to my process (potentially a post on feet in the future)

I have continued my series of three handled bowls. I still have no idea about any details on the pot they are inspired by but I think my series is coming along nicely. I put the "green scrubby pad" texture on this pot and I am pretty excited about it. This one is also a bit larger than the first one I made. I think that the scale of the handles matches the form and work as an integral part of the piece.

Hopefully some images of pots from the most recent firing coming soon!

Faceted Bowls

2010-04-14T23:16:00.001-07:00

I have been working on a series of faceted bowls. I cut the facets while the pot is still wet on the wheel, from top to bottom. I then further stretch the bowl out from the inside with a rib. Through making a series of this pot I have found several little details that I like. The first detail, yet another Simon Levin influence, is to angle the rim so that the highest point is at the outside edge. This meaning that the lip tapers into the bowl, similar to the lip of a cup, except more defined. When done before cutting the facets, this creates a more scalloped rim, which I like.

Another thing that I like to do with this pot is to make one of the facets different than the rest. Recently, I have done this by making two distinct plains in one of the facets, as apposed to the other single planed facets. I think that this creates a distinct focal point or front to the pot, yet it is still somewhat understated.

One of the most important details, I feel, for getting this pot "right" is the shape. I find that a wider, more flat bottomed shape helps to achieve the look I want. I also like the more closed in lip. I feel that this helps the pot to look more complete.

To facet these bowls I use A cheese slicer that is slightly modified. I took out the wire that comes in the slicer and replaced it with a very tight wire. This allows for more control and a cleaner more even cut, which I like. If you have any questions please don't hesitate to ask.

New Idea

2010-04-08T21:57:00.000-07:00

I have been working away on some new ideas as well as continuing some. I have been making mugs inspired by Simon Levin and I am starting to become satisfied with them. The handles are the main factor that I am considering but I have also found that the form of the mug contributes a lot to the finished look of the handle.

I have also been working on a new idea. This three handled bowl was inspired by many different sources. My inspiration for putting three handles as opposed to two or four came from a post I read a couple of weeks ago on Scott Coopers blog. Scott would call this Tri-lateral Symmetry as opposed to Bi-lateral symmetry. The form of the pot was inspired by a pot that I found online that was apparently from the Song Dynasty. The pot, listed as a "Chinese Chun Yao double handle jar, song dynasty" can be found here . I have tried and failed miserably to research this pot. I am most interested in where specifically it is from and what it was used for. If anyone has any ideas or knows anything about this pot please let me know.

For my version of this mystery pot I think I would like it to be used as a small serving/fruit bowl or some kind of small planter. I really like this form and I think that it has some great potential. It would really help to know more about the pot I am inspired by.

New Mug Video

2010-03-31T20:56:00.000-07:00

Sake Set

2010-03-28T15:32:00.001-07:00

I just got home from visiting Utah State University and Norther Arizona University. Dan and John at USU and Jason at NAU were all really helpful and kind. Thank you all for everything and it will be very hard to decide which school I would like to attend.
Back to the point of this post. When I was visiting NAU I was lucky enough to get to watch Jason give a demo in one of his ceramics classes. Among other techniques Jason made a bowl that he textured the outside of with a rope. I had seen this texture before but never knew exactly how it was done.

I recently received a commission for a sake set and thought that this texture would be appropriate for the form. At first I was skeptical about this form but found through making it that I actually liked it a lot. I like the modest scale and the opportunities for different surfaces throughout the form. I had a lot of fun making these and hope to make some similar pots in the future.

Wikiclay

2010-03-25T20:33:00.000-07:00

Simon Levin and Lloyd Cledwyn have just released the Wikipedia of clay. Wikiclay is a new resource for all clay artist around the world. I believe that Wikiclay will become a huge and very help full resource for the entire clay community. Please head over to Wikiclay and post about what ever clay related topic you feel like.

2010-03-20T22:40:00.000-07:00

I just posted a video of my recent work. The work is either woodfired, reduction fired, or cone 6 fired. If you have any questions dont hesitate to ask.

25th Anniversary

2010-03-20T01:38:00.000-07:00

About two weeks ago I helped to fire the East Creek Anagama. This was a very special firing as it was the 25th anniversary firing of this kiln. All of the pots turned out very well and I am extremely happy with the results. Although I could ramble about the pots, I think I am going to just let the pots speak for themselves today.

Influential Workshop

2010-03-18T17:23:00.000-07:00

This past Sunday I attended a workshop by Sequoia Miller at the Oregon College of Arts and Crafts. I have been reading Sequoia's blog recently and when I got the chance to see him work I had to take it. The workshop was supposed to be two days but Saturday we unloaded the 25th anniversary firing of the East Creek Anagama, more on that in a couple days. Although I missed the first day of the workshop I was still able to see Sequoia alter and decorate a lot of pots. My favorite part of the workshop was when sequoia demonstrated making a teapot. The teapot he made was pretty incredible so naturally I had to make one myself. I changed a couple things here and there but I will definitely have to change the design more to make it "My own". But, as I have said before, I would rather make good pots then bad pots for the sake of originality.

The thing that I changed most about the teapot is the lid. Sequoia makes an inset lid for his teapots while I chose to use the style of lid I have been making for a while. I also changed the lid to make it relate to the squareness of the teapot. I will admit that this is the first ever idea I have actually used that I came up with by drawing the pot first in my sketch book. I am usually against drawing pots before making them but I think that it definitely helped me out with this one. I think that my biggest problem with the design of the teapot is that I want to work out a way to have a more traditional foot ring. I like the feet that sequoia makes on a lot of his pots but I don't think they relate very well to the style of pots that I like to make.

Cups and Style

2010-03-09T21:14:00.000-08:00

I made some cups this week. I made them by texturing the outside and then pushing them out from the inside. I'm still just playing around with the form of these cups and they are still very Simon Levin 'esc. These cups range from tea bowls to sake cups. I like the forms and I think that I have some good new ideas to go off of. I am struggling to make them my "own", but I think that will come in time.

This brings up another point. I have been talking and thinking a lot about personal style. Ceramic arts daily recently posted an article of Simon Levin's that talks mostly about self critique but also brings up some good points about style. Simon brings up the point that he would rather make good pots than make bad pots for the sake of originality. This point really speaks to me and I think it is very valid. The topic of pots being original and "your own" is a major concern of the ceramics community currently and I think that it may be a little over emphasized. A lot of bad pots are being made today simply for the sake that they are original or new. I think that this is a very wrong approach to making pots.

Although this may seem like a desperate way of me justifying copying other potters it is definitely not. I am fully aware that I copy others pots. I believe that finding your own style or voice is very important and I am practically obsessed with the idea. I am extremely envious of potters who have found their "style".

Back to Simon's point. The ceramics community is very generous with sharing techniques and glazes and anything else you are interested in. With resources like YouTube, blogs, and workshops it is easier than ever to copy others work. A lot of time this copying happens subconsciously. I have found that controlling the impulse to copy starts with copying the pot you are inspired by as best you can. Say you find a mug that you are very inspired by. Sit down and throw ten of this mug. As you go you will find qualities that you like and dislike about the pot. Then make a second series of the pot and emphasize what you like and discard what you don't. This process will eventually lead to "your" mug. This is a very over simplified description of the process and it is definitely easier said than done.

Well thats enough rambling for now. Please let me know what you think about style? Is it over emphasized? Is it important?

Continued Direction

2010-03-04T15:18:00.000-08:00

I have continued in this new direction. I have been making some pots and just trying out new techniques. I feel like I am getting back into the fun of making pots rather than the routine restricted feeling that I have been stuck with for a while. I have been trying everything that comes to mind without dismissing ideas because "they don't fit my style". I like the idea of taking something and making it your own, in this case a certain technique. One of my main concerns at this point is texture. I like the idea of showing the textures that are left behind in the making process. My favorite being trimming lines/marks. These being the almost horizontal facets that a wide loop tool creates. I feel that, when done right, these lines show confidence and spontaneity.

Another technique that I have been working with is paddling. After making a couple of pots, the technique that I found works best for my desired result is as fallows. A bulbous form is thrown to the desired final shape (maybe a little less bulbous than desired). Then, before turning the pot over to allow the foot to dry (for me the next day) the pot is re centered on the wheel and, with a hand supporting the inside, beaten with a textured paddle. Then, a rib is used to push the form out from the inside to make the pot round again as well as finalize the shape. The pot is then allowed to dry further and is trimmed and finished the same as any other pot. I am still working out how to make bottles and other small necked pots with this technique. It is also difficult to do with smaller pots.

I have been using up some porcelain that has been sitting around for a while. A couple of months ago I was considering switching to working exclusively in porcelain (why I have porcelain). I eventually decided that I did not want to make the switch. The two pots above (lidded bowl and small bottle) were made from some "poor mans porcelain" that I tried out. The body is called "Hanjiki Porcelain" and is made by Georgie's Ceramic Supply.

Another change I am working on with this new direction is the feet of my pots. Before I would add two parallel concentric lines to the inside and outside of the foot ring and then sign and date it. I am currently favoring this style of foot. I trim the foot the same as I used to and then "mess up" the outer edge of the foot with my fingers. I also made a stamp that is simple but effective. I think that with this "new direction" I am trying to convey a more simple look, stripping the pot of many unnecessary details to allow the form and surfaces to stand out.

I think that my main idea is to capture the "done with ease factor", "Rakuness" as Soldner would say. Although it may be ironic to talk about something that I want to seem natural or easily well done(for lack of a better term) I think that it is a point worth mentioning. I am (very clearly) having trouble putting this into words, but that is why I am a potter not a writer.

Reduction kiln results

2010-02-24T19:09:00.001-08:00

(bottle with shino stripes and iron on lip)
(bottle with very thin shino over black stain)
(bottle with shino stripes and iron lip)

(small jar with shino over black stain)

I finally got my kiln finished and fired it off. I got it up to cone 10 pretty much all around. Some parts were probably at about 11 while others were about 9.5. This difference does not really bother me because I will use the hotter areas for shinos and more refractory glazes, and I will use the cooler areas for less refractory glazes. The difference in temperature, I think, is due to the fact that the kiln only has one burner. I think that I could get the kiln much more even if I use two burner; however, for the the size of the kiln two burners seems like a bit of overkill. The kiln, as fired it, was a bit of a test of the design. The kiln fired well and now I am taking it down to make it slightly larger as well as more durable.

I don't know how good of a job I could do explaining the design of the kiln but I am going to take pictures as I rebuild it. I am waiting for a couple more boxes of bricks to arrive and then I will begin taking it down and rebuilding it.

Cone 6

2010-02-24T18:05:00.000-08:00

I have talked a little bit about some of the cone 6 glazes I have been messing around with and finally got some finished pieces. The dark amber glaze is a glaze that we have had in the studio for a while. I like the glaze but it could be better. The off white matte is a glaze that I made from a recipe I got from Jeff Campana. I took the base recipe and tried some line blends with different colorants. The glaze I liked ended up being the base with 4% rutile added. I like the way the glazes turned out; however, I have since got my reduction kiln working and am starting to test glazes for cone 10. I think that the accessibility and ease of firing in an electric kiln is very attractive, but I don't think that it is what my pots want right now.

New Direction

2010-02-18T19:08:00.000-08:00

I recently got a new mug made by Simon Levin. I was very inspired by this mug and had to give it a go. The mug is very different from the current style of pots that I am making which of course caused me to question everything I have been making. This mug I think, demonstrates the "language of clay" as Simon calls it, very well. The thing I like most about Simon's pots, and this mug in particular, is that they are very well made and thought out without being overly refined. Simon also achieves incredible surfaces in his wood fired pots by a method that he discovered which he talks about in this podcast. The podcast is somewhat lengthy but is very interesting and informative.
Simon's ability to create these amazing pots is very inspirational to me and may be leading my pots in a new direction. The ability to show the amount of skill that Simon's pots do without being over refined amazes me. I think that my pots have become over refined. I hope to be able to implement this "less is more" philosophy into my pots.

(My new Simon Levin mug)

(New cup I just got from Tom Turner today)

I also just got a new cup from Tom Turner today! Although Tom's cup and Simon's cup seem to be on the two ends of the pottery spectrum they both offer a quality that I look for in my work. Both cups are very well made and show the tremendous skill of the potter who made them. Both pots are truly amazing and I am extremely happy to be able to add them to my collection.

New Teapot

2010-02-13T01:15:00.001-08:00

I trimmed and assembled this teapot today. I put the plaid pattern I've been working with on it and really like the way it turned out. I also tried a new spout that I think worked out OK. The biggest change in the spout is that it has that little ball shape at the base. This allows me to cut the bottom of the spout to get a better angle. I also made sure to make the handle plenty wide and generous in size as I have somewhat a phobia of thin weak handles. I also think I improved the shape of the pot by making the belly start lower to achieve more of a spherical form. All in all I really like the way it came out, tell me what you think!

Concentration Progress

2010-02-11T17:59:00.000-08:00

I have been working towards completing my concentration and finally got around to finishing these mugs. Ive been working particularly on my handles and am getting more confident about them. I feel that I am getting the size and shape of the handles just about right for two fingers. I used my regular process of making prototypes and then choosing a shape to duplicate. I feel that this helps to develop the form as much as possible before making multiples.

Speaking of prototypes I made my first prototype for a set of plates I plan on making. I like the shape and I feel that I have a good base to go off of. I like the relationship between the squarish outer edge and the round interior. To make this plate, I threw basically a dog dish. I then cut the rim from one corner to the next. I then pushed the rim down flat to make it a plate. Then before trimming I ran a sure form around the outer rim to sharpen up the shape. I am happy with the way it came out and plan to make my set similar to this one.

I just fired my reduction kiln yesterday and plan to make a post on that in the near future.

Nothin Doin

2010-02-05T13:55:00.000-08:00

I have been out sick all week which has caused for these cups to be wrapped up under plastic all weak. I will hopefully be able to finish them soon and get another concentration piece done. These are going to be a set with the prototype below in mind.

that's all for now

Video: trimming bowls

2010-01-26T14:13:00.000-08:00

I saw Brandon's post (support your local potter) the other day and thought I would have a go at making a video. I just happened to be making a set of bowls for my concentration and thought it might be interesting for you all to see me trim one of them. I didn't think to make a video of throwing them so that will have to wait. I apologize for the terrible video quality but I think it still serves the purpose.

Vase Series

2010-01-20T16:05:00.000-08:00

I have been working on making some sectional vases recently. The photo above shows a series of vases in the order in which they were made from left to right. The vases clearly get better as they move to right and the series progresses. This picture shows my series of vases and my progression through the form but also proves that making in a series works. I found that the key factor for me with this form was getting the proportions of the neck to match the body. The diameter where the neck meets the body and also where the neck ends are conducive to the size and shape of the body of the pot. I enjoy making this form and hope to continue working at it. I also hope to make a post of the process of making one to show you all how.I think its about time to load a bisque!

Cream and Sugar?

2010-01-12T21:26:00.000-08:00

I have been working on making some cream and sugar sets. I have been meaning to make some for a while but never was really that inspired to start. I have been contemplating how to go about this set for a while and tried out a few ideas. I started with the idea that the two pots should start from the same body shape and be the same height. From looking at cream and sugar sets that I admired I realized that the most successful sets were just a mini version of larger pots that that potter makes. So, naturally, I shrunk down my new pitcher form as well as a jar style I like making. I feel that this set is pretty successful but definitely has potential to get better. I am trying to move towards more simple surface decoration to aid the glazing process. Since starting to work with cone 6 I have come to learn to plan further ahead in the making process how the pot will eventually be glazed. I am still working out the kinks with some of my cone 6 glazes but have some promising recipes to go off of.This vase is sort of a twist off of the pitchers I have been making. It is made in the same way but with a narrower neck. I was originally inspired for this form by some of mark Hewitt's larger bottles but it has ended up very similar to Tom's Tang vases. I will have to work to make it my own but I like where the form is heading.

Pitcher Series

2010-01-06T15:30:00.001-08:00

I have continued to work at the pitcher form I mentioned in my last post. I had some problems with the bottoms of the handles cracking off (and pulling an inch away from the pot). At first I was very confused because I had never seen this before. I eventually (at the expense of a few pots). realized that they were cracking of because I was putting the handles on when the top section was more wet than the bottom.

This means that the top would shrink more than the bottom before it was totally dried and pull the handle off of the bottom section. I eventually tried waiting until the top was the same as the bottom to put on the handle and the problem went away. The second picture is the most recent pitcher and I feel like they are continuing to get better. I feel like my ideas are becoming more and more refined and I am working toward something good. On the most recent pitcher I changed the thumb grip because I feel like this kind will be more comfortable and make it easier to poor. I also feel like I have found a happy medium with the handle as far as aesthetics and function.

new cup deco idea, hope to work this idea a little more. Maybe a pitcher with cups set! well see.

Semi Productive Weekend

2009-12-21T21:31:00.001-08:00

This new pitcher form is I think just about right. It was thrown in two sections inspired by a video I saw of Linda Sikora on the craft in America website. I feel that, as Linda talks about in the video, throwing in sections really ads a lot more potential for interesting forms. I like the clean break between the belly and the neck. I think this is pretty much my ideal pitcher form and I will definitely continue to work with this process.

These new mug forms are essentially the hand cup "yunomi" style cups that I showed in my last post, but with a handle. Although these cups are originally inspired by Tom Turners cups I feel like I am slowly moving away from his design. After visiting Tom it has been really hard for me to break away from his influence, probably because his pots are so good! My main influence for putting a handle on these cups was from Don Sprague. Don has started to work with making tumblers/yunomi/whatever out of the same form as his mugs. I think that this is a very cool freedom because it allows you to do what the pot calls for, rather than deciding right away whether it will have a handle or not.

I have been working towards throwing larger forms, this one is about 6.5 lbs and about 9x9 inches. I like the form a lot and will probably leave this with no surface decoration and save it for the wood kiln. I find that the wood kiln helps to emphasize a good form while the electric kiln can make them very static and boring.
I have been making a lot of jars recently simply because that's what I feel like making. I tried out some new ideas on these two and I am reasonably happy with the results.

All in all I would say that I tried out some good ideas this weekend and have some good stuff to go off of. I am still working on getting up the second "journey of a cup" post which SHOULD be up in the next week or so.

The Journey of a Cup

2009-12-15T21:48:00.000-08:00

First the cups are thrown on small square bats to a gauge. The bats allow me to leave them on bats but not take up alot of space. The gauge alows me to throw them all to pretty much the same size.

when the cups are soft leather hard (next day) they are paddled with a textured paddle to a pentagonal shape. They are then stamped with various small stamps on each face. Then they are turned over and allowed to dry to leather hard before trimming.

Not all of them make the cut!

Once leather hard they are trimmed and allowed to dry the rest of the way

Keep an eye out for the completion of these cups. I will post my glazing process and then a picture of the fineshed set!

Keeping On

2009-12-15T21:24:00.000-08:00

I've been keeping on in the studio trying to make some pots for my portfolio. I'm also trying to make a lot of pots because I find that when I unload a kiln all my pots are traded away or sent off to shows. I don't care to much about using and living with my own pots, but I think that it is good feed back to be able to use your pots and see what works and what doesn't. Aside from these pots I've got a bisque to hopefully unload tomorrow which should eventually leave me with some of my pots to keep. Ive been working on testing some cone six glazes so that I can become less dependant on wood firing. The only reason being that I have somewhat limited access to wood firing and I want to be able to finish more work. Also I think it will be cool to be able to have more control over my glazes and more of an idea how they will turn out. I am currently working on a very runny transparent amber glaze and an off white satin mate to use together. I have also been working on a celedon but after many frustrating tests has been put on hold. I have recently been working on making "My pots" as opposed to copying others. This is one of the reason I tried out the over the top handle on one of the teapots. I like the idea but the form needs a little tweaking. I feel I have some good ideas for making this new handle work, which is good and I am excited to see how they work. which handle do you like better? I also just threw these two lidded jars which I think I am going to try some new types of fluting on. That's all for now but I've got a post coming of my process of making cups from start to finish.

Home Made/ Found Tools

2009-12-09T15:44:00.001-08:00

Tools are a very important part of being successful at whatever it is you are trying to accomplish. When it comes to pots, lots of very good tools can be bought at pottery supplies stores (mud tools and van guilder) to name a few. Although lots of tools are readily available sometime found objects can be used and or altered into a tool. Pretty much anything metal found in a hardware store can be used in one way or another. Door knobs, hacksaw/jigsaw blades, and drill bits are some of my favorites. Also wooden dowels work really well to carve into a stamp. Making your own tools, in my opinion, is a very important step into finding your own voice or style through your pots. Pretty much anything can be used in some way to aid your making process and seeing something where others may not can lead to amazing pots!

DOGGY

NEW POTS!

2009-12-02T22:39:00.000-08:00

I just got some fresh pots from the wood kiln. Thanks to Mark Terry I was able to get a few pots into a recent firing at his Noble Hill Anagama. Marks kiln is built on his parents Christmas tree farm near Verbort Oregon. This was my third time firing at Marks kiln and every time has been awesome. I got a few other pots out of the kiln that I will post some pictures of soon. These two pots are the two that I have selected to enter into George Fox Universities High school Art North West show. The deadline for submissions was today so I had to photograph the pots and burn the images to disc(well thank you Amy for doing that) and then drive the disc up to Newberg to GFU. I cant complain though it was definitely worth it to get these two into the show!

Don Sprague Workshop

2009-12-01T19:55:00.001-08:00

A couple of weeks ago I attended a workshop by Don Sprague at Chemeketa community college. It was a two day workshop from about 9-4 on a Saturday and Sunday. Don demonstrated many of the forms he makes and gave a brief slide lecture. The workshop was awesome and I was very intrigued the whole time. Among other pots Don demonstrated

A very large platter (about 30 inches)

A square SureFormed bowl

A large Square salad bowl

A Large Pitcher

The workshop was great and I learned a lot from Don. Don is a great potter and I look forward to seeing more of his work in the future.

Mugs!

2009-11-23T20:40:00.000-08:00

Top from left: Amy Burnham, Tom Turner, Ron Linn, Denis Miners

Bottom from left: Don Sprague, Don Sprague, Scott Mackey, Jeff Campana

Mugs are one of my favorite kinds of pots. Whether made by a mentor, teacher, friend, or just a potter that you admire, mugs are an intimate pot that communicate to the user. I believe that mugs communicate the makers personality and their personal style. While mugs seem to be a somewhat basic form, a lot of thought and planning goes into a well designed and made mug. The lip, handle size and shape, the shape of the mug, and the size of the mug are just a few of many considerations that I think of when making a mug. My point is that mugs are very commonly over looked as an economical or bread and butter pot. (they are made to sell). I believe that this is wrong. Mugs are usually one of the cheapest items a potter sells. With the recent desire for Japanese inspired pottery in the American society tea bowls and yunomi have become very popular forms. While I do appreciate the value of these pots I believe that they are a fad in America. I believe that a mug is the real "American tea bowl" even though American potters are selling tea bowls and yunomi for two and three times as much money as mugs. This is disturbing to me because the original beauty found in Japanese and Korean tea bowls was in the simplicity of them. The American society has turned this tea bowl form into the exact opposite. These are just my ideas, what do you think?

'wedgin' wire

2009-11-20T09:03:00.001-08:00

On wednesday I made this wedging wire. I have been contemplating buying one from georgies, the local ceramic supply, but decided to try to make my own. I am very greatful that i did because the one at georgies was about 75$. I made mine in about 15 minutes for less than 20$. I found all the matterials i needed at my local home depot. The design is pretty straitforward, a wire at an angle ontop of a table. I used some twisty bolt things, scientific term, to tighten it and that was pretty much it.

Pots in Process

2009-11-11T22:00:00.000-08:00

small covered jarslarge-ish pitcher

I worked a little in My studio on my Wednesday off from school. I finished up some pots made during this past weekend. I have been working on developing a good pitcher form and most have had this stamped and pushed out deco which i like. I think I like a split rim better than just the flat one. Also I think I need to leave a foot to trim. I like the extra stamping around the bigger stamps and I think I will continue to do this.

The covered jars were both made at the same time so they were sort of a little mini series. It is odd how when working in a series the pots change usually for the better. In my mini series the jar on the right was thrown first and the one on the left thrown second. Even from just making two the second jar was a little more bulbous and the shape a little better. Also the lid was a bit smaller which is what I wanted. The funny thing is that I decorated the one on the right second. This resulted in it having more decoration. I do like the simplicity on the left one though. All in all I think I learned a lot from these three pots and will continue to refine my ideas.

Redux Kiln on the way

2009-11-03T22:50:00.000-08:00

I have recently taken on the project of building a small propane reduction kiln. The kiln has to be made on a cart to be transported from inside to outside due to school regulations. This posses several problems. First off the kiln must be a very stable and simple design to be able to be moved without dammage. The cart also introduces size limmitations.
I eventually came up with a plan for an about 7 cubic foot softbrick kiln(with the help of many people). The kiln has one 100,000 btu burner.
I am waiting for the shelves to arrive before i can fire it. The first couple of firings will be of all refiring woodfired pots. This is because i have a general idea of what these glazes should look like at the right temp. and right amout of reduction. I also have lots of pots that need to be refired from previous expiriments.
I hope to be able to fire soon(I will as soon as I get the shelves) and will post more about the kiln when I do fire it.

Bison tools

2009-11-03T22:39:00.000-08:00

I recently purchased my first ever bison trimming tool. Phil puburka is making the tools out of his studio in las vegas. I have heard of bison tools by recomendation of countless potters. I have wanted to purchase my own for a long time and finally decided to. The reason that this is a big decision is because the tools are over $50. This sounds like alot of money for one single tool but it is well worth it.

First off the tool itself is a work of art. Great craftmanship is shown from the blade and throught the handle. Also the tool performs supirior to any tool i have ever used before. The blade will stay sharp for years. This tool will outlast any other trimming tool by at least five times the amount of use. And at ten dollars per regular trimming tool this justifies the cost.

I am very satisfied with my tool and would recomend it to anyone in search of never buying another trimming tool again!

Photography Feildtrip

2009-10-15T14:27:00.000-07:00

quantity

youthfull

Bro

Architecture

Majestic

AP 3D

2009-09-23T16:37:00.000-07:00

wood fired teapot (noble hill anagama) woodfired mug (noble hill anagama)
Woodfired garden lantern (east creak anagam)

I thought that for my first blog post it would be a good idea to post a few pictures of recent work and discus the purpose of this blog. I started making pots at the begining of last school year, so i have been making pots for a little over a year. I am now, in my junior year of high school, participating in an AP 3-Dementional design class and am required to create a blog for that class.

I have wanted to create a blog for a couple of months now after reading brandon phillips, kyle carpenters, and mickeal klines blogs to name a few. I have not been motivated enough to do so until now. This blog will consist of events occuring in my AP 3D class as well as the pots I make this year.

In the Ap 3D class our goal is to create a portfolio of 20 works of art created within the last year to be submitted for review to the colledge board. http://apcentral.collegeboard.com/apc/members/exam/exam_questions/2135.html?affiliateId=APSamp&bannerId=st3d the portfolio is split into three sections consentration, breath, and quality. consentration consisting of 11 works, breath 9, and the quality section is detail images of your best works within the portfolio.

Thats all I have for now but I have started working on a small downdraft propane reduction kiln at school so i will eventually have some info on that up.

new blog

2009-09-22T23:08:00.000-07:00

this is my new blog for Ap 3-d design class.