Friday, April 28, 2017

the secret life of potters

This week:
Obsessing over making an oxidation fired plate coordinate with a reduction fired plate.

Obsessing over making mini butter churns fired in oxidation that correctly replicate the 23" tall salt fired original in both proportion and glaze.  I may be explaining this more at a later date.

Major obsessing about getting this mug commission right. 
Size, color...yes, but mostly fear of glaze failure during the last firing for the decals.  Having had a few problems with pinholing in the past, I did a search and found that better kiln ventilation may solve the problem- leaving the lid and portholes open up to 500 degrees F.  That, and spacing the mugs about 2 inches apart in the kiln.  Success! At least this time.  And, hurry up to get some birds and cairn parts in the kiln to be bisque fired along with the decal firing.  Luckily, the sun was out to help the drying along.

15 emails and several picture taking sessions about a possible commission through etsy. It is possible I gave the customer too many choices.  Some of the test tiles involved:

And, these are a few of the closed forms in the glaze firing this week.  Made these just because I wanted to and am trying to learn what I can do glaze-wise with this spotted clay.  Will have these at River City Farmer's Market tomorrow.

Picture taking session is not over until I can focus on the interactions of a wood ash glaze and several other glazes used on this pot.  Yes, this is what we obsess over.

Friday, March 17, 2017

Empty Bowls 2017 and some honey jars

Empty Bowls is coming up soon.  Here's a few of the bowls I will bring to the event, scheduled for
Saturday, April 1 at 11 AM - 1 PM at  
First Presbyterian Church, Marietta, Ohio
501 4th St, Marietta, Ohio

 The above bowls are more of a cup-of-soup size while the handled bowls below are larger and come with cracker plates.

 I had to show a closer look of this glaze combo. This is a Tenmoku Gold with Blue Hare's Fur over it on the inside of bowl.  I don't know if this is going to be a consistent result or if I just got lucky.  First try was with just the tenmoku but I got too much gold, not enough dark contrast.  I re-glazed over the inside with the Blue Hare's Fur and fired again. Click on the pic for a closer view.

 The rims on this set have slightly different designs carved into them.  This is an off white glaze, and difficult to see, but there is a touch of green glaze just on the rims. The spots are from the clay, not the glaze.  I'm on the fence about this clay.  Thinking of seeing if the supplier will mix it 50/50 with a non-spotted clay. It depends what you're going for, I guess.  I would say it's a rustic look.

 The cobalt blue honey jars were made for a customer who requested that color.  At the time I had nothing with this glaze on it to show her. I said she was under no obligation to buy if it's not the color she expected. There is nothing personalized about the jars so I am perfectly fine with that.  I made two because those are two different clays and I wanted to see if the glaze worked better on one or the other.  Looks about the same to me.
A couple of other jars in robin's egg blue are getting decals fired on right now.

I like this glaze and once in a while I'll experiment to see how it behaves with other glazes. Thought I'd try the Blue Hare's fur dipped over top of the test tile.  Shiny brown with blue where it is thickest.  Promising. Not sure what this reddish glaze is really called as you will see if you check for the recipe here . Shiny brown with blue where thickest.  Promising.

Monday, March 6, 2017

keeping your own work, and Miss Billy is on the table

In the midst of a framing/hanging and wall painting project I decided to find a place to hang a couple of my recent clay tiles with found wood pieces. This is something I rarely do.  I may keep a mug or bowl that has a small imperfection but not the best stuff.  A new experience!  It's nice to have something of my own that normally I would automatically price to sell.

I had eight prints that needed framing, some of which have been sitting in a closet for years. Others were framed but needed fresh mats, and there was that one frame I made in 1982 out of stock molding for one of my wood cut prints.  It needed to go. So I ordered the mats, ordered some of the frames and got to it.  Oh, and painted the fireplace wall charcoal gray. It ended up that I hung twenty pieces since I had to shuffle around most of the other artwork.
 The eagle scout badge on the lamp belonged to my dad.  The lamp was used at one time as a coffee grinder by my mother's family.  I find it somewhat humorous that my son now uses one of these for grinding his coffee.  I didn't know they were still being made.

On the left is one of the found wood/clay tile pieces and a print by George Longfellow.  The drawing, with credit given to Grant Wood, was made for the Cincinnati Enquirer to go, I believe, with an article on robotics. You might have to look close to see that the man and woman have robot-like heads. The right picture shows a serigraphy print I made way back when.

 The wonderful print above is by Debbie Dicks.  This picture, unfortunately, does not do it justice.  The photo to the left of it is of Ivin's grandparents, father and uncle on the boat which brought them to America.

Back to work.  I thought that framing/hanging/painting project would take three days but it ended up taking six, of course. 
Notice the chair- it can be adjusted for height, a Christmas present from Ivin.  I was sitting there to wax bisque ware bottoms.  So much more relaxing than standing!
The dark clay-mini butter churn shapes are prototypes for a local historical organization.  

And Miss Billy came to visit, hoping for an open container of water or glaze.  I think she has learned that the pot of iron oxide is not optimal for paw dipping.  I still have to make sure I cover the glazes when she's around.

Saturday, February 18, 2017

the sun makes an appearance

The sun is starting to make it's late afternoon appearance to my work table.  It takes a few months off in the winter.    

 Some greenware honey jars.  Customers awaiting.

An afternoon hike.  I was captivated by trees and sky reflected in a pond.

Monday, January 9, 2017

think of it as an internship

This is going to get wordy, so I'm telling you right now to pass unless you have a curiosity about artist's co-ops.  I am writing in defense of them, sort of.  I say this having recently resigned from one- ha!  But, as I was ending my three and a half year involvement with this particular co-op gallery, I thought about all the good stuff learned from the experience:
  • How to coordinate exhibits:  painting and patching panels, communicating with visiting artists, setting up the show, reception, marketing...
  • Brainstorming ideas for exhibits, classes, community events.
  • Some of what it takes to run a brick and mortar business.
More on the plus side:  You have control over your display- change it out, rearrange, whatever. Also, there is no denying the creativity boost from being part of some of the exhibits and being around other artists.  Then there's a pool of customers- some may be new to you, and it's a shop with regular hours so they know where to find you.  I have to admit, it was a difficult decision to end my time with this gallery.
Why did I leave, then?  Time and money.  Some travelling may be in my future.  Pottery is time-consuming work.  So is working at the co-op.  Being gone is a problem.  And, it wasn't making financial sense. The combined commission fee and rent comprised a yearly average of 40- 43% of what I sold.  I was not selling enough at this location to offset the costs. This is a small community and raising prices is not an option.  As I expect to be compensated for my time and experience, a better use of my time is to participate in shows where fees typically take 10 to 15% of my sales. Also, I've found it impossible to keep up with my Etsy shop, which I hope to have stocked and active again in a few months.

Anyone who has been involved in a an artist's co-op knows there are other factors which make it a difficult balancing act- getting a dozen or more people to agree on one course of action (often, things just did not get decided), and equal division of labor are a couple of famously common difficulties in co-ops. Then there's the age thing.  This didn't seem to bother anyone but me.  As a 58 year old, soon to be 59, I was one of the younger members.  For a variety of reasons I felt the organization needed a more diverse age range. But, with a shop open 6 days/week (closed Mondays) younger artists who are working full time (actual paying) jobs and may have little dependents are scared off by the thought of giving up a couple of weekend days per month to man the gallery.  I don't think they get past that consideration to even contemplate all the other responsibilities.

Remember, I started out talking about the positives. My advise is take a look at your local co-op and see what it has to offer you.  Don't forget, you'll probably have to jury in.  Here's the thing- if you can possibly swing it for a year or two, look at the experience as an educational tool.  The knowledge gained is invaluable.  Think of it as an internship.  You might get paid, too.
 all packed up

Tuesday, November 15, 2016

Local Artist Show 2016

A little late getting these pictures out.  It's usually best to post pictures before the show.  This was the Local Artist Show in Marietta, Ohio. I was flying last week to get things done. Pictures had to wait.
Here's a few of the items left at end of show.   I made four of these cairns.  One had a rabbit jumping over it.  That was a fun one.  These bird cairns are two I still have.  They are now at Riverside Artists Gallery in Marietta.
A few words about the cairns-  The roundish "stones" are thrown on the wheel.  Sometimes I alter them a little so they lose the perfect roundness.  Birds are hand built. The flat stones are shaped from rolled out slabs.  A metal rod runs through the middle of all so, obviously, I cut holes in the ceramic pieces while the clay was still soft enough. In the cairn above the rod also goes into the wood block.  I first used a drill press to drill a hole in the block.  It's really easier to have that block anchoring the whole thing, as it automatically makes the metal rod nice and straight. Many adjustments were needed to get the cairn pieces with no wood bases to line up.
And mugs.  The ones with the transfer images all sold.  I kind of resent that these mugs with the more interesting glazes weren't chosen.  I guess that's what I get for going down the transfer image road.
The red whatever-it-really-is/not tenmoku glaze makes another appearance.
Little lamb, little lamb.  Also ringed turtle dove and jumping hare.  Gone to good homes, but not forgotten, are:  raccoon, mouse, bear, squirrel, 2 make believe owls, 1 barn owl, and another sheep.  Critter ornaments.

Friday, September 16, 2016

not as expected

I like a lot of different glazes, and seem be particularly drawn to rich, dark glazes.  However, my usual tenmoku glaze is temperamental.  The plum, almost black, glaze that I love may be driven to extinction by poor record keeping.  Note to self:  Do not assume you will remember which Albany Slip clay substitute you used.  Several mugs have been sitting around for some time waiting to be glazed with plum glaze once I figure out the Albany Slip thing.  I have a couple of containers of Albany Slip that I made using different recipes.  I seem to remember combining these to get the right look for this glaze.  Or did I use some of the commercially made stuff?  There are a lot of recipes for Albany Slip- apparently no one has found the secret to duplicating the real thing since mining ceased.
I have temporarily given up on the plum and decided to try a new tenmoku.  Normally I make 200 gram tests, but was feeling trusting and made 500 grams so I could skip the test tile and go directly to glazing a mug or two. This meant having just enough to dip the bottom half, then turning to dip the top half.  I did place mugs on some reject wall tiles saved for this purpose in case something really bad happened (like glaze melting off the mug and later cooling into a pool of obsidian on the kiln shelf).  I expected a standard translucent brown, but got this great deep rust red.  Okie dokie.  Tested a few brushstrokes of other glazes underneath the tenmoku and even took notes- and put notes in a sandwich bag with the glaze recipe taped to the lid of the glaze bucket. I'm hoping this proves to be a reliable glaze.  Recipe follows at bottom of page.
We should all have a blue pumpkin.  Just made one of these because I thought it might be too weird but I kind of like it.  I veered away from my usual pumpkins this year and went with a satin matte glaze instead of shiny.  Let's try a spotted pumpkin, too.  Speckled clay used here.
There is an iron oxide engobe on some stems, which is dark and metallic. For a couple of the pumpkins I brushed the iron oxide engobe on much lighter and went over it with a rutile engobe resulting in a less shiny golden brown.  Then I remembered that I have an iron ox./rutile/frit wash which I dabbed here and there on the pumpkins to get some interesting spots on the ones with non-speckled clay so they wouldn't be jealous of their freckled pumpkin siblings.  This wash may have worked well on the stems, but I'm fresh out of pumpkins, so no more experimenting for now.

Tenmoku   cone 6 oxidation, source unknown (yeah, I didn't write it down)
slow cool:  125 degrees/hr. from 1900 F. to 1400 F.

silica flint        25.
EPK                16.7
Neph. Sy.        16.7
G.B.                  8.3
Dolomite          8.3
Talc                  8.3
bone ash           6.7
Red iron ox.    10.    used Spanish Red

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