Not your Grandmother's Blue Willow Ware

These plates are hilarious.*

Don Moyer started his project with the help of Kickstarter, a company that helps entrepreneurs get the funding for projects.

*Plate #1:  Invasion of flying monkeys a la Wizard of Oz


The plates seem to be going very well. Four plate designs have been done. Three on the market and available to buy now. The 4th is waiting for pledge funding to start production.

They're microwave tolerant too.

Paste this into your browser: https://www.kickstarter.com/projects/159974695/calamityware-dinner-plate-4

The runs are limited to a certain edition amount, so if you are interested, check it out.

More info is here calamityware.com

and on Facebook.

P.S. I have no financial interest in this project and will not profit in any way from the sales. (Except to hope he keeps on designing these beauties

and I can order more as they come out of production.)

Scarf Dancers, A New Discovery!

While searching for the "September Morn" painting and flower frog, I discovered a whole new world of 'Scarf Dancers'.



Most of these were made in Germany pre-Second World War.

And later copied for sale in the U.S.

 Some are better than others.

And can be very dramatic.

 This one met Goldfinger.

After she met Goldfinger.







Sometimes they bring friends.

Inspiration can come from anywhere......

This is one of my favorite movies.

And when I finished the piece below, I named it, "Count Olaf".

I chuckle every time I look at it.
















The piece is about seven inches tall, made by slabbing out some porcelain, impressing it with pieces of styrofoam packing material, a sea shell, comb, and a palm-sized piece of car tail light picked up in a parking lot.


Really, I started with a freeform teardrop shape for the base.

For the sides, I made a pattern drawn on newspaper and cut out makes the shape for the two sides of the piece.

I join the two sides using a score tool and clay worms and coax it into a standing form. This has to be done by using a very light touch because I'm working with rather wet clay. I prefer to join these kinds of pieces while they are soft. It makes for better seams. I have to be very careful not to disturb the outside design.

I shape the spout, making it bulge at the base, roll the back over and smoothing it out.

I put the flattened ball of clay 'button' at the point where the form makes a radical change. This is really to reinforce the change of direction that stresses the clay. And it makes a very good design element.

I also manipulate the form mostly from the inside with dampened fingers, pushing it in or out to manipulate and emphasize the curves. And I lightly support the outside while I'm doing it.


The glaze is an iron glaze with a creamy rutile liner and the piece is fired at a cone 5/6 oxidation.

Puzzle Mugs

Puzzle mugs were first made by the Greeks in the second century BC.

Tavern joke jugs were very popular during the 17th to early 19th centuries in Europe.

The puzzle is to figure which holes to cover, the obvious, the hidden and which holes to sip from.

By simply holding this mug comfortably in the correct hand and sipping from the right hole, any brew could be enjoyed without spilling.

Here's an excellent video on how to construct a puzzle mug: http://www.dump.com/puzzlejug/

Wouldn't recommend it for drinking anything that has milk in it, though.  Wine and Beer are sorta self sanitizing. Tea is okay too--no milk. Iced tea with cubes floating around inside the mug would make it even more mysterious.

Oops!

This just cracks me up.

wink wink nudge nudge

Click on the picture to get the gag.

Scrap Clay Sculpture

While cleaning up my studio today, I noticed this in my scrap clay bin.

It was a teapot body pushed too far. (Yes, I have that problem) with the additional blops and rim trimmings dropped on top at random.

I hadn't noticed it until now. But, as I looked at it, I realized it was really interesting.

Especially since I have been seeing photos of pieces very similar to this, glaze fired and mounted, placed on stands and displayed in galleries.

What do you think? Maybe a nice white semi matt? Black square base?

Maybe I'll stick it into the next bisque fire.

Yesterday, My Muse Ran Away*

*My title.

Beautiful works by anka-zhuravleva at anka zhuravleva.com.

Whew!

This reminds me of what I did once going up the stairs and holding a pot with both hands.

I missed the step,I crashed into the wall putting a divot in it, bumped my knee and elbow, but by golly, I saved the pot!

This is TOO Funny

Re: How Long did it Take You to Make This Pot?

http://www.youtube.com/watch?v=W8kaYg3XjVQ

Oh, No,I think Paris Hilton's under there!

I Wish - Purses and Bags

"OH, I left my purse somewhere!"

I wish:

Car designers could figure out a place to put a purse.

And an umbrella.

I rather liked the Rolls Hole-in-the-Door Umbrella storage idea.

I mean, if they can figure out a place to store an UMBRELLA, surely a purse isn't such a mental stretch.

That's probably a Rolls umbrella; I would think no other kind would fit in there......

Maybe you would have to have a Rolls Royce purse. At the rate they're selling at these days, I think the price points have gotten high enough for the car manufacturers to be considering it.

Now if I could just figure out where to put those shopping bags as well.........

Arfs and Crafts 2010

Arfs and Crafts will be coming up.

The show opens at The Art Stop, Tacoma, WA on April 15th.

Artists from all over the area make and contribute pieces for sale to support the Prison Pet Partnership Program and Assistance Dog Club of Puget Sound.

Dogs are rescued from animal shelters around the Northwest and taken to be trained as service and assist dogs by inmates of the Purdy WA Women's Correctional Institute. The trainers are inmates who have worked hard to earn the position. Under supervision of professionals, these inmates care for the dogs and train them for their future lives.

The Prudy program has received national acclaim and was featured on a 1997 PBS documentary on service dogs. To date, only one of the many women who have finished their sentences and participated successfully in this program has returned to prison.

The focus of the show is pet dishes, functional, fanciful, funky and fun. Past entries range from the practical to cast bronze sculptures of dogs.

There have even been soup bowls and plates for pet owners.

The show opens during the Third Thrusday Artwalk, April 15th. Artwork will be sold at silent auction through Saturday, April 17th.

The Art Stop is located at 940 Broadway, Tacoma, WA 98402.

Kung Fu

I don't know why, but for some reason I find this photo hilarious.

And not that I haven't taken the hammer to a few things in my time. When I tell people who are not potters about this, they take a fast in-breath and say "Why?".

For one thing, I want my work to reflect the best level of skill I can.

My thought process was that if I sold seconds or flawed pieces I would be mortified to find them again. And it would be easily be identifiable as my work, since I always sign things. But I must say, I used to be more strict early in my work, (There was so much to trash). As time has gone by, I'm not quite so rigid about flaws. I came to this conclusion after seeing shows and visiting museums and finding that even the giants in the field show work that is not perfect.

Some 'flawed' pieces, I actually find to be quite endearing. I have a wobbly rimmed seconds bowl from one of my potter friends that somehow delights me every time I use it.

As long as a flaw doesn't jeopardize the integrity of the pot or the safety of the user, I let it survive now.

For one thing, it is a testament to the fact that the work was handmade and not belched out by some machine. For another thing, it's the realization that perfection is an ideal some of us strive for, but seldom attain. Sorta like people.

aaaah addendum

One thing you learn working in ceramics----

You learn how to deal with loss.

Dragons

I don't have a kiln god--I have a kiln dragon. This fellow hangs on the wall near my kiln. I've had him for years and honestly can't remember when I got him. It must have been when we were stationed in Japan. Somebody must have given him to me, 'cause I wouldn't have bought him......He's made of all sorts of electronic wires and other plastic detritus. (The paper umbrella is my addition after we moved to the Pacific Northwest.)

Recently, I bought a slide converter--one of those great gizmos that converts 35 mm slides into digital files. I'm in the process of taking stacks of old family and art slides to store onto discs both for an art archive and to share the family ones with my children.

In the process, I ran across this old watercolor from many years ago. This was done in an experimental class dealing with creating paintings on very wet paper and manipulating the color runs. The title is "Realm of the Red Dragon".

See the resemblance? Hint: The head of the dragon is in the lower left-hand corner.

The conversation between the salt and pepper

These characters just sorta 'happened'. I rolled out some terra cotta and began cutting out shapes and putting them together. Just a total surrender to the clay.

Chaos

I live in chaos. Actually, I should say I live in the midst of chaos--Me, personally, I'm not in chaos.

There isn't a surface in my studio that isn't full of something. I have to clear out a place on the worktable to make anything. Doesn't bother me. It would drive some people crazy. And Thank God I don't have to clean it up every time I quit working. THAT would be work! Some time ago, I was comforted by seeing photos of Warren McKenzie's studio--just as messy as mine. I'm off the hook.

I also remember Paul Dresang saying in a workshop/demo that he had to clear out the 'detritus' to a 2-foot square in order to work. This is a man who makes wonderful, incredible, meticulous fool-the-eye clay pieces. Seeing his work, you would think he worked in a studio that was like a scientific lab.....

The mess functions as an index. I have shelves full of things that 'worked' and I want to be reminded of that in order to repeat it--shapes to repeat, glaze combinations that sing. What is referred to as "The Artist's Collection", as in the....

There's also things in other places that didn't work. Ideas in progress--things to do again, but with a different glaze, a form problem to solve, a piece that worked, but the glaze ran or the form cracked:

The bastard children of a good idea.

Besides, if I didn't keep them out, I'd forget them.

Problems

There’s the old Chinese wheeze - something about “Every problem has a gift in it’s hands” which I have always filed in the Mental Sour Grapes Junk Drawer, but recently that very thing happened to me. I made an 8-piece set of “Cat Plates” drawing the cats and the trim with black underglaze. They were porcelain and finished with a cone 6 clear glaze. In the final firing, the clear glaze reacted with the black underglaze in the banding resulting in a small area of a sort of wispy grey on the black. In another area, there was a tiny bit of black ‘creep’of fine lines into the white ground.

It didn’t bother me, but it did bother the lady who bought a whole set. A request was made to replace that particular plate, which I was glad to do. (I want my customers to be satisfied. Besides, the gallery that sells my work has a reputation to uphold as well.)

So, I tried to duplicate the plate. That didn’t work. Too many variables: Clay density, throwing variation, glaze and underglaze consistencies, my memory...... I usually do extras when I do a whole series of one thing, but you guessed it. This time I didn’t. Okay. Lesson learned.

I asked that the plate be returned to me in order to get it right. Previously, I had used an overglaze on clear-glazed ray guns that had been underglazed in bright colors. I thought I’d try using a black overglaze to correct the banding. I tested it first on a similar plate and not only did it work, but it worked seamlessly.

New revelation! It is extremely workable, it is also extremely tinker-able. I can erase what I don’t like quickly with a damp sponge or Q-tip. If it’s dried, I can alter or etch lines into solid areas using a needle tool. I can write script using a fine liner brush. There’s much to be explored here.

What a Difference a Glaze Makes

This tumbler didn't come out like I pictured it in my mind. The glazes ran 'way more than I expected, although I've done this before, but on a flat surface where they behaved themselves. This isn't quite IT overall. I want the base darker. I'll brush the rim to match and the flare at the bottom of the vessel, then wax the thing. Then do the body. This was an experiment: I threw the top and base separately. I scored the base heavily, bisqued them separately, then glazed both pieces and set them in the kiln on short kiln posts. (The inside of the base wasn't glazed.) Musta' been all those fumes because a couple of these guys got drunk and s-l-i-d ever so slightly off-center. I still like the look. It's worth repeating, I think.

"Cup Committee Meeting" When I photographed this group and looked at the result, I thought it looked as if they were all talking to each other. (I must eat lunch)

I had a lot of fun making these. I wanted them loose with interesting variations. They all have names: Sluggo, Unkempt Lady, Nose, Three Bumps, One Bump, Three Knuckles, etc. They came out pretty much like I expected. I mean, they're WHITE. Total emphasis on form here. I'll make these again, only bigger and more 'out there'. They're fun for you hand.

This tumbler was done after I did a series of smaller ones with more applied bumps. (Pictured below) It has a nicer shape, is larger and just classier looking. Not a whole lot of difference in the raw clay and finished piece. Easy to drink out of because of the lip-fitting flared top, Nice balance in the hand and easy to clean out because you can get your hand inside easily. I really like the size. It's about 10 oz. without filling to the top.

This is "Warts and All". This little devil and all his kin ran like a bandit. Pictured is the only surviver that can stand without leaning. Lovely interior, though, don'tchathink? A note will go in my glazing journal: Do NOT use this combo on anything vertical!

A cylinder form that has been paddled to make a square bottom works well with this glaze. It's a fake ash matt and the runs are very nice. Simple form/show-off glaze.

The grouping below is "Nice Family" because every one has one stamp at the bottom that is the same; the top stamp is different on each. This is a glaze combo I'm very comfortable with. I've used it before with stamped pieces and it pools nicely in the cavities. Celadon is always satisfying.

A Bit of Potter's Humor

Customer: Why does this mug cost so much?

Potter: Well, to make it, I must:

1. Drive to Tacoma or Seattle and buy 500lb. clay, (1+ hour trip each way and pay ferry fare/bridge toll) or pay extra to have clay delivered to studio. Rule: Always buy clay in the larges amount you can afford-it's cheaper that way.

2. Unload 50 lb. boxes of clay and stack in studio.

3. Cut and weigh out amount needed.

4. Wedge (knead) clay.

5. Center clay on wheel and throw the mug shape.

6. Remove from wheel and let dry 24 - 48 hours; depending on humidity.

7. Put mug back on wheel and trim.

8. Hand-pull or create the handle.

9. Let handle dry 1 to 5 hours; depending on humidity.

10. Attach handle to trimmed mug.

11. Cover handle in hot wax or wrap in plastic to slow drying on very dry days.

12. Let mug dry 1 week minimum to "Bone dry". If mug cracks at this point, trash, recycle clay and start over at step 3.

13. Load mug into kiln in the garage and fire to 1850 F - about 10-12 hours.

14. Unload kiln and take mug to studio for glazing. If mug has cracked during first firing, discard or put it in the bottom of lowerpots or use as fill.

15. Measure & mix and seive glaze(s) making sure they are at the right consistency for coverage.

16. Put hot wax on the bottom of mug so it does not stick to kiln shelf. Or, if glazed on the bottom, use stilts. (Be sure to buy more at the supply store next trip.)

17. Choose design and glaze mug.

18. Let mug dry thoroughly.

19. Load mug in to kiln, making sure it has enough space. If glaze scratches or gets bumped on journey, wash with hot water and start back at step 12.

20. Fire glazed mug to 2450 F, 10 - 14 hours depending on firing cycle.

21. Hold firing temperature at 2450 F for approximately 25 minutes. Frequently check kiln during entire firing cycle to make sure it goes right.

22. Wait about 14 hours for kiln to cool to under 400 F before opening.

23. Remove and check mug. If cracked, start over at step 1.

24. If mug has miraculously survived to this point, clean sharp bits off bottom and other spots by hand with a grinding stone.

25. Pack mug in bubble wrap, place in crates, haul crates to van, drive to show, unload crates, set up booth and shelves
unwrap mugs, arrange tastefully in display. Discard any that did not make the trip in one piece.

26. Stick price labels onto mug.

27. Offer mug for sale.

28. Last, but certainly not least instruction; Try not to attack the foolish person who innocently asks,
"Why does this mug cost so much?"

AND, let us not forget all the hidden steps not numbered in here: Pay Puget Power, answer phone, wash down studio and reprocess used clay, develop and test new glazes, read professional publications, attend meetings, photograph works to enter juried shows (or pay a professional photographer to do it), attend workshops and seminars, develop sales tags & show graphics, come up with new mug forms and techniques, work, eat, sleep.