LeeU

This mallet. I make most of my tools, but this one was a long labor of love. Sculpted to fit my hand from a beetle killed spruce and a bone I found.
 I use it often, to pound out slabs before I roll them. 

I didn't have my own tools, other than the barest of the absolute basics, when I was getting into ceramics. I was on welfare, a Pell grant for art school, raising a child by myself, and, well duh, never had any money. My favorite tools were a few gismos I made from  1/2 to an inch & a half-thick live branches from some southern tree-like magnolia or crepe myrtle. I was into texture & sculptural curves (still am) so I crafted them to multi-task & to make interesting surfaces. They served like a potter's thumb, a throwing stick, and other variations  recognizable standard tools. Stopped claywork to go earn a living & packed them away in a lovely special box. But I lost them all in the shuffle, when I moved from VA to NH.  Now I've got just about every tool one could ever want, tho no high-end metals or master-favored designs, and no Griffin grip, which I guess isn't really a tool anyway LOL . My favorites these days are still those unintended for ceramics--the turkey quill, the drawer knobs, the pastry cutter, the dental tools, chop sticks, etc. etc. And, yeah, the fingers!

I didn't have my own tools, other than the barest of the absolute basics, when I was getting into ceramics. I was on welfare, a Pell grant for art school, raising a child by myself, and, well duh, never had any money. My favorite tools were a few gismos I made from  1/2 to an inch & a half-thick live branches from some southern tree-like magnolia or crepe myrtle. I was into texture & sculptural curves (still am) so I crafted them to multi-task & to make interesting surfaces. They served like a potter's thumb, a throwing stick, and other variations  recognizable standard tools. Stopped claywork to go earn a living & packed them away in a lovely special box. But I lost them all in the shuffle, when I moved from VA to NH.  Now I've got just about every tool one could ever want, tho no high-end metals or master-favored designs, and no Griffin grip, which I guess isn't really a tool anyway LOL . My favorites these days are still those unintended for ceramics--the turkey quill, the drawer knobs, the pastry cutter, the dental tools, chop sticks, etc. etc. And, yeah, the fingers!

You are right oldlady-some did just crack off and I deliberatly left them as such (my "honoring the survivor" stylistic aesthetic, my artwork as related to trauma).  I do smooth all edges, then I  close my eyes and feel the piece all over to be sure nothing is sharp.  Upon reflection, I guess the pieces would look better if I go ahead and  made those areas more curved. I'll try it!  Thanks-- to you & also to  Bam2015

You are right oldlady-some did just crack off and I deliberatly left them as such (my "honoring the survivor" stylistic aesthetic, my artwork as related to trauma).  I do smooth all edges, then I  close my eyes and feel the piece all over to be sure nothing is sharp.  Upon reflection, I guess the pieces would look better if I go ahead and  made those areas more curved. I'll try it!  Thanks-- to you & also to  Bam2015

My last fire was last August and when I read the QotW I thought I'd best skip this one. Well, I feel much better after reading Pres' comment about not firing since last September!  I keep a log.  Began in 2014 , when was doing 6, then 4,  then 3; since 2020, averaging 2.   Always low production w/ hardly any pressing deadlines, a too-big kiln, and self-permission to just go w/the flow of Lee-Life.  I should have a kiln load ready by March. I've had to adapt  "everything" involved w/the process to minor cognitive impairment (MCI), a result of minor TBI (traumatic brain injury). It is not--or so they say--progressive.  So, theoretically, once I get the hang of what I really can & can't do, I should be good to go w/no surprises. My motivation & level of acceptance took a near fatal hit, but I'm beginning to enjoy exploring a new style. The next fire is my first post-diagnosis test run--will she sink or will she swim?? The main challenge is that construction is fairly rough & funky , but I don't want the pieces to look too rough & too funky,  so I need to turn the heat up under the burner labeled "visually appealing", and pray.

In a recent QotW (2/15/24) about how often we fire our kilns, I disclosed some personal functional limitations that I'm coming to grips with, that significantly change how and what I do with clay. "The next fire is my first post-diagnosis test run--will she sink or will she swim?? The main challenge is that construction is fairly rough & funky , but I don't want the pieces to look too rough & too funky,  so I need to turn the heat up under the burner labeled "visually appealing", and pray." This is the first greenware heading into this new phase. I'll come back post-fire with the results. My tag line is (still) "Sculpturally Functional Ceramics ".  Most of the work is draped bowls/catchalls/small trays and tea light bases.

In a recent QotW (2/15/24) about how often we fire our kilns, I disclosed some personal functional limitations that I'm coming to grips with, that significantly change how and what I do with clay. "The next fire is my first post-diagnosis test run--will she sink or will she swim?? The main challenge is that construction is fairly rough & funky , but I don't want the pieces to look too rough & too funky,  so I need to turn the heat up under the burner labeled "visually appealing", and pray." This is the first greenware heading into this new phase. I'll come back post-fire with the results. My tag line is (still) "Sculpturally Functional Ceramics ".  Most of the work is draped bowls/catchalls/small trays and tea light bases.

In a recent QotW (2/15/24) about how often we fire our kilns, I disclosed some personal functional limitations that I'm coming to grips with, that significantly change how and what I do with clay. "The next fire is my first post-diagnosis test run--will she sink or will she swim?? The main challenge is that construction is fairly rough & funky , but I don't want the pieces to look too rough & too funky,  so I need to turn the heat up under the burner labeled "visually appealing", and pray." This is the first greenware heading into this new phase. I'll come back post-fire with the results. My tag line is (still) "Sculpturally Functional Ceramics ".  Most of the work is draped bowls/catchalls/small trays and tea light bases.

In a recent QotW (2/15/24) about how often we fire our kilns, I disclosed some personal functional limitations that I'm coming to grips with, that significantly change how and what I do with clay. "The next fire is my first post-diagnosis test run--will she sink or will she swim?? The main challenge is that construction is fairly rough & funky , but I don't want the pieces to look too rough & too funky,  so I need to turn the heat up under the burner labeled "visually appealing", and pray." This is the first greenware heading into this new phase. I'll come back post-fire with the results. My tag line is (still) "Sculpturally Functional Ceramics ".  Most of the work is draped bowls/catchalls/small trays and tea light bases.

I fire daily some weeks, and only a couple of times a week other weeks.  But I am often firing my very small Olympic Doll kiln and only have one to three pieces in it at a time.  I only once in a while fire my larger Skutt.  If I'm working on a larger piece then I may fire it a few times a week for a while until that project is done.  Then months may go by without using my larger kiln unless I have a larger load.  A lot of my equine sculpture gets fired several times in the underglaze layers, then clear glazed, then may be fired a few more times with overglazes to build up the complex finishes I am known for on my horse pieces.  Especially if I did any claybody resculpting to the bisque then a piece might easily be fired 10 or 12 times (and in rare cases more).  So that can be a lot of trips in and out of my kilns!  Some days I have both kilns firing at the same time so they each have their own dedicated breakers.
Even with such a heavy firing schedule I have managed after 20 years to keep both of my kilns in pretty good shape.  My Olympic is starting to show wear and tear and needs to be rewired now (still haven't gotten to that yet) but my Skutt still looks shiny and almost brand new.  If I had to make an average over the whole year, I fire about twice a week.  Some weeks I fire every day, some weeks I take off from firing to work on sculpting,  molds or resin casting, etc.  But my art studio is my full time job and I am best known for my ceramics, so...
Edited to add a couple of photos.  This was a larger piece than usual for me, almost 15 inches long.  So I had to fire him in my larger Skutt instead of my little Olympic.  This was a porcelain bisque I resculpted the mane and tail on, made a new custom base for, and then custom glazed.  He was fired, I kid you not, exactly 20 times.  What a PITA!  Not a project I will take on again for a client anytime soon but he did come out very lovely and my client was well pleased!  Took a little extra TLC with packing him too, foam blocked and double boxed of course.  I was firing my Skutt a LOT when I was working on his china painting and enamel layers to build his color.  This is the Cybis 'Nashua' racehorse sculpture by JK Slick.  The brass halter ring was added after firing and due to the sculpture being porcelain, I attached the earthenware base using epoxy rather than trying to attach it in the kiln (and likely recracking later).  So anyway, pieces like this are why I fire so often.  Many layers can be delicate and need to be set and built up with a number of firings.  It took me all year to complete this commission due to various delays & distractions, other deadlines, etc.


I think it would be cool if you all posted a sample of your work with your reply or a shot of a typical kiln load, something!

My last fire was last August and when I read the QotW I thought I'd best skip this one. Well, I feel much better after reading Pres' comment about not firing since last September!  I keep a log.  Began in 2014 , when was doing 6, then 4,  then 3; since 2020, averaging 2.   Always low production w/ hardly any pressing deadlines, a too-big kiln, and self-permission to just go w/the flow of Lee-Life.  I should have a kiln load ready by March. I've had to adapt  "everything" involved w/the process to minor cognitive impairment (MCI), a result of minor TBI (traumatic brain injury). It is not--or so they say--progressive.  So, theoretically, once I get the hang of what I really can & can't do, I should be good to go w/no surprises. My motivation & level of acceptance took a near fatal hit, but I'm beginning to enjoy exploring a new style. The next fire is my first post-diagnosis test run--will she sink or will she swim?? The main challenge is that construction is fairly rough & funky , but I don't want the pieces to look too rough & too funky,  so I need to turn the heat up under the burner labeled "visually appealing", and pray.

My last fire was last August and when I read the QotW I thought I'd best skip this one. Well, I feel much better after reading Pres' comment about not firing since last September!  I keep a log.  Began in 2014 , when was doing 6, then 4,  then 3; since 2020, averaging 2.   Always low production w/ hardly any pressing deadlines, a too-big kiln, and self-permission to just go w/the flow of Lee-Life.  I should have a kiln load ready by March. I've had to adapt  "everything" involved w/the process to minor cognitive impairment (MCI), a result of minor TBI (traumatic brain injury). It is not--or so they say--progressive.  So, theoretically, once I get the hang of what I really can & can't do, I should be good to go w/no surprises. My motivation & level of acceptance took a near fatal hit, but I'm beginning to enjoy exploring a new style. The next fire is my first post-diagnosis test run--will she sink or will she swim?? The main challenge is that construction is fairly rough & funky , but I don't want the pieces to look too rough & too funky,  so I need to turn the heat up under the burner labeled "visually appealing", and pray.

Holy cannoli-you have an amazing attitude-good for you! If you get tired, let yourself be tired, tho, don't push it--and best wishes going forward.

I'm trying out a new ^6 white w/grog and am in the process of rehydrating 50 lbs, in batches. It was already hardened by the time I got it. It had taken 2 months for the company to get it to me in the first place, so I was already ticked when it came "half baked", so to speak.  SInce they had refunded my payment I decided to just "let it go" and didn't bother to ask for a fresh replacement. I'll be using it to fill my kiln for an early spring fire. I got some new glazes I'm eager to try, so this will keep me busy for the next 2 months. 

I'm trying out a new ^6 white w/grog and am in the process of rehydrating 50 lbs, in batches. It was already hardened by the time I got it. It had taken 2 months for the company to get it to me in the first place, so I was already ticked when it came "half baked", so to speak.  SInce they had refunded my payment I decided to just "let it go" and didn't bother to ask for a fresh replacement. I'll be using it to fill my kiln for an early spring fire. I got some new glazes I'm eager to try, so this will keep me busy for the next 2 months. 

I'm trying out a new ^6 white w/grog and am in the process of rehydrating 50 lbs, in batches. It was already hardened by the time I got it. It had taken 2 months for the company to get it to me in the first place, so I was already ticked when it came "half baked", so to speak.  SInce they had refunded my payment I decided to just "let it go" and didn't bother to ask for a fresh replacement. I'll be using it to fill my kiln for an early spring fire. I got some new glazes I'm eager to try, so this will keep me busy for the next 2 months. 

I have zero plans for pot shop work for February. March is a big maybe?
I painted  the wood floor in throwing room just after xmas as the industrial paint wore though in the traffic areas in the last twenty years. That was a big job getting all the throwing area empty then extra mopping and drying and sanding, then two coats of really nasty heavy duty floor paint which is grey and I had 3/4 of a gallon left over from twenty years ago when I built the throwing  addition and painted the floor before the walls went up . I wore the super duty resperator where no smells get through to do this job and had doors open whenever it was not raining for weeks. .
That said I threw two kiln loads and fiired them in January for backstock to last through  Feb and March. for my outlets
Today I head south for 4 hours to  Santa Rosa to have a tarrsal tunnel sugery on my right foot in early am on Monday . (its like carpel tunnel only on the foot (ankle area is the compression area) This is about twice as hard recovery from carpel tunnel surgery I'm told . Both my feet are numb on balls ,one for a year so I'm trying this 1st foot to see if it works. If it does I'll do the other foot later. The cast stays on for 3 weeks and my foot cannot touch the ground for those 3 weeks. I have a knee scooter and crutches and will be laid up on pain killers for a spell. I hate drugs.My rehab starts in 6 weeks from tomorrow (mid March)so no pots being made. The nerve gets compressed just like in carpel tunnel so they cut the sheath to allow the nerve more room. PS ,I never have had carpel tunnel but know all about it from  my wrist surgeons and friends who had that surgery 
 I did throw a few salt cellars yesterday with some spare time on my hands.I'll need 80 of them by spring
I will order some tools  from Laguna so that a bit of clay stuff  when I'm off the pain meds. The tool order is mostly for others as Kemper tools may be gone soon as I noted in post last month.
I have some tax work lined up as well as a pile of books to read-none are about clay
I will have a huge wholesale order to do when I get my foot back but it will be late March at best. That order is every spring and it a Subaru with about 20 boxes of pots.No idea when that will get done this year at this time. Its my last day today with two good feet
Clay work is on hold for me for most of those two months
Getting old is not for the faint of Heart

When I returned to clay work after a lengthy career detour, I had a blast trying out a wide variety of commercial ^6-^10 bodies. I loved exploring the grays, browns, black, tan, whites, iron, grog, etc. (never reds-no can do-the staining makes me cringe). I lost access to wood firing when J. Baymore's anagama kiln went dark due to the closure of the Sharon Art Center  & the pandemic, which kept me from using the NH Potters Guild kiln--so my woodfiring days are gone. For woodfiring ^10 I loved Troy's T437 porcelain-the way it shows flame color (pic). For ^6  loved  Sheffield's T-3 Stoneware-a light buff, fine grog.  My favorite at the moment is IMC's Dragon Fruit, a speckled light gray that looks a bit like granite (pic).

Fans and clay studios - bad mix. Two very popular ways to get this done, place the pot on an unused wheel rotating very slowly and a fan blows on the pot while it’s revolving. Old habits die hard - folks would set their ware on top of an operating kiln (usually along the edge not where it could be screeming hot). Oh, and third I have chattered things nearly right after throwing (10 min.) by drying with a heat gun while still rotating slowly on the wheel until stiff enough to chatter. Dry evenly inside and out, don’t overheat.
None of these are great for the ware, but as a way to move the demonstration along ….. the bowl below was thrown, dried and chattered nearly all at once. Definitely dried out enough to demonstrate chattering.

"Climate Change" : Goldfinch,  budding lilac tree, & post-snow/freezing rain iced branches 1/24/24, in NH. I do some photography.  

"Climate Change" : Goldfinch,  budding lilac tree, & post-snow/freezing rain iced branches 1/24/24, in NH. I do some photography.  

"Climate Change" : Goldfinch,  budding lilac tree, & post-snow/freezing rain iced branches 1/24/24, in NH. I do some photography.  

"Climate Change" : Goldfinch,  budding lilac tree, & post-snow/freezing rain iced branches 1/24/24, in NH. I do some photography.  

"Climate Change" : Goldfinch,  budding lilac tree, & post-snow/freezing rain iced branches 1/24/24, in NH. I do some photography.