[albarello]

They're for storage of things like spices and herbs.  They're based on the idea of medieval pharmacy containers.

[ashglazebowl]

No, this was bisqued.  The thickness of the primary glaze is pretty critical-- this piece is maybe a little too thin.  But the ash glaze over it redeems it, I think.

[Large Tree Frog bowl]

Thanks, Marko.

[humanoid effigy water pipe]

Parts of it.

[humanoid effigy water pipe]

No, but I liked the movie.  I saw it while at Da Nang Air Base in 1971.

[First glaze load in new L&L kiln.]

I love it, so far.  I still have stuff to figure out, but the ease and reliability of firing a kiln with a good controller... very very nice.  And the kiln itself seems very well engineered.

[Tadpole Bowl in Blue Slip and Celadon Glaze]

It's a fake celadon in oxidation, Cone 8.

[mug with red slip and sgraffito]

Thanks.  That's a pretty active glaze with a lot of titanium.  It picks up the color of whatever slip is beneath, so you can get pretty rich effects from very simple technique.  I'll post a couple close-ups of the glaze over different slips.

[humanoid effigy water pipe]

Thanks, Guinea.  I did several of these little water pipes in the last load, all with different expressions.

[Rose and white steampunk lizard pipe]

Marko, thanks for the kind words.  I really appreciate the encouragement.  I've got a batch of effigy pipes in the kiln for a firing tomorrow-- I'll try to put some more up if they turn out okay.

[Deep Serving Bowl]

Thanks.  It's about 6.5 inches wide and 4.5 inches tall.  Looking at the pictures, I think it probably seems larger than it actually is.

 

You can see other pics of it here:

 

https://www.etsy.com/listing/242759822/deep-serving-bowl?ref=shop_home_active_3

 

There's a close-up that shows the way the ash glaze gathered into odd little beads of translucent brown crystals along the lower edge of the flow.

[Small sauce bowl]

Thanks, Judy.  I think that was my favorite piece from the last firing.  I used three different glazes on it.  I like to experiment with little pieces and then expand what I've learned to bigger ones.

[Granite Yunomis]

Thanks, Babs.

 

Yes, I've always liked to work with slips and glazes, and there was even a time long ago when I used stoneware clay dug directly from the ground. 

 

The narrative pieces showing precise outlines of images (the cats in these pieces) were done using resists cut from thin plastic and smoothed onto the leatherhard piece.  Then the piece was either dipped in slip for the negative images, or covered with cold resist, peeled off, and then slipped, for the positive ones.  Lately I seem to be reverting to more abstract surface treatments.

 

I've only recently come to appreciate the idea of cups without handles.  Our oldest son is a tea aficionado, is about to graduate from the Culinary Institute of America, and that's the reason I started making yunomis.  I'm really liking the possibilities of the form.

[Celadon Yunomis]

Thanks, Babs

 

Yes, I've seen his blog.  Very good potter and very good writer.

 

I wish we'd had the web when I was a young potter.  I'm naturally an extreme hermit, and it would have done me a lot of good to see how much beautiful work is being done.

[smallDrinkingBowl001]

Strong forms!

[Cookie Jar]

Well, neither, really.  The flowers and thorny stems were plastic resists stuck to the leatherhard pot. Then  a titania slip was applied over them.  The resists were peeled off and details incised into the image, and black stain used to emphasize those details.

[Wood Nymph]

Thanks!  No, the incised lines were rubbed with black Mason stain.  It's a bit like an etching, but without the printing.

[Cats Drinking Porcelain]

Guinea, I appreciate the encouragement.  When I did the cat pieces, I was working with silhouetted resists, and cats are unmistakeable, even with very few details.  But lately I've been branching out into other forms... steampunk lizards, for example.  But no pics yet.

[Cats Drinking Porcelain]

Hey, thank you both!

[green-blue cat mug]

Thanks!  Well, sort of.  The cat is a cut-out resist of thin plastic, put on the porcelain body.  Then the mug was dipped in a slip made with added titania, which alters the blue glaze slightly in color and texture.  The resist is peeled off and details sgraffitoed into the image, then bisqued and fired.

[Sgraffito Eastern Dragon Bowl]

That's a terrific piece!

 

Slips are the bees knees for getting a rich surface, and surprisingly controllable for control freaks like me.

[Walrus Mug]

I really like your work.  Our kids had guinea pigs and they were important members of the family.

[Cat in Orchard]

Hey, thanks!

 

I added a few more.