Out of the Kiln 8/21/12

First, I'd like to share the first of the group of test mugs with you.  Same wonky style that twists and turns, but with the addition of my different textures.  Also noteworthy is the shape of the mug.  Not too obvious in these photos, but I am loving the improved height and width ratio.  Much, much better for holding your favorite drink without sacrificing whimsy.

Also, out of the kiln this round were some absolutely gorgeous tree pieces.  Two of them, my favorites, are done in the new stained glass inspired style.  One is a tree cut out!  And the fourth is a two-toned tree bowl.  On a fun note, these "out of the kiln" pictures were taken inside the kiln!

No firing would be complete without some hearts and pendants.  Here is the mix that came through this round.

Phew!  The first of many for the next several weeks.  Inventory build for the holidays has begun!

Out of the Kiln 8/17/12

A long awaited, by me anyway, kiln firing unloaded today. I typically fire my work at Cone 10, or approximately 2400 degrees for the non-ceramic artist, but my pieces today fired to Cone 5, approximately 2200 degrees.

You might think the temperature difference seems minor, but how hot the kiln goes effects everything about a piece from glaze color and effect to construction of the piece.

These tree cut-outs have been in progress for what seems like forever.  Due to the delicate nature of the piece construction, I choose to fire them at the lower temperature of Cone 5 to ensure that the pieces didn't slump or crack in glaze firing.  These pieces have actually fired a few times with just yuck glaze results, but I think these combinations have finally hit the nail on the head.  Check them out!

Also in this firing was a super wide platter.  It was so wide that I worried a bit about slumping at Cone 10.  I really like how this piece came out.  Shades of greens and ambers all ready for fall!

Last, but not least, the results of my Cone 5 clay samples experiments.  If you remember, I had created the dubiously titled Bacon Barrel Bowl and Hearts with Scraps from some clay samples I have received.  The clay in these pieces has materials that would breakdown if fired too hot (not all clay can withstand higher temperatures).  I really love the red colors of these clays.  I only took one picture of the group, so not a lot of detail.  Sorry!  The hearts came out of the best.  I'm adding twine to them for some great rustic hearts!

This is the first in a new series of Out of the Kiln photo blog posts!  Come back often to check out more!

I've Learned

My formal ceramics training is sparse.  I don't have a degree in fine arts, although I did get introduced to the medium during three classes I took during college.  In addition to those three semesters, I have a ton of independent studio classes under my belt.  I like to think I have a decent foundation on which to work with clay as a medium.

I've learned.  Everyday I learn new things about working in clay.

Sometimes these lessons come from my own experimental nature ... I wonder what would happen if I do this.  Now I have a new foot for some of my bowls that is the envy of others in the studio.  I've already been asked if they could do something similar.  Hmmm ... wonder if I could get royalties out of that?

Sometimes they come from a passerby in the studio watching me work.  The questions, "I thought you have to cut the bottom a little bigger when hand building?"  "Nope, you don't."  I tell an amazed student who you know always secretly knew it was true all the while realizing that it certainly is better to cut it bigger for certain forms.

Sometimes they come about from someone who works in clay with even less formal training than me.  A fellow studio member, who is basically self-taught, mentioned to me one day that the bowl design they were working on that day was great to use up scraps.

I didn't say anything out loud, but scraps?  I looked and she had a whole collection of partial slab pieces in various sizes and shapes waiting to be used.  Just as I was wondering why she doesn't just wedge them, she asked me, "What do you do with your scraps?"  I replied, "I wedge them together."  "Oh, I don't know how to wedge," she replied.

It was, I've got to admit, a really thought provoking conversation.  In both of our minds, the obvious solution to the same problem was so radically different and yet, really, neither solution was wrong.  Why couldn't she approach the problem of scraps by creating something completely different and unique?  Why couldn't she use the opportunity to try out a different idea?  Test a few glazes?  To create a piece for fun?

Recently, I received some clay samples to try out.  The clay samples were, to be blunt, small.  There wasn't much I could do with them.  I decided to make some hearts, little decorative ornaments, out of samples, but as I cut out wonky and fun shaped hearts I found myself with these scraps of clay.  Too small to re-wedge, too small at this point to do anything with I thought.  Then I remembered.

I started adding them in crazy patterns to the hearts.  Some of the designs are definitely abstract, but some I like to think look like faces.  I have always made hearts or pendants when I wanted to take a little break from my more involved pieces, but these made with scraps hearts I think just might be my favorites.