3.75″h by 2.75″w
Well, my kiln repair worked and I got a glaze load fired off. I’m always relieved when my repairs haven’t created any larger problems. The repair was strait forward enough, but even something as simple as replacing a broken element is really hard on this old kiln. The soft brick walls the elements are embedded into are very quick to crumble and I’ve been eyeballing a switch or two, wondering when I’m going to get to learn how to test and fix them as well.
I’m happy with how this load came out. The teapots came out really really nicely, and the yunomi cups, with their thickly slipped hakeme surfaces under a translucent dark amber glaze, came out beautifully.
These are gorgeous!
I started pushing a load of small teabag trivets through the studio again. I was surprised at how well these were received last fall. I’ve sold and given away all of last years load of trivets and I’ve already gotten enough seasonal requests for these little dishes to make me begin creating a larger inventory for my fall sales.
There were a few 14 pounders in on this load too. These are some of the large sectional thrown canisters that I’ve been working on lately. I’ve I needed a few of theses larger canisters for Novembers Potters Guild sale. This is the scale I love to work in. It’s taken over a year to start getting consistent results that I can begin to count on. Now I can more freely invest the time the time necessary to create more elaborate surfaces with out fretting over major defects.
Besides… they’re a great “fit” for the recycled clay body that I used to practice throwing these canisters.
All right, so a good part of Monday was spent prepping the kiln, glazing bisque ware, and then came a typical long night of burning expectations while the kiln fires.
Well… I’m often the one who points out that if you aren’t messing stuff up, you aren’t trying hard enough.
I love the new GhostMoth stencil. I cut a stack of 32, but I’ve already used up nearly all of em. I live for the small victories!
This is the process of applying the newsprint stencils to the surface of a freshly thrown cup that’s still attached to the wheel head. The stencils are adhered to the surface by spritzing the surface of the cup with water and laying the stencil in place. A gentle pressing with a damp sponge sets the stencil in to place.
A contrasting colored clay slip is then sponged over the entire design. This slip was colored with cobalt oxide, this will fire to a wonderful blue that will influence any glaze that applied over it.
A Life by Design
Helen Carnac explores the identity of craft within the Slow Movement.
A fine gathering of clayheads
Art is my passion and the true backbone of my existence.
A studio catalog of FetishGhost's BoneOrchard TeaWare collection