Some things happen in tiny increments of time, especially those less glorious tasks. Fun jobs like planning and gathering, then using a mitre saw to chop wood into usable pieces for portable shelves occur in a time warp of effortless bliss. Framing shelving units – not so much.
So, I had researched long enough and had to prepare for the eventuality of the craft event. It was time to stop procrastinating; the shelves were going to happen. There would be no distractions – shelves would be built.
And they were. It took less time than anticipated and of course they aren’t perfect – they have fallen over once, taking a dozen or so pots to their doom. However, with some minor adjustments for improved stability, these two sets of shelves should serve their purpose and function, for they are lightweight, portable, easily set up and taken down, and will hopefully not continue their villainous rampage against my pottery.
I hadn’t thrown any mugs in over a year, because there were bins-full in the kiln shed. My niece had gone through the bins a few months ago to bring with her to Sato Salon Organics, an all-organic salon where she works, and where my pottery and mixed media pieces are displayed and offered for sale. Some of the mugs she left with that day were for use in the salon, for customers to enjoy a cup of coffee while they waited, while other mugs (and various pottery) were designated specifically for sale. Last week my niece called to say someone liked one of the coffee-designated mugs, and wanted to know if I would throw a new set for her. So yesterday,for the first time in over a year, I was throwing mugs.
I threw a dozen stoneware mugs, half in white and the rest in speckled brown. After trimming and attaching the handles to the white stoneware mugs, I trimmed the speckled brown ones and wedged up some clay for more handles. Now, I’ll go out to my studio and finish the rest today. I’d forgotten how much I enjoyed throwing and ‘handle-ing’ mugs.
Constructing a large slab-built milk-can requires a bit of planning and plenty of work space. Using bristol board sheets to construct a mock-up of the overall form and I then took it apart to use the pieces for templates. The large slab roller in work made quick work of rolling the largest template shape, which was roughly 30″ by 17″ – for the barrel of the milk can. For transport, I rolled the 15 lb. slab within heavy canvas and plastic sheeting, then placed it inside a rolling suitcase to bring it to my home studio. Once in the studio, I unrolled the soft slab to allow it to set up a bit.
Once the slab was no longer soft, I draped it over a 5 gallon bucket and a wheel bat placed at either end, with heavy canvas between the clay and the supporting structure to allow the clay to set up in a large arc without sticking to the bucket and bats.
The slab sat like this for several hours, checked on from time to time, to determine when it was strong enough to hold its own weight. Once it was strong enough, I stood it up and began to form the cylinder for the barrel of the can. While the large slab had been setting up, I had rolled a smaller slab for the base of the can and let it firm up on a plaster bat, so when the barrel of the can was ready, I attached it to the base and positioned the form on a masonite board.
After wrapping the form in plastic sheeting so it wouldn’t get too dry, I began to roll and cut the slabs for the upper sections of the milk can using the bristol board templates.
After forming the upper sections of the can I placed each part on a plaster bat to set up. Getting these sections leather hard didn’t take too long, because the warm sun and gentle breeze on the back patio provided the perfect drying environment.
After the upper sections were firm enough, I attached them to the barrel, and added a coil to the joint of each upper section, then a handle on either side.
Wrapping the lower portion of the can in plastic allowed the upper section to dry a bit more so some fine tuning of the form’s surface could be dealt with at a later time. Lastly, I took some measurements to record the amount of shrinkage at leather hard -and later at bisque and glaze- since I’d never made this form before.
Setting up the photo booth was easy once I saw that post about using PVC pipe to create the structure.
Using my chop saw made quick work of cutting the pipe to the dimensions I needed; the 3-way fittings and elbows worked great to not only build the box but to make it stable. I draped a few yards of muslin over the top and sides, then stood a piece of matt board at the back. I ran a roll of tracing paper across the ‘floor’ of the booth and up and over the matt board – folded the paper over the top of the board to hold it securely in place, then left the paper uncut on the roll in the front of the booth so it could easily be replaced as needed. With a lamp placed outside the muslin ‘wall’ I was ready to shoot some pottery images. The whole task took about 20 minutes from start to finish. An added benefit is that the PVC is very lightweight which will make it easy to move and quick to disassemble and reassemble should I ever need to do so.
A friend of my niece is going to set up a pottery studio in his new house and was asking what he would need to get started.
My work area has evolved since the beginning, so I thought about the basic components I gathered when I first set up my potter’s studio.
Besides a good potter’s wheel, having access to electric, adequate lighting and ventilation, and easy-to-clean flooring /horizontal surfaces are a must.
Speaking of clean, easy access to water, a bunch of hand towels, a good apron, sponges, and a scraper are working and cleaning essentials.
Storing work and ware makes bags for storing unfinished projects; crates and shelves for carrying and storing bats and ware; and vessels to stow tools an organizational necessity.
A wire cutting tool, ribs, sponges, a needle tool, and trimming tools serve as the very basic throwing tools.
A yard of heavy canvas, a rolling pin, a fettling knife, an old kitchen spoon and fork, and a slip container can be the basic hand-building tools.
As far as glazing brushes go, I used 1″ and .5″ hardware store utility bushes for the first couple of years.