Just to give it a try, I ordered a Speedball all-in-one ‘kit’ from Amazon for $20. It consisted of a small silkscreen on a frame, squeegee, ink (which I didn’t use) an xacto knife and acetate (flashbacks!). The directions said to cut out your stencil for your silkscreen from the acetate, place it between the silk screen and the paper, then create your print. Now I did a lot of serigraphy back in school, in fact, it was my favorite type of printmaking, however, this is definitely NOT how it was done; but, for cheapskate-sake, this is how I did it here. If I like the results, I’ll splurge for a real screen with either a lacquer based transfer system or photo emulsion transfer.

The photos below show the results of the silk screen transfer. It didn’t come out very crisp on the clay, but that was ok with me – I was really just looking for a multi-layered effect. Perhaps it was because I screened on unprinted newsprint and that really soaked up the water – I’ll keep experimenting because I’m sure there will be an occasion when I want it crisp.  I screened with engobes in the process documented below. I tried oxides, mixed with water and added wallpaper paste for thickness, but these really did not screen crisply onto the paper at all. I got the wallpaper paste idea from Matt Hyleck, but I’ll have to experiment with the proportions more before I’m happy with it. The engobe in this case, worked out much better.

Basic White Engobe Recipe I Used (cone 6-10… this is a vitreous engobe, even semi glossy at cone 6. Colorants were added to get brown, blue and golden tan engobe)

Minspar 700

OM4 Ball Clay 200

Talc 100

Bentonite 100

The pattern was screened onto the paper. I screened quite a few prints in different colors, washing out the screen between colors.

I coated the area of the plate where I wanted the transfer with engobe, then placed the cut transfer over it, pressing against the back with a damp sponge.

Here’s the final plate with a variety of engobes and transfer colors, including a paper resist of the same pattern

This was the first day it was above 60° in the studio and it was such a pleasure to work in. The first time in a long time I was able to take my time and experiment comfortably. I’ve got some glaze tests to do before the final pot is done, but check out my facebook page and I’ll post the glazed results there when they’re done!

Deal ON.

Now I know Randalls aren’t for everyone, but the moment I sat down at one to work, it immediately felt like ‘home’. It was a mini revelation for me in that I thought, ‘oh, this is the way it’s supposed to be!’. As a brief disclaimer before I start, should any reading this think I’m extremely clever in figuring this out, I assure you, I am not. Although there are various subjects in which I think I’m probably smarter than the average bear, carpentry and mechanics are definitely not in my skill set. I need to thank potter, Bill van Gilder, for explaining to me how to modify this wheel and work station, in very patient detail, and made it so, I can pass this information on to others, who may have a Randall that they would like to modify in a similar way.

The first issue I needed to tackle was getting the bucket head off. It seemed to be stuck on there for good. Aside from the fact that I wanted to use a regular wheel head with it (issue #2), I would never be able to clean out the splash pan properly without taking the wheel head off. I first turned to Google, scanned the Clayart archives for everyone who has ever had this problem (and there were many). I tried literally all the solutions on there from rubber mallets, to heating the bucket head with a propane torch, to ‘Liquid Wrench’ and beyond. Still stuck. In speaking with Bill, he said he only ever had that problem once with a Randall and he had a mechanic come in with a bearing puller to get it off. And so, I went over the hill on the other side of the creek to a small garage owned by a nice man named, Sam Keiser. I walked in and informed him that I thought I needed an auto mechanic but not for any type of motor vehicle. He was intrigued. So, Sam came down the next afternoon and in less than a minute and a half, the bucket head was off!

Next, I took the now free bucket head to a guy at a local machine shop. I needed the new wheel head to be approximately 2″ above the surface of the bucket (allowing for the height of the plaster bats usually used with it). Joel at the shop came up with this idea. It centers the top of the new wheel head over the old bucket head, locking it in, but can be removed, should I ever need to use the bucket head again. Works out pretty well and much less the cost of a machined head.

And finally, the workstation. Without a spot to put water, tools and finished pots, the wheel still wasn’t very usable. I purchased a $30 solid wood table on Craigslist, measured the height of the wheel, just below the roll of the aluminum splash pan, then cut the legs a bit shorter on the table to accomodate that height. I used the splash pan as a template, came in 1/2″ from the edge, then traced a semi circle, 9″ deep, and cut that piece of the table out with a jigsaw.

You’re probably thinking, ‘lovely, but that’s way too clean.’ It wasn’t that way for very long. I added some removable ware boards to the side of the workbench table, and a rolling cart for bat storage and pots (a $10 Craigslist find) and I’m off and running! Plenty of room for everything and easy production without getting up from the wheel.

Beginning with a PowerPoint presentation outlining Jeff’s home and pottery roots (and routes), as well as where he draws his inspiration, it continued with three days of demonstration, discussion and some hands-on teapot making. Jeff showed his faceting techniques along with thrown and assembled teapots, and as I was discussing with a friend, I don’t think I learned as much by what he did, as what he said.

The thing that impressed me foremost about Jeff was that he was who he was. There was no pretense there, no image, no showmanship. He was so approachable and you felt like you could easily have been hanging out in his living room chatting (or watching Downton Abbey), having known each other for years. It was really inspiring having his insight and experiences to draw on, and after making pots by yourself in a studio day after day, new inspiration is always a welcome addition.

It’s funny what we take away from a workshop, and with me, it’s often not the obvious things, but the ‘asides’ that stay with me. Things mentioned in passing, or things that weren’t said will many times, make a bigger impression on me than seeing a thrown pot on the wheel.

Towards the end of the workshop, we discussed the teapots we made. I made two, one very traditional drop-lid functional teapot, and another, also functional teapot which was a bit looser in concept. The lid on the latter teapot bothered me. At least I think it was the lid that bothered me, although I didn’t know why, and I didn’t know what to change to make it ‘work’ in my mind. After showing this teapot to Jeff and issuing a minor ‘SOS’, he took a look at it and although suggesting perhaps to omit one of the steps in the lid, he really didn’t see anything wrong with it. His advice was to fire it, use it, and then decide what you like, or don’t like about it.

Interesting concept and very definitely foreign to this potter. My usual philosophy was that if I didn’t like the pot in the greenware stage, no amount of glaze was going to make me like it, and it would hit the recycle bucket (sometimes after I keep it on the shelf a while looking at it, or more often, glowering at it, trying to figure out what it needs).

And so, I’ll take that advice, glaze the pot, fire it, brew some tea, then see where it sits with me. Maybe it will help if I pour the tea into my new Jeff Oestreich faceted mug. Sure, that’s the ticket! Can’t hurt.

The studio is convenient to both Rt. 83 and Rt. 30, making easy access from Baltimore and Harford Counties as well as all around the York-Harrisburg area.

It started with a photo of this barn on Craigslist, advertising storage space. I looked at it and thought, ‘wow, great space’! If it had enough ventilation and the owner was ok with a pottery rather than ‘storage’, I might be good to go. I spoke with numerous other people about potential studio space before I made this call, and no one was crazy about having a pottery operating in their building. Consequently, I didn’t have high hopes. The phone message I left went kind of like: ‘umm, I know this was advertised as storage, but…well… I’m a local potter who is looking for a larger studio, and I thought maybe, if it were at all possible, I could use the barn that you have advertised? It’s just me, and there’s no noise really of any kind…well, there is a kiln (insert mumbling of the word, ‘kiln’ here)…, and so, umm, if this is something you’d be ok with, could you please call me back?‘ And much to my surprise, he did. Not only that, but he was very nice and said if the barn didn’t suit, there was another block barn next to it that a tinsmith ran a business from and I might want to look at that. Once he told me the address, I knew exactly where it was as I have passed it many times before. It was fairly close to home on a well traveled road. There is virtually zero traffic headed to the pottery and the trip (at least in good weather) is a pleasant one. Some shots taken on the way from the car!

Well I looked at the barn, and as beautiful as it was, among other things, I could see right through to the outside through the boards and knew there would be no way I could even think of heating that space. And so, we moved onto the block building. Although a bit dark inside, this building could definitely work. There was plumbing, electric and enough juice to run the kiln (notice I didn’t say ‘heat’ – still working on that)…nor did I mention ‘bathroom’… strategic long range planning will need to be done there. So, long story short – I signed the papers on August 15th and the new studio is undergoing ‘remodel’. Priming, painting, getting an electrician for the lights and kiln hookup, plus new steps for the outside are all in the plans.

Right now I’m saying ‘opening in the Fall of 2012′ – that doesn’t pin me down too much and gives me a lot of leeway!

Here are a few shots of the studio as it’s progressed. I think a lot’s been accomplished just over the past week.

I was at Yorkfest this weekend with my pots and at the last minute, decided to print out some postcards to let people know of the new studio. Stay tuned to the blog for more updates and thanks for reading!

First, go to http://www.missionsmallbusiness.com, then follow the illustrated instructions! Please let me know if you are having trouble voting and I’ll be happy to walk you through it!

this will bring you to this window…

That’s all there is to it – thank you for reading and extra thanks for voting!!

Different suggestions have been made so far, including, one that I’ve seen Bill van Gilder do, which is kind of tossing the plate outward from opposite sides once cut from the bat to form the oval. I considered a different approach and remember being told at one point about a potter (I think it may have been Warren MacKenzie) who created oval covered dishes by throwing the dish round, then cutting out an even strip from the middle and attaching the sides back together with a slip/score method. I thought I’d try it with the plate.

I started by throwing just a regular plate, leaving enough thickness at the bottom to trim the foot. Once the plate set up enough to flip it over, I trimmed the foot, allowing the clay to be a bit wetter than I’d normally trim, to accomodate the cuts I would make to alter the plate to oval.

Using a straight edge, guide lines were made with a needle tool on either side of the center guide circle that I created with I trimmed the plate. I went over these guide lines, cutting down with a sharp knife, virtually cutting an even strip down the center of the plate.

Each cut end was scored and slip applied to one side only. The two ends of the plate were then pushed firmly together, with the joined area compressed thoroughly with a rib on both the front and back sides of the plate. This gives an oval plate and a finished oval cut foot on the back side.

I’m not sure of the practicality of using oval plates in place settings around the table, but larger pieces might make for interesting platters. They are also rather labor intensive if you’re making up a batch – certainly more than regular thrown plates. I think if I were to do this again, I’d make up a few, bisque them, and use them for slab molds further down the line!

Why a Trash Can?

Why not? I like experimenting with different ways to turn out good pots and after seeing a photo of some really nice trash-can-fired bells, I thought I’d try and give it a go. There wasn’t a lot of money invested in the project – a $20 galvanized steel trash can, free wood from a guy in the next town over who tore down his old shed and about $2.00 worth of wood shavings from the local farm store.

Trash Can Modification

I started out by drilling some holes in the bottom of the trash can for air flow. I was told if not enough air flow from underneath or on top, the fire could go out prematurely. Drilling the holes was easier than I thought it would be.

Upon reading up on the methods that other people have used, I read that you should cut ‘slits’ on the sides of the trash can. Ok, I bought a Rotozip not too long ago to cut dies for the extruder, so I thought that would do the trick on the trash can. This was not so easy. I drilled a hole to start the tool but while attempting to pull down the Rotozip, it jumped all over the place basically cutting a very irregular large ‘maze’ down the side of the can instead of a slit. After sending an SOS text to a friend much more experienced with this tool, I got some good advice on the proper way to do this (keeping the can on it’s side and pulling the tool toward me with both hands…carefully) and finished cutting the slits around the can.

Unfortunately, I was so happy to be able to use the tool properly and finally able to cut the slits, that I think I overdid it and cut too many slits. To remedy my goof, I ended up blocking off some of the slits from the inside with a ceramic fiber blanket. I figured that might do double-duty in helping keep a hotter fire going as well as blocking too much air from coming in. I tied the pieces of fiber blanket to the can with copper wire; one, because I had it hanging around, and two, because I thought the extra copper couldn’t hurt in a fuming type atmosphere.

Prepping the Pots

All pots were made with a buff colored slightly groggy stoneware. In this case, I used Highwater’s Orange Stone because I read that you wanted a higher temperature clay so the clay stayed ‘open’ and porous to accept the fumes from the oxides. When bone dry, each pot was coated with a white terrasig (made from ball clay, epk, sodium silicate and a little borax thrown in) and polished. I believe that the pots that crackled were the one’s where the terrasig went on a bit too thick. They were then bisque fired to cone 08.

The pots were treated in various ways as you will see in the later photos before placed into the trash can. Some had strips of cheese cloth wrapped around them that were previously soaked in a salt & copper carbonate solution, dried and dusted in spots with red iron oxide. Others had jute wrapped around them while still others were contained in a saggar of sorts made from paper bags or foil. A few were put in with nothing at all on them. Basically, I was just curious as to which treatment caused each final result.

Firing Day 

A sheet of plywood was placed over the grass (which was really wet from a soaking rain the night before), then added a wire rack (held in place by some weights) and put the trash can on that to elevate it and get some air flow underneath. Cinder blocks would have been great, but with none here, I improvised. I put about 4″ worth of wood shavings into the can then added a layer of pots. Between the pots, I sprinkled kosher salt and a product called, ‘Root Kill’ that I got at Home Depot, which is basically 100% Copper Sulfate. Then I added more wood shavings, then another layer of pots. Actually, just one pot – next time I’ll know I can fit more pots! Someone told me not to fill over half the trash can with pots and I wasn’t sure how many to make. The pot on the top layer ended up getting the most color although I’m not sure why. I put long boards along the outer edges of the can, vertically, to hopefully carry the fire from the top down to where the pots were buried. More salt and copper sulfate was sprinkled on top of the shavings and some baking soda added for good measure.

Kindling and wood scraps were then added, along with a paper towel that I put a bit of gasoline on to catch. I was told to pour some gasoline on, but was honestly kind of scared to do that, so I compromised with the paper towel! Finally, I put some branches from our Christmas tree that’s still sitting in the pine trees and the whole thing went up with a match like, well, a dead Christmas tree.

I let the fire burn until all the wood was burned below the surface of the can lid, then put the lid on firmly. The can was cool by evening to unload.

The Results Are In

Before I show you the result photos, I have to say I was less than happy upon my  initial inspection. I’m not sure what I was expecting, but suffice to say, I was looking for a much smoother surface than the surface texture that developed. There are no plans for these finished pots save for keeping them on a studio shelf, taking them down from time to time for another look, and comparing them with future firings. I was talking about the results with a friend this morning and his insightful comments came back to me quite a few times during the day. He said when we push the envelope in trying new things, we also have to push the envelope with our acceptance of these same things. Interesting thought and I think I often have too much rigidity with what I expect and what I accept; in  many respects; not only with pots. That’s not to say that I’d accept inferior quality with the work I produce, but rather I need to leave myself more open to accept and appreciate the differences, and in turn, perhaps, gain a respect for new things. Advice to hold on to, learn from, and pull out again when the situation warrants. And now for the finished pots…

In the photo to the left, the inside of both the foil and the paper bag, was sprayed with hairspray, then salt and copper sulfate sprinkled on both. The foil saggar had the smoothest surface finish.

My new obsession is what tool can I MAKE and what can I use that I already have lying around the studio in order to do it. Roulettes made from bottle caps, kids’ toy truck tires; gears from an old pencil sharpener (an idea borrowed from my teacher). It just seems like you get a more unique impression with a tool that you’ve made yourself.  There are a huge selection of commercial stamps on the market and many are really well made, but frankly, the last thing I want when someone looks at one of my pots is for them to think, “oh, I have that stamp.’’.

To an extent, the originality of your piece can depend on how you use the stamps, but we make stuff out of clay – that’s what we do. Wouldn’t make sense to make your own stamps that are completely your’s? I carved a few in a matter of 15 minutes. I hand build the stamps – nothing fancy, let them set up until no longer tacky, then using narrow ribbon cutting tools, I carve the designs into them. You don’t have to know how to draw and it doesn’t have to be complicated. A few examples can be seen above. Once they are dry, they can be bisque fired and then ready to use.

Roulettes can easily be made from clay discs and bisqued as well, if I’m making large patterned rollers, I’ll often poke holes in them, not only to lighten them up, but to make sure they dry thoroughly for bisque firing. I used to use a manufactured handle with them, but really, they spin just as freely between your thumb and forefinger and it’s quicker to change rollers that way.

Sea shells make really great organic stamps and depending on which part of the shell you use, you can get a different look with each shell. The textured patterns on the box below were entirely done using different shells and coral I brought back from a trip to Aruba (yes, I know technically you’re not supposed to do that, but it was just a few and we won’t discuss the clay I dug up here).

I also like to carve designs in slabs and bisque them to use for slab impressions. There are hundreds of online websites with patterns that you can use, print, and transfer by tracing over it with a pencil right to your clay slab. Leave until leather hard, then carve.

If that seems like too much work, there are lots of textured things out that you most likely have laying around, or, easy to find, that you can use for slabs. Car floor mats often have some great patterns, vacuum hoses can be used for rolling over slabs to create a lined texture; embossed wallpaper can make an elegant pattern and really draws the eye to the bottom of a platter or inside a box. Here’s a fun, rather geometric pattern, obtained from rolling a slab over a florescent lighting cover that I broke….err… got broken in our basement.

And last but not least, buttons! I love antique buttons but with the popularity of ebay, they have really gotten super expensive. I’ve been known to raid my mother’s ‘button box’ looking for really cool and unique patterned buttons, but now they also make ‘antique reproduction’ buttons and you can pick a whole bag of them up for a song on ebay as well. They make super ‘sprig’ molds, or, bisque the sprig mold and create a stamp from it. Some of the patterns on these old buttons are really beautiful.

Just some ideas that I had rattling around my head and wanted to put down. Hope they’re helpful to some of you in your quest for unique impressions. Good potting!
 

If you don’t want to carve your own stamps, there are great texture ‘tools’ out there that you can use to make unique impressions. Collected seashells and coral make awesome organic impressions that can often change dramatically depending on what part of the shell you use to create them. The texture on this covered box was stamped entirely with shells I brought back from a trip to Aruba (yes I know, technically you’re not supposed to do that, but it was just a few, so we shall not talk about the clay I dug up and brought home).