Time for slumping?

I've been known to buy a piece of meat or seafood not for dinner, but for the styrofoam container on which it's packed. A simple trip to the grocery store can provide potters with a multitude of forms - perfect for making plaster slump molds. My studio is filled with them, in fact, I mix small batches of plaster once or twice each week, filling the latest booty from my weekly shopping excursion. The photo below shows the transition - from foam mold to plaster cast to fired ceramic dish.



There aren't too many shapes you won't find- especially in the meat/seafood department. And one single foam tray can make a variety of slump molds, depending on how much plaster you pour into it. A shallow pour of a half inch works well for plates. Pouring the plater deeper will allow you to make molds for casserole dishes, platters and more.

Here are some of the slump molds I have laying around, I keep them in racks near the slab roller, where I can quickly grab the appropriate form.


In the next photo, notice the two small square trays in the top row. I use those for soy bowls when making sushi dinnerware sets. I couldn't find any styrofoam trays small enough for the soy bowls, so I cut down a long narrow tray and spliced it back together to make the small square. The plaster cast revealed a small seam, where the two halves were joined. It's quite easy to clean the seam up with small tools, such as dental picks, X-actos (my personal favorite), files, or even small surform tools.


A recent visit to Costco, where I purchased one of their heavenly roasted chickens, set me in a new direction. The dish on which it's served reminds me of a tire tread. I've been experimenting with platters that look as if they've been run over by a tire. Since this mold is so textural, it works best with softer clay that won't tear around all the knobs.


As nerdly as it sounds, I've become somewhat of a meat tray snob. Some of the trays have a lovely texture in the bottom. I'm sure it's so the meat doesn't sit in it's own juices. Other trays are plain at the bottom. Both are shown below, in the exact same size. The textured trays provide some lovely effects on the plates that are made with them. When shopping, I'll choose something with a textured tray over a plain tray. If I decide later that I don't want the texture, it's easy to eliminate with a surform tool.


After a while, it's easy to find you've accumulated MANY plaster molds. I've started building small shelving racks for them, using pegboard for the shelves. The pegboard promotes air circulation, keeping the molds dry when they're not being used. I've found it's handy to have duplicate slump molds, so that when I'm making a dinner ware set, I don't have to wait for the clay to set up to re-use the mold. I just grab another one that's available. I've learned that a quart of water, and the appropriate plaster (2 lbs, 12 ounces) will make roughly 4 of these small molds.



The end result? Here are 3 plates that were quite successful.

It's Spring! Time to make rattles

It's baby season again. Every few years, the cycle begins again and I get requests for wooden baby rattles.

It started when I made a rattle for a friend who had a baby, I turned a simple rattle on the lathe, and then made a small commemorative box to hold it. Over the years, the box has become more elaborate, with the baby's initials or birth date carved in it. Then someone requested a second compartment within the box, to hold the baby's first pair of shoes. It's a lovely little keepsake for a family.




So I've been in the studio, making rattles and boxes. It's somewhat repetitive, and my mind tends to drift a bit. Then something dawned on me!




In one of the earlier posts here, I showed a sample of a REAL blue glaze I've been developing. Here's a picture of it again. (Scroll down a few posts and you can read more about this glaze, it's based on a recipe in the book- Mastering Cone 6 Glazes, by John Hesselberth and Ron Roy.




Since the box that I make to hold these rattles is a simple "pencil" box with a sliding lid, it dawned on me that it might be nice to add tile to the sliding lid. Or even made the entire lid out of one large, flat tile. The tiles I make are very flat, and I've learned how to make them quite thin without warping while in the kiln.

So now it's back to the drawing board for me. I'd like to try and develop a pink version of this glaze. Any suggestions?

2007 Las Vegas Celebrate Diversity Art Show entries

Thought I would post a few pictures of a couple of pieces I entered into a local art show.

The REAL Blue

I've been experimenting with some blue color variations of the Waterfall Brown glaze. The recipe for this glaze is included in "Mastering Cone 6 Glazes" by John Hesselberth and Ron Roy. Like many other potters out there, I'm a big fan of this book.

The first tile, shown below, is what I used to call Waterfall Blue, since it had some lovely subtle blue tones, thanks to the Rutile.
Yesterday, while firing a load of glazed tiles, I mixed up a few small batches, trying to find a nice green that would go well with wood. I did a tri-axial blend with 3 oxides, and I think I may have been lucky enough to hit a home run. Now THAT'S what I call Waterfall Blue.
These samples are about 3 inches square, and since I place them on a pegboard display, I put a small hole in them for hanging.

More Tile Medallions

Sometimes I feel like Richard Dreyfuss in"Close Encounters of the Third Kind" when he loses his mind with his mashed potatoes. I've been working on these medallions so much, I'm seeing circles in my sleep. The glaze on this first medallion resembles granite, it's deep and gorgeous.



Although texture adds a wonderful dimension to these tiles, the glazes allow them to stand on their own. All of these glazes are based on the WaterFall Brown recipe in the book "Mastering Cone 6 Glazes" by John Hesselberth and Ron Roy. I've said it before- this book is worth every penny you spend on it.



All of these medallions are roughly 7-12" in diameter, and remarkably flat. I'm heading out to the woodshop now, to inlay one in a table that I'm making. I'll post pictures when it's finished.

Working on some Tile Medallions

Mies van der Rohe said it best- God is in the details. I might be the least religious person I know (too many years of Catholic school) but there are times when I can't help think of that quote when working in my studio.

When I'm designing a piece of furniture, I try to think beyond the nuts and bolts of it. Sure, a desk is just a desk, but I like to include a few details that make a piece a little more special for the person who uses it. If I know someone likes a cup of coffee or tea, I might inlay a small tile into the top of a piece, functioning as a built-in coaster. I once built a media cabinet for a photo journalist, and incorporated a hidden drawer into her piece, perfect for storing some of her prized negatives and prints. (This was before we entered the digital age.)

So I wanted to include something different in this simple table that I've been building. Nothing beats a hidden compartment, and in this case, the compartment is actually a small box that locks into place, but can be removed.

The hidden box is variation of a simple pencil box, with a lid that slides across the top. There are dissenting opinions about whether a box like this should be finished. An oiled box often imparts a slight odor, and can possibly bleed some finish over the years. This doesn't happen often, but because it can occur, some makers prefer to leave their drawer boxes unfinished. So for this piece, I chose to leave the box unfinished.



I like to "lock" these boxes in place, so that it can't fall out when the housekeeper moves it the when vacuuming. A low-tech method for keeping it in place is a small wooden handle. Swing it down, snuggled up to the side of the box, and it's held in place. Even the shape and curve of this little handle lends itself to the task at hand. There is a slight flair at the end, allowing it to be easily grabbed.



When I'm making a commission, I like to send current status photos to the buyer. A shot or two during the process allows for some slight tweaks, if desired. And frankly, I've had some people remark that they've never seen a piece of furniture in various stages of completion. So it allows them to have a better understanding of how it all goes together; it might seem trivial, but it helps explain what I do.



Finally- the top. In this last picture, you can see the slight dip in the tile that I made. It's not much, perhaps a half inch or so. It's as if someone pressed their thumb down into the center, causing that impression. It's perfect for burning a small candle, or placing your watch or ring during a workout. Like the eBay commercial, it's meant to hold "it" - whatever "it" is for you.

One of the most popular pieces I've ever built is this Mahogany table. Many people comment about the legs, in this case, the legs have Oak "socks" on them. It's an interesting little detail, and well worth the trouble.

Gluing end-grain to end-grain (like this) is often risky. End grain doesn't hold glue very well, instead it soaks the adhesive up the pores of the wood, and starves the joint. With this kind of lamination, I use a polyurethane glue, and pre-treat the wood for better adhesion.



Polyurethane glue is moisture activated, so dampening the surfaces that will be joined ensures a better bond. Notice the spray bottle on the left. A quick spritz of water dampens the wood, and later, when they're surfaced and trimmed to length, I'll strengthen that joint even further with a long screw.




I finished the top yesterday, using one of the tiles that is shown below in the last blog post. This photo of the top shows it installed in the top, as well as the additional carving that I did around the perimeter.

Once the legs are finished, I'll make the aprons and assemble the base. This particular table will have wider than normal aprons, as I am planning on installing a secret compartment in this table. I guess it's not so secret any more!

I've been making these small Ritual Tables for a while, they're usually about 16" square and about 36" tall. In the top, I inlay a handmade tile. I used to work with flat tiles, but over time, I found myself bored with them. Experimenting with some plaster molds, I started making tiles with a slight impression in them, perfect for burning a candle or incense, or perhaps holding your watch at the end of the day. Here's a typical table, in fumed White Oak.




I've started experimenting with some more colorful glazes on the tiles, here are a couple of examples of some newer pieces.

These are some lovely test tiles that were unloaded from the kiln yesterday. The blues are vivid and gorgeous, and best of all, this doesn't seem to run on vertical surfaces.

I tested this on 3 different clay bodies, it looks best on a dark clay. On porcelain, it's muddy and yellowish, and reminds me of bodily functions that are best forgotten.

I've been getting some amusing e-mails, asking why I keep writing about ceramics on this wood blog. Let me try to explain...

I love woodworking, but in an attempt to add color to the pieces I build, I've found that the best way is by adding ceramic tile. While much of my focus has been on tile making, I'm discovering that the process of glaze making is quite interesting.

Who knew!?

Formulating my own glazes allows me to add a dimension to my work that is simply amazing. It compliments the wood, much like adding paint to a canvas. Speaking of that, if you look on my website, on the "Custom Tile" page, you'll read about "Doug's Table," one of my favorite pieces. It's pictured here.

Doug was a painter who commissioned me to build a table to display a painting of hers. The painting is protected by a sheet of tempered glass; the table is completely functional. Complimented by the colors in her painting, the mahogany glows. This piece is stunning.

So adding tile isn't the only way to add color to furniture, there are many options. I've experimented with milk paints, worked with aniline dyes, and dabbled in inlay, but I keep going back to the one I like best - handmade ceramic tile.

#7 - RIO 12.5
Rutile 1
Cop. Carb 1.5

#8 - RIO 12.5
Rutile 1
Cobalt Carb .5
(This one runs the least)

#5 - RIO 12.5
Rutile 1
Cop. Carb .5

#6 - RIO 12.5
Rutile 1
Cop. Carb 1

These glazes are all based on the formula for WaterFall Brown, in the book Mastering Cone 6 Glazes by John Hesselberth and Ron Roy. It's an incredible book, worth every penny spent on it.

In fairness to the men who came up with this original glaze, I won't include the base formula. It's hard enough to sell books as it is, so posting their recipe isn't fair. But in their book, they challenged everyone to play with their recipe. I am posting the modifications I tested.

All of these tests were applied to a medium color clay (Long Beach) and like the authors suggest, it runs like crazy. In my next tests, I will experiment with flux levels, to try and
lower the amount of flow on vertical pieces.
All numbers below are based on percentages.







#1 - RIO 5
Rutile 1

#2 - RIO 0
Rutile 1
3195 +3% (29% total)

#3 - RIO 10
Rutile 3

#4 - RIO 10
Rutile 2

While I've never considered myself a ceramist, I have to admit I've learned a good deal about the subject. There are cycles to my madness, I'll read, read, read, only to head to the studio for a month or two of tests.

And then.....more tests!

These glaze samples were recently done, and are quite interesting. The color balance seems to be a bit off when I transfer the images from my camera to this blog. But - the close-up of glaze #1 (below) reveals the merits of slow cooling.

Many thanks to John Hesselberth and Ron Roy for getting me started down the right path. And to the crew at Aardvark Clay for their guidance.

There comes a time in every artist's life when they have to make some decisions about the direction of their work. It's often a hard, confusing time, where financial matters are offset by artistic expression. In some circles, it's known as the big sellout.

Or not.

If attention is paid, an artist will probably remember the piece that sent them to this precipice. I remember mine; it's this newspaper/magazine holder that I made in the late 1980s.

I opened Wood It Is!, a small gallery near Akron, Ohio. My original concept was that we would only feature work from woodworkers. No paintings, ceramics, prints or glass....only wood. And while it was marginally successful, it attracted many woodworkers, who would stop by to chat and check out the competition. It morphed into a woodworking supply store; I sold far more lumber, veneer and inlays than I ever sold furniture. But custom pieces became commonplace. Customers would venture in, look around, and see a piece they wanted, like a desk or a cabinet. But they would want it in a different wood, or a different finish. To stay afloat, I found myself making (and selling) custom pieces, exactly they way the customer wanted them to be made.

The defining moment for me came when a customer commissioned me to build them a small newspaper holder. I came up with a few sketches, none of which they liked. So they came up with their own drawing, I'm not sure who designed it or sketched it on the napkin on which it was presented. And WHAM! the moment was at hand- to build or not to build?

Rent was due, business was slow, and ... and ... I built it.

The big SELL OUT was initiated...

To be continued...