A Study of Sculpture

I will be teaching a clay sculpture class this winter for high schoolers. We will meet every school-day afternoon for nine weeks. It is an opportunity to delve deeper with a group of kids into the wide range of possibilities that clay allows than I have ever gone. So I have been gathering a collection of some of my previous projects and ideas for this class and putting them together into a curriculum.

We will probably start off with simple tiles rolled out and then use adding and subtracting techniques to create a design. I made relief tiles with a group of kids while teaching ArtAdventure through the MIA. It is a great beginning level project because of the two dimensional aspect of the flat surface, while starting to introduce some 3D elements into it.

We can then move on to simplified 3D animal and human figures. This project requires only pinching and prodding to create with a minimal amount of detail work, using just a toothpick. These pinched character pieces really come alive with ceramic acrylics.

I also want them to have a chance to work with balloon-assisted forms, a technique I learned from Kevin Caufield at the Northern Clay Center many years ago. You start with a balloon onto and around which you add clay. Human busts and animals are typical ideas for balloon sculpture, but for a geography project with my kids I had them make the earth this way. It is a simple way to get a larger, hollowed out shape.

And of course I want them to build a three-dimensional piece from slabs. I had the TeenVenture classes this past summer build structures that would house someone or something. They kids added design elements to the clay, created an environment for their structure, and then added their pinched clay characters. The possibilities with slabs of clay are really endless, and I loved seeing the variety of homes that were built. 

For the final project I would like them to experiment with the human form. To make such a complicated shape, a wire skeleton needs to be created, carefully considering proportions. Because our eye is highly attuned to the human figure, we detect flaws easily. It will take patience and experience to execute a proper shape that I hope they will have gained through the first weeks of the class. I tested this project out on my own daughter, who is 15, to see how she would fare. The photo below is of her human figure study (unglazed). 

I am excited to see what ideas and capabilities the high school-aged students at Washington School will have. The younger students I typically teach clay work to have always impressed me with what even they can accomplish. So with the added class time coupled with a higher degree of maturity, there should be some amazing sculptures materializing this winter. 

Bring on the kids and the clay!

Empty Bowls Project with St. Paul Kids

I spent the past two weeks working on a community and leadership-building project as part of the St. Paul Public School's TeenVenture Summer Camps. The objective was an Empty Bowls initiative to raise awareness and funding for St. Paul's Keystone Community Services Agency. 

The kids at the camp were grouped into various roles including Marketing, Packaging, Sales, and my group, Bowl-Making. I led them through the process of making clay bowls from beginning to end. I had two groups making pots, twenty kids in each group, with a couple youth leaders to help out. The youth leaders couldn't resist the clay and joined in to make bowls of their own, so the end result was 46 bowls that would be sold to raise money for the designated recipient.

The kids used molds to form the general shape of the bowl and then added individual stamps, engravings, and patterns to make each unique. After bringing their pieces home for the weekend to fire, I returned the following week with all of their outstanding bowls ready for glazing. (They had been so careful in the building process that there was not one single casualty in the kiln!)

The patient deliberation of the students to add the underglaze colors with fine-detailed brushes was striking. The end results were truly impressive and I heard comments like "awesome," "beautiful," and "I'm going to ask my dad to buy mine!" as they smiled and beamed with pride while I uncovered each finished piece. Then they packed each up individually and headed out to various St. Paul locations to sell their special wares.

Learning to be part of a community and think about the greater good is a mature thought. I think the kids in this camp are that much closer to grasping this concept and making an impact of their own after attending this camp. I feel very fortunate to have been a part of the Empty Bowls project with them and having witnessed the color and beauty that was added to our community with their talent and goodwill.

Clay Sculpture at Summer Camp

If I could've cherry-picked my dream job for the summer I would have chosen precisely what I am doing. I am the Sculptor Instructor for the SPPS TeenVenture Summer Camps. I am teaching various clay art techniques to a bunch of junior high kids! 

For the first camp in the series, the Creative Arts Camp, the kids have been assigned to build houses. They are using slab-building techniques to make 3D structures that will house anyone or anything they choose. From a mushroom shaped gnome home to a castle fit for a king, I am impressed by the creativity and dexterity they are exhibiting.

While the houses are preparing to be fired, we are moving on to our next sculpting project, forming the inhabitants of the homes. Their challenge is to pinch, coil and sculpt these figures small enough so that they will fit inside their homes. I am so excited to see all the little peoples, animals, princesses and fairies that are sure to emerge like magic from their hands!

Next week they will glaze and paint their treasures and finally display them for the end-of-camp showcase. We are having such a great time. Yay for summer jobs as awesome as mine! (Coming up next: Making hand-built bowls as a fundraising project that will benefit local food shelves as part of the Leadership Camp.)

My Apprenticeship at Eckel's Pottery

working at Eckel's, 1996

It was only four months of my life, eighteen years ago. But the experience I gained and the friendships formed during the summer of 1996 are with me to this day. I had been accepted as an apprentice to the master potter, Bob Eckels, in Bayfield, Wisconsin. I would work every day in a real pottery. I would actually sell my wares to strangers. I would learn the business and improve my skills. I couldn't have imagined a better position.

I had just been married. Over 350 friends and family came to celebrate that day, filling my parents' backyard with color and life. One of the guests was my cousin from Bayfield who I had only met once as young girl. He asked me to dance and then, with no hesitation invited us to stay with him. So it was from a pop-up camper set in the middle of his apple orchard that I would bike off to the pottery each day.

Bob Eckels, vessel - 1996

The whole Eckels family worked together to make that business a success. Bob was invariably sitting at his wheel, laughing with customers while his hands masterfully formed his signature pots. With a grand flourish he would run the teeth of a miniature gear head along the side of the pot. Lu, his wife, took care of anyone and anything that needed it. She was always smiling. Dede was in the back room working with porcelain. She painted on her beautifully smooth pieces as if they were stretches of canvas waiting for her skilled brushwork. Steve practiced efficiency at the wheel, trying to see how few pulls would be required to make a pot. The concept of "less is more" is what comes to mind when I think of his work. Then there was Sandy. She was like family to them. Her gentle nature and kindness gushed from her. And she worked her magic at the wheel too. It was a gift being able to be part of this working business, to see how everyone had their role and how together it all made sense.

Sandy Hagist, honey pot - 1996

Sandy just died this week. Even though I haven't seen her in years, I feel the loss. I remember her asking to make a trade for one of my body vases that she then displayed in her living room. It was an honor for me and I will not forget the gesture. And from this I have a honey pot of hers that I adore.

my nude body vases- 1996

How can one summer be etched like stone in my memory? First off, the wealth of skill and knowledge that surrounded me was incredible and unforgettable. But, even more outstanding was the constant generosity of everyone there that made such a deep impression. I am so grateful for those four months. I will not forget any of it.

Making a Candle Luminary, Step by Step

Throw the form. The overall shape needs to transition from a base large enough to hold a candle, gradually outward for fullness, and topped off with a cinching in for a handle at the top. The clay warms with the burning candle inside so the out-turned lip at the top provides a very practical purpose, besides the visual closure it gives to the piece.

Trim the bottom. Every pot thrown on a wheel is improved upon when trimmed up on the bottom. Besides lightening up the actual weight of any unnecessary clay, it also provides a lift visually. The trimmed edge is a sturdy foot for the form, keeping it firmly planted where it is placed.

Cut the opening. Using a potter's needle, the luminary gets cut into two pieces. The bottom is a base for the candle, holding in one place any dripping wax. The top becomes a cover, keeping the flame safely away from any flammables or children. Only the glow of the candle will penetrate a luminary.

Sketch the design. A design or image then gets etched into the clay. The size and overall shape of the luminary is considered when deciding what will emerge. The two-dimensional sketch gets worked until it is ready to be carved.

Carve the design. The luminary is like a shadow puppet. The silhouette will be cast onto nearby surfaces from the flickering light of the flame. It will dance and play on the walls. Sharp carving tools provide a crisp edge at this step in the process.


Sculpt the design. Because the luminary is also viewed in pure daylight, dimension is added to the design, by adding and subtracting clay where needed. Sculpting tools give detail and realism, getting it ready for some color. The luminaries are then bisqued, or fired, in a kiln for the first time.

Stain and wax. Colored stains are then brushed onto the design to distinguish it from the rest of the luminary, taking care to accentuate details. To protect this area from glaze, a wax is painted on. The wax resists any additional glaze or stain to be applied. 

Glaze and final firing. The luminaries are dipped in a bat of liquid glaze, in a color that will compliment the sculpted design. Any excess glaze is wiped off carefully and then it is left to dry. The luminary is finally placed back into the kiln, heated to over 2200 degrees, and comes out ready for flight! Luminaries take great care each step of the way, but the final result as it dances atop the mantel make the work worthwhile.

Yarn Bowls on Etsy

What Makes a Great Yarn Bowl?

The best yarn bowls have several important features. They are not all created equally, so it is wise to know beforehand what you will want to consider when searching for the perfect one. 

First of all, the bowl will need to be large enough to accommodate the ball/s of yarn for the project comfortably. Some knitters work with a few skeins at a time and would benefit from a larger bowl with several holes through which they can guide their various colors. For knitters who like to knit on the go, a more compact, portable bowl might be the preferred size.

Also bear in mind that the yarn needs to feed through the grooves smoothly and without any tension or snagging. The potter (or maker) has had to have taken great care to ensure that all rough edges have been sanded off and the swirl tapers to its final route gradually.

There needs to be enough of an upward curve in the cut out to keep the yarn in place. With a straight cut, the yarn can easily pull up and the ball will be pulled from the pot. A "J" shape is the ideal for this purpose. And a simple line works better than a complex one. 

A yarn bowl should also be pretty. Just as a skein of yarn is visually appealing and feels good in your hand, the bowl should be something worth looking at and should make you want to pick it up. The design of the bowl, from its overall shape to the gentle swirl with a clustering of small holes, should interest the eye. A yarn bowl's purpose is to house the softness of the yarn with grace and double the enjoyment of the handiwork process. Nestle the bowl in your arms to determine if it is right.

Knitting is a meditative work that focuses on tradition and love of the craft. The bowl that a knitter uses should have been made with that same intent. 

Gardening with Flair

This spring felt like it was never going to come. The merciless winter blasted us with one storm after another. But finally, mid-May, the trees have begun to pop with bits of greenery! The melting snow has at last revealed my garden spaces, who have been anxiously awaiting their expected color. It is too early to plant any annuals. It is too soon for the spring bulbs to expose their glory. It is too cold at night to warm that soil up sufficiently. But I don't know how much longer I can wait! I know I am not the only one who wants to speed up the process. That's where garden art comes in to play.

The toads are burrowing their way back out of the ground about now and are delighted to find their dream home ready and waiting. I have been fine-tuning my toad house designs and adding new details. I have also decided to invite fairies and garden gnomes into the cozy spaces. They have graciously accepted my invitation and often stay to visit long into the evening.

I have also redesigned my color scheme for the Happy Gardener Tour award plaques. I want the colors to be as cheery as possible. The awards should stand out and make the recipients beam with pride for their efforts. (For more on the Tour and garden shops that dole out my garden tiles, follow this link: Happy Gardener Tour)

I have been making hanging planters and adding colorful hand-woven chains. The plastic hanging baskets that usually host the gorgeous bunches of begonias or bougainvillea just do not do them justice. I find the best blends of yarn to highlight my pots and weave it into a chain. It is strong and durable and best of all, adds whimsical vibrance to a currently dreary landscape.

After a winter void of pigment, I just don't think you can overdo color in your garden. Adding artwork to the great outdoors is a touch of brillance. And Mother Nature heartily agrees.

It's Elemental

My kiln has not been firing up well for the past few months. Since I was busy making and selling like mad all holiday season, there just wasn't time to look deeply into the problem. I continued to watch the time for each firing increase.

Things have finally slowed down these past couple weeks so I have assessed the situation with more care. The heating elements were all getting warm and turning orange. All the electrical connections seemed tight and without visible damage. The circuit box and power cord appeared sound. The kiln switch was blinking and sustaining the heat per usual. There was not an obvious solution to the problem.

I called my uncle. Not only has he been firing up kilns most of his life, but he's also an electrician by trade. He helped me replace my elements years ago when the kiln got wet, causing them to burn out. Although he is now completely out of the ceramic business, he has retained some of his equipment. He gave me his ammeter to use, a tool that tests the amperage going through the wires. I hooked it up in the fuse box and watched the dial expectantly. My kiln was not getting ample power.

I did some research on heating elements. Due to fumes in the glazes and clay bodies, firing to over 2200 degrees repeatedly builds up resistance in them. The ohms rating goes up and the kiln takes longer to get up to temperature. I took a chance and ordered a complete replacement set of elements. I removed the old ones, taking care not to damage the brick, and replaced each one - all by myself this time.

I fired up my kiln yesterday, keeping my fingers crossed. The deductions were right on. I am in shock with how quickly it finished - from 18 hours down to 6! 

I have solved The Mystery of The Slow-Firing Kiln. The problem was simply ELEMENT-ary.

The First Ten Steps in a Mug's Life

STEP ONE: WEDGING THE CLAY

To ready the clay for the wheel, I work a few pounds at a time in a circular motion, like kneading bread dough. This eliminates air bubbles and evens out any inconsistencies.

STEP TWO: WEIGHING THE CLAY

To make mugs the same size, I weigh the clay. Fourteen ounces or one pound makes a good-sized mug. I pat it into balls and bring them over to the wheel.

STEP THREE: CENTERING THE CLAY

I throw a ball of clay onto the center of the wheel and give the wheel a good kick to get it spinning. I wet the ball with some water and center the clay by pulling it up and then pushing it down into a mushroom-shaped ball.

STEP FOUR: PULLING UP THE WALLS

I make a hole in the middle with my thumb and open up the interior space of the mug. Then I can pull up the clay between my two hands to make the sides, or walls of the pot. I use a sponge to keep the clay wet at all times.

STEP FIVE: GETTING IT OFF THE WHEEL

After coaxing the clay into the desired shape, I need to carefully remove it from the wheel. I use a wire to loosen it from the plywood bat and then pry the bat carefully from the wheel. I set it aside and let it harden up for a few hours.

STEP SIX: TRIMMING THE BOTTOM

Once the pot is dry enough to be handled I can trim off the excess clay on the bottom. This creates a foot for the mug to rest nicely on and lightens the piece both visually and literally. I then impress my personalized stamp on the bottom edge. 

STEP SEVEN: PULLING A HANDLE

I make my handles by pulling on a lump of clay. With generous amounts of water I continue to shape and lengthen it through repeated pulls. I cut the finished handle off the lump and set it down to harden a bit.

STEP EIGHT: ATTACHING A HANDLE

After allowing the handles to firm up, I attach them. I score the pot where I want to place the handle, add some slip (very wet clay) and press the handle onto the pot. I smooth out the seams and set it to dry.

STEP NINE: ADDING DECORATION

If I want to add decoration, I can do this in several ways. Because the mug is still wet enough to work, I can carve or impress designs directly onto the piece. Another way is by adding clay. I do this by sculpting on the mug itself or use one of my handmade stamps. With stamps, I roll out clay, cut out around the stamp, and press the clay into it. I then score, slip, and attach it onto the side of the mug.

STEP TEN: READY FOR FIRING

I give the pot another once over, making sure all is smooth and true. Then I set the mug down and wait for it to become bone dry. When all the moisture is out of the pot, I can start the next series of steps that involve firing, glazing and firing again.

Nothing about making mugs the way I do is efficient. It does not need to be. It is about slowing down and enjoying each step.