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.

Brightening It Up with B Clay

There are a ton of different kinds of clay. Ranging from a low-fire terracotta that the common flower pot is made from, to a fine porcelain that a delicate tea set may be made. I have been working exclusively with something in between those two extremes: stoneware. It is strong and warm. It is rustic and durable. It is familiar.

During the Sharing the Fire workshops I attended this Spring, I learned about Continental Clay's new "B Clay", which is a 50/50 blend of porcelain and stoneware. I have worked with porcelain a little in the past and love how the whiteness of the clay allows the glazes to show off their color without muting it at all. I adore the smooth feeling of the clay. But porcelain is difficult to work with and more importantly, it fires to a higher temperature than my kiln can manage. I thought perhaps this new blended clay might be the answer for me. Without a push to make it happen though, I let the intrigue fall into the back of my mind.

Then I got the kick I needed. I received an order for a couple of pots with the special request for celadon on a white clay body. Now was my chance to try out this lovely new clay. I purchased 100 pounds of it and hauled it down into the studio. I started wedging a few balls and was surprised by the cool feel and firmness to it. Then I got on the wheel. I had forgotten how creamy porcelain is in your hands! I played all day in it, imagining how the blank-canvas-white would brighten up all my glazes.

Before I knew it, my one-hundred pounds had disappeared. I picked up another few boxes. I'm working my way through those too. I want to see what this clay will let me do and where it will take me in my work. I love change and mixing it up like this is giving me a fresh perspective on the kind of pots I can make. I found my excuse to branch out a little thanks to this order. I don't think I'm abandoning my stoneware altogether, I'm just curious to see about this B side.

Tools That Inspire

My grandfather was a machinist. Back in the beginning of the twentieth century, a machinist brought their toolbox with them even on interviews. If you had a H. Gerstner & Sons toolbox, you were almost guaranteed a position. My grandfather had such a box filled with bits and taps and all the shiny tools of his trade. From the stories I've heard, he was an incredible designer and full of ideas, coming up with many patents as he and his brother started up their own company, Huot Manufacturing.

Unfortunately, I never met my grandfather. He died of a heart attack as a young man; my dad was only five years old at the time. Inspired by the toolbox he found to suddenly be in his possession, my dad grew up to be an incredible machinist in his own right and understood how things work better than anyone.

I was not gifted with the same mind, but I was gifted with my grandfather's toolbox this past week. Because I can't make heads or tails of the tools inside, I decided to fill it with the tools of my trade. I have my sculpting, carving, and cutting tools nicely organized in its drawers along with my brushes and paints.

Having the box in my studio has infused the entire house with artistic inspiration. Not only have I been hammering out new projects all week long, but so have my children, and even a cousin. I am grateful for this toolbox, knowing its history, and thinking of the strong hands that once held it.

St. Croix Valley Garden Shop Tour

This weekend (13th- 15th) is the Happy Gardener's Garden Shop Tour.  I will have a selection of my planters, hanging pots, vases, and toad houses available for purchase at Humble Acres in River Falls, WI.

There are six garden shops in the St. Croix River Valley that participate in this tour and maps are available at each location to get you to all shops. It is short drive from the Twin Cities, ranging from 30 - 45 minutes. The tour locations include: Kinnickinnic Natives, Garden Divas, Skyline Gardens & Ponds, My Sisters Garden, Rustic Gardens, and of course Humble Acres.

The tour is open to the public with no admission fee. There will complimentary gifts for visitors and even a drawing to win a $150.00 gift certificate!

Come out to see the beautiful plants and unique garden art for sale. Diane, the owner of Humble Acres, has been working steadily since February to provide healthy and lovely container plants. It is a respite to be at her nursery, meandering through the vibrant greenhouses. There is an incredible variety of perennials and grasses. You may even catch a glimpse of the toads and praying mantis living there, courageously defending all the plants.

The weather promises to be sunny and grand. Hoping to see you there this weekend!

Mr. Toad Moves In

As a special request from Humble Acres Nursery I have started designing and making toad houses. I have read up on what toads need and what the ideal habitat would be for them. Toads love shady, cool, and well-protected places to hang their hats.  They like to burrow down in the dirt so having a bottomless home is best. Toads seek respite during the day from the hot, dry sun and cold, windy nights which means the house needs a roof, entrance, and has to be big enough for them to maintain a comfortable temperature. Many houses are made strictly for ornamentation in the garden and are not large enough for a toad to even fit through the doorway! I want my toad houses to be used. The openings on these houses are approximately 4 inches wide, are 6-10 inches high, and have a diameter between 10-14 inches. Clay is the perfect material because it retains moisture in the soil underneath and is extremely durable. The glazes make the house weather-tight and add a bright cheeriness to them.

Why would you want a toad hanging around your place? First of all, toads are cute and funny to look at. For me that's enough, but they also consume thousands of insects and garden pests each summer. Instead of chemicals to kill the cucumber beetles in my vegetable garden, I plan on attracting all the toads in the neighborhood my way. The toad is gift in any yard, and those that have provided an attractive habitat for them will likely be awarded.

Yesterday my son found a toad in the backyard. We put him to the test in my new houses and watched him beam with pride! I was surprised how well he blended into the wood chips. I hope he decides to stay, and that he is the envy of all his friends, having been set up with the coolest abode this side of the tracks. 

Stepping On Tiles

finished garden tile

I have completed two of the garden tiles requested for the Happy Gardener Tour (only 40 to go)! All the steps necessary are turning this into quite the adventure for me. For anyone interested in this process, I'm going to give a play-by-play of the work involved.

First off, there was the design to consider. I picked up a pencil and paper and worked out some options. Many drawings later and a go ahead from the nurseries, this idea was shaped in clay. A few adjustments and three tiles later, I was finally happy with the results and ready to tackle the next step.

the sketch idea that won out

A carefully measured mixture of plaster and water was blended and poured onto the tile. Keeping my fingers crossed, I gave it time to set firm. I removed the framework from the mold and encouraged the master tile out. And because of the scale of this project, I poured another mold. Now I would be able to work two at a time. (For pictures and details of this affair, scroll down to the entry entitled Plaster Molds.) 

clay pressed into molds

I rolled out clay and pressed it into the molds, smoothing it flat with a rubber scraper. At this point I also stamped the backs with my studio logo and name. I gave them several hours, checking for shrinkage, which would allow them to more easily be removed. Once the clay began to pull away around the edges, I gently urged them out of the molds and left them to dry. 

different stages of drying

At this point the tiles were ready to be fired, which makes them easier to handle when glazing. This was the beginning of becoming a mini-factory, pressing more clay into the molds. This is where I will be for a while. As each pair of tiles finishes its job at one station, I move it onto the next.

I've learned it's best to test out my coloring scheme ideas before diving into it and simply hoping for a good result. I mocked up a few sample tiles, fired up the kiln a second time, and returned the following day to see the verdict. I was happy to see how the twilight blue combined with the french mustard. It was time for the final plunge.

just glazed and ready for the kiln

I painted the first set of tiles with my favorite blend of glazes. Months of thought and wonder about their final stage would reveal itself in 24 hours. And there they were. Two tiles shining back at me from within the kiln walls.

I couldn't wait to get them outside in the light. The sun brought out the iridescence in the blue and highlighted the texture. I rummaged up some steel wire, twisted it through the hanging holes and hung it up to evaluate. Voila! A tile now ready for the spring garden tour in the beautiful St. Croix Valley. And so the journey continues, one step at a time.