For many artists, art isn’t their day job. Something else is their day job, like teaching, fast-food, manufacturing, or even being a homemaker and raising children. That means they make art on the side in their time off. It is a constant struggle for these artists to have a healthy work/life balance. This post is no answer to that struggle as we all go through our own valleys and do what art we can when we can, but it might offer some advice. I am struggling with this myself and I want you to know you are not alone. Here are some helpful tips as I try to stay balanced.

 

Have a Good “Why”

 

Knowing why you make art in the first place and having a goal or reason far beyond yourself can be extremely helpful when you find yourself juggling a day job and creating art. Having a higher cause will help you keep going, even in small steps, if your “why” is something you feel strongly about, an issue you would like to make better, or work to make change on a larger scale in society.  Once you find a good “why” no “how” or “what” will keep you from reaching your goals.

Simon Sinek wrote a great book on the topic called “Start With Why”  In his book Sinek explains how to motivate yourself and also to inspire others to take action.   Below is a video where Sinek discusses the topic of finding your why.

 

 

Schedule Everything

 

I work at a paper plant and the job requires us to work 12-hour swing shifts switching between days and nights. At times after a long shift, I might not feel like making pots.  I found that if I schedule everything and write it out, I can better plan for family time, reading, and other things I need to do. I put everything in a journal.  I have a few nice templates I use with my journal to make layout easy. There are a million ways to create a journal layout.  I use the tips found here, but find a layout that is best for you and start filling it in. If you wish not to do journaling, purchasing a planner is another way to get things more organized.

I don’t always keep to the schedule, but at least it is written down in a journal I am able to review the tasks and goals then work to change things to get back on track. One of the issues I have with a schedule is I tend to beat myself up for not being able to complete everything. Try to set realistic goals and plan for only three major tasks a day. If it happens to be a work day I only schedule two tasks.  That means if you are tired after night shift, it might be fine to take a nap, then spend time with family before making pottery.

 

 

 

Find Wasted Time

 

One of the areas that I have trouble with when creating art while having a day job is wasting time. Once, I mapped out my entire day and tracked what I actually spent my time on. I found that while I complained about not having enough time for things I enjoyed and making pots, I did have time to spend hours on social media. I then feel terrible about all the wasted time and try to do better. It’s a slow process.

Wasted time does not always need to be on social media and our phones, but it can be time wasted on relationships that bring us down, or people commenting mean and unhelpful things. I quickly realized not all feedback should be valued the same, and had I listened to many of those people, I would have given up. It is possible to work hard and not give up on the wrong things. I try and ask myself “If I was living today a second time, what would I do?” It takes practice to cut out wasted time and replace it with things we enjoy. I am still practicing. See my post here on procrastination.

 

Think Long Term

 

The turtle wins the race. Making good art to sell while working a day job might take time and practice. It also takes time to build a community of followers and buyers who enjoy what you do and love what you make. At times I need to stop and think long term and see each step, big or small, as a step closer towards the goal I set for myself.

Many feel disappointed when they have a bad month of sales after only a few months in business, or when they fall short of projects. But thinking long term can help you to be kinder to yourself. Remember to not only set one-year goals, but also five and ten year goals. If we see it as a marathon rather than a sprint, we can enjoy the journey more and not feel so stressed about not being where we think we should be.

 

Stop Worrying About Others

 

I find myself getting distracted when I stop and look around at what others are doing. I might see a larger shop doing much better and start feeling down about where I am and think about giving up. Or I may look at small shops to make myself feel better and forget to have empathy and remember what it was like to be just starting out.

Artists who work day jobs may get picked on by family, friends, and even those who do art full time. Those we know and work with may make fun of our efforts at making art to sell. At times professional artists might gaslight you into thinking you have to go all in with art or else you are doing it wrong. But going all in might not be the best decision if you have others who depend on you. It’s your story so tell it the way you like. Who cares what others think?

 

Use Your Job Skills in Your Art

 

No matter what industry you work in, your day job skills and processes can be applied to making your art and running your small business. Accounting, project management, social media management, manufacturing processes, or IT can come in handy when you apply what you do each day while you build your art business.

Like your day job, be sure to learn new skills. In art, you do not need to be worried about processes failing or plans not working out as you now are free to explore and learn from issues and troubleshooting. In art, solving one issue simply means you move on to the next problem to solve. Use your day job to work to your advantage. If it was not for my day job, I would not have been able to start my pottery studio.

 

 

I hope that today after work you take the time to do one thing, if you can, towards your goals on making art. I will try to do the same. I wrote this while on lunch break at the paper factory at three in the morning. I hope to go home to my pottery studio and make a ware board of mugs.   I will make them for my “why,” for myself first and then for you all. Some time back, I started a little group on Facebook called “Pottery After Work”. I thought it might be nice to chat with others who make pots while working a full time job.  I need to revive the group and interact more.   I do hope this post helps at least one person to start managing making art while working better. Let me know in the comments!

Written By,
Al Wayman
Artist/Owner
Creek Road Pottery LLC

Edited by:
Erika Sickler
Content Writer/ Editor
Creek Road Pottery LLC

If you enjoyed this post and are a lover of pottery, sign up for our newsletter and become a raging fan.

 

 

I had a whole week off from my job at the paper factory, and I should have used that time for making pots. I have a few shows on the way, but for some reason, I did not feel like going into the studio. I did many things to avoid making pots, and then tried to justify the things I was doing to validate myself. I began to wonder if I was beating myself up too much about it. I did take time for self-care. I read some great books, went to visit family, helped at a small vendor show, and made out direction-setting plans for the pottery. I even wrote a few blog articles. But even still, I felt as if I got nothing done.

Work Energy

I decided to read the book Work Energy by Jim Harmer. Jim is a blogger and runs the web content business called Income School. He had some terrific tips for working things out on the topic of procrastinating. Harmer in his book thought that at times we might be overwhelmed by a bunch of ideas. He suggests starting a bucket list, even if you are not sure you will do everything on it. Harmer says you should think about the list as things you might dream about. Then Harmer suggests picking one of those things you wrote down and make one small step towards the goal, no matter how small. Harmer believes just taking the first step towards a goal may prompt us to do a bit more.

Another great idea in the book Work Energy was to try an idea for a month or more to see if you enjoy it or not. This gives a person time to work though the issues rather than giving up too early. Harmer thought we might need to get through the boring period before we start seeing progress. He calls this period “groundhog day.” Like in the movie Groundhog Day, things repeated. When tasks become repetitive, we may need to put our head down and “groundhog” through the issues and boring parts.

The book also pointed out how we might get distracted by new ideas and feel overwhelmed. This means we should put our heads down and concentrate on the things that get us 90% of the progress before we try other ideas or modifications. A lot of patience is needed, and plans should be made for the long term. Many times, we may procrastinate by thinking we need more time to get ready, but no time like the present! Today is a suitable time to start. Work Energy was a delightful book to read and Harmer’s rags-to-riches story on writing blogs and giving photo classes online was inspiring in showing how simply taking the first step can be the solution to ending procrastinating.

 

Organize Tomorrow Today

 

Another book I read was Organize Tomorrow Today by Dr. Selk. & Tom Bartow. I thought I was procrastinating because I was disorganized. I tried everything under the sun to work things out and make things easier so I would stop procrastinating. Organize Tomorrow Today has eight ways to retrain your mind. Now friends, I’m not sure about you all, but anything that makes such claims I end up being skeptical of. But the good Dr. Selk had a list and some things on it merged nicely with the last book we discussed above.

  • . Organize Tomorrow Today
  • . Choose Wisely
  • . Maximize Your Time
  • . Win the Fight Through
  • . Learn to Talk to Yourself
  • . Learn to Talk with Others
  • . Be Abnormal

The book has processes for each of the eight sections. To go through them all would take time so I will just cover one section of the book that was most helpful to me. The section “Win the Fight Through” was about working past the first few days when the task is easy and continuing when the task gets hard. In my experience, when I first start something, it might be easy to do the first few days but gets harder as time goes on.

For example, one time I thought it would help my procrastination to show up for myself and each day make up ten pots. Ten pots for seven days is seventy pots a week. I was able to push through at least three days of making pots, but then I had a rough day at the paper factory. I was really tired and did not want to make pots that day. So, I missed a day and then became comfortable and missed a few after that. Winning the fight through, according to Dr. Selk. & Tom Bartow, might take a few tools. If I were to ritualize the task and schedule it in no matter what, it may help in pushing through the challenging times.

The next tool is recognizing roadblocks that keep us from doing the task we wish to do each day. Once you know what is blocking you, it is easier to plan a way to counteract the issue. Dr. Selk. & Tom Bartow say to ask yourself the questions, “How would I feel if I were to do the task?” and then “How would I feel to not do the task?” Next, think about your quality of life and how the decision for change might affect you.

 

Do The Work

 

I was still having a tough time as I enjoyed reading about procrastination far more then working on it and all those pots still needed to be made. Then came the real hitter. Do The Work by Steven Pressfield. Folks, let me tell you, this was hard to read because Pressfield was not shy about pulling punches and telling me what I needed to work on. The book was on the topic of resistance, or all the things that might keep us from doing the work. Pressfield went all out like a Baptist minister telling me my faults and what I needed to do to overcome procrastination. He even mentioned a bunch of other issues I didn’t even know I had.

I was at the paper factory reading Do the Work and it told me that I needed to go all in if I wanted to be happy and do my true calling. This book almost made me quit my job until I remembered Pressfield would not be paying health insurance for my wife as I was the sole bread winner. But what he was saying was all true. I did not need better systems, better apps, better scheduling, or better time management. I needed to simply do the work.

 

2-minute Rule


A video I  enjoyed was the 2-minute rule. This idea has you complete tasks that are two minutes or less to get you started working.  The video below explains it in a real good way.

 

 

What I discovered is that each person might be different and have varied reasons why they procrastinate. Some may have a fear of starting due to the fear of failure. Others worry about what others may think of them if they mess up. Many may justify doing other things instead of what they know needs to be done. I decided to simply show up and make five mugs. If I could make five mugs, I might be able to make ten. And ten mugs would be a great start.

I promised myself I would not define myself by my last mistake. Today is a new day, another chance to take a step towards finishing my goals. I learned I do not need to be perfect; I can go slow as its the turtle that wins the race. I need to stop comparing myself to others and not take personally what others think (unless they are good friends and are trying to help me out). We are all working on something, even if it is working to avoid the work we need to do.

How do you deal with procrastination? Let me know in the comments!

 

Written By,
Al Wayman
Artist/Owner
Creek Road Pottery LLC

Edited by:
Erika Sickler
Content Writer/ Editor
Creek Road Pottery LLC

If you enjoyed this post and are a lover of pottery, sign up for our newsletter and become a raging fan.

 

“I plied the fire with fresh fuel round the outside and upon the top, till I saw the pots in the inside red-hot quite through and observed that they did not crack at all. When I saw them clear red, I let them stand in that heat about five or six hours, till I found one of them, though it did not crack, did melt or run; for the sand which was mixed with the clay melted by the violence of the heat, and would have run into glass if I had gone on; so I slacked my fire gradually till the pots began to abate of the red colour; and watching them all night, that I might not let the fire abate too fast, in the morning I had three very good (I will not say handsome) pipkins, and two other earthen pots, as hard burnt as could be desired, and one of them perfectly glazed with the running of the sand.”   –  The Life and Adventures of Robinson Crusoe. By Daniel Defoe.


You can do it! Many who wish to make pottery might be deterred by thinking they need a pottery wheel, kiln, or other equipment to start making pots. But the truth is all you need is a lump of clay and your imagination, and you can make your very first pottery projects. If Robinson Crusoe, who was stranded on an island made pots, so can you!  It is so easy a caveman can do it! Wait…they did!  In this post, I will give you a few tips on how all of that can be done and in no time flat, you will be spending your Saturday afternoon creating clay projects you never thought possible. You already took the first step by thinking about it and now the next step would be getting a ball of clay to start with. You will not be able to use these low fire pots for food items, but we can make little planters and other projects.  So first, let’s find a little ball of clay.




The Beginning: Find Some Clay.

“Help! But what type of clay should I use?” I am glad you asked! Since we will be going caveman style, we will use types of clay that you can “bake” at low temperatures. And like Robinson Crusoe, we will start with earthenware. Earthenware is a bit more delicate than stoneware, but it is good enough to start with and practice with. A person starting out can also use raku clay. Raku clay is clay that is intentionally mixed so it can handle “thermal shock” or extreme changes in temperatures of hot and cold without cracking or blowing up. Raku clay also “bakes” at low temperatures. You might also find clay near riverbanks or in the ground. Wild clay needs a bit of testing first and for this project, we will only be using clay that we know will work out. Earthenware clay can be bought at local craft stores or your local pottery supply store. Raku clay also can be bought online or at clay supply stores but is a bit harder to find. So, once you have your box of clay, you now are ready to do the next step. Open the box or bag and scoop out a 1-pound ball of clay.



Step Two: Make a Little Ball.

Congratulations! I am super proud of you! You just went from thinking about making something in clay to doing it! Amazing! Now you need to decide what to make. There are millions of things you can make, but no need to worry about them all and get distracted and overwhelmed. I think for your first project you should make a little pinch pot planter for your aunt Joan. You could put a succulent in it and give it as a gift. She will love it! Now compress the clay into a tight ball. If the clay cracks or is a bit dry, you can put a tiny amount of water on it and knead it in until it is soft and workable. In my opinion, it should be just a bit stiffer than bread dough. Compress and slap the clay to get all the air pockets out and form the little lump of clay into a ball. Now give yourself a thumbs up! You did it!

 



Step Three: Make a Pinch Pot.

Take your thumb that you gave thumbs up with and push it into the center of the clay ball. You only want to push your thumb about ¾ of the way in and not all the way though. The idea is to scoop out the clay gently while rotating the ball. Work the lump of clay by using your thumb to even out the sides. Be sure you get the bottom even also; if there are thick parts, it may take a longer time to dry. It also might not dry evenly. In my opinion, you should take care not to get the top too wide but just wide enough to put in a cute little plant. Now once both the sides and bottom are even, set the pot aside and have a look! You did great! If the pot has cracks, you can take a tiny bit of water and smooth out the rim and edges. Below is a nice video on how to make up your pinch pot.

 




Step Four: Make Three More.

Make three more little cute pots because pottery is about learning through messing up. One of your pinch pots might crack drying, another might crack when you accidentally drop it or when it is fired. But no worries! Making more pots means that you get practice at making pinch pots and by the time you form ten pots, you will be far better at it than what you made at pot one! Now line all the little pots up and have a look at them. They are the very first pots you have made, and you should be proud of them as no matter how good or terrible you think they look, you have met the goal of simply making a pot and you are much further ahead of folks who simply thought about making a clay pot and never did! I’m so proud of you! But these pots are a real snooze fest and in-order to keep awake for the rest of the project and to make the pots look a bit more interesting, we need to do a bit of decorating.

 

 

Step Five: Decorate Your Pots.

Now just like there are a million ways to make a pot, there are a million ways to decorate one. So, for this project, we will simply make impressions in the little clay pots. You can use plants, stones, tree bark, and many other found objects to make texture patterns and impressions. When making impressions, be sure to hold the pot on the inside and not press too hard as you do not want to deform the pot. Press in things as much or as little as you like and when you are all done, line them up and look at the cute little designs you have made on them. Your Aunt Joan will love them! Now we move on to the next step as we need to let them dry.

 




Step Six: Dry Your Pots.


Drying pots is easy because it does not require you to do much of anything. If the walls and base of the pots are even, things should dry out in a few days. As they dry, they will get more delicate, so handle them like eggs. The stages of drying are what pottery folks call leather hard and bone dry.  “Leather hard” is when the clay is not fully dry but is quite hard. At this point, folks trim pots and also carve. At the “bone dry” stage, there is very little moisture left in the clay and the pot is completely dry. In most clays you will notice a color change. Dry the little pots in an area that has good circulation. You could put them in the sun, but for this beginner project, we want them to dry a bit slower so they do not dry too fast and crack. If possible, you could carefully turn the little pots upside down and let them fully dry. If the edges are delicate, leave them right side up, but rotate them a bit every few hours. If you forget, it’s fine, but be sure your pot is not stuck to anything as it shrinks when it dries, and you do not want cracks. Your pots will be dry when they are bone dry. An easy way to tell if your pot is dry is to carefully pick them up and touch them on your cheek. If they still feel cold, they may need to dry a bit more. Rotate them around and expose them to air. When your pots are completely dry, they are now ready to fire!




Step Seven: Get Ready to fire!

Now this takes a bit of research, but don’t be scared! Just like there are a million ways to make and decorate a pot, there are a million ways to fire a pot. If you are just a kid getting into art, you will need an adult to help you with this part as fire is very dangerous and can cause a lot of damage. So, for the love of all that is holy, check with your local authorities about what you are permitted to do and not do. Be sure to follow all laws and safety standards around fire safety. Be sure to fire in a safe place where it is not windy. Plan a way to put out the fire if things go bad. I do not want to see anyone in the news. So, after learning about fire safety and the laws and regulations, we can get ready to fire. For this example, we are going to pit fire. Get a shovel and meet me back here so we can get to it.



Step Eight: Dig a Hole.


Scrape the area 3-foot around your pit so small leaves and sticks do not catch fire from your pit. Use the shovel or some tool to dig a hole. You want the hole to be as deep as your elbow and wide enough on the edges to place all your pots in with a bit of space around each one. The idea is to have a dry hole, dry burnables, dry wood, and dry pots. Place some burnables in the hole and do some burning to dry the hole out some. You can use sawdust. You can get bags of sawdust at the hardware store or at pet supply shops. One bag should be good enough. Place the pots on the edge of your little hole and rotate them to start to slowly heat them up. Use gloves to place in your pots. Place larger pieces of wood on top like you are going to have a campfire. In the video below, this lady fires pots like Robinson Crusoe did. At 19:30 in the video below, she warms them up and places the pots in the fire!

 


Can I Make Pottery in my fire pit?  You Bet!

 



Step Nine: Light the Fire.

Carefully move all burnables like left over saw dust, leaves, and dry wood from the area and place them where they will not catch fire. Carefully light the fire like you are at camp. Add on more wood slowly and let the fire burn all the way down into the pots and in the hole. Never leave a fire unattended! Let the fire burn out. When the pots are cool enough, pull them out with a pair of gloves. When you tap the pot carefully, you should hear a ring that will tell you if your pot at least has reached a temperature to harden it enough.



 

Step Ten: Clean the Pot.

When the pots are cool enough to hold with your hand, clean the pots up with water and a Brillo pad, wiping off all the ash and dirt that might be on it. Congratulations! You just made your first pots without a kiln. Now go buy some succulents and put them in your pots and give them to your aunt Joan as a gift! She will love them!



 

Written By,
Al Wayman
Artist/Owner
Creek Road Pottery LLC

Edited by:
Erika Sickler
Content Writer/ Editor
Creek Road Pottery LLC

If you enjoyed this post and are a lover of pottery, sign up for our newsletter and become a raging fan.




 

 

“And one day they taught Hesiod glorious song while he was shepherding his lambs under holy Helicon, and this word first the goddesses said to me – the Muses of Olympus, daughters of Zeus who holds the aegis: “Shepherds of the wilderness, wretched things of shame, mere bellies, we know how to speak many false things as though they were true; but we know, when we will, to utter true things.”      – Theogony by Hesiod, English translation by Evelyn White

 

Many people may ask me where I get my inspiration. Artist or not, we all get inspired to do something, something that drives us into action. Many say, “Follow your passion!” In my observation, passions can change after you have pursued them for a while. “Follow your passion!” also assumes it is something of good. If your passion was stealing cars it could cause you a bad time. Something more than passion needs to drive a person as at times I do not feel all that passionate about clay when pots crack.  A video I thought was helpful on the topic of following your passion can be found here. You may realize, after all the effort, you don’t enjoy it as much as you thought you would when you first started. But to start, folks believe they might need to be inspired or moved to action by some “trigger”. Here are a few things that “trigger” me. 

 

 

Reading & Research

 

When I was younger, I loved to read and had a small library of books that I enjoyed. I read many of The Hardy Boys books and Little House on the Prairie. I was terrible at reading and spelling until the 5th grade, when I had to do a book report. The experience was so moving that I still remember which book it was. The Hardy Boys: The Secret of Pirate’s Hill. I earned an A. I realized learning could be fun and took off reading like there was no tomorrow. While reading in my free time, I learned English grammar and spelling. My grades improved the more I read, and by high school, I was doing much better.

When I attended Keystone College in my home state of Pennsylvania for art, I met a guy who had piles of books all around him in the snack bar. His name was Richard. He was surrounded by books as he was studying ancient near eastern literature. Loving literature myself, we connected immediately. When we became friends, I went to Office Max with him to photocopy parts of books (as this was before the internet and the texts he was using would cost hundreds to own). It was at this point also that I was introduced to world religion by the librarian named Dr. Elliott. Dr. Elliot taught a world religion class and gave students permission to sit in and listen. She went over the ideas of Joseph Campbell and a bit of the psychologist Carl Jung. This led me to read the book The Power of the Myth by Joseph Campbell.  Between my buddy Richard and Dr. Elliot, I learned how important reading and research was to learning and applying it to my work.

 

 

Nature

 

I also get prompted to action by nature and love color and natural texture patterns. Before I made pots, I loved to go winter camping and hiking. I used to do all of this with my buddy Stephen. I even had a fun channel about my adventures outside. You may view those terrible old-time videos here. Taking the long hikes, up to 3 days or more, gave one plenty of time to spend with oneself and work things out surrounded by color and texture. Sitting in a field of grass with a good friend, making meals on a small cook burner as the sun set made an impression on my mind. The community of camping with friends made its mark as well. In times past, each Memorial Day and Labor Day we would camp with our college friends and loved ones and have grill fests. We would all bring our favorite dishes to show off and share. At night, sitting up late around the fire chatting and joking impressed upon me the community feeling that all was right in the world at that moment where we were. 

Nature shows up in my work in the texture patterns. I often use natural patterns in my pots, mostly the texture patterns of tree bark and things pressed into the clay like stones, plants, and other natural found objects. In the past, I use to layer these patterns, creating line and shape contrasted with color and glaze. I enjoyed using and feeling the raw, unglazed sections of the pots, and tried to leave parts unglazed to show off the clay’s natural beauty. Firing reduction in gas changes the glaze colors to the earth tones that I grew to love and enjoy.

 

 

 

Themes of Color

 

I am inspired by themes of color. I am not sure how it all works. Maybe I get it from my mom who always needed a matching outfit for every occasion. I always told her if she were to live a second time, she should be a fashion critic. Even at 86 years young, she still calls and asks what glaze colors I am running for the shows so she can dress accordingly when she helps as a greeter. Last year for the fall show, I ran all the colors from a single pail of glaze.

Depending on the shelf it was fired on, how hot the pots got, and what the atmosphere was like in the kiln, I was able to produce a wide range of work all from the same glaze that matched the color of the October seasonal fall look. Another show I was inspired by was the 2020 Christmas show called Blue Christmas. All the pots for this also were done from one pail of glaze. I was relieved when the blues came out beautifully to meet the expectations of those who stopped by to see.

The set-up for that show matched somewhat how I imagined it. I also think about these when working out collections for the shows. I try to get customer feedback and pair that with some ideas of work that can match in color or theme. I very much enjoyed the rolled rim mixing bowls and flattened rimmed handles on the batter bowls and bakers.

 



 

 

 

Be Like a Sponge

 

Inspiration can come in many forms, and many times we may not know from where. The ancients tell us about the muses, gods, or God. I try to expose myself to many things, absorb as much as I can and let it come out of my hands and into my creations. Not all of it ends up being well received, and I may spend far too much time working hard on the wrong things. But those times when inspiration hits your total concentration can be a fair and foul thing when you are driven to create, do the work, and get it to the right people as a gift. What I do know is I would make the pots even if no one else cared or bought them. I would still pile my ideas high to see where it would go or where it might end up. Mug one is far different to mug 120! So, what inspires you? What drives you to action? Let me know in the comments!

 

 

Written By,
Alford Wayman
Artist/Owner
Creek Road Pottery LLC

Edited by:
Erika Sickler
Content Writer/ Editor
Creek Road Pottery LLC

If you enjoyed this post and are a lover of pottery, sign up for our newsletter and become a raging fan.

 

“Thereafter beginning from the left he poured drinks for the other
gods, dipping up from the mixing bowl the sweet nectar.
But among the blessed immortals uncontrollable laughter
went up as they saw Hephaistos bustling about the palace.
Thus thereafter the whole day long until the sun went under
they feasted, nor was anyone’s hunger denied a fair portion,
nor denied the beautifully wrought lyre in the hands of Apollo,
nor the antiphonal sweet sound of the Muses singing. ”

– The Iliad, By Homer, Book 1 

 

 

The Mixing Bowl

 

One of the most useful pottery forms (besides common mugs or soup bowls) are mixing bowls. Mixing bowls are diverse and can be used in many ways. A large bowl makes a great centerpiece, like on a kitchen counter or dining table with fruit inside. Large mixing bowls are also useful for baking and mixing recipes, raising bread dough, or soaking beans.

 

 

To make a mixing bowl, I start with 8 to 10 lbs. of clay. I knead the clay to get the air pockets out and mold into a cone shape. This makes it easier to center on the wheel. In the past, I have also added smaller lumps of kneaded clay on top of each other to make the cone while it’s on the wheel head.

I then place the large cone on the wheel head and turn the wheel by hand, slapping the cone while rotating the wheel to center it. I stand to throw and have my wheel up on blocks. This helps me prevent back injuries from being hunched over. 

 

Throwing the Bowl

 

When the lump of clay is centered on the wheel, I cone it up and down a few times to center the clay throughout the whole lump. I then flatten the cone on the top, pushing down to compress the clay. Now it is time to open the clay.

I roll my thumbs in and push down until I have about a 1/2-inch base. I pull the clay out, creating the floor. I still leave the clay narrow (like making a vase) and pull up for height before pulling out. At this point, it is important to compress the sides and rim after each pull up. 

 

 

Once the height is achieved, I pull out the sides and create the bowl shape the way I like. Sometimes I use a small mirror on the other side to see the shape from the back. Once the shape is how I want it, I then compress the sides and top some. I take a rib and compress and shape the inside, removing any ridges or grooves that could catch a spoon. For this, I use a large throwing rib or a plastic pizza cutter.

 

Now the inside is compressed and shaped, I cut the top rim with the pin tool to even it out. I then compress the rim and thin it to prepare it to be rolled. I carefully roll the rim over and compress the underside. A rolled rim seems to strengthen the bowl, which helps it keep shape during drying and kiln firings. I cut the bowl off the throwing bat with the wire tool and let it stiffen up.

 

Drying and Trimming

 

Once the bowl is stiff enough to handle being flipped, I turn it upside down and expose the bottom to air. It is important to let the bottoms dry first. Once it’s leather hard, I trim the bowl and make sure it has even thickness in both the sides and bottom. Even thickness prevents cracking from uneven drying. 

 

It is possible to speed dry if bottoms are put to heat to dry first. Some set their large bowls upside down in the sun, upright on a kiln lid, or set on metal shelving over a wood stove to heat the bottoms and dry all the way through.

 

When the bowls are bone dry, they can be loaded into the bisque kiln. Center and top shelves are good for bowls, as they need more even heating. If using a gas kiln, they need to be protected from the direct flame and the kiln needs to be heated slowly until just after red heat. Once the kiln reaches bisque temperature, the bowls should cool slowly to prevent cracking from thermal shock. Now the large bowl is ready to glaze.

 

Glazing the Bowl

 

I blow into the large bowl to remove any dust, then fill the bowl to the rim with glaze from a 5-gallon pail after stirring it well with a paint mixer attachment on a drill. Then I dump it out. Depending on the glaze’s gravity, it may need to be done twice if thin. I let the bowl dry completely.

 

To glaze the outside of the bowl, I dump glaze into a large tub, then hold the bowl upside down and at a slight angle. I dunk the bowl and then turn it straight to create an even glaze line about a 3/4 inch up from the bottom. I pull the bowl out and let it dry. Wait for the drips to stop before carefully turning it upright. 

 


 


Firing The Bowls

Once dry, the bowl is ready to fire. I make sure no glaze is on the bottom and even up the lines if I need to. I load the bowls in the kiln. For my kiln, a gas firing takes about 6 hours to reach cone 6 or 2223F. The kiln then cools for 24 hours before it is opened and unloaded.


After being unloaded, I check the bowls for cracks. I then wash them out and send them off to their new homes, post them online, or take them to area shops for sale.

 

I do hope you enjoyed this little post on how bowls are made!   Have you tried to make large bowls?  How would you use a large mixing bowl?  Let us know in the comments!

Written By,
Alford Wayman
Artist/Owner
Creek Road Pottery LLC

Edited by:
Erika Sickler
Content Writer/ Editor
Creek Road Pottery LLC

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You Can Do It!

By firing manual you can get to know your kiln, better understand the firing process, and even manipulate the work by making changes to the firing schedule. This is good practice especially for beginners learning the firing process and firing techniques. It is my opinion that when firing out work in a kiln you need to be there through the whole process as it’s like giving birth. It is quite simple to do but just takes a bit of monitoring and being able to see the correct cones inside the kiln when it is hot and knowing when to shut the kiln off or start the warm down.

The Sermon

Even though many kilns are digital or use a cone sitter, I am a hardcore manual kiln fire guy. Which means I fire all my kilns , even bisque fire, with shelf cones. Now I will not preach at you like a baptist minister if you choose to fire digital shut off or use a sitter, but in my opinion you are depending on luck to shut down each load. Mistakes like putting in the wrong cone number digitally, wrong hold time, improper sitter set up, improper cone set up in the sitter, or the sitter cone melting in a strange way and not shutting down all can cause a kiln to over fire. I witnessed a kiln melt down when I was a young wart hog and ever since fired manual. Kilns can be like children playing in a sandbox next to the road. For the most part they will be fine but if you forget to check on them in no time flat they will be out playing in traffic. You do not want your kiln to be out playing in traffic. Forgetting your kiln could result in a melt down where all the work shelves and posts become like taffy stuck in there. If you simply do a google search for kiln meltdown you will see some amazing images of things that happened when folks had a bad time with their kilns. You will still have a bad time with your kiln even if monitoring it but those bad times will be less painful and disaster averted by taking corrective action. Amen.

Proper Setup

It depends on what types of shelf cones you have. Cones measure both temperature and work heat. If you use a pyrometer to check your kiln, you will only know temperature. Pyrometers do not measure work heat. Some shelf cones need to be placed in a cone pack while others are self standing. I like to use self standing cones in the peepholes and place them on a small piece of kiln shelf or post. When placing them in the cone pack, be sure to research the recommended angle by the cone manufacture. I set the cone almost to the edge of the shelf, so they are easy to see inside when things heat up, and it all looks the same color. At high temperature, you might be able to make out just a slight outline. Some say not to place it near posts or near elements, but I like it right out in front. Be sure your cone will not attach its self to a pot when it bends, cones like personal space.

Looking in There

When things heat up hotter than a goats butt in a pepper patch it might be hard to see the cone. When you look in there it is best to use welding glasses as you do not want to damage your eyes over the long run. Also, if firing with gas pull the plug and wait a bit as if the kiln is in reduction you may have flames shooting out the peephole. So when you look in there be aware of that flame or you can lose eyebrows or catch your good flannel shirt on fire. Now look in there real slow and find the outline. I try and place the cones in front of a pot to see it better. Another technique is to shine a flashlight in the and have the light reflect off the cone. You can also blow into the hole to slightly cool the cone to see the outline. At times if I was not sure and cold not see it I shut down the kiln to be surer than restarted.

Reading the Cone

Be sure to look at the chart put out by the cone manufacture. Orton has a free chart that you can download here.

Also, be sure to check the cone manufacture bend chart. You can see an example here.

Checking the Kiln

Each kiln is different But here is the schedule I use for both bisque and glaze fire to cone 5/6 when firing manual.

Hour 1 & 2 – Check each hour
Hour 3&4 – Check each 30 min
Hour 5 to Cone Drop – Check every 15 min

Below are some examples and tips on what the cone will look like inside the kiln and suggestions on when you might want to shut it down.

When to Shut It Down

Each kiln is different and the rate of the cone drop will change based on temperature and work heat.

If you have the cone that matches the firing, say a cone 5 shelf cones and you want a cone 5 firing, you want to shut it down at the slight bend.

Below is what a slight bend looks like base off the recommended bend chart of Orton.

If you have the cone that matches the firing, a cone 5 shelf cone, and you want a cone 5.5 firing, you want to shut it down at the half bend.
I go to the half bend for most of my firings. By going to the half bend you can properly bring to temperature shelves that may be running a bit cooler slightly.
A half bend for a cone 5.5 firing will look like this:

If you have cone 5 shelf cones and would like a cone 6 firing, you would do a full cone bend. It will look like this:

If you are all out of cones and only have a cone 5 shelf cones and would like to fire to cone 6.5 you would do a full bend plus 15 min.
It will look like this:

If you missed a check because you fell a sleep or the cows got out you can still tell about how much time you missed as you will have hard full bends and soft full bends. A soft full bend the cone will look like melted chocolate but be blistered and bubbled out but not a puddle. It will look a bit like below. Here I was out of cone 6 but used a cone 5 plus 30 min to reach a cone 7 for a bottom shelf. So I intentionally over fired to bring to temp a cone 7 glaze test on a bottom shelf.

All the checks might seem excessive, but help to catch mistakes early and also allow you to make correction. In my gas kilns I can see if the kiln is heating correctly, if the firing is going to slow or fast based on color. Also, when testing firing techniques or a new shelf configuration, how big or small the load is or doing holds. All the checks paid off and saved loads and prevented over fires. I have over fired, but only from falling a sleep and missing the last 15 min. Thank goodness my wife woke me and I only lost 1 shelf of pots to blistering. You can also check cone that did not bend to get an idea of how much off you were on the under fire. A cone that did not bend but at all might be like glass and have gloss say it was close to reaching temperature for example.

Do you fire digital or manual? Do you have any questions about firing manual? Let me know!

Al Wayman
Artist/ Owner

Creek Road Pottery LLC

If you enjoyed this post and are a lover of pottery, sign up for my newsletter and become a raging fan.

Eating your own dog food was thought of as positive in the past. It gave owners, creators, and makers of a product a semi customer based view of a product before release. However, many times the testing and feedback was heavily influenced by corporate culture where many issues went unnoticed. Now days, it is thought that taking it straight to the customer in a small sampling without influence yields the best results to see how customers actually use the product and what problems they solve. In “eating your own dog food” creators may be blind to usability and may have the knowledge to make their creations work that a normal user will lack. “If I am only for myself, what am I? ” – Hillel the Elder, Mishnah Avot 1:14

“I don’t want to talk about my idea because someone else might steal it.”

In short, this is simply a list of things that will not get done. If you eat your own dog food in this area, you will not be able to network and collaborate those key elements you need to produce an end product to the customer. If you keep all these earth-shattering ideas to yourself, you will not be able to hire people who are far better than you to formulate and run the many parts of development you might be terrible at. We also learn by messing up and having patience. Keeping everything under lock and key means creating or launching when everything is perfect, which translates to not launching at all. At times 70% is fine and done is better than perfect. The user and customer will tell you what changes and improvements need to be made. But keeping everything in a vault locked down is a sure way to not be action driven.

“I don’t like to copy work, so I try not to expose myself to remain original.”

Not exposing your self to other ideas or work to remain original can sink you like a rock as it closes you off to finding solutions to fix problems in a better way based off of existing products or ideas. While you remain original in your cave, things on the outside are always changing while you only see the shadows. This in turn can run your business into the ground, eating your own dog food as you refuse to pivot or take advantage of a flaw your competitor might have. Once your style has run its course over time, you will wonder why sales are tanking as your customer base dwindles or dies off. Some creators are songwriters and others are Disk Jockeys. There is a need for both. Jay-Z doesn’t have the time to work wedding parties. It’s ok to expose yourself and soak up the world and what it has to offer like a sponge, and let that run out in your creativity and imagination. Stuck on what to do next for your work or product? Ask the customer.

“I had this great idea, but it was already done by someone else.”

Another list of things that did not get done. Those other people may not have produced it the way you had in mind. You could still run with the idea and make a great competing product with better features or simply better advertising. Some great products failed because they launch to no one, and others who made junk did well as they showed it to people in a far better way. Coke and Pepsi both are huge players in the soft drink industry. Imagine if John Stith Pemberton did not move forward with his idea of a soda. Simply because a thing was already done does not disqualify others from engaging and staking out some market share for yourself.

“I only use products I create.”

Many times I have heard creators and product based businesses say they only use products they themselves create. This has always been strange to me as “eating your own dog food” limits your exposure to the competition and features others may use in problem-solving. Fencing yourself off with only your ideas can be a sure way to sinking a great idea or product, no matter what you make. It also closes you off from being able to change in real time to solve problems customers are having, as the only thing that breaks you from the echo chamber of group think is bankruptcy. There are chefs and there are cooks. Chefs create the recipes the cooks follow. You need to work out which you are and own it. There is a market for both cooks and chefs to the right people. Not to many high-end chefs run catering businesses. They hire it out to cooks. Today, community building and giving value is far more important than dog food, and profit a by-product. I need to go work on some berry bowls a customer helped me design. Did you know the holes had to be small so the blueberries do not fall out the bottom? I had no idea! It’s a good thing I asked!

Artist /Owner
Al Wayman
Creek Road Pottery LLC

Further Reading:

“The Cook and the Chef: Musk’s Secret Sauce.” November 6, 2015 By Tim Urban.

The Design of Everyday Things: Revised and Expanded Edition Paperback – Illustrated, November 5, 2013 by Don Norman.

The Nature and Aesthetics of Design Paperback – Illustrated, September 28, 2007 by David Pye.

“Business Made Simple: 60 Days to Master Leadership, Sales, Marketing, Execution, Management, Personal Productivity and More.” Paperback – January 19, 2021 by Donald Miller

Hey reader! Let me know what you think on the topic by leaving a comment!

The Struggle

I always have a real bad time knowing when to do what and many times I feel as if I specialize in procrastination rather than doing what I do best. But what can be seen by others or ourselves as procrastination or being lazy might simply be due to a poor work-life balance. I remember last year in 2020 during the pandemic, I shut the pottery down for a week to read the book “Man’s Search for Meaning” by Victor Frankl. I loved the book and what he stated still has stuck with me. Frankl in his book said:

“Don’t aim at success. The more you aim at it and make it a target, the more you are going to miss it. For success, like happiness, cannot be pursued; it must ensue, and it only does so as the unintended side effect of one’s personal dedication to a cause greater than oneself or as the by-product of one’s surrender to a person other than oneself. Happiness must happen, and the same holds for success: you have to let it happen by not caring about it. I want you to listen to what your conscience commands you to do and go on to carry it out to the best of your knowledge. Then you will live to see that in the long-run—in the long-run, I say!—success will follow you precisely because you had forgotten to think about it” -Victor E. Frankl, Man’s Search for Meaning

Take Time For Yourself

Taking time off to do nothing or to be with family is just as important to creating as creating its self. Even though I had a lot of orders to complete and kiln loads to fire I still took time to go to the family reunion and visit with all the family I have not seen for years. I sat and ate potato salad with Uncle Wayne and Aunt Ruth and chatted with cousin Sean at the grill. Gave hugs to Aunt Gladys bent with age but still smiling and got to meet all the children of those who were children themselves last time I have seen them. You have no idea how fast time passes until you attend a reunion and see loved ones you have not seen in years. Then my friend Richard stopped by.

It was Richard’s birthday. I had planned to make pots all day, but Richard was on his way to Texas to take a class. My friend is huge into all types of research and I always enjoy spending time. So we took the day having lunch at the Diner and watching interesting films he has been collecting for his newest project. Richard is the one who got me into many topics of study and in his home shelves line all the walls but the kitchen three books deep. Over the last 25 years he has loaned me book and even helped me with clay projects. All of this was a nice break to have. But I need to get back to work as customers are looking for work. So I need to do the work and I need to learn to enjoy the hard parts and learning how to suffer the right way.

“But there was no need to be ashamed of tears, for tears bore witness that a man had the greatest of courage, the courage to suffer.”
― Viktor E. Frankl, Man’s Search for Meaning

“If I am not for myself, who will be for me?”

Having a good “why” is helpful to stay on track and having patience to persevere over the long run can make the work more about the journey rather than the destination. If you have a mission after resting, the hard work still needs to be done. I always work to get back into the mud, sometimes kicking and screaming. If do not participate in telling my story to the world, others will write it for me, or I will end up following or living the story of someone else.

“If I am not for myself, who will be for me? If I am only for myself, what am I? If not now, when?” – Hillel the Elder, Mishnah Avot 1:14

Work-life balance helps us focus on what is truly meaningful and it then comes out our hands as we make the work and do the tasks that becomes a product that others enjoy. So I might take a long time getting custom orders out, or maybe a bit slow at finishing a few projects, but over all I try and ask like Frankl asked “If I was living today a second time what would I do”

 

Using stains to enhance your work and define texture.

For the last few years I have been working with oxide stains and have enjoyed the results.  I mostly use red iron oxide and back wipe it once applied to bring out the highlights in texture patterns I press into the clay on the work.  When fired in reduction the oxide goes to a leather looking color that I find appealing. I choose functional forms that can be used with no glaze and simply just stain. Things like  shave brush handles, the outside of mugs , bowls, and handles I leave raw at times to stain.

I found early on a problem traditional wet shavers had been that glazed shave bowls were slippery and users would drop them in the sink.  This allowed me to work up a design with texture patterns on the outside of the bowls to help with grip and I decided to leave the outside raw to give it a rustic look.  I then used red iron oxide to bring out the texture patterns in a more pronounced way. I was able to experiment with many patterns and styles over the years and also save money as I was only glazing half the pot. Red Iron Oxide was far cheaper than any glaze recipe but just took a bit longer to apply.

I also enjoyed seeing the raw clay next to glazed areas and patterned areas in contrast to smooth. I found that lettering looked quite nice when red iron oxide is applied and wiped back leaving the valleys dark and peaks a lighter color.

Applying Stain to the pots.

I put some red iron oxide powder in a dish and add water. The more iron the darker. So at times I may add less or more water depending on the look I might be going for. I then apply the red iron oxide wash with a brush on the bisque ware then back wipe with a sponge. After I am done applying the wash I let the pots dry some and then glaze the other areas last if I decide to glaze at all.

The end result can be quite amazing. I do enjoy seeing the toasty brown color of the clay after opening the gas kiln after the glaze firing. For classes, I give it is possible to have the students make pinch pot planters and have them impress texture patterns in them and later bisque fire and stain them. This can be done for those who wish to only take one class and only return for pickup. In the video here I am loading the kiln full of stained pinch pots done by students. The outcome was quite nice! Below is an example of student work from my last class. The possibilities are endless on how to use stains to make work look interesting and communicate without using glaze. Have you ever used stains? Let me know in the comments!

 

 

I was invited by the Bradford County Regional Arts Council to have a pinch pot class in the historic Keystone Theatre

 

The event was called Thursdays in the Studio and was held on May 13th from 6:00 to 8:00 pm. It was an enjoyable time for sure and I was able to meet a few other local artists from the area who attended the class. We all made three pinch pot planters each and then pressed texture marks into the clay.  There were many creative ideas for impressions as some used shells, stones, stamps, and other used leaves and plant material.  The plants will burn off in the hot kiln but should leave nice impressions.

 

Some makers created pots that were somewhat taller to be used as vases. The pots will be put though two firings. The first is a bisque fire and then after staining them with red iron oxide they will be fired once more in a higher temperature glaze firing.  Participating in events again together with community was so much fun as many were canceled or postponed due to the pandemic. I was able to get all the little pots home without issue. Jokes were made at the class about living in the country and swerving to miss deer with driving home.  It is always nerve wracking driving with pots.  I placed them all in bread racks and stacked them up in the trunk of my car.

 

Keystone Theatre in Towanda, PA was built in 1886 and was formally called Hale’s Opera House. In 1988 funds were raised by Bradford County Regional Arts Council to restore the historical site. You may read more in the history of the building at the link here. The Bradford County Regional Arts Council  is a nonprofit organization dedicated to building and supporting an arts community, supporting the Arts, and preserving Bradford County’s historic theaters as centers for performances, community events and showing movies. To learn more about classes, performances,  events, or to support the Bradford County Regional Arts Council visit their website by clicking here.