Wife and I took some pottery classes at our makerspace, using under glaze transfers. We learned a ton, and have started a new hobby! Trying to figure out what to make next. Maybe a serving platter?

Here is part of my cup collection fondly referred to as a ‘library of cups’. There is a real similarity between reading a book and drinking from a cup. They contain, nourishment (intellectual and physical), and with both, I form a relationship through experience over time. This library of cups challenges me again and again to investigate what I actually understand as ‘cup’ and where I find and experience beauty.

I have added very brief personal reflections or observations of each cup. This text is to aid with education about pottery as a form for expression and to help elevate the discourse in contemporary craft. Often it is difficult to read contemporary ideas in such an old art form and hopefully this site will bring the viewer new insight about these objects, 100 cups, 100 ideas.

It's on a dinnerware set I'm excited to use. It's a bowl and plate combo designed for the plate to be a stable lid.

I glazed both sides of the lid to make it food safe, but next time I'm glazing the whole bowl too lol. The bare clay sounds awful on the plate.

These are test tiles of the stamped % weight of the mix described by the code. So for example, the top left is 100% the R(cone)61043 clay, and the top right is 50% by weight the R(cone)61043 clay, and the other 50% is the unstained stoneware.

These were fired to a hot cone 5, according to my witness cones. Oxidation atmosphere, default Skutt cone 5 program, with a 15 minute hold to attempt to hit cone 6. The cone 6 program over fires, but I adjusted too far. I'll go for 25 mins next time.

Glazes are a spectrum transparent (don't remember the code) and 2 and 3 layers of Amaco Celadon Aqua (C-40).

Here they are as greenware. The 60-100% were a different colour at some point!

Here they are saturated with water after a cone 06 bisque:

And here is the glaze application:

I don't think I've quite taken in all the information in these photos,but I look forward to taking another look at the tiles in natural light and seeing how the celadon enhances the colour of the clay.

I have a pint of PSH snOFLECKS. I bought it because I thought it was the equivalent of a studio glaze I used a lot (Their version of Albany Slip Brown) and I thought it would be good 'basic' as I started building my collection.

I made this mug and I hate it lol. Not only is it super dense and obliterated the detail (not shown), the mechanism for the dark brown deposits is so different than Albany (discrete particles vs a more flowing variegation). Some of that is probably my kiln getting too hot too fast (still playing around with programs) and application plays a part, but I do think I need to accept it's not the same.

(Test tile because I am a nerd. 1, 2 and 3 coats as indicated)

I came across the pot on the right on social media yesterday and I love it. Not because it's closer to Albany, but because I think the concentration and relative size of the flecks are more harmonious with a pot of that size vs my small mug.

Pottery is so freaking interesting.

Eta: technical details on Amaco Albany Slip Brown vs "true" slip brown if you wanna go down this rabbit hole with me

https://digitalfire.com/picture/3334

I bought some kiln wash on a day trip a few months ago and decided I'd better get it on the shelves if I want to start glazing!

Here is one of my kiln shelves with 1, 2 and 3 layers of wash. I will still use cookies in most cases. I figure the added protection won't hurt!

Bonus shot, the cookies are so vitrified it's taking forever to dry 😭

A year ago I shared the 200 Cylinder Challenge post here in this same community:

https://piefed.social/post/1088069

I'm back because I decided to turn this into an app! It's open source, free, and self-hostable, and allows potters to log their progress in the challege (or a challenge of their own making) with adding photos, logging stages, adding notes, etc. Tbh, its general enough that you may be able to just use it as a general pottery journal. Anyway check it out.

Live Demo : https://mosswild.github.io/centrd/ -- This is a demo page. All data you enter here will be stored with your local browser data. I wouldn't recommend just using it instead of self-hosting it since any re-deployments or clearing of browser data may cause you to lose everything unless you are just constantly backing it up.

Key Features

Throw & Weight Tracking: Log piece weights (lbs or kg), dates thrown, and quality status (Successful, Flawed, or Collapsed). Set custom weight goals such as 100 1-lb cylinders or 50 2-lb cylinders.
Stage Photo Gallery & Lightbox : Attach photos at every stage of the pottery workflow (Wet Clay, Trimmed, Glaze Application, Fired). Includes a full-screen lightbox viewer and the ability to reassign photo stages.
Organic Sticky Notes : Attach color-coded post-it notes to any stage of your throw to log glaze recipes, cone temperatures, wall thickness observations, or trimming reminders.
Potter Profiles : Personalize your potter avatar, studio name, and manage multiple profiles if you have multiple potters in your house or its being hosted at a studio.
Data Ownership & ZIP Exports : Your data stays yours. Export your complete log as a ZIP archive (including full-resolution photos and notes) anytime. If you extract the zip file it has a Markdown version of the log with all your images embedded. You can also import a backup Zip into the app to continue where you left off if for some reason you lose your data.
Share Challenges : You can export your app configurations as a JSON and share it with your potter friends so you can all work towards the same challenges together
Light & Dark Mode : A responsive interface designed to work on desktop, tablet, or phone right at the studio wheel.
Free, Open-Source, and Self-Hostable : I made this just for fun for myself and am sharing it so anyone can self host it for free on their home-servers.

GitHub Repository : https://github.com/mosswild/centrd The repo has instructions on how to self-host it locally.

I would love to hear your feedback, thoughts, or ideas for new features that would be helpful in your workflow.

I hadn't seen the update, which was posted a month ago. Turns out it was a misunderstanding. 😮‍💨

I made this small bud vase because I thought it would be easy and useful. Wrong on both counts lol.

I was practicing pinch pots and closed forms, and tested out some glaze combos. I learned a lot about geometry and balance, but from a practical point of view. Rest assured my artistic technique is still quite lacking.

The placement of the openings not only spread the stems out too far, but they are also pointing at a curved surface, which means the buds cannot stand upright. They all splay in opposite directions.

I fixed it with a bit of twist tie forming a ring around the stems.

Flowers are nice though. Zinnia and snap dragons grown from seed, plus some wild daisies.

So far I've managed to be easy breezy about pottery but I feel like I'm at risk of getting very weird about learning and adapting Goryeo and Diyao pottery techniques to the materials and equipment available to me.

Can anyone recommend some good resources? I am not having a lot of luck finding instructional content. While I enjoy learning about the history and cultural significance of the work, I want to watch people make it, ideally with commentary. Books would be wonderful too.

I enjoyed this video but not finding a lot out there: https://youtu.be/R1T4K3yaJg0

I should probably also watch out for visiting artists workshops or anyone practicing somewhat close.

I think I have a decent handle on slip inlay but the raised carvings (especially the clouds) illude me.

I picked up some mason stain and a commercial celedon glaze this weekend. I think it would be fun to make some test tiles using the stain to colour my normal clay (white/stone) clay body and inlay with unstained slip. The stain is an azure blue so it won't look anything like traditional celedon but I'm also using the "wrong" clay and I'm firing in an electric kiln so it's not like I'll ever get it to match 😅

As a more general question, where do the other nerds go to get good at a specific style? Do people tend to stick with what teachers and techniques are practiced in your schools?

Don't mindlessly fidget with this scoring tool in your pocket... I didn't realize the case wasn't solid lol

I now have a few new holes in my hand.

This was posted by user u/Mammoth-Age4933 on reddit. Every time I look at it I see something new that delights me all over again. It's really impressive and fun.

I have some family visiting this weekend, and I wanted to take the opportunity to send them home with things rather than risking mailing items to them.

The first is a set for a relative who has recently gotten into painting. I am so happy for her and want to show my support. I made a palette in the style that seems to be popular these days, even if it seems impractical to me 😅.

Next time I will try the more traditional shallow wells, but a few test pieces in that style felt wrong and I ended up recycling them.

I'm realizing it's really foolish to put off getting some powdered glazes for items like this. It's clearly not food safe but that's okay lol.

I also made a cup for water with divots to rest a brush on. I like the way the design turned out. I was going for Mediterranean blue and white country pottery vibes with the set.

The next set is extremely disjointed but it was an attempt at a partial sushi serving set for another relative who has started making sushi at home. I wanted to include plates but I greatly over estimated my capacity. I will try and get them done before the next visitor comes in two months. Even that might be a stretch lol.

The set includes:

• two tea cups (I made another matching set of two but they are HIDEOUS)
• what was supposed to be 4 soy sauce bowls but that I didn't give enough of a depression to, so they can hold wasabi or ginger lol
• set of four totally off theme but cute chop stick rests.

My main lesson learned is that I would like to do some test tiles to refine the glazing technique on the tea cups. The underglaze I used is extremely opaque, but when I mixed it with a white of a different brand to lighten it a bit the brush strokes were more visible (and chaotic) than I wanted.

Clays are all tuckers cone 6 stone ware, a mix of mid white (grogged) for the palette and sushi accessories and either straight up mid smooth stone speckled or whatever my recycle is rn (a mix of all their mid smooth white/stone clays lol).

Underglazes are kiwi and spectrum, and the glaze is spectrum zinc free and mid fire white. Underglaze was applied to greenware.

Bisqued at a slow cone 06 and glazed at medium cone 6, but witness cones show it exceeding cone 6.

(L to R: 7, 6, 5)

It's sparsely loaded because I've got family visiting next week so somehow I will get this all glazed, fired, and cooled before Sunday 🤡

This isn't quite the plant I envisioned for this pot but it needed a home lol

Hand built with groggy white stoneware, and lots of different glazes layered. I love the crazing at the midway point.

I am also experimenting with stoneware for plant pots. This clay is advertised as 1.5% adsorption at cone 6. I'm way too lazy to test so I'll just try planting in it! My houseplants are almost exclusively in terracotta planters. I've got some cone 06 earthenware with 8% adsorption but I don't have many low fire glazes and I'm trying to avoid becoming a hoarder.

I did totally forget to build a tray for it. Previously I thought I might build one in but also lol forgot.

Glazes are all from spectrum and are brushed.

Clockwise from top left:

• 2x running hot chowder on whole height, 1 layer black on top 2/3, 1 layer 1107 black on top 1/3
• 2x running hot chowder on whole height, 1 layer Nori on top 2/3, 1 layer Nori on top 1/3
• 1 layer 1107 black on all, 1 layer Nori on top 2/3, 1 layer Nori on top 1/3
• 3 layers Nori lol

• 5 thin layers gold (1112)
• 3 layers lagoon (1180)
• 3 layers storm cloud (1532)
• 3 layers satin black (maybe, I'm honestly can't remember but looks right?
• 3 layers greenstone (1159)

Underglaze, numbers are in the tile lol. Left side is on bare clay, right side is on white. Columns labeled for coats

I have never used earthenware in a studio setting but my spouse wanted to try it out.

It's cone 06-02 low fire earthenware that was bisqued to cone 04 (whoops) and the glaze fired at cone 06, in a kiln that was also used to bisque stoneware. I put it on the top shelf, furthest away from the down draft vent.

I only did three pieces, just to try it out. The first is a thrown and altered vessel meant more as an art piece than functional.

The idea is that it's technically food safe (still need to test for adsorption and shock) but really awkward to hold and will eventually grow mold on the outside if the outside is allowed to get wet/dirty.

The other two were two small hand building things just to get a sense of what it's like to work with the clay. The first is a ring dish vaguely inspired by the egg pods from Alien.

I used red underglaze and did some slip trailing with slip mixed with underglaze as well.

The next was a tiny box. It's not very good, but helped me understand that I need grog/patience if I want to hand build with this stuff! I used red and black underglaze - the only two I had at the time.

I look forward to messing around with it more and working with it's relatively high adsorption (8% at cone 4) for succulent planters.

Just sharing what I've been working on, but open to others sharing their own learning experiences more than just tips especially if this isn't something you have tried yourself.

I've been wanting to throw some closed form lidded vessels ever since I saw another student in one of my classes make some really beautiful pieces. (It's an advanced beginner class so very mixed skill level!)

I threw this one with a large flange which I thought would be good for keeping a better seal, but it was honestly kinda shit (I trimmed SO MUCH) and it cracked so I'm not going to fire it. It only cracked after the underglaze too, of course...I had been drying it super slowly for weeks but that was just too wet apparently 🫠

I had a lot of trouble with that peice - and with most of my cylinders, honestly - where I end up eating up the base ro build the walls. I haven't figured out the limits of the clay yet in terms of what size I should be getting from what weight. It doesn't help that I use a grogless clay and am probably trying to get the walls way too thin to support the structure.

The massive thick walls you see above are a weird symptom of that. When I was pulling the top it barely met to crate a closed form and I kept manipulating it to try and flatten it out but that pushed the clay back down. Wack

Anyways, I tried to throw another one yesterday and make sure I kept it wider. The same weird thing was happening even before I got it closed. The walls just kept getting thick, but probably from over compression because I was so paranoid about the walls collapsing. I ended up giving up on closing it on the wheel and used hand building techniques to add a top and close it.

The walls were still too thin and it was collapsing but I fucked around with it on the banding wheel until I got something...okay. it's honestly very fun to manipulate the clay once you get a good seal. I added a knob.

I let it dry under plastic over night and then cut it open. Unlike the previous pot I didn't thin out a section to make a flange. I was inspired by the work of hand builder Marrisa Y Alexander, specially forms like this one.

Now I've got it in a damp box and I'll slowly start losening the lid over a few days until it's hard enough to trim without being too goopy.

I can throw pots with galleries and matching lids, but this is a very fun technique. I hope to figure out my issue with the walls and throw some bigger pots that are closed without having to add a slab and add that additional opportunity for cracking/splitting.

Initially I was like, "lol this is overkill" but watching him trim the rims off without needing to adjust a gauge or pull out a ruler... It's kind of blowing my mind.

This makes me wonder what other big brain ideas exist out there. What unexpected tools have you started using for your own work?

Programmed to cone 6, but witness cones showed > cone 7 on the top (none of these were up there, > cone 6 on the middle, and > come 5, where most of these were.

The enviro vent worked really well, and it didn't get super hot or anything.

Finally got the top shelf unloaded. I love the way the underglaze looks fired 😍. Hopefully it doesn't burn it in glaze firing.

We threw it all off the hump and we running out of time and I panicked lol.

Even after trimming it's way too thick. I was so scared of putting a hole through it somewhere because I was super tired.

I look forward to glazing it and hopefully it survives and I can take it home. It's going to be first sized lol

We decided to give the level 1.5 class a try and I am liking it so far!

We have a guided project, or people just work on whatever they want. I decided to try the guided project which is something I would have never made otherwise: a three segment dip or sauce container. While I technically have a kitchen table we never use it, but it could be cute for a variety of dips during a movie night or something.

We threw the cylinders last week and trimmed and joined them this week. I still need to finish smoothing the handle and joints but I am very pleased with the shape.

A lot of the people in the class are looking to really dial in a technique and become super consistent, but for me pottery is something I don't have to be precise about and enjoy seeing where the clay takes me.

I have an extremely privileged set up. I have access to a wheel and soon will have access to a kiln with very little restrictions. I have no issue with recycling clay so I'm not worried about having to like what I throw or hand build and can very easily scrap something up until bisque fire without "losing" anything other than my own time.

I've been focusing on practicing the technical aspects, so throwing cylinders and other objects with no intention to keep them. Some I recycle immediately (cutting them so I can see the cross section and what I need to pay more attention to) and some I keep to practice trimming. I still throw too thick, so I have a lot to trim off. I've taken to carving (like this object) to cut out a lot of weight fast and also to play with carving as a technique.

When carving, I find myself thinking, "How to I make this the most uncomfortable/unnerving/evil but still useful object possible?". Not like poorly constructed object but an object that makes the user feel uneasy while using it. While they are still technically functional, I think of it as more an art object because it's meant to be experienced by people in a specific context not just something you have in your house or give as a gift. It feels expressive which could be nice.

I have a laundry list of objects I want to make for myself, basically custom dishware. There is some creativity in that for sure, but the intent is practical use.

My partner gets inspired when thinking about gifts to make specific people. He's got two people in mind right now and describes it as just knowing what he wants to make them. I think that's super cool.

Anyways, if you had no time pressures, equipment access pressures or need to create objects that sell, what would you make? How do you balance creative work with functional or did you find a sweet spot where you get both? I'd love to hear your process!