►
Description
In conjunction with the Cannon River Clay Tour, nationally-recognized Kansas City-based potters, Chandra DeBuse, known for her beautifully illustrated functional pottery, and Tommy Frank, known for thought-provoking hand-built sculptures, speak about their individual and collaborative work and demonstrate handbuilding, wheel throwing, and decoration methods.
B
A
Probably
like
what
the
flier
said
is
you
know
trying
to
make
the
body
of
work
I
make
a
body
of
work
and
we
make
a
collaborate
body
of
work.
So
we're
going
to
see
if
we
can
juggle
all
three
of
those
in
front
of
you
guys
tonight.
So
there
might
be
a
lot
of
questions.
What
it
might
not
be.
Any
question
we'll
just
play
by
ear,
see
how
those
so.
B
B
We're
going
to
try
to
do
it
all
so
I'm
going
to
go
ahead
and
do
a
handle
spoon
here
to
start
with
and
spoons
have
been
pretty
trendy
to
make
for
the
last
couple
of
years.
They're
super
fun
I
think
to
make
they're
not
the
most
practical
objects.
Ever
ceramic
spoons
have
a
tendency
to
break,
but
I
just
think.
They're,
beautiful
and
I
actually
have
a
wooden
scoop
that
I
use
for
my
coffee
in
the
morning
and
I
absolutely
love
it
and
I
designed
a
ceramic
scoop
off
of
that
original
wooden
prototype.
B
C
B
This
one's
going
to
be
solid,
so
the
first
spoon
that
I'm
going
to
make
is
going
to
be
something
where
I
find
the
form
through
a
reductive
process.
So
it's
going
to
be
solid
and
then,
after
it
stiffens
up
a
little
bit,
I'm
going
to
take
a
sure,
form
and
and
shred
the
clay
off
and
find
the
form
inside
of
it.
I've
really
enjoyed
that
way
of
working.
A
lot
of
the
work
that
I
make
has
hollow
elements.
B
Volume
is
really
important
to
me
soft
volumes,
but
lately
I've
been
playing
with
a
little
bit
of
a
heavier
because
when
something's
hollow,
it's
lighter
and
I
really
love
to
hop
the
solid
weight
of
a
solid
handle
as
a
counterweight
to
an
ax
counterbalance
for
that
spoon.
Some
of
my
hollow
handled
spoons
are
really
light
and
almost
feel
like
they're
going
to
fly
out
of
your
hand,
but
the
the
solid
handle
really
feels
stable,
so
I've
been
exploring
that
through
function.
B
B
A
How
many
of
you
guys
have
thrown
on
the
wheel
before
okay,
good?
How
many
you
guys
haven't?
Okay,
typically,
when
Peter
into
throw
pots,
I
was
kind
of
taught
they
like
drilled
down
like
an
oil
derrick
method
and
then
expand
out
from
there
and
I.
Don't
I!
Don't
do
that
anymore.
I
saw
somebody
else,
basically
just
create
like
a
volcano
and
just
like
deepen
that
volcano
and
I
realized
that
there
was.
That
seemed
like
a
better
solution,
because
what
I
was
able
to
do
is
actually
kind
of
Avalanche
the
clay
you.
A
A
You
know
so
the
oil
derricks
was
just
drilling
through
the
middle
of
that
hole,
as
opposed
to
this,
where
I'm
now
compressing
that
bottom
and
then
the
amount
of
compression
that
you
get
at
the
bottom
is
going
to
be
equal
to
the
amount
of
compression
you're
going
to
get
when
you're,
throwing
the
walls
so
you're
less
likely
to
have
s
cracks,
which
is
great
because
I
don't
have
time
to
throw
half
our
pots
away.
You
know
I
mean
like
Oh,
Sean
Drew.
Look
what
I
made
for
you
this
cracked
thing.
A
A
B
A
A
I
think
the
R
is
red,
so
we're
getting
close
I
think
it's
stoneware,
red
functional
sounds
good
right,
I'll
call
up
their
PR
department,
it's
kind
of
groggy
and
it
has
a
really
nice
red
color
and
then,
when
we
put
so
to
wash
and
things
like
that
on
it,
you
kind
of
get
a
nice
red
to
brown
color.
What
we're
trying
to
mimic
with
this
collaborative
work
is
some
of
the
urban
landscape
that
we
see
in
Kansas
City.
A
You
know
it's
pretty
familiar
to
what
we
see
in
the
Midwest
in
general,
instead
of
like
the
big
cities
that
had
lots
of
money
that
could
tear
down
their
old
buildings
and
build
new
skyscrapers.
We
didn't
have
that,
so
we
were
able
to
hold
on
to
a
lot
of
really
great
older
architecture
that
exists
and
a
lot
of
that
stuff
in
Kansas
City
in
rice
made
out
of
bricks,
and
so
we're
trying
to
like
pay
homage
to
that.
Basically,
it's
just
a
response
was
really
great
urban
environment.
B
A
So
when
we're
looking
at
a
decorative
process,
you
know
that
stages
and
the
slits
that
go
on
there
are
trying
to
get
some
of
these
ghost
sign
images
that
you
find
on
old
buildings
in
where
you've
got
to
sign
an
advertisement
for
something
that
was
there
50
60
years
ago.
They
kind
of
got
rid
of
it,
but
not
completely,
and
that
makes
it
all
the
more
beautiful
so
we're
trying
to
mimic
some
of
that
stuff
too,
but
it
all
starts
with
this
kind
of
red,
British
clay,
I'm.
B
B
This
is
the
part
where
I
get
loud
and
Tommy
can't
talk
over
me.
So
so,
like
I
was
saying
and
I'm
just
turning
it
and
tagging
it
about
four
times,
and
you
can
see
that
through
gravity
the
clay
is
falling
and
dropping
into
that
mold.
So
I'm,
just
using
the
force
of
gravity
so
with
the
one
that
I
made
solid
I
was
using
force
of
the
wooden
ball
to
push
into
the
into
the
sponge.
Just.
B
Going
to
tap
it
a
little
bit
more,
and
this
is
the
reason
why
I
start
with
a
thicker
slab
is
so
that
I
have
enough
volume
that
that
can
be
created
without
the
slab
breaking
on
that
edge.
When
you
start
to
see
I
don't
know,
if
you
all
can
see
this
on
the
camera.
There
is
a
tiny
little
shadow
that
develops
right
on
that
inside
rim.
B
That
is
a
sign
that
that
clay
is
getting
weak
and
stretching
right
there,
and
it's
about
ready
to
crack
so
I
watch
for
that
shadow
and
then
I
stop
tapping
and
then
I'm
just
going
to
turn
it
over
and
pop
it
out
the
plywood's
really
great
because
it
absorbs
moisture
and
it
doesn't
stick
to
the
clay
it
does
get
saturated.
So
I
have
to
be
conscious
that
I'm
going
to
make
a
bunch
of
these
I
have
to
turn
them
over
and
use
the
other
side
or
let
this
dry
between
too
many
uses.
B
I
can
usually
use
it
a
couple
of
times,
but
once
it
gets
too
saturated,
the
clay
will
start
to
stick
to
the
plywood
and
then
I'm
going
to
cut
these
in
half.
Just
to
get
that
excess
clay
off
of
there
and
free
it
up
and
then
what
I'm
going
to
do,
I'm
just
going
to
tell
you
what
I'm
going
to
do
and
then
I'm
going
to
do
it
and
maybe
Tommy
will
have
something
to
say.
B
What's
what
he's
doing
I'm
going
to
go
ahead
and
cut
this
out,
holding
the
knife
parallel
to
the
slab
itself,
so
that
I
can
maximize
that
ledge
that
I
have
a
larger
surface
area
for
attachment,
I'm
going
to
cut
that
and
then
I'm
going
to
do
the
same
thing
to
the
other
side
and
then
I'm
going
to
attach
them.
This
clay
is
really
wet
right
out
of
the
bag.
B
I
I
really
like
that
for
a
couple
of
reasons:
I'm
kind
of
an
impatient
person
and
the
project
that
we're
all
given
in
beginning
ceramics
to
make
that
stiff
sided
box
I
hated
that
project,
because
I
didn't
have
the
patience
to
wait
for
my
slab
to
dry,
so
I
don't
have
to
wait
for
my
slab
to
dry.
In
fact,
if
my
slab
was
dry,
this
whole
technique
wouldn't
really
work
for
me
and
what
I'm
going
to
be
doing
so,
the
wet
clay
is
beneficial.
A
I
wish
you'd
planned
this
better
I
feel
like
I.
Don't
have
anything
good
to
say
there
were
any
good
books
lately,
so
this
is
yeah.
This
will
either
be
a
really
big
cup,
no
it'll
be
a
bowl,
and
bowls
like
we
make
a
lot
of
bowls
and
I.
Think
that's
because
I
like
making
them
so
much
I
have
this
one
rib
that
I
brought
that
I'll
show
you
that's
like
just
do.
A
B
A
Stainless
I
feel
like
I,
used
to
make
a
lot
of
bolts
with
small
ribs.
Do
you
guys
make
balls?
Will
small
ribs
how's
that
going
because
I
feel
like
making
them
with
larger
ribs
has
been
really
really
helpful
and
it
kind
of
changed
the
way
that
I
approach
making
them?
Now
it's
going
to
look
a
little
bit
bias
here,
because
I'm
making
kind
of
a
bigger
bowl,
but
it
works
for
smaller
bowls
too,
as
long
as
they're
the
right
diameter,
my
philosophy
on
bowls
and
I'm
sure
I'm
not
alone
in
this,
is
I.
A
Don't
want
to
find
a
bottom
I
want
to
be
able
to
like
look
into
the
bowl
and
have
no
idea
where
the
floor
is
where
the
wall
is.
You
know
all
that
stuff,
it's
just
one
big
unified
curve.
So
when
you
put
the
right
glaze
in
there,
I
think
it's
like
little
speckles
and
stuff
like
the
whole
universe
is
inside
the
bowl.
A
It
takes
longer
to
wash
the
dishes
that
way
because
you're
just
staring
into
all
of
them,
but
it
you
know,
makes
it
worth
it
and
I
feel
like
it
that's
easier
to
get
in
wrap
it.
You
know
enveloped
in
when
you've
got
that
really
nice
curve.
That
happens.
I
have
no
idea,
I'm
going
to
say
three
and
a
half
to
four.
Oh,
but
you
know
oh
and
that
what
that's
right,
because
the
poor
people
on
television
hi
we're
going
to
say
three.
A
A
Another
big
tip
that
I
learned
not
too
long
ago
is
that
if
you
get
the
ribbed
you
guys,
like
you
start
with
the
rib
on
the
inside,
you
know,
then
you
kind
of
work
the
way
off,
how's
that
going
for
you
not
so
good.
So
what
I
figured
out
or
it
out
cuz,
someone
told
me
and
then
I
figured
out
they
were
right,
is
right,
so
I
start
from
the
outside
rim
and
then
head
towards
the
bottom.
So
you
start
out
here.
A
And
you
go
towards
the
interior,
and
let
me
tell
you
the
experience
is
totally
different
out.
You
know
when
you're
on
the
inside
you
go
to
the
outside
you're
like
oh,
don't
fall
over,
don't
fall
over
right
with
this.
You
get
more
resistance
as
you
go
down
right
because
you've
left
more
clay
down
towards
the
foot,
so
that
resistance
is
like
all
right
and
you
can
really
kind
of
dig
into
it,
and
so
that
form
really
starts
to
take
shape.
A
B
I
have
a
pottery
shop
that
I've
started
with
a
group
of
six
other
Potter's
in
Kansas
City,
we're
conveniently
located
right
next
to
a
really
great
coffee
shop.
So
and
we
have
a
florist
on
the
other
side
of
us.
So
it's
like.
Could
you
have
picked
a
better
location,
it's
a
very
up-and-coming
neighborhood
and
there's
a
lot
of
artists
and
stuff
that
it's
definitely
there's
exciting
stuff
happening
and
I
get
the
operatory
over
three
days
a
week.
So
it
doesn't
cut
into
my
studio
time.
B
So
much
and
I
only
have
to
watch
the
shop
one
day
a
week,
but
I
get
to
see.
You
know
what
the
customers
are
interested
in
and
have
like
a
direct
line
to
people
which
I've
never
really
had
too
much
before
when
I
was
a
resident
at
aroma.
It
was
the
whole
summer.
It
was
kind
of
like
that,
but
those
people
were
already
a
very
informed
audience.
They
were
taking
workshops
there.
They
were
whatever
craft
media.
They
were
interested
in.
B
They
already
understood
like
why
something
would
be
priced
a
certain
way
or
the
value
of
the
handmade,
and
so
that
was
a
different
audience,
but
so
now
we
get
people.
You
know
that
understands
good
coffee,
so
that's
good
that
they
understand
that
and
they
love
the
neighborhood,
so
they're
already
educated
to
a
certain
level
about
what
it
is
that
we
do.
My
point
in
saying
all
of
this
is
that
people
have
been
really
interested
in
bowls
lately,
so
that
really
works
for
us.
That.
B
B
B
The
question
is:
how
long
had
our
organization
been
planning
on
having
a
shop,
so
our
organization
formed
in
2014
and
we
were
never
intending
on
having
a
brick-and-mortar.
Our
goal
was
to
create
an
exhibition
where
we
could
showcase
pottery
to
Kansas
City
and
invite
people
to
come
and
showcase
pots
with
us
and
have
an
artist
driven
organization
and
exhibition.
Basically,
there
are
seven
of
us
in
the
group.
We
all
bring
different
skills
and
different
goals
to
the
group.
Most
of
us
are
making
a
living
off
of
being
Potter's.
B
One
person
is
a
teacher
at
the
Art
Institute
and
then
a
couple.
Other
people
have
various
income
streams,
not
just
one
thing.
So
when
you
get
that
you
get
people
with
different
goals
and
different
skill
sets
that
they
bring
to
the
table,
and
one
of
our
members
is
tenacious
when
it
comes
to
hunting
out
properties.
So.
A
B
He
found
this
building
for
rent
that
didn't
have
a
for
rent
sign
on
it
or
anything,
and
he
knew
the
right
people
and
knew
how
to
ask
and
approach
them.
So
we
were
able
to
negotiate
a
contract
and
a
rent
that
was
really
reasonable
for
us,
so
it
was
never
something
that
was
a
goal
that
we
had
it
just
kind
of
fell
into
place,
and
it's
really
it's
really
fun.
We
have
a
three
year,
lease
I,
don't
know
if
it
will
continue
after
the
three
years.
B
It's
just
I'm,
not
sure
what
will
happen,
but
for
right
now
it's
great.
We
had
to
do
a
lot
of
work
to
the
space.
It
was
really
raw
and
rough,
and
so
of
course,
before
we
could
get
in
there,
we
had
to
do
some
heavy
renovation,
but
that
was
part
of
the
reason
why
the
rent
was
so
choose
to
I'm,
just
going
to
set
the
baby
bird
aside
to
dry
a
little
bit
and
while.
A
She's
doing
that
I'm
going
to
talk
about
my
baby,
bull
bird.
So
if
you
kind
of
look
at
the
profile
of
this
curve,
it's
okay
on
the
outside,
but
it's
not
where
I'd
want
it
to
be,
but
the
inside
is
sweet
right.
So,
when
I'm
making
a
bowl
particular
process
like
that,
you
I'm
trying
to
make
that
inside
curve
exactly
what
I
want
and
then
just
trim
away,
whatever
I
don't
want
on
the
outside.
So
it's
not
bad.
A
We're
just
going
to
get
it
better
at
that
trimming
process
and
we
might
be
able
to
do
that
tonight.
Fingers
crossed
so,
but
that's
general
idea.
It's
like
kind
of
work
on
that.
One
thing
that
you
know
you
can
like
take
care
of
on
the
back
end
versus
trying
to
get
the
walls
perfectly
symmetrical.
You
know
and
then
like
trim
the
least
amount
I
mean
it's
a
certain
amount
of
trimming
that
I'll
do
in
a
certain
amount
that
I
won't
do.
A
So
what
we
do
with
collaborative
stuff
is
we
deal
a
lot
with
surface
over
texture,
and
so
that's
my
job.
You
know
so
I
get
to
do
some
form
and
then
I
can
do
some
texture
and
I'm
like
not
allowed
to
do
anything
else
right.
Actually,
no,
don't
worry.
I
still
do
lots
of
stuff,
but
what
what
I
get
to
investigate
them
is
like?
How
can
I
make
a
texture
it's
going
to
be
kind
of
within
the
wheelhouse
of
our
inspiration?
A
That's
not
going
to
totally
throw
her
under
the
bus
when
it
comes
to
getting
a
surface
on
there.
So
the
consideration
of
like
how
my
collaborator
is
going
to
respond
to
like
a
really
great
thing
that
I
want
to
do
but,
like
you,
couldn't
possibly
put
any
type
of
really
nice
surface
on
so
trying
to
kind
of
go
back
and
forth
and
consider
what
she's
going
to
do
with
it.
Next,
based
on,
like
all
the
like
love
and
desires,
that
I
have
a
female
as
far
as
working
on
that
form.
A
So
what
I'm
going
to
do
here
is
just
kind
of
bisect
this
form
so
that
I've
got
kind
of
this
really
rough
type
of
texture
on
one
side,
with
this
zester
handy-dandy,
zester
and
then
on
the
other
side
is
going
to
be
a
sure
form
texture.
We
don't
usually
do
like
a
50/50
type
of
thing,
but
you
know
I,
don't
know
the
milkshakes
I'm
inspired
so.
A
Like
it's
usually
pretty
basic
I've
trimmed
this
form
it
doesn't
really
have
a
foot
except
for
maybe
an
indentation
on
the
bottom,
so
it
doesn't
rock.
You
know
what
you
put
on
this
heavy
one.
It's
going
to
get
a
handle
at
some
point
before
I.
Do
that
I
want
to
get
this
texture
on
there?
Then
the
handle
comes
next,
so
you
can
see.
I've
got
a.
C
A
It
is,
it
is
it's
not
it's
not
really.
Bending
much
I
threw
it
at
five
o'clock.
We
put
a
torch
on
it,
presto,
change-o,
but
yeah.
It's
definitely
the
leather
hard
stage.
This
is
always
kind
of
tricky
right.
You
know
it's
like
you're
trying
to
get
a
surface
on
there.
That
looks
really
good
like
a
texture,
then
you
know
you
have
to
add
a
handle,
so
it
can't
be
too
dry,
but
it
can't
be
too
wet
yeah.
A
So
for
us
actually
choosing
clay
bodies
like
this
that
have
a
little
bit
of
you
know
a
little
bit
of
grog
in
them
helps
with
that.
It
gives
us
this
window
a
better
window
to
work
with.
Could
we
do
this
in
porcelain,
maybe
not
with
a
handle?
I
mean
the
handle,
probably
wanna
crack
off.
You
know,
I
mean
okay
Tommy,
making
this
stuff
they
handle,
probably
wanna
crack
on
right,
because
there
just
be
too
smooth
so
having
a
groggy
type
of
thing
helps
to
kind
of
deal
with
them.
A
A
B
B
That
really
reminds
me
of
Warren
Street
signs
on
the
pavement
like
dividing
highway,
dividing
lines,
or
you
know
a
big
arrow
in
the
middle
of
the
turn
lane
that's
kind
of
worn
off
over
time.
I'm
really
like
getting
excited
about
that
kind
of
mark
making
and
then
with
my
own
work,
I,
don't
know
if
you
guys
can
see
this
so
I've
created
a
texture
on
to
this
in
a
direct
response
to
what
Tommy
has
done.
B
So
this
is
the
texture
on
the
porcelain,
I,
don't
know
if
you
can
see
that,
but
there's
a
straight
up-and-down
kind
of
line
that
is
made
with
a
completely
different
tool,
and
that
is
a
a
wire
wrapped
trimming
tool
that
has
I
have
three
or
four
of
them.
Some
of
them
are
tightly
wrapped
in
some
of
them
are
really
mangy.
Looking.
C
A
This
is
a
fun
with
the
camera,
okay,
so
so
that
was
the
texture
that
we
had
from
the
right
and
then
this
is
what
we
have
from
the
sure
form
number
one
number
two,
you
can't
tell
the
difference.
Can
you
honestly?
Okay,
the
really
cool
part
about
this
is
it
is.
This
is
not
mind-blowing
stuff
right
for
anybody
else
to
be
like.
Yes,
you
should
have
been
doing
that
six
months
ago.
I
can
go
at
an
angle
too.
A
A
A
Like
these
are
like
very
loaded
question
sir
I
feel
like
I
had
to
like
pull
handles,
because
that
was
the
only
way
you're
supposed
to
mix
channels
and
I.
Think
that's
not
true.
So
for
most
of
the
stuff
that
we're
making
now
the
handles
are
pinched
instead
and
I
feel
like
I
can
do
it
faster
I
feel,
like
I,
have
less
cleanup
that
way,
a
little
bit
more
direct
to
fulfilled
it's
different,
and
what's
that
yeah,
then
they're
not
wet,
you
know
so
then
you
can
go
faster.
You
know
so.
A
I
can
actually
I
can
get
away
with
making
a
whole
bunch
of
handles
and
then
handing
them
right
off
the
shonduras
not
having
to
wait
like
a
whole
knife
when
I'm
too
dry.
So
that's
a
good
thing
because
yeah,
otherwise
they
get
all
like
too
loosely
and
they're
Fighting
Gravity,
and
then
you
have
to
like
prop
them
up,
and
then
you
have
to
clean
them
up,
and
you
know
this
is
a
little
bit
more
immediate.
A
B
A
So
when
that
handle
gets
around,
you
guys
will
notice
that
it's
kind
of
like
a
tree
frog
where
it
gets
a
little
bit
wider
to
stick
to
the
body
of
the
mug
little
bit
thinner.
And
then
it's
tree
frog
again,
so
I
basically
make
what
I
I
think
we're
visual
ations
I,
don't
know
if
you
guys
do
visualization
stuff
when
you're
doing
like
totally
non
related
things
I
think
about
the
weirdest
stuff
anyway,.
A
That's
right,
that
is,
a
pinch
handle
yeah,
it's
a
pinch
handle
how
it
starts
is
basically
that
visualizing
thing
you
can
see
this.
This
looks
like
to
me
a
like
the
end
of
a
railroad
spike
and
then
I
just
make
two
of
those
right.
So
it's
somewhere
between
the
railroad
spike
in
a
spool
of
thread,
and
so
what
I'm
doing
is
I'm
just
compressing
down
and
I
feel
like
you
get
the
best
compression,
with
my
thumb,
just
right
up
against
my
palm
and
it
kind
of
makes
it
a
little
bit
round.
A
A
But
it's
the
chunky
version
and
then
I
make
it
like
a
little
leaner
and
tighter
and
leaner
and
tighter,
as
it
goes,
does
that
make
sense
right
because
I
don't
know
how
many
times
I
would
make
handles
and
try
to
figure
out
a
way
for
them
to
be
right
at
the
end,
as
opposed
to
just
kind
of
making
them
right
from
the
beginning
yeah,
because
my
I'd
find
the
nth
or
too
fat
or
they
weren't
fat
enough.
You
know,
like
you,
didn't,
have
enough
confidence
in
them.
A
A
Well,
the
spines
just
naturally
happening
from
a
pinch
process.
You
know
and
I'm
just
getting
rid
of
it.
The
reason
why
I
get
rid
of
it
is
because,
if
you're,
if
you're
putting
your
fingers
in
here,
if
you're
putting
your
fingers
like
that,
like
that,
you
can
kind
of
visualize
this
that
mug
with
a
spine
on
the
outside,
it's
kind
of
it's
just
kind
of
a
one
finger
mug.
A
Maybe
if
you
have
small
fingers
a
two
finger
mug,
which
means
the
spine
is
going
to
dig
into
whatever
finger
is
not
inside
the
handle
so
with
it
with
a
mug
like
that,
where
it's
kind
of
like
wide
out
from
the
Hale
you've
got
a
lot
of
cantilever
you
got
to
do
like
you've
really
got
to
pull
that
bad
boy
back.
You
know
in
order
to
give
it
in
your
mouth,
so
there's
can
be
a
lot
of
pressure
on
that
finger.
A
The
more
pressure
you're
going
to
have
like
that,
the
less
someone's
actually
going
to
enjoy
using
the
piece
and
if
we're
making
things
by
hand
for
people
to
enjoy,
then
we
might
as
well
make
it
the
best
possible
experience.
So
it's
thinking
about
that
comfort
because
I've
made
bad
handles,
allows
me
to
think.
Okay,
you
know
I
need
to
make
something
better,
so
I
get
rid
of
the
spine
right.
C
B
Okay,
then
I'm
going
to
talk
a
little
bit
about
these
craft
foam
templates
that
I've
been
using
okay,
so
I
have
a
variety
of
these.
How
basically
frames
their
templates
that
I
design
on
paper
and
then
transfer
them
to
craft
foam
and
I'll
just
pass
around
a
piece
of
craft
home?
If
you
guys
don't
know
what
it
is,
but
it's
some
things
it's
a
ethylene,
vinyl
acetate
foam.
It's
basically
a
thinner
version
of
shock
absorption
in
your
shoes
that
you
can
see
like
go
ahead
and
that
piece
isn't
precious
to
me.
B
So
go
ahead
and
see
like
you
can
stretch
it.
It's
stretchy,
it's
really
easy
to
cut
it's
fairly
inexpensive
and
it
comes
in
really
great
bright,
colors
and
so
I
have
it,
and
because
it's
so
inexpensive
and
easy
to
cut.
It's
really
easy
for
me
to
make
a
bunch
of
different
shapes
like
this.
It's
pretty
low
risk.
It
doesn't
take
a
lot
of
time
and
special
tools
or
anything
to
try
out
new
forms.
So
that's
one
reason
why
I
really
really
like
it?
B
Basically
so
I've
cut
some
concentric
shapes
and
they
all
kind
of
nest
together.
I,
don't
know
if
you
can
see
this,
they
perfectly
nest
when
they're
flat.
There
is
no
space
in
between
them
at
all
and
I'm,
just
rolling
I
rolled
them
out,
curl
the
slab
out
and
then
lightly
press
the
craft
foam
template
into
that
damp
slab
and
then
cut
it
around
it,
so
that
it's
around
the
shape
and
then
I'm
placing
it
with
the
craft
foam
frame
side
down
onto
the
upholstery.
B
Foam
and
I've
got
a
couple
of
different
sizes
of
wood
involved,
and
what
I'm
going
to
do
is
I'm
just
going
to
go
around
and
I'm
going
to
create
a
divided
dish
using
the
would
involve
pressed
into
the
slab
kind
of
like
that
spoon.
You
know
pushing
that
into
the
foam.
It
will
create
little
little
separated
cups
or
bowls
around
six
sides
of
this.
So
I'm
going
to
start
with
the
smaller
one.
B
I've
got
two
here
and
a
not
quite
sure
which
is
the
right
size,
so
I'm
going
to
go
ahead
and
start
with
a
smaller
one,
and
if
I
need
to
have
a
little
bit
more
size
for
each
cup,
I'm
going
to
move
to
the
bigger
one.
So
I'm,
just
lifting
up
with
my
fingers,
just
touching
the
craft
foam
on
the
outside
I'm,
just
kind
of
working
that
ball
into
a
little
circle.
So
you
can
kind
of
just
see
each
indentation
and
I'm
going
to
work
on
opposite
sides.
B
B
This
one
doesn't
necessarily
have
to
be.
If
you
wanted
to
put
a
stem
in
between
here,
you
could
have
like
a
double
layered,
deviled
egg,
tray
or
something.
This
is
pretty
small
for
deviled
eggs,
but
you
could
use
a
bigger
ball
or
you
could
even
use
like
an
egg
shape
and
push
it
in
there
to
make
it
better
for
deviled
eggs.
B
Well,
I
think
it's
a
little
small,
but
if
I
wiggle
it
into
a
circle,
it'll
make
each
one
of
those
cups
a
little
bit
bigger.
So
let
me
just
show
you
the
backside
of
this
I'm
going
to
work
it
a
little
bit
more.
But
that's
one
of
my
favorite
parts
about
this
form
is
just
the
way
that
that
underside
looks.
C
B
Then
but
then
I
back
down
I
back
down
on
my
temperature.
So
on
that
specific
kill
me,
you
just
can't
always
trust
the
numbers
on
kilns.
I
feel
like
I
mean
I
always
thought
20
to
32
was
come
6
right,
so
I'm
firing
to
a
lower
temperature
than
that
thinking.
Oh,
it's
probably
like
five
six
and
then
come
find
out
seven
flat,
yeah
yeah.
B
A
So
in
deciding
where
the
handle
goes,
I've
gotten
notes
from
my
decorator
over
here
instead
of
the
glaze
coming
right
from
the
interior
right
to
the
rim
and
then
breaking
right
there.
She
prefers
and
I
think
this
is
a
fantastic
idea
to
roll.
The
glaze
slightly
over
feel
a
little
bit
better
on
the
lip
which
to
me
she's
like
Tommy,
stop
putting
the
handle
right
at
the
top
because
we
put
the
handle
the
top.
We
get
this
weird
glaze
thing:
I
got
to
wipe
it
off
and
it's
an
extra
step.
A
You
know
and
if
you
can't
go
to
dinner,
that's
things
so
I'm
like
alright
fine,
I'll,
just
lower
the
handle,
so
it
usually
starts
a
little
bit
lower
from
the
top
and
then
occasionally,
and
not
all
of
our
mugs
do
this.
But
what
I
like
to
do
is
get
this
line
right
here
and
have
it
meet
right
with
this
line,
so
I'll
kind
of
like
work
on
accentuating
that
a
little
bit
it
just
kind
of
catches,
the
eye
you
know
it
kind
of
keeps
the
eye
moving
around
through
the
whole
form.
A
You
know
these
are
things
that,
like
the
customer
will
never
see,
but
they'll
see
it
in
the
finished
product
that
everything
kind
of
flows
nicely
together.
So
when
making
the
actual
attachment,
you
know,
I've
scored
it
with
a
fork.
You
guys
use
Forks
to
score
things
if
you're
using
needle
tool
still
like
you
just
have
a
lot
of
free
time
because
it
has.
This
is
for
needle
tool
following
one
and
you
know
if
we
can.
This.
A
Is
this
ain't,
your
this
ain't,
your
salad
fork
to
the
right,
so
I've
actually
taken
the
time
to
normally
flat
and
I,
bent
them
all
and
then
I
sharpened
them.
So,
like
neat,
I
spend
time
in
the
State
Penitentiary
and
prepare
what
this
does.
Is
it
basically
just
allows
you
to
score
pet
surface
a
lot
faster.
You
know
sort
of
a
lot
quicker,
another
buddy
of
mine.
He
was
smart.
He
just
got
like
four
needle
tools
and
he
just
tape
them
together.
So
I'm
not
rich,
like
he
is
so
needle
tools.
A
Man,
oh
just
grow,
on
trees,
I,
occasionally
I'll
use
slip
most
of
the
time
I.
Don't
something
that
a
personal
theory
that
I
have
that
may
or
may
not
be
true
at
all.
Is
that
if
this
is
kind
of
dry-
and
this
is
kind
of
dry
they'll,
stick
together
really
well,
if
you
just
scratch
them
up
really
nicely
and
just
add
a
little
bit
of
bit
water
like
a
little
bit
of
anything,
what
I've
had
the
most
cracking
problems
in,
which
is
when
this
is
a
little
bit
dry,
and
this
is
a
little
too
wet.
A
It's
part
of
the
reason
why
I
feel
like
I
can
get
away
without
without
having
to
pull
them
right,
because
when
you
pull
them,
you
make
them
really
wet
and
they
shrink
more
and
that's
when
they
want
to
crack.
So
the
consistency
is
so
similar
that
I
feel
like
they
stick
really.
Well,
they
don't
crack
ever
you
know
the
other
thing.
That's
really
nice
about
this,
not
being
sopping
wet.
Is
that
tree
frog
thing?
Remember:
housing
I
leave
thickness.
You
know,
I
can
just
compress
that
down.
A
A
Think
of
this
is
like,
if
you
know
again,
the
stupid
visualizing
thing
if
you've
got
a
whole
tree
right
and
you
can
like
you
know,
wrap
your
hand
around
that
tree
and
you
can
get
down
to
the
roots
where
it
gets
wider
and
you
can
just
shove
that
thing
even
more
into
the
ground.
That's
the
stupidest
thing
in
the
world,
but
that's
what
I
think
of
it's
that
idea
of
grounding
it
even
more
so
that
firm
attachment
goes
on
there
and
then
what
I'll
do
is
I'll
grab
these
little
rubber
tips
tools.
A
I've
seen
people
make
these
out
of
like
erasers
like
those
old
school
cap,
erasers
and
I'm.
Talking
about
a
little
to
the
wind
here,
I'll
just
go
around
the
edge
of
the
surface
like
so,
and
that
just
gives
definition
to
the
line
it
also
if
it's
going
to
crack
on
the
edge
you've
just
compressed
it
so
that
it
doesn't
so
that's
good
anyway,
and
then
it's
pretty
much
done
and
then
like
and
then
I'm
done
right.
So
then
it
goes
off
to
the
decoration
sector,
which
is
what
will
hopefully
get
to
later
yep.
B
C
A
Know
what
you
know,
I
think
I
think
I
think
I
do
part
of
it
is
when
I'm
making
that
pinching
motion
I'm
moving
up
the
piece
very
very
slowly.
So
instead
of
like
big
compression
moments
or
movements,
it's
just
like
little
small
ones.
You
know
so
I'm
kind
of
like
zoning
out
when
I
do
it.
What
I
found
is
that
it
has
a
natural
curve
that
develops.
If
you
keep
doing
it
the
same
way.
A
So
if
I'm
going
this
way
right,
then
I
will
flip
it
this
direction
and
do
the
same
thing:
I,
don't
flip
it
that
direction
and
now
go
against
the
grain.
It's
almost
like
creating
a
grain
I
think
because
those
movements
are
so
small,
they
just
kind
of
compress
themselves
nicely
and
then
and
then
I'm
able
to
again
press
here
on
that
spine.
A
So
that's
kind
of
helping
to
hide
it
and
then
I'm,
just
smoothing
that
over
with
my
my
thumbs,
if
I
feel
like
it's
like,
if
it
just
needs
more
help
and
like
if
you
got
closer,
you
can
see
the
surface
of
this.
It's
kind
of
got
that
little
bit
of
a
torn
surface.
You
know
when
you
have
a
flat
clay
thing:
that's
the
right
dryness
and
you
bend
it.
It
gets
tears
on
the
outer
part
of
the
surface.
A
So
that's
what
I've
been
kind
of
like
working
with
my
fingertips
and
then
you
can
work
that
with
a
rib
like
if
you've
got
one
of
those
red
ribs
like
these
guys
here
or
a
metal
rib
like
this
guys.
That
can
help
too,
and
you
just
kind
of
make
those
small
boat.
You
know
movements
and
it
does
help
to
get
rid
of
it.
Some
it's
just
kind
of
like
about
that
touch.
You
know
and
just
kind
of
smooth
things
out.
Did
you
have
a
question?
No,
that.
B
C
A
A
Those
we
put
on
after
the
bisque
so
after
the
bisque
we're
doing
an
under
glaze
colored
choice
of
usually
clear
glaze
is
kind
of
glassy
to
accentuate
some
of
the
differences
between
the
under
glaze
surface
and
maybe
that
terror
stage
surface
and
then
we're
using
a
soda
wash
mixture
and
a
soda
wash
it's
kind
of
like
a
solution.
But
it's
not
a
good
solution,
so
an
oversaturated
solution.
A
We
have
chunks
and
stuff
in
it
and
then
that
goes
onto
the
surface
and
it
usually
creates
these
like
kind
of
eaten
into
pockets
or
areas
in
the
clay
and
like
a
couple
of
these
examples
are
like
really
good
to
see
kind
of
like
where
some
areas
of
little
bit
drier
some
really
kind
of
chewed
into
you
know
by
that.
So
crystal
thing
that's
happening,
so
it's
making
the
thing
you
know
putting
that
terraces.
A
So
you've
got
this
like
layered.
That
you
know
is
going
to
get
amplified
by
a
clear,
glaze
or
soda
ash
in
a
different
kind
of
way.
And
then
you
want
to
add
this
other
color
on
top
of
it
and
they're
kind
of
jumbling
all
these
things
at
the
same
time,
sometimes
it
works
really
well,
and
sometimes
it
really
doesn't.
So
what
it's
nice
tell.
A
Yeah
I
think
it
has,
and,
and
some
of
it
you
know,
has
been
in
the
total
reciprocal
way.
You
know
where
genres
kind
of
talking
about
some
textured
surfaces.
You
know
in
some
of
our
performs
kind
of
changing
for
me,
the
like
actual
slip,
application
or
maybe
getting
over
the
fear
of
putting
a
glazed
surface
on.
That's
intentional.
A
You
know
that
a
lot
of
the
school
of
functional
ceramics
that
I
came
through
after
undergraduate
school
through
a
lot
of
those
residences
was
like
I'm,
going
to
use
atmospheric
firing
as
a
crutch,
so
I'm
going
to
soda
fire
things
and
wood
fire
things,
because,
dear
God,
if
I
put
the
glaze
on
the
wrong
place,
it's
going
to
look
like
crap.
No
one's
going
to
want
these
things,
they're
going
to
be
awful
and
working
with
Chandra
I've,
actually
gotten
a
little
bit
braver.
A
C
A
B
I
think
it's
been
really
fun
and
challenging.
You
know:
there's
I,
love
listening
to
people
talk
about
collaboration
depending
on
you
know,
regardless
of
the
art
form,
it
doesn't
need
to
be
in
clay.
There
was
an
interview
on
fresh
air.
I
can't
remember
the
the
musician,
but
Terry
Gross
was
talking
to
him
about
collaboration.
He
just
said
the
most
simple
thing:
collaboration
takes
you
places
you
never
would
have
gotten
to
on
your
own
and
I
I
really
related
to
that.
In
some
ways.
B
It's
given
me
an
excuse
to
revisit
old
ideas
that
I'd
abandoned
while
I've
been
working
in
this
body
of
work.
I
have
this
love
affair
with
red
clay
and
the
surfaces
and
the
depth
and
the
complexity
that
a
red
clay
service
can
provide,
but
what
I'm
doing
right
now
in
porcelain?
It's
not
really
it's
a
completely
different
vocabulary.
So
this
gives
me
an
awesome
opportunity
to
really
explore
that
and.
A
I,
don't
really
care
much
about
clays
like
red
clay,
white
clay,
low
fire
higher
fire
like
no,
that's
not
really
matter
too
much
to
me,
but
I
haven't
been
throwing
a
lot
of
pots,
I've
been
making
more
sculpture
in
the
last
few
years.
So
this
gives
me
the
excuse
to
go
back
and
steal
some
of
my
own
ideas
which
were
stolen
from
people
before
me
as
far
as
kind
of
creating
a
different
you
know
or
bringing
that
form
language
into
the
work
that
we're
doing
together,
yeah.
So
there's
stuff.
A
That
shows
up
like
there's
a
few
vases
that
we've
got
recently
that
those
forms
are
stolen.
From
my
like
2004
life,
you
know
I
mean
it's
stuff
that
I
haven't
made
in
over
10
years,
and
so
I
get
to
go
back,
Andrea
propriate
my
own
work
and
then
adapt
it
to
what
we're
doing
together
and
that
part's
been
really
cool.
It's
like
having
permission
to
go
back
and
make
those
types
of
pots
anyway,.
B
And
Tommy
can
throw
big
stuff
right
and
I
can
make
things
that
are
not
this
big,
and
so,
when
Tommy
gives
me
something.
This
big
to
deal
with,
I
have
to
figure
out
how
I'm
going
to
change
up.
The
scale
of
my
decoration
I
have
to
figure
out
how
to
glaze
the
inside
of
something
this
big
I
mean,
and
this
with
a
lot
of
glaze
inside
of
it,
is
really
heavy.
B
B
So
we
have
tubs
with
the
plaster
in
the
bottom
which
keep
them
moist
and
allow
us
to
really
when
we're
ready.
Then
we
can
come
back
and
use
them,
but
we
try
to
attack
it
pretty
quickly.
So,
if
Tommy
throws
the
beginning
of
the
week,
I
try
to
carve
out
time
at
the
end
of
the
week
and
we're
communicating
about
when
that's
going
to
happen.
So
yeah.
C
C
B
Get
lost
into
that
cycle
and
that's
hard
because
then
you
have
deadlines
and
you
don't.
You
know
to
balance
your
own
studio,
practice
too,
and
then
I
have
to
fall
in
love
with
my
own
studio
practice
again.
So
sometimes
that's
you
know.
But
again
it
really
does
allow
me
to
play
around
with
texture
and
some
new
techniques
that
I
hadn't
really
thought
about
doing
before
we
did
the
collaborative
stuff,
so
I
thought
I
feel
like
it's
good.
C
A
A
You
know
to
add
to
that
and
before
they
we've
already
got,
then
it's
like
okay,
it's
got
to
come
out
of
the
kiln
on
this
day
so
that
we
can
physically
get
in
the
car
and
drive
to
Minnesota
right,
and
so
that
means
it's
got
to
go
into
kill
on
this
day
and
then
it's
got
to
get
glaze
on
it.
So
you
just
kind
of
like
do
it
backwards
and
so
I
I
start
I
sound
like
Rain
Man.
You
know
where
I'm
like
two
weeks
to
Wapner,
you
know,
like
you
got
to
decorate.
A
The
stuff
sounds
like
we're
going
to
do
it
tonight
be
calm.
You
know
so
yeah
there's
a
lot
of
conversation
about
like
this
deadlines.
Coming
up.
We
have
two
kind
of
approaches
like
this
and
then
there's
like
a
make-or-break
time
where
it's
like.
Okay,
we're
not
going
to
do
that
anymore.
You
know
like
that's
that
body
of
work
is
not
going
to
happen
or
those
experimental
forms
you
have
to
wait.
You
know
not
a
couple
of
months,
so
we
can
kind
of
circle
back
to
it.
A
So
there's
a
lot
of
conversation
about
expectations,
deadlines
what's
actually
going
to
happen.
What
can
actually
happen?
You
know
the
like
balancing
out
the
like
I,
really
think
we
should
do
this
and
I'm
like
I.
Have
there's
no
way
we're
going
to
be
able
to
do
that.
That's
not
going
to
happen
to
us
in
the
middle.
That's.
A
B
I
just
cut
the
the
interior
space
out
of
the
spoon
I
to
make
a
decision
about
which
end
I
wanted
the
to
be
the
handle
and
I've
flip-flopped.
This
form
I've
made
a
big
oversize
handle
with
a
tiny
little
spoon
bowl,
and
this
is
a
smaller
handle
with
a
generous
spoonful
here.
So
I,
basically
just
free
formed
the
circle
and
cut
that
out.
So
this
form
is
completely
Hollow.
B
Know
it's
something
like
so:
we've
both
been
out
of
graduate
school
for
seven
years
now
and
I
think
and
so
like
in
my
situation.
I
did
residency's
for
a
couple
of
years
and
then
settled
into
my
own
studio
and
I.
Think
setting
it's
really
important
to
set
up
little
events
or
shows
where
people
care
about
what
you're
doing,
because
it's
really
easy
to
get
lost
after
school,
because
in
school
people
care
and
you
have
these
deadlines,
and
you
have
to
make
this
work
and
people
actually
care
if
you're,
making
the
work
or
not.
B
And
if
you
don't
have
those
continue
to
happen,
you
kind
of
nobody
really
cares
if
you
fall
off
and
stop
making
art
so
I
feel
like
part
of
our
collaborative
work
too,
is
that
we
really
can
talk
to
someone
who
cares
about
the
forms
and
I
think
that
we
grow
in
that
way.
Also,
just
like
Tommy
was
talking
about
how
I
asked
him
to
drop
that
handle
down,
so
that
I
could
have
a
space
to
to
glaze
the
rim
and
have
it
overflow
the
side
of
the
rim
a
little
bit,
and
then
he
did
it.
B
A
Been
talking
about
we're
making,
we
were
talking
about
being
collaborative
work,
two
or
three
years
before
we
actually
did.
You
know
that
type
of
thing
look
wouldn't
be
cool
to
a
collaborative
work.
You
know
and
we
had
a
friend
of
ours.
It
was
like
we're
making
we're
doing
a
show
for
in
sigue
and
Providence.
This
is
a
couple
years
ago.
Just
based
on
that
idea.
Do
you
guys
want
it
and
we're
like?
Let's
do
it?
A
You
know
it's
like
we've
been
talking
about
this
for
years,
so
it
was
the
total
excuse
to
actually
sit
down
and
make
the
work
and
the
first
batch
of
work
sucked.
It
was
awful
gosh.
It
was
so
bad,
but
it
was
perfect.
You
know,
because
it's
a
type
of
thing
works
I
go.
Let's
not
do
that
again.
You
know,
and
we
immediately
start
making
a
response
to
that.
That
was
much
better
and
still
not
great,
and
then
it's
kind
of
gone
like
there's.
There's
a
certain
level
of
return
like
we're.
A
Getting
higher
returns
like
a
better
yield
as
far
as
our
own
interest
in
the
work
and
then
we're
getting
good
returns
from
other
people.
You
know
who
said
they're
really
enjoying
the
work
too,
and
it
seems
like
every
generation
of
work
we
get
more
and
more
excited
about,
but
we
wouldn't
have
done
it
had.
We
wouldn't
have
really
done
it.
You
know,
had
someone
not
said
look
I'm
putting
you
in
this
show
get
stuff
done
by
January,
so
it
was
nice
to
actually
have
again
that
kind
of
deadline
of
someone
watching.
B
B
Think
what
we
did
was
we
defaulted
to
our
old
kind
of
standby
methods
and
that's
what
we
had
to
do
to
get
the
work
made
so
that
we
could
respond
to
that
and
that's
okay,
because
it
is
part
of
the
process
and
then
once
we
were
able
to
respond
to
that.
That's
what
Tommy
was
talking
about
with
that
dialogue
that
continues
and
you
really
get
invested
in
the
evolution
of
your
work.
A
B
A
A
The
thing
about
the
fact
like
I've
got
an
arts
administrative
job
like
a
full-time
job
and
then
I've
got
my
body
of
work
and
we
got
the
collaborative
body
work
and
then
Shauna's
got
her
full-time.
You
know
studio
making
and
then
our
collaborative
body
work
and
then
the
administrative
stuff
that
she
does
for
her
for
the
Kansas
City
urban,
Potter's
and
I.
Don't
you
know
we
don't
have
kids,
so
hey
I?
Guess
we
get
to
do
this?
You
know
son,
but
it
yeah,
but
finding
the
time
is
kind
of
tricky.
You
know.
A
It's
not
my
studio
and
the
red-clay
part
of
the
collaboration,
all
that
happens
at
the
at
the
belgian
air
studios,
where
I'm
the
studio
manager
genre
used
to
have
a
studio
in
the
basement
of
our
house.
But
then,
when
the
Kinser
came
to
see
your
Potter's
space
became
available.
If
she
could
move
into
the
states
with
two
other
people,
she
preferred
to
do
that.
So
now
the
dog
just
rules
the
house,
all
by
himself.
You
know-
and
we
should
probably
put
a
studio
in
for
him
because
I
think
he's
really
bored
now
without
having
somebody.
A
You
know
around
all
the
time,
but
you
know
the
space
that
I
manage.
You
know
we
can
access
at
any
time
and
there
there
is
a
bit
of
like
the
segregation
of
like
all
this
nice
white
clay,
that
she's
working
on
a
her
studio.
Not
you
know
getting
messed
with
with
the
introduction
of
red
clay
stuff
and
it's
actually
kind
of
it
works
that
kind
of
nicely,
because
when
Chandra
is
wanting
to
explore,
you
know
some
red
clay
ideas
of
her
own
that
are
not
inside
the
collaboration.
She
still
comes
in
these
boots.
A
A
I
feel
like
I,
do
like
chest
compressions
when
I'm
doing
her,
you
know
I
can
feel
like.
If
I
did
this
all
the
time
I'd
be
like.
What's
ripped,
you
know
it
has
like
what
my
shoulders
would
be
like
stuck
in.
You
know
like
I'd
have
to
like
do
rows
really,
like
you
know,
oh
yeah
look
out
Hugh
Jackman,
yeah
babe.
A
I
do
I
do,
but
it's
a
challenge
to
think
of
that.
You
know
because
the
you
get
into
repetitive
motion
things
like
this
and
you
just
do
it
the
same
way
and
you
kind
of
love
that
it's
kind
of
a
meditation
about
doing
the
same
thing.
The
same
way,
let's
in
your
customer
bases
like
to
do
like
not
all
of
us
have
sausage
fingers.
Some
of
us
are
dainty.
You
know
make
it
smaller,
so
yeah.
A
In
fact,
this
one
I'm
kind
of
like
Micah's,
oh
yeah,
and
unless,
like
the
initial
coil
that
I
rolled
you
know
it's
just
a
matter
of
making
that
just
a
little
bit
Center
I
found
when
I
was
making
that
too
thin
that
initial
coil
it
set
it
up
to
be
like
a
really
long,
very
thin,
completely
stupid
handle.
You
know
it's
like
out
here.
You
know,
so
you
need
like
two
hands
to
like
drink
out
of
it,
but
it's
about
hit
that
there's
like
a
consciousness.
A
A
B
A
A
A
Dain
tears
yeah
the
idea
of
a
mug.
That's
that
bigger
than
being
dainty,
it's
like
I
know,
I
was
thinking
actually
I.
We
we
mentioned
aside
the
idea
before
when
we
were
making
this
batch
I'd
already
made
a
whole
bunch
of
these
big
guys.
It's
like
we
should
make
some
demitasse
ones
like
I.
Think
awesome
like
little
guys
little
pinch
handles
like
yeah
Christmas.
You
need
a
ship
roll
them
out.
It's.
B
A
A
A
B
C
B
A
When
you
guys
attach
handles,
do
you
normally
have
like
a
thing,
that's
thicker
here
and
there
like
Center.
You
know
my
I.
Don't
know
why
my
default
is
to
put
the
thicker
thing
at
the
bottom.
Do
you
guys
such
a
thing
in
the
top?
Why
do
we
do
that?
It's
just
personal
preference.
Oh,
is
it
upside
down,
oh
good,
oh
yeah,
and
go
to
the
top
as
opposed
to
go
on
here.
Some.
C
A
The
ergonomics
on
a
handle
feel
fine
with
the
commercial
mug
that
looks
like
the
ear
is
so
wrong.
Oh,
yet
we've
been
supporting
the
commercial
industry
for
years.
Why
is
it
wrong?
Because
there
is,
the
ergonomics
are
completely
opposite
on
how
you
hold
your
hand.
You
don't
really
hold
your
hand
like
this.
You
know
like,
but
you
know
you're
naturally
do
that,
but
the
handles
are
like
that's
why
we
have
carpal
tunnel.
It's
not
this
and
not
this
it's
this!
A
A
This
is
like
so
typical
of
like
ceramic
student
parents,
I
had
made
a
mug
that
was
attached
at
the
bottom,
but
it
was
no
longer
attached
at
the
top
it
had
separated
in
the
firing
and
my
dad's
like
offs
on.
You
could
sell
that
it's
quirky,
you
know
I'm
like
I'm,
like
dad,
I'm,
pretty
sure
it's
like
a
social.