►
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.
A
So
I
want
to
talk
a
little
bit
about
planning
and
sketching.
A
big
part
of
my
studio
process
is
on
paper
I,
really
like
the
process
of
drawing
and
I've,
always
liked
the
process
of
drawing
my
sketches.
My
sketchbooks
are
not
always
precious
I,
usually
start
out
with
the
best
of
intentions
and
then
by
halfway
through
you
know,
I'm,
like
jotting
down
lists
of
what
I
need
to
buy
the
next
time
I
go
to
Costco
so
that
they
start
out
well.
A
I
actually
have
really
tried
to
keep
this
one
kind
of
disciplined
with
it,
and
so
I
got
these
new
brush.
Pens
and
I
was
really
playing
around
with
different
mark
making,
but
then
what
I
did
was
I
challenged
myself
in
January
of
this
year
to
come
up
with
a
hundred
different
compositions
for
plates,
and
so
I
took
a
form
like
the
littlest
piece
of
craft
foam
and
I
just
traced
it
a
hundred
different
times
in
my
sketchbook
and
then
I
still
I
challenged
myself
to
come
up
with
a
different
composition
for
each
one.
A
So
I
never
had
two
that
were
exactly
alike,
and
this
is
really
great,
because
I've
got
my
composition,
already
tried
out
on
paper
before
I
actually
get
my
plate
and
I'm
forced
with
this
blank
canvas
of
like
what
am
I
going
to
do
now.
I've
got
a
hundred
different
examples
in
my
sketchbook
about
how
I
could
possibly
fill
that
space,
and
so
I
really
wanted
to
keep
the
sketches
narrative
and
quality.
A
So
I
started
doing
crazy
things
like
having
this
squirrel
holding
these
scissors,
because
I
was
thinking
about
implements
of
destruction
and
thinking
about
things
that
are
that
we
hoard
and
collect
that
are
completely
useless
to
us
like.
Why
would
a
squirrel
need
scissors
they've
got
teeth
that
are
really
sharp,
but
yet
you
see
this
one
here
you
sorting
this
whole
pile
of
scissors
is.
A
Addicted
to
scissors,
true,
so
I'm
going
to
pass
it
around
just
for
you
all
to
look
at,
but
as
a
counterpoint
to
how
Tommy
and
I
work,
collaborative
and
I
went
with
pattern
for
just
some
of
them.
I
think
this
was
up
to
a
hundred
and
fifteen
or
something
like
that
and
then
I
got
some
bigger
ones
and
then
I
started
getting
really
obsessed
with
opossums
and
then
more
pattern,
more
color
and
pattern,
but
I
sent
little
rules
for
myself
like
I'm
only
going
to
use.
A
You
know
four
different
colors
on
a
page
and
I'm
going
to
come
up
with
different
color
schemes
for
each
one
and
then,
when
I
was
doing
that
I
started
like
putting
the
colors
on
the
paper.
Like
you
see,
illustrators,
do
that
sometimes,
when
they're
doing
watercolors
they'll
like
try
out
the
color
in
the
margins
and
I
really
love
that
idea
and
I
want
to
somehow
bring
that
into
my
ceramic
art,
but
I
haven't
gotten
quite
there
yet
and
then
I
think
this
might
be
the
last
page.
Almost
oh,
this
this
weird
shape.
A
A
I
can't
remember
the
company
right
off
the
top
of
my
head.
I'll,
remember
it
before
the
end,
but
I
can't
remember
right
now.
In
contrast
of
that,
when
Tommy
and
I
work,
we
don't
ever
sketch
anything
out
at
all,
it's
purely
responding
to
what
we
did
before
we'll
look
at
art,
we'll
look
back
at
pieces
or
we'll
look
at
our
Instagram
feed
and
look
at
pieces
there
and
think
oh
I,
like
that
that
works!
Well,
we
don't
ever
wear.
B
B
I
talked
about
mold
yeah,
so
genres,
using
a
mold
right
she's
using
her
help
mold
as
a
way
of
you
know,
making
a
plate
form
and
I'll
use
molds
in
my
work
to
do
you
guys,
use
much
mold
like
plaster
mold,
like
things
you
know,
do
you
guys
consider
it
cheating
I
used
to
it's
kind
of
nice
to
be
able
to
get
to
a
form
very
quickly?
This
is
a
little
little
pig
snout.
B
B
B
B
So
this
is
a
this
is
a
mold
I
made
a
mold
of
this
object
and
I
made
a
three
part
mold
so
about
what
I
did
was
I
packed
this
in
clay
to
where
I
just
had
this
little
deposit
amount
and
then
I
cast
that
in
plaster
so
that
it
basically
was
like
sitting
on
the
table
like
this,
and
then
this
little
guy
went
on
top
like
that.
So
I
cast
that
piece
all
the
rest.
This
was
clay
and
I
got
rid
of
it.
B
I
had
another
little
form
here
and
I
cast
a
third
piece
of
plaster
like
so
well,
you
get
the
idea.
What
that
allows
me
to
do
is
now.
Have
you
know
these
three
sections
that
are
separate
and
I'll
kind
of
show
you
how
I
pack,
this
mold
here's
here's
kind
of
a
fun
thing
about
mold
is
I
realized
that
maybe
everybody
who
uses
in
this
way
thinks
of
them
as
a
partnership.
I,
definitely
think
of
them
as
a
partnership
and
I.
B
Think
one
of
the
things
that's
really
fun
is
to
think
of
it
as
a
partner
that
you
really
get.
You
have
to
get
to
know
really
well.
This
is
going
to
work.
Here's.
Why
there's
a
certain
amount
of
x-ray
vision
that
has
to
be
employed
when
you're
packing
a
mold
full
of
clay,
because
you've
got
to
deal
with
the
thickness
of
the
walls
of
things,
and
this
will
make
a
little
bit
more
sense.
Once
I
get
started
dust
kills.
B
B
And
then
tie
it
off
like
so
so
these
pieces
don't
want
to
come
apart.
I
used
to
use
rubber
bands,
the
rubber
bands
don't
work
so
well
when
it
comes
to
something
that
you're
pushing
against,
because
the
rubber
bands
stretch
right
and
this
doesn't
so.
This
will
stay
in
place
if
I
had
a
mold
where
I
was
like
really
pressing
on
the
bottom
instead
of
having
it
secure
down
here
to
the
table
and
I
would
wrap
that
rope
around
this
as
well.
B
So
I
kind
of
bind
up
the
whole
thing,
but
I've
got
the
table
working
for
me
inside
of
this
shape
right.
So
that's
this
now
end
I've
got
these
two
little
tusks
that
show
up,
and
instead
of
adding
those
on
separately,
I
was
going
to
pack
them
into
the
mold
and
I
pack
them
first
I
didn't
do
that.
The
first
time
I
did
this
and
I
realized
it
came
out
without
tusks,
which
is
okay.
You
know,
but
I
like
the
tough.
B
B
And
let
me
tell
you
you
can
do
this
for
hours
and
then
you
get
like
really
good
at
it.
You
know
they're,
like
the
amount
of
clay
that
you
need.
It's
like
approximately
this
much
every
single
time.
So
what
I'll
do
is
I'll,
compress
that
into
a
little
ball,
where
it
doesn't
have
a
lot
of
creases,
because
once
it
goes
into
the
mold,
I
can't
see
the
creases
anymore
to
know
if
they're
there
or
not.
So
if
I
know
that
I've
gotten
rid
of
them
right
now,
then
they're
not
going
to
be
there
when
I.
B
Stick
this
thing
down
inside
what
I'm
going
to
do
is
stick
my
thumb
and
a
couple
of
different
fingers
and
I'm
going
to
like
try
to
shove
that
clay
into
every
single
little
milk
and
cranny.
It's
going
to
pick
up
all
the
detail.
It's
going
to
make
the
form
just
right,
but
because
I
know
the
mold
so
well,
I
know
where
the
undercuts
are
where
to
kind
of
back
off.
B
You
know
so
I'm
controlling
the
thickness
of
the
object
when
I
first
did
this,
it
was
like
the
bottom
was
really
thick
and
the
walls
were
really
thin,
but
after
kind
of
getting
to
know
the
mold
I
know
that
I've
got
to
shove.
My
fingers
into
this
area
right
to
pick
up
the
detail
on
that
I
got
to
shove
my
fingers
into
that
area,
and
then
that
area
there
you
know
so
at
the
very
bottom
I'm.
You
know
visualizing
I'm
kind
of
shoving.
B
So
I
thought
this
was
going
to
be
like
a
brain,
dead
type
of
thing.
You
just
stick
the
clay
and
squish
it
a
little
bit
done
and
then
the
first
couple
snouts
came
out
without
the
detailed
form.
Didn't
look
right.
You
know
and
I
discovered
that
I
was
actually
had
to
be
much
more
intentional
than
I.
Originally
thought
and
then
I
really
kind
of
started
to
like
that
part
of
the
process.
B
I've
got
just
this
one
and
I've,
probably
press
molded,
300
snouts
out
of
it
in
a
variety
of
different
clays,
so
yeah.
So
what
I'm
doing
is
I'm,
adding
a
coil
to
the
top
and
that's
going
to
allow
the
thickness
of
that
rim,
because
even
though
I
really
liked
to
brag
that
I
knew
exactly
how
much
clay
went
in
here,
I
haven't
actually
packed
this
mold
in
quite
some
time.
So
now
I'm
kind
of
making
up
for
lost
time
and
then
I
just
submitted
that
to
you.
C
B
B
I've
thought
about
slip,
casting
them
and
there's
an
interesting
relationship.
That's
going
to
develop
when
I
think,
because
I
think
I
am
going
to
start
slip
casting
some
there's,
an
interesting
relationship
that
develops
between
the
interior
and
the
exterior
when
they're
pressed
molded
like
this,
as
opposed
to
slip
cast
because
when
you
slip
cast
you're
pouring
a
liquid
slip
in
and
then
you're
pouring
it
out,
and
it's
going
to
build
up
a
certain
thickness,
pretty
consistently
throughout
the
whole
wall.
B
So
whatever
this
looks
like
on
the
outside
you're
going
to
have
kind
of
a
softer,
smaller
version
of
that
on
the
inside.
Well,
that
doesn't
have
that
now
now
it's
basically
got
a
conical
type
shape.
You
know,
so
the
volume
starts
to
change.
The
weight
starts
to
change
and
if
you're
really
scientific
and
I
am
NOT,
then
you
would
have
like
the
perfect
volume.
B
B
B
I've
kind
of
gotten
more
interested
in
the
idea
of
making
my
own
snout
and
then
slip
casting
that
and
I
think
that
would
be
cooler.
There's
something
about
that.
Okay,
it's
a
hand,
light
object.
That's
now
slow
cast
as
opposed
to
a
commercially
made
object.
It
snuffle
cast.
You
know
so,
there's
more
of
a
handmade
relationship
there,
maybe
I'm
less
likely
to
get
sued
for
patent
infringement
adding
on
them.
B
B
Just
kind
of
loosen
it
will
loosen
it
a
little
bit
so
I'm
not
pulling
it
right
out,
because
I
know
that
I
pull
it
right
out.
Then
I'll
just
rip
it
right
out.
So,
instead
of
just
kind
of
gentle
with
it
voila,
rinse
and
repeat,
rinse
and
repeat,
rinse
and
repeat,
you
know
you're
going
through
two
three
seasons
of
the
West
Wing
and
one
weekend
it's
the
best.
You
got
a
loving
Sorkin.
B
Their
press
mole
is
much
the
same
way
so
I'm
actually
putting
you
know
different
strips
of
clay
into
the
mold
pressing
them
up
against
a
silicone
mold.
So
instead
of
a
rigid
plaster
molds
of
silicone
book
and
then
I
can
pull
that
off
the
surface
after
kind
of
drying
out
the
interior.
The
difference
that
I
found
between
a
silicone
mold
is
that
it
doesn't
absorb
water
and
the
plaster
one
does
the
plaster.
One
is
interesting
because
it
will
absorb
water
to
a
certain
point.
Then
it
gets
saturated.
B
B
The
other
thing
I
found
is
that
you
know
so,
like
the
pig
nose
looks,
I
think
appropriate,
like
this
there's
a
lot
of
people
who
want
to
drink
out
of
it.
What
I
think
is
completely
upside
down
and
very
inappropriate.
So
what
I've
had
to
do
is
figure
out
a
way
to
kind
of
change
the
shape
of
that,
so
that
this
reads
more
as
funnel
and
I'm,
hoping
that
it's
more,
you
know
drink
out
of
this
and
then
the
other
end.
People
still
laugh
so
hey.
What
does
it
matter
if
they're
drinking
it
upside
down?
B
I
probably
should
laugh
more
when
they're
drinking
out
of
it
up
so
now,
then
we're
all
having
a
good
time,
but
that's
where
that
kind
of
comes
in
you
know,
so
you
going
to
get
that
shape.
What
I'll
do
laters,
usually
I've
chosen
a
clay
that
like
looks
awesome
in
its
raw
state,
so
my
instinct
is
not
to
decorate
the
surface.
B
So
it's
like
Chrome
and
then,
when
it's
a
white
clay
thing,
it's
usually
like
a
pink
glaze
on
the
inside
and
gold
on
the
outside,
because
it's
really
fancy,
then
so
those
are
some
of
the
ideas
and
it's
just
fun
and
it's
silly
and
they're
fun
to
make
easy
to
make.
But
I
decided
that
I
wanted
to
start
kind
of
do
something
doing
something
else
with
them.
And
that's
when
the
salt
and
pepper
shaker
thing
came
in
so
I'm
going
to
make
some
modifications.
Do
you
have
something
you'd
like
to
tell
me
yeah.
A
I'm
just
going
to
talk
a
little
bit
about
brushes
and
practice,
so
I
have
a
bunch
of
different
brushes
I
get
excited
about
trying
new
brushes
this
one
is
it's
a
watercolor
brush
that
has
a
reservoir
of
water
in
here
and
then,
when
you
squeeze
it
water
comes
out.
So
it's
really
fun.
It's
the
synthetic
bristle
which
it's
definitely
not
for
everything
that
I
really
like
it.
A
When
I'm
doing
the
squirrel
tail,
it
makes
really
great
brushes
Tufts
of
fur,
so
I
I
have
an
Amazon
Prime
subscription
and
I
just
get
a
little
bit
obsessive
when
I
get
onto
there
and
look
how
I
want
that
brush
in
this
brush
in
this
brush.
So
I
also
like
to
play
around
with
different
under
glazes
and
also
adding
water
to
those
I've
added
a
little
bit
of
glycerin
to
them
too,
and
the
glycerin
just
improves
the
brush
ability
and
the
translucent,
and
it's
it's
fun.
A
C
A
B
A
The
other
thing,
too,
is
like
Tommy
was
banging
on
the
table
and
I
was
trying
to
draw
and
it
was
nose.
Actually,
I
was
really
bothered
by
it.
I
would
have
waited
until
you
were
finished,
but
I
do
have
this
desire
and
me
to
loosen
up
a
little
bit,
and
so
someone
moving
the
table
a
lot
while
you're
trying
to
draw
something
that
will
loosen
you
up.
A
And
also
working
out
working
out
some
movements
on
this.
This
scrap
piece
of
rubber
is
really
another
way
to
just
it's,
not
you're,
not
committing
to
anything
you're
just
playing
around
and
I
also
have
the
same
approach
to
tools.
So
I've
got
don't
know.
If
you
guys
can
see.
This
is
a
little
possum
and
that
I'm
drawing
up
here
a
trash
can
and
I'm
going
to
come
back
in
and
I'm,
going
to
wax
I'm
going
to
scratch.
A
First
I'm
going
to
scratch
through
the
possum
to
bring
out
the
lights
and
then
I'm
going
to
go
back
in
and
add
some
dark
areas
to
accentuate
those
I
have
a
bunch
of
different
tools,
I'm
going
to
play
around
with
with
scratching
through
and
the
clay
when
it's
super
wet
versus.
When
it's
super
dry,
you
get
different
brush
strokes
and
you
get
different
mark
making
with
when
you
scratch
through.
A
So
the
clay
is
all
is
really
collaborating
with
you
in
your
process
and
the
longer
that
it
takes
me
to
make
something
the
more
the
mark
making
changes,
because
the
clay
is
drying
out
and
when
I
go
to
scratch
through
I'm
ending
up.
Like
in
the
beginning,
when
the
clay
is
really
soft
and
I
scratch
through
I
get
a
really
soft
kind
of
deep
mark
and
by
the
end,
when
the
clay
is
really
dry,
the
only
mark
I
can
get
is
a
really
sharp
mark,
because
the
clay
is
become
hard.
A
A
So
I
have
some
different
tools:
I
have
the
scratch
lift
duster,
which
has
a
little
fade
on
one
end
and
then
a
little
brush
on
the
other
side.
I
really
like
this
guy
I
have
the
Kemper
wire
stylus.
That
is
actually
broken,
but
I
really
like
this,
because
it
creates
two
parallel
lines
and
the
crow
quill
pen
will
do
that.
A
Also,
if
you
push
down
hard
on
some
of
these
calligraphers
nibs,
you
end
up
with
two
or
three
lines:
yeah
I
will
once
I
get
them
all
kind
of
out
here
and
then
I
have
a
porcupine
quill.
Also
and
I.
Don't
use
all
of
these
every
single
time,
but
I
like
having
linear
so
that
I
can
quickly
grab
the
right
one
when
I
need
it.
B
B
This
has
a
nice
indentation
inside
two
reasons
for
that
one
so
that
it
does
kind
of
create
a
foot
for
the
thing
to
sit
on
on
the
table
or
in
its
little
taste,
I
folder
too,
because
I'm
going
to
create
a
larger
hole
and
then
I'm
going
to
get
a
nice
little
roller
plug
and
that's
going
to
create
a
stopper.
You
know.
B
So
that's
how
you
get
your
load
of
salt
or
pepper
into
the
bottom
of
so
guy,
and
you
don't
want
that
to
now
be
the
tiptoe
thing
right
so
just
by
making
a
concavity,
for
you
know
that
thing
that
now
stood
inside
of
you
figured
out
how
to
not
make
a
flat
thing.
I
discovered
this
when
making
the
piggy
banks
and
I
discovered
that
I
needed
to
put
a
hole
in
the
bottom.
When
people
were
like,
how
do
you
get
the
money
out?
I'm
like
well
you're
not
supposed
to
get
the
idea.
B
B
And
you
know
you
don't
really.
When
you
go
to
school,
you
know
they
aren't
like
okay,
guys.
Now
it's
with
the
piggy
bank
lesson
everybody
you
know.
So
let's
teach
you
like
how
to
put
a
handle
on
something
and
how
to
make
a
nice
bowl.
But
you
know
you
got
to
learn
the
whole
piggy
bank
stopper
thing
like
by
hard-knocks
or
you
fortunate
people
out
there.
You
know.
B
So
now
I'm
just
kind
of
smoothing
up
where
that
slab
goes
and
you
know
I.
Could
you
know
work
that
in
so
that
it's
seamless
so
that
you
don't
know
that
it's
there
or
I
can
kind
of
ham
it
up
a
little
bit.
So
you
really
kind
of
see.
You
know
this
thing.
What
is
doing
that
the
slab
is
intentionally
put
there,
but
for
the
most
part,
it's
going
to
run
along
with
the
same
same
type
of
deal,
not
the
holes.
B
B
So
you
know
by
hard-knocks
I've
just
been
trying
to
figure
it
out
that
if
you've
got
something
the
size
of
a
needle
tool
wiggled
around
a
little
bit,
that's
that's
a
millimeter
number
right
that
that's
going
to
that's
a
repeatable
thing
so
that
that
hopefully,
after
the
clay
shrinks,
will
be
the
right
size.
And
then,
if
you
have
two
of
them,
you
know
right
in
the
old
snout
ease
now
that
that
will
at
least
get
you
some
salt
or
pepper.
B
So
I'll
put
the
holes
in
there
and
they'll
come
back
with
a
my
handy,
dandy,
rubber,
rubber
ended,
thingy
and
I'll
kind
of
press
that
in
it
seems
to
make
those
holes
a
little
less
garish
and
kind
of
hides
them
just
a
little
bit.
I
mean
you
know
that
it's
still
kind
of
there,
but
it
just
overall
makes
the
composition
look
a
little
bit
better.
B
All
right,
and
then
this
flap
still
kind
of
wet,
so
I'll
just
wait
for
to
dry,
so
I
can
get
a
really
nice
hole.
I
didn't
bring
it
with
me,
but
most
of
the
time
I
just
use
a
drill
bit.
So
when
it's
things
like
leather
hard,
I
can
get
a
really
nice.
You
know
round
circumference,
as
opposed
to
like
that
looks
like
a
hole
and
it's
like
a
diamond
door.
A
Especially
when
I
come
to
drawing
because
I
definitely
like
to
concentrate
and
my
demo
drawings
are
never
good.
I
used
the
loved
one
right
now,
the
black
liquid
under
glaze
one
for
the
drawing
and
then
I'm
scratching
through
here,
just
to
bring
out
some
light
I'm
going
to.
Actually
this
is
a
really
soft,
so
I'm
going
to
set
this
aside
and
let
it
dry
the
other
thing
I
really
like
about
working
this
way
is
if
I
smear
it
or
make
a
mistake,
I
can
just
erase
it
right
on
the
surface.
B
B
B
And
when
I
made
like
a
dozen
of
these
Pig
sides,
what
I
did
was
I
found
out
the
perfect
little
ratio
of
you
know
what
how
much
space
I
was
going
to
need.
You
can
kind
of
see
them
how
much
space
I
was
going
to
need
for
these
guys
to
live
on
right
appropriately
and
then
I
made
a
paper
template
and
I
just
traced
it
out
about
a
dozen
times.
So
there
is
some
consistency.
I
wasn't
trying
to
like.
You
know,
re
reinvent
the
wheel
every
single
time,
but.
A
C
A
I
probably
did
more
than
I
should've
a
day.
I
think
I
tried
to
do
like
10
a
day
but
they're
not
like
they're,
pretty
quick.
It
was
just
the
hard
part
was
coming
up
with
the
idea,
I
think
and
then
one
would
kind
of
lead
to
the
next.
But
then
I
get
stuck
and
I
have
to
go.
Do
something
take
a
walk,
look
around
think
about
stuff.
You
know,
so
it
wasn't
really
possible
to
do
them
all
in
one
sitting.
A
B
A
A
You
know
working
narrative,
ly,
I.
Think
a
lot
of
a
lot
of
me
personally
thinking
about
the
narrative
or
the
imagery
existing
on
clay
is
a
really
great
way
to
have
an
intimate
relationship
and
share
intimate
ideas
with
people
that
use
my
work
and
I
really
love
that
I
love
the
dialogue
that
it
conjures
up
when
people
want
to
talk
to
me
about
their
either
love
or
hate
for
squirrel
and
I've
heard
I've
heard
so
many
strong
feelings
about
squirrels
and
I
really
love
this
I
love
it.
C
B
A
A
B
A
C
A
Well,
if
it's
a
bad
drawing
at
least
it's
on
a
cup
and
someone
will
use
it
like
I-
really
think
that
or
I
used
to
think
that
a
lot
and
I
know
that
that
sounds
kind
of
like
it's
not
respectful
towards
ceramics.
But
I
was
like
well,
it's
functional,
you
know
and
someone
can
actually
use
it
and
get
some
use
out
of
it
versus
if
it's
just
on
a
piece
of
paper.
What's
anyone
going
to
do
with
a
bad
drawing
on
a
piece
of
paper.
B
We
had
a
lawrence
kansas
scene,
I
wasn't
far
from
us
and
they
had
a
really
great
show
a
couple
years
ago,
where
someone
had
sent
or
someone
had
carried
a
show
of
artists
who
sent
a
plate
and
a
drawing
plate
on
the
drawing,
and
it
was
great
social
experiment
to
see
how
these
mostly
clay
artists.
Almost
all
clay
artists
had
priced
the
plate
and
then
the
paper
thing
oh
yeah.
C
B
You
had
like
this
plate
is
worth
three
hundred
and
seventy-five
dollars.
This
paper
thing
is
worth
50
bucks
right
and
then
this
paper
thing
is
worth
$5,000
and
you
can
have
the
plate
for
free.
You
know,
and
it
was
just
it
was
great
to
kind
of
see
like
because
you
know
some
of
the
people
who
are
in
the
show
and
they're
like
wow.
That
person
really
thinks
two
bad
drawings
worth
nothing
right
and,
and
they
were
good
I
mean
it
was
all
good
work
and
then
someone
else
is
like
wow.
A
I
got
an
iPad
Pro
kind
of
in
the
desire
to
maybe
do
some
digital
drawings
and
I've
really
enjoyed
that
it's
this
great
tool.
It
has
this
stylus,
this
Apple
pencil
that
you
can
really
it
touch
sensitive.
It's
pressure
sensitive
you
can
draw,
you
can
get
so
many
different
marks
and
it's
really
fun,
but
it
is
a
completely
different.
A
You
know
spoon
flour
for
example,
and
so
I
did
do
some
designing
of
some
enamel
pins
I
drew
a
squirrel
line
and
then
I
did
an
unwanted
hair,
follicle
and
then
I
did
a
lawn
chair
and
I
sold.
Though
there's
kind
of
fun
I
mean
there
are
definitely
a
different
price
point
in
a
whole
different
collector
than
the
ceramic
collector
yeah.
B
C
A
A
I,
do
so
I've
tried
a
whole
bunch
of
different
ways
to
fire
these
and
so
I'll.
Just
tell
you
what
I
do
I
sign
I
find
the
balance
point
like
this
and
I
sign
my
name
right
there
every
single
time
and
then
I
balance
it
on
a
kiln
post,
so
that
I
can
glaze
everything,
except
for
where
my
name
is
signed
and
then
I
sand
that
down.
So
you
can't
really
tell
like
when
you
feel
when
you
run
your
hand
over
it,
it
feels
smooth
and
it's
not
like
ooh
unglazed
area.
It's
just
like.
A
A
Guy
had
me
carving
up
when
one
person
was
like,
you
should
carve
a
soft
brick
and
fire
it
twice
to
two
different
temperatures.
So
basically
the
soft
brick
like
held
the
scoop
and
I
fired
this
part
like
cone,
5
and
then
I
turned
it
over
and
then
stuck
it
in
the
soft,
brick
and
fired
this
part
204.
It
was
bad
for
nothing
good.
C
A
C
A
C
B
B
A
A
B
So
the
working
servants
that
I
have
on
my
table
and
my
studio
is
Hardy
backerboard.
You
guys
have
used
out
of
the
working
surface
kind
of
awesome.
It
doesn't
leave
a
texture
like
canvas
your
canvas
texture,
it
kind
of
doesn't
really
leave
a
texture
at
all
and
it
helps
to
wick
water.
So
you
know
I
just
made
my
little
pig,
sty
guy
and
normally
I'll
make
you
know
half
dozen
of
those
at
a
time
or
a
full
dozen,
and
by
the
time
I've
cut
them
all
out.
B
You
know
thrown
out
the
slabs
cut
them
all.
They
firmed
up
simply
by
sitting
on
that
surface,
and
so
then
I
can
pull
that
put
a
coil
around
it
and
then
put
it
aside,
and
it's
already
front.
You
know
it's
firming
up
by
the
time
I
get
to
the
twelfth
one.
So
you've
got
this
material,
that's
kind
of
almost
working
as
a
studio
assistant
for
you,
because
it's
drying
things
you
know,
while
you're
working
you
can
dry
it
too
much.
B
You
know
it
can
be
a
liability,
and
so
you
kind
of
have
to
go
the
other
direction,
putting
it
into
a
damp
box
or
something
like
that.
But
man
is
it
awesome.
I
mean
you
can
just
kind
of
plow
through
work.
You
know
and
you've
got
to
have
stuff,
that's
absorbing
things.
So
this
little
guys
going
to
set
up
a
little
while
and
haman
turn
the
bowl.
C
A
A
C
A
So
this
fine
brush
is
cheap,
spun
brush
it.
Just
to
me,
it
just
makes
this
great
line.
You
know
it's
like.
Even
it
rides
over
this
texture,
I
messed
up
a
little
bit
right
there
when
I'm
in
it
when
I
move
the
brush
up,
but
it
rides
over
the
texture
nicely.
It's
like
holds
enough
liquid
that
it
seeps
into
the
texture
when
I'm
brushing
it
across,
though,
who
knew
that
a
cheap
spun
brush
sponge
brush
would
be
such
a
great
thing.
C
C
C
C
B
C
B
B
B
B
Eight
I'm
like
why
am
I
still
doing
so
so
I
just
used
to
and
I've
just
gotten
better
at
using
equal
pressure
and
pressing
down
at
the
same
time
on
both
sides
and
then
turn
there's
equal
pressure
in
both
side
and
it
works
and
things
don't
fly
off
the
wheelies
to
fly
off
the
wheel
all
the
time.
So
whatever
then
genius
thought
that
you
needed
to
you
know
use
three
wives.
What's
that
oh
I,
don't
know!
Is
that
a
thing
you
can
does
it
work.
B
C
C
C
B
C
B
C
B
I
like
trimming
it
cheering
one
of
those
great
things.
Could
you
could
get
again
you
kind
of
work
on
your
x-ray
vision.
You
know
like
what
do
you
remember
what
that
thing
looks
like
on
the
inside.
You
know
I,
really,
love
trying
to
echo
that
form.
You
know
try
to
echo
that
same
curve,
maybe
a
little
bit
because
of
weights,
maybe
because
it
just
seems
appropriate
to
do
so.
Maybe
it's
just
a
challenge
of
it,
but
it
just
seems
right.
B
B
Remember
my
undergrad
professor
used
to
say
that
if
you're
going
to
spend
all
the
time
to
trim
a
foot
like
that,
you
should
at
least
put
a
foot.
You
know
indicator
of
the
foot
on
the
outside
and
we
do
the
exact
opposite
opposite
of
that.
With
these
bowls
you
know
and
I'm,
okay
with
it,
but
it's
just
everything.
Every
every
single
bowl
I
think
I'm,
like
I'm,
not
dealing
with
my
professor.
So.
B
So
it's
like
this
is
exactly
opposite
of
this
and
I
usually
kind
of
pointing
it
on
the
opposite
side
of
me
and
then
turning
the
thing
and
then
pointing
it.
It
actually
still
trims
the
same
way
yeah.
So
what
I'll
do
is
I'll
put
on
that's
a
good
question
and
we'll,
let's,
let's
address
that
so
I
kind
of
oval.
It's
like
this
over
like
that
right
and
so
imagine
this
thing
doesn't
have
a
foot
trimmed
on
the
bottom.
B
Then
it
goes
on
there,
but
it's
like
rockabilly
right,
so
I'll
just
get
two
pieces
of
clay
and
I'll
stick
them
underneath
the
ends
and
then
I'll
wad
that
and
then
I'll
wad
both
sides,
and
it's
usually
stiffer
by
that
time
than
this
it
so
everything
seems
to
hold
together.
Okay,
you
know,
there's
been
a
lot
of
this
kind
of
football
shape,
but
we've
also
talked
about
making
it
threes.
You
know
kind
of
going
with
that.
Oh
no,
we
just
haven't
done
it
yet.
C
A
I
to
lay
down
some
information,
make
some
moves
on
this
piece
before
I
put
the
sitch
down
I
like
doing
that,
because
when,
after
the
bisque
I
rub
under
glaze
onto
the
surface
and
then
wipe
that
away
and
that
under
glaze
seeps
into
those
little
areas
of
information
that
I
thought
I
had
erased,
and
it
really
gives
a
little
bit
of
mystery
to
the
pot.
That
is
like
it's
like
just
looking
at
something
that
used
to
be
there.
A
B
A
Any
employers,
a
huge
estate
west
palm,
was
very
much
about
showing
not
west
palm,
but
Palm
Beach
and
thinking
about
manicured
landscapes
and
controlling
nature
and
aerial
views
of
golf
courses
have
the
most
playful
shapes.
You
know,
there's
like
these
bouncing
cloud
like
forms,
or
these
like
organic
shapes
and
a
path
in
a
public
park
is
usually
like
this
beautiful
line.
You
know
that's
curved
and
organic
and
I
love
the
rigid
ones
too.
You
know
you
see
some
of
those
English
country
gardens
from
the
aerial
view.
A
You
know
they're
really
perfectly
planned
out
so
I
like
thinking
about
dividing
up
space
on
a
cup
in
the
way
that
space
is
divided
up
in
our
landscape,
also
by
human
and
I.
Think
with
Tommy
in
my
work,
I'm
thinking
about
space
being
divided
up
in
a
more
organized
way
like
in
the
city
and
how
traffic
lines
tell
you
where
to
drive,
and
it
all
is
about
conveying
some
sort
of
information.
You
know
that's
very
practical
and
useful.
It's
kind
of
a
blend
of
that
like
landscape
of
Labor,
landscape
of
leisure,
kind
of
thing,.
A
So
we
sometimes
go
around
and
take
photographs
and
then
we're
like
our
work,
looks
just
like
the
city
but
I.
It's
one
of
those
things
is
a
chicken
and
the
egg.
You
don't
know
exactly
what
happened
first,
if
you
made
the
work
in
response
to
the
city,
I
think
we
tried,
but
we
weren't
sure
how
influenced
it
was
going
to
be
for
us
and
then
I
took
some
pictures
recently
as
like
it
was
a
gray
kind
of
cloudy
day
so,
like
the
color
palette
of
the
whole
picture,
was
really
muted
and
grade
down.
A
But
there
were
these
great
orange
traffic
cones
that
were
stacked
up
like
a
family
along
like
a
horizontal
line,
and
then
they
were
in
the
background
where
these
really
severe
buildings
with
like
these
really
rigid
lines
and
horizontal
lines
and
I
was
like
wow
I,
totally
see
our
pots.
In
that
you
know.
B
A
B
Yeah,
okay,
it
was
pretty
well
when
she
showed
me
the
picture,
though,
because
it
was
totally
laid
out.
You
know
exactly
like
that
and
we,
you
know
we
put
together
slideshows
and
things
like
that.
So,
like
you
start
to
see,
these
images
of
like
I,
saw
this
and
we
just
happen
to
make
a
pot
a
month
before
that
they
look
like
this.
You
know
and
kind
of
matching
up,
maybe
with
the
collaboration
first
started,
there
was
a
question
of
you
know:
are
we
going
to
put?
Are
we
going
to
reference
actual
objects?
B
You
know,
so
we
did.
We
put
some
domestic
objects,
you
know
on
to
some
of
the
cups
and
it
just
this
didn't
fit.
You
know
so,
like
heading
in
a
more
abstract
direction.
You
know
it
was
pretty
cool
and
then
to
see
that
affirmed
kind
of
by
the
city
itself
through
the
link
of
paper.
That
is
just
don't
know.
Mm-Hmm
cool.
B
Well,
yeah,
actually,
that
was
a
nice
part.
Is
the
we
had
a
safety
net,
because
the
show
was
curated
under
the
idea
that
it
would
be
tableware.
You
know
so.
Wheelies
had
a
direction
to
go
in
and
and
with
that
you
know
it's
like,
but
there
were
I
mean,
there's
no
expectation
as
far
as
you
know,
what
type
of
tableware
or
how
much
or
what
specific
object.
B
But
you
know
when
you're
already
used
to
making
bowls
plates
cups
you
can
kind
of
head
in
that
direction.
We
made
a
set
of
coasters,
which
we
never
made
coasters
before,
so
we
made
some
coasters
for
that.
We
made
some
cheese
board
forms
which
those
really
weren't
things
that
I
was
that
familiar
with.