My Swirl Marks

Here are a few videos showing me making a couple different types of swirl vases. They are both fairly large, nearly 10 inches tall.

In both of these examples I added a thick layer of slip and used a jagged brush to add texture to the wet slip. Then I used a rib to press a swirl mark in through the slip, revealing the clay beneath. For these 2 vases, there is a difference in how I do that mark making step.

In the first version (shown below) I lead the swirl shape with my fingers pressing out from inside the vase, as the rib presses in from the outside. Before I made the swirl, the belly of the vase rose up in a very gentle curve from the narrowed section above the foot up to the shoulder (the widest part of the vase). It was nearly straight, which is ideal for this type of mark. I added the swirl mark by pressing the fingers of my left hand out from the inside as I pressed the rib in from the outside of the vase, a bit below the inside hand. As the wheel (and pot) is spinning, I press out from the inside and in from the outside, as I move my hands up the side of the pot to the shoulder. (This will happen about 1:05 into the video.)

In this version of the video, the swirl step is slowed down a bit closer to actual speed (it is still about 2X faster).

I’m not after a perfect swirl, I want a lively, dynamic shape, so this all has to happen with one quick motion. Ideally, this changes the shape of the pot by adding a ripple up the side. That mark does vary depending on how stiff the clay is, how thick the pot’s wall is, how fast the wheel was spinning, and how firmly I pressed from each side. The clay I was using here was plenty soft, so the vase wall wasn’t super thin, but it all worked well. I was able to use some force without knocking the vase completely out of whack, and I got a nice bold swirl shape.

For the second example, this is a rounder, wider vase. It has a wide sloping belly that starts, again, at that narrowed spot above the foot. It curves all the way up to the neck - this pot doesn’t really have a shoulder. (The swirl will happen about 1:20 into this video.)

Again I’ve slowed the swirl step down here to about 2X actual speed.

To my eye, pots with these definite rounded curves don’t look right when you try to aggressively press in the additional swirl shape to the form. I’ve found that, for me, it’s best just to press in a strong mark from the outside only, and let the change to the pots profile be very subtle (the slip texture facilitates a bit of a surface bump).

These minor differences in how the swirl is achieved make a big impact in the finished piece. It’s taken some trial and error (some ugly pots) for me to understand that the swirl needs to be done a bit differently depending on the shape. I hope you’ve enjoyed learning a little more about this detail!

Making Colored Reclaimed Clay

Bud Vases made with blue clay.

Reclaimed clay is basically just recycled clay. Clay that’s been used but not fired can be reclaimed, and any clay scraps can be reclaimed. When I’m reclaiming my white clay, sometimes I will add stain to the clay to turn the clay a color. Here I will briefly describe that process, and you’ll find a short video with quick clips of these steps at the end of this post.

I make sure any clay scraps or pieces I plan to reclaim are totally dry; this will make it faster and easier for the used clay to break down in water. I dump my dry scraps into some water and give them at least a few days to break down before I attempt to process it. 

  • Once the reclaim is nice and soft, and all broken down in the water, I make sure it’s smooth. Sometimes I will sieve reclaim, if I’m concerned that it’s extra lumpy. But often it can just be blended down to a smooth consistency with a cheap kitchen blender, as you’ll see me using in the video.

    I plan to upgrade to a drill with a paint mixing bit in the near future, and save my cheap blender for smaller batches of slip or glaze.

  • Once it’s blended smooth, it can simply be used as a slip. But for colored slip or for colored clay, at this point the color is added in. I use different ceramic stains (usually Mason stains) to add color to my clay. Sometimes I use cobalt for the blue, it just depends on what’s available and what’s affordable. Either way, the stains are in a powdered form. They can easily be spooned and blended into the slip.

For reclaim without the color, I simply skip the step above.

  • The slip can then be made into clay; It needs to be dried/firmed back up until it’s firm enough to wedge and use. I use an old pillow case to store and dry the wet reclaim. The pillow case easily hangs off the front of my kiln shed. It usually needs a few days outside, and I come out once or twice a day to knead and punch the bag, to try and keep the clay mixed and drying at a fairly consistent rate (as much as this is possible).

  • Once the clay is starting to get a bit too dry around the edges, I knead it all together one more time in the pillow case. Then I double bag it all in plastic, and let it sit for a few weeks, so the moisture can even out. This also gives the clay some time to develop some good bacteria, which helps with the clay's elasticity.

  • After a few weeks, I check the dryness and, if it’s firm enough to handle, I pull the clay out of the pillow case. I get the clay into manageable balls, and I start to wedge. Wedging will help get rid of any air bubbles in the clay, along with ensuring that the moisture content is consistent. It also helps the clay particles to align in a way that will make the clay more user friendly - more elastic and easier to make with.

I try to wedge the clay while it’s almost too wet, just to make the wedging a bit easier. After this first wedging session, I usually need to let the clay dry out a bit more. This extra rest can only help; I’m always very patient with my reclaimed clay. I’ll do 1 more thorough wedging session with the clay before I consider it ready to throw.

The video below shows some quick clips of this process. The clay I’m making here is a light blue, and the pieces pictured here (and shown at the end of the video) came from this batch of blue clay. Reclaiming clay is a lot of work, but it’s rewarding. Free clay! Blue clay! I think it’s worth the effort.

Throwing a cute little jar

This video shows clips of me throwing a little jar from reclaimed clay (reclaimed clay is basically recycled clay). This jar was woodfired in January of 2024 at the Desert Dragon Pottery in North Phoenix, AZ. This is now part of my private collection.

From Stagnant to Flourishing: Reviving Your Creative Spirit

By: Alice Robertson

Creativity is not just a talent; it's a way of engaging with the world. To thrive in any endeavor, igniting your creative spark is essential. Whether you're seeking inspiration for your next masterpiece or looking to add some creativity to your everyday life, the journey starts with being present and open to the possibilities around you — and this guide shared by Jill Spawn Ceramics can help.

Explore and Absorb

In the hustle of daily life, take a moment to pause and observe your surroundings. The world is brimming with inspiration, waiting to be discovered. It's in the quiet moments, the unexpected experiences, where creativity often finds its spark. Reflect on these moments, big and small, and let them guide you towards new ideas and paths unexplored.

Craft Your Path to Creative Fulfillment

Creating a stellar resume is a pivotal first step in pursuing a career that aligns with your creative passions. Tailor your resume for each position by adjusting the keywords in the skills section to match the employer's specific needs. In the professional history and educational experiences sections, carefully select and emphasize the aspects that best demonstrate your creativity and commitment to your craft. This personalized approach not only highlights your suitability but also significantly boosts your chances of securing opportunities that truly resonate with your creative spirit.

Transform Your Career and Creativity

Changing careers can significantly reinvigorate your creativity, offering a fresh perspective and new challenges. Earning one of the cybersecurity programs online provides the flexibility to maintain full-time employment while enhancing your skill set. This path not only broadens your expertise but immerses you in the creative problem-solving required to protect business computers and network systems. Venturing into cybersecurity, you'll discover innovative ways to safeguard digital information, revitalizing your professional journey with creativity and innovation.

Unlock Ideas Through Freewriting

Dedicating time to freewriting allows your thoughts to flow without judgment, creating a space for unanticipated insights and ideas to surface. This method of unfiltered exploration on paper can serve as a mental detox, clearing the clutter from your mind and setting the stage for innovation. By engaging in this practice regularly, you provide yourself with a fresh canvas for creativity, where the only limit is your imagination.

Nurture Your Curiosity

A curious mind is the bedrock of creativity, constantly pushing the boundaries of the known and the possible. By cultivating a habit of asking questions and seeking out new experiences, you feed your creative spirit with endless fuel. This approach to life, where learning and exploration are ongoing, ensures that your imagination remains vibrant, making every day an opportunity to discover something new.

Broaden Your Horizons Through Reading

Immersing yourself in the vast world of literature and articles is like opening doors to countless universes, each filled with unique ideas and perspectives. Reading widely not only enriches your knowledge but also challenges your preconceptions, inviting you to explore the depths of your own creativity. This habit of consuming diverse content can spark inspiration, encouraging you to weave your own narratives and ideas.

Cultivate a Creative Sanctuary

Creating a distraction-free zone dedicated to your creative pursuits can significantly enhance your productivity and focus. This personal sanctuary, designed to stimulate and inspire, becomes a crucial element in the cultivation of your creative projects. By establishing such a space, you ensure that your moments of inspiration are nurtured in an environment conducive to creativity, allowing your ideas to bloom fully.

Unlocking your creative potential is a journey of exploration, learning, and bold moves. By integrating these strategies into your life, you can transform your creative energy and thrive in any endeavor. The path to a rich, imaginative life is within your grasp—embrace it with an open heart and mind, and watch as your creativity flourishes beyond boundaries.

Alice Robertson is the creator of Tidy Home, a place to share the great cleaning and organizing advice she has developed over the years. Alice loves helping others, and she knows having a clean, organized home can do wonders for stress and mental health.

Jill Spawn Ceramics features handmade pottery for everyday and special occasions. Shop online today or contact us for more info!















Throwing a Robins Egg Blue Bud Vase

This videos shows me creating a small vase using clay stained to a Robins Egg Blue color. The color doesn’t show up much in the wet clay, you can see a different when compared to the white clay, but it’s subtle. Once it’s fired, the color really comes out. I glazed these in my transparent Robins Egg Blue glaze, so the color really pops in the end. White slip (made with the same clay, but with no color added) was used to add the white texture around the belly of the vase.

Video shows me throwing a bud vase using colored clay (Robins Egg color).


The January 2024 Firing of Puff the Desert Dragon Wood Kiln

By this past January I was really ready for a wood firing, Luckily I wasn’t the only one. So the date was set, we planned to load and fire in mid January. We did not get many pictures of the actual loading process, as things went pretty fast and furious once we got started. I made the mistake of thinking I could get some of my glazing done as we were loading (it worked out, but - note to self - this really isn’t a good idea).

Here are the pictures we did manage to take, along with some notes about how it all went.

Loading the Kiln

These first 2 photo’s are really prep shots. In the first pic, you can see one of our wood piles. Logs have been cut down to a manageable size. The second shows me just about to start loading our pots.

The first layer of pieces are loaded right onto the kiln floor. You can see that the floor and walls of the kiln have been covered in a thin layer of kiln wash (which looks like a thin layer of white paint). The kiln wash will help to prevent any pots or kiln furniture from fusing to the floor during the firing. We will also use a malleable material (called wadding) between anything touching the kiln floors or walls or shelves, for the same reason. The wood ash in the atmosphere of the kiln will coat Everything in the kiln in it’s own glassy glaze, so these refractory materials are necessary to keep pieces from fusing together, or fusing to the kiln.

In past firings, it’s been tough to get everything on the floor up to the temperature we want. Last winter, I worked with John Manley to improve the insulation on the kiln. This definitely helped, but we still had some cool spots on the floor in the last firing. This time, we kept the first row of shelves very short, which freed up a bit more space higher up in the kiln. Then we loaded things pretty loose on the floor - we left plenty of room between pots so the air and flames could easily flow around them. This seemed to pay off, I think nearly every pot on the floor turned out quite nice in this firing.

These pics show the final stages of loading. The multi-colored spiked piece are the cone packs. Each spike is a cone, and each is formulated to melt at a different approximate temperature. Cones allow potters to measure not just the temperature of the kiln, but the effect the heat is having on the clay in the kiln.

In the last pic above, we are all loaded up, and ready to brick up the front of the kiln. Our cone packs set up where we can see them, and we’ve built a low, loose wall between the firebox at the front of the kiln, and the pots in the back. This gives the pots some protection from the wood we throw into the firebox. I think it also helps by pushing the heat up to flow around the kiln. Not everyone agrees with me on this, but it’s an opinion based on observations I’ve made on multiple firings done in this kiln - when we don’t build this wall we don’t get to cone 10.

In this firing we did 2 separate stacks of shelves - you can really see this in the last picture above, there’s a separate stack on the left and on the right. In the past, we usually had at least 1 shelf (or half shelf) at the very top, which would straddle across the 2 stacks below it - we left that out this time. But it was missed; the left stack of shelves shifted and leaned, and the back corner landed all the way over onto the kiln wall during the firing (luckily it did not fall far, and there weren’t many casualties).

Bricking Up the Door

We’re building the door pretty fast and furiously in these pictures. We start our door off with 2 layers of brick, so that it’s nice and thick and sturdy at the bottom. Once we get the stoke hole built in, we switch to a single layer. Next time we may try to keep that double brick thickness all the way up.

In the last pic above, Mishy is placing the new stoke hole cover in place. Garry Price built this using a metal rack of some kind, some old electric kiln elements, and a lot of fiber insulation - it worked beautifully! (You’ll get a better view in later pics and videos.)

We were all loaded up with the door bricked up on a Thursday, and we decided to start firing around 10 am the next Saturday. The plan was to fire into and through the night, as long as needed.

Firing the Kiln

In the first couple of this group of pictures, you can see Garry starting the fire at the very bottom of the firebox, through the vents at the very bottom of the door. After a solid hour or so we graduate from smaller sticks and bark fed into the vents, to larger pieces fed in through the stoke hole. These larger logs sit on top of the grate we’ve built in the front of the kiln (the firebox). By the end (a solid 12+ hours after we began) we could see most of our cone 11 cones down, with some cone 12’s bending as well.

This video clip shows me pulling the stoke hole door before a stoke. This is nearing the end of the firing, the temp is likely around 2300°F. You can see here the heat is pretty close to white.

This last pic of the firing was taken just after the final stoke. We let the fire burn down for a bit after that - 10-15 minutes or so. Then we close up all of the holes - the chimney flues are closed, we brick up the vents at the bottom of the door, and we mud up any cracks we see.
We tend to give the kiln 3 days to cool before breaking down the door to see the results. It’s tough to wait, and probably 2 days would be enough, but we want to be certain everything has had plenty of time to cool. Just speaking for myself here, but after a few days of obsessing over a wood firing, I usually need a few days to catch up on all the other things going on in life.

January 2024 Desert Dragon Pottery Wood Firing Crew

Unloading the Kiln

After patiently waiting, we are so ready to tear down the door and see the results!

Once the door was down, we found that we had been blessed by the kiln. Pots at the top were nice and ashy. As we dug down through the middle and to the bottom, it appeared that we reached cone 11 throughout the kiln, with some spots hitting cone 12. Below are quite a few highlights, and shots of many of my pieces from this firing.

We were all happy potters, and we were all thinking about when we can do it again! As it often does, Spring got very busy. John Manley came to visit, and he did a wood firing that a few of us participated in. (I got some bonus wood fired pots!) It was fun to see how he did things different in firing his own work, some of which is quite large - filling the kiln from top to bottom. With the Phoenix weather rapidly warming up, the next firing will not be until the weather cools again next fall. But we will be ready to apply the knowledge we gained in Winter/Spring of 2024.

That wraps up the January 2024 Wood Firing! Here’s a super speed clip of the kiln unload - Enjoy!

One final thing - here’s the short video I’ve just made, and it kinda sums this all up. I’m going to share this on my socials, and save it here because I like it. Happy potting :)

Video compilation of throwing and wood firing a vase.

Throwing and Handling a cone 10 textured mug

Here are 2 video’s showing different steps of making the same style of mug. These mugs are made with cone 10 Bmix (so a white clay that is meant to be fired to around cone 10, which is over 2300 degrees Farenheit).

I use a BMix slip blended with some iron oxide to paint the darker texture around the bottom half of the mug. You’ll see this in the first video, which shows me throwing the cup on the wheel. The throwing video is a bit longer than the version I shared on social media - it’s not sped up so much, and you can see a bit better what’s happening.

The second video shows clips of me adding the handle to the mug, after it’s dried a bit (to the ‘leather hard’ stage). So the cup is firm enough to handle, but still wet enough to have new attachments added. This is a bit tricky on these textured mugs, because I have to add the handle without messing up the texture. So it needs to be just a bit on the dry side, and I have to be mindful of where (and how firmly) I’m touching the mug.

The mugs were glazed with Emily Purple on the inside and around the top, and then a layer of Rutile glaze was added over the entire outside of the mugs. The rutile looks extra cool where it flows over the dark textured belly of the mug. You’ll see pics of the finished mugs at the end of each video, and I’ll throw a shot in at the bottom of this post as well.

Clips of me throwing a textured mug on the pottery wheel.

Clips of me adding a handle to a textured mug

Throwing a textured mug in cone 5 Bmix

This mug was made with cone 5 Bmix, and glazed in Robins Egg Blue.
The texture is made with slip, a blend of clay and water that’s been mixed to a milkshake like consistency. This gives the glaze something to run over and pool around, plus it feels nice to hold.

clips of me throwing a cone 5 textured mug.

Pulling a textured mug, glazed in Robins Egg, from the kiln.

Cultivating Your Culinary Garden: Where Visual Allure Meets Practical Use

by Alice Robertson

Cultivating a garden that is both visually stunning and a source of culinary ingredients is more achievable than you might think. Comprehensive strategies have been laid out in this article to guide you in creating an outdoor space that seamlessly blends beauty with utility. Gone are the days when the concept of an aesthetically pleasing, yet edible, garden was a distant dream.

With careful planning and the right approach, this article from Jill Spawn Ceramics will help you bring to life a multifunctional oasis that offers both visual delight and food production.

The Allure of Edible Grasses

Grasses like lemongrass and wheatgrass offer a serene, organic outline for your garden. They dance gracefully in the wind and establish a soft, natural boundary. Their delicate foliage serves as an exquisite backdrop that compliments bolder plants. Plus, their shoots can be harvested and used in recipes or teas, adding a lovely aroma and flavor.

Harmonious Plant Protection

Instead of resorting to chemicals, employ a harmonious approach to safeguarding your plants. Plants such as lavender and basil not only add a pleasant aroma and bursts of color but also act as a deterrent against unwanted insects. Thus, you maintain a garden that’s both visually stunning and intrinsically resilient.

Versatile Flora for Visual and Culinary Appeal

Opt for plants that give you the best of both worlds: visual delight and culinary ingredients. Plants like edible flowers, Swiss chard, and various herbs are particularly versatile. They present a riot of colors and intricate patterns, and simultaneously, they can be plucked fresh to garnish dishes or brew teas.

Broadcasting Your Blossoming Paradise

To share your accomplishments and possibly even generate income, consider establishing a digital footprint for your garden. A YouTube channel can serve as a creative outlet and a potential source of revenue. This platform enables you to visually document your journey and share valuable tips on edible landscaping, potentially leading to a profitable enterprise.

A Tapestry of Sensory Delights

A monochromatic garden is a missed opportunity. Enrich your space by embracing a spectrum of colors, varying textures, and intriguing forms. Consider deep-purple basil, golden calendula, and feathery asparagus ferns to weave an intricate, multisensory tapestry that keeps the eyes wandering and the fingers itching to pick and taste.

Synergetic Plant Communities

An often overlooked but crucial aspect of gardening is the compatibility of plant neighbors. Gilmour.com suggests strategically clustering plants according to their sun and moisture needs. For instance, group sun-loving herbs like rosemary and thyme together, while placing shade-loving mint and ferns in a different zone. This results in a balanced ecosystem where each plant thrives.

It’s a good idea to make plant markers so you know at a glance what each plant is and to verify that it isn't a weed. This way, you’ll be certain of what herb you're snipping! You can use a free online tool to create business card-sized markers, which allows you to customize and add your personal touch with graphics and text.

An Inviting Outdoor Lounge

Investing in a cozy seating area encircled by aromatic herbs and luscious fruits transforms your garden into a multifunctional space. It offers a tranquil setting where you can unwind with a good book, meditate, or host casual social gatherings amidst nature. Thoughtfully selected outdoor furniture and decor elevate your personal enjoyment and also contribute to the garden's overall aesthetic appeal.

Compact Solutions for Smaller Spaces

If acreage is a limitation, fear not. The Old Farmer’s Almanac notes that raised beds and pot gardening offer fantastic solutions. Containers of varying sizes can host anything from dwarf fruit trees to cascading cherry tomatoes. In raised beds, consider 'square foot gardening' to maximize the number of plants you can grow, thus offering variety in a constrained space.

The journey of crafting a garden that melds visual splendor with functional utility is a deeply rewarding experience. By adhering to the guidelines laid out in this article, you're well-equipped to create an environment that gratifies both your artistic desires and your culinary needs. 

There's no time like the present to start envisioning your dream garden. From plotting plant locations to choosing your color palette, each step brings its own sense of accomplishment and joy. So, seize the opportunity and embark on this fulfilling project, opening the door to a garden that enriches your life in multiple ways.

Jill Spawn Ceramics features handmade pottery for everyday and special occasions. Shop online today or contact us for more info!

Alice Robertson is the creator of Tidy Home, a place to share the great cleaning and organizing advice she has developed over the years. Alice loves helping others, and she knows having a clean, organized home can do wonders for stress and mental health.

Making a Swirl Mug

This is a video showing highlights from making a swirl mug. These were gray swirl mugs, though the mug I’m handling might have been a blue one. I used cobalt oxide in my cobalt slip, which is a gray-ish color, so it’s a bit hard to tell the difference between the gray and the blue before they are fired. But it doesn’t matter much, the design is the same.

One of the challenges in making these mugs is to keep the slip fresh and unmarred while I’m adding the handle. It’s impossible to keep it Perfect, but I aim for that. And I find that I can brush a little slip under the handle attachment to help mask the imperfections there - since it’s under the handle it’s really not noticable. I have to let the mugs be a bit on the dryer side before adding the handle (again - so I don’t smudge the slip). I blend a bit of toilet paper into the slip I use for the attachments, which helps ensure that the handles doesn’t pull away from the cup as it dries. This means I have to do a bit of cleanup once the mug is totally dry, as the paper clay slip leaves some unattractive surface cracks in some spots, but it’s well worth it. My handles Never pull away from my cups since I started using paper clay slip, they stay firmly attached through the drying and the firing..

Throwing and Handling a Swirl Mug


Finishing and glazing a teabowl made with cobalt blue clay

This video shows me finishing up throwing a cobalt blue cup, a.k.a a cobalt blue teabowl (it can be a cup or a small bowl). This is a slightly longer cut than what was posted on social media.
I’ve really enjoyed my colored clay experiments! I’ve decided to keep this and use it for awhile as an oatmeal bowl, just to see how the colored clay performs in the microwave. Creating the colored clay takes some effort, so I may decide to reserve it for decorative work. We will see how my new oatmeal bowl works out.
To create the colored clay, I use reclaimed cone 5 bmix - this is the white clay I use for all my electric fired cone 6 work. I save my scraps as I make, and when I have plenty I make sure it’s well watered down, and then mix it smooth. From that state it can be used as white slip (as used on this cup), or it can be allowed to firm up and become reclaim clay. If you are wondering ‘what’s slip’ watch the video - the white stuff I paint around the outside of this cup is white slip - just clay and wanter blended smoth.
For my colored slips, I simply blend a colorant (such as cobalt) into the white clay when it’s in it’s smooth slip stage. This provides me with the colored slips I use. To make colored clay, I have to take it a step further and allow the colored slip to firm up until it gets to the right consistency. It needs to rest for a good 3 weeks before using, and it does require quite alot of wedging (wedging is much like kneading bread dough, with the intention of removing air bubbles and aligning the clay particles - making sure the clay is a consistent in it’s dampness and softness). In the future I’ll try to do a more thorough post about this process.

When working with colored clays and slips, one of the trickiest things to navigate (for me) is how NOT to get colored clay mixed in with your white clays and slips!

Video of me finishing and glazing a cobalt blue swirl cup with white slip.

Making Soup Bowls

Here are a couple of short videos that show some of the various steps involved in making a soup bowl.
My soup bowls are pretty simple. Once I have the size and shape about right, I add a swirl shape and then reform the inside a bit so the inner curve is nice and so the swirl is a bit more subtle. I want these to be nice to eat from, and I think the subtle swirl is very nice to hold - but if it’s too deep it might interfere a bit with utensils. I try not to trim any of my smaller bowls (including these and anything smaller). With soup bowls I do sometimes come back and do a tiny bit of trimming, but only if the bowl really needs it. I leave the foot flat.
The bowls in this first video were glazed with Robins Egg Blue on the outside, and Milky Gloss on the inside and around the lip. These are fired in my electric kiln to cone 6.

Clips of creating some Soup Bowls, glazed in Robins Egg Blue.

This second video shows me throwing a soup bowl with cobalt blue slip. The video only shows the throwing step, and a pic of the final piece at the end. These are glazed with Milky Gloss (white) glaze, and fired in my electric kiln to cone 6.

Video of me throwing a soup bowl with a cobalt blue slip swirl.

Spring 2023 Firing of Puff the Desert Dragon Part 2

This is part 2 of my blog post about the spring wood firing. If you missed part one, you can check it out here: Spring 2023 Wood Firing Part 1.

I discussed loading the kiln and bricking up the door in my last post. This post will cover the actual firing, and a bit of the unloading.

Here’s a short video showing the kiln as it’s firing. This was taken right around cone 9/10 - just a bit before the previous picture.

Video shows the firing wood kiln, right around cone 9.

Once the firing was done, more waiting….ugh! It’s so hard to wait to see the results of all this work! I believe we gave the kiln a good 4 days to cool before we unloaded.

First, here’s some group shots of many of my pieces, posed and shot right after we unloaded the kiln. You can see the cone packs in these shots as well, remember the cone in back is cone 12. Beneath those pics, you’ll find a selection of some of my favorite pieces from this firing. I’ll link a few more videos by Anita, Steffi and Mishy at the bottom of this post.

Compilation of photos of Unloading of the 2023 wood firing of Puff the Desert Dragon at the Desert Dragon Pottery Studio.

Video of the Desert Dragon Pottery crew unloading the Spring 2023 wood firing.

That’s a wrap for the Spring firing! We were so happy with the results, and we’re starting to think about a Fall or Winter firing - I have a few pieces squirreled away already!

Many of the photos and videos in this post were taken by Anita and Steffi Howell, Mishy Katz and/or Gary Price.

Spring 2023 Firing of Puff the Desert Dragon Part 1

We fired up the wood kiln (Puff) back in April - it had been well over a year since our previous firing and I was so ready for it! Both the loading and the firing went pretty well, I’m feeling more confident with just about every firing, but of course there is still plenty of room for improvement. The firing was a bit over 15 hours; we reached a solid cone 10 throughout the kiln, and a solid cone 11 in quite a few spots. Note: cones are used to gauge the heat in the kiln (a bit more about that is described below).

I’ll break this up into 2 parts - part 1 will mostly be about the loading, and building the door. I’ll link a few video’s of the actual firing at the end of this post, and I’ll include a bit more about that in the second part.

These pictures show us finishing up the loading, and bricking up the door. We were pretty focused - I didn’t think to get any pictures until we were almost done. But you’ll get a nice overview of the loaded kiln and the door with the first few shots below.

Building the door is tough, in part because it comes right after Loading the kiln, which is also quite a lot of work - so you’re already good and tired! We could not fire this immediately, we planned to wait about a week before we fired. Since the door was bricked up, and the chimney flue was closed, the pots were safe and sound.

Here’s a short video clip of me and Gary feeding the fire. Below that (at the very bottom of this post) is a fun compilation of firing pictures, it’s a great overview of the day.

Short video clip of Jill Spawn and Gary Price stoking Puff the Desert Dragon (the wood kiln) at the Desert Dragon Pottery. Video taken by Michelle (Mishy) Katz.

Compilation of some photos from the firing of our Spring 2023 wood firing at the Desert Dragon Pottery. Created by Anita and Steffi Howell.

I’ll share a bit more about the firing, and the finished pieces, in my next post.

Some of the photos in this post were taken by Anita and Steffi Howell, Mishy Katz and/or Gary Price.

Throwing a Swirl Vase with Reclaim

Here’s another throwing video, again using reclaim clay from the Desert Dragon Pottery. They’ve been producing a lot of reclaim this year and I’m happy to use it! They price of clay has gone up (like everything) so using reclaim is a money saver. The feel is a little different, as it is with every new clay. I can’t pull the walls quite as thin as I can with some other clay’s, but it really works pretty great when I want that stoneware look.
This piece is a vase I’m saving for our next wood firing; it has not yet been scheduled but will likely be in the fall or early winter - it’s too hot here to think about now! I think this lump of clay weighed a bit over 4lb’s when I started.

Throwing a 4lb Swirl Vase with Reclaimed Clay.

Throwing an Oil Bottle

Here are a couple of videos showing me throwing a swirl oil bottle. I’m using reclaimed clay here from the Desert Dragon Pottery. Reclaimed clay is made of clay that was already used and discarded - failed pots and leftover clay scraps. There is some processin!g involved to get the clay back to a workable state - it’s a bit of a chore. But with patience, it creats perfectly acceptable. It’s not Quite as easy to throw with as Rods Bod (I find Rods particularly easy to through) and I can’t throw it quite as thin as I do with cone 10 BMix. But really - it works just fine for many things. Thanks to Gary Price for processing all the reclaim at the Desert Dragon Pottery!

Throwing a swirl bottle is a bit tricky, doing so with the reclaim clay was a good test to see if it’s doable with reclaim, and it was. The video is broken up into 2 parts. Beneath the second video are a few pictures of the finished bottle.

Part 1 - Throwing a swirled oil bottle with white slip texture.

Part 2 - Throwing a swirled oil bottle with white slip texture.

Art Therapy Benefits That Will Improve Your Life - A Guest Article from Alice Robertson of Tidy Home

Alice Robertson recently created Tidy Home as a place to share the great cleaning and organizing advice she has developed over the years. Alice loves helping others, and she knows having a clean, organized home can do wonders for stress and mental health.

Art Therapy Benefits That Will Improve Your Life

Art therapy has a variety of benefits, including stress and anxiety relief and the ability to deal with trauma in a healthy way. It has been used for years as a way to help build confidence and allow people of all ages to manage challenges in their lives, from overcoming addiction to handling the stressors that come with a fast-paced career. The wonderful thing about art therapy is that you don’t have to be a professional artist in order to enjoy the advantages; with the right tools, anyone can make art and find joy in doing so.

From Jill Spawn Ceramics, here are just a few ways you can make the most of art therapy for yourself.

Make it a family activity

Because art therapy doesn’t have to follow certain guidelines to be effective, you can utilize any number of mediums or methods to practice it. This means you might make the most of a quiet morning and paint a watercolor on the back porch, or sit down with the kids and create silly sculptures out of colorful clay. The act of creating can be relaxing, fun, stimulating, or a combination of all those things, and when it’s done with the people you love, you’ll get even more benefits. In fact, it’s a great way to carve out time from your day to spend with your children, which is perfect if you usually have a busy schedule. You can get involved in art in any number of ways, including:

●      Drawing or painting

●      Dancing

●      Sculpting

●      Origami

●      Singing

●      Playing an instrument

Set up a space in your home where you and your kids can create. This may be difficult if you live in an apartment, so explore your local options for rental homes. Checking what’s available regularly will help you find the best deal. Then you’ll have all the space you need!

Raise your confidence levels

Whether you choose to make art by yourself or with loved ones, doing so can boost your confidence and self-esteem in various ways. By creating something new, you’re investing time and energy into something that’s just for you, proving to yourself that you can do difficult things. You’re also giving yourself a safe way to confront challenging feelings, which can help you get through unresolved issues.

What’s more, creating art as a way to deal with your emotions will give you a timeline of physical proof showing how far you’ve come and documenting the progress you’ve made in your journey to feel better. Try keeping a sketchbook, using art prompts to help you stay motivated and add to it regularly.

Benefit your physical health

Not only is art therapy wonderful for managing difficult feelings, it can have a positive effect on your physical health, as well. Because our mental and physical wellbeing is so closely linked, practicing art therapy can provide several benefits for individuals who are living with chronic pain or debilitating diseases.

In fact, studies have shown that individuals who used art to manage the stress and anxiety associated with cancer treatment were also able to reduce physical pain and improve their quality of life. Whether you’re living with a health condition or are suffering from the physical effects of stress, art therapy can help.

Improve your communication skills

Art therapy can also help you manage outside factors in your life, such as relationships with your loved ones or your ability to be social. Many creative pursuits improve our ability to communicate and provide a healthy way to develop problem-solving skills. For some individuals, this is an invaluable tool that can help with managing the symptoms of addiction, boosting social skills, or repairing relationships with family members.

Open doors for a new career

Though it may not be what you’re after when you begin art therapy, you may find that you have an artistic aptitude that you want to turn into a career. Fortunately, there are many different potential business options available that allow you to monetize your artistic talents. Best of all, you don’t have to limit yourself to just one idea.

Practicing art therapy is something anyone can do, which means you can make it a family activity and bond with your children or keep it private so you can work things out on your own. By investing this time and energy into your needs, you’ll experience multiple benefits that will make a major difference in your wellbeing.

To shop handmade pottery for everyday use or for special occasions, visit Jill Spawn Ceramics today!

Throwing a Gray Textured Bud Vase

Like all my video’s so far, this is a highlight reel. These are short highlights, sped up x2 - I try to keep these in the 60-90 second range.
This is Bud Vase A where posted in my shops - I posted a video of Vase B previously. The vase is made with cone 5 BMix clay. Black Mason Stain was added to some bmix 5 slip to create the texture. I glazed this in Milky Gloss glaze and fired it to cone 6 in my electric kiln.

Milky Gloss with Grey Texture Bud Vase Video Highlights

Giving Puff (the Desert Dragon Wood Kiln) a facelift

Puff the Desert Dragon is the name of the wood kiln out at the Desert Dragon Pottery Studio, in North Phoenix. A group of artists, led by John Manley and Tom Bivens, built the kiln in the winter of 2017, based on John's design. (Here is a link to my blog post about the initial build: Building Puff the Desert Dragon Wood Kiln)

We had used big rocks as the outer layer of insulation on the kiln, mostly out of convenience (they were available, and free). But John felt the rocks on the outer layer were not sufficient for insulation. We had completed quite a few successful firings since 2017, but they were taking a bit longer than we had hoped. This past winter, John suggested we replace that outer layer of rock with something better. John normally lives in Nevada, since he would be staying at the studio for a bit in March, we decided it was a good time to tackle the project.

The first step was to remove the rock. John had learned that a material called Diatomaceous earth (DT) could be used to create an insular shell over the kiln. A common use for this material is soaking up oil spills, so we found some at our local Napa Auto Parts and bought about 12 bags.

A close-up of Puff, after the river rock was removed.

Puff has been stripped of her outer shell of rock, and the DT bags are waiting to be torn open and used.

We blended the DT with some clay slop from the studios reclaim buckets (basically used/leftover clay). And then we built up a nice thick layer over the top of the kiln. We painted a thin layer of Sodium Silicate over the entire thing once done, to help reduce cracking as the DT and Clay mixture dried.

I didn’t get many pictures of this step, but John posted about it on his Instagram. The post should be linked below so you can see his pics. Below that is the few pics I had of this first layer in progress.

John evens out the first layer of insulation - DT and clay.

The first layer is done and drying.

The second and final layer is made up of more DT and more clay, plus cement and more sodium silicate. We mixed it all up in a wheel barrel, and started slathering it over the first layer of DT and clay.

John mixes the cement, clay, DT and sodium silicate, as I apply some to the front of the kiln

Compressing the final layer.

Relieved to be almost done with the project.

We’re very happy to be almost done here! We finished up this layer well before dark, and we were tired but pleased. The big test would come in about a month - in mid-April we fired Puff up for the first time since this modification. I will post more about that soon.

Throwing a Bud Vase in Rods Bod

Video Highlights of me throwing a bud vase in Rods Bod clay. I added white BMix slip around the outside to create the texture.
I was pretty certain when I created this that it would be wood fired. I hung on to it until this past April when we did our Puff firing. The whole firing was wonderful! This piece was a highlight for me, though it’s a more subtly beautiful piece compared to some of the others. It’s not big or flashy, but the form, the wood fired finish, everything just came together perfectly.