Woodfired Fat Bird Mug with *Bright* Orange Beak 12oz
I may have gotten a little bit obsessed when I was painting this latest little flock of Rubenesque sweeties, but, I love a little “chonk”, and the imagery of birds speak to everything from freedom and lightness to beauty.
The black underglaze started to turn metallic, imbuing a soft silver sheen to the bird. The colors of the wood firing peek through the black - toasty and orange and almost coppery where the flames hit the surface, and blue-grey where the ash hit the piece, interrupting the lines of black. The beak is EXTRA ORANGE, so make sure that you are a fan of bold!
The interior glaze is a soft, sage green, reminding us of leaves where this little guy might perch.
All pieces are made by hand, and have the traces of being touched and formed on them - sometimes that’s asoft unevenness, or gently waving rim, or the fingerprint of the artist in the clay, or being able to see where drawings made directly on the surface started and stopped. We hope you’ll prize the “imperfections” that make them truly human like we do.
The interior glaze is a soft, sagey green, like new leaves emerging in springtime.
I may have gotten a little bit obsessed when I was painting this latest little flock of Rubenesque sweeties, but, I love a little “chonk”, and the imagery of birds speak to everything from freedom and lightness to beauty.
The black underglaze started to turn metallic, imbuing a soft silver sheen to the bird. The colors of the wood firing peek through the black - toasty and orange and almost coppery where the flames hit the surface, and blue-grey where the ash hit the piece, interrupting the lines of black. The beak is EXTRA ORANGE, so make sure that you are a fan of bold!
The interior glaze is a soft, sage green, reminding us of leaves where this little guy might perch.
All pieces are made by hand, and have the traces of being touched and formed on them - sometimes that’s asoft unevenness, or gently waving rim, or the fingerprint of the artist in the clay, or being able to see where drawings made directly on the surface started and stopped. We hope you’ll prize the “imperfections” that make them truly human like we do.
The interior glaze is a soft, sagey green, like new leaves emerging in springtime.
I may have gotten a little bit obsessed when I was painting this latest little flock of Rubenesque sweeties, but, I love a little “chonk”, and the imagery of birds speak to everything from freedom and lightness to beauty.
The black underglaze started to turn metallic, imbuing a soft silver sheen to the bird. The colors of the wood firing peek through the black - toasty and orange and almost coppery where the flames hit the surface, and blue-grey where the ash hit the piece, interrupting the lines of black. The beak is EXTRA ORANGE, so make sure that you are a fan of bold!
The interior glaze is a soft, sage green, reminding us of leaves where this little guy might perch.
All pieces are made by hand, and have the traces of being touched and formed on them - sometimes that’s asoft unevenness, or gently waving rim, or the fingerprint of the artist in the clay, or being able to see where drawings made directly on the surface started and stopped. We hope you’ll prize the “imperfections” that make them truly human like we do.
The interior glaze is a soft, sagey green, like new leaves emerging in springtime.
