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Have some days free to just make in the studio before heading to the studio in Italy for a workshop next week.Here’s one I made with 7 kg…

I receive many questions about standing wheels.If done correctly, throwing sitting and standing are pretty similar and I teach both accordingly.When you rely more on shoulder positioning and movement and proper use of body weight rather than firm placement of arms on legs or the splash pan for stability, throwing on a standing wheel can be quite pleasurable.

Have a look at some of the progress in the new studio👷🏾‍♂️. I’m very excited about the newly completed display area for our guests to see and purchase ceramics directly from the studio (by appointment of course😉). We’ve finally received our beautiful work tables from @foyos_com in Germany❤️ and are beginning to plant on the terrace🌿. There is still a lot of work to do before it’s complete, but so far so good!

Thank you to this very international group of students for spending a week with us in the new Copenhagen studio. Was a pleasure following your progress throughout the week. Now it’s practice, practice, practice😉

One I made this morning.Always a lovely challenge. Not the best clay for this vessel type but I made to work👌🏾

Today, I’m excited to share the new visual identity for TORTUS, created in collaboration with @Paperlux.studio in Hamburg — a studio based inside a traditional book bindery, known for craft-inspired products and visual solutions for luxury brands.

From the beginning, the goal wasn’t simply to design a logo. It was to create something shaped by the same playful spirit of making by hand that sits at the center of everything we do at TORTUS.

That’s part of why the process felt so aligned with the way I think about making.

Max didn’t begin on a laptop. He began with lead type. Physical letters. Metal forms handled by hand before anything existed digitally.

That decision mattered to me.

So much of my world is about understanding a material before asking it to become something else. Clay works that way. You can’t rush it. You have to spend time with it first.

The identity they created carries that same feeling. Quiet but certain. Precise without becoming sterile. A wordmark that doesn’t need to announce itself loudly to feel present.

What I appreciate most is that nothing feels decorative for its own sake. The forms work hard. They become pattern, texture, repetition — a system rather than simply a logo.

It feels considered in the same way I try to approach the work itself.

Today, I’m excited to share the new visual identity for TORTUS, created in collaboration with @Paperlux.studio in Hamburg — a studio based inside a traditional book bindery, known for craft-inspired products and visual solutions for luxury brands.

From the beginning, the goal wasn’t simply to design a logo. It was to create something shaped by the same playful spirit of making by hand that sits at the center of everything we do at TORTUS.

That’s part of why the process felt so aligned with the way I think about making.

Max didn’t begin on a laptop. He began with lead type. Physical letters. Metal forms handled by hand before anything existed digitally.

That decision mattered to me.

So much of my world is about understanding a material before asking it to become something else. Clay works that way. You can’t rush it. You have to spend time with it first.

The identity they created carries that same feeling. Quiet but certain. Precise without becoming sterile. A wordmark that doesn’t need to announce itself loudly to feel present.

What I appreciate most is that nothing feels decorative for its own sake. The forms work hard. They become pattern, texture, repetition — a system rather than simply a logo.

It feels considered in the same way I try to approach the work itself.

Today, I’m excited to share the new visual identity for TORTUS, created in collaboration with @Paperlux.studio in Hamburg — a studio based inside a traditional book bindery, known for craft-inspired products and visual solutions for luxury brands.

From the beginning, the goal wasn’t simply to design a logo. It was to create something shaped by the same playful spirit of making by hand that sits at the center of everything we do at TORTUS.

That’s part of why the process felt so aligned with the way I think about making.

Max didn’t begin on a laptop. He began with lead type. Physical letters. Metal forms handled by hand before anything existed digitally.

That decision mattered to me.

So much of my world is about understanding a material before asking it to become something else. Clay works that way. You can’t rush it. You have to spend time with it first.

The identity they created carries that same feeling. Quiet but certain. Precise without becoming sterile. A wordmark that doesn’t need to announce itself loudly to feel present.

What I appreciate most is that nothing feels decorative for its own sake. The forms work hard. They become pattern, texture, repetition — a system rather than simply a logo.

It feels considered in the same way I try to approach the work itself.

Today, I’m excited to share the new visual identity for TORTUS, created in collaboration with @Paperlux.studio in Hamburg — a studio based inside a traditional book bindery, known for craft-inspired products and visual solutions for luxury brands.

From the beginning, the goal wasn’t simply to design a logo. It was to create something shaped by the same playful spirit of making by hand that sits at the center of everything we do at TORTUS.

That’s part of why the process felt so aligned with the way I think about making.

Max didn’t begin on a laptop. He began with lead type. Physical letters. Metal forms handled by hand before anything existed digitally.

That decision mattered to me.

So much of my world is about understanding a material before asking it to become something else. Clay works that way. You can’t rush it. You have to spend time with it first.

The identity they created carries that same feeling. Quiet but certain. Precise without becoming sterile. A wordmark that doesn’t need to announce itself loudly to feel present.

What I appreciate most is that nothing feels decorative for its own sake. The forms work hard. They become pattern, texture, repetition — a system rather than simply a logo.

It feels considered in the same way I try to approach the work itself.

Today, I’m excited to share the new visual identity for TORTUS, created in collaboration with @Paperlux.studio in Hamburg — a studio based inside a traditional book bindery, known for craft-inspired products and visual solutions for luxury brands.

From the beginning, the goal wasn’t simply to design a logo. It was to create something shaped by the same playful spirit of making by hand that sits at the center of everything we do at TORTUS.

That’s part of why the process felt so aligned with the way I think about making.

Max didn’t begin on a laptop. He began with lead type. Physical letters. Metal forms handled by hand before anything existed digitally.

That decision mattered to me.

So much of my world is about understanding a material before asking it to become something else. Clay works that way. You can’t rush it. You have to spend time with it first.

The identity they created carries that same feeling. Quiet but certain. Precise without becoming sterile. A wordmark that doesn’t need to announce itself loudly to feel present.

What I appreciate most is that nothing feels decorative for its own sake. The forms work hard. They become pattern, texture, repetition — a system rather than simply a logo.

It feels considered in the same way I try to approach the work itself.

Today, I’m excited to share the new visual identity for TORTUS, created in collaboration with @Paperlux.studio in Hamburg — a studio based inside a traditional book bindery, known for craft-inspired products and visual solutions for luxury brands.

From the beginning, the goal wasn’t simply to design a logo. It was to create something shaped by the same playful spirit of making by hand that sits at the center of everything we do at TORTUS.

That’s part of why the process felt so aligned with the way I think about making.

Max didn’t begin on a laptop. He began with lead type. Physical letters. Metal forms handled by hand before anything existed digitally.

That decision mattered to me.

So much of my world is about understanding a material before asking it to become something else. Clay works that way. You can’t rush it. You have to spend time with it first.

The identity they created carries that same feeling. Quiet but certain. Precise without becoming sterile. A wordmark that doesn’t need to announce itself loudly to feel present.

What I appreciate most is that nothing feels decorative for its own sake. The forms work hard. They become pattern, texture, repetition — a system rather than simply a logo.

It feels considered in the same way I try to approach the work itself.

Today, I’m excited to share the new visual identity for TORTUS, created in collaboration with @Paperlux.studio in Hamburg — a studio based inside a traditional book bindery, known for craft-inspired products and visual solutions for luxury brands.

From the beginning, the goal wasn’t simply to design a logo. It was to create something shaped by the same playful spirit of making by hand that sits at the center of everything we do at TORTUS.

That’s part of why the process felt so aligned with the way I think about making.

Max didn’t begin on a laptop. He began with lead type. Physical letters. Metal forms handled by hand before anything existed digitally.

That decision mattered to me.

So much of my world is about understanding a material before asking it to become something else. Clay works that way. You can’t rush it. You have to spend time with it first.

The identity they created carries that same feeling. Quiet but certain. Precise without becoming sterile. A wordmark that doesn’t need to announce itself loudly to feel present.

What I appreciate most is that nothing feels decorative for its own sake. The forms work hard. They become pattern, texture, repetition — a system rather than simply a logo.

It feels considered in the same way I try to approach the work itself.

Today, I’m excited to share the new visual identity for TORTUS, created in collaboration with @Paperlux.studio in Hamburg — a studio based inside a traditional book bindery, known for craft-inspired products and visual solutions for luxury brands.

From the beginning, the goal wasn’t simply to design a logo. It was to create something shaped by the same playful spirit of making by hand that sits at the center of everything we do at TORTUS.

That’s part of why the process felt so aligned with the way I think about making.

Max didn’t begin on a laptop. He began with lead type. Physical letters. Metal forms handled by hand before anything existed digitally.

That decision mattered to me.

So much of my world is about understanding a material before asking it to become something else. Clay works that way. You can’t rush it. You have to spend time with it first.

The identity they created carries that same feeling. Quiet but certain. Precise without becoming sterile. A wordmark that doesn’t need to announce itself loudly to feel present.

What I appreciate most is that nothing feels decorative for its own sake. The forms work hard. They become pattern, texture, repetition — a system rather than simply a logo.

It feels considered in the same way I try to approach the work itself.

Today, I’m excited to share the new visual identity for TORTUS, created in collaboration with @Paperlux.studio in Hamburg — a studio based inside a traditional book bindery, known for craft-inspired products and visual solutions for luxury brands.

From the beginning, the goal wasn’t simply to design a logo. It was to create something shaped by the same playful spirit of making by hand that sits at the center of everything we do at TORTUS.

That’s part of why the process felt so aligned with the way I think about making.

Max didn’t begin on a laptop. He began with lead type. Physical letters. Metal forms handled by hand before anything existed digitally.

That decision mattered to me.

So much of my world is about understanding a material before asking it to become something else. Clay works that way. You can’t rush it. You have to spend time with it first.

The identity they created carries that same feeling. Quiet but certain. Precise without becoming sterile. A wordmark that doesn’t need to announce itself loudly to feel present.

What I appreciate most is that nothing feels decorative for its own sake. The forms work hard. They become pattern, texture, repetition — a system rather than simply a logo.

It feels considered in the same way I try to approach the work itself.

This one really didn’t want to go. I worked my walls so thin that the clay behaves like rubber 🎈. Now the clay can live to see another day on the wheel👌🏾♻️

Wasn’t quite sure I could fix this one 😅. Thanks to my students for a great workshop day 2

I have to make a lot of height adjustments of the wheels for my own work and workshops. So I devised a method for lifting the wheel that my back has been grateful for.The center of gravity on these wheels is perfect for my car jack👌🏾

So we kick off a week long workshop at our Copenhagen studio 🇩🇰 🇸🇪 🇩🇪 🇬🇧 🇺🇸 🇧🇷🇨🇴🇨🇭. Thank you to my students for all your hard work today💪🏽. Look forward to doing it all over tomorrow.

Bowls are not currently in my production schedule, but still need to make a handful of them to keep the bowl making skills sharp.Here’s one I made with 6.5 kg.Then the clay was off to the pugmill to be recycled♻️

Each vessel type has its own unique choreography.Understanding posture and body movement are key to throwing well, which also often requires adjusting sitting positions as one work👍🏾