Tucked away in the Tileworks, behind a set of doors labeled "No Exit," "Employees Only," and "Fire Extinguisher," there’s a little room where computer code meets jewelers wax. That’s where you’ll find Michael Ferguson, Motawi’s CNC programmer and operator. His world hums with the sound of spinning tools, but the real magic is how he helps transform digital files into art you can touch. We caught up with Michael to talk about what drew him to tile, the thrill of kiln reveals, and the joy of seeing his work out in the wild.
What’s your role at Motawi?
I'm the CNC programmer and operator.
How long have you been at Motawi?
I started in late September of 2020, so almost four years now.
What does a typical day look like for you?
I start by setting up our wax melter—we recycle wax for molds, so that's part of the daily rhythm. I manage two CNC machines: one for wax and one for other materials like foam, acrylic, or wood. Usually, I’ll have cut files ready from the day before, so I load those, swap out tools, check the setup, and let the machines do their thing. While they run, I prep for the next day—always trying to stay one step ahead. My day ends with pouring melted wax into fresh molds so that no matter what I’m cutting we always have some on hand for the work ahead.
What are cut files, exactly?
They're instructions for the CNC machines. Something like a 2x6 tile isn’t exactly two inches by six—we have to account for grout spacing, glaze thickness, and clay shrinkage. I take a complex 3D model of the tile and translate it into specific machine instructions: where to carve, how deep, how far. If there’s line work—like a Charley Harper or Frank Lloyd Wright design—I convert 2D lines into 3D paths so the machines can carve smooth, clean channels for our glazers to work with.
Are sculpted tiles like the Ginkgo done on CNC, too?
Some are, but tiles like the Ginkgo or older Arts & Crafts pieces were hand-sculpted. Sometimes we do a hybrid—I’ll rough out the form on the CNC, and then someone like Autumn (our mold maker and Pressing team lead) will refine it by hand. The goal is to preserve that human touch and not “over-digitize” something that should feel organic.
Paper models of buildings line the nooks and window shelves of Michael's office space.
What were you doing before Motawi?
I had just finished my master’s in architecture at U of M in May 2020. I spent the summer tinkering with 3D printing and CNC tools. Amanda, my wife, was working here as a bulb glazer at the time and told me about the job opening at Motawi, and it was a great fit.
How did you first hear about the role?
Through Amanda. Before we moved to Ann Arbor, we both worked at Rookwood Pottery in Cincinnati—different departments, but both of us spent time there.
What’s the difference in philosophy between Rookwood and Motawi?
Motawi’s tiles, especially the polychrome ones, use a flatter style with raised lines and Cuenca glaze-filling. Rookwood’s work tends to be more sculptural, high-relief—almost like little sculptures glazed with a brush.
What made you want to work here?
I caught the tile bug at Rookwood. What I love here is the tactility and immediacy. In architecture, you might design something that takes years to be built—if it even is. Here, I can work on a mold and see it come out of the kiln in two weeks. That’s deeply satisfying.
What part of the work do you enjoy most?
Opening the kiln. Especially with something new or experimental, there’s always a surprise—even if you think you know how it’ll look. The way glaze settles or light hits a relief—it’s never exactly what you expected, and that’s the magic.
Is there a moment or piece you’re especially proud of?
We've been refining some Frank Lloyd Wright relief tiles lately—getting sharper edges and lower relief just right. It's not one moment, but when you finally get a pass that looks and feels exactly right, you just know.
What’s something people wouldn’t expect about your job?
Most people don’t even know our CNC room exists. It’s fun hearing customers in the nearby Boneyard stumble on a tile they’ve been searching for. I check the Boneyard pretty often myself—I’ve made some coffee tables using overage tiles.
What do you like to do outside of work?
Architecture’s still a passion. I visit buildings, sketch, stay in touch with friends in the field, and contribute illustrations to architecture magazines. I’m also a big collector of posters, graphic design, quirky packaging—anything visual that catches my eye.
A small tribute to the Grateful Dead sits atop a set of glaze test tiles Michael grouted, framed (even the frame was CNC routed), and proudly displays in his office.
What’s something your coworkers might not know about you?
That I’m a Deadhead. I’ve got a whole archive of Grateful Dead posters, floor plans of Madison Square Garden from shows, early fan-made computer art. I love the culture around it as much as the music.
Lightning Round!
Morning person or night owl? Morning
Coffee, tea, or something stronger? Coffee—black, sometimes iced.
Favorite Motawi tile design? The new Speedy Bonito, the upcoming Wood Duck, and anything Frank Lloyd Wright—those connect back to my architecture roots.
If your job were a tile, what would it be? Maybe the March Balloons or May Basket—something that looks a little chaotic at first but has underlying order and rhythm.
One word to describe Motawi? Ever-evolving is two words, so… Dynamic.
What are you excited about right now—at work or in life?
We’ve got a new CNC machine that’s almost fully set up, and I’m really looking forward to standardizing and documenting our processes. When I started, there was no manual—so creating that guidebook has been a long-term goal, and it’s almost ready to pick back up again.
Any dreams for the future—big or small?
I’d love to see Motawi doing more public installations—murals, big-scale works that are out in the world for people to see every day. Private installations are wonderful, but public art makes a broader impact. I’d love to help grow that side of what we do.
Michael might work quietly behind the scenes, but his influence runs deep—etched into wax, cast into molds, and glazed into the very surfaces people admire across the country. Whether he's fine-tuning a relief tile or chatting about the quirks of CNC code, his thoughtfulness comes through in every curve and corner. He’s the kind of maker who sees both the art and the infrastructure—and helps carry Motawi’s vision forward, one precisely carved line at a time.