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#76076 Finding Your Own Style...easy To Say

Posted by JBaymore on 24 February 2015 - 01:35 PM



Go online and into the (gasp) library (you know those things called books  ;)  ) and start looking at images.  Then start a "clip book" (digital or physical) of the pieces that you say, "I wish I made that" about.  Amass at least 100 images.


Then from that selection of images narrow it down to about 20 images that you REALLY feel strongly about.  Put the rest away.


Then (yup....writing) write out the commonalities of traits that you see in the remaining 20 objects.  Use the language of the principles of art and design for this as well as and words that stress feelings.  Write at length.  If initially you can't see connections... look deeper..... they WILL be there.


Then spend some time analyzing that set of commonalities you drafted.


Next....................... take one of your physical pieces from the photo you posted above... and set it on the table in front of you and next to the papers with the listings you just came up with.  Ask yourself "What could I do to change THIS piece to reflect some of the common characteristics that I listed"?  Write those thoughts down.  Then get a sketch pad and using the piece in front of you as a "model", draw the "new" piece as you now envision it.  Look at that fuirst sketch and revise it to improce on it.  Do that a few times.


Then once you have a couple of sketches..... go MAKE that piece you drew in the last sketch.


THEN.... (nope not done yet)............... look at the new piece and assess what you feel is working on it, and what could be improved.


Make the same exact piece again.... but making ONLY the changes you just articulated.  Everything that you did NOT say should be changed should look like a Xerox copy of the prior piece.


Repeat this process on THIS object a number of times.


DO this diligently on the first object...and then a few others the same way................ and you'll no longer be asking about how to do this.





#70289 Overcoming Insecurity

Posted by LeeU on 20 November 2014 - 10:45 AM

OK, Ms. Guinea "furry critter" potter............this is from MY experience, so try not to personalize or view as targeted criticism...that is not where I am coming from  :wub:


When I was a student at the School of the Arts (Crafts Department, VCU) several instructors gave me painful "pull-ups". Pull-ups are blunt, sometimes harsh, reality checks that are used in an old-school drug treatment modality called Therapeutic Community. Screw up, and you'll find yourself scrubbing baseboards with a toothbrush or sitting on the Hot Seat to receive scorching feedback, or getting onerous pull-ups from the community.


Well, I had an instructor who was forever giving me pull-ups. And I really got my feelings hurt and got very discouraged and was about to quit school. He'd say things like "Art is not therapy...it you need emotional help, get out of my class and go see a social worker."  This type of comment might be delivered after I had to defend my lopsided vessel by disclosing that it was "off' because my hands were shaking when I centered because I was upset about "something". 


The day I was going to quit I ran into another art instructor, and I was crying at the time. She asked what was wrong, sat on the steps with me, listened while I moaned about this instructor, and then said "Don't you dare quit. You just do your best and come see me if anyone gives you any ######." I lived to fight another day, and earned my degree.  


(What neither of them knew was that I was in the shape I was in because I had been severely beaten by someone who knew how to not leave bruises where they show, that I was in a shelter with my toddler, that the batterer had totally destroyed my portfolio the night before the final critique, and that voc rehab was only very reluctantly paying for my school because I refused to work at McD's where they tried to place me. I insisted...with threat of legal action, since I had/have disabilities...that I could do something about and with my life if I could just go to art school.) 


Long story long: I had to get off the pity-pot, stop awfulizing and cease  whining about my sorry state of affairs, stop victimizing self, (participating in the killing of my own spirit by staying stuck), cop a positive attitude, and otherwise get a grip and make tough choices and tough changes to get myself out of the morass.   Making a daily Gratitude List, as much as I hated it, also helped. I had so little gratitude that I had to start by listing my ten fingers and ten toes, I kid you not. Oh, and I did avail myself of some therapy.   :wacko:


Eventually I came to see that the comments on my work that Mr. No Sensitivity provided were just as valuable, in terms of improving my skills, as the pep-talks from Ms. Nice-guy. Today, I have to own the fact that, by virtue of being a student, I ASKED FOR feedback on my work, and thus can't complain that I got it! LOL  :rolleyes:    

#76010 *gasp* Handle Sacrilege!

Posted by Benzine on 23 February 2015 - 08:12 PM

you can almost describe pulling as linear throwing.


That's essentially how I explain it to my students.


Also, another reason I enjoy pulled handles, is because I get to demonstrate it straight-faced, to a group of teenagers, while watching them try to not laugh...

#67454 Well Said

Posted by Min on 08 October 2014 - 11:39 AM

I came across the little anonymous blurb below on Bailey's facebook page...



#64331 New Hampshire Institute Of Art Anagama Build - Images

Posted by JBaymore on 11 August 2014 - 10:28 PM

Some people asked me to keep some updates here on out progress.  So...... here are a couple of shots of the first two days of the build:


Day One


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Day Two


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More to come in this thread.  Check back every day or so if you are interested.





#73215 All Is Well With The Forum!

Posted by Jennifer Harnetty on 13 January 2015 - 09:19 AM

Good news! All is well again with the forum! It was a fairly simple tables issue, but it required third-party help and took a while to find and fix. We apologize for the inconvenience when it was down.


The other good news is that this was not related to malware or anything nefarious - just a database glitch! So post away! 


If you notice any problems, please send me a personal message or email (editor@ceramicartsdaily.org) with the following information:

  • detailed description of the problem (if you get an error message, include a screen shot or copy and paste the error message)
  • when the problem occurred?
  • what browser are you using; include version
  • are you on a mac, PC, tablet?

The more information, the better we can troubleshoot. Thank you!


We'll do our best to get problems resolved quickly! 


All best,


#71965 What Was Your Greatest Leap Forward This Year?

Posted by GEP on 16 December 2014 - 10:33 AM

My biggest leap forward this year was the result of leaving my teaching job at the end of 2013. I do miss the classroom environment and seeing my students/friends every week. But having all of my time devoted to studio work resulted in giant leaps forward in productivity, design of new pieces, more shows, and a whopping 40% increase in sales (not exaggerating ... I'm still trying to wrap my head around this number). I also never felt strung-out exhausted this fall, which had been the norm in previous years. Somewhere along the way this year, my work crossed over another threshold. After several years of applying, I was juried into the 2015 Smithsonian Craft Show, so next year is already looking bright.

#71770 Production Potter Productivity

Posted by neilestrick on 12 December 2014 - 03:13 PM

As a kiln repair tech, and former clay & glaze tech for one of the clay/glaze manufacturers in the midwest, I have learned that I spend more time asking questions than answering questions. When a customer calls with a technical problem, I have to ask a ton of questions in order to get to the root of the problem, and even then people often leave out important information. I once had a customer call to complain that his terra cotta body, which he had mixed himself, had little white specs in it. He was sure that the Redart we had sold him was contaminated, and he was NOT happy. I asked him for his recipe, which he gave me, and there was nothing odd about it- just Redart and ball clay if I remember right. We talked about his water supply, his mixing methods, his pug mill, etc, etc, etc. Finally, after all that, I asked him if he was putting barium carbonate in the clay body (to prevent scumming). Well, yes, of course, he said. Everyone does, right? I asked him if he was blunging it in water before adding it to the clay body. No, he said. That was the source of the white specs- the barium wasn't dispersing very well when added dry.


My point is, we often leave out important facts when describing our situation because we assume they are general knowledge, and we often assume certain facts to be general knowledge when answering questions. In a forum situation like this it's very difficult to get all the facts out there, and it's very difficult to answer questions without making assumptions. There are shortcomings on both sides of the conversation because this is a slow, tedious way to have a conversation. But it doesn't mean anyone is intentionally trying to be difficult, on either side.

#69459 For Christmas.

Posted by bciskepottery on 06 November 2014 - 09:35 PM

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#3228 Amaco Ancient Jasper Question

Posted by Steve Lampron on 22 October 2010 - 03:17 PM

ANCIENT JASPER: Hello all and stay with me as I am and old guy and not blog capable. I am the VP of Technical Services here at AMACO and the engineer that developed this glaze. I am very sad to hear that some of you are having difficulty with this glaze. It is actually a very easy glaze to work with and will yield excellant results. Let me give you a few tips on this type of glaze in general an then some specifics about ANCIENT JASPER.
Many midrange and high fire glazes used by ceramic artists are what I call FLOAT glazes. These are the pretty glazes that tend to seperate out different colors in areas where the glazes are thicker. ANCIENT JASPER is this type of glaze and what it floating out is iron oxide. Iron is one of the more interesting colorants simply because it can be in so many different oxidation states. This simply means that it can make a ton of different colors. With any float glaze, enough thickness of glaze must be applied in order for the excess iron to float to the surface. If the glaze is thinly applied, the glaze will tend to be drier and a very unpleasant color.
This glaze was not developed where any massive amount of glaze needs to be applied. If it had needed this I would have told everyone on the label. We actually never had any issues getting red at all. I always try new glazes on all of our clay bodies to make sure there isn't some issue I need to know of. We also fire them at cone 5 and cone 6 to check stability. We found no issues with this glaze on either account. By now you probably saying, great but it didn't work for me. I will list some good parameters below for you to follow and I am 100% sure you will find this glaze simple to use and that it will yield great results.
1. Temperature: The red color is actually the first color to float and the use of more heat will tend to make it turn to the purples, yellows, browns and black. This means you will tend to see slightly (and I do mean slightly) more red at cone 5 than cone 6. No soak is needed for this glaze and actually soaking it will cause more red to fade into the other colors.
2. Thickness: The glaze must be applied with enough thickness to float the iron.
3. Kiln cycle: I fire all the glazes we develop in an electric kiln at fast, medium and slow speeds. Red color will be developed at all speeds but the faster the firing ~6 hours (tons of red) the better the results. I always quality check each batch at cone 5 in 8 hours. 10-12 hour cycles will cause more red to fade to the other colors. This is most critical within 200 defrees of peak. If your elements are weak and it takes the kiln a long time to achieve the last 200 degrees, you will find less red.
4. Cool down: No special cool down is needed nor will it help develop any red color. Letting the kiln simply shut off and cool naturally is all that is needed.
4. Clay Body: I have tested this on porcelain, typical stoneware bodies, bodies with grog, bodies without grog, brown colored bodies, etc. I develop red on all of them. I have found that when using our #1 Porcelain slip that the color transition away from the red tones is very pronounced (although it makes a rainbow of the other colors). This is because for a cone 5 porcelain slip alot of soft flux is needed to tighten the body. The flux in the body mixes with the glaze and actually makes the glaze softer (simulating more heat).
5. Texture: This glaze loves texture and will make some incredible colors. The texture makes the glaze get thinner and thicker in areas. The thicker the glaze the easier it is for it to stay red. The thinner the glaze gets the hotter that area of glaze gets and it shifts to the other colors.

These simple tips should help everybody that wants to make ANCIENT JASPER work. I suggest running a few tests of glaze thickness in your next kiln load and follow the firing rules above. Three nice coats on any typical stoneware body, fired to cone 5 or 6 in 6-8 hours with no soak and no special cooling curve will yield pieces just like the ones we showed in the ads. These were just pots we made in the lab. Honestly I have never actually made a pot that didn't make colors just like those pieces.
I will attempt to post a few more photos here today and next week we will post a board I made with all of our clay bodies fired at slow, medium and fast so you can see the slight differences.
Let me know if this helps.
The photo files are too big to upload. I will have someone help me make them smaller for next week.

#74635 Community Challenge #1

Posted by GEP on 01 February 2015 - 11:25 AM



I'll go first! This is a design I make on a regular basis, therefore my entry is ready to go.


"Serving Bowl with Clouds" 11 inches across.


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#72942 An Observation

Posted by Tyler Miller on 06 January 2015 - 12:26 AM

Just to arm those who are ever faced with the saying "If you can't do, teach!"  The actual saying is from Aristotle and it is "Those who can, do; those who know, teach."  In the classical academic world, teaching was considered an inseparable part of the intellectual development of the student as well as the teacher--the process of dialectic.  Who's teaching whom when Socrates asks his questions?

#71519 What Was Your Greatest Leap Forward This Year?

Posted by Diesel Clay on 09 December 2014 - 01:43 PM

I went from lurking in the forums at this time last year, to being a full fledged member, and feeling like part of this community.
I went from not having worked in clay for about two years AT ALL to having an etsy store, a website, my first ongoing commercial client, a couple of successful markets under my belt, and $5000 worth of work about to go to Market Collective in Calgary this weekend. (They are leaders in the local Handmade movement, and competition to get in is kinda fierce.) I have been more prolific this year than I have at any point since I graduated from college.

And I haven't really put it that way to myself even, until you asked that question. Wow. Definitely some growth.

Thank you to everyone here for helping me to remember that I'm actually pretty good at this. And of how much more I want to learn.

#69163 Festival Survival

Posted by Pugaboo on 02 November 2014 - 06:12 PM

I had an interesting day yesterday to say the least. I had a festival in North Georgia. I also had snow, wind, and cold. YAY

Setup was set to start at 7:30 am. I am usually one of the first to arrive since I like to take my time and not risk hurting my back. I decided to show up at 8:30 instead. You have no idea what a huge decision this was for me... I am always early for everything, I still can't believe I managed it. 😜

Secretly I am hoping the show promoter will tell me it's been cancelled when I pull up. I arrive and am told cheerfully that the show would go on that we were tougher than a little bit of weather. Hmmm Weather Advisory anyone? Pulling into the site the first view to greet me is a lone tent upside down in the middle of the field. It looked like a squashed spider with crooked spindly legs sticking out in every direction. The legs had a nice chunky profile though where the PVC weights were still attached and visible between the flapping shreds of the tent top. Has no one around here heard of the weather channel except me? 20-25mph sustained winds with 40mph gusts, rain, sleet, snow and Max temperature of 40-45. Woo hoo lazy sunbathing weather, oh wait I can't get a tan for the life of me so I guess I'll just do the festival instead.

I decide to set up my display but not to put up my tent, easy ups are not known for liking wind. I just didn't feel like practicing my tent flying skills. Lazy thing aren't I? I had brought extra weights. I usually have 4 25lb wrap around sand bag style weights that I use but I had raided the gym on my way through the garage and grabbed 2 25lb and 2 30lb kettle bell weights to add to this. I also grabbed my spiral anchors and an extra pack of ratchet straps. I was really worried about bending the frame trying to keep everything on the ground.

While setting up my displays I had to clamp the fabric covers down since they were flapping around like crazy. I zip tied all the wooden crates together and then to my tables. Whatever would I do without zip ties, wish I knew who invented them so I could send them a thank you note. I had to put pieces of wood under the table legs as the ground was wet and soft and they started sinking before I even had pots on them. Oh and why do they never sink equally? It's always to one side or the other, something really weird about that let me tell you. I zip tied my plate racks and sculptures to the crates and taped the plates to the racks. While I was doing this other artists would stop and ask, "aren't you worried about the rain?" My answer, "Nope pots don't care if they get wet and I have a rain coat and umbrella for me." They would answer, "oh" and wander off. Lol I guess my answer wasn't the one they wanted to hear.

From the looks of it about 1/3 to 1/2 of the artists didn't even show up. My husband said oh you mean the smart ones stayed home. Ummm... I set up what does that say about me? He just gave me a look. I guess he doesn't want cooked food this week huh. Mr. supportive stayed home with the dogs which is just as well having to listen to even one more person whine about the cold might have done me in.

The day progressed, the sun came out which was a blessing and made me even happier I didn't put up my canopy as it warmed up my space quite nicely. The wind was relentless and so was the cold. There was a handful of people braving the elements. I sold some items but nothing big. They didn't want to carry anything and expose their hands to the cold. If it was small enough to fit in their pocket they were interested but just barely. Spoon rests sold, colorful fall leaves did not. Personally I think Polar Bears have no need of leaves but find spoon rests useful for their big bear spoons. The show had the capability of be a great one if the weather had just cooperated. Thank goodness for spoon rests... Seriously spoon rests saved my rump.

By the end of the day I had the pleasure of watching another tent flip over, covered my show fees, supply fees, got paid for creation time, and made a little bit of profit as long as I don't pay myself for the time spent selling. I'm such a good volunteer I really must ask me to help out again! The booth behind me sold nothing, the booth next to me sold nothing, the booth on the other side never showed up. The booth diagonally behind me was a potter and he sold some. I'm thinking around $200 but it could have been more or less. The woman selling hats and scarves 2 booths down made a killing. Gee I wonder why? Any ideas??? Maybe I should have knitted little caps and scarves for my Pug sculptures and mugs then I might have sold some.

Towards the end of the show I am sitting there wrapped up in five layers of clothes fantasizing about Oldlady's closet full of wool sweaters. Weird but true, I actually got to debating with my self as to just how many layers of wool sweaters it would take to turn one into the Michelin man and have to be rolled away. Thank you oldlady for mentioning your lovely closet stuffed full of warm and toasty wool sweaters, I being a past Florida girl probably own 2, but at least it gave me something to take my mind off the loss of feeling in my extremities.

Anyhowwww sitting there wondering why I hadn't thought to bring a blanket a guy walks up and goes... "How can you be so calm? It's irritating!"

"Ummm excuse me do I know you?"

He points off in the other direction and I guess he can see me from his booth or something. I ask, "What is there to be stressed about? I can't control the weather, once I decided to do the show the only thing to worry about was tent or no tent, that decided there's nothing left to do but hope for the best." I told him the stress goes away when there are no options to choose from. He grumbled something and stalked away. Oh well another unhappy noncustomer. I really must work on my people skills.

The day continues, the clouds build, the temperatures plummet, the handful of wanderers stagger frigidly off to their cars and hey what do you know it's 5pm and I didn't blow away. YIPEE, success I am soooo good at this. lol The show promotor comes by and hands out checks for the $25 deposit we sent with our applications. Those of us still standing at the end of the day earned our deposits back. Woo hoo! I'm rich whatever shall I do with all the money!

The only thing good about tear down was that for the first time in 8 hours I wasn't shivering. Oh and the fact that it was really quick since I had no tent to take down... Really must think on this use of no tent policy of mine for the future just imagine all the stuff I could leave at home. On the other hands the medical bills to care for my skin cancer might eat into that joy some so I guess maybe it's best to just stick with a tent and take a bit longer to tear down.

Show survived, pots packed, car heater running full blast, I looked at my husband, grinned and said, "Gosh the life of an artist is so glamorous, so easy, no responsibilities, do what I want, not a worry in sight, it just doesn't get better than this."

He just rolled his eyes and said, "I think you froze more than your toes."



#54842 Video "a Love Story In Clay"

Posted by Isculpt on 17 March 2014 - 03:28 AM

My husband Bill and I are very private, low-profile people, but when Piedmont Crafts Guild, the oldest crafts guild in NC, asked us to participate in a series of short videos about guild members, we couldn't say 'no' to a guild that has done so much for so many.  Consequently, we spent a day last summer with a mini film crew at our rural South Carolina home near the Catawba Indian Nation, whose thousands of years of pottery tradition my husband carries on.  In contrast, as some of you know from the outpouring of help that I've received from this forum, I am a self-taught sculptor.  What I really like about the video is how it shows that, like everyone who chooses to work in clay, our love for the medium enriches and defines our life.  (What I don't love, having just seen the film, is that it now occurs to me that taking a few minutes to apply cosmetics (on me, not Bill) might have been a good investment of my time before the crew arrived to make a high def video!  :huh:)  Oh well.... 




Added note:


Thanks, all of you for your kind words and warm response to the video.  I have to say that the decision to focus the video on our relationship along with our work was the choice of the makers, and it struck us as slightly ironic.  After the intensity and intimacy of a shared life in craft, we were adjusting to a new reality that took Bill away from home and studio for all but a few hours a day.  After 25 years of working side by side, our new reality is that his days as Chief of the Catawba Indian Nation are filled with administrative duties for a tribe of 3,000, lobbying Congress on Native issues, and handling intense political pressure as he works to regain some of the sovereign rights lost to his tribe. Meanwhile I keep the homefires burning and look forward to the day when his crucial work on behalf of his tribe is done and I regain my studio partner.


The video shows us working on several pieces that are pictured in their completed states below.

Attached File  B Harris small image.jpg   52.81KB   5 downloadsAttached File  Bill Harris Pottery_054 small image.jpg   28.49KB   2 downloadsAttached File  BLUEBIRDS SWIRLED AROUND HER clay sculpture by Jayne Harris.jpg   181.59KB   3 downloadsAttached File  JAYNE HARRIS SCULPTURE 46 SMALL IMAGE.jpg   46.85KB   2 downloads

#46175 12 Inch Club

Posted by neilestrick on 19 November 2013 - 10:03 PM

Membership has it's rewards.....I'm not sure what they are, but I'm sure they'll be awesome.


#14538 A humbling experience

Posted by Pres on 06 March 2012 - 10:00 AM

I left home on Thursday afternoon excited to be going to my first pottery conference. The slate of professionals demonstrating had a mix of veteran potters with younger established potters. I had high hopes of returning home rejuvenated as the winter freezes are almost over here in PA. Eight and a half hrs. later I was getting a room and settling in for the night as it was past 10pm. Next morning with the GPS to guide me I showed up at the Randolph Arts Guild to be directed to the conference at the First Baptist Church. The church had a large meeting hall that I walked into seeing a stage of 3 potters with large flat screen TV's behind. To my left was John Glick, center was Cynthia Bringle, with Jack Troy directly in front-what a hand to draw to! They demonstrated all morning while bandying back and forth with good humor, and Jack read several thought provoking poems about life and clay. Three very different styles of functional pottery, varied techniques for surface treatment, and firing. To watch these individuals together was marvelous. After an excellent lunch, we had Ronan Perterson, Martha Grover, and Jake Johnson on stage. These three were also in very different in technique from the flowing organic porcelain forms of Martha's, to Ronans utilitarian colorful earthenware, and Jake's organic functional stoneware. Each had their own style, their own philosophy about clay, and their own personal voice. Wonderful interplay on stage, as they demonstrated throwing of forms, Martha throwing "bottomless", Jake pinching forms off of the hump, and Ronan with broad measured rims. They spoke back and forth about what was important to them with the forms they were making, and interjected tidbits about family life and life as a potter. The day ended with an excellent meal, and back to the room to bed.

Next morning the venue was reversed ending with the veterans, as they trimmed pots they had made, decorated forms, and talked about their work. We had more poems from Jack, more philosophy about sales and pottery from Cynthia and John. In the morning the youngsters assembled and trimmed. Martha assembled a multi-spouted bud vase with pulled dogbone handles. Ronan cut the bottoms out of pots and distorted them adding new bases, while Jake assembled a teapot and made salt and pepper sets. The day had been exciting, insightful, and very humbling. I began to wonder if what I was doing was even worth pursuing, and so I left the last session conflicted as I headed to dinner. After dinner was to be a trip out to Dwight Holland's house. The way I was feeling, I almost didn't go, but decided to anyway, after all I had traveled Eight hours, maybe never to come this way again.

The trip to Dwight's house was quite something. GPS will travel works well if you have the right address all the time. Alas I didn't have the right address so I went back to the The Exchange where dinner had been to get better directions, and finally made it. Walking up to the house in the dark the first thing I saw was a large elk rack hanging off the wall, hmmm. Inside the door to the right, I was suddenly breathless, there on the walls, on shelves 2-3 deep, on the floor were pots-pots everywhere. I felt almost claustrophobic, the walls wanting to close in on me. So many fine pieces of pottery in one place, and as I turned to look across into the room further, crowded with conversing people, I saw more pots, casseroles here, pitchers, floor vases, jars, everything imaginable. Deep breathes later I started to gather my poise, and looked closer. We had been told by Dwight to pick pots up, feel them, enjoy them; I dared not. So I looked, working my way across the room. At one point looking at a shelf full of casseroles and bowls " Any of these seems familiar" Jack Troy asked. I had seen them before, in pictures, black and white and color, but here they were. I was told Jack yes they were familiar. He asked me about a piece on the end " who did this one" I couldn't answer him, it looked like salt glazing, but I was so uncertain of anything I answered "I don't know". "Warren Mackenzie" was his answer. We discussed things a short time ending with look and learn from Jack. I felt shamed, that I couldn't place pieces I had taught about without my notes! Had I not known anything, was what I had done for so many years just a shadow of what I should have could have done? These thoughts were with me as I went from room to room, looking all through the house, every room had its shelves of pottery every room priceless in the gathering of the history of 20th century ceramics, and the windows other pots gave on ceramics through the ages. Thousands of pots all in one home! I finally lifted some of the pots, felt them, learned form them, looked more closely at them once I got over the overwhelmed feeling I had when I walked into the house. I also learned a few things too. The size, the colors, the textures, the scope of what these pots were in person were not anywhere near what we saw in books and magazines. Nor was the understanding of the pieces the same when seen as in a museum, as it was when touched, felt with closed eyes, and enjoyed by being right there to do so. I also realized, that part of my inability to identify the Warren Mackenzie or others on the table was that I had only seen them in books or magazines, my understanding of these pots had been flawed all along.

Don't wait like I did until you are in your later years to go to a ceramics conference! Get out, take the time to see the wonderful people out there working in person, get a chance to see good pots up close. Live a little!

I also wish that when you post pots in the forum, or in the galleries that you will give some reference as to size. Seeing a Robin Hopper vase that stands 20" tall when your perceptions from books may say 14" gives you an inaccurate understanding of the piece. Not important you say? Let me approach it like this. We all know The Picnic on the Grass by Seurat. We know that it is a large pointillist work. So what. I had thought that I knew it also, until I saw it in Chicago years ago. I walked a room, turned a corner and there it was between two large doorways. It sublimated the walls, the room and everything in it. The control it had of the space due to is size, its color, the glowing vibrancy of the the small dots interacting with each other had a power beyond any understanding from a book. The sheer size was breathtaking. I finally understood the Picnic on the Grass. so post some reference to size in your work pictures, or show them in context to something we know as size. We as artists have always had to photograph our work to show the work and only the work for shows, but does that show the casual viewer everything they need to know; I think not.

After I got home, I walked out to the shop the next day, and looked at some mugs I had made before leaving, handling them, looking them, and breathing quietly. I realized in the end, that maybe I should continue on, I had some orders to do, some thoughts about pots I could pursue. I'll muddle through. . .

#76031 *gasp* Handle Sacrilege!

Posted by jrgpots on 24 February 2015 - 01:38 AM

Also, another reason I enjoy pulled handles, is because I get to demonstrate it straight-faced, to a group of teenagers, while watching them try to not laugh...[/quote]

If you wanted to make them laugh, cover it with a condom to dry. You could Segway into clay shrinkage at the same time....lol

#70266 Overcoming Insecurity

Posted by Marcia Selsor on 19 November 2014 - 11:41 PM

@Benzine: Thank you...I paint with underglaze, yes. Straight onto greenware then pop 'er in the kiln. ^_^
@Marcia: ...I'm not sure what you mean...I use white slip over terracotta because the terracotta is too dark to photograph with my camera to see the image. :(
"Shows potential..."
...euphemism for "yeah, you have a lot of work to do before I can call you acceptable."
I'm gonna go sit in a corner now and nurse the sting in my cheek. If I only "show potential" after seven years of work that literally have broken my back...I better find something else.
@Pugaboo: I hate Hobby Lobby... but yes, I have an Etsy store. It's just off at the moment because I am too poor to pay the bill. Had a vet bill come up and my butthole ex ditching me in financial ruin. My clay and my underglaze are all I have. No car. My phone is my internet, which suuuuucks...I just gotta get outta here. There is nothing for me here. I really would like to get a website going, but I'm a bit dumb when it comes to web design. :D Thank you for your kind words to me. I work so hard. My hands ache from decorating for nine hours yesterday, no break. More of the same today. I have tried and tried for years to make my work look even ACCEPTABLE, and it hurts to be told by someone that a piece I feel very proud of only "shows potential." It just kind of makes me feel like I will never, EVER succeed in making beautiful things. I'm actually tearing up... my pottery might be crap, but I'm trying... :'(

You asked for criticism.Get over your insecurity and don't over react to something you misinterpret. What I was comparing was the strong contrast of your drawing compared to a green ware mug. Your drawing skills are fine. I think the stronger contrast in clay compared to what you do on paper is not a put down , but an attempt to help improve the impact of the clay drawing.I also draw or as you said "illustrate" my work. I find working in porcelain or drawing with a luster line accentuates the image. Rudy Autio used a white slip before starting to paint on his large vessels. If you are working in low fire range, try low fire white clay or work Majolica on the red clay. Look at traditional majolica decoration in Spain and Italy or even Delft tiles. You need a brighter base for your drawings to sing.This is a technical suggestion to help you.Not a put down.Cover the entire piece with white clay if that is what you have to use.


#69962 Huge Pots

Posted by Benzine on 15 November 2014 - 09:07 PM

Not really that big of deal.  


I make things like that all the time, except I use one of these wheels: