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yappystudent

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Posts posted by yappystudent


  1. 5 hours ago, Gabby said:

    I don't know if you offered this speculation is jest.

    No I offered it in complete sincerity. 

    5 hours ago, Gabby said:

    Those interested in an area often ask those already competent in an area what are the best or viable possible routes to gaining competency.

    Clearly my personal experiences with teachers has been pretty lousy (although MS. Kim at CR was a rare exception <3) -as I've often described in my posts my usual experience when I asked a question in class was to be ignored or worse yet, quickly understood that I already knew more than the teacher thanks to self-study. My current teacher is now on vacation for two weeks AFTER class has started...rather than fill the page with useless, unwanted observations let's just say the trend continues. When do I get my money's worth?  What's the point of asking them anything? Like before I'm working on my own stuff, marking time because I have to take the beginner's class and can't afford the 'real' classes. Also, it's a prerequisite so we don't 'damage' the studio. That said, someone just put the large very much still wet vase I was working on in the kiln and fired it up. They had to dig it out from behind all my other work where I tried to hide it. Is this the level of competency I'm aspiring to? They must know something I don't....also somebody stole the silly little teacup pinchpots we were forced to spend the first class making, just to put the cherry on the cake. Fortunately tea is gross, I'm just wondering what else of my work will go missing or get blown up. 

    5 hours ago, Gabby said:

    I have heard actually quite heated discussion of this outside of the arts, with the most strident, typically, those whose education in a subject was not classroom-based.  I have heard this question discussed in the most heated way among those interested in advanced sciences (say, quantum physics)  whose knowledge of those subjects comes from the internet and are disappointed that their theories are not more seriously examined by those in academia or invited to the TED stage.

    Gabby, I get your implications, you think I'm an upstart who doesn't know any better and is insecure about it, shouting to the empty air and just, well, embarrassing myself.  What you define as strident I'd call not being a sheep. I have no interest in being whipped into line to serve the machine. Surrendering creativity, free will, self-fulfillment, If that's what you enjoy dig in, there's plenty to go around if you want to waste a ton of cash and years of your life. Luckily, school is no longer necessary and is getting less so over time. I think this is awesome! 

    A quote that expresses what I'm trying to say better than I can, from "A Language Older than Words" by Derrick Jensen: Through the process of schooling, each fresh child is attenuated, muted, molded, made- like aluminum -malleable yet durable, and so prepared to compete in society, and ultimately to lead this society where it so obviously is headed. (the entire book is about the collapse of the environment and what we've lost as human beings thanks to societal psychosis) -schooling as it presently exists, like science before it and religion before that is necessary to the continuation of our culture and to the spawning of a new species of human, ever more submissive to authority, every more pliant, prepared, by thirteen years of sitting and receiving, sitting and regurgitating, sitting and waiting for the end, prepared for the rest of their lives to toil, to propagate, to never make waves, and to live each day with never an original thought nor even a shred of hope. 

     

     


  2. Some points, although I think I've ground my views on this topic into the ground already. ..I feel quite salty ATM, so:

    Suggesting studying or doing ceramics is "Hard Work" is funny. Anyone who thinks that has never done any actual hard work.

    If college were available to everyone who deserves to go, we wouldn't be having this discussion. Of course all artists want to learn and take advantage of available resources, but they're priced out. Even sucky college classes would probably be worth it just for the connections you'd make with the art community and other benefits. Poor is rarely a temporary choice with options. Those who've got their piece of paper justify their good luck by assuming those who don't have one are lazy or misguided or stupid. No, they're just poor, and it's a lot more crippling than you think. Thank the Universe for Youtube and the interwebs, also the CAD site has a few helpful tips now and again but this argument is getting old. 

    I'm starting to wonder if this topic keeps resurfacing because those who have a piece of paper want to reassure themselves they're safely in the elite and everyone else is not. It must be a very warm, secure place to be. I wonder what that's like? 


  3. I've only tried a few brands but settled on mostly Duncan concepts because they do a few things reliably well: intermixing, -I have a nearly complete palette of oranges, greens, browns, grays, mauves, etc; also working well up to cone 6 albeit with differences in finish. They get a satin finish at ^5 so I can skip the overcoat. The colors are bright with a few exceptions: I can't achieve a magenta (the chip at the store looked pretty good) probably thanks to not venting my kiln. Purples, pinks of any kind are bit more puce/mauve ranged but still pleasing. Certain colors on black clay at ^6 are very dramatic, they remain stable and don't blister over black clay.  

    Amaco Velvet Bright Red is the most vivid true red I've found and I think they know it because the price is high.

    I've also used Fireshades which are like an economy A. Velvet. When I need a basic velvet matte in a primary color I go to the Fireshades first. My tests showed they're also stable up to cone 6 over black clay but unlike the Duncan's remain matte. 


  4. OK, confused again after some online research about cookware: What's the pro's and con's of cone 10 stoneware or porcelain as compared to  low fire .03-.04 terra cotta or low fire white clay for that matter? 

    I thought low fire was the way to go in regards to temperature stresses for culinary purposes, but makes for a more delicate piece in regards to say, dropping or knocking a metal spoon against the rim, and stoneware/porcelain is tough overall but might shatter freezer to oven. Story: one of my mom's Noritake soup bowls at room temp, split neatly in half when I poured near-boiling water into it, so I can attest to this in part. Yet I've noticed online potters generally say their bake ware is high fire stoneware for the most part and that's what makes it so great. Did I get on the wrong boat?  


  5. I really like the green and white color choice, and agreed it looks even better fired hotter. Not so crazy about the dull/warm/blackish-brownish stuff but that's just me, hey, I never like black/brown/gray mugs. Also you have my exact kiln. I noticed the very first load I fired in mine seemed to fire hot and everything that came after behaves normally and continues to do so. I did a 20 min hold my first fire and it was the only time things got runny, Neilestrick said my mistake was the hold time. Just a thought or two. Keep up the good work. 


  6. So far I've solved my shortness issues by soaking clay for a few days or longer without ever drying it out fully. However I've noticed if I do this without a particular trick results are varied. BTW I got this idea off a Simon Leach video so if you think it's unnecessary blame him, but it works for me. What I do is use a long knitting needle or somesuch to poke holes all the way through the clay, pour a cup or two of water over it, drop the bag into a bucket of water to squeeze all the air out, and let sit for at least 12 hours. This works perfectly for new blocks that are too dry or have been sitting around my place too long. 

     I wasn't aware of saving the 'smalls' water until now so my first slop bucket recycle might be interesting and maybe I'll try drying out some bag clay and pound it up to add back. 


  7. On 9/16/2018 at 8:02 PM, LeeU said:

    The NH Potters' Guild has a wood kiln located over an hour away from me, but so far they have been unwilling to accomodate my (physically invisible) disabilites and I can't physically participate in the required pre-during-post firing work...several 8 hr. shifts over a 2 week period.  I have suggested (requested) that they consider having  a policy like the NHIA  community education program that gets me into the anagama firings. I am allowed to pay (a premium!) for the shelf space and then am not required to work shifts.  So far the board has not added my request for discussion (& hopfully resolution) to any of the meeting agendas. I'm not interested in getting into the legalisms of a public non-profit not making a reasonable accomodation (i.e. in this case, pay to play) for someone with a disability, but I'm about ready to withdraw from the organization. I'll again bring up the issue of having a policy on disability accomodations at the next meeting, but that's probably the end of it for me. I don't care for the feeling of being discriminated against, in effect, even when I know that is the furthest thing from people's conscious minds when they just don't "get it" if they don't see a wheelchair! 

    It's amazing how fast the word "lawyer" gets ppl's attention. I'm not saying you'd actually do it, but it might make them talk a little longer and more earnestly about changing their policies at some point in future to be more fair. Complacency in regards to have and have-not's has gone on too long. That they won't even talk about your suggestion at their little meeting is outrageous. they're probably hoping you'll go away if they don't. IMHO it's perhaps not your duty to set them straight but it's certainly your right to. Sounds to me like you're giving some selfish jerks way to much credit about their motivations. 


  8. You can wait until the pot is nearly dry then sand the burrs off rather than try and wipe them, if you've carved in the design freehand. Also smooth tipped tools, like wooden tools or a ball stylus will do a better job than carving with something sharp. I've a collection of rubber alphabet stamps, and I prefer stamping because it doesn't leave burrs. I got the sets from the $2 bin at a big box craft store and others from thrift stores that are incomplete but they have ampersands and other symbols. They look quite nice used with ceramic and are already reversed. If I was going to make lots of the same saying on mugs I'd make my own bisque stamp, this works better than most other materials (polymer clay tends to stick but it's doable). Try cut pieces of plastic grocery store bags over the spot you're stamping/carving, IMO they're easier to handle than pieces of plastic wrap. 


  9. 1 hour ago, liambesaw said:

    I'm just trying to invoke some thought, I don't see anything in black and white, I am using these phrases to point out how black and white your own points are.

    I have a lot more questions (albeit mostly hypothetical) in my responses than you do, so I don't understand how you feel there's no questions asked.

    It's hard to have beliefs challenged, I totally understand that and respect you not wanting to talk with me anymore.

    My arguments are anything but black and white, yours are. Some people just take general questions as personal attacks and there's not much I can do about it. 


  10. 21 minutes ago, liambesaw said:

    So you think after 10 years of handbuilding you will feel like everything you make is easy?

    Yes. 

    21 minutes ago, liambesaw said:

    This is part of driving yourself forward.

    How? How is trying to learn the same thing for ten years and not trying something else moving forward? 

    23 minutes ago, liambesaw said:

    If you feel like you are at a point where you can't progress anymore, doesn't that mean the game is over?

    Yes. It does. 

    25 minutes ago, liambesaw said:

    What if you really love doing something but will never be good at it?

    I don't know, I've never had this problem, in my case I tend to love something after I recognize I have a knack for it. But I'm wondering if the question is relevant. Is that why people keep throwing themselves into perfecting wheel pottery because they still love it even though they can't make it work even after ten years (actually someone said 18 years...)? I just don't get it, it sounds like masochism. 

    29 minutes ago, liambesaw said:

    Should you stop and do something that you don't love?

    That would be stupid. Why would anyone do that. 

    31 minutes ago, liambesaw said:

    Should we assume that these people havent tried hand building and didn't like it?

    I think you meant haven't tried hand building so they don't know if they'll like it? But I think the answer is no, I mean all other ways of forming pottery beyond the wheel. At any rate I'll bet they didn't try it for 18 yrs before feeling like a failure for not getting good at hand building. 

    35 minutes ago, liambesaw said:

    I get a very different feeling in my body and mind on the wheel vs. the table.

    Me too. 

    36 minutes ago, liambesaw said:

    I dont like hand building, it feels wrong to me, even though in school everyone liked my hand built pieces more.  I like the wheel even though I'm awful, when I'm sitting at it, everything feels better in my life.

    Crouching over a wheel reminds me of the morning after results of a drunken late night. My back hurts, my hands are cold. My delicate hands are too small and my fingers too pointy to throw any vessels worth using. Hand building feels right to me. Wheel work feels wrong. I feel like I'm trying to fix a car or change a tire when I could be driving someplace nice. 

    40 minutes ago, liambesaw said:

    I like the wheel even though I'm awful, when I'm sitting at it, everything feels better in my life.  Should I stop trying to get better?

    That's up to you. I admit I will probably never understand how someone can love something that involves strict and punishing discipline; although trying to keep a bonsai collection probably forced me to come pretty close. I'd like to know why you think this one thing is so important and comforting and nothing else is? Again, I'll guess there is something deeply personal about it for you and I wasn't attempting to make a personal attack, I'm trying to hash out something I hear over and over on these boards about the challenge of mastering wheel pottery and another point arose about my opinions about the value of schooling. 

    47 minutes ago, liambesaw said:

    Should I not ask for help on the internet even though I've been throwing for 10 years? 

    Should I not ask questions about what drives your motivation? 

    48 minutes ago, liambesaw said:

    I don't really understand the gripe, it doesn't help to tell people to do something completely different when they ask for help on something, or refuse to call it art or original.

    I'd say don't take it personally then. I think it does help to tell people they have other choices. Sometimes one person just saying something out loud (or in writing) will give form to an idea and help others make choices. They will know they're not alone. It sounds like you're saying no one should have a different opinion and everyone should just go along with the herd. Also, I wasn't "telling" anyone anything. I was asking a question why they feel the need to keep going at the same thing all the time. Also, in regards to refusing to call something art, you'll have to define what "it" is specifically, do you mean a plain brown bowl made in series of 50 a day? or one of Callie's artistic globe vessels? I'm not sure we're going to get anywhere talking to each other, you want black and white's and no questions asked, my head doesn't work that way. 

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