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Found 8 results

  1. Online Workshops

    The next series of online classes are posted on TeachinArt Instructors to look for is Marcia Selsor that is pushing forward with discovery in Alternative Firing. David Voorhees is giving tips about successful throwing of porcelain. Connie Christensen makes a tea set; tray and all and later this year we will add her shino expertise to this school. Nan Rothwell is the latest addition and we are very excited to add her stoneware throwing class. Antoinette Badenhorst added 4 classes in porcelain from Understanding porcelain to making projects in hand building to wheel throwing. Her pinching teapots for the complete beginner is very popular and the pinching porcelain teapots will be available late fall to early winter. An introduction to understanding glazes will also follow later this year. Instructors to look forward to is Paul Lewing, Curtis Benzle and Marie Gibbons. Each one bringing their specialty to TeachinArt.
  2. Nan Rothwell In Tupelo This Weekend

    If anyone is still interested in signing up for the wheel thrown demonstration by Nan Rothwell this coming weekend in Tupelo Mississippi, you can do that here: http://teachinart.com/index.html Nan Is the next instructor that will come on board with TeachinArt this year. We will be video taping her workshop next week. Feel free to check our online workshops out. We are growing and will soon reach the 500 th class mark. We plan some interesting event. If you have ideas of how we can do that, feel free to share your idea with us. http://www.porcelainbyantoinette.com/index.html http://teachinart.com/e-courses-online-workshops.html
  3. Online Workshops At Teaching Art.com

    Hi guys, TeachinArt.com Online School of Art is pushing forward this year and is offering more and more opportunities to learn at your own convenient time, in the comfort of your own studio. The first batch of classes are posted here: http://teachinart.com/index.html and the schedule for more and completely new classes will be posted soon. You can view our first instructors here: http://teachinart.com/our-art-instructors.html. We are in the process to add instructors Nan Rothwell, Marie Gibbons and Paul Lewing among others to the group. We are bringing a variety of workshops to you. If you know of someone that is successful and may be interested to join our team of skilled instructors, please inform them about our workshops. We strive to bring opportunities to educators and students in a way it has never been done before.
  4. As some of you may know, I am a beginner on the wheel. I started learning in October of last year when my dad set up his new wheel in my garage since he doesn't have a spot for it yet. (Ohhh the sacrifices I make for him ) In the past year I have gotten to the point where I can pretty much make what I want, though I still can't handle anything over five pounds. I don't feel I'm qualified to teach anybody else, but my dad is really struggling. He wants to retire from his masonry business and use pottery to supplement his pension, so there is a lot of mental pressure on himself to make a success of this as soon as possible. I know from my own experience that this kind of thinking makes the learning go much slower, and I've told him so many times, trying to encourage him to be easier on himself and give it time and patience. Today he came over to throw and I noticed this weird thing. I'm right handed. I throw with the wheel spinning counter-clockwise. When I'm lifting the clay I have my left hand on the inside of the pot and my right hand on the outside at around 3 or 4 o'clock. My dad is also right-handed and uses the same setting on the wheel. But he does everything inside the pot with his RIGHT hand, and the outside with his left. His hands are at 8-9 o'clock on the wheel. He has lots of problems with gouging the pot, thin spots, collapses, etc. etc. etc. and I think that might be why. I told him and he laughed and said that he's always thrown this way ... I never noticed before because he really doesn't like help so I leave him alone when he comes over to throw. He threw one pot "my" way and it actually turned out pretty well but he said it was strange and went back to "his" way with the next pot. My question is, which way is correct? If "my" way is correct, then is it easier to re-learn this way, or should he try throwing on the wheel with the wheel going clockwise instead, as if he's left-handed, and otherwise keep doing everything the same? Any advice or suggestions? (By the way, I think he would benefit from a wheel throwing class but I know he won't do it. He's really discouraged right now.) Is it possible that his struggle with throwing can be as simple as having his hands in the wrong position?
  5. 20160104 232345

    From the album Copper Dolphin Studio

    A shelf full of my dad's pots. I think he's made as many this week as he has in the whole past YEAR. He overcame a huge hurdle when he started throwing left handed, even though he's right handed. His pots have changed and improved in leaps and bounds. I'm almost as excited for him as if it was me making this progress.
  6. This picture makes me so happy that I wanted to share it. I started learning to throw last October. It was a very, very bumpy road and I didn't start having things to keep until mid-February. I almost gave up. To be honest, I did give up, for weeks at a time, but fortunately kept going back to it. The pitcher on the left is one of my very first "keepers", a little mug that I knocked against and decided to turn into a cream pitcher. It's one of my first attached handles, beginner slip trailing, the whole nine yards. The pitcher on the right was made about six months later. It's a pitcher because that's what I decided to make, not a mistake. I deliberately decorated and glazed it similar to the other one because I wanted to see them side by side like this. In every aspect of these two pieces, from the throwing, to trimming, the handles, decoration and even the glazing, I can see how much I've learned in less than a year. I can't wait to see what happens in another year! Maybe I'll be making pots that levitate or are invisible or something. Who knows.
  7. I don't even remember when someone advised me that flipping bowls so that the rim is on a flat surface, while drying, would reduce the amount of warping...but it is a practice that I still follow. I keep seeing studio images with drying shelves full of bowls, and the bowls are resting on their feet with the rims upright. OK...so, here are my questions: Is there any validity to the claim that drying bowls with the rim down reduces warping? Is there some point in the drying process where flipping bowls over evens-out the drying? Is the practice/preference more dependent on clay choice (i.e. porcelain vs stoneware) and/or size of the bowl? If you talk to your bowls, what do they say is their preferred drying position (its OK if you don't speak bowl) . -Paul
  8. Jennifer McCurdy Testing the Limits of Porcelain: Thrown, Altered and Carved Sculpture WS01 – Saturday & Sunday, 10-4pm, February 15 & 16, 2014 Fee: $200 member/$225 non-member This 2-day demonstration/discussion based workshop that will explore basic wedging, centering, and throwing techniques unique to porcelain. McCurdy will take participants through the production process of forming the cylinder followed by the technique of “dry throwingâ€, using two metal ribs to create the shape of the piece. Next, she will show her technique of altering these pieces off the wheel to create soft shadow ad movement. Day two will demonstrate carving techniques on leather hard porcelain vessels. The workshop will conclude with a discussion of sanding techniques and firing strategies for porcelain which take advantage of the material’s qualities. McCurdy will discuss the concept of “strength vs. plasticity†inherent in the porcelain as it moves through the working stages; from wet to bone dry and finally through vitrification; the transformation of porous clay to translucent porcelain through heat fusion, a process that occurs in the firing. Jen will offer candid conversation about the creative process, the importance and value of setting personal goals and about the development and transition of her work over the past thirty years while offering tips on making a living in the art world. This course is recommended for students with a working knowledge of clay coupled with a willingness to explore new ideas before enrolling. JenniferMcCurdy received a BFA from Michigan State University in 1979 and then learned how to formulate and throw porcelain at Florida Atlantic University under John McCoy in 1980. She has been selling her porcelain in art shows and galleries for the last thirty years, and her work is included in the collections of several museums, including the Smithsonian Renwick Gallery in Washington, DC. She maintains a studio in Vineyard Haven, Massachusetts. Her focus on the reflective and bone-like quality of the bare porcelain has led her to explore the light and shadow of the clay forms, resulting in a unique melding of line and structure. She is looking forward to sharing some of the tricks she has learned along the way – tricks of the trade, and tricks of porcelain. Perspective students are encouraged to review Jennifer’s website at www.jennifermccurdy.com. WS01 – Saturday & Sunday, 10-4pm, February 15 & 16, 2014 Fee: $200 members; $225 non-members Contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209
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