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clay lover

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Everything posted by clay lover

  1. I was thinking one of those perfect little ovoid bottles of Otto Hino's that seem to be alive when you cup them in your hands.
  2. Thanks, John. This weeks challenge, center tall and open and pound open dry. I know I can combine pieces to get taller, larger pots, but I want to throw them as tall as I can.
  3. I read this early this AM but still don't have a reply, I am stumped, but have certainly been thinking about lots of wonderful pieces I have seen.
  4. Stellaria, The article said the potter slanted the clay when bringing it down to put more spiral in it. Do any of you have any experience or knowledge about throwing this way? That was my original question. It is thought provoking to me. I am hoping someone will chime in here with some info on this topic.
  5. I came across an article in an OLD CM, May 87-Jeffery Werbock, with this idea. It is presented as a Korean technique. Are you familiar with it? When I read it, I thought about my question some time back about throwing orientation of pugged clay and s cracks from the spiral in the pug. Wouldn't this 'eye of the clay' approach have the same issue? I was taught to put even small hand wedged pieces on the bat with the spiral cross wise so as to minimize s cracks. This article talks about using spiral wedging to create the spiral and how coning up and pushing the clay to one side when coning down will increase the twist in the clay, to your benefit. The idea is that it is easier to open and throw because you are working with the spiral. The focus of the article was throwing large. The potter in the illustrations opened the tall slender lump of clay with his fist, going into the clay elbow deep. The first pull was from walls already 12" tall.
  6. Nicole, I thought exactly the same thing, and later wished I had used the wash. Properly applied, it does not flake and I would have had clean shelves much longer. I also use a lot of glazes and combos and have students, so that may make a difference to you.
  7. What do you mean, "What do you do about the frogs'? I glue them in with E6000.
  8. Sorry, but don't think 'mixing my own' will be less time consuming. And testing after mixing , FOOOOOOREVER.
  9. I run clock wise, and my right hand and shoulder take more of a beating from both centering and pulling..
  10. Where did you guys find plastic jars that fit the rings on the Critter? I tried U-Line but they did not know the fittings of the jars they sell. I thought the term Mason Jar would answer the Q, but did not. I also don't like the idea of glass jars, and I like extras filled and ready to spray before I start the process. Min, did you take the Critter apart, take off the jar base and put on the rings -lid of the plastic jars you found? Did not think of doing that.
  11. No specific injuries, but lots of hand based work and sports, and age related. The PP has kept me going. And changing around what I do during the day. I only have 3 balls of ready clay within reach of the wheel. I have to get up, move around weight out more clay, move finished pots, etc , all day. I think it really makes a difference at the end of the day.
  12. Long necked bottles. cause life was too smooth, so I invented me some stress.
  13. I don't tweak glazes, but I do a lot of testing. I am still adjusting firing schedules for max performance of glazes I already feel good about.
  14. Every word she ^ said. I teach my students to make it cleanly , then alter it with a plan. To call inability to throw a clean pot 'artistic' is an insult to the efforts it takes to learn to throw well. unevenly thrown, walls thick and thin, twisted ,bottoms drilled out, are failures to throw a piece, not creative or artistic work. To me, "embrace the asymmetry" means congratulate yourself for your lack of skill. That is a disservice to my students, it demeans their ability to learn the skill and panders to their egos. Well placed critique is fundamental to teaching and learning. As a student, I would much rather have an instructor teach me how to recover my errors in a pieces than to be told, "It's artistic, leave it like that"
  15. Can someone explain how one can compress the bottom od what seems to be a bottomless piece of clay? When I try, the pot just gets deeper in the hump. I don't get it. I keep moving the cut off line lower.
  16. in my Skutt, medium is too fast for everything.
  17. Ditto. , never saw 'failure to cool' ???
  18. WOW ( maybe he is a hand builder with an extensive studio and lots of skill?)
  19. We started out with cylinders, that went pretty well, the 3rd day after some thick-thin wall issues, he got the hang of it, then 4th day tried rounded bottom and opening it to a bowl. Predictable beginner humps in bottoms, but opening went well. He was realisitic about what he was expecting to end up with. We talked about what he could be able to do with more time on the wheel and he is ordering a wheel tonight. Everyone's definition of decent is different, he felt positive about what he learned and left with some written reminders of things I saw that seemed to be his personal bugaboos. A good week for both of us.
  20. Have you thought about Highwater's Speckled Brownstone? A high production friend of mine uses it and has no issues.
  21. My thought is that the clay must run from your palm through your fingers when throwing, pulling a wall up, , So clockwise would determine hands on left of clay with right hand in and reverse for counter clock wise.
  22. Thanks, Neil. That is what I'm heading her to. Will she see much difference between my 1/2 HP TS and the 1/3 ? other features seem to be the same.
  23. To confuse this question even further, if you are turning the wheel counter clock wise, which SIDE of the bat are your hands on. Are they at 3 o'clock or 9 o'clock? And which is inside? I'm a leftie, and my body prefers flexing left, so that determined how I throw. more than the handedness, I think. Both hands have to work, but I had an easier time getting clay to go up, not out because my dominant left hand is on the outside.
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