Pres
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Posts posted by Pres
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dhPotter recently posted in the QotW pool:
At what point in a potter's career does he/she stop searching for and testing new glazes?
When does the potter become satisfied with his/her stable of glazes and says "This is enough"?
I really don't know how to answer that, as I am still keeping notes on new glazes, watching for ingredients and percentages, constantly interested in new glazes and trying out quite a few in 100 g test batches. Over the years, my own work has changed quite a bit as I learned more about glaze. ... I had never had a glaze theory/making/testing class. However, as I had been a math/science major in the early days of my college education and worked as a lab assistant nights glaze chemistry is not too distant a reach for me. I have learned to be more intuitive of late as I understand much more about how things react in a glaze than I have before. I was a teacher in a HS, and as my budget was a small for the size of my classes, I turned to mixing my own glazes as a way to get the most bang for my buck. I had around 20 glazes I mixed for classes, and then a few that I used in large powdered lots of commercial glaze.
In my own work, I started out by saving money with just one white glaze that I sprayed underglazes and stains over top of for color and decoration using dipping and atomizer spraying. Over the years I have changed from that to airbrushing using a series of blue, brown and green glazes over a creamy tan white that reacts well over texture as now my decoration comes in stamped and carved decoration put in before shaping.
I really don't think potters say. . . enough, especially with the way the technology and understanding increases as we keep exploring the medium. Maybe I'm wrong, and after all it is only my personal opinion. Thanks for the question dhPotter.
best,
Pres
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Don't get me started on the disrespect of educator's.
best,
Pres
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Over the years, I have found that I often have to have a "Gestation state", a period of time where I don't do something, but think about it. Then when I return to the activity or problem, I have solved it without even really knowing it. This has happened to me often when dealing with throwing over the years. . . throwing off the hump and having "S" cracks, throwing large and not getting enough out of the base, Wonky rims, that were weak and poorly finished, trimming through too many large plates, cracks in large plates, cracks in large bowls, and the list could last for much longer. Point is, problems do not just disappear when you push more time into it, often you have to figure out why. Research helps, thinking about what you research helps, also thinking about what you know about clay and how it is structurally made up and how to use that instead of fight it. All in a lifetime of working with any material, especially one so simply complex.
best,
Pres
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Had 3 pots that got broken at once when a library shelf support that wasn't seated let the shelf fall. Broke the glass shelf and 3 pots. I worked with epoxy glue and putty for the next 3 months repairing the pots, paid for the shelf out of my pocket. When the students got their pots back, after having seen how badly they were broken they were amazed, but happy to have them returned. They also knew how much work I had put into repairing them and how sorry I was that they had broken. The showcase was one that loaded from the back, very difficult to work with. The next year I designed a showcase on large wheels with a skirt that hid the wheels. Loaded from the front, with locks. Really worked quite well and was used at all sorts of displays for the department.
best,
Pres
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My hammer was often the cutting wire, as I would often cut the piece in half just to see. I still do it, and find it is a great tool for teaching. However, there have been times that pots went through bisque before I realized I didn't like it. . . . . Floor drops are so satisfying when all of those shards are scattered, and nothing left to do but sweep it up. The sound of a pot breaking on a concrete floor is enough to get everyone's attention either in fear of an accident or a crazy teacher getting release on one of his pots. They never worried about me wrecking theirs.
best,
Pres
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Mark C. asked a poignant question of late that figures in to a lot of discussion that has reappeared concerning quality of work, pricing, and sales. Mark's question posted in the QotW pool is:QotW: What is a realistic amount of time to spend before being able to produce quality thrown forms on the wheel.Meaning ones that others will want (not family members) 1 year 2 years 3 years 4 years 5 years longer?
I find this to be quite appropriate, but maybe not inclusive enough. When I first learned to throw, I was in the studio for a 10 week course in the Summer. I had a night job that left my days open, as it also had flexible hours, posting liability ledgers in a bank. During the 10 week course, I had a 2 hour class 3 times a week. I spent 5 hours in the studio minimum every class day. I also mapped out the class schedule of final due dates, firing due dates and such so that once I started making pots, I kept nothing. Then the week before final bisque deadline I kept everything I made. 9 pieces to show for the class. Got an A for the course, worst yet was hooked on the wheel and clay.
The point of this is that intensive training will definitely move one along faster, and non distracted intensity over a few years would do much more than hobby potting a few nights week. Maybe you get my point now about years vs. intensity. I believe it is a good discussion, that will lead into venues such as apprenticeships, MFA degrees with required residency, work study programs or even jumping in with both feet into a startup. Hmmm lots to think about. So please horn in on Mark C's excellent but thought provoking question.
best,
Pres
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Chilly very recently posed the following question in the QotW pool: Do you think you have helped, or been helped more by people in the flesh, or by forums, or by You-Tube? Pottery-wise, not your whole world. I will take a little moderator's license here and paraphrase: As a potter/ceramic artist, Do you think you have helped, or been helped by more people in the flesh, by forums, You-Tube, or other printed or digital media?
I really have so much I could write here, so cut a long to the short. . . .
I have been a HS teacher, and as such I like to have thought that I influences hundreds if not thousands of people over the years to experience and appreciate all things ceramic. I have also been influenced by professors, and others in classes in college and graduate schools. In the flesh, oh yes, so many times have I been totally enthralled by a demonstration at a conference or festival, and often at a smaller venue as a workshop. I have also influenced others in the same way as I have demonstrated in festivals, smaller venues, and in my own classrooms.
I started getting answers to questions I had in the early days of the internet, seeking knowledge that was verifiable, and making use of it in my classroom and my own pottery. Often these would be forum or other texts of glaze formulas, firing solutions, repairs and other things. As the Ceramic Arts Network appeared I became a regular on the forum reading much of what was presented, finding some real gems, some friends, and lots of knowledge and usable advice. Later when asked to become a moderator by John Baymore, I jumped at the chance. I had recently retired and was looking for new venues for the teaching that I had so loved and so missed. The turn had gone full circle and I now was able to learn and teach within the forum.
I have always been an avid reader, magazines and books, fiction and non fiction. I would often peruse Ceramics Monthly, Clay Times, and later Pottery Making along with so many others to get information. I usually did not partake much of the art speak, as it was irrelevant to my personal interests. However, techniques, processes, studio shots, pottery, all of those I would drool over. Seems of late, I have found again that I can teach with in a magazine format with some of the published articles in the last few years. I still have an extensive library, and magazines coming monthly to keep me interested, especially in the winter months when the shop is
Frozen !I have used You tube, when in the HS to show students alternatives to the way I throw, or how to trim a plate, or a bowl well. Of course I have learned some alternative techniques also, and find that some of my old students have come back to the adult classes and shown me videos that have influenced them and asked for my thoughts and alternatives.
Life is truly good!
best,
Pres
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Ok, OK, OK, ok. . . no more new QotW's in the pool so Pres is going to have to pose one. I just happened to have been asked a few days ago if I would be interested in a Brent 14 inch slab roller with stand. This is a cable system that I first purchased while teaching. I am familiar with its foibles, and the board system for setting up thicknesses. So not a big deal. However, I had to pause, as my one car garage is kind of crowded. Then I figured that I could always cover it and use it for a table or new pot shelf when not actually using it. So someone might ask how often I would use it? I do like to do a bunch of slab/wheel combinations, and this would be helpful. . at times.
In the end I said yeah I would take it and pay some cash for it. I think I mentioned $25 or $50.
So the question of the week is Space wise can you afford a slab roller or any other piece of equipment that you would not use all the time?
best,
Pres
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18 hours ago, Mark C. said:
Min I got tired of salt pigs taking so long-I worked on a copper pipe to cut my opening like a hole cutter. I like an oval opening but since yours are round this will go easier for you.
I ovaled the larger copper pipe fitting and then ground the inside down to a point with a Dremel tool . You could do this with platic pipe or fittings(these vary in size) Just find the size you want and sand or grind the edge to a point and t=now you have a fast punch. It works great then sponge smooth. Saves tons of time.When I make salt pigs anymore, I just throw a rounded jar with a short lip, lay an embroidery hoop over the top at an angle and cut with a fettling knife, then reverse the top 180 degrees and rejoin. Angled cut sets the opening at near a 45.
best,
Pres
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Still use catawampus. . . after living all over the country I have found that some words are regional, and but have credence. At the same time some words really date you! Catawampus might have been Wonky a few years ago, or even lop-eared, whatever the word is undeniably descriptive by sound of being misshapen.
best,
Pres
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Hi folks, we had a question a while back on the QotW pool that I thought I would stretch a little for better response. liambesaw asked if wheel direction is something that is important to you? I am going to stretch this a bit to ask. . . Is it wheel direction, wheel speed, variation of speed, smoothness on the wheel or another factor that is most important to you.
All of you probably remember that I was a teacher. When teaching we often had to deal with righty's and lefty's. Interestingly enough, Handedness would be used as an excuse to not try at a task, and in most cases I could overcome that by demonstrating any technique by using the other hand. This when drawing, painting or other flat work was easy, with the wheel a little harder. However, I came to be able to center both directions open, and throw. Not as well, but reasonably.
For me wheel direction is important, as its the ability to have varied speeds. Our only wheel in the department was an old Amaco 2 speed wheel. Neither speed was very robust, and throwing on it was limited in size. . . I usually torque stopped it when throwing more than 12#. Later the motorized kick wheels worked well, and trained one to move slower as the form rose. . . a natural attribute of any kick wheel. Moving on to the direct drive belt driven wheels was at times and embarrassment, but they were fabulous for larger pots, or faster production. My only complaint was when a belt would be worn in an area, or pick up some sort of crud where the wheel would have a Whomp Whomp every time you went over that area. This usually ended up with strained nerves, and pots with some sort of twist line.
What are important wheel qualities to you when throwing, and what type of wheel do you throw on?
best,
Pres
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Recently Johnny K. Posted the following on my profile:
Hey, Pres, How 'bout this for QOTW: How do you see yourself in clay?
One of the things about taking college level Ceramics courses it the challenges you are presented with. In the last course I took on Raku the professor had a thing for Xian warriors...the terracotta army unearthed in China. One of our assignments was to sculpt a version of one of these figures...with a twist. We had to incorporate some aspect of our current life situation into the sculpture. I don't consider myself a sculptor, but I wanted to give it my best shot. Since my primary interests at this point in my life are ceramics, farming, and photography but none of the statues were suitable for the pottery or photography aspects, I chose the farmer idea. It was a real challenge, but a productive one. Here is a photo of my Raku "John Warrior" self-portrait. , and the challenge..."How do you see yourself in Clay".
So How do those of you out there see yourself in clay?
best,
Pres
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Try fluting before shaping to see what happens. Only shape on the inside of the fluted area, then finish the top with inside/outside movements. Just a suggestion..
Smart move on the electrician.
best,
Pres
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Liam are you doing your incising before shaping, that often softens the lines. Nice clean shapes from what I can see.
best,
Pres
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Yeah, I would put the note in plastic. Who knows.
best,
Pres
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Duly noted.
Pres
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Even though Warren McKenzie died in December of 2018, I am kicking this strand off by including him here.
Min posted the following link to an excellent historic article on Warren.
Sad news, one of the greats, Warren MacKenzie, passed away on December 31.
Truly a big loss.
http://www.startribune.com/world-famous-minnesota-potter-warren-mackenzie-dies-at-94/503729332/
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There have been times where a significant event has happened involving ceramics where posters could not figure where to post it. Sadly enough, deaths of important artists is one of these areas. There are times also when a major museum has a Ceramics event of great interest, or where some other event occurs that really should be posted other than in the Ceramic Events of Interest area. We have posted this strand here in the Educational Approaches and Resources section as we expect the litmus test to be. . . .is this of educational importance to Ceramics.
best,
Pres
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Mark, very good advice there from one who has been in the trenches so long. I believe like you say that you have to use pieces yourself to find how they work and how to improve them. Great thoughts!
Tom, your passion for clay is not my cup of tea, but I am sure many like me will learn from your depth of understanding of the clay beast. Keep on posting as even though I often do not understand all, I do glean a few tidbits for future use. I liken your passion for clay like some I have seen firing that can tell the temp of a kiln with in a few degrees just by the color of the heat, not that that means much for heat work, but it does help.
best,
Pres
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Gabby recently asked in the QotW pool: How does your process involve object design before the fact, whether planning a new design simply for the novelty of it or creating innovative designs that provide solutions to practical issues or uncommonly met needs?
If I am understanding the question correctly, Gabby is asking how as potters we design, modify or redesign objects for decoration or use. As a mostly functional potter, the design of a functional form is something that is foremost in my mind. I am always looking at something like a batter bowl, or a honey jar with the thought of improving the design for either something more aesthetically or functionally pleasing. Many of my ideas come from careful observation, sketches, and actual improvisation while working.
I have often liked the functionality of batter bowl, but always wondered about handles. . .to have them or not, whether vertical or horizontal, and how to integrate them pleasingly into the form and still have the form stack-able. Over the years I have created several different versions, used them and discarded the idea for one reason or another until I got to my latest design a few years ago using a flared rim that rolled opposite the spout into the outer form, with a strap handle. From the top the form is heart shaped, and it stacks well, and is functional with the handle on top. Pics on my blog site.
Honey jars are something else that I thought could be improved. First off, the hole for the swizzle stick was an opening for bugs. . . what bug does not like honey! At the same time, we were always losing the stick. So I started creating forms attached under the lid to fit into the honey. The first of these were like handle forms with an inverted edge as a cup. Didn't hold much honey. Of late I have been doing them with a hollow knob with a notch cut out for a spoon with a drizzle hole in the back. Pics in older posts and on blog site
I believe that most functional potters tend to think of functionality, and want to improve their forms for either function or aesthetics. Sometimes it is just a matter of standing out against a crowd, but mostly about progressive improvement.
best,
Pres
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As far as magic, I really believe there is some magic in the clay, every time I unload a glaze load, or make a pull.
best,
Pres
- Rae Reich and Marcia Selsor
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Glazenerd posed the following series of questions in the QotW pool. I am posting both of them as they seem to be very related:
When, where, what, or who influenced you to begin your journey into pottery?
If you care to share: what was it exactly about pottery that drew your interest?
In answer to this area of interest, I can really remember it like yesterday. . . Mansfield, PA, Mansfield State College, Art Ed department, Ceramics I, with Stanley Zuchowski. I had done a hand built slab box in an earlier crafts class, and had signed up for a Summer class thinking that I would fill one of my elective class credits and move on. Little did I know that the feel of the clay moving through my fingers, and the challenge of the wheel, control of the clay and movement to make a form would keep me interested for the rest of my life. I was enthralled by the teacher's understanding of the clay and the large forms he was able to make, but in the long run came to realize there was so much more to it than that. I had never really had any experience with the potters wheel until then, and no experience with clay other than the occasional grade school project that might have lasted an hour if that.
Best,
Pres
QothW: how often do you introduce new forms, and does that change throughout your career
in Int'l Ceramic Artists Network (ICAN) Operations and Benefits
Posted
Callie Beller Diesel recently posted the following in the QotW pool: how often do you introduce new forms, and does that change throughout your career?
How many new designs do you come up with in a year, and what's that work cycle like?
As a functional potter, of late, I have not come up with a whole lot of new designs. However, as a teacher 10 yrs ago, every month was a new piece, handbuilt or wheel thrown, or as a combination piece. Projects for students were often "tested" out by some sort of piece in the beginning. A theme like "crazy plumbing" or "crooked houses" for something like an extrusion piece would be planned out and assembled by me before ever introducing it to the kids. Then there was the demonstration piece, and when starting a demonstration, I usually would carry that to completion also. So every year there would be as many as 10 or 15 new forms.
When working in the studio, I am not as much concerned with new forms as refining or modifying existing forms. An example of this may be Berry bowls that came about as I found myself using a lot of fresh berries for dessert in the Summer, and decided to do a berry bowl with a shallow plate underneath for drainage of the rinse water. That ended up as a Christmas gift that year for some relatives, and then the following year for others. Teapots may be done with tilted galleries one year, and another with regular galleries, one year rounded forms, next wide kettle type forms. None of these are really new forms just morphs from previous thoughts and ideas.
best,
Pres