Pres

This strand will be a series of compilations from In the Studio forum. Please do not reply, as these are to be without-wanderings. If you have an idea for a new line here-PM me.

PS not my idea, but one John has set up in the Technical forum.

Best, Preston

January 6, 2014

I taught adult classes for a few of my later years. I would not consider one on one classes, as I believe that most students learn faster/better when surrounded by other folks to feed off of. Discussion during class while working, loading and unloading kilns together talking about what we see as it goes in or comes out is paramount. Seeing other folks working on different ideas helps to build enthusiasm and confidence. At the same time it encourages one to jump out of their comfort zones when they see others on the wheel struggling, and some succeeding. No one stand out, because they all have strengths. No I really would not consider a one on one class situation.

D.M.Ernst · January 30, 2013

Happypots,

I, like you, have given "private lessons" to adults, with a different take, however. If the student wants to learn ceramics, they start with handbuilding and work their way up. I remind them that getting work fired by someone else (other than in my studio) isn't all that easy. Most places feel more comfortable knowing the student has at least the fundamental basics under their belt. And I try to convince them that the first piece of equipment they need to buy is a kiln--not a wheel.

I have also had students who only wanted to learn wheel throwing techniques. My classes are three hours long (reality check--set up and clean up equal approx. 1/2 hour which is one-third of your alloted class time) plus the student can practice on their own for three hours a week as well. The classes (and the practice time) run for six weeks--no extensions. This is still only 36 hours total (providing they are motivated enough to practice). There are restrictions during class time. They do assigned work--cylinders, bowls, bigger cylinders, shaped cylinders, bigger bowls. If they practice, they can experiment as much as they like, but when they come back to class they do assigned work. Someone who took pottery in high school will advance more rapidly, but tossing a total newbie into wheel throwing without that background is a disservice to your student.

They need structure until they master centering, opening and repeated attempts at drawing up the clay into a viable form. Just as an untrained horse doesn't know what to do with that bit in their mouth, the newbie needs gentle, steady reinforcement so trust and confidence can grow. Rethink your method and maybe the time set aside for classes. When that student actually draws up a slightly wobbly cylinder and it doesn't collapse--their smile will light the whole studio. Once they feel they can throw well, I put more stumbling blocks in their way. They are expected to weigh the clay and make three whatevers of the same size and shape. No, I don't expect the outcome will be exact, but it is something that is important to working with pottery. They are also expected to draw what they intend to produce. No fancy drawing, jut a line drawing showing dimension measurements. These are not "rules" for teaching, they're my methods. I think they need goals--even if I have to set them.

If you are giving group lessons, invite your student in to see the progress of others (or maybe drop in to the community center to take a peek).

Idaho, I like your take on the mixed bag doing the handbuilding and the throwing. I often would have students that had one thing in mind to do. It may have been a handbuilt pasta bowl, or making ceramic molding, or learning to make a teapot, or some other specialized project. I would always have them fill our a little survey 4X7 card with their contact info, their hobbies/interests, their experience with clay, and if there was anything they really wanted to accomplish in the class. This would lead to the types of demonstrations I did, and how the demonstrations would branch to specific types of projects. In the case of the molding the extruder, the handbuilt pasta bowl to hump or slump molds. I a student was interested in throwing, I would have a group that once I started the handbuilders, and had done a throwing demonstration of a cylinder form, would meet at the wheels those just beginning would get the hands on hands treatment. They were always taught to master the clay-pushing up and pushing down, a good preliminary to centering. Pressure with the hands, and bend of wrist/positions were reinforced constantly. More advanced students would often ask what was going wrong, why things weren't light enough, what caused ripples etc. These things I would explain and demonstrate corrections. Many times a student would complete a second plain cylinder after much work, and I would coax/help them shape it into a more interesting form with their input of what they wanted to do with it. Next have them repeat the same with the next cylinder.

I only ran classes the same as you, with no practice time-the studio was used during the week by my HS classes, and most of these folks couldn't/wouldn't come in after school. However, as I was there late most of the time some folks would ask and come in to work. The last class was a glazing day, and then folks would come in to pick up their work the following week. Towards the end, they begged to have an extra day where they picked up their work, got to see everyone's work and could talk about it-and party, I could not turn them down. We had great fun.

D.M.Ernst · December 17, 2012

I wrote the article cited above (Teaching Pottery To Adults) for Pottery Making Illustrated and am happy to see that so many responded with their own experiences, and observations on being a student or instructor. Unfortunately, DUH, though I was aware there would be a discussion offered on the website and forum, I only checked once during the beginning and then completely forgot until today. I really enjoyed the many posts. I especially relished observations of students and their many and varied responses. It is so clear from their posts (and sorry I am patting myself on the back right now) that my point in the article is confirmed. Teachers have to have strong skills but equally important is the ability and willingness to learn from the students. They are the experts on their their particular inclinations, and the unique experiences that shape their pottery progress. I can see from the many posts that there is a lot of that happening in many of the situations described in the many posts. As many of you know (and this is also cited in the posts) there is no one prescription for all situations. Good techniques in one situation won't work at all in another or when used by another person.

For this reason, I like to ask questions than to give answers.

Thanks for all your responses. Great stuff.

Claire O'Connor

A good teacher, trained as one or not, is one who constantly seeks knowledge and solutions to the problems of their students. If the knowledge or the solutions come from the student, bravo. Often with adults this happens, as they know where they want to go or what they want to make and have researched in that direction. Now putting that knowledge together with skills, that is often the place of a teacher well grounded in the medium.

October 4, 2012

Hi, this is my first post so please bear with me...

I have been asked to run a one-day workshop and a 4 wk x 2.5hrs short course as introductions to pottery / ceramics. My initial reaction (apart from running) is to introduce the 3 main methods of construction (pinch, coil and slab) and have resist options, stamps, cutting tools etc to hand - along with primary colour underglazes and one or two slips.

As I am forever experimenting and pushing my boundaries - I'm got to reign it back here as the time is so short and I'm to supply materials and firings.

I will fire and clear glaze pieces where necessary but I am looking at ways - like burnishing, where the clay can speak for itself.

I am wondering whether anyone could offer a word of advice for handling such courses...

I really like the posts here and feel this is just the tip of the iceberg!

Anna

Assuming that you are going to work with adults, Anna, I would not cut the possibilities too short. In my experience with adults-they want to suck you dry. They like to have a lot of options, like to learn as much as they can, and usually are not afraid to ask. Have stamping and texturing tools handy, wooden ribs to use for pattern and texture, discuss what happens to glaze over texture, and the use of oxides to enhance texture. Talk about the use of resist materials on bare clay, and on fired clay before glazing. Give them options to choose from. Working with the 3 you have listed will be fine for the intro course, but you can discuss other forms of construction for their enrichment.

Good luck-have lots of fun!

July 4, 2012

I only just began pottery a year ago. A friend and I, both total beginners who had never used clay before, decided to take a class at a local school.

I have a BA in graphic design but took numerous studio classes in many different areas of art - a requirement in my college before even getting on a computer. My friend had only taken one college level studio class before.

I loved the more "open studio" feel of the class. Just getting the clay into my hands had me excited. Knowing that it was more a open studio class, I ran home to do my own research. The next week of class I had billion questions for my teacher. She patiently answered all my questions, gave me some pointers once I told her what I wanted to accomplish, and then left me to it. It became self appointed homework every week to do research as to what I wanted to try to do the next week. Then I would go in, ask questions, and try it out.

I really love that kind of class structure. I love being left alone to make my own mistakes. I feel like I learned more that way. If I have a question or just want general information I know to be pro-active and just ask. I look at the year I've spent with clay, and I feel all the more accomplished having had bumbled my way through 'on my own.' Maybe in the future I'd like to take a more structured class, but for now I like that my love affair with clay is one where I'm 100% in the driver's seat. My teacher is awesome and her knowledge is expansive, but I like that she's "hands off" until I ask.

That being said, my friend HATED the class. She was waiting for the 'demonstrations with assigned projects' type of class. Once the class was over, she dropped it and has put clay on her "not for me list."

Most self motivated adults will opt for the open studio format, it helps if they have some craft or art background for a sense of design. So many times in grade school and HS the motivation falls on the teacher, and much of today's electronic fuzz make them more difficult to focus on a demonstration. The use of smart boards with multiple presentation formats at hand of the teacher does help. However, in a classroom whether 1-12 or adult, a good teacher with a strong background in the media is going to do the most good, and only this type of teacher can run an open studio with success. Bless yourself for having the type of teacher that can handle your questions and let you thirst for more. Teaching adults left me feeling drained-drained of my ideas, my knowledge, skills and techniques, what a wonderful feeling to go to bed with every night-made for a great nights sleep.

June 23, 2012

Learned tons last night at throwing class. A few others also had specific questions, so we had lots of demonstrations. Learned how to make a rolled rim and also about using sodium silicate and underglaze to create a "crackled" thrown piece. Such great info last night and a great evening! Now I just have to practice, practice, practice!

Dear All,

When I started taking classes we began with the pinch pot and progressed to trying slabs and the wheel. After many classes I found I just like the open studio format. I liked to experiment on my own to see what the clay could do on my own in those three hours. I think adults will tell you what they need from the instructor. Most classes I have taken have had some demonstration time included. It was up to the student to decide if they wanted to try this or just continue with their own little projects. For me, I like the open studio concept. But this of course was after taking many instruction based classes and familiarity with the materials and technique of clay working (i.e., how to join seams, slipping and scoring, not making totally solid forms, proper glaze application, coiling near places of vulnerability, avoiding too much water on the form etc.). One class I really liked included an opportunity to try a variety of clays including stoneware, porcelain, and terra cotta. This provided great variety and an opportunity to really get to see how different clays do different things.

Nelly

That happens with a lot of people. When I first started the Adult class I did extensive demonstrations, and everyone enjoyed them, but often I would have folks that had taken the class before, so my demonstrations changed in content and length. Some Saturdays I did not demo, just let them work, and if someone wanted something different would call a mini demo by telling the group what we were doing and inviting them to stay if interested. We went through so many different throwing techniques, and handbuilding projects over the years it is impossible to remember them all!

Lake House Studio · June 17, 2012

The July/August 2012 issue of Pottery Making Illustrated includes an Instructors File article by Claire O'Connor on classroom strategies that work when teaching ceramics to adult students (post college). We want to extend the conversation beyond the magazine, so, if you're a teacher who works with adults, or you're an adult who is taking ceramics classes, please share your ideas on what has worked best for you when teaching/ learning about techniques, aesthetics, and how to convey your ideas in clay by posting them in this thread.

I used to run a Ceramics for Adults on Saturdays in the months of January and February. This really was not a class in that I did not have a series of set lessons. I would always start the first day with a 5X7 questionnaire card, asking basic contact info, experience levels, followed by questions about what they wanted to accomplish or do in the class. This always followed an introduction to the studio and equipment that included slab rollers, extruders, potters wheels, banding wheels etc. The first session I also introduced/demonstrated throwing a cylinder on the wheel. Following sessions would include construction with slabs, extrusion, and other coils where the demonstrations would include pieces they had mentioned in their questionnaires. The last session (6th) would be on glazing and they would glaze their pieces for glaze firings. They requested in the last years an extra day where they could see everyone's finished work. This class worked out very well, but in the end I guess you could call it an open studio. It earned enough money to help keep up equipment and add 4 wheels to the mix along with an extra extruder and several other pieces of furniture and tools.

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