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Mr. Ray

I'm different ? Consistent VS, Varied

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I'm called Ray,  or Roo, or worse. 

When I make balls of clay for throwing, I  don't measure. 

. As a matter of indifference; maybe I go out of the way to make them so. 1.5 ....2.0  ..2.7. ... At what point in your career does consistency matter?  Is it an e

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13 hours ago, liambesaw said:

It depends on your goals.  That said. I have found that repeating forms over and over with consistency leads to better mastery of the wheel and form in general.  Think of it like piano exercises.

If you never plan on making two of the same thing then consistency doesn't really matter, but a true artist has control of his output and having the skill to produce what YOU (Ray) want and not settle for what the CLAY becomes requires a certain level of skill and this is where consistency is important...

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Throwing the same pot over and over again teaches you control and the importance of subtle details in your pot.  One of the assignments in one of my college throwing class was to duplicate a vase by another artist.   We were given the pounds of clay that was used to make it and the height and width it was before it was fired.  I probably threw it a dozen times before I had one that I thought was close to the original one in the overall shape and design.   I had better hand eye coordination when I finished and I thought it was already good.   Denice

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Last bisque load, about every third piece went to reclaim instead of the kiln; previous was about half. Next, likely back to half or more - time to get throwin'!

Repeating the moves necessary for repeat ware is worthwhile.

 

"...right hand."

Clockwise turn, hence, no.

Edited by Hulk
clockwise pal

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i have seen many beginners just sitting at the wheel and allowing their tool to slide over whatever shape the clay happens to be at that time.  i don't think they realize that purpose of the tool is to make the clay do what YOU want.  

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21 minutes ago, oldlady said:

i have seen many beginners just sitting at the wheel and allowing their tool to slide over whatever shape the clay happens to be at that time.  i don't think they realize that purpose of the tool is to make the clay do what YOU want.  

The clay is a tool too.  I don't ascribe to the philosophy that materials have a will or mind of their own.  To me art is and expression, and how can you express your intent if the materials are calling the shots? 

There are serendipidous occurances, sure, but the artist has to find intent to assign to those occurances if they want to call it art.  That is backwards in my opinion.  In that case you are the material and the clay is the artist.

 

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I was just working with a few adults this morning. . . brought back a few old adages I would use when teaching the kids back. . . well back then!

  • Move the clay, don't let the clay move you
  • A flopped attempt on the wheel is nothing more than a dog dish. . . we don't make Dog Dishes or ash trays!
  • It does not matter which thumb or finger you open up with as long as it is comfortable and does the job well, 
  • When pulling it doesn't matter if you use your braced pointer finger, the side of a knuckle, or other. . . . just so long as it on your right hand.
  • Once you feel the pull begin at the bottom of the wall ease up on the pressure slightly and move up with the clay
  • When exploring a form, try to limit the variables, weigh the same amount of clay, use the same consistency, and try to throw the wall thicknesses the same so as to really evaluate what you do

 

Others too, but too long to remember.

 

best,

Pres

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When does it matter? 
When you want it to matter.

If you wish to simply make for the enjoyment of making, then carry on and enjoy! A box of clay is  cheaper than therapy. If you want to become a professional, you need to behave like a professional. There is a wide range of possibilities in between those two points, and all of them are valid things to do with yourself. 

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15 hours ago, C.Banks said:

I found this image the other day and it reminded me to be brave and find something new to say.

 

PV.jpg

Yeh and nothing drowns out new ideas like a  poor technique which limits your creating in clay your new idea:-)))

Catch 22 ,so just  go get it and then you can choose to ignore it......

 

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On 1/18/2020 at 6:28 PM, liambesaw said:

you are the material and the clay is the artist

Precisely!!! And in my world, that is as it should be!  I have an affinity for Voulkos' observation about technique & having something to say--however one says it. Once I'd mastered those blasted 100 perfectly same, perfect cylinders I was DONE!!! My only consistency is in my inconsistency...which annoyingly enough loops right back around to consistency when seen as a cumulative body of work (mixed media),  even when I thought I had shaken it off. 

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I finally bought a scale to use just for weighing out clay for throwing a year or so ago.  I want uniformity for the purpose of loading the kiln.  If I'm using 6"  posts, I don't want to have to use 5" pots.  I always want a back log of "filler" pots.  It's a big kiln and only fires well when it's full.

A side benefit from throwing consistent shapes is being able to estimate pretty exactly how much clay is needed to throw an exact size.   It's pretty rookie to get the size you want and have the walls too thick.

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On 1/18/2020 at 11:30 PM, Pres said:

I was just working with a few adults this morning. . . brought back a few old adages I would use when teaching the kids back. . . well back then!

  • Move the clay, don't let the clay move you
  • A flopped attempt on the wheel is nothing more than a dog dish. . . we don't make Dog Dishes or ash trays!
  • It does not matter which thumb or finger you open up with as long as it is comfortable and does the job well, 
  • When pulling it doesn't matter if you use your braced pointer finger, the side of a knuckle, or other. . . . just so long as it on your right hand.
  • Once you feel the pull begin at the bottom of the wall ease up on the pressure slightly and move up with the clay
  • When exploring a form, try to limit the variables, weigh the same amount of clay, use the same consistency, and try to throw the wall thicknesses the same so as to really evaluate what you do

 

Others too, but too long to remember.

 

best,

Pres

I agree with what you say - just had to point out that dog dishes are one of my best sellers at the moment :) Don't underestimate what people are willing to spend on their pets :)

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I don't use a wheel.

Started slab building bonsai pots into the air and can't/won't make one the same as the other.

Same build technique, approximate size, sure, but it feels sinful to make one exactly the same.

However,

I have been finding great joy in creating the same shape and size vase again and again.  But they will also be, never exactly the same. Except from the same template.

That nearly bothers me, to keep a template, but I love seeing them lined up!

Coming from Structural Ironwork, where every piece is the same, I appreciate not seeing the same thing twice, letting the clay speak. 

I understand wanting to make the clay do what you want it to do.

I believe it is better to honor the clay and remember what you really want it to be is on the other side of a dance with the flames.

 

Sorce

 

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