Smith, Judy on fri 1 jun 07
I was reading the May/June article in Clay Times about Natalie Blake.
It says that she paints her pots with a colored slip, uses a sgraffito
process to carve out the negative spaces, and then fires the pot. This
part I understand. It then says that she layers a thin wash of glaze
onto the pot. How does she get the glaze to go into the negative carved
out spaces with out having it cover the positive uncarved areas? I
really love her pots and would love to experiment with this technique.=20
=20
Thanks,
Judy Smith
Bunny Lemak on mon 4 jun 07
On Fri, 1 Jun 2007 07:24:07 -0500, Smith, Judy wrote:
>I was reading the May/June article in Clay Times about Natalie Blake.
>It says that she paints her pots with a colored slip, uses a sgraffito
>process to carve out the negative spaces, and then fires the pot. This
>part I understand. It then says that she layers a thin wash of glaze
>onto the pot. How does she get the glaze to go into the negative carved
>out spaces with out having it cover the positive uncarved areas? I
>really love her pots and would love to experiment with this technique.
Hi Judy-
I don't get Clay Times so I do not know what you are referring to, but I
have done a lot of Sgraffito. When I was taught, glaze was not put on
pots, instead the colored slip was burnished, and then when fired it would
look semi-shiny.
I have seen Sgraffito done with glaze, and in my opinion, they glaze takes
away from the Sgraffito (it fills in the lines, and it doesn't look nice).
My guess, is she made a very thin glaze, thinned down with water, and put
a very lite coat over the colored slip area only. But like I said, that
is a guess.
Hope this helps!
Bunny
Smith, Judy on mon 4 jun 07
Thanks for the suggestions. Natalie's pots are coated with a colored
slip, sgraffitoed, and then thin layers of glaze are applied to the
carved out areas of the pots. Her carvings are pretty intricate. My
question is... how does she keep the glaze from covering the positive
uncarved areas? It seems like it would be very hard to apply wax to
these areas.
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Bunny Lemak
Sent: Monday, June 04, 2007 2:20 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: How to apply glaze to sgraffito?
On Fri, 1 Jun 2007 07:24:07 -0500, Smith, Judy
wrote:
>I was reading the May/June article in Clay Times about Natalie Blake.
>It says that she paints her pots with a colored slip, uses a sgraffito
>process to carve out the negative spaces, and then fires the pot. This
>part I understand. It then says that she layers a thin wash of glaze
>onto the pot. How does she get the glaze to go into the negative
carved
>out spaces with out having it cover the positive uncarved areas? I
>really love her pots and would love to experiment with this technique.
Hi Judy-
I don't get Clay Times so I do not know what you are referring to, but I
have done a lot of Sgraffito. When I was taught, glaze was not put on
pots, instead the colored slip was burnished, and then when fired it
would
look semi-shiny.
I have seen Sgraffito done with glaze, and in my opinion, they glaze
takes
away from the Sgraffito (it fills in the lines, and it doesn't look
nice).
My guess, is she made a very thin glaze, thinned down with water, and
put
a very lite coat over the colored slip area only. But like I said, that
is a guess.
Hope this helps!
Bunny
________________________________________________________________________
______
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Lee Love on tue 5 jun 07
On 6/1/07, Smith, Judy wrote:
> out spaces with out having it cover the positive uncarved areas? I
> really love her pots and would love to experiment with this technique.
Just dip the glaze. Make it as thick or thin as you please.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://mashikopots.blogspot.com/
"To affect the quality of the day, that is the highest of arts." -
Henry David Thoreau
"Let the beauty we love be what we do." - Rumi
Heather Pedersen on tue 5 jun 07
I haven't read the article you mentioned previously, but when I checked out
her website (http://natalieblake.com/) I got a few ideas on what was going
on, and thought I would offer my guesses as well:
Her website says that she applys a glaze to the greenware surface that she
carves through, not a slip. It appears to be a very highy saturated black
satin glaze, which could probably soak in the thin over spray of color, and
you wouldn't be able to tell without some really close observation, if even
then.
My two cents on the subject.
-= Heather Pedersen
-= Avid student of different over-carving decoration techniques
On Mon, 4 Jun 2007 15:04:01 -0500, Smith, Judy wrote:
>Thanks for the suggestions. Natalie's pots are coated with a colored
>slip, sgraffitoed, and then thin layers of glaze are applied to the
>carved out areas of the pots. Her carvings are pretty intricate. My
>question is... how does she keep the glaze from covering the positive
>uncarved areas? It seems like it would be very hard to apply wax to
>these areas.
Smith, Judy on tue 5 jun 07
If I dip the glaze, it will cover the positive uncarved areas. This is
not the effect that I want. I would like the uncarved areas to show the
colored slip that I applied in the first step of the process. I was
asking how Natalie Blake achieves the effect she gets on her sqraffito
pots.
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Lee Love
Sent: Monday, June 04, 2007 6:58 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: How to apply glaze to sgraffito?
On 6/1/07, Smith, Judy wrote:
> out spaces with out having it cover the positive uncarved areas? I
> really love her pots and would love to experiment with this technique.
Just dip the glaze. Make it as thick or thin as you please.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://mashikopots.blogspot.com/
"To affect the quality of the day, that is the highest of arts." -
Henry David Thoreau
"Let the beauty we love be what we do." - Rumi
________________________________________________________________________
______
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Heather Pedersen on tue 5 jun 07
Have you considered applying wax over the slipped surface before you carve,
and then applying your glaze, all while still greenware?
-= Heather Pedersen
On Tue, 5 Jun 2007 07:56:50 -0500, Smith, Judy wrote:
>If I dip the glaze, it will cover the positive uncarved areas. This is
>not the effect that I want. I would like the uncarved areas to show the
>colored slip that I applied in the first step of the process. I was
>asking how Natalie Blake achieves the effect she gets on her sqraffito
>pots.
>
Lois Ruben Aronow on tue 5 jun 07
TRY EVERYTHING. You should not be trying to imitate someone else's pots -
you are supposed to be discovering your own. That is done by trial and
error. You need to experiment with glaze techniques and recipes. You need
to experiment with carving. Your carving isn't HER carving. You need to
experiment with clay bodies and iron oxide slip.
Natalie Blake sprays the glaze on her pots after carving, BTW. If you want
one of her pots, buy one. If you want to try her technique, try everything.
...Lo
A product of teachers who insisted on answering these questions with "How do
you THINK it's done?"
> If I dip the glaze, it will cover the positive uncarved
> areas. This is not the effect that I want. I would like the
> uncarved areas to show the colored slip that I applied in the
> first step of the process. I was asking how Natalie Blake
> achieves the effect she gets on her sqraffito pots.
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Lee Love
> Sent: Monday, June 04, 2007 6:58 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: How to apply glaze to sgraffito?
>
> On 6/1/07, Smith, Judy wrote:
>
> > out spaces with out having it cover the positive uncarved areas? I
> > really love her pots and would love to experiment with this
> technique.
>
> Just dip the glaze. Make it as thick or thin as you please.
>
> --
> Lee in Mashiko, Japan
> Minneapolis, Minnesota USA
> http://mashikopots.blogspot.com/
>
> "To affect the quality of the day, that is the highest of
> arts." - Henry David Thoreau
>
> "Let the beauty we love be what we do." - Rumi
>
> ______________________________________________________________
> __________
> ______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
> subscription settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ______________________________________________________________
> ________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
> subscription settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
Elizabeth Priddy on wed 6 jun 07
You should go to her website and ask her how
to proceed. An artist of that calibre is not worried
about a student trying to use their technique.
She may teach classes. She may offer you some
tips. She may not answer.
I answer back anyone who writes me about brush
painting. I WANT others to do it well and to explore
the media.
People who are stingy with information about how
they do things are insecure for the most part. Or they
are just not teachers by nature, or they want to own
their invention for a while. Usuallly they will disclose all
but the first reason.
Of course, YMMV, but at our conference, people
were chosen in part BECAUSE of this attitude about
teaching and learning. You will leave able to DO it, not
just having observed it.
Or at least that has been my goal in organizing it.
Elizabeth Priddy
Beaufort, NC - USA
Natural Instincts Conference Registration Information:
http://www.ceramics.org/potterscouncil/naturalinstincts/registrationinfo.asp
http://www.elizabethpriddy.com
http://www.flickr.com/photos/7973282@N03/
____________________________________________________________________________________
Building a website is a piece of cake. Yahoo! Small Business gives you all the tools to get online.
http://smallbusiness.yahoo.com/webhosting
Smith, Judy on wed 6 jun 07
I never said that I wanted to copy her work. I just wanted to apply her
technique to some of my ideas. =20
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Lois Ruben
Aronow
Sent: Tuesday, June 05, 2007 4:17 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: How to apply glaze to sgraffito?
TRY EVERYTHING. You should not be trying to imitate someone else's pots
-
you are supposed to be discovering your own. That is done by trial and
error. You need to experiment with glaze techniques and recipes. You
need
to experiment with carving. Your carving isn't HER carving. You need
to
experiment with clay bodies and iron oxide slip.
Natalie Blake sprays the glaze on her pots after carving, BTW. If you
want
one of her pots, buy one. If you want to try her technique, try
everything.
...Lo
A product of teachers who insisted on answering these questions with
"How do
you THINK it's done?"
> If I dip the glaze, it will cover the positive uncarved
> areas. This is not the effect that I want. I would like the
> uncarved areas to show the colored slip that I applied in the
> first step of the process. I was asking how Natalie Blake
> achieves the effect she gets on her sqraffito pots.
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Lee Love
> Sent: Monday, June 04, 2007 6:58 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: How to apply glaze to sgraffito?
>
> On 6/1/07, Smith, Judy wrote:
>
> > out spaces with out having it cover the positive uncarved areas? I
> > really love her pots and would love to experiment with this
> technique.
>
> Just dip the glaze. Make it as thick or thin as you please.
>
> --
> Lee in Mashiko, Japan
> Minneapolis, Minnesota USA
> http://mashikopots.blogspot.com/
>
> "To affect the quality of the day, that is the highest of
> arts." - Henry David Thoreau
>
> "Let the beauty we love be what we do." - Rumi
>
> ______________________________________________________________
> __________
> ______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
> subscription settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ______________________________________________________________
> ________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
> subscription settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
________________________________________________________________________
______
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Smith, Judy on wed 6 jun 07
Thanks for the suggestion. I am fairly new to potting and didn't
realize you could glaze greenware.
Judy Smith
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Heather
Pedersen
Sent: Tuesday, June 05, 2007 5:35 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: How to apply glaze to sgraffito?
Have you considered applying wax over the slipped surface before you
carve,
and then applying your glaze, all while still greenware?
-=3D Heather Pedersen
On Tue, 5 Jun 2007 07:56:50 -0500, Smith, Judy
wrote:
>If I dip the glaze, it will cover the positive uncarved areas. This is
>not the effect that I want. I would like the uncarved areas to show
the
>colored slip that I applied in the first step of the process. I was
>asking how Natalie Blake achieves the effect she gets on her sqraffito
>pots.
>
________________________________________________________________________
______
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
marci Boskie's Mama =^..^= on wed 6 jun 07
> Lois Ruben Aronow wrote:M>
>Subject: Re: How to apply glaze to sgraffito?
>TRY EVERYTHING. You should not be trying to imitate someone else's pots -
>you are supposed to be discovering your own. That is done by trial and
>error.
>Natalie Blake sprays the glaze on her pots after carving, BTW. If you want
>one of her pots, buy one. If you want to try her technique, try everything.
>...Lo
>A product of teachers who insisted on answering these questions with "How do
>you THINK it's done?"
At the risk of opening another can of worms ( I seem to be good
at that ) , I wonder how many teachers say that ( ""How do
>you THINK it's done?") because they dont have a good answer.... :O)
Lo, Im all for finding your own voice but is it really
necessary to reinvent the wheel every time? Whats wrong with learning
from someone else's trial and error? Whats wrong with discussing how
something was done? ( and isnt that a mainstay of Clayart with
the shared glaze recipes and all ?) ...Speculating about a process
doesnt mean that you necessarily want to duplicate the pieces........
So, hi, Judy ... :O) If this is the artist
in question http://www.natalieblake.com/ , here is my take on how they
were done. for what its worth :
The sgrafitto on the high fire stuff where the carving is one color
and the foreground is a different color: I think she could have colored
the thrown piece with underglaze, then applied a layer of colored slip
over that... and carves through the colored slip to reveal the underlayer
... then fires to bisque ... Hard to tell from the pix if there is a
glaze on the surface or just the bisque...
and the vivid purple and blue pieces that she says are low
fired glaze... could they possibly be something like Velvet
underglaze airbrushed on after carving?
I am probably way off base here.. but whatever she does , the pieces
are absolute eye candy and its interesting to try to figure out how
they were done.
OK .. Im setting down the can opener and I am slowly backing away from
the keyboard with my hands in the air......
Marci Blattenberger Boskie's Mama =^..^=
http://www.marciblattenberger.com
marci@ppio.com
Porcelain Painters International Online http://www.ppio.com
--
No virus found in this outgoing message.
Checked by AVG.
Version: 7.5.472 / Virus Database: 269.8.9/832 - Release Date: 6/4/2007
claystevslat on wed 6 jun 07
Lois -- True enough. Back on the technique question, though, which
I haven't been following too closely (& forgive me if soomeone else
already suggested this) wouldn't it be possible to (1) prepare the
pot (2) apply the slip or other surface (3) wax the whole shebang,
(4) then carve through the wax and slip together to do the
sgraffing, following which (5) apply the glaze? That'd put the
glaze in the carved out areas and leave the slip only visible on the
non-carved areas.
JM2Cents -- Steve S
--- In clayart@yahoogroups.com, Lois Ruben Aronow wrote:
>
> TRY EVERYTHING. You should not be trying to imitate someone
else's pots -
> you are supposed to be discovering your own. That is done by
trial and
> error. You need to experiment with glaze techniques and recipes.
You need
> to experiment with carving.
Lois Ruben Aronow on wed 6 jun 07
I think I was reacting to the seemingly adamant replies of the original
poster, who replied to other suggestions, saying something to the effect of
their suggestions couldn't possibly be the right way. Or at least that's
how I took it. With the OP then sharing they were fairly new at this, they
could not possibly know if the suggestions work or not without trying them,
thus leading her to ask for the exact technique.
I admit it is a pet peeve of mine for when people ask for very precise
directions. I suppose that in the many years of being on this list I have
seen too many people and read too many posts here wanting easy and immediate
answers - all with a guarantee of working each and every time. Too many
workshops where students try their darndest to re-create the work of the
teacher. Using the information as a jumping-off point is great, but too few
people jump off.
I am all for sharing recipes, ideas, tips, tricks. I have given out my own
recipes so often I can't even count.
> Lo, Im all for finding your own voice but is it really
> necessary to reinvent the wheel every time? Whats wrong
> with learning from someone else's trial and error?
One's trial and error is what makes one's craftsmanship and artistry; the
mastery of their materials and the ultimate finished work and voice.
Speaking only for myself, I am always delighted to give out recipes, tips
and tricks of my own work, I have a few hard won techniques that are the
keys to my work that I never give out in detail. Why should someone benefit
from my (or anyone's) years of constant glaze development, application,
firing (and mis-firing) techniques, ruined kiln shelves, workshops and
classes I have paid dearly for and taken, education I have hunted down like
rare treasure, mentors I have sought out, time out of my life spent doing
what I do exactly as I do it.
So I go back to my original answer and will ask again: how do you THINK
it's done? Now get to work and try it.
...Lo
Will never be accused of being lazy with her claywork.
**********
Lois Aronow Ceramics
Brooklyn, NY
www.loisaronow.com
www.craftsofthedamned.blogspot.com
Elizabeth Priddy on wed 6 jun 07
Italmost seems on some of them that it is the clay itself that
is colored, easily achieved. Ant then if you apply a coat of this
saturated glaze to the greenware, then a water based resist, then carved through, then glazed...
The resist would protect the glaze from your clear glaze and the
carved area would be the color of the clay....
I bet she does it many ways for different effects as she seems quite expert at this technique.
Many pit fired works that get fantastic blue base colors are actually made of colored clay to begin with and then treated to the pit.
So it would be one way to go. This is only a guess.
E
Elizabeth Priddy
Beaufort, NC - USA
Natural Instincts Conference Registration Information:
http://www.ceramics.org/potterscouncil/naturalinstincts/registrationinfo.asp
http://www.elizabethpriddy.com
http://www.flickr.com/photos/7973282@N03/
----- Original Message ----
From: Heather Pedersen
To: CLAYART@LSV.CERAMICS.ORG
Sent: Tuesday, June 5, 2007 4:49:40 PM
Subject: Re: How to apply glaze to sgraffito?
I haven't read the article you mentioned previously, but when I checked out
her website (http://natalieblake.com/) I got a few ideas on what was going
on, and thought I would offer my guesses as well:
Her website says that she applys a glaze to the greenware surface that she
carves through, not a slip. It appears to be a very highy saturated black
satin glaze, which could probably soak in the thin over spray of color, and
you wouldn't be able to tell without some really close observation, if even
then.
My two cents on the subject.
-= Heather Pedersen
-= Avid student of different over-carving decoration techniques
On Mon, 4 Jun 2007 15:04:01 -0500, Smith, Judy wrote:
>Thanks for the suggestions. Natalie's pots are coated with a colored
>slip, sgraffitoed, and then thin layers of glaze are applied to the
>carved out areas of the pots. Her carvings are pretty intricate. My
>question is... how does she keep the glaze from covering the positive
>uncarved areas? It seems like it would be very hard to apply wax to
>these areas.
______________________________________________________________________________
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
____________________________________________________________________________________
Sick sense of humor? Visit Yahoo! TV's
Comedy with an Edge to see what's on, when.
http://tv.yahoo.com/collections/222
marci Boskie's Mama =^..^= on thu 7 jun 07
Lo wrote:
>I have a few hard won techniques that are the
>keys to my work that I never give out in detail. Why should someone benefit
>from my (or anyone's) years of constant glaze development, application,
>firing (and mis-firing) techniques, ruined kiln shelves, workshops and
>classes I have paid dearly for and taken, education I have hunted down like
>rare treasure, mentors I have sought out, time out of my life spent doing
>what I do exactly as I do it.
I understand where you are coming from . I have seen it in the overglaze
world too where for years, there were teachers who would not allow
their students to go to other teachers or tell them about shows or
seminars or even where to get supplies ( All supplies had to be
purchased from THAT teacher ) .. I too spend many years scrabbling for
information and separating information from misinformation .
As a result, we started PPIO which is Clayart for overglaze
artists....and the sharing of information there has done a
lot to lift the curtain of secrecy about techniques ( as does Clayart ) .
I still buy books, read everything I can get my hands on and pay
dearly for workshops and classes , seek out mentors, spend a good deal
of my life glued to the computer answering questions...but I have no
problem revealing all if someone is looking for answers. ( ask anyone
who has gotten a 4 page email from me detailing techniques) ....Why do
I do this? Because an interesting thing happens when information is
freely shared ..........lots of other people come out of the woodwork with
their little tidbits of secreted information which results in
more knowledge to tuck away into my little database ... and everybody
benefits. What you share comes back to you a hundred fold.
The work you do honestly flows from you ...........from
your creativity , mind and heart and even if you stood over someone
and put your hands over theirs and literally puppet-mastered them through
the entire process, they would still not be able to duplicate what
you do ... It would be devoid of your soul...... and even if someone
managed to exactly duplicate one of your pieces, you are still
100 steps ahead of them designing new and even more exciting pieces.. All
the copiests can ever hope to do is play catch up..
I am incredibly grateful to the people who were there for
me when I jumped off recently into the porcelain clay world ( Before
that , I had only done china paint on commercially available forms )
and I am especially grateful to one very generous Clayart
artist who shared her firing schedule with me which enabled me to
be able to once-fire with no pinholes. Now maybe , yes, I should
have been forced instead to waste........er.....spend 10 years testing
and retesting clear glazes and firing schedules until I somehow
managed to figure this out on my own ... but I appreciate the sharing
individuals who walked me through the process so that I didnt have to
reinvent that wheel and could instead concentrate on learning to work
the clay .
I guess what Im trying to say is.... if you want to keep stuff
a closely guarded secret, then by all means, do that ..... but I thank
God for the people out there who are willing to share information and
mentor . They give us wings ....
Marci Blattenberger Boskie's Mama =^..^=
http://www.marciblattenberger.com
marci@ppio.com
Porcelain Painters International Online http://www.ppio.com
--
No virus found in this outgoing message.
Checked by AVG.
Version: 7.5.472 / Virus Database: 269.8.11/837 - Release Date: 6/6/2007
Lois Ruben Aronow on wed 13 jun 07
Perhaps my thought was not "thought out" enough. I don't believe in keeping
secrets, per se. Anyone and everyone is entitled to my glaze recipes, my
basic techniques, you name it. In fact, if you search the archives, you'll
probably come up with the roadmap to 99% of how my particular work is made.
And even the 1% that might be missing is not intentional or greedy or a
product of deep-seated insecurity. It is a "your mileage may vary" detail.
My hand in the bucket of glaze. My firing schedule. My kiln. All of these
things will be different for everyone.
Because I don't teach - because people don't pay me for my experience - I
don't feel at liberty to divulge everything. The times I have, it has gone
under the "no good deed goes unpunished" act; the one where someone gets mad
because it didn't work for them.
Perhaps I come from a different philosophy - the school of finding your own
work. The journey is the fun part.
...Lo
>
> Lo wrote:
> >I have a few hard won techniques that are the keys to my work that I
> >never give out in detail. Why should someone benefit from my (or
> >anyone's) years of constant glaze development, application,
> firing (and
> >mis-firing) techniques, ruined kiln shelves, workshops and classes I
> >have paid dearly for and taken, education I have hunted down
> like rare
> >treasure, mentors I have sought out, time out of my life spent doing
> >what I do exactly as I do it.
Then Marci wrote:
>
> I understand where you are coming from . I have seen it in
> the overglaze world too where for years, there were
> teachers who would not allow their students to go to
> other teachers or tell them about shows or seminars or
> even where to get supplies ( All supplies had to be
> purchased from THAT teacher ) .. I too spend many years
> scrabbling for information and separating information from
> misinformation .
| |
|
