Monica Bahiana on sat 8 nov 97
Hi Joyce and everybody else.
This Clayart thing is too intense! I am amazed by the number os messages
that keep pouring into my mailbox. This is fun.
About the tools I agree that technology is here to serve us, don't get me
wrong, I don't think that using tools to helps is worse in any way. Maybe my
teacher's advise is pertinent here in Brazil, but not in the US: any art
related supply here is extremely expensive and hard to get, so the less you
depend on those things, the better. Of course there is a limit. But having
lived in the US for 7 years I think that americans tend to buy too much
junk, just because there are lots of things to buy. I too, during those7
years bougth, many things that were never used, is just so tempting...BUT,
whenever i read the CM I feel like buying that Giffin Grip, but I coudn't
tell if its really that good, so you tell me that it is...that's good news!
This could make my life a lot easier..
take care!
Monica Bahiana
Rio de Janeiro, Brazil
John Taylor on sun 9 nov 97
Monica
I bought mine when I did production work and I loved it, now that I don't do
production its just another handy tool around the studio. It did save time
when triming, and time was $ in those days. so I suppose it depends on how
much trimming you do.
Its a fine day in the north west
john from renton
the cat lady on sun 9 nov 97
.BUT,
>whenever i read the CM I feel like buying that Giffin Grip, but I coudn't
>tell if its really that good, so you tell me that it is...that's good news!
>This could make my life a lot easier..
>
Hi Monica:
I put off buying one for 9 years (liked doing things the "old-
fashioned" way). Bought one in Vegas at NCECA from the creator.
He was wonderfully informative!
For me, it was 9 years wasted. I am a production potter. It
speeds trimming dramatically. It also allows the luxury of
being able to remove a bowl, judge whether I've trimmed enough,
then return it to exact centre quickly and perfectly every time.
It's also wonderful for pitchers. You can literally hang the
pot from the padded feet, and trim the bottoms.
You will get many and varied opinions. If you are a production
potter, IMO you can't lose by buying one. If you are a hobby
potter, it's probably a waste of money. I should mention
that I don't use it for every pot - larger platters simply
don't fit, and can hang over the edge, causing damage to the
rims.
sam - alias the cat lady
Melbourne, Ontario
SW Ontario CANADA
http://www.geocities.com/paris/3110
David Hendley on sun 9 nov 97
Monica,
I think your teacher's advice applies no matter where you live.
If you would like to use a 'Giffen Grip' that is OK, but it is much
better to LEARN without it, and THEN make a decision to use it.
Using the same line of reasoning, I also think a pottery student should:
~~throw on a manual wheel before using an electric wheel
~~measure glazes with manual scales before using electronic scales
~~calculate glazes by hand before using a glaze calculation program
All of these activities help the student learn the way things work and
become more intimately involved with the process and the material.
Also, anytime you buy a tool it influences the way your finished artwork
will look.
So I agree with your teacher:
>any art
>related supply here is extremely expensive and hard to get, so the less you
>depend on those things, the better.
If you improvise your own tools they will be YOUR tools, and they will
make your pots truly yours, not like every one else's who bought the tool.
You say:
>I think that americans tend to buy too much
>junk, just because there are lots of things to buy.
>whenever i read the CM I feel like buying that Giffin Grip,
In 3 lines you've captured the essence of the advertising industry!
Remember, those ads have only one goal: to make you part with your money.
Best wishes,
David Hendley
Maydelle, Texas
At 05:28 PM 11/8/97 EST, you wrote:
>----------------------------Original message----------------------------
>Hi Joyce and everybody else.
> This Clayart thing is too intense! I am amazed by the number os messages
>that keep pouring into my mailbox. This is fun.
> About the tools I agree that technology is here to serve us, don't get me
>wrong, I don't think that using tools to helps is worse in any way. Maybe my
>teacher's advise is pertinent here in Brazil, but not in the US: any art
>related supply here is extremely expensive and hard to get, so the less you
>depend on those things, the better. Of course there is a limit. But having
>lived in the US for 7 years I think that americans tend to buy too much
>junk, just because there are lots of things to buy. I too, during those7
>years bougth, many things that were never used, is just so tempting...BUT,
>whenever i read the CM I feel like buying that Giffin Grip, but I coudn't
>tell if its really that good, so you tell me that it is...that's good news!
>This could make my life a lot easier..
>
>
> take care!
>
> Monica Bahiana
>
> Rio de Janeiro, Brazil
>
>
David Hendley
Maydelle, Texas
See David Hendley's Pottery Page at
http://www.sosis.com/hendley/david/
Unruly JuliE on sun 9 nov 97
Monica,
I know a quite a few long time, full time potters. A couple
of whom wouldn't / won't touch the grip! "I'd be affraid to!"
One said. Then again, others say "I wouldn't be without it". So,
it's really a personal preferance thing. I love mine (although I
am NOTa full time potter) and wouldn't be without it. To me, it
is a tool to help me get the job done in the most efficient way
(can you tell I have been in the maufacturing business TOO
long?!). I always look for the most efficient methods, and I
couldn't center a pot to trim that fast if my life depended on
it! When I did get my pot centered, it was a "good enough" thing
as I had already spent too much time on trying to get it centered!
To me, it was money well spent.
JuliE in Michigan where it is feels like winter has arrived, even
if there is no snow.
Gayle Pritchard on thu 13 nov 97
Monica,
I think the Giffin Grip is one of the best potter's tools ever made. I do a
lot of sgraffito work on my pottery and have to center my pots 3 times each.
Once for trimming, once for applying underglaze and sgraffito lines, and
once again to apply underglaze to the bottom of the pot. I simply couldn't
do without mine!
Five potters in our studio have each purchased a Giffin Grip since trying
mine. Now there's a testimony!
Gayle
GPritch101@aol.com
John K Dellow on wed 28 jul 99
Funny about that Mel , my Leach trained master introduced me to
the lid idea in 1974.
mel jacobson wrote:
>
> ----------------------------Original message----------------------------
> when in japan, we kept our fingers on the top of small pots when
> trimming with a chuck.
> it wore out our finger tips...then we would put on a rubber finger
> to protect our tippies.
>
> i actually lost my finger prints for about six months.
> mel/mn
> http://www.pclink.com/melpots
> from minnetonka, minnesota, u.s.a.
--
John Dellow "the flower pot man"
ICQ : #2193986 {jacka}
E-mail : dellowjk@kewl.com.au
25 Hugh Guinea Ct, Worongary Q 4213
Ph:+61-7-55302875 Fax:+61-7-55253585
Home Page http://www.welcome.to/jkdellow
Stephen Mills on thu 29 jul 99
A tip I picked up from a friend is to put a small disc of plastic on top
of the pot you're turning and hold it down with a wet finger. Works a
treat, I use it all the time.
Steve
Bath
UK
In message , mel jacobson writes
>----------------------------Original message----------------------------
>when in japan, we kept our fingers on the top of small pots when
>trimming with a chuck.
>it wore out our finger tips...then we would put on a rubber finger
>to protect our tippies.
>
>i actually lost my finger prints for about six months.
>mel/mn
>http://www.pclink.com/melpots
>from minnetonka, minnesota, u.s.a.
>
--
Steve Mills
Bath
UK
home e-mail: stevemills@mudslinger.demon.co.uk
work e-mail: stevemills@bathpotters.demon.co.uk
own website: http://www.mudslinger.demon.co.uk
BPS website: http://www.bathpotters.demon.co.uk
Don Hoskisson on thu 29 jul 99
>when in japan, we kept our fingers on the top of small pots when
>trimming with a chuck.
>it wore out our finger tips...then we would put on a rubber finger
>to protect our tippies.
>
>i actually lost my finger prints for about six months.
>mel/mn
mel,
That is great reason for using the lid (smooth surface metal)
to trim. Finger prints don't get lost.
Don H. (Oregon)
Arturo M Devitalis on thu 29 jul 99
John Glick introduced lids (and half dollars) in a 1972 workshop at the
SAC School.
Arturo DeVitalis
House of the Potter
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MisUnruly forever on sun 1 jul 01
when trimming... I also thump the pot to hear the
thickness of the clay... after awhile you will learn
the sounds of the different thickness's.
whenever I haven't thrown in a while, as is the case
now (job keeps me too busy) I have to go back to using
the pin tool to measure thickness while learning the
sound differences of different thickness's of pots
again.
Julia <--- on the road again
(lousiville kentucky this time)
muddpie@ix.netcom.com
=====
"to understand one must only listen"
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Ivor and Olive Lewis on mon 10 may 04
Dear Anna and Everyone else, Susan, Maurice, Dave and Co,
Who has come forward to make sure I got the pictures.
'Tis done, I have images and will be able to find something to work for =
me on my two Venco wheels.
Thank you all for your concern and prompt help. Sort of experience that =
proves Clayart is such a Wonderful International Community.
Best regards,
Ivor Lewis. Redhill, South Australia
j isaac on fri 15 sep 06
life is horrible here! I'm out of clay right after I my first easy bottle. (thrown not consumed). Sigh, I guess it's house work for me. On a better note, has any one had experience with the griffin grip? I am having a difficult time trimming altered forms, and although it's a few pennies it looks like it would be great.
The Pretend Potter
Jodi
---------------------------------
All-new Yahoo! Mail - Fire up a more powerful email and get things done faster.
Bruce Girrell on fri 15 sep 06
Jodi Isaac wrote:
> has any one had experience with the
> griffin grip? I am having a difficult time trimming altered
> forms, and although it's a few pennies it looks like it would be great.
Jodi,
It depends on how you alter the forms. The GG is a self-centering chuck. All
three parts of the jaws move at the same time and by the same amount. As
long as the form is round where the GG grabs it or has a number of sides
that is a multiple of 3, you are OK. But if you, say, paddle the thrown form
into a four-sided object, then the GG will not center your piece properly.
If you do get a GG, I strongly recommend the new "hands". I don't know if
these come standard with a new GG or if they are considered an upgrade and
must be ordered separately.
Bruce Girrell
Don Goodrich on fri 15 sep 06
Hi Jodi,
So sorry to read you're out of clay, just as things are going well.
The housework can be advance payment for the reward of eventually
getting more clay!
The Giffin Grip discussion goes back over ten years on ClayArt.
Way more than 300 posts. Replies to your question oughta get
that number over 400. While you're waiting for 'em to come in,
you can read the first 50 here:
http://tinyurl.com/qvqos
As for my personal experience, the Giffin Grip is one of the best studio
equipment investments I've made. Saves plenty of time when trimming
a variety of work when you just don't feel like making clay chucks for
every piece. There's a limit to how tall a piece will fit on one and remain
stable, of course. The various attachments make it possible to center
even eccentric pots, so quite a variety of creative trimming solutions
are possible.
On the other hand, a Grip isn't terribly necessary for some items, like
large bowls or dishes that you can easily tap to center and fix in place
with 3 lugs of clay. On the third hand, it can support bowls with uneven
rims (that you've decided are _supposed_ to be like that) by holding
them up from the inside.
Go ahead and spend those bucks. You'll thank yourself in years to come.
cheers,
Don Goodrich
goodrichdn@aol.com
http://dongoodrichpottery.com/
Lee Love on fri 15 sep 06
Hi Jodi,
The Griffin Grip is really handy for things like bottles. For
irregular forms, you have to play with them a bit, to get them centered.
I then hold the neck down with some clay.
--
Lee in Mashiko, Japan
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
Vince Pitelka on fri 15 sep 06
Jodi wrote:
> life is horrible here! I'm out of clay right after I my first easy bottle.
> (thrown not consumed). Sigh, I guess it's house work for me. On a better
> note, has any one had experience with the griffin grip? I am having a
> difficult time trimming altered forms, and although it's a few pennies it
> looks like it would be great.
Jodi -
The Giffen Grip is a wonderful invention, worth every penny of the price ten
times over, especially for the purposes you identify.
Perhaps I can counter some of the possible responding posts by saying that
anyone who categorically and loudly condemns the Giffen Grip in favor of
other "more traditional" trimming methods is a complete f--king idiot.
Whatever works for you is a wonderful discovery to be treasured, and the
Giffen Grip works very well for thousands of people. Check it out, and
decide for yourself. After doing your research, if it seems like the Giffen
Grip is appropriate for your need, it will probably be a wonderful
breakthrough that opens up all sorts of possibilities.
Good luck -
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
claybair on fri 15 sep 06
I've trimmed odd shaped pieces on the GG
placing it upside down on an inverted plastic tub
(margarine, potato salad etc.).
A piece of foam inside the bowl
stabilizes and protects it.
I use the foot to guide centering the piece.
Gayle Bair
Bainbridge Island, WA
Tucson, AZ
http://claybair.com
-----Original Message-----
From: Bruce Girrell
Jodi Isaac wrote:
> has any one had experience with the
> griffin grip? I am having a difficult time trimming altered
> forms, and although it's a few pennies it looks like it would be great.
Jodi,
It depends on how you alter the forms. The GG is a self-centering chuck. All
three parts of the jaws move at the same time and by the same amount. As
long as the form is round where the GG grabs it or has a number of sides
that is a multiple of 3, you are OK. But if you, say, paddle the thrown form
into a four-sided object, then the GG will not center your piece properly.
If you do get a GG, I strongly recommend the new "hands". I don't know if
these come standard with a new GG or if they are considered an upgrade and
must be ordered separately.
Bruce Girrell
____________________________________________________________________________
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Send postings to clayart@lsv.ceramics.org
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Nancy Braches on sat 16 sep 06
Hi Jody...oh no! Out of clay....housework instead of claywork??? awww :(
The giffin grip is a good tool...is it worth $150...to some yes...I had one, used it when I trimmed a lot of smaller pieces. I love my foam bat....I trim everything on it.....ok well not everything but at least 90% of my ware that needs to be trimmed after throwing. The foam bat is great for anything that is wider than it is tall. I use my handy duck tape roll on the wheel or foam bat as well as heavy duty cardboard tubes that I have cut in different lengths. All work well. Altered forms aren't as easy with the GG but it may be better than other ideas. I try to trim my pieces before altering, makes it easier on me.
Again I think the choice of tools is very personal and what works for one person may not work for you down the road.
Nancy
Hilltop Pottery
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Brian O'Neill on mon 18 sep 06
Dear PP,
I've got one of the earilier GG's and I'd sell, or if that's not an
option for you, give you the GG. They're a fine tool, but most of my
pieces won't fit within the size parameters of the grips. So there you
go -- a GG for a PP. RSVP
Brian
Brian Thomas O'Neill
Functional | Sculptural Ceramic Vessels
2985 Goshen Rd | Bellingham, WA | 98226
360 592 3164
brianoneill@cablespeed.com
On Sep 15, 2006, at 9:04 AM, j isaac wrote:
> life is horrible here! I'm out of clay right after I my first easy
> bottle. (thrown not consumed). Sigh, I guess it's house work for me.
> On a better note, has any one had experience with the griffin grip? I
> am having a difficult time trimming altered forms, and although it's a
> few pennies it looks like it would be great.
>
> The Pretend Potter
> Jodi
>
> ---------------------------------
> All-new Yahoo! Mail - Fire up a more powerful email and get things
> done faster.
>
> _______________________________________________________________________
> _______
> 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.
>
Mark Issenberg on wed 24 oct 07
I can see how some people dont like to trim. I love to trim ,its part of
making pots on the wheel. I also still LOVE my Bison tool. I spend a day
throwing and I know the next day is for trimming..By trimming it finishes off the
pot or bowl
Any time I go and look at pots at sales are galleries I always want to see
and feel the bottom of the pot.
Someone on Clayart or at a show gave me the idea to glaze the inside of the
foot ring a different color from the rest of the pot. So mostly I use my ash
blue for the inside of the foot ring.
I've also been trimming foot rings then cutting the rings in four areas
leaving 4 separate feet . I started doing that with my Bonsai pots and Cactus
planters and have now been doing it on functional bowls for the kitchen
The foot ring that's been cut on the right bowl gives it a elevated look and
to me the look like moving flying saucers.. I do like watching Sci Fi channel
I see bowls sometimes in shops for sale the have not been trimmed , to me ,
its a quicker way to work but its not for me .. I also like to see glaze
inside the foot ring. Its a hassle when im glazing but ive been using some new
sponges I bought from Axner that take away the glaze from the foot where it
would stick ..
I also do some pots that dont need trimming . Again I love my Bison tool for
trimming , it would be a different experience with out it
Just returned from Kentuck a show in North Port Alabama where I bought a
Jerry Brown covered pitcher..
check him out ,,,jerrybrown.com,,, he uses a mule to grind his clay,, talk
about a lot of work
also I listed my website on southernpotters.com ,, lots of places to check
out
When I do slab plates I also throw a foot ring on them .. It gives them a
great lift..Only make pots because you love to do it. If its just a job there
are lots of other jobs out there
Mark Lookout Mountain Georgia
finally enjoying the rain
************************************** See what's new at http://www.aol.com
Leigh Whitaker on wed 24 oct 07
I used to hate trimming. It seemed that I lost a lot of pots too, by going
to far. I got a Giffin Grip and used that a lot for a while. It helped me
get an idea of how far to go because I could take the pot off and feel it,
then put it back on. I hardly ever use it now, but it really gave me a feel for
how far I needed to go.
I love the look of a nicely trimmed foot ring. To me, my pots are not
finished unless they are trimmed, and I use trimming to really finalize the form,
especially bowls. Now, if I could only learn how to tap to center I'd be in
good shape!
Leigh
************************************** See what's new at http://www.aol.com
pdp1@EARTHLINK.NET on wed 24 oct 07
Hi all...
Just to muse aloud and redundantly a little, off the cuff -
I think what is happening with many Potters who labor or fuss or are not
satisfied with process and steps in making forms...or who are not satisfied
with those forms achieved...
Is that one has to know and envision what one is making, before, and as one
make it.
If not, there will likely be troubles, whether those troubles are correctly
assayed, or not.
Trimming need not be 'slow', or certainly not so slow that one would ever
think of it as 'slow'.
Potters who dislike Trimming because it feels 'slow' compared to the
fluidity of making pulls and so on in Throwing...are at-once rejecting what
Trimming rightly is and does, to favor not knowing how to Trim, or to favor
a preference by default, for only making only those sorts of forms which
will not be Trimmed.
The inner shape or hollow of a Pot, decides everything else which follows,
and decides everything which must defer to it; the outer shape as
silhouette, and the thickness of the Walls at every portion need to be held
in a sort of mental image one co-relates with the view one has while
Throwing and Trimming...with the interior 'hollow' as Center, around which
these other considerations are formed.
Making sketches of cross-sections of desired forms, sketches of the Wall
thickness and the taper or proportion of the Walls for various shapes and
silhouettes, sketching the inside hollow of a shape and adding the outside
silhouette instead of the other way around, or both of course...can be a
good way to encourage an interior vision and understanding of those cross
sections and wall thicknesses and inside hollows for any given outer
silhouette to have.
If one does not have that co-relation or vision, while Throwing, and where
appropriate, while Trimming, then there will be problems or frustrations or
conflicts and compromises.
Pieces may look alright at a glance, but not 'feel' right when one picks
them up...they will be too heavy, too light or not feel balanced.
Taking just-Thrown Work and cutting it in half vertically, with a Wire, is a
good way to see how nicely one has managed the proportions of the Walls, and
the relationship between the outer silhouette and the inside hollow it
contains.
Not all forms of course are intended to be subsequently Trimmed.
For those which are, Trimming is the compliment and succeeding procedure to
Throwing, and completes the intended vision or realization for both the
final silhouette, and, for the proportions and graduated thickness of the
Walls and Bottom to be correct.
And the final silhouette of course is a graduated relation to the Thrown and
or Thrown and Ribbed inside of any piece...which 'inside' hollow is crucial
in order for the outside ( and hence, the Wall's thickness and taper and
proportion ) to mirror or defer to it.
What the inside does as for shape, the outside should do in proportion, and
if it does not, the piece will not 'feel' right in use or when being picked
up kin the Hands to be appreciated.
That is the whole matter of it...
Trimming is planned just as much as Throwing is, in the vision of what one
intends.
Trimming is not a way of trying to save poorly planned or confused Work.
Phil
l v
----- Original Message -----
From: "mel jacobson"
> the easiest part of a foot ring is the center.
> just scoop it out.
>
> vince always cringes when i say this:
>
> ` a strong foot ring is the handle a potter uses
> to glaze a strong pot.` we hold the ring foot
> in our fingers, dip the outside of the pot in the glaze bucket..
>
> i plan that into pots when i form the foot ring.
>
> it is my best friend when glazing.
>
> vince feels we should go much farther in the statement.
> design, elevation, shadow, concern for the wonderful
> table that is beneath the pot. all true.
>
> many historians feel that the foot ring was designed to
> make the bottom of the pot a smooth delicate place
> on the pot so that when placed on lacquer it would not
> make a mark or blemish on the soft surface. (asia)
>
> i really hate...(and i mean hate) pseudo pods...that means
> false foot. i like a real powerful statement for the foot ring.
> you should be able to grasp it with your fingers and hold the
> pot upside down. just my opinion...but it is correct.
> just like foot rings, i don't like whimpy statements or pots.
> mel
Paul & Shellie Nicholas on wed 24 oct 07
Phil,
Very nicely put!
I had the wonderful opportunity of attending a workshop given by Robert and
Gail Piepenburg. First of all, if anyone has the opportunity to go to one of
his workshops, go! I highly recommend it.
He spoke about the feet of pots as a very important aspect to the whole pot.
I remember very specifically this important point he brought out. If the
foot of the pot is poorly done then it seems obvious that not much care went
in to making the piece, or that the potter was not impressed with his work
enough to give it the foot that a good pot deserves. He impressed upon me
how important a nicely trimmed foot was to the pot in which it held.
That is not exactly how he put it, but that was the essence of his thoughts
on the subject.
Paul Nicholas
Check out my high quality pottery tools at - www.mtpleasantpottery.com
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
pdp1@EARTHLINK.NET
Sent: Wednesday, October 24, 2007 1:55 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Trimming
Hi all...
Just to muse aloud and redundantly a little, off the cuff -
I think what is happening with many Potters who labor or fuss or are not
satisfied with process and steps in making forms...or who are not satisfied
with those forms achieved...
Is that one has to know and envision what one is making, before, and as one
make it.
If not, there will likely be troubles, whether those troubles are correctly
assayed, or not.
Trimming need not be 'slow', or certainly not so slow that one would ever
think of it as 'slow'.
Potters who dislike Trimming because it feels 'slow' compared to the
fluidity of making pulls and so on in Throwing...are at-once rejecting what
Trimming rightly is and does, to favor not knowing how to Trim, or to favor
a preference by default, for only making only those sorts of forms which
will not be Trimmed.
The inner shape or hollow of a Pot, decides everything else which follows,
and decides everything which must defer to it; the outer shape as
silhouette, and the thickness of the Walls at every portion need to be held
in a sort of mental image one co-relates with the view one has while
Throwing and Trimming...with the interior 'hollow' as Center, around which
these other considerations are formed.
Making sketches of cross-sections of desired forms, sketches of the Wall
thickness and the taper or proportion of the Walls for various shapes and
silhouettes, sketching the inside hollow of a shape and adding the outside
silhouette instead of the other way around, or both of course...can be a
good way to encourage an interior vision and understanding of those cross
sections and wall thicknesses and inside hollows for any given outer
silhouette to have.
If one does not have that co-relation or vision, while Throwing, and where
appropriate, while Trimming, then there will be problems or frustrations or
conflicts and compromises.
Pieces may look alright at a glance, but not 'feel' right when one picks
them up...they will be too heavy, too light or not feel balanced.
Taking just-Thrown Work and cutting it in half vertically, with a Wire, is a
good way to see how nicely one has managed the proportions of the Walls, and
the relationship between the outer silhouette and the inside hollow it
contains.
Not all forms of course are intended to be subsequently Trimmed.
For those which are, Trimming is the compliment and succeeding procedure to
Throwing, and completes the intended vision or realization for both the
final silhouette, and, for the proportions and graduated thickness of the
Walls and Bottom to be correct.
And the final silhouette of course is a graduated relation to the Thrown and
or Thrown and Ribbed inside of any piece...which 'inside' hollow is crucial
in order for the outside ( and hence, the Wall's thickness and taper and
proportion ) to mirror or defer to it.
What the inside does as for shape, the outside should do in proportion, and
if it does not, the piece will not 'feel' right in use or when being picked
up kin the Hands to be appreciated.
That is the whole matter of it...
Trimming is planned just as much as Throwing is, in the vision of what one
intends.
Trimming is not a way of trying to save poorly planned or confused Work.
Phil
l v
----- Original Message -----
From: "mel jacobson"
> the easiest part of a foot ring is the center.
> just scoop it out.
>
> vince always cringes when i say this:
>
> ` a strong foot ring is the handle a potter uses
> to glaze a strong pot.` we hold the ring foot
> in our fingers, dip the outside of the pot in the glaze bucket..
>
> i plan that into pots when i form the foot ring.
>
> it is my best friend when glazing.
>
> vince feels we should go much farther in the statement.
> design, elevation, shadow, concern for the wonderful
> table that is beneath the pot. all true.
>
> many historians feel that the foot ring was designed to
> make the bottom of the pot a smooth delicate place
> on the pot so that when placed on lacquer it would not
> make a mark or blemish on the soft surface. (asia)
>
> i really hate...(and i mean hate) pseudo pods...that means
> false foot. i like a real powerful statement for the foot ring.
> you should be able to grasp it with your fingers and hold the
> pot upside down. just my opinion...but it is correct.
> just like foot rings, i don't like whimpy statements or pots.
> mel
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Deborah Thuman on thu 25 oct 07
Mel said: learning to tap center and attach the pots with
water..not balls of clay makes for really fast efficient trimming.
Mel, could you please explain how this is done? I'm one of those
"young" (in experience, certainly not age - I'm old enough to order off
the senior menu without lying about my age) potters.
Many thanks.
Deb
http://debthumansblog.blogspot.com/
mel jacobson on tue 20 oct 09
i would assume if you asked any of the full time professionals
on this list they would tell you that when the clay goes on
the wheel, they know that a foot ring will follow, or a flat bottom
or just a piece plucked from the wheel.
it is almost never.
`hmmm, this feels heavy, think i will turn it upside down
and trim off a bit. hmmm, how can i do that?...oh, get some
foam, or a coffee can...rig up something.`
we don't have time for that.
you make up your mind before you throw.
how much is going to be left in the bottom for a foot ring.
how much will be tooled off before you complete the form.
how far you push your 45/stick and take out bottom clay.
it does not matter what you do, it is important that you plan
it ahead.
you must leave a perfect amount for a classic foot ring.
that cannot be faked later. (what you get later is a pseudopod.)
false foot.
the foot ring you make should be a statement of how you make pots.
remember, every professional will tip your pot over and check it out.
a real foot is a statement...it is a vital part of the design...or as vince
would say...`it is the total pot, right there.`
if you leave a large amount, and don't cut the foot ring, bad
heavy pot.
so much is about planning, knowing ahead what you are going to
be doing.
even if you are just `playing` with form, the end results must
me considered. how will it all come together?
mel
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
new book: http://www.21stcenturykilns.com
Karin Givon on wed 30 jun 10
Trimming makes cracks? Use a fine fine beautiful wrought trimming
tool by that Las Vegas Master Phil Poburka. Amazing
and light and actually it's hard not to trim TOO much! Check
'em out online--Bison tools. Expensive and worth every penny. I'm
totally hooked on mine.
karin givon
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