Steve Irvine on sat 9 jan 10
I'm midway through reading Paul's excellent book, "China Paint & =3D
Overglaze." For anyone interested in exploring the rich potential of =3D
this approach to surface development this book is a must!
Steve Irvine
www.steveirvine.com
Snail Scott on sat 9 jan 10
I was fortunate to have my early training at a college
where (although the basic classes were ^10 reduction)
almost everything seemed to be an option. We had one
full-time professor and one part-timer, but between them
they had (in the past) or were presently doing functional
production pottery, macho expressionistic rough clay
sculpture, pretty cartoon-like objects, raku, Indian-derived
firing techniques, salt fire, wood fire, moldmaking and slip-
casting, low-fire terra cotta with commercial glazes, murals,
Egyptian paste, digging native clay, paperclay, china
paint, and even completely unfired work. We didn't do
everything - most of us focused on some direction or
another, and there were techniques I don't recall anyone
introducing while I was there. The bias was toward 'serious'
fine art, not pottery or commercially-oriented work, and
from reading it seemed that some techniques were more
credible than others in the 'real world'. (it was still the era of
high-fire reduction, though that was changing.) I never saw
any technique dismissed outright, though, or held to be
inappropriate in itself; merely inappropriate for a given
use. I hold very myself fortunate in this indeed. Like many
students, I didn't pick my college for its particular emphasis,
but for its cost. (A full-ride scholarship trumps just about
anything.) I wasn't even an art major; my degree was in
architecture. I just slid across campus to take studio
courses when I could. In retrospect, though, I could have
done a lot worse.
-Snail
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