Chris Leake on tue 2 mar 10
-Catherine,
Forgive me if I am repeating something I missed, but are you scoring and sl=
ipping the coils as you join each row?
Chris Leake
>
>I've been making coil-built sculptures, ranging from 4 - 12 inches high.
>The coils are 1/4 to 1/2 inch thick, and I smooth them out thoroughly on
>both the inside and outside of the piece using my fingers and a rubber rib=
.
> Once the piece is leather hard I refine it with a surform and then scrape
>it completely smooth with a metal rib. When I'm finished there is no trac=
e
>of the coil-building process. The same is true once I've bisque fired.
>Then comes the problem: after glaze firing to cone 6 the coils reappear a=
nd
>the form is distorted. What's going wrong? How can I avoid this?
http://potterybychris.com
James Freeman on tue 2 mar 10
Catherine...
I believe the problem you are having is the result of your joins between th=
e
coils being too wet. Though you have smoothed the clay, the clay in the
join area is still wetter than the rest, so ends up shrinking more. You
might try using much less water when you join coils, or using just a bit of
slip instead of water. Another thing that might help is to compress the
clay after you have worked the joins together, and after the moisture has
had a little time to equalize. In coil building, this is traditionally
accomplished by using a smooth, rounded rock or other firm, rounded object
as an anvil on the inside of the pot, and a paddle on the outside. This
will also thin the walls and enlarge and refine the form, so plan
accordingly.
Others may have better hypothesis.
Good luck.
...James
James Freeman
"All I say is by way of discourse, and nothing by way of advice. I should
not speak so boldly if it were my due to be believed."
-Michel de Montaigne
http://www.jamesfreemanstudio.com
http://www.flickr.com/photos/jamesfreemanstudio/
http://www.jamesfreemanstudio.com/clayart/
On Tue, Mar 2, 2010 at 6:50 AM, Catherine Moynihan
wrote:
> I've been making coil-built sculptures, ranging from 4 - 12 inches high.
> The coils are 1/4 to 1/2 inch thick, and I smooth them out thoroughly on
> both the inside and outside of the piece using my fingers and a rubber ri=
b.
> Once the piece is leather hard I refine it with a surform and then scrap=
e
> it completely smooth with a metal rib. When I'm finished there is no tra=
ce
> of the coil-building process. The same is true once I've bisque fired.
> Then comes the problem: after glaze firing to cone 6 the coils reappear
> and
> the form is distorted. What's going wrong? How can I avoid this?
>
Catherine Moynihan on tue 2 mar 10
I've been making coil-built sculptures, ranging from 4 - 12 inches high.=3D=
20=3D
The coils are 1/4 to 1/2 inch thick, and I smooth them out thoroughly on
both the inside and outside of the piece using my fingers and a rubber ri=
=3D
b.
Once the piece is leather hard I refine it with a surform and then scrap=
=3D
e
it completely smooth with a metal rib. When I'm finished there is no tra=
=3D
ce
of the coil-building process. The same is true once I've bisque fired.=3D2=
0=3D
Then comes the problem: after glaze firing to cone 6 the coils reappear =
=3D
and
the form is distorted. What's going wrong? How can I avoid this?
Eric Hansen on tue 2 mar 10
perhaps add a step where you blend the whole surface with a comb tool or th=
e
tines of a fork before smoothing. Your clay may have changed, or you drying
time may have changed, or any number of other things accounting for at firs=
t
not having a problem, then having one. Another coil technique you might
consider is making large coils and working the pot into a think wall after
adding coils - this moves the clay around a lot bonding it better into the
new form. Also I might add you could try an "anvil" (round rock, etc.) on
the inside as you paddle the outside. One more tip - often coil builders mi=
x
the clay immediately prior to making the coils simply by pouring a bit of
water into the dry clay/grog mixture then working up a coil from it. Using
the moist clay designed for wheel-throwing has a different setting up and
drying time.
h a n s e n
On Tue, Mar 2, 2010 at 6:50 AM, Catherine Moynihan
wrote:
> I've been making coil-built sculptures, ranging from 4 - 12 inches high.
> The coils are 1/4 to 1/2 inch thick, and I smooth them out thoroughly on
> both the inside and outside of the piece using my fingers and a rubber ri=
b.
> Once the piece is leather hard I refine it with a surform and then scrap=
e
> it completely smooth with a metal rib. When I'm finished there is no tra=
ce
> of the coil-building process. The same is true once I've bisque fired.
> Then comes the problem: after glaze firing to cone 6 the coils reappear
> and
> the form is distorted. What's going wrong? How can I avoid this?
>
Nancy Spinella on wed 3 mar 10
I know you said you glaze fire to cone 6, but what cone was the bisque
firing? What cone(s) were recommended for the clay you're using?
It's strange that the distortion doesn't show up until after the second
firing....have you ever tried a second bisque firing or a different glaze t=
o
see if either makes a difference?
--Nancy
On Tue, Mar 2, 2010 at 6:50 AM, Catherine Moynihan
wrote:
> I've been making coil-built sculptures, ranging from 4 - 12 inches high.
> The coils are 1/4 to 1/2 inch thick, and I smooth them out thoroughly on
> both the inside and outside of the piece using my fingers and a rubber ri=
b.
> Once the piece is leather hard I refine it with a surform and then scrap=
e
> it completely smooth with a metal rib. When I'm finished there is no tra=
ce
> of the coil-building process. The same is true once I've bisque fired.
> Then comes the problem: after glaze firing to cone 6 the coils reappear
> and
> the form is distorted. What's going wrong? How can I avoid this?
>
Snail Scott on wed 3 mar 10
On Mar 2, 2010, at 5:50 AM, Catherine Moynihan wrote:
> ...coil-built sculptures...smooth them out thoroughly on
> both the inside and outside of the piece using my fingers
> and a rubber rib...scrape smooth with metal rib...
> after glaze firing to cone 6 the coils reappear and
> the form is distorted. What's going wrong?
I often find that people do not lute deeply enough
when coilbuilding. You need to intermix the
particles of clay thoroughly across the joint all
the way to the full depth of the clay wall, or as
close as is practical. The more deeply and
thoroughly the clay is mixed across the joint,
the better. Think velcro. Clay that is just pushed
together, however tightly, is not joined.
One luting problem is to smooth the visible surface
of the joint away, or go just slightly deep. When this
is your method, the joint between coils is only as
thick as the depth of your luting, so it's already very
thin and weak, and even a little scraping afterward
can completely remove the joined layer. You may
not see the coil joints afterward, but there is nothing
but the surface tension of the water holding the
clay together, and once it's dry and bisqued, it will
show the lack of attachment. Using too blunt a tool,
or not digging deeply enough with fingers, is the
usual cause. In your case, your fingers are doing
ALL the luting; the rubber rib is making it pretty, but
does nothing at all to join the coils together.
Make sure you dig deep when luting! If it looks nice
and smooth afterward, you aren't going deep enough.
Smoothing it comes afterward, and is a purely aesthetic
process. It has no role at all in making the joint. If it's
not a bit gnarly after luting, you likely aren't getting it
done.
You can hide any joint with a swipe of a finger or rib,
but it's like wallpapering over a crack in the wall. You
can't see the crack anymore, but it's not gone, and the
least little stress will open it right back up.
Another common error in luting is to use too sharp a
tool in luting, and end up just making perpendicular
cuts across the joint. This also does nothing to
intermix the clay particles from one side to the other.
(This isn't likely your problem, i merely mention it for
completeness.)
Someone mentioned scoring and slipping, or using
water or slip between coils. It may work for them but I
think it's a terrible idea. Scoring and slipping is very
time consuming; my rule of thumb is "lute when you
can; score when you must". Putting slippery stuff
between coils makes them slide around and it
becomes almost impossible to get good luting done.
Keep it to plastic-clay-on-plastic-clay contact, only.
Also note that some clay bodies are highly forgiving
of casual joinery, while others are prima donnas.
What works for one body may not work for others.
You are using very slender coils, and this, i find,
actually makes the whole thing more difficult. I
use big fat coils, with not concern for smoothness
or roundness. I chunk it on there, lute it on, then
after I've built up a few inches (which goes very
quickly) I pinch to the desired form and thickness.
The pinching also helps integrate the clay across
the coil joints. I also have an unsubstantiated theory
about rolled coils, to wit: it's waste of time, makes
the clay dry out, and the particle alignment caused
by rolling actually hinders the formation of a well-
integrated joint. I just squish 'em until they are
longish (1-1/2" or so avg. diameter), then slap 'em
in place; they will even out with the pinching later.
If you wanted exposed coils as an ornamental
element, then rolling would be appropriate; otherwise,
why bother?
I quit rolling coils because my first studio didn't have
space for both a work pedestal and a flat spot to
roll on; squished coils need no surface area to make.
That was twenty years ago, and no looking back.
I usually lute with my thumbs, and when the angle
won't work, I generally use the rounded end of a
standard wooden knife, or similar tool. A table knife
works fine. holding the tool's flat face at a diagonal to
the luting direction allows both a deep gouge and a
'push' action, both necessary to move the clay back
and forth. (Or just forth - that works too, if you are
thorough, but be consistent.)
Digression on the subject of thumbs, mine:
My thumbs and fingers are stubby, spatulate and
strong, genetically purpose-built for coil-building,
and the envy of all others. Quite freakish, in fact,
and they run in the family. When anyone wonders
if I use my own hands as models for my hand/arm
sculptures, one glance at my thumbs dispels that
idea. If my art resembled my hands, it would look
as though I had no idea how to sculpt a thumb.
They serve me well, though. For lesser mortals
with mere ordinary thumbs, they may yet serve,
or at least maintain a firm grip on a suitable tool.
Long live the opposable thumb!
-Snail
Mike on wed 3 mar 10
You could try adding the coils on the inside (rather than on) of the
wall, then pinching the whole thing up, which when repeated will give
you a wall composed of many thin vertical layers rather than stacked
coils. This is how I do all my hand building and I've never had the
problem you describe. Optionally, you can paddle the form as well.
I have a photo sequence which illustrates the process here:
http://karatsupots.blogspot.com/2005_06_01_archive.html
Scroll all the way to the bottom to get to the beginning of the
sequence, then work your way back up to progress forward.
Hope this helps,
Mike
Mike
in Taku, Japan
http://karatsupots.com
http://karatsupots.blogspot.com
Kiln Building Workshop, Oct. 15 - 22
http://karatsupots.com/workshop2010/workshop2010.html
http://karatsupots-workshop.blogspot.com/
>> I've been making coil-built sculptures, ranging from 4 - 12 inches high.
>> The coils are 1/4 to 1/2 inch thick, and I smooth them out thoroughly on
>> both the inside and outside of the piece using my fingers and a rubber r=
ib.
>> Once the piece is leather hard I refine it with a surform and then scr=
ape
>> it completely smooth with a metal rib. When I'm finished there is no tr=
ace
>> of the coil-building process. The same is true once I've bisque fired.
>> Then comes the problem: after glaze firing to cone 6 the coils reappear
>> and
>> the form is distorted. What's going wrong? How can I avoid this?
>>
>>
>
Vince Pitelka on thu 4 mar 10
When coil building, adding slurry or water is going backwards. You are
softening the clay, slowing yourself down. Ideally, the only time to ever
score-and-slurry (lute) between each coil is if you want to preserve the
appearance of the coil pattern on the outside of the form. I do not like
the processes where coils are simply laid atop one another and then smeared
together inside and out, because there is a perfect fracture plane between
every coil. The fact that Bonnie Staffel never ran into any problem using
this method is just proof that the forces-that-be in the physics of clay
have always smiled upon her. The rest of us are not so lucky (or probably
so skilled).
In grad school at UMass-Amherst I was very lucky to share a studio with a
Nigerian-American woman named Sherinatu Fafunwa. Sheri was raised in fairl=
y
privileged circumstances (I believe her father was a doctor) in one of the
large cities in Nigeria until the family moved to the US when she was a
teenager. As a child she developed a fascination with Nigerian tribal
pottery, and to her parents' credit, they arranged for her to study with
tribal potters. She taught me the traditional Nigerian coil-building
method, and I will forever be grateful to her for those lessons. It is
amazing that so many people use coil building technique that are so much
less efficient and effective, instead of turning to the tribal potters who
have been coil building for millennia. I'll try to describe the technique,
but there's no substitute to seeing it being done and learning to do it
under the supervision of someone who knows what they are doing. I teach al=
l
my students the technique, and I teach it in my handbuilding and "Ancient
Clay" workshops.
With this method, the only time you ever score-and-slurry is when you leave
the vessel to stiffen up a bit before adding more coils. Otherwise, the
coils are smeared together, and there is no better way to interlock the
platelets if it is done properly. The coil is never laid in place and then
smeared into the wall, because when you do that, it expands in all
directions and the whole vessel expands very quickly. One of the secrets o=
f
successful coil construction is to build a form smaller in diameter than yo=
u
want, and then to stretch it outwards with the rib-and-hand method - curved
rigid wood rib on the inside and hand against the outside.
Each coil is lowered in place as you smear it into the wall. Place your
form on a banding wheel, and as you are facing the form, add the coil and
smear it in place on the far side of the form. Place your fingers
vertically pointing downwards against far outside of the form, and smear th=
e
coil downwards aggressively on the inside of the form with the thumb of the
same hand. Lower a bit of coil, smear downwards, lower a bit more, smear
downwards, etc., around and around the form. When you do this properly, th=
e
form only expands upwards, and then you can stretch it with rib-and-hand,
which helps to further consolidate and compress the walls.
If you smear fairly aggressively, you can use coils 3/4" or 1" in diameter=
,
and add 1.5" to 2" of vertical height to the wall with each coil addition.
After adding three or four coils, stop coiling, and use the curved end of a
rounded rim to smear the coils together on the outside of the form. Since
you smeared downwards with your thumb on the inside, smear up wards with th=
e
rib on the outside. Don't smear horizontally, because that is purely
cosmetic and does not really blend the coils. Don't smear vertically,
because you can actually pull the coils apart. Smear diagonally. Smear a
section about 2" high all the way around the form with repeated diagonal
strokes, and then move up 2" and repeat, as many times as necessary.
When you have built up as far as you can with one sequence of coiling,
smearing, and stretching, pinch the rim to a slightly-pointed edge. When
the form is leather-hard, score inside and outside this edge, apply slurry,
and then lay a coil in place one time around the form, and pat the coil
downwards over this edge. You can use your hand or a wood paddle. Don't
paddle it downwards so far that it splits the coil in half.
Remove any excess slurry, and then, on the far side of the form, pinch the
coil with your thumbs on the inside and your fingers vertically on the
outside. Once you have pinched a bit, use the rigid wood rib to blend it
downwards inside and out, and then go back to smearing coils in place.
Hope this helps.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
Bonnie Staffel on thu 4 mar 10
When I took my first class at the Toledo Art Museum School, my first =3D
class
was on coil building. I was taught never to add any water or slip but to
build each coil on top of the other and blending both the inside and the
outside into the coil below. I never had any problems with the pots so
built. The only time I would add any slip or Magic Water would be if I =3D
had
let the unfinished coil built pot for a while before starting again. =3D
After
some height is attained, then the hammer and anvil method could be used =3D
to
compress the pot up to that point
When I throw the coils in my Coils and Slab pots, I also do not use any =3D
slip
or magic water between the coils. It is important to thoroughly blend =3D
the
coils..
Bonnie Staffel
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD=3DA0 Throwing with Coils and Slabs
DVD=3DA0 Introduction to Wheel Work
Charter Member Potters Council
Antoinette Badenhorst on fri 5 mar 10
Vince Thanksfor this good explanation.=3D20
I would like to add a few comments to what you say. Here are 2 utube videos=
=3D
that describe very much what you are saying:=3D20
http://www.youtube.com/watch?v=3D3D_W-gBFMwy4Y&NR=3D3D1&feature=3D3Dfvwp=3D=
20
http://www.youtube.com/watch?v=3D3DrjSq-tyKNRY=3D20
Notice how soft ( and groggy) =3DC2=3DA0the clay is that these woman are us=
ing.=3D
Also notice that they do not work with long coils that can become unmanaga=
=3D
ble. They casually build one ( loosly shaped )=3DC2=3DA0coil on top (or sid=
e) o=3D
f the other and then work it up inmostly a diagonal way. Notice how they us=
=3D
e their fingers to comb the clay upward=3DC2=3DA0They work with a rhythm. T=
hey =3D
do not stretch the clay over=3DC2=3DA0wide areas( that will cause cracks). =
It i=3D
s mostly short strokes.=3D20
I would not suggest the excessive amount of water that these woman are usin=
=3D
g. We have different and better clay available and excessive water will cau=
=3D
se cracks. =3DC2=3DA0If one is inexperienced the clay will quickly collapse=
.=3DC2=3D
=3DA0 Good sticky, managable clay is good. A test that I always used to tea=
ch=3D
was: If you push two pieces of clay together and you have to tear it apart=
=3D
, it is good. If the two pieces are soft but comes apart easily, it needs w=
=3D
ater.=3D20
Don't be tensed up about the coiling process. Listen to mucic and try to br=
=3D
ing the rhythm of the music into the work. That will loosen you up and allo=
=3D
w you to enjoy the process without fear of failure. Afterall it is just cla=
=3D
y.=3D20
Be sure to have sore and stiff hands after such an exersize since it is unu=
=3D
sual exersizes.=3D20
Antoinette Badenhorst=3D20
Lincolnshire, Illinois=3D20
----- Original Message -----=3D20
From: "Vince Pitelka" =3D20
To: Clayart@LSV.CERAMICS.ORG=3D20
Sent: Thursday, March 4, 2010 11:46:17 PM GMT -06:00 US/Canada Central=3D20
Subject: Re: coil building problem=3D20
When coil building, adding slurry or water is going backwards. =3DC2=3DA0Yo=
u ar=3D
e=3D20
softening the clay, slowing yourself down. =3DC2=3DA0Ideally, the only time=
to =3D
ever=3D20
score-and-slurry (lute) between each coil is if you want to preserve the=3D=
20
appearance of the coil pattern on the outside of the form. =3DC2=3DA0I do n=
ot l=3D
ike=3D20
the processes where coils are simply laid atop one another and then smeared=
=3D
=3D20
together inside and out, because there is a perfect fracture plane between=
=3D
=3D20
every coil. =3DC2=3DA0The fact that Bonnie Staffel never ran into any probl=
em u=3D
sing=3D20
this method is just proof that the forces-that-be in the physics of clay=3D=
20
have always smiled upon her. =3DC2=3DA0The rest of us are not so lucky (or =
prob=3D
ably=3D20
so skilled).=3D20
In grad school at UMass-Amherst I was very lucky to share a studio with a=
=3D
=3D20
Nigerian-American woman named Sherinatu Fafunwa. =3DC2=3DA0Sheri was raised=
in =3D
fairly=3D20
privileged circumstances (I believe her father was a doctor) in one of the=
=3D
=3D20
large cities in Nigeria until the family moved to the US when she was a=3D2=
0
teenager. =3DC2=3DA0As a child she developed a fascination with Nigerian tr=
ibal=3D
=3D20
pottery, and to her parents' credit, they arranged for her to study with=3D=
20
tribal potters. =3DC2=3DA0She taught me the traditional Nigerian coil-build=
ing=3D
=3D20
method, and I will forever be grateful to her for those lessons. =3DC2=3DA0=
It i=3D
s=3D20
amazing that so many people use coil building technique that are so much=3D=
20
less efficient and effective, instead of turning to the tribal potters who=
=3D
=3D20
have been coil building for millennia. =3DC2=3DA0I'll try to describe the t=
echn=3D
ique,=3D20
but there's no substitute to seeing it being done and learning to do it=3D2=
0
under the supervision of someone who knows what they are doing. =3DC2=3DA0I=
tea=3D
ch all=3D20
my students the technique, and I teach it in my handbuilding and "Ancient=
=3D
=3D20
Clay" workshops.=3D20
With this method, the only time you ever score-and-slurry is when you leave=
=3D
=3D20
the vessel to stiffen up a bit before adding more coils. =3DC2=3DA0Otherwis=
e, t=3D
he=3D20
coils are smeared together, and there is no better way to interlock the=3D2=
0
platelets if it is done properly. =3DC2=3DA0The coil is never laid in place=
and=3D
then=3D20
smeared into the wall, because when you do that, it expands in all=3D20
directions and the whole vessel expands very quickly. =3DC2=3DA0One of the =
secr=3D
ets of=3D20
successful coil construction is to build a form smaller in diameter than yo=
=3D
u=3D20
want, and then to stretch it outwards with the rib-and-hand method - curved=
=3D
=3D20
rigid wood rib on the inside and hand against the outside.=3D20
Each coil is lowered in place as you smear it into the wall. =3DC2=3DA0Plac=
e yo=3D
ur=3D20
form on a banding wheel, and as you are facing the form, add the coil and=
=3D
=3D20
smear it in place on the far side of the form. =3DC2=3DA0Place your fingers=
=3D20
vertically pointing downwards against far outside of the form, and smear th=
=3D
e=3D20
coil downwards aggressively on the inside of the form with the thumb of the=
=3D
=3D20
same hand. =3DC2=3DA0Lower a bit of coil, smear downwards, lower a bit more=
, sm=3D
ear=3D20
downwards, etc., around and around the form. =3DC2=3DA0When you do this pro=
perl=3D
y, the=3D20
form only expands upwards, and then you can stretch it with rib-and-hand,=
=3D
=3D20
which helps to further consolidate and compress the walls.=3D20
If you smear fairly aggressively, you can use =3DC2=3DA0coils 3/4" or 1" in=
dia=3D
meter,=3D20
and add 1.5" to 2" of vertical height to the wall with each coil addition.=
=3D
=3D20
After adding three or four coils, stop coiling, and use the curved end of a=
=3D
=3D20
rounded rim to smear the coils together on the outside of the form. =3DC2=
=3DA0S=3D
ince=3D20
you smeared downwards with your thumb on the inside, smear up wards with th=
=3D
e=3D20
rib on the outside. =3DC2=3DA0Don't smear horizontally, because that is pur=
ely=3D
=3D20
cosmetic and does not really blend the coils. =3DC2=3DA0Don't smear vertica=
lly,=3D
=3D20
because you can actually pull the coils apart. =3DC2=3DA0Smear diagonally. =
=3DC2=3D
=3DA0Smear a=3D20
section about 2" high all the way around the form with repeated diagonal=3D=
20
strokes, and then move up 2" and repeat, as many times as necessary.=3D20
When you have built up as far as you can with one sequence of coiling,=3D20
smearing, and stretching, pinch the rim to a slightly-pointed edge. =3DC2=
=3DA0W=3D
hen=3D20
the form is leather-hard, score inside and outside this edge, apply slurry,=
=3D
=3D20
and then lay a coil in place one time around the form, and pat the coil=3D2=
0
downwards over this edge. =3DC2=3DA0You can use your hand or a wood paddle.=
=3DC2=3D
=3DA0Don't=3D20
paddle it downwards so far that it splits the coil in half.=3D20
Remove any excess slurry, and then, on the far side of the form, pinch the=
=3D
=3D20
coil with your thumbs on the inside and your fingers vertically on the=3D20
outside. =3DC2=3DA0Once you have pinched a bit, use the rigid wood rib to b=
lend=3D
it=3D20
downwards inside and out, and then go back to smearing coils in place.=3D20
Hope this helps.=3D20
- Vince=3D20
Vince Pitelka=3D20
Appalachian Center for Craft=3D20
Tennessee Tech University=3D20
vpitelka@dtccom.net; wpitelka@tntech.edu=3D20
http://iweb.tntech.edu/wpitelka=3D20
Beth Donovan on fri 5 mar 10
Those are amazing videos. I can't imagine how strong their legs and =3D
backs must be to build those huge pots that are on the ground while they =
=3D
are standing up!
I'm in awe!
Cheers,
Beth Donovan
Castle Argghhh! Farm
Easton, Kansas
-----Original Message-----
From: Clayart [mailto:Clayart@LSV.CERAMICS.ORG] On Behalf Of Antoinette =3D
Badenhorst
Sent: Friday, March 05, 2010 10:11 AM
To: Clayart@LSV.CERAMICS.ORG
Subject: Re: coil building problem
Vince Thanksfor this good explanation.=3D20
I would like to add a few comments to what you say. Here are 2 utube =3D
videos that describe very much what you are saying:=3D20
http://www.youtube.com/watch?v=3D3D_W-gBFMwy4Y&NR=3D3D1&feature=3D3Dfvwp=3D=
20
http://www.youtube.com/watch?v=3D3DrjSq-tyKNRY=3D20
Notice how soft ( and groggy) the clay is that these woman are using. =3D
Also notice that they do not work with long coils that can become =3D
unmanagable. They casually build one ( loosly shaped ) coil on top (or =3D
side) of the other and then work it up inmostly a diagonal way. Notice =3D
how they use their fingers to comb the clay upward They work with a =3D
rhythm. They do not stretch the clay over wide areas( that will cause =3D
cracks). It is mostly short strokes.=3D20
I would not suggest the excessive amount of water that these woman are =3D
using. We have different and better clay available and excessive water =3D
will cause cracks. If one is inexperienced the clay will quickly =3D
collapse. Good sticky, managable clay is good. A test that I always =3D
used to teach was: If you push two pieces of clay together and you have =3D
to tear it apart, it is good. If the two pieces are soft but comes apart =
=3D
easily, it needs water.=3D20
Don't be tensed up about the coiling process. Listen to mucic and try to =
=3D
bring the rhythm of the music into the work. That will loosen you up and =
=3D
allow you to enjoy the process without fear of failure. Afterall it is =3D
just clay.=3D20
Be sure to have sore and stiff hands after such an exersize since it is =3D
unusual exersizes.=3D20
Antoinette Badenhorst=3D20
Lincolnshire, Illinois=3D20
----- Original Message -----=3D20
From: "Vince Pitelka" =3D20
To: Clayart@LSV.CERAMICS.ORG=3D20
Sent: Thursday, March 4, 2010 11:46:17 PM GMT -06:00 US/Canada Central=3D20
Subject: Re: coil building problem=3D20
When coil building, adding slurry or water is going backwards. You are=3D2=
0
softening the clay, slowing yourself down. Ideally, the only time to =3D
ever=3D20
score-and-slurry (lute) between each coil is if you want to preserve the =
=3D
appearance of the coil pattern on the outside of the form. I do not =3D
like=3D20
the processes where coils are simply laid atop one another and then =3D
smeared=3D20
together inside and out, because there is a perfect fracture plane =3D
between=3D20
every coil. The fact that Bonnie Staffel never ran into any problem =3D
using=3D20
this method is just proof that the forces-that-be in the physics of clay =
=3D
have always smiled upon her. The rest of us are not so lucky (or =3D
probably=3D20
so skilled).=3D20
In grad school at UMass-Amherst I was very lucky to share a studio with =3D
a=3D20
Nigerian-American woman named Sherinatu Fafunwa. Sheri was raised in =3D
fairly=3D20
privileged circumstances (I believe her father was a doctor) in one of =3D
the=3D20
large cities in Nigeria until the family moved to the US when she was a=3D2=
0
teenager. As a child she developed a fascination with Nigerian tribal=3D20
pottery, and to her parents' credit, they arranged for her to study with =
=3D
tribal potters. She taught me the traditional Nigerian coil-building=3D20
method, and I will forever be grateful to her for those lessons. It is=3D2=
0
amazing that so many people use coil building technique that are so much =
=3D
less efficient and effective, instead of turning to the tribal potters =3D
who=3D20
have been coil building for millennia. I'll try to describe the =3D
technique,=3D20
but there's no substitute to seeing it being done and learning to do it=3D2=
0
under the supervision of someone who knows what they are doing. I teach =
=3D
all=3D20
my students the technique, and I teach it in my handbuilding and =3D
"Ancient=3D20
Clay" workshops.=3D20
With this method, the only time you ever score-and-slurry is when you =3D
leave=3D20
the vessel to stiffen up a bit before adding more coils. Otherwise, the =
=3D
coils are smeared together, and there is no better way to interlock the=3D2=
0
platelets if it is done properly. The coil is never laid in place and =3D
then=3D20
smeared into the wall, because when you do that, it expands in all=3D20
directions and the whole vessel expands very quickly. One of the =3D
secrets of=3D20
successful coil construction is to build a form smaller in diameter than =
=3D
you=3D20
want, and then to stretch it outwards with the rib-and-hand method - =3D
curved=3D20
rigid wood rib on the inside and hand against the outside.=3D20
Each coil is lowered in place as you smear it into the wall. Place your =
=3D
form on a banding wheel, and as you are facing the form, add the coil =3D
and=3D20
smear it in place on the far side of the form. Place your fingers=3D20
vertically pointing downwards against far outside of the form, and smear =
=3D
the=3D20
coil downwards aggressively on the inside of the form with the thumb of =3D
the=3D20
same hand. Lower a bit of coil, smear downwards, lower a bit more, =3D
smear=3D20
downwards, etc., around and around the form. When you do this properly, =
=3D
the=3D20
form only expands upwards, and then you can stretch it with =3D
rib-and-hand,=3D20
which helps to further consolidate and compress the walls.=3D20
If you smear fairly aggressively, you can use coils 3/4" or 1" in =3D
diameter,=3D20
and add 1.5" to 2" of vertical height to the wall with each coil =3D
addition.=3D20
After adding three or four coils, stop coiling, and use the curved end =3D
of a=3D20
rounded rim to smear the coils together on the outside of the form. =3D
Since=3D20
you smeared downwards with your thumb on the inside, smear up wards with =
=3D
the=3D20
rib on the outside. Don't smear horizontally, because that is purely=3D20
cosmetic and does not really blend the coils. Don't smear vertically,=3D20
because you can actually pull the coils apart. Smear diagonally. Smear =
=3D
a=3D20
section about 2" high all the way around the form with repeated diagonal =
=3D
strokes, and then move up 2" and repeat, as many times as necessary.=3D20
When you have built up as far as you can with one sequence of coiling,=3D20
smearing, and stretching, pinch the rim to a slightly-pointed edge. =3D
When=3D20
the form is leather-hard, score inside and outside this edge, apply =3D
slurry,=3D20
and then lay a coil in place one time around the form, and pat the coil=3D2=
0
downwards over this edge. You can use your hand or a wood paddle. =3D
Don't=3D20
paddle it downwards so far that it splits the coil in half.=3D20
Remove any excess slurry, and then, on the far side of the form, pinch =3D
the=3D20
coil with your thumbs on the inside and your fingers vertically on the=3D20
outside. Once you have pinched a bit, use the rigid wood rib to blend =3D
it=3D20
downwards inside and out, and then go back to smearing coils in place.=3D20
Hope this helps.=3D20
- Vince=3D20
Vince Pitelka=3D20
Appalachian Center for Craft=3D20
Tennessee Tech University=3D20
vpitelka@dtccom.net; wpitelka@tntech.edu=3D20
http://iweb.tntech.edu/wpitelka=3D20
Vince Pitelka on fri 5 mar 10
Antoinette Badenhorst wrote:
I would like to add a few comments to what you say. Here are 2 utube =3D
videos that describe very much what you are saying:
http://www.youtube.com/watch?v=3D3D_W-gBFMwy4Y =3D
=
=3D
&NR=3D3D1&feature=3D3Dfvwp
http://www.youtube.com/watch?v=3D3DrjSq-tyKNRY
Notice how soft ( and groggy) the clay is that these woman are using. =3D
Also notice that they do not work with long coils that can become =3D
unmanagable. They casually build one ( loosly shaped ) coil on top (or =3D
side) of the other and then work it up inmostly a diagonal way. Notice =3D
how they use their fingers to comb the clay upward They work with a =3D
rhythm. They do not stretch the clay over wide areas( that will cause =3D
cracks). It is mostly short strokes.=3D20
=3D20
Antoinette =3DE2=3D80=3D93=3D20
I appreciate you posting those two YouTube clips, but the =3D
vessel-construction method they use is not really coil construction, and =
=3D
is very different from the Nigerian technique that I described. Their =3D
clay is far wetter and stickier, and far more heavily grogged, and their =
=3D
primary construction is accomplished by stretching a pad of clay =3D
upwards. They only add clay when they need to, and they sometimes use =3D
handfuls, balls, coils, or whatever other module seems convenient. I =3D
have seen video footage of these potters in Ghana, and it is truly =3D
wondrous to watch them work. They are so practiced and fluent in =3D
working the clay in this fashion, whereas for us, using rolled coil =3D
modules in a more standard fashion is necessary to keep control of the =3D
form and to maintain wall thickness. The second of your links is a =3D
video and features wonderful footage. The first one is just a =3D
collection of stills with arty fades and blends that doesn=3DE2=3D80=3D99t =
=3D
show very much. The second one shows how soft and sticky their clay is. =
=3D
If I tried to work with clay like that it would be a disaster. =3D20
=3D20
In the technique I described, the secret is in smearing downwards on the =
=3D
inside of the vessel with the thumb while keeping the fingers of the =3D
same hand in a vertical position on the outside of the upper section of =3D
the pot on the far side, opposite where you are sitting/standing. That =3D
works far better than trying to smear the coils in place on the side =3D
closer to you. It is a simple set of movements, but doing it right =3D
works well, and doing it wrong yields altogether different results.
=3D20
Also, after building up a ways, when you smear the coils together on the =
=3D
outside of the pot to join the coils, it is very important to smear =3D
upwards diagonally. That way, by smearing downwards on the inside and =3D
upwards on the outside, the entire contact surface of the new coil =3D
against the previous rim is smeared together, with no fracture planes. =3D
Pots constructed by this method are at least as strong as any pot =3D
created by any other method. =3D20
=3D20
One final note in addition to everything else that has been said. =3D
Several people have mentioned extruding the coils, but I don=3DE2=3D80=3D99=
t =3D
do this, for the simple reasons that I like hand-rolled coils for a =3D
hand-coiled pot, I don=3DE2=3D80=3D99t want to be locked into having an =3D
extruder available, and because I can hand-roll coils faster than anyone =
=3D
can extrude them, when you consider the setup of the extruder die, the =3D
formation of the even-sized lumps for charging the extruder, and the =3D
cleanup. Within my own concept and aesthetic of coil forms, the =3D
mechanical regularity of extruded coils seems at odds with a more =3D
organic approach to coil building. I like to make very regular, =3D
symmetrical coil pots, and people often assume that they are =3D
wheel-thrown, but of course there is always an inherent slight asymmetry =
=3D
to them, and that is part of the life and visual energy that they =3D
convey. If I were doing coil throwing on the potter=3DE2=3D80=3D99s wheel,=
I =3D
would use extruded coils, but that is the only circumstance in which I =3D
would use them. =3D20
- Vince =3D20
=3D20
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
=3D20
=3D20
Bonnie Staffel on sat 6 mar 10
Ah Vince, and others,
I guess I have a secret way of building coil pots. I have to admit that =3D
I
have never had any separation of the coils during or after building my =3D
way.
Thinking about it, I work on a canvas, and the "secret" is that I use a
large wet sponge to dampen the canvas before rolling the coils so that =3D
the
coils do not form a dryer film on the surface. I also am generous as to =3D
the
thickness of my coils. If too skinny, you have no clay to work with. I =3D
also
feel that knowing your clay and how soft it is also fits into my method.
Another fault many newcomers to coil building do is to snake the coil =3D
around
the previous coil, never stopping until coming to the end. This creates =3D
a
shrinkage problem as the clay "unwinds" in drying. I also slant the cut =3D
of
the two ends so that there is more surface to blend rather than a blunt =3D
cut.
If I am building a rather extreme shape I allow the lower part of the =3D
pot to
set up to support the next coil. At that point I then add the Magic =3D
Water
rather than slip. The Magic Water seems to penetrate the clay better and
doesn't give a slippery surface for the next coil to slide and get out =3D
of
line.=3D20
I follow my rules when throwing the slab and coil method as well, with =3D
no
separation of the coils on drying or firing.=3D20
Bonnie Staffel
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD=3DA0 Throwing with Coils and Slabs
DVD=3DA0 Introduction to Wheel Work
Charter Member Potters Council
Snail Scott on sat 6 mar 10
On Mar 4, 2010, at 11:46 PM, Vince Pitelka wrote:
> When coil building, adding slurry or water is going backwards...
> With this method, the only time you ever score-and-slurry is when
> you leave
> the vessel to stiffen up a bit before adding more coils. Otherwise,
> the
> coils are smeared together, and there is no better way to interlock
> the
> platelets if it is done properly. The coil is never laid in place
> and then
> smeared into the wall...
> Each coil is lowered in place as you smear it into the wall. Place
> your
> form on a banding wheel, and as you are facing the form, add the
> coil and
> smear it in place on the far side of the form.
> When you have built up as far as you can with one sequence of coiling,
> smearing, and stretching, pinch the rim to a slightly-pointed edge...
I am primarily a coil-builder, and this is
dead-on for the technique I have used
for the last twenty years. In particular, I
want to reiterate some of the good points
above:
Keep the top of the coil a bit pointy like a
roof ridge; the next coil will join better.
Never make the coils slippery.
Don't lay the coils in place then lute later;
do it as you go.
Vince: I note that you use 'luting' as being
synonymous with scoring-and-slipping
(or as you say, score-and-slurry). This is
a usage I've not encountered before. I
would define luting as akin to 'smearing'
as per your post quoted above; more
specifically, smearing deeply. What are
other people's perceptions of this term?
-Snail
Bonnie Staffel on sat 6 mar 10
I clicked on all of the URL's presented for this demonstration, but it =3D
did
not come up Only the basic YouTube home page. There were choices on the =3D
left
and I clicked on the HowTo site, but still the desired show did not come =
=3D
up.
Any ideas of how I can get this video?
Bonnie Staffel
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD=3DA0 Throwing with Coils and Slabs
DVD=3DA0 Introduction to Wheel Work
Charter Member Potters Council
Martin Rice on sat 6 mar 10
Funny you mention this. I think that the first time I came across the =3D
word luting in relation to pottery it was used by Snail in this current =3D
discussion. I had no idea what it meant and looked up "lute" in a =3D
dictionary and found it as a meaning (ignoring the definition relating =3D
to the musical instrument) as a noun (also luting as a noun) "liquid =3D
clay or cement used to seal a joint, coat a crucible, or protect a =3D
graft"; as a transitive verb: "seal, join, or coat with lute." "ORIGIN =3D
late Middle English : from Old French lut or medieval Latin lutum, a =3D
special use of Latin lutum =3D91potter's clay.=3D92"
On Mar 6, 2010, at 1:52 PM, Snail Scott wrote:
> Vince: I note that you use 'luting' as being
> synonymous with scoring-and-slipping
> (or as you say, score-and-slurry). This is
> a usage I've not encountered before. I
> would define luting as akin to 'smearing'
> as per your post quoted above; more
> specifically, smearing deeply. What are
> other people's perceptions of this term?
>=3D20
> -Snail
Mike on sun 7 mar 10
This is the link to a video which demonstrates the coil and paddle
method used by some Karatsu potters. It's on youtube as well but it's
hard to search for with Japanese text.
http://pictures.turuta.jp/2010/01/-youtube.html
This is not me, but rather my mentor making a water jar, I think it even
has a fired image at the end to give you an idea of what the green piece
will end up looking like.
Mike
Mike
in Taku, Japan
http://karatsupots.com
http://karatsupots.blogspot.com
Kiln Building Workshop, Oct. 15 - 22
http://karatsupots.com/workshop2010/workshop2010.html
http://karatsupots-workshop.blogspot.com/
(2010/03/07 3:15), Bonnie Staffel wrote:
> I clicked on all of the URL's presented for this demonstration, but it di=
d
> not come up Only the basic YouTube home page. There were choices on the l=
eft
> and I clicked on the HowTo site, but still the desired show did not come =
up.
> Any ideas of how I can get this video?
>
> Bonnie Staffel
>
> http://webpages.charter.net/bstaffel/
> http://vasefinder.com/bstaffelgallery1.html
> DVD Throwing with Coils and Slabs
> DVD Introduction to Wheel Work
> Charter Member Potters Council
>
>
Dolita Dohrman on sun 7 mar 10
I just want to thank Vince for that detailed lesson in the best
method for coil building. He is right...why not look to those who
have practiced it for thousands of years! And I also want to thank
Antoinette for finding the videos of the technique. I knew there
would be some out there. It seems that if I want to go larger, I am
going to have to coil and will be trying that method soon.
Dolita in Kentucky
On Mar 5, 2010, at 11:11 AM, Antoinette Badenhorst wrote:
> Vince Thanksfor this good explanation.
>
>
>
> I would like to add a few comments to what you say. Here are 2
> utube videos that describe very much what you are saying:
>
>
>
> http://www.youtube.com/watch?v=3D_W-gBFMwy4Y&NR=3D1&feature=3Dfvwp
>
> http://www.youtube.com/watch?v=3DrjSq-tyKNRY
>
> Notice how soft ( and groggy) the clay is that these woman are
> using. Also notice that they do not work with long coils that can
> become unmanagable. They casually build one ( loosly shaped ) coil
> on top (or side) of the other and then work it up inmostly a
> diagonal way. Notice how they use their fingers to comb the clay
> upward They work with a rhythm. They do not stretch the clay over
> wide areas( that will cause cracks). It is mostly short strokes.
>
>
>
> I would not suggest the excessive amount of water that these woman
> are using. We have different and better clay available and
> excessive water will cause cracks. If one is inexperienced the
> clay will quickly collapse. Good sticky, managable clay is good. A
> test that I always used to teach was: If you push two pieces of
> clay together and you have to tear it apart, it is good. If the two
> pieces are soft but comes apart easily, it needs water.
>
>
>
> Don't be tensed up about the coiling process. Listen to mucic and
> try to bring the rhythm of the music into the work. That will
> loosen you up and allow you to enjoy the process without fear of
> failure. Afterall it is just clay.
>
>
>
> Be sure to have sore and stiff hands after such an exersize since
> it is unusual exersizes.
>
>
>
>
>
> Antoinette Badenhorst
> Lincolnshire, Illinois
>
> ----- Original Message -----
> From: "Vince Pitelka"
> To: Clayart@LSV.CERAMICS.ORG
> Sent: Thursday, March 4, 2010 11:46:17 PM GMT -06:00 US/Canada Central
> Subject: Re: coil building problem
>
> When coil building, adding slurry or water is going backwards. You
> are
> softening the clay, slowing yourself down. Ideally, the only time
> to ever
> score-and-slurry (lute) between each coil is if you want to
> preserve the
> appearance of the coil pattern on the outside of the form. I do
> not like
> the processes where coils are simply laid atop one another and then
> smeared
> together inside and out, because there is a perfect fracture plane
> between
> every coil. The fact that Bonnie Staffel never ran into any
> problem using
> this method is just proof that the forces-that-be in the physics of
> clay
> have always smiled upon her. The rest of us are not so lucky (or
> probably
> so skilled).
>
> In grad school at UMass-Amherst I was very lucky to share a studio
> with a
> Nigerian-American woman named Sherinatu Fafunwa. Sheri was raised
> in fairly
> privileged circumstances (I believe her father was a doctor) in one
> of the
> large cities in Nigeria until the family moved to the US when she
> was a
> teenager. As a child she developed a fascination with Nigerian tribal
> pottery, and to her parents' credit, they arranged for her to study
> with
> tribal potters. She taught me the traditional Nigerian coil-building
> method, and I will forever be grateful to her for those lessons.
> It is
> amazing that so many people use coil building technique that are so
> much
> less efficient and effective, instead of turning to the tribal
> potters who
> have been coil building for millennia. I'll try to describe the
> technique,
> but there's no substitute to seeing it being done and learning to
> do it
> under the supervision of someone who knows what they are doing. I
> teach all
> my students the technique, and I teach it in my handbuilding and
> "Ancient
> Clay" workshops.
>
> With this method, the only time you ever score-and-slurry is when
> you leave
> the vessel to stiffen up a bit before adding more coils.
> Otherwise, the
> coils are smeared together, and there is no better way to interlock
> the
> platelets if it is done properly. The coil is never laid in place
> and then
> smeared into the wall, because when you do that, it expands in all
> directions and the whole vessel expands very quickly. One of the
> secrets of
> successful coil construction is to build a form smaller in diameter
> than you
> want, and then to stretch it outwards with the rib-and-hand method
> - curved
> rigid wood rib on the inside and hand against the outside.
>
> Each coil is lowered in place as you smear it into the wall. Place
> your
> form on a banding wheel, and as you are facing the form, add the
> coil and
> smear it in place on the far side of the form. Place your fingers
> vertically pointing downwards against far outside of the form, and
> smear the
> coil downwards aggressively on the inside of the form with the
> thumb of the
> same hand. Lower a bit of coil, smear downwards, lower a bit more,
> smear
> downwards, etc., around and around the form. When you do this
> properly, the
> form only expands upwards, and then you can stretch it with rib-and-
> hand,
> which helps to further consolidate and compress the walls.
>
> If you smear fairly aggressively, you can use coils 3/4" or 1" in
> diameter,
> and add 1.5" to 2" of vertical height to the wall with each coil
> addition.
> After adding three or four coils, stop coiling, and use the curved
> end of a
> rounded rim to smear the coils together on the outside of the
> form. Since
> you smeared downwards with your thumb on the inside, smear up wards
> with the
> rib on the outside. Don't smear horizontally, because that is purely
> cosmetic and does not really blend the coils. Don't smear vertically,
> because you can actually pull the coils apart. Smear diagonally.
> Smear a
> section about 2" high all the way around the form with repeated
> diagonal
> strokes, and then move up 2" and repeat, as many times as necessary.
>
> When you have built up as far as you can with one sequence of coiling,
> smearing, and stretching, pinch the rim to a slightly-pointed
> edge. When
> the form is leather-hard, score inside and outside this edge, apply
> slurry,
> and then lay a coil in place one time around the form, and pat the
> coil
> downwards over this edge. You can use your hand or a wood paddle.
> Don't
> paddle it downwards so far that it splits the coil in half.
>
> Remove any excess slurry, and then, on the far side of the form,
> pinch the
> coil with your thumbs on the inside and your fingers vertically on the
> outside. Once you have pinched a bit, use the rigid wood rib to
> blend it
> downwards inside and out, and then go back to smearing coils in place.
>
> Hope this helps.
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft
> Tennessee Tech University
> vpitelka@dtccom.net; wpitelka@tntech.edu
> http://iweb.tntech.edu/wpitelka
Antoinette Badenhorst on mon 8 mar 10
Thank you so much for this Mike. This confirms what I so often says: there =
=3D
is no right or wrong way, just a comfortable way. Potters neesd to understa=
=3D
nd the "logics" clay. Once they undestand that, it is easy to break the rul=
=3D
es.=3D20
Antoinette Badenhorst=3D20
Lincolnshire, Illinois=3D20
----- Original Message -----=3D20
From: "Mike" =3D20
To: Clayart@LSV.CERAMICS.ORG=3D20
Sent: Saturday, March 6, 2010 4:36:34 PM GMT -06:00 US/Canada Central=3D20
Subject: Re: coil building problem=3D20
This is the link to a video which demonstrates the coil and paddle=3D20
method used by some Karatsu potters. It's on youtube as well but it's=3D20
hard to search for with Japanese text.=3D20
http://pictures.turuta.jp/2010/01/-youtube.html=3D20
This is not me, but rather my mentor making a water jar, I think it even=3D=
20
has a fired image at the end to give you an idea of what the green piece=3D=
20
will end up looking like.=3D20
Mike=3D20
Mike=3D20
in Taku, Japan=3D20
http://karatsupots.com=3D20
http://karatsupots.blogspot.com=3D20
Kiln Building Workshop, Oct. 15 - 22=3D20
http://karatsupots.com/workshop2010/workshop2010.html=3D20
http://karatsupots-workshop.blogspot.com/=3D20
(2010/03/07 3:15), Bonnie Staffel wrote:=3D20
> I clicked on all of the URL's presented for this demonstration, but it di=
=3D
d=3D20
> not come up Only the basic YouTube home page. There were choices on the l=
=3D
eft=3D20
> and I clicked on the HowTo site, but still the desired show did not come =
=3D
up.=3D20
> Any ideas of how I can get this video?=3D20
>=3D20
> Bonnie Staffel=3D20
>=3D20
> http://webpages.charter.net/bstaffel/=3D20
> http://vasefinder.com/bstaffelgallery1.html=3D20
> DVD =3DC2=3DA0Throwing with Coils and Slabs=3D20
> DVD =3DC2=3DA0Introduction to Wheel Work=3D20
> Charter Member Potters Council=3D20
>=3D20
>=3D20
Mike on tue 9 mar 10
I agree completely. There are other coil/paddle method used by potters
around here, it varies by person, type of vessel, and type of clay used,
one just uses the best method for the situation.
Unfortunately, not many people here seem to be using traditional coil
and paddle so much anymore, to the point that it's in danger of being
forgotten again.
For the onggi style of coil building with the big fat coils for big
jars, there's only one potter left who still does it regularly, I think.
I'm speaking of here in Saga of course, I'm sure there are lots of
Korean potters who still use the techniques.
Before we know it, t'll be up to the foreigners to preserve the
traditions....
Mike
in Taku, Japan
http://karatsupots.com
http://karatsupots.blogspot.com
Kiln Building Workshop, Oct. 15 - 22
http://karatsupots.com/workshop2010/workshop2010.html
http://karatsupots-workshop.blogspot.com/
(2010/03/08 11:58), Antoinette Badenhorst wrote:
> Thank you so much for this Mike. This confirms what I so often says: ther=
e is no right or wrong way, just a comfortable way. Potters neesd to unders=
tand the "logics" clay. Once they undestand that, it is easy to break the r=
ules.
>
>
> Antoinette Badenhorst
> Lincolnshire, Illinois
>
>
HI Mike,
Enjoyed the video a lot. Thanks for offering it. Definitely does
end with the finished piece. I will definitely practice at that coil-
making method. Looked very graceful.
Eleanora
>
>>
>
Catherine Moynihan on fri 12 mar 10
I can't thank you all enough for your overwhelming response to my
coil-building question! Thank you for being a caring ceramic community
ready & willing to help. I will try all your suggestions and report =3D
back.
Cathy
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