Sumi von Dassow on sat 25 aug 12
I have observed that when people start throwing they can't center very
well and make imperfect pots so their goal is to make perfectly centered
pots. Then after they get there, they can move on and learn to allow
themselves to make pots that are not perfectly centered. That might take
many years.
Sumi
> nice thought james.
> when i teach and demo i often make
> some very tight pots, then i make loose pots.
>
> it is a simple act of making the wheel go faster,
> pull that action up faster and make the pressure on
> the clay tighter.
>
> it is a choice.
> i can throw very slow, lots of tiny rings, easy pressure
> on the clay, a nice easy pull.
> just like mr. uchida's pots.
>
> it is always choice.
> is loose a good way? not really.
> is tight a good way? not really.
> it is choice.
>
> most depends on your personality which i do not believe
> can be altered. it is the one thing you own your entire life.
>
> i tire of teachers that preach...be loose, it is better.
> why?
> if you are a tight person, be tight.
> as i told my students forever...`if you are a perfectionist, be one.
> i cannot change that...but, if you are in my class, you had better
> be really perfect. but, if it controls you, you are in trouble.
> you control your perfectionism and let it work for you.`
>
> you can fake being loose, but it always shows.
> each has to find a way to make things that match you.
>
> a great teacher understands the personality of the student.
> right now, colleen has to be herself in my studio. we talk about
> form and how things are made, but in the end...the pots are hers.
> she is a very, very careful potter. skilled. and, she has a good eye.
> mel
>
>
> http://www.visi.com/~melpots/
> clayart page below:
> http://www.visi.com/~melpots/clayart.html
> http://www.21stcenturykilns.com/
>
>
mel jacobson on sat 25 aug 12
nice thought james.
when i teach and demo i often make
some very tight pots, then i make loose pots.
it is a simple act of making the wheel go faster,
pull that action up faster and make the pressure on
the clay tighter.
it is a choice.
i can throw very slow, lots of tiny rings, easy pressure
on the clay, a nice easy pull.
just like mr. uchida's pots.
it is always choice.
is loose a good way? not really.
is tight a good way? not really.
it is choice.
most depends on your personality which i do not believe
can be altered. it is the one thing you own your entire life.
i tire of teachers that preach...be loose, it is better.
why?
if you are a tight person, be tight.
as i told my students forever...`if you are a perfectionist, be one.
i cannot change that...but, if you are in my class, you had better
be really perfect. but, if it controls you, you are in trouble.
you control your perfectionism and let it work for you.`
you can fake being loose, but it always shows.
each has to find a way to make things that match you.
a great teacher understands the personality of the student.
right now, colleen has to be herself in my studio. we talk about
form and how things are made, but in the end...the pots are hers.
she is a very, very careful potter. skilled. and, she has a good eye.
mel
http://www.visi.com/~melpots/
clayart page below:
http://www.visi.com/~melpots/clayart.html
http://www.21stcenturykilns.com/
Ben Morrison on sun 26 aug 12
Is it ok to have a painting be unbalanced? Is it ok to just dash color on a=
=3D
=3DA0palette=3DA0willy nilly? I understand the long history behind painting=
, bu=3D
t some of my favorite paintings don't conform to this set of ideals.=3D0A=
=3D0A-=3D
Ben=3D0A=3D0A=3D0A________________________________=3D0A From: Elizabeth Pri=
ddy ddyclay@YAHOO.COM>=3D0ATo: Clayart@LSV.CERAMICS.ORG =3D0ASent: Sunday, Augu=
st 2=3D
6, 2012 4:18 PM=3D0ASubject: Re: tight and loooose=3D0A =3D0AI n my paintin=
gs on =3D
clay, I distribute the brush marks according=3DA0to a=3DA0balance based on =
thou=3D
sands of years of painting. =3DA0=3D0AYou have to have a host and guest,=3D=
A05/9 =3D
of the painting covered with 4/9 left "open"And some marks tight, some mark=
=3D
s loose, one without the other is "unbalanced"=3D0AThere are nine more rule=
s =3D
that I also follow for each painting regardless of size.4 inches by 4 inche=
=3D
s, or four feet by four feet. =3DA0It is just the rules. =3DA0It makes for =
bala=3D
nced, beautiful paintings.=3D0AWithin these very specific guidelines, I can=
p=3D
aint whatever I want!=3D0A=3D0A- Elizabeth=3D0A=3D0A=3D0A=3D0AElizabeth Pri=
ddy=3D0A=3D0ABea=3D
ufort, NC - USA=3D0A=3D0A252-504-2622=3D0A=3D0A=3D0A=3D0Ahttp://www.elizabe=
thpriddy.com
William & Susan Schran User on sun 26 aug 12
On 8/26/12 12:44 AM, "Sumi von Dassow" wrote:
>I have observed that when people start throwing they can't center very
>well and make imperfect pots so their goal is to make perfectly centered
>pots. Then after they get there, they can move on and learn to allow
>themselves to make pots that are not perfectly centered. That might take
>many years.
I admire the ability of pros to throw with a controlled gesture.
I don't consider my self a perfectionist, but when I introduce finger
swirls,
or simple pokes into the clay, my work seems contrived.
With my crystalline glaze work, I feel I need a nice clean form,
a clean canvas if you will, because the glaze surface can be very busy.
With my stoneware pieces, I suppose I am a child of the form follows
function school.
My work needs to do, and do it well, exactly like it looks it should do.
I think for me, a simple, efficient, "clean" form satisfies my esthetic
desires.
Bill
--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com
Gayle Bair on sun 26 aug 12
I'm with Bill right now as I seem to need a simplistic blank canvas for my
sgraffito.
However I have already been thinking about it and one of these days I will
have a brainstorm idea and work it out.
Gayle Bair Pottery
gayle@claybair.com
www.claybair.com
On Sun, Aug 26, 2012 at 6:38 AM, William & Susan Schran User <
wschran@cox.net> wrote:
> On 8/26/12 12:44 AM, "Sumi von Dassow" wrote:
>
> >I have observed that when people start throwing they can't center very
> >well and make imperfect pots so their goal is to make perfectly centered
> >pots. Then after they get there, they can move on and learn to allow
> >themselves to make pots that are not perfectly centered. That might take
> >many years.
>
> I admire the ability of pros to throw with a controlled gesture.
> I don't consider my self a perfectionist, but when I introduce finger
> swirls,
> or simple pokes into the clay, my work seems contrived.
>
> With my crystalline glaze work, I feel I need a nice clean form,
> a clean canvas if you will, because the glaze surface can be very busy.
>
> With my stoneware pieces, I suppose I am a child of the form follows
> function school.
> My work needs to do, and do it well, exactly like it looks it should do.
> I think for me, a simple, efficient, "clean" form satisfies my esthetic
> desires.
>
> Bill
> --
> William "Bill" Schran
> wschran@cox.net
> wschran@nvcc.edu
> http://www.creativecreekartisans.com
>
veenaraghavan@cs.com on sun 26 aug 12
I envy those who can throw loose pots. As Mel says, when I try to throw loo=
=3D
se, it certainly shows that I am faking it. It is just not my personality I=
=3D
guess. I throw tight, and usually am satisfied with the results, but I wou=
=3D
ld like to be able to throw naturally loose. Ah well, we can't all do every=
=3D
thing, at least most of us can't!
Veena
you can fake being loose, but it always shows.
each has to find a way to make things that match you.
veenaraghavan@cs.com
-----Original Message-----
From: mel jacobson
To: Clayart
Sent: Sun, Aug 26, 2012 11:27 am
Subject: tight and loooose
nice thought james.
when i teach and demo i often make
some very tight pots, then i make loose pots.
it is a simple act of making the wheel go faster,
pull that action up faster and make the pressure on
the clay tighter.
it is a choice.
i can throw very slow, lots of tiny rings, easy pressure
on the clay, a nice easy pull.
just like mr. uchida's pots.
it is always choice.
is loose a good way? not really.
is tight a good way? not really.
it is choice.
most depends on your personality which i do not believe
can be altered. it is the one thing you own your entire life.
i tire of teachers that preach...be loose, it is better.
why?
if you are a tight person, be tight.
as i told my students forever...`if you are a perfectionist, be one.
i cannot change that...but, if you are in my class, you had better
be really perfect. but, if it controls you, you are in trouble.
you control your perfectionism and let it work for you.`
you can fake being loose, but it always shows.
each has to find a way to make things that match you.
a great teacher understands the personality of the student.
right now, colleen has to be herself in my studio. we talk about
form and how things are made, but in the end...the pots are hers.
she is a very, very careful potter. skilled. and, she has a good eye.
mel
http://www.visi.com/~melpots/
clayart page below:
http://www.visi.com/~melpots/clayart.html
http://www.21stcenturykilns.com/
=3D20
Elizabeth Priddy on sun 26 aug 12
I n my paintings on clay, I distribute the brush marks according=3DA0to a=
=3DA0b=3D
alance based on thousands of years of painting. =3DA0
You have to have a host and guest,=3DA05/9 of the painting covered with 4/9=
l=3D
eft "open"And some marks tight, some marks loose, one without the other is =
=3D
"unbalanced"
There are nine more rules that I also follow for each painting regardless o=
=3D
f size.4 inches by 4 inches, or four feet by four feet. =3DA0It is just the=
r=3D
ules. =3DA0It makes for balanced, beautiful paintings.
Within these very specific guidelines, I can paint whatever I want!
- Elizabeth
=3D0A
=3D0AElizabeth Priddy
=3D0ABeaufort, NC - USA
=3D0A252-504-2622
=3D0A
=3D0Ahttp://www.elizabethpriddy.com=3D0A=3D0A=3D0A=3D0A=3D0A=3D0A=3D0A=3D0A=
=3D0A=3D0A
Steve Mills on tue 28 aug 12
Being a bit of a clay "engineer" by nature, I have two strategies, one is t=
o=3D
throw with as few "lifts" as possible, stopping myself from overworking th=
e=3D
piece. This was comparatively easy when I was in production, but now I hav=
e=3D
time on my hands as it were, fiddling with work is a danger I face regular=
l=3D
y.=3D20
The second is to sit down with a dozen or so lumps of clay and throw withou=
t=3D
consciously centering. This makes me form a partnership with my medium rat=
h=3D
er than dominating it.=3D20
I find that therapeutic, and the results aren't three bad either sometimes!
Steve M
Steve Mills
Bath
UK
www.mudslinger.me.uk
Sent from my iPod
On 26 Aug 2012, at 05:44, Sumi von Dassow wrote:
> I have observed that when people start throwing they can't center very
> well and make imperfect pots so their goal is to make perfectly centered
> pots. Then after they get there, they can move on and learn to allow
> themselves to make pots that are not perfectly centered. That might take
> many years.
>=3D20
> Sumi
>> nice thought james.
>> when i teach and demo i often make
>> some very tight pots, then i make loose pots.
>>=3D20
>> it is a simple act of making the wheel go faster,
>> pull that action up faster and make the pressure on
>> the clay tighter.
>>=3D20
>> it is a choice.
>> i can throw very slow, lots of tiny rings, easy pressure
>> on the clay, a nice easy pull.
>> just like mr. uchida's pots.
>>=3D20
>> it is always choice.
>> is loose a good way? not really.
>> is tight a good way? not really.
>> it is choice.
>>=3D20
>> most depends on your personality which i do not believe
>> can be altered. it is the one thing you own your entire life.
>>=3D20
>> i tire of teachers that preach...be loose, it is better.
>> why?
>> if you are a tight person, be tight.
>> as i told my students forever...`if you are a perfectionist, be one.
>> i cannot change that...but, if you are in my class, you had better
>> be really perfect. but, if it controls you, you are in trouble.
>> you control your perfectionism and let it work for you.`
>>=3D20
>> you can fake being loose, but it always shows.
>> each has to find a way to make things that match you.
>>=3D20
>> a great teacher understands the personality of the student.
>> right now, colleen has to be herself in my studio. we talk about
>> form and how things are made, but in the end...the pots are hers.
>> she is a very, very careful potter. skilled. and, she has a good eye.
>> mel
>>=3D20
>>=3D20
>> http://www.visi.com/~melpots/
>> clayart page below:
>> http://www.visi.com/~melpots/clayart.html
>> http://www.21stcenturykilns.com/
>>=3D20
>>=3D20
Margaret Flaherty on tue 28 aug 12
throwing with your eyes closed is another way to form a partnership with
the clay....
On Tue, Aug 28, 2012 at 4:35 AM, Steve Mills
wrote:
> Being a bit of a clay "engineer" by nature, I have two strategies, one is
> to throw with as few "lifts" as possible, stopping myself from overworkin=
g
> the piece. This was comparatively easy when I was in production, but now =
I
> have time on my hands as it were, fiddling with work is a danger I face
> regularly.
> The second is to sit down with a dozen or so lumps of clay and throw
> without consciously centering. This makes me form a partnership with my
> medium rather than dominating it.
> I find that therapeutic, and the results aren't three bad either sometime=
s!
>
> Steve M
>
>
> Steve Mills
> Bath
> UK
> www.mudslinger.me.uk
> Sent from my iPod
>
>
> On 26 Aug 2012, at 05:44, Sumi von Dassow wrote:
>
> > I have observed that when people start throwing they can't center very
> > well and make imperfect pots so their goal is to make perfectly centere=
d
> > pots. Then after they get there, they can move on and learn to allow
> > themselves to make pots that are not perfectly centered. That might tak=
e
> > many years.
> >
> > Sumi
> >> nice thought james.
> >> when i teach and demo i often make
> >> some very tight pots, then i make loose pots.
> >>
> >> it is a simple act of making the wheel go faster,
> >> pull that action up faster and make the pressure on
> >> the clay tighter.
> >>
> >> it is a choice.
> >> i can throw very slow, lots of tiny rings, easy pressure
> >> on the clay, a nice easy pull.
> >> just like mr. uchida's pots.
> >>
> >> it is always choice.
> >> is loose a good way? not really.
> >> is tight a good way? not really.
> >> it is choice.
> >>
> >> most depends on your personality which i do not believe
> >> can be altered. it is the one thing you own your entire life.
> >>
> >> i tire of teachers that preach...be loose, it is better.
> >> why?
> >> if you are a tight person, be tight.
> >> as i told my students forever...`if you are a perfectionist, be one.
> >> i cannot change that...but, if you are in my class, you had better
> >> be really perfect. but, if it controls you, you are in trouble.
> >> you control your perfectionism and let it work for you.`
> >>
> >> you can fake being loose, but it always shows.
> >> each has to find a way to make things that match you.
> >>
> >> a great teacher understands the personality of the student.
> >> right now, colleen has to be herself in my studio. we talk about
> >> form and how things are made, but in the end...the pots are hers.
> >> she is a very, very careful potter. skilled. and, she has a good ey=
e.
> >> mel
> >>
> >>
> >> http://www.visi.com/~melpots/
> >> clayart page below:
> >> http://www.visi.com/~melpots/clayart.html
> >> http://www.21stcenturykilns.com/
> >>
> >>
>
--
http://www.margaretflaherty.com
http://www.etsy.com/shop/maggieware
Steve Mills on tue 28 aug 12
Sort of yes & no;=3D20
as a thrower I already "see" with my hands, they tell me everything that's =
g=3D
oing on, and my eyes and mind are concentrating on form only.=3D20
In that situation I'm dominating the material and closing my eyes (for me) =
h=3D
ardly changes anything.=3D20
Throwing quickly and economically helps to stop me being fussy, and deliber=
a=3D
tely not centering throws a metaphorical spanner into the overriding "Contr=
o=3D
l" default.=3D20
I find it rejuvenating.=3D20
Steve M
Steve Mills
Bath
UK
www.mudslinger.me.uk
Sent from my iPod
On 28 Aug 2012, at 15:25, Margaret Flaherty wrote=
:=3D
> throwing with your eyes closed is another way to form a partnership with =
t=3D
he clay....
>=3D20
> On Tue, Aug 28, 2012 at 4:35 AM, Steve Mills o=3D
m> wrote:
> Being a bit of a clay "engineer" by nature, I have two strategies, one is=
t=3D
o throw with as few "lifts" as possible, stopping myself from overworking t=
h=3D
e piece. This was comparatively easy when I was in production, but now I ha=
v=3D
e time on my hands as it were, fiddling with work is a danger I face regula=
r=3D
ly.
> The second is to sit down with a dozen or so lumps of clay and throw with=
o=3D
ut consciously centering. This makes me form a partnership with my medium r=
a=3D
ther than dominating it.
> I find that therapeutic, and the results aren't three bad either sometime=
s=3D
!
>=3D20
> Steve M
>=3D20
>=3D20
> Steve Mills
> Bath
> UK
> www.mudslinger.me.uk
> Sent from my iPod
>=3D20
>=3D20
> On 26 Aug 2012, at 05:44, Sumi von Dassow wrote:
>=3D20
> > I have observed that when people start throwing they can't center very
> > well and make imperfect pots so their goal is to make perfectly centere=
d=3D
> > pots. Then after they get there, they can move on and learn to allow
> > themselves to make pots that are not perfectly centered. That might tak=
e=3D
> > many years.
> >
> > Sumi
> >> nice thought james.
> >> when i teach and demo i often make
> >> some very tight pots, then i make loose pots.
> >>
> >> it is a simple act of making the wheel go faster,
> >> pull that action up faster and make the pressure on
> >> the clay tighter.
> >>
> >> it is a choice.
> >> i can throw very slow, lots of tiny rings, easy pressure
> >> on the clay, a nice easy pull.
> >> just like mr. uchida's pots.
> >>
> >> it is always choice.
> >> is loose a good way? not really.
> >> is tight a good way? not really.
> >> it is choice.
> >>
> >> most depends on your personality which i do not believe
> >> can be altered. it is the one thing you own your entire life.
> >>
> >> i tire of teachers that preach...be loose, it is better.
> >> why?
> >> if you are a tight person, be tight.
> >> as i told my students forever...`if you are a perfectionist, be one.
> >> i cannot change that...but, if you are in my class, you had better
> >> be really perfect. but, if it controls you, you are in trouble.
> >> you control your perfectionism and let it work for you.`
> >>
> >> you can fake being loose, but it always shows.
> >> each has to find a way to make things that match you.
> >>
> >> a great teacher understands the personality of the student.
> >> right now, colleen has to be herself in my studio. we talk about
> >> form and how things are made, but in the end...the pots are hers.
> >> she is a very, very careful potter. skilled. and, she has a good ey=
e=3D
.
> >> mel
> >>
> >>
> >> http://www.visi.com/~melpots/
> >> clayart page below:
> >> http://www.visi.com/~melpots/clayart.html
> >> http://www.21stcenturykilns.com/
> >>
> >>
>=3D20
>=3D20
>=3D20
> --=3D20
> http://www.margaretflaherty.com
> http://www.etsy.com/shop/maggieware
>=3D20
| |
|
