Barney Adams on mon 24 may 99
Hi,
Lately I've been throwing larger pieces and have had
a great deal of trouble having the clay stick to the bat.
When I get up around 20lbs of clay the ball of clay slides
off the bat. Once the bat gets wet I can'nt use it at all.
I'm using the pressed wood bats, but I've also had troble with
a large plastic bat. Is there something I'm doing wrong or a trick
that I'm not aware of. I'd like to work on larger and larger pieces,
but it's too much work for the few pieces I've been able to finish.
thanks
Barney
Anne Hunt on tue 25 may 99
Hi, Barney!
When my wrists and thenar eminences :^) can stand it, I'll start with
12 - 20# clay for platters and mirror frames. I only moisten the bat enough
to darken its color. With this amount of moisture, when I'm centering and
putting a good deal of my body weight ( 135 - 145 #, pick one) onto the
clay, sometimes the left side of the little Brent C wheel will actually pick
up off of the floor 'til I back off --- but the clay doesn't come off of the
bat!
Are you using too much moisture before you thump the clay onto the bat?
hunt's luck!
anne in sequim, gardening in the day, potting at night
Parri Gignac on wed 26 may 99
Barney,
Rather than throwing all 20 pounds at once, have you tried doing it in
sections adding on coils as you build up? I had the pleasure of watching
Susanne Stephenson at a workshop in Kalamazoo recently throw a LARGE plate
that was close to 36" in diameter. She started off throwing a flat 1 "
disk of clay onto a wood bat. Then got down on her knees onto the floor
and rolled out a rather thick coil of clay - maybe 6" in diameter - and
fit that on top the inside edge of the disk after scoring the contact
points.
Since the disk was already centered - it didn't take a lot of effort to
center the coil attached to the disk. She then flared out the coil to form
the edge of the plate - but you could just as easily keep working your
way up - adding coils to continue to achieve height. Just make sure to
give each newly added level enough time to stiffen and support the next.
Hopefully that gives you an idea for working around your problem.
Parri Gignac
-who knows from experience that there is more than one way to skin a
cat...
>
> ----------------------------Original message----------------------------
> Hi,
> Lately I've been throwing larger pieces and have had
> a great deal of trouble having the clay stick to the bat.
> When I get up around 20lbs of clay the ball of clay slides
> off the bat. Once the bat gets wet I can'nt use it at all.
> I'm using the pressed wood bats, but I've also had troble with
> a large plastic bat. Is there something I'm doing wrong or a trick
> that I'm not aware of. I'd like to work on larger and larger pieces,
> but it's too much work for the few pieces I've been able to finish.
>
> thanks
> Barney
>
Barney Adams on wed 26 may 99
Thanks Anne,
I think my problem may be that I need to stand up to apply
my body down on the clay as well as against it horizontally.
I'm going to try that suggestion as soon as I get to it.
Barney
Anne Hunt wrote:
>
> ----------------------------Original message----------------------------
> Hi, Barney!
>
> When my wrists and thenar eminences :^) can stand it, I'll start with
> 12 - 20# clay for platters and mirror frames. I only moisten the bat enough
> to darken its color. With this amount of moisture, when I'm centering and
> putting a good deal of my body weight ( 135 - 145 #, pick one) onto the
> clay, sometimes the left side of the little Brent C wheel will actually pick
> up off of the floor 'til I back off --- but the clay doesn't come off of the
> bat!
> Are you using too much moisture before you thump the clay onto the bat?
>
> hunt's luck!
>
> anne in sequim, gardening in the day, potting at night
tmartens on wed 26 may 99
Barney
Sometimes when I have trouble getting a lump of clay to stick to the
bat (usually if the bat is too wet ) I score the bottom of the lump, by
that I mean that I draw a few lines on the surface that is going to sit on
the bat. Gives better suction. Like the ridges in the 'patty' that you put
the bat on.
Toni Martens Durban South Africa
> ----------------------------Original message----------------------------
> Hi,
> Lately I've been throwing larger pieces and have had
> a great deal of trouble having the clay stick to the bat.
> When I get up around 20lbs of clay the ball of clay slides
> off the bat. Once the bat gets wet I can'nt use it at all.
> I'm using the pressed wood bats, but I've also had troble with
> a large plastic bat. Is there something I'm doing wrong or a trick
> that I'm not aware of. I'd like to work on larger and larger pieces,
> but it's too much work for the few pieces I've been able to finish.
>
> thanks
> Barney
Tom Wirt on wed 26 may 99
Subject: Re: Throwing question
> > ----------------------------Original message----------------------------
> > Hi,
> > Lately I've been throwing larger pieces and have had
> > a great deal of trouble having the clay stick to the bat.
> > When I get up around 20lbs of clay the ball of clay slides
> > off the bat. Once the bat gets wet I can't use it at all.
> > I'm using the pressed wood bats, but I've also had trouble with
> > a large plastic bat. Is there something I'm doing wrong or a trick
> > that I'm not aware of. I'd like to work on larger and larger pieces,
> > but it's too much work for the few pieces I've been able to finish.
> >
>
Barney, sounds like waters sneaking around the edge when you first put the
clay down. A couple of things I do to try to avoid this.....
1. when wedging or balling up the clay, take the wedge of clay and roll the
top in a circle on the table top so the bottom is rounded. Then when you
slam it on the wheel, the roundness kind of squishes (technical term) the
water out.
2. Use very little water until the clay is sealed down to the wheel.
I use mostly plastic bats and if any water gets under, it slips off. the
you've got to dry both the bat and the clay bottom and re-round it.
Hope this helps.
Tom Wirt
PS tried to send this off the list but it kept getting bounced
(abarn@mediaone.net)
Ray Carlton on wed 26 may 99
g'day barney...you are on the right track.....using chipboard or particle
board [compressedboard] bats is the way to go however, they must be dry for
the clay to stick...i usually rub a thin smear of slip on the bottom of the
ball with my hand ar a sponge and that makes it stick real
good.......20-30lb clay no worries
good luck
At 09:48 24/05/99 EDT, you wrote:
>----------------------------Original message----------------------------
>Hi,
>Lately I've been throwing larger pieces and have had
>a great deal of trouble having the clay stick to the bat.
>When I get up around 20lbs of clay the ball of clay slides
>off the bat. Once the bat gets wet I can'nt use it at all.
>I'm using the pressed wood bats, but I've also had troble with
>a large plastic bat. Is there something I'm doing wrong or a trick
>that I'm not aware of. I'd like to work on larger and larger pieces,
>but it's too much work for the few pieces I've been able to finish.
>
>thanks
>Barney
>
cheers Ray Carlton
McMahons Creek Victoria Australia
gambaru on wed 26 may 99
A possibility: It may be the way that you are centering the clay. You could
be allowing water to get under the clay at the base. Are you rounding off
the base of the clay before you "throw" it on a slightly dampened bat ? If
you cone the clay as part of centering are you following the clay up or
pulling the clay up and therefore lifting the mass somewhat and allowing
water/slip between clay and bat ? MB
-----Original Message-----
From: Barney Adams
To: CLAYART@LSV.UKY.EDU
Date: Monday, May 24, 1999 9:33 AM
Subject: Throwing question
>----------------------------Original message----------------------------
>Hi,
>Lately I've been throwing larger pieces and have had
>a great deal of trouble having the clay stick to the bat.
>When I get up around 20lbs of clay the ball of clay slides
>off the bat. Once the bat gets wet I can'nt use it at all.
>I'm using the pressed wood bats, but I've also had troble with
>a large plastic bat. Is there something I'm doing wrong or a trick
>that I'm not aware of. I'd like to work on larger and larger pieces,
>but it's too much work for the few pieces I've been able to finish.
>
>thanks
>Barney
>
John K Dellow on wed 26 may 99
Firstly I am assuming you are banging the lump onto the bat ,not just
placing it in the centre of the bat & throwing water on to begin
centring.
1, try using softer clay
2, try priming the bat by wiping clay onto the bat with your fingers.
3, if your using fine white poop ! try using a metal bat :)
Barney Adams wrote:
>
> ----------------------------Original message----------------------------
> Hi,
> Lately I've been throwing larger pieces and have had
> a great deal of trouble having the clay stick to the bat.
> When I get up around 20lbs of clay the ball of clay slides
> off the bat. Once the bat gets wet I can'nt use it at all.
> I'm using the pressed wood bats, but I've also had troble with
> a large plastic bat. Is there something I'm doing wrong or a trick
> that I'm not aware of. I'd like to work on larger and larger pieces,
> but it's too much work for the few pieces I've been able to finish.
>
> thanks
> Barney
--
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
Alex Wilson on wed 26 may 99
Hello Barney, try first throwing a disc using a small amount of clay, then
bash on with the twenty-pounder. With a bit of luck the large lump will stick
to the disc and prevent sliding.
Otherwise; maybe your clay is too stiff, you're exerting too much pressure
when centring or the batt is too wet to start with.
Alex
Barney Adams on thu 27 may 99
Hi,
What I've been doing is centering balls of 15-20 lbs at a time.
I want to try throwing about 50lbs which is near the max my wheel
will handle. I'd like to try the coil, but I would thing the way
to go with it would require an extruder. Maybe later on that.
Barney
Parri Gignac wrote:
>
> ----------------------------Original message----------------------------
> Barney,
>
> Rather than throwing all 20 pounds at once, have you tried doing it in
> sections adding on coils as you build up? I had the pleasure of watching
> Susanne Stephenson at a workshop in Kalamazoo recently throw a LARGE plate
> that was close to 36" in diameter. She started off throwing a flat 1 "
> disk of clay onto a wood bat. Then got down on her knees onto the floor
> and rolled out a rather thick coil of clay - maybe 6" in diameter - and
> fit that on top the inside edge of the disk after scoring the contact
> points.
>
> Since the disk was already centered - it didn't take a lot of effort to
> center the coil attached to the disk. She then flared out the coil to form
> the edge of the plate - but you could just as easily keep working your
> way up - adding coils to continue to achieve height. Just make sure to
> give each newly added level enough time to stiffen and support the next.
>
> Hopefully that gives you an idea for working around your problem.
>
> Parri Gignac
>
> -who knows from experience that there is more than one way to skin a
> cat...
>
> >
> > ----------------------------Original message----------------------------
> > Hi,
> > Lately I've been throwing larger pieces and have had
> > a great deal of trouble having the clay stick to the bat.
> > When I get up around 20lbs of clay the ball of clay slides
> > off the bat. Once the bat gets wet I can'nt use it at all.
> > I'm using the pressed wood bats, but I've also had troble with
> > a large plastic bat. Is there something I'm doing wrong or a trick
> > that I'm not aware of. I'd like to work on larger and larger pieces,
> > but it's too much work for the few pieces I've been able to finish.
> >
> > thanks
> > Barney
> >
Barney Adams on thu 27 may 99
I dont think I'm letting water in under the clay because as the mass
comes off the wheel I have looked at the bottom. I have a feeling the
main problem is I'm using my body pressed against my elbow to center.
The bat has raised the ball of clay enough that I'm muscling the ball
off the bat. The solution is to stand so some of my body weight is
directed
down onto the ball. I taught myself how to throw from a book so much of
this stuff may be obvious to you. I have to ask here...
Thanks (globally)
Barney
gambaru wrote:
>
> ----------------------------Original message----------------------------
> A possibility: It may be the way that you are centering the clay. You could
> be allowing water to get under the clay at the base. Are you rounding off
> the base of the clay before you "throw" it on a slightly dampened bat ? If
> you cone the clay as part of centering are you following the clay up or
> pulling the clay up and therefore lifting the mass somewhat and allowing
> water/slip between clay and bat ? MB
> -----Original Message-----
> From: Barney Adams
> To: CLAYART@LSV.UKY.EDU
> Date: Monday, May 24, 1999 9:33 AM
> Subject: Throwing question
>
> >----------------------------Original message----------------------------
> >Hi,
> >Lately I've been throwing larger pieces and have had
> >a great deal of trouble having the clay stick to the bat.
> >When I get up around 20lbs of clay the ball of clay slides
> >off the bat. Once the bat gets wet I can'nt use it at all.
> >I'm using the pressed wood bats, but I've also had troble with
> >a large plastic bat. Is there something I'm doing wrong or a trick
> >that I'm not aware of. I'd like to work on larger and larger pieces,
> >but it's too much work for the few pieces I've been able to finish.
> >
> >thanks
> >Barney
> >
Veena Raghavan on fri 28 may 99
Barney,
I have not thrown 20 lbs, but I do find that I cannot center large
amounts of clay. I am short and light, getting on, and just do not have the
strength. So, what I read about in one of the many clay books I have
studied, was to center half the clay first, keep it slight domed at the end
of the centering and then throw the other half on top and center it onto
the first half. Works like a charm for me. Maybe it would work for you.
Good luck.
Veena
Veena Raghavan
75124.2520@compuserve.com
the Gallaghers on fri 28 may 99
I have tried this technique myself and had great success. I managed to get
a pot with an 8 inch base to a height of about 2 feet by layering on 4 inch
slabs as coils 1/2 in thick. These are joined together and left to set up a
bit before adding the next course. By compressing the clay as it rotates on
the wheel I was able to get a fairly even surface and thickness of the wall.
It still has the hand built look as it is not perfectly symetrical, but
that's ok with me!
Michelle in Oregon,
trying all sorts of ways to build large sculptural pieces
---------------------original
message-------------------------------------------------
She started off throwing a flat 1 "
>disk of clay onto a wood bat. Then got down on her knees onto the floor
>and rolled out a rather thick coil of clay - maybe 6" in diameter - and
>fit that on top the inside edge of the disk after scoring the contact
>points.
>
>Since the disk was already centered - it didn't take a lot of effort to
>center the coil attached to the disk. She then flared out the coil to form
>the edge of the plate - but you could just as easily keep working your
>way up - adding coils to continue to achieve height. Just make sure to
>give each newly added level enough time to stiffen and support the next.
>
>Hopefully that gives you an idea for working around your problem.
>
>Parri Gignac
>
Antoinette Badenhorst on fri 28 may 99
Hi Barney, You already got some wonderful tips from everybody,but I am
very tempted to add this one: ever tried to center in to or more
phases? After you centered the first ball,through the second ball of
clay on top of that. Make sure that there is no water or slip on the
first centered piece of clay. Men often count on their strength instead
of technique when they through big and I will not be surprised if that
happens to you as well .
Regards. Antoinette
--- Barney Adams wrote:
> ----------------------------Original
> message----------------------------
> Hi,
> Lately I've been throwing larger pieces and have had
> a great deal of trouble having the clay stick to the
> bat.
> When I get up around 20lbs of clay the ball of clay
> slides
> off the bat. Once the bat gets wet I can'nt use it
> at all.
> I'm using the pressed wood bats, but I've also had
> troble with
> a large plastic bat. Is there something I'm doing
> wrong or a trick
> that I'm not aware of. I'd like to work on larger
> and larger pieces,
> but it's too much work for the few pieces I've been
> able to finish.
>
> thanks
> Barney
>
===
Antoinette Badenhorst
PO Box 552
Saltillo,Mississippi
38866
Telephone (601) 869-1651
timakia@yahoo.com
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com
Barbara Lewis on fri 28 may 99
I would add one more thing to Tom's suggestion and that is to seal the mound
by running your finger around the edge of the clay where it meets the bat to
create a seal. I do this with even small forms. Hope this helps. Barbara
At 12:59 PM 5/26/99 EDT, you wrote:
>----------------------------Original message----------------------------
>Subject: Re: Throwing question
>
>> > ----------------------------Original message----------------------------
>> > Hi,
>> > Lately I've been throwing larger pieces and have had
>> > a great deal of trouble having the clay stick to the bat.
>> > When I get up around 20lbs of clay the ball of clay slides
>> > off the bat. Once the bat gets wet I can't use it at all.
>> > I'm using the pressed wood bats, but I've also had trouble with
>> > a large plastic bat. Is there something I'm doing wrong or a trick
>> > that I'm not aware of. I'd like to work on larger and larger pieces,
>> > but it's too much work for the few pieces I've been able to finish.
>> >
>>
> Barney, sounds like waters sneaking around the edge when you first put the
> clay down. A couple of things I do to try to avoid this.....
> 1. when wedging or balling up the clay, take the wedge of clay and roll the
> top in a circle on the table top so the bottom is rounded. Then when you
> slam it on the wheel, the roundness kind of squishes (technical term) the
>water out.
> 2. Use very little water until the clay is sealed down to the wheel.
>
> I use mostly plastic bats and if any water gets under, it slips off. the
> you've got to dry both the bat and the clay bottom and re-round it.
>
> Hope this helps.
> Tom Wirt
>
>PS tried to send this off the list but it kept getting bounced
>(abarn@mediaone.net)
>
Wellspring Clayworks
5412 Well Spring Road
La Plata, MD 20646
blewis@crosslink.net
BVCuma on sun 15 sep 02
You've really intrigued me -- thanks! Now, what do you mean by "off-axis"?
Also, how is their clay poor? And which Indian potters are you working
with? I like your phrase "coax it beyond limits", that's an admirable
skill. Please tell me more, either on or off the list -- your preference.
_______________
Hi Marlene..
Off Axis?
Think of a gyroscope..it spins on an axis.
It generates a very strong force...
if this force is harnessed it can be used
to do most of your work..
The primitive wheel with its simple bearing system
will not even stand without wobbling till it gets going.
It is has powerful centering quality.
If you handle it correctly..
the clay feels like a fire hose in your hands..
it wants to assert itself..center itself.
Anything out of center will be amplified
and potentially corrected in exquisite fashion.
It is wise to induce and use this energy
to achieve a powerful expressive movement.
You will find..I think, the discussion, in the archives,
on "Throwing down" to be useful..
though it prematurely terminated itself somewhat abruptly..
I do have a clip of a post I aborted that may help
in further elucidating this technique...
_____________________________
>>the descriptions consider that clay is being
squeezed, compressed or stretched.
When you think deeply about it, this is seldom true.<<
_____________________________
The real work begins when one has the confidence to push or pull the clay
off axis.
With all the forces mentioned above being a part of the dynamic...!
While throwing down it is very much more exciting
to lean in from the hips and push the clay off axis...
and not just coning, but the actual cylinder!
When rolling the thumbs over for the half pull..
Simultaneously lean back from the hips
and pull the cylinder from hehind off axis with the fingers..
this again stretches and induces the clay
into highly dramatic transformation forces..
While squeezing and rolling the ridge, stretching and compressing..
conducted in a harmonious symphony of uniprecision...
I think these are the only terms that can be used
to express the means by which one can get the clay to move at all.
Watching the experienced guys...
They take hold of the cylinder at the base
Pushing off axis with right hand palm/fingers at the base in front
and pulling foreword *under* from behind into axis and beyond with the left
hand, lifting up in one swift movement..finished
Cupping, pushing and pulling off and on even back over axis so daringly
that the cylinder Torque's into dangerous looking contortions..
After nearly collapsing.. the clay stands erect like a disciplined soldier
...ready for further commands
Another clip..
Palming from the front with the right hand
and cupping from behind with the left..under..
Pushing off axis and again on with the back hand
distorting the cylinder with a radical pull.
I think the "S" pull is created to the cylinder as a whole
rather than just the wall as it revolves..
very interesting.
______________
Furthermore..
I think it is obvious that the "pull"
is not just a vertical S stetch/compression/extension
but to really maximize your mileage
create a horizontal S to stretch the wall also...
somewhat like when creating a spout on a jug lip
when using two fingers outside
and one finger inside in the center..
the pull is also a horizontal stretch...pulled upward and out
in unison to achieve some "life" in the "gesture"
Now try the same..with the pot revolving.
I like to rotate the wrists,
so that the three points of contact
move from horizontal through diagonal
into vertical alignment while moving
along the profile of the form.
Btw..
I hope all this is not misconstrued into
some kind of fanatical rant..
or final verse in dogmatic rule...
or puppy dog reporting.
Bruce
..maybe I'm just wasting my time..
better spent else where.
Hendrix, Taylor J. on wed 2 oct 02
Hello all:
Throwing question. I tried this technique today with my teacher =
watching, and I don't think I got it right. She might've even called me =
a 'nut.' Imagine that. Anyway, I am reading _Shigaraki, Potters' =
Valley_ by Cort. It is mostly about the history of this potting valley =
in Japan, but it does have an occasional mention of method. On a few of =
the photo pages, the author describes Uda Seikichi's technique for =
throwing sencha (green leaf tea) cups. I want to try this but there is =
just not enough description or pictures to go by. The pictures show the =
centering/opening, saucer shape, smoothing the rim, and measuring but =
nothing in between! Can anyone give me some helpful verbal cues =
regarding this throwing technique--specifically the saucer to cup part? =
Mel? Pretty please? The caption from the pictures is copied in full =
below.
"248-51. In the process of throwing sencha cups (filling a board with =
thirty cups in twenty minutes), Seikichi squeezes and centers a knob of =
clay and opens a hole in it with his thumb. Using his thumb, he pulls =
the clay out into a flat saucer shape and wipes slip across it. This =
application of slip is said to close the pores of the clay and prevent =
cracking. Using a small chamois, he smoothes the rim of the finished =
cup. He checks both depth and rim diameter at the same time with a =
bamboo tool specially made to the dimensions of this shape." pp. 282-3.
My teacher thinks I should learn to center first :P
Taylor, in wacky Waco, throwin' junk.
p.s. Alas, the PMI art. re. Mel's "The Japanese Technique of Hump =
Throwing" no longer lives online.
BVCuma on thu 3 oct 02
>>Can anyone give me some helpful verbal cues regarding this throwing
technique--specifically the saucer to cup part?<<
_______________________
Hi Taylor,
I've not seen the article you mention..
but the technique you describe sounds like
one I am exploring now...
Off the hump ..
I make an opening at the top...
ideally a small crater with slip already there inside
so as when with.. the thumb ready and waiting..
the rising cone enters while stationary..
the cone ridge rising up and moving into...
best done while coning up off axis to the rear
straightening and reversing the cone axis forewards
while folding the thumb(s) (inside) and push back followed by the fingers
outside "flicking" foreward creating the reverse axis
and pulling the wall up into a small cylinder or cup.
Left finger(s) inside right hand first finger also..
right hand 2,3,4 fingers bent supporting outside
compressing the edge and measuring for size..
choose your first finger knunkle or crotch
between the first and second digit (centering)
Really you can do it so many different ways.
Anyhow..
Slide digits inside to center bottom and out.. giving inner size
start to set your base thickness now to avoid excess later...ie. pinch
then pull up and out and rolling the ridge up
possibly with the outside right thumbs leading first
kicking back outwards from the bottom with the inside fingers following
to form an open bowl (reverse S ridge movment)
into nearly a saucer shape..I set the rim lip
at this point with a slight inverted leading edge
so as when my fingers wrap around the outside to pull up
into the final cup or cylinder form..
it does not flop over outside like a limp flower..
it WILL distort.. but the tension of the inward lip will
assert its presence like a ring governing
and allowing the excess mid wall
to rise up as desired...
compress, measure and center.
You should measure at several junctures
for consistancy in size.(using you hand formations)
This is the movement you are after
and boy is it cool.
The trick IS...finding just where the
dynamic of the various energies
harmonize into a cooperative unison of direction...
Finally..
possibly one regular type pull to set the final shape..
done.
Work it like a violinist does his bow
up down, back and forth, off and on axis..
let music silently dance..
>>My teacher thinks I should learn to center first<<
Centering in my experience has been somehow
made out to be an exclusive process..this is a waste of time.
Centering is most beautifully done..
during the entire forming process.
The three times coning and and back down,
as seen in most books is far too excessive..
just get on with it.
Also the idea if coning down..
that trapped slip from the cratered peak will
create problems when it becomes sealed inside..
this is simply not true.. done with a clear intent
it will provide slip as it is forced out
on the way down...
A nice time saver..
feels good too.
At this point I am not making anything..
I cone up and down.. transform a bowl
into a mug into a disk back into a cylinder
try half a dozen lips..
fold it back down (accordian stype)
to the inside or the out..
without trapping air,
pinch off uncentered clay against the wall.. downside,
three times till into a donut.. recenter if you wish..
and do it all over again..up, down, out lipped, in lipped
so on and so forth..countless forms..
till it flops.. exhausted.
I also like to pull hard and torque/twist the wall out of shape..
as long as I can center the rim perfectly..
then do compression pull and "iron" the wall smooth...
testing the limits.. see what you can or can not do..
ride to wave on its very edge..
there you will find excitement..
the cutting edge.
I treat it like a musical instrument
or a magical process of transformation..
the pots, cups, saucers, vases etc. are byproducts
they come and go..not my concern..
I save nothing.
What is this clay? and what can it do..
thats what I want to know!
I've always envied muscians..
(still do..powerful stuff)
but I've found my instrument
and I can play a tune...many
though it is a bit messy.
But thats ok..
I like it that way.
Showed the kids the other day...
I said how bout that...
The little friend said "magic"
Yes.. magic
I like a little of that.
..some call it nuts.
isn't THAT strange!
best to you,
Bruce
Russel Fouts on fri 4 oct 02
Bruce,
You really need to make a video of the techniques you talk about.
>> Centering in my experience has been somehow made out to be an exclusive process..this is a waste of time. <<
And is over-rated. :-)
>> testing the limits.. see what you can or can not do.. ride to wave on its very edge.. there you will find excitement.. the cutting edge. What is this clay? and what can it do.. thats what I want to know! <<
This can also be done with hand building, stretch it, pull it, pinch it,
how thin can you make it and have it still stay together or support
itself, how thick can you make it and have it not crack or still be able
to be fired? How easily does it join to itself, How dry can you work it,
how wet, how hard, how soft?.
You start getting some really interesting stuff when you push the clay
to it's limits. It's called getting intimate with your material (Tony
will love that!) It's hard to do if you use a lot of clays.
I've been using the same, one clay since '96. One clay. It will do
anything for me. Super thin, super thick, textured, smooth, sticks to
itself like glue without slip, can be thrown, pinched or handbuilt,
supports itself well. I've enjoyed it wet, dry and everywhere in
between. This clay loves me!
It recycles instantly! Just throw the scraps in a dry bucket, spray with
some water, beat down, leave overnight, cut out with a cheese cutter,
wedge a bit, new clay! Dry scraps (I don't have much)? crush up and mix
with the moist, use more water from the sprayer.
Makes a terrific terra-sig, too! Goes on Bisque!
At the studio where I found it, it was the clay that everyone hated,
burns BRIGHT ORANGE (I found a new favorite color!). It was so old and
stiff that I had to beat it over hump molds to make anything out of it.
It responded wonderfully! We've been in love ever since.
"Adopt a clay today"
Russel
--
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
http://www.Japan-Net.ne.jp/~iwcat
"There is a theory which states that
if ever anyone discovers exactly what
the universe is for and why it's here,
it will instantly disappear and be
replaced by something even more bizzarly
inexplicable."
"There is another theory which states
that this has already happened!"
Douglas Adams' The Hitch Hiker's Guide to the Galaxy
Gail Dapogny on mon 7 oct 02
Hi Russell,
Any chance you want to share, or should the rest of us just eat our hearts
out and drool ?
----Gail
>I've been using the same, one clay since '96. One clay. It will do
>anything for me. Super thin, super thick, textured, smooth, sticks to
>itself like glue without slip, can be thrown, pinched or handbuilt,
>supports itself well. I've enjoyed it wet, dry and everywhere in
>between. This clay loves me!
>
>It recycles instantly! Just throw the scraps in a dry bucket, spray with
>some water, beat down, leave overnight, cut out with a cheese cutter,
>wedge a bit, new clay! Dry scraps (I don't have much)? crush up and mix
>with the moist, use more water from the sprayer.
>
>Makes a terrific terra-sig, too! Goes on Bisque!
>
>At the studio where I found it, it was the clay that everyone hated,
>burns BRIGHT ORANGE (I found a new favorite color!). It was so old and
>stiff that I had to beat it over hump molds to make anything out of it.
>It responded wonderfully! We've been in love ever since.
>
>"Adopt a clay today"
>
>Russel
> Russel Fouts
Gail Dapogny
1154 Olden Road
Ann Arbor, MI 48103-3005
(734) 665-9816
gdapogny@umich.edu
http://www.silverhawk.com/ex99/dapogny (single historical photo - no longer
registered with Silverhawk)
Russel Fouts on thu 10 oct 02
Now Gail, would YOU share the love of your life? ;-)
>> Any chance you want to share, or should the rest of us just eat our hearts
out and drool ? <<
It's #08BOK from Van Der Gucht Pottery and Bamboo, Eurolaan 4, 9140
Temse, Belgium, +32 3 771 3395
Fires to 1050, No grog, .37 Euro/Kg. The catalogue says it good for
Throwing, handbuilding, pressing AND Flower arranging!
It's the clay that they make their own garden pots from.
I doubt if they ship out of Europe, let alone Belgium. ;-)
Russel (But I'm not sharing Enzo with anyone!)
--
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
http://www.Japan-Net.ne.jp/~iwcat
"There is a theory which states that
if ever anyone discovers exactly what
the universe is for and why it's here,
it will instantly disappear and be
replaced by something even more bizzarly
inexplicable."
"There is another theory which states
that this has already happened!"
Douglas Adams' The Hitch Hiker's Guide to the Galaxy
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