mel jacobson on tue 15 feb 00
wood and stone are great surfaces to use for clay.
formica is the worst...clay sticks to it
use surfaces in your studios that you can wash easily,
absorbs water so pots and clay do not stick.
sheets of plywood cut to size.
hardboard/untempered.
flat scrap gravestones...esp. sandstone, great wedging boards.
i personally do not like cement or plaster in the studio.
i seems to always gets in the clay and explodes..(of course only
in a 100 buck platter...right in the center.)
one has to really understand plaster, know how to handle it.
kids don't.
absorbency is the answer. and, can you wash it?
i have a 1.5 inch slop to my studio cement floor. (had to argue with
cement man for about 20 minutes...they want flat, told him
i would not pay him if a marble did not roll to the center).
it leads to a drain in the middle.
about once a month i use the garden hose, spray the hell out
of it. all the goop goes out a pipe into the garden.
(man, do you ever have to argue with cement guys when you want
a flat slab for a kiln, then they want it to slope...never ends, and they
call us names to boot. `dumb #&#$#**, wants it flat.`
i had all kinds of wooden counters at school....one fall i came
back...the custodians had varnished them all.
hey, they thought it was great.
got a gallon of strip-eze. stripped it.
as ron said yesterday....canvas is a mess.
never used it....i like to do paintings on canvas, not use it for counters.
i keep all glaze materials in my un/heated kiln room.
mix glazes there...not often, but keep it back there.
glaze stuff is always the danger, so keep it clean.
wash hands...keep hands out of buckets.
use dippers. i have about 20 dippers of all sizes.
long handles....i tape (electrical tape) a one cup stainless steel measuring
cup to a bamboo handle...looks cool too.
i found some two cup plastic cups with handles at lori's (dollar discount)
and are they nice for dippers(taped on a long handle). hands never go in
the glaze bucket.
good ring feet on pots helps too.
so many people make pots that are hard to glaze...why?
often the simple pots...easy to dip....well,classic, (history, look at it)
simple, easy to work with.
it is like kids that stick a painting in a matt crooked...`hey isn't that
different?`..`no`, i say...`stupid`.
it is like using expanded metal to level your block for building
a kiln. simple, works, cheap, available...does not burn.
and lifts the kiln so it can breath.
easy.
mel/mn
http://www.pclink.com/melpots (website)
from minnetonka, minnesota, u.s.a.
tgschs10 on wed 16 feb 00
Years ago when I was first introduced to clay someone told me to use marble
surfaces and I got a piece [second] from a local dealer. Now all of my
working shelves are marble; they are absorbant, durable, look nice and
easily cleaned. For some reason, I almost never hear marble recommended.
Tom Sawyer
Orlando, FL
tgschs10@msn.com
----- Original Message -----
From: mel jacobson
To:
Sent: Tuesday, February 15, 2000 3:09 PM
Subject: studio ideas
> ----------------------------Original message----------------------------
> wood and stone are great surfaces to use for clay.
> formica is the worst...clay sticks to it
> use surfaces in your studios that you can wash easily,
> absorbs water so pots and clay do not stick.
>
> sheets of plywood cut to size.
> hardboard/untempered.
> flat scrap gravestones...esp. sandstone, great wedging boards.
> i personally do not like cement or plaster in the studio.
> i seems to always gets in the clay and explodes..(of course only
> in a 100 buck platter...right in the center.)
> one has to really understand plaster, know how to handle it.
> kids don't.
>
> absorbency is the answer. and, can you wash it?
>
> i have a 1.5 inch slop to my studio cement floor. (had to argue with
> cement man for about 20 minutes...they want flat, told him
> i would not pay him if a marble did not roll to the center).
> it leads to a drain in the middle.
> about once a month i use the garden hose, spray the hell out
> of it. all the goop goes out a pipe into the garden.
> (man, do you ever have to argue with cement guys when you want
> a flat slab for a kiln, then they want it to slope...never ends, and they
> call us names to boot. `dumb #&#$#**, wants it flat.`
>
> i had all kinds of wooden counters at school....one fall i came
> back...the custodians had varnished them all.
> hey, they thought it was great.
>
> got a gallon of strip-eze. stripped it.
>
> as ron said yesterday....canvas is a mess.
> never used it....i like to do paintings on canvas, not use it for
counters.
>
> i keep all glaze materials in my un/heated kiln room.
> mix glazes there...not often, but keep it back there.
>
> glaze stuff is always the danger, so keep it clean.
> wash hands...keep hands out of buckets.
> use dippers. i have about 20 dippers of all sizes.
> long handles....i tape (electrical tape) a one cup stainless steel
measuring
> cup to a bamboo handle...looks cool too.
> i found some two cup plastic cups with handles at lori's (dollar discount)
> and are they nice for dippers(taped on a long handle). hands never go in
> the glaze bucket.
> good ring feet on pots helps too.
>
> so many people make pots that are hard to glaze...why?
> often the simple pots...easy to dip....well,classic, (history, look at it)
> simple, easy to work with.
>
> it is like kids that stick a painting in a matt crooked...`hey isn't that
> different?`..`no`, i say...`stupid`.
>
> it is like using expanded metal to level your block for building
> a kiln. simple, works, cheap, available...does not burn.
> and lifts the kiln so it can breath.
> easy.
>
> mel/mn
>
>
>
>
> http://www.pclink.com/melpots (website)
> from minnetonka, minnesota, u.s.a.
>
Alex Solla on wed 16 feb 00
You know, I seldom poke my head up or say much these
days... seems that there are more than enough people
saying their piece.
But I do want to share my laugh. When Mel says
something is easy... it is. But THINKING of it, TRYING
IT, DOING SOMETHING NEW, that takes work. All too
often we do something because that's how we were
taught or some other dogmatic reason.
Along comes Mel and with a flick of the wrist... tah
daaah. Simple and easy. Makes me smile.
Having faith is its own reward I think.
Thanks Mel. Keeping it simple...and what a reward!
-Alex Solla
--- mel jacobson wrote:
> ----------------------------Original
> message----------------------------
> wood and stone are great surfaces to use for clay.
> formica is the worst...clay sticks to it
> use surfaces in your studios that you can wash
> easily,
> absorbs water so pots and clay do not stick.
>
> sheets of plywood cut to size.
> hardboard/untempered.
> flat scrap gravestones...esp. sandstone, great
> wedging boards.
> i personally do not like cement or plaster in the
> studio.
> i seems to always gets in the clay and explodes..(of
> course only
> in a 100 buck platter...right in the center.)
> one has to really understand plaster, know how to
> handle it.
> kids don't.
>
> absorbency is the answer. and, can you wash it?
>
> i have a 1.5 inch slop to my studio cement floor.
> (had to argue with
> cement man for about 20 minutes...they want flat,
> told him
> i would not pay him if a marble did not roll to the
> center).
> it leads to a drain in the middle.
> about once a month i use the garden hose, spray the
> hell out
> of it. all the goop goes out a pipe into the
> garden.
> (man, do you ever have to argue with cement guys
> when you want
> a flat slab for a kiln, then they want it to
> slope...never ends, and they
> call us names to boot. `dumb #?$#**, wants it
> flat.`
>
> i had all kinds of wooden counters at school....one
> fall i came
> back...the custodians had varnished them all.
> hey, they thought it was great.
>
> got a gallon of strip-eze. stripped it.
>
> as ron said yesterday....canvas is a mess.
> never used it....i like to do paintings on canvas,
> not use it for counters.
>
> i keep all glaze materials in my un/heated kiln
> room.
> mix glazes there...not often, but keep it back
> there.
>
> glaze stuff is always the danger, so keep it clean.
> wash hands...keep hands out of buckets.
> use dippers. i have about 20 dippers of all sizes.
> long handles....i tape (electrical tape) a one cup
> stainless steel measuring
> cup to a bamboo handle...looks cool too.
> i found some two cup plastic cups with handles at
> lori's (dollar discount)
> and are they nice for dippers(taped on a long
> handle). hands never go in
> the glaze bucket.
> good ring feet on pots helps too.
>
> so many people make pots that are hard to
> glaze...why?
> often the simple pots...easy to dip....well,classic,
> (history, look at it)
> simple, easy to work with.
>
> it is like kids that stick a painting in a matt
> crooked...`hey isn't that
> different?`..`no`, i say...`stupid`.
>
> it is like using expanded metal to level your block
> for building
> a kiln. simple, works, cheap, available...does not
> burn.
> and lifts the kiln so it can breath.
> easy.
>
> mel/mn
>
>
>
>
> http://www.pclink.com/melpots (website)
> from minnetonka, minnesota, u.s.a.
>
__________________________________________________
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Earl Brunner on thu 17 feb 00
I went to a place that repaired pool tables and got a large peice of slate free
that I use for a wedging surface. It works great
tgschs10 wrote:
> ----------------------------Original message----------------------------
> Years ago when I was first introduced to clay someone told me to use marble
> surfaces and I got a piece [second] from a local dealer. Now all of my
> working shelves are marble; they are absorbant, durable, look nice and
> easily cleaned. For some reason, I almost never hear marble recommended.
>
> Tom Sawyer
> Orlando, FL
> tgschs10@msn.com
> ----- Original Message -----
> From: mel jacobson
> To:
> Sent: Tuesday, February 15, 2000 3:09 PM
> Subject: studio ideas
>
> > ----------------------------Original message----------------------------
> > wood and stone are great surfaces to use for clay.
> > formica is the worst...clay sticks to it
> > use surfaces in your studios that you can wash easily,
> > absorbs water so pots and clay do not stick.
> >
> > sheets of plywood cut to size.
> > hardboard/untempered.
> > flat scrap gravestones...esp. sandstone, great wedging boards.
> > i personally do not like cement or plaster in the studio.
> > i seems to always gets in the clay and explodes..(of course only
> > in a 100 buck platter...right in the center.)
> > one has to really understand plaster, know how to handle it.
> > kids don't.
> >
> > absorbency is the answer. and, can you wash it?
> >
> > i have a 1.5 inch slop to my studio cement floor. (had to argue with
> > cement man for about 20 minutes...they want flat, told him
> > i would not pay him if a marble did not roll to the center).
> > it leads to a drain in the middle.
> > about once a month i use the garden hose, spray the hell out
> > of it. all the goop goes out a pipe into the garden.
> > (man, do you ever have to argue with cement guys when you want
> > a flat slab for a kiln, then they want it to slope...never ends, and they
> > call us names to boot. `dumb #&#$#**, wants it flat.`
> >
> > i had all kinds of wooden counters at school....one fall i came
> > back...the custodians had varnished them all.
> > hey, they thought it was great.
> >
> > got a gallon of strip-eze. stripped it.
> >
> > as ron said yesterday....canvas is a mess.
> > never used it....i like to do paintings on canvas, not use it for
> counters.
> >
> > i keep all glaze materials in my un/heated kiln room.
> > mix glazes there...not often, but keep it back there.
> >
> > glaze stuff is always the danger, so keep it clean.
> > wash hands...keep hands out of buckets.
> > use dippers. i have about 20 dippers of all sizes.
> > long handles....i tape (electrical tape) a one cup stainless steel
> measuring
> > cup to a bamboo handle...looks cool too.
> > i found some two cup plastic cups with handles at lori's (dollar discount)
> > and are they nice for dippers(taped on a long handle). hands never go in
> > the glaze bucket.
> > good ring feet on pots helps too.
> >
> > so many people make pots that are hard to glaze...why?
> > often the simple pots...easy to dip....well,classic, (history, look at it)
> > simple, easy to work with.
> >
> > it is like kids that stick a painting in a matt crooked...`hey isn't that
> > different?`..`no`, i say...`stupid`.
> >
> > it is like using expanded metal to level your block for building
> > a kiln. simple, works, cheap, available...does not burn.
> > and lifts the kiln so it can breath.
> > easy.
> >
> > mel/mn
> >
> >
> >
> >
> > http://www.pclink.com/melpots (website)
> > from minnetonka, minnesota, u.s.a.
> >
--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net
Morris, Marlene F. on thu 17 feb 00
I used a piece of slate for a short while but ragged flecks would
occasionally come up with the clay. Until I make a better wedging board I'm
using a slab of marble intended for working with French pastries -- but I
use the rougher underside so the clay won't stick.
Marlene
-----Original Message-----
From: Earl Brunner [mailto:bruec@anv.net]
Sent: Thursday, February 17, 2000 2:38 PM
To: CLAYART@LSV.UKY.EDU
Subject: Re: studio ideas
----------------------------Original message----------------------------
I went to a place that repaired pool tables and got a large peice of slate
free
that I use for a wedging surface. It works great
tgschs10 wrote:
> ----------------------------Original message----------------------------
> Years ago when I was first introduced to clay someone told me to use
marble
> surfaces and I got a piece [second] from a local dealer. Now all of my
> working shelves are marble; they are absorbant, durable, look nice and
> easily cleaned. For some reason, I almost never hear marble recommended.
>
> Tom Sawyer
> Orlando, FL
> tgschs10@msn.com
> ----- Original Message -----
> From: mel jacobson
> To:
> Sent: Tuesday, February 15, 2000 3:09 PM
> Subject: studio ideas
>
> > ----------------------------Original message----------------------------
> > wood and stone are great surfaces to use for clay.
> > formica is the worst...clay sticks to it
> > use surfaces in your studios that you can wash easily,
> > absorbs water so pots and clay do not stick.
> >
> > sheets of plywood cut to size.
> > hardboard/untempered.
> > flat scrap gravestones...esp. sandstone, great wedging boards.
> > i personally do not like cement or plaster in the studio.
> > i seems to always gets in the clay and explodes..(of course only
> > in a 100 buck platter...right in the center.)
> > one has to really understand plaster, know how to handle it.
> > kids don't.
> >
> > absorbency is the answer. and, can you wash it?
> >
> > i have a 1.5 inch slop to my studio cement floor. (had to argue with
> > cement man for about 20 minutes...they want flat, told him
> > i would not pay him if a marble did not roll to the center).
> > it leads to a drain in the middle.
> > about once a month i use the garden hose, spray the hell out
> > of it. all the goop goes out a pipe into the garden.
> > (man, do you ever have to argue with cement guys when you want
> > a flat slab for a kiln, then they want it to slope...never ends, and
they
> > call us names to boot. `dumb #&#$#**, wants it flat.`
> >
> > i had all kinds of wooden counters at school....one fall i came
> > back...the custodians had varnished them all.
> > hey, they thought it was great.
> >
> > got a gallon of strip-eze. stripped it.
> >
> > as ron said yesterday....canvas is a mess.
> > never used it....i like to do paintings on canvas, not use it for
> counters.
> >
> > i keep all glaze materials in my un/heated kiln room.
> > mix glazes there...not often, but keep it back there.
> >
> > glaze stuff is always the danger, so keep it clean.
> > wash hands...keep hands out of buckets.
> > use dippers. i have about 20 dippers of all sizes.
> > long handles....i tape (electrical tape) a one cup stainless steel
> measuring
> > cup to a bamboo handle...looks cool too.
> > i found some two cup plastic cups with handles at lori's (dollar
discount)
> > and are they nice for dippers(taped on a long handle). hands never go
in
> > the glaze bucket.
> > good ring feet on pots helps too.
> >
> > so many people make pots that are hard to glaze...why?
> > often the simple pots...easy to dip....well,classic, (history, look at
it)
> > simple, easy to work with.
> >
> > it is like kids that stick a painting in a matt crooked...`hey isn't
that
> > different?`..`no`, i say...`stupid`.
> >
> > it is like using expanded metal to level your block for building
> > a kiln. simple, works, cheap, available...does not burn.
> > and lifts the kiln so it can breath.
> > easy.
> >
> > mel/mn
> >
> >
> >
> >
> > http://www.pclink.com/melpots (website)
> > from minnetonka, minnesota, u.s.a.
> >
--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net
Frank Gaydos on tue 19 sep 00
Mel,
I could not disagree with you more. Maybe the students here in Philly are
not shy but we have 16 face to face in the center of the room and four
against the wall for the wall flowers. I fell it helps the beginners who
can look at the more advanced students around them without seeming to spy or
bother anyone. Also, when you want to give a demo, just sit right in the
middle and all but the wall students can sit at their wheels watching the
demo.
I find wall space is better used for shelving and storage.
----------------------------------------------------------------------------
-------------
Subject: studio ideas
> do not place wheels across from one another.
> i see it every place i go.
>
> put them facing walls.
>
> new folks are shy, and this gives them privacy.
>
vince pitelka on tue 19 sep 00
> do not place wheels across from one another.
> i see it every place i go.
>
> put them facing walls.
Mel -
I had to chuckle here. I am helping Patricia Fay design a new ceramics and
sculpture studio facility for Florida Gulf Coast University, and the first
problem everyone points out with the initial plan, which was drawn up by
someone else several years ago, is that the wheels all point towards the
wall, and that they should be out in the room facing each other. I agree.
But keep in mind that this is for a college teaching studio. In my
experience, when the wheels face the walls it isolates all the students,
makes it hard to teach, they don't get to see what each other are doing,
less learning goes on. I have never found shyness to be a problem at all,
but as I said, I am talking about college kids.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
Gayle Bair on tue 19 sep 00
When I was a new student (4 years ago) the wheels
were crammed together in a circle due circumstances
beyond our control.
I liked having the wheels across from each other.
I needed to see other work. The class was crowded
with about 18 students. We helped each other plus
it was easier for the instructor to see what we
were doing.
Demonstrations were easier with this set up.
I was able to watch and question a seasoned potter.
We became fast friends and eventually did shows together.
I didn't like working at wheels facing the wall.
It felt too isolated.
Of course you could experiment and put one or two wheels
facing the wall and watch the response. There may be a few
people who need that degree of privacy but I'll bet the majority
prefer it the other way.
Gayle Bair- the last time I had to face the wall for any
duration of time was because I didn't want to eat my
dinner....about 45 years ago!
Mel Wrote:
Snip>
do not place wheels across from one another.
i see it every place i go.
put them facing walls.
Snip>
mel jacobson on tue 19 sep 00
do not place wheels across from one another.
i see it every place i go.
put them facing walls.
new folks are shy, and this gives them privacy.
i built a T shaped wall across my room, placed the pug
mill at the outer end....wheels all around.
all facing the wall.
mel
FROM MINNETONKA, MINNESOTA, USA
http://www.pclink.com/melpots (website)
Dannon Rhudy on wed 20 sep 00
> initial plan, which was drawn
> up by someone else several years ago, is that the wheels all point
> towards the wall, and that they should be out in the room facing each
> other. I agree.... am talking about college kids......
Nope. We disagree here, Vince. I always HATED wheels facing each other as
a student, I didn't
want someone watching my every move, nor worse yet TALKING to me or
at me while I was trying to keep my concentration. Whether the wheels
face a wall or outward to the room doesn't matter to me, but facing
another person - no. I've discussed this with students frequently, and
they almost universally dislike having to have someone right in their
face while they are trying to learn/work. What I did when we built
the clay room at the community college was to have them build a half-wall,
actually about 32" high or so, and the wheels run down BOTH sides of that
wall, facing it. Top of the wall is a board for placing work or what have
you. Students can look at another student's face if they wish, or keep
their head down and focus on their work - whatever they are comfortable
with. Lots of outlets for wheel cords, a place for a mirror if they want
one. There are people working to either side, of course, but that is
more easily shut out if annoying. It is perhaps more psychological than
actual, but some feeling of not being the focus of someone else's attention
while you're trying new stuff seems to help people be less inhibited.
regards
Dannon Rhudy
Don & June MacDonald on wed 20 sep 00
Count me as another who does not agree with the idea of having students
face the wall. Those people who are shy soon get over it, potters, even
students, are generous and sharing, and all of us started at the
beginning once upon a time. I think that it is up to the teacher to
encourage generousity and sharing of ideas, skills, and concepts, and I
do not believe that this would be well accomplished without faces
forward. Personally I would feel very vulnerable if I had my back to a
group.
June from B.C.
vince pitelka on wed 20 sep 00
When I advocate the wheels being out in the room, I am certainly not talking
about people being right in each other's faces. That seems obvious, doesn't
it? I like the idea of the wheels facing each other with a nice long low
table between them. At the Craft Center we have such a table, as Mel
mentioned - about 14 feet long and four feet wide, topped with wooden slats.
(Dannon and Mel have both worked in this studio) Great place for each
student to put their clay supply and wareboards. It moves the students far
enough apart that they do not get claustrophobic, and do not ever seem to
carry on conversations with anyone opposite them. When I am doing demos, I
can just sit at one of the wheels and everyone can see me. I usually sit
and throw with my students during class, so I can see all of them, and I can
quietly get up and go help anyone who needs it. And when I am watching
them, I often see them stop and watch other students throwing, and then
resume, incorporating something they have just picked up. I cannot imagine
a teaching studio that does not offer this opportunity. Seems to me that
this is some of the most important learning that takes place in a throwing
studio.
I was a painfully self-conscious youngster, and I can see that this might be
a very different issue in high school. But at college-level, whether or not
one hates to have other people watch them throw is less of an issue. I feel
bad for someone who is very self-conscious, but for god's sake, they are in
SCHOOL. They need to get over it, especially at the college level. The
important issue here is "How much learning is taking place?" I see more
learning take place when the wheels are out in the room with open lines of
sight. I have taught in both kinds of setups, and from everything I have
seen the "open" arrangement works better.
In my throwing classes we routinely do timed throwing exercises. Whether
throwing off the wheelhead or off the hump, we start with five-minute pots,
and work our way down to one-minute or even 30-second pots. It is a great
exercise, and the students accomplish a lot. They generally surprise
themselves. We have a good time at it, and I cannot imagine doing this
exercise without everyone being able to see what others are doing. It would
not have the same sense of community.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
Martin Howard on thu 21 sep 00
As I have only two students at present, due to only having two wheels, they
can be in separate rooms, while I work on other things and just glance at
them from time to time.
Both are at the stage of needing some personal space and time to practice
without being too much on show to the world. I well remember that time.
So, I position the wheels so that I can see them from the side, not from the
front. That way, they have the privacy, but I can observe just as and when
they need help and advice. It works for me and them. Whether it would work
with greater numbers I do not know. We will see in time.
Martin Howard
Webb's Cottage Pottery
Woolpits Road, Great Saling
BRAINTREE, Essex CM7 5DZ
England
martin@webbscottage.co.uk
Carrie or Peter Jacobson on thu 21 sep 00
At the community studio I used to run, we didn't have much choice about
wheel placement. The room was long and skinny, there were shelves along both
sides at the back, and glazing work stations along both sides at the front.
The wheels faced each other.
I would never have it any other way!
As far as shyness, well, get over it. A beginner is a beginner is a
beginner. What they learn from watching each other's successes and failures
is worth any woe-is-me shyness they might have.
When the wheels are facing each other, someone who has just "gotten"
centering might be able to look at the poor student who's not getting it and
say the magic words, the ones I haven't come up with yet. I've seen it
happen more than once.
When the wheels are facing each other, I can wander over to someone throwing
a credible but heavy-bottomed pot, stop him or her and explain that what the
thrower is missing is something that everyone in the class is missing. Then
I can show the class, on that person's work, and everyone gets it.
I just think that putting wheels facing away is wasting great potential for
learning, teaching, enthusiasm, and energy, just for the sake of shyness.
Carrie Jacobson
Bolster's Mills, Maine
Diane G. Echlin on thu 21 sep 00
I have recently inherited the "prime" spot in my group studio: the corner by the
window! The previous potter had his wheel arranged so that he faced the center of
the room, but I have placed my wheel so that my back is to the room. All the other
potters think it's so I can look out the window. Nope. It's so my back is to the
room, and it discourages people from talking to me. I have to concentrate very
hard when I throw, and conversation distracts me. Call me anti social, but I love
it this way!
Diane, being anti social, in CT
Don & June MacDonald wrote:
> Count me as another who does not agree with the idea of having students
> face the wall. Those people who are shy soon get over it, potters, even
> students, are generous and sharing, and all of us started at the
> beginning once upon a time. I think that it is up to the teacher to
> encourage generousity and sharing of ideas, skills, and concepts, and I
> do not believe that this would be well accomplished without faces
> forward. Personally I would feel very vulnerable if I had my back to a
> group.
>
> June from B.C.
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Paul Taylor on thu 21 sep 00
Dear June
The first days back at collage. The sap rises.
I used to agree with your point and my students defiantly do they
arrange the benches in a circle for moral support.
Here is the rub I go to help a student who is very stuck. He is still
looking at the lump of clay with a blank mind . The other students are
beavering away . Until! I go to help the student; who is now in more
trouble. Not only does he feel bad that he needs help but he feels every
body is witnessing his failure to cope. The more assurances I give that it
is OK to be stuck (even if they were given notice of the project) the worse
it gets. The group that were a comfort is now a sours of embarrassment .
I could leave the student to cope but usually my advise is enough to shift
the logjam.
I did try going around to every body so no one feels singled out but the
this did not work either. The person not coping knows he is singled out
because the tone of our conversation is different from the others. Even if
no one is listening the student still feels shamed . I also feel
uncomfortable. I owe every body a confident start if nothing else.
Next week I shall take Mel's advise and have the room organized
differently. This will rob the students of there grope comfort but at least
I will not be embarrassing the person I am helping by seemingly singling
them out from the group.
This may be a cultural question. In this country the group is still an
important institution. In other countries not to be singled out may be
demoralizing, in that you are of no consequence and being ignored.
Maybe there is no right way. This is art, tough and ruthless.
When they get more confident and they realize that this is not school and
that they will be treated with respect , and to be helped is not shameful-
they can go back to studio in the round.
-- Regards Paul Taylor.
Westport Pottery, Liscarney, County Mayo. Ireland.
http://www.anu.ie/westportpottery/
> From: Don & June MacDonald
> Organization: @Home Network
> Reply-To: Ceramic Arts Discussion List
> Date: Wed, 20 Sep 2000 09:33:12 -0700
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Studio ideas
>
> Count me as another who does not agree with the idea of having students
> face the wall. Those people who are shy soon get over it, potters, even
> students, are generous and sharing, and all of us started at the
> beginning once upon a time. I think that it is up to the teacher to
> encourage generousity and sharing of ideas, skills, and concepts, and I
> do not believe that this would be well accomplished without faces
> forward. Personally I would feel very vulnerable if I had my back to a
> group.
>
> June from B.C.
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
Bill and Sylvia Shirley on thu 21 sep 00
As a documented "shy person" I have to add my own
perspective to this discussion. Having the wheels face each
other can have an unexpected benefit that I haven't seen
discussed yet. I agree that everybody is lousy starting
out, and everybody expects it in a classroom situation, so
it didn't bother me to be exposed. After the first semester
or so, it gave me a little boost of confidence to have the
first semester students watch me throwing (my doorstops).
They would ooh and aah, and ask for advice, etc. It sort of
brought me out of my shell a little, and made me want to do
even better stuff. That may actually be one of the reasons
I stuck with it.
Sylvia
Teresa Speakman on thu 21 sep 00
For the three years that I spent in the college studio I hated the
wheels facing each other. Many of the students wanted to talk to me, and I
didn't want to talk. Sometimes they would come over sit at an opposite wheel
and want to watch and talk, not throwing themselves. I would seek hours to
come in when others would not be there. I am pro privacy for beginners, or
at least give a choice. Peace -Teresa in Ohio
Frank Gaydos on thu 21 sep 00
Teresa,
Since we have both wheels that face each other and wheels facing a wall I
can speak from experience; it does not make a difference. If someone wants
to watch, they will watch from the side , from the back etc. The important
thing is to let them know you rather not have someone watching while you
work. Communicate.
Frank Gaydos
----- Original Message -----
Subject: Re: studio ideas
> For the three years that I spent in the college studio I hated the
> wheels facing each other. Many of the students wanted to talk to me, and
I
> didn't want to talk. Sometimes they would come over sit at an opposite
wheel
> and want to watch and talk, not throwing themselves. I would seek hours to
> come in when others would not be there. I am pro privacy for beginners, or
> at least give a choice. Peace -Teresa in Ohio
Kim Giberga on fri 22 sep 00
I teach ceramics at the high school level. I have wheels arranged against
the wall, but facing inward. When working at the wheel each student has
their back to the wall and nothing in front of them. This way I can see
what's happening and how to help each student.
Kim
-----Original Message-----
From: vince pitelka [mailto:vpitelka@DEKALB.NET]
Sent: Tuesday, September 19, 2000 11:49 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: studio ideas
> do not place wheels across from one another.
> i see it every place i go.
>
> put them facing walls.
Mel -
I had to chuckle here. I am helping Patricia Fay design a new ceramics and
sculpture studio facility for Florida Gulf Coast University, and the first
problem everyone points out with the initial plan, which was drawn up by
someone else several years ago, is that the wheels all point towards the
wall, and that they should be out in the room facing each other. I agree.
But keep in mind that this is for a college teaching studio. In my
experience, when the wheels face the walls it isolates all the students,
makes it hard to teach, they don't get to see what each other are doing,
less learning goes on. I have never found shyness to be a problem at all,
but as I said, I am talking about college kids.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/
____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
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