Gary & Carla Goldberg on mon 10 apr 00
Ok Everyone - The owner of a "paint your pot" type of store asked me
what I would charge to teach beginner throwers. I would have 4 students
in the same class and she would assist except when someone came into the
store to paint a pot, and then she would assist the new customer. She
was thinking each session would last 2 - 2.5 hours. She wanted to know
what I would charge per hour to teach.
So, what do you guys think?
Carla in Alaska where I actually have snow AND green grass in my yard
:)
Susan Fox Hirschmann on tue 11 apr 00
Hi!
for your information, i charge $30 an hour for private lessons......and have
charged the same even when i do groups of kids or adults., as well as a
materials charge. I think this is reasonable, give the inordinate amount of
prep time and clean up time, that none of us ever really gets paid for.
(let's face it. a 2 hour class committment, often really entails 3 1/2 hours
of OUR Time!)
good luck!
susan fox hirschmann
annandale , VA
Jacquelyn Lumsden on tue 11 apr 00
>----------------------------Original message----------------------------
>Ok Everyone - The owner of a "paint your pot" type of store asked me
>what I would charge to teach beginner throwers. I would have 4 students
>in the same class and she would assist except when someone came into the
>store to paint a pot, and then she would assist the new customer. She
>was thinking each session would last 2 - 2.5 hours. She wanted to know
>what I would charge per hour to teach.
>
>So, what do you guys think?
>
>Carla in Alaska where I actually have snow AND green grass in my yard
>:)
Hi Carla-
We also have some snow and green grass here in southern Ontario!
Our co-operative Workshop ( the Waterloo Potters' Workshop) which teaches
classes regularly to new potters, pays its teachers $25 per hour for all
our classes - handbuilding and wheel. There is no pay for prep or cleanup
and classes are generally 10 students - the number of wheels in our wheel
room. Having done that on many occassions, it keeps one busy with that
many beginners, so if you only have 4 students you can give more time and
perhaps ask for a larger teaching fee. At least that will give you an idea.
Jackie Lumsden
Waterloo, Ont
Marcia Selsor on tue 11 apr 00
Dear Carla,
An hourly wage is interesting to think about. You have four students and
I guess, four wheels. I think somewhere in the ballpark of $20-40 an
hour. That would be $5-10/student. How much are piano lessons?
Marcia Selsor
Gary & Carla Goldberg wrote:
>
> ----------------------------Original message----------------------------
> Ok Everyone - The owner of a "paint your pot" type of store asked me
> what I would charge to teach beginner throwers. I would have 4 students
> in the same class and she would assist except when someone came into the
> store to paint a pot, and then she would assist the new customer. She
> was thinking each session would last 2 - 2.5 hours. She wanted to know
> what I would charge per hour to teach.
>
> So, what do you guys think?
>
> Carla in Alaska where I actually have snow AND green grass in my yard
> :)
--
Marcia Selsor
selsor@imt.net
http://www.imt.net/~mjbmls
http://www.imt.net/~mjbmls/spain99.html
http://www.silverhawk.com/ex99/selsor/welcome.html
Helvi Abatiell on tue 11 apr 00
Carla,
I charge $6/hr for those who want to paint pots and do whatever they want
in my studio plus materials. If they need instruction, I offer them a class
for $15 or $20 per session depending on what they want. They can take a 6
week class for about $60-$80 all inclusive (clay and firings). Some people
don't think I'm charging enough but I'm not sure this market could bear much
more where I live.
I'd be curious to know what others think about this price structure.
Helvi
Rutland Vermont, where it was spring for a day and then snowed another
foot!
Charles G Hughes on wed 12 apr 00
What is the current exchange rate on that $25.00? somewhere between $16 and
$20? I know in the Washington DC area I have had friends making up to 3/4
the tuition for each class. NICE! The lowest I have seen is 8 bucks and hour
and the highest...up to $75.00
Does the teaching come with studio privileges, or is it straight money by
the hour, no perquisites? A few extras make almost any price right.
-C
----- Original Message -----
From: Jacquelyn Lumsden
To:
Sent: Tuesday, April 11, 2000 2:59 PM
Subject: Re: Teaching Throwing
> ----------------------------Original message----------------------------
> >----------------------------Original message----------------------------
> >Ok Everyone - The owner of a "paint your pot" type of store asked me
> >what I would charge to teach beginner throwers. I would have 4 students
> >in the same class and she would assist except when someone came into the
> >store to paint a pot, and then she would assist the new customer. She
> >was thinking each session would last 2 - 2.5 hours. She wanted to know
> >what I would charge per hour to teach.
> >
> >So, what do you guys think?
> >
> >Carla in Alaska where I actually have snow AND green grass in my yard
> >:)
>
> Hi Carla-
>
> We also have some snow and green grass here in southern Ontario!
>
> Our co-operative Workshop ( the Waterloo Potters' Workshop) which teaches
> classes regularly to new potters, pays its teachers $25 per hour for all
> our classes - handbuilding and wheel. There is no pay for prep or cleanup
> and classes are generally 10 students - the number of wheels in our wheel
> room. Having done that on many occassions, it keeps one busy with that
> many beginners, so if you only have 4 students you can give more time and
> perhaps ask for a larger teaching fee. At least that will give you an
idea.
>
> Jackie Lumsden
> Waterloo, Ont
Mason Batchelder on wed 12 apr 00
The local church has art and craft classes for 4 to 6 year olds for 1 1/2
hours for 5 days in a week schedule -cost $65/child. No firing included.
pam pulley on wed 12 apr 00
Our studio/coop does 10 week classes for $160, get them 50lbs of clay and
firing/glazing materials. 3 hr class plus 2 labs for practice 3 hours each.
Now we also do private lessons for those who can't make a class commitment
or just shy about working with clay in a group fro $20 hours. They buy their
clay (at cost) and get to fire 3000 cubic inches of glaze material. If they
want to practice it's $5 an hour with the instructor, or $5 for 3 hours if
it's one on the student labs already set up.
-pam , in cool michigan with a kitten that wants to help key.
>From: Helvi Abatiell
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.UKY.EDU
>Subject: Re: Teaching Throwing
>Date: Tue, 11 Apr 2000 15:22:13 EDT
>
>----------------------------Original message----------------------------
>Carla,
> I charge $6/hr for those who want to paint pots and do whatever they
>want
>in my studio plus materials. If they need instruction, I offer them a class
>for $15 or $20 per session depending on what they want. They can take a 6
>week class for about $60-$80 all inclusive (clay and firings). Some people
>don't think I'm charging enough but I'm not sure this market could bear
>much
>more where I live.
> I'd be curious to know what others think about this price structure.
> Helvi
> Rutland Vermont, where it was spring for a day and then snowed another
>foot!
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
Cl Litman on sat 3 mar 01
I think that one of the best techniques used when I learned was having
the instructor talk us through what she was doing and feeling as we
looked on. Then she started over and had us give her directions what to
do step by step and she followed only the directions she was given .
Really got us to focus on each step in the process and articulate it.
After that we tried on our own with another round of her doing a
demo/talk through AFTER we'd tried for a few hours.
Cheryl Litman
On Sat, 3 Mar 2001 17:57:28 -0000 philrogers pottery
writes:
> Hi,
>
> I am taking part in a panel at NCECA concerning the teaching of =
> throwing. It will
> cover many aspects of learning how to throw and knowing the other =
> panellists, there should be a healthy opposition of views.
>
> I would be interested to know, in a few sentences what you feel =
> important in the approach your teacher took with you or what was
> wrong =
> that you would have liked put or handled in a different way. If you
> are =
> self taught, as I am, then a few comments about the adv. or disadv.
>
> If you have a view or two about throwing in American?British
> colleges =
> that would be fine too. Please keep it short, I have my own views
> but =
> would like to see if they are commonly held or totally of the mark.
>
> Hope you can make it to the panel, its on Friday.
>
> Phil Rogers=20
> Phil and Lynne Rogers,
> Lower Cefn Faes,
> RHAYADER.
> Powys. LD6 5LT.
>
> Tel/fax. (44) 01597 810875.
> philrogers@ntlworld.com
> www.philrogerspottery.com
>
>
_________________________________________________________________________
_____
> 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.
>
WHew536674@CS.COM on sun 4 mar 01
One method I found effective in teaching throwing is, at a certain
"intuitive" point, early on, when they are struggling with the centering
process, is to sit down at their wheel and finish centering it for them.
Have them sit back down and see how it is supposed to feel. Then, being the
ornery person I can be at times, just when they think they have it easy and
can start to pull it up, knock it off center and have them get it back on
center. Works pretty good.
Joyce A
Marcia Selsor on mon 5 mar 01
I had my classroom wheels set up with a bench opposite the thrower and
we threw together. To teach centering I say go to an ogloo shape to a
cone shape to an igloo shape three times and VIOLA!
-centered. Opening up is make your fingers go in straight like a drill
press in whatever formation is stable for you. The pressure BETWEEN your
fingers to keep them stable is much more than what is actually pushing
the hole open.
To pull up the sides is put the hands in a praying position, finger tips
together and lift slowing and gently like a graceful ballerina.
Marcia in Montana
--
Marcia Selsor
selsor@imt.net
http://www.imt.net/~mjbmls
http://www.imt.net/~mjbmls/Tuscany2001.html
http://www.imt.net/~mjbmls/Gallery.html
Parri Gignac on mon 5 mar 01
Phil,
Gads - it's has been several decades since I learned the basics but I have
had the opportunity to teach some teens and assist teaching with a number
of adults. A few things that seem to work are:
1. Keep the student/teacher ratio small so that each student can get some
one on one time to correct individual problems. I have found good success
in having myself work across from the student and both of us apply our
hands to the clay and center together and drop the hole. It really helps
them to know body and hand positions, how and when to apply pressure, and
how the clay should FEEL!
2. Practice makes perfect - so it's good to repeat umpteen times that
students should have a number of clay balls ready to throw. As soon as a
mistake is made they can cut off the bad from the wheel and try again.
Throwing is a skill - to become skilled at anything they need to put in
the practice time.
3. Don't get emotionally wrapped up in unfinished pieces. There are so
many chances for something to go wrong when taking clay from just a lump
to a finished piece out of the kiln. It's better to realize not everything
thrown on the wheel is going to become a finished piece. Mistakes happen
or quality may be lacking. There isn't anything they make that can't be
done again if not better the second or third time around. (easier said
than learned)
It's a fine combination of physical effort/finess and healthy mental
attitude, is it not?
Parri Gignac
parri@parri.com
Battle Creek, Michigan
Veena Raghavan on tue 6 mar 01
Message text written by INTERNET:selsor@imt.net
>To pull up the sides is put the hands in a praying position, finger tips
together and lift slowing and gently like a graceful ballerina.
Marcia in Montana
<
Marcia,
I just love that description, never thought of it that way! And
yes, there is so much grace in throwing, the gentleness of the hand
movements, and yet the power that is needed in the initial centering and
throwing, at least some of the time. It is all rythm of movement. Indeed,
it is like a dance of the hands. What a great mental picture. Now, I must
go and get a mirror, so I can see myself throw! Never done it that way.
I used to do some teaching, and hope to again someday, and I did
find that placing one's hands around the beginning potter's hands, did
indeed allow them to "feel" the positiveness of the movements. They were
able then to gauge how much to push, when centering (rather than being
afraid of the clay), and it guided them in the initial stages.
We all have our own style of throwing and, in the end, they have to
find their own style. But, in the beginning, I think, personally, that they
need that positive reinforcement.
Just my two cents worth!
There are many people on this list, who are much more expert than I am, and
I have learned a great deal during my time on Clayart.
Thank you all.
All the best.
Veena
Veena Raghavan
75124.2520@compuserve.com
Don & June MacDonald on fri 11 may 01
I went to the lecture at NCECA on teaching throwing, unfortunately did
not get much out of it, teaching someone to throw is so difficult to
verbalize.
However, today I had a break-through! I was getting so frustrated
because no matter what I said, and demonstrated to a particular student,
she just could not get what my hand inside the pot was doing. She was
getting so frustrated because she just couldn't see what was happening.
Students are most often visual learners! Finally, as I was reaching my
"to hell with it stage", I noticed that someone had left a glass jar on
a counter, so I grabbed it, and demonstrated using the jar. "OOOOH I
SEE" said student. That jar, or another one will go to every beginner
class I will have in the future, it worked! Student sat down, and got
the walls up on a pot for the first time, and we were both very happy.
Thought it would be nice to share my excitement.
June from B.C.
Jim Bob Salazar on sat 12 may 01
hey june,
i agree that teaching someone or many people at a time can be very change=
ling. one
method i use it this, i have the student hold their hand out infront of =
them.
then i tell them to imagine their hand as being the side wall of the pot.=
i then
go down the students hand as if i were going down into a pot to make a pu=
ll. i
grab one of their knuckles and tell them to again imaging that knuckle as=
being
"the bead of clay". "grab under that bead and draw it upwards" i tell th=
em.
further giving them the advice and showing them at the same time, "if th=
e bead
gets away from you or you roll over it, all you have to do is go back dow=
n and get
under it again and keep going". so far this is working pretty well but t=
he jar
thing is one of those things that makes you think why didn't i think of t=
hat. keep
it up.
jim bob
Marianne Lombardo on sun 13 may 01
That would be an excellent idea! When I was learning pottery, I would go
home frustrated because I could never figure out what the teacher's hands
were doing. I remember telling him that he needed transparent clay.
Marianne Lombardo
Omemee, Ontario, Canada
email: mlombardo@nexicom.net
----- Original Message -----
From: "William Moody"
To:
Sent: Sunday, May 13, 2001 4:14 PM
Subject: Re: teaching throwing
> I have always thought it would be a good idea to have a large mirror hung
at
> an angle over the wheel so that students can look at this to look down
> inside the piece being thrown. I got this idea from a cooking school I
> visited once. I haven't tried it but I think it should help.
>
William Moody on sun 13 may 01
I have always thought it would be a good idea to have a large mirror hung at
an angle over the wheel so that students can look at this to look down
inside the piece being thrown. I got this idea from a cooking school I
visited once. I haven't tried it but I think it should help.
> "to hell with it stage", I noticed that someone had left a glass jar on
> a counter, so I grabbed it, and demonstrated using the jar. "OOOOH I
> SEE" said student. That jar, or another one will go to every beginner
Martin Howard on mon 14 may 01
I always throw and turn with a mirror in place so that I do not need to get
a crick in the neck.
Students are also provided with a mirror, and gradually they learn to use it
and find it helpful.
Just arrange the mirror in a position where it does not get too splashed, is
easily moveable and is large enough to see all the pot in one glance. Large
shaving mirrors seem to be best.
I found mine at a recycling depot in the village.
Martin Howard
Webb's Cottage Pottery
Woolpits Road, Great Saling
BRAINTREE, Essex CM7 5DZ
England
martin@webbscottage.co.uk
http://www.webbscottage.co.uk
Lori Leary on mon 14 may 01
To help students visualize and feel what is going on inside pots, I use
examples of each stage of throwing a cylinder that I have cut in half
and bisqued. I show these stages: centering, opening up, pulling out,
first couple of pulls, then the finished cylinder with a nice rim. I
made sure each ball of clay weighed the same, so the examples look like
a natural progression to the finished product. Also, I made them
larger to allow for shrinkage, and made sure to let them dry thoroughly
before bisquing.
Lori L.
lleary@sccoast.net
Pawleys Island, SC
Enjoying the best time of year here.....AND, I can't wait for our Vince
to get here Friday for his workshop starting Monday! !
Lee Love on fri 26 apr 02
----- Original Message -----
From: "clennell"
> school. I bring no rules to the potters table. I had one woman that threw
> sitting in the lotus position and used the foot pedal with her hand.
Sounds like Hamada at the handwheel. :^)
--
Lee Love In Mashiko Ikiru@kami.com
"The best pots for me are the pots that I like." --Shoji Hamada (1894-1978)
http://www.awanomachi-tcg.ed.jp/mashiko.html
clennell on fri 26 apr 02
I have just finished teaching throwing at our nations top craft and design
school. I bring no rules to the potters table. I had one woman that threw
sitting in the lotus position and used the foot pedal with her hand. it
drove me nuts to watch her. she made very nice pots. I kept my mouth shut.
Had another woman no more than 4' 6" tall. she of course made the biggest
pots in the group. Always 50 lb bowls and platters. Bigger the better. she
threw with one foot resting on a chair. Drove me crazy. I kept my mouth
shut. she'd have beat me to within an inch of my life.
had one guy that opened the clay and grabbed it like he was closing his fist
on it. then pulled up. Oh, that was me. Students had never seen clay
handled so directly. Students kept their mouths shut.
tomorow night is the Tulip Festival. An awards ceremony at SOCAD (School of
Craft and Design. this is the awards ceremony for ceramics, glass,
furniture and textiles. Each graduating student is presented with a tulip,
awards are given, faculty acknowledged and proud parents, spouses, friends
are wined and dined and treated to an opening of the students/faculty work
in a gallery setting.
My piece is honouring Texas- titled "Texan Sugar Bowl- 40 lb casserole,
carbon trap shino with paper resist decoration. shame of all shame, it's
blue!!!!
In reflecting on my teaching of throwing I think I talked about and showed
my way to get to a destination. How they got there was up to them. Some of
them will be players.
cheers,
tony
I was dubbed Mr. Mojo cause clay seemed to move magically. that is not
uncommon to potters. They make it look like magic. It is! I watched Bruce
Cochrane the other day. God, that is real mojo.
David Woof on mon 20 jun 05
Jim, seems your heart is in the right place, trying to anticipate
solutions to inevitable problems.
I had to sit on this a couple days so i wouldn't say something like ''whose
ignorant or arrogant idea was it to hire someone who doesn't throw to teach
a throwing class. well i said it anyway. not all throwers are able to
transmit that ''feel'' to another. for some students having difficulty one
must ask for and help them surrender their hands to the instructor who then
takes those surrendered hands, and with all eyes closed because it's about
''seeing'' with our hands, and by applying appropriate pressure to specific
areas of their hands the instructor lets them feel how it feels when the
clay moves to center.
an accomplished thrower is conscious of the many parts of the hand used in
throwing and must be able to verbalize first to self and then transmit to
another's proprioception. other frustrated students must be guided to
achieve a meditative state where they can center themselves in the moment,
leaving outside preconceptions, expectations and all else that distracts.
the list goes on...two examples make a point i think.
I would be very PO'd if i paid for a class to learn a skill and found the
teacher unable to do it. you obviously care for these students, could you
hire in someone qualified for the throwing lessons?
I meet people every day who confide that they can't draw. in a gentle
spirit i say i bet you could draw just fine until you were five or six years
old, what happened ? at that tender age who helped them decide that
they couldn't ?
same when i'm out with my wheel, someone inevitably comes up and with
wistful eye says they took pottery in school and just couldnt get the hang
of it. usually they stalled at centering.
usually also their pocketbook is stalled as they walk away with a last
wistful backward glance. who would buy a reminder of a frustrated time of
failure? Twice deprived.
someone cheated? derelicted duty?, or is an erroneous belief system at work
here that drawing and throwing belong to a gifted and mystical few?
Betty Edwards et.al. gave the masses conscious access to the brain's right
hemisphere and the shared pleasure of many who wish to draw. most of us who
seek, spend our entire lifetime getting back to the pure vision of a five
year old and then call it sophistication.
do we clay people have a mandate as well?
end note: people that successfuly learn the rudiments of our craft become
grateful appreciators and repeat customers again and again over a lifetime.
David Woof
Out over the edge, reverently taking an irreverent look at everything.
Snail Scott on tue 21 jun 05
I really like the idea from Susan Giddings of having
clay pre-centered for the first day of class. Especially
for an adult-ed or parks-and-rec class where time is
limited and the intent is to have fun. A semester course
at a college is a very different thing, with different
expectations and assumptions.
I suspect that presenting students with a chance to
jump in at the 'middle' will be a good motivation -
they'll get to see WHY all that tedious centering is a
good thing, and what the reward is. They may also be
less inclined to ask every five minutes, "Is it centered
yet?" ;) They'll know what 'centered' feels like already.
When I teach calligraphy, I start with basic pen strokes,
but when I teach a specific alphabet, I never start with
'a'. In almost every calligraphic alphabet, 'a' is a weird
letter, having little in common with the letter forms
following it. Trying to get it right is frustrating. It
may be the first letter, but it's never seemed like the
best starting place to me. Instead, I start with the
middle of the alphabet, with 'l', 'n', 'm', and 'o'. When
students can do those successfully, they are more
motivated (and better prepared) to deal with the annoying
and awkward 'a'.
Maybe there's some merit to teaching throwing starting
from the middle, too. Thanks, Susan!
-Snail
Susan Giddings on wed 22 jun 05
Snail,
You're welcome!
You got the point of what I was saying!
Also my audience has a primary goal to have fun.
I only teach adults in an "art center" kind of environment.
Fun is the bottom line.
Yes, students need to learn ALL the basics, but just not necessarily first.
I do, of course, teach wedging and centering - but not until the end of the
first class session. And then at the start of each subsequent class (9 of
them). I also emphasize the "feel" of the clay. I have found this to be very
effective with beginning adults in a mixed ability class. It is easy for
them to get disheartened when the person/student right next to them is
throwing a tall cylinder that ends up being a very beautiful vase. I think I
came up with doing it this way because I saw so many beginners get so
crestfallen and give up before they ever made anything. Doing it this way
they have success under their belt right a3way and can more easily face and
accept the failures that inevitably will come. It keeps it all on a very
positive and upbeat atmosphere. FUN. That's what they are really paying for.
Quite a different group than college students or people who either already
are or will become professional clay artists. I don't want my students to
give up! I want them coming back. In the first class, I am very much aware
of how much they have paid me to teach them. They need success. They need to
make something. Usually by the second class the clay bug has them and then
they're hooked.
I also do calligraphy, although I don't teach it, and I agree that starting
at the middle of the alphabet makes a lot of sense! I learned as part of my
Chinese language studies where the Roman Alphabet wasn't in the picture.
Looking back on it the first characters I learned were simple strokes.
Numbers. Radicals. The easy stuff first. The brush does most of it for you.
Success first. 30 years later and I still do Chinese calligraphy - only now
it's on my pottery!
So, Snail. you're very welcome! And thanks for understanding the point I was
trying to make!
Susan
-------------------------------------------------
Susan Giddings
Bloomfield, Connecticut; New England
North East Coast; USA
"There are painters who transform the sun into a yellow spot, but there are
others who, thanks to their art and intelligence, transform a yellow spot
into the sun." - Pablo Picasso
Kathleen Gordon on sun 10 apr 11
>=3D20
> Drake,=3D20
Books are a wonderful resource but I think that it is much easier to =3D
learn by watching and practicing what you have seen. Utube is a great =3D
resource for videos. They are free and varied. Look at many different =3D
ones. Stop the action. Look carefully at the body and hand =3D
placement,then try to copy it. At some point,the student will find which =
=3D
way works the best and begin to have some success. I think "live" action =
=3D
is better than books for learning this skill. Good luck.
Kathleen=3D
C. Tullis on mon 11 apr 11
People learn using three approaches. Visual, auditory and kinesthetic. Di=
=3D
fferent=3D20
people focus on one of these three but in the end use them all to differe=
=3D
nt=3D20
degrees in learning a skill such as throwing on the wheel. With something=
=3D
as=3D20
physical and tactile as throwing the emphasis does point toward the "doin=
=3D
g" or=3D20
kinesthetic.
Hank Murrow on mon 11 apr 11
On Apr 11, 2011, at 3:10 AM, C. Tullis wrote:
> People learn using three approaches. Visual, auditory and kinesthetic. =
=3D
Different=3D20
> people focus on one of these three but in the end use them all to =3D
different=3D20
> degrees in learning a skill such as throwing on the wheel. With =3D
something as=3D20
> physical and tactile as throwing the emphasis does point toward the =3D
"doing" or=3D20
> kinesthetic.
>=3D20
Dear C;
I remeber mixing a thousand pounds of stoneware for Voulkos to use =3D
during his demonstrations at the U of Oregon in 1959. I asked him if =3D
he'd like some help wedging it up to throw. He said "Sure". Well I =3D
grabbed about ten pounds and started to wedge on the butchers block with =
=3D
diagonal wire that was our wedging station, while Pete got down on the =3D
concrete floor with around fifty pounds and started in on this lovely =3D
evolving spiral shape. I asked hoim if that was hard to learn. He =3D
replied, "come on down here and bring more clay with you", so I kneeled =3D
shoulder to shoulder beside him and tried to wedge like he was doing. It =
=3D
was not going well........ and finally Pete said, "Close your eyes...... =
=3D
they are fooling you." I did that, and in a very few minutes was spiral =3D
wedging with more or less ease.
A Great Lesson for me in how we can ignore what our hands(and the rest =3D
of the body can teach us if we rely to strongly on our eyes for =3D
feedback.
When I teach throwing, I sit shoulder to shoulder next to the one =3D
wanting to learn, and we do the 60_90 second exercise together, and =3D
frequently I ask them to close their eyes and feel their way with the =3D
clay. It generally works real well, especially with women. Men, =3D
especially engineers, have a harder time trusting the body.
Cheers, Hank=3D
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