Snail Scott on wed 3 oct 01
I have been asked to teach a three-day workshop.
I've never done this before; I've never even attended
one! I would be deeply grateful for any suggestions
based on experience, either from teachers or attendees.
Should I try to pick a technique to focus on, or a
theme of some sort?
I assume they (the sponsoring shop) asked me to do
this because they liked my work, (and wanted a change
from their usual pottery-throwing fare,) but what can
I bring to such a workshop? I assume it needs to be
more focused than a 'normal' class, with more advanced
content than just 'here's how to handbuild with clay'.
Or am I wrong? I want to give people their nickel's
worth.
How structured should it be? More than just a demo or
two followed by 'open work time', surely? Or not? Do
people expect to go home with finished work, or maybe
a start that they can complete later, or just the
experience? I'm guessing that not everyone will have
a direction in mind, and I will need to provide some
suggestions.
The shop can't help me much; it's a new direction for
them, too. It's primarily a greenware-painting place
which also has classes in throwing. Most of the customers
are the rich-housewife-in-search-of-a-hobby sort, with
not much of a background in art or clay. I expect that
an intensive workshop will bring out the more experienced
ones, and/or the more focused ones, but it will probably
be a mixed bag of skills. Or maybe not. I don't want
anyone to feel cheated if I 'dumb it down'.
I want to get it right, as best I can, and I would love
to hear from anyone with advice.
-Snail
Regalos De Dios on thu 4 oct 01
Dear Snail, As one who has taken a few of the workshops, I will give you what
I consider sound advise.
Give each participant your undivided personal attention if at all possible.
Do not size up a person from previous prejudices you may have i.e. housewives
looking for a hobby. You never know what sacrifices that person has made to
be at your workshop.
Give each attendee the most that you have to give. Some of the "greats" in
the magazines are the worst teachers you could ever chose and some of the
unknowns have set off near miracles with the attendees. One is Alice Federico
where ever she may be. Years ago I attended one of her workshops simply
because her aunt lived in my town. I had never heard of her nor had I seen
her work. Just a courtesy to her aunt. Alice gave her all to every attendee.
She was 100% a potter. I have more respect for her today than so many of the
"greats" who I have had the misfortune to encounter.
In summary, and I repeat, ad nauseum-give each person all that you have and
you will be a winner. Dorothy
Paul Lewing on thu 4 oct 01
Hi, Snail.
You've gotten some really great advice on this subject already, so I'm not
going to be able to add much.
But I will say that three days is an odd length for a workshop. It's a
little short for people to make stuff in a hands-on workshop and a little
long for people to sit and watch a demonstration. Although sometimes when
you see a workshop scheduled on three days, what they actually mean is
Saturday and Sunday, with a Friday night slide show.
I think the most helpful thing I could add to what's already been said is
that you need to have this planned out well enough to be able to send a list
of what the school should provide and what the students should bring. And I
can't stress strongly enough that you need to be specific- VERY specific!
If you need paper towels, or a sink, or a marker pen, don't assume they'll
have it. This could be especially critical if, as you say about this place,
they haven't sponsored many workshops. And you need the same kind of list
for yourself. Don't wait till you're ready to pack for the class- start the
list now, and add to it whenever you think of something.
And a word about slides. Some people like to show them at the end of the
workshop, others at the beginning. My feeling is that if students are going
to be trying out a technique that you'll be demonstrating, it's probably
best to show them first, so they can see where you're headed. If it's a
demo kind of class, I like to show them at the end. I especially like to
show them at the end of my glaze chemistry workshop, so I can say stuff
like, "Remember that zinc and chrome interaction I told you about? Well
here it is". But regardless of when you show the slides, I think it's
important to have some other pictures around that people, including you, can
refer to anytime.
It's already been said that you should bring samples. This gives them a
much better idea of what you're talking about, and sometimes you can also
actually sell them! Be sure to either have price tags on them or mention
that they're for sale. People don't automatically assume they are. It's an
odd thing- it seems that either you sell most of what you bring or you sell
nothing. But I have done workshops where I've made more selling stuff than
I got for the class.
And, very important- enjoy yourself. If you're having a good time, so will
the students. Personally, I think teaching workshops is about as much fun
as you can have and still be paid. But then, anyone who knows me will tell
you I'm a showoff.
Good luck,
Paul Lewing, Seattle
Marcia Selsor on thu 4 oct 01
Dear Snail,
I taught a four day raku firing workshop last summer but we were hand building for
the first 2 days. Many had never worked with clay. I'd start with some demos and
then get them going. Just help each one as they go. Show some slides if you have
some. Visuals help get people to understand the potential.
Good luck,
Marcia
I leave Monday for Italy and my Architectural Ceramics workshop. We're going but a
few did cancel. We are all a bit apprehensive. Will sign off Clayart in a few
days.
Snail Scott wrote:
> I have been asked to teach a three-day workshop.
>
> I've never done this before; I've never even attended
> one! I would be deeply grateful for any suggestions
> based on experience, either from teachers or attendees.
>
> Should I try to pick a technique to focus on, or a
> theme of some sort?
>
> I assume they (the sponsoring shop) asked me to do
> this because they liked my work, (and wanted a change
> from their usual pottery-throwing fare,) but what can
> I bring to such a workshop? I assume it needs to be
> more focused than a 'normal' class, with more advanced
> content than just 'here's how to handbuild with clay'.
> Or am I wrong? I want to give people their nickel's
> worth.
>
> How structured should it be? More than just a demo or
> two followed by 'open work time', surely? Or not? Do
> people expect to go home with finished work, or maybe
> a start that they can complete later, or just the
> experience? I'm guessing that not everyone will have
> a direction in mind, and I will need to provide some
> suggestions.
>
> The shop can't help me much; it's a new direction for
> them, too. It's primarily a greenware-painting place
> which also has classes in throwing. Most of the customers
> are the rich-housewife-in-search-of-a-hobby sort, with
> not much of a background in art or clay. I expect that
> an intensive workshop will bring out the more experienced
> ones, and/or the more focused ones, but it will probably
> be a mixed bag of skills. Or maybe not. I don't want
> anyone to feel cheated if I 'dumb it down'.
>
> I want to get it right, as best I can, and I would love
> to hear from anyone with advice.
> -Snail
>
> ______________________________________________________________________________
> 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.
Richard Jeffery on thu 4 oct 01
the absence of any real focus from the shop is a problem.
start by making some assumptions about the people on the workshop, then
seeing if you can confirm those assumptions as you go along. If the shop
has a booking process over a period of time, you might help them put
together a simple questionnaire they could have completed, or get answers to
verbally. If they want to continue this line of work, they should be trying
to define what this group need.
from the sound of it, you are right to expect a mix of skill levels, which
complicates, but needn't be a real problem - and can make for a more vibrant
experience, as long as you can balance the needs of the group and give the
right level of attention to each participant. There's something here about
learning styles too, which you will have to pick up on fairly quickly - even
some beginners may be more comfortable finding out for themselves, with
minimum assistance.
to some degree, you may need to plan more exercises than you need for 3
days, then choose the most useful ones for this group once you have got an
idea of their mix of skills. and you need to do that first thing. I
suspect you also need to plan some talking/discussion/background knowledge,
as well as doing. If you are hand building, then letting slabs set up
before they can be used implies some sort of waiting period where either a
second project can be started (is there room, enough clay, enough bats...)
or some other activity can be slotted in.
It's a good idea to be able to articulate some kind of learning point for
each of the activities you will have them do - doesn't need to be complex,
and this is to focus your thoughts as much as to inform the learners - you
don't need to give them this. AN example might be rolling out slabs - "by
the end of this exercise you/they will have used rolling pin, board,
covering cloth, two wooden slats to produce slabs x thick. they will
understand the need to turn the clay, to look for air bubbles trapped from
poor wedging .... to let the clay dry to x hardness before being cut and
assembles... etc". You might want to think about some hint sheets to
reinforce the things you want them to learn - using a straight edge and a
knife - or better a painter (as in decorator, not Cézanne) palette knife to
cut slabs, why it's better to roll on cloth, etc. [no - I don't want to hear
from anyone about cutting, throwing, turning slabs... this is an example,
see?]
How big is the group, anyway? The shop will presumably done some
calculations to make sure it makes a profit on the exercise - are you happy
with their decisions on the tutor:student:eqipment/resources ratios? Will
anyone be around to sort out their equipment/room/facilities when something
breaks?
I think you need some kind of feedback process as well, for the end of the
workshop - to help fine tune what you do for the next time...
good luck!
Richard
Bournemouth UK
www.TheEleventhHour.co.uk
-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of Snail Scott
Sent: 03 October 2001 17:41
To: CLAYART@LSV.CERAMICS.ORG
Subject: Workshop teaching
I have been asked to teach a three-day workshop.
I've never done this before; I've never even attended
one! I would be deeply grateful for any suggestions
based on experience, either from teachers or attendees.
Should I try to pick a technique to focus on, or a
theme of some sort?
I assume they (the sponsoring shop) asked me to do
this because they liked my work, (and wanted a change
from their usual pottery-throwing fare,) but what can
I bring to such a workshop? I assume it needs to be
more focused than a 'normal' class, with more advanced
content than just 'here's how to handbuild with clay'.
Or am I wrong? I want to give people their nickel's
worth.
How structured should it be? More than just a demo or
two followed by 'open work time', surely? Or not? Do
people expect to go home with finished work, or maybe
a start that they can complete later, or just the
experience? I'm guessing that not everyone will have
a direction in mind, and I will need to provide some
suggestions.
The shop can't help me much; it's a new direction for
them, too. It's primarily a greenware-painting place
which also has classes in throwing. Most of the customers
are the rich-housewife-in-search-of-a-hobby sort, with
not much of a background in art or clay. I expect that
an intensive workshop will bring out the more experienced
ones, and/or the more focused ones, but it will probably
be a mixed bag of skills. Or maybe not. I don't want
anyone to feel cheated if I 'dumb it down'.
I want to get it right, as best I can, and I would love
to hear from anyone with advice.
-Snail
____________________________________________________________________________
__
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.
Marianne Lombardo on thu 4 oct 01
While I've certainly never taught a clay-related workshop, I have
taught many computer software workshops. You need to know what the
attendees expect to get out of the workshop and their background in
clay. If the sponsoring shop can't help you, and if you have enough
lead time, how about a form mailed/given to attendees to complete
ahead of time? Ask some questions on it, with simple check boxes.
Like, "have you ever used a potter's wheel, yes/no", etc. End the
form with two questions for them to write a sentence or two "what do
you hope to learn during this workshop?" and "what would you like to
learn in future workshops?". That should give you some guidelines as
to their abilities and expectations, always keeping in mind that
people tend to think they know more than they really do.
That always enabled me to plan a good, informative and fun software
workshop for 3 hours or 5 days.
Good luck, and have fun.
Marianne
Marianne Lombardo
Omemee, Ontario, Canada
email: mlombardo@nexicom.net
> I have been asked to teach a three-day workshop.
>
> I've never done this before; I've never even attended
> one! I would be deeply grateful for any suggestions
> based on experience, either from teachers or attendees.
Dannon Rhudy on thu 4 oct 01
....>Should I try to pick a technique to focus on, or a
>theme of some sort?......
Since this workshop may be attended by people with
little experience, it will definitely be helpful for you to
have an idea of what you want them to learn, and a
time frame for them - and you.
..... what can
>I bring to such a workshop? I assume it needs to be
>more focused than a 'normal' class, ......
Since this is a "hands-on" workshop, three days is going
to be a very short amount of time. It will be useful for you
to bring some work that is "in progress" and some finished
work, so that the attendees will have an idea of where they
are going. If you set up a time-line (for yourself) and keep
an unobtrusive eye on the clock things will go more smoothly.
>How structured should it be? More than just a demo or
>two followed by 'open work time',... Or not? Do
>people expect to go home with finished work,.....
The workshop will have to be fairly structured, or
you won't be able to get through what YOU need to
get through. If you think it will be possible for them
to take home something "finished", then tell them in
advance that they should have "X" to take with them.
If you think it will not be possible in the time allotted,
tell them that you are going to teach them some techniques
that will enable them later. You may be able to do
both - spend the first two days, for example, showing
how to do this and that, let them practice, get their
clay prepared (in the event that it needs to be leather
hard or whatever) spend the last day making a specific
object that they can keep if they like. You can't teach
them everything, and presumably they are coming to
see how YOU work - so choose things from your own
expertise that will be useful to them.
When I give a workshop, hands-on or demonstration,
I actually make a list of exactly what I intend to do/show,
and the approximate time it will take to do that. You
have to allow for conversation, questions, and answers.
The list is not for the attendees - it is to keep ME on track.
I also make a list of "fillers" - small things I can demonstrate
when there's a few odd minutes to fill, or hints I want to
remember to give. Again, this is for my own sake - I tend
to get lost in what I'm doing and forget that others don't
already KNOW and/or aren't privy to whatever is going on
in my head. Last, but far from least - take some good
stories with you, clay related - they're fun to tell, fun to
hear, and there's something about working with clay that
almost always has a little moral attached to it somehow.
We can't avoid the consequences of our actions, or inactions,
etc. True of clay, true of life.
Teaching in such
a situation is very energizing, because people who come
to such a workshop come INTENDING to pay close attention,
enjoy it, etc. - no one makes them attend. And that's great.
But you'll be tired at the end of the day, no doubt about it.
regards
Dannon Rhudy
Charles Moore on thu 4 oct 01
Snail,
I have seen pictures of your work and one in-person piece; I have listened
to you discuss your craft; I have read your postings on Clayart. You have a
wealth of experience, knowledge, and talent. For a workshop, you will need
to choose.
For me, as a dedicated wheel potter, I am particularly interested in the
technical intricacies involved in clay sculpture that you have discussed.
For example, one posting focused on the difficulty of ankles formed of clay,
as opposed to real life bone and muscle. Could you lead your workshop
participants through figural formation?
What makes a workshop work is for the participants to make something, not
necessarily something to take home (though that is important to many); they
need something that actually involves them actively in a clay forming
project.
Regards,
Charles Moore
----- Original Message -----
From: "Snail Scott"
To:
Sent: Wednesday, October 03, 2001 9:40 AM
Subject: Workshop teaching
> I have been asked to teach a three-day workshop.
>
> I've never done this before; I've never even attended
> one! I would be deeply grateful for any suggestions
> based on experience, either from teachers or attendees.
>
> Should I try to pick a technique to focus on, or a
> theme of some sort?
>
> I assume they (the sponsoring shop) asked me to do
> this because they liked my work, (and wanted a change
> from their usual pottery-throwing fare,) but what can
> I bring to such a workshop? I assume it needs to be
> more focused than a 'normal' class, with more advanced
> content than just 'here's how to handbuild with clay'.
> Or am I wrong? I want to give people their nickel's
> worth.
>
> How structured should it be? More than just a demo or
> two followed by 'open work time', surely? Or not? Do
> people expect to go home with finished work, or maybe
> a start that they can complete later, or just the
> experience? I'm guessing that not everyone will have
> a direction in mind, and I will need to provide some
> suggestions.
>
> The shop can't help me much; it's a new direction for
> them, too. It's primarily a greenware-painting place
> which also has classes in throwing. Most of the customers
> are the rich-housewife-in-search-of-a-hobby sort, with
> not much of a background in art or clay. I expect that
> an intensive workshop will bring out the more experienced
> ones, and/or the more focused ones, but it will probably
> be a mixed bag of skills. Or maybe not. I don't want
> anyone to feel cheated if I 'dumb it down'.
>
> I want to get it right, as best I can, and I would love
> to hear from anyone with advice.
> -Snail
>
>
____________________________________________________________________________
__
> 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.
Russel Fouts on thu 4 oct 01
Snail,
>> I have been asked to teach a three-day workshop. <<
You'll get a lot of great advice on this from this list.
The same thing happened to me when Lori Leary thought her students would
enjoy learning some of my techniques.
It's best to pick a focus for the workshop.
The "level" can be whatever you want, you can specify. Most workshops
tend to be for more intermediate to advanced people. It will always be a
mixed bag of skills. Leaving more time in your plan will leave you time
to help them catch up. A studio assistant can be invaluable for this.
You can also specify what the workshop should provide, what the students
should bring and what you'll bring.
Which brings me to another point. You need the assistance of someone who
knows where things are, how the kilns work (or how to get a hold of
someone who does), where to phone for pizza, where the keys are, etc. An
"Art Slave"
Plan the workshop in advance and run through the plan for timing. This
will also help you remember things you want to include or may have left
out. Think about what tools you need at which points and add these to
the "shopping list" or make plans to bring them. You may want more or
less detail. I like a fair degree of detail. Have a look at my web page
http://www.mypots.com and go to the workshops page. There you'll find a
complete outline of my main workshop.
Have a backup plan that includes additional things that you might do if
you finish earlier than expected. Expect the un-expected.
If the workshop involves firing and the firing doesn't require
involvement from the class, plan for something to occupy people during
the firing. Showing slides, talking about work, demonstrating other
techniques or Lunch are good activities. Or try to do the firing
over-night
Don't forget drying time.
Don't try to fill the class up too much. If it's demonstrations, you can
have more people. If it's hands-on, you don't want more than 12 or 15.
Specify in the workshop description whether people should expect to go
home with finished work or work in progress or just new ideas. My
workshop are process oriented. I let people know that they will go home
with "a start", "a seed", something to look at and build on, not a
finished product.
The other thing, and this is important, don't sell yourself short. The
average price for a workshop is "$250/day plus expenses" but this can be
"flexed". They can save money by putting you up with local person
(always fun but if you're alergic to cats or smoke let people know in
advance), split costs, etc. The thing is that everyone should feel like
their getting a fair deal. Especially you.
Keep close contact with the organisers, let them know if there are going
to be any problem, if you have any concerns, etc
Give the students a good chance to share their work. It's always
interesting to see where your audience is "coming from". This has always
been a fun part for me.
Bring samples of your work for them to look at and perhaps to buy (as
well as slides).
Bring something of "you", non workshop related, to share. I bring
Belgian chocolate!
And most of all, relax and enjoy the experience.
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
Mary Lee on thu 4 oct 01
Three days is a long time, but if it is interactive time will fly. I suggest
giving a demonstration each morning, i.e., hump mold platter with feet, coil
built pot or pinch pot, slab box; show decorative techniques, variations and
have some examples. The rest of each day is spent helping the creative
process.
Mary Lee (haven't attended many workshops, do find one day demo workshop have
a lot to offer; two days of watching depends on the presenter; can't imagine
three days).
Liz Willoughby on thu 4 oct 01
Hello Snail,
I think that first you have to decide with the sponsoring shop
whether this is a hands on work-shop or a demonstration workshop.
When that is decided, the people who come will know what to expect.
Learning directly, or taking notes, and watching and learning.
If I am doing a hands-on workshop, I do a demo in the morning, could
be teapots, mugs, or pitchers, or plates, or anything. When I am
asked to give a workshop I am always asked what I will be teaching. .
. or they ask me specifically to give a particular kind of workshop.
Almost always teapots and pouring vessels.
In the afternoon, it is their turn to work, with help or advice from
me if necessary.
The next day, in the morning, I will trim and assemble, teapots, pull
handles, etc. And then it is their turn again in the afternoon.
I fit in a slide presentation sometime, usually after lunch on the
first day, or first thing in the morning on the first day. These are
slides not only of my own work, but others as well, to help inspire
the participants.
If there is a very mixed group, I would not start with complicated
forms, a teapot for instance. Mugs and pitchers/jugs are always
good. I still teach how to make mugs, all you have to do is look
around to realize that their aren't too many well made ones out there.
Be organized. Take a list of things to do, when you want to do them.
Write down what you want to talk about. Take some print outs of info
sheets or quotes. Encourage questions!, it is a great way to get the
people taking your course to participate.
Yes, I would pick something to focus on. It all depends too, on the
number of participants, the number of wheels, and hand-building space.
If I can, I take unassembled forms, just in case things don't dry
enough in the time I have.
If it is not a hands-on, three days is a long workshop for making stuff.
Good luck with it. Meticky Liz
Snail said:
>I have been asked to teach a three-day workshop.
>
>I've never done this before; I've never even attended
>one! I would be deeply grateful for any suggestions
>based on experience, either from teachers or attendees.
>
>Should I try to pick a technique to focus on, or a
>theme of some sort?
Liz Willoughby
RR 1
2903 Shelter Valley Rd.
Grafton, On.
Canada
K0K 2G0
e-mail lizwill@phc.igs.net
John Baymore on fri 5 oct 01
Snail,
Congratulations on the workshop.
Kinda busy.....but a few thoughts to add into the other great feedback yo=
u
are getting.......
First of all....... for three full days..... even if it wasn't originally=
intended to involve any "hands on".... I'd be thinking about how to
incorporate some "hands in clay" anyway. Even if it is simply handing ou=
t
1/2 to 3/4 pound balls of clay and doing pinch pots with some particular
focuses you can devise. (That can be done with no tools and no space.) =
ANYTHING to get them in a mode of active participation for some of the
time. Even the absolute masters of showmanship like Don Reitz would have=
trouble "holding an audience" for three solid full days of nothing but
demo, lecture, slides, and so on.
It's your workshop........ let the art center know what YOU require of
them. If they are going to start doing workshops.... they will have to
prepare to adapt to the presenter's needs too. Double edged sword .
Within that context...... you also need to know what the place you are
presenting at wants. Ask them for their goals for the session. Use this=
a
part of the target for your planning. After all..... they are one of you=
r
customers too . Gotta' meet their desires along wit the participants.=
Mix up your "format" a bunch. Demo, slides, hands on, video, participan=
t
led, interactive discussion, one on one, small group, large group, etc. =
Keep the various learning styles in mind.... visual, auditory, kinestheti=
c,
etc.
Build in occasional "breaks" in the formal program for them.... but
providing one-on-one and "schmoozing" time for you. They're "off" but
you're still "on". (No rest for the weary ).
Don't be afraid to ask the participants what they want to get out of
things.....either in advance or on the first morning. All won't
share...... but some will. For every one who shares a thought ....there
will be many others with the same interest, too reticent to speak up. Us=
e
that information as a guide to "steer" the options you have already laid
out for yourself.
Maybe ask the participants to become involved in the actual content a bit=
. =
Give them a piece of homework....... bring in a slide or two of their wor=
k,
bring in pictures of things that influnce their work, bring in a favorite=
clay book, a picture of a pot they wished THEY had made, etc.. Incorpora=
te
the stuff you ask for into the next days program somehow. =
Ask them to share verbally a pivitol idea that impacted THEIR development=
in the last year or so.
Hand out brushes, ink (or iron slip), and paper and do some fast gestural=
drawings of forms ...... you collect them in an anonymous pile.... no nam=
es
...... put them up.... and everyone talk about them. Then (if it is not
hands on format) you take some of the ideas just discussed and incorporat=
e
them into a piece you make. If it is more hands-on.... have THEM feed of=
f
the drawing stuff.
Have them bring in a piece of their work that can fit into a brown paper
grocery bag. The pieces are left in the bags...... no names/identities
associated with the pieces. They get placed in a room still in the bags.=
=
Later YOU take them out of the bags and set them up in a space as an
informal display, and then lead a group discussion about the pieces. =
Direct the conversations so that some positives are shared about each pie=
ce
along with any suggestions for improvements/changes. The "Oreo" techniqu=
e
.
Remember, like when people buy handcrafted pots........ one of the things=
that workshop participants want out of a workshop is a good idea of YOU. =
They are buying a little piece of "you". Share info about your influence=
s,
how you learned your craft, what "floats your boat", how you tend to work=
,
where you work, why you work, and so on. What are your "hot button
issues"? How did you decide on clay as a medium? Give them an inside pe=
ek
at "who you are". This is one aspect of a presentation that NO ONE is
better at than YOU.
Pick a technique or two that you utilize often....and that imparts a huge=
amount of character to your typical pieces..... and share that in great
detail. Make sure that they "own it" when they leave. =
Prepare a handout or two on SOMETHING. Doesn't matter what.... but it is=
a
tangible take home item. Glaze formulas, favorite quotes, drawings of
forms, philosophy, whatever, etc.
So...... hope something here is of use........... gotta go..... =
since....... =
I'm getting ready for presenting a couple of workshops too .
Best,
..............................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086 USA
603-654-2752 (s)
800-900-1110 (s)
JohnBaymore.com
JBaymore@compuserve.com
John.Baymore@GSD-CO.com
"Earth, Water, and Fire Noborigama Woodfiring Workshop 2002 Dates TBA"=
Regalos De Dios on fri 5 oct 01
John sent you some great advice. One addition: Stop by the grocery store, buy
brown lunch bags and an assortment of vegetables-garlic, bell pepper etc. Put
one vegetable in each bag and pass them out. Have each participant use the
vegetable as a design source to make a pinch pot. See what comes out. This is
not my original idea, but I thought good enough to share. Dorothy
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