Chris Stanley on mon 3 dec 01
I had a teacher once who was an advocate of something called dry throwing
which sounds very similar to what this person is calling Leather Hard
Throwing. In dry throwing one would wait until the piece is somewhat
leather hard and make small pulls to thin the walls. The ensuing wall was
very thin and would in some cases have small rips and holes around the
vessel that would not facilitate further cracking once the vessel was fired.
It seemed to me a very decorative process that felt more like thrown
sculpture, not functional vessel making. The process is somewhat simple and
easy to master if one is prepared to counter some of the rules of
traditional vessel making. Throw about five cylinders without compressing
and rounding the lip. Let these set up until they are dry enough to trim,
put them on the wheel and begin to make small pulls with your thumbnail. I
have found the thumb nail is the perfect tool for this type of throwing.
Two spoons works also. Slowly pull and it works.
Now, I do not want to pooh-pooh the Zen invention stuff, but guys like
Sheldon Cary were playing around with this type of stuff in the 40's and
50's.
Believe it or not, I know some slip casters who do this to their work to
make it look thrown. The funny guys have actually turned (joke/pun) it into
an art form.
Peace,
Chris
iandol on tue 4 dec 01
Dear Chris Stanley,
I think if you read the chapter in "Claywork" by Leon Nigrosh you will =
understand that what Dayton is talking about is not dry throwing. Dry =
throwing uses good plastic clay and works because no more moisture is =
put into the clay through using slip or water. To some extent as the pot =
is brought to full height and shaping starts there is evaporation and =
the clay starts to become firmer you may be correct. But it is not =
encouraged to harden as some throwers do, by using a flame thrower or in =
the case of Robin Hopper, a spirit lamp placed inside the pot.
I understand where Dayton is coming from and what he says is entirely =
possible without placing excessive stress on one's muscle or skeletal =
framework. As a production tool I would place it between handwork and =
mechanisation.
Best regards,
Ivor Lewis. Redhill, South Australia
Chris Stanley on thu 6 dec 01
Thanks Ivor. I will run over to the library and see if I can find this
text!
-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of iandol
Sent: Tuesday, December 04, 2001 1:20 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Leather-hard Throwing is Dry Throwing
Dear Chris Stanley,
I think if you read the chapter in "Claywork" by Leon Nigrosh you will
understand that what Dayton is talking about is not dry throwing. Dry
throwing uses good plastic clay and works because no more moisture is put
into the clay through using slip or water. To some extent as the pot is
brought to full height and shaping starts there is evaporation and the clay
starts to become firmer you may be correct. But it is not encouraged to
harden as some throwers do, by using a flame thrower or in the case of Robin
Hopper, a spirit lamp placed inside the pot.
I understand where Dayton is coming from and what he says is entirely
possible without placing excessive stress on one's muscle or skeletal
framework. As a production tool I would place it between handwork and
mechanisation.
Best regards,
Ivor Lewis. Redhill, South Australia
____________________________________________________________________________
__
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.
| |
|
