Jose A. Velez on sat 22 jun 02
Ladies and Gentlemen:
I confess to an acute case of "bottle-itis". As a "dabbler" ( do not =
want to revive that argument) , for many years I have been making pots =
with very few results where I felt pleased with both form and surface =
decoration. This last week I have been making porcelain bottles =
assembled from 3 pieces ( 2 bowls and a spout) and turning them =
completely. I am very pleased with the results, these are some good =
looking bottles. A Vidalia onion shaped with a graceful neck, an almost =
round body where the curve reverses into a short spout, a drop shaped =
bottle, an egg shape, infinite possibilities. They look so good I am =
afraid to glaze them, because I know my surface decoration skills are =
now behind my throwing skills. I can "engineer" this part of the =
process, I feel more confident now I can throw good pots. It is a =
matter of continued practice and careful observation of the form. On =
the second part I believe I can handle the science of glaze formulation =
and application. I can read and practice until I get it right. But all =
of that will not make and excellent pot. This is where my confidence =
leaves me. This is where true art comes into play, where the creative =
part must kick-in. Is this a phase everybody goes through? =20
But maybe some of it can also be learned. I have been reading Peter =
Lane's Ceramic Form. Any other suggested reading? Words of wisdom? I =
am giving a lot of thought as to what I want to do with these bottles, =
should I be less cerebral and more intuitive?
Any comments will be welcomed.
Regards, Jose A. Velez
Dave Finkelnburg on sat 22 jun 02
Jose,
Sounds like you are making some fine bottle forms. Good work!
It is my opinionated opinion, worth every bit as much as you are paying
for it (grin), that there is no right or wrong way for you to proceed...only
you must proceed! ONE way you might go is to set the bottles aside for now,
and do your glaze development on test tiles or test forms. This, at least,
has worked for me.
IF I read your post correctly, you seem to have some emotion invested in
those bottles. Test glazing on pieces which you don't care so much about
will free you to take risks, try different things, do more exploration. At
some point you'll be comfortable enough to glaze the bottles and go on.
Good glazing!
Dave Finkelnburg
From: Jose A. Velez
I confess to an acute case of "bottle-itis". As a "dabbler" ( do not want
to revive that argument) , for many years I have been making pots with very
few results where I felt pleased with both form and surface decoration.
This last week I have been making porcelain bottles assembled from 3 pieces
( 2 bowls and a spout) and turning them completely.... I am giving a lot of
thought as to what I want to do with these bottles, should I be less
cerebral and more intuitive?
Jimmy Greene on sun 23 jun 02
Jose: (potter785@COX.NET)
It's interesting to see that you had to get # potter785 as your e-mail
address at Cox. Could there be THAT many of us potters at Cox?
I began pottery about a year and a half ago. Took some classes at a
local ceramics store, then a couple at the UCSD crafts center. While I
learned a lot form the classes, I picked up just as much, or more, from
reading, reading, reading.
I formulate and/or mix my own glazes & have done a gazillion tests.
Still, I am having the same dilemma as you are. I can put a nice glaze
on just about anything, however to get that special, custom & original
look to a piece, . well. I'm still learning.
As for those special pieces; I suggest trying whatever you think will
look best on them. If they come out well,,, then GREAT. you've got a
winner. If not, then it's back to the wheel. Trying to replicate the
pieces you like so much will only act to improve your throwing abilities
that much more.
I'm still learning & don't plan to stop any time in the foreseeable (Or
conceivable) future.
Above all, write down EVERYTHING you do when you glaze & how you do it.
Good luck,
Jimmy
Janet Kaiser on sun 23 jun 02
Don't despair. This is a very common problem and you are not alone. I
see many pots during the course of the year and I can guarantee that
some will fall into the "must try better" category. Either the form
needs work, the decoration just does not fit or the glaze needs
modifying... Sometimes all three areas need a lot of work or one may
just need a little extra attention.
Either way, there are different ways of approaching this. Depends a
lot on your own personality and way you work. Some people work on each
aspect or part step-by-step, until they are finally happy with the
whole. Others will try to resolve all the problems at once. Your
concentration on the form would indicate you are the former.
So now you have the form figured, you can move on to the next step. I
would advise leaving out decoration completely at this stage. Work on
finding a glaze which suits the pots. Nothing fancy yet, that can come
later. Don't distract yourself (and others) from the pot. The glaze
and the decoration are supposed to compliment and enhance the pot
(shape and form), not merely be a base for the latter.
The more pots you produce, the better you get at making them (= manual
skill/s) and the finite changes along the way, will soon have you
producing quite different forms to the ones you are now making. This
is quite a definitive process, because you are honing your aesthetic
skills at the same time. This will make the choice of glazes easier as
you become accustomed to the form/s... Some will shout out for a
certain glaze, whilst others made demand extra decoration. You will be
conversing with your pots at quite a different level... Just wait and
see!
Good luck!
Janet Kaiser
The Chapel of Art / Capel Celfyddyd
Home of The International Potters' Path
8 Marine Crescent : Criccieth LL52 0EA : GB-Wales
Telephone: ++44 (0)1766-523570
URL: http://www.the-coa.org.uk
postbox@the-coa.org.uk
iandol on mon 24 jun 02
Dear Jose A. Velez,
Yes, searching through as many books as possible is one avenue to =
explore to see how other artists have achieved the solution to the =
dilemma you pose.
The book by Peter Lane that you mention may be one place to start, but =
you might wish to take a step back and look through his two other works, =
"Studio Porcelain" and "Studio Ceramics". The reason I suggest this is =
that he may have used the experience of authoring those volumes as the =
source for the abstractions he illustrates in that design book.
The next thing you may wish to think about is developing your own system =
of exploratory analysis to identify and describe the constructive =
elements which contribute to a particular style or effect, then invent =
your own production techniques to achieve attainable solutions.
Take your own example of the Onion shape which you wish to decorate. Go =
back to your original model and ascertain the constructive elements =
(presuming that you have been taught or have learned about these =
factors)which contribute to its surface qualities or inner structure, or =
to the unseen elements which may have contributed to the genesis and =
development of your inspiring object. Evaluate their potential =
contribution to possible decorative embellishment. I recall that most =
onion globe or bulb type plants have a meridional visual, even tactile =
texture. Would you feel comfortable incorporating this into your =
decorative design? If your response is affirmative, consider ways by =
which you could do this.
Though some may doubt the efficacy of this process I would suggest =
looking in May CM at the work of Bruce Girrell.
Melding surface qualities to form is a complex task that takes time, =
extended bouts of brainstorming, lateral thinking and a lot of false =
trials and trails before you achieve work which induces those deep =
emotional responses you seek.
Wishing your every success.
Ivor Lewis. Redhill, South Australia
| |
|
