Bonnie Staffel on fri 28 jul 06
While all the things you say are very true, however, there is another =
side
of the coin, IMO. The first twenty five years of my career, I worked =
the
way that you indicated. Making my own clay, hand kneading, working on a
stand-up kick wheel, all very labor involved. When Norman Schulman who =
was
teaching at the Toledo Museum School, built his own electric wheel, I =
used
it for a time when I was asked to demonstrate to a group. What a =
marvel, no
more kicking or standing on one foot. So he made one for me. After =
that
was a succession of electric wheels for my growing career. =20
When I started my studio in northern Michigan with the paid apprentices,
along with teaching them good kneading principles, we also spent the =
morning
preparing the clay for the afternoon production. I am not saying that =
we
put out shoddy pots, I was an exacting "boss" and instructor, and I knew
that all potters should know how to do all the exercises for good =
potting.
However, time being money in my case, when the opportunity to use an
extruding pug mill, that was a business decision. I am very aware of =
the
feeling that the clay tells me when it is ready for throwing, however, =
if
you prepare a pile of balls of clay, the clay does get tired from =
sitting
there. Using my extruding pug mill, I can use the extrusion, and then =
wheel
knead to get it active and compressed. I get just as much exercise just
putting the clay through the extruder to prepare for throwing and can =
still
daydream a little about the next pot. However, when in the production =
mode,
time is of the essence so one doesn't spend any more than one to four
minutes creating a form. If you do, then the clay gets tired even =
from
the throwing process going on too long. Our throwing process included =
a
mirror so that we could see the form while feeling the clay. Nothing =
better
than to take one's eyes off the pot in front of you and look at the =
mirror
image. Every movement is a decision moment when throwing, when one gets =
the
wall up. I usually have the form in mind when I prepare the wall so I =
don't
waste the clay energy to have the pot stand up to any distortion I put =
to
it. I learned to use the wheel for my clay sculptures, which gave me a =
lot
of freedom to be very creative. =20
As for avoiding the S cracks when throwing off the hump, someone (I =
think
it was Mel) gave information to Clayart about the coning process to get =
the
core of the clay moved up to the top. Ever since I consciously =
practiced
that operation, I no longer have S cracks. =20
At this stage of my career, I still want to make big pots. But how to =
glaze
them will be my next problem without making a mess. I also will not be =
able
to do a pit fire where I live so that problem needs to be solved. My =
family
fills my needs of toting my pots up to the kiln in the garage but then I
work to their schedule. After this fair in early August, I will get =
back to
throwing one-of-a-kind pots as long as my shoulder keeps getting better. =
My
last PT at the Sports Center should be Monday and then I will have the
exercise equipment at home to continue. Have to get disciplined about =
this.
Seems like I can get through a work day without creating much, if any, =
pain
at the end of the day. Eureka, this is working!!! I do hope that I can
avoid surgery. =20
Warm regards,
Bonnie Staffel
=20
http://webpages.charter.net/bstaffel/
DVD Throwing with Coils and Slabs
DVD Beginning Processes
Charter Member Potters Council
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