Making better pots

How to make good pots: The problem is the clay gets off center. The solution is:
Use more lubrication, that is water, but remember to empty the splash pan before
it overflows. First spin the clay, then touch the clay gently, slowly applying more
pressure. Don't twitch or jerk your hands, use steady pressure. Don't goose the
foot pedal either. Sudden changes in wheel speed jerk the pot off center. When
pulling up, throwing lines should be close together. To achieve this, pull up slowly
relative to the speed the wheel is turning. The slower the wheel spins, the slower
you ascend. Slow the wheel speed as you ascend and get close to the top of the
pot. Also slow the wheel speed when you work on wide or delicate forms. Don't
make the lips too thin and wimpy.

Making better pots: Work quickly. Maximum of 15 minutes per pot. Make the pot
grow with each pull. Don't waste time on off center pots. Trash the pot as soon as
it gets off center. Keep the walls uniform in thickness. Never create a thin spot in
the middle. Weigh your clay. Begin with light weights. When you can make a good
2 pound pot, try using 3 pounds and making larger versions. Practice making tall
cylinders. Don't save them, practice making them taller and thinner!

How to make beautiful pots: Master the above. Look at pots in galleries and
books. Sketch the forms you like. Use tracing paper for symmetry. Bring your
sketch bookto to class and use it! Use ribs when you throw to get clean, flowing
curves. Give yourself the authority to be bold and decisive. Wimpy is always bad!
Work in sets. Make 5 similar things. Evaluate and discard the weak forms and
pots. Come to class with a plan. Know what forms you want to work on. Ask for
help when you need it.

Keeping Pots ON CENTER

The clay must be adequately wedged. It there are lumps or air bubbles in the clay
it is hard to center. Even if you do manage to get it centered - as soon as you stick
your thumb into the clay to open it up you displace the lumps and bubbles and the
clag gets off center again.

The clay must be adequately lubricated. If the clay gets dry it twists and wrinkles.
That happens because of the friction and drag caused by your hands sticking to
the spinning clay. On the other hand too much water is a waste and a detriment. It
fills up the splash pan and makes your pot too soggy and weak.

Always spin the clay before you put your hands on it. First apply gentle pressure
and then more force. When you let go of the clay – do it slowly. Don’t quickly
release your pressure or the clay will get off center.

Don’t make jerky movements or twitch. Any sudden movements of your hands or
changes in the wheel speed can throw the pot off center.

Avoid thin spots in the wall of your pot. Keep your finger pressure steady and the
gap between your fingers even as you pull up the clay.

Work small first. If you can’t execute a technique or form with two pounds of clay,
you wont be successful with 3 pounds.

Make your throwing lines close together. They should be about 1/8 of an inch apart.

It is normal for people to have trouble keeping their pots on center. With each new
pot see if you can get a little farther along before the pot gets off center and you
lose it.

Centered pots are easier to trim than off centered pots. It you plan to trim a pot be
sure the lip is level. Cut the lip off with your needle tool to level it if you need to.

Off center pots can be beautiful, but you will have to trim the bottom on the wheel
as best as you can before cutting it off. Trying to trim an off-center pot is difficult.

POTTERY AESTHETICS

Observe pots and try to analyze what makes them good or bad.
Think in anatomical parts, i.e. lip, neck, shoulder, belly, foot.
Think emotionally: sensual, open, friendly, curious, whimsical, disturbing.
Observe form, color and decoration separately. Do they all work together?
Does it look light, heavy, ethereal or clumsy?
Where is the visual center of weight?
Where is the physical center (top to bottom)?
How far up the pot are the skinniest and fattest parts?
Where do the lines take your eyes? Look at the "S" curves.
What is the relation of the width of the foot to the neck and lip?
Are any parts exaggerated, and if so is this an asset?
Is there a sense of movement?
Is there a sense of balance?
Is there a sense of tension?
Is it purely decorative?
Is it truly functional?
Is the golden mean used?
Pots with handles, spouts or other additions are more complex. Do all the
parts work together functionally and aesthetically?
Would you want to own it? Why or why not?
How do all of the above relate to one another?
Sketch some pots. Use tracing paper. Draw only the right side. Fold and
trace the left to make it symmetrical. Analyze it.
I find "The Golden Mean" very useful in developing classical forms with
pleasing proportions. Look up Golden Mean on the web.