Mitch Lyons on Cylinders and Coloured Clay

Mitch Lyons coverMitch Lyons’ DVD, Handbuilding with Mitch Lyons, can be enjoyed on many levels, from his “broomstick” technique for making weird and wonderful cylinders and his use of textures and coloured slips and clays for decoration, to his efficient methods and workspace and even the way that the video was produced.

To make his cylinders, Lyons starts by pushing a ¼-inch dowel into a thick, even coil and then he enlarges the opening in the coil by rolling the dowel and the coil on the table. He then inserts larger and larger dowels and cardboard tubes into the coil and continues rolling so that the opening enlarges and the walls of the cylinder thin out, and Lyons adds texture and/or coloured clay or slip along the way.

Lyons introduces us to his unique work by using the shape of a small pumpkin to explain his fascination with the interface between shape, line and texture as a form grows and throughout the DVD, this interface can be seen in the relaxed but concentrated way he follows the form and texture of a piece, rather than forcing the piece to follow a pre-conceived plan.

His commentary, which was added after the video was filmed, adds to this spirit of exploration as it describes what is happening in a manner reminiscent (in a good way) of the play-by-play of a golf tournament:  no extra words or music, just one voice describing what’s going on.

In the first part of the DVD, Lyons makes cylinder after cylinder, each one with a different texture or shape, using a minimum of fuss and a maximum of creativity. In the second part of the DVD he makes coloured clays for inlays, coloured clay pastels, and coloured slips that are first applied to newsprint and then transferred to his cylinders.

Lyons works with his tools close at hand—a roll of newsprint hanging from the ceiling, a fettling knife in his back pocket, a small pasta roller (for making ultra-thin coloured slaps for decoration) on the end of his table, an ancient ping pong paddle (for gently securing and shaping the floors of the cylinders) close at hand, and a 5-inch roller hanging from a hook on his belt—and this organization gives the viewer further insight into the mind of this experienced potter.

This DVD is a pleasure to watch and is filled with ideas and techniques that could send the viewer off in creative directions all their own. Excerpts are available at ceramicartsdaily.org but it’s worth it to buy the whole thing.

Published by mitchlyons.com, 2006
DVD / 1 hour / $39.95 US

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Wheel Throwing with Nan Rothwell, worth the price?

Wheel Throwing coverWheel Throwing with Nan Rothwell consists of a series of project-based instructional sessions that starts with cylinders and bowls and moves on to more specialized work such as a berry bowl, a sushi set, a two-piece pitcher, an oval utensil holder and a lamp base. Rothwell also shows some creative ways to use a wiggle wire.

She is an experienced teacher and her instructions and demonstrations are easy to follow and very specific—so much so that it feels like you would want to have the DVD running while you sit at your wheel and attempt to follow along, although this might not be practical (think of what those wet clay fingerprints would do to the remote).  In one section Nan uses a power drill to make holes in a leather hard berry bowl, a technique that may seem like overkill.

I loaned the DVDs to one of my beginner throwing students and she felt that the absolute basics of throwing, which is what she needs, were passed over too quickly; for an experienced thrower like myself, the focus was too narrow to provide me with more than the odd tip.

That leaves intermediate throwers, who will certainly learn to make the projects that are demonstrated, but it will cost them a hefty $69.95—money that might be better spent paying for hands-0n instruction from a teacher like Nan. You can watch excerpts from this DVD series at ceramicartsdaily.org.

Ceramic Arts Daily Video Library
Published by The American Ceramic Society
2 hours 32 minutes
2 DVD set / $69.95

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Studio Ceramics, Advanced Techniques

Studio Ceramics coverThis volume from the Ceramic Arts Handbook Series (edited by Anderson Turner) feels like a collection of everything that couldn’t be included in any of the other handbooks, and thus the articles are not united by any one theme. However, intermediate potters should be able to find, among the 29 articles inside Studio Ceramics, at least a few that could be used as jumping-off points for their own work.

The most useful topics include making teapot handles out of wisteria wood, making stamps from plaster or from polymer clay, making agateware, decorating with marbled slip, and using image transfer for surface design. Also included is an article on throwing to-scale miniature pots or one on throwing a 26-inch high bottle in three pieces.

Seven of the articles cover more one-of-a-kind art pieces that are beautiful, interesting, and/or downright wacky, and in these cases the instructions for how to create these pieces sometimes take away from the impact of the pieces themselves. Rather than being a must-have resource, this book might be handy to keep around the studio or classroom to flip through when one is in search of inspiration.

Published by The American Ceramics Society
ISBN 978-1-57498-308-1
136 pages / $29.95 US

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Templates, textures, teacups

template, bowls and teacupsStill working with very thin slabs, this time making bowls and teacups. I started by cutting out a template from newspaper and once I had a working template, I cut a more permanent one out of cardboard (in this case, bright blue).  To make a low bowl like the one on the right, I started with a full circle with a hole cut out of the middle. Then I cut a section of the circle away to make a bowl and the leftover piece was a perfect size for a teacup. You can see the large piece for the bowl, already cut in the clay, and the blue cardboard template for the teacup on the right.

To start with, both the bowls and teacups have straight sides but after I have attached the sidewall slab to the bottom slab, I curve the wall by pushing the wall out with my thumb from the inside. Then I add handles to the teacups and, because the walls of the cups are so thin, I add a couple of  “buttons” just below the handle to protect the drinker’s knuckle from the heat. The buttons are cute, too.

The fishnet texture was added before I constructed the teacup: I rolled a piece of fishnet into the clay slap. The straight line texture was carved into the walls after the bowl/cup was constructed, but before the handles were added.

I got these ideas from the DVD set  called What If? Explorations with Texture and Soft Slabs by  Sandi Pierantozzi.

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Ceramic Projects: Forming Techniques, reviewed

Ceramic Projects

Ceramic Projects

If you’re an intermediate potter who is looking for ways to expand your repertoire or a pottery teacher who needs to satisfy more experienced students, the 26 projects in Ceramic Projects, Forming Techniques will keep you busy. Included are an extruded lotion dispenser, a citrus juicer, lanterns and lights, several innovative teapots, three-piece pots, and joined pots. The step-by-step instructions, accompanied by photos, are easy to follow and the forms are simple enough that it would be a natural next step to encourage oneself or one’s students to modify them and thus move toward a personal style. Many of the essays begin with a reflection on how the author/potter came to a technique or design—valuable information for potters who are ready to move past imitation and on to making their own unique work. The best of these is an essay by Annie Chrietzberg who describes how one of her students took Chrietzberg’s technique of slab-built mugs and, by adding thrown elements and linocut texture, came up with mugs that, while inspired by Chrietzberg’s, bear little resemblance to them. Whether you just need new ideas or if you’re ready to spread your wings and take off with your own designs, Ceramic Projects will be a big help.

Published by The American Ceramics Society
ISBN 978-1-57498-307-4
136 pages / $29.95 US

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Slabs, textures, buttons: I saw it on my TV!

two mugs

slab-built mugs

My daughter-in-law loves the bluish mug on the right and I know this because she wrote me a note saying that if she had made a mug like this she would write a blog post about it, so that’s what I’m doing. This is a new design for me (I usually throw my mugs) and it was inspired by the excellent DVD set (which I will review in a later post) called What If? Explorations with Texture and Soft Slabs by  Sandi Pierantozzi. Sandi encourages us to 1) play with soft, thin slabs and with texture, and 2) ask ourselves “what if I try this?” so that’s what I did. I started by making straight-sided mugs and added buttons where the slab joined. Then I watched a bit more of the DVD and saw how Sandi pushes a straight side out to form a curve. So I did that too. Apart from being a lot of fun, this technique allows me to make ultra-thin mugs which is something that is appreciated by a friend of mine who has a disability. One thing that I like about these mugs is that they don’t look anything like Sandi’s work, even though they were inspired by it. You can see excerpts from the DVD set (and even buy it) at ceramicartsdaily.org.

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Day 14: Leaving Nicaragua

Adios Nicaragua
At 5 am it’s still dark as Ivan dri­ves us to the air­port. Inside the van no one is talk­ing and out­side groups of peo­ple out for a bit of exer­cise walk briskly along the median of the almost-emtpy divided high­way and some­times spill out into the fast lane.

In the depar­ture lounge I try to spot a tourist but every­one seems to be from either an NGO or a church group and most sound like they’re American. The in-flight movie stars Jennifer Aniston and takes place in Seattle, but sud­denly Jennifer is hav­ing a con­ver­sa­tion with her lead­ing man in front of the Water Street Café, which is across the street from my office in Vancouver. In another part of the movie one of the char­ac­ters finds redemp­tion at a Home Depot which could be any­where except per­haps Nicaragua. I’m glad that cul­ture shock is being dulled by the fog­gi­ness of my sleep-deprived brain.

At my daughter’s place in L.A. I pull out the comal I bought from Benita back on Day 2 and test it out on the gas stove. The tor­tillas are deli­cious and I vow never to eat store-bought again. When I get back to Vancouver I put some of the pot­tery I brought back into the dis­play case out­side the com­mu­nal stu­dio where I work on week­ends and every time I look at them I fall in love again with the soft, warm, wel­com­ing beauty of my Nicaraguan pots.

This was first posted at geist.com.

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Day 13: Nicaraguan Journal

We headed back to Managua today and on the way we stopped at the Filtron Filter Factory which is owned and oper­ated by a Belgian man named Frank Schuringa who came to Nicaragua twenty-five years ago, mar­ried a Nicaraguan woman, had a cou­ple of kids, and  estab­lished a cof­fee busi­ness, a compost-making oper­a­tion and the fil­ter fac­tory. Last year when I vis­ited the fac­tory the fil­ters were formed by man­u­ally pump­ing a car jack to press the two pieces of the mould together, and each brigadista took a turn to make one fil­ter (it was hard work!) but the fac­tory now has an hydraulic ver­sion of the press (just push a but­ton and away it goes). Not as much fun for the brigadis­tas but a lot eas­ier on the workers.

Alvarro, our young guide-in-training, used to work at the fac­tory so he showed us around and explained how they run the clay through a ham­mer­mill to crush stones, then mix the dry clay with saw­dust and water to an exact pro­por­tion by weight, then press the fil­ters, dry them slowly, fire them in wood-burning kilns, test each fil­ter for the proper flowage rate (if the flow is too fast, the fil­ter can be refired; if the flow is too slow, the fil­ter is dis­carded), then paint the fil­ter with col­loidal sil­ver and lastly, box it.

We had a long chat with Frank, dur­ing which we sipped his excel­lent cof­fee and he told us how things had changed in Nicaragua since he first came here when peo­ple were more open and will­ing to help each other, then we took a look at the cof­fee roaster and the com­post oper­a­tion and some brigadis­tas bought some cof­fee and one bought a fil­ter and then we went into the town of Jinotepe for lunch at Comida Vegetariana, a lit­tle café that is run by a Malaysian fam­ily and that serves veg­e­tar­ian Chinese food (no chicken stew!). Lunch was delicious.

In the after­noon we stopped in at the home of our trans­la­tor Beatrice and her hus­band Fred — a beau­ti­ful two-bedroom home with all the mod­ern con­ve­niences and a lus­cious gar­den. When Beatrice told me that she had the house on the mar­ket for only $120,000US, an amount of money that wouldn’t even buy a stu­dio apart­ment in my city, I pic­tured myself liv­ing there — maybe after I mas­ter Spanish Level 2 and can find my way around with­out a guide, a dri­ver and a bunch of other gringos.

Fred has another pet project, besides Potters for Peace, and that’s a group called Stove Team International who work on the design, man­u­fac­ture and dis­tri­b­u­tion of fuel-efficient cook­stoves that will reduce the amount of smoke inhaled by peo­ple in the devel­op­ing world (most cook­stoves are inside the house and have no chim­neys), reduce the amount of wood being con­sumed by cook­stoves, and reduce the num­ber of burns on fam­ily mem­bers (the out­side of these new stoves don’t get hot). Since we had just inhaled a fair amount of smoke from cook­stoves, we could see the beauty of these stoves, although they are so dif­fer­ent from the long nar­row, counter-height adobe cook­stoves that also pro­vide a large area for rest­ing pots and keep­ing food warm, it will take some work to per­suade many Nicaraguan cooks to use them.

After that it was back to Kairos (where we began our jour­ney) where we ate din­ner (yes, chicken stew) and spent the evening try­ing to stuff all the pots we’d bought into our suit­cases. This year I brought a big­ger suit­case but I still had to leave behind my sheet and towel (which the hos­tel at Kairos can cer­tainly use) in order to get every­thing in. Then I sought out the brigadis­tas who were not leav­ing with me at dawn the next morn­ing and we exchanged hugs and promises to email. It was espe­cially sad to say good­bye to Maritza, our Nicaraguan brigadista, since my Spanish is so lim­ited that I was unable to tell her how much I had learned from her. So we just sat on the bed hug­ging each other and cry­ing a bit. Even though I hadn’t been a tourist in the usual sense, with­out flu­ency in their lan­guage I would never be able to get to know these peo­ple. (Yes, I have enrolled in more Spanish lessons!)

This was first posted at geist.com.

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Day 12: Nicaraguan Journal

Today we took in a town­ful of pot­ters at San Juan de Oriente, a place where every street is lined with pot­tery shops and every nook and cranny con­tains stu­dios, both large and small. The style of pot­tery here is the most well-known and, in some ways, the most sophis­ti­cated in the coun­try: pots are dec­o­rated with brightly-coloured slips (that are coloured with oxides) and bur­nished until they are com­pletely smooth and shiny so that they look as if they have been glazed. Unlike pot­tery that has been dec­o­rated with naturally-occurring coloured clays, pot­tery dec­o­rated with oxide-coloured clay is not food safe.

Achieving the same effect with glaz­ing would require costly chem­i­cals and much more fuel (wood) in order to reach a high enough tem­per­a­ture to mature the glazes. Electric fir­ing is out of the ques­tion here due to the unre­li­a­bil­ity and the high cost of elec­tric­ity, so even these sophisticated-looking pots are fired in wood-burnng kilns like the one below on the right.

Often, after the colour has been applied and bur­nish­ing is com­plete, fur­ther dec­o­rat­ing is done by scratch­ing pat­terns through the coloured layer (scraf­fito) or by chip­ping the colour away in solid sec­tions, leav­ing the raw clay colour but with a beau­ti­ful repet­i­tive tex­ture.

Duillio Jimenez and his wife Paola run a store and stu­dio in San Juan de Oriente. The store is at street level and the stu­dio, which includes the kiln in the photo above, is in the base­ment. Duillio demon­strated how he chips away the bur­nished slip to reveal the nat­ural clay (see photo on above right) and then he got his young son, Duillio Junior, to demon­strate his impres­sive com­pe­tence on the wheel. Since a woman taught Duillio how to throw and he taught his son, they both throw with both feet on the same side of the wheel, sim­i­lar to rid­ing sidesad­dle on a horse — since most Nicaraguan women wear skirts, this posi­tion works bet­ter for them.

When we arrived at the shop of world-renowned pot­ter Helio Guitérrez his daugh­ter ran around the cor­ner to fetch her dad while we mar­velled at Helio’s work. His sophis­ti­cated forms and dec­o­ra­tion were aston­ish­ing and sev­eral of us found room in our bud­gets and our suit­cases for pieces of his work.

Helio urged us to visit his teacher, Gregorio Bracamonte, who lives just down the road and who makes repli­cas of pre-Columbian pot­tery — beau­ti­ful shapes cov­ered with intri­cate dec­o­ra­tion. Even though our visit was unplanned, Gregorio ush­ered us through his house to his stu­dio and spent at least an hour explain­ing his processes and show­ing us exam­ples of his work. At the moment, Gregorio has only one appren­tice work­ing with him, a young man who con­tin­ued to painstak­ingly paint brightly-coloured designs on a large piece even as we wan­dered around ask­ing ques­tions and gawk­ing at everything.

When we had exhausted both our­selves and our wal­lets, we headed back to the Monkey Hut where we feasted on Maritza’s spe­cial chicken stew (we all agreed that hers was the best we had tasted, and we had tasted a lot of chicken stew) and then we sat around the table reflect­ing on every­thing we had expe­ri­enced over the past 12 days.

This was first posted at geist.com.

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Day 11: Nicaraguan Journal

Started Day 11 by dri­ving 4 hours south to the mar­ket town of Masaya, which is a short dis­tance south of Managua, where we started our trip, which meant that even though, for the past 10 days, we have felt like we were in remote coun­try­side, we were never more than a few hours from the big city. When I got home I fig­ured out that the the whole of Nicaragua is 7 times smaller than the province I live in.

At Masaya we bought gro­ceries at the Pali Supermarket, a big flourescent-lit chain store that was our first indi­ca­tion that we were back in civ­i­liza­tion. After that we were allowed one hour at the Masaya tourist mar­ket (thanks, Robert, we know you hate that kind of thing) where, among other things, we man­aged to find a good map of Nicaragua. I bought a light woven blan­ket that the ven­dor assured me was made in Nicaragua but which we both knew was made in Guatamala.

Then it was on to the wind-swept tourist attrac­tion at Laguna de Masaya, one of many crater lakes in Nicaragua, a land of vol­ca­noes. More sou­venir shop­ping was avail­able here but we pre­ferred to look out over the lagoon and to to avoid get­ting blown down the hill. A cou­ple of us took refuge from the wind in a lit­tle cof­fee shop (that had great cof­fee) and Chris bought a large (2 1/2-foot in diam­e­ter) flat bas­ket that, despite our dire pre­dic­tions and rolled eyes, she did man­age to get back to the States.

Drove from there out to the Monkey Hut at Laguna de Apoyo, along wind­ing roads that are lined with plant nurs­eries. The Monkey Hut is a youth hos­tel (but they let us old folks in any­way) perched above a huge warm crater lake, in the midst of large water­front homes. We spent the rest of the after­noon swim­ming, drink­ing beer and lay­ing about in ham­mocks, then we cooked our own din­ner and went to be early. The Monkey Hut is pic­turesque but I was miss­ing the “real” coun­try­side so I slept out­side on the deck.

This was first posted at geist.com.

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