Wheel 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

Still 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.

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.


We headed back to Managua today and on the way we stopped at the
Fred has another pet project, besides Potters for Peace, and that’s a group called
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.


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.




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.
Mitch Lyons on Cylinders and Coloured Clay
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