[Clayart] form

David Woof woofpots at hotmail.com
Tue Aug 9 05:32:10 UTC 2022

Hi Bill,
Good to hear you say what you just posted (below.)  And a timeless reminder to a younger generation of would be or will be teachers.
In my teaching I also covered all aspects regarding form and function and blended or blurred the lines between the pottery and sculpture classes and the Drawing and Design classes.
Presenting drawing as a perceptual exercise to support and enhance all we see, do, appreciate, and create, in the studio and in everyday life.

While I produced the bulk of my own work in my personal studio, I also kept a smaller but regular production in the school studio as well so the students could see evidence of what I was teaching.

At times I would deliberately throw a weak or bad form or build a sculptural form that also had flaws in form or composition.
How the piece existed in or dominated space, and the value and impact of using light as a medium were clarified in a way that just studying "Good" form could not reach in their developing perceptions.
Since the students understood that these flawed forms were created deliberately, they felt at ease to honestly critique the forms.
Much discovery and learning were the outcomes of these sessions. They could outspokenly "rip" deeper into the flaws of these in a way that our Instructor lead group critiques of their work didn't have the same vital impact for their learning and subsequent work.

I hope what we've said will also resonate with our teaching successors.
High or low technology, we will always need the human brain and spirit for deeper human apprehension of emotion and appreciation of the finer things that make us human.


David Woof
From: Clayart <clayart-bounces at lists.clayartworld.com> on behalf of William Schran <wschran at twc.com>
Sent: Monday, August 8, 2022 7:35 AM
To: 'Clayart international pottery discussion forum' <clayart at lists.clayartworld.com>
Subject: Re: [Clayart] form

Mel is spot on about form, the most important aspect of the vessel
type pottery.Wonderful glaze or decoration on a poor form.Like putting
a dress on a pig - dress looks great, great concept, but underneath
it's still a pig.
When teaching I taught students about the aspects of a good functional
form, but also addressed the visual aspects, how the form exists in
space. Looking at positive and negative curves, how the form starts
and stops. Discussed how surface is handled and how this interacts
with the form. Same types of discussions I had with drawing and design
classes dealing with composition within a certain space using the
various art elements....

William Schranwschran at twc.com703-505-1617

        -----------------------------------------From: "mel jacobson"
To: "clay art"
Sent: Monday August 8 2022 8:41:56AM
Subject: [Clayart] form

 Mr. Uchida, my mentor in Japan, told me often
 to be aware of form. It is the most important design
 problem for potters. often ignored.

 Rick's post made me smile. Look at the past. the great pots.
 Uchida said look at Ming and Sung. He was not a fan of of Korean
 Farmer pots. (as he called them.)

 He said to me one day. "take a year off and only make white pots."
 He only made white pots. That is what I looked at for a year and
 And his forms were elegant.

 He also said if the only images you look at in books and modern
magazines are
 modern pots..."Your work will look just like the rest of them.."
 food for thought

 website: www.melpots.com<http://www.melpots.com>

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