Sherron & Jim Bowen on thu 11 sep 08
For me the foot should make as little contact with the furniture surface as
possible and be smooth enough not to damage the finest furniture. Form and
size are personal preference.
Jim
+++++++++++++++++++++++++++++++++++++++++++++++++
----- Original Message -----
From: "Gay Judson"
To:
Sent: Thursday, September 11, 2008 8:10 PM
Subject: Re: designing the foot
> Great question! I hope there are many responders as I have the same
> quandary. What makes a great foot.
> Gay Judson
>
> On Sep 11, 2008, at 5:31 PM, Jorge Nabel wrote:
>
>> Dear Clayarters,after 10 years of working with white earthenware I'm
>> making some
>> pieces on stoneware. I've been told by a brazilian-japanese potter
>> that I have to work
>> on the foot, and that that is the main area where style or personality
>> is defined.
>> My production line is mostly tableware ,and I love to turn as I feel
>> that as a main part
>> of the process.But my foot is just an U shape, round, to avoid sharp
>> parts.
>> Lot of japanese pictures show the piece and the foot. Sooooo
>> What do you see when you look on the foot? What are the main aspects
>> of it?
>> What defines its characteristics?
>> Of course I have a slight idea, but I want to read what you have to
>> say.
>> Thanks a lot.
>> Jorge en Buenos Aires
>>
>> www.jorgenabel.com
>
pdp1@EARTHLINK.NET on thu 11 sep 08
Hi Jorge,
Post some images somewhere, and Post a link to them, showing the side view
of the whole Pot ( or as may be) ...and bottom views of the Foot you are
asking about.
Feet are complicated to describe or discuss without reference-objects or
images to focus with...or, far easier to understand by seeing.
Phil
lv
----- Original Message -----
From: "Jorge Nabel"
> Dear Clayarters,after 10 years of working with white earthenware I'm
> making some
> pieces on stoneware. I've been told by a brazilian-japanese potter
> that I have to work
> on the foot, and that that is the main area where style or personality
> is defined.
> My production line is mostly tableware ,and I love to turn as I feel
> that as a main part
> of the process.But my foot is just an U shape, round, to avoid sharp
> parts.
> Lot of japanese pictures show the piece and the foot. Sooooo
> What do you see when you look on the foot? What are the main aspects of
> it?
> What defines its characteristics?
> Of course I have a slight idea, but I want to read what you have to say.
> Thanks a lot.
> Jorge en Buenos Aires
>
> www.jorgenabel.com
>
Tony Ferguson on thu 11 sep 08
What makes a great foot is how it relates to the rest of the form. A pot, like a great story, has a beginning, middle and end. Like a pot, what makes a great story, great, is how the beginning middle and end relate and transition into each other. I see the foot as the beginning, the middle the middle, and the top the end.
Tony
Gay Judson wrote: Great question! I hope there are many responders as I have the same
quandary. What makes a great foot.
Gay Judson
On Sep 11, 2008, at 5:31 PM, Jorge Nabel wrote:
> Dear Clayarters,after 10 years of working with white earthenware I'm
> making some
> pieces on stoneware. I've been told by a brazilian-japanese potter
> that I have to work
> on the foot, and that that is the main area where style or personality
> is defined.
> My production line is mostly tableware ,and I love to turn as I feel
> that as a main part
> of the process.But my foot is just an U shape, round, to avoid sharp
> parts.
> Lot of japanese pictures show the piece and the foot. Sooooo
> What do you see when you look on the foot? What are the main aspects
> of it?
> What defines its characteristics?
> Of course I have a slight idea, but I want to read what you have to
> say.
> Thanks a lot.
> Jorge en Buenos Aires
>
> www.jorgenabel.com
Take Care,
Tony Ferguson
...where the sky meets the lake...
http://www.tonyferguson.net
Jorge Nabel on thu 11 sep 08
Dear Clayarters,after 10 years of working with white earthenware I'm making some
pieces on stoneware. I've been told by a brazilian-japanese potter
that I have to work
on the foot, and that that is the main area where style or personality
is defined.
My production line is mostly tableware ,and I love to turn as I feel
that as a main part
of the process.But my foot is just an U shape, round, to avoid sharp parts.
Lot of japanese pictures show the piece and the foot. Sooooo
What do you see when you look on the foot? What are the main aspects of it?
What defines its characteristics?
Of course I have a slight idea, but I want to read what you have to say.
Thanks a lot.
Jorge en Buenos Aires
www.jorgenabel.com
Gay Judson on thu 11 sep 08
Great question! I hope there are many responders as I have the same
quandary. What makes a great foot.
Gay Judson
On Sep 11, 2008, at 5:31 PM, Jorge Nabel wrote:
> Dear Clayarters,after 10 years of working with white earthenware I'm
> making some
> pieces on stoneware. I've been told by a brazilian-japanese potter
> that I have to work
> on the foot, and that that is the main area where style or personality
> is defined.
> My production line is mostly tableware ,and I love to turn as I feel
> that as a main part
> of the process.But my foot is just an U shape, round, to avoid sharp
> parts.
> Lot of japanese pictures show the piece and the foot. Sooooo
> What do you see when you look on the foot? What are the main aspects
> of it?
> What defines its characteristics?
> Of course I have a slight idea, but I want to read what you have to
> say.
> Thanks a lot.
> Jorge en Buenos Aires
>
> www.jorgenabel.com
Lee Love on fri 12 sep 08
It all depends on the pot, an aspect of total design. Some pots
don't need feet.
I'd recommend looking at as many good feet as possible.
--
Lee Love in Minneapolis
http://heartclay.blogspot.com/
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
Eva Gallagher on fri 12 sep 08
Great question - its Tony interesting as I see the top as the beginning and
the foot the end. Would that make a difference in how you deal with the
relationship of each part? My feet do not tend to be very prominent and I
feel that I really need to emphasize them more.
Eva Gallagher
Deep River, Ontario
http://stephenhilljourneyworkshopjuly2008.blogspot.com/
----- Original Message -----
From: "Tony Ferguson"
To:
Sent: Friday, September 12, 2008 12:19 AM
Subject: Re: designing the foot
> What makes a great foot is how it relates to the rest of the form. A pot,
> like a great story, has a beginning, middle and end. Like a pot, what
> makes a great story, great, is how the beginning middle and end relate and
> transition into each other. I see the foot as the beginning, the middle
> the middle, and the top the end.
>
> Tony
>
> Gay Judson wrote: Great question! I hope there are
> many responders as I have the same
> quandary. What makes a great foot.
> Gay Judson
>
> On Sep 11, 2008, at 5:31 PM, Jorge Nabel wrote:
>
>> Dear Clayarters,after 10 years of working with white earthenware I'm
>> making some
>> pieces on stoneware. I've been told by a brazilian-japanese potter
>> that I have to work
>> on the foot, and that that is the main area where style or personality
>> is defined.
>> My production line is mostly tableware ,and I love to turn as I feel
>> that as a main part
>> of the process.But my foot is just an U shape, round, to avoid sharp
>> parts.
>> Lot of japanese pictures show the piece and the foot. Sooooo
>> What do you see when you look on the foot? What are the main aspects
>> of it?
>> What defines its characteristics?
>> Of course I have a slight idea, but I want to read what you have to
>> say.
>> Thanks a lot.
>> Jorge en Buenos Aires
>>
>> www.jorgenabel.com
>
>
>
> Take Care,
>
>
>
> Tony Ferguson
>
>
> ...where the sky meets the lake...
>
> http://www.tonyferguson.net
>
>
Randall Moody on fri 12 sep 08
I agree with Lee. (I know, it surprised me too. :) ) The foot should not be
looked at as a separate part of the pot but as part of the entirety of the
pot.
For example, on my large vases I don't bother to put feet because I know
that they will have a nice turned wooden pedestal under them. On my
functional bowls I put a good sturdy foot since I know that they will be
getting a lot of kitchen use and don't want chipping. My more decorative
bowls have a high, refined and smooth foot to give the form visual lift and,
hopefully, a bit of elegance.
Look at as many feet as possible but weigh them in relation to the form.
Hope this helps.
--
Randall in Atlanta
On Fri, Sep 12, 2008 at 8:00 AM, Lee Love wrote:
> It all depends on the pot, an aspect of total design. Some pots
> don't need feet.
>
> I'd recommend looking at as many good feet as possible.
>
> --
> Lee Love in Minneapolis
> http://heartclay.blogspot.com/
> http://mashikopots.blogspot.com/
> http://claycraft.blogspot.com/
>
> "Let the beauty we love be what we do.
> There are hundreds of ways to kneel and kiss the ground." --Rumi
>
Antoinette Badenhorst on fri 12 sep 08
Jorge asked:
" What do you see when you look on the foot? What are the main aspects
of it?
What defines its characteristics?"
Some of you might find it interesting to know what the original reason for foot rims was: tables with uneven surfaces. So the hollowed foot were suppose to stand over hobbles and bobbles. These days we make coffee mugs without foot rims in America, so that it do not spill water all over the floor when it comes from a dishwasher.
As clay shapes got more defined over the years, other reasons for foot rims or no foot rim surfaced:
The outside bottom should follow the inside curves of a pot. If not, one ends up with thicker and thinner areas; one of the crucial reasons for cracks. This normally do not happens on small pieces, since it does not generate enough stress, but will for sure crack a larger piece.
For the potter there are also distinctive benefits in a distinct foot rim; It offers a place to hold when glazing.
As for the aesthetic of any piece of pottery, one should consider what you are communicating. My English is not the best, so I probably do that many times, but imagine me stopping this line without finishing the sentence.Unless you want to make a specific statement with a broken sentence, you would not do that. So why do that to a pot?
One of the serious lessons that I have learned over the years is that the finishing of a foot will sell a piece or let it sit on the shelve; SO:
Jorge, you are at a perfect place in your career. Use all your knowledge and time design work that touch your heart and speak to other people. Create finished pieces, with or without a foot rim that make a statement and when you are ready, show them to us.
--
Antoinette Badenhorst
www.clayandcanvas.com
www.studiopottery.co.uk
gayle bair on fri 12 sep 08
It would be great if we had a way to view images of how various
Clayart members trim their pots.....
and this is NOT a foot fetish... Well maybe it is ....as I always turn
over pots to look at them!
Come to think of it ...my customers do too!
Gayle Bair
Bainbridge Island WA
Tucson AZ
gayle@claybair.com
www.claybair.com
On Sep 11, 2008, at 8:16 PM, Sherron & Jim Bowen wrote:
> For me the foot should make as little contact with the furniture
> surface as
> possible and be smooth enough not to damage the finest furniture.
> Form and
> size are personal preference.
> Jim
> +++++++++++++++++++++++++++++++++++++++++++++++++
>
> ----- Original Message -----
> From: "Gay Judson"
> To:
> Sent: Thursday, September 11, 2008 8:10 PM
> Subject: Re: designing the foot
>
>
>> Great question! I hope there are many responders as I have the same
>> quandary. What makes a great foot.
>> Gay Judson
>>
>> On Sep 11, 2008, at 5:31 PM, Jorge Nabel wrote:
>>
>>> Dear Clayarters,after 10 years of working with white earthenware I'm
>>> making some
>>> pieces on stoneware. I've been told by a brazilian-japanese potter
>>> that I have to work
>>> on the foot, and that that is the main area where style or
>>> personality
>>> is defined.snip>
Lee Love on fri 12 sep 08
On Fri, Sep 12, 2008 at 9:14 AM, Antoinette Badenhorst
wrote:
> Jorge asked:
>
> " What do you see when you look on the foot? What are the main aspects
> of it?
> What defines its characteristics?"
>
> Some of you might find it interesting to know what the original reason for >foot rims was: tables with uneven surfaces.
On handleless tea bowls, the foot allows you you hold on to the
bowl without burning your hands.
--
Lee Love in Minneapolis
http://heartclay.blogspot.com/
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
gayle bair on fri 12 sep 08
All my pots & mugs have trimmed feet.
I often hear comments about them and my reply is, "It's all in the
details".
I have never had anyone return a mug because gathers a bit of water in
the dishwasher.
Gayle Bair - off to unload all my trimmed feet from the kiln.
Bainbridge Island WA
Tucson AZ
gayle@claybair.com
www.claybair.com
On Sep 12, 2008, at 7:14 AM, Antoinette Badenhorst wrote:
> Jorge asked:
>
> " What do you see when you look on the foot? What are the main aspects
> of it?
> What defines its characteristics?"
>
> Some of you might find it interesting to know what the original
> reason for foot rims was: tables with uneven surfaces. So the
> hollowed foot were suppose to stand over hobbles and bobbles. These
> days we make coffee mugs without foot rims in America, so that it do
> not spill water all over the floor when it comes from a dishwasher.
>
> As clay shapes got more defined over the years, other reasons for
> foot rims or no foot rim surfaced:
>
> The outside bottom should follow the inside curves of a pot. If not,
> one ends up with thicker and thinner areas; one of the crucial
> reasons for cracks. This normally do not happens on small pieces,
> since it does not generate enough stress, but will for sure crack a
> larger piece.
snip>
Tony Ferguson on fri 12 sep 08
Eva,
Chuckle. It doesn't matter. The idea is how you think about the relationships. There is also more to a pot then top middle or bottom - there is the three dimensionality of the work to consider as well and how one side relates to the other. This is something that Tom Coleman's work is incredible at--how the form relates to its self and its references.
Tony Ferguson
Eva Gallagher wrote: Great question - its Tony interesting as I see the top as the beginning and
the foot the end. Would that make a difference in how you deal with the
relationship of each part? My feet do not tend to be very prominent and I
feel that I really need to emphasize them more.
Eva Gallagher
Deep River, Ontario
http://stephenhilljourneyworkshopjuly2008.blogspot.com/
----- Original Message -----
From: "Tony Ferguson"
To:
Sent: Friday, September 12, 2008 12:19 AM
Subject: Re: designing the foot
> What makes a great foot is how it relates to the rest of the form. A pot,
> like a great story, has a beginning, middle and end. Like a pot, what
> makes a great story, great, is how the beginning middle and end relate and
> transition into each other. I see the foot as the beginning, the middle
> the middle, and the top the end.
>
> Tony
>
> Gay Judson wrote: Great question! I hope there are
> many responders as I have the same
> quandary. What makes a great foot.
> Gay Judson
>
> On Sep 11, 2008, at 5:31 PM, Jorge Nabel wrote:
>
>> Dear Clayarters,after 10 years of working with white earthenware I'm
>> making some
>> pieces on stoneware. I've been told by a brazilian-japanese potter
>> that I have to work
>> on the foot, and that that is the main area where style or personality
>> is defined.
>> My production line is mostly tableware ,and I love to turn as I feel
>> that as a main part
>> of the process.But my foot is just an U shape, round, to avoid sharp
>> parts.
>> Lot of japanese pictures show the piece and the foot. Sooooo
>> What do you see when you look on the foot? What are the main aspects
>> of it?
>> What defines its characteristics?
>> Of course I have a slight idea, but I want to read what you have to
>> say.
>> Thanks a lot.
>> Jorge en Buenos Aires
>>
>> www.jorgenabel.com
>
>
>
> Take Care,
>
>
>
> Tony Ferguson
>
>
> ...where the sky meets the lake...
>
> http://www.tonyferguson.net
>
>
Take Care,
Tony Ferguson
...where the sky meets the lake...
http://www.tonyferguson.net
Overall's on fri 12 sep 08
Jorge,
I've been struggling with this for=20
decades.=A0 All I can bring to the
table is what appeals to me, not that
I want to copy someone else's.
IMHO, a well designed and functional
foot for any pot will elevate it,=20
compliment it's overall design, and
give the pot a shadow.=A0 The shadow
is just as important as design.
Take a look at Grace Sheese's;
elegance, solidity, gorgeous to=20
each piece she creates.
My artistic style doesn't even come
close to hers.=A0 But hers is important
for at least one to reference for=20
guidance I would think:
http://www.gracesheese.com/
I am part Asian and part European so mine
come out Heinz 57.
Kim Overall
Texas Potters(c)2008
http://www.kimoverall.com
"In God We Trust"
Ivor and Olive Lewis on sat 13 sep 08
A foot ring, or a series of feet, serve to elevate a pot from the
surface on which it rests.
This may be an optical illusion, but I consider undercutting the
vertical prominence of the foot form creates a shadow that enhances
the visual separation of the pot form from the surface on which it
rests, elevating it in space. Seems to add a degree of elegance.
There is also the technical delight of creating pots with four feet
that do not wobble on flat surfaces.
Best regards,
Ivor Lewis.
Redhill,
South Australia.
Ric Swenson on sat 13 sep 08
Of course, it depends on the form of the ware. For wheel-thrown work the foot is indeed important. Aside from the fact that it should be flat and stable and smooth in most cases, it adds that "finished" look. It also allows for a space to sign your work.
The proportion of the size of the foot to the piece is critical. There should be a balance of function and aesthetics in the relation of the diameter of the foot to the diameter of the ware. A foot of small size can make a piece look like it is floating above the table it rests on.
A functional bowl must have a foot wide enough to support the shape while being used and yet not appear clunky and heavy.
The transition from foot to belly to neck and lip of a vase should be smooth and accent the form.
"It suffers from a plethora of choices".
Each potter makes a choice with each type of footed ware; Teabowl, mug, bowl, jar, vase, plate, platter, or pitcher.
There are times when a rolled foot is the best option for a pitcher, mug or a vase form. Usually trimming is done on the wheel, securing the piece up-side-down on the wheel head, in a chuck or holding device, or for bowls and plates, I prefer a foam batt pinned to secure to the wheel head.
This is a wide topic and I am sure everyone has their own ideas about the subject. These are just a few random generalizations that occur to me now.
Let's see some visuals of what you are doing.
Happy potting!
Ric
> On Sep 11, 2008, at 5:31 PM, Jorge Nabel wrote:> > > Dear Clayarters,after 10 years of working with white earthenware I'm> > making some> > pieces on stoneware. I've been told by a brazilian-japanese potter> > that I have to work> > on the foot, and that that is the main area where style or personality> > is defined.> > My production line is mostly tableware ,and I love to turn as I feel> > that as a main part> > of the process.But my foot is just an U shape, round, to avoid sharp> > parts.> > Lot of japanese pictures show the piece and the foot. Sooooo> > What do you see when you look on the foot? What are the main aspects> > of it?> > What defines its characteristics?> > Of course I have a slight idea, but I want to read what you have to> > say.> > Thanks a lot.> > Jorge en Buenos Aires> >> > www.jorgenabel.com"...then fiery expedition be my wing, ..." -Wm. Shakespeare, RICHARD III, Act IV Scene III Richard H. ("Ric") Swenson, Teacher, Office of International Cooperation and Exchange of Jingdezhen Ceramic Institute, TaoYang Road, Eastern Suburb, Jingdezhen City.JiangXi Province, P.R. of China. Postal code 333001. Mobile/cellular phone : 86 13767818872 < RicSwenson0823@hotmail.com> http://www.jci.jx.cn/http://www.ricswenson.com
> Date: Thu, 11 Sep 2008 21:10:26 -0500> From: gjjudson@GMAIL.COM> Subject: Re: designing the foot> To: CLAYART@LSV.CERAMICS.ORG> > Great question! I hope there are many responders as I have the same> quandary. What makes a great foot.> Gay Judson> > On Sep 11, 2008, at 5:31 PM, Jorge Nabel wrote:> > > Dear Clayarters,after 10 years of working with white earthenware I'm> > making some> > pieces on stoneware. I've been told by a brazilian-japanese potter> > that I have to work> > on the foot, and that that is the main area where style or personality> > is defined.> > My production line is mostly tableware ,and I love to turn as I feel> > that as a main part> > of the process.But my foot is just an U shape, round, to avoid sharp> > parts.> > Lot of japanese pictures show the piece and the foot. Sooooo> > What do you see when you look on the foot? What are the main aspects> > of it?> > What defines its characteristics?> > Of course I have a slight idea, but I want to read what you have to> > say.> > Thanks a lot.> > Jorge en Buenos Aires> >> > www.jorgenabel.com
_________________________________________________________________
Discover the new Windows Vista
http://search.msn.com/results.aspx?q=windows+vista&mkt=en-US&form=QBRE
Tony Ferguson on sun 14 sep 08
Just think of it this way Ivor, how would you or I look without any feet?
Tony Ferguson
Ivor and Olive Lewis wrote: A foot ring, or a series of feet, serve to elevate a pot from the
surface on which it rests.
This may be an optical illusion, but I consider undercutting the
vertical prominence of the foot form creates a shadow that enhances
the visual separation of the pot form from the surface on which it
rests, elevating it in space. Seems to add a degree of elegance.
There is also the technical delight of creating pots with four feet
that do not wobble on flat surfaces.
Best regards,
Ivor Lewis.
Redhill,
South Australia.
Take Care,
Tony Ferguson
...where the sky meets the lake...
http://www.tonyferguson.net
Jorge Nabel on sun 14 sep 08
Clayarters, I took some time to read what you generously wrote, and
some for thinking
and refining my questions.
According to Tony, I seem to trim more European style, and I don't
really know why i think
that with stoneware you should trim asian.....
I read them one like a text book and the other like a haiku. And I'm
looking for poetry.
But am not japanese, so maybe I can relate to Lewis Caroll
I love trimming the foot as I think that it really defines the piece,
and sometimes I trim it
like the other pieces on the set/lot, and sometimes I play and make
variations. But up to
now haven't defined yet a special foot style even when I recognize
mine from others .
Sometimes it goes straight to the base and sometimes it goes outwards,
or inwards, or faceted.
But maybe this relates with what Ric said about defining a foot for
each kind of piece and am
still looking for it.
Now, when you see those japanese pictures of the inside of the foot
showing the signature, the clay,
do you see the style, the trimming, some poetry?
In a philosophical way, do the foot relates/ belongs to the pot or to
the potter?
Some potters make marks on the foot and the base.It seems a style.
Do you keep the marks no matter what?
Enough for one post
Jorge en Buenos Aires
PD this can be an approach to both styles
http://www.jorgenabel.com/fotos/especiales/teteras/tetera1.jpg
Lee Love on sun 14 sep 08
On Sun, Sep 14, 2008 at 10:43 AM, Jorge Nabel
wrote:
> Clayarters, I took some time to read what you generously wrote, and
> some for thinking
> and refining my questions.
> According to Tony, I seem to trim more European style, and I don't
> really know why i think
> that with stoneware you should trim asian
Your teapot and cup look very "asian."
We have knowledge of all pottery cultures these days. So we need
to be aware of the best in each area.
Often, feet end up being very weak, because we forget to leave
enough "extra" at the bottom to allow for a bold foot. Throwing off
the hump helps you avoid being sort of clay at the bottom.
--
Lee Love in Minneapolis
http://heartclay.blogspot.com/
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
Ivor and Olive Lewis on tue 16 sep 08
Dear Tony,
Perhaps we would resort to Wheeeels.
Those Para Olympians are amazing people.
Best regards,
Ivor
<feet?
Tony Ferguson>>
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