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It's hard to believe my work in the metal studio is done for the year. Sure, I have a couple of small details to touch up, but it's only an afternoon's work. I was the only student who'd managed to complete the hollow form bracelet. I know that several of the students have been sick and some work other jobs, but, on average, the reason I think projects weren't done on time was because of mismanaged time. The teacher was once again very lenient, and gave everyone an extension. They don't have to have their work completed until the eleventh. How much do you want to bet there will be one or two who still haven't finished their bracelets?
This morning, we went to Aitkens Pewter and had a tour of the facilities. The most interesting thing was how pewter is spun to make goblets, vases, and the ilk. It looks something like clay being thrown on a wheel, except that it's done perpendicular to the floor. It starts out as a disc of metal. For the goblet, the disc is about the same size as a CD. Martin Aitken has been doing this sort of thing for about thirty years, so making the goblet wasn't any more difficult for him than tying my shoes is for me. Watching the metal change shape was almost hypnotic. Gleams of light travel up the sides of the vessel, and the disc (r)evolves into a goblet. It's magic, I tell you!
It's just too bad I was so zonked this morning. I was doing my best not to fall asleep during the tour.
When we got back, we had an hour or so to kill until test time. I decided to do a sand casting of a pewter barette I have. It's shaped like a row of jaunty human skulls. Unfortunately, it didn't turn out, and now that I think about it, I realize I left my silver in the pickle. I sure hope no one takes it! It's a pretty sizeable chunk. Doh!
In the afternoon, we all had to exchange work with another student and give a comprehensive critique of their jewellery, designs, and sketchbook, and then we had to award marks. Because I was the only one with my bracelet done, and because there was an odd number of students present, I had to critique the work of two students, and they both had to critique my stuff.
Normally, this would be no problem for me, but today, the inevitable happened. I had to review the work of an older lady who, although she works incredibly hard, produces questionable quality of work due to her arthritis and poor eyesight. Academically speaking, the most difficult thing I've ever done is critique the work of someone who works to the best of their ability, yet has little ability. I know she's doing her best. So I did the best I could do, and bluntly pointed out all of the problems with her work. At the same time, I drew attention to all of the positive aspects, making sure to end the critique on positive notes. I also made recommendations on how she could improve her mark by pointing out some easily-remedied problems. What makes it doubly hard is that she critiqued my work first, and gave me a very favourable review. I'm afraid she may have taken my critiques personally, despite my best efforts and my praise on her design, creativity, and choice in stones.
This is the part that really sucks about being a teacher, or a critic.
Tomorrow, I get to review the work of the other student. It should be much easier going. I just wish more people would realize a criticism of their work is not a criticism on the person, themself. I see this again and again, in creative writing, dance, theatre, ad nauseum.
Blargh.
Well, I intend on taking it easy, this evening. So far, I've put the finishing touches on a jewellery box I've been resurfacing, eaten leftover curry, and am sipping on a White Russian. Mmm....
This morning, we went to Aitkens Pewter and had a tour of the facilities. The most interesting thing was how pewter is spun to make goblets, vases, and the ilk. It looks something like clay being thrown on a wheel, except that it's done perpendicular to the floor. It starts out as a disc of metal. For the goblet, the disc is about the same size as a CD. Martin Aitken has been doing this sort of thing for about thirty years, so making the goblet wasn't any more difficult for him than tying my shoes is for me. Watching the metal change shape was almost hypnotic. Gleams of light travel up the sides of the vessel, and the disc (r)evolves into a goblet. It's magic, I tell you!
It's just too bad I was so zonked this morning. I was doing my best not to fall asleep during the tour.
When we got back, we had an hour or so to kill until test time. I decided to do a sand casting of a pewter barette I have. It's shaped like a row of jaunty human skulls. Unfortunately, it didn't turn out, and now that I think about it, I realize I left my silver in the pickle. I sure hope no one takes it! It's a pretty sizeable chunk. Doh!
In the afternoon, we all had to exchange work with another student and give a comprehensive critique of their jewellery, designs, and sketchbook, and then we had to award marks. Because I was the only one with my bracelet done, and because there was an odd number of students present, I had to critique the work of two students, and they both had to critique my stuff.
Normally, this would be no problem for me, but today, the inevitable happened. I had to review the work of an older lady who, although she works incredibly hard, produces questionable quality of work due to her arthritis and poor eyesight. Academically speaking, the most difficult thing I've ever done is critique the work of someone who works to the best of their ability, yet has little ability. I know she's doing her best. So I did the best I could do, and bluntly pointed out all of the problems with her work. At the same time, I drew attention to all of the positive aspects, making sure to end the critique on positive notes. I also made recommendations on how she could improve her mark by pointing out some easily-remedied problems. What makes it doubly hard is that she critiqued my work first, and gave me a very favourable review. I'm afraid she may have taken my critiques personally, despite my best efforts and my praise on her design, creativity, and choice in stones.
This is the part that really sucks about being a teacher, or a critic.
Tomorrow, I get to review the work of the other student. It should be much easier going. I just wish more people would realize a criticism of their work is not a criticism on the person, themself. I see this again and again, in creative writing, dance, theatre, ad nauseum.
Blargh.
Well, I intend on taking it easy, this evening. So far, I've put the finishing touches on a jewellery box I've been resurfacing, eaten leftover curry, and am sipping on a White Russian. Mmm....
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2004-04-27 04:50 pm (UTC)From:no subject
Date: 2004-04-27 04:57 pm (UTC)From:no subject
Date: 2004-04-27 05:43 pm (UTC)From:no subject
Date: 2004-04-27 05:15 pm (UTC)From:Though as long as at least one person likes it, you've got it going on! That lady has soul to take it even with her problems!
xLissa
no subject
Date: 2004-04-27 05:15 pm (UTC)From:xLissa
no subject
Date: 2004-04-27 05:51 pm (UTC)From:no subject
Date: 2004-04-27 08:19 pm (UTC)From:no subject
Date: 2004-04-28 05:42 am (UTC)From:no subject
Date: 2004-04-28 05:42 am (UTC)From:no subject
Date: 2004-04-28 05:48 am (UTC)From:First of all, the machine (I don't remember the name of it) is fitted with a steel form. This form is the shape of the interior of the goblet top.
The disc is sandwiched between the end of this form and something which spins very quickly, and, with the aid of a stick, centred perfectly while spinning.
Next, a steel tool which looks disturbingly phallic is used to apply pressure to the spinning disc, starting at the centre and working its way to the edge. This deforms the disc into a trumpet shape.
Next, another phallic tool is used to push the trumped in closer to the steel form.
It takes about two or three minutes to form the disc into goblet shape, but about two years to learn how to do it in this time.
Pitchers are made similarly, but by using two forms: one the diameter of the widest part of the base, and a second tapering form for the top part of the pitcher. The handles are soldered later.