[HappyPots]

Can anyone speak to the difference when giving private lessons?

I have been giving private classes (an hour and a half) once a week for quite a few weeks now (for adults). My teaching experience is minimal, as I had one other student for a few weeks (who was keen and enthusiastic), and now this student for several weeks. As she is the only student, and paying more for private classes, I try to let her lead the direction of the class. I know my throwing, and other techniques, so I thought it would be great. But her attitude is defeatist, and her patience is... low. She points to my own work in the studio and says that she wants to make that. Imitation may be the sincerest form of flattery, but I'm having a hard time getting her to think for herself. And unfortunately, I can't hide everything I've ever made in the studio.

Any suggestions for building her confidence in this environment? I think her self-esteem is very low, and I feel a little bit more like a psychologist than a pottery teacher, at the end of the class! I think she might benefit from a little more structured teacher-student relationship, but I find this hard to maintain in a one-on-one situation. Any advice would be appreciated!

[OffCenter]

HappyPots, on 27 January 2013 - 10:34 AM, said:

Can anyone speak to the difference when giving private lessons?

I have been giving private classes (an hour and a half) once a week for quite a few weeks now (for adults). My teaching experience is minimal, as I had one other student for a few weeks (who was keen and enthusiastic), and now this student for several weeks. As she is the only student, and paying more for private classes, I try to let her lead the direction of the class. I know my throwing, and other techniques, so I thought it would be great. But her attitude is defeatist, and her patience is... low. She points to my own work in the studio and says that she wants to make that. Imitation may be the sincerest form of flattery, but I'm having a hard time getting her to think for herself. And unfortunately, I can't hide everything I've ever made in the studio.

Any suggestions for building her confidence in this environment? I think her self-esteem is very low, and I feel a little bit more like a psychologist than a pottery teacher, at the end of the class! I think she might benefit from a little more structured teacher-student relationship, but I find this hard to maintain in a one-on-one situation. Any advice would be appreciated!

You say she's been your student for several weeks but that's only several hours of class time if you only meet 1.5 hrs/week. She has just enough time to forget most of what she has learned by the next class. Copying is one way people learn. Since you don't have any pictures in your profile gallery, I don't know if your pots are worth copying or not, but there is nothing wrong with a beginning potter copying other potters. If she is intelligent and creative she will only use that as a way to grow and find her own way with clay. If she's not then who cares? Surely you aren't worried about people mistaking her pots for yours! Look at the stuff that comes out of Steven Hill workshops. Almost everyone tries to make Steven Hill pots. I assume he doesn't discourage it. After all, they are there to learn his techniques--not only throwing but using slip, spraying his glazes, and once-firing. But, no one who knows anything about pottery would ever mistake anything that comes out of those workshops for a Steven Hill pot.

Jim

[HappyPots]

OffCenter, on 27 January 2013 - 01:27 PM, said:

HappyPots, on 27 January 2013 - 10:34 AM, said:

Can anyone speak to the difference when giving private lessons?

I have been giving private classes (an hour and a half) once a week for quite a few weeks now (for adults). My teaching experience is minimal, as I had one other student for a few weeks (who was keen and enthusiastic), and now this student for several weeks. As she is the only student, and paying more for private classes, I try to let her lead the direction of the class. I know my throwing, and other techniques, so I thought it would be great. But her attitude is defeatist, and her patience is... low. She points to my own work in the studio and says that she wants to make that. Imitation may be the sincerest form of flattery, but I'm having a hard time getting her to think for herself. And unfortunately, I can't hide everything I've ever made in the studio.

Any suggestions for building her confidence in this environment? I think her self-esteem is very low, and I feel a little bit more like a psychologist than a pottery teacher, at the end of the class! I think she might benefit from a little more structured teacher-student relationship, but I find this hard to maintain in a one-on-one situation. Any advice would be appreciated!

You say she's been your student for several weeks but that's only several hours of class time if you only meet 1.5 hrs/week. She has just enough time to forget most of what she has learned by the next class. Copying is one way people learn. Since you don't have any pictures in your profile gallery, I don't know if your pots are worth copying or not, but there is nothing wrong with a beginning potter copying other potters. If she is intelligent and creative she will only use that as a way to grow and find her own way with clay. If she's not then who cares? Surely you aren't worried about people mistaking her pots for yours! Look at the stuff that comes out of Steven Hill workshops. Almost everyone tries to make Steven Hill pots. I assume he doesn't discourage it. After all, they are there to learn his techniques--not only throwing but using slip, spraying his glazes, and once-firing. But, no one who knows anything about pottery would ever mistake anything that comes out of those workshops for a Steven Hill pot.

Jim

Perhaps I didn't explain myself very well. I'm not worried about her copying my work. I was hoping for suggestions on how to boost her confidence when her current skill-set doesn't allow her to make the things that she wants. Because there are no other students in the class, she doesn't get to see that everyone struggles at the start, that it takes tons and tons of practice, and I think she feels discouraged. I wondered if other teachers found a difference in a one-on-one teaching environment, because the student has only the teacher to compare themselves to (despite how many times you remind them that you've been doing it for years). And if this might affect your teaching style, or the type of projects that you did with the student.


But I think I've figured a few things out, just discussing it "out loud." Thanks.

[Wahine]

My first pottery class, at a local college, was terrible. The class I'm taking now is so much better. In the first class the teacher offered very little instruction and minimal demonstrations. The class I'm taking now, beginning throwing, the teacher has a set schedule. Starts with cylinders, next bowls, etc.. She does several demos in each class. She also repeats, repeats, repeats instructions. The class is all adult, many older. I for one need the repeated instructions. My throwing has improved immensely after just the first two classes. She also allows room for experimentation and creativity. But this is a teacher who can teach good basics. Others in the class must like her. Most of the students are repeats.

-chantay

[TJR]

Happypots;
You have to make the class more structured. As the previous poster said, start with cylinders, then bowls etc. You don't mention whether this is a handbuilding class, or a throwing class.I always started my clay classes out with the basics-coil, pinch, slab. Then, if she gets frustrated on the wheel, she can go back to building by hand. Learning to throw is difficult, as you know. You make a good point about her being the only one in the class, so she doesn't see that others would feel just as frustrated.She cannot make your work until she learns the basics. Hang in there.
TJR.

[Idaho Potter]

Happypots,

I, like you, have given "private lessons" to adults, with a different take, however. If the student wants to learn ceramics, they start with handbuilding and work their way up. I remind them that getting work fired by someone else (other than in my studio) isn't all that easy. Most places feel more comfortable knowing the student has at least the fundamental basics under their belt. And I try to convince them that the first piece of equipment they need to buy is a kiln--not a wheel.

I have also had students who only wanted to learn wheel throwing techniques. My classes are three hours long (reality check--set up and clean up equal approx. 1/2 hour which is one-third of your alloted class time) plus the student can practice on their own for three hours a week as well. The classes (and the practice time) run for six weeks--no extensions. This is still only 36 hours total (providing they are motivated enough to practice). There are restrictions during class time. They do assigned work--cylinders, bowls, bigger cylinders, shaped cylinders, bigger bowls. If they practice, they can experiment as much as they like, but when they come back to class they do assigned work. Someone who took pottery in high school will advance more rapidly, but tossing a total newbie into wheel throwing without that background is a disservice to your student.

They need structure until they master centering, opening and repeated attempts at drawing up the clay into a viable form. Just as an untrained horse doesn't know what to do with that bit in their mouth, the newbie needs gentle, steady reinforcement so trust and confidence can grow. Rethink your method and maybe the time set aside for classes. When that student actually draws up a slightly wobbly cylinder and it doesn't collapse--their smile will light the whole studio. Once they feel they can throw well, I put more stumbling blocks in their way. They are expected to weigh the clay and make three whatevers of the same size and shape. No, I don't expect the outcome will be exact, but it is something that is important to working with pottery. They are also expected to draw what they intend to produce. No fancy drawing, jut a line drawing showing dimension measurements. These are not "rules" for teaching, they're my methods. I think they need goals--even if I have to set them.

If you are giving group lessons, invite your student in to see the progress of others (or maybe drop in to the community center to take a peek).

[Pres]

Idaho Potter, on 29 January 2013 - 10:21 PM, said:

Happypots,

I, like you, have given "private lessons" to adults, with a different take, however. If the student wants to learn ceramics, they start with handbuilding and work their way up. I remind them that getting work fired by someone else (other than in my studio) isn't all that easy. Most places feel more comfortable knowing the student has at least the fundamental basics under their belt. And I try to convince them that the first piece of equipment they need to buy is a kiln--not a wheel.

I have also had students who only wanted to learn wheel throwing techniques. My classes are three hours long (reality check--set up and clean up equal approx. 1/2 hour which is one-third of your alloted class time) plus the student can practice on their own for three hours a week as well. The classes (and the practice time) run for six weeks--no extensions. This is still only 36 hours total (providing they are motivated enough to practice). There are restrictions during class time. They do assigned work--cylinders, bowls, bigger cylinders, shaped cylinders, bigger bowls. If they practice, they can experiment as much as they like, but when they come back to class they do assigned work. Someone who took pottery in high school will advance more rapidly, but tossing a total newbie into wheel throwing without that background is a disservice to your student.

They need structure until they master centering, opening and repeated attempts at drawing up the clay into a viable form. Just as an untrained horse doesn't know what to do with that bit in their mouth, the newbie needs gentle, steady reinforcement so trust and confidence can grow. Rethink your method and maybe the time set aside for classes. When that student actually draws up a slightly wobbly cylinder and it doesn't collapse--their smile will light the whole studio. Once they feel they can throw well, I put more stumbling blocks in their way. They are expected to weigh the clay and make three whatevers of the same size and shape. No, I don't expect the outcome will be exact, but it is something that is important to working with pottery. They are also expected to draw what they intend to produce. No fancy drawing, jut a line drawing showing dimension measurements. These are not "rules" for teaching, they're my methods. I think they need goals--even if I have to set them.

If you are giving group lessons, invite your student in to see the progress of others (or maybe drop in to the community center to take a peek).

Idaho, I like your take on the mixed bag doing the handbuilding and the throwing. I often would have students that had one thing in mind to do. It may have been a handbuilt pasta bowl, or making ceramic molding, or learning to make a teapot, or some other specialized project. I would always have them fill our a little survey 4X7 card with their contact info, their hobbies/interests, their experience with clay, and if there was anything they really wanted to accomplish in the class. This would lead to the types of demonstrations I did, and how the demonstrations would branch to specific types of projects. In the case of the molding the extruder, the handbuilt pasta bowl to hump or slump molds. I a student was interested in throwing, I would have a group that once I started the handbuilders, and had done a throwing demonstration of a cylinder form, would meet at the wheels those just beginning would get the hands on hands treatment. They were always taught to master the clay-pushing up and pushing down, a good preliminary to centering. Pressure with the hands, and bend of wrist/positions were reinforced constantly. More advanced students would often ask what was going wrong, why things weren't light enough, what caused ripples etc. These things I would explain and demonstrate corrections. Many times a student would complete a second plain cylinder after much work, and I would coax/help them shape it into a more interesting form with their input of what they wanted to do with it. Next have them repeat the same with the next cylinder.
I only ran classes the same as you, with no practice time-the studio was used during the week by my HS classes, and most of these folks couldn't/wouldn't come in after school. However, as I was there late most of the time some folks would ask and come in to work. The last class was a glazing day, and then folks would come in to pick up their work the following week. Towards the end, they begged to have an extra day where they picked up their work, got to see everyone's work and could talk about it-and party, I could not turn them down. We had great fun.

[TJR]

Hey, there;
I taught Adult Pottery at the local city art gallery for eight years. I also taught kids classes on Saturday mornings. Taught Gifted and Talented drawing from 9-11, half hour break, then taught a clay class to 9,10 years olds, then taught a clay class to 5 and 6 year olds. So that was 5and a half hours of teaching on Saturdays, and 3 hours on Wednesdays. I was able to put myself through the after-degree Bachelor of Education program. I have now been teaching art full time for 27 years.
The thing with clay classes is that you have to have STRUCTURE.The class was 10 weeks. I had 14 students and only eight wheels. We started with hand building. Pinch and coil one week, slab the next.My theory was that if you weren't successful throwing, then you could go back to hand building. When teaching throwing, I would demonstrate, get the students going, and then leave the room for 15 minutes. When I came back, I would demonstrate again.and the students were WAY more attentive for the second demo.
I always had a syllabus -centreing, cylinders, mugs and jugs with handles, lids,bowls, plates, glazing and decorating, and then some catch up time.
The adult classes were three hours, allowing 30 minutes at the end for clean-up. There was a technician to load kilns and mix glazes, which was great for me. We fired to cone 6.
After I started teaching high school, I couldn't do the evening and week-end classes. It was just too much. I really enjoyed my time there.
TJR.

[clay lover]

scoobydoozie, on 15 June 2012 - 10:25 AM, said:

I found a planter that I just love the shape of and I'm going to ask the instructor to walk/teach me thru throwing that particular shape. I'm hoping that if I ask, the instruction will be better. Wish me luck and I'm having fun, regardless. Who can't have fun mucking about in mud? LOL! :Dsrc="http://ceramicartsdaily.org/community/public/style_emoticons/default/biggrin.gif">

"fun mucking about in mud" Say that 5 times fast. ::Psrc="http://ceramicartsdaily.org/community/public/style_emoticons/default/tongue.gif">

[AtomicAxe]

When I would teach adults I almost never did private classes. Most of the time it would be myself watching them work, and the times I did do some private classes was something really specific like working side by side for a few hours on something like how to sculpt a bust from a live model or something equally as 1-on-1 needed.

Generally I always preferred group settings, and would frequently encourage it with a group of 4 or more taking class time together getting a discount. It would give the adults learning in my studio support from friends who would also let them feed off each others creativity and energy even if they don't have the same proficiency in the medium. I had wheel throwing only classes, never really mixed since it was hard to split teaching time between wheel and handbuilding but would still encourage those wanting to throw on the wheel to learn the basics of hand building often letting them come the next day as well to hand building to get some dedicated time doing it.

I remember one time I did the couples clay class, which was a friday night and would have some wine and snacks for the couples to nosh on while they work. Largely it was hands off and would only be there for a few occasional questions while they hand built. pretty easy night too, they hand built, then would slip paint their wares and I would fire the work for them clear glaze it and it would be ready in a week.

Nothing beats the saturday morning kids class though ... adults sometimes do not appreciate stupid jokes but kids love dumb jokes and a snack time.

[derp]

TJR, on 29 January 2013 - 05:18 PM, said:

Happypots;
You have to make the class more structured. As the previous poster said, start with cylinders, then bowls etc. You don't mention whether this is a handbuilding class, or a throwing class.I always started my clay classes out with the basics-coil, pinch, slab. Then, if she gets frustrated on the wheel, she can go back to building by hand. Learning to throw is difficult, as you know. You make a good point about her being the only one in the class, so she doesn't see that others would feel just as frustrated.She cannot make your work until she learns the basics. Hang in there.
TJR.

Agree with that. I am also a student and young adult student and though not so experienced to say do like that but the idea was quite good so i will like to go with this poster.