Drawing is an integral component of my work as a potter. My daily studio practice involves writing two pages of longhand text. Usually I have a topic or a line of a poem as a jumping off point. I leave a blank page for an image. I draw pots in use or as I imagine them. I draw to evaluate their success or failure. I draw to think about the next step or to remember how I made something. Early on I discovered adding methylcellulose to my acrylic paint slowed the drying time and allowed me to brush or finger paint through the paint much the same way I work in slip. Paintings/drawings became a way to practice my clay slip ideas. I have always carried a sketchbook and made quick sketches in museums, from books and magazines, or from my imagination. I found that these cutup small drawings glued on top of my painted pages added up to something much greater than the parts. Practicing brushwork on painted pages provides a way to carry the line much further than I could imagine than when I only worked directly on clay.