Because I have looked at them so many times I needed to find a way to slow down so that I could quietly absorb nuances as they were revealed. When drawing I pay attention to details of shadow, surface, contour, and context. I aim for a loose likeness, but I am very accepting of distortion and the interpretation that my hand provides. In some ways the most interesting pots are the hardest to draw because they are such nuanced 3-dimensional objects, alive in rotation so it's hard to visually capture that changing volume without losing something on the 2-dimensional paper.
Afterwards we headed over to visit the Renwick Gallery which was filled to bursting, everyone taking photos of themselves amid the exhibit's objects of "Wonder." I was struck by not only was it a completely different experience of material, but a completely different experience of viewing. There was neither space nor time to absorb the scale or nuance of the work.
"Drawing makes you see things clearer, and clearer, and clearer still. The image is passing through you in a physiological way, into your brain, into your memory - where it stays - it's transmitted by your hands."
--David Hockney (in Martin Gayford, A Bigger Message: Conversations with David Hockney)