What, to you, makes a show a Destination Live Show, a show that you will travel to or otherwise make room in your life to attend, whether in time or budget?

This discussion has come up from time to time, and the Mares In Black podcast did a good episode talking about it, but I think this is a shifting and evergreen discussion, where the answers change.

Some things that can make a show a Destination for me include:

  • Especially interesting, experienced judges
  • Unusual classlist or challenge class that either grabs me creatively or that I think will especially line up with my skills or collection
  • Someone I want to see (or meet for the first time) will be there (this can include being in a city where I can stay with a friend)
  • Workshops where I could learn a new skill
  • Some place I’d really like to visit
  • After (or before) show special events or tours
  • Great awards that I think I have a chance to win (note that great awards that I DON’T think I can win do not tempt me at all :-) ). An in-person attendee drawing/door prize for something great can fit this category too.
  • A strong chance to socialize with at least a few people I enjoy if not the whole show - facilitated when we are all staying at the same place, when there’s not a lot of driving between the hall and lodging, when everyone can share meals.
  • Do I think I’ll have a good time and remember this particular show for years to come?

For me, these issues get tempered against, can I make the time to get there, what is my total cost including hotel, car, airfare. (Interestingly, airfare is often much less of a problem than the car these days.) If it’s a situation where I can stay with someone and not have to drive, or where at most I have to take a shuttle between the airport and the hotel, that helps a lot with the cost.

What does your list look like?

  • elaineOPMA
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    3 months ago

    Adding some more pictures of this Limerick that I dug out:

    Limerick with the mold opened, but still against one piece of plaster

    Closeup of the demolded Limerick with the pour sprue removed but all the seams still present

    Then we cut them in half to check our work (I had poured mine too thick FWIW) and we returned them to the mud:

    A bucket of clay slip, with various pony parts melting and disappearing into it.

    We used old, retired molds that no longer had the requisite detail for production; this was just practice so we could understand the process.