Elizabeth Priddy on thu 28 jan 10
May's recent thread got me thinking. Also the studio layout thread.
I am going to offer a framework for a conversation with some terms to make =
it easier.
For professional potters they have to do two things that most people do but=
do not think about in a business like way.
Product design is establishing what you want to make. Ideally, the potter =
will look at all of the options and decide which things they enjoy making o=
r are extremely good at making or that they can uniquely make. Real world =
is that you make a lot of things, and set them out there. The things peopl=
e buy, you make more of, and eventually you have a line developed by trial =
and error. Feeding the market whatever it wants is a dangerous game that l=
eads to burn out, but there is a better way!
Production design is something potters know about but do not conceptualize.=
It looks to the process of making what you make and applies technology an=
d industrial design principles to the making process to optimize the unique=
ness and quality of the ware produced. In other words, how do you make it =
and with what.
Just a couple of things to think about, maybe launch a discussion of the wa=
ys we work and which methods we have used and what success or failure you h=
ave experienced.
Bad production design will bankrupt you.
Bad or neglected product design will have you making things you don't like =
to make.
So a couple of questions, less wordy:
How did you come to make what you make?
Have you ever evaluated your process for efficiency?
- ePriddy
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
steve graber on thu 28 jan 10
i'm far from a production potter, but have other things in production.=3DA0=
o=3D
ne concept i wonder if people think about is their clay shrinkage and throw=
=3D
ing pots so that after they shrink they make=3DA0the best use of available =
he=3D
ight of their kiln furniture?=3DA0=3DA0when i=3DA0load a kiln i see right o=
ff i s=3D
hould have thought about making some pieces a little taller or shorter to m=
=3D
ake best use of the available kiln space.=3DA0=3DA0seems a rack of mugs to =
the =3D
same height as bowls, etc might be best space use.=3DA0 the ablility to use=
g=3D
enerally one size=3DA0kiln post everywhere would be useful to design into c=
la=3D
y products.=3DA0 =3DA0knowing you only use one height would speed up kiln l=
oadi=3D
ng.=3DA0 and when you need to buy more at your store you don't wonder again=
, =3D
what size do i need?=3DA0 =3D0A=3D0Alikewise bowl diameters should be sized=
to ni=3D
cely fit on a shelf instead of=3DA0the usual slightly too big or slightly t=
oo=3D
small but not small enough to batch bowls on a kiln shelf.=3DA0 dead space=
i=3D
n a kiln to me is like old fashion unexposed film...=3DA0 just shouldn't be=
a=3D
llowed!=3DA0 except i do it way too often.=3DA0 =3D0A=3D0Ai made myself som=
e measur=3D
ing sticks years ago to size my plate and bowls into common sizes.=3DA0 but=
i=3D
never fine tuned them for best kiln use.=3DA0 what i made were T sticks wh=
er=3D
e the verticle part up to the T denoted the height of the thrown cylinder.=
=3D
=3DA0 the horizontal T part was the lay down or open size.=3DA0 i wrote the=
pou=3D
nds used on the stick so i know a 5 pound lump of clay makes this or that.=
=3D
=3DA0 i did these around 1994 so even now i can make replacement plates for=
m=3D
y set or others.=3DA0 it's a handy device.=3DA0 =3D0A=3D0A~ except they sti=
ll don't=3D
fit in the kiln right...=3DA0 =3D0A=3D0A=3D0A=3DA0Steve Graber, Graber's P=
ottery, In=3D
c=3D0AClaremont, California USA=3D0AThe Steve Tool - for awesome texture on=
pot=3D
s! =3D0Awww.graberspottery.com steve@graberspottery.com =3D0A=3D0A=3D0AOn L=
aguna Cl=3D
ay's website=3D0Ahttp://www.lagunaclay.com/blogs/ =3D0A=3D0A=3D0A=3D0A-----=
Original =3D
Message ----=3D0A> From: Elizabeth Priddy =3D0A> To: =
Clay=3D
art@LSV.CERAMICS.ORG=3D0A> Sent: Thu, January 28, 2010 9:53:02 AM=3D0A> Sub=
ject=3D
: production design=3D0A> =3D0A> May's recent thread got me thinking.=3DA0 =
Also t=3D
he studio layout thread.=3D0A> =3D0A> I am going to offer a framework for a=
con=3D
versation with some terms to make it =3D0A> easier.=3D0A> =3D0A> For profes=
sional=3D
potters they have to do two things that most people do but do =3D0A> not t=
hi=3D
nk about in a business like way.=3D0A> =3D0A> Product design is establishin=
g wh=3D
at you want to make.=3DA0 Ideally, the potter will =3D0A> look at all of th=
e op=3D
tions and decide which things they enjoy making or are =3D0A> extremely goo=
d =3D
at making or that they can uniquely make.=3DA0 Real world is that you =3D0A=
> ma=3D
ke a lot of things, and set them out there.=3DA0 The things people buy, you=
m=3D
ake =3D0A> more of, and eventually you have a line developed by trial and e=
rr=3D
or.=3DA0 Feeding =3D0A> the market whatever it wants is a dangerous game th=
at l=3D
eads to burn out, but =3D0A> there is a better way!=3D0A> =3D0A> Production=
desig=3D
n is something potters know about but do not conceptualize.=3DA0 It =3D0A> =
look=3D
s to the process of making what you make and applies technology and =3D0A> =
in=3D
dustrial design principles to the making process to optimize the uniqueness=
=3D
=3D0A> and quality of the ware produced.=3DA0 In other words, how do you m=
ake =3D
it and with =3D0A> what.=3D0A> =3D0A> Just a couple of things to think abou=
t, may=3D
be launch a discussion of the ways we =3D0A> work and which methods we have=
u=3D
sed and what success or failure you have =3D0A> experienced.=3D0A> =3D0A> B=
ad pro=3D
duction design will bankrupt you.=3D0A> Bad or neglected product design wil=
l =3D
have you making things you don't like to =3D0A> make.=3D0A> =3D0A> So a cou=
ple of=3D
questions, less wordy:=3D0A> =3D0A> How did you come to make what you make=
?=3D0A=3D
> =3D0A> Have you ever evaluated your process for efficiency?=3D0A> =3D0A> =
=3D0A> =3D
=3D0A> - ePriddy=3D0A> =3D0A> Elizabeth Priddy=3D0A> Beaufort, NC - USA=3D0=
A> =3D0A> ht=3D
tp://www.elizabethpriddy.com=3D0A=3D0A=3D0A=3D0A
Bonnie Staffel on sat 30 jan 10
Hi all,
Elizabeth, that is an interesting thread to start. Making a business out =
=3D
of
pottery from an artist's point of view is very challenging. Normally, an
artist likes to avoid the "business" of their work. However, reality =3D
comes
into play when the potter decides to make it the only source of income.
1. How did you come to make what you make?
For the first 20 years of my interest in pottery was geared towards =3D
entering
museum show competition and was fortunate to be awarded some prizes as =3D
well
as even being accepted into prestigious shows. When my husband's work =3D
looked
like the owners were headed for bankruptcy we decided to make our own
decisions and lay out our future. First we had to find a location and =3D
when
in our experience with art fairs in their infancy, figured out that
Michigan, was the most likely place to locate. We found a place for our
studio/gallery, price was inexpensive, and the location (the most =3D
important
ingredient) was checked by the traffic on the road in front of our shop =3D
and
where they were coming from or going to.
I figured that having apprentices was a good way to give back what I had
learned as well as having control over their production. Many were just =3D
out
of school so I had to teach them production methods first, such as small
bottles, saucers and things where success from their hands and my =3D
designs
could be learned early. Being a cook myself, I leaned towards kitchen
products as my early endeavor in production. So mugs also were =3D
determined to
be useful to a variety of customers coming to northern Michigan from all
over the country as well as the world. But before that our first three =3D
years
we only went to the studio in the summertime, had to come up with a =3D
simple
design that fit the countryside. Mushrooms were popular at that time. I
designed many types of mushrooms and had the first few apprentices
(neighbors) working for me. I used the mushrooms to test my new =3D
oxidation
glazes, having had to give up my gas kiln in the move. They sold like
wildfire and kept us afloat while getting known in the area as potters. =3D
I
made mugs and various other functional works as well. Another thing that
made me love northern Michigan was to be able to go into the fields and
forests for wild flowers which I dried to use as fillers or additions to =
=3D
the
mushrooms and small vases. This helped sales too. My husband and I =3D
designed
other items to promote the use of the dried flowers as it was "in" at =3D
the
time (back in the late 60s and early 70s). By the end of the third =3D
summer,
we were making enough in sales for my husband to quit his job and we =3D
moved
up north completely with our equipment. We also found a bakery that was
going out of business so felt that was a sign that it was time to make =3D
the
break. We bought the used Hobart dough mixer so that we could mix our =3D
own
clay and other things useful to a potter.=3D20
As our customers were varied from different backgrounds, I made animal
sculptures too to appeal to the children or the child in the adult. My =3D
birds
were very popular and still are the backbone of my production work. =3D
However,
I loved sculpture and introduced larger pieces of sculpture as well as
ovenware and dinnerware.=3D20
2. Have you ever evaluated your process for efficiency?
I had these apprentices which came to northern Michigan and realized =3D
that
they had to have some income to pay their housing and food expenses. So =3D
I
paid them a wage to learn. Normally it took about six months to get them =
=3D
up
to speed. I then decided to time them as they made pots off the hump and =
=3D
I
timed myself for making larger items such as birdfeeders, platters, etc.
When one of the apprentices was learning to pull handles, I designed =3D
napkin
rings so that I could have return for her learning. I feel that time
management is primary in whether you have success in your business or =3D
not.
The one deciding factor in the purchase of the extruding pug mill was to =
=3D
cut
down on the time spent kneading and preparing the clay for the day's
production.=3D20
My husband also designed some of our output and even designed equipment =3D
to
produce them quickly and easily.=3D20
Our apprentices also acted as sales people in the gallery which gave =3D
them
further experience. I handled all the decorating and designing aspects =3D
of
our work. They also accompanied me to the art fairs that we attended =3D
while
building our business up north. We handed out our brochures as =3D
advertising
and our location was a favorite spot in the state for visitors.=3D20
Hope this answers some of the questions about our business venture and =3D
what
worked for us.=3D20
Bonnie Staffel
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD=3DA0 Throwing with Coils and Slabs
DVD=3DA0 Introduction to Wheel Work
Charter Member Potters Council
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