Sasha Wooldridge on sun 31 oct 10
Hi Everyone,
I can't even tell you all how excited I was to find this site! It's a lit=
=3D
tle
hard to follow the posts at first but is obviously a valuable tool for an=
=3D
y
potter. I'm somewhat new to the pottery game and am simply looking for so=
=3D
me
good general advice about several things. I'm 24 years old and started on=
=3D
the potter's wheel in my senior year in high school (I wasn't in that cla=
=3D
ss
but my teacher thought I might have an aptitude for it so let me use it
after school). I fell in love. Unfortunately I had only about 6 months to=
=3D
play before I lost access to it because I graduated. I knew then that I
wanted to own a studio and make it my career, but where was I going to ge=
=3D
t
all that money?=3D20
Needless to say, I lost my way a bit. I went to school for accounting for=
=3D
a
little while and when I realized that I hated it, I also realized that I
found myself a 'good' job making enough money that I could start realizin=
=3D
g
the studio life I wanted all along (without breaking the bank). This past=
=3D
year I purchased a wheel and built a wedging table (all paid for in cash,=
=3D
yay!) and put them in my basement to practice with for while, until I
thought I might be good enough to sell my pieces with confidence.=3D20
Now I have a different problem. No space for a kiln. I took a class at a
local studio (who are very interested in bringing attention to the potter=
=3D
y
world and encouraging for those who are interested in delving into that
world, clayscapespottery.com) and my instructor told me that unless you o=
=3D
wn
a kiln or are a paying member of an already functioning studio, it's very=
=3D
difficult to get your pieces fired.
Now I'm working on advancing in my day job to buy a house that has a
basement that can house a kiln (my current basement is barely big enough =
=3D
for
the wheel and wedging table). I think this is the point where the advice
comes in:
My dream is to sell functional porcelain pieces, focusing on vessels
(plates, bowls, cups, mugs, vases, etc.) and branching from that into
'artsy' pieces (maybe lamp shades or wall hangings) that would complement=
=3D
table place settings and such. Here we go with another problem again... I=
=3D
don't know very much about... well, anything. While I'm aware that I know=
=3D
quite a bit about ceramics that many people who dabble in it don't, I fee=
=3D
l
like I've barely scratched the surface. And since I've almost not even
started yet I have this great opportunity to take advice from people who
have 'been there and done that'.=3D20
So does anyone have any helpful hints that could help me get started? Or
even for anything further down the road, like pricing, setting up a websi=
=3D
te,
or everyday issues that being a potter entail? I think more importantly,
does anyone see any issues with my 'plan'? Since I don't know very much
about the pottery world there could be something that I'm ignorant of tha=
=3D
t
makes this not such a great idea. Of course any comments are welcome,
including constructive criticism!
-Sasha
Stephani Stephenson on sun 31 oct 10
Wow, Sasha
Welcome to the block! A lot of good questions.
Questions about furthering your skill, about establishing a working
studio/workshop, about business and clay.
You mention, "I feel like I've barely scratched the surface."
i can tell you that feeling will be with you for a long time. in fact, it=
=3D
is
one of the things that attracted me to clay. No matter how long you are w=
=3D
ith
it, you will never know it completely, there will always be something to
explore, and yes, something to confound you as well as excite you. At the=
=3D
same time, at every step of the way, you will be able to utilize what you=
=3D
do
know to make work. it is a lifelong process. If that interests you, it's
possible you may have found a good lifelong pursuit.
I would suggest you pay attention to developing your skills: at the wheel=
=3D
,
at your forming, glazing and firing techniques. The work itself is your
foundation.=3D20
How you go about developing a business, if you decide to do that, depen=
=3D
ds
a lot on your own personality. some people construct a well defined plan
before they take the leap. Some start by sticking a toe in the water,
developing and unveiling their work over a long period of time, while
others jump in with everything they have. it sounds like you have a lo=
=3D
ve
for clay but also have a sensible nature when it comes to finances, so I'=
=3D
m
sure your approach will combine both of these attributes. There is no wro=
=3D
ng
or right way to do it, but there is also no training program that will sh=
=3D
ow
you how to do it. you can learn from many sources, from the clay world to=
=3D
the business world. After a number of years working with clay, i decided =
=3D
to
take a 'going into business' workshop from a local community development
organization. . the first few years my business was tiny, but i became
familiar with the basics. i started gradually and each time i made a ste=
=3D
p,
even a little step my knowledge, experience, and confidence grew.=3D20
you hit the nail on the head when it comes to kilns. Urban potters in
particular can have a tough time finding space to fire. some work with sm=
=3D
all
kilns, some find community studios or community college classes. sometim=
=3D
es
clay distributors will have associated classes.=3D20
But setting up your own studio is exciting. I wish you well and hope you=
=3D
keep posting.
Stephani Stephenson
Revival Tileworks
monkeymind88@COMCAST.NET on sun 31 oct 10
>unless you own
>a kiln or are a paying member of an already functioning studio, it's very
>difficult to get your pieces fired.
Are you near a clay supply business? Sometimes they have firing
facilities and will take individual pieces, although it's usually
expensive for the potter.
The only way for you to make real progress is to fire your own work
and analyze the results. Your instructor was right, unfortunately.
I'd advise checking Craig's list in your area for sales of small used
kilns. But be careful here. Unless it's in really good shape and you
can ask the seller to plug it in and check if the elements are all
glowing, I wouldn't buy one. Go talk to your retailer in clay and
supplies. They sometimes get in used kilns and resale them. Ask lots
of questions and be an information sponge.
>Now I'm working on advancing in my day job to buy a house that has a
>basement that can house a kiln (my current basement is barely big enough f=
or
>the wheel and wedging table).
A garage or attached kiln shed that is well protected from the
elements is better. Having a kiln in a basement can be hazardous from
the standpoint of good air circulation. You want to keep off-gassing
fumes away from your living spaces. Also, older houses have very
dried-out lumber that, if raised to high a temperature, could
-believe it or not- combust spontaneously. It would be rare, but you
don't want to be the example. Also, fumes can circulate throughout
your house through the ducting system for your furnace/ac.
The other thing I would suggest is finding an art organization in
your area and joining. Better yet, a potter's group. Go to shows and
ask people there selling their work. Go to galleries and supply
places. Lots of times they have information and bulletin boards with
notices. Talk, ask questions, keep your eyes and ears open. And keep
that enthusiasm!
Good luck,
Cheers,
--
Jeanette Harris in Poulsbo WA
http://www.jeanetteharrisblog.blogspot.com
http://fiberneedlethread.blogspot.com/
http://www.washingtonpotters.org/WPA_Gallery.htm
Snail Scott on mon 1 nov 10
On Oct 31, 2010, at 11:14 AM, Sasha Wooldridge wrote:
> I went to school for accounting for a
> little while and when I realized that I hated it...
I think most artists would benefit greatly from
some education in accounting and small
business. Additionally (I can say from having
done it the other way), having a bit of a nest
egg built up before going full time in the studio
is a very wise thing. It will cushion you while
sales are still developing, and give you ' elbow
room' to develop your work without worrying
about selling everything. And you will need that
time. Well-developed work which can be made
in a cost-effective time frame does not happen
overnight. Be disciplined but also exploratory,
and don't rush it.
>
> Now I have a different problem. No space for a kiln...
> Now I'm working on advancing in my day job to buy a house that has a
> basement that can house a kiln...
I'[m not crazy about putting a kiln in a basement.
You will need to have a good venting system,
and even so, you are sharing space with a heat-
producing and fume-producing appliance. Kilns
can live outside. Yes, in a damp climate rust will
set in quicker outdoors than in a climate-controlled
house, but a simple shed or lean-to will give decent
protection and eliminate any venting concerns as
well as eliminating waste heat issues. Waste heat
is dandy in winter, but not summer. (Try to put the
kiln shed within 20 feet of the breaker box, as
longer electrical distances require heavier wire.)
You _can_have a kiln without moving!
In the meantime, it may or may not be difficult to
fire elsewhere. Some areas have a lot of ceramics
shops that do 'service firings' for a fee. Some have
art centers or parks-and-rec centers with firing
facilities. Many ceramists have 'excess capacity'
at times, and will rent kiln space to others. Also,
many hobbyists don't get full-time use from their
kilns, and hooking up in partnership with one or
more of them might be good for both of you. Try
putting notices up in places where artists read
them: local art supply places, or even the local
supermarket or Craigslist.
The great potter Lucie Rie was known for having
formerly carried her work on the bus across London
in a suitcase to get it fired. Having your own kiln is
going to be necessary eventually, but you can do
a lot without one if you are willing to be flexible.
It can be hard to learn ceramics on your own - you
may spend a lot of time 'reinventing the wheel'. I
suggest trying to find someone to work with. Maybe
not a formal apprenticeship, but a person who is
willing to let you come around and help out, trading
labor for instruction, or even just exposure to how
a working clay artist gets things done. Even if they
aren't doing the kind of work you have in mind,
enough things are universal to give you a good
idea of (at least) what questions to ask next. Ideally,
you could use this person's studio, or at least rent
kiln space from them, but even if you can't, you need
actual people to show you things in person. Go to
local craft fairs and talk to the clay people, or ask at
your nearest supplier for the names of people who
might be willing to at least chat with you. Internet
discussion groups like this one are great, but it's
tough enough to explain how to make a cone pack
using words alone; other things are even tougher,
when they might be very simple in person. Find
people; the more the better. Don't try to go it alone.
Good luck!
-Snail
Birgit Wright on mon 1 nov 10
Hello Sasha=3D3B I felt the same way about this site when I found it. I a=
m =3D
a relatively new potter as well=3D2C I started taking classes about 7 yrs. =
ag=3D
o=3D2C and got my own studio 3 yrs ago=3D2C though this is a 2nd. career fo=
r me=3D
(55 yrs young=3D2C ha ha). Because you are young you really don't want to=
t=3D
ake a chance at compromising your health with the off-gassing that happens =
=3D
when the kiln is firing. There are a number of things you will need to res=
=3D
earch and teach yourself if you are not taking formal ceramic education=3D2=
C(=3D
I do believe in self-education though not to the exclusion of workshops=3D=
2C=3D
tutorials=3D2C and lessons from private studios when possible) . There ar=
e =3D
lots of old potters out there so it is not impossible to live long=3D2C so =
lo=3D
ng as you make yourself aware of the safety concerns. Most glaze ingredien=
=3D
t materials are toxic when airborne but not when suspended in water=3D2C ev=
en=3D
clay dust is hazardous to your lungs. Learn about these things so you can =
=3D
move forward as a potter with confidence. =3D20
One of the friends I learned from=3D2C says there really are 3 art forms =
a =3D
potter has to learn=3D3B One is the clay=3D2C Stoneware=3D2C Porcelain=3D2C=
Earthen=3D
ware=3D2C what cone to use. How to throw=3D2C how to build=3D2C attaching h=
andles=3D
etc. Two is Glaze application=3D2C how quickly all your work is sunk with =
th=3D
e wrong glaze or a bad application=3D2C or wrong firing time. Third is Gla=
ze=3D
chemistry=3D2C the right fit=3D2C decorative or functional=3D2C grinding s=
helves=3D
or not. There are lots of books out there and demos on youtube and the we=
=3D
alth of knowledgeable people on this site as well as any Co-op or potters g=
=3D
roups in your region. use them all.=3D20
The passion you have is really the most important part of the equation=
=3D
=3D2C It will keep you moving forward.=3D20
Good luck and Cheers=3D2C Birgit Wright=3D20
=3D20
> Date: Sun=3D2C 31 Oct 2010 12:14:41 -0400
> From: swooldridges@GMAIL.COM
> Subject: New Kids on the Block
> To: Clayart@LSV.CERAMICS.ORG
>=3D20
> Hi Everyone=3D2C
>=3D20
> I can't even tell you all how excited I was to find this site! It's a lit=
=3D
tle
> hard to follow the posts at first but is obviously a valuable tool for an=
=3D
y
> potter. I'm somewhat new to the pottery game and am simply looking for so=
=3D
me
> good general advice about several things. I'm 24 years old and started on
> the potter's wheel in my senior year in high school (I wasn't in that cla=
=3D
ss
> but my teacher thought I might have an aptitude for it so let me use it
> after school). I fell in love. Unfortunately I had only about 6 months to
> play before I lost access to it because I graduated. I knew then that I
> wanted to own a studio and make it my career=3D2C but where was I going t=
o =3D
get
> all that money?=3D20
>=3D20
> Needless to say=3D2C I lost my way a bit. I went to school for accounting=
f=3D
or a
> little while and when I realized that I hated it=3D2C I also realized tha=
t =3D
I
> found myself a 'good' job making enough money that I could start realizin=
=3D
g
> the studio life I wanted all along (without breaking the bank). This past
> year I purchased a wheel and built a wedging table (all paid for in cash=
=3D
=3D2C
> yay!) and put them in my basement to practice with for while=3D2C until I
> thought I might be good enough to sell my pieces with confidence.=3D20
>=3D20
> Now I have a different problem. No space for a kiln. I took a class at a
> local studio (who are very interested in bringing attention to the potter=
=3D
y
> world and encouraging for those who are interested in delving into that
> world=3D2C clayscapespottery.com) and my instructor told me that unless y=
ou=3D
own
> a kiln or are a paying member of an already functioning studio=3D2C it's =
ve=3D
ry
> difficult to get your pieces fired.
>=3D20
> Now I'm working on advancing in my day job to buy a house that has a
> basement that can house a kiln (my current basement is barely big enough =
=3D
for
> the wheel and wedging table). I think this is the point where the advice
> comes in:
>=3D20
> My dream is to sell functional porcelain pieces=3D2C focusing on vessels
> (plates=3D2C bowls=3D2C cups=3D2C mugs=3D2C vases=3D2C etc.) and branchin=
g from tha=3D
t into
> 'artsy' pieces (maybe lamp shades or wall hangings) that would complement
> table place settings and such. Here we go with another problem again... I
> don't know very much about... well=3D2C anything. While I'm aware that I =
kn=3D
ow
> quite a bit about ceramics that many people who dabble in it don't=3D2C I=
f=3D
eel
> like I've barely scratched the surface. And since I've almost not even
> started yet I have this great opportunity to take advice from people who
> have 'been there and done that'.=3D20
>=3D20
> So does anyone have any helpful hints that could help me get started? Or
> even for anything further down the road=3D2C like pricing=3D2C setting up=
a w=3D
ebsite=3D2C
> or everyday issues that being a potter entail? I think more importantly=
=3D
=3D2C
> does anyone see any issues with my 'plan'? Since I don't know very much
> about the pottery world there could be something that I'm ignorant of tha=
=3D
t
> makes this not such a great idea. Of course any comments are welcome=3D2C
> including constructive criticism!
>=3D20
> -Sasha
=3D
gayle bair on mon 1 nov 10
Sasha,
With your accounting skills I'd bet you would be most welcome in any =3D
local studio in exchange for firing and use of equipment.
I started my clay career by offering my services to a studio in exchange =
=3D
for access to the studio and firings.
It was a new studio and I had minimal experience in clay ... what I did =3D
have was lots of energy to do grunt work (setting up the studio, =3D
painting walls etc) more importantly I brought my arts and graphic arts =3D
skills. So I'd do whatever was needed and designed their logo, flyers =3D
and ads.=3D20
Gayle Bair
Bainbridge Island WA
Tucson AZ
gayle@claybair.com
www.claybair.com
On Oct 31, 2010, at 9:14 AM, Sasha Wooldridge wrote:
> Hi Everyone,
>=3D20
> I can't even tell you all how excited I was to find this site! It's a =3D
little
> hard to follow the posts at first but is obviously a valuable tool for =
=3D
any
> potter. I'm somewhat new to the pottery game and am simply looking for =
=3D
some
> good general advice about several things. I'm 24 years old and started =
=3D
on
> the potter's wheel in my senior year in high school (I wasn't in that =3D
class
> but my teacher thought I might have an aptitude for it so let me use =3D
it
> after school). I fell in love. Unfortunately I had only about 6 months =
=3D
to
> play before I lost access to it because I graduated. I knew then that =3D
I
> wanted to own a studio and make it my career, but where was I going to =
=3D
get
> all that money?=3D20
>=3D20
> Needless to say, I lost my way a bit. I went to school for accounting =3D
for a
> little while and when I realized that I hated it, I also realized that =
=3D
I
> found myself a 'good' job making enough money that I could start =3D
realizing
> the studio life I wanted all along (without breaking the bank). This =3D
past
> year I purchased a wheel and built a wedging table (all paid for in =3D
cash,
> yay!) and put them in my basement to practice with for while, until I
> thought I might be good enough to sell my pieces with confidence.=3D20
>=3D20
> Now I have a different problem. No space for a kiln. I took a class at =
=3D
a
> local studio (who are very interested in bringing attention to the =3D
pottery
> world and encouraging for those who are interested in delving into =3D
that
> world, clayscapespottery.com) and my instructor told me that unless =3D
you own
> a kiln or are a paying member of an already functioning studio, it's =3D
very
> difficult to get your pieces fired.
>=3D20
> Now I'm working on advancing in my day job to buy a house that has a
> basement that can house a kiln (my current basement is barely big =3D
enough for
> the wheel and wedging table). I think this is the point where the =3D
advice
> comes in:
>=3D20
> My dream is to sell functional porcelain pieces, focusing on vessels
> (plates, bowls, cups, mugs, vases, etc.) and branching from that into
> 'artsy' pieces (maybe lamp shades or wall hangings) that would =3D
complement
> table place settings and such. Here we go with another problem =3D
again... I
> don't know very much about... well, anything. While I'm aware that I =3D
know
> quite a bit about ceramics that many people who dabble in it don't, I =3D
feel
> like I've barely scratched the surface. And since I've almost not even
> started yet I have this great opportunity to take advice from people =3D
who
> have 'been there and done that'.=3D20
>=3D20
> So does anyone have any helpful hints that could help me get started? =3D
Or
> even for anything further down the road, like pricing, setting up a =3D
website,
> or everyday issues that being a potter entail? I think more =3D
importantly,
> does anyone see any issues with my 'plan'? Since I don't know very =3D
much
> about the pottery world there could be something that I'm ignorant of =3D
that
> makes this not such a great idea. Of course any comments are welcome,
> including constructive criticism!
>=3D20
> -Sasha
John Rodgers on mon 1 nov 10
Hi Sasha. Welcome Aboard!!!
I have to tell you, there's a lot of us who have been in clay for
20-30-40+ years and still feel like we have just scratched the surface.
You will find every kind here, and most all will be willing to help.
Feel free to ask your questions. Jump in with all four feet and go for
it. You are doing it right so far. It will take a bit of time to find
your way around in Clayart Town, and learn what's what and who's who,
but you will get there. This group is a gateway to some of the best
collected knowledge anywhere, and not only that - there is a living
Clayart memory at work so a lot of questions can be answered quickly.
But, courtesy to the group demands you access the archives first, and if
you find no answers or solutions then by all means - ASK!. Don't feel
embarassed. Every one of us - at one time or another - were where you are.
You go, little lady!
John
John Rodgers
Clayartist and Moldmaker
88'GL VW Bus Driver
Chelsea, AL
Http://www.moldhaus.com
On 10/31/2010 11:14 AM, Sasha Wooldridge wrote:
> I feel
> like I've barely scratched the surface.
Sasha Wooldridge on tue 2 nov 10
I certainly got many responses about not putting a kiln in a basement so,=
=3D
point well taken! Ha ha! I'm renting the in-law suite of a house right no=
=3D
w
so I don't think that I can make progress on a kiln just yet. I do live i=
=3D
n
central New York also, and am not a fan of the winters. I think I would
prefer to have a room off the house, maybe a concrete walled addition? Of=
=3D
course this is thinking pretty far into the future. I'm a planner, I can'=
=3D
t
help it. Please let me know your thoughts!
Lili Krakowski on tue 2 nov 10
Welcome. And all good wishes. All the advice and encouragement you =3D
already have gotten is great. =3D20
Let me to add two points.
Get a skill that is easy to market and relatively easy to fit into a =3D
studio schedule. Among them: bartending, short order cooking,=3D20
hairdressing, nursing, EMT... All jobs/work that you can "access" on =3D
short notice or do a few days a week, the rest spent in the studio.
The big dark hole comes when you have set up your studio and started to =
=3D
sell....It takes time before you sell enough to live off. But the wolf =3D
at the door does not know this. He must be fed. You speak of a day =3D
job...is that work that can be done part time, so you can taper off =3D
while starting your business, rather than quitting completely?
And then., The Kiln. Were you in a proper school it would take quite =3D
a time before you would be allowed to fire. "We" see a lot of horrors =3D
around because people somehow assume that all they make is wonderful, =3D
and needs immortalization. Forget about firing everything you make. =3D
You probably still are at the make and break stage. Make two dozen =3D
mugs. Let them dry, Examine each carefully. Keep the three or four =3D
best.
Recycle the rest. Make two dozen mugs. Let them dry, Compare them =3D
with what you kept.. and so on. Repeat and repeat. Same with bowls etc. =
=3D
Those are your barre exercises. You need them before you go on stage.
You can find someone who will fire one or two of your very best... Years =
=3D
ago there were people who registered at the place where I taught, never =3D
showed up for class, but brought in work to be fired.. As others said, =
=3D
there may be a potter who will trade firing for hard labor...like =3D
cleaning the studio, glaze tech, packing stuff for shipping.
With all due respect--firing is the ultimate temptation for novices. A =3D
form of "cogito ergo sum". "I fired therefore it is a=3D20
pot". No. You fired and therefore it is something ., Not necessarily =
=3D
a pot. Be glad you do not have a kiln at this point.
Gives you more time to practice!
All sorts of good wishes...wow'em.
Sasha Wooldridge on tue 2 nov 10
I really appreciate what you said. I was actually thinking of simply
throwing, trimming, 'trashing', then recycling that clay so I won't have =
=3D
to
worry about money for more all the time and I won't have ten thousand
pots/bowls/cups/plates, etc, that I don't even really want. I did take a
class at a local studio and the instructor kept saying 'If you don't like=
=3D
it, don't fire it. It'll be around for the next 10 million years so you
better like what you put through the kiln'.=3D20
The studio also lets you rent studio space and with that you can fire a
whole kiln at a time for an extra fee. The problem is that there are so m=
=3D
any
people that are a part of it that there's barely enough time with the kil=
=3D
n
to go around. Some of them are trying to meet professional deadlines and
others have personal ones. They also do workshops and classes, where if y=
=3D
ou
don't fire it you may not learn what you're there to learn. The studio ti=
=3D
me
is $80 a month but I'm not sure what the fee is to fire. Maybe after I ge=
=3D
t
some technique down I'll try doing that, at least until I have a place of=
=3D
my
own. It'll take awhile to get my pieces fired though.
Lili Krakowski on sat 6 nov 10
I have been dithering as to whether I should post this to the list, or
just send it to Sasha only. The argument against posting now is that =3D
Tuesday I get a new
knee, or knew nee, whichever the surgeon decides. So I will be silenced =
=3D
for a=3D20
couple of weeks.
But, as the thread "New kids on the block" is current, I post this =3D
now. I recognize
I'll be out of the ring when bricks fall...but I'll take my chances.
Sasha asked a lot of good questions. And got a lot of good answers.
But something was omitted as it generally is: do you have the =3D
temperament for this?
A local friend said once that every city slicker who moves "up here" =3D
either wants to
run an old-fashioned hardware store, or open a restaurant....Romantic =3D
visions that
inevitably clash with reality.
The statistics are against the artist /craftsman who wants to subsist =3D
entirely off=3D20
his or her art/craft work. But, even assuming the craftsman starts off =
=3D
with a big bang,=3D20
will it last? I have had a number of galleries/shops that sold my work
close on me. Finding new outlets is time consuming and one still must =3D
feed the wolf at
the door. One of my best outlets discontinued carrying my pots because =
=3D
they had "moved
on" from functional stoneware to china and porcelain knickknacks.
Someone the other day quoted a famous male painter who remarked =3D
something to the
effect that a male artist supported by his wife is considered a real =3D
artist, A female supported by
her husband is considered an amateur. (This does not apply only to =3D
artists. A man who marries a rich
woman is called a gigolo; a woman who marries a rich man is called a =3D
gold-digger.
Apparently the rich daren't marry! )
It is extremely difficult to support oneself without a steady
income. I have mentioned before, and several times, I am sure, that I =3D
know/have known=3D20
a number of potters who claimed to be self-supporting with their craft=3D20
(as distinguished from teaching), when, actually, the heavy
bills were paid by a husband, wife, partner, parent, inheritance, =3D
alimony, pension.
If you are on your own, without a backstop, you will need to accumulate=3D2=
0
savings, or find a part-time job before you set out to sea.
This is one consideration. To cut lose from a regular job and set up as =
=3D
a
potter is costly, and the startup of a business takes time.
Furthermore. Production potting takes a certain temperament...which I =3D
absolutely do not have.=3D20
I have seen some production potters doing exactly the same stuff for =3D
decades.
Yes, sometimes a new glaze appears, and sometimes a design does, But =3D
basically
it is a few things made over and over and over again. I would go mad =3D
trying to make ten
full dinner sets in a row. Production potters can, do, and must.
And this requires diligent, long hours of work. Physical stamina. A =3D
family willing to
make the sacrifices required to "be supportive". An MD once told me =3D
none of his 5 children
planned to be a doctor. "I missed too many birthday parties, too many =3D
school plays...."
So, Sasha, find out first if you have the disposition to be a production =
=3D
potter.
Try to visit some who are, even try to get a job with one to get the =3D
feel of it all.
Good luck
Lili Krakowski
Be of good courage
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