Anne Melvin on fri 2 dec 05
Hi,
I hoping that "someone" can tell me how can I achieve a productive and efficient rhythm of making pots in my studio. (No, not with music, although it might help.) I know it's there somewhere, but I don't have it yet.
What I mean is how do I get an efficient cycle going with throwing, drying, trimming, drying, bisqueing, glaze mixing, glazing, drying, and glaze firing? I seem to have pots in different stages of disorder all over. Oh, and then before each stage is the preparation and after each stage is the cleaning up. And then there is the recycling of clay scraps so I can make test pots.
Do you have any secrets that I might try to get a little order in my mud life?
Anne in Simsbury, CT
Anne 
Hank Murrow on fri 2 dec 05
On Dec 2, 2005, at 6:27 AM, Anne Melvin wrote:
>
> I hoping that "someone" can tell me how can I achieve a productive and=20=
> efficient rhythm of making pots=A0in my studio.=A0How do I get an=20
> efficient cycle going with throwing, drying, trimming, drying,=20
> bisqueing, glaze mixing, glazing, drying, and glaze firing? I seem to=20=
> have pots in different stages of disorder all over. Do you have any=20
> secrets that I might try to get a little order in my mud life?
Dear Anne;
I used to get all worked up over starting again after a cycle, but then=20=
I discovered that one only has to wedge a pug of clay on 2 square feet=20=
of clean table surface, and when the pots are thrown you make room for=20=
them, and as you make more, you make room for them.
What I have found is that I give over the studio to wet clay work for=20
six to ten weeks, bisquing as I go, and then I turn the studio into a=20
glaze workshop for as long as it takes to fire all the bisque. I clean=20=
up the wares from one firing while I am firing the next. Then the cycle=20=
starts again. I can send you a pic of the results of the last cycle if=20=
you like.
This is what works for me, in a 900 square foot studio plus kiln shed.
Cheers, Hank
> www.murrow.biz/hank
Steve Irvine on sat 3 dec 05
Hi Anne,
Getting the right work rhythm in the studio can make a big difference, not only in productivity, but
also in your creative growth and satisfaction while working. For me, the cycle is three weeks. This
was worked out based on my kiln size (a little over 50 cu. ft.) my speed of production (slow) and
my patience for waiting to see how new ideas and tests are going to turn out (moderately short.)
I generally work Monday to Friday only. I like to keep my weekends and evenings open (with a
couple of exceptions) for other interests, family and friends. The first two weeks of the cycle (ten
days) are spent throwing, handbuilding and so on. I make the large and/or complex things first so
that they will have the longest amount of time to dry before firing. I do my mugs at the end of the
making cycle.
The third week is for firings and glazing. A bisque firing of all the things made is on Monday.
Tuesday, while the kiln is cooling I have free, and often will do my shift at the Artists' Co-op then,
or work on a special piece in the studio -- it's kind of a day for whatever. Wednesday I unload the
bisque, wax everything, get my glazes ready, and make up a dozen or so glaze tests. Thursday is
glazing day, the longest day of the work cycle, usually stretching from the early morning until
around 10 p.m. Friday morning I load the kiln and start the firing. I'll clean up the studio in the
afternoon. I open and unstack the kiln on Sunday morning, about 36 hours after it reached cone
10. If I want to do some photography of the work I do it on the Sunday or Monday night.
The first part of the next work cycle has a day of pricing and packing up the work and selling it to
a store. I then start making things again.
There are cycles within cycles as well. My work day starts (in a sense) at around 7:30 a.m. when I
go for a walk. This gives me time to reflect on things in general, as well as my work, and to see
how the landscape is changinig from day to day. I consider the daily walk to be a very important
part my work day. I'm back home at around 8 and with a second cup of coffee check my email,
and see how the folks at ClayArt Town are doing, and then get to work in the studio at around 8:
30. I generally finish my day at 5:30 p.m.
This is what works for me. Hope it helps. Good luck with your work.
Steve
http://www.steveirvine.com
lela martens on sat 3 dec 05
This is on my mind too. Running upstairs and down, to the sink and back,
around in circles. It will get worse before better cause hubby has to
butcher his deer..
He has 2 garages for heaven sake..
Lela
>From: Anne Melvin
>Reply-To: Clayart
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Rhythm in the studio
>Date: Fri, 2 Dec 2005 09:27:49 -0500
>
>
>Hi,
>
>
>I hoping that "someone" can tell me how can I achieve a productive and
>efficient rhythm of making pots in my studio. (No, not with music,
>although it might help.) I know it's there somewhere, but I don't have it
>yet.
>
>What I mean is how do I get an efficient cycle going with throwing, drying,
>trimming, drying, bisqueing, glaze mixing, glazing, drying, and glaze
>firing? I seem to have pots in different stages of disorder all over. Oh,
>and then before each stage is the preparation and after each stage is the
>cleaning up. And then there is the recycling of clay scraps so I can make
>test pots.
>
>Do you have any secrets that I might try to get a little order in my mud
>life?
>
>Anne in Simsbury, CT
>
>
>
>
>
>
>
>Anne
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
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Pat Logue on sun 4 dec 05
good topic
In my studio, no matter how hard I try to push it, it seems like my minimum
cycle is about 3 weeks. It always feels chaotic too. Im interested in ways
of making my operation go smoother. Seems like im a slave to production ,
never time for new things. I cant wait for the season to end and things to
slow down. Hopefully I can get away from the production guilt trip for a
while.
Pat
On 12/3/05, Steve Irvine wrote:
>
> Hi Anne,
>
> Getting the right work rhythm in the studio can make a big difference, no=
t
> only in productivity, but
> also in your creative growth and satisfaction while working. For me, the
> cycle is three weeks. This
> was worked out based on my kiln size (a little over 50 cu. ft.) my speed
> of production (slow) and
> my patience for waiting to see how new ideas and tests are going to turn
> out (moderately short.)
>
> I generally work Monday to Friday only. I like to keep my weekends and
> evenings open (with a
> couple of exceptions) for other interests, family and friends. The first
> two weeks of the cycle (ten
> days) are spent throwing, handbuilding and so on. I make the large and/or
> complex things first so
> that they will have the longest amount of time to dry before firing. I do
> my mugs at the end of the
> making cycle.
>
> The third week is for firings and glazing. A bisque firing of all the
> things made is on Monday.
> Tuesday, while the kiln is cooling I have free, and often will do my shif=
t
> at the Artists' Co-op then,
> or work on a special piece in the studio -- it's kind of a day for
> whatever. Wednesday I unload the
> bisque, wax everything, get my glazes ready, and make up a dozen or so
> glaze tests. Thursday is
> glazing day, the longest day of the work cycle, usually stretching from
> the early morning until
> around 10 p.m. Friday morning I load the kiln and start the firing. I'll
> clean up the studio in the
> afternoon. I open and unstack the kiln on Sunday morning, about 36 hours
> after it reached cone
> 10. If I want to do some photography of the work I do it on the Sunday or
> Monday night.
>
> The first part of the next work cycle has a day of pricing and packing up
> the work and selling it to
> a store. I then start making things again.
>
> There are cycles within cycles as well. My work day starts (in a sense) a=
t
> around 7:30 a.m. when I
> go for a walk. This gives me time to reflect on things in general, as wel=
l
> as my work, and to see
> how the landscape is changinig from day to day. I consider the daily walk
> to be a very important
> part my work day. I'm back home at around 8 and with a second cup of
> coffee check my email,
> and see how the folks at ClayArt Town are doing, and then get to work in
> the studio at around 8:
> 30. I generally finish my day at 5:30 p.m.
>
> This is what works for me. Hope it helps. Good luck with your work.
>
> Steve
> http://www.steveirvine.com
>
>
> _________________________________________________________________________=
_____
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
Judy Rohrbaugh on mon 5 dec 05
My studio feels chaotic, too.
I have a small space, and found that the best way to get the most done is to keep throwing, enough to fill 2-3 kiln loads or even more. Then I fire 2-3 loads in a row.
Of course, then I have no room to work.....
Judy Rohrbaugh
Fine Art Stoneware
Ohio
Pat Logue wrote:
good topic
In my studio, no matter how hard I try to push it, it seems like my minimum
cycle is about 3 weeks. It always feels chaotic too. Im interested in ways
of making my operation go smoother. Seems like im a slave to production ,
never time for new things.
______________________________________________________________________________
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Lee Jaffe on tue 6 dec 05
Anyone watch those organizer reality shows on TLC or HGTV?
Sometimes they take on workspaces, such as offices and garages.
I see a lot of good ideas. Maybe a pottery studio should get
on one of these episodes and it can tell the rest of us how
to do it. -- Lee Jaff
--- Judy Rohrbaugh wrote:
> My studio feels chaotic, too.
> I have a small space, and found that the best way to get the most
> done is to keep throwing, enough to fill 2-3 kiln loads or even more.
> Then I fire 2-3 loads in a row.
> Of course, then I have no room to work.....
>
> Judy Rohrbaugh
> Fine Art Stoneware
> Ohio
>
> Pat Logue wrote:
> good topic
> In my studio, no matter how hard I try to push it, it seems like my
> minimum
> cycle is about 3 weeks. It always feels chaotic too. Im interested in
> ways
> of making my operation go smoother. Seems like im a slave to
> production ,
> never time for new things.
>
______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
>
______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
Arnold Howard on tue 6 dec 05
Here are several production ideas I learned during my early days at Paragon
that might help pottery studios. This sounds like a story out of a self-help
book, but it actually happened:
1) You can sometimes improve your entire work flow by changing one small
detail.
Example: I ran the print shop when I first started working at Paragon. On a
good day I could produce 28,000 copies on the printing press. One day I made
a device from a hair dryer that improved paper feeding on the press. With
that one hair dryer I started producing 40,000 copies per day. I used that
hair dryer for years.
2) Have a goal in mind.
Once I started producing 40,000 copies a day, that became my goal. This was
long before I ever read anything about goal setting. Once I decided to start
producing 40,000 copies, it started happening almost on its own. I didn't
even write it down.
3) Develop a system.
To produce my 40,000 copies, I developed a work flow system. (At the time I
didn't think of it as a system, but it was.) While the press ran, I stacked
paper or gummed printing plates. I didn't answer the phone unless the press
was running in the background. I came up with dozens of ideas that saved
time.
I also discovered that once you have a system in place, you don't have to
work as hard. I read many books while the press ran. Yet I still
consistently ran 40,000 impressions a day. I was working half as hard as
when I first came to Paragon, yet I was producing 40,000 impressions instead
of 28,000.
I also had the most fun when I was working on ways to improve my work flow.
Making a game out of work eliminates monotony.
I'm sure you can apply these ideas to your studio. For instance, the one
small detail that changes your work flow might be to use space differently.
Build racks on wheels.
It has been years since I ran a printing press, but I often look back on
that experience and try to apply those ideas to any work that I do. If I am
frustrated in any way with my work, I know it is either because I have not
yet developed a work flow system or because my system needs improvement.
Sincerely,
Arnold Howard
Paragon Industries, L.P., Mesquite, Texas USA
ahoward@paragonweb.com / www.paragonweb.com
> My studio feels chaotic, too.
> I have a small space, and found that the best way to get the most done is
> to keep throwing, enough to fill 2-3 kiln loads or even more. Then I fire
> 2-3 loads in a row.
> Of course, then I have no room to work.....
>
> Judy Rohrbaugh
> Fine Art Stoneware
> Ohio
>
> Pat Logue wrote:
> good topic
> In my studio, no matter how hard I try to push it, it seems like my
> minimum
> cycle is about 3 weeks. It always feels chaotic too. Im interested in ways
> of making my operation go smoother. Seems like im a slave to production ,
> never time for new things.
Anne Melvin on tue 6 dec 05
My sincere thanks to all of you who took the time to provide direction and to help me find some rhythm. The consensus seems to be: Don't go crazy trying to multitask. Just concentrate to the task at hand. And since I'm the only potter in my studio, I don't HAVE to clean up white glove style every day before I turn the lights out... just when the task is done.
Thanks again,
Anne in Christmas Card Land, (aka Connecticut)
Arnold Howard on tue 6 dec 05
Studies have shown that multi-tasking is counter-productive. If it causes
stress, you know it is doing more harm than good. If you talk on a cell
phone or tune the radio while driving, multi-tasking can get you killed.
However, I find that sometimes multi-tasking saves time and is also a
natural outcome of repetition. The better you get at doing something, the
more tasks you can do simultaneously. What would overwhelm a beginner is
easy for an expert. I imagine that a chef in a busy restaurant can handle
numerous tasks the way a conductor handles an orchestra.
Sincerely,
Arnold Howard
Paragon Industries, L.P., Mesquite, Texas USA
ahoward@paragonweb.com / www.paragonweb.com
From: "Anne Melvin"
> My sincere thanks to all of you who took the time to provide direction and
> to help me find some rhythm. The consensus seems to be: Don't go crazy
> trying to multitask. Just concentrate to the task at hand.
Judy Rohrbaugh on tue 6 dec 05
I think this is good advice, become more productive just by changing one thing at a time.
I have a small kiln, and throwing enough pots to fill the kiln 2-3 times has definitely helped me to go faster.
Also, having a few 4 foot folding tables that I can set up and take down as needed to give me more work area in my small space has helped. Think it may be time to buy a few more tables.
Judy Rohrbaugh
Fine Art Stoneware
Ohio
Arnold Howard wrote:
1) You can sometimes improve your entire work flow by changing one small
detail.
______________________________________________________________________________
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
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Claudia MacPhee on tue 6 dec 05
Multi-tasking 'myth'-I have read some studies that indicated that men can't multitask. Wrong brain structure.....women, however, are in their element. I spent years looking afer young children, cooking, working (homebased craft business) all at the same time. Ask most women with family, if you couldn't do it you'd be in big trouble.
Now who was that guy who was said to be unable to walk in a straight line and chew gum at the same time????? One of those 60's vice-presidents who got the top job.
Cheers, Claudia MacPhee in Tagish, Yukon who just spent the afternoon supervising 14 kids doing needlefelting, two 10 year olds mixing up reclaim with their hands (they made a big mess but had loads of fun), loading the kiln and programing it ALL at the same time.
Lee Love on wed 7 dec 05
On 2005/12/07 12:37:32, erstenhorpel@hotmail.com wrote:
> Multi-tasking 'myth'-I have read some studies that indicated that men
> can't multitask.
I think our brains are different by degree, rather than kind. But
I came to pottery from Zen practice where it is stressed that you give
full attention to what ever you are doing at at moment in the time.
It doesn't mean you don't have multiple things going at the same time,
so that you can pull handles while the ash is settling to wash, etc.
But if you have ever meditated for extended periods of time, you realize
that the mind can only focus its attention on a single thing at a
time. A lot of our lives sweep right by, because we are thinking
about our experiences rather than living them as they happen. If you
watch, you will notice this.
--
Lee Love
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
"Simplicity is the ultimate sophistication."
--Leonardo da Vinci
Geoffrey Gaskell on wed 7 dec 05
Arnold Howard wrote:
> Studies have shown that multi-tasking is counter-productive. If it causes
> stress, you know it is doing more harm than good.
It is more than just counter-productive: it is a concept just as mythical as
the unicorn! Watch very closely the next individual you see who is taking
great pride in the ability to rush about hither & thither playing the role
of "being extremely busy" by apparently doing more than one thing at a time.
Record this activity on video for intense forensic study if need be, but
above all: mark, learn & inwardly digest the stark fact that this person
really is doing only one thing at any given instance of time. Same stark
fact applies to even the fastest computer processing. Still, activities such
as photography & painting would be rather meaningless if human senses were
not so easily fooled.
Geoffrey Gaskell
http://www.geoffreygaskell.co.nz/
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Jennifer Boyer on wed 7 dec 05
One simple rhythm I seem to always be in:
Throw
Trim
Bisk (2 electric per Gas Kiln)
Glaze
Glaze Fire
Deliver/Ship /Clean
That means I don't get involved with glazing or glaze testing until my
bisk kiln is firing. And I don't start new pots til my studio orders
are sent out and things are cleaned up.
My kiln is a 40 cu ft and this cycle is about 3 weeks.
I find it soothing to focus on one task at a time...simple minded I
guess...
Jennifer
On Dec 7, 2005, at 12:02 AM, Lee Love wrote:
> On 2005/12/07 12:37:32, erstenhorpel@hotmail.com wrote:
> > Multi-tasking 'myth'-I have read some studies that indicated that men
> > can't multitask.
>
> I think our brains are different by degree, rather than kind. But
> I came to pottery from Zen practice where it is stressed that you give
> full attention to what ever you are doing at at moment in the time.
> It doesn't mean you don't have multiple things going at the same time,
> so that you can pull handles while the ash is settling to wash, etc.
> But if you have ever meditated for extended periods of time, you
> realize
> that the mind can only focus its attention on a single thing at a
> time. A lot of our lives sweep right by, because we are thinking
> about our experiences rather than living them as they happen. If you
> watch, you will notice this.
>
>
************************
Jennifer Boyer
Thistle Hill Pottery
Montpelier, VT
http://thistlehillpottery.com
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