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How Often Do You Gear Up For A New Direction Or Experimentation In Your Work?


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Every step i undertake....a  piece of clay without new direction seems a ship without rudder.Me cannot get stuck with same formula ..need to do  something new, always .Even try picking  different types of clay to testify my inner challenges.

 

 

 

Vinks!

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Over the years I've gone through several phases starting with wheel thrown functional pottery. A move and a ruined kiln from over firing made it difficult to continue making pottery so after a workshop I explored hand cast paper which included making some plaster molds. The paper phase was followed with assemblages made from tree branches because I was constantly picking them up in my yard. After finding a small electric kiln at a garage sale I returned to clay which lead to Raku firing slab pieces. Some of my slabs are pressed into plaster molds; drawing on my paper casting experience and occasionally I add add branches to some slabs.

Next I plan to take apart and rebuild the old kiln I ruined years ago to experiment with wood fired Raku.

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The catalyst for gearing up into a new direction usually comes from seeing something, a design, a shape, a pot or painting, that intrigues me and I start mentally trying to figure out how I would create that effect, making it my own through my work. This mostly happens in the winter when I'm actively searching for stimulation for doing new work for the upcoming fair cycle.

 

I'm now working just in ^6 oxidation, using either a dark stoneware body or a white clay body with underglaze colors, so there is a parameter for what I can create with this. I decide which of these clays would work best for the idea. 

 

I'll then start sketching. What shapes work with this new idea? Where to put the design/picture/texture/whatever? Then I start throwing, etc.  I have a small kiln (3 cu ft), so I can do a lot of firings trying my ideas out and tweaking them into what I want. By my studio tour sale in June/July, I have a body of new work and I see how my customers (both old and new) respond to them. 

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Good morning everybody. I am back from Germany and able to go online again. Thank you so much to Marcia for taking over the QOTW! Hugs to you my dear!

 

Gearing up... hmmmm... I was working with different clay and in different styles for quite a while, until a judge in ceramics contests told me that before winning a contest, one must have a language. So I settled on doing my tripods (ceremonial vessels) as a language, but!... I use different clay and also different shapes. Like that I am able to "gear up", but stay the same at the same time.

 

I miss going in new directions though!

 

Evelyne

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You know what? I think I don't know how to gear up for change, heehee. I'm a very spontaneous person, but I'm also kind of a chicken butt when it comes to sudden change. I think it just kind of...happens! ^_^ I started experimenting with "looser" forms on a lark, and it really turned out great! I love spur-of-the-moment ideas; to me, they're like Christmas presents. ♥

The bunny bowl has a much "tighter" and more time-consuming illustration, but the kitsune fox is more loose and swirly...less static. ^_^

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Oh I'm so wanting to try new things .... Every year around March I add at least 2 new products to the line.    In June/July I shoot for 5 - 6 new designs or products, sometimes just simple changes like a new stamp, cross or deer.  I like to experiment with colors and introduce one new color in mid summer.  This year I haven't tried any new glazes ....  I currently have 10 colors that I need to keep in stock.  I have 3 mattes, and 7 glossy.    Last year I came out with a matte white that is now the 2nd best selling color in my line.   Maybe I'll kick around with a new matte finish this month.  I would like to try trailing glaze with a syringe ... one of these days.   I want to do that sponge holder that Mark C. has shown us too.

 

I have so many alternatives ... different lace, patterns, ... just the other day i was covering fruit trees with netting and took an end piece and rolled into the clay ... interesting!  My current serve ware line has 17 items.   Times 10 colors ... OMG that's 170 SKU's.  Add  6 or 7 pattern alternatives and crosses (5 or 6 options there too), fluer de lis, dragon flies, paw prints, deer.   There something like 13K possible combinations.  Not that I ever have anywhere near that many in stock. Just writing this has my mind just clicking  with new ideas.  In addition I always have at least 12 themed ornaments PLUS 26 initial ornaments, all in 4 plus colors.   We always get asked for something not on the shelves.   I've been asked for the Christmas dishes at least 10 times in the last 2 weeks.

 

One really important new addition in the fall are 4-5 styles of ornaments that are new to the line.  It's imperative to be able to tell customers "well for sure they don't have this one because it's new".    Same with the larger items.   If you want customers to stick with you, you have to offer them new additions to add to their collections.

 

So much clay, so little time :)

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Guest JBaymore

For me it is "Darwinian".  Evolution... not revolution.  I don't "gear up"..... I just get my hands into the clay and listen.  Change happens over years.... not weeks or months.  Materials slowly change if or as the need of the pieces dictates. 

 

best,

 

..................john

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Agree with John -- more evolution, less revolution. Addition, subtraction. Refinements in construction. Different looks from different atmospheres. It takes time to learn and understand a form and exploit it for all its potential. And sometimes, the form is just waiting for you to catch up in terms of technique, ideas, and execution.

 

I was reading the stories about the recovery of the stolen Totenburg Stradivarius. His daughter said it took him almost 40 years to learn and fully understand the violin and what it could do before he felt he was using the instrument to its full capability.

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Someone (an artist) on my FB page asked me to "show us your work". I wrote a whole paragraph in my head about how I was not even close, at this time, to doing any "work". About how I am just beginning to make decent "smalls" for local shops so I can afford supplies. And about how while those items certainly take work and creativity, they are not what we would generally see as "art" pieces. So....I got nuthin'...., but I did not want to post that as my reply! I guess I best gear up just a bit faster if I want to start evolving (again) before the opportunity begins to fade via the issues that slow me down and tend to discourage me from just getting on with it...now...not later. 

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Hmmmm, well I am sort of a creative hamster - bounce around from one thing to another and never really explore something to the fullest to master it.  I get a blob of clay and it tells me what to do. 

 

that ought to be my goal - choose something and keep at it til i have it down.  maybe someday.  rack

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I'm a very tight thrower, with my finished pots being very smooth and symmetric. As of late I have pushed and pulled simple pieces(mugs) with ribs and fingers to be looser in form. Just something I believed I wanted to try. I have yet to become successful, as the pieces are becoming more pleasing to me, but others do not seem to like or understand them. I think you can see a difference in these new pieces on my blog site. I still have another glaze load to fire before getting back to the wheel for more chalices, patens and mugs orders.

 

best,

Pres

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For me it has been a change in skills, and aesthetics. In the early years, most of what I did was concerned with symmetry of the thrown form. I was more concerned with having "flat spots" in the curve of a form, with continuous, smooth S type curves. Now that I feel that I have mastered the throwing, I find myself looking at the same old mug, or teapot or such, wondering "what if" much more. Now I question the forms from the standpoint of visual interest and surprise in the form. Earlier it was using the form for a canvas of decoration. Now the surface and the flow of the curve on the surface is of greater importance to let the break of glaze expose the form.

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Hi! This is my first time joining in with the topic. I've enjoyed reading past topics and getting familiar with many of you.

I currently teach ceramics in H S here in So. Calif. summers usually gives me more time to be creative with my own work. I teach all

hand building the first year of clay, ending the last grading period of the year with polymer clay unit. Giving the students other exp. with different clay body. I do try to go back to work with some fresh ideas while still covering beginning basics. I look forward to getting to know all f you and sharing my love for the medium. Linda

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Another lurker comes out of the woodwork! ;)  Welcome to active participation in the forum. We look forward to seeing more from you. I encourage you to post gallery pics, fill in your profile with some shareable information and have lots of fun here.

 

best,

Pres

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