GEP

My answer is “no” as well, for the exact reasons that you explained so clearly. 
I’ve had a few people approach me about firing their work at my house. In every case, the person was trying to avoid the expense of using a community studio. Community studios need to charge what they charge for a reason. A person who doesn’t see those reasons is generally going to be difficult to work with. In one case, a neighbor got angry with me when I said no. Very entitled person. Imagine how she would have complained if a firing didn’t turn out the way she was expecting!

My answer is “no” as well, for the exact reasons that you explained so clearly. 
I’ve had a few people approach me about firing their work at my house. In every case, the person was trying to avoid the expense of using a community studio. Community studios need to charge what they charge for a reason. A person who doesn’t see those reasons is generally going to be difficult to work with. In one case, a neighbor got angry with me when I said no. Very entitled person. Imagine how she would have complained if a firing didn’t turn out the way she was expecting!

My answer is “no” as well, for the exact reasons that you explained so clearly. 
I’ve had a few people approach me about firing their work at my house. In every case, the person was trying to avoid the expense of using a community studio. Community studios need to charge what they charge for a reason. A person who doesn’t see those reasons is generally going to be difficult to work with. In one case, a neighbor got angry with me when I said no. Very entitled person. Imagine how she would have complained if a firing didn’t turn out the way she was expecting!

I looked at my quickbooks file, going back about 10 years, and found that my clay costs and glaze costs have remained pretty stable throughout. My most expensive glaze material in Tin Oxide and that price hasn't really changed. I do use one frit, but I haven't needed to buy it for years. I'm sure the next time I need it I will be in for a rude surprise.
What has gone up in prices is the cost of replacement elements and thermocouples. It used to cost $430 for a complete set for one kiln. This year is was $490.

My solution for show food is Soylent. https://www.amazon.com/Soylent-Replacement-Powder-Original-Pound/dp/B071F4Z16T/  I buy it in powder form which makes it light and shelf stable for packing. I’ll have breakfast of oatmeal and coffee at the beginning of each show day. Then I bring 600 calories of Soylent with me to the show. Even on a hot day, it won’t go bad in the span of one day, so I don’t need refrigeration. It’s really easy to sip 150 calories, at four intervals. I never feel hungry or full. No sugar crashes. I never get caught chewing food by a customer, or any food stains on my clothes, or sticky fingers. I don’t have to leave the booth. (I don’t like to be away from my booth either. Every minute you’re gone is a potential sale lost.) I also bring a 32 oz Hydroflask with ice water, which will stay icy the whole day. At the end of every day I’ll go find some real food for dinner. Packing the oatmeal, coffee, and soylent from home saves a lot of money, compared to buying breakfast a lunch on the road everyday. Buying dinner everyday seems justifiable. 

In the summer (now) I have a constant battle with humidity. Sometimes I throw pots one day, and they are not ready to trim for two days. Pots that have been drying for a week still feel damp, and it's impossible to tell if they are really damp or not. I use fans to keep the air moving in the studio, and when I run bisque firings, I roll my drying cart over next to the kiln for the warmth and the airflow from the vent.
In the winter I have the opposite problem. Thrown pots can have bone dry rims by the next morning, and pots with attachments need to be slowed down so they don't pull apart. I use sheets of fabric and plastic to control the drying.
There are a few glorious weeks in the spring and fall when I don't need to think about these things. 

In the summer (now) I have a constant battle with humidity. Sometimes I throw pots one day, and they are not ready to trim for two days. Pots that have been drying for a week still feel damp, and it's impossible to tell if they are really damp or not. I use fans to keep the air moving in the studio, and when I run bisque firings, I roll my drying cart over next to the kiln for the warmth and the airflow from the vent.
In the winter I have the opposite problem. Thrown pots can have bone dry rims by the next morning, and pots with attachments need to be slowed down so they don't pull apart. I use sheets of fabric and plastic to control the drying.
There are a few glorious weeks in the spring and fall when I don't need to think about these things. 

Does a vehicle count? Because I bought a minivan specifically to make my pottery business easier, although it is also my personal vehicle.
If not, then:
1. kiln
2. second hand pug mill

Does a vehicle count? Because I bought a minivan specifically to make my pottery business easier, although it is also my personal vehicle.
If not, then:
1. kiln
2. second hand pug mill

For me it's a combination of both. Most of my decisions about what to make are driven by sales. But the final decisions about quantities will also include "how many will be most efficient in terms of kiln stacking?" 

For me it's a combination of both. Most of my decisions about what to make are driven by sales. But the final decisions about quantities will also include "how many will be most efficient in terms of kiln stacking?" 

I pug and don’t wedge. I try to pug the amount of clay I will throw that day, so it is always freshly pugged. This saves me loads of time and wear and tear on my body. If I have to throw clay that was pugged a few days ago, and therefore it feels drier on one side than the other, I will cone it a few times before continuing to throw it. That seems to even it out. 
I agree that pottery instruction can come with a lot of dogma. 

I pug and don’t wedge. I try to pug the amount of clay I will throw that day, so it is always freshly pugged. This saves me loads of time and wear and tear on my body. If I have to throw clay that was pugged a few days ago, and therefore it feels drier on one side than the other, I will cone it a few times before continuing to throw it. That seems to even it out. 
I agree that pottery instruction can come with a lot of dogma. 

Nah, I just don't clean my splash pan very often. That mess is from a lot of pots.
I work with cylinders rather than sausages/coils. For these I throw a 7# base slab with a 1" tall wall, then stack two 12.5# cylinders (all while wet) and pull and shape. After it stiffens up a little bit, I add another 12.5# cylinder to finish it off. So 45 pounds total.


 

Making a couple of big planters for our deck.

 

Set o' mugs

@Pres, I have two L&L kilns, one is ten years younger than the other. Sometimes when I look things up in the newer kiln’s manual, I find paragraphs that hadn’t been updated. Meant for the older kiln, not the new kiln. Can’t think of a specific example off the top of my head, but they are there! 
@neilestrick, if you are going to mention this convo to L&L, maybe you could let them know the ENTIRE manual needs a thorough proofreading? 

I sent an email to the owner of L&L this morning explaining the issue, and he responded: Thanks. I will take a look at that and make any corrections necessary.
I've been a distributor for L&L for 17 years, and have seen them make many changes to their manuals over that time. Sometimes they just put a flyer in the front pocket of the binder until they can make more permanent changes to the manual.

@Pres, I have two L&L kilns, one is ten years younger than the other. Sometimes when I look things up in the newer kiln’s manual, I find paragraphs that hadn’t been updated. Meant for the older kiln, not the new kiln. Can’t think of a specific example off the top of my head, but they are there! 
@neilestrick, if you are going to mention this convo to L&L, maybe you could let them know the ENTIRE manual needs a thorough proofreading? 

working on plates....

My motivation source is similar to @Pres's answer: Give yourself a deadline. Shows are terrific for this. Once it's confirmed on your schedule, you have no choice but to get ready for it. 
With all of last year's shows cancelled, I had to create my own substitute events, but they worked the same way in terms of giving myself a deadline. 

My motivation source is similar to @Pres's answer: Give yourself a deadline. Shows are terrific for this. Once it's confirmed on your schedule, you have no choice but to get ready for it. 
With all of last year's shows cancelled, I had to create my own substitute events, but they worked the same way in terms of giving myself a deadline. 

Happy Valentine's Day 

Jerry Marshall, the guy turning out lids offa mound in the You Tube vid.
Bill Van Gilder, because his book, articles, vids and that ancient (1986) cbs interview were (still are) helpful and inspiring - it'd be worth the trip just to thank him;
Hsin-Chuen Lin, also because - his vids so helpful and inspiring and I'd like to just say thank you;
Bunzy Sherman, err, I'm happy to wait a very long time for that ...when I get to meet alla people I miss or never met;
ditto Warren, Ruth, Ziesel, and others.
Someone who is an expert thrower who (somehow, amazing, right?) also clearly recalls the learning process and has the incredible knack of teaching and communicating, oh, and toss in a biting and insightful sense of humor please. ...and I hope the presenter is both small and a woman, just to turn gender bias on its ear, and the big strong thing at the same time. 
 

Pottery workshops!!! I can't put enough exclamation points after my response. I am so excited to be registering for workshops. 
I don't have oodles of disposable income for workshops, but with no vacations, no workshops and minimal work travel during 2020, I can afford a couple of workshops in 2021 that I can drive to. 
Betty