LeeU

People may respond well to the "hand made", but the "crappy imperfections" aspect of the craftmanship is not likely what they are attracted to. The nature of successfully working with clay includes an awareness that it takes time, requires patience, can be expensive to do it right,  and, at a minimum, a good basic ceramics class is worth the investment of time and money. I too am impatient and I had to become willing and delibertive in learning about clay/glaze/equiptment, testing clay/glaze chemistry, becoming familar with my own kiln, and a bit about ethics and integrity when passing on my work to others, whether as gifts or for money. "Flaws" can be intentionally and creatively used in a visually stylistic manner, but they still must be structurally sound. 

As someone who learned patience very much against their will, moaning about it the ENTIRE time: this will only get you so far.
At some point someone’s going to make a nasty comment, and the good feelings of cranking stuff out will vanish very abruptly. There is a happy medium between waiting 4 days for leather hard and speed drying in your oven in a matter of hours. It leads to better pots, and all the good feelings about having learned a skill/accomplished what you set out to do on purpose, rather than accepting “happy accidents” all the time. 

do you have adequate liability insurance for those buyers who get cut on imperfect, crappy, pots you sell?   imagine someone with a mug full of boiling coffee when the handle falls off.

Interesting! Long ago when I first started  I made lidded pots only to often find out the lids I made failed miserably. I was left with a plethora of pots with no lids! What to do? I opened my first pottery business …… named it Topless pots! Opening day I was jamb packed with folks lined up down the street. I thought I had found  the perfect lasting solution, but In the end lots of disappointed potential customers for some reason.  
Finally, I had to learn better how to make lids that lasted.
Glad that worked for you, hope it is lasting and if not, you have lots of ideas above for speed drying.

all of the above works for the folks who use those methods.  they may be exactly what you need,  dookie.   i just want to make a comment on the fear of using an oven with heat on greenware.
there seems to be an opinion that heat in an oven is detrimental.   heat is only changing the state of the clay from wet, or moist, or damp or whatever stage it is in to drier.  and warmer for awhile.   that does not mean it cannot be returned to damp, moist or even wetter than moist.    i have been using the oven in some cases for years with no bad effects.  
potters should know their clay.   its qualities and its limits.   some clay likes to be thrown but will fight being made into a slab and bent to a shape.   others are the opposite.  it is your job to seek its limits.    the very easiest thing to learn is how does it react to water.   it will not hurt the potter to simply dry out a piece of clay and test it.  a piece about the size of a business card allows a lot of tests.   totally dry it.    use a cup of water and dip the short end in deep enough for half an inch of wet to show on the clay.  pull it out fairly fast.   look at the surface to see if it still shines or not.   remember that.    now, scrape the wet area with a sharp tool to see how deeply wet that part is.   probably not very deep.   remember that.   try the opposite end of the clay and dip it longer.   remember that.   scrape it and see how much more the wet has grown.   remember that.  dip the alternate end in long enough to make it separate from the original shape.   remember that as too much.  anything before destruction can be reversed with heat or time.   just try it!
by now, you might have realized that it does take a LOT of water entering a totally dry piece of clay to destroy the original piece.    so many folks think just getting something wet will kill their piece and they might be surprised to learn that was just fear and they need not believe it anymore.    i know a potter who thinks if she is interrupted while working, she has to start again from the beginning.  to her, there is just a short window to have the "flow" of making a piece work.    nonsense?
 

They are available all over.
Dr google thermal heated jackets, rechargeable, up to 10hrs,can get sleeveless ones or full jackets.
Some washable. 
I wear homespun and knitted sweaters with sleeves to elbows, snug as a bug, but Mediterranean climate here so no sub zero days 

I already commented, but later the topic got me thnking about whether I did have a piece I regret having been sold. I remembered a sentimental favorite from when I was in art school. Gas-fired terra cotta, no glaze.  I made this for my parents--representing my maternal grandmother who would sit on her porch to  "snap beans" for dinner. It was sold when my last parent died and everything was being licquidated. I was in a bad place at the time and couldn't deal with wanting anything, or driving south for 5 hours to get anything, and so it is gone. But I found a photo!! 

I already commented, but later the topic got me thnking about whether I did have a piece I regret having been sold. I remembered a sentimental favorite from when I was in art school. Gas-fired terra cotta, no glaze.  I made this for my parents--representing my maternal grandmother who would sit on her porch to  "snap beans" for dinner. It was sold when my last parent died and everything was being licquidated. I was in a bad place at the time and couldn't deal with wanting anything, or driving south for 5 hours to get anything, and so it is gone. But I found a photo!! 

With wind chill we hit - 40 the other night at -17. Very windy!  I was really glad I had taken my Thermal-Lite shelves inside from the non-insulated screen porch! It has not been this cold in NH in the 22 years I've been up here-the lowest previous was maybe -28 w/wind chill.  I'm able to block the snow drift from coming in but I wonder about the effect of such cold on the kiln (L&L 23S)?  I have a kiln load ready to go but I assume I should not be firing it! For some reason my studio (former bedroom) stays warmer than the rest of the trailer so I don't alter what I'm doing indoors.

With wind chill we hit - 40 the other night at -17. Very windy!  I was really glad I had taken my Thermal-Lite shelves inside from the non-insulated screen porch! It has not been this cold in NH in the 22 years I've been up here-the lowest previous was maybe -28 w/wind chill.  I'm able to block the snow drift from coming in but I wonder about the effect of such cold on the kiln (L&L 23S)?  I have a kiln load ready to go but I assume I should not be firing it! For some reason my studio (former bedroom) stays warmer than the rest of the trailer so I don't alter what I'm doing indoors.

I have no tips or experience in deliberately going for this effect but it is a great topic and I hope there are some more replies---I could use them too. This piece  (HMS No. 8 Not Broken) has some  intentionaly gestural line work. The clay is Clayworks Cool Ice porcelain (^6 electric fire) and the drawing is Ghana Black Engobe (Laguna's Moroccan Sand series). I wonder if the engobe over a slightly wet surface would give the bleed?

You can get underglazes to bleed by using a fluid glaze overtop. Example by Dawn Candy below. Gravity helps. Not quite the look of your drawings but maybe something to consider.

Credit to Dawn Candy 

There are very few aspects of my life-the more serious, important stuff-that does not carry some regret. Some regrets have been very deep-decisions/circumstances responsible for major shifts in feast or famine, well-being , and very not-well being, relationships, work life, and living situations. Some regrets have been sorrowful learning experiences that somehow transcended everything bad and became fuel for positive change years later. My clay journey is not separate from expressing my world view, and my creative spirit, even tho I had to leave it by the wayside for many decades. I work to not regret the past (sometimes much easier said than done, but it is do-able) and as such, no, I have no regrets about my journey with clay.  Since I retired I have been able to waken it from hibernation and am very grateful to be enjoying it...like today, when I "allowed" myself to overlay & partly "brillo off" some  metallic acrylics on a glazed tray--been wanting to do that for a while! It gave me a rush to "just do it". 

I already commented, but later the topic got me thnking about whether I did have a piece I regret having been sold. I remembered a sentimental favorite from when I was in art school. Gas-fired terra cotta, no glaze.  I made this for my parents--representing my maternal grandmother who would sit on her porch to  "snap beans" for dinner. It was sold when my last parent died and everything was being licquidated. I was in a bad place at the time and couldn't deal with wanting anything, or driving south for 5 hours to get anything, and so it is gone. But I found a photo!! 

There are very few aspects of my life-the more serious, important stuff-that does not carry some regret. Some regrets have been very deep-decisions/circumstances responsible for major shifts in feast or famine, well-being , and very not-well being, relationships, work life, and living situations. Some regrets have been sorrowful learning experiences that somehow transcended everything bad and became fuel for positive change years later. My clay journey is not separate from expressing my world view, and my creative spirit, even tho I had to leave it by the wayside for many decades. I work to not regret the past (sometimes much easier said than done, but it is do-able) and as such, no, I have no regrets about my journey with clay.  Since I retired I have been able to waken it from hibernation and am very grateful to be enjoying it...like today, when I "allowed" myself to overlay & partly "brillo off" some  metallic acrylics on a glazed tray--been wanting to do that for a while! It gave me a rush to "just do it". 

I already commented, but later the topic got me thnking about whether I did have a piece I regret having been sold. I remembered a sentimental favorite from when I was in art school. Gas-fired terra cotta, no glaze.  I made this for my parents--representing my maternal grandmother who would sit on her porch to  "snap beans" for dinner. It was sold when my last parent died and everything was being licquidated. I was in a bad place at the time and couldn't deal with wanting anything, or driving south for 5 hours to get anything, and so it is gone. But I found a photo!! 

I already commented, but later the topic got me thnking about whether I did have a piece I regret having been sold. I remembered a sentimental favorite from when I was in art school. Gas-fired terra cotta, no glaze.  I made this for my parents--representing my maternal grandmother who would sit on her porch to  "snap beans" for dinner. It was sold when my last parent died and everything was being licquidated. I was in a bad place at the time and couldn't deal with wanting anything, or driving south for 5 hours to get anything, and so it is gone. But I found a photo!! 

I already commented, but later the topic got me thnking about whether I did have a piece I regret having been sold. I remembered a sentimental favorite from when I was in art school. Gas-fired terra cotta, no glaze.  I made this for my parents--representing my maternal grandmother who would sit on her porch to  "snap beans" for dinner. It was sold when my last parent died and everything was being licquidated. I was in a bad place at the time and couldn't deal with wanting anything, or driving south for 5 hours to get anything, and so it is gone. But I found a photo!! 

There are very few aspects of my life-the more serious, important stuff-that does not carry some regret. Some regrets have been very deep-decisions/circumstances responsible for major shifts in feast or famine, well-being , and very not-well being, relationships, work life, and living situations. Some regrets have been sorrowful learning experiences that somehow transcended everything bad and became fuel for positive change years later. My clay journey is not separate from expressing my world view, and my creative spirit, even tho I had to leave it by the wayside for many decades. I work to not regret the past (sometimes much easier said than done, but it is do-able) and as such, no, I have no regrets about my journey with clay.  Since I retired I have been able to waken it from hibernation and am very grateful to be enjoying it...like today, when I "allowed" myself to overlay & partly "brillo off" some  metallic acrylics on a glazed tray--been wanting to do that for a while! It gave me a rush to "just do it". 

Well I am not up to the level of many of you but every so often I really like the way a mug works out. I make one or two "experimental" every time I throw a big batch of  mugs.
Anyway I feel like those that do work really elevate the look of my display and I just wish they would stay around longer for that contribution.

Over time I realized that the idea that someone would enjoy something I made was the feel good I enjoyed most. So sold or given as a gift I am addicted -zero regrets. Now finding out something is resold at a profit ………… that definitely puts a damper on the feel good part.

has happened to me.  and then realized i forgot to take photos.  take photos of everything!!!  hard to remember sometimes what made something new so special!!

I get stuck erratically - generally doesn't seem to be connected to anything in particular, internal or external. A lot of what Callie said resonates (as usual!). I make an effort, when effort seems to be needed, to give myself permission to just BE.  I try to accept a basic "go w/the flow" approach to  most stuck points. Eventually I'll either tap into something I can identify as a provoking issue that I can then address, or more likely I'll just cycle around and get back to work. In the interim, I tend to shift gears and do photography, or writing, or cooking or some other creative outlet. What I definately son't do is tey to dig into more ceramics-history, other people's work, techniques, drawing out ideas etc. I avoid it until I am compeled to get back to it. And am ever grateful that I do not need to, and am not motivated to, generate income from it! 

Gee---tubes to shape mugs--does that mean that the 100 straight-sided mugs I had to throw in art school really wasn't necessary? I knew that instrutor didn't like me, but really.....LOL

90% of the time un-sticking tactics for me involve filling a need that I’ve been neglecting. Is it my mind, body or spirit that needs attention? Do I need to rein in my caffeine consumption so I can get some sleep, do I need to get out of my head and go visit friends, or do I need some time to sit and noodle over a problem? Do I need a new playlist or audiobook? Am I hungry? Mostly getting unstuck is some form of “go away and do something else for a while so your unconscious can work on it.”I don’t love everything Julia Cameron does in her Artist’s Way books. I don’t think that treating a creative block as a pathology or an inner child is necessarily the best, but the parts of her approach that involve treating yourself gently and giving yourself mental/emotional space and time are good general life advice.
Creativity is play. You have to feel safe and warm and fed, and a little curious and a bit bored in order to begin to play. If one or any of those elements are missing, you have to do whatever it is that will get you into that state.