LeeU

One thing you can do to increase your success. Put your dry dry pieces in an oven at then turn it on to 200f for an hour. Then slowly bump the temp up to 250 for a bit and then let cool. This will remove the physical water and give it a better chance to make it thru a pit firing.
Ive also done this on top of a wood stove and had the same good results in both pit and sawdust firings.

Oldlady
Its not my town but a town nearby. Our Fair has two parades one each day at 1 pm
I have done this fair since the 1st one in 1974 and am on the board whom runs the fair-we are called the same old people
the Saturday parade around the plaza (and show) is called All Species-this parade is also been going on the longest back when our show was a one day in the 70s and 80s
now its two days past 35 year or so
here is this years all species-It was a ariny day but the rain stopped just before the parade and the dancers where dry the whole way around the square.
I love this show-we are looking for more potters so feel free to apply as potters are rare around here these days
The second link is the Sunday Samba Parade which is over the top now-this was filmed about 20 feet from my pottery booth.
 

Its all part of a slow down plan I started when I was 63. I stopped doing my most  successful show (twice a year in Temps AZ for 24 years). I was driving to Tempe  at age 63 and heard the famous Beatles song when I'm 64  and in that moment decided that when I was 64 I was not going to do the show anymore (its a solid two day drive)
Since then I cut 8 shows to 6  than to 4 and then to 3 then covid hit. When I gave up myTempe show (in early Dec and springtime) I also did  my local outlets and my xmas booth as well at that time.At that time my xmas season brought in about 25-30% of all income. December was a huge month for me for about 35 years.
I thought I had saturated my local market area. Then when I had that production time off I fell into a local organic  suoper market  sales situation and expanded to 4 local orgainic markets. That turned into more money that the shows I stopped doing. Change can be rewarding  in ways one does not expect .I quit 1/2 those markets during covid buying craze as it was to much to keep up with in 2021. After working and selling twice as much as a normal years in 2020/2021  I needed to really slow it down more. The tax man really made out those years 
My xmas booth is about 15% of total yearly sales so its not really that slow for me-no recliner chair yet in this house . What it really is  now after a 50 years of  my own retailing directly -now its down to one show and 8 local outlets and one huge wholesale account . My plan as it evolves now is work for a few months and then take a few off to keep a stockpile of work to supply outlets. I also have studio assistant so it all needs to work for us
.I have commited to two large orders a year to my Harmony Gallery outlet down on the central coast (near where Hulk lives)
Its a new phase for me and I know whats I'm cutting out next when I need to hit the brakes again.
I was talking to a full timer like me potter friend who lives in Santa Barbara (he is slowed it down already) and we both have lost the mental drive to make a ton of work and hit the road and bring home 15-20K from shows on trip and then do it all over again and again. It's just gone now at this age.It's no longer about money. I still like the making/firing and selling just not as much as I used to.Caly has been good to me-kept me in shape and will in the future.
I have many other interests as well-always have. Life is short and for me at times I feel I'm  way past my due date (as Jackson Brown says on his new CD). I was on a 24 day dive trip in Bali two months ago (47 beach dives in 18 days with a camera) so I am still able to move well.
We shall see how it evolves  from here-tax prep in on my horizion now-oh ya I need to stock up the markets and shops after they got wiped out at xmas tomorrow and the next day

Well after 43 years I packed up my last xmas pottery booth .
I flew a sign past 12 days telling customers I would not have this booth next year at xmas. Get my work in September at my only show I will be doing .
They where  not as happy about as I am to say the least but-they still have options
Its in same small town (15K population) only its 3rd weekend in Sept. I have build upo a huge following in those consecutive 43 years
I'm already supplying 8 local outlets as well , dropping off pottery about every 2-4 days at xmas as well.Since I was in my later 20s I have always had this booth in the same shopping center -in front of a large drug store (its changed these names all thru my years-value giant,payless, longs drugs, rite aid ,CVS)  In front of Safeway for 5 more years and then the past 12-15 years in front of locally owned pet store. The money has been great as has the customers but as I approach 70 its in my plan to slow it down and this xmas I put the booth away permanently (this booth is made just for this location) -not the sales racks but the lockable booth. I have a younger potter friend I'm, hoping to give the whole deal to if his health gets better. I offered it free of charge and would set him up in it if he is able next year or the following. I have permission from 4 property owners around town for signage in their years and I and pass it all on if and its a big if he can do it. I operate booth from 12-5 weekdays 11-5 Friday-sat sun. Those hours I learned from decades of messing with the best profitable hours. I also have sales help and have paid them well so they always wanted to come back-all the things you learn over time.
Next xmas eve I will not be packing up that booth or driving 30 times into town last few weeks before xmas. Yes less sales but thats the idea-that town sells my work in 3 locations year around anyway-not this huge selection but alot of choices. Its a new transition for me-iI think I made my last canister sets for example and now dinnerware will only be made to order small stuff like that. I'm cutting back on forms (no longer 35 ) My wrist will like this change as well as its not happy right now. I'm leaving that flying dog in the window behind now
Merry Christmas all
 

I don't have a lot of other people's work-don't get around much & don't have the spendoolies. I like meeting clay artists and then may get a piece they've made. My little collection includes  (from the top left) Andy Hampton's cosmic tea dust mug, a nice box that holds my collection of fortune cookie slips, and a  tasty shallow  square catchall. Andy is the president of the NH Potters Guild and who I got to do a raku firing with. Then there is  Maureen Mills' little willow vase-she was the director of the NH Institute of Art's Ceramic Dept. and author of Surface Design for Ceramics (Lark); the next mug is by her partner, slip trail master Steven Zoldak-I got the mug at their studio during the recent Portland Art Tour. The small plate is one of  Maureen's "seconds" and  shows off her signature design w/implied text. The 5 lovely tiny vessels are by Joseph Painted Bear, who I met online. The tiny vase is by Karen Orsillo, who specializes in the Japanese technique of neriage. I met Karen at the NHIA anagama firings at the Sharon Art Center. Last, the gorgeous cacao pod, glazed in Palladium, is by a South Afrikan artist whose name escapes me now- met her in an online ceramics group. Then, since I couldn't afford one of John Baymore's pieces (John & students built the huge anagama kiln at the Sharon Art Center and of course he is well known to some in these Forums) I got the next best thing: I carried off one of his cone holders from a firing that hit  2400 f, ^12.
Update: I happened to re-read my post and noticed that the auto-censor has changed my text! "Then there is Maureen Mill's little willow vase..." Nuh uh...I did not write "little willow vase". What I wrote was the correct description of her slip-trailed piece, which is a  "little p--ssy willow vase".  I'd laugh if it weren't so sad.
 

I don't have a lot of other people's work-don't get around much & don't have the spendoolies. I like meeting clay artists and then may get a piece they've made. My little collection includes  (from the top left) Andy Hampton's cosmic tea dust mug, a nice box that holds my collection of fortune cookie slips, and a  tasty shallow  square catchall. Andy is the president of the NH Potters Guild and who I got to do a raku firing with. Then there is  Maureen Mills' little willow vase-she was the director of the NH Institute of Art's Ceramic Dept. and author of Surface Design for Ceramics (Lark); the next mug is by her partner, slip trail master Steven Zoldak-I got the mug at their studio during the recent Portland Art Tour. The small plate is one of  Maureen's "seconds" and  shows off her signature design w/implied text. The 5 lovely tiny vessels are by Joseph Painted Bear, who I met online. The tiny vase is by Karen Orsillo, who specializes in the Japanese technique of neriage. I met Karen at the NHIA anagama firings at the Sharon Art Center. Last, the gorgeous cacao pod, glazed in Palladium, is by a South Afrikan artist whose name escapes me now- met her in an online ceramics group. Then, since I couldn't afford one of John Baymore's pieces (John & students built the huge anagama kiln at the Sharon Art Center and of course he is well known to some in these Forums) I got the next best thing: I carried off one of his cone holders from a firing that hit  2400 f, ^12.
Update: I happened to re-read my post and noticed that the auto-censor has changed my text! "Then there is Maureen Mill's little willow vase..." Nuh uh...I did not write "little willow vase". What I wrote was the correct description of her slip-trailed piece, which is a  "little p--ssy willow vase".  I'd laugh if it weren't so sad.
 

I don't have a lot of other people's work-don't get around much & don't have the spendoolies. I like meeting clay artists and then may get a piece they've made. My little collection includes  (from the top left) Andy Hampton's cosmic tea dust mug, a nice box that holds my collection of fortune cookie slips, and a  tasty shallow  square catchall. Andy is the president of the NH Potters Guild and who I got to do a raku firing with. Then there is  Maureen Mills' little willow vase-she was the director of the NH Institute of Art's Ceramic Dept. and author of Surface Design for Ceramics (Lark); the next mug is by her partner, slip trail master Steven Zoldak-I got the mug at their studio during the recent Portland Art Tour. The small plate is one of  Maureen's "seconds" and  shows off her signature design w/implied text. The 5 lovely tiny vessels are by Joseph Painted Bear, who I met online. The tiny vase is by Karen Orsillo, who specializes in the Japanese technique of neriage. I met Karen at the NHIA anagama firings at the Sharon Art Center. Last, the gorgeous cacao pod, glazed in Palladium, is by a South Afrikan artist whose name escapes me now- met her in an online ceramics group. Then, since I couldn't afford one of John Baymore's pieces (John & students built the huge anagama kiln at the Sharon Art Center and of course he is well known to some in these Forums) I got the next best thing: I carried off one of his cone holders from a firing that hit  2400 f, ^12.
Update: I happened to re-read my post and noticed that the auto-censor has changed my text! "Then there is Maureen Mill's little willow vase..." Nuh uh...I did not write "little willow vase". What I wrote was the correct description of her slip-trailed piece, which is a  "little p--ssy willow vase".  I'd laugh if it weren't so sad.
 

SInce Min's "hint" should be submitted here, I'll do it, using her words  "Do people who work with clay have a tendency towards certain personalities ?" Might be interesting!

SInce Min's "hint" should be submitted here, I'll do it, using her words  "Do people who work with clay have a tendency towards certain personalities ?" Might be interesting!

I wore out one wrist and a thumb bone in left hand. Missing three bones now in right wrist (PRC) and left thumb bone taken last year in left hand. The Wrist is also from some injury long ago (unknown) and throwing for so long did not help.
This is 50 years of heavy production  throwing so others need not worry.'Yes arthritis in all fingers and hands-but alas its also an age deal.
The plus sides-its kept my back and body in good shape. Its made me strong (age slows this down a bit)  . I had a one time incredible hand grip.
I move clay 12 times from pick up to sale. Pallet moving into truck then hand offload to clay shed) You do 8-12 tons a year for many many decades you either get strong or quit.I got strong
The biggest positive I can say is lifestyle. its given me freedom and focus and more learning than one could ever ask for. I had a lifetime of fixed dates I had to work the rest of the time was mine to work or play when I wanted.
Its also had some great side effects as I needed to master plumbing (to build kilns-I have done 12 at least)
I needed electrical skills so I worked with my best friend an electrical contractor back when I had an off season-learned those skills. I need more space so I worked witha carpenter friend and we built some more pot shop space and a few outbuildings.
Early in my carrier I did not have two dimes to rub together . Later after figuring out my markets (shows and outlets) It gave me financial freedom. 
Yes its taken a toll on the body but the mind and spirit have has tremendous uplifts
You learn to be humble as clay/glaze/fire always will lay you out sooner or later-whether its a ruined load of pots from bad clay or pitted glaze or some other large mistaka. You lewarn to move thru it and move on. I just throw the laod away and throw another and try to understand the whys.
I love being a potter and the same fire I had at 18 with clay is still there in this old mans body.
 

SInce Min's "hint" should be submitted here, I'll do it, using her words  "Do people who work with clay have a tendency towards certain personalities ?" Might be interesting!

I think "making a living"  is perhaps not the best way to look at it. Making it "your life" might be more congruent with what it ultimately takes to bring home the bacon in such a tough field and especially in such tough times.  Another important aspect is whether or not one is going for production that sells fairly readily, or is the focus more on higher priced, less quantity, fine art pieces? The markets & marketing are so different. There  are so many ways to generate income from ceramics, but in any circumstance a solid business plan, and an overdose of perseverence, are essential. 
 

In my outlets-meaning gallery gift shops and organic markets its always 100% perfect. In my shows its 99.9 perfect .S cracks are toast. Any flaws are extremely minimal and saved for later.
I have kept the seconds for my xmas booth these days and let a customer who buys a piece (a first) have a second for free (they are in a box nearby and they go very fast) 
At one time I would take this same box to our local show and have them priced down. They went very fast then as well Now its the  free box for buying customers at xmas. Its also a xmas good feeeling deal

i have sold things with very minimum flaws, reducing the price if it is one of several standard shapes and sizes.  there is always a label next to the flaw with an arrow pointing out a less than half inch crack that does not go through or a small blister that did not heal if it is not in a critical area.     if it is a $22 butter dish and has anything i can see, it gets a flaw notice and a price of $19.  they always go.  
anything worse meets mr hammer or goes into my kitchen.

@Callie Beller Diesel my sales at my big show were about the same as last year.  However, I made a conscious decision to make more small items.  That worked for me.  Lot of ornaments and small dishes and small cups were sold.  A few larger pieces but not very many.  Our community is being faced with the closing of some large enterprises and groceries have doubled in cost.  My heart goes out to younger families with kids.  There is still the push to buy local and for many, the desire to purchase handcrafted.  Just a lower price point.  As one of the organizers of the local market, I will be able to see sales numbers in about a month as the sales taxes roll in.  I will be able to do more comparison then.
r.

Sculpture, as for art, was mentioned. Sculptors-in general-are not a group that earns lots of money.  I have a sculptural approach to my work that is basically a vibe, an essence, a thought process, and which is counter to commercial refinement.  I found out within two years that standard commercial retail sales, would only lose me money. Additionally, the daily grind of sustaining and advancing the marketing/production/constantly changing the items to feed the hungry consumer is a full time job (unless you hire a company to do all of that, which reduces control). Those who do enjoy the making & selling process, and thrive on that energy flow, I believe make out very well. But, as Mark said, it probably needs to be a passion and one coupled with rigorously sound business practices, as Callie & others note.  Seven years since start-up, I have stopped selling completely.  I'm back to using other gigs to pay for the studio overhead/materials and nothing for my time. What I make now I mostly donate to selected non-profit organizations (those providing mitigation of domestic violence/addiction/homelessness). I give them certain ceramic "scupturally functional" items for home and office, which they use for their auctions/fundraisers. It's quite satisfying, recipients seem to like my work, and I'm gaining a bit of local name recognition as a ceramic artist, but even if these were sales, it will never pay the light bill!!

Sculpture, as for art, was mentioned. Sculptors-in general-are not a group that earns lots of money.  I have a sculptural approach to my work that is basically a vibe, an essence, a thought process, and which is counter to commercial refinement.  I found out within two years that standard commercial retail sales, would only lose me money. Additionally, the daily grind of sustaining and advancing the marketing/production/constantly changing the items to feed the hungry consumer is a full time job (unless you hire a company to do all of that, which reduces control). Those who do enjoy the making & selling process, and thrive on that energy flow, I believe make out very well. But, as Mark said, it probably needs to be a passion and one coupled with rigorously sound business practices, as Callie & others note.  Seven years since start-up, I have stopped selling completely.  I'm back to using other gigs to pay for the studio overhead/materials and nothing for my time. What I make now I mostly donate to selected non-profit organizations (those providing mitigation of domestic violence/addiction/homelessness). I give them certain ceramic "scupturally functional" items for home and office, which they use for their auctions/fundraisers. It's quite satisfying, recipients seem to like my work, and I'm gaining a bit of local name recognition as a ceramic artist, but even if these were sales, it will never pay the light bill!!

Sculpture, as for art, was mentioned. Sculptors-in general-are not a group that earns lots of money.  I have a sculptural approach to my work that is basically a vibe, an essence, a thought process, and which is counter to commercial refinement.  I found out within two years that standard commercial retail sales, would only lose me money. Additionally, the daily grind of sustaining and advancing the marketing/production/constantly changing the items to feed the hungry consumer is a full time job (unless you hire a company to do all of that, which reduces control). Those who do enjoy the making & selling process, and thrive on that energy flow, I believe make out very well. But, as Mark said, it probably needs to be a passion and one coupled with rigorously sound business practices, as Callie & others note.  Seven years since start-up, I have stopped selling completely.  I'm back to using other gigs to pay for the studio overhead/materials and nothing for my time. What I make now I mostly donate to selected non-profit organizations (those providing mitigation of domestic violence/addiction/homelessness). I give them certain ceramic "scupturally functional" items for home and office, which they use for their auctions/fundraisers. It's quite satisfying, recipients seem to like my work, and I'm gaining a bit of local name recognition as a ceramic artist, but even if these were sales, it will never pay the light bill!!

Sculpture, as for art, was mentioned. Sculptors-in general-are not a group that earns lots of money.  I have a sculptural approach to my work that is basically a vibe, an essence, a thought process, and which is counter to commercial refinement.  I found out within two years that standard commercial retail sales, would only lose me money. Additionally, the daily grind of sustaining and advancing the marketing/production/constantly changing the items to feed the hungry consumer is a full time job (unless you hire a company to do all of that, which reduces control). Those who do enjoy the making & selling process, and thrive on that energy flow, I believe make out very well. But, as Mark said, it probably needs to be a passion and one coupled with rigorously sound business practices, as Callie & others note.  Seven years since start-up, I have stopped selling completely.  I'm back to using other gigs to pay for the studio overhead/materials and nothing for my time. What I make now I mostly donate to selected non-profit organizations (those providing mitigation of domestic violence/addiction/homelessness). I give them certain ceramic "scupturally functional" items for home and office, which they use for their auctions/fundraisers. It's quite satisfying, recipients seem to like my work, and I'm gaining a bit of local name recognition as a ceramic artist, but even if these were sales, it will never pay the light bill!!

Well, I make my living from it, so, yeah. It’s possible! Easy? That’s a different question entirely.
The methods to entry do vary depending on how and when you start. Tools and approaches that were available 20 years ago maybe aren’t now, but there are tools available now that weren’t here 20 years ago.
The thing that helped me the most was making a business plan. It doesn’t have to be the same kind of plan that you’d take to a bank in order to obtain a loan, but you should lay out for yourself some goals and projections based on research. Figure out where you want your income streams to to come from. Some folks love teaching, some don’t. Some folks love doing in person shows a lot, and some prefer online sales and marketing. And keep track of whether or not a given venture is profitable. Just because you took home $1000 from a show (random number) doesn’t mean you made bank. How much did it cost you to get there? And are you getting paid for your time? All of your time?
I don’t think it’s a great idea to just quit your day job and jump in at this point. Spend some time building your skills and building an audience. Start an email list! Even a small one of 100 people can net you a few sales every time, and that adds up. I know so many artists who were only doing in-person shows that had their businesses saved over the covid shutdowns because they had an email list.
Build up your studio and supplies with sales from your pots over time. I didn’t start off my business by owning all my equipment from the outset. I did buy a wheel and some shelves, and just fired at a community centre for years. It took a long time, and was interrupted by life a LOT, but I outfitted my studio slowly and with cash. Keep your overhead low.
Take the time to visit shows the year before you apply to them, to see whether or not they might be ones that fit your work. Make “show friends” with the other artists you work with, so that you can talk shop with them and trade intel. Those show friends will also be a source of support and encouragement, and community like that is necessary.

Hard work usually pays off  they say. Most folks are not focused enough to go thru the lean years and keep at it.It takes a long time to gain traction in this field and it takes a long long time to become a professional at all things needed to make it work.If you think its work you are in the wrong field -it has to be your passion I feel.

our guild holiday show was last weekend, the saturday and sunday after thanksgiving.  we set our stuff up early on saturday instead of friday as in the past.  started at 7, all of a sudden there were strangers all over the place.  i asked another potter where they came from and she said it is 10:15.  doors opened to the public at 10.   i left through a crowd.  got down the road a little way and realized my wallet was under the table so i returned.  
crowd at the front door, i went to the side and a customer let me in after a dozen of them pointed to the front door.   the crowd was thick and i had to squeeze through .   my purse was 10 feet away and i must have answered 10 questions before i reached it.  our customers mostly know what they see and what they want.  if not, they know that if they ask they will get a full discussion if they like.   and yet, there was some young girl who looked at my display while her mother asked a question.  the daughter's eyes opened at some point and she said  "you made all this by yourself?"   
i want to think she just realized she could do stuff on her own and her mother would let her.
 

I took a long break from selling pots about thirty years ago. Now I’m back at it and things are different. 
It was so difficult then, I had a lot riding on each craft show and I was learning as I went. As far as how savvy customers are, it feels about the same now as then. 
My experience interacting with people the last couple of years, after jumping back in, is completely different. I sell a lot more with less effort and stress than when I was in my twenties trying to make it work. 
I have a lot of fun now talking to people about pottery, gauging the conversation as I go. Most know a little, a few know a lot. My work attracts people with a certain aesthetic, and it doesn’t always correlate to how deeply they know the process. We just talk. It goes all over the place. From the best shape and size for a tea bowl, to geology, fire, or chemistry, to the fond memories someone had in high school pottery class. 
My crude guess about folks who buy my work is 5% are clueless (“Oh, wait, you actually made this?”), 85% know a little, 8% know a lot and 2% appreciate what I do in a pot. All of them appreciate something though, and it’s not always what I expect.
I had some plates without a foot ring and thought they felt unfinished. It was a good weekend though, so I pulled out everything. One lady said, “Finally, someone who makes plates without that ring on the bottom.” She could have cared less about most anything else. They looked nice and didn’t have that darn foot!
Two kinds of sales bring me heartfelt satisfaction: 1. When a potter buys my work. 2. When someone, between me telling and them looking, becomes so engaged they see through new eyes. They start examining the pots differently, turning them over in their fingers. It’s like they’re thinking, “I didn’t see that before. How could I have missed it?”

Doing workshops and teaching classes are two different animals. Workshops are a good way to make some extra money, but you don't get the chance to do them until you're fairly famous because it's your name that's the draw. There may be others out there who make work that is just as nice but no one is going to pay money to go to a workshop if they haven't heard of them. It's also not something that you can do every week all year long. There's just not that kind of opportunity, and it'll eat into your studio time. One of the nice things about the internet age is that you can do online workshops, however you still need the name recognition to get people to sign up. The vast majority of potters do not do workshops on a regular basis, but they're great when you do get to do them. You can make a few hundred bucks for a day's work, plus sell some pots and meet a bunch of other potters. They're a great ego boost, too!
Teaching pottery classes does not pay much. Many people who teach are paid in studio use, kiln use, clay, etc. If they are paid actual money it's not usually very much because they're paid for contact hours, and classes are usually only 2-3 hours once a week. Even as a studio owner you have to offer a lot of classes for it to be profitable. My classes cover my monthly expenses plus a little more. It would not be profitable on its own to a degree that was worthwhile unless I offered 3 times as many classes as I do (I currently have 4). That many classes would require hiring a couple of helpers, and working all day on Saturday, which is why it's never been the sole focus of my business.
College level teaching is a sweet gig if it's an environment you enjoy. Time off, benefits, etc. Personally, I would love a college job, but when I got out of grad school I was burned out on the academic world and didn't pursue it. After a time is was simply too late to start that career. Most college jobs will require you to move, because there are only a handful available each year and chances are they're not in your town.
My business survives because I have 3 income streams- teaching, selling my work, and kiln sales/repair. It was the best way for me to get the business going and now I'm settled into it. With some changes I could make a go at any one of them on its own, but I really don't want to. It fits the way I like to work, and works really well with my home life. The downside is that kiln repair and studio time can fluctuate a lot. Repair work has been crazy lately, so studio time has been virtually non-existent for the past few months. Financially it all works out just fine- money is money- but I do wish I had more time to make pots.

In my experience, teaching is not a good way to supplement your income as a potter. Teachers get paid very little! Even if you are a star who can teach weekend workshops that command a high fee, the ceiling on income is very low compared to how much you can earn for making/selling pots at a good quality art fair or craft show. Teaching is also very time-consuming, if you care about a doing a good job that is. I did one workshop near the end of the pandemic, only because there were no shows to do at the time. I enjoyed it, just to be around people again. But the amount of work and the pay involved is not something I would choose over doing shows. 
The pay for teaching weekly classes to recreational potters is even worse! When I reached a point in my pottery business where I could no longer teach weekly classes AND keep up with demand for my pots, it was a no brainer to drop the classes. I can see how it might be worth it if you OWN the classroom studio and also teach the classes, but not if you are just an employee.
These days I produce video lessons and sell them online. Once a video is finished, the income is almost totally passive. It’s the only way it makes sense for me to do it within my schedule. 
I don’t have experience teaching college level ceramics. I can see that the income/benefits/stability would actually provide a meaningful living. But I suspect that this is more about being an academic than a potter. Not better or worse per se, just not the same. I taught college level graphics courses a long time ago, and I found the academic environment to be very unpleasant. And the amount I was being paid to teach those classes was much less than I was making for my design work.