LeeU

Lee:
it has been a joy watching you develop your own "voice" over the last two years. Glad to see you reimagining the platter. Actually find the expression intriguing. Well done!!
Nerd

Yep--and for short stints, if you have electric,  a small table top ceramic heater or oil-filled radiator are good. Thin thermal gloves help, ear muffs, and really warm socks--makes a big difference. My studio is indoors, but my kiln room and more working space is outside, on a screen porch. It is 12 x 12 and houses my L&L 23s kiln, a 5' work table, spillover studio storage, and all kiln supplies, plus a tiny corner seating area.  I close the porch up in the winter with panels of restaurant patio vinyl rated for 40 below. My wonderul landlord had them built and installed.  The stuff is clear as glass (see the pic!), durable, and can be cleaned. They only make about a 20 degree difference from the outside temp but with the heater(s) I can actually work out there in the NH winter. 
 

I am currently just making some personal holiday giftees. Pics are my view out the studio windows after it snows! (Landlord's construction yard, sitting below a ridge-lovely.)
 

I have to agree with Mark, Pres, Lee, and Neil regarding formal education. I was sent to Sat. Art classes at age 11 . I had been drawing all the time from a very early age. I later went to Art School for a BFA where I discovered clay. I was able to minor in Art History and write papers on ceramic topics in my Art History classes. I love learning about ceramics from all over the world. Taught college level ceramics for 25 years. I provided special topic courses in the summers and winter interim classes. We did kiln building, Tile workshops,Primitive pottery including searching for and processing clay.I taught glaze calculation, throwing, hand building, kiln building, mold making, glazing and firing during the regular course work of the ceramics program. I retired because the physical work of loading and unloading kilns was hurting my body. When tuition kept rising and students had to work more to pay the tuition, they had fewer hours to hang out in the studio and help me. During my final year my pain was interrupting my sleep 23 times/minute according to a sleep test with probes everywhere. I stuck it through til I hit 25 years and retired. Now I have been working my studio for the last 18 years learning more and more. Ceramics is a never ending quest for understanding the material, firing processes, chemicals and glazes. Never ending. I love it. It is my passion.  I don't think people need a formal education but it does provide more access to learning things like glaze chemistry, especially if you are fortunate to have good teachers who can direct your passion. Some people can learn well on their own and some benefit from good direction of teachers. I am very excited about what I am discovering in clay after 50+ years of working with it. It has been a wonderful life for me. This morning I had a studio visit from the current teacher where I worked and 5 of her students. It was fun to show them what I am doing and discuss it. Since they had been doing studio and gallery visits all morning, I prepared some food and refreshments for them. They were continuing across Montana, picking up work for a Montana Clay Invitational.  What a great opportunity for these students to visit studios and the Red Lodge Clay Center, The Archie Bray Foundation , and the Missoula Clay Studio. We have rich resources in Montana as well as good programs in the Colleges and Universities. Montana Clay is a statewide organization of ceramic artists and potters. It promotes clay people across the state. I am happy to be back in Montana after working in Texas for a decade.
Marcia

They were originally used as a  protective charm by one tribe, the webbing (spider's web) was supposed to catch bad spirits.  They never had anything to do with dreams, but now every redneck within 200 miles of me claims they are 1/8 Cherokee and has one hanging from the rear view mirror, even worse, I have heard some of them say the other rednecks should't hang them from the rear view mirror because your'e supposed to have them near your bed to have good dreams. 
It's the twisted meaning, the use of the thing, that people don't care to know, that the native americans I have spoken with say it is offensive, it's like wearing a cross because you like Madonna's music.
Ironically, the placebo effect is a real thing and they probably DO have better dreams....sigh...

I think this (deliberate misrepresentation/falsely suggesting etc.) is the key regarding the notion of "cultural theft".  As Liam (hope I got that right) noted, intent is the primary factor.  Without the ability for people around the world to appreciate the creative expressions of various cultures, including those held to be sacred, I think we would be impoverished to the point of spiritual starvation. Whether rigid boundaries are protective,  obstructive, or aggressive, I think we lose part of our humanity by petitioning off aspects of ourselves. I find  it joyful and uplifiting to learn from other cultures, including more about my own. I was especially thrilled when, in art school, I was essentially chastized by a few instructors for making art that was "derivitive" of some famous painter or sculptor. It really tickled my fancy because I had never heard of these artists nor ever seen their work. So, all the critique did was validate my own impulse to keep on doing what I was doing and the heck with the imposition of limits without foundation. I also subscribe to Jung's notions of the "collective unconscious" and think that it is a vital life force in the expression of art, in all cultures.

Working on a kiln load-I am likeing the direction I am heading-a bit larger, a bit more mainstream, trying to refine glaze combinations. This tile (to fit as a top for an old black iron ash tray stand I picked up) is commercial dark Gold, Ivory Crystal, and Orion. Should be interesting--we'll see. 
 

Pres I like your question and understand that my comments here are offered in the spirit of provocative analysis rather than attempting to invalidate the issue.  Maybe I don’t need to say this, but this topic may be emotive for some.
Theft is a pretty strong term.  Almost makes it seem like there was something private that you have taken away from the owner without permission.  I do not view cultural symbols, icons or art in this way.  They are in fact public, meant to be seen, acknowledged and interpreted by others.  
Further,  “cultural theft” may almost be a contradiction in terms.  Culture cannot be owned.  On the contrary, it is a shared construct.   Its  manifestations are an invitation from insiders to outsiders to engage and participate.  A culture’s ability to survive and thrive depends critically on its ability to be communicated and understood - and potentially adopted, or adapted - by those coming to it for the first time.   Those treating culture like a secret birthright that only the high priests can discuss are missing the point.  Success is where everyone is discussing it, learning it, sharing it.
However, since art is a primary vehicle for communcating culture, using imagery or symbols from a culture other than your own in your artwork, possibly out of (cultural) context, is risky business.   If misused, or possibly even when appropriately used, it could be misinterpreted, or seem like a cliche’, or possibly offend those who (legitimately) identify with those symbols as part of their own personal value system.  A bit akin to driving without a license, or sufficient training or experience - you probably just shouldn’t be out there.  Objects may be closer than they appear.

I feel like most cultures beyond american view this as flattery.  I know that the Japanese and Korean do.  I'm generally speaking here, but it's tourism culture in Japan to wear a kimono or participate in a tea ceremony.  I feel like it's the same thing.  Think about if you had to adhere to a certain American culture in your pottery because you're beholden to your culture.  I think it would be pretty boring and close minded.  I have seen italian videos of majolica demonstrations where they are happy to share their method and culture.  
I feel like the culture wars that are popular right now involve a vocal minority and dont truly represent popular opinion.  That said, appropriating culture is a hot issue right now, and my thoughts are all about intent.  If you're making something to purposely shortchange a culture or profit specifically on that, I don't think that's appropriate.  However if you're developing a personal style that draws inspiration from a culture, I don't think that is the same.  Basically if your intent is exploitation, bad.  If your intent is to create beautiful things, how can it be wrong.

Oh great, there's no hope for me, I'm gonna have to do this til I die to catch up

First day of the season it looked like this...

Pres, I throw like that as well. Can't do clockwise unless I am using it for a particular effect.  My "bad habit" is a deep aversion to taking notes.  I prefer the surprise and do not get too hung up on not being able to duplicate something, even when it is wonderful. Of course I have come to regret that bad habit more than once! The note-taking, whether by hand on paper or in the Pottery Logbook app or whatever is just too much minutia for my brain to handle-I lose steam fairly quickly. I've had to turn that lack of patience/sustained attention into an asset in terms of my style, which does seem to serve me well overall. I am making an effort to put more glaze detail into the Logbook, but have not attained any really useful consistency yet. 

Well, throwing well is not something I need to worry about...'cuz it sure ain't happenin'.  I used to be quite proficient (after 3 years of high quality formal training specific to ceramics.) I threw lovely bowls, fitted lids, mugs w/great handles. pitchers, platters, etc. That was decades ago--now, the simmering deficits beginning to riddle my brain overide much of the muscle memory & the essential knowledge about how to throw well, consistently.  The memory aspect seems to render my motivation  to press on (practice/practice; fall/get up, fall/get up) fairly diluted.  I will keep at it--I don't give up until/unless that is the only survival move left to make.  I have a great wheel and every once in a while I crank out a nice piece on it. I just won't be making myself miserable by confronting the times that I really "can't" pull it off.  What's important is that I love what I am doing at this time, exploring certain hand building dynamics, and simply enjoying other people's thrown work.   

Well, throwing well is not something I need to worry about...'cuz it sure ain't happenin'.  I used to be quite proficient (after 3 years of high quality formal training specific to ceramics.) I threw lovely bowls, fitted lids, mugs w/great handles. pitchers, platters, etc. That was decades ago--now, the simmering deficits beginning to riddle my brain overide much of the muscle memory & the essential knowledge about how to throw well, consistently.  The memory aspect seems to render my motivation  to press on (practice/practice; fall/get up, fall/get up) fairly diluted.  I will keep at it--I don't give up until/unless that is the only survival move left to make.  I have a great wheel and every once in a while I crank out a nice piece on it. I just won't be making myself miserable by confronting the times that I really "can't" pull it off.  What's important is that I love what I am doing at this time, exploring certain hand building dynamics, and simply enjoying other people's thrown work.   

Well, throwing well is not something I need to worry about...'cuz it sure ain't happenin'.  I used to be quite proficient (after 3 years of high quality formal training specific to ceramics.) I threw lovely bowls, fitted lids, mugs w/great handles. pitchers, platters, etc. That was decades ago--now, the simmering deficits beginning to riddle my brain overide much of the muscle memory & the essential knowledge about how to throw well, consistently.  The memory aspect seems to render my motivation  to press on (practice/practice; fall/get up, fall/get up) fairly diluted.  I will keep at it--I don't give up until/unless that is the only survival move left to make.  I have a great wheel and every once in a while I crank out a nice piece on it. I just won't be making myself miserable by confronting the times that I really "can't" pull it off.  What's important is that I love what I am doing at this time, exploring certain hand building dynamics, and simply enjoying other people's thrown work.   

This about 30 pieces from the 47 pieces. Will load the kiln at lunch break today and start it up to fire the other 17 or so pieces. The goblets will be in this firing. They take nearly half of the 27 inches of the kiln interior height.

I have a half finished coiled pot on my work table and a drying cabinet that is nearly full.   I am surprised I am getting any work done at all.   My 95 year old mother in-law has been in the hospital and my son and his wife are back from their European tour.    Denice

My workbench is empty! I just cleaned it off this morning (finally!). I have the last couple weeks worth of bisque ware to glaze and decorate now. Which usually ends taking up the most time and energy of all.

YEP----yep, yep, yep.  That, and the underlying intent, the hidden or overt motivation informing the end result. (HMS = Hidden Mask Series) 

If I had to choose just one style of surface decoration I would have to go with soda fired pots with flashing slips. It's not something I can do on a large enough scale to have soda pots for sale though. For pots that I sell, my glazes are getting more and more simple. I did a rutile blue / variegated visual texture look for a long time but a few years ago I started introducing semi matte glazes in mostly white with some gray and a coloured translucent liner glaze. Wasn't sure how they would sell because the look is quite simple. My white glaze now outsells the razzmatazz and it's what I prefer. I find myself getting more and more minimalist with my glazes. I'm not one for busy surfaces, I can appreciate the beauty of such work but it's not me. I've also noticed that with the calmer / simpler glazes I'm attracting a younger demographic of shoppers.

I started to say two things are in daily use, then I worked my way round the house, and the number has gone up in each room.
In the kitchen we use spoon rests, butter dishes, a tea-bag bowl and fish-pie dishes, the lounge has a kindling-holder pot and ornaments, the en-suite bathroom has a pot that holds combs, the bathroom has plant pots and decorative trays to hold them.  I also have coasters in most rooms and the greenhouses, plus plant saucers everywhere.  At the scout campsite, all the crew have a mug with their name on it.
I have a pair of two-handle cups (one to use and one to ..........) to be wood-fired tomorrow for my mum who is struggling with holding a cup with one hand.  And as she drinks her tea while it is still scalding she can't hold normal cups with both hands.
So, a veritable haul of me-made pottery in-use, quite impressed.

I am a firm believer that no matter how you were taught or got instruction that you develop a personal throwing style, which includes doing things that you know you aren't supposed to do.  Myself, I throw counter clockwise but use my right hand inside the form and lift with my left hand on the outside.  I've tried throwing clockwise and I've also tried switching my hands but something about throwing backwards feels natural to me.  So what is your bad habit that is now just your style?

I avoid juried groups and exhibits and try not to succumb to doing local art shows. It's just not for me. I was exposed to the "art scene" in NYC and VA and there is nothing about the whole milieu that I care for, especially the lifestyle that can come with it in some places, if one gets caught up in that. 
The most valuable learning I got from  my formal education (a state school) in ceramics was being taught the necessity and practice of critical thinking, and vetting for myself any assertions before buying into something, (like the mass mis-perception that Picasso is a great and revolutionary artist-sorry, couldn't resist). The first time I heard an excellent art history presentation on what was beyond the surface in a 15th century painting, where the fly on the pretty piece of fruit was actually a socio-economic commentary on the deterioration of the culture at the time, I realized that art is often about more than "what you see is what you get " or what I like or don't like--that formal education about art--making it, understanding it,  and appreciating it--is important.  
When I learned how to center and throw, I also learned about the great potters throughout the centuries, and clay artists working with non-functional objects.  This was amazing to me, and without the BFA degree program I doubt I'd ever be enlightened about the depth of possibilities for making things of clay and other materials, or the impact of art on the world. That is not to say that probably a high percentage of the learning could be acquired outside of a formal educational process, with free lectures, Youtube videos, decent local studio classes, local guilds etc. , and maybe easier to handle cost-wise , assuming there is a drive to make self-education a priority.  I often say something is not either-or, it is yes-and, and I thin k the viewpoints in this thread fit that perfectly--great discussion! 
3 hours after I wrote the above, this popped up on my FB feed: ""The true purpose of arts education is not necessarily to create more professional dancers or artists. It's to create more complete human beings who are critical thinkers, who have curious minds, who can lead productive lives." -- Kelly Pollock

I think that painting everyone with the same brush is inherently inaccurate.  I submit there are many people who do not justify their good fortune in earning a degree by assuming negative things about others who did not/were not able to go the same route.  Just because  someone is educated and has a degree, that does not automatically tell anybody anything about their life, their values, their struggles, their pain (or joy), their economic status (good or bad) or their politics/philosophy/world view. 
 I always wanted to study art and the creative process as expressed in this and other cultures, now and in history. The value of formal education in developing my skills in ceramics is worth 1000xs the price, for many reasons, and it is still paying off to this day.  As someone who earned a BFA from an esteemed art school, while on welfare and struggling mightily as a single parent with a toddler in tow, and 20 years older than the other students, in deep poverty, at times homeless, with many other crippling hardships, plus the add-on of student loans, I must assert how  enriching, valuable, freeing, and supportive of my creative expression and drive, and my very survival, the experience was.
What I got was a sterling education from the best faculty of knowledgible, competant, and skilled artists/instructors one could ever want. I have carried and used the benefits of that excellent education throughout all aspects of my life, not just in art interactions, but in ctitical thinking, world-view, career, understanding people and cultures, and many other areas of functioning. My formal training was invaluable and has enhanced my creative expression and appreciation of crafts & art. It took nothing away from my innate creative drive, my ideas, my self-concept/identity, or my preferences for working with my materials. When someone is being derisive and dismissive of that "piece of paper" Old Lady's line comes to mind:  "putting you down does not raise me up." Or rather, putting me down does not raise you up.

My house is unashamedly peppered throughout with my own work. Some is non-functional, like my "excavation" series of shelf pieces and my Hidden Mask series of wall pieces.  My practical day-to-day ware includes tea light holders, rakued tiles that I use as large coasters, cone incense burners (my favorites are a heavy piece glazed in a beautiful silvery Palladium and one in a clear gloss-glazed super white porcelain), unique spoon rests, catchy catch-alls, free-form card/letter holders, tiny herb/spice spoons, small vessels and vases, and 2 favorite mugs.