Min

Large-ish asymmetrical slab bowl in progress. Speckled buff clay body, lightly pressed pattern on outside, carved vine maple leaves and seeds on inside. 

Wedding Jar, the one posted earlier after glazing.

Another pair of child sized hands. (was peeling beets)

I'm not a big spend time in the office guy. As it is I have to bookkeep more than I would like and I try to limit this to winter hours as much as I can. I try to spend time outside more in outside season and less office time. If the weather is crappy then its office time.
Also now that I'm only doing 6 shows and more wholesale /and some consignment then planning is less hard. 
I have always done the same shows so I do not have to think much about when as they are always about the same times yearly.
I used to calendar up as Mea does now but it no longer like that for me. I used to work backward from the show to calculate the fires and times.
But now for example I have a show next week on the 4th of July-I packed 95% of van last week. All the pots are in that load. There is some what I call loose ends left to add but its not pottery.
I'm working towards my Big summer show in Anacortes Wa and most of that work is also done and just needs to be unloaded from two kilns priced and packed. I still need to make some wall fish art and some more spoon rests (just threw 200 in last two days)
I tend to glaze on Mondays or Fridays-Glaze fire on Saturdays or Tuesdays. Throw Heavy on Tuesdays and Wednesdays -deliver pots on Thursdays to markets-Unload and price on Fridays-this is General schedule not fixed in stone and it varies.Things like fishing diving or shows change this basic schedule
At a certain point you just know what needs doing without much thought and an office/computer is not needed.
I make a list at the show of whats needed to fill in the stock and work from this list-same with general Market stock(wholesale and consignment)
I also make another list of that shows Best sellers-I alway pull this list out at least a month before show and make sure that all those items I'm well stocked in. They seem to always be about the same with some yearly variances.On this list It may say bring 350 spooniest or two boxed of sponge holders or one plates sold well,or 8 boxes of mugs.
I try to never run out of stock and get ahead as much as I can so I can do what I want when the weather/Ocean cooperates -especially in summer.
I know come late December I will spend days accounting in the office-right now the sun is out and pots are drying and need trimming or handling.

This is my favorite and most important scheduling tool: a wall calendar that displays the entire year at a glance, and can be written on with a dry erase pen. I plan out about 2 months worth of days in advance, then stick to my plan as close as possible. It takes an emergency to make me ignore my plan. If I don’t stick to it, I will arrive at shows feeling underprepared, and I hate that! The shorthand you see (1a thru 1d, 2a thru 2d) refers to to-do lists that I keep in a notebook. Each to-do list produces about $1250 worth of pots. So when I apply for and get accepted into a show, before I commit to it I will make sure I have enough days to produce the necessary amount of inventory. If yes, then I will commit to the show and schedule the days of production. This way, I am always fully stocked. But I avoid overstocking myself which I consider wasted energy.
As you can see, I give myself regular days off, usually two in a row but sometimes three. I need these days out of the studio to let my sore muscles recover. Often, one of those off days will be spent working, just not in the studio. This is when I get my computer stuff done (bookkeeping, bill paying, writing blog posts, writing email campaigns, making hang tags, photographing my work, website updates, etc.) So that means I get one day “off” but that’s enough. 

Today 6/26 which is a day off. Tomorrow I start another round of glazing. And then I reach the end of my currently scheduled days. I have a completely unscheduled week 7/1 thru 7/7. Weird feeling! I will probably schedule those days as “video days” because I don’t need more pots for the three shows coming up in July. When I get near the end of my July shows, I will plan out all the days until my three October shows. Then follow the plan. 

A finished piece from this week.

A finished piece from this week.

A finished piece from this week.

A finished piece from this week.

A finished piece from this week.

A finished piece from this week.

Last pot on the bench today, carved vase.

A finished piece from this week.

A finished piece from this week.

A finished piece from this week.

A finished piece from this week.

A finished piece from this week.

Workbench results this week: tea strainers, tea cups and dishies. 
 

A lesson learned...
The last weekend in February was the last time I touched a kiln load of pots ready for single-fire glazing. Around June 6th is when I started to glaze. I pour the liners on mugs and pitchers. Then begin to spray the exteriors. 2 days after pouring a thin crack appeared in 2 pieces. I looked in the Hamer book and found out the crack is from readsorption. We had a very rainy spring with periods of extreme dry weather. The pottery shop had the windows open during this time. I took me about 2 weeks to glaze the pieces and 29 test glazes. Kiln was fired June 17.
I have always d processed the pottery this way. Throw a kiln load, then when all pieces dry, begin to pour and spray. I have never waited this long between the making and the glazing. Lost 5 pieces due to this readsorption. 
Never in my wildest dreams, in order to make decent pots, did I consider being a physicist, chemist, geologist, and any other ...ist I may have left out.
Picture of the hairline crack and a picture of the survivors. At least all were not lost. Also, I finally figured out how to properly load the kiln. This firing had the most even firing across the whole kiln. All cone 6 were bent exactly the same. 
  

Last pot on the bench today, carved vase.

Only working in my studio  for a couple of hours a day recently.   My husband has been using up some vacation time so we have been on the go.     When I am out there I am working on intricate stain designs,  coiling a pot or trying to throw on my new wheel.   It is hard to teach a old dog new tricks.    Denice

I've got a very busy week ahead of me. I currently have 101 pots under plastic that I will have to start trimming and decorating tomorrow, including 2/3 of a dinnerware set, a bunch of mugs, cups, tumblers, oil bottles, and soap pump bottles. I've got a show on Saturday, so my goal is to have it all done by lunchtime Friday so I'm ready to fire for the next show, when I'll need all of this work. Wish me luck!
                

Last pot on the bench today, carved vase.

I think that the best thing to do when a person is out of good ideas, the creative block part of the question, is to do something off of ones normal beaten path, or even on ones beaten path but with an uncommon style of attention.
Off the beaten path could be visiting a new place, reading a new book, or attending an event one would ordinarily never pursue. How could one not get some ideas from that? Revisiting ones beaten path might be to walk that same familiar route one takes each morning but to be deliberate in paying close attention to things you wouldn't necessarily look at.
I actually wouldn't wait for feeling creatively inert to adopt this kind of practice. If it is a regular practice, it has preventative potential.
The author Julia Cameron, who also wrote a popular book for writers called The Artist's Way, calls the regular habit of such "excursions" Artists dates, an appointment with oneself to do something new and interesting that isn't art.
There is a guy named Todd Henry who consults with creative businesses, like design firms, who encourages specifically what he calls "unnecessary creating." He encourages people to build into each week a period of goofing around with a creative medium not their own.  So a writer might draw or a painter might write a haiku or a potter might sing. The point is to choose something different so that there is no performance pressure in it and so that one is effectively using different physical and mental channels.
Einstein used to pick up a violin. Richard Feynman played bongo drums and painted. In neither case were these simply pastimes. having more of an instrumental function.
 

I do sell "seconds" but you have to really look hard to see why they are seconds. I always try and point out why something is a second to a potential customer and 99 out of a 100 times the customer will say "Well that's what gives it character". I smile and think to myself no, you just are pleased to be paying 1/2 price for the pot.