Pres

I think because I am not too far into this clay journey, I do have new forms at least once a year.  Usually it's something I am trying to conquer, and once I do, like Mark, I take some time and fine tune it.  Mostly my new forms are a result of "what would it look like if I....."   

Here's the article for the lazy among us: https://ceramicartsnetwork.org/ceramics-monthly/ceramic-art-and-artists/ceramic-artists/lessons-learned-time/
Nice read but if you've lurked around here for a while it's all OLD HAT! 
I need to settle into some things, I can throw 30 mugs a night that all look pretty much the same, but for some reason bowls are a total mess for me.  I need to figure out a better way to bring them to the gauge because the way I learned bowls was to V them and then open them and it just doesn't work well with a gauge.
But I am slowly building out my forms.  

Callie Beller Diesel recently posted the following in the QotW pool: how often do you introduce new forms, and does that change throughout your career? 
How many new designs do you come up with in a year, and what's that work cycle like?
As a functional potter, of late, I have not come up with a whole lot of new designs. However, as a teacher 10 yrs ago, every month was a new piece, handbuilt or wheel thrown, or as a combination piece. Projects for students were often "tested" out by some sort of piece in the beginning. A theme like "crazy plumbing" or "crooked houses" for something like an extrusion piece would be planned out and assembled by me before ever introducing it to the kids. Then there was the demonstration piece, and when starting a demonstration, I usually would carry that to completion also. So every year there would be as many as 10 or 15 new forms. 
When working in the studio, I am not as much concerned with new forms as refining or modifying existing forms. An example of this may be Berry bowls that came about as I found myself using a lot of fresh berries for dessert in the Summer, and decided to do a berry bowl with a shallow plate underneath for drainage of the rinse water. That ended up as a Christmas gift that year for some relatives, and then the following year for others. Teapots may be done with tilted galleries one year, and another with regular galleries, one year rounded forms, next wide kettle type forms. None of these are really new forms just morphs from previous thoughts and ideas.
 
best,
Pres

Callie Beller Diesel recently posted the following in the QotW pool: how often do you introduce new forms, and does that change throughout your career? 
How many new designs do you come up with in a year, and what's that work cycle like?
As a functional potter, of late, I have not come up with a whole lot of new designs. However, as a teacher 10 yrs ago, every month was a new piece, handbuilt or wheel thrown, or as a combination piece. Projects for students were often "tested" out by some sort of piece in the beginning. A theme like "crazy plumbing" or "crooked houses" for something like an extrusion piece would be planned out and assembled by me before ever introducing it to the kids. Then there was the demonstration piece, and when starting a demonstration, I usually would carry that to completion also. So every year there would be as many as 10 or 15 new forms. 
When working in the studio, I am not as much concerned with new forms as refining or modifying existing forms. An example of this may be Berry bowls that came about as I found myself using a lot of fresh berries for dessert in the Summer, and decided to do a berry bowl with a shallow plate underneath for drainage of the rinse water. That ended up as a Christmas gift that year for some relatives, and then the following year for others. Teapots may be done with tilted galleries one year, and another with regular galleries, one year rounded forms, next wide kettle type forms. None of these are really new forms just morphs from previous thoughts and ideas.
 
best,
Pres

Whamo Mamo Matt
Kingman feldspar- 49
china clay-21
Dolomite-19
whiting-4
Tin-8
One of my many glaze projects in school was doing a line blend on this glaze to see where it could be made cheaper and maintain color and surface
My new improved glaze was Wham Mamo II-
same formula but
tin is 4 and zircopax is 4 to tall that 8
This is my favorite glad from the 70s
I fired it on a buff to dark stoneware body in solid reduction to soft cone 10s
This glaze is super tough and lasts a lifetime in use. 
I also did all my own bathroom shower wrap around and tiled window and sink and sink top and backsplash in 1982 -still looking sharp today.
we eat off all sizes of plates made with this glaze as well.
I sold a set of dinnerware to my mentor long ago and added to it for his son who inherited it later in life.I made several sets back then and that are all going strong now. I got my mothers set back after my sister was done with it. I gave part of that to my mentors son as I cannot get this effect anymore while firing my porcelain loads.

liambesaw
you need a biggger shed

dhPotter recently posted in the QotW pool: 
At what point in a potter's career does he/she stop searching for and testing new glazes?
When does the potter become satisfied with his/her stable of glazes and says "This is enough"?
I really don't know how to answer that, as I am still keeping notes on new glazes, watching for ingredients and percentages, constantly interested in new glazes and trying out quite a few in 100 g test batches. Over the years, my own work has changed quite a bit as I learned more about glaze. ... I had never had a glaze theory/making/testing class. However, as I had been a math/science major in the early days of my college education and worked as a lab assistant nights glaze chemistry is not too distant a reach for me. I have learned to be more intuitive of late as I understand much more about how things react in a glaze than I have before. I was a teacher in a HS, and as my budget was a small for the size of my classes, I turned to mixing my own glazes as a way to get the most bang for my buck. I had around 20 glazes I mixed for classes, and then a few that I used in large powdered lots of commercial glaze. 
In my own work, I started out by saving money with just one white glaze that I sprayed underglazes and stains over top of for color and decoration using dipping and atomizer spraying. Over the years I have changed from that to airbrushing using a series of blue, brown and green glazes over a creamy tan white that reacts well over texture as now my decoration comes in stamped and carved decoration put in before shaping.
I really don't think potters say. . . enough, especially with the way the technology and understanding increases as we keep exploring the medium. Maybe I'm wrong, and after all it is only my personal opinion.  Thanks for the question dhPotter.
 
best,
Pres

Looking at Raspberry/ Cranberry glazes posted on the forum recently, I started copying them into the glaze software. I asked myself "Why am I doing this, I already have 2 very nice recipes." I posed this question to another potter which said "If you are curious you will always be testing glazes".  That's the answer. That and "is the next glaze the Greatest I have ever seen?" I want to know what it will look like on my clay and if the new glaze is "better" than what I have tested before now.
Perhaps Terrim8 has the correct answer, for me anyways, "till death due us part".
Trying to pare down the number of glazes. Threw out 2 more this morning. 

dhPotter recently posted in the QotW pool: 
At what point in a potter's career does he/she stop searching for and testing new glazes?
When does the potter become satisfied with his/her stable of glazes and says "This is enough"?
I really don't know how to answer that, as I am still keeping notes on new glazes, watching for ingredients and percentages, constantly interested in new glazes and trying out quite a few in 100 g test batches. Over the years, my own work has changed quite a bit as I learned more about glaze. ... I had never had a glaze theory/making/testing class. However, as I had been a math/science major in the early days of my college education and worked as a lab assistant nights glaze chemistry is not too distant a reach for me. I have learned to be more intuitive of late as I understand much more about how things react in a glaze than I have before. I was a teacher in a HS, and as my budget was a small for the size of my classes, I turned to mixing my own glazes as a way to get the most bang for my buck. I had around 20 glazes I mixed for classes, and then a few that I used in large powdered lots of commercial glaze. 
In my own work, I started out by saving money with just one white glaze that I sprayed underglazes and stains over top of for color and decoration using dipping and atomizer spraying. Over the years I have changed from that to airbrushing using a series of blue, brown and green glazes over a creamy tan white that reacts well over texture as now my decoration comes in stamped and carved decoration put in before shaping.
I really don't think potters say. . . enough, especially with the way the technology and understanding increases as we keep exploring the medium. Maybe I'm wrong, and after all it is only my personal opinion.  Thanks for the question dhPotter.
 
best,
Pres

dhPotter recently posted in the QotW pool: 
At what point in a potter's career does he/she stop searching for and testing new glazes?
When does the potter become satisfied with his/her stable of glazes and says "This is enough"?
I really don't know how to answer that, as I am still keeping notes on new glazes, watching for ingredients and percentages, constantly interested in new glazes and trying out quite a few in 100 g test batches. Over the years, my own work has changed quite a bit as I learned more about glaze. ... I had never had a glaze theory/making/testing class. However, as I had been a math/science major in the early days of my college education and worked as a lab assistant nights glaze chemistry is not too distant a reach for me. I have learned to be more intuitive of late as I understand much more about how things react in a glaze than I have before. I was a teacher in a HS, and as my budget was a small for the size of my classes, I turned to mixing my own glazes as a way to get the most bang for my buck. I had around 20 glazes I mixed for classes, and then a few that I used in large powdered lots of commercial glaze. 
In my own work, I started out by saving money with just one white glaze that I sprayed underglazes and stains over top of for color and decoration using dipping and atomizer spraying. Over the years I have changed from that to airbrushing using a series of blue, brown and green glazes over a creamy tan white that reacts well over texture as now my decoration comes in stamped and carved decoration put in before shaping.
I really don't think potters say. . . enough, especially with the way the technology and understanding increases as we keep exploring the medium. Maybe I'm wrong, and after all it is only my personal opinion.  Thanks for the question dhPotter.
 
best,
Pres

I'm not sure thats a ever for me. That said I seem to get about 12-15 glazes going at any one time.-over time I experiment anbd bring is a new one to the fold and usuallt take one out.
Thats happend a few years ago with an iron saturated glaze I now make with synthectic iron and am phasing out the old iron glaze. The new one is much brighter and almost red in certain situations.
I have a few glazes that I have used my whole career  and my costomers still crave them.
Test for me works in cycles of how bored I get with my glazes and how much spare time I have to adress the testing period.
I know for example I have big (last remodel of house) on our bedroom this late spring/summer and thats will take up all testing time so its now or fall for me for new colors.
as to the remodel its a full gut interior-raising the floor 11 inches to match rest of house as one level. Raising the ceiling at least 1 foot-That means collar ties and adding 2x6 to ceiling,making walls 2x6 over 2x4 as is currently by adding furring strips to studs.
Adding a very small 1/2 bath with wall monted Toto Toilet and a small corner sink. maple hardwood floor-moving closet into two closets. Moveing entry door 6 inchs over to fit closets .New  windows(3 -3x6s) perment color outside wood interior. Maple trim throughout. New wiring (last room to get this).
Puting in a small mini split AC /heat pump unit for this room .(its about 16x 15 if I recall.)taking out the exterior door and  filling in the 5/8 x 10  old growth redwood siding with cider siding(already have it)
Adding new insulation and 5/8 sheet rock as well.
I'm doing all the mechanical/electrical and helping with some wood work and doing the trim
This room was a add on in 1962 about 10 years before I boughtb the property and its all made from old growth redwood-and is currenty covered with mahogany paneling-the real stuff. Its that only room left thats not 5/8 sheet rock.
And as you may have guessed I'm not going to be making many pots during May 20th and the later part of June-But they are getting made NOW.
Sorry I got a wee bit sidetracked on the glaze question

I started with crystalline glaze, and still firing crystalline glaze. I experiment with other glazes from time to time; but mostly to see their reaction to a specific clay body. Now I have been working on a series of "reactive" porcelains, to see how they react to reduction, wood, salt, and raku firings. Thanks to my fellow potters who have helped me in that research.
Tom

How could you ever stop looking for new glazes!?!  One of the main things I love about pottery in general is that there is always something to do.  It's throwing, it's trimming, it's decorating and glazing and firing and maintenance and the list goes on forever!  What a joy it all is, and testing new glazes is a huge addition to that joy!  I wish I could do it more often, I have so many great ideas and they only rarely get a chance to be tested!  
I feel like when I test out new glazes everything looks great and I wasted time doing a small batch on tiles.  So the next time I test a new glaze I skip it and just make a few gallons, only to have it look like dookie and ruin 10 mugs.  Oh well, some lessons are never learned, just oscillate back and forth from failure to success.

You will stop looking for new glazes when you "kick the bucket". If you believe in an afterlife, then never.  Firing results may vary in heaven vs hell

"Don't get me started on the disrespect of educators."
to or from?   :|
jk!   ,)
...add coaches, custodians (aka cleaners, sweepers, janitors), an' …"old" people.
 
Back to leavin't'alone for a while (gestation), that so true! Is it the subconscious mind? ...I think so; for bigger problems, a night's sleep can really help as well. Makes sense to me, as my conscious mind ain' much.
The ten or fifteen minutes of hot tub after a hard swim has been a magical time for me (goin' back many years) for visualization of solutions, also a sit down before turning for home when out onna bike. Looks like dry roads today, whee!

Over the years, I have found that I often have to have a "Gestation state", a period of time where I don't do something, but think about it. Then when I return to the activity or problem, I have solved it without even really knowing it. This has happened to me often when dealing with throwing over the years. . . throwing off the hump and having "S" cracks, throwing large and not getting enough out of the base, Wonky rims, that were weak and poorly finished, trimming through too many large plates, cracks in large plates, cracks in large bowls, and the list could last for much longer. Point is, problems do not just disappear when you push more time into it, often you have to figure out why. Research helps, thinking about what you research helps, also thinking about what you know about clay and how it is structurally made up and how to use that instead of fight it. All in a lifetime of working with any material, especially one so simply complex.
 
best,
Pres 

Dang Educators, always bringing "Thinking" into things!

Over the years, I have found that I often have to have a "Gestation state", a period of time where I don't do something, but think about it. Then when I return to the activity or problem, I have solved it without even really knowing it. This has happened to me often when dealing with throwing over the years. . . throwing off the hump and having "S" cracks, throwing large and not getting enough out of the base, Wonky rims, that were weak and poorly finished, trimming through too many large plates, cracks in large plates, cracks in large bowls, and the list could last for much longer. Point is, problems do not just disappear when you push more time into it, often you have to figure out why. Research helps, thinking about what you research helps, also thinking about what you know about clay and how it is structurally made up and how to use that instead of fight it. All in a lifetime of working with any material, especially one so simply complex.
 
best,
Pres 

Over the years, I have found that I often have to have a "Gestation state", a period of time where I don't do something, but think about it. Then when I return to the activity or problem, I have solved it without even really knowing it. This has happened to me often when dealing with throwing over the years. . . throwing off the hump and having "S" cracks, throwing large and not getting enough out of the base, Wonky rims, that were weak and poorly finished, trimming through too many large plates, cracks in large plates, cracks in large bowls, and the list could last for much longer. Point is, problems do not just disappear when you push more time into it, often you have to figure out why. Research helps, thinking about what you research helps, also thinking about what you know about clay and how it is structurally made up and how to use that instead of fight it. All in a lifetime of working with any material, especially one so simply complex.
 
best,
Pres 

Over the years, I have found that I often have to have a "Gestation state", a period of time where I don't do something, but think about it. Then when I return to the activity or problem, I have solved it without even really knowing it. This has happened to me often when dealing with throwing over the years. . . throwing off the hump and having "S" cracks, throwing large and not getting enough out of the base, Wonky rims, that were weak and poorly finished, trimming through too many large plates, cracks in large plates, cracks in large bowls, and the list could last for much longer. Point is, problems do not just disappear when you push more time into it, often you have to figure out why. Research helps, thinking about what you research helps, also thinking about what you know about clay and how it is structurally made up and how to use that instead of fight it. All in a lifetime of working with any material, especially one so simply complex.
 
best,
Pres 

Over the years, I have found that I often have to have a "Gestation state", a period of time where I don't do something, but think about it. Then when I return to the activity or problem, I have solved it without even really knowing it. This has happened to me often when dealing with throwing over the years. . . throwing off the hump and having "S" cracks, throwing large and not getting enough out of the base, Wonky rims, that were weak and poorly finished, trimming through too many large plates, cracks in large plates, cracks in large bowls, and the list could last for much longer. Point is, problems do not just disappear when you push more time into it, often you have to figure out why. Research helps, thinking about what you research helps, also thinking about what you know about clay and how it is structurally made up and how to use that instead of fight it. All in a lifetime of working with any material, especially one so simply complex.
 
best,
Pres 

Over the years, I have found that I often have to have a "Gestation state", a period of time where I don't do something, but think about it. Then when I return to the activity or problem, I have solved it without even really knowing it. This has happened to me often when dealing with throwing over the years. . . throwing off the hump and having "S" cracks, throwing large and not getting enough out of the base, Wonky rims, that were weak and poorly finished, trimming through too many large plates, cracks in large plates, cracks in large bowls, and the list could last for much longer. Point is, problems do not just disappear when you push more time into it, often you have to figure out why. Research helps, thinking about what you research helps, also thinking about what you know about clay and how it is structurally made up and how to use that instead of fight it. All in a lifetime of working with any material, especially one so simply complex.
 
best,
Pres 

Over the years, I have found that I often have to have a "Gestation state", a period of time where I don't do something, but think about it. Then when I return to the activity or problem, I have solved it without even really knowing it. This has happened to me often when dealing with throwing over the years. . . throwing off the hump and having "S" cracks, throwing large and not getting enough out of the base, Wonky rims, that were weak and poorly finished, trimming through too many large plates, cracks in large plates, cracks in large bowls, and the list could last for much longer. Point is, problems do not just disappear when you push more time into it, often you have to figure out why. Research helps, thinking about what you research helps, also thinking about what you know about clay and how it is structurally made up and how to use that instead of fight it. All in a lifetime of working with any material, especially one so simply complex.
 
best,
Pres 

Over the years, I have found that I often have to have a "Gestation state", a period of time where I don't do something, but think about it. Then when I return to the activity or problem, I have solved it without even really knowing it. This has happened to me often when dealing with throwing over the years. . . throwing off the hump and having "S" cracks, throwing large and not getting enough out of the base, Wonky rims, that were weak and poorly finished, trimming through too many large plates, cracks in large plates, cracks in large bowls, and the list could last for much longer. Point is, problems do not just disappear when you push more time into it, often you have to figure out why. Research helps, thinking about what you research helps, also thinking about what you know about clay and how it is structurally made up and how to use that instead of fight it. All in a lifetime of working with any material, especially one so simply complex.
 
best,
Pres 

On the subject of “hours vs. years,” I agree that there is a minimum number of hours required for development. But I’m not sure you can speed up the process by cramming in all of the hours within a short period of time. In order to make what I consider “professional” or “sellable” pottery, you need to be a fully-fledged adult with a strong grasp of your own values, tastes, priorities, etc. The pots you make are a reflection of who you are. And if you have not yet answered the “who am I?” question, your pots will look immature too. So even if you’ve spent 4 years in a college ceramics program, putting in many hours of intensive study, a degree holding 22 yr old still has years to go. A college campus is not the right environment to answer the “who am I?” question. The environment is too safe. (I remember as a college design student, I thought the program was so hard, intense and competitive. Then I hit the real world and realized how safe the environment had been.) In other words, the hours of study are just a starting point in terms of technical proficiency. The years of personal development are necessary too. In my experience as a pottery teacher, I occassionaly worked with students who had been practicing pottery for a year or two, and already making wonderful pots. They were mature people (which doesn’t necessarily mean older) who had a good sense of their values, and a large bank of life experiences to draw on and guide them.