Hulk

Aye that!
...thinking short and stout ear/handle that faces up and a bit in, cylinder four inches or so tall, small enough around to fit in 300g cups, will experiment with drainhole sizes and patterns

Hulk borrow tea steeper id

@Hulk make sure they’re deep enough. I tried some last year that were more bowl shaped and looked cute, but were too shallow.
 
Don’t do this:

Hulk borrow tea steeper id

Hulk borrow tea steeper id

Ok, I got it now! Yes I am expecting people to put the steeper in the cup first, and add tea leaves to it, while they are waiting for the kettle to boil. This morning I tried putting the steeper into a cup that already had water in it. It displaces a little at first, but the water goes through the holes in the steeper pretty quickly. The walls of the steeper are quite thin. 

I think I have what I need to bisque for a raku fire I've been invited to. (unfinished greenware) 

Those look great!
Several  years ago I made lidded jars and it was a good lesson in designing around things so they were aesthetic and functional. Those look great! Any plans for a handle that fully pivots away for storage?
 

I've been trying to figure out this design for at least two years, and think I have finally done it. A ceramic tea steeper with a stainless steel handle.  It works with any cup, or at least all of the cups I make. I plan to start making teapots that will also accommodate the steeper. 

I developed a new platter mold, and a new approach to illustrating koi fish. I'm pretty excited about these.

The "I love this" pieces are few and far between for me, but for me to love it, it's the feeling I get when it comes out of the kiln and it's exactly what I imagined, all of it, shape, glaze, nice looking and well-made and the feeling that that's what makes it all worthwhile, well, that and the fact that I love clay and can't be without it for too long.   I'm strictly a hand builder utilizing the coil method and lately ,because I'm experimenting with marbled clay,  slab building.  I also have to say , for myself, I like organic shapes and what I make are mostly decorative which is also a form of functionality.   I push the clay to its limits and often beyond to see how far I can take it, but at 76, I've begun slowing down.  I  never sold a lot as that wasn't my desire but I tried it for 2 years to see if anyone would buy what I made, and to my surprise, they did, and that was enough for me.  So, if it's just a soso piece, I give it to goodwill, if its acceptable in my eyes, I may gift it to someone, but if  it's really special and makes me smile, I keep it and my family will eventually have some  nice pieces made by me.  I don't know about anyone else, but when it happens, I smile, get on my good knee, and bow to the kiln goddess!

First, overall impression, "gestalt" - shape, colours, texture, design; from there, feel, utility. 
For my own work, still experiencing the Frankenstein effect, where love and awe for the "monster" I've created when it first breathes fades to "what have I done?" It's getting better, however, as more are recognized as such and tossed to the recycle pile before bisque fire.
On the other hand - and the reason for the question - have found that some less positive first impressions will fade with familiarity through handling and use.
What elicits "I love this" has evolved, and will likely continue to change; I'll try to keep an open mind!
I like to see other's work, and as possible, handle as well.

Unloaded glaze load #4 yesterday; overall, pleased I am.
Only two crazed, over a new clay - everything else, clays and glazes (except new green, Rutile Green, from Bill Van Gilder's book), had been done afore, hence better chance - four pieces got bits of clay stuck on from blown up cone pack (ah was in a hurry there, oops). Speaking of oops, forgot to put in alla test tiles, hence first report on lower expansion clear will be next time; it does look very good on the one red clay piece, (thanks Min!), nice gloss, lays flat, and cleared bubbles well.
Aforementioned Wollastonite Clear liner on all (but one) red clay pieces; some of the buff clay pieces have Kitten's Clear, which behaves well on the buff, but not the red - microbubble-icious. The colors are Lakeside Clear Blue (Lakeside Pottery); Variagated, Rutile Green and Teal Blue (Bill Van Gilder's book); and matte white (Aardvark Clay).
Have a nice holiday e'body! 
 
 

I use to make these small kidney shaped sculptures that had designs carved on them.   The gallery that I sold at wanted something small for people to buy,  I wanted something that people could enjoy tactically.    They sold quite well.      Denice

Unloaded glaze load #4 yesterday; overall, pleased I am.
Only two crazed, over a new clay - everything else, clays and glazes (except new green, Rutile Green, from Bill Van Gilder's book), had been done afore, hence better chance - four pieces got bits of clay stuck on from blown up cone pack (ah was in a hurry there, oops). Speaking of oops, forgot to put in alla test tiles, hence first report on lower expansion clear will be next time; it does look very good on the one red clay piece, (thanks Min!), nice gloss, lays flat, and cleared bubbles well.
Aforementioned Wollastonite Clear liner on all (but one) red clay pieces; some of the buff clay pieces have Kitten's Clear, which behaves well on the buff, but not the red - microbubble-icious. The colors are Lakeside Clear Blue (Lakeside Pottery); Variagated, Rutile Green and Teal Blue (Bill Van Gilder's book); and matte white (Aardvark Clay).
Have a nice holiday e'body! 
 
 

Unloaded glaze load #4 yesterday; overall, pleased I am.
Only two crazed, over a new clay - everything else, clays and glazes (except new green, Rutile Green, from Bill Van Gilder's book), had been done afore, hence better chance - four pieces got bits of clay stuck on from blown up cone pack (ah was in a hurry there, oops). Speaking of oops, forgot to put in alla test tiles, hence first report on lower expansion clear will be next time; it does look very good on the one red clay piece, (thanks Min!), nice gloss, lays flat, and cleared bubbles well.
Aforementioned Wollastonite Clear liner on all (but one) red clay pieces; some of the buff clay pieces have Kitten's Clear, which behaves well on the buff, but not the red - microbubble-icious. The colors are Lakeside Clear Blue (Lakeside Pottery); Variagated, Rutile Green and Teal Blue (Bill Van Gilder's book); and matte white (Aardvark Clay).
Have a nice holiday e'body! 
 
 

Unloaded glaze load #4 yesterday; overall, pleased I am.
Only two crazed, over a new clay - everything else, clays and glazes (except new green, Rutile Green, from Bill Van Gilder's book), had been done afore, hence better chance - four pieces got bits of clay stuck on from blown up cone pack (ah was in a hurry there, oops). Speaking of oops, forgot to put in alla test tiles, hence first report on lower expansion clear will be next time; it does look very good on the one red clay piece, (thanks Min!), nice gloss, lays flat, and cleared bubbles well.
Aforementioned Wollastonite Clear liner on all (but one) red clay pieces; some of the buff clay pieces have Kitten's Clear, which behaves well on the buff, but not the red - microbubble-icious. The colors are Lakeside Clear Blue (Lakeside Pottery); Variagated, Rutile Green and Teal Blue (Bill Van Gilder's book); and matte white (Aardvark Clay).
Have a nice holiday e'body! 
 
 

Unloaded glaze load #4 yesterday; overall, pleased I am.
Only two crazed, over a new clay - everything else, clays and glazes (except new green, Rutile Green, from Bill Van Gilder's book), had been done afore, hence better chance - four pieces got bits of clay stuck on from blown up cone pack (ah was in a hurry there, oops). Speaking of oops, forgot to put in alla test tiles, hence first report on lower expansion clear will be next time; it does look very good on the one red clay piece, (thanks Min!), nice gloss, lays flat, and cleared bubbles well.
Aforementioned Wollastonite Clear liner on all (but one) red clay pieces; some of the buff clay pieces have Kitten's Clear, which behaves well on the buff, but not the red - microbubble-icious. The colors are Lakeside Clear Blue (Lakeside Pottery); Variagated, Rutile Green and Teal Blue (Bill Van Gilder's book); and matte white (Aardvark Clay).
Have a nice holiday e'body! 
 
 

Some wax resist stuff I’ve been messing around with. 

Threw myself a small textured bowl w/a center foot for lift. The interior is smooth. Haven't cleaned  off the burrs from the wire brush yet. This is for a pending raku  fire. 

Good question!
It's early days (as a "serious" hobby potter) for me; mainly, I make just a few things, 300, 400, 500 gram mugs and bowls, mostly, and some lidded jars as well, plus occasional side trips into fountains, platters, vases, shot glasses. The three main forms are evolving, in terms of proportion and features, so I'm testing, trying, testing. I also am interested in repeat work, which is getting better; when I can consistently repeat the moves, I'll fix a pointer at the wheel.
I've a fairly set idea what the next few loads (seven cubic feet o' kiln space) will be in terms of what forms,  sizes, which clays, glazes - when setting up for a throwing session, just a matter of about how many of what, with an eye to having time to trim and finish.
That said, gettin' t'work!

I can get a serious case of blank page syndrome when faced with a large block of clay and no other directives. I need to have some choices made ahead of time, and I like most things to be planned out before I head to the studio.  I need to narrow the possibilities down, which is why I work within a functional framework.
 
I come at it from a “This is my job” angle. In the early part of the year, I schedule play and design time, to work out new ideas and keep things fresh. There’s not a lot of sales in January and February, and I’m flush off of Christmas, so I have the space to noodle a bit. I think about the feedback I received over the year, and if I’ve noticed I’ve received a lot of requests for an item, I’ll make the effort to design one I like. If I had requests for larger items, I’ll play around with them at that point, because I have the space to do things like throw a large bisque mold, or glaze test, or try a new material or technique. 
The middle of the year is about testing those new designs in the market, and seeing who likes what and how well it sells and at what price point. There are adjustments made, but at that point it’s more about perfecting existing designs, or starting to make more of it, making work for ongoing markets and stockpiling the proven items for Christmas.
 
Christmas planning starts in June, and and my cutoff for trying to work out anything new is the start of September. At that point my focus shifts from “what am I making?” to “how much do I have to make?” That last part is all based on numbers from last year at the same shows, plus who needs what for retail outlets and any online sales. 
Creativity gets put on hold for a couple of months, other than idea gathering and sketching. In a lot of ways I find the production time freeing, because I have a list and can just crank. Seeing a huge pile of stuff you’ve made at the end of the day is very satisfying.  But at the end I’m glad for the rest, and the time to noodle.
 

I'm a wheel man myself, and i don't think I really started developing actual skill until I started planning ahead of time what i was going to make and how.  
I generally sketch at least rough dimensions and then set about throwing something to those dimensions and shape.  If I enjoy the way it looks, I will set my gauge and make a series of the same form.  My goal is always to throw 2 dozen of the same form, I feel like it not only gives me a nice amount of stock on that item, but it also really hones that form and sears it into the gray matter.  There is nothing like repetition to really explore yourself and a form.  People ask me often what they can do to get past a hump or get on to the next level and for me it's repeating a form, it's like performance enhancing drugs for wheel throwing.
So when do I decide?  I decide long before i sit down at the wheel.  
 

Hi folks, once again nothing new on the QotW pool. So I will put forward the following: When do you decide? You are getting ready to throw, and the wheel being as immediate as it is as compared to hand building, when do you decide what to make?  
My own experience has changed the time for this decision over the years. When still young and learning to throw in college, I had set parameters in Ceramics 1, throw a 9 inch cylinder with 3# of clay. This allowed me to continue on and keep pots, but then what to make of a cylinder. . . .naturally MUGS. Ceramics 2 came around, and I started doing vases, casseroles and other things, never really thinking about weights or size, just what I thought would work. After undergrad, I started throwing and demonstrating as part of my teaching job, and it was about doing what I could do well, cylinders for pitchers or vases, or other things of size to impress the students, and demonstrate technique. Grad work came with time for post grad credits for permanent teachers certification. Here again things were pretty open, other than doing different genres, raku, salt firing, reduction firing, and a required variety of forms. When I started throwing at home, I just made, if I sat down with a large piece of clay 20# or so, it became a large lidded jar or vase. Then I became more interested in repetition, bought a scale and started throwing in repetition, trying to repeat a form in variations. So the gist here is that in the beginning I was forced into a decision, then later just sat down and what ever came to mind I made, later as I became more interested in functional forms I started weighing out with the intention of making a series of chalice, patens, honey jars or whatever. The decision time is more deliberate and often from need of stock rather than the fun of throwing. I know that there are others out there that take need to the extreme also, knowing that if they have to have 100 of something, that is what they throw. Not their decision, but more of a business decision. 
So for the QotW: When do you decide what you will make when starting to work?  I have spoken about mostly wheel, but those of you that handbuild, is it with a sketch, just an idea, or just playing around? Wheel throwers, is it the day before, from need, an idea, before weighing out clay, or some other time?
 
best,
Pres

It's kind of strange I like to see the balance and attention to design in the piece but I like to feel the imperfections in a hand made pot.  When you pick up a factory made utility bowl it doesn't evoke any feelings  it is so dead feeling you could easily toss it aside and let it shatter on the floor.   When you pick up a handmade bowl  you can feel the energy.  you pour over it examining every nook and cranny and setting it down ever so gently.    Denice