shawnhar

If you are just wanting to throw for now I'd set up your space so you are carrying the clay the least possible distance from where you bring it into the house. Having a laundry sink with a drain sink trap so you don't clog your pipes is really helpful, especially if you have running hot water. If you don't have a sink then you can use a couple of buckets of water to wash your hands and tools, one for the really mucky stuff and one to rinse in. (keep the slip and throwing water to add to your reclaimed clay to prevent it getting short (not so plastic). Shelving to put your pots on, a sturdy table to wedge on, a floor that can easily and frequently be mopped down and a stool that is ergonomically comfortable if you throw sitting down. An anti fatigue mat if you throw standing up. 

I look at it a little differently maybe because I am a sculptor and really only make one-off unique pieces. So I actually would love to have tons of commissions. For sculpting, a lot of commissions are for organizations or companies, or as a public sculpture, so there is something of a formal process for which I get paid (most of the time, unless it is something I submitted a design for and was selected and they have a set stipend/award)  the same way I did as a scientific consultant- with a project fee, paid in thirds at different points. I require in the contract a great deal of artistic freedom and the final say when it comes to most design things. If they are coming to me, they like my style (which has a lot of variety, so is not necessarily something where you can point at something and say, oh obviously that’s a Tauer sculpture- has to do with my ADHD). The main run through my work is that they are what a great sculptor in the paperclay community that I belong to, who is a professor, called Tour de Force sculptures, even when they look nothing alike. And she has begged me to keep making Tour de Force sculptures, keep going larger even though I’m already doing 6 ft tall sculptures! And when I do something medium or smaller, she insists it has to be very technically difficult or look like it isn’t obeying the laws of physics, and her advice was the most flattering things anyone has ever said about my work so I’m happy to follow her advice.
So when I take custom or commission work, which I really love and honestly wished I got a ton more of, I’m often getting the chance to be paid for something very large that I would want to make anyway but am certain I’ll be paid for it instead of making it and hoping to find a buyer. I have some tiny exceptions, like I have a friend who was the first person to buy work from me professionally and paid me over 3 times what I asked for it with a note that I need to charge more for my work, and who has been extremely supportive of my career, more supportive than all my family members. So when he asked me if I could make him a set of 4 mugs, even though I have a hard and fast rule that I absolutely do not make mugs, and in general make just a tiny fraction of work that is in any way functional, and that is only because I particularly like certain shapes like pitchers and I can make really interesting sculptural vases. But I said yes to him because after all he’s done for me I am certainly not going to tell him I don’t make mugs so I won’t do that for him. I also know that with him he’ll give me all the time in the world, and while it takes rather some effort to pull out any ideas from him of what kind of mugs he wants, I know that I really will have total artistic freedom. And that he will pay me far more than they are worth. I also know I can have fun with them and do crazy surface decoration, so I look at it a little like play. But I wouldn’t do that for anyone else. I’m really trying to actually work harder at getting more commissions, but have no problem with other cases of saying no when it isn’t something that I will make or like some others have said copying someone else’s style. I otherwise think commissions are usually a way for me to grow as an artist, there are often some technically challenging things I have to figure out, and much like graphic design it is a good skill to build to learn how to take what the client thinks they want and instead give them what they really want, and to interpret their goals in a way that pleases them but is still your decision as an artist. 
I think if I was a potter, that I would still like and want custom work, as long as it followed certain rules, as it can grow your followers and collectors, and provide challenges and even learning to make new forms that then can go on to potentially become very popular sellers etc. I think it is entirely personal and no one has to justify why or why not they take commissions. From the posts I have read, people do it in quite a few different ways and for different reasons, I don’t think it should be a requirement for anyone. I personally with other sculptors I know tend to see them have attitudes similar to me, but we also have a fairly different business model than potters in a lot of ways, and our training often incorporates the idea of commissions so it is something we learn early and tend to expect and want as a part of our income stream. Potters tend to sell differently and also have a slimmer margin because they are putting out so much at a time, where as most sculptors have a lot lower production. I do subscribe, when possible (depending on the size and difficulty of something, it isn’t always possible) to make more than one in case something disastrous or even just minor but enough to ruin the work happens. Certainly for anything small I make multiples, although they may not be possible to be exactly the same. 

Trello is a delight! No more lost post it notes! 10/10 recommend. 
The glass place that I worked at had a different breakdown for payment than what I use, and I only want to mention it here because the mindset behind it does matter.
They broke their payments into 3: the first was for the design consult itself. The design process usually involved at least 2 hours sit down with the client, plus preparing final drawings and any small fabrication samples that might be needed to help folks visualize things. For larger projects, or ones with extended timelines (months or years), the design fee was charged when final drawings were submitted, so that the designer was compensated in a timely fashion. Smaller projects that had a shorter delivery span would have this charged along with the second payment, which was to cover materials and production labour. The third payment was taken after the final install was declared perfect by the client. Yes, sometimes this involved more than one visit. They had parameters in place for price changes if there were more than a certain number of changes were made, or the scope or size of the project altered too drastically, but if everything went smoothly the third payment is your profit. If it doesn’t go smoothly, the third payment was to cover any cost overruns for materials or labour.
The overall model was to provide a luxury product and an artisanal service. Because it’s not common to be skilled at this, they could set their value, and did. 
I think the reason most people get frustrated with the custom work model is because they’re not putting enough emphasis in their own minds on how valuable this planning and designing skill really is, so they don’t charge nearly enough for it. Then they feel at the end like they’ve worked too hard for too little. Folks have to remember that clay work IS one of those 10,000-hours-worth-of-practice-to-develop skills, and most people don’t possess it. Even if you’re not clay famous, even if you “only” do clay work part time, if you didn’t go to college for it or don’t do it for your day job,  you’ve put in the work to learn it. You’ve earned the right to charge for your skills.
The next time you get tempted to write off your skills or undercharge for them, remember what it was like learning to centre. Or make a proper slab, for the hand builders. Look at where you are now, and how long it took you to get there. 

I'm actually excited when someone asks me if I can make something for them! I'm not the main provider for our little household which means I can spend more time futzing than maybe others can. I'm not a full-time pro like many of you here. 
I am still learning what is too much for me but making something new helps get my creativity going.  I get a little bored making the same stuff all the time. Sometimes at art fairs, people pass by my booth and say, "Oh, it's so pretty!" but don't buy anything! So, it feels good to me when someone thinks my work is nice enough that they want to have the pieces they truly want. It's very rewarding when someone sends a photo of their new item in their home, and they say how much they're enjoying it. Mostly people ask me to make a variation on what I already make, as others of you do as well. I've said no to sculptural things I've no experience with, or designs that are basically copying something else. Other times I say yes and then curse myself endlessly. 
I also give a long time frame because as @Min pointed out, things always go wrong when you make something special. I might make more than the amount needed as well, especially if the extra would sell.  I don't charge extra for the drawings and designing, but I usually add on an extra charge for total extra work. I love drawing up sketches of potential pieces, it gets me excited and spurs other ideas for me. I flip back through my sketchbooks to revisit old ideas too. 
Making pottery feels like a compulsion I'm drawn to, so having a feedback loop of certain things that sell well or custom items people want is extremely gratifying. I'm pretty lucky to be doing this, I think! 
@Callie Beller Diesel gave a good tip a while back on using the website /app Trello to keep track of custom orders, and that has been fantastic for me.  

Ha! Someone asking about this years ago was the reason I first started posting here, breaking my lurking habit.
I was working for a business that only did bespoke glass work, so I’d seen a model for how to make that successful. I knew when I started my own business to keep it within parameters I could manage from the start, and if I couldn’t, it’s better to say no. Custom work is not making a product, it’s offering your skills as a service, which is a different mindset. It’s a lot more about communication and some amateur psychology/understanding of client behaviour than it is about making the thing itself. You have to be able to keep an unknowledgeable person within the parameters you set without making them feel dumb or condescended to, and you have to make them feel like they’ve really received something special in the end.  You have to know when to say no, and you have to be really honest with yourself and with them about what you can deliver, and you have to not be afraid to reach out to communicate if something goes wrong. Ideally with solutions in hand. 
 I’d go nuts doing custom full time. As an occasional challenge though, I kind of like it. I FULLY understand anyone who doesn’t though, because it can be a lot of mental and sometimes emotional work. “It’s not something I have space for” can cover a lot of reasons without getting into unnecessary details. I agree with Mea that too much info given will just get you grouched at.
I have some things that are an automatic no. I will not make someone else’s work in whole or in part, I don’t do custom glaze colours, and I will not make any egg separators/yarn bowls/other gadgets that involve something coming out of a nose. Ew. I don’t take custom during Christmas unless ordered before the start of October, and I don’t do custom over the border. I don’t take custom if I’m overwhelmed in any way, or my mental health doesn’t allow me to. It’s a disservice to everyone involved.
If none of that is in play, we can talk. Usually people want some variation on something I already make: just that bowl with a different glaze in my lineup, or something along those lines. Most people come to me because they already like my style, and want a variation on the existing theme. But if they want something more, this is what I go with. 
Pricing:
I do make it clear from the start that the following is a design fee, but I don’t break down for them how I arrive at it. That part’s none of their business.
If changes or designs are more than just the same thing with a different glaze, I use the price on the original piece or something similar as a base. If the piece is a different size, I’ll  add a bit extra to another item I make that’s the same size. If there’s design or form changes, I add $10-20 per extra step/other add-on. I do pad this without shame or embarrassment. I recently had to double the price of a small  item because of the number of changes made, for instance. But if the changes are simple and don’t put me out work wise that much, I might only add a little. They are paying me a nuisance fee for breaking my schedule/work cycle that’s commensurate with how far out of my way I have to go. I possess a skill that most don’t, and I have other existing customers that need attention too. 
If the items need to be shipped, the client is told they’ll be responsible for that as well, and that it’s in addition to the cost of the item, and will be calculated when the item is ready to go. If they can pick up, they don’t have to worry about that part.
I take a 50% (including tax) non-refundable deposit to begin work, and the other half, plus any shipping, is due when the final piece is picked up, or approved via photo before shipping. 
Timeline:
I let them know the timeline I’d expect to have the piece done within, which is twice the amount of time it’ll take to get it right on the first shot. If I get it done early, everyone’s happy. If it screws up the first time, I can remake it with no stress.  As an extra level of hedging my ceramic bets, I make duplicates of the item. It never fails that if you only make one, it screws up, but f you make two, they both turn out. As a bonus, presenting the client with a choice of the 2 finished items gives a sense of abundance and extra care taken on them. Sometimes they purchase both, sometimes not. I don’t upsell it. If the original client doesn’t buy the duplicate, someone else does. This also helps with profitability.
 
During the initial consult, I make no effort whatsoever to minimize any costs or time constraints or potential nuisances to the customer, but I don’t make anything sound overly difficult either. I don’t make any assumptions about their budget or time, I only lay out pricing and what they can expect from the process. I try to give them an accurate idea of how it’s going to go, and let them make their choice from there. If they agree to the terms I set, I send a confirmation email with everything that was discussed, and I don’t begin work until they reply in the affirmative and pay the deposit. That way we both have something to refer to in the event of a disagreement. I also let people know things like shipping policies and anything else that might be relevant. If someone wants gift wrapping, or a card/note included with a gift, I throw that in upon request as an extra value thing. 
I have yet to have a custom client that was anything less than excited with their purchase. I like being able to do that for people, and I think taking your time with the initial setup is key to making that happen. 
 
 

Hey, you guys can have a bad attitude about commissions all you want, but I love commissions, with always the caveat that I have artistic control and final say- this is out of the ordinary for me as I don’t make functional work, I am a sculptor, so I would be endlessly happy to get tons of sculptural commissions. I’ve been working on trying to make that a regular thing for me. I’m doing this functional commission plus a set of 4 mugs for him because he is my friend and he bought my first piece, paying me more than triple what I asked for it because he said I needed to charge more for my work. I absolutely do not ever make mugs, I have a firm ban against them, but I’m looking forward to working with my friend to make a set he’ll like, while getting to have a lot of fun with surface decoration. But those will be the only mugs I’ll ever make. Maybe commissions for potters is different than for sculptors, I hardly ever hear other sculptors complaining about getting commissions, most are overjoyed. We in fact frequently are competing for them. 

OMG that is adorable

I hate them. My wife and I have a running joke that I will divorce her if she takes another custom order.

I will put a dragonfly on a spoon rest, or make "one like that, but in this glaze". I will make a berry bowl in "that" color, with a saucer for drips, etc....
But real custom work is a no, even though, I end up doing it anyway, my wife thinks my abilities are greater than they actually are, so I end up making a garlic keeper or something I don't normally make. I always feel the customer is a little disappointed, at best.
 

My answer is no, after learning the hard way early on! And I've learned that it's best to not try to explain why. Because if someone doesn't take no the first time, they probably aren't going to understand the explanations. 
However, on very rare occasions, I have said yes to people who are long time customers who not only have bought a lot of my work, but I have spent enough time talking to them to know they understand what I'm doing. These requests are always made within parameters that make sense, because like I said these people understand what I'm doing. For me it makes sense to differentiate a select handful of customers into a VIP category, and to do my best to make them happy.
Here's an example. Some long time customers of mine got married, and asked me to adapt my elephant figurines into a "bride + groom" version for their cake topper. I was happy to do this!

I’ve had a couple 20” square ones, and 20” round ones, can’t remember the thickness, both warped fairly quickly. Fired to a hot cone 6 with heavy use. Size and thickness of the shelves will be factors.  Perhaps there is a quality difference between manufacturers or they are better suited for lowfire, at least the ones I had which were from Seattle Pottery Supply.
edit: good article by Bill Schran comparing the pros and cons of different types of kiln shelves. https://vincepitelka.com/wp-content/uploads/2019/04/Kiln-Shelf-Options-by-Schran.pdf

On some kilns the thermocouple extends into the kiln a few inches so in-line is not possible. On some top end kilns the thermocouple is recessed a bit in the kiln wall so anything is possible. Use practical sense when loading and try and keep the area as free as practical. In my experience  1” spacing all sides is very reasonable to sense at the speeds you will be firing. If your thermocouple is not in a protective sleeve, it is normal for it to corrode and shed so don’t put items underneath it, especially in a glaze firing.

I hate them. My wife and I have a running joke that I will divorce her if she takes another custom order.

I used to tell people I would need their first born as a deposit. Now I just say no, I have enough kids. 

I hate them. My wife and I have a running joke that I will divorce her if she takes another custom order.

I hate them. My wife and I have a running joke that I will divorce her if she takes another custom order.

Couple thoughts, first off no way would I routinely fire to cone 10 in an electric kiln. Element life goes down logarithmically as temperature rises. You would likely get roughly about 40 firings to cone 10 before your elements needed replacing compared to at least double that for cone 6, (plus bisque loads) There are some really nice cone 6 porcelains available. I find cone 5 B-Mix doesn't throw as nicely as the cone 10 though.
Second thought is regular cordierite shelves are not rated to cone 10, you will land up with taco shelves as they warp. Even at cone 6 they can warp quite easily. If you don't want to loose a tiny bit of kiln stacking height room with Corelites and Advancers are too steep I'ld get high alumina shelves. I think what it comes down to is budget plus how strong your back is but at just 15" the weight shouldn't be too much. You could always use the heavier high alumina shelf on the bottom of the kiln as you won't need to remove it then use Corelite for the other(s).
Welcome to the forum.
 

This is what I would do, just hit the bisque with black underglaze as if it were a wash.

@ATauer is the overglaze completely opaque? Maybe a test tile with black underglaze applied over the very white clay and wiped out or a wash of the underglaze applied just to darken the clay as necessary and then just glaze with the teal glaze. Usually the color of the clay affects the look of the final glaze. Just a thought you might experiment with.

I love pottery videos, but I didn't learn from then, and I didn't teach with them. Nothing beats a good coach. . . whether learning a sport, trade, or how to throw! Having someone guide you in the good habits, correcting you from bad ones like poor posture, chicken winging, over pressure, too much or too little water, cleanliness habits when throwing, use of ribs, hand and finger positions, arm bracing and so much more is easier, more effective and efficient with a good coach.
From London,
AIMHO
best,
Pres

I would! (And I did)
I love books for learning things like how to wire electricity, or replace the ecg valve in your car, but I HATE books for learning movement/skill things, like pottery or guitar.
Find what works for you, and don't be afraid to fail up.

lee, what i find interesting is the number of people who ask me something and i suggest they come and visit my studio to learn what all is involved.  the funny thing is that i must have invited over a hundred people over the years and so far nobody has come except a customer who wanted  "another one just like the first one".   she and a friend came out and we had a great time.  they each made something uniquely theirs and nothing like mine.  both found some item in the studio that intrigued them.  i wish i had made something as terrific as the friend made.  
we went out on the boat and they discovered why i usually go out close to sunset, the sun was really bad.   good thing i have lots of very broad brimmed hats for visitors.  who never come.

I still have to disagree with someone watching a video and then wiring a kiln.   There use to be a new potter on another forum that had his neighbor wire in his kiln.   The first time he fired it the wires inside his walls caught fire.   It was a old house with knob and tube wiring,  he had to have the lathe and plaster stripped off and the house rewired and sheet rocked.   He decided to quit clay,  he didn't want to take the time to get the knowledge he needed to be a potter.      Denice

I can not find it in me to be encouraging of a beginner who is wanting to work in clay to attempt it alone and isolated from other people making ceramic objects. Just the other day an acquaintence said she wants to pay to support her adult daughter (who has ADHD and a short span for the latest interest) to "make mugs and sell them at craft fairs".  Asked me if I think should she buy her that (joke of a used crappy small) kiln on eBay? Daughter has watched some videos, has never had her hands on clay.  Thinks it "looks like fun" and she "can do it at home".  No, mom, do not buy her that kiln; pay for some classes--and I will help you locate the better ones in decent traveling distance in her area. 

I started making pottery about 20 years ago, and I am one of the slowest and most inefficient people on the planet! But I do things this way because it's part of my personality, and it would stress me out to do it differently. 
@Callie Beller DieselActually, I love using bats for mugs, because I don't trim them and rib them smooth before taking the bat off the wheel. If I lifted it off with my hands, it would smudge it all and mess up my foot.  But 100% agree about precleaning your bat! I wipe the whole thing off with my sponge and then I use one of the green Mudtools rib to scrape the rest into my reclaim bucket.
One thing I'd tell someone just starting out is that you don't have to send every piece you made through to glaze firing. Especially at the greenware stage, it's easy to scrap a piece and reuse it. You can spend a lot of time futzing around with something trying to fix it, or just start over and make something again in the same amount of time.  
Another thing for beginners to know about is good posture!! I have a block under my left foot when my right foot is on the pedal to keep my feet on the same level. My wheel is raised on blocks, and my chair adjusts up and down. Some people stand at their wheels. I have a mirror in front of my wheel, so I don't have to scrunch over to see the profile. I take breaks and move around.  I guess talking about back pain wouldn't make for a good Instagram post though!!