Elizabeth Priddy on wed 10 sep 08
I would say that what you are talking about, Tony, is industrial design.
That was my major at NC State.=A0 I got the design degree from them=20
but I have had to learn the art and expression of painting on my own.
When I designed the tiles that I work with, I knew that if I just painted a=
fish on a tile, it would sell and sell so well that it would crush my soul=
eventually.=A0 That fish would eventually eat every bit of enthusiasm I ha=
d for making pots.
So I designed a free form tile that makes each one slightly different.
Instead of toll painting, I spent 7 years studying and getting better at br=
ushpainting, which is more creative and linked to your emotions as you work=
, making each painting session produce a different feeling in the finished =
But I can still wholesale, because the pieces are about the same size, same=
kiln space, same time to paint, same themes.=A0 A gallery can say, I want =
about $400 worth of 20-60 dollar pieces with fish or ocean themes.
And I can fill the order with something that is still fun to paint, over 15=
00 pieces painted and I still love my job.=A0 As my painting gets better, t=
hey sell better and I can up the prices, add some larger forms, whatever I =
need to do to tweak the business model without having to resort to making t=
hings I don't want to make.
I paint on tiles, asymmetric tiles, bowls, plates, teapots.
Making the variety of forms to paint on also breaks up the day.
Here are two posts one with work in production mode
and one with some finished pieces.
With solid industrial design, the studio potter can not hate their job,=20
even when in production mode.
I am teaching potters brushpainting this weekend in Bailey, and part of
that is going to be teaching them how to work fast enough that they can=20
make a profit selling work with paintings.
The trick is you have to be able to paint it efficiently and still have it =
You can hire an industrial designer to help you.=A0 It is serious money but=
Beaufort, NC - USA
Workshops and pottery online at:
Natural Instincts Conference Information:
Kiln pictures and such:
--- On Wed, 9/10/08, tony clennell wrote:
From: tony clennell
Subject: Re: public note to tony
Date: Wednesday, September 10, 2008, 9:21 AM
Mel: Thanx for the note. Every year at about this I begin to feel
fragile. I teach these wonderfully creative hard working people and I
can tell them all the stories of what Sheila and I have done to 'Stay
Alive" in this business. It includes heart shaped ash trays, cups for
people with big noses, volleyball trophies and stuff i gasp to think I
did. But I did it and in these times heaven only knows what I'd do
again. I'm far from being as pure as the driven snow.
I can understand why people love that rutile blue of Campbell Pottery.
It is beautiful eye candy! Every kid loves candy! Twenty years ago I
would have sold my first born for that glaze and firing method.
I guess it's like scotch and olives. You acquire different tastes as
you get older.
I have to put together this "teaching philosophy" statement and
killing me. I have one foot on a horse that says teach them to make a
living and the other foot on a horse that says just create. This old
horse has ridden a few miles and knows the terrain pretty well but the
walls inside the Ivory Tower are unfamiliar turf.
Off to work!
Be well ole boy!
Des & Jan Howard on thu 11 sep 08
Listen, & listen well to what this lady has to say.
Why do people propose dichotomies like 'some & some' or 'industrial vs
It is just as possible to produce large quantities of crap with a
rolling pin or a wheel as it is with the bete noir of pottery, the
hydraulic press (gasp!!). It is also possible to produce quantities of
good work using any & all possible creation methods. The problem lies
with the limitations of the clay worker in their ability or inclination
to use processes appropriately.
We have for decades only made what we want to make. If people buy lots
of what we want to make, we make a few more. If people don't want to buy
what we want to make, we still make them, (just not as many). If asked
to make what we don't want to make we DON'T MAKE IT.
Each of our workshop processes or devices makes pots or parts of pots,
that the others can't.
Students or trainees need to be presented with all possible ways to form
clay, with design principles, ceramic precedent & business practice.
Presented with a smorgasbord of possibilities, no holds barred.
If their ultimate choice is to become a teacher, one-off maker or a Bill
Campbell & they are good at it aesthetically & financially, you have
Elizabeth Priddy wrote:
> I would say that what you are talking about, Tony, is industrial design.
Des & Jan Howard
02 6373 6419
Ric Swenson on thu 11 sep 08
Yeah ...ok maybe....
I did my own work... People enjoyed ...and do enjoy now....my functional works and my sculptural WINGED works....
I have done the designs of others....cast. Jiggered and rammed... Uske Aieda, David Gil, Sung Moy, Romare Beardon, Larry Rivers,..........it is JUST work... From it I made money and lived a good life. My work was good the designs were good.......... the methods were good.....the results were good and satisfaction of the buyers were good. RAM pressed is just a tool.....slip casting is just a tool....the wheel and the rib are just tools........the means to an end......
For God's sake....'let go ' of the rituals. It is all just your work....done for yourself ..........or for others........for profit?........just be honest about what you decide to actually DO.
My own work is quite honest and simple and can aspire to the great....but for some....??? it is too simple and too plain. Not for me.
Enjoy your own work. Push the envelope. Develop your own style ...your own glazes and colors. just do your best.
Smiles all around,
"...then fiery expedition be my wing, ..." -Wm. Shakespeare, RICHARD III, Act IV Scene III Richard H. ("Ric") Swenson, Teacher, Office of International Cooperation and Exchange of Jingdezhen Ceramic Institute, TaoYang Road, Eastern Suburb, Jingdezhen City.JiangXi Province, P.R. of China. Postal code 333001. Mobile/cellular phone : 86 13767818872 < RicSwenson0823@hotmail.com> http://www.jci.jx.cn/http://www.ricswenson.com
> Date: Thu, 11 Sep 2008 15:58:13 +1000> From: djhoward@HWY.COM.AU> Subject: Re: Industrial design: why I still don't hate production work> To: CLAYART@LSV.CERAMICS.ORG> > Tony> Listen, & listen well to what this lady has to say.> > Why do people propose dichotomies like 'some & some' or 'industrial vs> handmade'?> It is just as possible to produce large quantities of crap with a> rolling pin or a wheel as it is with the bete noir of pottery, the> hydraulic press (gasp!!). It is also possible to produce quantities of> good work using any & all possible creation methods. The problem lies> with the limitations of the clay worker in their ability or inclination> to use processes appropriately.> > We have for decades only made what we want to make. If people buy lots> of what we want to make, we make a few more. If people don't want to buy> what we want to make, we still make them, (just not as many). If asked> to make what we don't want to make we DON'T MAKE IT.> Each of our workshop processes or devices makes pots or parts of pots,> that the others can't.> > Students or trainees need to be presented with all possible ways to form> clay, with design principles, ceramic precedent & business practice.> Presented with a smorgasbord of possibilities, no holds barred.> If their ultimate choice is to become a teacher, one-off maker or a Bill> Campbell & they are good at it aesthetically & financially, you have> succeeded.> Des> > > Elizabeth Priddy wrote:> > I would say that what you are talking about, Tony, is industrial design.> > --> Des & Jan Howard> Lue Pottery> Lue NSW> Australia> 2850> > 02 6373 6419> www.luepottery.hwy.com.au
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