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Posted 22 May 2013Can anyone post an image of a truly original ... therefore copyright-able ... functional pottery design?
I'd love to see one.
My understanding of this is that the visual appearance (it it truly differes from all others) of the piece may be Copyrighted... but the DESIGN of a functional piece .... must be Patented (a costly procedure)... and prove that it is a "new" thing not previsous "discovered" and already Patented.
Posted 22 May 2013A core idea that I was trying to get across was also that you cannot generalize across the board.... particularly in an R+D situation for serious industrial or quasi-industrial product development. I've done some research for industry....... it is a different "beast" from the typical studio pottery or academic studio situation.
Multiple factors will affect the "strength" of the body. And there are multiple measures of "strength".... you have to assess WHICH of these are important.... compressive, tensile, shear, ruptutre, brittleness and so on.
Bodies are designed for specific forming methods along with otehr characteristics. The same body hydraulic pressed and hand pressed into molds will likely give different strength figures. And so on. Hydraulic dry pressing is one option for what you are possibly seeking, with VERY high possibility mathematical size and strength tolerances.
I'd suggest that you contract the services of a ceramic engineer with skills in clay body development. Even the most skilled ot us "tech weenies" in the "art" field do not have the background that someone with a M.S. in cerramic engineering would have.
PS: yes Yixing clay is not fully virtified. Many clays usee in Asia for stuff like teawares are not.
Posted 22 May 2013The relief work on good Yixing is not sprigged. Each element of such designs is hand done with remarkable precision (and the ability to replicate items at a very high level).
I was watching an undergrad class on a very similar type of surface technique at Wuxi Institute of Arts and Technology (in Yixing) a couple of weeks ago, and the painstaking time taken with every movement and the intense focus of each student was what struck me the most.
While the cheap stuff might involve sprigging.... the decent pots don't.
Number of downloads: 9
Number of downloads: 8
Posted 22 May 2013For your trade name..... if you are in the US likely your state has a procedure for that at the State level..... and nationally you can also register a trade name. For me in NH.... the business license is $50 for five years (cheap) which holds the tradename at the state level.
Do you want to be known as producing more of a "commodity" or as an artist producing fine art pieces? If you want to position yourself on the lower pricepoints.... a business name is fine. If you want to be at the higher points.... use your own name.
Posted 22 May 2013I had an instructor once who said, "Any pot can be improved by the addition of a lid or a handle ".
What do you think of that statement?
Like many things that have been stated as broad generalities of absolute "fact"......... it ain't.
In my experience, most people working with clay start off realizing that they don't know much about it. Then they reach a point where they feel they are gaining a little knowledge and skill but stuill realize they have a lot to learn. Then they "progress" to thinking that they know a lot about it. It is only much later that they then realize that they don't really know diddly in the big scale of the ceramics field. It is those in the middle ground that tend to make those kinds of sweeping statements. It is those in the last category that should be the ones to listen to.
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- July 19
- Wilton, NH USA
- woodfiring, Japan, Chado, Iaido
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