How much 'preparation' is needed ? At what point does the switch flip?

Like many of you here, I have loads of ideas or 'inspirations' that seem to constantly stream into my head in a rather unfiltered way and which I store away in a mental idea bank. However, I usually don't start working on a piece until I have thought it through completely, the whole process, from how I will work it step by step through to the look of the finished piece. Only when I am sure that I have managed to visualize the steps I need to take, and have overcome the technical hurdles (at least in my mind) will I begin -- leaving myself just enough wiggle room to change course if I have to.

Preparation is key to me. I think that's because my materials tend to be rather expensive, I hate the thought of ruining a piece simply because I failed to think of the problems that I may encounter.

As my 11 year old son famously put it: Remember the 6 P's:
Prior preparation prevents piss poor performance.

What do you prefer? Preparation, or a 'go with the flow, see what happens' approach?

Views: 35

Replies to This Discussion

I agree. Though the act of creating is self-perpetuating...

I make loads and loads of technical drawings! My drawings and notebooks of how I will approach the manufacture of the piece are the key to making it work. Even if I start something with no drawings - very rare for me - I will eventually have to start working things out on paper. I have dozens of full notebooks and workbooks tucked away in the workshop. Quite often, there is a furious burst of drawing just before I start making, then the workbook develops alongside the piece, a few notes and sketches ahead of the piece but following the original plans. This is especially true of mechanical pieces like "The Mysterious Adventure of Lady Stevens" which had to open and have concealed, detachable elements. These elements quite often don't quite fit the way I had imagined and need to be re-worked.

One of the main reasons I took a workshop with Bob Ebendorf two years ago was to try and force myself to be more fluid and free, which has fed into my work but hasn't really become a way that I am happy working.

I honestly do things in the moment, it is more natural for me to go with the flow and just start creating something as soon as I have an idea dancing in my head.
Sometimes what I do is to make the piece in a different medium or metal (not silver) and after I finished the piece and see my idea then I will make it in silver. Most of the time I just do it in the moment and solve any problems I may have while I am making it.
I also took a class with Robert Ebendorf and I felt so much in place with him. I do not second guess myself, I just jump to the project with lots of energy and enthusiasm and if a problems gets in my way I just make the problem or obstacle work on my favor. ;o)

RSS

Tales From the Tool Box - A Crafthaus Online Exhibition

Diana Greenwood
‘There is always one moment in childhood…’

Mantel Box 230 x 330 x 45 mm

Mantel Box in Cherry wood with a hinged glass door, containing a silver vessel marked ‘drink me’, marbles, sweets and found objects

A piece about childhood, forgotten toys, favorite stories and the loss of innocence as the future beckons, inspired by ‘Garden of Love’ by William Blake.

Image Credit: Diana Greenwood

www.diana-greenwood.com

View the new CRAFTHAUS online exhibition (October 24-November 24, 2014)

Tales from the Tool Box - Chapter 1

Curated by Mark Fenn - Studiofenn, UK

Latest Activity

Sasha Newkirk posted photos
1 hour ago
Melissa Cameron posted blog posts
5 hours ago
Profile IconSibel Akay and Heather Perry joined crafthaus
23 hours ago
Brigitte Martin posted blog posts
yesterday
Brigitte Martin posted a video

Entfaltung collapsible fashion by Jule Waibel

See more architecture and design movies at http://www.dezeen.com/movies Royal College of Art graduate Jule Waibel has designed a series of folded paper clothes and accessories including a dress that adjusts and expands as you move and a…
yesterday
Lindsey Snell posted photos
Tuesday
Stefanis Alexandres liked Vicky Saragouda's photo
Tuesday
Stefanis Alexandres liked Vicky Saragouda's photo
Tuesday
Brigitte Martin posted blog posts
Monday
Harriete Estel Berman posted a status
"The merchandising of making exploits new technologies & brings fresh blood, but comes at a cost as well.http://j.mp/1wBtHYH"
Monday
Harriete Estel Berman posted a status
"Craft World Sucks Like Vampires http://j.mp/1wBtHYH"
Monday
Rebecca Skeels commented on Rebecca Skeels's group The Association for Contemporary Jewellery
"The Goldsmiths' Centre in Clerkenwell is the leading charity for the professional training of goldsmiths. We run a dynamic programme of courses, workshops and events for those working or aspiring to work in the industry. SETTING OUT 2015Are you…"
Monday

A modern metalsmith/metal artist can be found working in traditional metals as well as in nontraditional materials. The designs can range from the classic to the extravagant, and the techniques can either be centuries old or decidedly current.

The wide range of expression preferences, design options, materials, and processes has lead within our field to unfavorable misconceptions, misunderstandings and in some cases even outright disdain between artists. Can the metal and jewelry field overcome its division and send out a much-needed signal?

We appreciate and respect our historical past and acknowledge that current materials have a rightful place in jewelry/object making!

DETAILS on exhibition premise, call for artists, submission guidelines.....

Videos

  • Add Videos
  • View All

© 2014   Created by Brigitte Martin.

Badges  |  Report an Issue  |  Terms of Service