You can do it! You are ready now! It might take some time and loads of practice and hard work, but in this post I will go over a few things that you can do to make your art cohesive. Making art cohesive is not as necessary as it used to be. Like with the old music industry that went bankrupt, the internet has made it possible for you to show and reach others with your work in very cost-effective ways, eliminating many of the gatekeepers that used to have a grip where and how work was shown. So here is a no bull sh*t approch to creating art in a cohesive way.  There might be grammer and spelling errors but I am an artist and not a teacher so give me a pass maybe for all the free information packed in here for you.  If you do not get anything out of this I’ll be sure to send you a refund at the end.

This article will cover the topic of creating art that is cohesive for those looking to submit work to galleries, shows, venues, platforms, or collectors that require a cohesive body of art work to gain access to their buying community. However, know that if you can buy cars and 52 inch flat screens online and have them delivered to your home, you can also market your art in very much the same way. There is no such thing as talent. Just practice and hard work to build skill.


Build Skills In The Basics

Just like riding a bike, there is no way that you would simply hop on and Lance Armstong it out and get big wins on day one. Creating art that is cohesive takes time to build and to learn skills, techniques, and processes. I have no idea what bad art might be, and only a little about what it is not. But I do know that poorly done work with lack of attention to construction, detail, composition, shape, color, size, materials, texture, line, research, and others can give you a real bad time. I would suggest making a lot of what you make, and then make a lot more of what you make better. Repeat all of that a bunch of times.

It may take fifty, one-hundred, or maybe a thousand or two to get the basics ironed out, but it is very important on your way to creating a cohesive body of art work if you wish. The start to making art cohesive is simply making a lot of bad work as practice, finding and pushing boundaries, finding what might work best, taking chances, putting yourself on the hook, being brave, and working to eliminate any resistance that always crops up. But you can do it! You are ready now! Start by making your first pieces right now! Give yourself permission to mess it up bad and go to it. Just do something! And do it a lot! Once you simply start things will begain to work out and you will feel great creating the work. Even the terrible stuff. It’s all practice.


What To Say To Whom

The next step I would say in making your art cohesive, is after creating a bunch of work, and building the skills in the basics, is to find out who you would like your art to be for and why. Take some of your the strongest work and have a look at it all from way back. Also think about what you wish to say and why. Answering all these whys is very important as it will assist you in whom to show the work to and create work that matters for the folks who care.

No need to make work for everyone but for the minimum viable audience. You only need maybe ten people who care to start. If you are successful in communicating and what you create speaks to that community and they enjoy what you did they might tell another ten folks and before long you have a few raging fans or collectors. It sure makes it easier to sell work or submit pieces to art shows, galleries, art shops, and online platforms if you have some idea what your work might say or how it is read and knowing your “why”. A great book on the topic is “Start with Why: How Great Leaders Inspire Everyone to Take Action.” by Simon Sinek listed below.

.All of this might take a while to work out and you may ask other how it is read. I would suggest not asking friends and family, as they will lie to you to just make you feel better and not enjoy being honest if they believe what they truly think might cause you to have a bad time. So I would have some folks you might not know, who might be the ideal person the work is for, to give you feedback. Social media groups are real helpful in this area at times. Then, take what those folks say and go back and rework things and show them again. At this point it might be fine to start submitting work to a few shows and galleries as their feedback can be helpful in knowing what they belive you need to improve on, and how well your work is communicating.

After looking at some of your strongest work from way back you might now be able to see some type of themes throughout them all. A cohesive body of art will start to filter out and you will be able to start to see similarities between pieces in a few different ways. At this time it might be good idea to now emphasize those similarities a bit more while at the same time keeping what you wish to say to who in view. Now go make a bunch more work with your discovery of the themes in mind and repeat the process, and then show that finished work that matters to those people who care. You may not get it correct every time, and you may need you to rework things and not feel good about it, but do not stop! Creating work and finishing things no matter how poorly they turn out is far better than all those who simply thought about making work but never did! You’re doing great!!!

 

Layer Up Like An Onion

After practicing your techniques and skills and messing up a lot real bad and taking the least bad that are now good and finding the commonalities it is time to build creating art and a cohesive body of work that is created for a specific reason , with a specific goal, that might say a specific thing to a specific group, to the least viable audience. Since there are a million ways and combinations this may feel overwhelming at first but after you work it out a few times you will become much better at it. For me personally I enjoy layering the work up with technique and meaning so that I am able to communicate with my audience I am trying to reach.

Others may simply have one of two layers to enjoy communicating simplicity. I find it easier to make a list with columns on a paper with those things that you found common in your work. Then list out the thing you might like to say to who using the many techniques, subject manner, lighting, line, sound, symbols, texture, patterns, planes, shape, depth, height, weight, size, history, research, and many other ways to communicate. To me personally good art is simply a form that communicates clearly and/or in some interesting way. Next layer things up in a way that communicates best based on the goals you are trying to achieve.

It is possible to become cluttered and have to much going on in the work to where it is a distraction. But if you chart out the project first you can begin to add or subtract even before you begin taking the time in constructing the actual body of work. At this point it might be good to make up a few small samples, test pieces , or studies to work out a cost analysis and to decide how many to make in the collection on the particular topic and also to begin to help visualize what it might look like.

Can you see the collection in your mind? Visualize how it might be if you walked though a room at a gallery or shop that was filled with your work. How would you want it to feel to the viewer? What can be done to make an impact or to communicate what you might like to say? Once you are able to visualize it in your mind then you might be able to have a better feel for how to set up the collection and the way it communicates. Also think how it can communicate on other platforms, like when on a website for example. How will you shoot photos? What feeling do you want the online viewer to have as they click though the gallery?


Do The Work

With all the planning and testing completed it is now time to do the hard work of doing the work. Actually doing the work can be the most challenging part as many things will start to crop up on why we should not do the work. A lot of resistance and issues will arise that will give us excuses not to complete the project. Self-doubt, imposter syndrome, material issues, issues with technique, and other set backs will stop by every day for coffee but keep going!

After some time when you reached the amount of work that you planned for make a few extra pieces so you have the option to choose what to use to fill out a showing. It is also at this point of doing the work you might want to show others who care about what you are doing what you are working on to build interest and excitement about the project. It might even benefit you to post updates to your email list or do social media posts and live streams of the process to get those who care invested in what you are created and trying to communicate. It is my belief that the total work is the planning, the construction, the showing, and the buyer enjoying it .

Doing the work might take days months or years but be sure at this stage to have good project management as no collection is complete if it is only partially done. And remember at times done is better then perfect. While it is very important to pay attention to details, fine craftsmanship , and technique do not let waiting to release the work until it is perfect become an excuse. Keep working though the dips, both the good times and bad, and wrangle it out.

Doing the work is the most intense part and can be a struggle but keep climbing the mountain. While doing the work take small breaks at certain planned stages along the way to review what you are doing and that you are staying on message and reaching your goals. Reward yourself at certain stages and be kind to yourself. Creating a cohesive body of work is no easy task and sharing work that matters with people who care can feel like your are exposing yourself some to the world but push on you almost are ready to put on the finishing touches and show your work as a collection!


Show The Work

Great job! You did it! Now you have a bunch of work sitting around your studio, basement , or in storage. Now it is time to show your work to people who care if you have not started the process already. Take all that work someplace and set it up and look at the collection all together if you can and start to decide which work should be shown together, separate, or not at all. Some pieces will be stronger then others so take note on those things and why to remember for next time. It might be beneficial at this point to create an artist statement about the work for promoting the work and explaining the project, technique, and ideas and also some background about yourself.

Depending on the platform you might be able to get help with these types of statements based on what the gallery or selling platform requires. It might be beneficial to see how other artists have gone about this process. Planning this all out now will help later and make things run more smoothly if you work should be accepted into a gallery or on a platform for a show. There are a verity of ways to show a collection of work to people who care and one way would be to find a gallery or selling platform that might be a good fit for you and can help you show your collection to people who care. Like writers you should ready yourself for rejections, these rejections can be beneficial as they can provide feedback on what you might need to think about when creating. On the other hand the work and message you are tying to tell may not simply be for them or a good fit so keep going and try not to feel down about things. You have created a cohesive body of work and that is far better then all those who simply just sat and thought about it but did nothing.

Some may disagree, but you may need to separate yourself from your work in your mind so that you are able to sell it better. Your work is not you but simply an extension. Just because others might misunderstand, misinterpret, or simply dislike the body of work that does not mean they dislike you personally. I try not to take anything personally and if others reject the work it simply was into for them. However, if your goal was to agitate or upset and you caused a ruckus then congratulations your cohesive body of art work is working!


Ways Around Gatekeepers

Think of different ways around gatekeepers. Many might say they enjoy the work you do but have no room or you may not get into shows due to other reasons due to a jury rejection. I have heard some artists being rejected for the way their booth looked or how their set up or display was done. If needed work on what they suggest if you need to but also work to break though the gatekeepers. One way to work around gatekeepers is to build your own community of people who care and collect your work.

If a ten year old girl in Tennessee can gain one million subscribers on social media doing a milkcrate challenge then you as an artist should be able to muster up a few hundred or thousand people who care. Like the old music industry that refused to change and went bankrupt, or the book industry, you can also like the song writers, producers, singers, and writers; have opportunities to put your work into the world in many different ways on different platforms to reach those people who care.

There are some challenges you will need to work though but once overcome can give you leverage in promoting your work and speaking what you wish to say. While they are helpful, you no longer absolutely need galleries, art shows, shops, or the old ways to show your work to the world. You can do all of that with your own website or online shop. Size does not matter. A person can buy a car and have it brought to their house and a 52 inch tv shipped to their doorstep. So times have changed and your thinking as an artist may need to also to take advantage of these great opportunities that you now have available to show your work.


What Are You Waiting For?

Time is short and the only thing we never get back and you are the only one who can best tell your message and story to the world though your work!  At the time of writing this if I live to be 86 I only have 14,104 days left. If you do not tell your story someone else will and it might not be the story you want told in the way they tell it. I hope you found some of this helpful and can better  plan in creating your art in a more cohesive way that you can feel great about and also work your buyers enjoy! Below is a reading list of books that I found helpful. I recive no payments or kickbacks from posting this material. I write these articals because I enjoy helping folks just like you at no cost. If you enjoyed this post and got somthing out of it feel free to check out my gallery and shop or just say hello at creekroadpottery@gmail.com.

 

Here are some great books I have read!

Seth Godin:

The Practice: Shipping Creative Work. 
This Is Marketing: You Can’t Be Seen Until You Learn to See.
Purple Cow.

Stephen Pressfield:

The War of Art
Do The Work

Simon Sinek:

Start with Why: How Great Leaders Inspire Everyone to Take Action
Leaders Eat Last: Why Some Teams Pull Together and Others Don’t

Steve Blank:

The Startup Owner’s Manual: The Step-By-Step Guide for Building a Great Company
The Four Steps to the Epiphany: Successful Strategies for Products that Win

Free Class:

How to Build a Startup

Donald Miller:

Building a StoryBrand: Clarify Your Message So Customers Will Listen
Hero on a Mission: A Path to a Meaningful Life
Business Made Simple: 60 Days to Master Leadership, Sales, Marketing, Execution, Management, Personal Productivity and More

Joseph Campbell:

The Power of Myth

The Hero with a Thousand Faces

Victor Frankl:

Man’s Search for Meaning.

 

Written By,
Al Wayman
Artist/Owner
Creek Road Pottery LLC

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Hebrew Jars

 

I had the idea and process for creating the “Line Upon Line” collection of Hebrew jar type Dead Sea Scroll replicas for quite some time but needed to nail it down in some way. I also needed a good time to put the collection together. When I was invited by Gallery41 in Owego, New York to be a guest artist for July 2022 I took the opportunity.

In the past I used the iron oxide wash technique in small ways on the shave brush handles. Some time back I created a whole series of brushes, a collection on the topic of Ancient warriors found in the biblical literature. I enjoyed how the red iron oxide when fired brought out the texture patterns of the clay and sent the color to an ancient looking toasty brown. I thought that if this process and technique worked for small pieces, it may turn on great on somewhat larger.

For the project, I made up 20 pieces with about 5 ponds of clay each. I trimmed and dried them out and inscribed Hebrew out of the biblical texts of Isaiah. I always thought the verse of Isaiah 28:10 sounded beautiful when read in the Hebrew. I decided the body of work should be called “Line Upon Line.” I also wanted an inscribed text in Hebrew connecting all the pieces, and so used small quotes out of the texts of Isaiah on the topic of Justice to combine them all. Inscribing the Hebrew was a bit of a challenge as I have not practiced writing the letters for quite some time.

I was relived when all but one pot survived the firings and process, as I cut everything a bit close with the deadlines and getting the show set up by going for the idea and collection. I have always enjoyed the study of Ancient Near Eastern texts and Biblical literature, especially the Dead Sea Scrolls and their discovery. The ancient pottery jars the scrolls were found in are amazing to me, and I found the idea of pottery preserving literature and writings with the use of clay interesting. You may view an up close container of a dead sea scroll vessel here. Also, have a look for yourself at “The Great Isaiah Scroll (1QIsa) by clicking here.

My next project I am thinking about will be to learn a bit of ancient Cuneiform and write in texts. I love both texture on pots, and texture that can be read would be even better. I would love to create a whole series with texts from the Baal Epic or that of Gilgamesh. Thanks to my good friend Richard I have all the material to start to learn the process, including the material on the epics.

You may view the “Line upon Line” collection of jars and vases if you wish by clicking here. The name of the piece is the name of the reference and both the Hebrew and English translation was provided along with the dimensions. This special collection of Isaiah “Line Upon Line” of jars and vases were made by my own hand on the pottery wheel and fired and refined in the gas kilns at Creek Road Pottery in Laceyville, PA along the cold Tuscarora creek. Special thanks to Rabbi John Herbert Ludemann for his guidance and advice with this project.


Hobo Smoky

 

It was about 2 am that the long train hauling loaded sand cars and 25 boxers came to a screeching halt just out back the Right Choice Diner. Hobo Smoky fell into the small town of Laceyville with the force of the stop and landed in a heap at the front of the empty car. His violent stop was padded in a small way by the pile of packing cardboard he had laid out to sleep on. The door of the Union Pacific boxer slid full open, then came crashing back closed against the rail spike Smoky had wedged into the door track to hold it open. At least he wasn’t locked in. Smoky groaned some from the pain of being thrown across the floor and into the wall of car when the air brakes kicked on. This had to be bad.

Smoky crawled sore to the door and took a look out into the dark night. He saw the soft glow of streetlights about a half mile up the tracks, and the sound of the fire whistle started its lonely cry to wake the sleepy town to the tragedy. “Awww shit.. I better get off here.” Smoky rolled up his sleep pad and found his pail of gear scattered about in the car in the dim glow of his flashlight, its batteries running low. Once everything was collected, he tossed the sleep pack and pail to the ground outside the train into the dark night and climbed down out of the car. As Smoky made his way up the tracks, he could make out the flashing lights of emergency vehicles arriving on the scene and could hear the sound of sirens. It was the length of about 35 cars to town, he guessed. 35 cars to walk off the pain. In all his days hopping trains, he could only remember one other time when an 90 car CSX train locked up on its way to Indiana when a dump truck ran the crossing. But that was only a near miss. Whatever happened up ahead had to be much worse. It seemed the whole town was waking up for a meeting at the tracks.

The track was just taken over by R.J. Corman which combined the Lehigh Railway, Owego & Harford Railway, and Luzerne & Susquehanna Railway. Smoky found an open boxer at the Reading & Northern interchange at Mehoopany while they hooked on to fifty sander cars. He was on the Lehigh Railway that heads through Laceyville and hoped for an easy trip on his way to see his new grand baby in Athens. Other than a heavy rainstorm pounding on the box car, things seemed to be quite peaceful until the violent stop after he just fell asleep. Smoky hid his gear and bedroll in some brush. As he neared the front of the train, he saw the crew standing together by the big engines. A sheet covered a body while emergency crews worked the scene and everyone waited on the county corner to arrive. A middle age woman sat on a large rock back some from train sobbing with her head in her hands and beside her sat a teenage boy staring blankly into the night and a big man was on the phone next to them making a call.

Hey Missy. This is Jimmy. I know it’s real late, but I was wondering if you could come down and open the Wright Choice. I would never ask, but we are having a real bad time here in town tonight and folks may need someplace to hold up.”

” Hey big Jimmy, what happened down there? I heard the train lock up clear here where I’m at! Everyone ok?”

“I’m afraid not. Terence Mott was hit on the tracks. Looks like the poor guy fell sleep there drinking, and the train didn’t see him until it was too late. Could you come down and open up and make up some coffee for the emergency crew and folks. I got Brenda Mott and Billy here. They are real shaken.”

”Okay Jimmy, I’m on my way down. Just let me get dressed and I’ll open up.”

” Thanks Miss, I owe you big time.”

Big Jimmy then put his phone in his back pocket and as he turned, saw the outline of Hobo Smoky.

“Smoky. How are things?”

”Hey Big Jimmy, sorry to see all of this. The brakes woke me up and it looks I’ll be in town for the night. You need help washing dishes up at the diner for a day or two?”

”You could not have asked at a better time. You can start right now. I got one of the girls stopping down to open and serve coffee and let everyone calm down some.”

Big Jimmy sat on the rock next to Mrs. Mott who was still sobbing and shaking uncontrollably. He put one big arm around her to try and comfort her some.

”Okay, I’ll head on up and get to work.” said Smoky

Smoky walked up the small hill, though the laundry on the line, to the rickety back steps of the Wright Choice and waited outside the screen door to be let in. He pulled a smoke from behind his ear and took off his cap and dirty red bandanna. There was something terribly beautiful about the scene from the back steps of the Wright Choice in the fog with the flashing lights. A fair and foul day for sure.

Now there may not be a hobo Smoky or a Wright Choice Diner, but somewhere, someplace, someone dropped by to help at the right times. This is my story about my town, so I get to tell it how I like.

Written By,

Al Wayman

Artist/Owner

Creek Road Pottery LLC

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“And one day they taught Hesiod glorious song while he was shepherding his lambs under holy Helicon, and this word first the goddesses said to me – the Muses of Olympus, daughters of Zeus who holds the aegis: “Shepherds of the wilderness, wretched things of shame, mere bellies, we know how to speak many false things as though they were true; but we know, when we will, to utter true things.”      – Theogony by Hesiod, English translation by Evelyn White

 

Many people may ask me where I get my inspiration. Artist or not, we all get inspired to do something, something that drives us into action. Many say, “Follow your passion!” In my observation, passions can change after you have pursued them for a while. “Follow your passion!” also assumes it is something of good. If your passion was stealing cars it could cause you a bad time. Something more than passion needs to drive a person as at times I do not feel all that passionate about clay when pots crack.  A video I thought was helpful on the topic of following your passion can be found here. You may realize, after all the effort, you don’t enjoy it as much as you thought you would when you first started. But to start, folks believe they might need to be inspired or moved to action by some “trigger”. Here are a few things that “trigger” me. 

 

 

Reading & Research

 

When I was younger, I loved to read and had a small library of books that I enjoyed. I read many of The Hardy Boys books and Little House on the Prairie. I was terrible at reading and spelling until the 5th grade, when I had to do a book report. The experience was so moving that I still remember which book it was. The Hardy Boys: The Secret of Pirate’s Hill. I earned an A. I realized learning could be fun and took off reading like there was no tomorrow. While reading in my free time, I learned English grammar and spelling. My grades improved the more I read, and by high school, I was doing much better.

When I attended Keystone College in my home state of Pennsylvania for art, I met a guy who had piles of books all around him in the snack bar. His name was Richard. He was surrounded by books as he was studying ancient near eastern literature. Loving literature myself, we connected immediately. When we became friends, I went to Office Max with him to photocopy parts of books (as this was before the internet and the texts he was using would cost hundreds to own). It was at this point also that I was introduced to world religion by the librarian named Dr. Elliott. Dr. Elliot taught a world religion class and gave students permission to sit in and listen. She went over the ideas of Joseph Campbell and a bit of the psychologist Carl Jung. This led me to read the book The Power of the Myth by Joseph Campbell.  Between my buddy Richard and Dr. Elliot, I learned how important reading and research was to learning and applying it to my work.

 

 

Nature

 

I also get prompted to action by nature and love color and natural texture patterns. Before I made pots, I loved to go winter camping and hiking. I used to do all of this with my buddy Stephen. I even had a fun channel about my adventures outside. You may view those terrible old-time videos here. Taking the long hikes, up to 3 days or more, gave one plenty of time to spend with oneself and work things out surrounded by color and texture. Sitting in a field of grass with a good friend, making meals on a small cook burner as the sun set made an impression on my mind. The community of camping with friends made its mark as well. In times past, each Memorial Day and Labor Day we would camp with our college friends and loved ones and have grill fests. We would all bring our favorite dishes to show off and share. At night, sitting up late around the fire chatting and joking impressed upon me the community feeling that all was right in the world at that moment where we were. 

Nature shows up in my work in the texture patterns. I often use natural patterns in my pots, mostly the texture patterns of tree bark and things pressed into the clay like stones, plants, and other natural found objects. In the past, I use to layer these patterns, creating line and shape contrasted with color and glaze. I enjoyed using and feeling the raw, unglazed sections of the pots, and tried to leave parts unglazed to show off the clay’s natural beauty. Firing reduction in gas changes the glaze colors to the earth tones that I grew to love and enjoy.

 

 

 

Themes of Color

 

I am inspired by themes of color. I am not sure how it all works. Maybe I get it from my mom who always needed a matching outfit for every occasion. I always told her if she were to live a second time, she should be a fashion critic. Even at 86 years young, she still calls and asks what glaze colors I am running for the shows so she can dress accordingly when she helps as a greeter. Last year for the fall show, I ran all the colors from a single pail of glaze.

Depending on the shelf it was fired on, how hot the pots got, and what the atmosphere was like in the kiln, I was able to produce a wide range of work all from the same glaze that matched the color of the October seasonal fall look. Another show I was inspired by was the 2020 Christmas show called Blue Christmas. All the pots for this also were done from one pail of glaze. I was relieved when the blues came out beautifully to meet the expectations of those who stopped by to see.

The set-up for that show matched somewhat how I imagined it. I also think about these when working out collections for the shows. I try to get customer feedback and pair that with some ideas of work that can match in color or theme. I very much enjoyed the rolled rim mixing bowls and flattened rimmed handles on the batter bowls and bakers.

 



 

 

 

Be Like a Sponge

 

Inspiration can come in many forms, and many times we may not know from where. The ancients tell us about the muses, gods, or God. I try to expose myself to many things, absorb as much as I can and let it come out of my hands and into my creations. Not all of it ends up being well received, and I may spend far too much time working hard on the wrong things. But those times when inspiration hits your total concentration can be a fair and foul thing when you are driven to create, do the work, and get it to the right people as a gift. What I do know is I would make the pots even if no one else cared or bought them. I would still pile my ideas high to see where it would go or where it might end up. Mug one is far different to mug 120! So, what inspires you? What drives you to action? Let me know in the comments!

 

 

Written By,
Alford Wayman
Artist/Owner
Creek Road Pottery LLC

Edited by:
Erika Sickler
Content Writer/ Editor
Creek Road Pottery LLC

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Here is the link to the Pottery Cost Analysis for those who have small business and would love to add things up per unit.  I also added a few conversions to the chart and also the Profit First accounting /banking database.   Feel free to use the database and change things up and also if you can give me some suggestions on things you would like me to add to make things better.  Not all expenses are on this database, but there is plenty of room to add them in. Many hardliners will have you add up everything, including the kitchen sink. While the more you calculate, the more accurate your analysis will be. But in the long run even knowing a ballpark range is a far better than nothing at all.

Take and use this at your own risk.  To the best of my knowledge at this time, this database in virus free.

Download the Excel Pottery Cost Analysis calculator Here!

Glad I can help!


Al Wayman
Creek Road Pottery LLC

More information:

Profit First: Transform Your Business from a Cash-Eating Monster to a Money-Making Machine.Hardcover – February 21, 2017 by  Mike Michalowicz

“Business Made Simple: 60 Days to Master Leadership, Sales, Marketing, Execution, Management, Personal Productivity and More.”  Paperback – January 19, 2021 by Donald Miller

Ask Mike- What Percentage To Allocate Toward Profit Using Profit First?  

 

 

Eating your own dog food was thought of as positive in the past. It gave owners, creators, and makers of a product a semi customer based view of a product before release. However, many times the testing and feedback was heavily influenced by corporate culture where many issues went unnoticed. Now days, it is thought that taking it straight to the customer in a small sampling without influence yields the best results to see how customers actually use the product and what problems they solve. In “eating your own dog food” creators may be blind to usability and may have the knowledge to make their creations work that a normal user will lack. “If I am only for myself, what am I? ” – Hillel the Elder, Mishnah Avot 1:14

“I don’t want to talk about my idea because someone else might steal it.”

In short, this is simply a list of things that will not get done. If you eat your own dog food in this area, you will not be able to network and collaborate those key elements you need to produce an end product to the customer. If you keep all these earth-shattering ideas to yourself, you will not be able to hire people who are far better than you to formulate and run the many parts of development you might be terrible at. We also learn by messing up and having patience. Keeping everything under lock and key means creating or launching when everything is perfect, which translates to not launching at all. At times 70% is fine and done is better than perfect. The user and customer will tell you what changes and improvements need to be made. But keeping everything in a vault locked down is a sure way to not be action driven.

“I don’t like to copy work, so I try not to expose myself to remain original.”

Not exposing your self to other ideas or work to remain original can sink you like a rock as it closes you off to finding solutions to fix problems in a better way based off of existing products or ideas. While you remain original in your cave, things on the outside are always changing while you only see the shadows. This in turn can run your business into the ground, eating your own dog food as you refuse to pivot or take advantage of a flaw your competitor might have. Once your style has run its course over time, you will wonder why sales are tanking as your customer base dwindles or dies off. Some creators are songwriters and others are Disk Jockeys. There is a need for both. Jay-Z doesn’t have the time to work wedding parties. It’s ok to expose yourself and soak up the world and what it has to offer like a sponge, and let that run out in your creativity and imagination. Stuck on what to do next for your work or product? Ask the customer.

“I had this great idea, but it was already done by someone else.”

Another list of things that did not get done. Those other people may not have produced it the way you had in mind. You could still run with the idea and make a great competing product with better features or simply better advertising. Some great products failed because they launch to no one, and others who made junk did well as they showed it to people in a far better way. Coke and Pepsi both are huge players in the soft drink industry. Imagine if John Stith Pemberton did not move forward with his idea of a soda. Simply because a thing was already done does not disqualify others from engaging and staking out some market share for yourself.

“I only use products I create.”

Many times I have heard creators and product based businesses say they only use products they themselves create. This has always been strange to me as “eating your own dog food” limits your exposure to the competition and features others may use in problem-solving. Fencing yourself off with only your ideas can be a sure way to sinking a great idea or product, no matter what you make. It also closes you off from being able to change in real time to solve problems customers are having, as the only thing that breaks you from the echo chamber of group think is bankruptcy. There are chefs and there are cooks. Chefs create the recipes the cooks follow. You need to work out which you are and own it. There is a market for both cooks and chefs to the right people. Not to many high-end chefs run catering businesses. They hire it out to cooks. Today, community building and giving value is far more important than dog food, and profit a by-product. I need to go work on some berry bowls a customer helped me design. Did you know the holes had to be small so the blueberries do not fall out the bottom? I had no idea! It’s a good thing I asked!

Artist /Owner
Al Wayman
Creek Road Pottery LLC

Further Reading:

“The Cook and the Chef: Musk’s Secret Sauce.” November 6, 2015 By Tim Urban.

The Design of Everyday Things: Revised and Expanded Edition Paperback – Illustrated, November 5, 2013 by Don Norman.

The Nature and Aesthetics of Design Paperback – Illustrated, September 28, 2007 by David Pye.

“Business Made Simple: 60 Days to Master Leadership, Sales, Marketing, Execution, Management, Personal Productivity and More.” Paperback – January 19, 2021 by Donald Miller

Hey reader! Let me know what you think on the topic by leaving a comment!