Chudley says communication is the biggest potential pit-fall and recommends regular sign offs at each stage. ‘I think it’s important to explain – to either draw or ask the artist for visual representation – from the beginning. The experience and expertise of the artist is invaluable; but so is the playful nature of collaboration.’
Adds Elms: ‘The best fun as a maker is when I’m experimenting and challenging myself – and really good commissions let me do that.’ Nonetheless, she warns against being too prescriptive when commissioning, adding that it’s important to give makers freedom to interpret the brief. ‘Have an idea of what you want to achieve, rather than giving artists instructions,’ she says. ‘If you are too specific, you may get a horrible, contrived bit of work.’
With craft, unpredictability is part of the charm. ‘Materials behave and react in unexpected ways and it’s up to the skill of the maker to anticipate and try to control that behaviour,’ Ford says. ‘There is beauty in letting that material be and embracing the unexpected.’ She reminds us that craft is done by a human, and that practical challenges can also occur. ‘Quirks and unexpected happenings will arise and everyone needs to be patient when they do – materials not arriving in time and when they may not behave the way they normally would; a kiln can break, a maker can fall ill. Agree a realistic lead time and how often you expect to be updated.’
Adds Wolde: ‘Time makes for an excellent piece - certain things can’t be rushed.’