Well, not exactly. But every time I load the kiln, I have this idea in my head about how the pieces will look when they come out. Most of the time, everything clicks; some of the time, it doesn't. Now that can be a good thing or it can be a bad thing.
A glaze ruuuuns right-off-the-pot and onto the kiln shelf.
(Forehead slap) Why didn't I put a set-tile under that?
Maybe I should incorporate a set-tile into the piece? no no no
That combination of glazes never acted like THAT before!
Did I calculate the glaze right?
How thick was it when I put it on?
Has it changed from the last time?
Where's my notes!
Ugh! I don't like that at all!
Why did I waste that piece?
Did the kiln fire right?
ANOTHER learning experience?
I'm going to stick to one glaze from now on.
It's Hammer Time.
Wow Wow Wow
I'm only going to do (white, black, green, That Glaze) from now on!
I LOVE it!
Where's my notes?
Ooooo, That's a keeper! I'm going to take it into my house and live with it forever basking in it's gloriousness.
(That is, until an even better, more beautiful pot comes along.
Or a show comes along.
Or a customer comes along who can't live without it. (It had better be a good price. Oh, where's my camera? Need a picture of it before it goes out the door.)
I've put pots away thinking they were the pits and have unpacked them later and thought, "Hum, that's a nice pot. Why didn't I like it? I'll have to do that again."
It's all in what you think the pot will look like after it's fired. If it doesn't measure up to your mental picture, you might judge it to be a failure while everyone else may think it's great. It's all in your expectations. I try not to have expectations, but it's hard. I've learned to let a piece "cure" for a while. (In some cases, they fester.)
If the construction is fine with no technical flaws and it's a saleable piece, take it to a show or offer it for sale. You'd be surprised how many people may love it and want it. You just never know.