In art, the idea of pots being circular and cylindrical is an intuitive proposition that defines why potters have, up to the present, made wonderful decorations in the round. It is believed that potters do not want to subvert or break away from their tradition, perhaps because the art started as family craft. In this study, the authors describe with concrete and specific examples of studio-practice how, after an initial assignment, guidance enabled a student to produce a decorative pot by breaking with monotonous spherical techniques of production. The prime motivation of this article stems from the monotonous designs on, and persistent spherical forms of, student pots. As artists and teachers the authors realized they were failing since the work produced by the students, although aesthetically pleasing and in terms of functionality would receive an A mark, exhibited design concepts that were too monotonous, were ordinary, and lacked creativity and imagination. The criteria for the assessment rested manifestly on how the students were able to achieve originality and innovation in their work. The authors also considered how coherent the designs were, the shape and form of the pot, and the general expressiveness of thought. In sum, students were asked to develop their ideas to full potential in the general sense that having studied the course in the first diagnostic year, and majored in the first semester of their second year, works produced in the second semester should be compelling and thought-provoking. The focus was on helping the students to become creative and generate artistic ideas by drawing on what the authors called observation, inspiration, processes, and evaluation of work. (Contains 8 images.)