To challenge various forms and shapes, he sometimes spent a month on a single piece. However, firing in the dragon kiln often caused deformities, and the finished products could only be sold as flawed items at lower prices, typically around a thousand dollars per piece. This income was incomparable to what he earned as a master craftsman. Despite not running a pottery business and not hiring workers, Lin Tien-fu found solace in fishing and gardening, free from worldly distractions, allowing him to truly focus on pottery. His days passed quietly, with diligent creation and leisurely fishing. This decade was Lin Tien-fu's peak period of artistic transformation. By his prime, he had honed his craft for half a century and could effortlessly materialize any idea that crossed his mind.However, dreams often clashed with reality.

Life was frugal, but fortunately, his son Lin Jui-hwa occasionally worked at other pottery workshops as a kiln master or jar maker, earning extra money to support the family and purchasing a gas-fired kiln.With the gas-fired kiln, father and son collaborated in pottery making. Lin Jui-hwa  assisted in firing, and Lin Tien-fu's talents flourished further. At the time, Taiwan embraced the tradition of drinking tea, with Yixing teapots being highly sought-after. Lin Tien-fu started developing tea table and chair sets and succeeded after three months of trials. The ceramic table and chair sets became their flagship products, and friends encouraged him to make teapots, saying, "If you can make such large ceramic furniture, you should also make teapots!" This led him to delve into teapot making. Initially, his teapots faced skepticism due to their departure from the popular Yixing teapot style. However, Lin Tien-fu believed in the "beauty of practicality." He considered Yixing teapots impractical and stuck to his unique designs. Over time, customers who used his teapots became ardent fans, praising them for their functionality, durability, and affordability. His teapots sold out as soon as they were fired.

During this period, Lin Tien-fu's creative output was prolific and diverse, with notable pieces like long-necked vases, large censers, and dragon-shaped platters. As his works gained popularity, he remained cheerful, always wearing a radiant smile. Behind that smile lay a deep sense of fulfillment from recognition and appreciation, which he considered the greatest reward for his dedication to pottery.