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Found 6 results

  1. Okay you all know I was thinking, now that I have insurance, about starting to offer limited private lessons in my own studio. I have taught at the local art center a few times and have found I really enjoy teaching, seeing that light go on in their eyes when they get something is very satisfying. Well anyhow I was still in the thinking stage while working in the studio today when I had one show up on my doorstep. Literally... I looked up and there she was. I had spoken with her a few times before about some of her projects that she was really struggling with where she currently is and gave her some pointers and such. I told her she could call me and I would help her with the latest as well. When I spoke with her I hadn't really thought about formally teaching but she told me today that she and a friend want to come take semi private lessons with me, just the 2 of them together. They both know the basics of clay but have moved beyond beginner and are branching out in to design work and such. Design work and hand building is what we would focus on as well as tackling some of the forms like mugs that she really wants to learn how to do. My question for those of you out there teaching private and semi private lessons... what kind of pricing structure should I use? I would provide the space, tools, equipment, specialty materials for design work, and knowledge. I am trying to decide if I should include the price of clay in with the lesson, sell that to them separately, or have them buy and bring their own. Then I also have to tackle the issue of firing costs and such. I would offer once a week classes, open ended... meaning they can take as few or as many as they want. When they get tired of me they can simply stop the lessons. There would be a minimum 2 hour class period to sign up for and I would prefer to offer a standard 3 hour weekly class. Would it be better to offer a set number of classes for a set number of hours each week? I would offer no open studio time only class time. They are really REALLY interested and want to start next week so kind of need some input from you guys! T
  2. UNDERSTANDING GLAZE CHEMISTRY WORKSHOP (CER074SA) Sharon Campus of New Hampshire Institute of Art Nov 12 (Saturday), 10am – 3pm Professor John Baymore $129 This one-day seminar workshop will provide participants with a basic understanding of the core concepts that can impact the creation, use, and evaluation of ceramic glazes for studio use. The use of the popular Insight ceramic chemistry calculation software will be introduced, and the approach used to this can be applied to any ceramic chemistry software. Troubleshooting of fired results, "food-safe" qualities, health and safety, legal requirements, and ventilation concepts will also be touched upon. Handouts will be provided to all participants. Prerequisite: Intermediate or greater background in ceramic work To Register NEW HAMPSHIRE INSTITUTE OF ART 148 Concord Street Manchester, NH 03104-4858 BY PHONE Community Education Office (603) 836-2564 IN PERSON Manchester Campus: Mon – Fri, 9am – 4:30pm Registrar, 148 Concord St., Manchester, NH Sharon Arts Campus: Mon – Fri, 9am – 3pm 457 NH Route 123, Sharon, NH BY EMAIL CERegistration@nhia.edu ONLINE www.nhia.edu/CE BY MAIL New Hampshire Institute of Art Community Education Office 148 Concord Street Manchester, NH 03104-4858
  3. I teach at a nonprofit community center. My program is small. I never thought i would have to justify costs since i am given no budget, if i can't get it donated then we don't have it. I've done well getting one retiring potter's whole studio donated and another retiring potter's glazes and chemicals donated to my program to keep us afloat in the 8 years i've taught here. My students pay for their class and are assessed a fee for kiln use of $10 per student. They buy their own clay that i pick up from the local clay dude and buy their own hand tools that i put a group order in at the beginning of the semester. I'm only paid for teaching time, not prep time, not clean up time, and not firing time. I fire 4 times during our 8 week semester starting at week 4 and once a week there after. All was well for the first 5 years of teaching but the last three years has seen a change of administration multiple times and i find myself having to defend my costs...what costs you might ask? The cost of electricity to fire our donated kilns. 4 admins ago i came up with the $10 fee per student for electricity based on research that on average a large kiln fired to cone 6 cost $8-$10 to fire. That would mean each student could be paying for one firing so with a minimum of 4 students the 4 firings are cover (tho not all those 4 firings are to cone 6 nor in the largest kiln). With more than 4 students i figured the rest of the money would cover wear and tear on the kilns and eventual maintainance. 2 admins ago i was questioned why i fired so often. 4 firing a semester does not seem often...that is 2 bisque and 2 glaze firings...for a semester. I pointed out that it was not excessive because the students needed to recieve their work back in a timely fashion so they could learn from their mistakes and try again. At the time i had 9 students and also pointed out that i only fired 4 times and the students had paid for 9 firings. It seemed to satisfy the admin. Now yet again my firing is again in question. A new admin and a custodian trying to show his worth by cutting costs. He informed my boss that a firing costs hundreds of dollars and the mere $10 fee could no way cover the costs of firing. I went to skutt's website found the costs they averaged out for firing their largest kiln and showed them the estimate of $8.45 per firing to cone 6. The current admin seems to doubt these numbers...i suggested metering the kiln if they had doubts. Then i hear the same custodian is now asking why the air condition is running while the kiln is running. I point out the ac cools two classrooms the pottery room and the dance studio, the dance classes pump the ac down cause they get hot, the pottery room is also a multiuse room and can likely also have some other class meeting in it while the kiln is firing and lastly i point out it doesn't matter if the ac is running when the kiln is running cause the kiln is in the separate enclosed kiln room that is not air conditioned at all and is vented with a giant exhaust fan in the ceiling to pump the heat and fumes to the great outdoors. Is there resource online that talks about the average costs of running a pottery class? Someplace that might in layman's terms explain the needs of an average class? I want to show them what good job i am doing keeping this program going with no budget. My competition across town has a dedicated pottery studio built from grant money, buckets of glaze, supplies clay to their students, and fires multiple time during the week. My program is continually compared to them by both my admin and students but they are funded and mine is not. Any suggestions?
  4. Making Handbuilt Chawan The formal Japanese Tea Ceremony (Chanoyu) has had a profound impact on both the Japanese and world ceramics since the feudal era in Japan. The making of formal tea bowls (Chawan) is considered the pinnacle of the art of the potter in Japan. This six-session class will share two specific hand-forming techniques for the making of Chawan. It also will explore the “rules†for desired formal attributes of a Chawan within the context of real Chanoyu. A discussion of the formal Chanoyu process will be included, and we will conclude our classes by sharing Matcha (i.e. ceremony tea) out of the bowls we have made in a semi-formal Tea Ceremony in which the class participants get to be both hosts and guests. Prerequisite: Basic clay skills. Limit: 10 Manchester, NH Campus Professor John Baymore MCER058 Wed, Oct. 1 – Nov. 5 7 – 9:50 PM & 9-5 PM tea ceremony on Sat, Nov. 8 6 Weeks & 1 Saturday / Amherst/Williams Building 204 Tuition: $154 / Material Fee: $20 FOR MORE INFORMATION OR QUESTIONS: Chris Archer (603) 836.2561 carcher@nhia.edu TO REGISTER FOR A CLASS: Rhiannon Mimms (603) 836.2564 CERegistration@nhia.edu LOCATIONS: Manchester Campus New Hampshire Institute of Art 148 Concord Street, Manchester, NH 03104-4858 www.nhia.edu
  5. Ceramics Open Studio This course is the perfect opportunity for intermediate to advanced level potter's to work independently, with NHIA faculty member John Baymore on-hand for guidance. Students will receive personal help for on the wheel and in handbuilding, glazing, and firing. Prerequisite: Fundamentals of Wheelwork and Handbuilding. Limit: 12 Manchester Campus Professor John Baymore MCER004 Mon, Sep. 15 – Dec. 1 7 – 9:50 pm 12 Weeks / Amherst/Williams 001 Tuition: $264 / Material Fee: $25 FOR MORE INFORMATION OR QUESTIONS: Chris Archer (603) 836.2561 carcher@nhia.edu TO REGISTER FOR A CLASS: Rhiannon Mimms (603) 836.2564 CERegistration@nhia.edu LOCATIONS: Manchester Campus New Hampshire Institute of Art 148 Concord Street, Manchester, NH 03104-4858 www.nhia.edu
  6. Come "pick my brains" in the ceramics studio on Monday evenings this fall/early winter at New Hampshire Institute of Art in Manchester, NH. The Open Studio format I've been doing for many years is basically like having a group of people all individually doing "Independent Study" approaches. This community education class is open to non-matriculated undergraduate or graduate students. (This class is not suitable for beginning students.) Ceramics Open Studio This course is the perfect opportunity for intermediate to advanced level ceramists to work independently with John Baymore on-hand for guidance. Students will receive personal help on the wheel and in handbuilding, glazing, and firing. Prerequisite: Fundamentals of Wheelworking or Fundamentals of Handbuilding, their equivalent, or permission of instructor. Limit: 12 MCER004/B Mon, Sept. 23 – Dec. 16 7 – 9:50 pm / 12 Weeks Amherst Building 001 Tuition: $264 / Studio Fee: $25 New Hampshire Institute of Art http://www.nhia.edu/community-education-home
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