LeeU

Decent article, liked the links especially. I scrolled the comments-they were all over the place. I liked one from somebody talking about the attraction maybe being more about touching physical material, rather than hanging w/people, noting that even paper was removed from him via working on the computer.

The 2 on the left are mine, all I have remaining from my mug-making days; I don't throw anymore & don't really have the interest in doing them handbuilt or w/a banding wheel--well, maybe for my own use...never say never. The blue/gray one I got not too long ago at the last NH Studio Tour, made by Steven Zoldac (claim to fame, he does exquisite slip trailing, which this does not begin to show off, and he's Maureen Mills' hubby.) The red clay was also one of his that I had just loved, but alas I broke it and there are no more. These have terrific handles and drink like a dream (so do mine, actually.)

It can be kind of kitchy and requires attention to detail to be more "sophisticated" or creative, but some people use bits of dried glaze (being familiar with their properties and usual results on the clay bodies being used) in a mosaic-like manner, or by strategic placement on/in the form--like inside trays/shallow bowls, on flat surfaces etc.--you can get some interesting effects. (test!)

How old are the students? Are you present when they are, or do they come & go when you're not around. Will they be firing the kiln? Don't know what you mean about cone "size"--do you mean the Orton system correlated with the temperature desired? Most elec. kilns fire best from low (ex. cone 04-05)to mid fire-usually around cone 5-6 (but can go higher-not likely needed in any school environment, and that wears out the elements faster).

I have no family anywhere near me & no "significant other". My daughter is on the opposite coast and is actively helpful with kicking ideas around and provides useful feedback re marketing/photography/types of items. She suggested I do the plant stakes--I hated making them but they sold like hot cakes when I needed some quick income. My sister has worked in clay herself (totally different style/technique) and understands the craft, which is much appreciated. I have one friend who has really gotten me through the highs & lows, from 2014 when I decided to make myself a studio, to the present when I am struggling with some limitations and trying to decide what to do. He has helped with logistics and sales, managed my inventory, done my spread sheets, taken reference pics, proof-read text, provided assistance with my web page, and given lots of "common man" perspective on items that I put out for public consumption. I have another friend who has sat with me at the few craft fairs/shows I've done, including all that packing/hauling/unpacking/rehauling. He also did a lot of the chatting with people coming to see what's what and managed to sell more of my stuff than I did! As a group, they have become essential to supporting my "need to create", through thick & thin.

In addition to what Mark & Pres have said, do you own research and learn a bit about it. There's all kinds of health hazards with materials artists use, but as a wide generality, it takes repeated and lengthy exposure over time to be at risk for a serious condition. Being informed ahead of time is essential, and can save you a lot of worry. Getting more info will also help you to evaluate studio settings you may be using or how to maintain one at your home. I'd also say if it is an art class involving ceramics, there "should be" some instruction in the "basics" for health and safety.....and if not, I'd ask why not!

Off topic, but I must chime in..I've been dealing with slow-growing cateracts for years now. My doc(s) strongly advise against surgery yet because it inevitably has to be redone and (for me) is expensive, so since I have minimal effects I've decided to wait until they say "go". BUT--what I am beginning to notice is that hues and tonal variations are beginning to morph together. Blue on purple, or dark brown on black, for example, become as almost one...a PITA, but not worth getting surgery just for that. You, however, are likely much younger, so maybe don't wait until you can't see the side of the road at night LOL. On topic, I have little-to-nothing to add. I have lots of small scale "toot my own horn" ideas/processes etc. but nothing related to clay at the moment.

My 2 cents worth is if you can't find a kiln to fire them in, maybe consider a polymer clay such as Sculpey Premo, which has some durability and is used for jewelry, and then treat with good quality luster/enamels. Hi Roanoke-I lived on Howbert Ave for years-my grandfather built the house, my sister lives there there now. I miss the city a lot-could see the Mill Mt. star from the front porch.

This sums it up for me--I'd have said it if Rae didn't express it so well first! I have only very rarely dropped any, and I'm sure I over-handle every piece. I touch-touch-touch, because the textile aspect is an imperative. I shut my eyes and feel 'em up, from all sides, inside & out, to find and later remove any sharp edges or bits. I also handle many times from wet to dried, to assess and maniputate, if needed, the heft and weight. How many times per piece? I don't count--safe to say it's basically a lot. Today I handled a lidded box, textured & not yet leather hard, very heavy/chunky (4 lbs), probably 10 times (from taking off the plastic to returning to the ware board when done) just to fine-tune the shape & lid fit (which is via a free form cut & then the top & bottom excavated. Once dry, it'll get a lot more handling to tweak the excavations, the stamping, lid fit, surface (burrs removed) etc.

Candle holders! Sell them with the candle included.

Slabs are easy and fun--they can drape thin circles over upturned cans/bowls to make free-from bowl shapes (flatten an area on the bottom while still soft). They could make pendants, either free-form or using cutter-shapes (I don't suggest the key fobs tho--that was a bad idea LOL). Large free-form spoon rests and shallow catchall dishes are also fun. Stamping the slabs 1st before forming makes them look more dramatic when glazed. Also tea light holders are easy-just need to be flat on top, don't even need a well (top left in the spoon rest pic). If there's no time to get good clay stamps, Home Depot has plenty of drawer knobs that work well.

I am totally biased, based on personal experience. I love the Brent wheels---quality, longevity/endurance, nice company to do business with/communicate with. Others may have some input based on the budget limit....like is a used high quality wheel a better bet than a newer lower quality unit for the same price (ie. the best wheels ain't cheap!) Also what is the projected intended use--heavy volume, building a business, hobby potter, no need for a reversable head etc.?

Welcome--there is a place here for everyone and the levels of training, experience, output, styles, etc. etc. are quite varied. Members are very helpful with using/learning correct terminology, chemistry/science of clay & glazes, properties of various clay bodies, formulating glazes, using commercial glazes, different types of kilns & fuels-the forums pretty much cover it all, including the business aspect, studio set-ups etc. etc. For some questions/discussion, it helps to post pics along with questions/details of the issue.

When I first retired from the state I used my vacay/sick leave payout (I rarely took either) to set up my studio, complete w/wheel and a large kiln . Roughly six 12" x 24" shelves of greenware will fill that kiln, tight or loose, depending. When work flow actually flowed I would fill & fire maybe 6 times + or - anually. I was also putting a fair amount of work in invitational wood & raku firings, through the NH Potters Guild. As my health took a dive & the pandemic hit, and my local retail dried up, the flow slowed to a trickle--maybe filling/firing 4 times a year. I have not fired the kiln at all yet this year, tho I have 6 shelves of work sitting ready. I rarely use the wheel cuz I can hardly throw anymore & the kiln is too large to fill any faster. I've shifted gears to a different type of work & much of what I do is now provided to selected local non-profits to use for their fundraising. As far as flow goes, I now take my sweet time and maybe create a shelf-worth within a couple of weeks, but then take forever to glaze. I've got 2 shelves ready to glaze, for the next fire after this one pending. I'm just waiting for the snow to go away & for it to stop being so dang cold (really LOL).

THANK YOU!!!! It not only works here, I was able to share it on FB and it opens to the article there too.

What clay body & glazes & type of fire will you be doing--and how many people? And wheel work or slab/other handbuilding?

Yep--thanks. My cognition has fits and starts these days-as soon as you described it, I "got it"-dunno why I didn't see it in the 1st place. Oh well---that's the kind of thing I'm learning to get used to-could be worse!

I'm not allowed to have pets in my rented mobile home, which contains my studio. Broke the rule once with a pet python named George, who was nice and quiet and kept to himself. George declined to consume a Dumbo rat I had gotten him (wrong type for sustenance), so I kept the rat and named him Lunch. The landlord finally said it was either me or the snake-one had to go (he was severely phobic). George was re-housed with a friend, but I kept Lunch. He was a wonderful pet, but he croaked a few years ago. Now I have tropical fish, but they do nothing for me in the studio. I guess I have gone off track regarding pets & studio, but I like to contribute LOL

I'm confused. What is the 2nd column from the left? It has no heading.

I would not tell myself to change anything--my perspectives, relationship with clay, and sense of "making" what I make are essentially the same as then. Not about pottery/clay per se, but the one thing I would tell my young adult self would be to rachet back the wild child behavior and pay more attention to protecting my future.

Much of my work I make while "blind" (voluntarily-I am sighted) so that the tactile experience comes to the forefront and the piece can have an delibertly expressive "feel" regardless of whether or not anyone can see the coloration.

Just one little picky thing---please don't teach kids--or anyone, really-- that they are "painting" on clay. They are using glaze, not paint; they are glazing, not painting. There is a difference--a big difference--and it doesn't serve them well to leave the experience without knowing the difference and learning correct terminology.

Check out https://dl.acm.org/doi/10.5555/1893760.1893807#:~:text=ProceedingsEuroHaptics'10-,Understanding the haptic experience through bodily engagement with sculptural ceramics,-ARTICLE This article may be of interest.