LeeU

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. 

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. 

The kiln will take 6-12 hours to fire up, then another 12-24 hours to cool depending on how big the kiln is and how much work is in it. So at best you have about 18 hours where it will be hot and could be a danger to the kids. Plus the vent will be running and that can be loud. So no, it's not ideal. That said, I work on a lot of kilns that live in the classroom and they seem to make it work just fine- by firing on days when they don't have a full schedule, or timing the firing so that it's hottest when the classroom isn't being used and it can cool overnight. Ideally it would be best to have it in its own room, but I get that that isn't always possible. By only working at low fire temps you can shorten both the firing time and the cooling time. At the very least you should invest in a safety screen like THIS. They're usually available through Blick and School Specialty, too. Another option to keep the kids away is to build a chain-link fence around it. Dog kennel panels work well.
How is the kiln vented?

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 think that the most difficult part in the transaction from hobby to business is the part with understanding and managing the business.
In general, those who switch from hobby to business, are good at their hobby, but not good at business, and this can be a serious obstacle to creating a profitable business
When my wife and I decided to turn our love of baking into a business, it was a whole new world for us. We knew how to bake, but understanding inventory, taxes, and marketing was like learning a whole new language.

It's true what they say, though: starting a business is a rollercoaster. We had days when we questioned if we made the right choice, but there were also days filled with victories, like getting our first repeat customer or seeing our treats featured in a local magazine. It's a journey, and I believe the key is to not be too hard on yourself. It's okay not to know everything from the get-go.
Reflecting on our experiences, my wife decided to write a comprehensive article detailing our journey and all the steps we took to open our bakery. It's a formal piece, packed with tips and practical advice that could be beneficial for anyone looking to make a similar transition. I think it might resonate with you, given your current situation. So, feel free to visit this link to check it out. Keep pushing forward, and remember, every challenge is an opportunity for growth. Good luck!

Sometimes @LeeU, it takes a village. . . .
 
best,
Pres

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. 

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.

Single exposure to the dust should clear up if you have any problems with coughing or wheezing etc. However, if symptoms continue into tomorrow, see a physician. Clay in the wet stage has some organic elements, but dust is dry, and only worries would be the silica in the dust and any chemicals that may be harmful. Clay usually does not have poisonously harmful chemicals.
Silicosis from inhaling clay dust comes from heavy breathing of the dust or from extended exposure to the dusty environment.  Cleaning areas with sponges, mops and water is the best solution along with avoiding techniques that create large amounts of dust in the atmosphere. . . .dry grinding pots, sweeping up residue, allowing scraps to stay on the floor to be ground into dust by walking over them etc.
 
best,
Pres

I got no personal experiences around eye surgery, so I can’t offer anything on that one.
One of the best purchases I’ve made recently was the Maker’s Playbook photo course. I love it because it’s affordable, specifically for potters, and shows you how to create easy photography systems that are very friendly to my ADHD. It’s helping me break my posting paralysis on IG, which was no small thing! Taking good photos is something I’ve struggled with, despite the number of other workshops I’ve done. (Not trying to sound like an ad, but I found it really helpful.)
 

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. 

I order from them on a regular basis too. They are excellent. 

As a 90’s kid who remembers hematite and rose quartz rings, there’s a reason they’re not making a comeback with all the other 90’s trends at the moment. They shatter easily with minimal impact and they’ll cut the heck out of you if it happens while you’re wearing it.  I don’t know if that’s the most auspicious wedding band symbol ever.

Resin, Femo or Egyptian paste, in my opinion would be more ‘wearable’ materials for a finger because they do not fracture as sharply when broken or chipped.  It’s a romantic idea but makes me cringe thinking how Porcelain shards are very sharp. (Maybe my hands get into more mischief than some other folks)

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. 

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. 

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. 

My class took place yesterday. The women and a few children had a fine time! 
Gave each a lumo of clay, got them to form into a ball, then hands under the table to shape for a few minutes, then pass to nneighbour, no peeking, x4 so clay now back with original owner, reveal all, keep, or squash.
Lits of laughs, then slab building, or pinching ,  or any of the above, coliured slips, or not..
I had a big bit of paper and they gave their name, drew a sketch of their pots and what glaze they would like listed.
Whew, did they have fun. Exhausted Babs trundled home.
Now to return topack and collect the pots, and home to dry , bisque and glaze. What gutsy folk are out there

I used to do guided practice in the dark, my room was without any windows so complete darkness. I would walk around the room calling out the steps to a pinch pot, and they would work on their 1-2#ball of clay. This actually got much better results than the previous exercises, but then it was the third exercise at pinch pots. However almost every one of the students had  thinner more consistent walls with better form.  My reasoning for the exercise in the dark was tactile pinch control, and being able to trust the touch to the thickness of the walls. Sometimes other senses get in the way of touch.
 
best,
Pres

I know it's off topic but I just love this statement.  

Hi folks, after last weeks QotW about time frames of making pieces, I think I'll take a different approach to making. 
Often when I am doing something that requires a lot of pieces, I make a lot more pieces. In other words if making chalices, teapots, honey jars or other objects I make more than one, and then mix and match to the best aesthetic with what I have. This usually comes out with completely different pieces that what I would have had if I had planned out the design, and made each piece to the design specification. This way is also a lot more fun at times. 
I still draw out idea in sketch books, and make these pieces to spec, but these are usually combination pieces like slab jars with wheel thrown tops, lids or even feet. some of them get to be a little wild. At other times I have an overall image. . . mentally, and work with pieces to build the image. These are usually slab constructions that start with a large base slab and just take off!
QotW: When doing complex pieces do you mix and match, or do you design and one off?
 
best, 
Pres

Workflow for me is a few kiln loads so its hundreds,many hundreds . Long ago (70s) I stopped counting pieces in kiln loads. Say how many in a glaze fire etc. I think more in cubic feet every glaze fire these past years is a 12 cubic updraft and and a 35cubic downdraft fires at same time.Most loads have over a hundrerd stuffers-from salt cellars to spoonrests to sponge holders.
I really dislike to fire glaze fires without the stuffers as the space is wasted.
This year is a huge transition year  as I'm working less now ,we (my assiasatant) are working two months on then two off or thereabouts
Just delivered a huge wholesale (my largest ever) to a Gallery a few days ago and am working on backstock to supply  local outlets during my break.
On a daly basis I throw in series -My list on the wheel now says salt cellars, garlic roasters and candle trays-I'll make them in dozens -say two dozen candle trays and a dozen garlic roasters and 2 dozen salt cellars. I just dropped off 80 salt cellars and need a small break from them.
When working on larger orders I step up to making larger runs on any given day.
The slow winter time is still here outlet demand wise so now its stocking up backstock so I can play this summer
 

After Pres and Mark’s responses I realize it’s a little more complex to answer this than I expected. Making work really is a flow, I’m certainly “working on” more than what’s become bone dry. Each kind of piece demands a different kind of attention at different stages. As Mark said, it’s kiln loads, not pieces.
 I make pots after my day job is done. I’ve found somewhere between three and eight wet pots at a time, depending what they are, is manageable.
Controlling how much I produce has a big effect on how well things come out. Two or three at a time is too little, but if I throw twenty mugs and a third of them get too dry to put handles on that’s no good either. Managing to do the right thing at the right time is the best.