LeeU

In my experience, teaching is not a good way to supplement your income as a potter. Teachers get paid very little! Even if you are a star who can teach weekend workshops that command a high fee, the ceiling on income is very low compared to how much you can earn for making/selling pots at a good quality art fair or craft show. Teaching is also very time-consuming, if you care about a doing a good job that is. I did one workshop near the end of the pandemic, only because there were no shows to do at the time. I enjoyed it, just to be around people again. But the amount of work and the pay involved is not something I would choose over doing shows. 
The pay for teaching weekly classes to recreational potters is even worse! When I reached a point in my pottery business where I could no longer teach weekly classes AND keep up with demand for my pots, it was a no brainer to drop the classes. I can see how it might be worth it if you OWN the classroom studio and also teach the classes, but not if you are just an employee.
These days I produce video lessons and sell them online. Once a video is finished, the income is almost totally passive. It’s the only way it makes sense for me to do it within my schedule. 
I don’t have experience teaching college level ceramics. I can see that the income/benefits/stability would actually provide a meaningful living. But I suspect that this is more about being an academic than a potter. Not better or worse per se, just not the same. I taught college level graphics courses a long time ago, and I found the academic environment to be very unpleasant. And the amount I was being paid to teach those classes was much less than I was making for my design work. 

I have four words on this subject: Advancers or Thermal-Lites. Unless  hyphenated words are really one word, in which case I have three words on this subject.

As a friendly reminder from my front yard--

My middle school, H.S. years were in the late 50's early '60's and the only things girls could take were typing & home ec. Sewing was taught by the moms & art classes were fairly lame-I taught myself in terms of most hands-on art materials/processes. Where I lucked out was that my dad wanted a boy-no secret in our house-and got me instead. So, since I hated the rigid box for females, I pestered him until I was a full-fledged member of his Scout Troop & did everything the boys did, indoors & in the wild, and just as good. That earned me the privlege of being able to go down to the basement to my dad's shop where I got to do everything from manual & power equipment for wood/metal/plastic to working the Morse code for him (as a Ham radio operator) on his brass key pad. I didn't go to university art school until the '80s and by then things were much, much better--we women could & did the same things as the guys-no restrictions. So I learned a lot more in terms of dexterity , motor control etc, via ceramics, cold glass,wood, sculpture (lite welding), textiles, some manual typesetting, & pre-computer graphic arts...cut and paste was real different ha ha.   

My middle school, H.S. years were in the late 50's early '60's and the only things girls could take were typing & home ec. Sewing was taught by the moms & art classes were fairly lame-I taught myself in terms of most hands-on art materials/processes. Where I lucked out was that my dad wanted a boy-no secret in our house-and got me instead. So, since I hated the rigid box for females, I pestered him until I was a full-fledged member of his Scout Troop & did everything the boys did, indoors & in the wild, and just as good. That earned me the privlege of being able to go down to the basement to my dad's shop where I got to do everything from manual & power equipment for wood/metal/plastic to working the Morse code for him (as a Ham radio operator) on his brass key pad. I didn't go to university art school until the '80s and by then things were much, much better--we women could & did the same things as the guys-no restrictions. So I learned a lot more in terms of dexterity , motor control etc, via ceramics, cold glass,wood, sculpture (lite welding), textiles, some manual typesetting, & pre-computer graphic arts...cut and paste was real different ha ha.   

I think "making a living"  is perhaps not the best way to look at it. Making it "your life" might be more congruent with what it ultimately takes to bring home the bacon in such a tough field and especially in such tough times.  Another important aspect is whether or not one is going for production that sells fairly readily, or is the focus more on higher priced, less quantity, fine art pieces? The markets & marketing are so different. There  are so many ways to generate income from ceramics, but in any circumstance a solid business plan, and an overdose of perseverence, are essential. 
 

I think "making a living"  is perhaps not the best way to look at it. Making it "your life" might be more congruent with what it ultimately takes to bring home the bacon in such a tough field and especially in such tough times.  Another important aspect is whether or not one is going for production that sells fairly readily, or is the focus more on higher priced, less quantity, fine art pieces? The markets & marketing are so different. There  are so many ways to generate income from ceramics, but in any circumstance a solid business plan, and an overdose of perseverence, are essential. 
 

Would a tarp over the kiln and secured (circled around it) with bungee cords work?  Update-this is what I did at first with my kiln. I took the inner carton that it was shipped with, removed the bottom, and cut down one corner so I could wrap it around and also remove easily. I covered the carton lid with a synthetic tablecloth. It got worn over time but still served me well for several years. The water stains on the box are just from drifting/melting NH snow (the kiln is on a back porch with imperfect sealing). The light snow melt never pooled, it got wicked up by the cardboard. I use a tarp w/bungees now.

I think "making a living"  is perhaps not the best way to look at it. Making it "your life" might be more congruent with what it ultimately takes to bring home the bacon in such a tough field and especially in such tough times.  Another important aspect is whether or not one is going for production that sells fairly readily, or is the focus more on higher priced, less quantity, fine art pieces? The markets & marketing are so different. There  are so many ways to generate income from ceramics, but in any circumstance a solid business plan, and an overdose of perseverence, are essential. 
 

My middle school, H.S. years were in the late 50's early '60's and the only things girls could take were typing & home ec. Sewing was taught by the moms & art classes were fairly lame-I taught myself in terms of most hands-on art materials/processes. Where I lucked out was that my dad wanted a boy-no secret in our house-and got me instead. So, since I hated the rigid box for females, I pestered him until I was a full-fledged member of his Scout Troop & did everything the boys did, indoors & in the wild, and just as good. That earned me the privlege of being able to go down to the basement to my dad's shop where I got to do everything from manual & power equipment for wood/metal/plastic to working the Morse code for him (as a Ham radio operator) on his brass key pad. I didn't go to university art school until the '80s and by then things were much, much better--we women could & did the same things as the guys-no restrictions. So I learned a lot more in terms of dexterity , motor control etc, via ceramics, cold glass,wood, sculpture (lite welding), textiles, some manual typesetting, & pre-computer graphic arts...cut and paste was real different ha ha.   

I think "making a living"  is perhaps not the best way to look at it. Making it "your life" might be more congruent with what it ultimately takes to bring home the bacon in such a tough field and especially in such tough times.  Another important aspect is whether or not one is going for production that sells fairly readily, or is the focus more on higher priced, less quantity, fine art pieces? The markets & marketing are so different. There  are so many ways to generate income from ceramics, but in any circumstance a solid business plan, and an overdose of perseverence, are essential. 
 

I think "making a living"  is perhaps not the best way to look at it. Making it "your life" might be more congruent with what it ultimately takes to bring home the bacon in such a tough field and especially in such tough times.  Another important aspect is whether or not one is going for production that sells fairly readily, or is the focus more on higher priced, less quantity, fine art pieces? The markets & marketing are so different. There  are so many ways to generate income from ceramics, but in any circumstance a solid business plan, and an overdose of perseverence, are essential. 
 

Would a tarp over the kiln and secured (circled around it) with bungee cords work?  Update-this is what I did at first with my kiln. I took the inner carton that it was shipped with, removed the bottom, and cut down one corner so I could wrap it around and also remove easily. I covered the carton lid with a synthetic tablecloth. It got worn over time but still served me well for several years. The water stains on the box are just from drifting/melting NH snow (the kiln is on a back porch with imperfect sealing). The light snow melt never pooled, it got wicked up by the cardboard. I use a tarp w/bungees now.

Would a tarp over the kiln and secured (circled around it) with bungee cords work?  Update-this is what I did at first with my kiln. I took the inner carton that it was shipped with, removed the bottom, and cut down one corner so I could wrap it around and also remove easily. I covered the carton lid with a synthetic tablecloth. It got worn over time but still served me well for several years. The water stains on the box are just from drifting/melting NH snow (the kiln is on a back porch with imperfect sealing). The light snow melt never pooled, it got wicked up by the cardboard. I use a tarp w/bungees now.

My middle school, H.S. years were in the late 50's early '60's and the only things girls could take were typing & home ec. Sewing was taught by the moms & art classes were fairly lame-I taught myself in terms of most hands-on art materials/processes. Where I lucked out was that my dad wanted a boy-no secret in our house-and got me instead. So, since I hated the rigid box for females, I pestered him until I was a full-fledged member of his Scout Troop & did everything the boys did, indoors & in the wild, and just as good. That earned me the privlege of being able to go down to the basement to my dad's shop where I got to do everything from manual & power equipment for wood/metal/plastic to working the Morse code for him (as a Ham radio operator) on his brass key pad. I didn't go to university art school until the '80s and by then things were much, much better--we women could & did the same things as the guys-no restrictions. So I learned a lot more in terms of dexterity , motor control etc, via ceramics, cold glass,wood, sculpture (lite welding), textiles, some manual typesetting, & pre-computer graphic arts...cut and paste was real different ha ha.   

My middle school, H.S. years were in the late 50's early '60's and the only things girls could take were typing & home ec. Sewing was taught by the moms & art classes were fairly lame-I taught myself in terms of most hands-on art materials/processes. Where I lucked out was that my dad wanted a boy-no secret in our house-and got me instead. So, since I hated the rigid box for females, I pestered him until I was a full-fledged member of his Scout Troop & did everything the boys did, indoors & in the wild, and just as good. That earned me the privlege of being able to go down to the basement to my dad's shop where I got to do everything from manual & power equipment for wood/metal/plastic to working the Morse code for him (as a Ham radio operator) on his brass key pad. I didn't go to university art school until the '80s and by then things were much, much better--we women could & did the same things as the guys-no restrictions. So I learned a lot more in terms of dexterity , motor control etc, via ceramics, cold glass,wood, sculpture (lite welding), textiles, some manual typesetting, & pre-computer graphic arts...cut and paste was real different ha ha.   

My middle school, H.S. years were in the late 50's early '60's and the only things girls could take were typing & home ec. Sewing was taught by the moms & art classes were fairly lame-I taught myself in terms of most hands-on art materials/processes. Where I lucked out was that my dad wanted a boy-no secret in our house-and got me instead. So, since I hated the rigid box for females, I pestered him until I was a full-fledged member of his Scout Troop & did everything the boys did, indoors & in the wild, and just as good. That earned me the privlege of being able to go down to the basement to my dad's shop where I got to do everything from manual & power equipment for wood/metal/plastic to working the Morse code for him (as a Ham radio operator) on his brass key pad. I didn't go to university art school until the '80s and by then things were much, much better--we women could & did the same things as the guys-no restrictions. So I learned a lot more in terms of dexterity , motor control etc, via ceramics, cold glass,wood, sculpture (lite welding), textiles, some manual typesetting, & pre-computer graphic arts...cut and paste was real different ha ha.   

Next time I order biz cards, the text on the reverse shall be larger!

Next time I order biz cards, the text on the reverse shall be larger!

Where I learned a helpful lot of info for growing a small business  was from SCORE (Service Corp of Retired Executives). Every state has this via the SBA and the services directly from SCORE are free, including an experienced mentor if that is desired. Here's the link for SC  https://scbos.sc.gov/partners/score It's worth checking out & the webinars/workshops are terrific for today's marketing environments.

Something I do is put a hole in the top of the spoon, since people sometimes like to hang them.  Then I fire them on a bead rack-either commercial or something I rig up if I need a taller space.

Something I do is put a hole in the top of the spoon, since people sometimes like to hang them.  Then I fire them on a bead rack-either commercial or something I rig up if I need a taller space.

Something I do is put a hole in the top of the spoon, since people sometimes like to hang them.  Then I fire them on a bead rack-either commercial or something I rig up if I need a taller space.

This is in a 12X14 space. Buckets of clay and greenware shelving are the left of the windows; shelves glazes are to the right of the utility sink. Not shown is shelving for volitiles (glues, mineral spirits etc) , jewelry & wall hanging-making supplies (cords/fittings), markers,  Xactos, enhancements like glitter (yes, I do), a book shelf w/ceramics texts, whiteboard (& whatever that is that is shoved behind the door...oh, it's my invaluable UpCart). The kiln is on the back porch.

How about a video instead? I have an upcoming show where they filmed a Artist Talk with me via Zoom. The point was to give show attendees a look inside my studio:
https://www.pmacraftshow.org/artist-talk/2022/mea-rhee