LeeU

I vote for paper as well. Because it's a simple shape, you should be able to get the edge sealed well and have minimal bleeding.
The other option is to apply the underglaze first, then apply the stencil and wipe away the underglaze with a sponge. This method works well if you have large areas of underglaze or complex patterns where it's impossible to seal all the edges, and brushing evenly is difficult. It requires a smooth clay body, though. I used the wipe method for this piece, using a stencil designed and cut with my Cricut:

Still thinking about Alice's comment. I broke HMS. No 12 What Does She Sea before firing. Was gonna trash it, but gave myself a talking to regarding the balance point between not keeping work w/real flaws/problems vs the metaphor of not dismissing "someone" becasue they are damaged. So, since the series theme is DV trauma, surviving, & healing, I decided to forge ahead. I'll put a pic in Gallery, but here is a detail of the repair, i.e. covering up the scar.  I used brighter colors & glitter dust to support a positive vibe for what she "seas".  Here is a link to the text about each mask (on my Blog) if of interest.  https://www.leeuceramics.com/single-post/hidden-mask-series-hms

Still thinking about Alice's comment. I broke HMS. No 12 What Does She Sea before firing. Was gonna trash it, but gave myself a talking to regarding the balance point between not keeping work w/real flaws/problems vs the metaphor of not dismissing "someone" becasue they are damaged. So, since the series theme is DV trauma, surviving, & healing, I decided to forge ahead. I'll put a pic in Gallery, but here is a detail of the repair, i.e. covering up the scar.  I used brighter colors & glitter dust to support a positive vibe for what she "seas".  Here is a link to the text about each mask (on my Blog) if of interest.  https://www.leeuceramics.com/single-post/hidden-mask-series-hms

Still thinking about Alice's comment. I broke HMS. No 12 What Does She Sea before firing. Was gonna trash it, but gave myself a talking to regarding the balance point between not keeping work w/real flaws/problems vs the metaphor of not dismissing "someone" becasue they are damaged. So, since the series theme is DV trauma, surviving, & healing, I decided to forge ahead. I'll put a pic in Gallery, but here is a detail of the repair, i.e. covering up the scar.  I used brighter colors & glitter dust to support a positive vibe for what she "seas".  Here is a link to the text about each mask (on my Blog) if of interest.  https://www.leeuceramics.com/single-post/hidden-mask-series-hms

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. 

"Oh yes, pass for most of us, sending around with strangers making clay pots, no thank you"
"What's fascinating is the types of items fellow students make. ... Time, imagination and a willingness to fail - none of us cares if we make something ugly or lame - have freed us to create. It's an exhilarating experience."

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. 

Times allows limited (ten?) article reads per month for non-subcribers...
Pottery Workshops Fill Up as People Travel to Connect Over Clay - The New York Times (nytimes.com)
Interesting read, e.g. “Clay is the opposite of the cellphone,”
Be sure to check the comments as well.
As much as I truly enjoyed being in a community Studio*, the dust and artificial scents (hair products, washing solution, dryer sheets, cologne, perfume, oooh the et cetera) pose a looming ...barrier.
 
*On arrival (always waay early), a slow tour of all the cubbies, the drying cupboard, glaze racks, everything! As the semester moves ahead, so does everyone's work.
As the other students arrive, visiting and banter.
Each hour, a new selection of music (when the instructor isn't lecturing).
Watching how each person works a bit differently!
 
Added: another Times article
Can Old-World Horezu Pottery Survive Modern Tastes? - The New York Times (nytimes.com)

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.)

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.)

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.)

I’ve been humming and hawing over this question, was going to pass on making a comment out of respect to those amongst us who live a single life and might be having a difficult time reading these tales of love and understanding. 
I am one of the fortunate people who has a sympathetic and understanding life partner. The respect and considerate nature we have for each other and what we do with our chosen paths isn’t something that is limited to how we spend our days make a living. We started off with student debts and stretching out the pay checks to make ends meet then as time went by found ourselves with a mortgage and 4 daughters.  Just to make things more complicated I left my well paying job to make a go of selling pots.
Being supportive isn’t just restricted to a tolerance or a shallow understanding of the trials and tribulations of working at making a living with clay and all that it involves. Does it still require an understanding and at times boatloads of patience? Hell yes! Could I do this without an understanding partner? Yup, I’m sure I could but it would be more difficult. I have deep and profound respect for people who make a go of working a lifetime in clay, especially those who do it singlehandedly.

Hi folks, running a little behind here with the QotW. However, I have been thinking a lot lately of my wife, and her participation and support over the years when dealing with clay. She puts up with a lot, from the tracking in of clay dust from the garage to the time spent alone because I am busy playing with the clay. She has even put in time during the show years helping me pack, price, set up, and take down. She has sat booths with me, and without me when I was busy getting more pots out of the kiln for the days show. She did most of the base glazing in the early years, sometimes with help form a girlfriend. Then I would put on the decoration and finishing touches. When my kiln burned out a few years ago, she was the one that told me to buy a new one and don't take too long. . . saying she would find the money. She knows that I have an itch called ceramics and that it makes me a better person when I can do it. Makes me wonder. . . . how does it work for others out there?
QotW: How does your wife, husband (or significant other) and other family deal with your need to create ceramics?
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. 

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.)