Human Family Tree Platter – Back
When I first discovered clay, I quickly became obsessed with learning all that I could about ceramics. In addition to reading books and articles, watching videos, taking workshops and getting help from fellow studio members, part of learning for me required a lot of practice. I mean, like a lot of practice!!! I am still practicing and learning which will require more than one lifetime.
Mudfire Clayworks, in Decatur, Georgia, is where I started on this clay journey. For me, this was the perfect place at the time. Mudfire offers convenient hours; and as a member, one of its benefits is the special and unique community of artist ranging from serious professionals, to hobby potters, to people just starting out and looking to learn something new. Being surrounded by this community can be a wonderful source of inspiration.
When circumstances changed and I did not have as much time to spend at Mudfire, I looked for ways I could do more clay work at home. My son built me the perfect work table, which encouraged me to continue equipping my home studio. I started acquiring other tools. Over the course of several months, I found some shelving units, and I purchased a potter’s wheel. I started to make more things at home, then take them into Mudfire to glaze and fire. There is definately a trick for transporting green ware long distances and I found this out the hard way during this time, as several pieces were damaged in route when not properly secured.
Soon, I began to look for a used kiln to complete my home studio. I spent several months researching and learning about kilns before deciding what would work for me. It took a few more weeks hunting before finding the perfect kiln through craigslist. With a complete studio, I decided to work at home exclusively. Even though this saved me time and money, I miss the interaction with fellow artists that is part of a great community studio and have had to look for other ways to keep those connections alive.
My home studio has gone through a few changes and rearrangements as I’ve tried different layouts before settling on the final one pictured above. What has worked best for me and the way I move through the creative process was to set up the work table area in the center of the studio space. The work tables are 36 inches tall which allows me to work standing up most of the time, which I prefer. When working on sculptures or more detail work, I sit on a stool. On the right side of the work tables, there is a smaller wedging table. This is a very simple set up with a sturdy small wooden work table 24 inches tall with a plaster rectangular block that is used for recycling, drying and wedging clay.
In front of the work table on the right side and close to the wedging table, I have set up my wheel on cement blocks. This allows me to throw standing up. I find this method much more comfortable and have not had any back issues since switching from sitting to standing.
On the left side of the work tables, shelving units line the east wall of the house. One corner is reserved for glaze material and mixing. This is the side closest to the window, which provides more natural light and good ventilation. From there, the next shelving unit has miscellaneous tools, brushes, and other materials such as underglazes. The next set of shelves over are reserved for green ware, bisque ware and glazed pieces ready for firing. Behind the work tables, and closer to the west facing window is shelving for finished pieces. I also hung a palette from the beams and screwed in hooks to display finished mugs.
Against the north wall and between two large windows (not shown in the pictures), there is a utility sink. I’ve set up a triple stage clay trap to keep clay out of my pipes, and also use a piece of PVC pipe to plug the drain when washing tools. This allows me to keep as much clay as possible from going through the plumbing system. Here is a link to an article by Raquel and Dan Sobel, published in the April 2014 issue of Ceramics Monthly. There, they share how to set up a triple stage trap. http://ceramicartsdaily.org/clay-tools/making-clay-tools/how-to-easy-to-make-triple-stage-clay-trap/
On the other side of the sink against the wall and next to the other window, there is a regular table with chairs and book shelf. This is a good place to read, look up glaze recipes, take notes, or surf the web on my iPad. When the weather is warm I keep the door open so that I can also hear the birds outside.
With this set up, the water supply is close to my wheel as well as to the glaze mixing station. From my wheel, thrown pieces go directly on the work tables which are a step away. After throwing, I will generally arrange pieces and place then on one of the shelves to dry covered under plastic. At the work tables, I create hand built pieces, and finish the forms that started their life on the wheel. This is where I pull and attach handles, alter, carve, sculpt and paint, and apply glazes. With the exception of a few brushes and frequently used tools, I keep the work tables clear and only pull out the items needed for the task at hand.
The kilns which are not shown on the pictures are located behind all of the shelving. I’ve installed a downdraft Skutt vent which draws out the fume to the outside.
Today, I am happy with this most recent studio layout. The open feel of the studio allows ideas to flow, develop and grow. It makes use of the available natural light provided by three large windows and door. The natural light is wonderful and inviting. The space is comfortable to work in which is a good thing since I spend a lot of time there. The open flow of the workspace is better suited for the way I make things. Keeping every thing organized, clean and accessible is also important for me and my creative process. I have found this latest layout is making a difference and helps me work smarter. It does feel like I’m finding more inspiration in this open space. From any place in the studio I can look outside and feel closer to nature, the birds, the butterflies and the trees.
I suppose what is really at play is that I’m enjoying the space more and find it to be a peaceful retreat.
Reading and learning about all the important practical requirements for ceramic studios is a must for anyone interested in setting up their own space. It is equally important to carefully consider your own working style and incorporate that into your space. Following are some of the resources that were helpful to me in my research to learn about setting up a studio at home:
- Clay: A Studio Handbook / Vince Pitelka
- The potter’s studio clay and glaze handbook : an essential guide to choosing, working, and designing with clay and glaze in the ceramic studio / Jeff Zamek.
- The Ultra Minimal Home Pottery Studio / Ava Burton
The following resources were helpful to me when learning about kilns and glaze chemistry:
- The Complete Guide to Mid-Range Glazes – Glazing and Firing at Cones 4 -7 / John Britt
- Cone 5-6 Glazes / edited by Bill Jones, The American Ceramic Society
- Electric Kiln Ceramics / Richard Zakin and Frederick Bartolovic
- The Ceramic Spectrum / Robin Hopper
Where do you find inspiration in your workspace? Let me know in the comments below.
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