Studio Handbook
Lloydminster Potters Guild
Studio Handbook
Table of Contents
General Information 3
Working in the Studio 5
Responsibilities
Studio Coordinators 7
Opening and Closing Responsibilities 8
Kiln 9
Cleaning Shelves 11
Recycling Clay 11
Code of Ethics 12
Guild Harmony is key to our success. Respect other people, their work, and their process.
General information
Introduction
Studio members must be willing to follow this program or forfeit their membership. The Program covers all aspects of operating a working pottery studio.
Clay, the love of clay, and the pursuit of turning it into art, is only one aspect of the potter’s life. The reward of going from raw material to a successfully finished project does not give one the true picture of the process. To this point, in the life of our Guild, many members have only seen this side of working with clay. The Studio Potter Program is going to change this perception.
The Program incorporates every avenue of the potters trade, from making glazes, to firing the kilns, to ordering supplies, to care of the equipment. It will give members a better idea of how a potter’s studio is really run. If, at a later date, you decide to establish your own studio at home, you will have all the experience you need to do so.
A modern pottery studio is kept as free of clay dust as humanly possible. The Studio Potter Program focuses on this. More informed potters can do so much toward strengthening our Guild. It makes a huge contribution toward fulfilling our mandate to encourage the growth of pottery in the Lloydminster area.
HOW TO USE THE LLOYDMINSTER POTTERS GUILD STUDIO
The Guild has studio facilities for those who do not have them. While there is a fee to use the studio, the fee does not reflect the true cost of running a studio. In exchange for use of the facility, we depend on you to help us maintain it.
When you decide to join the studio, you will be given the Studio Potter handbook, and you will be asked to work with a studio member to learn the workings of the studio. The studio has everything you need to have a fulfilling journey with clay.
STUDIO HOURS:
Sunday from 10:00 pm to 5:00 pm
SIGNING IN AND OUT:
At present there is a sign in sheet on the front table. Sign your name, time when you arrive and sign out when you leave.
THE KEYS:
The person who is your studio coordinator will be in charge of the keys. We only have one key so it would be helpful if you attempt to connect with the new coordinator prior to the next week.
COATS:
There is a rack for your coat to the right as you enter the room.
THE BACK DOOR:
The back door of the studio will be used to enter the studio on Sundays.
MUSIC:
There is a CD player with an assortment of CD’s to choose from to keep you company while you work in the studio.
CLAY PURCHASES:
Purchased Clay from the Guild will be the only clay allowed in the studio. Purchasing of the clay includes glazes and firing. Make sure you write your purchase down on the brown envelope and put your money in the envelope. You will be assigned a shelf where you can keep your clay, towel, apron and tools.
We only allow cone 6 plainsman clay. Clay is $20 a block.
TOWELS:
Always bring your own towels to the studio, take them home with you too!
TOOLS:
You are required to bring you own tools. Potters often use a plastic tool box or fishing tackle box for this. When you start bringing your own tools you are assured of the quality. It is not up to the Guild to provide all of the tools one needs. PLEASE LABEL YOUR TOOLS!
The guild does supply a few items to make creative effects when you are glazing. These are available in the guild supply box.
BUCKETS:
Ø Bring you own ice cream pail to use at the wheel.
Ø There are large 3 gallon pails for big clean up jobs and making glaze.
Ø We also have a mop pail. Always use a pail when you use a mop. Mopping is the last thing we do when we clean up.
Working in the Studio
WHEELS:
Ø Wedge your clay on the wedging table in the studio. Don’t wedge on the large work tables if someone else is hand building there, the vibration can ruin their work.
Ø Clean the wedging table with a sponge when you are finished. The studio coordinator will have a bucket and sponge on each table to use for this.
Ø Most of western potters throw counter clockwise. When you turn the Shimpo wheel on, if it is not going counter clock wise, then shut the wheel off. Wait a full minute for the rubber inner cone to stop moving. Then turn the switch in the opposite direction to what you did the first time. Never push on the pedal when the power to the wheel is off.
Ø When you are finished throwing, if possible use your own bucket to do an initial cleanup. There will be two buckets at the cleanup station. If your water is too dirty pour the thinnest part of your throwing water in the first “cleanup” bucket. Pour the “chunky” clay bits in the “reclaim” bucket. Take a little water from the cleanup station and do your initial cleanup. After the initial cleanup, use the “cleanup bucket” for cleaning your wheel trays and tools and finally use the rectangular bucket for the final wash of the wheel trays and your tools. Wash your bucket out and place it on your shelf.
Clean the entire wheel with clear water when finished. Pick up clay trimmings on the floor with a damp paper towel and throw them in the garbage. If you made a mess with water use a damp sponge for smaller spills.
STORING GREENWARE:
When you are finished throwing you can cover your work with plastic and store it on your shelf. Wareboards are provided by the guild. Please clean off and return to the proper shelf when you are finished. Untrimmed, bone dry greenware will be recycled. Sign your work!
STORING THE TRIMMED GREENWARE:
If your pottery piece is thick, allow it to dry before putting it on the bisque shelf in the kiln room. Pottery must be thoroughly dry before going into the bisque firing.
Sign your work!
During the firing process the clay dries from the outside to the interior of the pot. If the pottery is still wet when it goes into the kiln, steam forms within the walls of the pot, as the steam seeks an “escape” route, it explodes. When your pottery explodes, it can damage the hard work of others. Be considerate.
Sign your work!
BISQUE FIRING:
Place your thoroughly dried pieces of pottery on the shelves marked “To Be Bisqued”. Place it as far back (close to the wall) as possible so that others do not need to move your piece in order to fit theirs on the shelf. If you must move someone else’s work, do so with two hands and from the bottom of the pot. Greenware is very fragile, especially along the rim. If there is no room on the bisque shelf, leave a note on the shelf that you would like your piece bisqued and leave a note on your piece on your shelf.
Unsigned work will not be bisqued.
WAX
The frying pan will be available to use on glazing day. It is for melting wax so you can wax pot bottoms. Glaze does not stick to the waxed surface. If the wax is not hot enough, the wax is pitted making it difficult to clean the glaze out. Then the glaze runs onto the kiln shelf. Remember to turn the wax off as soon as you finish using it. You can clean the wax off the counter top and any brushes that you use with undiluted dish detergent.
There is also some cold wax resist. Use a brush to apply this to your pots but PLEASE clean out the brush with hot soapy water afterward. This stuff can ruin a brush instantly but it is very handy to have around.
GLAZING:
All potters must take the Glazing Workshop prior to glazing any pieces.
Glazing Workshop
1. Glazes are stored in the bottom shelf in the LPG storage cupboard. Test tiles are in the drawer of the pullout container. Glazing supplies are hanging in a blue bag on the side of the shelf in the LPG storage cupboard.
2. Paper the counter prior to waxing pieces.
3. Waxing can be done with the electric fry pan (be careful that it does not get too hot). Temperature of the fry pan should be approximately 200-250 degrees. Wax approximately ¼ inch up the side. Be sure not to care a freshly waxed piece over top of another piece. Waxed should be monitored at all times that it is being heated. If it should start to smoke turn it off as it may explode.
4. Waxing can also be done with the liquid was resist. Cover areas with paper or plastic before using wax resist. Wax resist brush must be washed thoroughly with soap and water when finished.
5. Decanting glazes: Remove excess water from the glaze before using. Do this by holding a large clean sponge in the water and let the water be absorbed by the sponge. Water may be added back to the glaze in small amounts to reach desired consistency
6. Always stir the glaze using your hand to ensure all particles are off the bottom of the container and the glaze is mixed. Wearing a disposable glove is highly recommended.
7. Always test for thickness of the glaze. To do this, dip your hand in the glaze and see if the outline of your cuticles can be seen. If you need to thin a glaze it is best to use warm water.
8. There must be no double dipping of glazes. You may overlap.
9. Hold pieces in the glaze no more than 3 seconds.
10. Use a small damp sponge to clean all waxed areas. Make sure that your piece has no glaze on the waxed areas before you place on the shelf for glazing. Run your finger where the glaze and wax meet to remove any thickness of the glaze. Your piece must be kiln ready when you are done.
11. All glazing must be complete before 4 pm.
12. When the glazes are put away be sure to clean down the sides of the glaze container with a sponge or a rib.
13. The designated individuals loading the kiln may choose not to put a piece in the kiln if they are concerned about the glazing technique.
Put your finished piece on the “To Be Glazed”shelf. Be careful, don’t touch other’s work.
Some potters like to refire their glaze pieces if they do not like the way the glaze turned out. This weakens the pot. It is not a good idea.
Responsibilities
STUDIO COORDINATORS
There are two Studio Coordinators each week They are responsible for opening the studio (10 am -1:30) and for closing the studio (1:30-5). Coordinators must be in the studio for their entire time and must take care of the opening and closing responsibilities.
OPENING RESPONSIBILITIES (10 am – 1:30)
Ø Pull down the supply box from the top of the shelves. Take out the sign in sheet and put it on the front table.
Ø If necessary take white paper off table and fold and store. With the signs in the supply box designate one table for wedging and one for hand building.
Ø Put bucket of water and sponge on each table.
Ø Plug the wheels in.
Ø Pour out any water on the top of the “reclaim pail” and the “cleanup pail”. Pour any clay left in the bottom of the “cleanup pail” into the “reclaim pail”.
Ø Clean out the “cleanup pail” and put fresh water in it. Place it in the cleanup area.
Ø Put fresh water into the rectangular container. Place this in the cleanup area next to the “cleanup pail”.
Ø Be prepared to welcome and new members and make others comfortable. Help members understand the workings of the guild including the purchase and payment for clay.
Ø Put the black bucket for trimmings near the wheels.
Ø Act as host for the studio – making sure anyone new is greeted and fills in appropriate paper work
CLOSING RESPONSIBILITIES (1:30- 5)
Ø Make sure all windows are closed, lights are off (there is one light always on in the studio) and the door gets locked. (You must lock the door first if you plan to give the key to the next coordinator before lock up.)
Ø All potters are responsible for their own cleanup.
Ø Wheels need to be unplugged and the chairs turned over on top of them.
Ø Clay tables need to be wiped.
Ø The “cleanup pail” can be used for all clay pieces to allow the water to settle during the week.
Ø The rectangular container can be dumped outside.
Ø All counters and tables should be cleaned with a damp cloth.
Ø Mop the floor. The floor water can be allowed to settle out during the week.
Ø Put away any guild supplies that are out.
Ø Make sure the guild supply cupboard is left tidy and the plastic covers are pulled down.
Ø Act as host for the studio – making sure anyone new is greeted and fills in appropriate paper work
KILN FIRING
Ø Bisque fires can be in both the old and new kiln.
Ø Ensure that all firings are recorded in firing log. Photocopy log sheets as required.
Ø Apply kiln wash to shelves every time a glaze kiln is to be loaded.
Ø Firings will occur when necessary
LOADING THE KILN
BISQUE FIRING:
Place three upright posts, of equal length, equidistant in a triangular configuration on each half shelf.
Place greenware, which about an inch shorter than the posts, on the shelf. Greenware is fragile, do not handle it by the rim and try to handle it with two hands. Make sure that the pots are dry. If the pottery is thick, place it against your cheek, if it is cool, it is still wet, set it aside until the next firing.
You can stack the greenware inside each other. You can stack bowls and plates rim to rim. You can put several smaller pieces into a larger piece. For example, load Christmas ornaments into a bowl. The pots can touch, but be conscious of the weight of the pieces you are stacking. Greenware is so fragile it is easy to crush the pots. Do not pack the shelf too tightly; allow room for gases to escape.
When the bottom shelf is full, carefully place another shelf on top of the posts. Don’t hit the soft brick on the sides of the kiln. Put three posts, of equal size, so they are directly over the posts underneath them. Fill this shelf in the same manner as you did the bottom shelf. Try to leave an inch of space between the pots and the next kiln shelf.
Continue stacking shelves, posts and pots until the kiln is full. Try to leave an inch or so headroom between the pots and the lid. You can get more pots on the top shelf because there is no need to work around posts.
Energy Efficiency note: It takes more energy to fire kiln furniture than the pottery. Make sure shelves are full.
Carefully close the lid.
Record the firing in the log book. Sign when loading and unloading.
Someone must check to see that the kiln has shut off.
When the kiln has cooled, unload the kiln and place the bisque on the shelves against the east and north walls.
Vacuum the kiln, sides and floor, if necessary.
If you think something is wrong with the kiln, report it to the studio technician.
GLAZE FIRING:
Glaze firing is done in the “New” kiln.
Have a towel ready to wipe your hands, especially after you have handled a dark glaze and then plan to load a light glazed pot. For example, Autumn Leaves can be easily transferred to a pot that has LaSalle White.
Make sure that the kiln shelves have a good coating of kiln wash and that they are free of glaze droppings. The shelves need to be kiln washed before each glaze firing. Kiln wash is applied to protect the shelf from the glaze droplets that occasionally run off the pot. Glaze drops can be scrapped off with the sickle shaped tile cutter or chipped off with a putty knife and hammer. Caution! This glaze is incredibly sharp - be extra careful. Glaze drops will melt and adhere to the pot that is resting on it. If glaze drops are left on the shelf when firing, they will sink down through the kiln wash and ruin the kiln shelf. The recipe for kiln wash is in the green glaze binder. See the section on glaze making to understand how to mix kiln wash.
Check the bottom of each pot; make sure it is free of glaze. If the pot has not been thoroughly cleaned do not put it in the kiln. If the glaze is too thick, is cracking, or has other flaws do not put it in the kiln.To load the kiln: Make sure there are 2 half shelves in the bottom of the kiln lifted up from the bottom of the kiln with 1” posts. Set up the posts as you would for a bisque firing. Place the glazed pots on the shelf, pots cannot be stacked and cannot touch. Make sure there is a bit of room between the pots. Sometimes it takes more than one try to fill a shelf. Wipe your hands to avoid transferring a dark pot’s glaze to a lighter pot. Avoid chipping the glaze off the pots especially the rim.
When the bottom shelf is full, carefully place another shelf on top of the posts. Don’t hit the soft brick on the sides of the kiln. Put three posts, of equal size, so they are directly over the posts underneath them. Fill this shelf in the same manner as you did the bottom shelf. Try to leave an inch of space between the pots and the next kiln shelf. Continue adding shelves and pots until the kiln is full.
Close the kiln lid very slowly and carefully, you do not want dust and pieces of soft brick to fall onto the top layer of pottery.
Record the firing in the log book. Sign when loading and unloading.
When the kiln has cooled, unload the kiln and place the pots on the counter.
Vacuum the kiln, sides and floor, if necessary.
If you think something is wrong with the kiln, report it to the Studio Technician.
IF YOU START A KILN MAKE SURE SOMEONE CAN CHECK THAT IT HAS SHUT ITSELF OFF.
CLEANING SHELVES (once a month)
There is one shelf assigned to the guild’s general supplies and one shelf for the bisque items.
Make sure the guild items are appropriately stored in their labeled containers. The shelves may need to be damp sponged.
CLAY RECYCLING CREW
What clay is recycled:
a) The thick slurry in your throwing water goes in “Reclaim Bucket”
b) trimming pieces and left over handbuilding pieces go in the “Black Bucket” until they are bone dry
The clay is to be recycled in the plaster sink or on a plaster batt.
Every studio member should have the courtesy to skim the clear water off the recycle buckets when they use the studio.
PROCEDURE:
Ø ONCE A WEEK: Take the clear water out of the bucket and scoop the slurry into the Plaster of Paris “sink” on the wedging table. Wipe up any clay that falls on the floor. At the end of the studio time the bucket will need to be moved to the guild shelves.
Ø Next week remove the clay from the sink and wedge it into a block that will fit into a clay bag. Clearly mark it as recycled clay and put it on the guild shelf.
