Joy Hought on fri 7 aug 98
First, I'm in desparate need of shared studio space in southern california
(actually, I'd be willing to move just about anywhere).
Second, I'm eager to hear from all of you on what's the smartest way to get
started in this business of clay. It took me several months to regain my
creative momentum after getting my BFA, and now I'm having trouble with the
logistics. (Doesn't it always happen that way?) I'm quite secure (but not
delusional) about the work I make and its "audience", so for me the issue
is not so much the front end, but what my programmer-brother calls the back
end. - I've read all the "getting started" books, researched the market,
dreamt about all the beautiful things I'd make, but I seem to be stuck on
the first, simple step: finding a place to work. And by place to work I
don't mean a shelf at a local university. My other alternative is to
patiently save up to buy the equipment I need while draining my humanity in
an artificially-lit cubicle (as I have been for several months). A friend
suggested I make a business plan and take out a loan and just dive in, but
that seems a bit scary. I don't mean to whine, and I'm sure this is
something most craftspeople go through, but any suggestions (besides a rich
uncle)?
Thanks so much, Joy in Irvine
Christopher G. Holmes on sat 8 aug 98
There are several places here in MA that rent space. It's not ideal, but
it would be a good place to start. I got a key and 24 hour access. They
provided wheels, glazes, kiln, some tools. Check your phone book under
pottery, crafts, and artists and make a few calls. You might also ask
established potters if you could either apprentice with them or rent space
from them.
Good luck!
Chris
> ----------------------------Original message----------------------------
>
> First, I'm in desparate need of shared studio space in southern california
> (actually, I'd be willing to move just about anywhere).
>
> Second, I'm eager to hear from all of you on what's the smartest way to get
> started in this business of clay. It took me several months to regain my
> creative momentum after getting my BFA, and now I'm having trouble with the
> logistics. (Doesn't it always happen that way?) I'm quite secure (but not
> delusional) about the work I make and its "audience", so for me the issue
> is not so much the front end, but what my programmer-brother calls the back
> end. - I've read all the "getting started" books, researched the market,
> dreamt about all the beautiful things I'd make, but I seem to be stuck on
> the first, simple step: finding a place to work. And by place to work I
> don't mean a shelf at a local university. My other alternative is to
> patiently save up to buy the equipment I need while draining my humanity in
> an artificially-lit cubicle (as I have been for several months). A friend
> suggested I make a business plan and take out a loan and just dive in, but
> that seems a bit scary. I don't mean to whine, and I'm sure this is
> something most craftspeople go through, but any suggestions (besides a rich
> uncle)?
>
> Thanks so much, Joy in Irvine
>
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adpoted as a standard?"
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Olivia T Cavy on sat 8 aug 98
Joy,
There are proponents of the "take a loan and dive right in" school as
well as the "make what you can with the equipment on hand, sell it, save,
and buy the equipment" school, and each has its merits. You have to make
your own decision, but you will want help which is available. Making a
business plan is an excellent idea to show you the implications and
ramifications of each approach. However, the plan must be REALISTIC. You
will need a realistic idea of what and how much you can make that will
sell; you will need to know all of your true costs including taxes. I
prefer to use a computer spreadsheet (Excel, Lotus, etc) to create
business plans because you can see the bottom line as you go. (BTW you
will need a written business plan if you expect someone besides your
family to give you that loan.)
The operative word is to be realistic (as best you can). You are unlikely
to sell a zillion weirdo pots (that take you 2 minutes to make, using
$.05 of materials) at $250 each in your first week at the XYZ Fair
(unless you are REALLY lucky). You are an artist (congrats on the BFA)
and now you need to be a business person as well.
Perhaps you could start by making certain items and buying limited
equipment (or sharing equipment or luck out and find used, well price
equipment). Many people work in tiny "studios" (bedrooms, sections of
rooms, basements). Many people share studio space. Many people work at
jobs they hate so they can save money to reach their goals. (And for many
people setting a time limit on how long you will work at that suffocating
job really helps you get through it.)
My belief is that after hearing all the stories of how other people have
done it, you'll have to decide which path you will take. It is an
individual decision. I love to hear the stories of how other people
approached ceramics as a business, and I'm thrilled when people achieve a
measure of success, but everyone's situation is different.
Joy, many people just complain and do nothing, which, IMHO, is the worst
thing. So my advice to you (as a CPA, business advisor and ceramic
artist) is to figure out what WILL work for you. If you'll get stressed
out with loan payments and the need for income EVERY month, then don't do
it. If you can find a ceramic product that will sell which you can make
with limited facilities, maybe that will keep you sane while you save
money at a job you hate. If you can find a shared studio that will let
you make what you love which will also sell, that may be the right move
for you. I hope you get a great response from Clayart and find that
studio!
I also think that a BFA program that doesn't include a business course
directly related to earning a living as an artist is short changing its
students (but that's another story).
Bonnie
(sending this privately and to Clayart)
Bonnie D. Hellman, CPA
in Pittsburgh, PA
work email: bdh@firstcaptl.com or oliviatcavy@juno.com
home email: mou10man@sgi.net
On Fri, 7 Aug 1998 08:29:05 EDT Joy Hought writes:
>----------------------------Original
>message----------------------------
>
>First, I'm in desparate need of shared studio space in southern
>california
>(actually, I'd be willing to move just about anywhere).
>
>Second, I'm eager to hear from all of you on what's the smartest way
>to get
>started in this business of clay. It took me several months to regain
>my
>creative momentum after getting my BFA, and now I'm having trouble
>with the
>logistics. (Doesn't it always happen that way?) I'm quite secure (but
>not
>delusional) about the work I make and its "audience", so for me the
>issue
>is not so much the front end, but what my programmer-brother calls the
>back
>end. - I've read all the "getting started" books, researched the
>market,
>dreamt about all the beautiful things I'd make, but I seem to be stuck
>on
>the first, simple step: finding a place to work. And by place to work
>I
>don't mean a shelf at a local university. My other alternative is to
>patiently save up to buy the equipment I need while draining my
>humanity in
>an artificially-lit cubicle (as I have been for several months). A
>friend
>suggested I make a business plan and take out a loan and just dive in,
>but
>that seems a bit scary. I don't mean to whine, and I'm sure this is
>something most craftspeople go through, but any suggestions (besides a
>rich
>uncle)?
>
>Thanks so much, Joy in Irvine
>
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Dave Eitel on sat 8 aug 98
Joy--Have you searched for a clay studio or cooperative that would have
space, kiilns, etc., for you to share as a tenant. Or, if there are none
around, what about getting some like minded folks together to form a
cooperative studio--that would spread the cost and create a nice working
atmosphere. In any event, you've got to have a place to work. Thought
about renting some commercial space in an industrial or manufacturing area?
There must be lots of possibilities. In southern California, you could
probably even work in a garage.
Dave
Dave Eitel
Cedar Creek Pottery
Cedarburg, WI USA
http://www.cedarcreekpottery.com
Rick Sherman on sat 8 aug 98
Dear Joy:
One place to start is by making connections to the clay organization in
your area. It is the Southern Design Chapter of the American Ceramics
Society. The web site is: http://www.csun.edu/~vfoao0l8/acsdc.html
If you want to e-mail me directly, I may be able to provide you with
some direct contacts. I would suggest the Clayhouse in Santa Monica
but that is a long trip from Irvine. I you move to the San Francisco
Bay area, I can give you a mountain of contacts.
Rick Sherman
San Jose, CA USofA
sherman@ricochet.net
Grimmer on sun 9 aug 98
Joy,
No matter what, keep working! All you need is a table, a rolling pin, and a
kiln. You could pit fire in the Weber!
I know the feeling of searching for a good place to work; it took me a
year and a half after grad school to find a house with a studio in the back.
In the mean time, I worked in a rented garage that flooded when it rained
and was heated with a wood stove. The important thing was that I kept at it.
Who was that jazz drummer who said, "Ignore your art for one day and it will
ignore you for three."
I finally took out a loan and built a kiln. Interest rates are low, and one
firing more than makes the monthly payment! Keep at it, and you will
succeed.
steve grimmer
marion illinois.
----------
>From: Joy Hought
>To: CLAYART@LSV.UKY.EDU
>Subject: seeking: advice, studio space
>Date: Fri, Aug 7, 1998, 7:29 AM
>
>----------------------------Original message----------------------------
>
>First, I'm in desparate need of shared studio space in southern california
>(actually, I'd be willing to move just about anywhere).
>
>Second, I'm eager to hear from all of you on what's the smartest way to get
>started in this business of clay. It took me several months to regain my
>creative momentum after getting my BFA, and now I'm having trouble with the
>logistics. (Doesn't it always happen that way?) I'm quite secure (but not
>delusional) about the work I make and its "audience", so for me the issue
>is not so much the front end, but what my programmer-brother calls the back
>end. - I've read all the "getting started" books, researched the market,
>dreamt about all the beautiful things I'd make, but I seem to be stuck on
>the first, simple step: finding a place to work. And by place to work I
>don't mean a shelf at a local university. My other alternative is to
>patiently save up to buy the equipment I need while draining my humanity in
>an artificially-lit cubicle (as I have been for several months). A friend
>suggested I make a business plan and take out a loan and just dive in, but
>that seems a bit scary. I don't mean to whine, and I'm sure this is
>something most craftspeople go through, but any suggestions (besides a rich
>uncle)?
>
>Thanks so much, Joy in Irvine
Cindy on sun 9 aug 98
Joy,
I don't recommend quitting your job just yet. I know it's tough. I worked
at jobs I hated for many years, but sometimes you gotta do what you gotta
do. I read an article in CM (I think) about a girl in Cordelaine (sp?) who
does majolica work. She set up a small wheel and kiln in her laundry room
and works from there, creating some gorgeous pieces. She has a *really*
small space, and yet she manages. It's not feasible in the long haul, I'm
sure, but it's a start.
You can get a wheel for as little as $400 (the Brent student model) which
will allow you to throw very nice small pots. Or do as I would do and
invest in a more powerful Brent B or equivalent. Find a small electric kiln
at an auction or buy one from a ceramic store that's closing its doors and
be certain to vent it appropriately. No need to fire to ^10. Go for low
fire or ^6 ware.
Joy, you can do all this on a reasonably empty credit card. If you want to
do clay, you just have to spend the money. Beyond this, you need a wedging
board. I use a piece of fiberboard with canvas stapled around it. When
you're finished with it, you can pick it up and slide it in behind a table
or something. You need a few shelves for drying ware, which you can place
in unused high wall areas. That's it. It's a small start, but it's a start.
Do what you can do and go from there.
Cindy Strnad
Earthen Vessels
Custer, SD
USA http://blackhills-info.com/a/cindys/menu.htm
Laura Mallory on mon 10 aug 98
In a message dated 8/9/98 8:53:41 AM Pacific Daylight Time,
grimmer@mychoice.net writes:
> Joy,
> No matter what, keep working! All you need is a table, a rolling pin, and
a
> kiln. You could pit fire in the Weber!
Steve, I have never done pit firing, I dont have local access to "pits", but I
do a have a big old unused weber. Do you or does anyone have instruction or
know where I can find same re: pit firing in a Weber? Sounds like a fun
alternative to the normal Saturday BBQ :-)
Laura
Jean Stephenson on mon 10 aug 98
Where did you get your fiber board? And was it really expensive? Thanks.
Jean
-----Original Message-----
From: Cindy
To: CLAYART@LSV.UKY.EDU
Date: Sunday, August 09, 1998 8:54 AM
Subject: Re: seeking: advice, studio space
>----------------------------Original message----------------------------
>Joy,
>
>I don't recommend quitting your job just yet. I know it's tough. I worked
>at jobs I hated for many years, but sometimes you gotta do what you gotta
>do. I read an article in CM (I think) about a girl in Cordelaine (sp?) who
>does majolica work. She set up a small wheel and kiln in her laundry room
>and works from there, creating some gorgeous pieces. She has a *really*
>small space, and yet she manages. It's not feasible in the long haul, I'm
>sure, but it's a start.
>
>You can get a wheel for as little as $400 (the Brent student model) which
>will allow you to throw very nice small pots. Or do as I would do and
>invest in a more powerful Brent B or equivalent. Find a small electric kiln
>at an auction or buy one from a ceramic store that's closing its doors and
>be certain to vent it appropriately. No need to fire to ^10. Go for low
>fire or ^6 ware.
>
>Joy, you can do all this on a reasonably empty credit card. If you want to
>do clay, you just have to spend the money. Beyond this, you need a wedging
>board. I use a piece of fiberboard with canvas stapled around it. When
>you're finished with it, you can pick it up and slide it in behind a table
>or something. You need a few shelves for drying ware, which you can place
>in unused high wall areas. That's it. It's a small start, but it's a start.
>Do what you can do and go from there.
>
>Cindy Strnad
>Earthen Vessels
>Custer, SD
>USA http://blackhills-info.com/a/cindys/menu.htm
>
Berry Silverman on mon 10 aug 98
Joy, contact your local clay suppliers. Very often they have bulletin
boards where other potters post about available studio space and/or
equipment for sale. And talk to the suppliers, too. They may know of
co-ops, shared studio arrangements, or just others seeking "Susan," as
well. My experience is there are a lot of co-op type studios hidden
all over -- it's just a matter of digging them out. Good luck.
==
Berry Silverman
Berryware - Tucson, Arizona
berrysilverman@yahoo.com
_________________________________________________________
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Sheilah Bliss on tue 11 aug 98
In a message dated 8/9/98 7:54:56 AM, you wrote:
<at an auction or buy one from a ceramic store that's closing its doors>>
Another place to find used kilns are school districts. One of our local
districts gets new kilns every few years, the retired ones are sold at school
equipment auctions. They're usually not in too bad a shape -- the
instructors do most of the firing.
Sheilah Bliss
Cindy on wed 12 aug 98
Jean,
I just had a piece of fiber board laying about--left over from some
construction project someone in the family had done. Just a scrap. Ask
around. One of your friends likely has a similar piece. Or you can buy some
at a lumberyard. I believe a full-sized sheet costs around $28 or so--not
sure. They may be willing to cut a piece to size for you. You'll only need
maybe 2'X3' or so--measure the space where you'll be placing it so you'll
know what size will be most convenient.
Cindy Strnad
Earthen Vessels
Custer, SD
USA http://blackhills-info.com/a/cindys/menu.htm
----------
> From: Jean Stephenson
> To: CLAYART@LSV.UKY.EDU
> Subject: Re: seeking: advice, studio space
> Date: Monday, August 10, 1998 7:46 AM
>
> ----------------------------Original message----------------------------
> Where did you get your fiber board? And was it really expensive?
Thanks.
> Jean
> -----Original Message-----
> From: Cindy
> To: CLAYART@LSV.UKY.EDU
> Date: Sunday, August 09, 1998 8:54 AM
> Subject: Re: seeking: advice, studio space
>
>
> >----------------------------Original message----------------------------
> >Joy,
> >
> >I don't recommend quitting your job just yet. I know it's tough. I
worked
> >at jobs I hated for many years, but sometimes you gotta do what you
gotta
> >do. I read an article in CM (I think) about a girl in Cordelaine (sp?)
who
> >does majolica work. She set up a small wheel and kiln in her laundry
room
> >and works from there, creating some gorgeous pieces. She has a *really*
> >small space, and yet she manages. It's not feasible in the long haul,
I'm
> >sure, but it's a start.
> >
> >You can get a wheel for as little as $400 (the Brent student model)
which
> >will allow you to throw very nice small pots. Or do as I would do and
> >invest in a more powerful Brent B or equivalent. Find a small electric
kiln
> >at an auction or buy one from a ceramic store that's closing its doors
and
> >be certain to vent it appropriately. No need to fire to ^10. Go for low
> >fire or ^6 ware.
> >
> >Joy, you can do all this on a reasonably empty credit card. If you want
to
> >do clay, you just have to spend the money. Beyond this, you need a
wedging
> >board. I use a piece of fiberboard with canvas stapled around it. When
> >you're finished with it, you can pick it up and slide it in behind a
table
> >or something. You need a few shelves for drying ware, which you can
place
> >in unused high wall areas. That's it. It's a small start, but it's a
start.
> >Do what you can do and go from there.
> >
> >Cindy Strnad
> >Earthen Vessels
> >Custer, SD
> >USA http://blackhills-info.com/a/cindys/menu.htm
> >
Joy Hought on thu 13 aug 98
Just wanted to say a HUGE thanks to all of you who helped me out with my
studio dilemma. Frustration can be a good thing. Thanks to your support
and input i'm closer to getting my hands in clay AND closer to getting my
priorities straight.
(patience, patience, patience)
Joy in Irvine
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