Sustainability in ceramics workshop

(min. 3)

Training to exchange ideas

Training in tolerance and empathy

Clay

Pad

Roller

Clay tools

Sandpaper (meeting 2 sanding works)

Workshop without glazing

2.     The products are left to dry (time up to two weeks).

3.     After the work of the participants has dried (time up to two weeks),the participants once again work with the pattern and grind their products according to the pattern. Time about 30 minutes.

4.    After the works/products are sanded, they are burned, and then the works of all participants are compared, each gets one of the works of another participant and the pattern in turn. The other participant's work and the pattern can also compare with their own work and evaluate whether the works are similar, what they like about the works, what surprised them in the works of other participants. Evaluation, conversation and discussion of different points of view of the same subject, Time about 60 minutes

(min. 3)

Training to exchange ideas

Training in tolerance and empathy

Different patterns and different glazes, clay, pad, roller, clay tools, sandpaper (meeting 2 sanding works), molds and tools for extruding patterns, glazes.

Workshop with glazing.

2.      After drying, the work is sanded according to the vision of the given emotion. Time: 30 minutes.

3.      After firing, the participant decorates the bas relief with glaze (of different textures). Time: 60 minutes.

4.     The finished beliefs are discussed in a group class, along with a discussion of individual interpretations. Time: 60 minutes.

(min. 3)

Training to exchange ideas

Training in tolerance and empathy

Pad

Roller

Clay tools

Sandpaper (meeting 2 sanding works)

Workshop with glazing

2.     After drying, the work is sanded, according to the author's vision. Time: 30 minutes.

3.     After burning the piece of work, the participant decorates the bas relief with glaze (of different textures). Time: 60 minutes.

4.     The finished beliefs are discussed in a group class, along with a discussion of individual interpretations. Time: 60 minutes.

(min. 3)

Training to exchange ideas

Training in tolerance and empathy

Pad

Roller

Clay tools

Sandpaper (meeting 2 sanding works), plants for imprinting patterns. Workshop with glazing

2.       After drying, the work is sanded. Time: 30 minutes.

3.       After burning the piece of work, the participant decorates the bas relief with glaze (of different textures). Time: 60 minutes.

4.       The finished bas reliefs are discussed in a group class, along with a discussion of individual interpretations. Time: 60 minutes.

(min. 3)

Understand the purpose and impact of the tools used in the workshop.

Learn about the handling and characteristics of clay, including appropriate techniques and drying processes.

Build confidence, comfort, and a sense of safety in the workshop setting.

Tactile experiences

If necessary, they will be divided into groups.

A brief verbal explanation will be given about the space and the specific actions they will be required to perform.

2.      Introducing the different areas of space, including the main work area, restrooms, and storage areas.

3.       Divide participants into groups if necessary for a more organized exploration.

4.       Provide a verbal introduction to each specific area, starting with the main work area. Explain the layout, pointing out the location of tables, chairs, and clay supplies.

5.       Allow participants to explore the main work area with their assistance, touching and examining the tables, chairs, and other objects to familiarize themselves with the space and feel more secure.

6.       Guide participants to the restrooms, highlighting their location and accessibility for their convenience.

7.       Direct participants to the storage areas where clay, tools, and other materials are kept. Explain how to access and return items properly.

8.       Offer specific instructions to each team member about the tools they will be using. Explain the purpose of each tool and how it affects the clay, emphasizing any safety precautions or techniques to consider.

9.       Discuss the proper use of the ovens for baking clay.

10.    Explain the process, including the recommended temperature, time, and placement of objects inside the ovens.

11.    Address any questions or concerns raised by participants regarding the space, tools, or other areas.

12.    Reiterate the importance of feeling comfortable and knowledgeable about the space, tools, and equipment for a successful workshop experience.

The objects and tools utilized will be blunt and non-sharp.

All questions will be addressed to ensure that all participants have a clear understanding of the space and the tools.

Cultivate patience, focus, and perseverance while exploring different clay sculpting techniques and self-expression.

Tactile experiences

1 button per participant

1 pencil unused (not sharp) per participant

2.     Pieces of clay will be divided and distributed among the participants.

3.      Tools such as pencils (unused, not sharp) and buttons will be provided for participants for creating various textures on their clay.

2.      Observe and feel its shape, paying attention to its texture, scent, and temperature.

3.      Drop the clay onto the table from above and listen to the resulting sound, noticing how its shape alters.

4.     Knead the clay with your fingers, shaping it into a ball.

5.     Flatten the clay, transforming it into a thin sheet.

6.      Use the button or the pencil to create different textiles on the surface of the clay.

7.     Feel the different textures and create a piece of your liking.

8.     Press your hand against the clay, experiencing the tactile sensation.

9.     Lift the clay, cut it with your hands into smaller pieces, and stack them

together to create a structure as tall as you can.

There will be assistance throughout the whole duration of the activity.

There will be supervision of the tools used by participants to avoid any injuries.

Enhance fine motor skills by practicing precise movements and control while working with the malleable clay, promoting dexterity and coordination.

Tactile experiences

Increase the motor skills of the participants

2.      You cut the clay into pieces or balls with your hand, ideally 5 or 6.

3.      Shape each ball with your hands so that it becomes like a thick spaghetti, about 6-7 cm long.

4.      Close the macaroni by gently flattening it, joining the 2 ends together, creating a circle.

5.      Do the same to all the pieces of clay.

6.      Place the circles on top of each other evenly, trying to stick one to the other.

7.      Feel the texture of the creation and the different returns.

There will be assistance throughout the whole duration of the activity.

(min. 3)

Develop awareness of body positioning and movement to prevent discomfort or strain.

Learn techniques to optimize posture and ergonomics while working with clay.

Apply the knowledge and skills acquired to promote a healthy and sustainable posture in future clay-related activities.

Increase the motor skills of participants

2.      Demonstrate and explain proper body alignment and posture, emphasizing the key points such as sitting or standing tall, keeping the spine straight, and relaxing the shoulders.

3.      Guide participants through simple stretching exercises to warm up and loosen their muscles before engaging in clay activities.

4.      Encourage participants to be mindful of their posture throughout the activity. Remind them to sit or stand in a comfortable position, with their back properly supported and their neck and shoulders relaxed.

5.      Offer individualized feedback and suggestions to participants, helping them adjust their posture as needed.

6.      Incorporate regular breaks during the clay activity to allow participants to stretch, move around, and reset their posture.

7.      Provide ergonomic tools or equipment, such chairs, or tables, to facilitate proper body alignment and reduce strain.

8.      Conclude the session with a recap of the importance of maintaining proper posture and encourage participants to continue practicing good posture in their future clay-related endeavors.

There will be assistance throughout the whole duration of the activity.

(min. 3)

Foster creativity and self-expression through the exploration of personal physical attributes.

Foster a sense of ownership and pride in one's physical attributes and unique characteristics.

Tactile experiences

Motor skills

Artistic skills

1 pencil (unused, non-sharped) per participant

2.     Shape small portions of clay into different body parts, focusing on one at a time.

3.      Pay attention to details and add texture as you mold each body part.

4.      Use your imagination and memory to guide the sculpting process.

5.     Join the individual body parts together by moistening the surfaces and pressing them gently.

6.     Use the pencil to create different textiles, to give shape to the hair or small details in the statues.

7.     Explore the final sculpture with your hands, appreciating the unique representation of your own body.

8.      A big applause to the whole team for their effort.

9.     With this activity all the participants, when the clay is dried, will have the opportunity to touch all the other statues if the owner gives their permission, to feel and admire all the unique body types, nature created.

There will be assistance throughout the whole duration of the activity

(min. 3)

Engage in introspection and self-reflection to explore their own identity, emotions, and inner world.

Express themselves creatively by designing and sculpting their own unique mask.

Tactile experiences

Increase the motor skills of participants

Increase the artistic/ ceramic skills of the participants

1 unused (non-sharped) pencil per participant

1 button per participant

1 spoon per participant

2.      Design and shape the mask. (full face mask, half face mask, animal mask)

3.      Cut the unnecessary material from the eyes, from the mouth, or in the whole mask, to create holes, if you want to.

4.      Add facial features.

5.      Create texture and details with your given tools.

1)   Allow the mask to dry.

2)   Optional: Paint or decorate the mask.

3)   Give a big applause to the whole team

Assistance will be provided during the whole duration of activities

1 painted brush.

If it’s available, they can give color to some parts or their whole masks.

(min. 3)

Foster self-expression

Provide social interaction within the group.

Tactile experiences

1 unused (non-sharped) pencil per participant

1 button per participant

1 spoon per participant

2.     Decide on the type of wearable item you want to create.

3.     Mold and shape the clay using your hands, ensuring a comfortable fit.

4.     Use your given tools. Create shapes and textures

5.     Pay attention to details and textures, adding decorative elements or small clay pieces if desired.

6.     Adjust the size and fit as needed.

7.     Allow the clay to dry or cure according to instructions.

8.     Optionally, paint or varnish the finished piece for added visual appeal.

9.     Give a great applause to the whole team

All the participants will have the appropriate space between them to not be injured or overcrowded.

1 pallet with colors

If desired the participants can give color to their art-pieces.

(min. 3)

Promote self-confidence and self-esteem.

Feel a sense of accomplishment and pride in their artistic creations

Tactile experiences

1 unused (non-sharped) pencil per participant

Necessary pottery tools

2.     Shape the clay into a basic form, such as a ball or cylinder, which will serve as the foundation for your figurine.

3.     Begin adding details to the figurine, starting with the head, body, and limbs. Use your fingers and simple tools to mold and shape the clay as desired.

4.     Pay attention to proportions and symmetry while sculpting, ensuring that the different parts of the figure are balanced and well- proportioned.

5.     Refine the body posture of the figurine. Decide if you want to sit, to be still, to dance and act accordingly.

6.     Take breaks to step back and assess the progress of your figurine from different angles, making any necessary adjustments to achieve the desired look.

7.      Use your given tools to add different textures to your figurine.

8.     Allow the clay to dry and harden according to the instructions provided for the specific type of clay used.

9.      When the figurine is ready, give great applause to the whole team.

Sharp tools will not be used.

Assistance will be given during the activities

Understanding the safety of materials and their intended use

Assessing the safety and compliance of a laboratory, a workspace

Understanding the safety conditions to be ensured indoors, specifically within ceramic laboratories.

The correct information of learners on safety measures is an initial and fundamental precondition for the implementation of any ceramic workshops and so to avoid potential risks. Clear and precise instructions must also be provided, so as to know how to manage possible incidents and anomalies that put safety at risk

Specific risks to people's health and safety may also arise during ceramic workshops, in relation to the nature of the exercises, the hazardous nature of the equipment and materials used and possible exposure to physical, chemical and biological agents.

Artists, artisans, designers, trainers and trainees in general are exposed to a number of potentially hazardous materials and processes in the ceramic studios. Knowledge of hazards and proper studio procedures, coupled with an attitude of respect and mental alertness, will ensure that our workspaces are safe and healthy.

Both the trainers and the trainees have the responsibility to be physically and mentally alert when managing clay, aware of safety and health issues, follow rules and procedures designed to protect them, and report all incidents or accidents so that steps may be taken to prevent recurrence.

General rules and main procedures

Both the trainers and the trainees review, discuss, and follow the rules and procedures outlined in this lesson plan

Personal protective equipment will be explained and demonstrated at the beginning of each ceramic workshop, if needed

All ceramic workshops shall keep appropriate First Aid equipment and supplies

Both the trainers and the trainees shall wear hearing, eye, face, and personal protective equipment

Within a ceramic workshops, all installations and devices, should undergo regular technical maintenance in order to eliminate, as quickly as possible, any defects detected which may affect the safety and health of both the trainers and the trainees

Manage emergencies

In the event of an emergency, call the police or other emergency numbers

In the event of fire: sound the alarm, contain, or fight the fire only if possible and practical to do so, evacuate yourself and others from the building.

All accidents, including those which result in injuries requiring only First Aid or those which only involve property damage shall be reported to faculty members in each ceramic workshop verbally as well as using the Incident & Accident Form

Any illness or physical impairment which may be related to your artwork (e.g. skin problem, headaches, nausea, etc.) shall be reported to your tutor immediately.

Ensure safety for participants with disabilities

During ceramic workshops, we must ensure that floors, in general, are fixed, stable and non-slip as well as free of protuberances, hollows or dangerous inclined planes, where spills of liquids or putrescible substances are routinely expected the surface must be even impermeable and with a sufficient slope to quickly direct liquids towards the collection and drainage points; if they remain wet, they must be permanently equipped with pallets or grating (if workers are not provided with suitable waterproof footwear).

Windows, skylights, and ventilation devices in general should be safely opened, closed, adjusted and secured by workers.

Other factors to be taken into consideration to ensure safety during ceramic workshops

Clear instructions on where the emergency exits are located must be provided to all participants in the ceramics workshop. Emergency exits must be clearly indicated by emergency signals and panels

Clear instructions on how to provide first aid in the event of accidents must be provided to all participants in pottery workshops. Possible accidents involve burns, cuts and more serious injuries. Its best to have a first aid kit in your studio, and can even be mounted in the wall. To avoid potential risks, protect both your hands and your feets. It is highly recommended to handle wear gloves when handling clay or glaze

Adequate ventilation conditions of the spaces must be ensured, being exposed to the high temperatures of the kilns during ceramic workshops. Also to take into account the level of humidity of the rooms

Take into account the lighting conditions of the rooms, trying to prefer natural lighting over artificial lighting

https://ceramic.school/how-to-organize-your-pottery-studio/

https://www.firstaidforschools.com/first-aid-in-schools/

Be able to manage and implement appropriate precautionary measures

Knowledge of specific security protocols

A hazardous chemical is a status: it is based on an assessment of the intrinsic properties of a chemical substance to cause harm, which is determined by scientific studies from hundreds of organizations throughout the world. Hazards are divided into three groups:

1. Physical – chemical properties such as combustibility, explosiveness, flammability, oxidizing, and/or unstable or reactive.
2. Environmental – immediate or direct on environment or ecosystem; latent/indirect effect on environment and human life.
3. Health – immediate (acute) or latent (chronic) impact on the human body. Health hazards to humans are classified as follows:

Acute Toxicity

Skin Corrosion/Irritation

Serious Eye Damage/Eye Irritation

Respiratory or Skin Sensitization (also linked to the inhalation of dust)

Germ Cell Mutagenicity

Carcinogenicity

Reproductive Toxicology

Target Organ Systemic Toxicity – Single Exposure

Target Organ Systemic Toxicity – Repeated Exposure

Aspiration Toxicity

A health hazard substance enters/impacts a human being in one of four ways:

1. Inhalation into the lungs
2. Absorption through skin
3. Absorption through the eyes
4. Ingestion via the mouth

Remember: The amount of dust exposure you will encounter in your ceramic studio should be exceptionally low. But if you engage in an activity that creates dust: mixing dry glazes, cleaning greenware, spray application of glazes – wearing a respirator will limit your exposure and dramatically reduce your risk. Also, keep your space as free of dust as possible by frequent wet mopping or vacuum using hepa filters.

Equipments to avoid physical accidents and injuries

For eyes:

Safety goggles

Prescription lenses and sport glasses are not an acceptable substitute for proper, required Industrial safety eye protection. 

Contact lenses should not be worn in Art Studio Environments. Contact lenses may trap or absorb particles or gasses causing eye irritation or blindness. 

Eye protection should fit properly, with or without prescription lenses.  

Hearing protection:

There are two common types of hearing protection: earplugs or earmuffs. 

These workshops are high noise areas and hearing protection is a must even if you are not the one making the noise. 

Foot protection:

Leather shoes with closed toes are best. These protect your feet from most substances used in studios- for example, spills: chemicals, acids, and paints. Open toed sandals should not be worn in any workshops, and are not permitted

If you have safety boots wear them and if you know you are going to live in these studios buy some safety footwear. 

Respiratory Protection:

Dust masks must be worn when the activities in these areas are dust producing. 

Local ventilation and air extraction equipment must be utilized in the above studios depending on the nature of your activity. 

If the contaminant is highly toxic or large amounts of the toxic material are produced a respirator must also be worn. 

Body Protection:

Due to the variety of studio activities students must consider further personal protection that may take many different forms such as leather gloves, nitrile gloves, leather/chemical aprons etc. 

Additional safety rules for ceramics

Pottery tool set:

Generally, attention must be taken when using sharp objects

Ribbon cutter

Sponge

Steel kidney

Wire clay cutter

Wooden modelling tool

Metal needle tool

Potters rib

Clay:

Inhalation of all clay materials especially silica can damage your lungs.

All clay bodies contain some free crystalline silica which can scar your lung tissue and cause irreversible loss of breathing capacity.

Free crystalline silica is present in clay bodies from trace to 50% amounts.

It is the finest, least visible particles that can hang in the air for hours that are the most dangerous because they are the most easily respirable and because we are less likely to wear a mask when the air seems clear.

Avoid excessive dust exposure.

Buy premixed, wet clay bodies.

Wear a HEPA filter mask that fits well when mixing clay or cleaning the studio.

Clean work area before clay scraps have a chance to dry out. Never sweep your studio.

Clean studio often with a wet mop, wet vac, or a vacuum equipped with a HEPA filter.

Provide good fresh air exchange in your work area.

Wear plastic or vinyl-type aprons rather than porous cloth-type aprons.

Make sure you know what ingredients are in the clays you use.

Ask your suppliers if "low free silica" clay bodies are available.

Avoid use of hazardous compounds (see list under GLAZES) to color your clay bodies.

Avoid use of Barium Carbonate in an earthenware clay body.

Avoid use of asbestos contaminated talc in low-fire white and raku clay bodies.

Wet clay is a good medium for mold growth and bacterial incubation.

People with specific types of mold allergies may be affected.

Shared clay in a group setting could potentially be a medium for bacteria transfer.

Glazing:

Many glaze materials are hazardous. Those of special concern are listed here:

Crystalline silica is present in almost all glazes and can scar lung tissue if inhaled.

Barium Carbonate, Sodium Borates, and Lead compounds can be present as colorless fluxes in glazes.

Antimony compounds, Cadmium compounds, Chrome compounds, Lead compounds, Cobalt Chloride, Cobalt Sulphate, Copper Chloride, Copper Carbonate, Copper Sulphate, Iron Chromate, Iron Sulphate, Manganese Dioxide, Nickel compounds, Uranium compounds, and Vanadium compounds can be present as glazes, slips and stains.

Luster glazes contain toxic mediums as well as toxic metallic compounds.

Avoid use of these materials whenever possible. If you do use them, take precautions to prevent ingestion as well as inhalation (which can lead to ingested particles) and skin contact. Even though some of these materials cannot be directly absorbed through the skin, invisible particles can become lodged in the crevices of your skin.

Know what you are using.

Call your manufacturer to see if there are any ingredients of concern to you in the commercial glazes, slips, or stains you may be using.

Read Material Safety Data Sheets and U.S. Dept. of Labor Occupational Health Guidelines for detailed information about the hazardous materials that you use.

DO Not assume that industrial threshold limits for exposure are safe guidelines.

Learn distinctions such as: iron oxide is not toxic but iron sulfate is.

If you cannot find adequate information about a material, assume hazardous potential.

Individual sensitivities to hazardous materials vary tremendously and can be affected by medications and health histories as well as genetics.

Do not eat, drink, or smoke in the glazing area. Do not interchange eating and glazing utensils. Scrub your hands thoroughly after glazing.

Use a Ceramic dust filter mask that fits well when mixing, spraying, or sanding glazes.

Use a mask for vapors and gasses when working with luster glazes.

Spray glazes only in a properly constructed, vented and filtered spray booth.

Make sure that the exhaust of the spray booth is vented so that it does not pollute somebody else's breathing air.

Used spray booth filters for certain glazes may have to be treated as toxic waste.

Do not pollute the environment when discarding unused toxic glaze materials.

Reformulate scrap glazes and/or give them to someone who can use them.

Fire your scrap glazes in a discarded bowl to make them more environmentally stable.

Take your toxic glaze scraps to toxic waste collection sites.

Firing:

Kilns are potentially hazardous if they are installed or fired incorrectly.

Firings should only be done by those with firing experience and a thorough understanding of all kiln functions and safety controls.

Touching an element in an electric kiln can be fatal.

Never reach into an electric kiln unless all of the switches are turned off.

Electric kilns that are wired for 3 phase may pass electricity through the elements even when the kiln sitter timer is off. Since no kiln sitters are made for 3 phase wiring, manufacturers adapt them by adding a power relay after the kiln sitter. When the power relay becomes old, the relay may allow electricity to pass through even when the kiln sitter is off. If that is the case, one must turn off the switches to be sure no current is flowing through the elements. Since our power relays started to fail after 5 years, we are changing them every two years.

As an extra precaution, turn off the kiln at the circuit breaker if you vacuum it or insert any other good conductor into it.

Firing of clay materials in electric and gas kilns produces carbon monoxide, formaldehyde, and sulfur dioxide gasses.

Firing of glaze materials in electric and gas kilns can produce fumes of the toxic materials discussed above in the glazing section.

If you fire below the volatilization point for your specific glaze ingredients this may not be a problem. If firing above, a HEPA dust, fume, mist filter might be necessary for protection. Lead, cadmium, and luster glazes are particularly volatile at low-medium firing ranges.

Copper, chrome, and tin glazes are volatile in high-firing ranges.

Salt firings emit highly toxic chlorine gas during the salting process.

Gas masks and eye protection are necessary.

The intense heat and infrared radiation from all kiln firings can damage your eyes.

Wear welders goggles when looking in the kiln spy holes.

Use of any studio equipment can be hazardous if not operated properly.

Receive proper instructions and permissions before operating. Never operate equipment if taking any medication, drugs, or alcohol that could impair your judgment.

Use of motorized grinders can be very hazardous.

Use eye protector goggles, protective gloves, and a HEPA filter mask when grinding.

Safety Protocols Kiln Room:

DOORS TO THE KILN ROOM MUST REMAIN CLOSED AT ALL TIMES.

The first thing to do in any unexplained Kiln Room event is to immediately notify Ceramics Staff (master ceramist, kiln room technician) to ascertain source. If no clear determination is made, call Security at xxxx to apprise them of the situation.

Important: you or someone you assign must remain in continual contact with Security until the event concludes. In an emergency leave the studio. Ceramics Staff is to help facilitate evacuation from studios and labs.

Gas Odor
If it is strong (stinging to the eyes) report to Security and leave the premises immediately. Otherwise:

1. For burners that appear to have blown out: shut down all burner systems. Wait at least ten minutes before attempting re-igniting burners. If gas odor persists do not re-ignite burners.
2. Notify Security that there is a likelihood the intake air fans are off to the kiln room.

Smoke Odor

1. Determine which kilns are on & who is firing them.
2. Find out if any burn-out materials were used, i.e. sawdust placed in saggars, paper armatures, wood panels where large pieces were moved into the kiln. If this is the case, the smell should dissipate by the time the pyrometer reads 1000 F.
3. If no determination is made on the presence of burn-out materials or the smell persists, locate the source and bring faculty and staff together to make a decision whether to shut down the kiln.

Visible Smoke There are very few reasons smoke that can be seen should appear in the kiln room:

1. Determine which kilns are on & who is firing them.
2. If there is a burning wood smell follow protocol for Smoke Odor.
3. Check the log sheet on Soda Kiln (G-6) to see when the last induction of soda occurred. If this is the case the vapor will dissipate within 15 minutes.
4. If there hasn't been a recent induction of soda, locate the source and bring faculty and staff together to make a decision whether to shut down the kiln.

Fire Outside Kiln Chamber If flames are evident anywhere but the chimney or damper flues, spy holes, burner ports or passive dampers:

1. Assess the situation from outside double doors. Inform Security & Staff immediately.
2. If the main shut-off valve by the doors can be accessed, use a wrench to turn square peg clockwise 90 degrees to off. Leave the building.

Water Leaks on Electric Kilns Under no condition should any water or liquid be on or near electric kilns.

If the kiln is off, protect it from the liquid immediately. Turn the main power lever behind the kiln until the event is resolved. If there is any water damage to circuits, a full diagnostic check is in order once everything dries out.

https://www.ulethbridge.ca/fine-arts/ceramics-studio-safe-work-practice-manual

In addition to toxic chemicals, there are physical hazards from the heavy work, from noise, and other hazards.

OVERUSE AND STRAIN INJURIES: These injuries are often called "cumulative trauma disorders'' because they develop from repeated small injuries to tissue from overuse and strain. They can occur while wedging, throwing, or hand building with clay. "Potter's thumb," for instance, is the term some potters have used to describe symptoms which are now associated with the early stages of carpal tunnel syndrome. Many potters have acquired carpal tunnel syndrome, a debilitating condition involving compression of the median nerve at the wrist. Tendonitis in various locations and tennis elbow are also common.

Hand, back, and wrist muscle injuries can also occur from sitting at the potter's wheel for too long, especially if posture is incorrect. Injuries from lifting sacks of clay, molds, and the like are common among both potters and ceramicists. To prevent these injuries, pay careful attention to your body for signs of fatigue, pain, changes in endurance, weakness, and similar symptoms. Developing good work habits can prevent these conditions and even may resolve early symptoms. These include:

Maintaining good posture

Taking frequent rest breaks

Alternating tasks or varying the types of work

Warming up muscles before work

Moving and stretching muscles during breaks

Easing back into heavy work schedules after a holiday or hiatus rather than expecting to work at full capacity immediately

Modifying technique and/or equipment to avoid uncomfortable positions or movements.

If symptoms do not respond quickly, seek medical attention. Early medical intervention will cause the majority of overuse injuries to resolve without expensive treatment or surgery. Delaying treatment can leave you disabled for long periods or even for life. In response to artists' special needs, a new field called "arts medicine" has been created. Doctors and clinics specializing in arts medicine can be located by consulting your doctor or arts health organizations such as Arts, Crafts and Theater Safety.

Health

To inhale or ingest the dust of any of our clay or glaze materials is unhealthy. Therefore thoroughly clean all wheels, tables, tools and equipment after use and wash up any spills, splatters, or trimmings that land on the floor.

Participate in our "Health Insurance Program" by spending one hour each term on dust-busting duty. (Use a sponge or a mop to clean any floor or table area that threatens to emit dust into our breathing space.)

Buy a good dust filter mask and wear it when mixing dry materials, spraying glazes, and scraping shelves.

Be aware of the specific safety issue of each material you use by discussions with your instructor and by reading "Health & Safety Concerns in the Ceramics Studio."

Observe no smoking policy in the building.

Safety

Do not use any wheel, kiln, spray equipment, slab roller, grinder, etc. unless you have received personal instruction and permission from a staff person. Permission to use kilns requires apprenticeship and testing.

You must turn off any electrical equipment after using it - wheels, kilns, fans, hot plates, etc.

If you are the last to leave, make sure that all the windows are closed, and that the lights have been turned off.

Use the buddy system for pedestrian travel at night to and from the studio.

Communal Responsibilities

Please help foster a productive work environment in the studio by respecting the need for quiet concentration. Conduct extended personal conversations in the lounge, not in the workspace. Use walkmans, not radios.

Leave your work area clean and empty for the next person. All your work should be stored on shelves. Any work left on wheels or tables will probably be moved to a shelf by someone needing workspace.

Take any heavy personal garbage (broken bisqueware, etc.) directly to the dumpster outside the building.

If you plan to keep any food in the refrigerator label and date the food so that it will not be considered old and forgotten.

Responsibilities and mandatory rules for all participants:

Security

All participants are responsible for keeping their personal items secure.

NO PROPPING OPEN OF FIRE DOORS.

NO SMOKING in the building.

NO DRUG/ALCOHOL USE.

NO WORKING IN STUDIO WHEN IMPAIRED.

WEAR PROPER FOOTWEAR AT ALL TIMES - NO OPEN SANDALS OR BARE FEET.

Kiln room

No lead firing without signs.

No half empty kilns.

No bisque in electrics.

Must use visual cones in all electrics, and fire accordingly.

Flint/kaolin mix as a kiln wash in gas kilns.

Alumina/kaolin kiln wash in salt.

Grind all shelves after firing - if not, no next kiln.

Clean area around kiln after loading, and before firing.

Clean interior and exterior of all kilns after use.

Return all kiln furniture to racks after use.

If unable to fire the kiln at scheduled time, then you forfeit.

Clay rules

Wear personal protective equipment at all times while working in the Clay Mixing Room and be exceptionally careful in cleaning up after mixing.

Use the dust collector at all times.

Wear a dust mask at all times.

Clean all mixers by sponging out and sweep the floor thoroughly when finished.

Sweep the floor when finished.

Throw away all empty clay bags into the dumpster outside.

Leave the room clean and organized when finished.

Plaster rules

Wear personal protective equipment at all times while working in the plaster room and thoroughly clean up after yourself.

Intro, Foundations, and Continuing Ed students are required to have permission from their Instructor to use plaster room facilities. Advanced students must serve as role models and use extreme consideration in working around class schedules.

Please leave the lab in excellent condition, it is your individual responsibility to do so.

Glaze rules

Wear personal protective equipment at all times while working in the glaze room, and thoroughly clean up after.

Use the slot hood vent system over the mixing tables when measuring both large and small batches. The switch is a red button to the right of the door as you come in, hold for five seconds to turn on & off.

Scrub hands thoroughly after glazing. Use plastic safety gloves.

Comply with the department's Health and Safety Manual. Place all scrap glaze in the hazardous waste barrel.

Clean up! Use a vent system when mixing both large and small batches.

Clean Up spray booth after using.

Responsibilities and mandatory rules on how to manage wastes

Some of the materials that are used in ceramics elements are considered Hazardous Waste by the Environmental Protection Agency (EPA). Of the regulated elements, we encounter 4 of them:

1. Lead
2. Barium
3. Cadmium – is found primarily in red and orange stains.
4. Chrome – found in oxide form and stains

These chemicals remain an environmental liability and it is required that they are handled in accordance with national, state, and local laws. Hazardous materials must be disposed of in hazardous waste drums to ensure they will not seep into the water supply of your community. When using commercial glazes, check the container for the toxicity label.

https://www.hot-clay.com/pottery-kilns.html

Identify the target market for a new ceramic product and gather relevant data using primary and secondary research methods.

Analyse market research data to identify key insights about potential customers and competitors.

Apply market research findings to develop effective marketing strategies for a new product.

Online access to research tools such as Google Trends, social media, and industry reports

A list of questions for conducting customer surveys or interviews

What products do you currently use that are similar to the new product we are developing?

What features do you value most in the products you use?

How often do you buy products like the one we are developing?

What would you expect to pay for a product like this?

What factors would influence your decision to purchase a product like this? (Price, convenience, quality, brand, etc.)

Gather relevant industry reports and market data.

Set up access to online research tools.

1. Introduction: Introduce the concept of market research and its importance in product development. Discuss the different types of market research, such as primary and secondary research, and their respective advantages and disadvantages.
2. Define the target market: Have participants identify the target market for their new product. Encourage them to be as specific as possible, considering factors such as age, gender, income, location, and lifestyle.
3. Gather secondary data: Using online research tools such as Google Trends, social media, and industry reports, have participants gather secondary data related to their target market and competitors. Ask them to take notes on relevant trends, demographics, consumer behaviour, and market size.
4. Conduct customer surveys or interviews: Provide participants with a list of questions to ask potential ceramics customers in order to gather primary data on their needs, preferences, and buying behaviour. Encourage participants to conduct surveys or interviews in person, over the phone, or online.
5. Analyse the data: Have participants analyse the data they have gathered and identify key insights about their target market, such as their needs, preferences, and buying behaviour. Encourage them to compare this data with information about their competitors to identify gaps in the market and potential opportunities.
6. Present the findings: Ask participants to present their findings to the group, highlighting the key insights they have identified about the ceramic market and competitors. Encourage them to discuss the implications of their findings for their new product, such as potential marketing strategies, pricing, and product features.

Reflect on the key insights and how they can be applied to future product development.

Remind participants to consider ethical considerations and privacy concerns when conducting customer surveys or interviews.

“Business Model Generation: A Handbook for Visionaries, Game Changers, and Challengers" by Alexander Osterwalder and Yves Pigneur

Batra, Rajeev, and Pamela Miles Homer. 2004. “The Situational Impact of Brand Image Beliefs.” Journal of Consumer Psychology 14 (3): 318–30.

Lamberton, Cait, and Andrew T. Stephen. 2016. “A Thematic Exploration of Digital, Social Media, and Mobile Marketing: Research Evolution from 2000 to 2015 and an Agenda for Future Inquiry.” Journal of Marketing 80 (6): 146–72.

To develop a clear vision and mission statement for a business.

To identify goals and objectives for a ceramic business.

To develop strategies for achieving ceramic business goals.

To create a financial projection for a ceramic business.

Whiteboard and markers

Business planning templates or worksheets

Calculator

Create a list of questions and prompts to guide participants through the process of developing a business plan, such as:

What is the purpose of your business?

What are your values and mission?

Who is your target market?

What products or services will you offer?

How will you market your business?

What are your short-term and long-term goals?

What is your pricing strategy?

What are your start-up costs and ongoing expenses?

How much revenue do you expect to generate?

How will you finance your business?

2.Vision and Mission: Have participants develop a clear vision and mission statement for their ceramic business. Encourage them to think about their values, purpose, and long-term goals.

3.Market Analysis: Have participants conduct market research to identify their target market, competition, and industry trends. Ask them to take notes on relevant demographic, psychographic, and behavioural information.

4.Product or Service Description: Have participants describe their products or services, including features, benefits, and pricing. Encourage them to consider the unique selling proposition of their offering and how it will meet the needs of their target market.

5.Marketing and Sales Strategies: Have participants develop a marketing and sales strategy to reach their target market. Encourage them to consider the most effective channels for reaching their audience, such as social media, advertising, events, and public relations.

6.Management Team: Have participants identify key members of their management team and describe their roles and responsibilities. Encourage them to consider the skills, experience, and expertise needed to run their business successfully.

7.Financial Projections: Have participants create a financial projection for their business, including start-up costs, ongoing expenses, revenue projections, and funding requirements. Encourage them to consider different scenarios and assumptions, such as different pricing strategies and sales volumes.

8.Conclusion: Have participants present their business plan to the group, highlighting their vision, goals, strategies, and financial projections. Encourage them to discuss the challenges and opportunities they anticipate, and the next steps they will take to launch their business.

Remind participants to be realistic when setting their goals and financial projections.

Encourage participants to seek feedback from others, including mentors and peers, as they develop their plan.

"How to Write a Business Plan" by Mike McKeever

The Business Plan Workbook by Colin Barrow; Paul Barrow; Robert Brown.

Prepare a portfolio that showcases their work and highlights their strengths

Practice their presentation skills to effectively communicate

Presentation software such as PowerPoint or Keynote

A list of potential buyers, investors, or collaborators to target

Feedback forms for participants to provide feedback to each other

Create a list of potential buyers, investors, or collaborators to target and share it with participants before the activity.

Prepare a feedback form for participants to provide feedback to each other on their pitches and presentations.

2.      Develop a compelling story: Discuss the key elements of a compelling story, such as identifying a problem, offering a solution, and highlighting the unique value of their work. Encourage participants to develop their own stories that communicate the value of their work.

3.      Prepare a portfolio: Discuss the key elements of a successful portfolio, such as showcasing their work and highlighting their strengths. Encourage participants to prepare their own portfolios using presentation software such as PowerPoint or Keynote.

4.      Practice presentation skills: Provide participants with opportunities to practice their presentation skills in a safe and supportive environment. Encourage them to use their prepared portfolios and stories to deliver effective presentations.

5.      Feedback: Provide participants with feedback forms to provide feedback to each other on their pitches and presentations. Encourage participants to reflect on their feedback and identify areas for improvement.

6.      Conclusion: Summarize the key takeaways from the activity and encourage participants to continue to practice their pitching and presenting skills in their personal and professional lives.

Provide opportunities for participants to share their reflections with the group.

Remind the participants to be concise and clear in their presentations, focusing on the key element of their story and portfolio.

Encourage participants to consider their audience and tailor their presentations to the specific needs and interests of potential buyers

Develop strategies for attending and making the most of industry events

Join local business organisations and online communities to connect with other marker and artists

Establish and maintain relationship with other makers and artist in the industry

Handouts with tips and resources for networking

Name tags

Business cards

Develop the presentation with information on the benefits of networking, strategies for attending industry events and tips for building relationship with other market

Prepare handouts with tips and resources for networking

2.Strategies for attending industry events: discuss the different types of industry events, such as trade shows, conferences and workshop. Provide tips on how to prepare for attending an event, how to make the most of the event and how to follow up with contacts after the event.

3.Joining local business organisations and online communities: discuss the benefits of joining local business organisations and online communities and provide information on how to find and join relevant groups.

4.Establishing relationships with other makers: discuss the importance of building relationships with other makers and artists and provide tips on how to start and maintain this relationship. Include the role-playing and hands-on activities to help participants practice networking skills into practice.

5.Conclusion: summarize the key takeaways from the session and encourage participants to start putting their networking skills into practice.

Ask participants to reflect on how they will incorporate networking into their professional development plans going forward.

Remind participants to follow up with contacts after events and to maintain relationships over time.

Encourage participants to step outside their comfort zones and approach new people at event

Learn how to create a social media strategy and content plan aligns with their brand

Develop skills in creating engaging and visually appealing social media content that resonates with their target audience

Pen and paper for note-taking

Develop a basic understanding of social media marketing strategies, including content creation and audience targeting.

1. Introduction: Begin by introducing the importance of social media marketing for promoting their work and building their brand. Discuss the different social media platforms available and their respective benefits.
2. Identify Target Audience: Help participants identify their target audience and understand their needs and preferences. Encourage them to consider demographic information, interests, and online behaviour.
3. Develop a Content Strategy: Guide participants in developing a content strategy that aligns with their brand and resonates with their target audience. Discuss the types of content that perform well on social media, including visuals, video, and text.
4. Create Social Media Content: Provide participants with hands-on experience in creating social media content that aligns with their brand and target audience. Encourage them to use their own work as inspiration and incorporate their personality into their content.
5. Understand Metrics and Analytics: Discuss the importance of tracking metrics and analytics to measure the success of their social media efforts. Teach participants how to use analytics tools to monitor their performance, identify areas for improvement, and adjust their strategy accordingly.
6. Engage with Followers and Build Relationships: Guide participants in developing skills to engage with followers and build relationships on social media. Discuss the importance of responding to comments and messages, and the benefits of establishing partnerships and collaborations with other brands and influencers.

Encourage participants to use visual elements such as images and videos to make their content more engaging.

Remind participants to monitor metrics and analytics regularly to identify areas for improvement and adjust their strategy accordingly.