Steven Hill Workshop

Sprayed & Layered Glazes for Mid-Range Electric Firing

Location: 323CLAY (323 W. Maple Ave., Independence, Missouri 64050) Dates: April 19th-22nd, 2024 Cost: $480

Description: Join Steven Hill for a 4-day workshop to learn glaze application that achieves a varied, layered surface in mid-range electric firing. You will see Steven’s personal studio, receive one-on-one coaching to apply his glazes to your own work, watch a throwing demonstration, see finished glaze results, receive glaze recipes and more!

- WORKSHOP DETAILS -

Friday, April 19, 1pm – 8pm -Dinner provided-

Beginning at 1pm, Steven will address ways to achieve the kind of richness and surface variation in electric kilns that potters have come to associate with reduction / atmospheric firing. The basic techniques of spraying and the more advanced theories of layering and blending glazes will be explained and demonstrated. Break for dinner 5pm- 6pm. From 6pm – 8pm students will wax their pots, develop a plan for glazing, and apply liner glaze.

Saturday, April 20, 9am – 6pm -Lunch provided-

Steven will work with each participant individually to provide guidance as they glaze their own work. The class will be divided into 2 groups. The morning group will glaze from 9am - 1pm and the afternoon group from 2pm – 6pm. You will be given a specific time slot to work with Steven. A sack lunch will be available between 11:30am-2pm, so you can eat based on your own schedule. Since this is a shorter work day, we encourage you to socialize with other participants or visit a couple of the galleries in the city, only a 25 minute drive away. Kilns will be loaded at the end of the day and begin firing so we can unload on Monday morning.

Sunday, April 21, 9am – 5pm -Light Breakfast and Lunch provided-

Steven will begin the day with a demonstration of his approach to making gestural forms at the wheel including assembly of multiple parts and application of slip. After lunch, Steven will lecture on spraying equipment, firing cycles, and further glaze experimentation.

Monday, April 22, 9am – 1pm, -Light Breakfast provided-

We will unload the kilns, discuss the fired results, and answer questions.

Participants should bring 2 vertically oriented pieces (thrown or hand built) no more than 8” h x 6” w, and 1 horizontal piece no more than 2” h x 8” w. The clay should be ^6 or ^10 porcelain or white stoneware. Pieces should be bisque fired before the workshop. Steven will be working with Standard 257 English Porcelain. If you normally work with textures or slip, feel free to use them on your pieces. Since Steven will work with each participant as they’re glazing, 3 is absolutely the maximum # of pieces!

Three Days with Steven Hill!  

February 23-25, 2024, Friday, 7-9 p.m. Saturday and Sunday, 10 a.m. to 5 p.m.

$225Class size: up to 30 students 

Steven is a master at creating lively, undulating forms enhanced with his beautiful, complex glazes that shift from matte to glossy on the same surface, achieving reduction-fired results in an electric kiln. In this three day demonstration workshop we'll learn about his unique tchniques. Throughout the 3 days Steven will discuss his philosophical approach towards making functional pottery.

Steven will start the weekend on Friday evening with a slide show.  

In the two days of demonstrations,  On Saturday Steven will throw, assemble, apply slip, all the while communicating his enthusiasm for functional porcelain, spraying glazes and single firing.   Steven considers form the most important single aspect of his pottery, paying particular attention to rims, feet, lids, spouts, and handles. Discussions will cover philosophy, design, technique, and making a living as a potter.He will make and assemble a wide range of forms, including pitchers, bowls, teapots, vases, covered jars, mugs, and unamis. On Sunday Steven will demonstrate trimming and assembly of pots. The day will include discussion of spraying and layering of glazes, electric firing, and a glazing demonstration of his personal techniques of spraying and layering glazes.  

Steven will bring samples of his amazing work for us to see at the workshop. It will be available for students to purchase. 

Steven's Artistic Journey “I have been inspired by the variation that occurs naturally across the surface of salt, soda and wood fired pots. In my own pottery, I have been creating atmospheric surface qualities through careful blending and layering of sprayed glazes for 50 years!”

Until December of 2008 Steven fired exclusively gas reduction, but he has discovered that his cascading rivulets of ash-like glazes and mysterious microcrystalline mat surfaces work just as effectively in oxidation as they do in reduction! Even the rich brown and orange colors that he always attributed to reduction firing are possible in oxidation. These days Steven fires exclusively ^6-8 electric oxidation.

Steven has single fired his pottery since the early 70’s and he will also touch on how this technique has influenced and inspired his work over the years. 

Steven says, "I love the variation that occurs naturally across the surface of salt, soda and wood fired pots. I salt fired for 2 years in the early 70’s but spent the next 38 years reduction firing in gas kilns. During the time I reduction fired I learned to create atmospheric surface qualities through careful blending and layering of sprayed glazes.

"In December 2008 I discovered that reduction plays a rather insignificant role in the finished look of my pottery. The cascading rivulets of ash-like glazes and mysterious microcrystalline mat surfaces work just as effectively in oxidation as they do in reduction! Even the rich brown and orange colors that I always attributed to reduction firing are possible in oxidation."

Throwing Relaxed, Gestural Forms – With an Emphasis on Design

 As intermediate throwers hone their skills, they often begin to show an affinity for working more precisely. Precision throwing can lead to sublime beauty or to mechanical repetition, leaving pots a bit stiff. As potters develop their eye along with their technical skills, they sometimes yearn to make forms that breathe – pots that show the plasticity of wet clay, even after they are fired.

While demonstrating, I will discuss the principles of design and how it relates to our pottery. We will cover the relationships between rims, feet, bellies, handles and spouts and talk about how our use of simple or compound curves, or possibly straight lines impact our forms. We will also discuss the use of “shape language” to help create a cohesive body of work.

This workshop will be structured for the potter with basic throwing skills, who would like to make relaxed forms that feel both well designed and more gestural. You won’t be encouraged to unlearn any of your hard-won technique, but rather to expand the ways of gently altering thrown forms.

We will start with drinking vessels and move on to bowls, pitchers, and/or vases.

Preparing for the workshop – Items to bring with you.

1. Bring all throwing and trimming tools you want to work with. Specific tools I suggest are:

1. Kemper S4 Stainless Steel Scrapper – This is absolutely essential and their similar shape, S3, doesn’t cut it for this class!

2. Red Mud Tool ribs

3. Curved rib for shaping bowls

4. A chamois for use on rims

2. Throwing bats if you are driving.

3. Plastic wrap for covering pots

Throwing Relaxed, Gestural Forms

As intermediate throwers hone their skills, they often begin to show an affinity for working more precisely. Precision throwing can lead to sublime beauty or to mechanical repetition, leaving pots a bit stiff. As potters develop their eye, along with their technical skills, they sometimes yearn to make forms that breathe – pots that show the plasticity of wet clay, even after they are fired.

While demonstrating, I will discuss design and how it relates to pottery. We will cover the relationships between rims, feet, bellies, handles, and spouts and talk about how our use of simple or compound curves impacts our forms. 

This workshop will be structured for the potter with basic throwing skills, who would like to make relaxed forms that feel both well designed and more gestural. You won’t be encouraged to unlearn any of your hard-won technique, but rather to expand the ways of gently altering thrown forms. 

We will practice alteration techniques with various drinking vessels and possibly a bowl. I will end the workshop with the demo of a larger pitcher or vase. 
Preparing for the workshop – Items to bring with you.

Bring all throwing and trimming tools you normally work with. Specific tools I suggest are:

1. We will supply a Kemper S4 Stainless Steel Scrapper – This is absolutely essential and their similar shape, S3, doesn’t cut it for this class! 

2. Curved rib for shaping bowls

3. A chamois for smoothing rims

4. Clay will be supplied

5. Light breakfast, drinks and snacks provided. Discount lunch options available from the Wheel Barrel restaurant.  

Friday evening opening and slide show!

Stan Simmons Studio, Fayetteville, NC,

1-910-237-6700

stan@customtrimco.com

I love the variation that occurs naturally across the surface of salt, soda and wood fired pots. I salt fired for 2 years in the early 70’s but spent the next 38 years reduction firing in gas kilns. During the time I reduction fired I learned to create atmospheric surface qualities through careful blending and layering of sprayed glazes.

In December 2008 I discovered that reduction plays a rather insignificant role in the finished look of my pottery. The cascading rivulets of ash-like glazes and mysterious microcrystalline mat surfaces work just as effectively in oxidation as they do in reduction! Even the rich brown and orange colors that I always attributed to reduction firing are possible in oxidation.

This workshop is designed to help you get the most out of YOUR glazes, applied to YOUR pots and fired in YOUR electric kiln. I will demonstrate the basic techniques of spraying and also spend time with more advanced theories of layering and blending glazes. I will cover ^6-8 glaze firing and briefly discuss lowering the maturation point of ^10 glazes to ^6-8. I will suggest ways to experiment with the layering process to create your own unique look. 

On the first day I will throw, assemble, apply slip and discuss my philosophical approach towards making functional pottery. On the second day I will demonstrate my personal techniques of spraying and layering glazes and students will glaze their pottery. We will then load the kiln(s) and fire overnight to ^6-8. On the third day I will lead discussions on firing schedules and the equipment required to set up your own spraying studio and on further glaze experimentation. On the morning of day 4 we will unload the kiln(s) and discuss the work.

I will bring fired examples of finished work to discuss with students and they will be available for purchase.

Workshop Fee: $500

Throwing Relaxed, Gestural Forms – With an Emphasis on Design

 As intermediate throwers hone their skills, they often begin to show an affinity for working more precisely. Precision throwing can lead to sublime beauty or to mechanical repetition, leaving pots a bit stiff. As potters develop their eye along with their technical skills, they sometimes yearn to make forms that breathe – pots that show the plasticity of wet clay after they are fired.

 While demonstrating, I will discuss the principles of design and how it relates to our pottery. We will cover the relationships between rims, feet, bellies, handles and spouts and talk about how our use of simple or compound curves, or possibly straight lines impact our forms. We will also discuss the use of “shape language” to help create a cohesive body of work.

 This workshop will be structured for the potter with basic throwing skills, who would like to make relaxed forms that feel both well designed and more gestural. You won’t be encouraged to unlearn any of your hard-won technique, but rather to expand the ways of gently altering thrown forms. 

 We will start with drinking vessels and move on to pitchers and lidded jars. If you would like to follow through with glazing and firing the pottery you make, you should consider signing up for “Gestural Throwing / Atmospheric Effects for Electric Firing,” July 25-30.

 On Sunday afternoon before the workshop, we will offer the option of a group tour of Frank Lloyd Wright’s Taliesin. This will dovetail nicely with our discussions of design this week.

 Preparing for the workshop – Items to bring with you.

1. Bring all throwing and trimming tools you want to work with. Specific tools I suggest are:

   1. Kemper S4 Stainless Steel Scrapper – This is absolutely essential and their similar shape, S3, doesn’t cut it for this class!

   2. Red Mud Tool ribs

   3. Curved rib for shaping bowls

   4. A chamois for use on rims

2. Throwing bats and possibly ware boards if you will be driving

3. Plastic wrap for covering pots

4. We will be using Paoli Grolleg Porcelain for this class. If you would like to use another clay you are welcome to bring it.

Steven Hill

Journey Workshop 2022- 2023

Adamah Clay Studio

June 5-11, 2022 (6½ days)

November 4-6, 2022 (3 days)

May 19-21, 2023 (3 days)

     My journey began with a summer workshop in 1972, taught by Peter Sohngen. Since the early 80’s, I have shared MY aesthetic and techniques in over 300 workshops. This workshop is different; it is about you and your relationship with clay. This journey is YOURS. – Steven Hill

 You are inspired,

You are motivated,

Begin your journey… now.

 What inspires you? Art? Music? Nature? Technology? Architecture? Each of us is capable of expressing unique individuality in our ceramic work. Is your work as personal as you would like it to be or does it seem more like a collection of techniques learned from others? 

 Your journey begins with 6 ½ days exploring your relationship with clay at Adamah Clay Studio. Through a combination of individual critique, group discussion and hands-on experimentation, you will set in motion the search for personal expression. You will leave The Journey Workshop with a plan for the upcoming year and return to your studio with focus, renewed motivation, a group of peers and a mentor to help keep you on track.  

 Who is a prime candidate for the Journey Workshop?

This workshop is perfect for the professional who feels stale, for the amateur who wants to develop their body of work, or anyone who wants to take their pottery or sculptural work to a deeper, more personal level. You should be comfortable with your basic ceramic techniques, as this workshop is not technically oriented. In the past, however, people at all levels of expertise have benefited greatly from taking the Journey Workshop. 

 Workshop Structure:

In preparation for your journey, Steven would like everyone to read 2 books. The first is, “Big Magic, Creative Living Beyond Fear” by Elizabeth Gilbert. This is a fabulous guide on accessing your creativity. https://www.amazon.com/Big-Magic-Creative-Living-Beyond/dp/1594634726/ref=sr_1_1?ie=UTF8&qid=1493173671&sr=8-1&keywords=big+magic.The second is “Steal Like An Artist: 10 Things Nobody Told You About Being Creative” By Austin Kleon. https://www.amazon.com/Steal-Like-Artist-Things-Creative/dp/0761169253/ref=sr_1_1?s=books&ie=UTF8&qid=1493173834&sr=1-1&keywords=steal+like+an+artist A private Facebook page will be set up in advance for students to communicate with each other before and during their journey, posting images, thoughts, questions and inspiration. The Facebook page is critical to group camaraderie and motivation. For the first weeklong session, bring as much information about yourself as possible… images or examples of recent pottery or other artwork, a journal or sketchbook, music, or anything relevant to your individuality. Each day during the initial week we will spend about half of our time in class discussions and group exercises. The rest of your time will be spent working in clay, drawing, journaling, or other individualized creative activities, applying insights gained in the class. Towards the end of the initial week, you will write a personal contract to help formulate your plan for the upcoming year. As your journey progresses throughout the year, you will have the option to schedule FaceTime critiques with Steven for $80 an hour. We will meet for a mid-year critique at Adamah Clay Studio in October 2022. In late May/early June 2023 we will reconvene for final critiques and to share and celebrate our individual journeys. The workshop will culminate with a show and opening. 

You will NOT be learning Steven Hill’s techniques in The Journey Workshop. Instead, this workshop is designed to help you find YOUR voice in clay. Steven will push you to go deeper and discover personal ways of expressing yourself. Yes, it is true there is nothing “new” in art, but that doesn’t prevent you from bringing your own unique spirit as a potter, sculptor, artist and human being to your personal work.

 The Journey Workshop DOES NOT INCLUDE firing at Adamah Clay Studio, unless you would like your work to be bisque fired to take with you. The work made for the show at the end of the Journey Workshopwill be made and fired in your studio throughout the upcoming year.

Workshop Schedule:

·      June 5-11, 2022 – Initial weeklong workshop at Adamah Clay Studio..

o   May – October 2022 – Studio work and preparation for mid-year critique.

·      November 4-6, 2022 – Mid-year critique at Adamah Clay Studio.

o   November – May 2022 – Studio work and preparation for show.

·      May 19-21, 2023 – Journey final critique, show and celebration at Adamah Clay Studio.

Additional Reading:

To find out more about Steven’s philosophy on these workshops, read the May 2007 Comment in Ceramics Monthly, Rethinking Ceramics Workshops. The Eight-Month Workshop: A Journey of Discovery, Steven’s article about the first Journey workshop that began at the Metchosin’ International Summer School of the Arts in Victoria, BC in July of 2007 and ended at Center Street Clay in March of 2008, is in the June 2008 issue of Ceramics Monthly. PDF’s of these articles can be downloaded at: http://www.stevenhillpottery.com/articles/. These two articles are feeling somewhat dated, as the process has evolved over 10 earlier Journey Workshops, but they are worthwhile reading nonetheless. 

If you have additional questions about the Journey Workshop you may contact Steven Hill directly: sahill@me.com

https://www.adamahartstudio.org/product-page/2022-2023-steven-hill-3-part-journey-workshop

Friday: Sept. 10th 2021
Saturday: Sept. 11th 2021 
Sunday: Sept. 12th 2021 

Booth #511

Gestural Throwing /Atmospheric Effects for Electric Firing

 This workshop is structured as a natural follow up to “Throwing Relaxed, Gestural Forms – With an Emphasis on Design,” July 18-23, for those that would like to spend 2 weeks at Adamah!

 Steven will demonstrate his techniques of throwing relaxed, gestural forms and there will be follow-up time for students to make a few pots, but since the main focus of the week is on glazing and firing, we will mostly be making smaller items to use as glaze tests.

 Students that do not sign up for the prior workshop should plan on bringing approximately 10 bisque fired pots for glazing. ^6 or ^10 porcelain is the first choice, but white stoneware will also work. A selection of forms is best, with emphasis on small to medium sized pots. It is also recommended to bring 12 - 16 vertical test tiles for experimentation.

 When glazing, Steven will address ways to achieve the kind of richness and surface variation in electric kilns that potters have come to associate with reduction firing. The goal is not to imitate reduction, but to set the stage so that multiple layered glazes can interact with each other in the firing. The basic techniques of spraying and the more advanced theories of layering and blending glazes will be addressed. Although glaze formulation is beyond the scope of this workshop, further experimentation with a wide range of glazes will be discussed. We will fire at ^8 oxidation, but all of the information is also applicable at ^6 or ^10. Firing schedules and how they affect glaze surfaces will be included in the discussion. Steven’s glazes will be available to use, but students are encouraged to also bring small containers of familiar glazes for experimentation.

 Preparing for the workshop – Items to bring with you.

1.    Bring all throwing and trimming tools you want to work with. Specific tools I suggest are:

a.    Kemper S4 Stainless Scrapper

b.    Red Mud Tools ribs

c.    Curved rib for shaping bowls

1. A chamois for use on rims

2.    Plastic wrap for covering pots

3.    We will have ^10 porcelain available for students to purchase, but if you would like to use your own body, I suggest a smooth textured ^6 or ^10 porcelain, but white stoneware will also work.

4.    If you have spray guns you want to experiment with, you are welcome to bring them.

5.    A cup / pint of a familiar glaze or 2 you would like to experiment with.

Throwing Relaxed, Gestural Forms – With an Emphasis on Design

 As intermediate throwers hone their skills, they often begin to show an affinity for working more precisely. Precision throwing can lead to sublime beauty or to mechanical repetition, leaving pots a bit stiff. As potters develop their eye along with their technical skills, they sometimes yearn to make forms that breathe – pots that show the plasticity of wet clay after they are fired.

 While demonstrating, I will discuss the principles of design and how it relates to our pottery. We will cover the relationships between rims, feet, bellies, handles and spouts and talk about how our use of simple or compound curves, or possibly straight lines impact our forms. We will also discuss the use of “shape language” to help create a cohesive body of work.

 This workshop will be structured for the potter with basic throwing skills, who would like to make relaxed forms that feel both well designed and more gestural. You won’t be encouraged to unlearn any of your hard-won technique, but rather to expand the ways of gently altering thrown forms. 

 We will start with drinking vessels and move on to pitchers and lidded jars. If you would like to follow through with glazing and firing the pottery you make, you should consider signing up for “Gestural Throwing / Atmospheric Effects for Electric Firing,” July 25-30.

 On Sunday afternoon before the workshop, we will offer the option of a group tour of Frank Lloyd Wright’s Taliesin. This will dovetail nicely with our discussions of design this week.

 Preparing for the workshop – Items to bring with you.

1. Bring all throwing and trimming tools you want to work with. Specific tools I suggest are:

   1. Kemper S4 Stainless Steel Scrapper – This is absolutely essential and their similar shape, S3, doesn’t cut it for this class!

   2. Red Mud Tool ribs

   3. Curved rib for shaping bowls

   4. A chamois for use on rims

2. Throwing bats and possibly ware boards if you will be driving

3. Plastic wrap for covering pots

4. We will be using Paoli Grolleg Porcelain for this class. If you would like to use another clay you are welcome to bring it.

This workshop is structured as a natural follow up to “Throwing Relaxed, Gestural Forms – With an Emphasis on Design,” July 19-24, for those that would like to spend 2 weeks at Adamah!

Steven will demonstrate his techniques of throwing relaxed, gestural forms and there will be follow-up time for students to make a few pots, but since the main focus of the week is on glazing and firing we will mostly be making smaller items to use as glaze tests.

Students that do not sign up for the prior workshop should plan on bringing approximately 10 bisque fired pots for glazing. ^6 or ^10 porcelain is the first choice, but white stoneware will also work. A selection of forms is best, with emphasis on small to medium sized pots. It is also recommended to bring 12 - 16 vertical test tiles for experimentation.

When glazing, Steven will address ways to achieve the kind of richness and surface variation in electric kilns that potters have come to associate with reduction firing. The goal is not to imitate reduction, but to set the stage so that multiple layered glazes can interact with each other in the firing. The basic techniques of spraying and the more advanced theories of layering and blending glazes will be addressed. Although glaze formulation is beyond the scope of this workshop, further experimentation with a wide range of glazes will be discussed. We will fire at ^8 oxidation, but all of the information is also applicable at ^6 or ^10. Firing schedules and how they affect glaze surfaces will be included in the discussion. Steven’s glazes will be available to use, but students are encouraged to also bring small containers of familiar glazes for experimentation.

Preparing for the workshop – Items to bring with you.

1.    Bring all throwing and trimming tools you want to work with. Specific tools I suggest are:

a.    Kemper S4 Stainless Scrapper

b.    Red Mud Tools ribs

c.    Curved rib for shaping bowls

1. A chamois for use on rims

2.    Plastic wrap for covering pots

3.    We will have ^10 porcelain available for students to purchase, but if you would like to use your own body, I suggest a smooth textured ^6 or ^10 porcelain, but white stoneware will also work.

4.    If you have spray guns you want to experiment with, you are welcome to bring them.

5.    A cup / pint of a familiar glaze or 2 you would like to experiment with.

Workshop canceled, due to Coronavirus.