Fusing glass together with heat is a wonderful experience. Cut and arrange the glass, place it in the kiln overnight and view a transformed piece of work the next morning! This decorative glass technique has immediate appeal and great versatility. The workshop combines two of the most popular forms of kiln working - fusing and slumping to give you either dramatic or subtle colours and shapes for the house or garden.
You will prepare a number of tests on the first day, using a variety of materials - metals, frits, confetti, mica, stringer and even cut glass. Discussions of kiln forming basics - glass, mould materials, firings, etc., will be interspersed with demonstrations and actual making.
This workshop integrates the fundamentals of kiln process with exercises. You will use clear and coloured glass to illustrate the principle of design and colour. You will make numerous studies beginning with basic materials and methods, building on them to create pieces to integrate them into your bowls. Several bowls will be produced during the workshop.
The workshop is held an a large bright and airy (but warm) working studio. The workshop is limited to a maximum of six people to give you individual attention. All kiln-forming classes are taught using Bullseye glass - the premiere fusing glass. All tools and materials and kiln firings are provided in the workshop fees.
Date: February 26-27, 2011
Time: 10:00am - 4:30pm or later if required
Price £175
Booking: A deposit of £50 is required one week before the workshop to secure your place.
Contact details
Saturday, 6 November 2010
Friday, 15 January 2010
Selection of a Training Course
Often selecting training in glass is a lottery. It most commonly is done through propinquity and incidental knowledge. Most often a course is chosen because information came to hand of a class that is being held nearby. These are not always the best criteria. It may be better to travel for a course that fits your needs better.
There are some things that you can check to help determine whether the course being offered is the one for you.
The first of course, is whether the instruction will meet your interests. Yes, the title has caught your attention, but you need to find out if the syllabus covers your area of interest adequately.
· Inquire for a syllabus or teaching outline. If there is not one, you may have a question on whether the course is well planned, as well as whether it deals with your interests.
· Ensure the course level is appropriate to your needs. Are there any prerequisites in terms of experience or ability?
Another important element in selection is the person who is leading the course. The leader may of course, may have brought in teacher for this subject, so you need to know things about both.
What is the background to the course leader? Some of the things you might want to find out are:
· Is the course leader part of a business providing materials,
· Is it in a centre of excellence
· Is it an accredited education provider
· Is the leader a studio owner or artist
· What is the history or experience in providing training courses
Who is the teacher? Some to the things you should ask about in addition to the person’s identity are:
· What is known about her/him? Is there a CV available?
· Where examples of work can be seen
· What experience does the person have in making in general and in making using the technique(s) being offered?
· What length of teaching experience does the person have?
Having satisfied yourself about the instructor(s) you need to begin doing some comparisons with other course offerings. Price is always important, but you need to know what value you are getting, so you need to know what is included in the price. Some of the things that affect price and value are:
· Tools – are they all included, or do you have to provide your own?
· Materials – are the materials included in the price or do you buy as you use?
· Equipment – is the use of all the machinery and facilities included? What is excluded?
· Food – are meals included and which ones? What refreshments are available?
· Length of instruction time – how many days are involved? What are the hours of instruction? Are there any extensions of instruction or working time?
· Numbers – what is the expected teacher to student ratio? This will affect the amount of time you receive from the teacher.
· Accommodation – if relevant, is it included? Is there any assistance in obtaining accommodation?
You should also find out about booking, deposits, cancellation conditions, and when payment is due.
Another element relevant to selection is the premises in which the course is to be held.
· Are they purpose built for the relevant activities?
· Are the premises general educational accommodation? Is it local authority classroom provision? Etc.
· Is the instructor’s studio being used? What space is available?
An obvious important element in selection is convenience.
· Location – is it near or easy to get to?
· Time - are the days convenient? Is the time of the day appropriate?
· Duration – how long are the sessions?
A really important element in selection is the evaluations by past students. These are difficult to get, and if supplied by the instructor, are open to doubt. The best source of evaluation is direct contact with past students. It is important to ask friends and other people in the field about the course being offered.
Documentation about the course is helpful in getting a feel about what is being offered. This might include information about the instructor(s), description of course, dates, times, cost, information on level of instruction, location, travel, facilities, and accommodation.
It is unlikely that you will get the best fit in every category. You will need to make compromises on various elements, so it is important that you think about what you want from the course. If there are one or two elements that you feel are important but not covered, you should contact the provider and ask about whether any accommodation to these requirements are possible.
There are some things that you can check to help determine whether the course being offered is the one for you.
The first of course, is whether the instruction will meet your interests. Yes, the title has caught your attention, but you need to find out if the syllabus covers your area of interest adequately.
· Inquire for a syllabus or teaching outline. If there is not one, you may have a question on whether the course is well planned, as well as whether it deals with your interests.
· Ensure the course level is appropriate to your needs. Are there any prerequisites in terms of experience or ability?
Another important element in selection is the person who is leading the course. The leader may of course, may have brought in teacher for this subject, so you need to know things about both.
What is the background to the course leader? Some of the things you might want to find out are:
· Is the course leader part of a business providing materials,
· Is it in a centre of excellence
· Is it an accredited education provider
· Is the leader a studio owner or artist
· What is the history or experience in providing training courses
Who is the teacher? Some to the things you should ask about in addition to the person’s identity are:
· What is known about her/him? Is there a CV available?
· Where examples of work can be seen
· What experience does the person have in making in general and in making using the technique(s) being offered?
· What length of teaching experience does the person have?
Having satisfied yourself about the instructor(s) you need to begin doing some comparisons with other course offerings. Price is always important, but you need to know what value you are getting, so you need to know what is included in the price. Some of the things that affect price and value are:
· Tools – are they all included, or do you have to provide your own?
· Materials – are the materials included in the price or do you buy as you use?
· Equipment – is the use of all the machinery and facilities included? What is excluded?
· Food – are meals included and which ones? What refreshments are available?
· Length of instruction time – how many days are involved? What are the hours of instruction? Are there any extensions of instruction or working time?
· Numbers – what is the expected teacher to student ratio? This will affect the amount of time you receive from the teacher.
· Accommodation – if relevant, is it included? Is there any assistance in obtaining accommodation?
You should also find out about booking, deposits, cancellation conditions, and when payment is due.
Another element relevant to selection is the premises in which the course is to be held.
· Are they purpose built for the relevant activities?
· Are the premises general educational accommodation? Is it local authority classroom provision? Etc.
· Is the instructor’s studio being used? What space is available?
An obvious important element in selection is convenience.
· Location – is it near or easy to get to?
· Time - are the days convenient? Is the time of the day appropriate?
· Duration – how long are the sessions?
A really important element in selection is the evaluations by past students. These are difficult to get, and if supplied by the instructor, are open to doubt. The best source of evaluation is direct contact with past students. It is important to ask friends and other people in the field about the course being offered.
Documentation about the course is helpful in getting a feel about what is being offered. This might include information about the instructor(s), description of course, dates, times, cost, information on level of instruction, location, travel, facilities, and accommodation.
It is unlikely that you will get the best fit in every category. You will need to make compromises on various elements, so it is important that you think about what you want from the course. If there are one or two elements that you feel are important but not covered, you should contact the provider and ask about whether any accommodation to these requirements are possible.
Saturday, 9 January 2010
Specially Designed Workshops
Specially Designed Workshops are arranged from time on various subjects. It is also possible to extend workshops by using the “Open Kiln” or “Open Torch” methods into a guided development of the techniques. Telephone or e-mail to propose new topics or dates and to find out what is being prepared. Other workshops can be organised on different topics or existing workshops can be held at different times (a minimum of 4 people is required).
Sunday, 20 September 2009
Corporate Events
I recently completed a corporate event for the National Bank of Australia. No, I didn't get to go to Australia to present it - NAB is the owner of the Clydesdale Bank. As a team reward and social event, the team leader decided to enquire about an activity rather than just a meal.
This allowed people to try something new and have some tangible results at the end of the event. The people arrived from work at about 6:00 and were scheduled to continue until 10:00.
This was an intensive programme, both in preparation and in presentation. Food and refreshments needed to be provided for 10 people. Materials needed to be prepared in advance, so there was little cutting required to make the pieces. Additional instructors were required to ensure everyone got enough attention.
We finally began to do some of the work at about 7:15 after eating. There was a good teacher : student ratio which enabled conversations about banking, family, music, and life. It was enjoyable for me and according to reports, enjoyable for the people attending too.
The organiser also reported to me that this was a cheaper event than taking everyone out to a meal. So the event seemed to score on the grounds of economy and novelty. Certainly, I am encouraged to try it again.
This allowed people to try something new and have some tangible results at the end of the event. The people arrived from work at about 6:00 and were scheduled to continue until 10:00.
This was an intensive programme, both in preparation and in presentation. Food and refreshments needed to be provided for 10 people. Materials needed to be prepared in advance, so there was little cutting required to make the pieces. Additional instructors were required to ensure everyone got enough attention.
We finally began to do some of the work at about 7:15 after eating. There was a good teacher : student ratio which enabled conversations about banking, family, music, and life. It was enjoyable for me and according to reports, enjoyable for the people attending too.
The organiser also reported to me that this was a cheaper event than taking everyone out to a meal. So the event seemed to score on the grounds of economy and novelty. Certainly, I am encouraged to try it again.
Thursday, 20 August 2009
Training testimonial
I received this very pleasing response after a linked series of training sessions done in collaboration with the Argylle and Bute Business Development Programme.
“Training sessions with you were invaluable, essentially creating technical building blocks allowing me to develop my new skills. A natural progression from this would be the enormous increase in my confidence & knowing that whenever I need help or advice, I can call you & voilla!
Thank you. "
Karen Liversedge
“Training sessions with you were invaluable, essentially creating technical building blocks allowing me to develop my new skills. A natural progression from this would be the enormous increase in my confidence & knowing that whenever I need help or advice, I can call you & voilla!
Thank you. "
Karen Liversedge
Wednesday, 22 July 2009
Testimonials
“Workshops - These were well run with all materials prepared in advance and all equipment readily available.
Explanations were clear and concise. The fact that the numbers were small made for a more personal, friendly approach which I like. Any questions or problems encountered were readily answered and rectified by Steve. Techniques were taught well enabling you to practise these in future projects.
“Studio Sessions - these were well supervised with materials and equipment readily available. Steve was always there to offer support and advise where necessary, enabling you to produce the pieces of work required. Steve's expertise with the kiln ensured that the finished piece of work was successful.
“I would recommend both the workshop and studio sessions and will be attending workshops and using the studio sessions in the future. “
Elma MacIntyre
Explanations were clear and concise. The fact that the numbers were small made for a more personal, friendly approach which I like. Any questions or problems encountered were readily answered and rectified by Steve. Techniques were taught well enabling you to practise these in future projects.
“Studio Sessions - these were well supervised with materials and equipment readily available. Steve was always there to offer support and advise where necessary, enabling you to produce the pieces of work required. Steve's expertise with the kiln ensured that the finished piece of work was successful.
“I would recommend both the workshop and studio sessions and will be attending workshops and using the studio sessions in the future. “
Elma MacIntyre
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