The Open Kiln

The Open Kiln offers you facilities to develop your interest in kiln forming beyond classes and workshops. The studio facilities are made available to you to create your work.

Four kilns are available - three electric and one gas fired kilns. The electric kilns range from 400 mm square through 500 mm square to 2200 mm by 1030 mm. The gas fired kiln which is suitable for fusing, slumping and paint firing is 400 mm by 600 mm. The costs vary according to the size of kiln and type of firing being done. The electricity or gas used is charged in addition to the kiln usage charge. information on these charges

Staff will be on hand to answer questions and give guidance with your projects and in the firing of the kiln. You can use your own glass or buy at the studio. You will need to have your own hand tools. Firing fees and mould rental charges apply. Contact Stephen to learn more about the charges.

At least one class in kiln formed glass is a prerequisite. It is expected that you will have some experience in and knowledge of kiln forming.

To enquire about an open kiln session contact Stephen Richard

The Open Torch

The Open Torch offers you facilities to develop your skills in torch working beyond the basics of classes and workshops.

The studio facilities are made available by appointment to you to create your work. Staff will be on hand to answer questions and give guidance with your projects and in the annealing of your pieces. You can use your own glass or buy at the studio.

Firing fees and gas charges apply. At least one class in torch working glass is a prerequisite.

To enquire about an open kiln session contact Stephen Richard

Open Access Studio

Verrier provides an open access arrangement for those without space or all the required equipment to make use of the studio and its facilities. This is done at times when there are no other major works in progress.


Bench space and a variety of machines are made available to the enthusiast to enable them to pursue their interest without the necessity of having to sign up to classes or obtain expensive premises and machines. It is expected that you will have your own hand tools and minor supplies such as paper and pencils.




Staff will be on hand to assist where necessary, although it is expected that a certain level of competence has already been achieved. The studio is outfitted for a variety of techniques: copper foil, leaded glass, kiln forming, and cold working.





Supplies are available for purchase if desired, but your own materials can be used when ever you wish.
You can make use of the studio on an hourly or a daily basis exclusive of major machine use. Go here for the charges.
To arrange a session, contact Stephen Richard

Comments on Workshops and Classes, 2011

Comments relating to Workshops and Evening Classes in 2011:

"I thoroughly enjuoyed the days, particularly as Steve varied it to suit the wishes of those present."

"Having used the facilities before, I knew what to expect on a one-to-one basis - Steve was every bit as good with four-to-one."

"Had a really nice time."

"Was always excited on a Tuesday to see how things turned out." [fusing evening classes]

"Everyone was nice and helpful. Always available for advice and nothing was too much trouble."

"No hurry, allowed to go at my own pace."

"Could I have a follow up from this one - more advanced - and using additional techniques?"

Fusing Workshop

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

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.

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).