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Setting Up Your Ceramic Studio: Ideas & Plans From Working Artists
"Scotchie gives us an insider's look at [how to] assemble vibrant, creative studio spaces. Floor plans are provided...The photographs are excellent."--Library Journal
Take a photographic tour of 10 beautiful ceramics studios, and discover exactly how and why each design so perfectly meets the artist's particular needs. Author and ceramist Virginia Scotchie covers all the practical decisions about equipment, workflow, and safety that go into setting up a new studio, from using the space effectively and dealing with lighting, electrical, and ventilation needs, to establishing a small business office. Every ceramist will find inspiration in Michael Sherrill's spacious and adaptable studio, so suited to his large-scale sculptures; Alice Munn's intimate and tidy atelier; and Ben Owen III's highly organized layout, arranged for volumes of production work and featuring a separate gallery.
Take a photographic tour of 10 beautiful ceramics studios, and discover exactly how and why each design so perfectly meets the artist's particular needs. Author and ceramist Virginia Scotchie covers all the practical decisions about equipment, workflow, and safety that go into setting up a new studio, from using the space effectively and dealing with lighting, electrical, and ventilation needs, to establishing a small business office. Every ceramist will find inspiration in Michael Sherrill's spacious and adaptable studio, so suited to his large-scale sculptures; Alice Munn's intimate and tidy atelier; and Ben Owen III's highly organized layout, arranged for volumes of production work and featuring a separate gallery.
128 pages, Paperback
First published March 1, 2005
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Displaying 1 - 5 of 5 reviews
January 4, 2009
More like a home and garden overview. Lots of lovely pictures of existing studios-- mostly in the Carolinas. Virtually nothing to help plan a studio of one's own.
February 22, 2026
Virginia Scotchie’s compact, image-rich manual reads less like a how-to pamphlet and more like a set of curated studio portraits: clear-eyed, practical, and quietly persuasive about the idea that a maker’s workspace is an extension of their thinking. She, herself a practicing ceramist, organizes the book around photographic tours, measured floor plans, and concise commentaries that let the reader both see and reason with how functional choices (flow, storage, kiln placement) shape making.
Form & method The author arranges the text as a sequence of case studies: each studio is introduced with a short artist statement, a spread of photographs, and at least one schematic floor plan. The result is a conversational dialectic between image and instruction: photographs supply the tactile specificity (shelves, ware-carts, kiln pads), while plans distill those specifics into repeatable moves. The book’s blurb—“Take a photographic tour of 10 beautiful ceramics studios”—is telling: this is as much a visual primer as it is a technical one.
Representative passages and tone The prose is economical and demonstrative rather than rhetorical. A short publisher/collection blurb captures the voice well: “Scotchie gives us an insider’s look,”—a phrase that both promises practical detail and sets an intimate tone for the studio portraits. Those few, plainly stated lines govern the text’s rhetorical strategy: show first, explain second. (Quoted fragment from publisher notes.)
What the book does well
Visual pedagogy. The photographs are consistently strong, and the floor plans make it straightforward to adapt ideas to different footprints—useful whether you’re converting a garage or designing a dedicated kiln shed.
Range of studio types. It profiles artists whose practices demand different architectures: the spacious, sculpture-oriented environment of Michael Sherrill; the tight, orderly atelier of Alice Munn; and the production-oriented layout of Ben Owen III. These contrasts do important conceptual work: they show that a “good” studio is not a single template but a suite of responses to scale, process, and end-use.
Practical coverage. The book treats the mundane but essential systems—ventilation, electrical requirements, kiln pads, storage solutions, glaze houses—and explains why those technical details matter for both safety and creative continuity. For readers who must balance artistry with code and insurance realities, Its emphasis on these systems is the book’s most valuable gift.
Limits and critical notes As a literary-minded reader, one can still wish for more sustained theoretical reflection: the book rarely leverages the studio as a site for thinking about labor, pedagogy, or the social economies that make certain studio models possible (communal clay shops, maker spaces, or institutional constraints receive relatively light treatment). The profiles skew toward established or production practitioners and toward U.S. sites (Penland, Seagrove references appear in the materials), which offers superb exemplars but less on low-budget, micro-studio improvisation or globally diverse practices. Those absences are not failures so much as delimitations of the book’s brief: it is a design portfolio first, and a cultural history second.
Who should read it This is an excellent resource for students, new studio-builders, and instructors who need a compact visual workbook for planning a ceramics space. Its discipline—photographs made to be read alongside floor plans—makes it especially useful as a teaching text in introductory studio courses or for artists making the leap from hobbyist to production. Collectors of craft monographs will also enjoy the book’s visual clarity and the way it stages working lives through domestic and semi-industrial interiors.
Appraisal Scotchie has produced a modestly sized but strategically organized handbook: a deliberate blend of inspiration and specification. If you want a book that will show you what good looks like in ceramic workspaces—and then give you the practical vocabulary to build something similar—this one belongs on your shelf. If you want a book that theorizes the studio as social practice or interrogates labor and access in depth, pair it with more analytical titles on craft economies and community studio models.
Form & method The author arranges the text as a sequence of case studies: each studio is introduced with a short artist statement, a spread of photographs, and at least one schematic floor plan. The result is a conversational dialectic between image and instruction: photographs supply the tactile specificity (shelves, ware-carts, kiln pads), while plans distill those specifics into repeatable moves. The book’s blurb—“Take a photographic tour of 10 beautiful ceramics studios”—is telling: this is as much a visual primer as it is a technical one.
Representative passages and tone The prose is economical and demonstrative rather than rhetorical. A short publisher/collection blurb captures the voice well: “Scotchie gives us an insider’s look,”—a phrase that both promises practical detail and sets an intimate tone for the studio portraits. Those few, plainly stated lines govern the text’s rhetorical strategy: show first, explain second. (Quoted fragment from publisher notes.)
What the book does well
Visual pedagogy. The photographs are consistently strong, and the floor plans make it straightforward to adapt ideas to different footprints—useful whether you’re converting a garage or designing a dedicated kiln shed.
Range of studio types. It profiles artists whose practices demand different architectures: the spacious, sculpture-oriented environment of Michael Sherrill; the tight, orderly atelier of Alice Munn; and the production-oriented layout of Ben Owen III. These contrasts do important conceptual work: they show that a “good” studio is not a single template but a suite of responses to scale, process, and end-use.
Practical coverage. The book treats the mundane but essential systems—ventilation, electrical requirements, kiln pads, storage solutions, glaze houses—and explains why those technical details matter for both safety and creative continuity. For readers who must balance artistry with code and insurance realities, Its emphasis on these systems is the book’s most valuable gift.
Limits and critical notes As a literary-minded reader, one can still wish for more sustained theoretical reflection: the book rarely leverages the studio as a site for thinking about labor, pedagogy, or the social economies that make certain studio models possible (communal clay shops, maker spaces, or institutional constraints receive relatively light treatment). The profiles skew toward established or production practitioners and toward U.S. sites (Penland, Seagrove references appear in the materials), which offers superb exemplars but less on low-budget, micro-studio improvisation or globally diverse practices. Those absences are not failures so much as delimitations of the book’s brief: it is a design portfolio first, and a cultural history second.
Who should read it This is an excellent resource for students, new studio-builders, and instructors who need a compact visual workbook for planning a ceramics space. Its discipline—photographs made to be read alongside floor plans—makes it especially useful as a teaching text in introductory studio courses or for artists making the leap from hobbyist to production. Collectors of craft monographs will also enjoy the book’s visual clarity and the way it stages working lives through domestic and semi-industrial interiors.
Appraisal Scotchie has produced a modestly sized but strategically organized handbook: a deliberate blend of inspiration and specification. If you want a book that will show you what good looks like in ceramic workspaces—and then give you the practical vocabulary to build something similar—this one belongs on your shelf. If you want a book that theorizes the studio as social practice or interrogates labor and access in depth, pair it with more analytical titles on craft economies and community studio models.
August 18, 2017
It's very regional but very inspirational on how they have set up their studios. I would love to see a book like this on Western Potters, to see how they work in a different environment.
May 6, 2020
Very helpful in determining the "flow" of a studio.
July 12, 2016
A little old. There's so much good info online these days that it's no longer as useful as I'm sure it once was.
Displaying 1 - 5 of 5 reviews