Continuum is a Culture of Learning
Cohorts.Art has tapped into a wealth of excellent craft educators. The Continuum program provides a focused study that can enhance any artistic education. We have developed Cohorts Continuum for members of the arts community looking for guided, consistent professional instruction with a trusted mentor who will help you grow and hone your practice.
Cohorts Continuum gives you a group, a guide, and curated access to a variety of artists and experts.
How it Works
In 2026, we will have 10 different Continuum Classes which are limited to 5 or 6 students.
Each class is a deep dive into a topic with a consistent mentor who curates the experience.
Continuum offers rapport and accountability while exposing you to a wide range of expertise and perspectives.
TUITION COST
For Cohorts alumni:
1 year | 12 two-hour zoom classes| $1,560 ($120 non-refundable deposit to hold your spot, then $120/month)
For non-alumni:
1 year | 12 two-hour zoom classes | $1,800 ($120 non-refundable deposit to hold your spot, then $140/month)
Registration for 2026 Continuum Courses opens November 17th.
Classes limited to 6 students.
Withdrawal Policy: If a student decides to withdraw after the year begins, they are responsible for 50% of the remaining annual tuition if there is no replacement student available.
Jen Allen — 1st Wednesdays, 12-2pm ET
Slab Built Pottery: Boosting Confidence in Creating and Reproducing Unique Designs
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This comprehensive course is designed for individuals seeking to refine their slab-building techniques and confidently develop unique, functional forms. Over several months, students will explore essential techniques:
- 3D clay sketching- Tin smithing strategies for form development- Learning how to construct innovative shapes using geometric principles.
As the course progresses, participants will delve into alteration methods like darting and pillowing, which focuses on adding and subtracting clay to manipulate forms.
Stamping and surface treatments will be covered as a way to add visual texture and personality to your creations.
Practical elements will also be emphasized, with detailed instruction on making functional lidded forms, creating precise spouts, and crafting ergonomic handles that are both functional and thoughtfully designed.
Additionally, students will gain insights into the technical aspects of using materials like Kanthal A-1 wire in ceramic forms, equipping them with knowledge of their properties and applications in kiln-fired work. By the end of the course, participants will have a stronger understanding of how to confidently create and reproduce their own distinctive slab-constructed pottery.
Instagram: @jenallenceramics Website: jenniferallenceramics.com
Judah Birkeland — 3rd Sundays, 3-5pm ET
Kiln Building and Design
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Whether you are an experienced ceramist already in the planning stages of building a kiln, or relatively new to clay and could use guidance determining what type of kiln might be best suited to your practice, this class will equip you with the requisite knowledge to embark on your kiln building journey. Participants will be encouraged to share about themselves and their work, including what their experiences with different types of kilns have been, how that has affected their personal aesthetic, and what kind of kiln they envision for themselves moving forward. The course content will then be tailored to the specific interests and needs of the group. Here is an example of topics we could cover:
Breaking down kilns by category and discussing the pros and cons of various designs.
In depth information about kiln building materials including: types of firebrick, ceramic fiber, castables, mortars, foundations, and much more. Sourcing these materials as well as covering their various costs.
Construction techniques: building foundations, how to lay brick, building arch forms, metal fabrication and welding, door designs, casting burner blocks and lintels, etc.
Burners and controls: a look at multiple types of burners, as well as safety measures such as standing pilot lights, baso switches and valves, electronic ignition, pressure switches, high limit controllers and more. We can discuss building burners in more detail if participants show particular interest in this avenue.
Wood firing: traditional designs vs alternative approaches: Anagama, Noborigama, Bourry Box, Train Kilns, Catenary Cross Drafts, Rocket Kilns, and my own personally designed high efficiency portable Compact Wood Kiln.
Designing kilns: each participant will choose a type of kiln that they would like to build. We will break down how to design your kiln and make a realistic road map of what it will require to build it. If you feel limited in your ability to actually construct your kiln we will discuss hiring an expert who can help guide you through the process or even help you with the build.
Guest Lecturers will include Linda Christianson, Ted Neal, and more.
I look forward to working with individuals who are eager to learn about the expansive world of kilns, and want to move their work forward by building one of their own. Through sharing the knowledge, insights, and technical skills I have developed during my career, and by fostering a group dynamic that encourages exploration, and challenges preconceived notions, I hope to broaden your understanding of kilns and help you develop a plan that will put you on your way towards realizing your personal kiln building vision.
Sam Harvey — 2nd Sundays, 3-5pm ET
Critique
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We all need feedback to help move our work forward. This class will focus on development of constructive feedback and critique skills within our cohort. The emphasis will be on providing thoughtful, specific and actionable feedback while fostering mutual respect and trust. Students will present their work , practice reflecting on their artistic process, and learn to articulate their creative intentions. Everyone will participate in critiquing their peers' work in a supportive and structured environment.
Through guided discussions and hands-on exercises students will learn to evaluate work based on elements such as composition , technique, context, meaning and emotional impact. This class is for all kinds of clay artists: functional potters ,vessel makers and sculptors! Guest critiquers will be invited.
Garth Johnson — 1st Saturdays, 3-5pm ET
Clay and Context: 20th Century Ceramic History
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Do you feel like your grasp of recent ceramic history could use a tune up? Are there historical rabbit holes that you could use a nudge to enter?
This online class focuses on the history and evolution of ceramics in the 20th Century to show the innovations that made our present world possible. We’ll examine the effects of potters like Bernard Leach and Shoji Hamada but also trends in the decorative arts like Art Nouveau and Art Deco. The course will be taught from within the Everson Museum of Art, which served as a launching pad for nearly every prominent ceramic artist of the 20th century. From the groundbreaking innovations of studio pottery pioneers to the radical shifts of the postwar ceramic movement, we’ll trace how clay evolved from craft to contemporary art form. Each session will highlight key works from the Everson’s collection, examining their cultural, historical, and artistic significance.
While the primary focus is on the 20th century, the course will remain responsive to the interests of the group, allowing for forays into non-western and other time periods to provide context and enrich discussion. Guest lectures by artists, curators, and historians will offer unique perspectives and deepen our exploration of ceramics as a living, evolving practice.
Whether you’re a maker, scholar, or enthusiast, this course invites you to engage critically with ceramics as both object and idea.
Zoom sessions, image-based lectures, readings, and open discussion
Facebook: https://www.facebook.com/extremecraft
Instagram: @Extremecraft
Everson Museum of art: www.everson.org
Lindsay Oesterritter — 1st Sundays, 3-5pm ET
Thinking Through Atmosphere
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Often when we talk about atmosphere, we are talking about the final firing and resulting surface from that firing. Let’s instead think about the atmosphere as all the decisions leading up to and including that final firing. As artists we are making small but important decisions throughout the creative process that set our visual voice. These details, successes, failures, and experiments are all felt and seen on the final piece. The final firing is in support of and continues these aesthetic, material, and functional decisions we have already made.
In this class, it is my goal to get to know each of you, and your atmospheric interests and goals. We will utilize this year-long class format to discuss all the aspects that lead into completing our wares, and how the atmosphere in our final firing can support our intentions. Just like a kiln load, the assembly of our class interests will greatly affect the outcome of dialog and discussions we have surrounding atmospheric firing. Beginners are welcome! Guest Lectures to be determined.
Website https://www.loceramics.com/
IG: @alindsayo
YouTube video recently published: https://youtu.be/bmKnWOu9yV8?si=mpDyeNRoWk83iq6_
Pete Pinnell — 2x/month for 1 hour each time, 2pm CT (NOTE: The times for this class are structured differently. Read course description carefully.)
Understanding Your Glazes
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Generally, two Sundays every month for one hour each time. Generally, the first meeting each month will focus on lecture and discussion, with the second reserved for looking at and discussing tests and troubleshooting problems. Some of the dates have been adjusted to account for calendar conflicts.
The class will discuss glazes in general but will focus on the glazes that are of interest to members of the group. This will include understanding how the glazes work, issues of application and firing, how to troubleshoot problems, and how to take advantage of opportunities for creativity.
January
Sat-Jan 4th through Thurs Jan 8th: Individuals will pick a time TBD. Pete will meet individually with each participant to talk about their knowledge and background, and what they hope to learn in the class.
Sunday Jan 18: Lecture
February
Sunday Feb 8: Lecture
Sunday Feb 15: Lab
March
Sunday March 8: Lecture
Sunday March 22: Lab
Possible informal meetup at NCECA (March 25-28)
April:
Sunday April 5: Lecture
Sunday April 19: Lab
May
Sunday May 10: Lecture
Sunday May 24: Lab
June
Sunday June 14: Lecture
Sunday June 28: Lab
July
Sunday July 12: Lecture
Sunday July 26: Lab
August
Sunday Aug 9: Lecture
Sunday Aug 23: Lab
September
Sunday Sept 13: Lecture
Sunday Sept 27: Lab
October
Sunday Oct 11: Lecture
Sunday Oct 25: Lab
November
Sunday Nov 8: Lecture
Sunday Nov 22: Lab
December
Sunday Dec 6: Lecture
Sunday Dec 20: Summary & Party!
Deb Schwartzkopf — 2nd Thursdays, 2-4pm PT
Crafting a Career: Vision, Voice & Visibility
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Are you ready to take your creative practice to the next level—but aren’t sure where to begin? Join Deb Schwartzkopf for a year-long, monthly series designed to help you build the professional skills you need to thrive as a ceramic artist.
Through practical tools, guided exercises, and open conversation, you’ll learn how to define your voice, present your work with confidence, and move your artwork out of the studio and into the world. Each session will explore key areas of artistic development—from writing an effective artist statement and photographing your work, to dialing in a compelling website and setting achievable long-term goals.
Build a personalized plan for your creative future, a professional packet (artist statement, bio, resume), and a deeper understanding of how to define and connect with your audiences.
We will set goals in our first session and work out a more specific calendar as we move forward as a group. Deb will also invite 2-3 visiting artists to add valuable perspective to the topics listed below.
Topics Include
Setting Goals – Breaking down complex challenges into manageable stepsThe Artist Packet – Writing your statement, bio, and resumePhotographing Your Work – For portfolios, websites, and applicationsWebsite Development & Critique – Building a strong online presenceArt to Market – Identifying venues that fit your work and how to reach themSocial Media & Online Community – With guest artistsMailing Lists & Newsletters – Staying connected with your audiencePlanning Ahead – 1-year, 3-year, and 5-year career mappingFinal Session – Reflecting on growth and sharing future plans
https://www.instagram.com/debspottery
Taylor Sijan — 3rd Saturdays, 3-5pmET (*February’s meeting will be 2/28)
Surface Design Techniques
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Explore the possibilities of surface design in this course focused on experimentation and layering at different stages of your making process! Students will be guided through many different surface techniques including texturing soft and stiff clay, stamp-making, slip application, sprig molding, carving, underglaze painting, making and using resists, decals, glaze layering, and more.
This course is intended to help students discover their own preferences and adapt techniques to amplify their artistic voice. Each class will include discussion about students’ ideas and current work, demonstrations of techniques, and time for students to play and explore the possibilities of the techniques shown. Visiting artist lecturers TBD after our first meeting.
Website: www.taylorsijan.com
Instagram: www.instagram.com/taylorsijan
Facebook: www.facebook.com/taylorsijanart
Antra Sinha — 2nd Wednesdays, 3-5pm ET
Building Large: Strategies for Scaling Up in Clay
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Creating large-scale clay sculpture and pots becomes much more approachable with thoughtful planning and technique. This class will cover essential considerations to make scaling up a successful and rewarding process, including:
1. Clay Body Selection – Understanding the importance of shrinkage rates and strength in choosing a clay body appropriate for large forms.
2. Sectioning and Connections – How to design your sculpture/pots in manageable parts for construction, transport, and firing, with attention to structural integrity and visual cohesion.
3. Surface Treatments – Exploring options for finishing large work, including raw glazing, brush techniques, and material testing for surface development.
4. Working Within Your Space and Kiln Limits – Adapting your creative process to the physical and technical realities of your studio and equipment. Students will begin by developing a personal concept for a large-scale piece. Through group discussion and individual guidance, and drawings we’ll work toward creating small models and a detailed plan for constructing the final form.
Drawing from my own journey of scaling a half-inch maquette into a five-foot sculpture—over multiple years and attempts—I’ll share practical insights into the challenges and rewards of making big. My time apprenticing with Ray Meeker, known for his architectural ceramics, and Robert Barron, a master of large pots, continues to inform my approach to construction and creative problem-solving. Their methods, combined with my own experience, will shape our conversations and strategies as we tackle the process of building large.
IG: @antrasinhausu
FB: Antra Sinha
Jinsik Yoo — 1st Sundays, 3–5 PM ET
Working through a Sculpture: From Creation to Installation
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This course is designed to guide students through the entire process of creating ceramic sculpture — from the initial concept to the finished piece. Students will develop individual projects, choosing their studio practices while thoroughly exploring the material properties and expressive potential of clay as a sculptural medium.
In addition to the making process, the course will cover key considerations related to presentation, installation, and transportation of sculptural works, offering practical strategies for real-world applications.
Sessions will be flexibly structured based on the group’s needs and may include demonstrations, lectures, and discussions. Guest lectures will be arranged according to participants’ interests, and regular critique and feedback sessions will give students opportunities to reflect on and improve their ongoing work.