Lynne Glazzard
I approached this, my first 'workshop session' with a little trepidation - soon dispelled by Maureen's infectious enthusiasm.
She began by telling us of her first experience of torch firing in the workshop of Duncan Devlin in Scotland, producing enamelled pieces without a kiln. The benefits of torch firing were that you could work without a kiln - or on pieces too large for your available kiln. It enables you to fire each colour separately - so that the colour doesn't jump and to apply different amounts of heat to different areas of the piece.