Studio Appointment Book · Provo, Utah
THROW
Becca Kearl LLC runs a studio appointment book for ceramic work and for the systems that hold it together, keeping each booking, glaze trial and class note in one careful ledger. The studio sits at 2985 Bannock Dr, Provo - 84604-4242, United States (US), where the wheel bench and the glaze shelf double as the working index for computer integrated systems design projects. Every session begins with a written slip and ends with a note that the next sitting can read, so nothing is lost between one pair of hands and the next. Walk the services and appointment list → to see how a booking travels from first enquiry to finished record.
Book a studio sitting →Most studios keep their bookings in three places at once: a paper slip on the wall, a notebook beside the wheel and a spreadsheet that only one person understands. Becca Kearl LLC was built to close that gap. The appointment book is the single source of truth for the studio, and it treats a ceramics session the same way a systems design office treats a project ticket, with an owner, a date, a state and a written trail. Because the firm also works in computer integrated systems design, the same discipline that keeps a glaze log readable also keeps an integration project auditable. Clients move between the two worlds all the time, and the book does not care which one they came from: it only cares that the record is complete and that the next person can act on it.
Every record in the book is written in plain language. There are no private codes, no hidden abbreviations and no shorthand that only a senior staff member can decode. A visiting teacher, a guest artist or a new studio assistant can open the book and follow a session from the appointment slip to the glaze log to the kiln note without asking anyone to translate. That property is the reason the studio has been able to grow while staying calm. Read more about the six studio services or arrange a first visit to see the book in person.
Each slip below is a standing service, clipped to the rail and stamped with its own kiln-mark.
The front desk records every enquiry on a numbered slip, files it in a bay and logs the time it took to answer. Each bay holds one person, one date and one clear promise about what happens next.
Read the full service →A glaze trial is written down the moment it is mixed. The log records the recipe, the batch, the kiln position and the result, so a colour can be repeated instead of guessed.
Read the full service →Teaching notes are kept beside the booking, not apart from it. After a class the instructor writes what worked, what failed and what the next session should try, and the desk files those notes for the student.
Read the full service →Regular open hours are posted in the book and reserved in advance. Members can claim a window, arrive with their work and leave with a written record of what they made.
Read the full service →Before a firing the book is checked against the kiln load. Pieces are matched to their slips, glazes are confirmed and any risk is recorded so the next round can learn from it.
Read the full service →A wheel sitting is the most basic booking in the studio. One bench, one block of time and one written intention, with the outcome logged before the apron comes off.
Read the full service →Through the peek hole of the studio kiln, Becca Kearl LLC opens its open-studio window every week for anyone who books a sitting in advance and wants a written record of the visit.
A spreadsheet is good at totals and bad at context. It can tell you that a booking happened, but it cannot tell you why the client changed the glaze, what the instructor noticed at the bench or how the last firing behaved. The studio book carries that context because it was designed to be read by a person, not summarised by a formula. When a client returns after three months, the book remembers the consistency of the clay, the mood of the last session and the exact glaze that convinced them to keep going.
That same habit of writing context down is what makes the systems design side of the firm dependable. An integration project that begins with a clear appointment and ends with a clear note is easier to hand over, easier to audit and easier to improve. The wheel bench and the server rack are not as different as they look, because both depend on somebody writing the next step where the next person can find it.
The Glaze Log Runs service is a good example. A single run produces a recipe, a batch record, a kiln position and a result, all tied to a booking number. If the result changes, the change is written beside the original entry instead of replacing it, so the history stays honest. Clients who run their own studios often ask for a copy of that pattern, and the studio is happy to share it during a walkthrough.
None of this requires exotic software. It requires discipline about where the pen goes after the wheel stops. The studio appointment book is a promise that the pen always goes to the same place.
Every appointment follows the same four-step path, whether the client came in for a wheel sitting or for a systems design scope. The path is short on purpose.
The enquiry is logged on a slip, given a bay number and answered within one working day. Nothing enters the studio without a slip.
The slip is matched to a bench for a ceramics sitting or to a board for a design scope, and the client is confirmed in writing.
During the session the book is updated as work happens: the glaze, the note, the change of plan. The record is written live, not later from memory.
Before the client leaves, the closing note names what was made, what was learned and what the next booking should open with.
The firm works across two fields that rarely sit together: professional scientific and technical services, and computer integrated systems design. In practice that means the studio does not only care for ceramics, it also cares for the processes around them. A small ceramics business that wants a dependable booking system, a teaching studio that needs a class note archive or an integration team that wants a project trail all use the same book and the same discipline.
Clients often arrive with a folder of loose papers, a camera roll of glaze tests and a shared drive nobody trusts. The first booking is usually a review: the studio reads what exists, turns it into appointment slips and rebuilds the log so it can be read by everyone involved. From there the work is steady and unglamorous, which is exactly what a good record should be. A colour that can be repeated is worth more than a colour that was lucky once.
When a project moves to the contact stage, the studio asks only for the essentials: who the work is for, what the record must hold and when the next milestone should land. The rest is handled by the book. If you are curious about the exact scope of each appointment, the services page describes all six in detail, including what the client receives at the end of a sitting.
The book is written for three kinds of client, and all three are welcome to share the same desk. The first is the solo maker who wants a bench, a wheel and a reliable record of what happened on that wheel. The second is the teaching studio that needs class notes filed beside the booking, so a student can come back a season later and still find the note that explains the glaze. The third is the small technical team that wants a clean project trail for a computer integrated systems design engagement, with each decision written where the next person can find it. None of these clients needs a different building or a different person at the desk; they need the same careful habit applied to their own work.
That is why the Appointment Slip Bays sit at the front of the studio rather than at the back. The bay is the place where a client is first understood, and everything downstream depends on how well that first conversation is written down. A bay that records only a name and a date wastes the rest of the book, so the studio records the reason for the visit, the material involved, the deadline and the person who will act on it. When the slip is complete, the sitting is already half organised.
The Open Studio Windows serve members who prefer to arrive with their own clay and their own tools. A window is posted a week ahead, claimed in the book and confirmed in writing, and when the member arrives the front desk already knows which bench is free. The Wheel Sittings serve the client who wants a single focused hour with a bench and nothing else, and the Kiln Review Rounds keep every firing honest by checking the load against the slips before the door closes. The Class Note Desks then close the loop by filing what the instructor learned beside the booking that produced it.
An appointment book is only as good as the materials around it. In the studio those materials are simple and they are the same every day: a slip for the enquiry, a pencil that never leaves the desk, a log for the glaze, a note for the class and a card for the kiln. The book sits at the centre and the materials orbit it. Because the materials do not change, the habit becomes automatic, and an automatic habit is the only kind that survives a busy week.
The clay and the glaze are treated with the same care as the paperwork. A batch of glaze is mixed, logged and labelled before it touches a piece, and the label carries the same reference as the log entry so the two can always be matched. A bisque tile leaning on the bench leg is not decoration; it is a test surface that proves the current glaze behaves the way the log says it should. The Glaze Log Runs service exists to make that proof repeatable, and the Kiln Review Rounds service exists to catch the moment when a proof stops matching its record.
The studio also keeps a small set of counters and accordions on its pages so clients can find what they need without reading everything. The counters are used sparingly, and only where a number genuinely helps: how many sitting types exist, how many review steps a firing passes through, how many class note desks are in use. The accordions hide detail until it is wanted, so a first-time reader is not buried. All of this is in service of the same idea, which is that the book should feel calm to open, whether the reader is a potter or a systems designer.
If you would like to see how these materials fit together, the contact page lists the studio hours, the full address and a short set of questions that most visitors ask first. The privacy policy explains how the book handles personal information, and the terms of service explain the agreement that applies to every booking. Both are written in plain language on purpose, because a record that nobody can read is not really a record at all.
Tell the studio what you want to make or what system you want to steady. The first conversation is free and the book is open on the desk.