Renzorodriguez

What the pages actually look like when a studio opens its doors

Every issue is built around photographs taken on site, not styled for a catalogue. Below are three spreads from recent issues, with the notes that ran alongside them.

Renzorodriguez for founders

Issue 14, Braamfontein

A beam becomes a tabletop

The first cut on a reclaimed Selby beam. Grain direction, hidden nails and the jig the makers built to keep the planer steady.

Renzorodriguez for founders

Issue 13, Woodstock

Throwing before the shared kiln slot

Three ceramicists split firing days. This frame was taken an hour before the kiln was packed, with glaze tests still drying on the shelf.

Renzorodriguez for founders

Issue 12, Glenwood

Registration on a nine-metre table

Pigment paste, a squeegee and a swatch archive that decides whether a colour gets reprinted next season.

For founders

You have the workshop. Now you need the story told properly.

Most small studios we visit are run by one or two people who spend their days at the bench and their evenings on invoices. What they rarely get is a clear, unhurried record of how the work actually happens: the sourcing trips, the failed glaze batches, the jigs built at midnight. That is the gap we fill. If you run a furniture, ceramics or textile practice and want it documented with the same care you put into the making, this is where to start.

We work with a small number of studios each issue. The conversation usually begins with a short call about your process, your materials and what you would rather not have written.

Next step

Send us a short note about your studio and the work you want documented.

Start a studio conversation

Not ready to write yet? Read how a feature comes together on the about page, or look at past studio visits in the archive.

What founders say after the first issue

Studio owners, workshop leads and independent makers who let us into their spaces, then read the result. Their notes on what the coverage actually did for them.

We expected a nice photo spread. What we got was a piece that quoted our timber sourcing honestly, including the months of air-drying and the beams we reject. Two interior clients mentioned it before we even sent a quote.
Thabo M. Furniture workshop, Braamfontein
The firing notes and glaze failures were written down the way we actually talk about them. Students from the art school started coming in asking about shared kiln time. That was the whole point of saying yes.
Lindiwe K. Ceramics studio, Woodstock
Screen registration on long tables is unglamorous work. They photographed it anyway, and the swatch archive got more attention than our finished yardage. Small-run orders picked up after the issue ran.
Priya N. Textile printing, Glenwood
Braamfontein Oak Co. Woodstock Kiln Collective Glenwood Print Room Salt River Clay Observatory Studio Notes

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