It takes a weekend at your own table and a few dollars of supplies. The bowl it leaves behind looks like it cost a fortune.
Even if you've never made a single thing with your hands, and the last thing you tried to glue back together is still sitting in pieces in a drawer.
Picture the weekend
Imagine sitting down at your own kitchen table on a quiet weekend afternoon with a broken bowl in front of you, maybe a thrift store find, maybe the one that chipped last Christmas, and getting up a couple of hours later holding something with a river of gold running straight through it. It catches the light like it belongs in a glass case. And the bowl that was garbage this morning is now the first thing anyone notices in the room.
Imagine setting it out on the shelf the next time people come over. Somebody picks it up without asking, turns it toward the window, and says "where did you get this?" Imagine what it feels like to answer that you made it. On a weekend afternoon. At your kitchen table. Out of a bowl that was broken.
And imagine discovering that the whole thing comes down to three inexpensive materials and a technique so forgiving that your "mistakes" only make it more striking. No kiln and no training. Just your hands, a quiet afternoon, and a little jar of gold.
Same technique, five looks
Change the bowl or change the metal and the same weekend technique comes out different each time. Here are five.
The project itself: deep indigo, gold from rim to foot, one weekend of work.
Pale green glaze that makes the vein look lit from underneath.
Quiet and warm, and the easiest look to match to a kitchen.
From the Beyond Gold bonus: silver veins on a near-black bowl.
The moment powder turns to metal. Module 4, about minute six.
How it works
The first time you see kintsugi (how to pronounce: kin-TSOO-ghee), the Japanese art of mending pottery with gold, nothing about it reads as a beginner craft. A bright vein through deep glaze looks like museum work, like somebody trained for a decade and charges accordingly.
Here is the part that surprises people: you don't need to draw, paint, or even have a steady hand. The crack already traced the design across the bowl. Your job is to glue the pieces level, keep the seam thin, and lay the gold where the line points. Every decision that matters is about order, and order can be taught in an afternoon.
Look closely at a real kintsugi vein and you'll find it wanders a little. That wander is why it reads as art and not a factory print. So the chipped bowl at the back of your cupboard, the one you keep reaching past but can't throw out? It's not damaged. It's half finished.
Fair questions first
Asked in every workshop Maya has taught. Answered straight.
"But I'm not artistic. I can't make anything."
Good. Most of the people I've taught said the same thing, and it turns out not to matter, because you're following a line that's already on the bowl. And the small irregularities in a hand-traced vein are what make a piece read as handmade art. The bowls of mine that draw compliments are the ones with veins that wander. I know exactly where they do. Nobody else has ever noticed.Maya B.
"I'll just make a bigger mess and ruin the bowl."
You'll make some mess early. Everyone does. Which is why the first bowl is a two-dollar Goodwill find, broken deliberately into a few clean pieces: the tuition on your first mistake is pocket change. And the modern method forgives in a way the traditional one never could, because cured epoxy can be scraped back and re-gilded. Almost nothing you do is final.Maya B.
Your instructor
I spent thirty-one years as a school librarian, and I still read the last page of a mystery first. Mending came later. It started the day my grandmother's rice bowl hit my kitchen floor in five pieces, the only thing of hers I had left. I glued it so badly I hid the pieces in a shoebox and couldn't look at them for a year.
Then I found kintsugi, and learned it the traditional way, with urushi lacquer: beautiful, expensive, months of curing for a single bowl, and a sap that can rash your skin like poison ivy. The version I teach gets the same look from modern materials that cost a few dollars and finish in a weekend. Grandma's bowl sits on my counter now, gold seams and all, and it holds the garden tomatoes.
These days I live in a small town in western North Carolina, in a house with a long kitchen window that gives me good light to work by. Teaching this is the best part of my week. If I can help you take a bowl out of your own shoebox, that's all I want.
The workshop
The weekend class Maya teaches in person, filmed close over the work: five modules take one broken bowl from pieces on the table to gold on the shelf.
What's inside
Watch in one sitting or spread it across the weekend. The videos stay short and the camera stays on the work.
Module 01
The setup, and the ten seconds of prep that decide whether the gold sits proud on the seam or sinks into a stain.
Module 02
The epoxy is the part everyone fears, and the most forgiving thing on the table once you know the trick.
Module 03
The one mental flip that separates a gold vein from grey glue.
Module 04
The ten quiet minutes where most bowls turn to mustard, and the person holding it won't find out for another hour.
Module 05
The part everything else was for. The gold comes up bright, the seam disappears into it, and this is the bit everyone films.
Included free today
The questions students ask after the first bowl, answered before you need them.
You made it. Now it has to survive your house, which is more dangerous for a mended bowl than a century on a shelf ever was.
Gold is only where you start. Silver, copper, and tinted veins keep the shelf varied and the craft interesting long past bowl one.
Once you can mend a break, the next move is to design one: a flawless bowl, broken on purpose, so the gold lands where you chose.
Forty vein layouts drawn flat, each with its gilding sequence printed beside it. Pick a break, pick a pattern, follow the map.
The price
The price of the Kintsugi Bowl Workshop is $97. That's what it costs, and that's what it's going to cost. It just isn't what you're paying today.
The course is finished: every video is shot, edited, and sitting on the server. What I don't know yet is whether I can personally answer questions from more than 100 students at once. In a workshop I can lean over and fix a seam in four seconds. By email it takes real time, and I'd rather answer fewer properly than many badly.
So I'm letting the first 100 students in at $47 instead of $97 while I find out. If I can keep up, the price goes to $97 and stays there. If I can't, the page comes down.
The Kintsugi Bowl Workshop
Five modules, four bonus guides, lifetime access
One-time purchase · Lifetime access
Before you decide
"Is $47 a lot for a hobby I might not stick with?"
One finished bowl answers that better than I can, but run the math the boring way: the workshop with all four guides costs less than a single factory "kintsugi-style" bowl from a home store, and those are printed patterns on unbroken ceramic. If it turns out this isn't your craft, the guarantee below hands the whole $47 back.Maya B.
"Isn't this just a decorative thing that ends up in a drawer?"
A mended bowl is the opposite of drawer clutter. It's built on the idea that the break is worth showing, which is why these sit out on shelves and mantels for decades and get handed down. Nobody holds one and thinks about the damage. They think about who made it.Maya B.
"I don't have a craft room or any equipment."
Module 1 is called The Shoebox Studio because the kit fits in one: epoxy, powder, brush, tape. Everything happens on a spread of newspaper at whatever table you already own, and it packs away between sessions.Maya B.
You don't have to make the final call today. Get in, watch everything, and take a bowl from broken to gilded, start to finish. If at any point in the next 30 days you're not glad you bought it, send me a one-line email and your $47 is back on your card within 24 hours. I won't ask what went wrong, and there's no form between you and the refund. The four bonus guides are yours to keep either way. I'd rather you tried this and walked away than spend another year glancing at a shoebox of pieces you can't quite throw out.
Questions
Before you go
I keep a shelf in my kitchen of bowls that were broken the day I met them. It started as one. Then there was a row, and then friends began handing me the pieces of things they never could bring themselves to throw away.
If there's a chipped bowl in your house that you keep for the sake of what it was, start with that one. Gold suits it.
From my table to yours, Maya B.
The Kintsugi Bowl Workshop
5 modules · 4 bonus guides · 40 vein patterns · Lifetime access
One payment · Yours for good
Get Lifetime Access to the Kintsugi Bowl Workshop Now Secure checkout · 30-day guaranteeLast updated: August 2026
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Safety Note. The course involves breaking ceramic and working with two-part epoxy. Follow the handling guidance in the videos, work in a ventilated space, and keep materials away from children. Mended pieces are decorative and not certified for food-contact use.
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Last updated: August 2026
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