Fire Power!: Follow Our Naked Raku Adventure

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PINCH, COIL, SLAB AND THROW Issue 51
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BATH POTTERS SUPPLIES

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Meet the team...
Welcome
ell, it’s early May as I write,
Jacqui Atkin
Toad house ....p38
Simon Shaw
Faceted vase ......
........................ p8
This morning, there was
snow in Scotland and the north of
W
but I don’t think you could
say that spring is here yet.
England, and even down on the south

coast, we’ve been waking up to regular
frosts in the morning. When the sun’s out,
it is warm, but the temperatures at night
mean it’s not yet safe to put out veg
Linda seedlings, even into my polytunnel.
Bloomfield Tracey Parsons There’s light at the end of the (poly) (24-25 July, sheffieldceramicsfestival.
Feldspars in Naked raku .. p72
glazes...............p36
tunnel, though! We’re receiving more com) and Art in Clay, Windsor
events listings (see page 6) as organisers (20-22 Aug, artinclay.co.uk).
start to fill up our summer diaries with Across the country, art trails will
arts weeks, exhibitions and shows. begin, and studios, galleries and pottery
Coming soon, in terms of larger events, associations will be opening up and
are the Ceramic Congress (27-31 May, exhibiting. We’ll continue to let you know
Jeni Jacques ceramic.school); the Potfests (Scotland, when we hear of these. In the meantime,
Doug Fitch Williams 11-13 June; Compton Verney, 25-27 June; many congratulations to our blogger,
Diary column Ideal customers In the Park, 23-25 July; In the Pens, Tracey Parsons, who has work being
.............................p68 ..............................p18 30 July-1 Aug, potfest.co.uk); the exhibited at Ferini Art Gallery in
9th Glasgow International Lowestoft as part of the Anglian Potters’
biennial (11-27 June, Spring Up show (feriniartgallery.co.uk).
On the glasgowinternational.org); the The forecast for the weekend is
PINCH, COIL, SLAB AND THROW
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Issue 51
threatening temperatures of a mighty

FOLLOW OUR NAKED
RAKU ADVENTURE
month is (2-4 July, aberystwythartscentre. 18°C in my area, so I’ll be out in the
our blogger co.uk); Celebrating Ceramics garden, sowing seeds, checking the bees
TOAD HALL!
MAKE A REFUGE
Tracey’s (16-18 July, Waterperry, and hacking back brambles – all, hopefully,
naked raku celebratingceramics.co.uk); The with the sun on my back. If the forecast’s
PLUS:
THROWING
CREATING FACETS
pot, page Great Northern Contemporary right, I
72. Craft Fair (17-18 July, won’t know
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FELDSPARE
what to do
ISSUE 51
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Issue 51 ClayCraft 3
Contents Issue 51
20 Project 2: garden planter
8
Flattened coils build into a large
planter, finished with a dramatic
magma-type glaze
36 Linda Bloomfield
Continuing series on glazing
materials, Linda takes a look at
feldspars
38 Project 3: toad of Toad Hall!

Create a safe haven for garden
amphibians with this slab build
18
54 Project 4: butterfly drinker
As well as nectar, butterflies and
bees need a water source, like this
pretty, practical dish
61 Me and my pot
Robert Fleming’s dramatic layered
and sgraffitoed form
6 News
Catch up with the latest news, 62 Surface decoration
views and comment An introduction to our upcoming
series focusing on surface
8 Project 1: faceted vase decoration techniques. Find out
Can you throw with one hand? what’s in store!
18 Diary of a studio potter

In episode 6, Jeni explains how to
identify – and sell to – your ideal
66 Cheshire Clay Studio
We catch up with the Cheshire
Clay Collective and see how they
36
customer fared over lockdown
20 38
4 ClayCraft Issue 51
54 CONTENTS
66
77 Courses
Do you need to find someone to
fire your work? Re-starting
68 Doug’s Diary classes? Search our free directory
61
Filming, big lamp bases and for listings near you
a long overdue haircut for Doug!
82 Next month
72 Confessions of a novice Find out what’s coming up, as
Tracey gets creative with naked we focus on summer tableware
raku in an electric kiln
76 Back issues
Single issues are available to find a
project you missed, complete your
collection, or add to your reference
72
library
❯❯ClayCraft apron
71 READER OFFER:
62
PINCH, COIL, SLAB AND THROW Issue 51
52 ClayCraft SPECIAL
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AR IN
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001 Clay Craft Cover Issue 51 v2.indd 1
IN THE
If you have a news story, product launch or details of some
S
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NEW
email claycraft.ed@kelsey.co.uk
DATES FOR YOUR DIARY!

● BUCKS ART WEEKS 2021 will be taking place throughout
the county from 12–27 June 2021. In the meantime, take a moment to browse
through this year's participating artists and makers and start planning who
you'd like to visit. www.bucksartweeks.org.uk
● POTS AT THE PARSONAGE

In the beautiful Old Parsonage Building on Stenner Lane, Didsbury, you will find
the work of 10 talented ceramic artists, all members of the Northern Potters
Association, South West Branch, exhibiting their work from 29-31 May.
Members of the NPA have been showcasing their work at the Old Parsonage
for many years, and it is one of their favourite venues. Visitors will find
sculptural, functional, decorative and explorative ceramics spread across three
galleries and all for sale. The artists who make the work will be in the building to
answer any questions you may have.
Also, in the Old Parsonage gardens, this year, for the first time, Muddy
Fingers Pottery will be running a Raku firing workshop. Visitors will be able to
take part in or watch this exciting firing technique.
Covid compliance will be adhered to throughout the event.
The Old Parsonage, Stenner Lane, Didsbury, Manchester, M20 2RQ
Facebook: @NorthernPottersAssociationSouthWest
Apologies ● EAST NEUK OPEN STUDIOS 2021

Last month we published an image East Neuk Open Studios is excited to announce its annual event will happen on
of the front cover of Mary Fox's 26-27 June. Over 40 artists will exhibit at Bowhouse – a fantastic, spacious East
book, My Life as a Potter, the wrong Neuk venue between Elie and St Monans, Fife. A further 10 artists will exhibit
way up. This book is a tall format, from their studios.
with the writing running vertically. There will be a diverse range of work, including ceramics, glass, textiles,
We do apologise for any confusion. painting, printmaking, wood, jewellery, photography and more.
The resident Bowhouse traders will be open for the weekend with food and
drink outlets.
For more information: Instagram: @eastneukopenstudios
Facebook: @eastneukopenstudios Website: eastneukopenstudios.org
NEW KILN SHARE SITE

Are you looking for somewhere to fire
your work, or maybe you're a potter
with spare capacity who'd like to earn PARTICIPANTS NEEDED
some extra income. There's a new Participants are needed for research
website that puts potters and kiln into the development of pottery skills
owners in touch with each other. in Great Britain during the Covid-19
"At Kiln Share, we believe in kiln pandemic.
sharing. Not every potter needs The study, led by first-year
their own kiln. Some don't have the Archaeology DPhil candidate at the
space, others don't have the upfront University of Oxford Cathy O'Brien,
investment. will examine potters' experiences ● a potter, or have started to learn
"We are on a mission to make it of working from home with limited to pot (handbuilding or throwing)
easy for potters to find a local kiln to access to studios or materials amid during the Covid-19 pandemic
hire whilst helping kiln owners earn the pressures of lockdown. It will also ● living in Great Britain
some extra income by renting out their look at how the impact of learning ● open to discussing wellbeing
equipment!" through media, such as online video ● aged 18 or over
You can search the website using an content, social media, and books, To find out more about the research,
interactive map to find kilns available alters skill development and how email Cathy O'Brien (catherine.
near you, and if you follow the page on that may impact more traditional obrien@keble.ox.ac.uk) or visit: bit.
Facebook (@kilnshare), you'll get live educational structures. To be eligible ly/3emgD6h
updates when a new service has been for the study, you must be: Deadline end of September 2021.
added. www.kilnshare.com
● ANGLIAN POTTERS EXHIBITION
Annika Schüler master

ceramist from Munich
fires with two TE-S series
toploaders
ROHDE kilns.
Enjoy your results.
● THE SOUTHERN CERAMIC GROUP
CERAMIC
EXHIBITION
S O U T H E R N C E R A M I C G R O U P
“It’s so inspiring when

2021 traditional crafts come together
with modern design.”
ROHDE has been producing kilns and machinery designed

to meet the highest standards since 1982. The company’s
ongoing pursuit of technical advancement creates
outstanding quality and efficiency that you can rely on.
So you can enjoy your results.
31ST JULY - 15TH AUGUST Learn more about Annika’s story

OPEN DAILY 10AM - 5 PM www.rohde.eu/en
FREE ENTRY
THE BISHOP’S KITCHEN, www.rohde.eu/en
CHICHESTER CATHEDRAL,
PO19 1PX
Over 600 items to view and buy
www.southernceramicgroup.org.uk
PROJECT
ONE
THROWN
FACETED VASE
This is a slightly more

complicated throwing project
than usual because part of it can
only be done with one hand. The
key to success lies in ensuring the
wall of the form is thick enough to
cut good facets that will remain
intact when bellied out. You may
have to practice a little
You will need:

■ 900g (2lb) clay of choice, to make a
vase approximately 16cm high
■ Tools for throwing – water bowl, sponge
on a stick, rib, cutting wire
■ Batt
■ Tool for cutting facets – it can be
homemade from metal packaging tape, a
wide-bladed loop tool or a mini wire harp
Before you begin:

A reminder when throwing – to save wordy
repetition!
Always compress the clay at the rim after
each lift – pinch the rim gently between
your fingers and thumb, at the same time
resting the forefinger of your other hand on
the rim and applying gentle pressure
DIFFICULTY RATING ★★★★★
1 3
c Prepare the clay by kneading it well to remove any c Continue by pushing the clay down with your right
possible trapped air, then form it into a rough cone shape. hand (thumb slightly over the top) while applying steady
Throw a pad for a batt, then fix the batt to the wheel pressure with your left hand at the side. This will level it off
head, giving it a thump with your fist to secure it in and bring it to centre.
place once centred – for details on how to do this, You are aiming for a flat-topped dome shape.
visit claycraft.co.uk/how-to
Dampen, but don’t flood, the surface of the batt, then

position the clay as close to the centre as possible. c Open out the centre by pressing the fingers of your right
Dribble a little water over the surface of the clay, then hand down through the clay to within 4mm of the batt,
pat it down to make sure it’s secure. steadying your hand with your left for a smooth action.
Centre the clay – you can see full instructions on how
to do this on our website – and begin by dribbling a
little more water over the surface, then cone the clay
5
up between both hands, applying equal pressure from
both sides to raise it vertically.
c Continuing to support your right hand with your left,

draw the clay back towards your body until the base is
opened to a width of approximately 7cm. .
PROJECT
ONE
8
6
Now cuff into the outer base of the clay with the sides
of your hands to establish a position from which to c If the rim flares outward after this manoeuvre, collar it
raise the wall. back to shape between both hands, as shown.
The resulting mass should look like a thick doughnut.
Lift the clay again following the same procedure but

7 only as far as you can without over-thinning the wall – it
must remain thick so you can cut the facets later.
c Change the position of your

hands and place the fingers of
your left hand inside the form
with your right-hand fingers
opposite, on the outside.
Lift the wall from the base to
form a thick cylinder, slightly
narrower at the rim than the
base.
10
12
Supporting the shape from the inside with your left-

hand fingers, carefully draw a rib over the exterior
surface to remove the excess slurry and the throwing
lines, then compact the clay at the rim to neaten up.
c With your left hand inside the shape to prevent collapse,

press into the clay about 2cm down from the rim with the
thumb of your right hand to close the neck a little and form
a shoulder.
11
c Carefully mop out the interior of the vase with a sponge

on a stick. .
PROJECT
ONE
13
Working from the shoulder down to the base and using your chosen cutting tool (see the options in ‘You will need’),
make a series of diagonal cuts around the circumference of the wall, placing each one next to the last.
14
Now place your left hand inside the form and, with the wheel turning at a gentle speed, belly the wall outwards by
applying gentle pressure from the base, increasing at the centre point then easing off toward the shoulder.
THIS IS A SINGLE-HANDED ACTION – keep your right hand well out of the way because if you touch the outer
surface, the faceting will be destroyed.
15 17
Once you’ve closed the neck to the size of the opening

you require, carefully pull up the rim between the
fingers of both hands until it’s a suitable thickness, then
Repeat the last steps to improve the shape of the belly gently flare it outwards to finish.
if required, but don’t over-labour the process, or you The finished height of the vase should measure
could lose the definition of the facets. approximately 16cm.
16
c Now turn your attention to the rim and carefully collar

the shoulder in with the fingers of your left hand and side
of your right hand – in the position shown. .
PROJECT
ONE
20
18
c Supporting the shoulder from inside with a single finger,
work over the outer surface with a rib to remove excess Now push the tip of the rib under the flattened clay,
slurry, then cut a simple groove at collar level with the tip of then gently lift it back onto the body to complete the
the rib to finish. form.
19
c Again using the tip of the rib, flatten off the excess clay
at the base of the vase by cutting into it slightly.
DECORATING THE SURFACE

You can decorate the surface of the vase in any way you
21 choose, but to achieve the look of this example, you will
need two glazes, one of which should be a magma-type
texture glaze
Holding a cutting wire taut between both hands,

carefully underwire the vase once, then lift it off the
wheel head, still on the batt.
Place the vase somewhere to dry out thoroughly, Pour enough of your chosen glaze into the vase to coat
ready for bisque firing. the interior thoroughly.
Rotate the vase to ensure good coverage, then pour
out the excess.
Finish up by brushing the glaze around the rim to
ensure it’s evenly applied.
.
PROJECT
ONE
3
2 Now apply the magma-type glaze over the belly of the

vase, up to the shoulder but not beyond. The aim is to
Continue to glaze over the exterior surface, down to create contrasting surface detail incorporating some
the lip created at the base where the clay was raised texture.
back onto the body.
Apply two more coats to the shoulder only, allowing
each to dry to the touch before applying the next.
The fired example

shown used Amaco
Potter’s Choice Indigo
Float for the main body
of the vase, with Mayco
Light Magma over the
top.
Bisque-fired to cone
04 (1060°C,1940°F)
and glaze-fired to cone
6 (1222°C, 2232°F) in an
electric kiln.

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DIARY OF A STUDIO POTTER
JOURNAL ENTRY 6
elcome back! Over the
W past few months, I’ve

been sharing hints and
tips for setting up your
own pottery business. Spring is finally
here, and it’s time to move on from
thinking about equipment and supplies
to identifying who will want to buy all
the amazing work you’ll produce!
When I set up my business, I knew
what I wanted to make, but I didn’t
have experience about where I should
sell my work or who would buy it. I’d
regularly been selling pottery to family
and friends, but I hadn’t found any new
clients. Without a creative background,
I wasn’t really sure where to start, but I
knew that I needed to quickly earn
some pennies to pay the bills!
While it can be tempting to think
that everyone will want to buy your c Deciding on which work will sell in particular outlets is the result of a lot of
ceramics, in reality, if you are not research, trial and error. Eventually you’ll have a pretty good idea of how to
specific about your client base, then you target specific locations and customers.
will waste lots of time and effort trying
to attract the wrong people, who won’t destroying. selling outlets to make sure that they
be interested in your products. One of the first things that I did was will be appropriate.
Alternatively, your work may be to focus very carefully on envisaging If you are already established but are
showcased in completely the wrong my potential ‘ideal’ customers. I struggling to recognise who your
environments, where your perfect client considered their gender, age, interests regular clientele are, why not conduct a
will never visit. In trying to sell to and hobbies, location, where they would survey and keep an eye out for the type
everyone, you can easily end up selling shop, what kind of things they would of person who is currently buying your
to no one, and it can be really soul- buy, how much they would be willing to work? I often ask my customers how
pay etc. This enabled me to have a they found out about my work so that I
clearer idea about what I would make to know where to go in future to attract
appeal to them and where would be the more like-minded clients. Things you
most appropriate places to sell my could ask is whether they are buying for
work. themselves or is it as a gift? Also, start
I recommend that you take some time keeping a note of your sales so that you
to go through this ‘brainstorming’ can see trends and understand the time
process. It will also be very useful in of year that things sell best. You will
keeping you focused when setting up begin to notice how some things that
your website, social media accounts, you make sell better than other pieces
branding, photography etc. To motivate and whether a particular colour is more
yourself try not to see it as a big, popular etc.
onerous job, but instead a short, fun The survey doesn’t need to be formal;
project that should only take a couple of just make a quick note on the sheet
hours. You could even give your ideal where you record the sale. I put a small
customer a name, a family history so clipboard out where people can leave
that they become familiar and stick in their details to be added to my mailing
your mind like an imaginary pottery list. This is really useful as it means
c The support of my friends and friend! That way, you can regularly that I can send direct marketing about
family has been vital in building my revisit them when you are considering new products, events etc, to the people
business. introducing new products or new who are already really interested in my
DIARY OF A STUDIO POTTER
e Creating an ideal client avatar is the most important marketing step you can
take. You can't be all things to all people, so pick one ideal customer and imagine
everything you can about their life. By being specific, you may have a smaller
pool of people to market to, but they'll all be more likely to be interested in what
you're selling.
would have been possible to juggle while, I kept designing new work and
everything without their support, changing my style, which didn’t help
work, and build repeat customers. Just encouragement, tolerance and heavy me to build a cohesive brand.
ensure that if you collect personal lifting! In conclusion, being an entrepreneur
information that what you are keeping There were good days, amazing days is all-consuming, and as I have said
and how you are storing it is in line and terrible days (one particularly before, it is not possible to do
with GDPR (General Data Protection windy day where some of my stock everything. After my year was up, it
Regulation) guidelines. blew over and smashed still makes me was definitely time to reassess and
Having completed my brainstorming, shudder). Having a spreadsheet to streamline what I would do in future,
I decided to do some market research to record all the events, my sales, and making sure my health and wellbeing
see where other similar creatives were initially (because I was unsure what to were at the forefront. I now had a clear
selling well in my area and online. I charge) the prices they had sold for gave record of what had worked well and
visited shops, markets and galleries to me clarity about what was and wasn’t what I wanted to do again. I could be
see where my products would be most working. Over the months, my ruthless and cross things out of my
appropriate and looked at social media spreadsheet expanded to include more diary for the next 12 months, as I knew
and online market places to find my markets, stall costs, shop names, where my work would be best received,
niche. All of this research helped me commission taken and even had and that is when my business started to
define where I felt would be the best columns for the weather and how I was grow and become established.
places to start to sell my work to target feeling. As I developed new products I really hope that by sharing these
my limited time and resources more and glaze options, I monitored the techniques and my lessons learnt, you
effectively. number of sales compared to the can be spared some of the pitfalls that
When you start out, it is often number of sales made previously. It starting a new business can bring. Next
difficult to build up large amounts of became a great method for recording month I will share some thoughts about
stock, so be careful not to take on too my progress, easily identifying which of how to go about the tricky issues of
much. I selected a small number of my work was most popular, which pricing your work and setting up a
shops and galleries that I would selling outlets worked, which didn’t and stall. ²
approach and a small variety of creative assisted me with setting a clear pricing
markets and fairs across my region that structure.
seemed most suitable. I then decided The early planning that I had done
that I would try each of them out over was really useful because, in the main, I
the course of one year, so I rolled up my had selected events that my work suited
sleeves and got stuck in. and where people were keen to buy. I
found that although my ideal customer
What did I learn? did appear regularly, different products
I’m not going to lie. It was blinking attracted different people, and so my
hard work, and even being selective initial educated guess about who would
with the number of venues and events I like my work evolved into a more
was committed to, I still ended up clearly defined customer base.
running around all the time and Some work that was really popular
constantly making, packing and and sold out in one location, left me
unpacking stock, which was physically making more of the same that didn’t
and mentally exhausting. When I look sell at all in another location. Go figure.
back now, I’m not sure where I got the New products that I was really excited
energy, but it was probably a fear of about often took longer to sell than I
failure and having to go back to my old anticipated. This made me realise that Jeni Jacques Williams
job that kept my enthusiasm going! I people often have to see a piece a few Lemon Studio
was also very lucky that my family and times before they will part with their Tel: 07813333235
Email: jenijacques@btinternet.com
friends, in particular my husband, were hard-earned cash. This realisation came lemonstudio.co.uk
all so supportive, as I don’t think it a little too slowly to be honest, so for a
PROJECT
TWO GARDEN
This fabulous planter uses a volcanic-type glaze to give it an
aged and worn look. You can make these in any size you like,
from squat to tall, slim or wide, and they look lovely grouped
together in varying proportions
You will need:

■ Stoneware clay – the weight will depend on the
size of planter you want to make
■ Rolling pin, roller guides (5mm minimum),
large plastic sheet
■ Plaster relief panel – See issue 32 or go to
claycraft.co.uk/how-to – for instruction on how to
make one
OR – a decorative impressing tool like the MKM

roller also used here
■ Two glazes of choice, including a volcanic type
(more detail of those used here at the end)
■ Brushes
Before you begin:

We haven’t given dimensions for this planter because
the size you can make will depend on what your kiln
can accommodate, but the one demonstrated here
is 25cm tall with a 20cm-diameter base. The final,
glazed version that has been planted up is shallower
but much wider. The principles for building are the
same no matter what the size.
PLANTER
.
PROJECT
TWO
3
1
Prepare a block of clay – it
should be large enough to
make the base slab for your
planter when rolled out, so c Lifting the base on the plastic sheet, carefully turn it
estimate according to the size over onto another wooden batt, then peel the plastic sheet
you plan to make. off the back.
Working on a sheet of
plastic, reduce the bulk of the
clay by beating it with the side 4
of your rolling pin. Work in measured, even strokes
from one side of the clay to the other to avoid making
deep grooves in the surface.
Roll out the clay between your roller guides.
You will find that periodically turning the slab will
make rolling much easier and give you more control to
achieve the approximate shape you need. It will need
to be roughly round for the first part of the project.
Once rolled out, smooth over the surface of the slab
with a rib to compact the clay.
c Roughly form a thick coil between both hands. Estimate

the amount you will need based on the size of the base
circumference. You should be aiming for a thickness of
approximately 3cm when fully rolled.
c Use something round, like the wooden batt shown here,

to cut around for the base of the planter. c Place the coil on a non-absorbent work surface and roll
While the slab is still in place on the plastic sheet, position it back and forth with the palms of your hands, working
the batt and cut around the perimeter. from the centre out to the ends.
6
8
c If the coil flattens in the process of rolling, twist it in

opposite directions at each end to return it to round, then
roll it again.
Score the perimeter of the base slab with a serrated
kidney, then apply a good brushing of slip.
Place the coil on a long sheet of plastic, then, elevating

it at one end, begin to flatten along its length with the
heel of your hand, as shown.
When you’ve worked along the whole length, turn
the coil over and repeat the process to lengthen it
further. 9
Continue to flatten the coil in this way until it is 5mm
thick – no thinner – and try to keep the edges square.
c Attach the flattened coil onto the base in an upright

position, positioning it slightly in from the edge and
overlapping the ends. .
PROJECT
TWO
12
10
c Cut through the overlapped ends at an angle, as shown.
c Blend the clay over the join with a wooden tool on the
inside while supporting the wall from behind with your
other hand.
13
11
Score and slip the cut ends,
then join them together,
holding them in place for a
few seconds for the surfaces
to seal together. Returning to the outside surface, draw the clay from
the base slab up and onto the coil wall with your
thumb to seal and reinforce the join.
16
14
c Work over the reinforcement with a rib to refine the

Brush some slip around the join on the inside of the surface and create a gently rounded angle.
planter, then run a thin coil of soft clay around it,
pressing it into place with a finger.
17
Use a square-edged metal rib to refine the outer

surface. Sit it squarely on the batt against the wall and
15 draw it around the perimeter until all irregularities are
removed, and the surface is smooth.
c Blend the coil in with a

wooden tool, working the
coil down onto the base
slab and up onto the wall. .
PROJECT
TWO
21
18
c Prepare another thick coil as you did the first one, then
score and slip the rim of the planter, ready to attach it. c Roll a very thin coil of soft clay and carefully press it into
the join on the inside with your thumb.
22
19
c Position the second coil, rim to rim on the first one,
making sure that it doesn’t start and finish in the same
place as the lower coil. Gently ease it into place inch by Blend the coil over the seam using a wooden tool, then
inch, between your finger and thumb. neaten up with a rib.
Try to maintain a vertical, smooth surface at all times.
20
c Overlap the ends of the coil as you did the first one, then
again, cut through both at an angle.
Seal them together after scoring and slipping them and
work over the join with a rib to neaten up.
THE DECORATIVE DETAIL

23 We are including two methods for the decorative panel
at the top of the planter for those of you who don’t have
or don’t want to make the plaster relief panel. You can
omit the decorative detail entirely if you prefer – in which
case, simply continue to build the wall up to the height
you require before applying the rim.
24
Repeat the process on the outside of the wall to

reinforce the join but use the square metal rib to refine
the surface and ensure the wall is perfectly vertical.
c Following the method for rolling slabs, roll one long and
thick enough to fit your relief panel.
Once rolled, carefully cut it to size.
25
Place the slab in the mould

and press it into place with
your fingers to ensure it fills
the texture detail underneath.
.
PROJECT
TWO
28
Carefully lift the panel out of the mould, then make

as many more as you need to fit the circumference of
your planter.
26
c Roll over the surface of the clay with a rolling pin to fully
ensure the clay has filled the detail.
29
27
c Place a batten at one end of the mould, sides resting on

the plaster wall, then carefully draw it back towards your c Holding a pin rigid in one hand as you turn the planter
body to remove the excess clay and level the surface. on a whirler, carefully mark a level line just below the rim.
30 32
c Shave the rim down to the level line using a surform

blade. Fix the first panel onto the rim, making sure it sits
securely ready to attach subsequent sections.
31
Score and slip the levelled rim and one edge of as

many relief panels as you will need to fit around the
circumference. 33
c Score and slip the ends of each panel before joining

them together. .
PROJECT
TWO
TROUBLESHOOTING TIP
35
34
If you find your panels don’t quite meet, but there’s no Carefully cut away the bulk of the excess on the outside
space for an additional section, roll a small coil of clay wall of the join, then blend the coil onto the wall on the
and pinch it to the thickness of the space. inside.
Fix the coil between the sections, then join the ends Smooth over the area with a rib to neaten up when
together. finished.
ALTERNATIVE TO RELIEF PANEL

36
Use a wooden tool to model the join on the outside

to match the rest of the relief, then neaten above and
below with a rib.
The panel should look seamless when finished.
38
c Following the method explained at the beginning of the
project, roll a 10mm thick slab long enough to fit around
the circumference of the rim of your planter.
37
39
c Use your tool of choice to impress a band of design

along the length of the slab. The MKM roller shown here
is perfect for this. They are available in a wide range of
c Now reinforce the main join on the inside of the planter designs to suit all styles and are very easy to use with the
with a coil of soft clay, as you did when attaching previous
coils.
handle, which allows the roller part to be changed when
required. .
PROJECT
TWO
42
40
Cut the slab to the size required, then fix it onto
the planter in the same way as the panel explained
previously. c Cut the flattened coil to a width of approximately 2.5cm
or the width of a batten, as shown here.
Reinforce the joins inside and out in this case, with
coils of soft clay, then model the clay with a wooden
tool where the ends meet to neaten up the pattern. You
may find the impression does not exactly match at the 43
ends, but you should be able to approximate the design
so as not to be noticeable.
c Score a central line along the length of the coil using a

serrated kidney.
44
41
Turn the coil over, then place

a batten on each side and
squeeze it together at the top
c Roll a 2cm-thick coil long enough to fit around the rim of to angle the edges, as shown.
your planter. Remove the battens, then
Flatten the coil to a thickness of about 5mm as you did run your fingers along the
earlier, then smooth over the surface with a palette rib to length of the angle to soften and round the edges.
ensure it’s smooth and even.
45 48
c Score and slip the c Run a reinforcing coil under the rim on the inside of the
rim of the planter, then
planter. Smooth it in first with a finger, then work over the
position the coil around
area with the rounded end of a small rib.
it, making sure the scored
area on the underside sits
on the scored, slipped rim.
49
46
c Cut through the overlapping ends of the coil at an angle, c Run a finger around the outer edge of the rim to soften
then join the ends together after scoring and slipping them. and round off the edge.
Smooth over the join with a rib until it’s no longer visible.
50
47
c Stamp out some drainage holes in the bottom of the

c Place a wooden batt over the planter and press down planter using a suitably sized cutter. This old scout woggle
gently to ensure the coil has sealed onto the wall. is the perfect size for the job!
.
PROJECT
TWO
53
You don’t need to glaze the interior of the planter

unless you want to, but it is useful to glaze about 3cm
down the inside from the top to avoid the possibility of
the bare clay showing when planted up.
Begin the glazing at this point using your colour of
choice. Place the planter on a whirler before you begin
– being able to rotate it will allow you to apply the glaze
much more evenly.
Cover the entire surface of the planter in your first
choice of glaze, working down to the tape line.
ONE COAT ONLY
51
c Allow your planter to dry out slowly before bisque firing.

DECORATING
You will need three glazes for the effect shown here –
one of which needs to be a volcanic type.
52
c Run a length of masking tape, 5mm from the bottom

edge of the planter, as a line to glaze to.
54
Apply random dabs of your second choice of glaze over the relief/impressed area at the top of the planter.
Allow the glaze to dry to the touch.
55
Now cover all the area previously glazed with the volcanic glaze. The thicker you apply it, the more textured it will be
when fired, so apply one coat for a subtle effect or two or three for a more aged look.
56
When fired, you can clearly see the volcanic/lava-like property of the glaze with hints of colour behind.
The glazes used for this planter were Mayco Satin Patina base with Capri Blue highlights over the relief and Light
Magma over the top.
Bisque-fired to cone 04 (1060°C, 1940°F) and glaze-fired to cone 6 (1222°C, 2232°F) in an electric kiln.
LINDA BLOOMFIELD
USING FELDSPAR AND VOLCANIC ASH IN GLAZES
Linda Bloomfield is a scientist

turned potter. More glaze recipes c Medium-grained granite from Devon. The dark crystals contain iron and
can be found in her books, magnesium, while the white and pink patches are feldspar, and the grey areas are
Advanced Pottery (2011), Colour quartz.
in Glazes (A&C Black 2012), The
Handbook of Glaze Recipes magma has cooled very slowly and has but feldspars also contain silica and
(Bloomsbury 2014) and Science formed large crystals of feldspar and alumina, which contribute to the glaze
for Potters (The American Ceramic
Society 2017). Her new book Special
quartz. The ceramics industry prizes the structure. Soda feldspar has a slightly
Effect Glazes, and the second feldspar found in the lighter-coloured, wider firing temperature range and is
edition of Colour in Glazes are high-silica rocks such as granite and often used in mid-temperature glazes,
both out now. Linda has recently pegmatite, the latter having very large while potash feldspar is used mainly in
launched her online glazing course,
How Glazes Work, on her website: crystals of feldspar. Darker-coloured high-temperature stoneware glazes and
lindabloomfield.co.uk rocks containing iron oxide and clay bodies. Potash feldspar will give more
magnesium are less used in the ceramics scratch-resistant glazes, while soda
ontinuing from my article on industry as they are more likely to make feldspar is slightly softer and also has a
C clay in the previous issue,

this month, I will be
describing all the different
types of feldspar and how they are used in
brown glazes. However, potters using
local materials in their glazes often make
use of the darker-coloured rocks such as
basalt. Granite contains two main types
high thermal expansion, which can cause
glazes to craze. A type of potash feldspar
found in Cornwall, called Cornish Stone,
is higher in quartz than most feldspars
glazes. of feldspar crystals; soda feldspar, known and is used in stoneware glazes, although
Feldspar is one of the minerals found in as albite, which is white, and potash it is no longer mined and has to be made
granite rock, a mixture of feldspar, quartz feldspar, known as orthoclase, which can up from a mixture of other feldspars and
and mica. Granite is an igneous rock be pink or white. The feldspar that is quartz. I often use a feldspar from Finland
formed underground where molten ground and sold to potters is usually a known as FFF (Finnish floated) feldspar,
mixture of soda and potash feldspars but which is a potash feldspar that is also
is named for whichever type is dominant. relatively high in soda.
In the US, feldspars are named after Nepheline syenite is a type of
particular mines; for example, Custer feldspathic rock related to feldspar but
feldspar is a type of potash feldspar, while much lower in silica, so it is often used for
feldspars from North Carolina (NC-4 making matt glazes. It has a higher
feldspar, now called Minspar) are soda concentration of sodium oxide than any
feldspar. feldspar. Some types of feldspar contain
Feldspar is an important flux used in lithium, an alkali metal flux similar to
glazes and clay bodies. It helps melt the sodium and potassium. Lithium oxide has
silica in the glaze at temperatures a lower thermal expansion than sodium or
c Granite from St Austell, Cornwall. achievable in a kiln. The active fluxing potassium, so it can be useful in
The pink crystals are potash feldspar. agents are sodium and potassium oxides, correcting crazing. Crazing is when a
GLAZING
sea is salty). Lithium carbonate is slightly

soluble in water and may eventually form
crystals in the glaze bucket, which need to
be ground up, dissolved in water and
Quartz crystal. added back into the glaze.
If you make your own glazes, you don’t
need to buy all the feldspars; just choose
network of cracks develops in the glaze one or two. I use FFF and soda feldspar
after removing from the kiln, in my glazes. You can substitute soda
accompanied by pinging sounds. Lithium feldspar for potash feldspar in most glaze
also helps to brighten glaze colours recipes, but if you use nepheline syenite to
obtained from colouring oxides. Feldspars replace feldspar, you also need to add
containing lithium include petalite, extra silica to your glaze to end up with
spodumene, lepidolite and amblygonite. the same formula. The easiest way to
Petalite is high in silica, like Cornish work out the amount is in an online glaze
stone, but contains lithium instead of calculation program such as found on
potassium, while spodumene is lower in glazy.org
silica, like nepheline syenite. Lepidolite
and amblygonite are minerals containing Matt glaze, cone 8
c Volcanic ash from La Soufrière
lithium and fluorine, which comes off as a ● FFF feldspar 19 volcano on the Caribbean island of St
gas during firing and can cause studio ● Whiting 19 Vincent.
windows to etch. Lithium carbonate is the ● Standard borax frit 17
● Quartz 9
most concentrated source of lithium, ● China clay 36
Tony Hansen of the materials reference
extracted from brine in salt flats. The database Digitalfire advises having your
lithium originated from feldspars in the ash analysed in a laboratory, but some
Andes mountains and gradually leached Volcanic ash potters may prefer to do a line blend,
out over millions of years, ending up in Volcanic ash or pumice can be used in adding increasing amounts of clay, or a
dried-up lake beds (this is also why the glaze recipes instead of feldspar. Ash from biaxial blend with varying amounts of
volcanoes contains the same minerals as whiting and clay. Ash from different
granite, but it has been ejected from the volcanoes will have completely different
volcano and cooled very quickly, so it has compositions, so it’s advisable to test your
not had time to form crystals. Rhyolite volcanic ash glaze on a test tile first,
and basalt are light and dark igneous before applying it to a pot. It may be
rocks that have cooled quickly and have a necessary to adjust the glaze by adding
fine-grained structure. High-silica various different amounts of whiting or
magma is viscous and erupts explosively, dolomite and clay. Wood ash has a
forming light-coloured pumice and different composition from volcanic ash
volcanic ash, while low-silica magma is and is much higher in calcium, so you
darker and flows more easily from would not need to add any whiting or
volcanoes such as the ones that make up dolomite to make a wood ash glaze; you
the Hawaiian islands. Any of these rocks would need feldspar and clay instead.
and volcanic ash can be used in glazes If you don’t live near an erupting
instead of feldspar, together with some volcano, you might be able to get
whiting and clay. The advantage of using powdered granite and marble from
ash is that it is already a fine powder and makers of kitchen worktops, or collect
may not need extra grinding in a mortar rock dust from quarries (but do obtain
and pestle or ball mill. permission first). ²
Glaze recipe, cone 8-9, using

volcanic ash by Tony Hansen of More information can be found in
c Alicia of Wild Tamarind Ceramics in Digitalfire.com my book Science for Potters.
Barbados collecting volcanic ash from
the St Vincent eruption 200km away. ● Pumice 60 Matthew Blakely has recently
She plans to make the ash into a glaze ● Dolomite 20 published a new book Rock Glazes
for work to sell to fund relief for St ● Kaolin 20 Unearthed.
Vincent.
TOAD
PROJECT
THREE
HOUSE
This is really rather a swanky pad for a toad, but
we should do all we can to encourage them into
our gardens because they’re so important for a
good and balanced eco-system, and they need
safe places to hide away from harm
★★
YOU WILL NEED:

■ Stoneware clay
■ Plaster bowl mould – press or hump type
■ Rolling pin, plastic sheet, roller guides (5mm)
■ Wooden modelling tools, ribs
■ Iron oxide wash
■ Glazes of choice for the toad and pebbles
BEFORE
YOU BEGIN:
Photo: Shutterstock Vitalii Hulai

Look for a good
image of a toad
to help you when
modelling the
shape later.
.
PROJECT
THREE
3
1
c A mould made from a ball like the one shown here
is perfect for this project, but any shape will work as an
alternative, providing there’s enough room for a toad to c Cut a semi-circle in the slab, large enough to fill half of
crawl inside when it’s turned upside down. your mould.
2
Prepare a block of clay – it
should be large enough to
fill your particular mould
when rolled out, so estimate
accordingly.
Working on the sheet of c Carefully lift the cut section and ease it into place in half
plastic, reduce the bulk of of the mould, using a barely damp sponge rather than your
the clay by beating it with the fingers, to avoid spoiling the surface.
side of your rolling pin. Work
in measured, even strokes from one side of the clay to
the other to avoid making deep grooves in the surface. 5
Roll out the clay between the roller guides.
You will find that periodically turning the slab will
make rolling much easier and give you more control
to achieve the approximate shape that you need –
keeping it roughly round will be useful in this case.
Once rolled out, smooth over the surface of the slab
with a rib to compact the clay.
c Cut out another semi-circle from the remainder of the

slab, this time, large enough to fit the second half of the
mould allowing a 2cm overlap at the middle where the
sections meet.
Again, ease the slab into place with the damp sponge.
6 9
c Stand the mould on a whirler, then use a short length of

batten to remove the remainder of the overlap at the rim.
Place the side of the batten flat on the rim of the mould,
c Using a finger, press the overlapping edges together. then draw it to the side and backwards in small stages until
It’s important to avoid trapping air between the overlap, all excess clay is removed and it’s level all the way around.
so begin by pressing the sections together first, along
the line where the upper section overlaps the edge of the
undersection. Then move along the overlap so that any air 10
is forced out as you move toward the inner edge.
c Weigh out 2 x 86g (3oz) pieces of clay and form each

into a ball.
Place the first ball in one hand and press down through
the centre with your thumb until you can feel some
pressure in your palm.
c Carefully remove the bulk of the clay at the rim with a
knife, taking care not to cut into the plaster.
11
8
c Change the position of your

fingers, so your thumb is on
the outside with your forefinger
inside, then gently pinch the wall
in small steps, rotating the shape
c Now that access to the interior is easier, smooth over rhythmically to achieve a good shape.
the overlap with a rib to neaten up, removing excess clay Continue to pinch the shape until it’s an even 4mm thick
as required to reduce the wall to an even thickness. and cup-shaped. .
PROJECT
THREE
14
12
Pinch the second ball in the same way until it’s the
same size as the first one. Test this by cupping the
rims of each section together – when they are the
same size, you’re ready to fix them together.
Roll a thin coil of soft clay, then blend it over the join
to reinforce it. You can do this with your finger or a
tool.
13
15
Score and slip the rims of both pinched sections, then
close the halves together, holding them for several
seconds to ensure a good seal.
c Smooth over the reinforced join with a rib, removing

excess clay as required for a neat, bump-free surface.
16 18
c Make a pinhole at one end of the form to allow for the c Roll two small balls of clay for the
release of air when the shape is manipulated. eyes and test the size on the head
before attaching them. Adjust if you
think they are either too small or too
big.
When you’re happy with the size,
17 fix them in place with a dab of slip.
Now, working on the end

of the shape opposite
the pinhole, begin to 19
manipulate the clay
to form the head and Roll a short, thin length of coil,
mouth of the toad. then fix a small section of it over
There’s no easy way the attached eye, as shown.
to describe how to do Blend the coil onto the head
this; you must simply Photo: Shutterstock Vitalii Hula
i from above only, then neaten up
encourage the clay to with a wooden tool.
where you need it. You can use a wooden spatula to
help form the shape if it helps.
.
PROJECT
THREE
22
20
c Finish off the second eye in the same way, then impress
each eyeball with a round tool, like the pen top shown Roll a medium-sized coil, then flatten and manipulate
here, to complete this part of the build. the shape to form the back leg, as shown.
Place the leg against the body of the toad so that
it extends out at the back where the joint would be.
Mark the position with a pin.
21
Score the line of the mouth using a pin or suitable

wooden tool, then work over the throat area to
improve the shape if required.
23
c Score the marked position on the body and underside

of the leg, then apply slip to both.
26
24
Fix the leg in place and blend

it onto the body around its c Roll two more short coils to
edges with a finger. form the front legs, then angle
Apply the second back leg the coils towards the top end to
in the same way, blending it form the elbows, as shown.
onto the body as before.
27
25 Test the legs on the front of the body and, when

you’re happy, mark the position with a pin.
c Now sharpen up the features of the leg using a wooden

tool.
Don’t worry about the foot at this stage. .
PROJECT
THREE
30
c Roll another short length of coil and attach a section to

the body, behind and below the eye. Blend it in thoroughly
each side of the coil until it looks vaguely like the
28 beginnings of an ear lobe.
Repeat behind the other eye.
Attach the legs after first scoring and slipping the
adjoining surfaces, then blend the top end of the legs
onto the body with a suitable wooden tool.
31
Using something like the old pen top shown here,

roughly texture the entire upper surface of the toad to
make it look warty – including the legs.
29
c Make two nostril holes above the mouth using a pin or

pointed tool.
32 34
c Now return to the mould and

turn the shape out onto a batt,
then run a slip-loaded brush c Score a line for the entrance to the house – make it low
and organic in shape.
over the area of the join.
35
33
Reinforce the slipped

c Roughly texture the entire surface of the house with a
serrated kidney – omitting only the area marked for the
join with a coil of soft entrance.
clay. Blend the coil in
thoroughly with a finger
first, then work over the 36
area with a rib to neaten
up.
c Place the toad on top of the

house to find the best position, then
mark this with a pin. .
PROJECT
THREE
38
37
Score the underside of the toad and apply a liberal
coat of slip, then fix it onto the house, making sure the
surfaces adhere well.
c Apply a little dab of slip to the underside of the first

back foot and secure it down onto the house surface.
Now cut the foot into three sections to form the toes, as
shown.
39
c Gently splay the toes using a wooden tool until you’re

happy with the look of them. Repeat the process to finish
all the feet off in the same way.
Note: You don't have to go into fine detail for these feet –
an approximation will do because they will be surrounded
by pebbles in the following steps and, therefore, mostly
hidden.
41
40
Roll different sized balls of clay to form the pebbles.

Gently flatten each pebble between your finger and c Make a hole in the body of the toad with a pin to allow
thumb, then apply a dab of slip to each before fixing for the release of air during firing.
them onto the house and around the toad in a random
arrangement.
42
c Carefully cut out the entrance

to the house, following the scored
line made earlier.
43
c Finish up by attaching another series of pebbles around

the entrance - positioning them to overlap the edge a little
to disguise it and make it look more natural. .
PROJECT
THREE
2
44 c Carefully wipe away the excess iron wash from the

pebbles and body of the toad, using a damp cloth. You will
c Allow the finished house to dry out slowly and find that it stains the clay and can’t be entirely removed,
thoroughly before bisque firing. but as long as most of it is wiped away, it won’t affect the
glaze.
DECORATING THE TOAD HOUSE
3
1
You now have the choice to either continue the oxide

wash on the inside of the house or apply glaze as
shown here, which will make it slightly more weather-
Make up a thick mixture of iron oxide and water, proof.
wearing gloves to protect your hands if you have If choosing a brush-on glaze, apply it in as many
sensitive skin. coats as recommended by the manufacturer, allowing
Paint the wash thickly over the textured exterior each coat to dry before applying the next.
surface of the house. Otherwise, a glaze can easily be applied by the
Try to avoid the pebbles and body of the toad as far pouring method.
as possible but don’t worry if you go over a little.
6
4
Glaze the toad in your chosen colour – again applying

the recommended number of coats. Note – a brush-
on type really makes glazing this fiddly beastie much
easier.
c Finish up by painting the eyes in a glossy black to make

them shine once fired.
c Finally, glaze the pebbles in c Fire your toad house to the recommended temperature
a selection of colours to add a for your glazes.
little variety to the arrangement. The example shown here used: Amaco Cacao Matte for
You can dot, spatter or drip the inside of the house, the toad body and some of the
glazes over one another for pebbles, with Mayco Satin Patina and Weathered Grey on
added effect if you want a more the remainder of the pebbles.
varied finish. Again, brush-on glazes are much easier to Bisque-fired to cone 04 (1060°C, 1940°F) and glaze-
apply for details like this. fired to cone 6 (1222°C, 2232°F) in an electric kiln.
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PROJECT
FOUR
BUTTERFLY
DRINKER
The premise of this project is to make something to encourage butterflies into the garden.
Of course, you can do this by planting nectar-rich flowers and shrubs, and there are many
they are particularly attracted to, but we don’t generally consider where they drink! This
project provides the perfect watering place
How the drinker works:

The idea is to fill the dish with sand and a few stones that the butterflies can land on. The sand is moistened and
kept that way – but not flooded. The butterflies will get the water they need from the sand and, more importantly,
the minerals contained within it.
You will need:
■ Clay – stoneware
– the amount will
depend on the size of 2
dish you want to make
■ Simple plate
mould (or you could
use the template-
former and foam
method of making)
■ Rolling pin, 5mm thick roller guides, plastic
sheet
■ Butterfly cookie cutter – or card template
■ Underglaze colours for butterfly, plus
transparent glaze
■ Glaze of choice to fit the rest of the dish
Drape the slab into the mould carefully, taking care

not to stretch it as you ease it into the curve. Use a
1 damp sponge rather than your fingers to do this to
avoid making marks on the surface.
Prepare a block of clay big

enough to fill your mould
once rolled out.
Working on the sheet of
plastic, reduce the bulk of
the clay by beating it with
the side of your rolling pin. Work in measured, even
strokes from one side of the clay to the other to avoid
making deep grooves in the surface.
Roll out the clay between your roller guides.
You will find that periodically turning the slab will 3
make rolling much easier and give you more control
to achieve the approximate shape that you need – it
will need to be round to fill the plate mould shown
here.
Once rolled out, smooth over the surface of the
slab with a rib to compact the clay.
c Cut away the bulk of the overlapping clay at the rim

with a knife, taking great care not to cut into the plaster. .
PROJECT
FOUR
7
4
c Holding the sponge against the wall on the inside of
the plate to prevent the clay from lifting out as you work,
remove the remainder of the spare clay at the rim with a
short length of batten. c Look for a circle or ring that will fit over the rim of
the plate in the way the Frisbee shown here does –
Place the side of the batten onto the rim of the mould
overlapping the edge on each side.
and draw it sideways and backwards in small stages until
If you don’t have anything suitable, make a card
all the excess has been removed and the rim is level.
template to fit the dimensions of your plate.
5
c Allow the plate to firm to leather hard in the mould,
then turn it out onto a batt. Place your template on the
slab and carefully cut out
the ring. Leave it in situ on
the board but remove all
the surrounding clay.
6
c Roll a second large round slab of clay as you did the
first, but this time turn it over onto an absorbent board.
Peel the plastic sheet off the back when ready, then
smooth over the surface with a rib.
9 11
Place the downturned plate on the ring, making sure it’s

central. Apply a little pressure to ensure the surfaces seal
together.
c Run a finger around the edges of the ring to soften

them and remove the sharp angle. 12
10
Run a coil of soft clay around the join, pressing it into

place with your finger.
13
Score the rim of the plate and the surface of the ring,
as shown, then apply slip to both.
c Blend the coil down

onto the ring and up
onto the body, again
using your finger. .
PROJECT
FOUR
17
14
c Work over the

reinforcement with the round
end of a small rib to remove
the lumps and bumps.
Work over the area again
with a soft rib for a completely
smooth and seamless surface.
c Roll another small slab of clay using no thicker than
3mm roller guides.
18
15
c Turn the dish upright and run the rib around the rim c Use a butterfly cookie cutter or template to cut a
edges to soften and round them off. butterfly from the slab.
19
16
c Using a wooden tool, carefully remove the excess slip c Pinch around the edges of the cut-out butterfly to thin
from under the lip of the rim on the inside. them as much as possible to look more like the real thing.
20 22
Place the butterfly on the work surface, then impress

and draw the detail of the wings using a pin and a
tool to impress circles, like the old pen top shown.
Place the body along the centre of the butterfly to

check the size; then, when you’re happy, apply some
slip where the body will fit between the wings and fix
it in place, pressing gently to ensure it stays put.
21
Fold the wings upward slightly, then firm the butterfly

up a little in this position using a hairdryer – just until
the shape holds.
Now roll a short, thin coil and divide it into sections
using the side of a rib to look like a butterfly body.
.
PROJECT
FOUR
25
23
Score a series of radiating lines on the rim in an
Score the underside of the butterfly and the area on arrangement to suit, to complete the dish. These will
the rim where you want to attach it. Slip both areas help provide grip for the butterflies if they land on
when ready. the rim.
Allow it to dry out thoroughly before bisque firing.
24
c Colour the butterfly in underglaze colours and

transparent glaze and the rest of the dish in your glaze of
c Fix the butterfly on the rim, making sure it’s secure, choice – Amaco Indigo Float was used here.
then tidy around the join with a wooden tool if you can Bisque-fired to cone 04 (1060°C, 1940°F) and glaze-
access it. fired to cone 6 (1222°C, 2232°F) in an electric kiln.
ME AND MY POT
Robert Fleming
Clay type: White earthenware
Firing: Bisqued to 1000°C, fired to earthenware
Build technique: Slab built
Decoration process: Fully coated in Mayco Tuxedo Foundations then layered with
red and yellow Stroke and Coat. Then sgraffito work to reveal the layers. Final coat of
Mayco clear glaze.
Inspirations and influences: Everything is my inspiration, you see it everywhere,
nature, shapes… your magazine! This idea came from a piece of artwork that was on my
TV, which is a Samsung – The Frame.
I’m not formally selling yet as I’m still learning. I have sold a couple of pieces but am
working towards improving my work, and I am yet to buy a kiln. I am working out of an
Adult Ed studio in Bude, Cornwall doing a Level 2 in Ceramics. I’ve been busy running a
hotel in Devon for the past 14 years, so the pottery is an escape and a great pleasure of
mine and I have been doing it since 2016.
tiggeryogi@gmail.com
If you’d like to see your work in the magazine, email claycraft.ed@kelsey.co.uk for more details
AN INTRODUCTION TO
SURFACE DECORATION
hroughout our 50 or so Sgraffito – showing how you can use Marbling & feathering – two or more
T issues of ClayCraft, we
have introduced many
techniques for decorating
the surfaces of the projects. This
a range of tools of various sizes and
shapes to achieve different effects,
then develop the surface with added
colour to fill in particular areas or
coloured slips are incorporated
in this technique, to achieve the
marbled effect the name suggests.
Feathering is similar in that you’re
new series will look at the subject features. working with very liquid slip but in
in greater depth to build a ‘go-to’ a more controlled way by trailing
arsenal of ideas for you to adapt to Mishima or inlay – this technique colours onto a base then drawing
your own work. will show you how to inlay line a quill through the lines to create a
The options for surface decoration drawings and textured impressions pattern.
are many and varied, and never with coloured slips. It is an effect
as simple as just one approach, so that can only truly be achieved in Marbling
bearing this in mind, each specific this way and is an exciting method of
method will be demonstrated in a decoration.
basic form then expanded at a later
date with more examples of how to Mishima
develop the technique to make more
(Photo: Kevin Millward)

complex surfaces.
Our ultimate aim is to give you
enough information to get you
started on a journey of discovery to
finding and developing your own
signature style.
WHAT YOU CAN LOOK Decorative sponging – as the name

FORWARD TO Slip trailing & tube lining – this suggests, this technique involves the
Over the coming months, we method of decorating a surface use of shaped sponges to build up a
will show you how to master the using a trailing bulb was historically design. We will show how the surface
basic techniques for the following done using a horn to trail a pattern can be further developed with
processes. We’ll then follow them up of liquid slip directly onto the raw sgraffito, tube lining and underglaze
with additional applications for each. clay or over a layer of slip laid down colour to create really sophisticated
earlier in another colour. Modern designs.
SLIP approaches use a more controllable
Paper resist technique – options slip trailing bulb made from rubber, Printing with slips – this is an
including sponged and painted plastic or silicone. Still, the same exciting way to use slips creatively
layering of colour with paper stencils skill is required to achieve the using various methods of application,
and showing ways to develop the desired effect as Hannah McAndrew including newsprint and textured
surface with other techniques such as regularly shows us in Doug’s Diary. papers. Again, we will show you how
sgraffito, tube lining/slip trailing etc. to build the surface up using other
methods for layered design.
Sgraffito
Printing with
slips
(Photo: James Hazlewood)
Burnishing – for smoke-firing or Textured wallpapers and fabrics – manipulated further or painted with
raku – not a difficult or complicated these can be used really creatively underglaze or glaze for dramatic
technique in essence, but one that with templates to build complex effect.
takes practice to achieve a smooth surface designs, which will be
and shiny finish. We will show completely transformed when Lino blocks – simple line drawings or
you the various tools you can use combined with underglaze and a images of great detail can be carved
and different ways of using them, little painterly expression. into a lino block that you can roll
including some you may not expect, into clay to create a relief surface.
and how to add a pattern for post- Fabric It is a labour-intensive process but,
bisque firings. once cut, the block can be used
many times over, which is great for
RAW CLAY – PRE- precision repeats of a form.
CONSTRUCTION TECHNIQUES
Some methods of surface decoration Lino-cutting
must be applied to the raw clay
surface pre-construction, usually
because of the nature of the
technique or because applying
them afterwards would distort the
shape of the form. There are, as Organic materials – create lovely,
always, exceptions to this rule, but natural botanical surfaces with
for the greater part, the methods leaves, flowers and seed heads, then
shown in this section will be applied bring them to life with underglaze or
to slabs and then formed using an oxide colour.
appropriate method.
Rubber/silicone textured mats –
TEXTURE: these can actually be used in many
Wooden stamps and design blocks more ways than just to impress a ADDITIONAL RAW CLAY
– we have used these often in our design in clay, but they are great for TECHNIQUES
projects, but we will expand on their creating large areas of pattern for Casting slip technique – using
simple use to show the different slip or underglaze mishima. Other coloured casting slip to create an
ways in which you can highlight uses include underglaze printing image on a plaster surface before
the texture to create sophisticated and glaze-on-glaze printing, both of casting in a background colour, then
designs. which will be demonstrated in this using the slab to construct a form.
section.
Bisque rollers and stamps – great Stretching – this is a great technique
for the mishima inlay technique, and Found objects and other tools – where thick slabs of clay are covered
the best part is they can be made literally anything will make a mark with oxide or underglaze, then the
entirely to your own unique design. in clay, and it’s lovely to find a use surface force-dried before rolling the
for everyday stuff that you would clay again to stretch it.
Bisque rollers otherwise discard. Looking for Designs can be created by cutting
them can become an obsession, but into the coloured surface before re-
anything that can be saved from rolling for great effects.
landfill and used creatively has to be
a good thing! RAW CLAY – POST-
CONSTRUCTION TECHNIQUES
Relief carved plaster batts – this As the title suggests, these
technique first requires the making techniques are applied to the surface
of a framed plaster batt that is of a constructed form pre-bisque-
then carved to create a pattern or firing.
image. When the batt is either cast
or press-moulded, the design will Incising – carving into a surface to
.
stand in relief on the surface. From create line detail for underglaze or
that point, the slabs can be carefully glaze mishima post-bisque-firing.
AN INTRODUCTION TO SURFACE DECORATION
Relief carving or bas relief – working Mono-printing

on bone-dry clay to carve an
elaborate design into the surface.
Completed with coloured
transparent glazes to highlight detail
and showing ways to enhance the
image further with other features like
lustre decoration.
rather than the glazing methods Shaped sponge printing with

themselves. underglaze.
Bas relief Oxide – used as a base for a design

in wax and glaze, plus oxide washes
in texture.
Water etching – washing the clay
away from around a wax painted Oxide bubble surface – a great way
design so that it stands in relief when of creating bubble effect surfaces.
finished.
Underglaze – using underglaze
colours in a painterly way to create
expressive surfaces or working
on a grid system to create repeat
patterns.
Screen printing – Easy screen
printing using commercially
prepared screens – no equipment
required.
GLAZE TECHNIQUES
Water When we cover glazes, we will, of
etching course, run through the several ways
that glaze can be applied in basic
Printing techniques – will include form. However, there are many more
tissue paper transfers, mono-printing ways to apply glaze for decorative
with oxides/underglazes, using Underglaze pencils and crayons – effect, and the following are just
rubber/silicone mats and textured detailed line drawing and imagery. some of those we will show you.
papers. Reference here should be
made to the fact that you can also Cheat’s Majolica – interpreting the
use some of these techniques with historical technique using ready-
glaze, so it’s not strictly a raw clay prepared commercial glazes.
technique – more an either-or!
Glaze-on-glaze – using glaze in
TECHNIQUES FOR layers of expressive brushwork for
BISQUE WARE specific reactions and rich surfaces.
These techniques begin with
processes that are applied to the Sponging with glaze – a technique
bisque surface before glazing, shown with other materials but
creating quite different outcomes NON FIRING TECHNIQUES
when used with glaze because of its Metal leaf – how to apply metal leaf
flowing nature when fired. to highlight areas of a design.
Spattering – the fun that can be had A FINAL WORD

when spattering! Jackson Pollock art It’s widely accepted that both form
on clay. and surface are integral for a work to
be successful – a beautiful form can
Glaze trailing – like slip trailing yet be ruined by bad surface decoration,
not, because of the more liquid POST-GLAZE FIRING and similarly, a beautiful surface
composition of glaze. TECHNIQUES let down by an ill-conceived form.
These are the techniques that come Marrying these two elements is often
Painting with glaze – bold graphic last in the creative clay process something the beginner struggles
brush marks or detailed imagery. and are usually applied as a final with. A balanced understanding only
embellishment. Some post-firing really comes with time and practice,
Printing with glaze – using sponges, treatments like decals, for instance, at which point the maker begins to
wallpaper texture, silicone mats. can be used as the sole surface develop their signature style.
decoration or to enhance detail laid Part of the problem is not having
Stencils – glaze-on-glaze with stencil down earlier - they are far more enough knowledge about what’s
resists. versatile than may be thought and possible, or how well a particular
really complex designs can be built decorative technique may be suited
Wax resists – building up a patina up with care and attention to detail. to a given form. We hope that this
with layers of glaze and wax resist. The following techniques will be series will bridge the gap between
demonstrated: form and decoration by giving
suggestions for the suitability of
Decals – showing simple and creative each method for particular wares –
ways to apply decals to a glazed functional, decorative, sculptural, to
surface. name but three. However, there will
still be many techniques not included
Lustre – used for full surface in this list. We may add to it as time
decoration on unglazed and glazed progresses, but if there is one you
surfaces, plus stamped and sponged particularly want to learn that isn’t
for specific effects. included above, do get in touch with
us, and if possible, we will show you
On-glaze enamels – brushed and how.
sponged. HAPPY POTTING!
Using resists
Latex resist – a different technique,

where the resist can be removed
between layers.
Paper tape resist – for sharp graphic

lines.
Directional pouring – for graphic

glaze-on-glaze effects.
Incised glaze-on-glaze – a glaze

inlay technique using a resist.
Creative ways to use speciality

glazes – crawled effects, texture
glazes, crackle effects, cheats Decals
crystals and more.
CHESHIRE CLAY
COLLECTIVE UPDATE
At the end of 2018, we visited an entrepreneurial
group of potters who had just set up The Cheshire Clay c The Cheshire Clay
Collective is now
Collective. Now trading as the Cheshire Clay Studio, we thought trading as the Cheshire
we’d find out how they’d fared over the past year Clay Studio.
How did you cope with the first other basics, which we posted on our
lockdown? website, and we’re always available to
The very first lockdown shut us down chat with members on the WhatsApp
completely. Like everyone else, we were group. We developed a real community
unprepared for what was going to spirit during this time.
happen. We ended our term two weeks
early, and that was that. We abandoned Were you able to apply for any of the
our third term entirely. government help? Did you receive
When it became clear that things were enough information about what to do
not going to return to normal any time with any staff you might have had?
soon, the collective members had a We were not eligible for government help
couple of Zoom meetings and decided as a collective because we operate it on a
that we could run our fourth term voluntary basis, using all our income to
virtually. re-invest in the studio. The collective c Large doors slide back to reveal
We are lucky in that our studio is on a also pays the majority of the rent for our an inviting, airy studio.
farm shop site, and we have a covered studio between us. Fortunately, all the
public area outside our studio, which members of the collective were in What happened once the first
enabled us to put a shelving unit outside situations where their jobs or retirement lockdown was over? Did you see the
and a table. Class members could were not affected by the lockdowns, and same, fewer, or more customers?
combine an essential trip to the shop we count ourselves extremely fortunate If they were new, how did they find
with picking up their clay and dropping not to have suffered financial difficulties you, and how experienced are they?
off items to be fired. One of the collective as so many other creatives have had to Has the profile/behaviour of your users
who lives local to the studio came down bear. We were also blessed that we had a changed?
once a week to pack and unpack the kilns reasonable ‘cushion’ of money from our There is no doubt that the pandemic has
and leave fired items on the table to be classes in our bank account. been a real driver in encouraging people
collected by class members. to look at more creative pursuits, and our
We already have a class WhatsApp waiting list for classes has never been
group, and this came into its own, with longer. It’s been quite painful to have to
class members sharing their makes, keep putting people off, and we are
asking questions and getting helpful extremely keen to be able to resume
tips. We produced a couple of step-by- normal activities as so many people are
step guides to decorating techniques and wanting to join our classes.
We have a real mix of people
contacting us, beginners keen to get
started and more experienced
ceramicists who would like to take it up
once more. We have a website presence, a
Facebook page and appear towards the
top of any Google search for ‘pottery,
classes, clay, Cheshire’, which is probably
the first place that most people look
when looking for clay classes. We are
also very lucky that our studio is on the
f ... to this! The studio has rapidly expanding Lowes Farm Shop
c From this, initially just one half of expanded into more than twice its site, and we get an awful lot of people
the space... original size. passing our door.
c The outside area is light and airy, c … and was a perfect home for the
with good ventilation… small kilns. Three-phase electricity, due
to be installed shortly, will mean the
How did you cope with the subsequent studio can operate much larger kilns.
tier restrictions and the last lockdown?
Were you more able to cope, having doing some much-needed planning and
experienced the first lockdown? strategising. The opportunity that our
When the subsequent tier restrictions studio has afforded us, our ability to
were put into place, we knew we had to physically expand, and the development
restrict the number of people in our of the site as a whole has opened up new c A collection and drop-off system
classes, moving from seven to five. So possibilities. It became clear that some of used during lockdown meant that
that all of our existing class members the group were keen to look at the customers could continue to be
had the opportunity of still attending, we opportunities of running more activities creative.
added a fourth class on a Tuesday on a commercial basis, especially as our
evening and, with a bit of juggling, were longed-for three-phase electricity is now any danger that we would have to close
able to accommodate most of our being run onto the site enabling us to our doors permanently. We know we are
existing class members who felt they run much bigger kilns. so, so lucky in comparison with some of
could attend. We needed to find a solution that our other pottery colleagues.
Once again, we are fortunate in that would give each member of the collective
the studio is large and airy, and we have most of what they felt they wanted. After Have you discovered anything, even in
a log burner, which kept things cosy many discussions and brainstorming, we this most depressing of times, that was
without the need for fan heaters or feel we have come up with a solution that positive?
anything that blew air about. We bought continues to allow ‘collective’ time and If this pandemic has provided anything
individual caddies that were stocked with also ‘class time’. It’s early days, but we positive, it’s that we realised what we do
all the tools that people use in class and hope that we will have ‘Cheshire Clay in the pottery studio has a wider reach
had individual crates of soapy warm Studio Ltd’ up and running as a subset of than just offering clay classes. We’ve
water, sponges and cloths, so that class the Cheshire Clay Collective later this been a bit of a lifeline for some of our
members didn’t have to go to the sink. year. (This has now happened. Ed) more isolated members, and it’s been
Hairdryers were kept in the corridor wonderful to see how some of them have
outside so that drying pieces was still This is a sad one. Have you been able become even more enthusiastic about
possible. The extra work was rewarded to keep going? If you managed for a ceramics since working from home. A
tenfold by seeing the enjoyment of our while but then had to call it a day, couple of them have even bought
classes. what was the final straw? If you did wheels! ²
When the latest lockdown descended, have to close, do you hope to re-open in
we returned to the virtual clay pretty the future (in the same format, or Lowes Farm Shop
seamlessly. However, there has been maybe in a completely new one - if so, Moss Lane, Byley, Middlewich
rather a lot of frantic paddling what will be different?). Cheshire
underneath the graceful motion of the Not a day goes by without us counting CW10 9NG
collective’s swan! our blessings. The fact that there are six cheshireclay.com
of us in the collective, and that we
How have you changed things? initially ran the studio for our own
Physically, in your studio, and as a benefit has meant that financially the
business (eg, did you start offering costs of the studio have always been split
remotes services, ‘take away’ kits, take between us, with the classes paying for
the enforced time off to focus more on all of our materials and continued
social media and building audiences, investment in capital items and studio
sales of your own work via the upgrades. The pandemic has meant that
internet, etc) our plans for our outside firing area,
In the spirit of, “When life gives you drying room and extra storage area have
lemons, make lemonade”, Cheshire Clay had to go on hold, but we’ve been able to c Five of the six of the members of the
Collective has spent our ‘hiatus’ year pay our rent, and there has never been collective, which we visited in 2018.
Doug’s
(Photo: Layton Thompson)
Doug Fitch
DIARY
T he swallows are here! There
are just a few of them
twittering as they skim the
field behind the workshop, but with the
midgie season fast approaching, they’ll
soon be arriving in numbers, to fill
their bellies with fine Scottish fare.
Dandelions are everywhere now, their
golden, sunshiny faces, that are so often
taken for granted, smiling up from
every meadow we pass along the route
to nursery. Although the buds are only
just opening here on the high ground
where we live and work, a few miles
away, along the nursery run, May
blossom froths amongst the vibrant
verdancy of the spring hedgerows. It’ll
be the same here in a week or so. In the
woodlands, the bluebells are starting to
bloom. I wonder to myself if they’re still
called English bluebells, when in
Scotland? I suppose the Spanish c Filming Hannah decorating a charger, using a makeshift, overhead boom.
bluebells are Spanish wherever they are.
It’s still too risky to plant out the reasonably priced one on Facebook The latest such project is to fill in the
vegetable seedlings that Hannah is Marketplace, I invariably snap it up. I sides of the aforementioned lean-to roof
nurturing in a greenhouse that I built have stacks of them under the lean-to that adjoins the workshop. Originally it
for her from old, glazed doors, but the roof, and they constantly tempt me was built as a kiln shed, but because of
frosts are getting infrequent now and away from the clay when, as is often the insurance difficulties, we made other
soon will have passed. case, I’m looking for an excuse to plans that are still ongoing. Using old
Old doors are so useful; when I see a undertake procrastination projects. doors is a quick, cheap and effective
manner of building that can be
unscrewed again and altered if need be.
Back in the summer, we had a new
building erected to hold our finished
work. It’s too small for the job really,
and is currently set up as overnight
accommodation for Shannon, our
photographer. As an alternative, we’ve
decided to convert the lean-to roof into
a space to display and store our pots.
The other building will become
Hannah’s print studio when it’s no
longer required as a bedroom.
My excuse to start the latest building
work was because the doors were
stacked up in front of our materials
cupboard, and we needed access to get
c A selection of 19th century traditional slipware from our collection. the materials for mixing a fresh batch of
for $59, you can get continued access to
the workshops, to watch over and over,
at your leisure.
It was poignant that just after we used
the Michael Cardew jug in the film, we
c Preparing to re-enter the real learned that our old friend Tony Hill,
world, before... c ... and after who had given us the jug, had died.
Tony was a great collector of pots and
slip as part of a film we have been tremendous skill as she laid out the an accomplished potter himself. He had
making. Well, it surely made sense that geometrically arranged slip trailing been a teacher of Art and Design until
if I was going to have to move them, across the surface. I modelled a rookery his retirement some years ago. He was a
they should be moved into their final moneybox, and we showed our familiar face at the various pottery
position, didn’t it? OK, maybe it was just contrasting approaches to decorating shows up and down the country, where
procrastination. jugs. he would chat at length to the potters
A few months ago, we were invited to We thought it would take a couple of with his typical attentive enthusiasm.
participate in an upcoming event called days to make the film, but by the time He was very good to me in my first
the Ceramics Congress. It’s not we had shot everything that we wanted few years and would enthuse about my
something that I’d heard of before, but to show, then I had spent night after pots, even though they probably weren’t
this is its third year. It’s an online event night editing, it took two weeks. There all that great, but he could see potential
where makers provide an in-depth film, were a few sloppy edits, but in spite of and encouraged me with kind words
introducing the viewer to their methods that, we were very pleased with the and purchases. That’s so important
and processes. The contributor is outcome, as was Joshua Collinson, the when you’re first starting out, with very
offered an enticing fee, and the kudos of founder of the Ceramics Congress. I little confidence, particularly as hardly
participating alongside some very should have had a beard and haircut anyone buys your work.
well-known ceramicists from across the before we started. Because of continuity He very kindly gave me some of
globe. while filming, I couldn’t, and by the Cardew’s pots because he knew I would
The brief was completely open. We
decided to focus predominantly on the
time we’d finished, I really was very
hairy! As soon as we were done, Hannah
love them and that they would inform .
various slip decorating techniques that took the scissors to me and got rid of
we use in our practice, supported with the lockdown look, in optimistic
examples from our collection of readiness for re-entering the real world.
traditional pottery, to show historical The Congress is launched on the
context and influences. It’s so useful to weekend of 27 May, and runs until 31
have such a collection, and we were able May. There are over 40 contributors,
to talk about traditional country pottery with more than 70 hours of workshops
and how, as it slowly fell into decline, it in all aspects of ceramics. There are
developed into the beginning of the masterclasses in how to start a
British Studio Pottery Movement, in the successful pottery business and how to
hands of Bernard Leach and Michael make films for sharing on Instagram,
Cardew. We don’t own any Leach pots, how to make ceramic transfers etc, etc.
but we do have some great Cardew pots There are details of them all at www.
from the 1930s. ceramic.school and there really is
After the brief history lesson, we something for everyone.
began by mixing slip, which was then After each video workshop is aired,
used to decorate press-moulded dishes. the contributors are available for a live
Hannah decorated a huge charger, question and answer session. A $10 c Dear old Tony, at one of Nic
which we filmed from overhead, then Earlybird ticket gives you access to the Collins’ firing courses.
speeded up. It really illustrated her films as they go out live on the site and (Photo: James Hazlewood)
Doug’s
DIARY
c The lean-to, before.. c ... and after. Still a procrastination in progress.

my practice. I used to write to him, and phone call, saying they needed them in Studios, Dumfries (www.
I really regret that I hadn’t written time to be wired with fittings, ready for clayworksstudios.co.uk). Do please
more often, particularly in recent times, London Design Week, so they wanted check out their websites.
when life has been so busy here, but them by 11 May. I had to spring into The last of the pots will go into Chris
lockdown must have been so difficult for action. and Lauren’s kiln in the morning, and
him. I knew he used to read this diary, I tried various weights of clay in order all being well, I’ll just make the
so I would think of him while I was to make the pots taller. What I hadn’t deadline.
writing it, and I hope he felt that taken into account was that to gain just Our closing words of the film that we
connection. He will be much missed on a few centimetres in height, the belly of made spoke of how fortunate we are to
the pottery scene. the pot would have to be considerably be part of this wonderful clay
The film complete, we got back into larger. It was, if you’ll excuse the pun, a community. Well, as Christine, Chris,
production. I had a few wobbly days that tall order. My large jugs are made from and Lauren have proven, ain’t that the
drove me away from the clay again, but 8lb of clay. These, by contrast, required truth! ²
thankfully, nothing as bad as the 16.5lb of clay. It was hard work, and
negativity that occupied my thoughts night after night, I was in the workshop
and left me incapacitated early last until after midnight, throwing and
month. decorating, with the burner cranked up,
A while ago, I was approached by a in order to dry the pots.
very upmarket interior designer, who All would have just about been well,
asked if I could make some lamp bases, had the kiln not suddenly failed.
similar in design to my big jugs, but a We had conversations, backwards and
little taller. We agreed on a price, and forth, with our buddies at Northern
they placed an order, and because of the Kilns but couldn’t get to the bottom of
state of my mind, I made sheds instead. the problem. They posted us out a new
Then a couple of weeks ago, I received a contactor to try, but time was marching
on, and we didn’t have half a day to
dismantle the kiln in the hope that we
might solve the issue.
I hate to let people down, but I had to
make the call to the designer and tell
them that it was looking likely that we
might not be able to get the pieces to
them. I could feel the adrenaline
pumping, and I could have easily cried
and given up were it not for the kind
help of some lovely potter friends.
A couple of phone calls and coming to
my rescue were Christine Hester
Smith of Banbarroch Pottery c Pouring slip over a lamp base.
c The lamp bases, freshly thrown. (barnbarroch-pottery.com) and Chris Everything about these bigger pots
That made my arms ache! Taylor and Lauren Gray of Clayworks is tricky.
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Confessions
of a novice
Experiments in
naked raku
It’s nearly three years since the ClayCraft naked
ut what exactly is naked
raku projects, and I couldn’t wait any longer. Wrong
B raku? There seems to be
some confusion. It’s when
you take bisqueware and
apply a special thick slip (or a slip and a
ingredients and no raku kiln? Pah!
feathers or horsehair burned onto
glaze), which cracks when taken to them, as per this year’s Pottery Throw
approximately 800°C in a raku kiln, Down, which also invented the use of
allowing smoke to seep in and create Henry hair as another option.
patterns on the surface of the pot When those projects were published
beneath. The slip or slip/glaze combo in issues 19 and 20, I was besotted. It
is then either scraped off or wasn’t just the raku finishes, but the
dramatically washed off in a cloud of shapes of the pots were also right up
steam by pouring water over the pots my alley. Unfortunately, I didn’t have
after they come out of the smoking the skill to make the sort of pots that I
vessel. The term naked raku is also felt would do it justice. Neither did I
sometimes used to refer to raku pots have a raku kiln. At some point, I
with no glaze, but which instead have mixed up a batch of naked raku slip,
but it had to be with a different recipe
than the one in the magazine because
– you guessed it – I also didn’t have the
right ingredients. Sometime in 2019, I
had a raku session with my pottery
camp ladies (see issue 32) and half-
heartedly had a go. I vaguely
remember that the slip fell off in the c Masking tape carefully applied
raku kiln. I stashed the bucket of slip in top and bottom (these areas are kept
the shed. free of slip and therefore go black in
That bucket was finally retrieved after the smoke bin). I then poured the slip
all over.
watching the aforementioned episode
of the Throw Down. They were doing The time had finally come to take the
feather and hair decoration, not cracked plunge.
resist slip, but it got me thinking. I still Before I go into the details, though, let
didn’t have a raku kiln, but there are me give a few warnings, because I don’t
videos online of people using electric actually recommend this at all. It’s
kilns for the cracked slip method, and much better to use a proper raku kiln.
I’d watched these several times over First, sticking metal tongs into an
c These patterns were made with the last couple of years, a little more electric kiln is a very bad idea,
wax resist that didn’t resist! Luckily, I
could see the shapes through the slip tempted each time. I’d even put a nice bordering on deadly. My little test kiln
and draw over them with my finger to long power cable on my mini kiln so I has a safety cut-off when the lid is
clear them. could fire it near the door of the shed. opened, BUT I also had a second
person with me and developed a system
whereby I turned off the kiln and said
the words ‘kiln off ’ out loud before
opening it. Secondly, opening an
electric kiln at these temperatures is
likely to be bad for the kiln bricks and
the elements. It is also making my kiln
lid rust rapidly, which later causes
flakes to fall into the kiln when it’s
opened or closed, potentially spoiling
glazed surfaces. I would not do this c The Hartley and Noble Spider c I didn’t like how the tape resist
with a lovely new kiln, only an old – Batt was perfect for positioning this came out, so I burned off the black
and crucially, spare – one. Get me, narrow tape resist. stripes and sponged on some holly
talking about a spare kiln; it’s about as shaped wax resist marks. You can
likely as leftover chocolate, isn’t it! This includes a recipe based on Lincoln see that where the black lines had
I should also say that there are some fire clay, EPK and alumina hydrate. I been, the smoke didn’t get absorbed
so well the second time. One for the
raku techniques that I absolutely used fireclay RM1078, which I found at sledgehammer, anyway.
wouldn’t do in an electric kiln, such as a UK supplier, and ended up adding
the use of ferric chloride, a strong acid extra EPK and fireclay in attempts to
that gives beautiful red and orange make the slip crack more. I think that’s from my session. Some would have
colours when used in foil saggars. That something you have to experiment feathers, some horsehair, and some the
hazardous substance should only be with yourself depending on the exact naked raku slip.
handled by people who know what ingredients available to you. When the day came, I started with
they’re doing. I had a whole batch of pots ready the feathers and horsehair since they
So, on the basis that this is not with terra sigillata and did my usual seemed the easiest option, and I was
recommended, and you do your own trick of planning a new idea in my head confident of a good result as I’d done it
research before trying anything along while falling asleep at night, until I’d before. Unfortunately, my first attempt
similar lines, I’ll continue. mentally rehearsed it about 10 times. I to pick up a pot with my brand-new
I re-read the instructions in ClayCraft wanted to try different things with tongs resulted in the points puncturing
19 and 20 and those on the website different pots so I’d get the best value a hole straight through it. I realised
where I found my slip recipe. If you that I needed to pick my pots up by
search for ‘naked raku slip recipe’ making the tongs push outwards from
online, you'll come across ‘Charlie and the inside instead of gripping the wall
Linda Riggs’ Naked Raku Technique’. of the pots directly. This will depend
on the shape of your pots and the .
c Just out of the raku kiln at about

790°C, placed onto some sawdust,
which burns immediately, and with
some newspaper dropped inside. I
put the upended bin over the top of
c Using the tongs from the inside this one. You can see how the slip c … and here’s how it looked after
protected the thin walls of my pots. cracked and lifted… smoking.
BLOG
c This one had been underfired, and

c … leaving marks like these. I’d just the blackened slip just wouldn’t come
c This is one of the most recent like to get it to crack in a smaller off. I ended up breaking the pot as I
attempts, with slip that came off pattern. tried to remove it.
easily with just a little water…
EXPERIMENTS IN SLOP BUCKET TERRA SIGILLATA

I’ve had mixed results with terra sigillata in the past. It’s just slip made with
only the finest particles of clay, but making it work properly is an art in itself.
I keep some pieces of smooth greenware handy and paint a little bit of each
new batch on those to see if it shines. I’ve had batches that shine the second
they hit the clay, even before I’ve buffed them up. I’ve also had batches that
just won’t shine, no matter what. It depends on so many factors that lots of
experimentation is needed to get it right. Or you get lucky straight away, as I
did, but then the trick is repeating it.
One thing that did work well, after I’d found that the ball clay I had in the
shed was a buff colour I didn’t like, was what I’m now calling ‘slop bucket
terra sig’. I often use Earthstone Extra Smooth stoneware clay, and I tried
making terra sig from my throwing water. Basically, the day after a throwing
session, I syphon (or syringe) the clear water from the top of the bucket and
then suck up the top layer of very fine sludge. How much you take is
something you’ll have to experiment with, and this didn’t work so well with
my coarser clay. Sometimes this worked straight away and was nice and shiny
c There were disasters. I don’t think when applied to dry clay. If not, I added a drop or two of sodium silicate to a
this was too thin, but it was a bit
uneven in thickness, which I think
small jar of it and repeated the separation process the following day. It works
caused the cracking. for me and avoids me having to play around with dry, powdered clay. A word
of caution, though, your reclaim needs most of these fine particles, or it’ll get
‘short’ and hard to work with. Use some for terra sig and then pour the rest
into the reclaim bucket.
c Another disaster, just to make It is always nice when they start coming
sure you’ve got the message that you out something like you hoped.
need to be prepared to lose pots!
LEARNING POINTS
■ Bisque temperature. At first, I
bisque-fired too low - 800°C left me
with pots that snapped if I didn’t pick
them up carefully. Fired to 1000°C, the
sheen was starting to disappear from
the terra sig. I understand that the
temperature at which the sheen is lost
will depend on the clay used to make
the terra sig – it’s another one you just
have to try out.
■ Slip consistency. I’ve eventually
settled on ‘very thick custard’, but I
still need to tweak it as it doesn’t crack
as much as I’d like.
■ Dip vs pour. I rarely have enough
in a bucket to dip the size of pots I
make. Plus, you use it very quickly
because it goes on so thick, and even a
c Don’t put soggy pots back in after big bucket is soon just dregs. Pouring
washing them. c The marks on this one remind me
of a mermaid’s purse. works okay for me.
thickness of their walls, so try it out at ■ Getting the slip off (after it’s been
room temperature before you try the slip was too thick for wax resist, in the smoke). At first, I really
lifting them out of a raku kiln! and I wasn’t very keen on the effects I struggled to get it off, and I thought
The rounded shape of my pots meant achieved, so I’ve saved this for later perhaps I’d overfired it. However, when
I could pick them up from inside but experimentation. You can see the first I realised I could actually wash the
also that gravity was working against attempt in the photos. residue off with water and elbow
the feathers and horsehair. I had a Overall, I’m ecstatic about this new grease, I thought perhaps I was
safety observer but didn’t want to trust skill. I’ve even sent some of these pots actually underfiring the resist slip.
them with the tongs or horsehair. More to the Anglian Potters Spring Up Firing to 790°C and letting it sit for
fool me. I really needed somebody to exhibition at the Ferini Art Gallery in five minutes has worked wonders. Test
hold the pot at different angles while I Lowestoft. It’s the first time any of my with your own pyrometer!
applied the decoration. It was such a pots have been displayed in a gallery! ■ Keeping the terra sig on. My
disaster that I just gave up and stuck Now that we can start doing things in white terra sig tended to stay nicely on
the pots back in the kiln to burn off the real life, perhaps some of you will even the clay body I made it from, but flaked
black marks. This would’ve been fine visit. If you can’t, follow my exploits on easily from my groggy red stoneware.
– the marks tend to be gone by about the usual social media channels via It’s another trial and error, I’m afraid.
700°C – but I’d submerged it in water @pottlemuddery. This is a technique ■ Making deliberate patterns. My
to wash off the soot and forgotten that I’ll definitely be trying again. ² slip is too thick for the wax to resist it!
the kiln was already very hot… a Instead, use the instructions in issue 20,
moment after I closed the lid: with separate slip and glaze recipes, or try
WHOOMP. The pot was in hundreds tape, which can be peeled off (but be careful
of pieces at the bottom of the kiln and not to peel off your terra sig with it!).
in the element grooves. That’s a ■ Procedure. I followed the Charlie
mistake I’ll only make once. and Linda Riggs instructions, since I
I moved onto the slip. Videos and was using their recipe: straight into a
reading had told me that it needed to warm kiln and up to about 260°C, held
be applied thickly and then put into a until the sheen’s gone, then up to
warm kiln within about five minutes, 790°C and into a smoke bin.
but you really just have to have a go ■ Time in the smoke. For me, in a
with this sort of thing. Generally, the small smoke bin, two minutes was
first session was pretty successful. It usually enough to get the blacks nice
was what I call proof of concept. I did and solid without also allowing the
several more sessions over the next few smoke to permeate the slip and make
days and again a few weeks later. It the whole pot black.
took all of those to really start to feel ■ Polish. I’ve been using beeswax
confident. At one point, I tried to make polish, which works really well on my
c The tulip wax resist pattern once pots.
deliberate patterns, as per issue 20, but finished. Not bad!
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sessions, 1-2-1 wheel tuition, monthly project Dates: See website for details Tel: 07886 841936 sca-network.co.uk
workshops. Kiln hire available Location: Sheffield S10 5DB E: leafylanepottery@gmail.com CRAFFITY POTTERY STUDIO
Dates: Various theclayhousesheffield.co.uk NORTHLIGHT ART STUDIO Courses: 'Create with Clay' drop-in sessions,
Location: Sandbank, nr Dunoon, Argyll BOO EVERETT Courses: Evening and day workshops, with or without input. Regular and seasonal
seadriftpottery.co.uk Courses: Day and evening courses in all summer schools and taster days. All levels workshops
SEATREE CRAFTS aspects of hand building with clay. Dates: Weekly and throughout the year Dates: Various
Courses: Beginners' classes, workshops, after Further courses available in order to decorate Location: Hebden Bridge, Yorks Location: Bury, Greater Manchester
school club, supervised open access the fired bisque. Individual one to one or Tel: 01422 843519 craffitycreations.co.uk
Dates: Various group sessions. northlightstudio.co.uk THE CRAFTY POTTER
Location: Innellan, Argyll All tailor made to your OLD STABLES STUDIO Courses: Throwing, hand-building
seatreecrafts.co.uk requirements Courses: Throwing: bootcamp, weekends, & modelling
STUDIO MAMA Dates: The dates are flexible. My studio is tasters and regular classes Dates: Various
Services: affordable kiln hire, 1-1 & group always open, so I can fit in with you Dates: Various Location: Chorley, Lancashire
handbuilding workshops (for all ages and Location: Castle Howard Estate, North Location: Hebden Bridge, Yorkshire thecraftypotter.co.uk
abilities), glaze table hire, gift vouchers, a Yorkshire, about 12 miles from York. JAMES OUGHTIBRIDGE THE DOWN TO EARTH POTTERY
webshop and bespoke commissions E: booeverett@onetel.com Course: Large Scale Slab Building Courses: Hand-building for beginners
Dates: by arrangement via boo-artist.com Dates: Contact for details to advanced.
studiomamayoung@gmail.com FANCY FROG POTTERY Location: Holmfirth, West Yorkshire We are always trying out new techniques
studiomama.co.uk Courses: Various options including: jamesoughtibridge.blogspot.co.uk such as use of decals and coloured
THE WEE MUD HUT 5 weeks beginner wheel throwing; taster JIM ROBISON CERAMICS clay
Courses: Handbuilding and throwing for all sessions; private groups and individual Courses: Week-long Ceramics, and Glaze Dates: Year-round: Tuesday pm
ages/abilities. Groups and individual sessions tuition and surface courses and Wednesday eve. Some Saturdays
Dates: Various Location: Scarborough, N Yorks Dates: Various Location: Clitheroe. Lancs
Location: East Kilbride, Scotland Lanarkshire Dates: Various options see website Location: Holmfirth, Huddersfield E: lesleywoods19@hotmail.com
theweemudhut.co.uk fancyfrogpottery.co.uk boothhousegallery.co.uk FB: thedowntoearthpottery
For free inclusion in this listing, email: claycraft.ed@kelsey.co.uk
FIRED 4 U THE CLAYROOMS E: lynnestaniland@icloud.com Location: Bodfari, North Wales
Courses: Guided evening workshops & do Courses: Handbuilding, throwing, sculpting T: 07811 171369 orielbodfarigallery.co.uk
your own, clay work and painting ceramics from beginners to experienced makers FB & IG: @potsinnotts SIRAMIK
Dates: 1st & 3rd Wednesday 7pm, Dates: Various see website for dates LINDA SOUTHWELL Courses: Throwing; half/full days, weekends
pre-booking essential Location: Ashbourne, Derbyshire Courses: Evening classes and one-to-one (accommodation included).
Location: Preston, Lancashire theclayrooms.co.uk experiences All Covid-19 compliant
fired4u.co.uk CLAY STUDIO MANCHESTER Dates: Wednesday evenings and by Dates: Various
PAUL GOULD/MON CERAMICS Courses: One-off taster sessions to regular arrangement Location: Carmarthen
Courses: Beginners & intermediates weekly courses and 1-to-1 tuition. Anyone Location: The Harley Ceramics Studio, siramik.co.uk
Dates: Tuesdays & Wednesdays 2-4pm and from beginner upwards is welcome. monthly Welbeck, Worksop TREE HOUSE POTTERY
7-9pm Saturdays and Sunday workshops: membership scheme for more advanced lindasouthwell.co.uk Courses: Pottery in a real Treehouse. We offer
various dates throughout the year makers DAVID STOCKS courses & taster sessions for beginners, clay
Location: The Wirral Dates: Various Courses: Beginners Basics, although open building & potters wheel
monceramics.co.uk Location: Hulme, Manchester to all, including disabled (carers free when Dates: Various
GREEN MAN CERAMICS claystudio.co.uk accompanying). Pinch pots through to slabs, Location: Gower Heritage Centre, Swansea
Courses: Pottery Discovery weekends THE HARLEY POTTERY STUDIO coil work and throwing and glazing gowerstoneart.co.uk/tree-house-
Dates: Various, Courses: Pottery and ceramics classes from Dates: Thursday Evenings 18.15-21.00 £15 pottery
Location: Colne, Lancs your first try at pottery throwing, to open per session (Dorridge), plus Tuesday &
Tel: 01282 871129
LEMON STUDIO
access sessions (with firing) for established
ceramicists.
Wednesday evenings at the Sense Pears
Centre. See web for details of 10 and 8 week
CAMBS/LINCS
Courses: Handbuilding for all levels, taster Dates: see website courses. PAULA ARMSTRONG
sessions, workshops and parties Location; Welbeck, Nottinghamshire Location: Dorridge Methodists Church and Courses: Handbuilding, workshops
Dates: Various harleygallery.co.uk Sense Pears Centre, Selly Oak (see above) Dates: Mon, Weds, Fri mornings. Tues, Thurs
Location: Warrington LITTLE MOUSE POTTERY RamOnTheRoundaboutPottery@gmail. evenings. Monthly Sat workshops, Sun
lemonstudio.co.uk Courses: Adult & children handbuilding & com for Dorridge, or for Selly Oak contact morning child/family workshops
PILLING POTTERY/NORTHERN KILNS wheel workshops Sense Pears Centre: sunney.sharma@sense. Location: Fenstanton, Cambs
Courses: From novice to professional: Dates: Throughout the year org.uk parmstrongceramics.co.uk
throwing, hand-building, glazing, Location: Keyworth, Nottingham WOODSETTON ART POTTERY
E: enquiries@littlemousepottery.co.uk ART BARN GAMLINGAY
making glazes, kiln loading, programming Courses: A levels are taught by postgraduate
T: 0115 9375950 Courses: Handbuilding, raku and pit-firing
kiln controllers, fitting elements production thrower and designer maker with
FB, IG & littlemousepottery.co.uk Dates: Wednesday and Thursday evening
Dates: Various 8 years experience in Stoke on Trent
clay classes. 2-day raku making and firing
Location: Pilling, Lancs MIDLANDS ART CENTRE Dates: Various
workshops, Saturday 27th April
pillingpottery.com Courses: Ceramics Open Studio Location: Woodsetton, Dudley W Mids
and Saturday 18th May. Clay in a Day class,
POT FACTORY Dates: Various woodsettonartpottery.com
Saturday 28th September.
Courses: Beginners & more advanced. Location: Birmingham @woodsettonpots
Location: Gamlingay, Cambs/Beds border
Handbuilding, throwing, glazing & playing macbirmingham.co.uk E: art.barn@hotmail.co.uk
with clay! PARKWOOD THROWING COURSES WALES T: 07715 206780
Dates: Afternoons and evenings Courses: Basic and intermediate throwing FB: Art Barn Gamlingay
Location: Liverpool Dates: 8-week Thurs evenings, weekend JACKIE BARBER CERAMICS
courses, taster sessions Courses: One-to-one throwing lessons MATTHEW BLAKELY
thepotfactory.co.uk Courses: Weekend Courses: Throwing,
Location: Nr Alfreton, Derbyshire Dates: Various
THE POTTERS BARN Location: Pencader, Ceredigion Porcelain throwing
Courses: Adult half & full day: beginners parkwoodthrowingcourses.co.uk
jackiebarberceramics.co.uk Dates: Monthly
throwing & handbuilding. Intermediate & PLAY WITH CLAY Location: Lode, Cambs
Courses: Throwing, toddler clay BASE ART STUDIO, GALLERY &
advanced throwing. Raku & pit firing matthewblakely.co.uk
Dates: Saturday mornings, Tuesday POTTERY WORKSHOPS
Dates: Various BOURN POTTERY
afternoons, throwing weekly by appointment. Courses: Handbuilding; throwing; 1-2-1
Location: Sandbach, Cheshire/Staffs border Courses: 6-week beginner’s course covering
Location: Loughborough one-off sessions; parties (adults, children,
thepottersbarn.co.uk slab, pinch, coil & throwing techniques.
creationspottery.co.uk team-building)
CARLA POWNALL Dates: Ongoing, days and evenings 2-hour throwing taster sessions for small
Courses: Throwing, 6-week course, POTTERY ARTS groups. 1:1 tuition in throwing and/or
Location: Llanbradach, Caerphilly
beginner to advanced using stoneware Courses: Fun adult workshops teaching handbuilding and glazing.
baseart.org
and raku clay. One-off courses on last specialist techniques decorating functional Clay for a Day and 1-day specialist
homewares: jugs, teapots, bowls, mugs, CARDIFF POTTERY WORKSHOPS
Saturday of the month. masterclasses. Corporate & team building
coasters and more, in artist's home studio Courses: Handbuilding; throwing;
Dates: Weds am & pm, plus last weekend activities. Parties & events for adults &
Dates: Various one-off Saturday sessions; 1-2-1 throwing;
of the month children. Studio and/or mobile. Suitable for all
Location: Melton Mowbray masterclasses with Anne Gibbs; parties
Location: Wirral abilities and ages
potteryarts.co.uk (children, adults, teambuilding); pottery
E: carlapownall@yahoo.com Dates: Various weekday, evening & Saturday
membership tutored & un-tutored
FB: carlapownallceramics SEVEN LIMES POTTERY sessions
Courses: Varied courses/classes Dates: 6-wk day & eve sessions, various
SIMON SHAW Location: Cardiff Location: Bourn, Cambs
Courses: Introduction to the basics. Dates: All bournpottery.co.uk
Location: Moss Side, Manchester cardiffpotteryworkshops.com
Small individual classes, max 5 students. DEEPDALE POTTERY
Handbuilding, sculptural, 1:1 throwing 7Limes.co.uk CARMEL POTTERY
Courses: 6-week throwing courses. Courses: Handbuilding and throwing for
Dates: Various SEYMOUR ROAD STUDIOS beginners and experienced
Location: South Liverpool Courses: Weekly/1-day weekend classes Hand-building courses. One-to-one
lessons. One-off half or full day experiences. Dates: Weekend and weekday courses,
E: simonshaw61@icloud.com Dates: Various including yurt accommodation if required,
T: 07505 237 593 IG: @simonshawclay Location: West Bridgeford, Notts Beginners welcome
Dates: Various throughout the year
seymourroadstudios.co.uk Location: Barton upon Humber, North Lincs
Location: Carmel, Carmarthenshire
THE SHIRE WORKSHOPS
NOTTS/DERBYS/ Courses: Night school: Mon & Thurs -
E: Carmelpottery@outlook.com yurtatthechapel.co.uk
LEICS/MIDLANDS throwing, hand building & decoration. T: 07740291608 HILLS ROAD SIXTH FORM COLLEGE
Courses: Handbuilding, throwing, plus
One-day sculpture workshops twice a month. GLOSTERS
SANDY BYWATER  CURIOUS STUDIOS Raku days. Visiting guest artists throughout Course: Throwing summer school workshops
Courses: All pottery skills, suitable for the the year. Private & group bookings available. Dates: April, Dates: Various
beginner or the more experienced Pay per hour to come and use our workshop Location: Porthmadog Location: Cambridge
Dates: Tuesday afternoons and evenings. casually. Materials & kiln space available glosters.co.uk hillsroadadulteducation.co.uk
Monthly, Saturday themed workshops Dates: See website JANE MALVISI THE POT SHOP
Location: Sneinton Market, Nottingham Location: Wilbarston, Market Harborough Courses: Pottery classes, including Raku. Courses: Individual and small groups pottery
sandybywaterceramics.wordpress.com theshireworkshops.co.uk All abilities welcome classes in a professional workshop
CANDO POTTERY PAT SHORT CERAMICS Dates: Mon/Tues/Weds days and evenings Dates: Various, throughout the year
Courses: Hand-building for beginners Courses: Beginners’ handbuilding Location: Bridgend, S Wales Location: Lincoln
Dates: Thursdays 10.30am-12.30pm workshops janemalvisi.co.uk Facebook, Twitter & Instagram: @potshop1
Location: Mellor, Stockport Dates: Various MID WALES ARTS Tel. 01522 528994
candopottery.wixsite.com/group Location: Edgbaston, Birmingham Courses: Two-day course on wood-firing POTTERYDAYZ
THE CLAY ROOM LEICESTER patshortceramics.com kilns. Make your work then fire it Courses: Wheel throwing for beginners and
Courses: Range of classes for all abilities, POTS IN NOTTS Dates: Various more experienced. Raku courses through
plus membership scheme for more Courses: Weekly classes and wheel taster Location: Maesmawr, Powys the summer
experienced makers sessions midwalesarts.org.uk Dates: Saturdays, 9.30-3pm
Dates: Throughout the year Dates: throughout the year, contact ORIEL BODFARI GALLERY AND POTTERY Location: Peterborough/East Midlands
Location: Leicester for more details Courses: Throwing, handbuilding, Raku, etc FB: @potterydayz
theclayroom.co.uk Location: Worksop, Notts Dates: Various E: potterydayz@gmail.com
Ô If you run other creative courses, register free at craftcourses.com
ROWAN ARTS CENTRE THE SCULPTURE PLACE Classes run all year round daytime and
Courses: Handbuilding, throwing, untutored
group for those with experience
Courses: Figurative Sculpture Classes
Dates: Weekly sessions: Monday, Wednesday
NORFOLK/SUFFOLK/ evenings between Monday - Wednesday
10.30 - 12.30, 2.30 - 4.30pm, 7-9pm
Dates: Various & Thursday (running for 6 weeks) ESSEX (Due to Covid 19 we will be opening with
Location: Cambridge Location: Wolverhampton, Staffordshire reduced class sizes of 1-2 people from late
rowanhumberstone.co.uk thesculptureplace.co.uk DEBORAH BAYNES July / August - please email for details
WOODNEWTON POTTERY STONEHOUSE STUDIOS Courses: Residential and nonresidential Ceramics Classes at Home also available
Courses: Weekly; throwing, hand building, Courses: Throwing & handbuilt ceramics, Dates: Weekends (spring/autumn), with Studio in a box.
decorating (Tues/Weds). sculpture & life sculpture. full weeks (July/Aug) Kiln firing included. (Within 5 miles of Milton
Clay sculpture Portrait drawing, painting, & general art. Location: Shotley, Suffolk Keynes area only).
Dates: Throughout the year One off workshops & one-to-one tuition on potterycourses.net Location: Milton Keynes
Location: Near Peterborough request BRICK HOUSE CRAFTS E: Creativeblockdesigns@yahoo.com
robbibbyceramics.co.uk Dates: Throughout the year Courses: handbuilding, throwing, T: 07465608771
ZOO CERAMICS One offs by arrangement decoration, mould making, raku in the FB: The Studio at Creative Block Designs
Courses: Half and full day handbuilding Location: Drayton Basset, nr Tamworth, Staffs summer. ART BARN GAMLINGAY
workshops, 10-week pottery classes stonehousestudios.co.uk Beginners to professional welcome. Courses: Handbuilding, raku and pit-firing
Dates: Various WOBAGE FARM CRAFT WORKSHOPS Leisure classes & City & Guilds L2 and L3 Dates: Wednesday and Thursday evening
Location: Waddington, Lincolnshire Courses: Various multiple-day courses clay classes.
zooceramics.co.uk throwing workshops Dates: Tues - Friday 10am to 4pm, 2-day raku making and firing workshops,
Dates: Various Sat 10am - 12 midday Saturday 27th April and Saturday 18th May.
Location: South Herefordshire Location: Silver End, Essex Clay in a Day class, Saturday 28th September.
WORCS/SHROPS/ workshops-at-wobage.co.uk brickhouseceramics.co.uk Location: Gamlingay, Cambs/Beds border
STAFFS/HEREFORD YAT POTTERY TONY CARTER POTTERY SCHOOL E: art.barn@hotmail.co.uk
Courses: Throwing Courses: Beginners to experienced potters, T: 07715 206780
ALLYEARROUND POTTERY Dates: Various all hand building, throwing, design, model FB: Art Barn Gamlingay
Courses: Weekly classes; taster sessions; Location: Symonds Yat, Wye Valley & mould making. ARTSHED ARTS
one & two-day courses in throwing, hand- yatpottery.com Small friendly groups, personal tutor. Courses: Hand building, throwing
building and decorating; pottery parties Dates: Year-round & surface pattern.
for all ages. All for beginners and more Location, Debenham Suffolk All levels.
advanced WARKS/N’HANTS/ tonycarterpotteryschool.com Throwing taster sessions, private
Dates: Various all-year-round!
Location: South Herefordshire
OXON MARIAM CULLUM throwing tuition & sculpture.
Pottery parties
Courses: 1:1 tuition in throwing, hand-
all-year-round.org.uk CATHERINE ANNE CERAMICS building, slip-casting, surface decoration Dates: See website
AMERTON ARTS STUDIO Courses: Small groups and one-to-one of all and glaze preparation and application. Location: Ware, Hertfordshire
Courses: Life sculpture. Working from a life ages and mixed ability. Dates: Various - Monday to Friday 10am-4pm artshedarts.co.uk
model to create a figurative sculpture. Throwing, hand building, glazing. Location: Bury St Edmunds CHARLIE’S POTS
Step-by-step tuition, beginners welcome Family sessions during school holidays www.hallhouseceramics.co.uk Courses: Intensive day-long Sunday
Dates: Termly, Saturdays Dates: Weekdays. Various evenings LIBBI HUTCHENCE, HANDMADE AT throwing courses for beginners
Location: Stowe by Chartley and weekends available BRAMLEY COTTAGE Dates: Various
amertonartstudio.com Location: Staverton, Northants Courses: 1:1 tuition in throwing, hand- Location: Aylesbury, Bucks
BRITISH CERAMICS BIENNIAL catherineanneceramics.com building, surface decoration & glaze E: throwingpottery@gmail.com
Courses: Beginners & Intermediate CENTRE OF ENGLAND ARTS making for all ages/abilities CLAY WITH CAROLE
Dates: Tuesday & Thursday Courses: Novice to experienced, including Dates: Throughout the year Courses: Handbuilding, throwing
Location: Stoke-on-Trent, Staffordshire throwing Location: Culford, Nr Bury St Edmunds Dates: Various
The BCB operates a clay school and a variety Dates: Weekly, Thursday evenings 7-9pm handmadeatbramleycottage.co.uk Location: Hitchin, Herts
of courses throughout the year. Location: Nr Solihull KATIE'S POTTERY STUDIO claywithcarole.co.uk
britishceramicsbiennial.com coea.co.uk Courses: One-to-one & small group tuition CREATIVE CLAY FOR BEGINNERS
EARTH AND FIRE CERAMICS tonycarterpotteryschool.com in throwing, handbuilding, decorating, Courses: Handbuilding, various levels,
Courses: hand-building, throwing by DAISYROOTS CERAMICS glazing & firing for all ages and abilities. full-time/part-time
arrangement, pop-up pottery. Courses: Beginner’s wheel sessions 1:1 or Children's Saturday class Dates: Various
1:1 or small groups, 2-hour intensive lessons small groups. Handbuilding techniques Dates: Throughout the year Location:Newbury, Berks
Dates: Various, 4-weekly courses taught with support for home hobby with Location: Leiston, Suffolk newbury-college.ac.uk
Location: Great Haywood, Stafford kiln firing service. Paint-your-own pottery katiespotterystudio.co.uk MADE WITH CLAY STUDIO
Facebook: @earthandfireceramics & craft studio THAXTED POTTERS Courses: Currently workshops are held on
EASTNOR POTTERY & THE FLYING Dates: Just book! Courses: Beginners and intermediates Tuesdays 10-1pm, Thursdays 12-3 and 6-9pm
POTTER Location: Crawley Village, Witney, Dates: Various 6-week sessions and alternate Saturdays
Courses: Remarkable potter’s wheel Oxfordshire Location: Thaxted, Essex Location: Letchworth
experiences for all ages and abilities, run DaisyrootsCeramics.co.uk thaxtedpotters.co.uk madewithclaystudio.com
by studio potters Jon Williams and M & K RAKU WORKSHOPS DOMINIC UPSON NORTH MARSTON POTTERY
Sarah Monk. Tasters, days and weekends Courses: One-day raku workshops run by Courses: Adult classes in all the build Courses: Variety of pottery courses
Dates: Regularly throughout the year (see Mark Compton and Kirsteen Holuj. Bring your techniques, running in six-week blocks. Dates: Contact directly for further details
website) own bisque-fired pots or sculptures along or One-to-one classes in throwing taller, Location: North Marston, Bucks
Location: Ledbury, Herefordshire buy pots from us on the day to glaze and fire. thinner and production making northmarstonpottery.co.uk
Website: eastnorpottery.co.uk All levels. Dates: Various KATE RADFORD POTTERY
LOVECLAY AT VALENTINE CLAYS Dates: Workshops run monthly from April Location: Battisford, Suffolk Courses: Hand building, throwing and
Courses: Basic/intermediate/professional/ to October dominicupson.com sculpture for all abilities and ages.
families. Location: Milton Keynes WEST SUFFOLK COLLEGE Electric, gas and raku firings
Throwing, slip casting & slip decorating, mkraku.co.uk Courses: Beginners, intermediate, mixed Dates: Weekly courses on a Wednesday,
sculpture, basic ceramic techniques, POTTERYDAYZ abilities & workshop classes in hand-building, Thursday and Friday daytime and
professional masterclasses, ceramic Courses: Handbuilding, throwing lessons throwing, glazing & decorative surfaces & evenings, one to one and group
painting from Richard Gibbons other techniques sessions available
Dates: Evenings & weekends (various) Dates: Full and half days by arrangement Dates: Saturday daytime and evening for Location: Kensworth, South Bedfordshire
Location: Stoke-on-Trent Location: Kings' Cliffe, Northants 6 or 10 weeks. kateradfordpottery.co.uk
loveclay.co.uk E: potterydayz@gmail.com Terms starts January 2020 & April 2020 RUBY SHARP
POP UP POTTERY STUDIO FB: potterydayz Location: Bury St Edmunds Courses: Hand building, throwing,
EARTH & FIRE CERAMICS PUP RUGBY wsc.ac.uk decorating pots, sculpture for home and
Courses: Beginner courses to learn simple Courses: Pop-up pottery, pay-as-you-go. garden
techniques
Dates: Tuesday evenings & Friday afternoons
Come and have a go!
Dates: Wednesdays, fortnightly
BEDS/BUCKS/HERTS Dates: Throughout the year (weekend &
day sessions available)
Location: Great Haywood (near Stafford), Location: Newton Village Hall, nr Rugby ALONDENE PHILLIPS Location: Amersham, Buckinghamshire
Staffordshire FB: @popuppotteryrugby Courses: Hand-building for beginners to rubysharppottery.co.uk
E: carolinefarnellsmith@gmail.com E: puprugby@gmail.com intermediate. WHERE INSPIRATION BLOOMS
POTCLAYS SWANSPOOL CERAMICS 1:1 and small group workshops. Courses: Beginners’ classes,
Courses: Basic/Intermediate/Advanced Courses: Handbuilding, throwing, all levels. Opportunities to do sgraffito, mishima, workshops, hand-building, family sessions,
Throwing, Intro to glazes, Pottery Basics, Open access studio. Weekend courses & one- slipwork, simple mould making. pottery room hire, kiln space hire
Moulding and Slipcasting, Tilemaking off experiences Plus creating & applying sprigs, decorative Dates: Year round
Dates: Various Dates: Termly, year-round stencilling & printing on clay. Location: Chesham,
Location: Stoke-on-Trent Location: Castle Ashby, Northants Workshops can also be tailored around Buckinghamshire
potclays.co.uk swanspoolceramics.co.uk specialist techniques. whereinspirationblooms.co.uk
For free inclusion in this listing, email: claycraft.ed@kelsey.co.uk
NEW DIRECTIONS RACHEL FOOKS: CERAMICS Location: St Buryan, Cornwall
WILTS/HANTS/ Courses: Exciting range of ceramics courses Courses: Weekly classes and one-off sessions, E: info@lucktaylorceramics.co.uk
BERKS to suit all abilities in a well-equipped studio.
Taught by specialist tutors and technician.
hand-building & throwing for all abilities
Location: Wareham, Dorset
FB & IG: @lucktaylorceramics
lucktaylorceramics.co.uk
Dates: Various, see website rachelfooksceramics.com TARKA POTTERY
ANGELS FARM POTTERY Location: Reading
Courses: Residential (B&B) & non-residential. KITE STUDIOS CLAY STUDIO Courses: All levels from beginners to
newdirectionsreading.ac.uk Courses: Throwing, handbuilding, intermediate all year round.
Throwing, handbuilding, decorating
Dates: Sat and w/ends once a month. Weekly DIANA PATTENDEN glazing, adult & children courses weekly Taster sessions for individuals or groups,
evening classes & Fri am. One-off days for Courses: Sculpture, throwing, hand building, & weekend. One-to-one sessions and pottery weekly throwing and handbuilding courses.
groups, min 4, max 8 attendees Prosecco & Clay sessions, children's parties, birthday parties Child/family workshops, parties
Location: Lyndhurst, New Forest, Hants. hand casting. Dates: Mon-Sat various times Dates: Tuesday to Saturday
angelsfarm.co.uk All ages and abilities welcome Location: Kemerton, Gloucestershire, Location: North Devon
Dates: Daytime, evenings and weekends and London tarkapottery.co.uk
ACTIVATE LEARNING AT BRACKNELL Location: Newbury, West Berkshire kitestudios.org
AND WOKINGHAM COLLEGE ALISON WEST CERAMICS
dianapattenden.co.uk JULIE MASSIE POTTERY CLUB Courses: Weekend raku, saggar and barrel
Courses: Mixed ability adult leisure classes
taught throughout the daytime and evening. SASHA WARDELL Courses: Hand building pottery club for firing
All abilities welcome in our well-equipped Courses: Bone china & mould making all. Children and adults welcome. School Dates: Various
courses workshops available. Home Pottery Club Location: Chagford, Devon
pottery studio, where a range of pottery
Dates: May to September ( incl.) in service available - deliveries and pickups to alisonwestceramics.com
techniques are taught by experienced tutors.
SW France /Feb & March in Wiltshire your doorstep
One-day specialist courses taught
Location: SW France/ Wiltshire Dates: Various
throughout the year
Location: Southbourne, Bournemouth
Dates: Mon – Thurs, daytime and evening sashawardell.com
STONEHENGE POTTERY juliemassie.co.uk KENT/SUSSEX/
Location: Woodley Hill House, Earley, Berks
activatelearning.ac.uk/study/subjects/ Courses: weekly classes, Tuesday and CHARLOTTE MILLER CERAMICS SURREY/LONDON
ceramics-and-pottery Thursday, hand building and throwing. Courses: Throwing, handbuilding,
Tel: 01344 868600 Weekender workshops and group sessions mould-making, surface decoration ART OF MINE
by arrangement Dates: Termly part-time, taster workshops, Courses: 1-1 throwing tuition, hand building,
CÁIT GOULD CERAMICS  THE BASE pottery parties
Courses: All levels from beginners to Dates: Various all year round surface decoration for all ages and abilities.
Location: Winterbourne Stoke, Near Location: Bournemouth Birthday parties, team building and taster
intermediate. Taster courses, general pottery charlottemillerceramics.com
and throwing courses. Pottery parties by Salisbury and Amesbury sessions
appointment Tel: 01980 620328 MOON STUDIO Dates: Various
Dates: See website stonehengepottery@btinternet.com Courses: Hand building, throwing, surface Location: Maidstone, Kent
Location: Newbury & Reading STUPOTS POTTERY STUDIO design. Taster sessions, short courses, pottery E: info@thisartofmine.co.uk
caitgould.com Courses: Wheel taster sessions, hand parties, kids clay time & mobile pop up AYLESFORD POTTERY
building & glazing. pottery Courses: Raku days, 1-day, 10-week Pottery
CERAMICSPACE BRADFORD ON AVON Dates: Weekly classes all year, plus private
Courses: Full time access and/or practice Dates: Every weekend & some evenings classes, Mould Making, Glaze Theory &
Location: Yate, Bristol tuition for individuals and groups Application
without tuition (experienced ceramicists), one- Location: Christchurch, Dorset
off 2.5hrs taster sessions (beginners), adults stupots.co.uk Dates: Various terms
moonstudioceramics.co.uk Location: Aylesford, Kent
taster workshops (individuals or groups), FB: Moon Studio Ceramics
mentoring/tutoring/specialist training (1 or 2 aylesfordschoolofceramics.co.uk
days), intensive course (4 days in groups) Gift DORSET/GLOS/ NEW BREWERY ARTS
Courses: Variety of ceramic courses
LOUISE BELL CERAMICS
vouchers: for lessons or taster workshops SOMERSET Dates: Contact directly for further details
Courses: Hand building, surface decoration,
Location: Bradford on Avon Wiltshire simple mould making and glazing for
Tel: Julia Warin 07800 778582 Location: Cirencester, Gloucestershire beginners. Taster afternoons and bespoke
E: juliaartscool@btinternet.com ARTISAN CRAFT CLASSES & newbreweryarts.org.uk sessions for up
FB: CeramicSpace Bradford on Avon WORKSHOPS RUARDEAN GARDEN POTTERY to three people of any level or ability.
Courses: Weekly pottery classes - wheel and Courses: Weekends, week-long Dates: Various
CHALKE VALLEY POTTERY COURSES
handbuilding Courses: Throwing, Pot Making Location: Lewes, East Sussex
Courses: 2-day courses in spring and
Dates: Mondays and Wednesdays, Dates: Various Louisebellceramics.com
autumn, with Jennie Gilbert & Emily Myers,
one-offs by arrangement Location: Forest of Dean BURWASH POTTERY
Learn the basics in a relaxed and friendly
Location: Bockhampton, Dorchester ruardeanpottery.com Courses: Various handbuilding,decoration.
environment, or improve your skills.
See website for details E: mail@artisan.org.uk STUPOTS POTTERY STUDIO All levels.
Dates: Various ASHBROOK STUDIO Courses: Wheel taster sessions, hand Classes,workshops, parties, taster sessions
Location: Broadchalke, Wilts Courses: Throwing, handbuilding, glazes. building & glazing. Dates: Terms of 6 weeks, various
jenniegilbert.co.uk One-to-one or small group, daily Dates: Every weekend & some evenings Location: Burwash, East Sussex
Dates: All year Location: Yate, Bristol burwashpotter.co.uk
THE CREATIVE CAVERN stupots.co.uk
Courses: Various, inc 1:1 throwing, Location: Waterrow, Somerset CERAMIC SPIRIT
Dates: Various ashbrook-ceramics.co.uk Courses: Weekly, day and evening.
Location: Winnersh, Berks
thepaintnightcompany.co.uk/
BANWELL POTTERY
Courses: Throwing, handbuilding,
DEVON/CORNWALL All techniques.
Surface decoration, glazing
pages/the-creative-cavern modelling, slab work, coil work, tile-making CHRISTOW POTTERY Dates: See website
EASTCOTT STUDIOS Dates: Weekly evening class, Weds 6-8pm Courses: 2-day saggar & raku-firing weekend Location: Horsham
Courses: Pot throwing, individual and group Location: Weston-super-Mare, N Somerset workshops with Abi Higgns/Alison West. ceramicspirit.co.uk
sessions, pottery experience days, sculpture, banwellpottery.org All abilities THE CERAMIC STUDIO
beginners and advanced, pot painting, CARANTOC ART Dates: Throughout the year Courses: For adults & children, from beginner
takeaway service, all ages welcome. Courses: Intensive & regular classes Location: Devon to professional (including evening & weekend
Onsite Art Café, Art Markets and online available in pottery & ceramic sculpture abihiggins.co.uk classes).
gallery. Dates: Year-round alisonwestceramics.com Throwing, hand-building, sculpture,
Dates: Various Location: Weston-super-Mare, GOONZOYLE POTTERY Inspiration for Ceramics & drawing.
Location: Swindon, Wilts North Somerset Courses: Wheel, handbuilding, glazing, raku Regular Taster Sessions, Pottery Experience
eastcottstudios.co.uk carantoc-art.co.uk and pit-firing. Days & Guest Pottery Workshops
eastcottstudiosgallery.co.uk CREATIVE CLAY FOR ALL For all abilities in fully equipped rural studio. Location: Brenchley, Kent
courtyardarts.co.uk Travelling clay workshops for those who Dates: Morning, Afternoon & Evening drop- theceramicstudio.co.uk
FIRED THOUGHTS ARTS STUDIO have no access to a kiln. Ideal for community in workshops throughout the year. CERNAMIC
& GALLERY groups. Based in Dorset Contact directly for more information. Courses: With Nam Tran; throwing, mould-
Courses: Weekly classes: introductory & creativeclayforall.co.uk Location: Camborne, Cornwall making, raku
advanced. Throwing & sculpture a speciality. KAREN DAWN CURTIS FB: Goonzoylepottery Dates: Various
Open Studio bookings, 1:1 throwing. Courses: 1:1 throwing; 3 & 6-week courses; marykaunenglish.com Location: SE London
Various workshops. pottery practice; Saturday making sessions,; LEACH POTTERY cernamic.com
Group sessions & more, see website parties & team-building; have a go – throwing Courses: 3 & 5-day throwing, evening CLAYNGLAZE POTTERY STUDIOS
Dates: Various Dates: Various, see website classes handbuilding, throwing Courses: Pay as you go pottery for all levels.
Location: Market Lavington, Wilts Location: Bridport, Dorset Dates: Various, each month Various training days/weekend courses
firedthoughts.co,uk karendawncurtis.co.uk Location: St Ives, Cornwall & fine art workshops
JEANNE LEWISTIFF PATRICK ESSON leachpottery.com Dates: Days, evenings & weekends
Courses: Small groups or 1-1 in throwing Courses: Modelling, coiling, slab work, LUCKTAYLOR CERAMICS throughout the year
and/or hand building pinching, throwing Courses: Hand building and Raku firing Location: West Sussex
Dates: Contact for details Dates: Various courses for beginners and advanced claynglaze.co.uk
Location: Maidenhead, Berkshire Location: Gloucester students. Fully equipped rural studio. CLAYKILNCRAFT
E: Jeannelewi@hotmail.co.uk E: p.esson@aliqua-art-gallery.com Dates: Various Courses: Beginners intensive throwing;
Ô If you run other creative courses, register free at craftcourses.com
mixed intro to pottery; handbuilding & half- FOREST ROW SCHOOL OF CERAMICS Location: Lewes, East Sussex Dates: Open access studio Tues-Sun.
day one-off classes covering all aspects of Courses: Adult intensive throwing and thepaddockstudiopottery.co.uk Location: Hoxton E2 and Lee Valley E10,
pottery and glazing. handbuilding weekly classes. Weekend THE PAINTING POTTERY CAFE London
All levels catered for but must be 16 and over. workshops: raku, soda/smoke firing, animal Courses: Evening classes: Throwing, coiling, turningearth.org
Also Open Access Membership. sculpture, glaze chemistry, slip decorating. slab & pinch for different monthly projects.
Dates: Year-round one-offs to 9-week Three-month residential Sept-Nov 2018 All materials and glazes provided. £35pp
courses & intensive short courses Location: Forest Row, West Sussex Dates: 3rd Thursday of the month 6.30-9.30pm REST OF WORLD
Location: Crystal Palace, SE London frschoolofceramics.co.uk Location: Brighton
claykilncraft.com GO CREATE paintingpotterycafe.co.uk L’APIPOTERIE /E. PENSA  FRANCE
THE CLAY PLACE Courses: Pottery, sculpture & craft PARKGATE POTTERY Courses: Handbuilding for utilitarian use
Courses: 6-week courses, one-day Dates: Various Courses: One-to one throwing and animal sculpture. Bilingual course French
workshops, bespoke clay days. Location: SW London Dates: Various and English
Hand building techniques, slab, coil, surface gocreate.co.uk Location: Dorking, Surrey Dates: See website
decoration CLAIRE GRIFFITHS parkgatepottery.co.uk Location: Beaufort sur Gervanne/South East
Dates: Wednesday/Friday 6-week courses Dates: Starting September; Weds 10.00am THE POTTERS STUDIO of France in the Vercors regional park
Various dates for one-day workshops -12.30pm & Thurs 7.00- 9.30pm Courses: Beginners to intermediate. E: epensa26@gmail.com
Location: Ashurst, West Sussex Location: Whitstable Taster sessions, 1-1 tuition, hand building
E: jc.griffiths@btinternet.com DUCTAC, MALL OF EMIRATES UAE
jwceramics.net & throwing workshops. Open access Courses: Introduction to ‘Pottery for all’;
THE CLAY ROOM UK HANDMADE IN CHISWICK memberships for more advanced makers
Courses: Weekly classes and one-off Dates: All year round. See website hand-building & throwing. Trial sessions
Courses: Clay taster workshops;
introductory pottery; mould-making & workshops inc 1:1 throwing. Studio time for Location: Hawkhurst, Kent Dates: Sunday, Monday, Thursday 10-1pm.
slip-casting; transfer; termly pottery courses; more experienced learners thepottersstudio.co.uk Tuesday 6.30-9.30pm
Christmas workshops & private lessons Dates: Term time for weekly classes, by THE POTTERY CORNER Location: Dubai, UAE
Dates: Various arrangements for workshops and studio time Courses: Clay club 4-week evening courses, ductac.org
Location: Chelsfield, Orpington Location: London, W4 Handbuilding 5-week Saturday courses, MAS SARRAT POTTERY  FRANCE
theclayroomuk.com HandmadeinChiswick.com wheel throwing and raku tuition. 5 students Courses: Introduction to pottery
THE CLAY STUDIO IG: @sylvieopsimath max. All levels welcome (handbuilding and throwing). Improver
Courses: Handbuilding, throwing, JESS JORDAN CERAMICS Location: Chichester, West Sussex pottery handbuilding and throwing) 5-day
surface decoration, glazing for beginners/ Courses: Handbuilding, throwing, thepotterycorner.co.uk courses
experienced potters. decoration, glazing DANIEL PRATAP  THE TRIANGLE Dates: See website
Raku, smoke-firing and animal sculpture. Dates: Various POTTERY
Location: Worthing, W Sx Location: Cazals, Lot, France
Weekend workshops Courses: Throwing and hand building, Taster
pottyjess.co.uk jenniegilbert.com
Dates: Mon-Fri all day inc evenings sessions, 1:1 throwing and regular weekly
Location: Groombridge, nr Tunbridge Wells THE KILN ROOMS courses. Beginners and advanced Facebook: @cvpotterycourses
E: info@theclay.studio Courses: Beginners one-off taster sessions; Dates: Day and evenings STACEY MCDONALD POTTERY  USA
THE CLAY WORKSHOP beginners taster classes: beginner/ Location: Farnborough Hampshire Courses: Fully equipped, spacious clay
Courses: Throwing, hand-building, glazing, intermediate courses in hand-building, E: danielp.ceramics@gmail.com studio offering beginner & intermediate
decorating, raku. All levels, inc 1:1s throwing, decorating, glazing. Masterclasses. SULEYMAN SABA wheel throwing, handbuilding and beginner
Dates: Various, ongoing Open access Courses: Pottery classes sculpture classes, workshops and special
Location: Central Eastbourne Dates: Various, year round, plus open access Dates: Tuesday and Wednesdayevenings events for adults and children 10 and over.
grahammatthewsceramics.com Location: Three studios in Peckham, (Clapham), Mondays and Tuesdays (Kingsbury) Cone 6 electric firing, white stoneware and a
SU CLOUD CERAMICS East London Location: London (Kingsbury and Clapham) selection of other clay bodies, glazes made
Courses: Clay club twice weekly, raku, hand thekilnrooms.com suleymansaba.com in-house
building, porcelain paperclay, various project KITE STUDIOS CLAY STUDIO SUSAN RAMSAYSMITH POTTERY BARN Dates: Ongoing start dates; days, evenings
workshops, 3-week and 6-week courses. Courses: Throwing, handbuilding, glazing, adult Courses: Experienced tutor, small groups,
& children courses weekly & weekend. One-to- and weekends
All levels. throw or hand-build, all abilities. Location: 12 W. Spring St. Illinois USA
Daytime/evening & Saturday workshops. one sessions and pottery birthday parties Dates: Tuesdays am/pm 2 hour sessions,
Dates: Mon-Sat various times 5/10 weeks or Taster weekends staceypottery.com
Purpose-built studio for up to 6 students
Dates: Various Location: Kemerton, Gloucestershire, and Location: Heathfield, East Sussex OLD HEAD STUDIO  IRELAND
Location: Bognor Regis London experiencesussex.co.uk/ceramics Courses: Handbuilding for all levels, week-
sucloudceramics.com kitestudios.org SUTTON COLLEGE long ceramics, glaze and surface decoration.
THE CORNER WORKSHOP CLOVER LEE CERAMIC Courses: Hand building, throwing, plus On-site accommodation available
Courses: Beginner courses for adults. Courses: 12-week throwing courses, taster & summer workshops, mixed abilities, adult and Dates: May to September
Hand building & a variety of decorating intensive throwing workshops. Private classes, family education. Location: Near Louisburgh Co. Mayo, Ireland
methods. Small class sizes parties & independent sessions for all abilities Dates: Starting in September with various E: sarah.lyons3@btinternet.com
Dates: Various, weekly Date: Weekly regular, weekends & private dates throughout the year.
bookings available year-round TOTEM CERAMICS POTTERY SCHOOL
Location: Balcombe, West Sussex Location: Sutton, Surrey
Location: Clapham South, London suttoncollege.ac.uk  SPAIN
E: rezacworkshop@gmail.com
clover-lee.com Courses: Throwing, sculpting, handbuilding,
PETER CUTHBERTSON STAR POTTERY
LILLAGUNILLA CERAMIC STUDIO Courses: Taster, Weekly classes slip casting, general skills for beginners.
Courses: Throwing and handbuilding,
beginners and more advanced Courses: One-day workshops and Saturday Dates: Various Weekly classes & courses
Dates: Weekly regular day and evening classes in throwing and hand-building Location: Lewes, East Sussex Dates: 1-5 day courses, weekly classes,
classes plus one off weekends by Dates: Various hamid-pottery.co.uk year-round
arrangement Location: Charlton, South East London THE STUDIO AT CLAPHAM LTD Location: Andalucia
Location: East Hoathly, East Sussex lillagunillaceramics.co.uk Courses: Taster course, project based totemceramics.com
E: peter.cuthbertson@phonecoop. MAZE HILL POTTERY workshops, tailored tuition. Beginners CHRISTINE PEDLEY  CENTRAL FRANCE
Coop Course: Weekly Evening Classes Handbuilding Courses. Learn to pinch, coil, Courses: Throwing, hand building, and
JO DAVIES Dates: Throughout the year slab and throw! Wednesday drop in for decorating for beginners and advanced
Courses: Throwing classes; for beginners and Location: Greenwich, London experienced enthusiasts.
mazehillpottery.co.uk students.
intermediates with Jo's experienced studio All levels catered for. Dates: March-october
tutors; masterclasses or one-to-ones with Jo MORLEY COLLEGE Dates: Various
Courses: Hand building, throwing, plus Location: Clapham Near Worthing, West Location: La Borne - France
for those wanting to improve or refresh their
summer workshops, beginner to advanced Sussex Tel: 0033248267744
practice
Dates: Various levels, adult and family education. thestudioatclapham.com Web-site: www.chris-pedley.eu
Location: Dalston, London Dates: Starting in September with various IMOGEN TAYLORNOBLE UN PETIT TOUR DE TERRE  FRANCE
jo-davies.com dates throughout the year. Courses: Weekly pottery classes for Courses: All levels, hand-building, surface
EASTBOURNE STUDIO POTTERS Location: London adults and children. Suitable for all levels. decoration, making tools, raku, glazing.
Courses: Throwing, hand building, surface morleycollege.ac.uk Hand-building, glaze mixing & glazing, Full-board accommodation available
decoration and glazing for beginners and NEW LIFE CERAMICS experimental firing days. Obvara, Raku, Dates: All year round, Monday 9am to Friday
experienced potters. Courses: Pay-as-you-go weekly day and & Saggar. 1:1 throwing sessions at my 5pm
Plus, Personal Project Development with evening classes for all abilities, throwing and Whitstable studio Location: Saint Génies de Comolas, France
specialist support. handbuilding Dates: Various Facebook: @FredPotierGres
Open access: studio hire available for Dates: See website Location: Espressions Art Cafe, Canterbury
experienced makers Location: Biggin Hill, Kent imogentaylor-noble.com SASHA WARDELL  FRANCE
Dates: Weekly courses throughout the year. newlifeceramics.co.uk TURNING EARTH Course: Bone china & mould making courses
Personal Project on Weds 6-9pm. PADDOCK STUDIO POTTERY Courses: Open access studio Tues-Sun for Dates: May to September (incl) in SW France/
Location: Eastbourne Courses: 1-day individual or shared, all levels – must be working independently. Feb & March in Wiltshire
E: eastbournestudiopottery@gmail.com throwing, handbuilding Classes available, see website for details/ Location: SW France/Wiltshire
eastbournestudiopottery.com Dates: Various availability sashawardell.com
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Fire Power!: Follow Our Naked Raku Adventure

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46 PAGES OF STEP-BY-STEP PHOTO GUIDES

PINCH, COIL, SLAB AND THROW Issue 51

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Sheffield Ceramics Festival first! Rachel Graham, Editor

38 Project 3: toad of Toad Hall!

18 Diary of a studio potter

PINCH, COIL, SLAB AND THROW Issue 51

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31ST JULY - 15TH AUGUST Learn more about Annika’s story

This is a slightly more

You will need:

Before you begin:

Dampen, but don’t ﬂood, the surface of the batt, then

c Continuing to support your right hand with your left,

Lift the clay again following the same procedure but

c Change the position of your

Supporting the shape from the inside with your left-

c With your left hand inside the shape to prevent collapse,

c Carefully mop out the interior of the vase with a sponge

Once you’ve closed the neck to the size of the opening

c Now turn your attention to the rim and carefully collar

DECORATING THE SURFACE

Holding a cutting wire taut between both hands,

2 Now apply the magma-type glaze over the belly of the

The ﬁred example

FOR ALL YOUR

W past few months, I’ve

You will need:

OR – a decorative impressing tool like the MKM

Before you begin:

c Roughly form a thick coil between both hands. Estimate

c Use something round, like the wooden batt shown here,

c If the coil ﬂattens in the process of rolling, twist it in

Place the coil on a long sheet of plastic, then, elevating

c Attach the ﬂattened coil onto the base in an upright

c Work over the reinforcement with a rib to reﬁne the

Use a square-edged metal rib to reﬁne the outer

c Blend the coil in with a

THE DECORATIVE DETAIL

Repeat the process on the outside of the wall to

Place the slab in the mould

Carefully lift the panel out of the mould, then make

c Place a batten at one end of the mould, sides resting on

c Shave the rim down to the level line using a surform

Score and slip the levelled rim and one edge of as

c Score and slip the ends of each panel before joining

ALTERNATIVE TO RELIEF PANEL

Use a wooden tool to model the join on the outside

c Use your tool of choice to impress a band of design

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