ClayCraft 11 2018

IDEAS SETTING UP A HOME STUDIO
6
PINCH, COIL, SLAB AND THROW Issue 11 £4.99
COIL-BUILT VESSELS
P-BY-STEP
GREAT STES IDE!
PROJECT INS
JEWELLERY
PORCELAIN PENDANTS
SLAB SLIP
BUILD CASTING
HEART ETCHED
DISHES LAMP SHADE
Issue 11
ALSO INSIDE: Smoke-firing • Throwing kitchen bowls • Anglian Potters £4.99
001 Clay Craft Cover Issue 11.indd 1 09/01/2018 18:30

Meet the team...
W
ell, it’s a new year and a chance
for new beginnings, and I don’t
mean joining a gym! Maybe
2018 will be the year you decide
to set up your own studio at home. There’s
no doubt that doing this offers you the
chance to put in many more hours, learning
Jacqui Atkin Kevin Millward and refining your techniques, and you can
Porcelain Throwing kitchen come and go as you please, whatever the time
jewellery p66 bowls p10 or day of the week. You can even wear your materials, to keep them out of reach of
pyjamas if you want! There’ll be no more children.
waiting for a communal kiln to fill up, and There are still bargains to be had, in terms
then waiting for the results; you’re in control of large pieces of equipment, if you’re
of everything (except for when the kiln gods prepared to watch, wait, and move quickly.
decide to have a laugh at your expense). Suppliers often have pages on their websites
With that in mind, we have a couple of for secondhand equipment, so get into the
Alan Ault Doug Fitch
Bespoke clay Imminent
helpful features this month. Linda Bloomfield habit of checking these too, as well as eBay
bodies p15 arrival p58 shows us her studio, and explains the and Gumtree. If you do buy secondhand,
importance of the layout, and we also visited have the equipment checked before you use it,
four potters who have, or are about to have, a and make sure that any electrical supply is
UDIOSTUDIO
IDEAS
IDEAS
SETTING
IDEA
SETTING
UP AS HO
SEME
UP ST
TTAING
HOME
UP A HOME
STUDIO
studio at home, to discover what works for appropriate and safe. Use your connections,
them. To a certain extent, you will be limited both with other potters and people in
PINCH, COIL
66 6
Issue 11 £4.99
, SLA
AND THROW
by the size and shape of the space you have, seemingly unrelated areas – like builders – to
PINCH, COIL, SLAB AND B
THROWAND THROW
S
Issue 11 £4.99
PINCH, COIL
, SLAB
BUILT VE
CO SS EL
COIL-COIL-BUILT VESSELS
IL-BU
Issue 11 £4.99
ILT VESSELS
but even the tiniest of areas can be used
GREAT STEP-BY-STEP
PROJECTS
EP INSIDE!
source timber, boards, equipment and labour.
STEP-
Y-STEP BY-ST
effectively and efficiently. As well as local potters, the internet is a

GREAT INSIDE!
STEP-B !
INSIDECTS
GREAT CTSPROJE JEWELLERY
PROJE
JEWELLERY
JEWELLERY
When you’re working, it’s important that great source of studio tips, such as hanging
PENDANTS
PORCELAIN
SLAB
BUILD
PENDANTS
everything flows, and you aren’t wasting
PORCELAIN
PENDANTS
SLIP
tools from loops, to keep them within easy
PORCELAIN CASTING
SLAB
BUILD
SLABSLIP SLIP
CASTING CASTING
BUILD
time and space by having to move around reach and preserve the pointed tips on
unnecessarily. Try to position your
HEART
DISHES ETCHED
paintbrushes. The potters we visited have
LAMP SHADE
HEARTHEART INSIDE: Smok

LAMP SHADE
DISHESDISHES LAMP
001
E: Smoke-firing
ETCHED
ALSO
ETCHE
SHADE
D
• Throwing kitche
Clay Craft Cover
equipment and work in a triangle, in much
e-firing • Throw • Anglian Potters
n bowlsing kitchen bowls
£4.99
• Anglian Potte
Issue 11.indd
1
Issue 11rs
Issue 11
09/01/2018
18:30 Issue 11
£4.99
all got some great ideas that you can learn
INSIDINSIDE:
ALSOALSO Smoke-firing • Throwing kitchen bowls • Anglian Potters £4.99
001 Clay Craft
Cover Issue 11.indd
1
the same way as kitchens are laid out. If

09/01/2018
18:30
from too.
Our cover image this month is
Catherine Lucktaylor’s ‘Wild you’re lucky enough to have a kiln, make sure
Cornwall’, from our feature on there’s adequate ventilation and that it
Tracey Benton, who organises doesn’t pose a fire risk. Shelves and storage
pop-up clay shows. See page 78
for more details. areas are vital, and consider a lockable
cupboard if you have hazardous glaze Rachel Graham, Editor
ClayCraft Magazine UK subscription and back issue Team Leader: PRINTING Kelsey Publishing Ltd uses a
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Issue 11 ClayCraft 3
003 Welcome Issue 11.indd 3 09/01/2018 18:32

Contents Issue 11
26
10
34 PROJECT 3: lamp shade
Using the slip-casting and water-
etching with wax resist to make a
porcelain lamp shade
44 PROJECT 4: coil and slab-

built vessel
Combining two techniques to
make an impressive large vase or
decorative piece
50 Confessions of a novice
Our project-blogger tackles a
teapot... with two spouts!
6 News
54 PROJECT 5: smoke-firing
10 PROJECT 1: kitchen bowl Use this simple firing technique
How to throw a classic, large to create stunning patterns
kitchen bowl for mixing or serving
58 Doug’s diary
15 Material matters There’s an imminent arrival
Alan Ault of Valentine Clays on Doug Fitch’s mind this month
explains how personalised clay
bodies are made
19 Me and My Pot
Libby Hutchence shares her work 34
20 PROJECT 2: ramekins
Step-by-step guide to creating
slab-built heart-shaped dishes
54
26 Studio set-up
Linda Bloomfield describes how
her studio is arranged for an
efficient workflow
20
29 Home studio case studies
We visit four potters’ home
studios to pick up some helpful
ideas and inspirational tips
4 ClayCraft Issue 11
004-5 Contents Issue 11.indd 4 09/01/2018 18:33

CONTENTS
44
66
60 Missed an issue?
Catch up with previous issues, 75 Events
and keep them organised with Your guide to pottery and
our handy binder ceramics events right across the
country
62 Pottery Association
Spotlight 78 Emerging Potters
Tracey Parsons reports on Paul Bailey discovers more about
Anglian Potters pop-up ceramics events in North
66 PROJECT 6: porcelain
jewellery
50 Devon
80 Courses listing
Simple to make, these pendants are Fancy signing up for a class?
easy to glaze for striking results 74 Next month Find one near you in our useful
Find out what’s in store for issue 12 free listing
73 Me and My Pot
Shaun Hall shares a piece of
stunning raku
62
29
IDEAS SETTING UP A HOME STUDIO
76 ClayCraft SPECIAL 6 PINCH, COIL, SLAB AND THROW
COIL-BUILT VESSELS
Issue 11 £4.99
subscriptions OFFER! GREAT STEP-BY-STEP

PROJECTS INSIDE!
JEWELLERY
Save money and have the

magazine delivered to your door PORCELAIN PENDANTS
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CASTING
You know it makes sense!

HEART ETCHED
DISHES LAMP SHADE
ALSO INSIDE: Smoke-firing • Throwing kitchen bowls • Anglian Issue 11

Potters £4.99
001 Clay Craft Cover Issue 11.indd 1
09/01/2018 18:30
004-5 Contents Issue 11.indd 5 09/01/2018 18:33

E
IN TH
If you have a news story, product launch or details of some
S
other topical item you’d like our readers to know about,
NEW email claycraft.ed@kelsey.co.uk
WINN E R!
CRAZY
er of our
The winn
first £250 Online
Ceramics voucher
is Wendy Oldroyd,
from Yorkshire.
CATS!
dy.
Congratulations Wen
love to se e wh at
We'd
you choose !
Anna-Mercedes Wear is running a workshop on

27 January, where you can learn to build one of
her amazing sculptural cats.
If you can’t make it to that, or if cats aren’t
quite your thing, there are other workshops
throughout 2018. Build a dog on 10 February,
hares are on 11 March and foxes are on offer
on 31 March. These workshops are repeated
though the year, so check her website for more
dates. anna-mercedeswear.com
Call for entries

The applications for Handmade at disciplines: furniture, metal, ceramics,
EXHIBITION
Kew and Handmade Chelsea 2018 are glass, jewellery, textiles, woodwork, Exhibition Opening
now open. paper and sculpture. Saturday 20th January, Clay College, Stoke
11- 3pm
For the past decade, Handmade in For more information, please visit Please join us to celebrate the opening of
in the Clay College Gallery.
Britain's shows have become the top handmadeinbritain.co.uk The exhibition will explore a range of contemporary
contemporary craft selling events in

stoneware through the work of leading potters;
Karen Bunting, Mike Dodd, David Frith,
Margaret Frith, Akiko Hirai, John Jelfs, Kevin
the UK. The events showcase the best Millward, Phil Rogers and Yo Thom.
Handmade at Kew 2018

During the day there will be demonstrations of
high-end design and craftsmanship throwing and an opportunity to tour Clay College
and meet the Diploma students.
from hundreds of highly skilled Thursday 4 - Sunday 7 October

designer-makers. The events target 2018 WHEN
Normal gallery opening times 11am-3pm 7 days a week.
and appeal to an informed and Royal Botanic Gardens, Kew,

Other times available by appointment please email:
contact@claycollegestoke.co.uk
WHERE
highly motivated audience of local Richmond TW9 3AB

Clay College Gallery, Middleport Pottery, Stoke-on-Trent,
ST6 3PE
and UK consumers, collectors and Deadline for applications:

aficionados, as well as a select
audience of professionals; including
30 March 2018
handmadeinbritain.co.uk/kew STONEWARE
those who represent corporate and
public sector buyers. The consumer Handmade Chelsea 2018 EXHIBITION
A new exhibition has opened
audience includes local residents; Friday 9 - Sunday 11 November at Clay College Stoke, featuring
tourists; shoppers and craft/design 2018 the work of Karen Bunting, Mike
collectors. Selected press, trade Chelsea Old Town Hall, Kings Dodd, David Frith, Margaret
buyers, media and VIPs are also Road, Chelsea, London SW3 5EE Frith, Akiko Hirai, John Jelfs,
invited to attend. Deadline for applications: Kevin Millward, Phil Rogers and
Applications are now being 30 April 2018 Yo Thom.
welcomed from individual makers, handmadeinbritain.co.uk/ It’s open from 11am-3pm
groups and galleries of contemporary chelsea every day of the week from 20
craft working in the following January, and entry is free.
claycollegestoke.co.uk
006-8 News Issue 11.indd 6 09/01/2018 21:33

THE ART BARN IN GAMLINGAY
IN THE NEWS
“We moved to the village

of Gamlingay, in South
Cambridgeshire, three years ago,
and we were soon told about the
wonderful Art Barn (a purpose-
built studio barn), which is run by
Dave and Helen King. They are both
retired art teachers with a passion
for pottery, painting and drawing,
and we were very lucky that they
had spaces on their courses for us.
“I have been making pieces of
pottery for the past 20 years and
was delighted that I would have
an opportunity to carry on with
my hobby in such an inspiring
environment. Dave’s passion is raku
and pit-firing. We held our most
successful day on 2 December 2017. A display of some of the pieces
“It was a bright, sunny, but very fired at the Art Barn’s raku and pit-
cold day, which was a good omen. firing day in December.
Dave and I started to set up the
garden very early, as the first firing smoke and grime was scrubbed
was at 10am sharp. The first potters off the finished articles and we
arrived and we were soon loading were all thrilled with our works
of art. Everyone in the group had
contributed wonderful saucepans
full of hot soup, loaves of bread,
cheeses and drinks for a feast
around the fire. We raised our
The Feast after a hard day firing.
glasses to Dave and Helen, who had
their first pieces into the pit and provided a wonderful day for local
kiln. We also lit a large fire basket to enthusiastic potters, their family and
keep everyone warm! friends.”
“During the day, we fired 50 pots Geoff Kaye
in the kiln, over six firings, and 15
pots in the pit. The raku was finished
A well earned rest. Dave and at 1.30pm and everyone was very
Helen in the blue tops. pleased with their results. The
Emerging artist
call for entry
If you have you ever fancied
exhibiting internationally, then
take a look at the criteria for
Ceramics Monthly’s ‘emerging
artists’ feature scheduled for its
May issue, and why not apply?
Cottages.
006-8 News Issue 11.indd 7 09/01/2018 18:34

E
IN TH
EWS
N
Three-month residential ceramics course
Forest Row School of Ceramics will The course is not yet accredited,
be running a ceramic development but graduates will be presented
course from September this year. with a certificate of completion from
The three-month, full-time residential the school, including a summary
■ Maximum number of
course is aimed at new potters who of their particular discoveries and
students: 8
want to discover and develop their experience.
■ Course dates: Monday 3
identity as ceramicists, their distinct Gallery owners, collectors, and September – 30 November
style and preferred materials. The the press will be invited to the end 2018
course will give aspiring potters the of course show, which will be an ■ Half term: 22 – 26 October.
time, space, materials and equipment important opportunity for each ■ Times: 9.30am – 3.30pm
to really explore new processes in graduate to receive feedback, make ■ Supported learning hours:
the development of their work and contacts, sell their work and take 12 hours a week, mostly
style, and give them the confidence commissions. mornings
and skills needed to set up their own ■ Private study hours: 17 hours
studio and to exhibit and sell their Enrolment a week
work. ■ Deadline for application is 28 May, ■ Total expected study hours
2018 a week: 30 hours, although
Tutors ■ Application forms can be students will have access to the
Students will learn from a team of downloaded from the website studio day and night and can
practising ceramicists, including (frschoolofceramics.co.uk) manage their own time
visiting, internationally-renowned ■ Applicants should have a strong ■ Fees: £3,000 plus materials,
potters such as: collection of ceramic pieces, which will be calculated
Ashraf Hanna - working with slabs sketchbooks and any supporting as used
and coils material. They should show a passion ■ Accommodation costs are
Stephen Parry - on the wheel, and commitment to following a not included. For details
contact Emerson:
making large-scale pots in sections career in ceramics.
emerson.org.uk/accommodation
Linda Bloomfield - on glaze ■ All applicants will be contacted by
technology early June
Ruthanne Tudball - on throwing ■ Interviews will be here at the Please see the Emerson website for
with expression and soda firing school or via skype and successful more details and booking.
Lesley Mclnally – on surface colour applicants will be informed by mid-
and texture July Contact information
As practitioners, all the lecturers Forest Row School of Ceramics
understand both the problems Accommodation Forest Row, East Sussex
surrounding the creative process, Accommodation is on campus, RH18 5JX
and what it takes to become a allowing students to fully immerse Phone: 0789 444 7938
successful artist. They will be able themselves in their journey with clay. Website: frschoolofceramics.co.uk
to support you professionally with Access to the studio will be available
marketing, pricing, finance and social at all times. Students can choose to Emerson College
media. Promotional skills, including stay late and work at weekends, and Forest Row, East Sussex RH18 5JX
lighting and photographing your will learn from each other in a vibrant Phone: 01342 827955
work, will also be taught. community of potters. emerson.org.uk
WE LOVE CLAY They invite the ceramics community

to take part in the next chapter
In 2018, Goldmark will be embarking of their journey: We Love Clay.
on a brand new adventure in the This website will offer new online
world of ceramics. Over the past 10 resources, from photographs and
years, the gallery has spent many films to books, articles, special offers
hundreds of hours working with some and much, much more and will be
of the greatest potters in the world, launching soon.
both here in the UK and in locations Wherever you are, if you’re a
as far flung as Jingdezhen, China’s lover of clay sign up on the website
porcelain capital, the Japanese weloveclay.com for more news
pottery town of Mashiko, and the coming soon. We’re sure you won’t be
windswept Danish island of Bornholm. disappointed...
006-8 News Issue 11.indd 8 09/01/2018 18:34

BOOK REVIEWS IN THE NEWS
RANDOM TREASURE: ANTIQUES, AUCTIONS AND ALCHEMY

If you’ve ever dreamed of finding a hidden treasure at a local auction, or
compulsively turn over pots in charity shops, hoping to discover a rare find,
then this book is for you. Roger Stewart writes beautifully, with humour and
insight, as he chronicles his adventures in salerooms and second-hand shops.
What, in less skilled hands, could be dry historical references are interesting
and informative, and his anecdotes are witty – and sometimes poignant.
Read about his discovery of a ‘The Jug’, a previously unknown piece by
Bernard Leach and Michael Cardew; ‘The Saint’, a wooden statue that turned
out to be a long-lost, 500-year-old French treasure, and how he got ‘a buzz’
about an ugly brown bowl, and was proved right when it was confirmed to be
an early piece by Bernard Leach.
With touches of autobiography, Roger describes his 60-year involvement
in identifying and authenticating antiques. He explains how provenance
works, the research process, and whether or not it matters. You’ll learn how
to buy and sell at auctions – there’s a definite etiquette, and no, you won’t
accidentally buy a grand piano by sneezing – and he investigates, among other
things, the psychology of the behavioural aspects of collecting antiques. Are
some people better at it than others, and if so, how and why?
Even if you don’t have a particular interest in collecting, this book is well-
written, funny and informative. A great read – highly recommended!
● Random Treasure: Antiques, Auctions and Alchemy by Roger Stewart ● Published by The Book Guild Ltd
● 28 September 2017 ● Paperback £12.99 ● 280 pages ● 235 x 159mm ● ISBN: 978 191208 3558
VITAMIN C: CLAY AND CERAMIC IN CONTEMPORARY ART

This beautiful, large 304-page hardback is packed with an A-Z of
102 of some of the most important international clay and ceramic
artists of the day, as nominated by leading figures in the art world.
As would be expected, the photography is inspiring and
alongside each entry are the artist’s biography, and a specially
commissioned text on their practise. While this is not a book
about studio pottery, potters of all levels and disciplines will find
it a source of motivation to explore their own creativity, whether it
be through form or finish.
The book opens with an essay by Clare Lilley, Director of
Programme at Yorkshire Sculpture Park and curator of Frieze
London Sculpture Park, in which she explores the wider context of
clay in art. For those unfamiliar with the history of contemporary
ceramics, this provides an excellent reference source, detailing, as
it does, the artists and movements involved in the transition of the
use of clay from a ‘craft’ material to one used in ‘high art’.
Although the photography is good, the reproduction on a
number of the images is a little dark, and some of the vibrancy in
the colours has been lost. However, it’s a small niggle, as the sheer
number and variety of examples of work is inspirational.
● Vitamin C: Clay and Ceramic in Contemporary Art ● Edited by Phaidon Editors, with an introduction by Clare
Lilley ● Published by Phaidon ● 02 October 2017 ● Hardback £39.95 ● 520 colour illustrations ● 304 pages
● 290 x 250mm ● ISBN: 978 071487 4609
009 Book reviews Issue 11.indd 9 09/01/2018 21:35

SKILL SCHOOL
PROJECT
ONE
THROWING A
KITCHEN BOWL
This is a lovely practical bowl for the kitchen, ideal for mixing cakes or batters but rustic
enough to use for serving salads and vegetables if preferred. It’s simply glazed in white
to suit all kitchen styles, but the surface decoration could easily be adapted to your own
colour scheme to make it more individual
Fix a batt to the wheel head, following the procedure

demonstrated in issue 8.
Prepare a ball of clay approximately 2.5kg in weight
and centre on the wheel head as shown in issue 2 (or
go to claycraft.co.uk – ‘How to’ guide for both of these
techniques).
This is a larger weight of clay than we have thrown
previously, so may take a little longer – and a little more
effort – to centre, but don’t move on to the next stage until
you’re sure the clay is running freely through your fingers.
Keep your left hand steady on the side of the clay, with
your arm resting on the side of the pan, as you encourage it
to centre.
1 Use the side of the right hand to level the top of the
dome as you push gently from the side.
010-14 Project 1 Throwing Kitchen Bowls Issue 11.indd 10 09/01/2018 18:36

DIFFICULTY RATING ★★★★★
3
Dribble a little water over the wall of the clay, then, with
the wheel turning at medium speed, begin to lift the wall of
2 the bowl between the fingers and thumb of the left hand,
using the right hand to steady the clay as you lift.
Open the centre of the bowl by pressing the thumb of Keep this first lift vertical, as though forming a cylinder,
the right hand into the centre, while cupping the shape and leave a thick rim at the top rather than thinning the clay
with the rest of the hand. right through from base to tip.
Support the thumb with the fingers of the left hand as
you gently press down to within 10-15mm of the wheel
head.
Widen the base with the side of the knuckles of the
right hand, to form a wide but slightly curved surface.
Run the knuckles over the surface a couple of times to
compact the clay at the base and refine the curve.
Use the left hand to keep the wall running to centre as
you form the base.
4
Keeping the thick rim at the top of the bowl, lift the wall
again in the same way. The shape should still look like a
wide cylinder at this stage.
Remember to compress the clay at the rim with the tip of
a finger after each lift.
5
Lift the wall a third time using the side
of the knuckles of the right hand on the
outside wall and the fingers of the left hand on the inside.
Begin to curve the wall outward with this lift, closing in
slightly again as you reach the rim. Again, maintain the
thick rim. The bowl should now be the approximate shape
you want it to be, with only refining details left to complete
the shape. .

SKILL SCHOOL
PROJECT
ONE
TURNING THE BASE OF THE BOWL
6
Compress the clay at the rim with the pads of the
fingertips, to refine the shape for the final time.
1
Dampen the surface of the wheel head then position
your bowl rim down and tap to centre as described
in issue 9 - Teapot, or go to claycraft.co.uk – ‘How to’
guide.
Secure the centred bowl with wads of soft clay if it
makes you feel more secure about it staying in place.
Begin by flattening the base of the bowl with the
turning tool, working from centre to outside edge and
with the wheel turning at a slow to medium speed.
TIP: Kitchen bowls should have a wide base for
practicality.
When the base is flat, bevel the outside edge of the
7 foot slightly to neaten it so that you can develop the
final shape more clearly later.
Before the final shaping, use a rib to remove excess clay
from the outside base and the wheel head. Wipe away
excess slurry from the batt and use the tip of the rib to
create a slight undercut in the base. This will visually
‘lift’ the bowl.
Gently wipe out excess slurry from the inside of the
bowl with a sponge. Using a rib (wood or metal) with a
curved side, carefully round out the shape on the inside
of the bowl to form a pleasing curve. This action will
also remove excess slurry and compact the clay for a
good surface (important for domestic ware).
The bowl is now essentially finished. Carefully lift the
batt off the wheel head then wire off the underside of
the bowl. Leave the bowl to firm up until you can handle
it without distorting the shape, then carefully turn it
over for the base to firm up a little, ready for trimming.

4
When happy with the depth of the foot and the surface
2 you’ve trimmed, cut a shallow bevel on the inside of the
foot, at the same time scoring a light line at the edge of
Mark a broad foot with the tip of the turning tool, 15- the wall in the base to complete this part of the trimming
20mm from the outside edge of the base, as shown. process.
5
Next, turn an undercut on the outer edge of the foot.
This will give a good line to glaze to later, when the bowl
3 has been bisque-fired.
Hollow the inner section of the base of the bowl from

centre to the marked edge of the foot. The depth will
depend on the amount of clay you have at the base for
turning, but practically it should be at least 8-10mm
deeper than the foot.
6
Trim the wall of the bowl down from
the undercut until the thickness of the
wall is the same throughout, the shape
pleases you, and the surface is smooth
and even.
Issue 11 ClayCraft 13 .
SKILL SCHOOL
PROJECT
ONE
7 9
When happy with the shape of the bowl, score a couple
of lines 15-20mm from the rim of the bowl, as shown, Make any more small
adjustments to the shape of
using the fine tip of the turning tool. This acts as a
the foot you feel necessary
decorative detail for the glaze to break over when fired
to complete the bowl, then
later, but is not an essential detail if you prefer to leave
turn it the right way up and
it out.
allow it to dry completely
before bisque-firing.
9
After bisque-firing, decorate the bowl with your chosen
glaze – here a simple tin white stoneware glaze has been
used for multi-purpose use, but you could make it much
more colourful if you choose.
THROWING BOWLS – COMMON FAULTS:

■ Making the base too narrow is the most
common cause of issues when throwing bowls.
You need a wide foundation to prevent the walls
drooping outwards – an irretrievable problem
once it happens, because the walls will usually
8 collapse at this point.
■ Weak, or thin points in the wall caused by the
Now return to the footring clay being off-centre will also cause collapse in
and gently round off the outer the thin area.
edge with the turning tool. ■ Failure to create a good curving base creates
Finish off by running a finger a weakness in the clay because the section is
over the surface until smooth. uneven, often resulting in cracks later – if you
don’t turn right through the base when creating
the footring beforehand!

ALL ABOUT CLAY
MATERIAL MATTERS
The complexity of clay (L to whereby customers can discuss
recipes and how they R) Red their requirements. A specialised
are developed earthenware, recipe can then be developed, with
In the last issue, we examined raw stoneware, the aim of producing a product as
materials and how they form the white close to their request as possible.
earthenware,
basic building blocks when porcelain.
In simple terms, making a clay
developing a clay recipe. recipe is like baking a cake, which
Following on from this, there are also requires lots of different
Alan Ault of Valentine numerous formulations of ingredients to achieve, for
Clays explains recipe different clay body recipes example, either a chocolate cake or
formulation currently in the market place or a Victoria sponge. With a clay
being used by studio potters. recipe, it’s obviously far more
Generally, they have been complex and takes into account
How to develop a developed for a specific purpose, the chemical compositions of
clay body recipe such as a particular firing several different types of raw
Developing a clay body is more temperature, the plasticity materials – some of which were
complex that it initially sounds. required, or the size of the object discussed in the last issue – which
There is often the preconception that needs to be made. All of these are then mixed together.
that clay is literally just dug out of factors have to be looked at and
the ground and sold, ready to use. evaluated, to formulate the best Typical clay recipe
With most clay bodies this isn’t recipe for that particular use. examples include:
the case, and a great deal of Developing your own clay body White earthenware
chemical research and technical is often very complex and requires ● 35% China clay
development is involved in a lot of technical knowledge and ● 15% Ball clay
constructing the right type of clay testing, which is why companies ● 35% Flint
for particular uses. such as ourselves offer a service ● 15% Feldspar .
015-17 Clay Issue 11.indd 15 09/01/2018 18:40

ALL ABOUT CLAY
Stoneware
● 35% Fireclay 1 2
● 35% Ball clay
● 20% China clay (kaolin)
● 5% Feldspar
● 5% Quartz
Porcelain
● 50% China Clay (kaolin)
● 25% Silica (quartz)
● 23% Feldspar
● 2% Bentonite
Bone China 3 4
● 50% Bone ash
● 25% China clay (kaolin)
● 25% China stone
These generalised recipes provide

an example of the general clay
bodies currently in the market
place, but there are far more
complex recipes that include more/
different types of raw materials.
To develop such recipes takes time
1: Porcelain: clay and fired example. 2: Red earthenware: clay and fired
example. 3: Stoneware: clay and fired sample. 4: White earthenware: clay and
and is often developed in a fired sample.
technical laboratory.
Mixing together Dry Dry processing

processing:
a clay recipe Stage 2 - an
This involves the clay recipe
Once the recipe has been finalised, example of ingredients being crushed and
the next process is to buy the raw powdered pulverised to produce powdered
materials and, in our case, put clay. clays and powdered blends of clays,
them through the manufacturing to which water can then be added
Dry
process. As mentioned in a processing: to produce a clay body. This
previous issue, the two main Stage 1 - Eirich manufacturing process generally
manufacturing methods are: mixing. uses an Eirich mixer and doesn’t
require a filter-press process. This
process isn’t classed as sliphouse
manufacture.
Wet processing
This is the process when the clay
recipe ingredients are mixed
together with water in a blunger
to create a slip, which is then
passed through sieves and/or
magnets. It is then filter-pressed
(extracting the water) and pugged
(blended and de-aired) before it
can be used. This process is Wet processing: Stage 2 - a
classed as sliphouse manufacture. filter press.
015-17 Clay Issue 11.indd 16 09/01/2018 18:40

ALL ABOUT CLAY
Creating your own Wet

Processing:
clay body recipe Stage 3 - filter
For those who are looking to cake that
create their own clay body recipe is removed
to improve some of the handling, from the filter
firing properties, etc, we would press.
recommend speaking to a
company such as ourselves, who
can give you the technical
knowledge and advice to Manufacturing a Cost is obviously a factor when
improve the clay body. This specialised clay considering the manufacturing
is because, as previously body recipe process. Smaller quantities will
explained, the process of When looking to have your work out far more expensive, since
developing your own recipe specialised clay body recipe it costs the same to clean out the
can be quite complex. Many manufactured, it’s important equipment, regardless of the
potters, though, do create their to consider the cost. quantity that’s been processed.
own recipes, including well- Manufacturers such as ourselves This is why off-the-shelf clays,
known potters such as Matthew Wet can produce anything from 150kg which are produced in several
Blakely, Svend Bayer, Peter Beard Processing: to however many tonnes you thousand tonnes at a time, work
and Ashraf Hanna. Stage 4 - an require. The type of recipe blends out more cost-effective, but don’t
example of you require will affect the type of always give you the specialised
earthenware
How to change a coming out of
manufacturing process needed, properties that you’re looking for.
clay body recipe a pugmill. such as powdered (dry) or Companies like us not only
If you want to change a clay body sliphouse (wet) mixing. With dry work with studio potters, but also
that you have bought off the shelf, processing, recipes can be industrial ceramic manufacturers,
you will just need to do a bit of manufactured from 150kg to help to fine-tune their own clay
research into what you are upwards, whereas wet-processing recipes or to modify any
looking to change. For example, if recipes have to be manufactured requirements that they have, such
you wish to change the firing from 2000kg (2 tonnes) because as energy-saving properties.
temperature then you can add a they’re made using the filter press Recently, a customer asked us to
flux, or to make the clay body method. So, with this in mind, modify their clay body recipe so
coarser for creating bigger depending on your recipe, the that they could reduce their firing
ceramic pieces you can add a ingredients needed and the temperature, to help to save on
grog. If you are looking to mix mixing requirement will affect the production cost of their
two different types of clays your minimum order options. products. 
together you would need to knead
the clays together, preferably they Svend
would then be put into a pug mill Bayer...
so that all the ingredients are … and
mixed together. If you don’t have Kevin Millward
a pug mill then it might be are among
helpful to watch Kevin Millward’s the potters
who have had
video (bit.ly/2qyABDZ) on how their own clay
to mix two clays together by recipes made
wedging and kneading. by us.
015-17 Clay Issue 11.indd 17 09/01/2018 18:40

FOR ALL YOUR SUPPLIES
INCLUDING KILNS, WH
HEELS, RAW
RA
A MATERIALS, CLAYS, GLAZES, COLOURS
WE ARE DUSTRIBUTORS FOR RHODE GMBH & POTTERYCRARAFTS
A LTD KILNS, OFFERING ADVICE AND
QUALITY AFTER SALES SERVICE
WE ALSO OFFER A COMPREHENSIVE SAMPLES COLLECTION ON OUR WEBSITE
TEL: 01323 896444 EMAIL: CHRIS_HESKE

ETH@HESKE
ETHPS.CO.UK WWW
WW
WW.HESKE
W ETHPS.CO.UK
To advertise please call

Gary Smythson on
01732 447008
NORTHERN KILNS
Kilns, wheels, clay, glaze and equipment
Service and delivery nationwide
Modern, well-equipped ceramics

studio in an idyllic rural location near
Groombridge
01253 790307
CLASSES: Daytime and evening classes
info@northernkilns.com suitable for all abilities
COURSES: Weekend workshops for
Lessons in throwing, handbuilding and adults and children
various aspects of ceramics
EVENTS: Raku Days, Special Occasions and
Group Experiences
claystudio@eunicelocher.com
01892 862 540
www.eunicelocher.com
01253 799928 The Clay Studio, Hendal Farm, Cherry Gardens Hill,
shop@pillingpottery.com
Groombridge, TN3 9NU
ME AND MY POT
Libbi Hutchence
Clay: ESO Stoneware

Firing temp: 1000°C
Build technique: Wheel
Decorating process:
Reduction turquoise crackle
glaze. I’m not sure what
happened but the glaze split
away on the pot and I love it.
It’s totally unique. Sometimes
disasters can be wonderful;
that’s one of the pleasures of
being a potter!
Inspiration and influences:
Anglian potters
Buy my work at: The
Handmade Shop and Gallery,
Bury St Edmunds
libbidib-pottery.co.uk
If you would like a piece of

your work to be featured,
email us at: claycraft.ed@
kelsey.co.uk
019 Me and My Libbi Hutchence Issue 11.indd 19 09/01/2018 21:44

SKILL SCHOOL
PROJECT HEART
TWO
FIVE
RAMEKINS
These little dishes hold a surprise in the bottom, making
them great for romantic occasions
020-24 Ramekins P2 Issue 11.indd 20 09/01/2018 21:46

You will need:
■ A white-firing clay: earthenware, stoneware
or porcelain – as used here 3
■ A small heart template 2-3mm thick – sheet
foam is good if you want to re-use the template
■ A large heart cutter
■ Red underglaze
■ Transparent glaze
Place the heart onto

an absorbent board then
remove the cutter and
use the tip of a potter’s
pin to carefully lift the
template out.
1
Roll a large slab of clay
about 5mm thick (3-4mm if
using porcelain) on a sheet of
plastic using your roller guides
to ensure the clay is evenly thick.
Place the small heart template
centrally on the width of the slab,
then position the larger cutter around it, so that it sits in
the centre. Check the positioning is right, then lift away
the cutter and roll the template into the clay until it’s flush
with the surface.
2 4
Using a straight edge, carefully cut two 5-6cm strips
from the remaining slab of clay. Each strip needs to be
longer than the length of one side of the heart. Bevel the
end of each strip, using a ruler as a guide.
Press the cutter down and,

holding it in place to ensure the
heart inside it doesn’t distort,
remove the surplus clay from
around the edges. Carefully
lift the cutter up, turn it over
and remove any remaining
pieces of clay with a fingertip,
to completely clean the edge
of the cutter.
.

PROJECT
SKILL SCHOOL
TWO
5 6
Place the first strip into position, and use a kidney Using a serrated kidney, score the heart’s base, and the
to mark the point at which it meets the centre of bottom edges and bevelled ends of the strips.
the top of the heart. Cut the surplus clay away at an
angle to create a bevel, as shown. Repeat with the
second strip.

PROJECT
SKILL SCHOOL
TWO
9 11
Apply a little slip to Use a damp sponge to smooth the surface and
the inside of the base of soften any sharp edges. Take care not to over-wet the
the strips, and blend a clay. Make as many ramekins as you need, then allow
coil of soft clay in, using them to dry thoroughly before bisque-firing.
a wooden modelling
tool.
10
Using a slightly rounded corner of a rib – you can
use an old credit card and make your own, to give you
the shape you need – clean up the inside of the heart,
compressing the joint as you go.
On the outside, blend the clay down over the joint with
the base, then use a straight-edged metal rib to compress
the join and remove any excess clay. Hold it vertically and
draw it gently along the walls. Try not to distort the shape
as you go.
12
Apply red underglaze to the indented heart and
leave to dry completely before applying transparent
glaze. Allow the glaze to dry, then fire to the clay’s
recommended temperature.
Fired ramekins: Porcelain clay with underglaze
decoration and transparent glaze, fired to 1240°C in an
electric kiln.

The Art House is a city centre based social enterprise
committed to supporting the development of artists from
marginalised groups in Sheffield, in particular people with
mental health issues.
We run approximately 50 commercial art and pottery
classes each academic term, as well as workshops and a
membership scheme offering flexible pottery studio time
– to provide the primary income stream for the charity
as well as develop a wider artistic community using the
building.
Now entering our third year of operation we looking
to expand our pottery team and recruit (1) two Pottery
Tutors to teach our commercial classes for the general
public and (2) a Studio Technician.
Post: Pottery Tutor (for commercial classes)

Hours: Part-time – weekdays and occasional Saturdays –
in region of 20 hours per week (negotiable)
Salary: £21,000 pro rata (salary review anticipated August
2018)
Contract: Permanent
Closing date: 9th February 2018
As well as being an experienced potter you will need
experience of teaching students new to pottery, excellent
communication skills, a sense of humour, an ability to work
effectively with in a small team and a commitment to the
Art House’s wider mission of working with marginalised
groups.
Duties will include: teaching non-accredited pottery
courses and workshops, course design, review and
development, promotion of courses/the Art House,
attendance at pottery team meetings, management
and development (with other colleagues) of the pottery
studios and associated exhibition spaces to further develop
commercial income.
Post: Pottery Studio Technician

Hours: Part-time – weekdays and occasional Saturdays – in
region of 28 hours per week (negotiable)
Salary: £17,000 pro rata (salary review anticipated August
2018)
Contract: Permanent
Closing date: 9th February 2018
This post will oversee the technical and operational
aspects of the pottery studios, including day-to-day studio
operations, kiln firings and stock/materials management.
As well as having a good understanding of glaze
technology you will need excellent communication skills,
a sense of humour, an ability to work effectively with in
a small team and a commitment to the Art House’s wider
mission of working with marginalised groups. You will
also be responsible for the supervision & development of
the apprentice Technician.
Duties will include: managing kiln firing schedule,
loading and unloading kilns, clay recycling, mixing glazes,
maintaining equipment such as kilns, slab rollers and
wheels, coordinating repair of equipment as needed,
ordering supplies and materials and maintaining a clean
and safe studio environment.
For an informal discussion about either post: please
contact Andy Cutts (Manager) on 0114 – 272 3970.
Website: http://www.arthousesheffield.co.uk/
How to apply: please email andy.cutts@arthousesheffield.
co.uk for an application pack clearly identifying which
post you are interested in. CVs will not be accepted unless
they are submitted with a completed application form.
Linda Bloomfield in her studio.
(Photo: Ben Boswell)
SETTING UP YOUR STUDIO

Linda Bloomfield shares her expertise to help you create the best and most
efficient studio setup possible
S
etting up a pottery studio is
remarkably similar to
designing your kitchen
layout. You’ll need water,
power, light and heating, all arranged
within easy reach for an efficient flow
of work.
The main pieces of equipment in most
pottery studios are the wheel and the
kiln. Electric wheels need power near
by, and lighting from a window or
overhead electric lights. Electric kilns
can be run on a single-phase supply,
used in most residential properties, but Linda Bloomfield’s studio, with
industrial kilns are often run on a glass-reinforced plastic roof
and blinds on the ceiling.
three-phase electric power. Some (Photo: Henry Bloomfield)
single-phase kilns can use a normal
domestic plug, while others will require
an independent heavy-duty (50Amp) with a fused switch. Check the power of accompanying documentation, so
feed – like those used for electric requirements for your kiln with your always check with someone
cookers – which will need to be supplier, and the information will also knowledgeable before you install your
installed by a qualified electrician, be in the manual. One downside to kiln, or you could run into problems.
wiring the kiln directly into the power, buying secondhand kilns can be a lack The kiln will also need ventilation, or
026-28 Linda Poterry Set-up Issue 11.indd 26 09/01/2018 18:43

The Leach Pottery studio with
potters Lexie Macleod and Laurence
The Maverick. Linda’s studio is set
up in a similar way.
(Photo: Henry Bloomfield)
even its own separate shed. Some

electric kilns can be fitted with a vent
so that the gases can be extracted to The kiln is at one end, near the
the outside. It’s essential to have either glazing station, with fireboard
behind it…
an extractor fan or two windows open
so that fresh air can flow across the … and the wheel at the other, with
light coming in from the window.
room. Many clays give off sulphur
dioxide and fluorine gas, which can easy to forget, and turn it on without
etch the glass of the studio window thinking. I also have sheets of fireboard
during the bisque-firing. More toxic attached to the wall and ceiling near
fumes come from black clays containing my electric kiln, since the wood in kiln
manganese and metallic lustres. I sheds can dry out and become
usually fire my kiln overnight and make flammable.
sure all the gases have cleared before I
start working in the studio the next Workflow
day. The kiln will also produce a lot of As in a kitchen, the most efficient work
heat, which is good for drying out work comes from having the shortest possible
in the studio, but not if it’s at a stage paths between the sink, wheel and work
where you still need to do work on it. In surface. Think of the whole process,
this case, control the drying by using a from storage of clay to wedging,
damp box, or wrapping/covering the throwing, handbuilding, drying,
work with plastic to protect it. bisque-firing, glazing, final firing and
Although kilns are very well packing. Then arrange the studio so
insulated, be aware of any potential fire that the work can flow through it in the wheel should be placed next to a
risks. Make sure there is space around most efficient way, depending on the window, to make the most of natural
the kiln, and never lean anything up shape of your studio – either in a light.
against it. It’s a good habit to get into, straight line or with a triangle between My studio is a long, narrow shed,
even when it is switched off. It’s all too sink, wheel and wedging bench. The 8x16 feet, with the kiln at one end and
the wheel at the other. When I visited
the Leach pottery last summer, I
noticed the working studio is also a
long room with electric kilns at one
end, wheels all along one wall and
glazing tables at the other end. My
studio also has a clear, glass-reinforced
plastic roof, which adds a lot of natural
light. However, this also means that it
can get hot and too bright in the
summer, so I have blinds that I can
The wedging bench and clay The glazing area, with reference draw to reduce the glare and help
storage are next to the wheel. test tiles displayed using Velcro. control the temperature. .

POTTERY SET-UP
Glaze materials on shelves in Stanley Field’s studio. Linda keeps her

glaze materials and colouring oxides in a locked cupboard to prevent the
The salvaged butler’s sink has a children from accessing them. (Photo: Linda Bloomfield)
cold tap and a tiled splashback. The
waste water is collected in a clay glazing, under which I keep buckets of need a frit, such as calcium borate frit. If
trap outside the studio.
glaze. At the centre of the long wall in you want to add colour, the most useful
Storage between the wedging and glazing colouring oxides are copper, cobalt, iron,
The secret of an efficient studio is to benches is a large, salvaged butler sink chromium, manganese, nickel and rutile,
have lots of flexible shelving. Many with a single cold-water tap and a tiled as well as opacifiers tin oxide and
potters have ware boards, which can be splashback. If I need hot water in winter, zirconium silicate. Commercial stains are
placed on racks on the wall or on I boil a kettle. There’s also an electric needed if you want to make bright yellow
moveable trolley racks. It is also essential radiator near the wheel area. There are and red. Glaze-making equipment
to have a sturdy wedging table at hip at least six electric socket outlets at includes a fine, 80-mesh sieve, a rubber
height. My wedging bench is fixed to the various points along the wall, as well as spatula and a set of scales sensitive to
wall and the wood is left unvarnished so the power for the wired-in kiln. 0.1g, either digital or triple-beam balance
that it absorbs excess water from the soft scales. I also have an old set of market
clay without the need for a plaster batt. I Waste water scales with weights, used for measuring
keep bags of clay under the wedging The most arduous part of the building lumps of clay for throwing on the wheel.
table. works for the studio was digging a Plastic scoops are useful for weighing
I have a similar work bench for drainage trench going downhill all the out glaze materials, and five and 10-litre
way to the main house drain. Just outside lidded plastic buckets for storing the
the studio is a clay trap, which collects glazes. I use the plastic buckets that
clay slip and prevents it blocking the come from the suppliers containing slip.
drain [see ClayCraft issue 8 for I wear slip-on rubber clogs in the
instructions on how to build a clay trap]. studio, which I change before coming
Every six months, I empty the clay slip into the house to prevent clay being
into long wooden troughs underneath walked through it.
the kiln to dry out. We have tried For my studio, this setup works very
recycling and reusing the slip, but it is a well, and creates an efficient flow. This
mixture of clay and glaze, which is not means that I can focus on working and
very plastic and melts on firing, so it’s not move around needlessly, wasting
not ideal for reuse. precious time. 
Glazes Linda Bloomfield is a scientist

The glaze materials are stored in a turned potter. Glaze recipes can
locked cupboard. When setting up your be found in her books, Colour
first studio, the most useful materials for in Glazes (A&C Black, 2012) and
The Handbook of Glaze Recipes
a high-firing potter are potash feldspar,
(Bloomsbury, 2014). Her latest
quartz, whiting and china clay. If you book Science for Potters (The
want to make matt glazes, you will need American Ceramic Society, 2017)
Plenty of shelving is on-hand next talc, dolomite or for brighter coloured is now available in the UK from
to the wheel, ready to receive fresh matts, barium or strontium carbonate. lindabloomfield.co.uk
work. Mid-range and earthenware potters will

POTTERY SET-UP
W e met four potters at

different stages of their
set-ups, and took a look at
what they’ve done, or are planning,
with their studios. One common theme
when talking to them was that they’re
learning and adapting all the time;
picking up ideas from other potters that
are then incorporated into their own
studios. Hopefully you’ll pick up plenty
of tips that will help and inspire you
when you come to create your own
space.
CASE STUDY 1
Anastasia Hille
“My mother was a craft teacher, and I
remember doing a bit of pottery with
her in my early days. She died a few
years ago, but I noticed with my
painting, and anything else I was
doing, that when I was making things,
I felt close to her.
“When we first moved here, the kids
and I found some local clay. We
collected it; it was so white and perfect.
We brought it home, cleaned it up and
didn’t really know what to do with it
next. Then I enrolled in a pottery class
that came up locally, and I felt like I’d
done it before. Whether that stems from
doing it when I was little or not, I don’t
know. I took our little piece of clay into
Anastasia's wheel is in an outdoor brick alcove, which
class, and we eventually fired it. It
is protected by a sheet of heavy plastic in the winter.
cracked a bit, but it worked! .
SETTING UP YOUR The hinged workbench hangs

from chains and can be folded
away when not needed.
OWN STUDIO
One of the most exciting things about the journey
to becoming a potter, whether it’s a hobby or a
career, is setting up your studio. Having your own
space and equipment frees you up to work when
you want, how you want. You are – more or less –
in control of the layout, depending on the size and
shape of the space available. You can choose when
and how to fire your kiln, and if you want to glaze in
the middle of the night, you can!
029-33 Studio Set-up Issue 11.indd 29 09/01/2018 18:44

POTTERY SET-UP
“I also took a hand-building course,

and very quickly I decided that I wanted
to do more than just classes. After the
first few weeks, I was plotting about
how I could make it into a more regular
thing. I started looking online and found
a wheel in Wales for £350. It belonged
to a woman who had taken it up later in
life, and had then died. Her family were
so pleased that it was going on to be
used by someone. I throw in a brick
alcove, outside, and in the winter I hang
a heavy plastic sheet over the entrance,
which allows light in and keeps the
cold out.
“I was still firing at the
college, but I’d been
hovering around
kilns for about a
year, trying to find
a bargain when one
came up. But
they’re gone a jiffy
when they do, so
eventually, I just bit Colour is very important to Anastasia, and her palette
the bullet and bought a reflects her Finnish heritage.
new Rohde. Adjustable lights mean that Anastasia can reposition them to
light up different areas, depending on what she’s doing.
“My father-in-law
converted an existing shed,
insulating it and reinforcing the floors, CASE STUDY 2
and he installed the electrics. The lights Birgit Underwood
are brilliant; it’s important to have “I’ve always liked ceramics, and have
adaptable lighting in a studio, and I can collected Art Deco jugs for a long time.
position these for different things. On a trip home to Denmark a few years
“We’ve put in shelving and are still ago, I bought some raku plant pots, and
adding things as we go. I keep my work thought I’d like to do it one day. My
on display so that I can refer to it easily daughter gave me a Mother’s Day
to match colours. The workbench is present of a ceramic studio voucher, and
hinged, and hangs from chains, which the studio was experimenting with wet
means it can be folded away when clay, running a hand-built vase
necessary. workshop. I was unexpectedly good at
“I watch a lot of online videos, and I it, and made a vase that is not dissimilar
love picking up ideas from other potters. to what I’m doing now, with thin grey
One tip I’ve seen is to hang tools from stripes.
loops, not have them in trays, so they “Then we did a wheel day together.
stay clean, and you just pick them off the My daughter had already done one, and
hook. It helps with the flow, and makes told me that it wasn’t easy and I
things easier. I’ll start doing that this shouldn’t expect too much, but it turned therapy, and we all look forward to the
year. out that, again, I had a flair for it. I classes so much! I found that the classes
“When I can, I spend all my time in thought it was beginner’s luck, but my weren’t long enough though, and so I
‘The Shed’. I’m completely focused; if I’m daughter suggested I did a course. started going to a hand-building class
potting, I’m immersed in it. My day job “A potter friend of ours recommended too, at another studio, where I could be
can be unpredictable, so now I’m set up a particular throwing class, and I there all day.
and can throw from home, it’s a bit of signed up. The group was fantastic and “The hand-building tutor had a place
security. I can always be a potter!” we quickly became friends. It’s like available in her studio, so I took it, and

POTTERY SET-UP
I go there every Friday morning, which

has made a big difference. I also use the
studio all day on Tuesdays, learning a
bit of everything. I find that working on
my own helps me focus. I make things
there and bring them home to finish
them off, before they’re fired back at the
studio.
“Then I thought, why don’t I get my
own wheel? I had been thinking about
doing the garage up, and work is about
to start. It will be insulated, a partition
wall will be moved, and it will become
my studio. I’ll give up my open access This kick-wheel…
Friday mornings, and work from home
instead. There’s already an old kick- “One of the most difficult and … has been replaced by a new
wheel in there, which my potter friend personal things is glazing. You can Rohde wheel, which is waiting to be
found for me when Highgate Studios make a nice pot, and imagine what it’ll unpacked into the new studio.
was selling off some old equipment. But look like, then it doesn’t turn out how
kick-wheels are hard for beginners, so you visualised it. I want to get my own “The garage has water and
the garage also now contains a kiln, so I can control what’s going on, electricity, but it will need a heavy-duty
beautiful new Rohde wheel – still in its test, and learn how to get the effects feed for a kiln. At the moment there’s a
box! that I want. partition wall towards the back, which
will be moved forward to leave a small
Birgit quickly found her style. storage space for garden equipment –
With hindsight, she can see the accessed from the front doors – and I’ll
Danish influence in her colour come into the studio via the back door.
palette, and in the fluting that she This will mean all the windows will be
likes to incorporate into her work. in the studio area. I’ll leave the eaves
storage – that’s always useful, and add
shelving.
“It’s great to watch things online; you
pick up tips and techniques, and you
need to watch it. I don’t think you can’t
take it all in from a demo, or by reading.
If I want to make something, I need to
be inspired by seeing something.
“I had my own catering company for
20 years, and was totally burned out. It
took me a year to recover, but now I’m
ready to concentrate on pottery!”
■ birgitunderwood.com
CASE STUDY 3
Nikita Frew
“A few years ago I saw a wonderful
quirky teapot and wanted to make one,
but I didn’t know where to start. In
2013 I was working at a pub, and my old
art teacher came in. We got chatting,
and he told me just to come in and work
at the back of one of his classes.
“For a year, I spent a couple of hours
a week making the teapot; then I
started making outside lanterns –

everything was coil-built at that stage.
Around halfway through that second
year, I was trying to find classes, and
came across Katrina [Forest Row work really well. Another one is used
School of Ceramics]. I began throwing as a shelf, and the metal brackets were
classes and about two weeks in, she already here.
said she needed a technician, and she “I knew what size buckets I would be
took me on! I learned all the ins and using, so I designed the shelves to have
outs of the studio, but still didn’t have the right spacing. My partner is a
anything set up at home. plumber and has contacts on building
“Then, around a year later, we sites. A carpenter built my units for
moved from a flat to a house. This was me. The other shelves were made for
the first one we saw, and we were my mother by her grandfather. It’s
lucky that it had previously belonged lovely to reuse something like that.
to an acupuncturist, so there was a But, they’re coming out, because the
treatment room in the garden. That whole wall will be lined with shelves.
was the clincher! “I got my Cromartie kiln after lots
“Initially, we were using it as a shed. of searching on eBay. Every week, I’d
My art teacher lent me a huge wheel, go through and see what there was, so
and I was throwing surrounded by it probably took a couple of months
boxes and garden equipment! Then we until the right one came up. It was
got round to gutting it and turning it only about £400, so it really is worth
into a studio. It didn’t cost much; the keeping an eye on eBay for the right I designed the units myself, to
work surfaces are just scaffolding one. The kiln was fine, and it was a take account of the heights of the
planks that were cleaned up, and they couple of years before the elements buckets I knew I’d be using, and had
them made.
needed changing. It was a really good

find. However, that was before Throw
Down, and prices have now gone up!
“It didn’t come with a controller, so I
had to get that, which cost another
£400. We drilled a hole through the
wall, and the controller’s in the studio.
The kiln itself is in the entrance,
which is great because I can close the
I didn’t want a plastic bowl in the door into the studio, open the door to
sink, and I found this enamel bowl
Reclaimed scaffolding boards in an antique shop. It’s perfect, and the garden, and fire it while I’m
make great, sturdy workbenches is light enough to lift out when it working. My next kiln will be bigger,
and shelves. needs emptying.

POTTERY SET-UP
and that point I’ll need to investigate a

heavy-duty electrical supply. My small
Cromartie just runs from a normal
domestic plug socket.
“The lighting is adjustable, but I do
need to work on it a bit. The wheel is
shadowed by my body unless it’s a
sunny day when the light comes in
through the big window to the side of
it. My current wheel was a bit of a
bargain at £150, but it was broken and
needed fixing up a bit. I’ve got a new
one now, which is waiting to be moved
into the studio.
“The big thing is contacts. They The triangular
don’t have to be potters – the scaffold workspace of sink (out
planks came from a building site – pull of shot, left), kiln
in favours with people you come and wheel makes
the workflow very
across.” efficient.
■ nikitafrewceramics.com
because I can come “I’m going to
CASE STUDY 4 in and do a bit of rent a space this
Anna Sandberg turning, or year, to have more
“I did an art foundation course eight or whatever, and I’m storage and space
to work. I’ll keep
nine years ago because I thought around for our my wheel at home
there’d be clay at the end, but it turned daughters. though, and hope to
out there wasn’t! So I went to evening “It took me so long to have a garden studio at
classes and then when we moved to learn to centre that I found some point.”
our current house, I found another someone who taught me intensively
class locally. before I began the classes. I upgraded things right on my wheel, and my
“My own studio started when my my old wheel about a year and a half work started selling. My current kiln’s
husband bought me a wheel, which we ago, and I love its size. My old one was a bit small; I could do with a bigger
put in our large entrance hall/utility much smaller and lower. one for commissions. Where I sell, the
room. It’s amazing what you can do “I was using other people’s kilns demand is often for sets and I can’t get
with what’s really quite a small space. then. It’s a really good option if you much into this kiln, especially if they
This one is good, being in the house, don’t have one, or don’t have space for want plates. But kilns are easy to sell
one. Potters are very generous, and on; people always want them.
there’s no rivalry. I got my own kiln “The best advice I can give someone
after a couple of years, once I’d got who’s just starting out is to
communicate with other potters; find
people to ask. Enjoy it, don’t be
precious about it, you aren’t wasting
anything, and if you feel like it’s not
going well, you will get better! Find a
community and learn from them.
They’re all lovely!”
■ See Anna’s work at: onethesquare.
co.uk
With thanks to Katrina Pechal and

Anna is Swedish, and the the students at Forest Row School
Scandinavian influence shows in her “I don’t worry about the floor; of Ceramics (frschoolofceramics.
work. “I use grey stoneware, which it was taken up from another room co.uk) for their help with this
comes out sandy when fired, and I in the house, and it’s just a working
feature.
do a lot of half-glazing.” area.”

SKILL SCHOOL
PROJECT
THREE
SLIP-CAST
LAMP SHADE
This project uses a two-part mould taken from a vase and converted into a lamp
shade. We’ve used heart decorations, which will look lovely with the porcelain used
here, but you can choose anything you like
034-43 Project 3 Lamp shade Issue 11.indd 34 09/01/2018 18:45

DIFFICULTY RATING ★★★★ ★
MAKING THE MOULD
You will need: 3

■ A model
Decide what shape you’d like the shade to be,
and find something you can use as a mould. We
used a tapered vase, but you could make this a
sphere, a cylinder, or anything you like, as long
as you fill in any undercuts
■ Plaster
■ Clay to build up around the model (the clay
used in previous mould-making exercises will be
good, to save using fresh clay)
■ Boards to use as a cottle (you could use thick
clay slabs if you don’t have boards, but you Fix the spare onto the end of the
won’t be able to use them for anything else model, making sure it’s central, and
afterwards) use a batt to make sure it’s firmly in
■ Light fittings, which are readily available place. Neaten up the join to remove
online excess slip and smooth the clay. Take
care not to create any undercuts.
Begin by filling the model up with clay and smoothing

the top off with a rib.
To allow the slip to be poured inside, you’ll need to 4

make an extension, or ‘spare’, which will form the opening
for the slip. Make the spare 3-5mm smaller than the
circumference of the opening – this distance will represent Measure the diameter of the spare, and draw a line
the thickness of wall once the form is cast. Roll out a slab across it. Repeat for the bottom, in the same orientation.
of clay to 5mm thick and use a cutter of the right diameter These will provide the reference points for the depth of the
to make the spare. first half of the mould.

SKILL SCHOOL
PROJECT
THREE
5 7
Join the lines with a line of masking tape, run along Build up the clay around the model to the halfway mark.
the half-way point of the sides, as shown. If your model Make sure to level it periodically, and be careful not to
is tapered, like ours, you’ll need to support the narrow create undercuts at the edge of the model itself. It can be
end on a block of clay, to make the whole thing level. Use tricky to work around the spare, but this must be divided
a ruler to find the height of the top edge of the masking in the same way – take your time to make sure it is neat
tape, then check it’s the same at each end. and level. Make sure the clay is forming a good seal with
Pencil an arrow on the tape to show which is the top the edge of the model, to prevent plaster from dribbling
edge – it can be easy to confuse which edge of the tape is down between the two – use a wooden modelling tool to
correct. help with this.
Build the cottle around the model – seal all the

possible escape routes for the plaster with thin coils of
clay – including the spare.
6
Form a thick slab of clay large enough for the model to
lie on with 5cm spare all the way around, except for the
end with the spare.
Place the slab on a non-absorbent board then make a
central channel for the model to sit on with your rolling pin.
This is really just to prevent the model from moving as you
work.
To make sure the position is correct, position one of the
cottle boards at the end with the spare so that it butts up
directly. When cast in plaster, this end will then remain
open.
Secure the board with a thick coil of clay to stop it from
falling over as you get the position right.

SKILL SCHOOL
PROJECT
THREE
15 17
When all the mixture is has been poured, agitate Turn the whole thing over and reposition the mould on
the surface with a hand to release trapped air bubbles. the board. Carefully lift the base slab clay off the model,
Alternatively, if the mould isn’t too heavy, you can slightly which should remain in place in the plaster.
lift the board it’s on and tap it back onto the work surface Wipe over the surface of the model to remove traces of
several times – this is generally easier with smaller moulds. clay and remove the tape.
16
As the plaster sets it will give 18
off heat – this is normal, so don’t
panic. Once set (this will only
take five minutes, 10 at most), Make 4-6 ‘natches’ in the plaster by rotating the end of
carefully remove the cottle boards a metal tool like an old knife or melon scoop to form little
and surform any sharp edges wells. These will locate the second half of the cast and hold
around the plaster. the two parts together properly when casting.
TIPS and safety notes:

■ Always add the plaster to water – never the other way around.
■ It’s better to overestimate an amount of plaster than have too little; you could use the excess to make a batt
for re-claiming clay on.
■ Plaster is contaminating – never allow plaster bits to get into your clay because it will cause damage to your
pots in firing.
■ Try to keep a separate area in your workshop for plaster work and be meticulous when cleaning up after
making moulds.
■ NEVER pour excess plaster down the sink; it will set and block the pipes!
■ Clean excess plaster from your hands with newspaper before washing them, again to avoid blockages.
Use newspaper to clean out the plaster bucket immediately after use.
■ Wear a face mask when mixing plaster if you are concerned about inhaling dust.

Mould makers’ 21
19 size or soft soap:
available from your Remove the cottle boards
Soap size the surface pottery supplier an and surform all sharp edges
of the plaster then wipe d around the plaster.
usually comes in a
the size back with a solidified or thick Very carefully separate the two
damp sponge. Repeat form halves of the mould (see tip for
and needs diluting
the process at least twice with stuck moulds).
boiling water, 50:5
more, and up to seven 0
soap to water
times, to prevent the two
halves of the mould from
sticking together.
20
22
Remove the spare and the model then
carefully wipe away any clay residue from the mould with a
damp cloth.
Fit the two halves together and put the mould
somewhere warm to dry out completely before using – this
can take quite a long time depending on the warmth of the
Build the cottle around the model again in the same
drying area – at least a week, but often longer. The finished
way as before and again, seal any possible escape
image shows the mould held together with sections of
routes for plaster with thin coils of clay.
inner tube from a bicycle – you’ll need something similar to
Cast the second half with the same weight of plaster
hold the mould together when slip casting.
that you used for the first half.
TIP: Unsticking moulds

If your mould will not come apart easily after
casting the second half, place a soft cloth over the
surface then place a weight or other heavy object
on top. Now give the weight a sharp tap with
another weight, and the mould should easily pop
apart – if not, try again in another position.
For moulds that are really stuck; allow it to dry
out somewhat then stand it in a sink with the join
side uppermost and pour boiling water over it.
As the plaster contracts, the mould should spring
apart. Remove the model, then dry the mould with
the sections together

SKILL SCHOOL
PROJECT
THREE
CASTING
You will need: 2

■ The mould
■ Casting slip: earthenware, stoneware or
porcelain – available from your clay supplier
readymade for use
■ A wooden spoon or spatula for stirring
■ A sieve (a normal kitchen sieve is fine)
■ Plastic jugs
■ A natural sponge
■ A chamois leather stretched and fixed over a
board
Pour the slip into the mould, filling

it right to the top in one go, as
shown.
Time the casting according to
type of slip used. A kitchen timer is
a good tool for this job.
1
Stir the casting slip thoroughly using a wooden spoon.
It will be quite thick to begin with, but will become more
fluid as you stir. It’s ready when it looks lump-free and runs
very freely from the spoon. The longer you mix, the better.
Pour some slip from the casting bucket through the sieve
into a jug.
Casting slip drying times

■ White earthenware: 20-30 minutes. Firing temp 1000 - 1150°C (1832 - 2102°F)
■ Red earthenware: 20-30 minutes. Firing temp 1000 - 1150°C (1832 - 2102°F)
■ Stoneware: 45 minutes to 1 hour. Firing temp 1160 - 1290°C (2120 - 2354°F)
■ Semi-porcelain/high-firing white earthenware: 20-30 minutes. Firing temp 1100 - 1260°C (2012 - 2300°F)
■ Porcelain: 5 - 10 minutes. Firing temp 1260 – 1280°C (2300 - 2336°F)
■ Bone china could be added to this list, but it’s not a slip to choose when first starting out, because it requires
special firing treatments and is notoriously difficult to handle. If you have no prior experience of casting, start
with white earthenware because it’s easy to cast and fire, and is the cheapest option.

3 5
Top the slip up periodically

as it’s casting, to maintain the
level to the rim. You’ll see it begin
to shrink from the edges as the
plaster draws the water out of the
slip.
Pour the slip out of the mould and
back into the bucket when the correct casting time has
been reached. Hold it over the bucket for a while then
transfer it to two battens suspended over a bowl to allow
the remainder of the slip to flow out.
Lie the mould on its side and remove the restraining

4 straps. Lift off one half of the mould then elevate the
second half and allow the cast to gently fall out into
your hand. It should be firm enough to handle without
damaging the surface in any way.
The cast is ready to remove from the mould when

the surface of the slip no longer looks shiny and isn’t
tacky to the touch. The clay will also have shrunk away
considerably from the plaster walls when it is ready to
remove.
Using a plastic kidney, remove the excess slip from
the top of the mould.
Cut away the spare carefully, holding your knife in
a vertical position and making sure none of the waste
clay falls inside the form.
Cut a hole in the base to allow for the light fitting – the
size will depend on the fitting, but remember to allow for
clay shrinkage; the hole will need to be larger than the
actual fitting. If you make it too big there are devices you
can buy from electrical stores to overcome this – they
adjust for different light openings.
Now allow the shade to dry out completely before
working on it again.

SKILL SCHOOL
PROJECT
THREE
DECORATION
The combination of porcelain and water-etching with
wax resist gives a wonderful translucent pattern when
the light shines through. In keeping with Valentine’s Day,
we chose a heart motif.
You will need:

■ Wax emulsion
7 ■ A fine brush for the wax
When the shade is dry, scrape away surplus clay along ■ A pencil
the seams with a kidney. ■ A card or foam template of your design
Dampen the surface of the chamois leather-covered ■ Natural sponge and water
board, then sit the base on the surface and rotate it
in a circular motion until the underside is smooth and
flat.
Repeat the exercise for the top, but be slightly
gentler because this end is more vulnerable to
breaking. This is the best method for levelling. 1
Using a pencil, draw as many repeats of the pattern

as you want. You can make measurements and space the
pattern geometrically, or do it by eye, in a more random
way.
The pencil will burn away during firing so don’t worry
about it leaving marks. If you make a mistake, you can just
rub it out and start again.
8
Sponge over the seams with a damp sponge to ensure
the lamp shade is smooth all over. The water won’t affect
the surface unless you really saturate it, in which case Paint the design with wax emulsion and a fine brush,
simply allow it to dry out again before continuing. taking care to stay within the drawn lines as far as possible.
Place the cast on a board and allow it to dry out Remember – where you apply the wax will stay in relief,
completely. while unwaxed areas will be reduced when water etched.

COILED VESSEL
SKILL SCHOOL
PROJECT
FOUR This build combines press-moulding and coiling to create a large
vessel. The surface is burnished, which compacts the clay to
make it shiny, smooth and semi water-resistant, making it perfect
for smoke or pit-firing techniques and raku, (see project 6 on
page 54 for details on smoke-firing).
044-49 Project 4 Coiled Vessel.indd 44 09/01/2018 18:49

You will need:

■ A press mould: see issue
2 for the one used here
■ Clay: Choose a heavily grogged clay such as
crank, T Material or Raku clay. It needs to be
an open, porous body to absorb and retain the
marks of the flame in firing.
The clay used here is a two-to-one mixture of
T Material and porcelain – the porcelain being
used to refine the clay a little, but also to whiten
it. White bodies best show the marks of the flame
when smoke or Raku firing.
3
■ Slip: very finely-sieved, and compatible with
your clay Cut another curved section of clay
from the slab, large enough to fill in
■ Burnishing tools: see panel on page 49 the remainder of the mould, plus a
generous overlap of 2-3cm onto the
first piece of clay.
1 Smudge the
overlap with your
fingers to blend
Begin by rolling out a large the two pieces
slab of clay to 5mm. Smooth the
surface with a rib to compress together, then
the clay. use a soft rubber
kidney to make
sure the clay is
filling the mould,
and to refine the
2 join. Use a large
kidney to smooth
over the whole
interior of the
mould.
Cut a curved section, as

shown, and place it in the
mould. Make sure this first
piece completely covers the
base section of the mould,
and gently press it into place
with a barely damp sponge.
Issue 11 ClayCraft 45 .
SKILL SCHOOL
PROJECT
FOUR
5 8
Carefully remove the excess clay at the rim by lying the Roll a thick coil of clay on a
side of a wooden batten flat on the edge of the mould, sheet of plastic and flatten it
drawing it towards your body in several stages as you with the palm of your hand into
work around the edge until all the clay is removed. a curve, as shown in previous
issues of ClayCraft (also available
on the ‘How to’ pages at:
claycraft.co.uk) to form a long
6 strip 5mm thick, to match the thickness of the clay in the
base section, and approximately 5cm wide.
Use a hair-dryer to firm up

the clay, moving it evenly
across the surface to avoid
over-drying it. You will see
the edge of the clay start to
come away from the mould. Score and slip the top
edge of the pot, then
attach the flattened
coil, and blend over the
join with your thumb.
Support the base of the
pot while you’re doing
this, to prevent it from
distorting.
7
Turn the clay out of the
mould, and place it upside-
down on a batt. Roll a thin coil
of soft clay and press it along
the join, as shown. Use a kidney
to blend and smooth the joint.

10 12
Smooth over the interior

and exterior surfaces with a
kidney, to remove any lumps
Cut through the overlapped ends on a diagonal, and bumps.
then score the cut edges, apply a little slip and join
them together. Blend over the join with your thumb
– pinching slightly to ensure the seal is good, then
neaten up the join with a wooden modelling tool.
13
Surform the rim to create an even flat surface and

repeat steps 8 to 12 with a second coil, making this one
slightly shorter and more curved. At this point, you will be
starting to bring the shape of the pot inwards – to make it
more spherical – so when you position this coil, angle it in
slightly towards the top of the pot.
14
11
Reinforce the join on the inside of the pot with a thin
coil of soft clay. Blend it in with your finger or a wooden Repeat with a third, even smaller coil, and use a paddle
tool. to help form the desired curve to the outside of the pot. .

PROJECT
SKILL SCHOOL
FOUR
17
15
Reinforce the join with a thin coil of soft clay, smooth
with a kidney and use the hair-dryer to firm up the
pot ready for the last coil. Surform the rim, to even it out,
then use a Lucy tool to smooth it.
16
18
Leave the pot to dry to leather-hard, then apply
three layers of slip to the surface of the pot with a
mop brush, allowing each coat to dry in between
applications. You can use a hair-dryer to speed this
up, but be careful to apply the heat evenly. When
the final coat is nearly leather-hard, you can start to
burnish.
The last coil will form the top opening of the pot, so roll
it into a tighter circle than the previous coils. Attach it in
the same way as the other coils, angling it in to continue
the overall shape and proportion of the pot. You can make
it a plain round opening, or flatten the sides slightly after
it’s in position, to give an attractive and interesting oval
shape.

BLOG
Confessions
of a novice
Here’s my handle, here’s my… spouts?
I t is with extreme
excitement and more
than a little smugness
that I make the following
announcement: DUN DUN
DUUUUN – I now have a
potter’s wheel! It’s a very lovely
Shimpo Whisper T, and how
nice of Shimpo to put a T for
Tracey at the end of its name.
If, like me, you’ve been
watching auction sites for
months with an ever-sinking
heart, you’ll know that anyone
selling a potter’s wheel is
seriously in the money, even if
it’s decades old, 99% rust,
powered by a kick-wheel that’s
come adrift, has a missing manky old wheel I wasn’t even

wheel-head and a splintery sure I really wanted, it was now
bum-grater for a seat. We my turn to leap with joy. Still,
wannabe potters will merrily bid even though it was a good price,
and outbid each other way into it was more than I could really
the hundreds of pounds. And if afford, but if I’ve learned one
you’re selling an electric wheel, thing about wheels, it’s that I’ll
congratulations: you can surely have no problem selling it on if I
retire on the proceeds. need the money. Hell, I’ll start a
I eventually found my wheel waiting list. Email me if you
via Anglian Potters. It was being want to be on it - only joking, it's
sold by a local potter and we’d MINE, ALL MINE.
previously been in contact when While I started my Saturday
I was looking for kiln-space. I classes thinking I only wanted to
got in there quick, made an offer, go on the wheel, I soon found
and said I could come with the myself addicted to hand-
cash immediately – and I do building. You can make such a
mean immediately. Having huge range of fabulous things
My beautiful new wheel admiring itself in the slumped with disappointment with hardly any equipment, as
television. each time I was outbid on a you know from the pages of
050-53 Blog Issue 11.indd 50 09/01/2018 18:51

BLOG
ClayCraft. Plus, there were only

two working wheels at college,
so I only managed about an hour
of practice. You’ll all agree that
even with the best tutor in the
world, an hour is not enough. I
made two pots in that hour, and
one has a hole in the bottom,
because I opened up all the way
down to the wheel-head. So, of
course, when I found my
still-wrapped issue of ClayCraft
8 hidden under a pile of stuff in
the living room – pesky kids –
and I saw the thrown teapot
project, well, it would be
rude not to have a go.
Sadly, the disasters Left and above: Using the ‘leaning wiener’ technique. And
began even before I another ‘teapot’ goes for a Burton.
started. When we carried
the wheel in from the car, While I was there, my excitement in my belly. Thus, for
I hadn’t prepared the youngest walked into the once, I was all ready with the
‘studio’, so we temporarily living room. You’ve seen the kids’ packed lunches and school
parked it in the living room. photo; you know how clothes, and they were soon
See how it admires its reflection appealing that wheel looks. Yep, delivered to the correct learning
in the TV, and notice the mug he decided to sit down and press establishments. I rushed back
I’d hand-built for my brother’s the foot pedal, and lo, by all home, had a cup of tea, trailed
birthday the day before. It’s on accounts the mug leapt off the three extension leads across my
there because I was excited and wheel, high into the air, and garden to the greenhouse (sorry,
wanted to see what my wheel then down onto the carpet, ‘studio’) to set up my action
looked like with a pot on it. And where the whole of the edge camera pointing at the wheel,
I was pleased with this mug; it below the handle flattened. Out and most definitely not at my
was the best one yet. I say ‘was’, in the greenhouse, I just about face or down my top, and as far
because I then went into the picked up the somewhat as possible not at the rest of the
greenhouse, where I was going misleading cry of “Mum, your falling-down greenhouse. I filled
to set up my ‘studio’ (those pot fell off!” a washing-up bowl with hot
inverted commas will have to Anyway, I eventually decided water, since it was freezing cold
stay, because it really can’t be not to disown him and Monday out there, and cracked open a
called a studio without them). morning arrived. I got up early, new bag of clay. I was off. .
Above and right: Getting started and my first

almost-teapot.
050-53 Blog Issue 11.indd 51 09/01/2018 18:51

BLOG
Above and right: Another one

bites the dust (okay, it was
more than one).
Teapot day 1: The first

obstacle was, of course,
centering. Funnily enough, I
couldn’t remember much of the Day four Outcome: Two bowls and an certain this was the day. Surely,
single lesson I’d had five months and I finally almost-teapot. Okay, three bowls. after all that practice I’d come
earlier. I watched some videos made a out of day three with a lovely
teapot!
online to refresh my memory Teapot day 2: Centering round teapot. No such luck.
and found the ‘leaning wiener’ continued to be a major issue,
method. Take my advice and yesterday’s bowls Outcome: Four more soggy
and don’t search for appeared to be lumps.
‘leaning wiener’ on the beginner’s luck.
internet. Instead, join Everything flopped. Teapot day 4: My persistence
over 23,000 potters I told myself it was finally paid off. Having left my
on the Facebook all good soggy clay on a batt, it was now
‘Clay buddies’ experience. dry enough to wedge, but still
group and search softer than the clay I’d been
for ‘Wrist-friendly Outcome: Four using. I’d also been throwing in
centering’ with Lisa lumps of soggy clay my head all week as I dropped
Freeman LaPella. for recycling. off to sleep, and had a bit of a
Lisa also talks about revelation about how clay
how she sets up her Teapot day 3: I was moved. This is all obvious with
wheel and seat to prevent
back and sciatic nerve
problems, which I figure is well
worth thinking about, especially
when you’re new and have yet to
get into bad habits. Anyway, I
wienered up, I wienered down, I
wienered repeatedly, until
eventually, I had something that
seemed centred-ish. You can
watch all of this via my website
at pottlemuddery.com, as I’ve
made a very fast time-lapse of
the whole process. Anyone can
post a video of their beautiful
clay skills, but you’ll rarely see a
pottery video demonstrate such
embarrassing incompetence…
050-53 Blog Issue 11.indd 52 09/01/2018 18:52

BLOG
hindsight, but it just hadn’t

clicked before: collaring in
would make my cylinder lose
height; bellying out the middle
would do likewise. I needed a
taller cylinder! Perhaps it was
the combination of practice,
softer clay, and the height
epiphany that finally took me
into teapot territory. I was even
feeling confident enough to
attempt the ridge around the
top, and the groove round the
middle. On a roll, I carried on,
managing to make another, this
one so beautifully round I
thought I’d leave it as it
was, since I’d already
made the shape in the
magazine. And Above and left: With all that practice, spots and lids
somehow spouts came remarkably easily.
and lids just
seemed to come back onto it, only to Still, a bit of sanding and filing
easy after all that be struck by the idea in the garden, and it’s now
practice. I won’t of making a handle- awaiting the bisque-fire.
pretend I was able shaped knob for it, Assuming it survives, I’m really
to follow the playing into that quite pleased with the outcome!
instructions exactly, doubling theme again. Visit pottlemuddery.com for
but I certainly Finally, I gazed in awe a time-lapse of all four days and
managed something at how beautifully the lid pictures of the second teapot. If
that was good enough. fitted the teapot, and then nothing else, the utter
promptly dropped it on the incompetence will make you feel
Outcome: A teapot! And another table, knocking off its edge. like an expert in comparison. 
teapot! And lids! And spouts!
Hooray!
Over the next few days, I
gradually trimmed and
assembled. I accidentally
destroyed one of my day one
bowls by trimming through the
bottom, but salvaged another by
pressing it all back together. I
attached the long, narrow spout
that I’d been so proud of, before
tearing it off because the shape
was completely wrong for the
pot. Then I decided that I
couldn’t possibly waste that
beautiful spout, and attached the
narrow end as a second, dummy
spout, echoing the double shape
of the pot. I kicked myself when
I also trimmed through the
teapot lid and had to coil a top My handbuilding skills served me well when it came to assembly.
050-53 Blog Issue 11.indd 53 09/01/2018 18:52

SMOKEFIRING
SKILL SCHOOL
PROJECT
FIVE The unpredictability of smoke firing is exciting,
with the results always coming as a surprise
You will need:

■ A low-
temperature bisque-
fired pot made from
suitable clay (see
page 44)
■ A metal dustbin
with a lid
■ Sawdust
■ Softwood and/or
hardwood shavings
■ Newspaper
■ Colourants –
optional
■ Heat-proof
gauntlets
■ Rock salt crystals
(optional)
If it doesn’t have legs,

1 prepare the bin by standing
it on bricks to protect the
ground underneath it. It will
take 24 hours for the sawdust
to burn away, so site the bin
somewhere where it can be
left safely, without presenting
a fire risk. Here, it’s on a
gravelled area, but you may
need to surround it with
paving slabs. Put a minimum
of 4” layer of sawdust and
shavings into the base, and
mix loosely together.
054-56 Smokefiring Project 5 Issue 11.indd 54 09/01/2018 18:53

COLOURANTS
Examples of things that can be added to the firing
Compounds
■ Copper carbonate (used here): greens, blues,
shades of reds (with salt added)
■ Cobalt carbonate: blues
■ Steel wool: blues, greys, pinks
Natural
2 ■ Banana peel: greens, greys
■ Seaweed: browns, reds, oranges, yellows
Carefully place the pot into ■ Horse/cow manure: various
the bin and sprinkle several ■ Coffee grounds: greens, browns, blues
spoonfuls of copper carbonate ■ Leaves: browns, greens
around it (or any other
colourant). Sprinkle some rock
salt into the copper mixture
but make sure it doesn’t touch
the actual body of the pot to increase the
possibility of pinks (not guaranteed though – it’s a bit
hit and miss).
4
3 Add more colourant, and top with a final layer of
shavings.
Add a ring of loosely-twisted newspaper and pour in
more shavings, until the pot is nearly covered. Leave some
of the newspaper exposed, you’ll need to light it.
Adding different types of wood shavings (hard and
soft woods) can have exciting results, as can fine sawdust
alternated with larger shavings. You can also pack the
organic materials listed above if you want to at this stage.
.

SKILL SCHOOL
PROJECT
FIVE
7
After 24 hours the shavings should
have burned away, leaving the pot
5 sitting on a bed of ash. Be careful,
the pot might still be hot. Carefully
Light the newspaper, and allow remove the pot, and tip any ash out
to burn until the top layer of the of the inside.
shavings is alight, then put the lid
on, leaving a gap at one side to
allow the smoke to escape.
Put the lid on completely when you are sure
the sawdust is smouldering fully.
8
When cool, wipe away any excess
sawdust with a fine cloth, then apply
a layer or two of wax polish to bring
out the colours. Oddly, you can use
a soft pan scourer to buff up the
surface before a final polish, again, with a soft cloth.
6
Don’t be tempted to peek!

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STARTING IN BUSINESS
(Photo: Layton Thompson)
Doug Fitch
DIARY
C hristmas will have long
passed by the time this
edition of ClayCraft hits
the shelves, but there is still a
The new
workshop roof
in the snow.
(Photo: Hannah
McAndrew)
week to go here at the time of
writing.
We have just sent our last batch
of Christmas orders out via the
courier this morning, and Hannah
has been busy cutting-out
tree-shaped clay decorations, to
send to friends and family. We
always say we’ll start these
decorations earlier, but never
manage to and the panic to get
them made and fired and in the
post, has become a seasonal
tradition. baby, but they need to be drying London called The New
Although Christmas is looming, ready for firing and dispatch Craftsman Gallery. This
our work is far from done. We still between Christmas and New Year, Christmas they asked me to make
have pots to make for a so I must force myself to get them a wassail pot for the centrepiece of
slipware exhibition in finished. one of their displays. These
Tokyo that opens in the The gallery owner wanted wassail pots are really complicated
early spring. I’m to sell my press-moulded to make, as the lid is covered in
struggling to find the square dishes. He’s had small, modelled birds, while the
motivation to do it; I them before, and they pot beneath has numerous handles,
just want to settle have proved popular in so, when raw, there’s no good pace
down with Hannah Japan, particularly the to grip them. They are difficult at
and prepare for the new ones with the slip-trailed every stage, but particularly when
bird motif. I now have an they’re dipped into the white slip.
exclusivity agreement with If the birds aren’t well enough
Goldmark Gallery for all of my attached, or tough enough, they
pressed wares, so, unfortunately, I fall off, so the paint-stripper gun
Bird won’t be able to send any. and gas torch are at the ready…
dishes. 26cm Instead, I have been making The first wassail pot sold very
diameter. squared dishes on the wheel. I’m quickly, so they asked me to make
(Photo: Shannon using a method whereby a slither another. I got a bit carried away
Tofts)
of clay is removed from either side with modelling the birds on the
of the pot, and then the sides are new one, and it just kept growing
pushed in with a board and and growing. It survived the
re-joined to the base. It’s a new challenge of slipping, but it was
technique for me and, as I am an immensely frustrating when I
impatient maker, I enjoy its unpacked the kiln earlier this week
immediacy. I have to send and discovered that the glaze
Making a conventional round dishes too, like inside the lid had run and stuck it
squared dish
on the wheel. the ones in the picture, so I’ve to the shelf, causing a hairline
(Photo: Hannah been throwing a stack of those. crack as it cooled and contracted.
McAndrew) We supply a gallery in Mayfair, Ceramics can be so unforgiving
058-59 Doug Fitch Diary Issue 11.indd 58 09/01/2018 18:54

KILNS
sometimes; one little mistake, and

it’s lost. All I could do was curse (a
lot), stamp around (a lot), get over
it (eventually) and move on (hmm,
probably not really, if I’m
completely honest).
I made the wassail pot late
at night in one of the two
dilapidated workshop
portakabins that were
craned into the garden The Wassail pot that didn't make it. (Photo: Hannah McAndrew)
back in April. The
cabins are now Squared dishes awaiting decoration. (Photo: Hannah
McAndrew)
developing rapidly into
properly functioning of our annual online Well, another year is almost
workshop spaces. What exhibition in November, over. There have been a few ups
a luxury to be able to things have been able to and downs, Hannah’s two months
work from home and to step advance at a much greater pace of debilitating morning sickness in
in and out of the workshop than we would have imagined. the spring was a particularly
whenever we need to. The builders are out there right difficult time, but overall, 2017 has
We had long-term dreams of now, in the freezing conditions, been a really good year.
putting a big roof over one of the putting the new roof on. When we It has been a delightful pleasure
units to double its size and of can afford to, we will lay a sharing Pippin’s childcare and, in
cladding their scruffy exteriors in concrete floor and then build the spite of us both effectively working
timber to make them match our walls. We have been amassing a part-time, we have managed to
wooden house. Due to the success collection of salvaged doors and keep our heads above water. We’ll
windows to complete the job. It’ll never be rich, but we don’t yearn
Alex McErlain be ages before we can afford to for riches; what a joy it is to spend
helping to lay the finish it, but it’s exciting progress. our days together as a family,
floor. (Photo: Doug Fitch)
Our friend Alex McErlain came doing the thing we love.
up from Englandshire at the By the time this goes to press,
weekend, and we laid a new there will be another little mouth
insulated floor in the second unit. to feed, (due on 7th January) and
When it’s finished, it will be used our lives will be even more
as a small woodwork shop and for blessed. We’ll have to settle into a
general storage. There is a new kind of chaos, but I know that
separate room to house the we will manage it; we are a great
electric kilns, which we hope to team.
have wired-in during the next few Our calendar is already filling
weeks. up for next year, with shows and
We are so fortunate to have a exhibitions, and we hope to start
friend like Alex. There’s always so work on building a new wood-
much to do that it would be easy fired kiln at home, so there is a lot
not to finish anything before to look forward to. I hope you’ll
starting the next thing, but Alex continue to join us on our journey.
comes and helps to get the job I’ll sign off now with all best
done. It makes such a difference to wishes for a happy, brilliant and
us. clay-filled, 2018. 
058-59 Doug Fitch Diary Issue 11.indd 59 09/01/2018 18:55

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060 Back Issues Binder.indd 60 09/01/2018 18:55

ANGLIA CLAY SUPPLIES
S
KILN Y www.angliaclaysupplies.co.uk
CLA
NORFOLK’S LEADING
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W HEEL
MAI SUPPLIER OF
NTEN
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Unit 13, Alby Craft Ctr, Cromer Rd, Erpingham,
Norwich, Norfolk, NR11 7QE
07947 880163
56 High Street Burton Latimer Kettering Northants NN15 5LB
ANGLIAN POTTERS
– 35 years and still on the up
Tracey Parsons reports on this large and friendly association
Clearly having a great time at the Potters Camp 2017.

This year is set to be an exciting one for justifiably proud of the membership
the members of Anglian Potters. Not numbers: since being founded as East
only will they continue their three Anglian Potters Association 35 years
successful annual exhibitions, they ago, they have had almost 2,000
celebrate both their 35th members. Clearly, some come and
anniversary and 20th annual go, but quite a few of the
Potters Camp. And there founding members still
are other intriguing remain active in the
plans in the pipeline, organisation all these
unfortunately too years on. There are
new to discuss with also a few potters
us just yet. Yes, they who have moved
have a lot to away as far as
celebrate; having last Europe, the USA and
year added a Japan, yet keep up
successful Norwich their membership. Most
exhibition to their two current members, of
longstanding ones in course, are based loosely in
Cambridge, and with 517 active East Anglia: from the outskirts
and paid-up members at the last count, of London to the Essex coast, up to
they are surely one of the UK’s largest Norfolk, into Lincolnshire, across to
pottery organisations. By all accounts Northants and down to Bedford and
Members are encouraged to bring
a piece of bisque to the Potters
they may also be one of its friendliest. Hertfordshire. John emphasises Anglian Camp, so that they can try firing in a
Chairman John Masterton sounds Potters’ aim to ‘create an environment range of different kilns.
062-65 Potters Association.indd 62 09/01/2018 18:56

POTTERY ASSOCIATION
which must also make the presenter feel

good. In fact, according to John
Masterton, the presenters are often really
pleasantly surprised by the attendance
and atmosphere of the day.
Last November, Niek Hoogland
(niekhoogland.nl) threw bowls and
jugs, demonstrating his signature
slip-decorating style, describing his
childhood explorations of the pottery in
the Netherlands where his father worked,
and generally keeping the audience
transfixed with his skills. His method of
attaching batts with a fat ring of clay
rather than a grooved, flat pad drew
much comment, and Niek explained that
this is popular in Europe, and the pad
can be used and reused for months.
Jim Robison about to get clay into a mould in the noisiest way possible. October’s guest was Jim Robison
(boothhousegallery.co.uk), regaling
where everyone with an interest in clay is the hall, and someone actually operating the group with stories of how he came to
welcome, and to give opportunities to the camera to ensure it’s looking at the be in Yorkshire, how his studio grew
learn, to exchange views and to just have most interesting aspect at any given from derelict outbuildings, and how he
a good time’. time. Demonstrators arrive to find a makes his own tools from everyday
This rings true. In our age of social wheel has been provided and set up on a objects. He made and decorated a very
media and online connections, it’s waterproof sheet, with a slab-roller, large and stunning slab-built piece from
refreshing to find that this is a group should that be required. But one thing scratch. Perhaps Jim feared the audience
whose members find plenty of that really marks these days out is the might not be paying attention, because
opportunity to spend time in each other’s
company – actually face to face. There’s
camaraderie clearly on display. Early
arrivers are guaranteed a prime spot, and
dropping his wooden slump mould on the .
nothing like sharing your enthusiasm, can be seen helping to set out the many
but family members can become tired of chairs and tables, organising the buffet
hearing about clay again, and it’s not table – everyone can bring a dish to share
always easy to find like-minded – or setting up the demonstration
individuals. Anglian Potters seems to equipment. The lunch room is so filled
have got this sussed. Each of their with chatter and enthusiasm that it can
full-day Sunday workshops in Mundford, be hard to hear what’s being said.
near Thetford, draws somewhere And, throughout the day, everyone
between 80 and 140 clay-enthusiasts, as takes a look at the wares brought by the
invited guests demonstrate their presenter for admiration and potential
particular variety of clay skills. On top of purchase, and at the table for members’
that, there’s plenty of opportunity to work. Any member can bring a few pieces
meet up at those three selling exhibitions to put on display – proper display, mind
throughout the year, Potters Camp, and you, with plinths and name-badges – and
even the AGM, which you might expect interested conversation springs up
to be a boring meeting, but which makes around them. “How did you do that?”;
itself sound far more interesting by “What’s that fantastic glaze?”; “Ooh I
featuring a demonstration by one of the love that shape”. The ‘anybody’ part of
members. this was put to the test in the last
workshop, when a new member brought a
Workshop days mug made by their 10-year-old son and
The setup for these days is excellent, displayed it proudly beside the work of
thanks to the investment the Selected Members - okay, I admit it, it
organisation has made in its facilities. was me. The day is given an air of
There’s a large screen showing live anticipation, with several chances to win Setting up for the exhibition at the
footage of what’s going on at the front of pieces of the presenter’s work in a raffle, Undercroft, Norwich.

floor to ‘encourage’ the clay to fill it
echoed round the hall like a gun-shot.
Over each year, demonstrations are
invited from the whole range of clay
methods, to give as wide a view of
technique as possible. In the coming
months, planned sessions include Nick
Marsh (nicholasmarsh.com), Ester Beck
(from Israel – esterbeckceramics.com)
and Carina Ciscato (carinaciscato.co.
uk), as well as Anglian Potters member
Harvey Bradley at the aforementioned
AGM (harveybradley.co.uk). Anyone
can attend, though members receive a
discounted rate, and honestly, at just
£10, these workshop days represent
really astounding value for money. Anglian Potters have invested in high-quality stands, lights and other
show equipment, to make its events truly professional.
Potters Camp
If these workshop days weren’t enough, things from clay, with a hand-building Exhibitions
members can also attend Potters Camp, area and a number of wheels, and Once a member reaches a level of
now in its 20th year, which really is demonstrations scheduled over each of confidence where they feel able to share
reminiscent of a music festival for clay. the days, but you’ll also find ad hoc demos their work, and perhaps even sell it,
Potters bring their own tents and by anyone who’s got something to share Anglian Potters welcomes them into their
genuinely camp in a field. For five days, and someone nearby who wants to learn world of exhibitions. Both John Masterton
they experience all the opportunities and it. (Chairman) and Ian Vance (Exhibitions
facilities the organisers have provided, But these are aspects of pottery that Organiser) speak enthusiastically about
sitting chatting under the stars into the members will already be fairly familiar their exhibitions, both emphasising their
small hours (if they’ve got the stamina). with. The most exciting part of Potters inclusive ethos. The shows are all open
Of course, there’s the chance to make Camp is probably the option to try out exhibitions, so any member can submit
various kilns. Having been encouraged to pieces, and they really do seem to mean
bring bisque-ware with them, potters are this. With typically 60-70 exhibitors per
shown how different types of firing work, show, from every level of experience, they
and then have the chance to have a go. provide a chance for all members to get a
These include salt, soda, wood, reduction, feel for being part of a public exhibition.
raku, smoke, and even obvara firings. Work is very rarely turned down, and
Making glazes together, applying them, generally only in cases where it is
and then loading up the kilns, the potters dangerously sharp, or perilously unstable.
carry on enjoying themselves over the This sounds a welcoming atmosphere for
next few days while the pots fire and newcomers, who might otherwise be
cool, anticipating the opening at the end reluctant to take that first step into
of the camp. Finally seeing the results exhibiting.
must be exactly what’s needed to soothe Part of what makes the exhibitions
the disappointment of leaving. successful, according to Ian, is that they
The success of these camps speaks for have a nice group of people willing to
itself. Twenty years is a long time for any muck in and do the work. And it’s a good
event to run, let alone something this job: from what he describes, large
complex. If anything, a bit more space numbers are needed, maybe 20 people, just
wouldn’t go amiss, as the camp for setting up. In return, exhibitors benefit
reportedly books up to capacity almost as from that Anglian Potters investment in
soon as tickets go on sale, even with its facilities and attention to detail. Exhibition
‘members only’ rule. Apparently people stands, lighting, credit card facilities, and
are there ready and waiting with their wrapping materials are all provided, and
The results of one of the firings at application as soon as registration opens, three invigilators are in place each day, so
Potters Camp 2017. just to ensure they don’t miss out. exhibitors will then typically only have to

POTTERY ASSOCIATION
Private views Newsletter movement, and has been the venue for an
If you’d like to be added to the A print newsletter is sent to Anglian Potters show for over 20 years.
Anglian Potters mailing list for members quarterly, and archives New for 2017 was an exhibition at the
an invitation to Private Views, can be found on the website. With Undercroft in Norwich. This is a very
see the link at the bottom of the plenty of pictures and 'how to' info, large space in the centre of Norwich, at
Exhibitions page on the website. as well as reports of Anglian Potters the top of the market square, and is
events, this is a really good read.
dedicated to arts events. The first
Members and Selected Members
Though they’re not necessarily Clay dumps
exhibition was a great success, and 2018’s
all professional, selected A low-cost source of clay for show will be open from March 16th to
members are all skilled ceramic members via three clay stores April 1st.
practitioners approved by a (known as ‘clay dumps’) with clay People tend to remark on the overall
selection committee that meets from Valentine Clays: one near quality, and the enormous range at the
just once a year. However, not Ipswich; one near St Neots; and one shows, says Ian Vance. There’s everything
all professional members near Norwich. from sculpture, to functional ware, to
choose to go down this route. studio pottery. You can see him talk about
As the website states: ‘you have Anglian Potters online this in more detail, and get a sneaky look
only to visit one of our open anglianpotters.org.uk at some members’ work via
exhibitions to see that high Facebook publicity page:
anglianpotters.org.uk/
quality work is produced by @AnglianPotters
everyone’. Facebook group for discussions:
anglianpottersvideo.asp, in a short
See work by AP members on the groups/AnglianPotters video filmed by local Cambridge TV
‘Members Showcase’ pages on Twitter: @AnglianPotters channel ‘That’s Cambridge’, at last year's
the website. Instagram: (anglianpotters) All Saints exhibition.
Groups of members also participate in
other shows with the organisation’s
come in for one or two days to take a turn. support. There’s RHS Hyde Hall for three
Work is displayed and replenished from days over the late May Bank Holiday
stock when items have been sold, and weekend, and a regular presence at
good care is taken of the pieces, with a Ickworth Wood Fair: the various displays
system for checking pots both in and out. and demonstrations – including raku
Each year, August sees the exhibition at firing – are very popular. In 2018, they
Cambridge’s Emmanuel College Old will again be providing support to the
Library (11th to 26th). The entrance to ‘Innovations in Ceramic Art’ show in
the college is right opposite John Lewis, Cambridge in early March. Members
making it perfect for drawing in the assist both the organisers and the potters
public. Across town, from November 10th showing their work. A number of
to December 9th, the Christmas selling members will be showing their work as
exhibition runs at All Saints’ Church on individuals, and a group working together
Jesus Lane. This is a famous building to show off Anglian Potters. With all of
decorated by the Arts and Crafts this going for them, why wouldn’t they! 
ANGLIAN POTTERS 2018 CALENDAR

February 4: Demo day – Nick Marsh
February 25: Demo day – Ester Beck
March 16 to April 1: Anglian Potters Exhibition at the Undercroft
Gallery, Norwich
April 8: Demo Day – Carina Ciscato
May 5 - 8: Clay at South Walsham, Norforlk
May 6: AGM and demo by Harvey Bradley
May 26 - 28: – RHS Hyde Hall Garden
July 21 - 23: Walberswick Village Hall
August 1 - 5: Potters Camp
August 11 - August 26: Anglian Potters Exhibition at
Emmanuel College, Cambridge
November 10 - December 9: Anglian Potters
An obvara firing in progess with Christmas Exhibition at All Saints Church, Cambridge
Frank Logan, at Potters Camp 2017.

SKILL SCHOOL
PROJECT
FIVE
SIX
PORCELAIN JEWEL
066-72 Jewellery Issue 11.indd 66 09/01/2018 18:59

WELLERY – NECKLACES
Jewellery can be really good fun to make, and it’s always great to create
something unique and personal, but you can guarantee that as soon as your
friends see these necklaces they’ll want you to make one for them too!
You will need:

■ Porcelain clay
■ Cotton sheeting for rolling on
■ A selection of cutters and foam templates
for irregular shapes
■ Brush on underglaze – black or colours of
your choice
■ Transparent glaze
■ Coloured glazes of your choice
■ Low-firing glaze in special finishes for
additional effects (optional)
■ Jewellery fittings: Silver neck bands/chains/
cords, etc. Beads
.

PROJECT
SKILL SCHOOL
SIX
3
1
Using a ruler cut some of the larger discs into ½ or ¾
moon shapes – a little larger than half is visually a more
Roll a large slab of porcelain on a piece of cotton balanced shape, but this is your choice.
sheet, using roller guides 2-4mm thick.
Roll the clay thicker if you want the jewellery to look
chunkier.
Remember to turn the clay regularly to ensure it rolls
evenly.
4
Cut hanging holes in the corners
of one or two of the shapes – or
centrally for smaller pendants.
Leave the remaining sections
without holes, or cut out some for
2 purely decorative purposes – in the
centre or at the bottom of a shape,
for example.
Using cookie cutters in different sizes cut out a range
of shapes from small to large – using all of the clay
from the slab that is possible.
Cut around your foam templates to make irregular
or unusual shapes.
Roll an even coil of porcelain about

5mm diameter and cut it into 20-30mm
lengths or suitable sizes to fit your remaining cut shapes.
These coils will be made into tubes to fit over the top of
the shapes, so size very much depends on what you are
making.

PROJECT
SKILL SCHOOL
SIX
9 11
Carefully score the cut edges of the tube with a

Fit the tube in place over the top of the shape. Make
sure the edges seal together well but try not to squeeze
serrated kidney, and the corresponding area at the
the tube too much because it will distort.
top end of the shape it will fit onto – score both back
Leave enough space in the tube for the hanging fitting
and front.
to fit through – the top of the tube should not be sitting
on the top of the shape.
12
Neaten up the joins, both front and back, with a
wooden tool, removing all excess slip in the process.
Try to keep the shape as flat as possible, but don’t
worry if the edges look a bit messy, they can be fettled
later to neaten them up for a better finish.
13
10 Thread the tube back onto the BBQ stick or a short
length of dowelling and suspend the shape between
Apply some slip to the scored edges of the tube and blocks of wood or similar to dry thoroughly in a hanging
the corresponding areas on the cut shape. position.

PROJECT
SKILL SCHOOL
SIX
20
If you prefer, paint the glazes in selected areas rather
than dipping. This does save wasting the glaze, but be 23
sure to apply the recommended number of coats for best
results. You can fire your jewellery items several more times if
you choose. After the initial glaze firing, another special
Scrape away all glaze effect glaze was applied to the pieces shown here, fired
from the backs of the on at 999°C.
jewellery shapes. You could Even more effects could be created with lustres or
have waxed the backs enamels, but bear in mind it can get costly to fire the
before glazing, but I prefer work so many times. However, it’s great fun waiting to
this method because you see what comes out of the kiln, and the possibilities are
still have to clean up even a endless, so enjoy being creative and trying interesting
waxed surface. combinations.
Use the tip of a pin or
pointed knife to remove
excess glaze from the
holes in the shapes – failure
to do this could result in
glaze running through and
21 sticking to the kiln shelf in
firing.
23
The finished necklaces have been fitted with silver
neck bands and cord as appropriate to suit the
shapes. Silver beads have been added, but you could
make your own, using the technique for the tubes, if
you prefer.
22
Finally, wipe away all traces of glaze from the
undersides of the shapes with a damp sponge. Include the
edges and pay particular attention to the holes.
When dry, fire the shapes as you did when bisque-firing,
to your clay and glazes’ recommended temperature. The
pieces shown here were fired to 1240° in an electric kiln
with a 15-minute soak at the end of the firing.
The shapes were also fired on a thin layer of silica sand,
but if you use this you must make sure the sand doesn’t
come into contact with the glaze because it’ll stick to
it. You could use a fine dusting of alumina instead, but
the same applies regarding it sticking to the glaze, so be
careful.

ME AND MY POT
Shaun Hall
Clay type: Earthshine Scarva hand-building

material
Firing temp: 1010°C and a heavy post-
reduction, with a double lid seal in pinewood
shavings. This helps achieve a good copper and
a myriad of metallics, which I personally like.
Build technique: I slab build, using sheets of
leather-hard clay, and throw teabowls on an old
upright kick wheel. It’s got a nice rhythm!
Decoration process: Copper and cobalt
loaded earthenware Raku glaze, and a white
crackle glaze, which I dip or pour. Copper matte
(rainbow) is a copper oxide-loaded slip, which I
spray on. I reduce these one at a time, (owing to
their size) under a metal bin, judiciously allowing
in air to start the post-reduction colour flashing.
Inspirations & influences: At uni, my tutors
Emmanuel Cooper and Mo Jupp were a big
influence, and Elizabeth Fritsch. Work by the
Raku masters from Japan, of course, and
sculptors such as Barbara Hepworth. I’m also
interested in history and archaeology, and most
of my work is inspired by the vessel form.
See my work at: Last year, I was approached
by Indian company, Curocarte, who bought a lot
of my work, and it’s being sold in Asia. Galleries
currently stocked: Erwood Station, Builth Wells;
Buckenham Galleries, Southwold; Sota Gallery,
Witney. Online galleries: theartonlinegallery.
com/artist/shaun-hall and curocarte.com/in/
countries/united-kingdom.html
If you would like a piece of your work to be

featured, email us at: claycraft.ed@kelsey.co.uk
073 Me and My Pot Shaun Hall Issue 11.indd 73 09/01/2018 19:03

NEXT STEPS
NEXT Don’t
miss it!
MONTH
ISSUE 12
ON SALE
FEB 16TH
Simon Shaw at Terrània

We hear about Simon’s experiences at
the 15th Terrània International Pottery Festival
Meet the Potter

Jacqui James, the
rule-breaking potter
behind the creation
of surreal ceramic
heads
Throwing a test tile ring Making test tiles

on the wheel. It’s quick and easy!
PLUS: • Coil-built mugs • Vases
•Volume index • Surface decoration
074 Next Month Issue 11.indd 74 09/01/2018 19:05

EVENTS Do you have an event you’d like listed?
Email us at claycraft.ed@kelsey.co.uk for free inclusion
RUNNING UNTIL
JANUARY 8 FEB  10 MARCH 24 FEB  12 MARCH
UNTIL 27 JAN
6  30 JAN Matthew Warner Solo Alchemy
Starlight Craft Gallery, Birmingham Show Kellie Miller Arts
Starlight; an exhibition exploring the spectacle and The Graduate Show
Contemporary Applied Arts Brighton
wonders of outer space. 2018
A solo exhibition of new work by kelliemillerarts.com
rbsa.org.uk An important annual event
London-based potter and CAA
UNTIL 5 FEB
showing the work of some of the
maker member Matthew Warner MARCH
emerging talent selected from
caa.org.uk
Woman’s Hour Craft Prize V&A London the crop of 2017 graduates 3  4 MARCH
Organised in partnership with BBC Radio 4 and the Crafts beveregallery.com 9 FEB
Council, the Prize was launched to celebrate the 70th
Innovations in
anniversary of BBC Radio 4’s Woman’s Hour. Twelve finalists 9 JAN  12 APRIL Reaching your Market: Ceramic Art
Jane Pritchard Ceramic Making the most of your The Guildhall, Cambridge
have been shortlisted, whose work will be exhibited in this
display. vam.ac.uk Showcase online presentation, onlineceramics.com
Craft Centre & Design Gallery,
marketing and social
UNTIL 8 FEB media 3 MARCH  14 APRIL
Leeds.
Masters Of Studio Pottery / Part I: William craftcentreleeds.co.uk ● Advice on understanding how Rising Stars 2018
Staite Murray & His Pupils
to promote your unique offer newashgate.org.uk
Oxford Ceramics Gallery oxfordceramics.com 13 JAN  24 FEB ● Tips on developing a brand
through your vision and values 3 MARCH  14 APRIL
The Natural Pleasures of
UNTIL 11 FEB ● Tips on where to focus your Julie Massie: Fragile
Mr Yorke
online marketing Edges - Winner of Rising
Marit Tingleff: New Ceramics Virginia Ray and Paul Wearing
This Reaching Your Market Stars Award in 2017: One
Roche Court, East Winterslow, Salisbury, Wiltshire newashgate.org.uk
workshop is part of a series Year On
sculpture.uk.com
13 JAN  24 FEB of business development newashgate.org.uk
UNTIL 10 MARCH workshops and events designed
Eastern Influence 10 MARCH  21 APRIL
by the Crafts Council to provide
Made with Love Craft Centre Leeds newashgate.org.uk
makers with skills to promote Equinox
Ceramics by: Áine McKenna, Karen Howarth, Abigail Leach,
Hanne Mannheimer, Lisa Katzenstein, Ali Tomlin, Rachel 20 JAN 24 MARCH their work successfully. For this mixed exhibition,
Book now: Just £40 (£30 Early makers have been selected
Thornton and Helen Kemp craftcentreleeds.co.uk Through the Window
Bird tickets available until 12th whose work has an elemental
Artichoke Gallery, Ticehurst,
UNTIL 11 MARCH 2018 January 2018) quality, or celebrates the
Sussex
Tickets via Eventbrite at: abundance of the natural world.
The Teabowl: Past and Present artichokegallery.co.uk
bit.ly/2iEJ4is Confirmed artists include Kate
The Leach Pottery
The exhibition will present 55 examples of teabowls, 20 JAN  25 FEB Bajic, Amanda Baron, Adam
11 FEB Buick, Amy Cooper, Lizzie
including historic teabowls from the East, teabowls made Mixed exhibition
in the West in the spirit of tradition, and teabowls made cambridgegallery.co.uk DIY Art Market Farey, Elaine Jones, and Lucy
with a sense of subversion. leachpottery.com EPIC Dalston, London Jade Sylvester.
27 JAN diyartmarket.com bluecoatdisplaycentre.
UNTIL 8 APRIL Crazy Cat Day Ceramic com
25 FEB
A Sense of Home: Exploring the Anthony Shaw Workshop
Anglian Potters Demo 13 MARCH
Collection Anna-Mercedes Wear, Sheffield
Explore artwork by first year students from the BA anna-mercedeswear. Day Ceramics in Charnwood
ceramics course at Central Saint Martins in response to the com Ester Beck Loughborough
Anthony Shaw Collection. Mundford, near Thetford craftanddesignmonth.
Meet the students on 19 March from 10-2pm. FEBRUARY anglianpotters.org.uk net
York Art Gallery yorkartgallery.org.uk
3  27 FEB 11 FEB  17 MARCH 16 MARCH  1 APRIL
UNTIL10 JUNE FOCUS ON Masters Of Studio Anglian Potters
More than words: Sara Radstone York Art Gallery Featured potters: Sophie Pottery / Part Ii: Post - Exhibition
The first major retrospective exhibition of one of Britain’s Southgate, Sarah Jenkins & Jane War To Present Undercroft Gallery, Norwich
leading ceramic artists. The exhibition features more than Muir Oxford Ceramics Gallery anglianpotters.org.uk
50 works by Sara Radstone and looks at how her work beveregallery.com oxfordceramics.com
has changed and developed over the course of a career
23  25 MARCH
spanning nearly 40 years. 4 FEB 15 FEB  10 MARCH CAL
yorkartgallery.org.uk Anglian Potters Demo Porcelain³ Central St Martins, London
Day Jo Davies. Katharina Klug. Anja ceramicartlondon.com
UNTIL 10 JUNE Nick Marsh Lubach The Contemporary
Radical Clay: Teaching With the Great Mundford, near Thetford Ceramics Centre APRIL
Potters of the 1960s anglianpotters.org.uk These three ceramicists are all
Bristol Museum & Art Gallery known for their individual use 8 APRIL
Ground breaking pieces from the leading potters of the 7 FEB of porcelain and have been Anglian Potters
time, including Hans Coper, Lucy Rie, Janet Leach, Ruth Ceramic Tile Painting chosen for their unique places Demo Day
Duckworth, Bernard Leach, Michael Cardew and Gillian Workshop in influencing contemporary Carina Ciscato
Lowndes. A piece by Kate Malone, made when she was a The Doodle Bar, SE London ceramics. Mundford, near Thetford
student at Henbury School in Bristol, will also be on show. thedoodlebar.com cpaceramics.com anglianpotters.org.uk
bristolmuseums.org.uk
075 Events Issue 11.indd 75 09/01/2018 19:05

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Harry Juniper from
Bideford Pottery
demonstrating throwing.
POP-UP SHOWS Paul Bailey talks to organiser Tracey Benton
I
n North Devon there are trade.
many small craft shows and So Tracey now runs a series of pop-up
the odd larger event at events, including Vintage & Handmade,
Christmas, but no big, Artisan Market and the hugely successful
curated event, and certainly nothing that Clay: A Festival of Ceramics.
invites artists and makers from slightly Since the inaugural ceramics event last
further afield to showcase their work and year, she has been overwhelmed by the
bring a fresh mix to the area. There was positive response from both visitors and
nothing that focused specifically on exhibitors. There was an appetite for
ceramics, which is a shame for an area well-curated, substantial events in the
whose history is steeped in the pottery area. Clay: A Festival of Ceramics returns
David Chilton, winner of the Award

for Innovation. Dryad Busts.
Hand-formed ceramics bird

workshop by Gwen Vaughan.
this year on Sunday 1 July, 10-4 pm and

with free entry for visitors.
Organiser Tracey Benton commented:
“North Devon was once famed for its
earthenware pots, which sailed across to
the New World as far back as the 17th
century. Red earthenware clay was
readily available from Fremington, and
078-79 Emerging Potters Issue 11.indd 78 09/01/2018 19:06

Remon Jephcott: Apples.
and present.
The venue for 2017
was the stunning
Victorian Pannier Alison A Frances Spice dish.
Market in Bideford, West.
built in 1884. Tracey 17th century that helped to
from Devon Pop Ups bring prosperity to the area.
is a maker herself, with The event was such a
a background in success for both visitors and
ceramics. She was lucky exhibitors that it now returns in
enough to have some very good 2018, but this time moving to a larger
Mitch Pilkington. contacts in the contemporary crafts venue with greater capacity and a more
scene, and getting some great makers on central location: Barnstaple Pannier
white clay from Peters Marland. Slipware board very early on really helped to Market. Like Bideford, Barnstaple boasts
became synonymous with the area, and secure the calibre of potters and ceramic a strong connection to its ceramic
featured highly-detailed sgraffito designs artists at the event. So much so, that 40 heritage, with Brannams being its
(where slip from white clay is scratched exhibitors signed up for the first event in biggest name.
away from the surface into a design, June 2017, coming from Somerset, Looking back to last year, Tracey said,
revealing the clay beneath). Subjects are Dorset, Bristol, Devon and Cornwall. “Longer term, I aim to make this a real
usually nautical, commemorative, natural The intention last year was to be a showcase for ceramic artists and makers
history and harvest time. Potters made a celebration of clay in all its forms, so an based in the South West. I’d like the
good living in the area and many became important ingredient for visitors was to event to become something that people
wealthy traders.” have workshops and demonstrations on look forward to and travel to the area for,
Today the area boasts an abundance of the day so that it was as interactive as and have it running over a whole
renowned contemporary ceramicists. possible. Gwen Vaughan taught a weekend.” 
This provided the backdrop and workshop making a ceramic bird and
inspiration for the new event Clay: A Mitch Pilkington offered a wall-mounted
Festival of Ceramics, aimed at celebrating porcelain vase. There was also a potter’s
the rich heritage of North Devon: past wheel experience for visitors of all ages
offered by local pottery school Tarka
Pottery, and the legend that is Nick
Juniper spent the day throwing pots.
To add to the sense of celebration,
three local businesses were invited to
present awards to outstanding makers.
The awards themselves were handmade
by Harry and Nick Juniper of Bideford
Pottery, echoing the sgraffito pots of the
Paul Bailey produces Emerging

Potters magazine, a quarterly online
magazine aiming to give a platform
to makers just starting their careers
and those who are making ceramics
for their own enjoyment. To join the
free mailing list to receive copies of
the magazine, email:
Catherine Lucktaylor Ceramics: Catherine Lucktaylor’s stand at paulbailey123@googlemail.com
Wild Cornwall. Clay: A Festival of Ceramics, 2017.
078-79 Emerging Potters Issue 11.indd 79 09/01/2018 19:07

COURSES  Do you run a course that you’d like to see here?
Email claycraft.ed@kelsey.co.uk for free inclusion in our listing
SCOTLAND Location: N Yorks
tryacourse.co.uk
Location: Cedar Farm, Mawdesley, nr
Ormskirk, Tel: 01704 807320
PARKWOOD THROWING
COURSES
SEATREE CRAFTS LEAFY LANE POTTERY BY SUZIE theclayhouseatcedarfarm.co.uk Courses: Basic and intermediate
Courses: Beginners' classes, Courses: Hand building courses CLAYWORKS throwing
workshops, after school club, for all abilities. Learning disabilities, Courses: Evening & daytime classes Dates: 8-week Thurs evenings,
supervised open access residential homes, schools and private for all abilities (with occasional weekend courses, taster sessions
Dates: Various sessions, and sculptures for your home weekend events such as 'Raku', etc) Location: Nr Alfreton, Derbyshire
Location: Innellan, Argyll and gardens Dates: Weekly throughout the year parkwoodthrowingcourses.co.uk
seatreecrafts.co.uk Dates: Throughout the year and area Location: Southport, Lancashire PLAY WITH CLAY
THE WEE MUD HUT Location: Hull and East Yorkshire arthousesca@gmail.com Courses: Throwing, toddler clay
Courses: Handbuilding, throwing for leafylanepottery@gmail.com T: 0754 115 6119, FB: arthousesca Dates: Saturday mornings, Tuesday
all ages/abilities. Groups and individual Tel: 07886 841936 THE CRAFTY POTTER afternoons, throwing weekly by appt.
sessions OLD STABLES STUDIO Courses: Throwing, hand-building & Location: Loughborough
Dates: Various Courses: Throwing: bootcamp, modelling creationspottery.co.uk
Location: East Kilbride, Scotland weekends, tasters and regular classes Dates: Various SEVEN LIMES POTTERY
Lanarkshire Dates: Various Location: Chorley, Lancashire Courses: Varied courses/classes
theweemudhut.co.uk Location: Hebden Bridge, Yorkshire thecraftypotter.co.uk Dates: All
JAMES OUGHTIBRIDGE THE DOWN TO EARTH POTTERY Location: Moss Side, Manchester
CUMBRIA/N EAST Course: Large Scale Slab Building Courses: Hand-building for beginners 7Limes.co.uk
Dates: Contact for details to advanced. We are always trying out SEYMOUR ROAD STUDIOS
MUDDY FINGERS POTTERY Location: Holmfirth, West Yorkshire new techniques such as use of decals Courses: Weekly/1-day weekend classes
Courses: Adult night classes jamesoughtibridge.blogspot.co.uk and coloured clay Dates: Various
Dates: Tuesday and Thursday JIM ROBISON CERAMICS Dates: Year-round: Tuesday pm and Location: West Bridgeford, Notts
evenings, every six weeks Courses: Week-long Ceramics, and Wednesday eve. Some Saturdays seymourroadstudios.co.uk
Location: Jarrow, Tyne and Wear Glaze and surface courses Location: Clitheroe. Lancs PAT SHORT CERAMICS
muddyfingerspottery.com Dates: Various lesleywoods19@hotmail.com Courses: Beginners’ handbuilding
Location: Holmfirth, Huddersfield FB: thedowntoearthpottery workshops
ANNIE PEAKER
Courses: Figurative Ceramic Courses boothhousegallery.co.uk PAUL GOULD/MON CERAMICS Dates: Various
Dates: April - October (3 & 5 Days) SCULPTURE LOUNGE STUDIOS Courses: Beginners & intermediates Location: Edgbaston, Birmingham
Location: Penrith, Cumbria Dates: Tuesdays & Wednesdays 2-4pm patshortceramics.com
Courses: Throughout the year
anniepeaker.co.uk and 7-9pm LINDA SOUTHWELL
Dates: Contact directly for further
Saturdays and Sunday workshops: Courses: Evening classes and one-to-
information
various dates throughout the year one experiences
YORKS Location: Holmfirth, West Yorkshire
Location: The Wirral Dates: Wednesday evenings and by
sculpturelounge.com
monceramics.co.uk arrangement
ART HOUSE, SHEFFIELD ANNAMERCEDES WEAR
Courses: Wheel, handbuilding, GREEN MAN CERAMICS Location: The Harley Ceramics Studio,
Courses: Regular one-day Courses: Pottery Discovery weekends
porcelain, raku, figurative, workshops, handbuilding courses, includes making Welbeck, Worksop
summer intensive week (chimeneas) Dates: Various, lindasouthwell.co.uk
and decorating animals and figures Location: Colne, Lancs
Dates: Mon-Sat 10am-9pm Dates: Throughout the year Tel: 01282 871129 WALES
Location: Sheffield City centre Location: Sheffield
arthousesheffield.co.uk anna-mercedeswear.com PILLING POTTERY/NORTHERN
KILNS CARDIFF POTTERY WORKSHOPS
KATIE BRAIDA Courses: Handbuilding; throwing;
Courses: From novice to professional:
Courses: weekly class and day one-off Saturday sessions; 1-2-1
workshops LANCS/CHESHIRE/ throwing, hand-building, glazing, making
throwing; masterclasses with Anne
glazes, kiln loading, programming kiln
Dates: Every Thursday evening and MERSEY controllers, fitting elements Gibbs; parties (children, adults,
various others Dates: Various teambuilding); pottery membership
Location: Scarborough BALTIC CLAY Location: Pilling, Lancs tutored & un-tutored
katiebraida.com Courses: Evening and weekend clay pillingpottery.com Dates: 6-wk day & eve sessions, various
FIRED ART DESIGNS courses THE POTTERS BARN Location: Cardiff
Courses: 1:1 wheel work, brushwork, Dates: Tue, Wed, Thurs (6.30pm - Courses: Adult half & full day: beginners cardiffpotteryworkshops.com
surface decoration. Handbuilding, slab 8.30pm) & Sat throwing & handbuilding. Interemediate GLOSTERS
work, coil work. Classes Location: Liverpool & advanced throwing. Raku & pit firing Course: Throwing
Dates: Various balticclay.com Dates: Various Dates: April,
Location: Pontefract, Yorkshire BLUE BUTTERFLY CRAFTS Location: Sandbach, Cheshire/Staffs Location: Porthmadog
firedartdesigns.co.uk Courses: Handbuilding. border glosters.co.uk
JILL FORD Weekly 2-hr sessions and day-courses thepottersbarn.co.uk JANE MALVISI
Course: Workshop and Day Courses Dates: Various, see website Courses: Raku: full day workshop 2nd
Dates: Thursday evenings & day Location: Accrington, Lancs Saturdays Two-hour pottery classes
courses throughout the year bluebutterflycrafts.co.uk NOTTS/DERBYS/ inc Raku
Location: York, Tel: 01717 289008 JOAN CHAN LEICS/MIDLANDS Dates: Mon/Tues/Weds days and
JOY GIBBS PRICE CERAMICS  Courses: Introduction to clay, evenings
GRAPE VINE STUDIOS handbuilding, throwing, slip casting, CANDO POTTERY Location: Bridgend, S Wales
Courses: Handbuilding, throwing, raku glaze workshop Courses: Hand-building for beginners janemalvisi.co.uk
Dates: Weekly sessions, Thurs 6-8pm, Dates: Afternoons and evenings Dates: Thursdays 10.30am-12.30pm ORIEL BODFARI GALLERY AND
Fri/Sat 10am-12pm Location: Greasby, Wirral Location: Mellor, Stockport POTTERY
Location: Mattersley, Doncaster T: 07803 848212, E: joancchan@aol.com candopottery.wixsite.com/group Courses: Throwing, handbuilding,
joygibbsprice.co.uk FB: jccermaics MIDLANDS ART CENTRE Raku, etc
GREENWOOD CRAFTS THE CLAY HOUSE Courses: Ceramics Open Studio Dates: Various
Courses: Handbuilding; throwing Courses: Two 3-hr workshops every Dates: Various Location: Bodfari, North Wales
from beginners onwards month Location: Birmingham E: rjpceramic@gmail.com
Dates: All year Dates: Various, see website macbirmingham.co.uk orielbodfarigallery.co.uk
080-82 Directory - courses Issue 11.indd 80 09/01/2018 19:08

Do you want your entry to stand out?
For details, contact Gary on 01732 447008
CAMBS/LINCS Location: Stoke-on-Trent
potclays.co.uk
KATIE'S POTTERY STUDIO
Courses: One-to-one & small group
Location: Winnersh, Berks
thepaintnightcompany.co.uk/
PAULA ARMSTRONG THE SCULPTURE PLACE tuition in throwing, handbuilding, pages/the-creative-cavern
Courses: Handbuilding, workshops Courses: Figurative Sculpture Classes decorating, glazing & firing for all EASTCOTT STUDIOS
Dates: Monday and Thursday Dates: Weekly sessions: Monday, ages and abilities. Children's Saturday Courses: Workshops, classes, drop-in
mornings, Tuesday & Thursday Wednesday & Thursday (running for class sessions, open access
evenings, monthly Saturday workshops 6 weeks) Dates: Throughout the year Dates: Various
Location: Willingham, Cambs Location: Wolverhampton, Location: Leiston, Suffolk Location: Swindon, Wilts
parmstrongceramics.co.uk Staffordshire katiespotterystudio.co.uk eastcottstudios.co.uk
MATTHEW BLAKELY thesculptureplace.co.uk THAXTED POTTERS FIRED THOUGHTS ARTS STUDIO
Courses: Weekend Courses: STONEHOUSE STUDIOS Courses: Beginners and Courses: Ceramics & ceramic
Throwing, Porcelain throwing Courses: Throwing & handbuilt intermediates sculpture courses/workshops, all
Dates: Monthly ceramics, sculpture & life sculpture. Dates: Various 6-week sessions skill levels. Raku, 1:1 throwing, all
Location: Lode, Cambs Portrait drawing, painting, & general Location: Thaxted, Essex handbuild techniques
matthewblakely.co.uk art. One off workshops & one-to-one thaxtedpotters.co.uk Dates: Weekly, daytime &
HILLS ROAD SIXTH FORM tuition on request evening/weekends
COLLEGE Dates: Mon-Fri inc weekends BEDS/BUCKS/HERTS Location: Devizes, Wilts
Courses: Handbuilding, throwing, throughout the year. One offs by E: whelan581@btinternet.com
plus summer school workshops arrangement CLAY WITH CAROLE SASHA WARDELL
Dates: Various Location: Drayton Basset, nr Courses: Handbuilding, throwing Courses: Bone china & mould
Location: Cambridge Tamworth, Staffs Dates: Various making courses
hillsroadadulteducation.co.uk stonehousestudios.co.uk Location: Hitchin, Herts Dates: May to September ( incl.) in
WOBAGE FARM CRAFT claywithcarole.co.uk
POTTERYDAYZ SW France / Feb & March in
Courses: Wheel throwing for WORKSHOPS DIGSWELL CERAMICS Wiltshire
beginners and more experienced Courses: Various multiple-day COMMUNITY Location: SW France/ Wiltshire
Dates: Saturdays, 9.30-3pm throwing workshops Courses: Beginners’ tuition, support sashawardell.com
Dates: Various for experienced potters
Location: Peterborough/East Midlands
Location: South Herefordshire Dates: Tuesdays, Thursdays
FB: @claydayzz, E: potterydayz@gmail.com
ZOO CERAMICS
workshops-at-wobage.co.uk Location: Letchworth DORSET/GLOS/
Courses: Half and full day
NORTH MARSTON POTTERY SOMERSET/AVON
Courses: Variety of pottery courses
handbuilding workshops, 10-week WARKS/N’HANTS/ Dates: Contact directly for further
pottery classes OXON details
ARTISAN CRAFT CLASSES &
Dates: Various WORKSHOPS
Location: North Marston,
Location: Waddington, Courses: Weekly pottery classes -
ROB BIBBY Buckinghamshire
Lincolnshire wheel and handbuilding
Courses: Pottery classes northmarstonpottery.co.uk
zooceramics.co.uk Dates: Mondays and Wednesdays,
Dates: Tuesday morning and evening, RUBY SHARP one-offs by arrangement
one-offs by arrangement Courses: Hand building, throwing, Location: Winterborne Monkton,
WORCS/SHROPS/ Location: Woodnewton, Oundle decorating pots, sculpture for home
robbibbyceramics.co.uk Dorchester
STAFFS/HEREFORD PUP RUGBY
and garden
Dates: Throughout the year (weekend
mail@artisandt1.co.uk
Courses: Pop-up pottery, pay-as-you- & day sessions available) ASHBROOK STUDIO
BRITISH CERAMICS BIENNIAL go. Come and have a go! Location: Amersham, Courses: Throwing, handbuilding,
Courses: Beginners & Intermediate Dates: Wednesdays, fortnightly Buckinghamshire glazes
Dates: Tuesday & Thursday Location: Newton Village Hall, nr Rugby rubysharppottery.co.uk One-to-one or small group, daily
Location: Stoke-on-Trent, Staffordshire FB: @popuppotteryrugby Dates: All year
The BCB operates a clay school and a E: puprugby@gmail.com Location: Waterrow, Somerset
variety of courses throughout the year. WILTS/HANTS/ ashbrook-ceramics.co.uk
britishceramicsbiennial.com BERKS BANWELL POTTERY
KAREN FINCHAM CERAMICS NORFOLK/SUFF/ Courses: Throwing, handbuilding,
Courses: Hand building and ESSEX ANGELS FARM POTTERY modeling, slab work, coil work, tile-
throwing. One to one and group Courses: Residential (B&B) & non- making
sessions PHIL ARTHUR residential. Throwing, handbuilding, Dates: Weekly evening class, Weds
Dates: Weekdays, evenings and Courses: Pottery classes decorating 6-8pm
Saturdays Dates: Tuesday evening, Thursday Dates: Sat and w/ends once a month. Location: Weston-super-Mare, N
Location: Redditch, Worcestershire afternoon Weekly evening classes & Fri am. Somerset
clayclass.co.uk Location: Cawston, Norfolk One-off days for groups, min 4, max 8 banwellpottery.org
POP UP POTTERY STUDIO Philarthur1951@btinternet.com attendees CARANTOC ART
(EARTH & FIRE CERAMICS) DEBORAH BAYNES Location: Lyndhurst, New Forest, Hants. Courses: Intensive & regular classes
Courses: Beginner courses to learn Courses: Residential and nonresidential angelsfarm.co.uk available in pottery & ceramic
simple techniques Dates: Weekends (spring/autumn), full ‘CLAY SURGERY’ WITH SUZANNE sculpture
Dates: Tuesday evenings & weeks (July/Aug) & ABBY Dates: Year-round
Friday afternoons Location: Shotley, Suffolk Courses: Throwing, handbuilding, Location: Weston-super-Mare,
Location: Great Haywood (near potterycourses.net glazing, raku, mould-making for North Somerset
Stafford), Staffordshire BLUEBELL CERAMICS beginners and improvers carantoc-art.co.uk
carolinefarnellsmith@gmail.com Courses: Weekly classes, one-offs, Dates: Weekends throughout the CREATIVE CLAY FOR ALL
POTCLAYS workshops. Various handbuilding, slab, year Travelling clay workshops for those
Courses: Basic/Intermediate/ coil and surface decoration Location: Waterlooville, Hants who have no access to a kiln. Ideal for
Advanced Throwing, Intro to glazes, Dates: Mon am, Mon pm, Tues am abbyducharme@hotmail.co.uk community groups.
Pottery Basics, Moulding and Location: Sudbury, Suffolk THE CREATIVE CAVERN Based in Dorset
Slipcasting, Tilemaking E: bluebellceramics@gmail.com Courses: Various, inc 1:1 throwing, facebook.com/creativeclayforall
Dates: Various T: 07572 574763 Dates: Various creativeclayforall@yahoo.co.uk

PATRICK ESSON ART SHOP AND POTTERY inc 1:1s Location: Greenwich, London
Courses: Modelling, coiling, slab work, Courses: 1-to-1 throwing tuition. Dates: Various, ongoing mazehillpottery.co.uk
pinching, throwing One-off taster sessions & longer Location: Central Eastbourne PADDOCK STUDIO POTTERY
Dates: Various courses available. Slabbing, tile making grahammatthewsceramics.com Courses: 1-day individual or shared,
Location: Gloucester and Kids Clay Club. LAURA CROSLAND CERAMICS throwing, handbuilding
p.esson@aliqua-art-gallery.com Dates: Monday to Saturday 10.00am Courses: Various, one-to-one or Dates: Various
CHARLOTTE MILLER CERAMICS - 6.00pm group Location: Lewes, East Sussex
Courses: Throwing, handbuilding, Location: Brighton & Hove Dates: Various thepaddockstudiopottery.co.uk
mould-making, surface decoration artshopandpottery.com Location: Chatham, Kent THE PAINTING POTTERY CAFE
Dates: Termly part-time, taster AYLESFORD POTTERY lauracroslandceramics.com Courses: Evening classes: Throwing,
workshops, pottery parties Courses: Raku days, 1-day, 10-week PETER CUTHBERTSON coiling, slab & pinch for different
Location: Bournemouth Pottery classes, Mould Making, Glaze Courses: Throwing and handbuilding, monthly projects. All materials and
charlottemillerceramics.com Theory & Application beginners and more advanced glazes provided. £35pp
KITE STUDIOS CLAY STUDIO Dates: Various terms Dates: Weekly regular day and Dates: 3rd Thursday of the month
Courses: Throwing, handbuilding, Location: Aylesford, Kent evening classes plus one off weekends 6.30-9.30pm
glazing, adult & children courses aylesfordschoolofceramics.co.uk by arrangement Location: Brighton
weekly & weekend. One-to-one BURWASH POTTERY Location: East Hoathly, East Sussex paintingpotterycafe.co.uk
sessions and pottery birthday parties Courses: Various handbuilding, peter.cuthbertson@phonecoop.Coop
Dates: Mon-Sat various times SULEYMAN SABA
decoration. All levels. Classes, EASTBOURNE STUDIO POTTERS
Location: Kemerton, Gloucestershire, workshops, parties, taster sessions Courses: Pottery classes
Courses: Throwing, hand building, Dates: Tuesday and Wednesday
and London Dates: Terms of 6 weeks, various surface decoration and glazing for
kitestudios.org Location: Burwash, East Sussex evenings (Clapham), Mondays and
beginners and experienced potters. Tuesdays (Kingsbury)
NEW BREWERY ARTS burwashpotter.co.uk Plus, Personal Project Development
Location: London (Kingsbury and
Courses: Variety of ceramic courses THE CERAMIC STUDIO with specialist support.
Dates: Contact directly for further Clapham)
Courses: From beginner to Dates: Weekly courses throughout
details suleymansaba.com
professional, plus taster sessions the year. Personal Project on Weds
Location: Cirencester, Dates: Various 6-9pm. STAR POTTERY
Gloucestershire Location: Five Oak Green, Kent Location: Eastbourne Courses: Taster, Weekly classes
newbreweryarts.org.uk theceramicstudio.me.uk eastbournestudiopottery@gmail.com Dates: Various
RUARDEAN GARDEN POTTERY CERNAMIC eastbournestudiopottery.com Location: Lewes, East Sussex
Courses: Weekends, week-long Courses: With Nam Tran; throwing, FOREST ROW SCHOOL OF hamid-pottery.co.uk
Courses: Throwing, Pot Making mould-making, raku CERAMICS
Dates: Various Dates: Various Courses: Adult intensive FRANCE
Location: Forest of Dean Location: SE London throwing and handbuilding weekly
ruardeanpottery.com
L’APIPOTERIE /E. PENSA
cernamic.com classes. Weekend workshops: raku,
Courses: Handbuilding for utilitarian
RACHEL FOOKS: CERAMICS CLAYNGLAZE POTTERY STUDIOS soda/smoke firing, animal sculpture,
use and animal sculpture. Bilingual
Courses: Weekly classes and one-off Courses: Pay as you go pottery for all glaze chemistry, slip decorating. Three-
course French and English
sessions, hand-building & throwing for levels. Various training days/weekend month residential Sept-Nov 2018
Location: Forest Row, West Sussex Dates: 10-12 July and 25-27 August
all abilities courses & fine art workshops
frschoolofceramics.co.uk Location: Beaufort sur Gervanne/
Location: Wareham, Dorset Dates: Days, evenings & weekends South East of France in the Vercors
rachelfooksceramics.com throughout the year GO CREATE regional park
Location: West Sussex Courses: Pottery, sculpture & craft
DEVON/CORNWALL claynglaze.co.uk Dates: Various
epensa26@gmail.com
Location: SW London SASHA WARDELL
GOONZOYLE POTTERY CLAY PLACE
gocreate.co.uk Course: Bone china & mould making
Courses: Wheel, handbuilding, Courses: Handbuilding, surface
decoration, slip application. Tile & form CLAIRE GRIFFITHS courses
glazing, raku and pit-firing. For all Dates: May to September (incl) in SW
abilities in fully equipped rural studio. making. Personal development Dates: Starting September; Weds
Dates: Weds 2.30-5pm, Fri 10am- 10.00am -12.30pm & Thurs 7.00- 9.30pm France/Feb & March in Wiltshire
Dates: Morning, Afternoon & Evening Location: SW France/Wiltshire
drop-in workshops throughout 12.30pm. One-day project workshops, Location: Whitstable
7 hrs, lunch provided jc.griffiths@btinternet.com sashawardell.com
the year. Contact directly for more
information. Location: Ashurst, W Sussex HANDMADE IN CHISWICK
Location: Camborne, Cornwall jennywightwick.wix.com/ Courses: Weekly classes and SPAIN
marykaunenglish@yahoo.co.uk ceramics one-off workshops inc 1:1 throwing.
FB: Goonzoylepottery THE CLAY ROOM UK Studio time for more experienced learners TOTEM CERAMICS POTTERY
marykaunenglish.com Courses: Clay taster workshops; Dates: Term time for weekly classes, SCHOOL
LEACH POTTERY introductory pottery; mould-making by arrangements for workshops and Courses: Throwing, sculpting,
Courses: 3 & 5-day throwing, evening & slip-casting; transfer; termly pottery studio time handbuilding, slip casting, general
classes handbuilding, throwing courses; Christmas workshops & Location: London, W4 skills for beginners. Weekly classes &
Dates: Various, each month private lessons HandmadeinChiswick.weebly. courses
Location: St Ives, Cornwall Dates: Various com Dates: 1-5 day courses, weekly classes,
leachpottery.com Location: Chelsfield, Orpington sylviejoly@blueyonder.co.uk year-round
theclayroomuk.com Twitter: @jolyopsimath Location: Andalucia
THE CLAY STUDIO KITE STUDIOS CLAY STUDIO totemceramics.com
KENT/SUSSEX/ Courses: Handbuilding, throwing, Courses: Throwing, handbuilding,
SURREY/LONDON surface decoration, glazing for glazing, adult & children courses REST OF WORLD
beginners/experienced potters. Raku, weekly & weekend. One-to-one
ART OF MINE smoke-firing and animal sculpture sessions and pottery birthday parties DUCTAC, MALL OF EMIRATES
Courses: 1-1 throwing tuition, hand Dates: Mon-Thurs all day inc evenings Dates: Mon-Sat various times Courses: Introduction to ‘Pottery for
building, surface decoration for all Location: Groombridge, nr Tunbridge Location: Kemerton, Gloucestershire, all’; hand-building & throwing. Trial
ages and abilities. Birthday parties, Wells and London sessions
team building and taster sessions euniclocher.com/classes kitestudios.org Dates: Sunday, Monday, Thursday 10-
Dates: Various THE CLAY WORKSHOP MAZE HILL POTTERY 1pm. Tuesday 6.30-9.30pm
Location: Maidstone, Kent Courses: Throwing, hand-building, Course: Weekly Evening Classes Location: Dubai, UAE
info@thisartofmine.co.uk glazing, decorating, raku. All levels, Dates: Throughout the year ductac.org

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IDEAS SETTING UP A HOME STUDIO

001 Clay Craft Cover Issue 11.indd 1 09/01/2018 18:30

effectively and efficiently. As well as local potters, the internet is a

HEARTHEART INSIDE: Smok

the same way as kitchens are laid out. If

003 Welcome Issue 11.indd 3 09/01/2018 18:32

44 PROJECT 4: coil and slab-

004-5 Contents Issue 11.indd 4 09/01/2018 18:33

IDEAS SETTING UP A HOME STUDIO

76 ClayCraft SPECIAL 6 PINCH, COIL, SLAB AND THROW

subscriptions OFFER! GREAT STEP-BY-STEP

Save money and have the

You know it makes sense!

ALSO INSIDE: Smoke-ﬁring • Throwing kitchen bowls • Anglian Issue 11

004-5 Contents Issue 11.indd 5 09/01/2018 18:33

NEW email claycraft.ed@kelsey.co.uk

Anna-Mercedes Wear is running a workshop on

Call for entries

contemporary craft selling events in

Handmade at Kew 2018

from hundreds of highly skilled Thursday 4 - Sunday 7 October

and appeal to an informed and Royal Botanic Gardens, Kew,

highly motivated audience of local Richmond TW9 3AB

and UK consumers, collectors and Deadline for applications:

006-8 News Issue 11.indd 6 09/01/2018 21:33

“We moved to the village

006-8 News Issue 11.indd 7 09/01/2018 18:34

WE LOVE CLAY They invite the ceramics community

006-8 News Issue 11.indd 8 09/01/2018 18:34

RANDOM TREASURE: ANTIQUES, AUCTIONS AND ALCHEMY

VITAMIN C: CLAY AND CERAMIC IN CONTEMPORARY ART

009 Book reviews Issue 11.indd 9 09/01/2018 21:35

 Fix a batt to the wheel head, following the procedure

010-14 Project 1 Throwing Kitchen Bowls Issue 11.indd 10 09/01/2018 18:36

010-14 Project 1 Throwing Kitchen Bowls Issue 11.indd 11 09/01/2018 18:36

010-14 Project 1 Throwing Kitchen Bowls Issue 11.indd 12 09/01/2018 18:36

Hollow the inner section of the base of the bowl from

THROWING BOWLS – COMMON FAULTS:

010-14 Project 1 Throwing Kitchen Bowls Issue 11.indd 14 09/01/2018 18:40

015-17 Clay Issue 11.indd 15 09/01/2018 18:40

These generalised recipes provide

Mixing together  Dry Dry processing

015-17 Clay Issue 11.indd 16 09/01/2018 18:40

Creating your own  Wet

015-17 Clay Issue 11.indd 17 09/01/2018 18:40

TEL: 01323 896444 EMAIL: CHRIS_HESKE

To advertise please call

Modern, well-equipped ceramics

Clay: ESO Stoneware

If you would like a piece of

019 Me and My Libbi Hutchence Issue 11.indd 19 09/01/2018 21:44

020-24 Ramekins P2 Issue 11.indd 20 09/01/2018 21:46

 Place the heart onto

 Press the cutter down and,

020-24 Ramekins P2 Issue 11.indd 21 09/01/2018 18:42

020-24 Ramekins P2 Issue 11.indd 22 09/01/2018 18:42

020-24 Ramekins P2 Issue 11.indd 24 09/01/2018 18:43

Post: Pottery Tutor (for commercial classes)

Post: Pottery Studio Technician

SETTING UP YOUR STUDIO

026-28 Linda Poterry Set-up Issue 11.indd 26 09/01/2018 18:43

even its own separate shed. Some

026-28 Linda Poterry Set-up Issue 11.indd 27 09/01/2018 18:43

 Glaze materials on shelves in Stanley Field’s studio. Linda keeps her

Fix a batt to the wheel head, following the procedure

Mixing together Dry Dry processing

Creating your own Wet

Place the heart onto

Press the cutter down and,

Glaze materials on shelves in Stanley Field’s studio. Linda keeps her

Begin by filling the model up with clay and smoothing

To allow the slip to be poured inside, you’ll need to 4

Top the slip up periodically

Lie the mould on its side and remove the restraining

Using a pencil, draw as many repeats of the pattern

Smooth over the interior

Surform the rim to create an even flat surface and