ClayCraft 14 2018

28 PAGES OF STEP-BY-STEP PROJECTS
PINCH, COIL, SLAB
EARTH & FIRE

AND THROW
CAL
Preview & reader offer 2018
SHOW PICKS
GLAZING
KNOW-HOW
Dishwasher-safe WIN TICKETS
glaze recipes Contemporary Craft Festival
SPOTLIGHT THROWING DECORATION PINCH, COIL, SLAB AND THROW
Issue 14
£4.99
WEMYSS WARE LARGE PLANTER SLIP & BALL CLAY
ALSO INSIDE: Social enterprise: Banwell Pottery Events diary

Meet the team... Show season!
love this time of year. The
Jacqui Atkin Kevin Millward

big outdoor shows are
starting, and potters
everywhere are working
hard, making stock to take to them. The
I
Bisque press Thrown planter atmosphere at these events is wonderful,
form p38 p10 with visitors getting the chance to talk
to the makers, potters from different
ends of the country taking the
opportunity to catch up with old friends,
and newcomers to pottery becoming
more enthused as they see that buying month. Earth and Fire is offering
work, even from very well-known ClayCraft readers a reduced entry rate on
Doug Fitch Linda Bloomfield
Hectic times! Dishwasher-safe
makers, isn’t going to break the bank. the Sunday (see page 52), and there’s
p70 glazes p35 The great thing about these shows is also the chance to win one of five
that there are buying opportunities to three-day tickets to the Contemporary
suit everyone. Craft Festival (see page 67). We’d like to
S 28
OF P PR OJ
STEP-BY-STEP
PAGES
TE ECTS
PROJECTS
I’ve said it before, but it bears thank the organisers of both events for
S PAGE
OF STEP-BY-S
28 OF STEP-BY-STEP
28 PAGE PROJECTS
repeating: potters are lovely people, their generosity.
EA
PINCH, COIL, CAL CAL
PINCH, COIL
SLABTHROW AND, SLAB
THROW always so generous with their support, I’m very excited by our bisque
RT
AND AND THROW
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, SLAB
EARTH
PINCH, COIL
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&w &FIRE FIRE CAL
EA RT erder offer 201820 sharing their techniques and genuinely template project this month. The ability
Previe rea
offer off
Preview & reader
18
SHOW PICKS
Preview & rea

SHOW PICKS
SHOW
PICKS
happy to answer questions, even from to produce identical forms quickly and
beginners. This is so encouraging to consistently means that this summer
GLAZINGGLAZING
GLAZING
KNOW-HOW people who are new to clay, and it’s vital we’ll be dining al fresco (she said,
KNOW-HOW
OW WIN TICKE
Dishwasher-sa TS
KNOW-H
Dish
fe
glaze recipes fe
Dishwasher-safe
wash er-sa
glazeesrecipesSPOTLIGHT
glaze recip
WIN TICKETS
WIN TICKETS to engage with what could be the next Contemporary
DECOR
THROW
Craft Festival
ATION
ING
Contemporary
Contemporary Craft Festival
Craft Festival
PINCH, COIL,
SLAB AND THROW
hopefully), with a whole new range of
batch of potters to come up through the dishes that sit together with a theme.
THROWING DECORATION
SPOTLIGHT
SPOTLIGHT THROWING DECORATION PINCH, COIL, SLAB AND THROW PINCH, COIL,
SLAB AND THROW
ALSO INSI LARG PLANTER

DE:E Soci al enterpris
ranks, and exhibit at these events. If you
WEMYSS WARE
Events diary
SLIP & BALL Issue 14
CLAY
LARGE
Issue 14
SLIP & BALL CLAY
PLANT ER
Issue 14
£4.99
And it’s so easy I can make several
visit any shows this summer, don’t be different ranges. Now, where’s that
e:ery
£4.99
WEMYSS WARE
WEMYSS WARE e: Banw
LARGE ell Pott
PLANTER Banw
SLIPell Pottery
& BALL CLAY
£4.99
Social enterpris
001 Clay Craft
Events diary
Cover Issue 14.indd
14:50
INSIDE:
1 10/04/2018
ALSO
1 10/04/2018
14:50
Cover Issue 14.indd
001 Clay Craft
001 Clay Craft Cover Issue 14.indd 1 10/04/2018 14:50
This month’s cover image shy, talk to people! You’ll come away sunshine?
comes from our report on with some really useful golden nuggets
CAL (p62) and is the work of information that will help you with
of Anelise Bredow. (Photo
courtesy the artist and Ceramic your work.
Art London). We have a couple of ticket offers this Rachel Graham, Editor
ClayCraft Magazine MANAGEMENT UK subscription and back issue PRINTING Kelsey Publishing Ltd uses a
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Issue 14 ClayCraft 3
Contents Issue 14
20
10
33 Next month
What’s coming up in our next
issue?
35 Glazes
Are your glazes dishwasher-safe?
Linda Bloomfield explains how to
ensure that your glazes are
suitable for everyday life
38 PROJECT 4: bisque
template
6 News An incredibly useful tool for the
16
quick production of slabbed
10 PROJECT 1: thrown planter dishes. The potential to create
We continue the theme of garden unique and exciting shapes is
pots with this colourful planter. If endless, giving you an
you make it now, it will be just opportunity to develop your own
perfect for all those lovely annuals signature range of wares
that are springing up ready to be
planted out in May 42 Me and my Pot
Rachael Pederson of Bluebell
16 PROJECT 2: slip and ball Ceramics
clay surface decoration
This project expands on the dry 43 Social enterprise
texture technique demonstrated Banwell Pottery supports people
in the last issue, by incorporating with learning disabilities and
coloured slip. The pot itself has autism to design, create and sell
a wobbly character, which suits high-quality products
the surface decoration perfectly
47 Helen Evans is a pioneer in
20 Pottery spotlight glaze technology. Paul Bailey met
Gaby Bartai visits the Fife pottery her while she was in London
where the 135-year-old Wemyss

Ware tradition is back in
production
24 PROJECT 3: colouring clay

Last month, we covered the
basics of colouring clay – showing
how to mix colour into wet
clay. In this issue, you’ll learn how
24 to mix colour into dry clay and

then reconstitute it 35
4 ClayCraft Issue 14
CONTENTS
43
38
50 Blog
Despite fears that her mojo may
be gone forever, Tracey is
relieved to find it hiding in her
52
greenhouse
52 Earth and Fire READER

We preview this year’s
event, and have a
TICKET
reader offer too! OFFER
54 PROJECT 5: foam pressing
Using bisque templates to press-
form dishes into deep foam,
quickly creating a series of
identical pieces
62 Ceramic Art London

Paul Bailey visited CAL and
shares the work that caught his
eye
67 WIN 3-day tickets 70 Doug’s Diary ceramics events right

Long days and late nights, dog across the country
We take a look at this award- sculptures and glazing errors!
78 Paul Bailey talks to
winning festival and see what’s
in store for visitors this year. Plus 73 Missed an issue? two potters about undertaking
Fill that gap with a back issue, commissions
a chance to win five weekend
tickets and keep them all organised in
our handy binder 80 Courses listing
Fancy signing up for a class?
74 Events Find one near you in our useful
47 Your guide to pottery and free listing

28 PAGES OF STEP-BY-STEP PROJECTS
76 ClayCraft SPECIAL PINCH, COIL, SLAB
EARTH & FIRE

AND THROW
CAL
2018
subscriptions OFFER!
Preview & reader offer SHOW PICKS
Save money and have the GLAZING
magazine delivered to your door

KNOW-HOW
Dishwasher-safe
glaze recipes
WIN TICKETS
You know it makes sense!

SPOTLIGHT THROWING DECORATION PINCH, COIL, SLAB AND THROW
Issue 14
WEMYSS WARE LARGE PLANTER SLIP & BALL CLAY £4.99

001 Clay Craft Cover Issue 14.indd 1
10/04/2018 14:50
THE If you have a news story, product launch or details of some
IN
S
other topical item you’d like our readers to know about,
NEW email claycraft.ed@kelsey.co.uk
Clay sculpture
Science for Potters

courses with
SCIENCE FOR Luke Shepherd
POTTERS XXXXXXXhods is now primarily one of aesthetics, with soda’s potential extending
Science for Potters Portrait modelling
3 - 6 May, The Mansion,
Linda Bloomfield is very well-
far beyond that of imitation salt glaze. Vapor glazing with sodium carbonates
become a popular ceramic technique. A contemporary challenge is to explore
has
Totnes, Devon
what soda has to offer in its own right, and to set aesthetic directions for this
known not only as a potter
ceramic process.
Soda, Clay and Fire is by no means a comprehensive survey of contemporary
new
26 - 29 July, The Mansion, Totnes, Devon
but for her expertise when
soda glaze practice and practitioners. Nor is it a compendium of glaze and
body recipes. There are other publications that fill those roles. This book is
clay
largely Modelling from life. Each studio session is
a personal account of lessons learned from years of technical and aesthetic
it comes to glazes. With a
development. There is a focus on methodology of research, study of materials
process, and their contribution to the art of soda glazing. The aim is to challenge
and crafted to help you uncover an understanding
background as a scientist, it’s
potters to move beyond the current state of the art.
There is far more to soda than I dreamed possible in the beginning. Technical of the subtleties of the human form. This
little wonder that her latest carefully-structured four-day sculpture
and aesthetic discoveries have abounded like pretty stones on a beach, just
there
for the taking. No doubt there are more yet to be found. The thrill of participating
in this formative stage of ceramic history is one of the most exciting aspects
book Science for Potters is so class builds on your ability and offers you
of
working with soda glazing. This book shares some of the excitement of discovery,
and will spark new passion for working with soda, clay and fire. —XXX
well-written and informative. key techniques and protocols that will give
With clear explanations of you confidence. The class is limited to 12
participants and suitable for professional
Linda Bloomfield
the geology and composition

of the raw materials, and the
The American Ceramic Society
CeramicArtsDaily.org
as well as novice sculptors, as tuition will be
chemistry involved when they
Printed in China Linda Bloomfield individually tailored to suit your requirements.
are combined and fired, you’ll Cost £345 (four days)
expand your understanding of whizz at chemistry, and feel Silicon mould making,
what is actually happening, and intimidated by formulae and and resin bronze casting
why. In turn, this will help you maths, don’t worry: this book ■ Dates: Autumn dates to be announced
be creative when formulating has recipes that you can follow These two courses are designed to give all
your own glazes. without having to understand the technical info and experience needed to
This is probably not a book the ‘why’. Once you’ve started get you confident about making your own
for complete beginners, but if out with the basic recipes, the silicone rubber moulds.
you’ve started to experiment information in the book will A sculpture can look fantastic in resin-
with glazing, and want a deeper help you see how to tweak bronze, but it has to be done well, and there
understanding of the reactions them to get other effects, as are many aspects that can’t easily be learned
and interactions of the various you gain confidence and, of from books or video. Three days to mould, and
materials, and the effects that course, test, test, test! a further three days to cast and patinate your
heat has on them, then this is Science for Potters (£23) is own piece. Cost £365 (three days)
an invaluable reference source. available from Linda’s website ■ Contact: luke@abcbronze.co.uk
However, if you aren’t a at: lindabloomfield.co.uk luke-shepherd.com 01364 652012
A POTTERS’ GOURMET WORKSHOP
Aylesford Priory, near Maidstone There are two sessions: 29 to 31 throwing and hand-building, and on
in Kent, and Aylesford Pottery, May (Tuesday to Thursday) and 17 to the second day you will experience
which is situated in the grounds 19 July (again, Tuesday to Thursday). the ancient art of raku-firing. Added
of the Priory, have joined together Included in the price of £350 per to this, on the Wednesday evening
to offer a residential experience at person is accommodation at the there will be a talk on the rich
the Priory combined with a pottery Priory, with three-course dinner, history of pottery at the Priory. For
course led by one of the master breakfast and lunch. There will be further details telephone 01622 717
potters. one day in the pottery experiencing 272 between 9am and 4pm.
Artist fires up interest in ceramics
IN THE NEWS
A ceramics artist used facilities at

the University of Wolverhampton’s
School of Art to create a work of art
from clay, which is on display at a
major exhibition in Denmark.
Take Stock is made up of 4,000
extruded blocks and during the
course of the show visitors to the
Museum Jorn will be invited to
take a unit of the sculpture away
with them. These interactions with
the ever-decreasing sculpture will
be captured on camera. Once the
last block is gone, the sculpture
will be replaced by a projection of
the disappearing work, played in
reverse.
Lawrence Epps, an artist who has
been responsible for over 14,000
ceramic sculptures placed across
the cities of London, Manchester
and Stoke-on-Trent in large-scale “With Take Stock, visitors to Several students from Applied
art events, was approached by the the Museum Jorn are invited to Arts and Fine Art worked with
Museum Jorn in Silkeborg to take take one unit of the installation Lawrence to help create the work
part in the exhibition. away with them and unbuild the at Potclays’ Brownhills clay plant,
LER!/CLAY! is running until 10 sculpture. Over the course of the using the clay extrusion facilities
June, 2018, and presents eight show, the visitor’s interactions with they have there.
internationally acclaimed artists the ever-decreasing work will be The University of Wolverhampton
who all work experimentally and captured on camera. Once the has among the best ceramics
innovatively with clay as a material. last block is gone, the sculpture facilities in the UK.
Lawrence said: “I came up with will be replaced by a projection Lawrence Epps is an artist based
the idea for this installation when of these interactions played in at Wysing Arts Centre, working in
I was working in an office and I reverse: the public will be seen to a conceptual way with ceramics.
used to feel pretty zoned out as be building the work, constructing Recent solo presentations include:
I sat hunched over my computer the structure, the system, piece by AGAIN/the very last time, at
keyboard staring at the screen. piece and choice by choice. At the Firstsite, Colchester 2015; the
“I started to question the tedium same time, the original work will 2015 British Ceramic Biennial;
of what I was physically doing end up in the hands and homes of a solo exhibition at The Front
and noticed that a lot of careers visitors, while the museum will be Room, Cambridge, 2014. Group
involve pushing little buttons on a left only with images.” exhibitions include: States of Play
computer. Then, over time, I also Paul McAllister, course leader at Humber Street Gallery, Hull
began to notice the extraordinary in Glass and Ceramics in the UK City of Culture 2017; Human
number of unrecognised hours so Wolverhampton School of Art, said: Resources, installation in Body
many people spend in a similar “Lawrence made use of our large- Double at the Frederick Meijer
way – not only while doing paid scale trolley kiln to fire his work, Sculpture Park, Michigan, USA,
work but also during unpaid and also a diamond clipper saw 2012; installation at the Museum of
‘leisure’ time, where people give which allowed him to make 4,000 Science and Industry, Manchester,
over large chunks of their lives to extruded bricks that he used to and interventions of 14,000 little
the seductive power of technology create his sculpture. clay men across Manchester,
and willingly submit to domination “We have facilities on site in the London and Stoke-on-Trent for
by big data and its accompanying Wolverhampton School of Art that FutureEverything, 2012 and the
surveillance. In so many ways, aren’t readily available for artists, British Ceramics Biennial 2011.
it seems that we’re at a point and we were really pleased to Residencies include the European
where ideas and time have been make a connection with Lawrence Ceramics Work Centre, Ibstock
converted into pure commodity. through one of our sponsors, Bricks, Potclays and Wysing Arts
While it saddens me, I wanted to Potclays, and one of our Applied Centre. Awards include: The Fresh
acknowledge these parts of life Arts (Ceramics) graduates, Surjit Award and Bursary, 2011 British
and also create an artwork that Sanghera, who is working part-time Ceramics Biennial; Art in Clay
manifests time in some way. for him.” graduate award 2011.
E
IN TH
EWS The Contemporary Craft Festival celebrates 15 great
N years and cleans up at The South West Awards
Celebrated as one of the finest craft
Exhibition events in Europe, The Contemporary
by Maze Hill Craft Festival is now officially the Best
Event in the South West. The festival
Pottery and Clay scooped the overall Winner or Winners
College 12-13 at South West Excellence Tourism
May, from 11am Awards 2018 from a record 647 entries
from across Cornwall, the Isles of Scilly,
Leading studio potter Devon, Somerset, Dorset, Wiltshire, and
Lisa Hammond opens Gloucestershire.
her studio to host Clay The Contemporary Craft Festival team
College’s students in members, who are celebrating 15 years
London. The weekend this summer, were elated at winning
features demonstrations GOLD and overjoyed to also receive the
by Lisa, Darren Ellis, coveted, overall ‘Winner of Winners’.
apprentice Dom Upson Presented by the BBC’s Victoria Graham,
and Kevin Millward, with the judges commended The Festival
an exhibition by Maze for “their commitment to excellence,
Hill Pottery and Clay people, partnerships, local provenance,
College. Besides the education and to constant improvement And the celebrations continued:
demonstrations, there and development.” Behind every successful woman is
is a chance to explore Director Sarah James, who picked herself! Sarah James, director of The
Lisa’s studio, including her up the awards said: “It was completely Contemporary Craft Festival, has also
famous kiln yard. unexpected, but such an honour to been nominated as one of Exeter’s 100
Maze Hill Pottery receive our awards in such excellent most influential women in conjunction
The Old Ticket Office, company. To see craft celebrated with Grow Exeter.
Woodlands Park Rd, alongside big business is very exciting, Read more about the Contemporary
SE10 9XE London: and helps us realise our dream of Craft Festival on pages 52-53 and enter
mazehillpottery.co.uk bringing craft to more and more people.” our competition to win three-day tickets.
WHSmith backs ClayCraft

NOW IN
ClayCraft is on sale in more WHSmith
High Street stores. Not only is
ClayCraft sold in WHSmith* stores
MORE and local newsagents all over Britain,

it’s available in many Hobbycraft
WHSMITH
stores too.
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STORES!
saving on the shop price by taking
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See page 76-77 for details.
PINCH, COIL, SLAB AND THROW

*If your local WHSmith does not have ClayCraft available,
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ME AND MY POT
Clay: stoneware and porcelain

Firing temperature: 1250°C to 1260°C
Build technique: hand building as well as plaster moulding and the wheel
Decorating process: After rolling out my work I press textures into the surface. Then I use
slip and underglazes brushed onto the surface in a painterly way. I cut the clay and form
the vessels. Once bisque-fired, each vessel has an oxide wash and a dark glaze poured on
the inside. Then I work back into the surface with more underglazes before firing
Inspirations & influences: I live very close to the Sussex Downs and the beach; I use aerial
views of the Downs, landscapes, and sea views, looking for the ever-changing shapes,
forms, patterns and texture that are created by the seasons. I also love corroded surfaces,
the contrast of rough and smooth lines, patterns and textures that are found on stones,
wood, glass and metal that has been weathered and broken down by natural erosion
Buy my work at: I sell my work in galleries and trade shows as well as exhibitions. My next
show will be with the Sussex Guild and Art in Clay
pottyjess.co.uk
If you would like a piece of your work to be featured, email us at:

claycraft.ed@kelsey.co.uk Jessica Jordan
SKILL SCHOOL
PROJECT
LARGE THROWN PLANTER
Still living in the hope that spring has finally sprung, we continue the
ONE theme of garden pots with this colourful planter. If you make it now, it'll
be just perfect for all those lovely annuals that are springing up ready to
be planted out in May
SKILL SCHOOL
PROJECT
ONE
6
4
Form the base of the pot by opening out the clay from Pinch and lift the wall of the pot with the fingers and
the central drainage hole, as shown, pulling the clay gently thumb of the left hand – up and in – supporting the
towards your body with your left hand. Maintain the side shape with the right hand as you lift the wall to a cone
support with the right hand to prevent the shape from shape.
distorting. Leave a large amount of clay at the rim.
Place a finger in the drainage hole, as shown, then

open the base further with the side of the knuckle of
the other hand. Run the side of the knuckle over the
clay several times to flatten and compact it.
SKILL SCHOOL
PROJECT
ONE
12
10 Starting from just above the
established lip at the base, use
the rib to more sharply define the
Use a rib to trim away excess clay from around the feature by cutting into the clay just
base of the pot, and from the wheel-head. Then cut a
above it.
small bevel at the base with the tip of the rib.
Run your finger over the lip surface
to round and smooth it off neatly.
13
Lift the wall carefully one last
time, using the rib to smooth the
clay on the outer wall. Be careful to
maintain the shape as you work, by
supporting the interior with your
other hand. Smooth the clay up to
the underside of the rim.
Cut two shallow lines in the clay
just below the rim on the outer wall.
11
Supporting the wall on the inside
of the pot with the left hand, form a
shallow groove about 5mm up from
the bevelled base with the tip of your
finger, as shown. This will establish a
definite lip at the base of the pot to 14
smooth down to later.
Using a ribbed tool, score gullies into the rim of the pot,
14 ClayCraft Issue 14 as shown.
DIFFICULTY RATING ★★★★★
15
16
Refine the outer surface of the
planter one last time using the rib,
until you’re sure the shape is to your
satisfaction.
Score a series of lines at the half-
way point on the outer wall with the
tip of your rib then score two more
Using your thumb, with fingers supporting the lines on the inside, just below the
underside, crimp the rim by squeezing sideways and rim, to complete the project.
pulling down and out slightly. Space the marks as Wire the underside of the planter and lift it off the wheel-
evenly as possible around the rim. head onto a batt.
17
The finished planter. Allow to dry thoroughly before
bisque-firing and decorating in your chosen style.
18
This planter was decorated with a Mayco brush-on cone
6 glaze, and fired to 1200°C in an electric kiln.
SKILL SCHOOL
PROJECT
THROWN VESSEL
TWO
FIVE WITH SLIP AND DRY
TEXTURE SURFACE
This project expands on the dry texture technique demonstrated in the last issue,
by incorporating coloured slip. The pot itself has a wobbly character, which suits the
surface decoration perfectly but it’s slightly more difficult to accomplish because
there is a definite line beyond which the shape can’t hold, and judging this is key
TIP:
u apply
Before yo ace
the surf
n to
decoratio tice
t, p ra c
this po the
th row ing
til you
shape un ht
get it rig
PROJECT
SKILL SCHOOL
TWO
8
Working quickly while the slip on the surface is still wet,
decant a handful of ball clay into your cupped right hand.
6
Wipe away excess slurry from the batt, then smooth
the wall of the vessel with a rib to ensure the side is
straight. Support the inside of the form with your left
hand as you work on the outside.
9
With the wheel turning slowly, and beginning at the
base of the cylinder, pat the ball clay onto the surface
slip, gently working your way up the side.
Repeat as many times as you need to create a good
texture on the form.
7
Using a very soft, hake-type brush, apply a very thick
layer of coloured slip to the outside of the cylinder. It
doesn’t matter if it dribbles and runs a little, this will
add character to the surface.
10
Using a rib, clean away the excess ball clay from the
batt surface, taking care not to come into contact with
the wall of the cylinder as you tidy up.
BRIGHT AND BEAUTIFUL
Gaby Bartai visits the Fife pottery where the 135-year-old
Wemyss Ware tradition is back in production
I t is among the most sought-

after Scottish pottery, and
as soon as you walk into the
studio you know why. Colourful and
characterful, and entirely beguiling,
Wemyss Ware includes animal
figures – most famously, cats and
pigs – decorative tableware, and tiles.
This is a living tradition; antique
pieces command huge prices, but
since 1985 the ware has been made
again by the Griselda Hill Pottery in
Fife.
The outstanding feature of Wemyss
Ware is its naturalistic hand-painting,
in which a high degree of skill is made
to appear effortless. The animal pieces
have a whimsical charm. Bright yellow
cats are decorated with spots and
hearts; other cats wear tartan, or
kimonos, or garlands of flowers; pigs
are spotted with clover or wreathed
with cherries; a bulldog wears a
longsuffering expression and a coat of
roses. Everything is guilelessly bright The famous Wemyss Ware Gallé Cat, which was inspired by a range
and cheerful; this is pottery to make produced by Emile Gallé in his French studio around 1870.
you smile. (Photo: Griselda Hill Pottery)
A potted history
Wemyss (pronounced ‘weems’) Ware
was first produced in Fife in 1882. It
was conceived by Fife Pottery owner
Robert Heron, though his precise
inspiration is a mystery. Wemyss Ware
is unique among late Victorian pottery,
though it borrows ideas from
continental pottery of the time.
A cultured and well-travelled man,
Heron attended many of the late
19th-century ‘great exhibitions’ which
showcased industrial design, and
visited some of the many continental
potteries specialising in hand-painting.
He headhunted designers and
decorators from the continent,
including several from Bohemia. Most
of them soon returned home, but one,
Karel Nekola, fell in love with Heron’s
Griselda Hill at work in the painting room. (Photo: Griselda Hill Pottery) cook, and stayed. It was Nekola who
POTTERY SPOTLIGHT
The new style of pottery was named A new tradition

in honour of the titled family from Griselda Hill’s association with the
nearby Wemyss Castle, who were ware began with a treasured childhood
enthusiastic early patrons. It became memory; her grandmother had a
hugely popular, and remained so for magnificent, massive Wemyss Ware
four decades. Antique pieces nearly pig. “It sat with a patient, slightly
always bear the Wemyss mark, which worried expression on the hearth,” she
helped to establish its distinctive remembers. After obtaining a degree
brand and cachet. in English and Fine Art and teaching
When the Fife Pottery closed in art in London schools, she moved to
1932, the rights to Wemyss Ware were Fife in 1984 – whereupon she
bought by the Bovey Pottery in Devon. discovered that Wemyss Ware had
Nekola’s son Joseph moved south, been made locally.
taking with him the Wemyss moulds “What I always liked about Wemyss
and his father’s painting techniques. Ware… well, I liked the pig, but I also
After his death, his apprentice Esther liked the naturalistic decoration,” she
Weeks carried on the tradition until says. “It’s very colourful, very bright,
the Bovey Pottery closed in 1957. but it’s inspired by nature. It’s cheerful
The resurgence of interest in all and it doesn’t look too laboured – it
things antique in the latter half of the looks as if somebody’s enjoying the
20th century fuelled a revival of painting. There’s a sense of fun.”
interest in the ware, and by the time Griselda wanted her own large
Griselda Hill started her pottery, it Wemyss Ware pig – without the
Potter Rena Simpson fills the was resoundingly back in fashion, £2,000 price tag. “So I thought
plaster moulds with slip. with the best pieces fetching I’d try and make one for
(Photo: Griselda Hill Pottery) remarkable prices at myself. And then I
auction. The record thought that if I
was largely responsible for developing stands at £34,800 wanted one,
the distinctive Wemyss decorating apiece for a matched perhaps other
style, including its famous ‘cabbage pair of sleeping people might
rose’ design. piglets. want one. So I
approached the
curator of
Kirkcaldy
Museum, which
had a big collection
of the original pieces.
And she said that if I
could make it, she would
put it in the shop.”
So she had a product, and a market;
the skills, she learnt on the job. “I
hadn’t done an enormous amount of
pottery, but luckily at that stage there
was a fantastic organisation called
Highland Craftpoint, up in Inverness-
shire. It was like a resource centre for
any craftspeople in Scotland, and they
set me on the right track.”
She started out in 1985, working
from her kitchen table. She wasn’t
expecting to make a career out of it,
but her hunch was right: lots of people
wanted their own piece of affordable
The moulded pieces are fettled and then allowed to dry. (Photo: Griselda Wemyss Ware. Word spread, and the
Hill Pottery) Inset: Moulded pieces drying ahead of their first firing. business grew, moving into the former .
Decorated pieces waiting to be
glazed.
made to order in any

tartan.
Painters Roseanne Hoy and Elaine Syme at work. Making the

(Photo: Griselda Hill Pottery) Circled image: Pig painting ware
in progress. Today, all of the
pottery is slipcast
outbuildings of the manse in the Fife Doulton, but earthenware.
village of Ceres, 10 miles west of St because they never Original Wemyss
Andrews. actually made any tableware was
“When I started, I had no clue about Wemyss Ware, their thrown, and press
copyright or trademarks or anything, I rights to the name had moulds were used for
just barged in. And the lucky thing lapsed. “So I could just the animal shapes, because
was that the trademark had lapsed.” make it. I then managed to get the technique of slipcasting was
When the Bovey Pottery closed, the the trademark myself, which again was not developed until the 1920s. “The
trademark was bought by Royal a piece of luck.” Other people had tried early cats and pigs were made in press
to reregister the name, but were moulds, so they were pressing clay
turned down on the basis that you into the actual mould and then putting
can’t trademark a place name. Griselda two halves together – very
realised that, in fact, it is only half a complicated, and it must have taken
place name – nowhere is called just them ages.”
‘Wemyss’. She made her case to the Slipcasting has greatly simplified
patent office, was granted the the process. “You pour the liquid clay
trademark in 1994, and Wemyss Ware into the plaster mould, and where it’s
was officially reborn. touching the mould it goes solid,
Her pottery has now developed a because the plaster sucks the liquid out
huge range of pieces: about 50 of the clay, so it forms a skin on the
different shapes, some of which have inside of the mould, and then after a
50 designs that can be painted on while you tip out the remaining liquid
them. On top of that are limited clay so you get a hollow shape. The
editions and one-off pieces; a feature of larger things need a thicker skin, so
Wemyss Ware since its early days is you leave it in for longer.”
that experienced decorators have been The following day, appendages like
encouraged to produce individual ears and tails are added. More
pieces, which often reflect their own complicated shapes require two or
interests and personality. Because more moulds; surfaces to be joined are
everything is hand-decorated, each scored and then stuck together using
The Cambo Cat, with its tartan piece is already unique, and can readily more slip. The pieces are fettled to
trousers. (Photo: Griselda Hill be customised. A popular line is the remove the seam left by the mould,
Pottery) Cambo Cat, whose trousers can be sponged to smooth the surface, and
POTTERY SPOTLIGHT
Bulldog.
(Photo: Griselda Hill Pottery)
The Queen recently

commissioned two large cabbage
rose vases for Balmoral Castle, to
match an existing antique vase.
(Photo: Griselda Hill Pottery)
allowed to dry before being fired for

the first time.
The decorating is done at this stage,
direct on to the biscuit ware; Wemyss directly onto a nice rough surface Griselda Hill Pottery for over 15 years,
Ware is always underglazed. “This is rather than something that’s shiny.” visiting each year to train the new
different from a lot of potteries. The pieces are then refired to harden generation of artists.
Mass-produced potteries tend to glaze the paint onto the clay, before being The decorating techniques are a
the piece and then put the decoration dipped in a transparent glaze and fired closely guarded secret. “It’s mainly the
over the top of the glaze, because if a for a third time. cabbage rose that Esther specialised
piece is going to go wrong it will Decorating Wemyss Ware has again in, and there is a definite skill to that,
probably be in the glaze firing, so they become a life’s work; the current team but,” – Griselda’s voice drops to a
don’t want to waste time on decorating of artists have all worked at the whisper – “I can’t tell you. Even if I
a piece that could not work.” The pottery for over 20 years. While the could, you can’t actually tell somebody,
amount of time invested in Wemyss pottery process has evolved to utilise you’ve got to see it. It’s in the
Ware painting – the biggest and most improved techniques, the decorators construction of the rose, really, you
complicated pieces can take a whole use the original techniques that have build it up in layers; you have to know
day – makes the stakes even higher, been passed down, hand to hand, from which bit to do first, and where to get
but the payoff is the detail that can be the 1880s. Esther Weeks from the the shading.”
achieved. “It’s much easier to paint Bovey Pottery worked with the Griselda is now thinking about the
future; a young apprentice will need to
be trained up to carry the tradition on
The antique pig that belonged
when she retires. Next to her shop
to Griselda’s grandmother.
(Photo: Griselda Hill Pottery) there’s a visitor centre where you can
watch the potters and decorators at
work and learn more about the ware’s
history. Her grandmother’s pig, which
started it all, sits there in pride of
place. 
Visit the pottery:

Griselda Hill Pottery, Kirkbrae,
Ceres, Cupar, Fife KY15 5ND
The shop and visitor centre
are open Monday to Saturday
2–4.30pm
Tel: 01334 828273
Browse and buy online:
wemyssware.co.uk
COLOURING
SKILL SCHOOL
PROJECT
THREE
Last month, we covered

CLAY
the basics of colouring
clay – showing how to
mix colour into wet clay.
In this issue, you’ll learn
how to mix colour into dry
clay and then reconstitute
it. This is the preferred
method of many makers
working with coloured
clays, but it is more time
consuming than the
previous method, so be
prepared for this and
plan to make several
batches of colour
in one go.
USING METAL OXIDES

You may think that interesting and vibrant
colours can only be achieved using stains but, if
used imaginatively, oxides can create a wonderful
range of colours with fabulous tonal variations,
either on their own or mixed with stains for even
greater variety.
It can’t be stressed enough that testing is
important, but the number of tests you do is
entirely up to you.
SKILL SCHOOL
PROJECT
THREE
MAKING COLOURED CLAY – DRY METHOD
The weights suggested below should be mixed
into 1kg of clay. Halve all weights if you want to
make smaller amounts.
You will need:
COLOUR STAIN / OXIDE PERCENTAGE
Blues Cobalt oxide 1g to 10g max
(very strong)
Try adding a
little copper to
give a green
tinge – or a
little red iron to
dull down the
vibrancy of the
blue
Blue stain 10g to 20g

(bright depending on
variety) shade required
■ Scales (for clay, plus gram scales for oxides and stains)
Greens
■ Bowl for mixing
■ Mortar (or rolling pin)
Bright green Sky blue 20g
■ Dry white clay
Canary yellow 30g
■ 80 – 100 mesh sieve
■ Body stains/oxides
Olive green Egg yellow
■ Hot water
stain 10g
■ To make 1kg of coloured clay, begin by weighing
Cobalt oxide 2g
800g of completely dry clay. Use scraps left over from
For a darker
other projects or if you don’t have any, cut wet clay into
colour increase
very thin slabs and place somewhere warm to dry out.
cobalt to 4g
Khaki or green Copper oxide
10g to 25g
Khaki without
glaze – green
with glaze 1
Turquoise Sky blue 10g
Canary yellow 20g
Purple Pink stain 25g

Cobalt oxide 2g
For a darker
purple increase
cobalt to 4g
Mustard Orange stain 20g
HEALTH
Y:
Red iron oxide 8g
Grind the clay into small crumbs
AND SAFEinTthis
Grinding clay dust.
e
Black – Type 1 Black body 45g with a mortar or place the clay in a way can caus and
stain plastic bag or between two sheets Be sensible
of plastic then bash and roll it with minimise risk
Black – Type 2 Cobalt oxide 15g a
your rolling pin to reduce it to by wearing
Copper du st m as k
carbonate 15g smaller pieces.
Manganese
dioxide 15g
You can, of course, create other colours using these

few stains and oxides in different combinations –
therein lies the hard work of creating your own palette
through testing.
SKILL SCHOOL
PROJECT
THREE
6
Pour the clay mixture onto a plaster batt, or other absorbent surface, and leave it to dry until it will peel off the
surface easily. You can use a soft scraper to lift the clay off the batt if it helps, but be careful not to scrape too hard
to avoid contaminating the clay with plaster.
Knead the clay until it’s completely smooth with no air Repeat the process to make as many colours as you
bubbles, then store it in a tightly sealed plastic bag until want.
you need it.
SKILL SCHOOL
PROJECT
THREE
8
5
Carefully lift the slab and
Form the clay into a very thick coil or reshape into a position it in a shallow
block if preferred. plaster bowl mould – it will
be too big to fit the mould
exactly, but you can make
use of this to form a rippling
rim. Use two fingers to mould
the clay around, as shown.
Leave the bowl

9 in the mould to firm
up to leather hard
before handling, then
it can be removed to
a place where it can
dry out completely.
6
Cut through the coil to see what the spiralling is like

inside – if you think it could be more exaggerated, repeat
step 4 then test again until you’re happy with the result.
Cut another section off the thick clay and roll it on a
sheet of cotton to the minimum thickness you think you 10
can manage to handle. 2-3mm is just about manageable
for most people – thinner than this requires experience and
practice to handle confidently.
When completely dry, sand

the surface of the bowl with
fine sandpaper or wire wool
to sharpen the detail of the
agate lines, which may have
smudged in cutting or rolling.
7 THIS IS A VERY DELICATE
JOB – and requires a gentle touch.
If you prefer, you can fire the bowl to a low bisque
Cut a circle from the clay using a template of your before sanding. This makes it easier to handle, but it
choice – the trusty lid is used here because it’s just the
does mean an extra firing.
right size.
SKILL SCHOOL
PROJECT
THREE
10
HEALTH
7 Y
AND SAFET a r
Use a surform to neaten and thin – always wea
t m as k w hen
Level the top of the pot using a piece of wooden batten the rim of the pot. Make sure you d us
clay
– sit the wood flat on the plaster rim and draw it towards support the wall as you work, to sanding any
your body in small sections, working around the edge prevent cracks. su rfac e
carefully. Finally, neaten up the rim with a
metal kidney.
Allow the bowl to dry completely, then
carefully sand the surface with fine sandpaper or wire
wool to reveal the patterning more clearly. As with
the earlier bowl, you could low bisque fire the piece
before sanding, if this gives more confidence.
8
Allow the slip inside the pot to dry to the touch, then
carefully scrape it back with a metal kidney to reveal the
pattern surface underneath.
11
9 If using porcelain, you will find

it useful to fire your pieces in a
purpose-made clay container,
Turn the pot out onto a wooden batt, then scrape the large enough to hold several small
bottom with a straight-sided scraper to reveal the agate pieces at once. Fill the container with
pattern more sharply, but also to keep the level correct so alumina to support the pieces as they
that the pot sits straight. fire – this will go a long way to preventing
If the clay looks very gappy, you can repeat the exercise the shapes from sagging or distorting.
of covering the outside with white slip as you did on the Be aware that this firing method only works for bisque
interior. Be careful when you scrape it back because it firing or firing up to temperature without glaze. Glazed
won’t have the support of the mould. pieces will need to be fired separately.
NEXT
MONTH
PINCH, COIL, SLAB AND THROW
Don’t
miss it!
ISSUE 15
ON SALE
MAY 18TH
NCECA Diane Nicholson reports from The National Council on Education for the Ceramic
Arts (NCECA) event in America. This huge annual conference is a potter’s heaven with talks, a
resource hall, an expo area, exhibitions and the very popular cup sale. Running over four days,
the event is also a huge social occasion with potters from the USA, and across the world,
all coming together to talk clay. Its friendliness and positivity is well reported, and it really is
one event to try to get to. Seeing everything on offer is impossible, as some events are held
in different locations, outside the main conference venue, so careful planning is required to
maximise your experience. The venue changes each year and for 2019, NCECA will be held in
Minneapolis from 27-30 March. Save the date!
PROJECTS: Next month we’ll be bringing you more hands-on

inspiration, whatever your preferred build technique
● Slab-built lamp base ● Colouring clay part 3
The first of a two-part project to More ways to incorporate
make a large lamp base colour into your clay body
● Coiled mug ● Herb/strawberry pot
Using a mould to build a round- Throw this attractive pot
coiled mug and enjoy fresh herbs or
● Money box strawberries easily to hand.
Joined pinch pots make this Why stop there? Plant
delightful money box. Feed the some up with winter-
whale! flowering pansies in the
● Salt pig top, and ivy in the side
Using slabs inside a mould to pockets, for winter colour
make a handy kitchen pot and interest
Plus: choosing glaze colour combinations • Doug’s Diary • Events • Courses

* These are just some of the features planned for the next issue but circumstances outside our control may force last-minute changes. If this happens, we will substitute items of equal or greater interest.
NORTHERN KILNS
Kilns, wheels, clay, glaze and equipment
Service and delivery nationwide
SALES OF KILNS, WHEELS,
EQUIPMENT, TOOLS
All ceramic making equipment
serviced and maintained
01253 790307 Clays and glazes

info@northernkilns.com in stock
Lessons in throwing, handbuilding and

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01253 799928
shop@pillingpottery.com
56 High Street Burton Latimer Kettering Northants NN15 5LB
Modern,
dern well-equipped d ceramics
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studio in an idyllic rural location near
Groombridge
CLASSES: Daytime and evening classes
suitable for all abilities
COURSES: Weekend workshops for
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EVENTS: Raku Days, Special Occasions and
Group Experiences
claystudio@eunicelocher.com
01892 862 540
www.eunicelocher.com
The Clay Studio, Hendal Farm, Cherry Gardens Hill,
Groombridge, TN3 9NU
How to make sure your
glazes are dishwasher safe
Linda Bloomfield is a scientist

turned potter. More glaze recipes
can be found in her books, Colour
in Glazes (A&C Black 2012) and
The Handbook of Glaze Recipes
(Bloomsbury 2014). Her latest
book, Science for Potters (The
American Ceramic Society 2017)
is now available from her website:
lindabloomfield.co.uk
G
lazes are made from three
components: silica, the
glass-former; fluxes to melt
the silica, and clay to stiffen
the glaze when melted. These
components need to be combined in the
right proportions to achieve the best
melting at the chosen kiln temperature. Linda’s range of porcelain plates are all dishwasher-safe.
The choice of fluxes used is also
important and affects the glaze (Ba) and strontium (Sr) are less powerful and alkali in dishwasher soap. If there is
durability. It is better to use a fluxes than the alkali metals, but help to excess alkali metal oxide in the glaze, it
combination of several fluxes to achieve stabilise the glaze, making it more will not be tied up in the glaze structure
melting. The most powerful fluxes are resistant to attack by water, acid or and it will be likely to leach in acids and
the alkali metal oxides of potassium (K), alkali. Their oxides have the chemical corrode in the dishwasher. The excess
sodium (Na) and lithium (Li). Their formula RO where R is the alkaline alkali metal atoms can exchange with
oxides have the chemical formula R2O, earth Ca, Mg, Ba or Sr and O is oxygen. the hydrogen ions (H+) released by acids.
where R is the alkali metal K, Na or Li, Low temperature fluxes lead (Pb) and Hydrogen ions are much smaller than
and O is oxygen. They help the silica to zinc (Zn) also have the formula RO. alkali metal ions, so will leave holes in
melt at a lower temperature than its the glaze structure that greatly weaken
natural melting point of 1710ºC. Stable glazes the glaze and cause it to break down (see
However, sodium silicate is soluble in The proportion of alkali metal to diagrams). The same process causes
water so would not make a good glaze alkaline earth is very important when fluorine in some clays to etch the
on its own. To make the glaze insoluble, considering the chemical stability of the windows of the pottery studio when it
an alkaline earth such as calcium must glaze. The ratio of 0.3:0.7 R2O:RO has becomes volatile during firing and forms
be added. The alkaline earth oxides of been found to make the most stable hydrofluoric acid in contact with water.
calcium (Ca), magnesium (Mg), barium glaze; resistant to attack by acid in food Acids found in foods such as vinegar and .
GLAZE CHEMISTRY
lemon juice can cause toxic metals in an Al2O3 0.38, SiO2 3.1)
unbalanced glaze to leach into the food. ● Soda feldspar 47
The alkali in dishwasher soap supplies ● Calcium borate frit 16
hydroxyl ions (OH-), which attack the ● Whiting 14
silica in the glaze and cause the glaze ● China clay 5
surface to dissolve if it is not chemically ● Quartz 18
stable. The same process causes + Copper oxide 1
glassware to etch in the dishwasher.
High-alkaline turquoise crackle
Glaze calculation glaze cone 6 1240°C Earthenware glazes fired to cone
To determine how much alkali metal This glaze has very high sodium and is 04-02 (1060-1100°C) with colouring
oxide is present in your glaze, you can unlikely to be very durable (Na2O 0.7, oxide additions from left, 0.2%
chromium oxide; 1% copper oxide
input your glaze recipe into a glaze CaO 0.3, Al2O3 0.23, SiO2 2.5).
and 5% titanium dioxide; 1% copper
calculation program, such as the one ● Soda feldspar 15 oxide. From The Handbook of Glaze
on glazy.org, where the molecular ● High alkaline frit 47 Recipes by Linda Bloomfield.
formula of your glaze can be calculated ● Lithium carbonate 2
(see explanation on p37). This will tell ● Whiting 6 better to use a frit containing boron if
you the molecular ratio of alkali metal ● Quartz 18 you want to lower the melting
oxide to alkaline earth oxide R2O:RO. ● China clay 10 temperature of your glaze.
A ratio of 0.3:0.7 is ideal, but your + Copper oxide 2
glaze will also be chemically stable Earthenware glaze recipe,
and durable at 0.2:0.8 or 0.4:0.6 Glaze materials turquoise glossy cone 04 (1060-
R2O:RO. Glazes become unbalanced Alkali metal oxides are supplied in 1100°C)
and much less durable if the alkali glazes mainly by soda and potash This glaze has very high boron to
metal is increased to 0.5:0.5 or even feldspars, or nepheline syenite, a more enable it melt at a low temperature
0.7:0.3 (see the high-alkaline turquoise concentrated source of sodium than (Na2O 0.2, CaO 0.8, B2O3 1.0, Al2O3
crackle glaze recipe below, from my feldspar. You could also use lithium 0.32, SiO2 3.0).
article on crazing in issue 12 of carbonate, soda ash (sodium carbonate) ● Calcium borate frit 39
ClayCraft). This glaze will eventually or pearl ash (potassium carbonate). ● Soda feldspar 27
take on a sandblasted, matt appearance However, soda ash and pearl ash are ● Whiting 5
if washed in the dishwasher over a soluble in water, so are not often used ● China clay 6
large number of cycles (for example, in glazes as they dissolve in water in ● Flint 23
every day for two months). the glaze bucket and can cause + Copper oxide 1
problems. These materials can also be Low temperature earthenware
Runny turquoise glaze cone 6-8 supplied by alkaline or borax frits glazes rely on frits to enable them to
(1240-1260°C) which are insoluble in water. Beware of melt at around 1100°C. Frits
This glaze has a low ratio of sodium to any glaze recipes with more than 10% containing boron will make a more
calcium and will be relatively durable lithium carbonate, as these may not durable glaze than high alkaline frits
(Na2O 0.25, CaO 0.75, B2O3 0.38, form chemically stable glazes. It is or lithium carbonate.
+ These diagrams show what happens to an unbalanced glaze in contact with an acid. Acids release hydrogen
H ions which can exchange with excess sodium or potassium ions in the glaze. As the hydrogen ions are
smaller than the sodium ions, this ion exchange process leaves holes in the glaze surface. The opposite process,
using larger potassium ions, is used to compress and toughen the surface of glass in mobile phone screens.
(Diagrams: Henry Bloomfield)
GLAZE CHEMISTRY
Firing glazes
Another factor that weakens glaze is
underfiring. If a glaze is not melted
enough to form a glass, it will
eventually crumble and break down
when washed in the dishwasher, and
during daily wear when stacking or
scraping with metal cutlery. You can
tell if your glaze is underfired as it will
be a dry, unpleasant matt, not the
shiny gloss or stony matt of a properly
fired glaze. True matt glazes are those
in which the glass has melted and then
recrystallised on cooling and can be
stony or silky matt. In general, a
durable glaze will have the maximum
silica and alumina appropriate to a
particular firing temperature (see An old way to test glazes is to leave a lemon slice on them overnight and
glaze limits below right), but it is also inspect for any changes. A better way is to fill with vinegar and leave for 24
important that the glaze has hours to see if there is any colour change. (Photo & styling: Georgie Scully)
completely melted. Borax frit and
calcium borate frit can help to melt depending on their relative
References:
glazes fired to temperatures from cone proportions in the glaze recipe. To do glazy.org, online glaze calculation;
8 (1260°C) down to cone 04 (1060°C). this, divide the weight of each material Cooper E and Royle D, Glazes for
The lower the firing temperature, the by its molecular weight. Dividing by the Studio Potter, Batsford 1984;
more frit is added, with up to 90% frit the total number of molecules of Matt Katz, Glossed over: Durable
for some earthenware and raku glazes. alkaline fluxes (sodium, potassium, Glazes, NCECA vol. 37, 2016;
Some frits are almost a glaze on their calcium) gives the unity molecular Matt Katz, Understanding
Glazes lectures,
own but there is always some china formula, where the sum of the alkaline
CeramicMaterialsWorkshop.com
clay, ball clay or bentonite in the glaze fluxes is arbitrarily set to 1. This will
recipe to help suspend the frit in water. give you the ratio of alkali metal to
alkaline earth oxides and determine
Calculating the unity molecular whether you glaze is likely to be
Next month:
glaze and colour combinations,
formula. Glaze recipes can be written durable. You can use glazy.org to and which glazes are compatible
either as a recipe by weight percent, or calculate the molecular formula for or reactive with other glazes
as a formula. To calculate the formula, your glaze recipe. 
you need to convert each material in
the glaze into a number of molecules, Limits for stable glazes: Alumina and silica (Cooper and Royle, 1984)
Cone number and temperature. Number of molecules in unity formula.
Cone 04 1060°C Al2O3 0.1-0.45 SiO2 1.375-3.15

Cone 5 1200°C Al2O3 0.275-0.65 SiO2 2.4-4.7
Cone 6 1225°C Al2O3 0.325-0.7520 SiO2 2.6-5.15
Cone 8 1250°C Al2O3 0.375-0.75 SiO2 3.0-5.75
Cone 9 1275°C Al2O3 0.45-0.825 SiO2 3.5-6.4
Cone 10 1300 °C Al2O3 0.50-0.90 SiO2 4.0-7.2
Recommended maximum flux in glaze unity formula (Cooper and Royle, 1984).
Cone Temp °C MgO BaO ZnO CaO B2O3 K+Na
5 1200 0.325 0.40 0.30 0.55 0.35 0.375
Porcelain bowls fired to cone 6 1225 0.330 0.425 0.32 0.60 0.30 0.35
8 (1250°C) with runny copper 8 1250 0.335 0.45 0.34 0.65 0.25 0.325
turquoise, chrome green and cobalt-
9 1275 0.340 0.475 0.36 0.70 0.225 0.30
nickel-manganese grey glazes.
(Photo: Henry Bloomfield)
10 1300 0.345 0.50 0.38 0.75 0.21 0.275
SKILL SCHOOL
PROJECT
FOUR
BISQUE TEMPLATES
FOR DISHES
This is an incredibly useful tool for the quick production of slabbed dishes. The
potential to create unique and exciting shapes is endless, giving you an opportunity
to develop your own signature range of wares
Cut out the outline shape of your

1 dish from a sheet of foam.
You will need: Try drawing some rough outlines
■ Clay – any type will work on paper first, to create a shape you
as it will only be fired to a like, then draw half the outline on a
low bisque folded sheet of paper. Cut around
■ Foam sheets the drawn outline then open out the
■ Cutting tools – knife/ paper to reveal a mirror image of
scissors the shape. You can do this freehand
or in a more measured and planned
■ Rolling pin
way – these details will make the
■ 10mm-thick roller shape unique to you.
guides Transfer the outline to the foam
■ Plastic sheet sheet and cut it out. Foam is
■ Absorbent board harder-wearing than paper, so you’ll
be able to use this outline template
for years.
SKILL SCHOOL
PROJECT
FOUR
PROJECT
SIX
6
Place the coil on the foam template so that it runs along
9
the length at the centre, then cut it to size, 10mm short of
each end. Place the coil on the clay slab along the length and
mark the position with a pin.
10
7
Lift the coil off the foam then drop it onto the work
surface so that it flattens along one side, as shown. You
need to be careful to keep the coil straight as you do this.
Score the marked position on the template and the

flat underside of the coil handle.
Apply slip to the scored surfaces then fix the handle
in place.
8
The coil will form a handle
for the template, but to
make it easy to grip, make a
long groove along the length of
both sides. Wet your finger and
thumb, then starting at one end, pinch the clay and
hold the position as you draw along the length of the
coil. You will need to repeat this several times, but
you’ll know when it’s right because your fingers and
thumbs will fit the grooves easily, for good purchase.
ME AND MY POT
Clay: terracotta
Build: coil
Firing temp: 1000°C
Decorating process: I used crystal glaze on the inside and a clear glaze on
the outside to show the coiled detail. My cousin had been begging me for
ages to make her a large bowl, so I’ve gifted it to her and it looks beautiful
in her lovely little flat.
Inspiration and influences: travel, Bluebell – my dog and studio
companion – Brick House, and Anglian Potters
See more of my work on: Instagram @bluebellceramics
Etsy shop coming soon
If you would like a piece of your work to be featured, email us at:

claycraft.ed@kelsey.co.uk
Rachael Pedersen, Bluebell Ceramics
COMMUNITY
Wednesday
group session.
BANWELL POTTERY
A THRIVING SOCIAL ENTERPRISE
A thriving social enterprise that supports people with learning disabilities and
autism to design, create and sell high-quality products
B
ased just outside the popular The social enterprise has grown from
seaside holiday town of strength to strength, successfully
Weston-super-Mare, within producing high-quality handmade items
the community leisure that are sold on-site, at selected events,
centre ‘@Worle’, there is a hidden and through local stockists.
ceramics studio with a difference. The primary ethos of the pottery is to
Banwell Pottery is part of Brandon provide an excellent and enjoyable
Trust, a UK charity which helps people service for users, but also to ensure that
with learning disabilities and autism to every item created, is designed and made
live the lives they choose. by people they support, and can compete
Brandon Trust provides individualised with quality market stock regardless of
support and services to approximately the fact it’s been made within a charity
1,600 adults, young people, and children setting.
across southern England, from Cornwall The service users also gain valuable Chris Schumacher, glazing
to London. skills and often embark on new projects, ceramic tiles.
The pottery is a social enterprise that learning entirely new skills. For many of
supports people to design, make, and sell the potters, it’s also an important They now create the main bulk of stock
ceramic items, with all profit going back opportunity to meet friends and to sell, complete orders for customers,
into the charity. It provides supported socialise. and attend sales events. The pottery
employment, work experience, training, In 2017, the pottery started to offer staff support the new employees to learn
and leisure opportunities for up to 30 supported employment opportunities, a broad range of work skills.
people. Attendance ranges from half a and in April 2017, three people with The small, dedicated team of four staff
day to three days a week, and some of learning disabilities or autism, who had all hold degrees in ceramic and art
the potters have been coming for 15 been regularly attending the pottery, subjects. They work part-time, often so
years or more! started paid work as pottery assistants. they can produce their own work too. .
COMMUNITY
Emily Jones, painting heart

decorations.
Project coordinator, Dianne Slingsby,

set up the original project and has
worked in the field for over 20 years.
Martin Webb, the project leader, joined
the team more than 10 years ago, to help
develop the project. In the past few
years, new staff have been
employed, bringing in a
range of different skills
and projects, to
increase the range of
stock and keep up Group collaboration of Bristol suspension bridge.
to date with
trends. Round tile design of Steep Holm island.
tile presses, supported employees who produce stock
The studio woodwork area, for external orders, and to restock the
Banwell Pottery is screen-printing on-site shop. The other days are either
located at the back facilities, and sink work experience sessions or leisure
of the @Worle area, with plenty of groups, or sometimes a mix of both.
Leisure Centre, which shelving and drying Taking a person-centred approach is
also houses a café, gym, racks for all the items vital to the social enterprise. Individuals
and other Brandon Trust being produced. There is also are encouraged to choose what they
services, such as gardening, crafts, a small shop area displaying a good
and independent living skills sessions. range of stock for sale. The pottery is
It’s a friendly, social, community open to the public, and they love having
environment. A lot of the people who visitors pop in to see them and buy their
come to the pottery also attend other unique products.
sessions at the centre throughout the The pottery used to be based in
week. Banwell, a village five miles from
It’s a large room with lovely, big Weston-super-Mare – hence the name
windows looking out onto the garden – however, five years ago it moved to a
and tennis courts. There’s a small office purpose-built studio, which is better
which helps keep the clay off the located and more accessible to the
computer and paperwork! In the far service users.
corner is a large electric kiln. There’s a
central work table, and some separate Day-to-day activities
tabled areas which allow other tasks Banwell Pottery is open Monday to
such as printing, drawing, glazing, and Friday during normal working hours,
even a bit of woodwork, to be carried out and hosts a Wednesday evening class for
alongside clay work. the general public.
The pottery is equipped with an Activities can range from day to day. Hayley Buxton, counting up stock
electric wheel, slab roller, pug mill, two Tuesdays are solely for the three for Christmas.
COMMUNITY
Sylvia Sparnenn, showing off her

lovely design work. Studio and part of the on-site shop.
original tile press was handmade from Clifton Suspension Bridge and Weston-
would like to do each session. Some bits of old plumbing, wood, and a super-Mare’s pier, which are mounted in
choose to create items to sell, some scaffold pole! The newer, more improved handmade wooden frames.
choose to draw designs for future model was kindly made and donated by They also make a wide range of
projects, and others choose to create a retired local engineer. This press is hanging ceramic decorations, with a
their own clay sculptures. It varies much easier to use and more accessible particularly popular Christmas range.
depending on how people are feeling, for the potters. Other ceramic items include bunting,
their interests, and skill level. Staff are Work is left to dry on the racks and round picture tiles, coasters, and bowls.
on hand to help and oversee the running when leather-hard, is fettled and They have recently introduced a range
of the pottery, making sure that sponged. After bisque firing, work is of screen-printed items, such as cards
everyone is happy and has something to hand-painted using Bath Potters’ featuring designs by the people they
keep them busy. brightly-coloured earthenware glazes support, and tote bags, as well as
Production involves making a wide and fired for a second time. ceramic transfers onto trinket pots.
range of pressed tiles, coasters, and The run-up to Christmas is often the The work features vibrant, cheerful
ceramic hangers in a buff or terracotta busiest time of year. The pottery attends colours with a strong aesthetic value.
earthenware clay. The prepared clay is a number of local events to sell stock, Products are stocked locally in the
first rolled to the correct thickness on and produces a wide range of successful Weston-super-Mare Museum, as well as
the slab roller and then either pressed Christmas items. in Brandon Trust’s Bristol charity shops.
into a plaster mould using a tile press or
cut into shapes using a variety of cutters. The range of work Future vision
All the plaster press moulds are made The most recognisable items produced Despite current cuts in care provision,
on-site and are cast from original by the pottery are brightly-coloured the pottery continues to develop, and
designs produced by the potters. The tiles of local landmarks such as Bristol’s remains a popular choice of day care for
the service users who attend. It enables
people to access a community
environment, socialise and make new
friends, gain skills and experiences, as
well as having a creative outlet in a
supportive environment.
The pottery is keen to continue
promoting and developing their potters
and their work, so that it can be enjoyed
For further information about

the pottery, email:
info@banwellpottery.org
or see the website at:
banwellpottery.org
You can also visit the studio
and shop: Banwell Pottery,
@Worle, 58 New Bristol Road,
Worle BS22 6AQ.
Selection of hanging fish decorations.
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Fruit bowls and tropical
fruits on Pigeon Point beach, COMMUNITY
behind the gallery, Tobago.
(Photo: Skene Howie)
TEMPERATURE CHANGE
Helen Evans is a pioneer in glaze technology. Paul Bailey met her while she was in London
T
oday Helen mainly spends manager for Kate Malone, and at one
her time running her point was managing a team of eight
ceramic studio on the island people for a special project. She stayed
of Tobago, while still there for the next seven years. Talking
retaining business interests in London. about that time, she said, “Working in a
Some would say it’s a dream life, but larger studio for Kate Malone was a very
how did she get there? inspirational experience. When you’re
Formal training started at Bath surrounded by other successful artists
College of Art, where she joined a (both Kate and her team), it spurs you on
Foundation Course. It was here that she to continue making and improving your
discovered ceramics. She explained: “We work. The interaction and sharing of
had to make some vessels, and I had an ideas is a key factor, and something that
instant creative reaction to the material I thrived on when working for Kate, and
and the process, my large pots seemed in all of my London studios, and which
to grow out of nowhere in a truly I’m really grateful for.”
exciting way.” While with Kate she also had her own
After Bath, she was accepted at studios in London, the final one being at
Central Saint Martins in London for a Craft Central, while it was still in Weighing out clay in preparation
degree in Ceramic Design, then under Farringdon. It was a special time for for throwing, in the Tobago studio.
Kathryn Hearn. It was here that she was Helen. It was a very professionally run (Photo: Christoph Meurer)
taught glaze technology by Nigel Wood, studio, with a dedicated and experienced
and throwing by John Chipperfield. At team on hand who worked hard to create great model, and in Helen’s opinion,
the time she didn’t realise how opportunities and promote the work. there should be more professional spaces
fundamental glazing would become to The gallery spaces were great and and schemes like this to encourage
her work many years later. enabled artists to put on affordable entrepreneurs in the crafts industry.
In 2010, she became the studio exhibitions in a central location. It’s a In Tobago, her studio has gone .
COMMUNITY
Raw materials have to be

shipped in, once a year.
(Photo: Christoph Meurer)
through many changes. When she first

arrived, in 1998, she had a studio in the
main business area and, over the years, Throwing in the Tobago studio. (Photo: Christoph Meurer)
she employed up to four people. She also
had a shop on the main tourist beach, making at the same time. She coloured glazes and textures, with glaze
which she still has today. After commented, “What I love most about testing and research being a key element
relocating the Tobago studio to her my studio is having it at home, so I have to the development of the work.
home in 2009, she renovated an empty constant access to the work in progress. She explained, “I use Scarva
space into a lofty, breezy two-level I really appreciate the space and light earthstone original clay. I tested lots of
studio. There she has the kilns and big
and its effect on my work, different bodies during my
equipment, and it’s where most of the allowing me a creative Soup bowl with time in the UK and found
production takes place. Recently she has
freedom that I think is merging glazes, this had all the
introduced a ‘Pottery Corner’ work area
evident in my new 15cm x 8.5cm. properties needed for
(Photo: Juliet Sheath)
into the shop on the beach, to create a
work.” my thrown work. It
more interactive experience for Today she fires a quite light
customers and visitors. Here she can produces high- colour, throws
work, give demonstrations and put on fired, hand- well, with a silky,
courses. This provides an inspirational
thrown stoneware buttery texture,
opportunity to visit one of the ceramics, and can withstand
Caribbean’s most beautiful beaches, specialising in very high
learn a new skill and experience pottery-
multiple-layered temperatures with
hardly any cracks or
warping. All the
tableware is thrown,
although some decorative pieces
are hand-built. I also use press moulds
made from original models, especially
when I have assistants helping with
production.”
Helen’s glazes melt and merge into
each other, allowing colours and effects
to develop in the kiln, and she adjusts
and tweaks the glazes to achieve
exciting glaze surfaces.
The platters demonstrate a new
direction, using the glazes in a more
painterly and expressive manner,
controlling and predicting where the
glaze will flow, and firing at angles to
encourage directional pull-through. The
glazes behave in surprising ways.
Mango tree ash glaze samples over coloured slips, in the glaze room in For Helen, moving to a different
the Tobago studio. (Photo: Christoph Meurer) country has been a very positive
COMMUNITY
experience, and was partly achieved

though a Tobago Trade and Investment
programme, TIDCO. This was created
to encourage foreign investment in
appropriate businesses in Tobago.
Everything was done though the correct
channels, and involved producing a
business plan and visiting and
presenting the project to the many
relevant ministers and government
officials.
One of the major issues in running a
business so far away from source
materials, is ordering them in. Helen
now uses a broker, who consolidates the
delivery in the UK and organises the
shipping. It’s expensive, but over the
years, she has found that using
professionals at both ends, to arrange all
the transportation, including getting the
goods from Trinidad to Tobago, is best.
The last part of the journey, from
Trinidad to Tobago, can sometimes be
more tricky than getting the supplies
from the UK to Trinidad!
In Tobago, Helen has three main The De Beauvoir Studio, London. (Photo: Becca Chatterton)
types of client
● Hotels who order for their interiors, little business in a distant, far away developing crystalline glazes and the
shops and even VIP gift packages place, in a time before the internet. It process of research and development of
● Private villa owners who commission was difficult to obtain information, and glazes and tile production on a large
pieces for their homes with little experience, I developed a scale, for a commercial project. She had
● Tourists who visit the shop and buy problem-solving attitude that has stayed to research the recipes to understand
direct. with me and actually fed into my work. what each component was doing, in
Looking back on the journey her A big part is testing glazes and order to tweak and develop the best
career has taken, she commented, “It developing colours, which I believe to be results for the project. It is this theory of
started with the unknown, setting up a a direct result of having to experiment, research and development that she now
and the joy felt when a successful result applies to her own glaze recipes.
is discovered.” With a business in Tobago, and her
While working in Tobago Helen had work being represented in Future Icons
limited access to materials, with only gallery in London and Room 212 in
one shipment of raw materials per year. Bristol, the next stage is developing a
She had to be methodical and organised portfolio of larger-scale pieces, using the
so as not to forget anything in the new research, and exporting work to the
materials order, and inventive if things islands and to America.
ran out. It actually gave her confidence And the research? Using ash glazes
in the process, so when she returned to with mango tree ash from her garden
the UK after 10 years, she had access to and combining it with slips and
new glazes, stains and materials that had overlaying it with the usual high-fired
been researched and applied while she coloured glazes. What else, in
was away. Tobago? 
This research proved vital while
working with Kate Malone to research Instagram: @planetceramics
the glazes for a huge architectural Facebook: planetceramics
Large decorative platter, with planetceramics.com
multiple merging glazes. 37cm x project on Savile Row, London. This was
37cm. (Photo: Juliet Sheath) a dream job, and introduced her to
STARTING IN BUSINESS
Confessions
of a novice
Return of the Missing Mojo!
Despite fears that her mojo may be gone forever,
Tracey is relieved to find it hiding in her greenhouse
A slam-wedging calamity.
I was really feeling sorry for

myself after last month’s
lacklustre slab project. I’d
hesitated to write about it, because this
blog is supposed to be about the joy of
clay; the triumphs of a beginner
gradually learning different techniques. I
sent it over anyway, half expecting
ClayCraft editor Rachel to politely
decline, asking for something a little
more upbeat. But don’t we all have bad
clay days; sessions where everything
goes wrong? After all, that’s pottery, and
we just have to live with it. Plus, it’s
those days that make the ones I’m about
to describe even more fantastic. slamming the weighty hunks of clay onto Eventually, of course, the snow
There was another hiccup though, my lovingly-made plaster reclaim batt. disappeared, but as my precious window
before my fortunes changed. While Results were mixed: the clay was the of clay-time approached, I worried that
preparing my recycled clay for throwing, best reclaim I’ve managed yet, perfectly my pottery mojo might still be AWOL,
having watched a string of YouTube smooth, with absolutely no air bubbles, that the many preparatory tasks –
videos, I’d decided to try slam wedging. but… well, let’s just say the batt didn’t ferrying bowls of warm water back and
Since my ‘studio’ table – not to mention come out of it well. forth, rolling out the extension lead,
the rest of my crumbly old house – is As February turned into March, I getting the clay ready to throw – might
pretty flimsy, I had the bright idea of gazed balefully into my white back all seem like too much effort. What if I
garden. Although it was only four inches found myself just going through the
deep, the snow might as well have buried motions? What if I didn’t enjoy it? But as
my greenhouse entirely; there was no I got started, the blue sky worked its
way I could go in there with the magic; the sun was shining its
temperature below zero. Believe me, I beautifully yellow East Anglian light on
don’t usually let the weather get in the my garden, and I felt the clay-love begin
way of a wheel session, but last time I to kindle.
ventured outside after a much smaller I’d ordered a couple of semi-water-
snowstorm, the meltwater was literally resistant aprons and joined them by their
dripping on my head through the gaps in neck-loops. By wearing them one on top
the glass panes. This had not been of the other, I can twist one onto my
enjoyable, and even throwing with a right leg, and the other onto my left. It’s
bowl of hot water, it had taken hours to a perfect potter’s apron, and purple to
finally get back the feeling in my fingers. boot! I was feeling good, and ready to hit
So round and velvety-smooth… This time I knew I had to be patient. the wheel. The first throwing challenge,
BLOG
negativity of the last few sessions was

completely forgotten as I carried my two
lovely kitchen bowls back across the
garden, triumphant!
A couple of days later, having kept
them under plastic, I ventured out into
the greenhouse once more. I would much
rather have thrown more pots,
but turning needed to be
Success at last! done, and I was fortunate
enough to get a Giffin
Grip for Christmas. It
took a few sessions to
Attempting to use a knuckle to lift the wall. get used to it, and a
couple of pots were
since my wheel has no batt-pins, was to rather than just marked by the pads,
affix a batt. However, I’d forgotten this throw, I forced myself where the clay had
would be necessary, and instantly to leave the base still been a bit too wet,
begrudged the use of one of my few thicker than usual, so but this time it went
prepared lumps just for that purpose. that I could later turn a smoothly. I managed to
Still, it wasn’t going to bring me down, nice foot ring, and since I follow the instructions fairly
and neither would the fact that the first didn’t need the bowl to be particularly well, and remembered to check the
lump I tried to throw was absolutely thin, I was able to stop myself repeatedly base-thickness before trimming, so that I
rock hard. pulling the walls up to the point of didn’t trim through the bottom of either
Having not thrown for at least a few collapse. Also, the instructions called for bowl! This doesn’t make for very exciting
weeks, that first attempt didn’t go well, the bowl to start off fairly thick-walled, blogging, but it does make for a very
but once I’d scraped its remains off the particularly at the top, so that when it happy potter.
batt and started on one of the bigger was widened, it wouldn’t collapse. And I All in all, it was a very successful
balls of clay, the comparative softness felt didn’t need to close in the top! All of this project, and I’m still basking in the glow
beautiful under my hands, and this time made it a much easier throw than the of a glorious day at the wheel, my
it threw like a dream. I’m finding out for ClayCraft teapot had been, and before I gorgeous new kitchen bowls (even if one
myself about the feel of clay; how well it’s knew it, I was giving the camera a is a little thick and heavy), and the
been wedged – and how dry and hard it thumbs-up in self-appreciation, really knowledge that while I currently appear
is – all make huge differences to what I getting back in the zone. to be in a wheel-throwing, rather than a
can and can’t do with it. It’s not really As the shape hadn’t come out much hand-building phase, I’ve definitely,
something you can learn from reading or like the one in the photos, I focused on definitely still got it! 
watching videos, at least not easily, since improving that on the second attempt. See pottlemuddery.com for a video
those qualities and the different feel Again, it came fairly easily. I savoured of this project.
under your hands are difficult to the moment, singing along to a Foo
describe. You just have to learn by doing. Fighters album on in the background, all
Remembering to look at the magazine of life’s stresses and worries temporarily
banished from my brain. I threw this one
taller to start with, so I could widen it
more without it becoming a plate, and
then briefly tweaked the shape with two
ribs. I’ve previously destroyed pots by
accidentally digging the end of a rib into
the inside bottom, so I played it safe and
went back to compressing with my
fingers or sponge. Does anyone else tend
to stick with what they feel comfortable
with, rather than using the techniques
they know they’re supposed to?
Using my Giffin Grip – the best By now I really felt confident, and One kitchen bowl and one very
Christmas present ever. knew exactly when to stop. And the happy potter!
EARTH AND FIRE
INTERNATIONAL CERAMIC FAIR
22-24 June 2018
O
ver a hundred of the best UK hustle and bustle of a traditional market.
and European ceramicists The event began at Rufford Abbey in
and potters are heading to 1994, with just 30 potters, and has grown
North Nottinghamshire this over the years to its current size, with
summer, when The Harley Gallery on 140 stalls selling everything from garden
the Welbeck estate hosts the Earth and planters and sculptures, to bowls, teapots,
Fire International Ceramic Fair. mugs, plates and egg cups. Earth and
Earth and Fire is one of the UK’s top Fire will have thousands of one-off,
ceramic events, and presents the very handmade ceramics on display from
best studio pottery around, within the regular attendees including Svend Bayer,
Alison Coaten.
Christy Keeney.
Robin Welch, David and Margaret Frith,
Hannah and Doug Fitch and Sigi
Boehmer, together with new potters from
France, Germany and the UK. ClayCraft
will be on stand 15, so do come and say
hello.
The market takes place in the
surroundings of Welbeck’s permanent
Adam Marsh chatting with a visitor.
the potters. The
programme includes
David Wright, who
will be showing his
hand-building Patricia Shone.
techniques; Matthew Sigi Boehmer.
Blakely talking about
his residency at The venue is easily reached
Mashiko, Japan; and Svend from the A1 and M1: The Harley
Bayer will be updating visitors Gallery, Welbeck, Nottinghamshire
on the first firings of the Kigbeare kiln S80 3LW. 
he built. Specialist trade stands selling
tools and equipment will also be on hand. ■ earthandfire.co.uk
On Sunday there will be an
Kathrin Najorka. opportunity for visitors to get their
artist studios and within the old walled

hands dirty and discover the magic of
clay for themselves. You may not be able
Reader offer!
kitchen garden, which once supplied food to master the skills shown by the Ticket prices on gate: £5
to the Dukes of Portland, whose exhibitors, but perhaps you can start to Advance Tickets: £4.50
ancestral home sits on the estate. Earth unleash your inner potter! Special ClayCraft advance
and Fire enables visitors to talk directly While at Earth and Fire, visitors can ticket for Sunday: £3.
to makers to find out how a piece was also relax and enjoy a bite to eat from the Use the special discount code:
made, its inspiration, and to buy their special Producers Kitchen in the CLAYCRAFT at the checkout.
own piece of handmade ceramics. courtyard, where the artisan food Advance tickets available at:
“It’s a great opportunity to see some of producers of Welbeck will be providing ticketsource.co.uk/earth-fire
the best ceramics being made in the UK fabulous tasty lunches. or follow the link from:
and mainland Europe. Earth and Fire is Earth & Fire International Ceramic earthandfire.co.uk
a riot of colour, scale and form, and a Fair will be open from 10am to 5pm
celebration of all things clay,” says Sue daily, and free parking is available.
Cullen, director of Earth and Fire.
As well as the busy market, there will
be a programme of demonstrations and
talks on the Friday and Saturday, to give
an insight into the skills and processes of
Jean Paul, winner of the People’s

Stephen Parry and his big pots. Potter prize. Robin Welch.
SKILL SCHOOL
DISH MADE FROM
BISQUE TEMPLATE
PROJECT
FIVE
Having made and fired your bisque template,

from project 4, you can now move on to the
really exciting job of making the dishes. You’ll be
amazed at how quickly you can make these, and will
find that before you know it, you’ll have them lining up
SKILL SCHOOL
PROJECT
FIVE
You will need:
■ Foam sheets for secondary templates
■ A selection of textured papers
■ Your chosen clay
■ Plastic sheets for rolling
■ Rolling pin
■ Large foam block (the type used for upholstery)
3
Roll out a slab of clay using 5mm-thick roller guides.
Make sure the slab is big enough to fit the larger template
you have just cut out.
When rolled, smooth over the surface with a rib to
compact the clay.
1
Using the template you made for the bisque template
as the base outline, draw and cut out a second template
30mm wider all the way around.
4
Repeat for any more bisque templates you may have
made. Turn the slab over onto an absorbent board and peel off
the plastic sheet.
Smooth over the surface again to compact the clay. If
you do this each time you roll a slab, it’ll become second
nature.
2
5
Using both the templates as a guide, cut out a series
of textured-paper templates to create decorative texture Place the larger template on the slab and carefully cut
rims for your dishes. It’s good to have several alternative around the shape with a sharp knife, making sure not to
surface finishes. drag the clay as you cut.
6 9
Run your finger around the edge of the clay to soften Position the bisque template on the slab as centrally
and round it off slightly. Again, this is a useful thing to get as possible. Take your time to get this right because even
into the habit of doing each time you work with slabs in a few millimetres out will be noticeable when the dish is
this way. made.
7
Place a sheet of plastic over the cut-out slab and
gently smooth your hand over the surface so that the 10
sheet adheres to the clay, but be careful not to impress
fingermarks on the surface. Holding the template by the handle, firmly press down
into the slab. As you do this, the clay will push into the
foam, and the sides will rise to instantly make a dish.
You can press a second time, if required, for a deeper
dish.
8
Carefully lift the slab (in place, on
the plastic) off the board and place
it on the foam block as shown.
Peel away the plastic and smooth
over the slab surface one more
time.
PROJECT
SKILL SCHOOL
FIVE
DISH WITH TEXTURED RIM
11 1
Lift the template out of the dish then, before lifting it Roll another slab of clay to the same thickness as the
off the foam, firm the clay up a little with a hairdryer to first. Smooth over the surface as before, then place the
make it easier to handle without distorting. texture template on the surface, making sure it fits flat so
Transfer the dish to a board when you can handle it that it won’t wrinkle or distort when rolled.
easily. Making sure the roller guides are still in position, carefully
roll the template into the clay.
2
Using a sharp knife, cut around the template very
carefully. When finished, peel away the paper to reveal
the texture pattern underneath.
3
6
Very gently, run your finger around the edge of the clay
to soften and round it off slightly, taking care not to spoil
the pattern. Lift the slab, still in place on the second sheet of plastic,
and transfer it to the foam block, texture side up.
Peel away the plastic.
4
At this stage, the slab shape should still be on the
plastic sheet it was first rolled out on. Lay a second sheet
of plastic over the surface and very gently smooth it down
so that it adheres to the clay, but doesn’t spoil the texture. 7
TIP:
Using plastic sheets to lift and transport The textured rim makes placing the bisque template
slabs in this way prevents the shape from much easier for this style of dish, so position the template
distorting in handling within the texture pattern.
5
Turn the slab over and peel off the 8
plastic from the underside.
Smooth the surface with a rib. As you did for the first dish, push the template down
into the clay firmly until the sides rise to form the dish.
SKILL SCHOOL
PROJECT
FIVE
10
Transfer the dish to a board and neaten the edges with a
kidney, if required, and allow to dry completely, ready for firing.
Alternatively, you could sand the edges after bisque-
firing, when it’ll be much easier to handle the dish ,
9 remembering your dust mask.
When you’re happy with the

shape of the dish, lift the template
out carefully.
Firm up the clay, as before,
with a hairdryer, supporting
the underside of the rim with
your fingers if the shape seems
vulnerable to collapse.
The key to getting this technique right is judging the
correct state of the clay for optimum results. Too wet, 11
and it won’t be able to hold its shape. Too dry, and the
clay will crack as you press it down. Much will depend Make as many more dishes as you like. You’ll find they
on the type of clay you use, so this is something you soon mount up, giving you a great feeling of satisfaction
need to find out for yourself with practice. for your day’s work, and you will have had great fun
making them.
Top
Textures!
Where do yo u find your
texture inspiration?
Share
your favourite textur
e
ideas with the ClayC
raft
community via Faceb
ook,
Twitter or Instagram
:
@ClayCrafting
The samples shown here have been glazed in a

selection of Mayco stoneware brush-on glazes.
The plain dishes have patterns built up with
multiple colours of glaze. The textured dishes
have been coated in just one glaze, which breaks
60 ClayCraft Issue 14 over the texture to give depth to the surface.
SWANSPOOL
CERAMICS
Pottery is our passion!
• Pottery Courses
• Clay Experiences
• Gift Vouchers
E: info@swanspoolceram
p mics.co.uk
T: 016
6
604 9685333
Castle Ashby, Northamptton NN7 1LA
Lik
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www.swanspoolceramics.co.uk
6)*( $8'87*0 7- #: '%8&$%&0 -&$;2 *!/$40*5 "89"$%&05 + 85$%&052 -)*( %,,$8*5 .-( % $8'87*0 3'*1
Photo credits: All studio images courtesy of
the artist and Ceramic Art London.
Anelise Bredow.
IMPRESSIONS OF CERAMIC
ART LONDON 2018
There are certain shows each year that are a barometer of new trends, and a
showcase of just how far ceramics has developed into an art form, reports Paul Bailey
C
eramic Art London (CAL) is the artists on show here. How do these Jill Shaddock.
such a show. Produced by makers address our contemporary
the Craft Potters problems and this uncertain age?
Association, it has taken-up Provenance is key, all of the exhibitors
an annual residence at Central Saint exude a strong sense of authority over
Martins (CSM) college, close to King’s their material, using techniques they
Cross and in the centre of a rapidly have mastered over time.”
developing area of London. This year, the show had 91 exhibitors.
Anthony Quinn, course leader at Twenty-three were there for the first
CSM, said in the catalogue: “Our time, 23 makers were from outside the
students can learn so much by studying UK, and 43 who are members of the
Craft Potters’ Association. During the
three-day show, there was a series of metals and minerals then fired at
talks from makers such as Grayson extreme heat. Chemical reactions
Perry, Phoebe Cummings, the winner of happen during this process. The surface
the Woman’s Hour Craft Prize for 2017, effects on my work are created while I
and Keith Brymer Jones from BBC2’s control the kiln.”
Great Pottery Throw Down.
Shown here is a selection of those who Jill Shaddock – “I explore multilayered
took part. From well-established makers slip-casting to create unique objects.
to those who graduated just a few years These take the form of individual pieces
ago, and those who were showing for the and collections of curated works that
first time. blur the boundaries between the usable
and the purely decorative.” With a
Akiko Hirai – “Ceramic works are minimal aesthetic, considered forms, and
Akiko Hirai’s stand at CAL. made with inorganic materials such as refined colour palette, her work is highly
Charlotte Pack. Barbara Hast.
(Photo: Peter Bailey)
tactile. The latest works explore Anelise Bredow – “When the pieces Barbara Hast – “The natural growth
detailing of laminated and inlaid are in leather-hard stage I draw on the process of plants and fruit has inspired
ceramic, to create linked elements surface and paint with engobes. After these quirky creations of white gold.
forming installation-style groupings. the biscuit firing (900°C), the pottery Plainly and modestly, they refer to the
receives oxides to define the contours 17th century’s love of nature, and remind
Charlotte Pack – “Working in a new and are returned to the kiln (1050°C).” us of the exotic curiosities of baroque
larger-scale ‘Biome pots’, I use coiled Since her childhood, Anelise has been treasure chambers. The objects contain
vessels that incorporate hand-built flora inspired by her father’s profession as an a whole variety of allusions.”
and fauna with a stringent message. All electronics technician, and looks inside
the wildlife is featured on the IUCN Red old radios and TVs to inspire her Hannah Tounsend – “My work
List of Endangered Species. Using an ceramic pieces. In a child’s eye, the combines ceramics and printmaking to
earthy palette, each ‘Biome’ contains a pieces connect themselves like little create collections of sensitively-realised
community of endangered wildlife that worlds. vessel forms and subtly layered
occupies specific biomes and eco- monoprints, exploring the layered
systems.” The smaller slip-cast ‘Species Jessica Thorn – “I am charmed with landscapes and sea-washed, weatherworn
Pots’, in a more playful colour palette, are the ability a handmade object has to surfaces of the British coastline.”
adorned with an individual endangered allow an everyday ritual become more
species. Charlotte donates 15% of profit pleasurable. With this in mind, I have Sasha Wardell – “Concentrating on
on sales to wildlife conservation. designed and made a collection of perfecting the craft-based skills that
functional and decorative pieces based enhance the inherent qualities of bone
Richard Miller – “I draw on themes of around the theme ‘Still Life’. Each piece china, my work carefully reflects
British colonialism and the way in which is individually slab-built with porcelain, contemporary taste and lifestyle. Each
the UK has become an eclectic mix of focusing on form and showing off the piece is individually made using
cultural styles, as immigration has pure quality of the ceramic.” The process industrial processes that I have
brought with it a rich source of of her work is driven by a belief in the personally developed.” Sasha has over
influence.” His wheel-thrown stoneware value and importance of celebrating 30 years’ experience in the world of bone
vessels make reference to historical craftsmanship within handmade objects. china and porcelain, having studied in
design patterns, and he is particularly She shows this through an elusive two centres of excellence, namely
interested in things that have joining technique, leaving a stitch-like Stoke-on-Trent and Limoges. .
stylistically become adopted by the line and a trail of the maker’s marks.
British mainstream.
Anelise Bredow.
Jessica Thorn. Hannah Tounsend at CAL.

PORCELAIN Lauren Nauman at CAL.
plaster moulds and slip-casting; The work’s motif is a Korean traditional

however, I don’t always use these in funerary figure, Kkokdu, which is a
traditional ways. With my current witty human-shaped wooden figure,
project, Lines, an additive method is known to take a role in sharing the
used to create pieces with minimal happiness with passed ones and
Hannah Tounsend. amounts of clay.” The suggestions of relieving their sorrows, coming and
vessels start out as straight cages of wet going between this world and the next.
James Hake – “I make wheel-thrown clay, and through the power of the kiln’s The venue at Central Saint Martins
stoneware ceramics decorated with heat and the pyroplasticity of the clay, remains one of the best in the capital. It's
oriental glazes. My work ranges from they move like fabric to evolve into a very spacious, with good transport links,
huge platters and bottles to delicate wire-like sculpture that still holds the and surrounded by restaurants and bars.
bowls and tiny, lidded jars. Working at materiality of porcelain. The show is very much about selling
the wheel, I produce work in a series, work as well as just viewing, and the
making families of similar forms, each In Ho Song – “First, I mould rough prices reflect an easy access point for
with their own subtle variations. Many shapes of various animals using hand- those wishing to start a collection. On
of my glazes are made using local building techniques. Then, I draw the day I attended, there were a lot of
materials, gathered from imaginary animals on them, just people buying.
quarries and clay seams in like drawing on a canvas. I Together with the Craft Council’s
the countryside around reconstituted the Kkokdu ‘Collect’ show, Ceramic Art London
my studio.” with imaginary animals must make this country one of the
instead of human leading centres for ceramics.
Lauren Nauman In Ho characters, and Paul Bailey produces Emerging Potters,
– “My work explores Song. intended to satirise an online magazine, and writes on
the boundaries on human greed and modern ceramic makers. To join the
within clay through express other mailing list, email: paulbailey123@
experimental creatures’ dignity.” googlemail.com 
processes. I start with
the industrial method of In Ho Song’s stand at CAL.
James Hake.
Explore the layering options at
www.scarva.com/amacolayering
The Contemporary
Craft Festival
Clover Lee.
(Photo: Tom Crame)
I
n June, the 15th
will welcome 200 of the very
finest designer makers to the
idyllic setting of Mill Marsh Park on the
edge of Dartmoor at Bovey Tracey,
Devon. The handpicked collection of
some of the country’s most exciting
makers and artists were selected to sell
their handmade products to a discerning
audience of over 10,000 visitors, from when it comes to meeting and buying presented by Potclays and Schumacher
the UK and Europe. from the makers, you can also book onto College, Dartington. It’s FREE to take
Not only will you be spoiled for choice a great range of workshops, where you part and included in your ticket price.
can learn craft skills, there’s a new teen Sarah James, director of The
area, you can watch a range of top Contemporary Craft Festival, said: “We
makers demonstrating their craft, and are huge fans of ceramics at The
there’s a packed Children’s Craft tent, Contemporary Craft Festival. I have a
which will keep budding young degree in ceramics, and started out as a
craftspeople enthralled all day. In potter before becoming an events
addition, Marieke Ringel will be organiser. The Pottery Throwdown has
demonstrating ceramic sculpture. been a wonderful and meaningful
You can expect a weekend brimming addition to the festival, putting ceramics
with live action, including The Pottery centre-stage. We hope that we will
Throwdown competition. By popular continue to encourage people to make
demand, stars from the hit BBC series, pottery, enjoy some friendly competition
The Great Pottery Throw Down will be and buy beautiful ceramics from the
going head-to-head with members of the makers at the festival. I’m delighted that
public in rounds of fun clay-based Potclays is supporting us for the third
challenges. year, and that Tom, Jim, Richard and
Stars of seasons one and two, ‘Major Clover will lend their expertise to the
Tom’, Clover Lee, Richard Parker and Throwdown over the weekend.”
Jim Ransom will take on challengers Great live music from Devon
(that could be YOU!) throughout the performers fills the air, topped off with a
weekend. It’s lots of playful fun and wide variety of locally-sourced, delicious
you’ll have as much help as you’d like. street food. It really is a weekend to
Justine Allison. The Pottery Throwdown is proudly remember. .
Deiniol
Williams.
Richard and
Jim teaching
at last year’s
festival.
Sabine Nemet.
ARE YOU UP FOR THE

CHALLENGE?
Friday
● 11am Challenge Tom
● Noon Challenge Richard
● 1pm Have a Go, drop-in
session (over 16s only)
● 3pm Challenge Clover
● 4pm Challenge Jim Russell Kingston.
Saturday
● 11am Challenge Jim Tom teaching the art of centering.
● Noon Challenge Clover
● 1pm Have a Go, drop in Abigail Leach.
● 3pm Challenge Richard There’s plenty of shade and
● 4pm Challenge Tom seating at lunchtime.
Sunday
● 11am Challenge Richard
● Noon Challenge Clover
● 1pm Have a Go, drop in
● 3pm Challenge Jim
● 4pm Challenge Tom
All Throwdown winners will

receive an apron.
The subject of all the challenges
will be kept secret and announced
on the day. Follow the story on
Twitter #FestivalThrowdown
The Pottery Throwdown is open
to over-16s only. There will be a
potter’s wheel in the Children›s
Tent for under-16s to use.
The ceramicists attending
this year’s festival include:
Fun in the ● Abigail Leach ● Penny

Throwdown ● Abigail North Simpson
tent! ● Alex Allday ● Ken Eardley
● Alison Graham ● Mark Dally
● Alison West ● Paul Young
● Arwyn Jones ● Russell
● Ben Fosker Kingston
● Boop Design ● Penny Little
● Charlotte ● Rebecca
Miller Proctor
● Dove Street – Modern Craft
Pottery Workshop
● Charlotte ● Sabine Nemet
Morrison ● Sarah Walton
● Deiniol ● Sue Mundy
Williams ● The Cloud
● Elaine Peto Pottery
● Glosters ● Sue Pryke
Pottery Taja
● Jillian Riley ● Virginia
● Elizabeth Graham
Renton ● Tone von
● Kate Evans Krogh
● Gwen Vaughan ● Victoria Claire
● Harriet Dawes
Elkerton ● HCLS Ceramics
Charlotte
● Justine Allison ● Ramp
Miller.
● Josie Walter ● Emma West
● Louise Hall ● Abi Higgins
● Laura Lane ● Mitch Pilkington
We have five
weekend tickets,
which cover the
WIN!
three-day event,
Glosters. up for grabs. All you have to
The Contemporary Craft do is answer this simple question
Festival takes place on Ben Fosker. Q. This year marks which
anniversary of The Contemporary
8-10 June Craft Festival?
■ Open Friday, Saturday & Sunday 10-5pm A. _________________________
■ Tickets (per day): Adult £9
■ Weekend 3-day ticket: £17 (£15 concs) Name: ______________________
■ Accompanied children under 18 FREE Address: ____________________
■ Concessions ____________________________
(students, OAPs, children 15-18 years
and those in receipt of benefits) £8 Tel: _________________________
■ Group tickets, +10 tickets £1 discount Email: _______________________
per ticket, discount automatically applied Send your answer to: ClayCraft
at checkout Competition, Kelsey Media, Cudham
Tithe Barn, TN16 3AG
You can also enter online at bit.ly/ClayCraft-
ADVANCE TICKETS competition. Entries close at midnight on
22.05.2018. Any entries received after this date
ARE ON SALE NOW! will not be counted. Open to UK residents over
the age of 18. After the closing date you will
■ craftsatboveytracey.co.uk receive an email from us asking for permission to
■ Twitter: @CraftFestival contact you about our products, competitions
and services. If we do not hear from you, we will
■ Facebook: no longer be in touch and your details will be
removed from our system. For full T&Cs please
The Contemporary Craft Festival visit our website: claycraft.co.uk/T&Cs
■ Instagram: @CraftFestival
Doug’s
STARTING IN BUSINESS
(Photo: Layton Thompson)
Doug Fitch
DIARY
T his month has been
utterly crazy, with long
days and late nights. It
has been fraught with frustration,
an order that I had been trying to
work up the energy to begin.
The pieces needed to be
delivered to London, 10 days
and a string of silly mistakes henceforth. It would be tight, but
compounding the stress of if I were to concentrate all my
chasing almost unrealistic time and effort into it, it was
deadlines. possible, so this I did. I managed
In spite of it all, however, we to sit and work in the garden and
are at last beginning to feel like enjoy some late winter sunshine.
we might be making some Three days of drawing the
ground, and if we continue to design onto the surface of the pot
stretch ourselves, we might just with a needle tool, then
about achieve our objectives. scratching away the background
The month began well. World of and it was done, dried out and
Interiors magazine contacted us hurriedly fired.
and asked to borrow some pots ‘Hurriedly’ is an adverb that
for a photoshoot. They requested should not be used in association
a large charger of Hannah’s and a with ceramics. Ever! The process
sgraffito jug of mine. Hannah, rarely allows one to cut corners,
fortunately, had a really good demanding its own natural pace,
charger in stock, but I had no which one must respect. Of
sgraffito jugs at all. I’ve course, in rushing to get the jug
mentioned in an earlier post, in the kiln, I didn’t put it on big
decorating such jugs drives me enough wads of clay, and I opened
crazy as it takes so long. I had a the kiln to discover that the glaze
jug sitting on the shelves had run and the jug was attached
wrapped in polythene, which was to the kiln shelf. It had cracked
right across the base. It was still Me with only takes a momentary loss of
useable for the photoshoot, but Susan Halls concentration to make a
three days were wasted, and the and a scary fundamental blunder.
order remains unfulfilled. dog after our I must stress at this point that
demonstration
Too many mistakes are at the
I'm not complaining at all. I’m
happening. Recently, our green Restating Clay simply frustrated and cross with
slip has inexplicably come out of Conference. my own limitations. Life,
the glaze-firing a muddy, khaki (Photo: Anna- exhausting though it is, is
colour. We’ve subsequently mixed Mercedes Wear) wonderful and we are truly
a fresh batch, but many hours of blessed.
work have been invested in pots The heart-breaking news
that are sitting there, bisque-fired Large jug earlier this month that our dear
on the shelves, already covered made for the friend, ceramicist, Anna-
with the old slip, now destined for Castlegate Mercedes Wear has an
the ‘muddy shelf ’ in the seconds House Gallery, untreatable cancer, brings things
Cockermouth,
sale. height 32cm.
sharply into perspective.
I am working too hard and too (Photo: Steve Sometimes, as serious as it is,
late into the night, as we try to Swallow, pottery just doesn’t matter. We
juggle fulfilling our commitments castlegatehouse. are so sad. There is a Facebook
with bringing up two babies. It co.uk) page that will run until 7pm on
KILNS
1 May, called Art Auction for York, we fine to

Anna, where makers have unpacked use our
donated pieces, auctioned on the the final glaze on
page, to raise funds for Anna- pots - for non-food
Mercedes and her family. an surfaces
Last week, Hannah, babies and exhibition at and the
I travelled to York, to participate the Castlegate outsides of
in the ‘Redefining Clay House Gallery pots that we
Conference’. Hannah was on a in Cockermouth are sending to
panel, discussing the use of social - from the glaze kiln. the States, but we
media in ceramics. I was doing a We then loaded up the have had to find an
demo, working with the animal car and drove back across the alternative for insides. Our
sculptor, Susan Halls. Essentially, border to Cumbria to deliver final tests (I hope) are in the kiln
my role was to throw the them. It’s a fantastic gallery, and A large tonight. Hannah mixed a glaze
‘sunflower’
component parts for a larger- we were determined to give them plate made
the other day that had a really
than-usual version of one of some top-notch work, and I think by Hannah good glassy finish, but it was
Susan’s dog sculptures, which she we did. for Castlegate supposed to be an amber glaze
subsequently assembled. It was a Next week is our final one of House Gallery, and, surprisingly, came out
fun exercise, squeezed into an making for our exhibition in the diameter turquoise. There, yet another case
hour and a quarter. We hope to Schaller Gallery, Michigan. I 28.5cm (Photo: of trying to do things in a hurry,
Steve Swallow,
do this much better with more have most of the pots made, between baby feeds, copper oxide
castlegatehouse.
time in the future, maybe with a although I have to remake the co.uk)
being added by mistake, instead
view towards an exhibition. Both jugs with the muddy green slip. of black iron oxide.
Susan and I were moved that, Plus there are still lidded jars and Our open studios event, Spring
despite her ill health, Anna- shallow dishes to throw Fling, during the last weekend in
Mercedes braved the journey and tomorrow. Hannah decorated a May, is looming up, and straight
spent precious time at our large jug of mine today with trees after that we’re into the summer
demonstration. and owls, which we hope to send. show season, so the pressure will
The day after returning from We also have to make, to a be on for a while to come.
similar deadline, for another Spring is here though, at last,
show in the States called the and the clocks have moved
AKAR Invitational, which forward. Things will get easier.
features, unsurprisingly, just In recent days we have watched
Yunomi (clayakar.com). young deer from the workshop
We use a lead frit in our glazes. window. The rooks are pairing
This is a simplistic explanation, up, blackbirds are bickering over
but fusing the lead with silica and territory, and the evocative call of
firing it to the right temperature, the curlews in the field beside the
ensures that no harmful lead workshop has become the
leaches from the glaze. Our soundtrack of the day. The spring
glazes are rigorously tested in sunshine has shone, and buds are
Stoke-on-Trent, to ensure that slowly beginning to burst.
they are food safe. The Galloway countryside is a
Unfortunately, however, lead Hannah magnificent place to live and
decorating
glazes are banned in America, one of my work. It’s an energising time of
due to some poor folks being large jugs. year for me – well thank
poisoned by untested and toxic (Photo: Doug goodness for that, it surely needs
lead glazes, years ago. We are Fitch) to be at the moment! 
earth& fire
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ISSUE 2 ISSUE 3 ISSUE 4 ISSUE 5 ISSUE 6

• Plaster press mould • Making and attaching sprigs • Two-part moulds • Symmetrical press • Bisque hump mould
• Joining pinched sections • Pinch pot birds • Pinch pot egg cups moulds • Pinch-built tealights
• Sgraffito bowls • Making potters’ stamps • Slab-built milk jug • Pinching simple flowers • Slab-built paperclay
• Making sprigs • Slab-built teapot • Building & raku-firing • Porcelain buttons animals
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necked vessel • Porcelain wind chimes • Slip inlay decoration • Paper stencil resist
ISSUE 7 ISSUE 8 ISSUE 9 ISSUE 10 ISSUE 11

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HISTORY
Commemorative
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001 Clay Craft Cover Issue 13.indd 1 13/03/2018 15:54
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ISSUE 12 ISSUE 13 to whenever needed. Keep
• Thrown glaze-test ring • Thrown flowerpot inspiration at your fingertips!
• Slab-built planter and tray • Ball clay decoration
• Pinched rabbit • Rhubarb forcer
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EVENTS Do you have an event you’d like listed?
Email us at claycraft.ed@kelsey.co.uk for free inclusion
RUNNING UNTIL APRIL

UNTIL 10 JUNE ■ Clare Wilson: cane and murine glass 7 APRIL  13 MAY
More than words: Sara techniques hinterland
Radstone ■ Penny Fowler: hand carved and Joanna Still Messums
York Art Gallery finely sanded porcelain and bone Salisbury, Wiltshire
The first major retrospective china forms messumswiltshire.com
exhibition of one of Britain’s leading ■ Diane Horne: earthenware vessels
ceramic artists. The exhibition ■ Ilona Sulikova: coiled raku fired 14  29 APRIL
features more than 50 works by ceramics Space to Grow
Sara Radstone and looks at how her ■ Sarah Partridge: carved smoke Scottish Potters Association
work has changed and developed fired vessels The Barn Gallery
over the course of a career craftcentreleeds.co.uk Tibbermore, Perth
spanning nearly 40 years bieldatblackruthven.org.uk
yorkartgallery.org.uk UNTIL 1 JULY
scottishpotters.org
Reunion: Potters From The
UNTIL 10 JUNE Time Of Bernard Leach 18 APRIL  4 SEPT
Radical Clay: Teaching Leach Pottery, St Ives Vote 100: Suffragettes and
With the Great Potters of leachpottery.com Propaganda
the 1960s Cartwright Hall,
Bristol Museum & Art Gallery
UNTIL NOV
Bradford
Ground breaking pieces from 10 Year Anniversary: bit.ly/1LIiVnK
the leading potters of the time, Celebrating the Leach 1 MAY  28 JULY
including Hans Coper, Lucy Rie, Pottery’s Restoration 28 APRIL Adam Frew – Ceramic
Janet Leach, Ruth Duckworth, A series of events, exhibitions, talks Ceramic Wallflower Showcase
Bernard Leach, Michael Cardew and creative sessions Workshop The Craft Centre and Design Gallery
and Gillian Lowndes. A piece by leachpottery.com Linda Southwell Ceramics Leeds
Kate Malone, made when she was Welbeck craftcentreleeds.co.uk
a student at Henbury School in
UNTIL 23 DEC
lindasouthwell.co.uk
Bristol, will also be on show Our eARTh 2018 3  6 MAY
bristolmuseums.org.uk 100+ selected artists’ work 30 APRIL  3 MAY Clay sculpture course with
responding to climate change and Luke Shepherd
Central Taster Exhibition
UNTIL 23 JUNE the environment Portrait modelling
Norfolk & Norwich Open
Monochrome – Surface Kunsthuis Gallery Totnes, Devon
Studios and The Forum, Norwich
The Craft Centre and Design Gallery Crayke, N Yorks luke-shepherd.com
This varied exhibition will offer you
Leeds kunsthuisgallery.com a taste of the vast range of work
■ Simon Conolly: stoneware relief and the skill of Norfolk artists, and 4 MAY  26 JUNE
wall hung pieces and nesting boxes
UNTIL 31 DEC
a chance to start planning your FOCUS
■ Eric Moss: Stoneware and naked ‘A Woman’s Place’ studio visits in May and June! Featured potters:
raku wave forms and geometrics Abbey House Museum ■ Rebecca Appleby
Over 150 artworks will be for
■ Luke Bishop: stoneware Leeds ■ Midori Takaki
sale, and there will be artist
■ Kevin Hutson: turned wood bit.ly/2FFsqMy demonstrations and a chance to ■ Mark Dally
meet with and chat to exhibiting ■ Christiane Wilhelm
artists throughout the exhibition ■ Elly Wall
run. ■ Carolyn Genders
The Forum, Norwich Bevere Gallery, Worcester
Millennium Plain, NR2 1TF beveregallery.com
Norwich, Norfolk
theforumnorwich.co.uk 5 MAY
Teapot making at York Art
MAY Museum
1-4pm, £35
1 MAY  15 JULY Join Muddy Fingers Pottery in the
Northwich’s terracotta learning room to create a two-cup
‘Last Supper’ exhibition teapot from scratch. All materials,
Eric Moss is at
Lion Salt Works Museum equipment and firings are provided
Monochrome –
westcheshiremuseums. for you to create a handmade
Surface. co.uk teapot and enjoy an inspiring and
facebook.com/ 18  20 MAY
ceramicsincharnwood Landmark Spring Art Fair
Teddington
13 MAY landmarkartscentre.org
Unbuttoned
12:00–14:00 22  24 MAY
Join Artist and BCB Studio Manager Clerkenwell Design Week
Jo Ayre alongside flower makers Various locations (Crafts Centre)
Rita and Jean to make your own www.
bone china button that will form clerkenwelldesignweek.com
a banner that will be carried in a
procession in London on 10 June 25 MAY  8 JUNE
as part of PROCESSIONS. MUSE: The collection
PROCESSIONS celebrates the fight inspires
for suffrage and expresses what it New, thought-provoking work by
means to be a woman today. MCA Ceramics students at BathSpa
'Last Supper' at Lion Salt Works Museum. We would love you to join us in this University in response to the
FREE workshop at Holburne Museum’s collection
The World Of Wedgwood, Holburne Museum, Bath
Wedgwood Drive, Barlaston, holburne.org
ST12 9ER Stoke-on-Trent
www.eventbrite. 26 MAY
creative session. Hammond opens her studio to com/e/unbuttoned- Spring Open Day
Please note: Over 16s only host Clay College’s students in tickets-43988137704 BaseArt Studios. Come along and
Tickets non refundable and non London. The weekend features help us support The Forget Me
transferable. demonstrations by Lisa, Darren Ellis, 13 MAY  2 SEPT Not appeal by making your own
bit.ly/2Ej0Ujp apprentice Dom Upson and Kevin ABOUT CLAY beautiful ceramic flower jewellery.
Millward, with an exhibition by Pearls of European Ceramic Art BaseArt Studios, Gallery & Pottery
5 7 MAY Maze Hill Pottery and Clay College. ONOMA summer show Workshops, Taff’s Well, Cardiff
West Forest Potters Annual Besides the demonstrations, there The Cooperative of Artisans, baseart.org
Exhibition is a chance to explore Lisa’s studio, Designers and Artists in Fiskars
Henley Arts Trail including her famous kiln yard. Fiskars Village, Finland 29  31 MAY
Venue 30, Neville Hall, Maze Hill Pottery onoma.fi Potters Gourmet Workshop
Waltham St Lawrence The Old Ticket Office, Aylesford Priory and Aylesford
henleyartstrail.com Woodlands Park Rd, 14  20 MAY Pottery offer a two-day
westforestpotters.org.uk SE10 9XE London, The Society of Fulham residential experience, with pottery.
mazehillpottery.co.uk Artists & Potters Summer Accommodation at the Priory.
6  7 MAY Exhibition Pottery: day one throwing and
Stamford Pottery Market 12  13 AND 1920 MAY Fulham hand-building, day two, raku-firing
Over 35 local potters displaying Dulwich Festival Artists sofap.co.uk Tel: 01622 717272 9am-4pm
and selling their work. Ceramic- Open Houses
themed films, throwing dulwichfestival.co.uk
demonstrations and charity
tombola 1226 MAY
Stamford Arts Centre CERAMICUS
stamfordpottery market. Exhibition of work by 10 ceramics
co.uk artist in the historic Farnham
Pottery, GU10 4SL. 10am-4pm
9  13 MAY ceramicus.co.uk
London Craft Week
Various locations 13 MAY
www.londoncraftweek.com Ceramics in Charnwood
Open air market, with over 65
12  13 MAY potters and ceramic artists.
Exhibition by Maze Hill Jo Keogh will be demonstrating
Pottery and Clay College throwing and Kate McBride will
From 11am run a ‘Mud Hare’ workshop.
Leading studio potter Lisa Charity plate sale Luke Shepherd's portrait modelling, 3-4 May.
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COMMISSIONING CERAMICS
Paul Bailey talked to two makers about their experiences
B
oth are members of the
Devon Guild and are happy
to show clients actual work
in progress, alongside
drawings, sketchbooks and digital
images that will bring to life how they
work. Solving problems and interpreting
the brief is just part of the process.
Case study: Jill Fanshawe Kato

After graduating in painting from
Chelsea School of Art, London, Jill then
gained an Art Teacher’s Certificate.
After a period of teaching, she had the
opportunity to visit Tokyo. In 1977, Jill
established her first studio with a grant
from the Crafts Council.
Jill explained: “My ceramics are
inspired by the natural world and travel.
The making processes include coiling,
slabbing, sculpting, using moulds, and
throwing plus altering. Slips and
glazes are applied for colour,
which I constantly experiment
with. I use a range of stoneware
clays and am currently
experimenting with additions
of river Dart clay, fired to
1270°C in a laser gas kiln.”
Jill Fanshawe Kato with tile commission.

Left and below: Jill with a commission for Japan.
proof, so special wall bolts had to be

Over the years, she has had a number incorporated. Happily, the birds are still
of interesting commissions. The first in situ 35 years later.
one was from Yokohama National More recently, the retail guru Mary
University in Japan. Professor Portas commissioned Jill to make a tile
Kishimoto, who had been seconded to mural for her new London garden. One
London for a research study, had seen of the design considerations was the
her exhibition in Tokyo, liked the birds, British winter, so the tiles were hand-
and asked if she could make a mural for made from high-fired stoneware clay, to
the walls of his university’s new lecture be impervious to frost and rain. Some of
theatre. Six months of design work and Mary’s family members were to be
communication followed, after which she represented by birds and animals.
was commissioned to make 10 ceramic In 2017, Tale Valley Nursery of Devon
birds, each a metre across, in sections commissioned her to make ceramics for
for easy shipping. A major consideration their stand at the Chelsea Flower Show.
was that they should be earthquake- Months of consultation and design work
Case study: Christine-Ann
Richards
Originally trained at Harrow School of
Art with Mick Casson, Chris then
worked with David Leach. In London,
she started her own workshop as a
member of the Barbican Arts Group
(1975-1983), and in 1976 was elected to
membership of the Craftsman Potters
Association and the Society of Designer
Craftsmen.
During the summer of 1992, Chris
visited an international workshop in
Tokoname in Japan, and in 1996 she
received a Winston Churchill
Travelling Fellowship, enabling her to
return there to ‘explore the way water is
used in landscape architecture.
architecture’. She now works from her
home, a converted chapel near Frome in
Somerset, making thrown porcelain,
and large exterior pieces for exhibition
Christine-Ann Richards and to commission.
testing the garden sculpture. She said: “I have a small wall-mounted
(Photo: Caroline Pfohl) hand extruder, which gives the basic Christine-Ann Richards. Wave
single coil length that is rolled out to Sculpture in position.
followed, during which she made a series get it a bit longer. Next, I score the top
of ‘minarets’, tall and slender ceramic of the pot and coils with an onion spike lid on, very slowly, almost as soon as the
sculptures based on plant and bird – fixing about four coils at a time – sculpture is finished. The temperature is
forms, threaded onto metal supports, to individually initially, gently pushing increased by 3°, 5°, 10° an hour over two
hide among the nursery’s shade-loving them together with the back of my to three days – the sculpture’s walls are
plants. The stand won a gold medal. wrist, and then smoothing and approximately 3cm thick – and the lid is
jillfanshawekato.com squeezing them together. I use a beater only put on when the kiln reaches at
to help keep the shape, plus a couple of least 135°C. Each firing usually takes
long spirit levels to see if the sides are about five days. 
straight.”
Depending on the weather, Chris
might add another set of coils after
about four hours and another later, if
possible, covering the top with a strip of
bin bag to stop it drying out too much.
As the sculpture dries, she uses a small
surform blade on the outside of the pot
to give a rough texture, and smooths the
top with a rubber kidney.
She uses Potterycrafts’ Vingerling
clay, which is a rough sculpting clay that
comes in three colours, buff, terracotta,
and dark brown, when fired in an
electric kiln to approximately
1200°C. She doesn’t wedge, slip, or
slurry it, just scratches and squeezes it Paul Bailey produces Emerging
together. Potters online magazine and writes
Chris’ electric kiln is also used as a on modern ceramic makers
Christine-Ann Richards.
Notes for sculpture. drying cabinet. ‘Firing’ starts with no Paulbailey123@googlemail.com
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 courses throughout the year Dates: Tuesdays & Wednesdays
Location: York, Tel: 01717 289008 LANCS/CHESHIRE/ 2-4pm and 7-9pm
CLAY WORKS STUDIO JOY GIBBS PRICE CERAMICS  MERSEY Saturdays and Sunday workshops:
Courses: All levels from beginners to GRAPE VINE STUDIOS various dates throughout the year
intermediate. Taster courses, general Courses: Handbuilding, throwing, BALTIC CLAY Location: The Wirral
pottery and throwing courses. Open raku Courses: Evening and weekend monceramics.co.uk
access facility for more advanced Dates: Weekly sessions, Thurs clay courses GREEN MAN CERAMICS
makers coming soon 6-8pm, Dates: Tue, Wed, Thurs (6.30pm - Courses: Pottery Discovery
Dates: See website Fri/Sat 10am-12pm 8.30pm) & Sat weekends
Location: Dumfries & Galloway Location: Mattersley, Doncaster Location: Liverpool Dates: Various,
clayworksstudios.co.uk joygibbsprice.co.uk balticclay.com Location: Colne, Lancs
SEATREE CRAFTS GREENWOOD CRAFTS BLUE BUTTERFLY CRAFTS Tel: 01282 871129
Courses: Beginners' classes, Courses: Handbuilding; throwing Courses: Handbuilding. PILLING POTTERY/NORTHERN
workshops, after school club, from beginners onwards Weekly 2-hr sessions and day-courses KILNS
supervised open access Dates: All year Dates: Various, see website Courses: From novice to
Dates: Various Location: N Yorks Location: Accrington, Lancs professional: throwing, hand-
Location: Innellan, Argyll tryacourse.co.uk bluebutterflycrafts.co.uk building, glazing, making glazes,
seatreecrafts.co.uk LEAFY LANE POTTERY BY JOAN CHAN kiln loading, programming kiln
THE WEE MUD HUT SUZIE Courses: Introduction to clay, controllers, fitting elements
Courses: Handbuilding, throwing Courses: Hand building courses handbuilding, throwing, slip casting, Dates: Various
for all ages/abilities. Groups and for all abilities. Learning disabilities, glaze workshop Location: Pilling, Lancs
individual sessions residential homes, schools and Dates: Afternoons and evenings pillingpottery.com
Dates: Various private sessions, and sculptures for Location: Greasby, Wirral THE POTTERS BARN
Location: East Kilbride, Scotland your home and gardens Tel: 07803 848212, Courses: Adult half & full
Lanarkshire Dates: Throughout the year and E: joancchan@aol.com day: beginners throwing &
theweemudhut.co.uk area FB: jccermaics handbuilding. Interemediate &
Location: Hull and East Yorkshire THE CLAY HOUSE advanced throwing. Raku & pit
Tel: 07886 841936
CUMBRIA/N EAST leafylanepottery@gmail.com
Courses: Two 3-hr workshops every firing
month Dates: Various
MUDDY FINGERS POTTERY NORTHLIGHT ART STUDIO Dates: Various, see website Location: Sandbach, Cheshire/
Courses: Adult night classes Courses: Evening and day Location: Cedar Farm, Mawdesley, Staffs border
Dates: Tuesday and Thursday workshops, summer schools and nr Ormskirk, Tel: 01704 807320 thepottersbarn.co.uk
evenings, every six weeks taster days. All levels theclayhouseatcedarfarm.co.uk
Location: Jarrow, Tyne and Wear Dates: Weekly and throughout the CLAYWORKS
muddyfingerspottery.com year Courses: Evening & daytime classes NOTTS/DERBYS/
ANNIE PEAKER Location: Hebden Bridge, Yorks for all abilities (with occasional LEICS/MIDLANDS
Tel: 01422 843519 weekend events such as 'Raku', etc)
Courses: Figurative Ceramic
Courses northlightstudio.co.uk Dates: Weekly throughout the year SANDY BYWATER  CURIOUS
Dates: April - October (3 & 5 Days) OLD STABLES STUDIO Location: Southport, Lancashire STUDIOS
Location: Penrith, Cumbria Courses: Throwing: bootcamp, arthousesca@gmail.com Courses: All pottery skills suitable
anniepeaker.co.uk weekends, tasters and regular FB: arthousesca for the beginner or the more
classes sca-network.co.uk experienced
YORKS Dates: Various CRAFFITY POTTERY STUDIO Dates: Tuesday afternoons and
Location: Hebden Bridge, Yorkshire Courses: 'Create with Clay' drop-in evenings. Monthly, Saturday
ART HOUSE, SHEFFIELD JAMES OUGHTIBRIDGE sessions, with or without input. themed workshops
Courses: Wheel, handbuilding, Course: Large Scale Slab Building Regular and seasonal workshops Location: Sneinton Market,
porcelain, raku, figurative, Dates: Contact for details Dates: Various Nottingham
workshops, summer intensive week Location: Holmfirth, West Yorkshire Location: Bury, Greater Manchester sandybywaterceramics.
(chimeneas) jamesoughtibridge.blogspot. craffitycreations.co.uk wordpress.com
Dates: Mon-Sat 10am-9pm co.uk THE CRAFTY POTTER CANDO POTTERY
Location: Sheffield City centre JIM ROBISON CERAMICS Courses: Throwing, hand-building Courses: Hand-building for
arthousesheffield.co.uk Courses: Week-long Ceramics, and & modelling beginners
KATIE BRAIDA Glaze and surface courses Dates: Various Dates: Thursdays 10.30am-12.30pm
Courses: weekly class and day Dates: Various Location: Chorley, Lancashire Location: Mellor, Stockport
workshops Location: Holmfirth, Huddersfield thecraftypotter.co.uk candopottery.wixsite.com/
Dates: Every Thursday evening and boothhousegallery.co.uk group
THE DOWN TO EARTH
various others SCULPTURE LOUNGE STUDIOS POTTERY MIDLANDS ART CENTRE
Location: Scarborough Courses: Throughout the year Courses: Hand-building for Courses: Ceramics Open Studio
katiebraida.com Dates: Contact directly for further beginners to advanced. We are Dates: Various
FIRED ART DESIGNS information always trying out new techniques Location: Birmingham
Courses: 1:1 wheel work, Location: Holmfirth, West Yorkshire such as use of decals and coloured macbirmingham.co.uk
brushwork, surface decoration. sculpturelounge.com clay PARKWOOD THROWING
Handbuilding, slab work, coil work. ANNAMERCEDES WEAR Dates: Year-round: Tuesday pm and COURSES
Classes Courses: Regular one-day Wednesday eve. Some Saturdays Courses: Basic and intermediate
Dates: Various handbuilding courses, includes Location: Clitheroe. Lancs throwing
Location: Pontefract, Yorkshire making and decorating animals and lesleywoods19@hotmail.com Dates: 8-week Thurs evenings,
firedartdesigns.co.uk figures FB: thedowntoearthpottery weekend courses, taster sessions
JILL FORD Dates: Throughout the year PAUL GOULD/MON CERAMICS Location: Nr Alfreton, Derbyshire
Course: Workshop and Day Courses Location: Sheffield Courses: Beginners & parkwoodthrowingcourses.
Dates: Thursday evenings & day anna-mercedeswear.com intermediates co.uk
Do you want your entry to stand out?
For details, contact Amy on 01732 445055
PLAY WITH CLAY ORIEL BODFARI GALLERY AND one tuition on request
Courses: Throwing, toddler clay POTTERY WORCS/SHROPS/ Dates: Mon-Fri inc weekends
Dates: Saturday mornings, Courses: Throwing, handbuilding, STAFFS/HEREFORD throughout the year. One offs by
Tuesday afternoons, throwing Raku, etc arrangement
weekly by appt. Dates: Various ALLYEARROUND POTTERY Location: Drayton Basset, nr
Location: Loughborough Location: Bodfari, North Wales Courses: Weekly classes; taster Tamworth, Staffs
creationspottery.co.uk E: rjpceramic@gmail.com sessions; one & two-day courses stonehousestudios.co.uk
SEVEN LIMES POTTERY orielbodfarigallery.co.uk in throwing, hand-building and WOBAGE FARM CRAFT
Courses: Varied courses/classes decorating; pottery parties for all WORKSHOPS
Dates: All CAMBS/LINCS ages. All for beginners and more Courses: Various multiple-day
Location: Moss Side, Manchester advanced throwing workshops
7Limes.co.uk PAULA ARMSTRONG Dates: Various all-year-round! Dates: Various
SEYMOUR ROAD STUDIOS Courses: Handbuilding, workshops Location: South Herefordshire Location: South Herefordshire
Courses: Weekly/1-day weekend Dates: Monday and Thursday all-year-round.org.uk workshops-at-wobage.co.uk
classes mornings, Tuesday & Thursday BRITISH CERAMICS BIENNIAL
Dates: Various evenings, monthly Saturday Courses: Beginners & Intermediate
Location: West Bridgeford, Notts workshops Dates: Tuesday & Thursday WARKS/N’HANTS/
seymourroadstudios.co.uk Location: Willingham, Cambs Location: Stoke-on-Trent, OXON
parmstrongceramics.co.uk Staffordshire
PAT SHORT CERAMICS
Courses: Beginners’ handbuilding MATTHEW BLAKELY The BCB operates a clay school and ROB BIBBY
Courses: Weekend Courses: a variety of courses throughout the Courses: Pottery classes
workshops
Throwing, Porcelain throwing year. Dates: Tuesday morning and
Dates: Various
Dates: Monthly britishceramicsbiennial.com evening, one-offs by
Location: Edgbaston, Birmingham
patshortceramics.com Location: Lode, Cambs EARTH AND FIRE CERAMICS arrangement
matthewblakely.co.uk Courses: hand-building, throwing Location: Woodnewton, Oundle
LINDA SOUTHWELL by arrangement, pop-up pottery. robbibbyceramics.co.uk
Courses: Evening classes and one- DEEPDALE POTTERY
Courses: Handbuilding and 1:1 or small groups, 2-hour intensive CENTRE OF ENGLAND ARTS
to-one experiences lessons
Dates: Wednesday evenings and throwing for beginners and Courses: Novice to experienced,
experienced Dates: Various, 4-weekly courses including throwing
by arrangement Location: Great Haywood, Stafford
Location: The Harley Ceramics Dates: Weekend and weekday Dates: Weekly, Thursday evenings
Studio, Welbeck, Worksop courses, including yurt Facebook: @earthandfireceramics 7-9pm
lindasouthwell.co.uk accommodation if required, KAREN FINCHAM CERAMICS Location: Nr Solihull
throughout the year Courses: Hand building and coea.co.uk
Location: Barton upon Humber,
WALES North Lincs
throwing. One to one and group PUP RUGBY
sessions Courses: Pop-up pottery,
BASEART STUDIO, GALLERY & yurtatthechapel.co.uk Dates: Weekdays, evenings and pay-as-you-go. Come and have
POTTERY WORKSHOPS HILLS ROAD SIXTH FORM Saturdays a go!
Courses: Handbuilding; COLLEGE Location: Redditch, Worcestershire Dates: Wednesdays, fortnightly
throwing; 1-2-1 one-off sessions; Courses: Handbuilding, throwing, clayclass.co.uk Location: Newton Village Hall,
parties (adults, children, team- plus summer school workshops POP UP POTTERY STUDIO nr Rugby
building) Dates: Various (EARTH & FIRE CERAMICS) FB: @popuppotteryrugby
Dates: Ongoing, days and evenings Location: Cambridge Courses: Beginner courses to learn E: puprugby@gmail.com
Location: Taff’s Well, Cardiff hillsroadadulteducation.co.uk simple techniques SWANSPOOL CERAMICS
baseart.org THE POT SHOP Dates: Tuesday evenings & Courses: Handbuilding,
CARDIFF POTTERY Courses: Individual and small Friday afternoons throwing, all levels. Open access
WORKSHOPS groups pottery classes in a Location: Great Haywood (near studio. Weekend courses &
Courses: Handbuilding; throwing; professional workshop Stafford), Staffordshire one-off experiences
one-off Saturday sessions; 1-2-1 Dates: Various, throughout the carolinefarnellsmith@gmail.com Dates: Termly, year-round
throwing; masterclasses with year POTCLAYS Location: Castle Ashby,
Anne Gibbs; parties (children, Location: Lincoln Courses: Basic/Intermediate/ Northants
adults, teambuilding); pottery Facebook, Twitter & Instagram: Advanced Throwing, Intro to glazes, swanspoolceramics.co.uk
membership tutored & @potshop1 Pottery Basics, Moulding and
un-tutored Tel. 01522 528994 Slipcasting, Tilemaking
Dates: 6-wk day & eve sessions, POTTERYDAYZ Dates: Various NORFOLK/SUFF/
various Courses: Wheel throwing for Location: Stoke-on-Trent ESSEX
Location: Cardiff beginners and more potclays.co.uk
cardiffpotteryworkshops.com experienced THE SCULPTURE PLACE PHIL ARTHUR
GLOSTERS Dates: Saturdays, 9.30-3pm Courses: Figurative Sculpture Courses: Pottery classes
Course: Throwing Location: Peterborough/East Classes Dates: Tuesday evening, Thursday
Dates: April, Midlands Dates: Weekly sessions: Monday, afternoon
Location: Porthmadog FB: @claydayzz, Wednesday & Thursday (running for Location: Cawston, Norfolk
glosters.co.uk E: potterydayz@gmail.com 6 weeks) Philarthur1951@btinternet.
JANE MALVISI ZOO CERAMICS Location: Wolverhampton, com
Courses: Raku: full day workshop Courses: Half and full day Staffordshire DEBORAH BAYNES
2nd Saturdays Two-hour pottery handbuilding workshops, 10-week thesculptureplace.co.uk Courses: Residential and
classes inc Raku pottery classes STONEHOUSE STUDIOS nonresidential
Dates: Mon/Tues/Weds days and Dates: Various Courses: Throwing & handbuilt Dates: Weekends (spring/autumn),
evenings Location: Waddington, ceramics, sculpture & life sculpture. full weeks (July/Aug)
Location: Bridgend, S Wales Lincolnshire Portrait drawing, painting, & general Location: Shotley, Suffolk
janemalvisi.co.uk zooceramics.co.uk art. One off workshops & one-to- potterycourses.net
BRICK HOUSE CRAFTS Buckinghamshire SASHA WARDELL Dates: Mon-Sat various times
Courses: handbuilding, throwing, rubysharppottery.co.uk Courses: Bone china & mould Location: Kemerton,
decoration, mould making, raku making courses Gloucestershire, and London
in the summer. Beginners to Dates: May to September ( incl.) in kitestudios.org
professional welcome Leisure WILTS/HANTS/ SW France / Feb & March in NEW BREWERY ARTS
classes & City & Guilds L2 and L3 BERKS Wiltshire Courses: Variety of ceramic courses
courses Location: SW France/ Wiltshire Dates: Contact directly for further
Dates: Tues - Friday 10am to 4pm, ANGELS FARM POTTERY sashawardell.com details
Sat 10am - 12 midday Courses: Residential (B&B) & non- Location: Cirencester,
Location: Silver End, Essex residential. Throwing, handbuilding, Gloucestershire
brickhouseceramics.co.uk decorating DORSET/GLOS/ newbreweryarts.org.uk
MARIAM CULLUM Dates: Sat and w/ends once a SOMERSET/AVON RUARDEAN GARDEN POTTERY
Courses: 1:1 tuition in throwing, month. Weekly evening classes & Fri Courses: Weekends, week-long
hand-building, slip-casting, surface am. One-off days for groups, min 4, ARTISAN CRAFT CLASSES & Courses: Throwing, Pot Making
decoration and glaze preparation max 8 attendees WORKSHOPS Dates: Various
and application. Location: Lyndhurst, New Forest, Courses: Weekly pottery classes - Location: Forest of Dean
Dates: Various - Monday to Friday Hants. wheel and handbuilding ruardeanpottery.com
10am-4pm angelsfarm.co.uk Dates: Mondays and Wednesdays,
one-offs by arrangement RACHEL FOOKS: CERAMICS
Location: Bury St Edmunds BRACKNELL AND
Location: Winterborne Monkton, Courses: Weekly classes and
mariamcullumceramics.co.uk WOKINGHAM COLLEGE
Dorchester one-off sessions, hand-building &
KATIE'S POTTERY STUDIO Courses: Mixed ability adult throwing for all abilities
leisure classes taught throughout mail@artisandt1.co.uk
Courses: One-to-one & small group Location: Wareham, Dorset
tuition in throwing, handbuilding, the daytime and evening. All ASHBROOK STUDIO rachelfooksceramics.com
decorating, glazing & firing for abilities welcome in our well- Courses: Throwing, handbuilding,
all ages and abilities. Children's equipped pottery studio, where glazes DEVON/CORNWALL
Saturday class a range of pottery techniques One-to-one or small group, daily
Dates: Throughout the year are taught by experienced tutors. Dates: All year GOONZOYLE POTTERY
One-day specialist courses taught Location: Waterrow, Somerset Courses: Wheel, handbuilding,
Location: Leiston, Suffolk
throughout the year ashbrook-ceramics.co.uk glazing, raku and pit-firing. For all
katiespotterystudio.co.uk
Dates: Mon – Thurs, daytime and abilities in fully equipped rural studio.
SUDBURY POTTERY CLASS evening BANWELL POTTERY
Dates: Morning, Afternoon &
Courses: Weekly classes, Location: Woodley Hill House, Courses: Throwing, handbuilding,
Evening drop-in workshops
workshops, one offs and pottery for Earley, Berks modeling, slab work, coil work,
throughout the year. Contact
kids. Various hand building, slab, coil bracknell.ac.uk/courses/Leisure/ tile-making directly for more information.
and surface decoration. All abilities courses/ceramics-sculpture Dates: Weekly evening class, Weds Location: Camborne, Cornwall
welcome Tel: 01344 868600 6-8pm marykaunenglish@yahoo.co.uk
Dates: Weekly, daytime and Location: Weston-super-Mare, FB: Goonzoylepottery
‘CLAY SURGERY’ WITH N Somerset
evening/ some weekends SUZANNE & ABBY marykaunenglish.com
Location: Sudbury, Suffolk banwellpottery.org
Courses: Throwing, handbuilding, LEACH POTTERY
sudburypotteryclass.co.uk glazing, raku, mould-making for CARANTOC ART Courses: 3 & 5-day throwing,
THAXTED POTTERS beginners and improvers Courses: Intensive & regular classes evening
Courses: Beginners and Dates: Weekends throughout the available in pottery & ceramic classes handbuilding, throwing
intermediates year sculpture Dates: Various, each month
Dates: Various 6-week sessions Location: Waterlooville, Hants Dates: Year-round Location: St Ives, Cornwall
Location: Thaxted, Essex abbyducharme@hotmail. Location: Weston-super-Mare, leachpottery.com
thaxtedpotters.co.uk co.uk North Somerset
carantoc-art.co.uk TARKA POTTERY
THE CREATIVE CAVERN Courses: All levels from beginners
BEDS/BUCKS/HERTS Courses: Various, inc 1:1 throwing, CREATIVE CLAY FOR ALL to intermediate all year round. Taster
Dates: Various Travelling clay workshops for those sessions for individuals or groups,
CLAY WITH CAROLE Location: Winnersh, Berks who have no access to a kiln. Ideal weekly throwing and handbuilding
Courses: Handbuilding, throwing thepaintnightcompany.co.uk/ for community groups. courses. Child/family workshops,
Dates: Various pages/the-creative-cavern Based in Dorset parties
Location: Hitchin, Herts facebook.com/creativeclayforall Dates: Tuesday to Saturday
EASTCOTT STUDIOS creativeclayforall@yahoo.co.uk
claywithcarole.co.uk Courses: Workshops, classes, drop- Location: North Devon
DIGSWELL CERAMICS in sessions, open access PATRICK ESSON tarkapottery.co.uk
COMMUNITY Dates: Various Courses: Modelling, coiling, slab
Courses: Beginners’ tuition, Location: Swindon, Wilts work, pinching, throwing
support for experienced potters eastcottstudios.co.uk Dates: Various KENT/SUSSEX/
Dates: Tuesdays, Thursdays FIRED THOUGHTS ARTS Location: Gloucester SURREY/LONDON
Location: Letchworth STUDIO p.esson@aliqua-art-gallery.com
NORTH MARSTON POTTERY Courses: Ceramics & ceramic CHARLOTTE MILLER ART OF MINE
Courses: Variety of pottery courses sculpture courses/workshops, all CERAMICS Courses: 1-1 throwing tuition, hand
Dates: Contact directly for further skill levels. Raku, 1:1 throwing, all Courses: Throwing, handbuilding, building, surface decoration for all
details handbuild techniques mould-making, surface decoration ages and abilities. Birthday parties,
Location: North Marston, Dates: Weekly, daytime & Dates: Termly part-time, taster team building and taster sessions
Buckinghamshire evening/weekends workshops, pottery parties Dates: Various
northmarstonpottery.co.uk Location: Devizes, Wilts Location: Bournemouth Location: Maidstone, Kent
RUBY SHARP whelan581@btinternet.com charlottemillerceramics.com info@thisartofmine.co.uk
Courses: Hand building, throwing, JEANNE LEWISTIFF KITE STUDIOS CLAY STUDIO ART SHOP AND POTTERY
decorating pots, sculpture for home Courses: Small groups or 1-1 in Courses: Throwing, handbuilding, Courses: 1-to-1 throwing tuition.
and garden throwing and/or hand building glazing, adult & children courses One-off taster sessions & longer
Dates: Throughout the year Dates: Contact for details weekly & weekend. One-to-one courses available. Slabbing, tile
(weekend & day sessions available) Location: Maidenhead, Berkshire sessions and pottery birthday making and Kids Clay Club.
Location: Amersham, E: Jeannelewi@hotmail.co.uk parties Dates: Monday to Saturday
10.00am - 6.00pm Dates: Various, ongoing Open access Sun for all levels – must be working
Location: Brighton & Hove Location: Central Eastbourne Dates: Various, year round, plus independently.
artshopandpottery.com grahammatthewsceramics.com open access Classes available, see website for
AYLESFORD POTTERY LAURA CROSLAND CERAMICS Location: Three studios in details/availability
Courses: Raku days, 1-day, 10-week Courses: Various, one-to-one or Peckham, East London Dates: Open access studio Tues-
Pottery classes, Mould Making, group thekilnrooms.com Sun.
Glaze Theory & Application Dates: Various KITE STUDIOS CLAY STUDIO Location: Hoxton E2 and Lee Valley
Dates: Various terms Location: Chatham, Kent Courses: Throwing, handbuilding, E10, London
Location: Aylesford, Kent lauracroslandceramics.com glazing, adult & children courses e2.turningearth.uk
aylesfordschoolofceramics.co.uk PETER CUTHBERTSON weekly & weekend.
BURWASH POTTERY Courses: Throwing and One-to-one sessions and pottery FRANCE
Courses: Various handbuilding, handbuilding, birthday parties
decoration. All levels. Classes, beginners and more advanced Dates: Mon-Sat various times L’APIPOTERIE /E. PENSA
workshops, parties, taster sessions Dates: Weekly regular day and Location: Kemerton, Courses: Handbuilding for
Dates: Terms of 6 weeks, various evening classes plus one off Gloucestershire, and London utilitarian use and animal sculpture.
Location: Burwash, East Sussex weekends by arrangement kitestudios.org Bilingual course French and English
burwashpotter.co.uk Location: East Hoathly, East Sussex LILLAGUNILLA CERAMIC Dates: 10-12 July and 25-27 August
THE CERAMIC STUDIO peter.cuthbertson@phonecoop. STUDIO Location: Beaufort sur Gervanne/
Courses: From beginner to Coop Courses: One-day workshops and South East of France in the Vercors
professional, plus taster sessions EASTBOURNE STUDIO Saturday classes in throwing and regional park
Dates: Various POTTERS hand-building epensa26@gmail.com
Location: Five Oak Green, Kent Courses: Throwing, hand building, Dates: Various
Location: Charlton, South East MAS SARRAT POTTERY
theceramicstudio.me.uk surface decoration and glazing for Courses: Introduction to pottery
beginners and experienced potters. London
CERNAMIC lillagunillaceramics.co.uk (handbuilding and throwing).
Courses: With Nam Tran; throwing, Plus, Personal Project Development Improver pottery handbuilding and
mould-making, raku with specialist support. MAZE HILL POTTERY
Course: Weekly Evening Classes throwing) 5-day courses
Dates: Various Dates: Weekly courses throughout Dates: April 16-30 and 23-27
Location: SE London the year. Personal Project on Weds Dates: Throughout the year
Location: Greenwich, London Location: Cazals, Lot, France
cernamic.com 6-9pm.
mazehillpottery.co.uk Jenniegilbert.com
Location: Eastbourne
CLAYNGLAZE POTTERY Facebook: @cvpotterycourses
eastbournestudiopottery@gmail. PADDOCK STUDIO POTTERY
STUDIOS UN PETIT TOUR DE TERRE
com Courses: 1-day individual or
Courses: Pay as you go pottery Courses: All levels, hand-building,
for all levels. Various training eastbournestudiopottery.com shared, throwing, handbuilding
FOREST ROW SCHOOL OF Dates: Various surface decoration, making
days/weekend courses & fine art
workshops CERAMICS Location: Lewes, East Sussex tools, raku, glazing. Full-board
Dates: Days, evenings & weekends Courses: Adult intensive throwing thepaddockstudiopottery.co.uk accommodation available
throughout the year and handbuilding weekly classes. THE PAINTING POTTERY CAFE Dates: All year round, Monday 9am
Location: West Sussex Weekend workshops: raku, soda/ Courses: Evening classes: to Friday 5pm
claynglaze.co.uk smoke firing, animal sculpture, glaze Throwing, coiling, slab & pinch Location: Saint Génies de Comolas,
chemistry, slip decorating. for different monthly projects. All France
THE CLAY PLACE
Three-month residential Sept-Nov materials and glazes provided. Facebook: @FredPotierGres
Courses: 6-week courses, one-day
workshops, bespoke clay days. 2018 £35pp SASHA WARDELL
Hand building techniques, slab, coil, Location: Forest Row, West Sussex Dates: 3rd Thursday of the month Course: Bone china & mould
surface decoration frschoolofceramics.co.uk 6.30-9.30pm making courses
Dates: Wednesday/Friday 6-week GO CREATE Location: Brighton Dates: May to September (incl) in
courses Courses: Pottery, sculpture & craft paintingpotterycafe.co.uk
SW France/Feb & March in Wiltshire
Various dates for one-day workshops Dates: Various SULEYMAN SABA Location: SW France/Wiltshire
Location: Ashurst, West Sussex Location: SW London Courses: Pottery classes sashawardell.com
jwceramics.net gocreate.co.uk Dates: Tuesday and Wednesday
THE CLAY ROOM UK CLAIRE GRIFFITHS evenings (Clapham),
Dates: Starting September; Mondays and Tuesdays (Kingsbury) SPAIN
Courses: Clay taster workshops;
introductory pottery; mould- Weds 10.00am -12.30pm & Location: London (Kingsbury and
Clapham) TOTEM CERAMICS POTTERY
making & slip-casting; transfer; Thurs 7.00- 9.30pm
suleymansaba.com SCHOOL
termly pottery courses; Christmas Location: Whitstable
jc.griffiths@btinternet.com Courses: Throwing, sculpting,
workshops & private lessons STAR POTTERY handbuilding, slip casting, general
Dates: Various HANDMADE IN CHISWICK Courses: Taster, Weekly classes
Location: Chelsfield, Orpington skills for beginners.
Courses: Weekly classes and Dates: Various
theclayroomuk.com Location: Lewes, East Sussex Weekly classes & courses
one-off workshops inc 1:1 throwing. Dates: 1-5 day courses, weekly
THE CLAY STUDIO Studio time for more experienced hamid-pottery.co.uk
classes, year-round
Courses: Handbuilding, throwing, learners IMOGEN TAYLORNOBLE Location: Andalucia
surface decoration, glazing for Dates: Term time for weekly classes, Courses: Weekly pottery classes for
by arrangements for workshops totemceramics.com
beginners/experienced potters. adults and children.
Raku, smoke-firing and animal and studio time Suitable for all levels.
sculpture Location: London, W4 Hand-building, glaze mixing & REST OF WORLD
Dates: Mon-Thurs all day inc HandmadeinChiswick.weebly.com glazing, experimental firing days.
evenings sylviejoly@blueyonder.co.uk Obvara, Raku, & Saggar. 1:1 throwing DUCTAC, MALL OF EMIRATES
Location: Groombridge, nr Twitter: @jolyopsimath sessions at my Whitstable studio Courses: Introduction to ‘Pottery
Tunbridge Wells THE KILN ROOMS Dates: Various for all’; hand-building & throwing.
claystudio@eunicelocher.com Courses: Beginners one-off taster Location: Espressions Art Cafe, Trial sessions
THE CLAY WORKSHOP sessions; beginners taster classes: Canterbury Dates: Sunday, Monday, Thursday
Courses: Throwing, hand-building, beginner/intermediate courses imogentaylor-noble.com 10-1pm. Tuesday 6.30-9.30pm
glazing, decorating, raku. All levels, in hand-building, throwing, TURNING EARTH Location: Dubai, UAE
inc 1:1s decorating, glazing. Masterclasses. Courses: Open access studio Tues- ductac.org

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28 PAGES OF STEP-BY-STEP PROJECTS

PINCH, COIL, SLAB

EARTH & FIRE

ALSO INSIDE: Social enterprise: Banwell Pottery Events diary

Jacqui Atkin Kevin Millward

Preview & rea

ALSO INSI LARG PLANTER

where the 135-year-old Wemyss

24 PROJECT 3: colouring clay

24 to mix colour into dry clay and

52 Earth and Fire READER

62 Ceramic Art London

67 WIN 3-day tickets 70 Doug’s Diary ceramics events right

47 Your guide to pottery and free listing

76 ClayCraft SPECIAL PINCH, COIL, SLAB

EARTH & FIRE

Save money and have the GLAZING

magazine delivered to your door

You know it makes sense!

ALSO INSIDE: Social enterprise: Banwell Pottery Events diary

NEW email claycraft.ed@kelsey.co.uk

Science for Potters

the geology and composition

A POTTERS’ GOURMET WORKSHOP

A ceramics artist used facilities at

WHSmith backs ClayCraft

MORE and local newsagents all over Britain,

PINCH, COIL, SLAB AND THROW

Clay: stoneware and porcelain

If you would like a piece of your work to be featured, email us at:

Place a finger in the drainage hole, as shown, then

I t is among the most sought-

The new style of pottery was named A new tradition

made to order in any

 Painters Roseanne Hoy and Elaine Syme at work. Making the

 The Queen recently

allowed to dry before being fired for

Visit the pottery:

Last month, we covered

USING METAL OXIDES

Blue stain 10g to 20g

Purple Pink stain 25g

You can, of course, create other colours using these

 Leave the bowl

 Cut through the coil to see what the spiralling is like

When completely dry, sand

9 If using porcelain, you will find

PROJECTS: Next month we’ll be bringing you more hands-on

Plus: choosing glaze colour combinations • Doug’s Diary • Events • Courses

01253 790307 Clays and glazes

Lessons in throwing, handbuilding and

Linda Bloomfield is a scientist

Cone 04 1060°C Al2O3 0.1-0.45 SiO2 1.375-3.15

 Cut out the outline shape of your

Score the marked position on the template and the

If you would like a piece of your work to be featured, email us at:

Rachael Pedersen, Bluebell Ceramics

 Emily Jones, painting heart

Project coordinator, Dianne Slingsby,

 Sylvia Sparnenn, showing off her

For further information about

TEL: 01323 896444 EMAIL: CHRIS_HESKE

To advertise please call

Tel: 01458 270168

Painters Roseanne Hoy and Elaine Syme at work. Making the

The Queen recently

Leave the bowl

Cut through the coil to see what the spiralling is like

Cut out the outline shape of your

Emily Jones, painting heart

Sylvia Sparnenn, showing off her

Raw materials have to be

Jean Paul, winner of the People’s

Jessica Thorn. Hannah Tounsend at CAL.

Jill Fanshawe Kato with tile commission.