ClayCraft 22 2019

SIX GREAT STEP-BY-STEP PROJECTS
PINCH, COIL, SLAB AND THROW Issue 22
GLAZING
SURFACE DECORATION
Printing on clay
BOLD BLACKS
SLAB-BUILD
RELIEF OWL PLAQUE

CASTING SLIPS
CAST SLAB VASE

PINCH, COIL, SLAB AND THROW
Issue 22
ALSO INSIDE: Decals on blanks • Oval baker £4.99
Meet the team...
Welcome
E
very week I receive
hundreds of emails, and
most of them are actually
Jacqui Atkin work-related and not just
Kevin Millward Surface spam! The ones that really make my
Oval baker decoration
p8 p22 & 40
day are either from people who have
just discovered the magazine and want
to tell us how excited they are to have
found us, or from long-term readers
who have made something from one of
our projects and want to share it with
us. well (I’ve been testing one) and are
The fact that people take the time to generously proportioned, so you don’t
Doug Fitch Linda Bloomfield write in means a lot to us; it confirms have to keep pulling them across your
Regular diary Black glazes
p54 p46
our belief that we’re offering something legs while you’re throwing. Best of all,
that’s appreciated, was needed and, if you work somewhere cold, they really
more importantly, the projects are keep your legs warm (I know that’s not
SIX GREAT STEP-BY-STEP PROJECTS
providing inspiration and guidance in a pottery-specific point, but it’s relevant
the way we envisaged. Each new reader – the struggle is real!). You can see
PINCH, COIL, SLAB AND THROW Issue 22
is someone who will become more more details on page 66.
GLAZING
SURFACE DECORATION deeply involved with pottery, maybe As always, Jacqui and Kevin have
Printing on clay
trying a new clay type, or decoration worked hard to bring you another great
BOLD BLACKS
technique, learning a new skill that selection of projects. We would love to
SLAB-BUILD
they can experiment with and make see what you make from them, so please
their own. It’s a wonderful journey to do share your photos with us, either by
RELIEF OWL PLAQUE
be involved with, and we enjoy every email to claycraft.ed@kelsey.co.uk or on
CASTING SLIPS
minute of it. our social media, where we can be
To say thank you, we have a reader found @claycrafting
offer on our new ClayCraft split-leg
CAST SLAB VASE
ALSO INSIDE: Decals on blanks • Oval baker

Issue 22
£4.99
aprons. These high-quality aprons
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provide great protection while you’re

This month’s cover features working in the studio, whether
our printing on clay project, throwing, handbuilding or glazing.
see page 22 Rachel Graham, Editor
Heavy-duty 100% cotton with an
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Issue 22 ClayCraft 3
Contents Issue 22
46
34 Project 3: flat plaster batt
These are quick and easy to make
and can be used for lots of
different things. Here, we use it in
Project 4
40 Project 4: slip cast vase

An exciting way of working in
clay that allows you the freedom
to create bold and wonderful
surface decoration with just a few
flourishes of your brush
6 News 22 Project 2: decorating with 46 Linda Bloomfield

printing Exploring different
8 Project 1: thrown and This is a relatively simple build methods of obtaining really
altered baking dish project with a combination of good blacks in your glazes
This dish is unusual because it’s decorative surface treatments
thrown in two parts then
reassembled to make the oval
shape
20 Graduate show
The first cohort of full-time
22
graduates at the Forest Row
School of Ceramics have just held
their final exhibition
20
4 ClayCraft Issue 22
CONTENTS
71
48
48 Project 5: decals on blanks
Quick and easy surface decoration
54 Doug’s Diary
56
The Fitch family enjoy a quick
break from making, and Pippin’s
already started selling her work!
56 Project 6: relief owl plaque

A combination of slabbing and
simple sculpture techniques to
make a raised relief wall plaque
❯❯ 65 READER
ClayCraft APRON ❯❯
OFFER:
Cover up and look good with our

split-leg apron
66 Next month
Find out what’s coming up in the
next issue 71 Kiln conversion pt 1 SIX GREAT STEP-BY-STEP PROJECTS
Making the change from sitter to
67 Confessions of a novice digital
More on Tracey’s raw-glazing PINCH, COIL, SLAB AND THROW
adventure. And she still doesn’t 76 Courses Issue 22
SURFACE DECORATION
GLAZING
know if they’ll ever get fired Fancy signing up for a class? Find
one near you in our useful listing Printing on clay
70 Events
What’s on across the country 81 Back issues
Missing an issue? Find it here and BOLD BLACKS
keep your magazines organised in SLAB-BUILD
54
our handy binder
82 Me and my Pot:
Selena Bragg RELIEF OWL PLAQUE
CASTING SLIPS
74 ClayCraft
subscriptions CAST SLAB VASE
ALSO INSIDE: Decals on blanks • Oval baker

SPECIAL
Issue 22
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001 Clay Craft Cover Issue 22.indd 1
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door You know it makes sense!
If you have a news story, product launch or details of some
THE
S
other topical item you’d like our readers to know about,
IN
W
email claycraft.ed@kelsey.co.uk
NE Remembrance bench
The Parish Council of Burwash, and Duncan Envision 'Very black’,
the home of Rudyard Kipling, to complement the Botz 'Fir tree’
commissioned local potter Mary green, background glaze. “It was a
Clarke to transform a rather ordinary true community project,” said Mary.
brick bench on the High Street into “I made the tiles, which took about
a Remembrance Day legacy. The 70 hours over the course of a month.
council paid for the materials, and I had help from a small group of local
Mary – along with other locals – volunteers to help me glaze. Local
contributed their time, transforming residents Steve Payne did the tiling
the bench with green tiles decorated and Mike Poulter made the wooden
with red poppies, and adding a bench. We chose not to have an Betty McBride, the chair of the Parish
wooden seat. official unveiling, but the bench had Council said, "Mary's creativity and
The 400 tiles were made from been covered up while the tiling work drive combined to give Burwash a
smooth buff clay, and the poppy was done, leading to speculation and lasting memorial to the parishioners
tiles were formed in handmade guesses about what had happened who sacrificed their lives during the
plaster moulds. There are 100 to it.” Great War. The refurbishment project
poppy tiles to mark each year of the Once it was revealed, the comments has given a new lease of life to a
centenary. These were picked out received from Burwash residents somewhat neglected village feature."
in Potterycraft’s 'New perfect red' were wonderfully positive. Councillor burwashpotter.co.uk
Meet the Makers

After a bumper first year, Made by we could have possibly hoped and workshops, exploring various
Hand, Cheltenham returns to the sales were very strong. I‘m really materials and techniques. Hosted
iconic location of Cheltenham Town looking forward to the show in by The Gloucestershire Guild of
Hall on the weekend of the 8-10 March.” Craftsmen and New Brewery Arts,
March 2019. the taster workshop programme for
The organisers of the multi- WHAT TO EXPECT adults offers a range of activities
award-winning Craft Festival, Bovey This truly special event brings including weaving, calligraphy, hand
Tracey and Made by Hand, Cardiff, together an exceptional, handpicked building, pottery and bookbinding.
are honoured to return to the town, selection of 100 award-winning Families are very welcome and
which has an impressive annual makers from all over the UK. The accompanied children under 18 are
programme of world-class festivals. highly skilled collection includes free. Unit 12 Gallery will be hosting a
By popular demand, Made by jewellers, potters, furniture makers, range of skilful and inspirational free
Hand, Cheltenham, a not-for- textile artists, glassmakers, wood workshops for children throughout
profit organisation, is extending workers and many more, all selling the weekend.
the event from two to three days, their finely made products directly Made by Hand, Cheltenham is
bringing an abundance of British to the public. Made by Hand prides produced in association with The
designer-makers coupled with craft itself on giving contemporary Craft Festival, The Gloucestershire
demonstrations and workshops, to designer makers a wider platform, Guild of Craftsmen, New Brewery
the heart of the Cotswolds. Visitors showing how their products can fit Arts, Cirencester, The Cheltenham
will have the unique opportunity to seamlessly into our modern lives. Trust, Period Living magazine,
meet the makers and discover the madebyhandonline.com and Unit
stories behind their carefully made GET UP CLOSE Twelve Gallery.
products, A unique opportunity for visitors to
Sarah James, the event director, meet the makers within a friendly,
is delighted to return to beautiful
Cheltenham. “The incredibly
relaxed environment. Every day, a
selection of makers will share their SAVE THE DATE
positive response to Made by Hand, skills and demonstrate their craft Made by Hand, Cheltenham, takes
place on 8-10 March 2019
Cheltenham was very exciting. such as ceramics, jewellery and
Open Saturday 10-5pm & Sunday
Visitors really appreciated the textiles.
10am-4pm
special quality of the makers that
Adult daily ticket £7, concession £6
they met. When you launch a new WHEN WAS THE LAST TIME YOU Adult Super Saver Weekend Ticket
event, in a new area, it’s difficult to DID SOMETHING NEW? £13, concessions £11
predict, but I couldn’t have been Made by Hand, Cheltenham Accompanied Children under 18 FREE
happier. We had more visitors that also offers a range of two-hour
IN THE NEWS
Tutored sculpting workshop

For the first time, master unique approach to clay
sculptor Andrew Sinclair application.
MRSB is offering a tutored
workshop at his purpose- About Andrew Sinclair
built Devon-based Sculptor Andrew Sinclair MRBS is
School. The new workshop recognised as a master
aims to help sculptors of world-class figurative
wherever they may be in sculpture. Earlier this
their sculpting life. Andrew year he unveiled the
will provide creative or first global sculpture to
hands-on help with work in celebrate the life and work
progress or help bring life of David Bowie. Andrew
to a conceptual idea. is currently working on a
There will be one-to-one monument for the Duke
tutoring every day over of Wellington's Regiment
this four-day course using to be situated in the heart
The Sinclair Methodology of Halifax, home of the
developed by Andrew. Regiment for over 200
The workshop will be years. The monument is
held at the newly opened due to be unveiled in early
sculpture school run by 2019.
Andrew and his partner, His impressive
sculptor Diane Coates. catalogue of work graces
distinguished historical
About Sculpture School
The Sculpture School is
properties and public
places such as the Royal Even better!
the only establishment Box at Ascot, Epsom
in the UK dedicated to Racecourse, and Crosby
teaching contemporary Hall (Sir Thomas Moore's
realist sculpture. Using a old palace) in London.
highly student-centred Working to commission
and fresh approach, the during his 25-year
diverse range of sculpting professional career, ROHDE TOPLOADERS TE-S
classes are designed to Andrew's sculptures are
suit everyone whether a in collections across the STANDARD FLOOR HEATING
beginner, experienced, or a globe.
professional. All sculpture thesculptureschool.co.uk
courses teach proven F: facebook.com/ Since the company’s foundation in 1982,
techniques developed TheSculptureSchool
by Andrew Sinclair, T: @sculptschool ROHDE has been committed to the
including the school's IG: sculptureschool continuous development of innovations
and new, efficient solutions that suit your
requirements.
Recently, kiln models from the Toploader

TE-S series have been equipped with a
standard floor heating to improve
temperature distribution and allow efficient
use of the firing chamber.
www.rohde-online.net
SKILL SCHOOL
PROJECT
ONE
THROWN OVAL
BAKING DISH
This baking dish is unusual in that it’s thrown in
two parts then reassembled to make the oval
shape. This is a good way of changing the
shape of thrown items but takes a little
more time to complete
Difficulty rating ★★★★★
Before you begin:

Be aware that although this isn’t a complicated
project, it does require some skill to centre the large
amount of clay.
Fix a batt to the wheel head – for details visit
claycraft.co.uk/how-to
You will throw the wall almost to the edge of the
batt so make sure it’s wide enough to accommodate
the size of dish you want to make.
.
PROJECT
SKILL SCHOOL
ONE
Throwing the wall
You will need:

■ Clay – earthenware or stoneware in a colour of
your choice
■ Tools for throwing – bowl for water, sponge,
cutting wire
■ Rib
■ 2 batts:
1 for the wall of the dish approx. 25-30cm
2
diameter
1 for the base of the dish – this needs to be larger Place your left hand over the clay, supported by the right
hand, and press your fingers right down to the batt surface.
to accommodate the change of shape from round to
You need to apply plenty of pressure as you do this.
oval of the wall when assembled – 35-40cm. (These
sizes are approximate and entirely depend on the
size of dish you want to make)
■ Glaze of choice to suit your clay type
3
Open out the shape to your right,
still using the left hand supported
by the right. Draw the clay to within
2cm of the edge of the batt.
Don’t worry that there is some
residue of clay on the batt inside
the opened-out ring – this will be
Centre 5-6lb of clay for a family sized dish – you can removed later.
see full instructions on how to do this by visiting our
website but begin by coning the clay up between both
hands to get it to the correct consistency. Next, push
the clay down with the right hand while supporting
the edge with the left to level it off and bring it to
centre.
Wipe away the excess water from the batt around
the edge of the clay so that as the wall is expanded
across the surface when opening up, it will stick. Too
much water will cause the wall to detach from the batt
so this is a very important element in the process.
4
Make sure the wall is still centred by pinching and
lifting it between the fingers of your left hand – using the
right hand to keep the wall steady as you lift, and with the
forefinger over the rim to keep it to shape.
DIFFICULTY RATING ★★★★★
TIP:
Remem
leave a
ber to 7
ledge a s light
ro
inside b und the
a se
need th . You'll
is lat
s e e s te p e r –
8.
5
Trim the outside edge at the base with a rib to remove
Knuckle the wall up to a height of approximately 10-
excess clay and slurry. The rib should undercut the clay
13cm
slightly to form a shallow bevel.
To lift the clay, position the side of your right
The dish will have a lovely rustic look to it if the
forefinger knuckle on the outside wall with the fingers
throwing lines are pronounced, so just run your fingers
of your left hand placed on the inside, just above the
up the wall one last time to re-emphasise this and
knuckle.
soften off the clay where you undercut it on the outside.
Because this is a functional piece, it needs a good strong

rim to aid lifting in and out of the oven, so when you have
knuckled the wall up make sure you leave some clay at the
top to accommodate this.
As you finish lifting the wall, place your right forefinger
over the rim to compress the clay and flatten it off a little.
Sponge lightly over the edge when finished. .
SKILL SCHOOL
PROJECT
ONE
9
8 Sponge out any remaining water from the interior of

the wall then lightly sponge over the rim. If necessary,
Clean the clay off the batt on the inside of the wall re-compress the rim with the side of your forefinger to
using a rib. Work outwards from centre but leave a burr neaten it up and flatten it off a little more.
of clay at the base of the wall as indicated by the finger
in the bottom image. This is what you will stick to the
base later, so it’s very important to leave it!
10
Finish by running a finger under the rim on the outside

wall to establish a good ledge to get your fingers under
when using the dish.
14
11
Very carefully wire the
underside of the wall. Don’t Use the back of your right fist to press down and force
worry about the furry bits the clay outward over the batt. The left hand should
that appear around the burr support the right as you do this.
after doing this, they will be It is essential to get plenty of compression in the base
smoothed into the base later. to prevent cracking in drying and firing.
12
Lift the batt off the wheel head and put the wall to one
side for the clay to stiffen to a stage where it can easily
be handled but is still malleable enough to alter the shape
without cracking.
Throwing the base

You will need a similar weight of clay for the base as used
for the wall and remember that the batt must be larger
for the base, to accommodate the change of shape from
round to oval.
13
Secure your batt on the wheel head then cone up and

centre the clay as you did for the wall. .
SKILL SCHOOL
PROJECT
ONE
16
15
Use a rib to make sure the base is completely flat. Work
over the surface, outwards from the centre, holding the
rib firmly.
Lightly sponge over the surface when finished.
Make a gentle swirl in the clay using two fingers (which

make a better, more even swirl than one finger),
working from the centre outward.
Fixing the wall to the base
19
17
Trim the outside edge of the base to form a slight Place the base on a whirler then check it’s at the right
undercut then wipe over the surface again with a stage of dryness to work with. It should still have some
sponge to finish. obvious moisture and malleability – just short of leather
hard.
20
18 Place the wall on the base in an oval position, making

sure it’s central. The throwing lines on the base should help
you do this.
Adjust the curve of the wall until you’re happy with it.
21
Carefully underwire the base before lifting the batt off

the wheel head.
The base must now be left to stiffen up to the same level Mark the outline of the wall with a pin then lift the wall
as the wall. off again onto a batt.
SKILL SCHOOL
PROJECT
ONE
25
22
Score the marked position with a serrated kidney.
Smooth the burr at the bottom of the wall onto the
base with a finger, working over the clay until it looks
seamless. Try not to blend it too far towards the centre
because this will spoil the swirl in the clay.
Sponge over the surface when finished.
23
Apply a liberal amount of slip to the scored area.
26
24
Carefully place the wall back in place and apply firm Cut around the perimeter of the dish with a potter’s
pressure to ensure it fixes onto the base. knife.
29
27
Lightly smooth over the join with a sponge to neaten it

up.
Split through the excess clay with a knife then carefully

remove the surplus from around the dish. 30
Wire through the underside of the base once more, then

leave the dish to firm up to leather hard.
28
31
When the dish has firmed up
sufficiently, turn it over on the
batt and neaten up the rim of
the base with a kidney.
Use a boxwood tool to lift When happy with the finish,
the clay of the base up and smooth over the clay with a
onto the wall of the dish. Work sponge to finish off.
around the base as smoothly as Turn the dish back over
possible to seal the two surfaces onto a clean batt.
together.
SKILL SCHOOL
PROJECT
ONE
33
Use the side of your finger to remove excess clay at each

end of the handle as required for a balanced fit. Make sure
32 you support the wall from the inside as you work.
To pull the handles

This method of making a 34
handle is called ‘pulling off
the pot’ and involves pulling a rudimentary handle
which is then attached to the side of the pot.
Begin with a thick coil of clay – hold it in your left
hand, as shown, then wet your other hand and draw
the clay down between your fingers and thumb. You
will need to do this several times to achieve the correct
thickness and shape because the handle won’t be
shaped again once it’s attached to the dish.
Divide the pulled clay into equal lengths of about
10cm and lay them side by side on a board, as shown.
Use your fingers to pinch off each length. It’s always
useful to make an extra one in case you have any Dampen a finger then round-off
problems attaching one of them. the ends of the handle, removing
Run a rib or your fingernails down the length of each any extra clay as necessary to get
handle to form a grooved texture. a good shape.
Twist the handle into a curve to form a lug and fix Sponge over the surface when
it onto the side of the dish at one of the long ends. finished to neaten it up.
Because the clay of a pulled handle is soft you shouldn’t Repeat the process at the
need to score and slip before fixing it in place, but you opposite end of the dish.
can do it as a precaution if you’re unsure.
Press the ends of the handle onto the wall of the dish
with your thumbs. 35
Allow the dish to dry slowly

before bisque firing, then glaze
to suit your personal taste and
clay type.
ONLINE & IN STORE
BATH POTTERS SUPPLIES

www.bathpotters.co.uk
Forest Row School of
Ceramics graduates’ show
In issue 11 we reported that Katrina Pechal, owner of the Forest Row School of
Ceramics, was opening a ceramics development course. Well time seems to have
flown, and the first cohort of full-time graduates have just held their final exhibition
T he three-month, full-time
residential course is aimed at
new potters who want to
discover and develop their identity as
ceramicists, their distinct style and
preferred materials. The course offers
aspiring potters the time, space, materials
and equipment to really explore new
processes in the development of their
work and style, and gives them the
confidence and skills needed to set up
their own studio and to exhibit and sell
their work.
1: Jamila Haynes: “What was really

great, I liked the idea that we were
exposed to varying artists and tutors
because each brings a different story and let go and explore.” Alisha is applying for “We have all had completely different
way of working.” Jamila is going home to a degree course in ceramics at Cardiff projects going on and she knew every
Barbados and intends to continue potting University. single item, which bit of the process we
with her local teacher before planning were all at; she’d say, ‘How are you doing
her own studio. 3: Sacha Paisley: “Katrina is so with this, with that, have you fired that?’.
passionate about clay and her students She remembers everything, she can
2: Alisha Gent: “I really enjoyed the – so supportive and inspiring. If you have switch from one person to another, she is
experimental part of the course because it a tiny idea she immediately wants to help incredible.”
made me focus on the process rather than you make it happen and says, ‘that’s a
being too concerned with how the brilliant idea let’s do it!’
finished piece came out, allowing me to 3
2
1
7 FRSC Show
4
7: Katrina said of Esther Broughton’s

work: “Esther really expresses the qualities of
the clay in her work, as well as the contrast
4: Debbie Bowler: “It has been and balance of nature. Beautiful!”
unbelievable the input and number of
Forest Row School of Ceramics
tutors there have been. It has been Full Time Ceramics Development Course
amazing. I have taken on board more than
Comprising Three Phases
I thought I would and from a personal
point of view over these three months I Input, Development Reflection & Decision making Making Final
and Exploration Committing to a personal Pieces
have really grown in confidence.” Sacha
approach to making To exhibit
and Debbie are buying wheels and setting
up studios at home, at the same time
attending weekly classes at FRSC. Topics
Throwing - Hand building - Surface treatment - Glazing and decorating
- Oxidation, reduction, salt, Raku & pit firing - Kiln design - Mould making
5 - Studio management - Observational drawing Professional practise
Outings and Visits 2018
Ruthanne Tudball - Exploring new throwing techniques
Craig Underhill - Exploring slab building and decorating techniques
Joe Finch - Firing the salt kiln and kiln design
Linda Bloomfield - Glaze Chemistry
Martin Pearce - Exploring hand-building sculptural organic forms
Kyra Cane - Reflection and decisions about direction
5: Joe Garcia: “One other thing that Suzie Zamit – Portrait Sculpture
was really great about the course was
staying at the college, being out in the Visiting Artists 2018
countryside and not being distracted by Chris Lewis: Studio Visit including sculpture garden, show room, anagama kiln,
anything. That was a massive advantage viewing his collection of tribal artefacts, plus demonstration and talk.
I think.” Joe is intending to find a studio Halima Cassel: Presentation, demonstration and lecture at Mayfield School
space near his parents and set up there. The Oxford Ceramic Fair: Craftsman Potters Association Fair
Elaine Bolt: Studio visit.
6: Maya Hughes: “Seeing it all come The Brighton Art School Crafts MA Graduation Show:
Liat Gilad (graduate guide) on course structure, experience, challenges and
together at the exhibition made me feel inspirations.
really proud. I am proud of everyone.”
Maya will be assisting Katrina and FRSC intends to run this course every autumn term and has already started
another local potter in exchange for taking applicants for 2019. Application deadline is May 24th 2019.
studio space. Application forms can be found at frschoolofceramics.co.uk Click on
Courses then FT course then scroll down until you see the button for the
Application form. Interviews will be from June.
Criteria – To have a passion for working with clay. To want to fully immerse
6 yourself with your clay journey for three months and find your own voice.
Tuition costs £3,000.
There is student accommodation on campus, this needs to be booked
separately via Emerson College.
Forest Row School of Ceramics – Forest Row, East Sussex, RH18 5JX
Tel: 0789 444 7938 frschoolofceramics.co.uk
Emerson College – Forest Row, East Sussex, RH18 5JX

Tel: 01342 827955 emerson.org.uk
SKILL SCHOOL
PROJECT
TWO
PRINTED
SLAB FORM
This is a relatively simple build project with a combination of decorative surface
treatments. Red clay has been used, to form a strong contrast with the white slip
background of the design
You will need: ■ White slip plus two coloured varieties

■ Strong coloured underglaze
■ Red clay – earthenware or stoneware ■ Drawing equipment – pencils, marker pen,
■ Rolling pin, roller guides, plastic sheet, craft knife, cutting mat
cotton sheets ■ Newsprint paper – widely available on line from
■ 2 ridge tiles to use as drape moulds, various sources
or something similar ■ Transparent glaze
BEFORE YOU BEGIN: 3

Make a card template 20 x 20cm square
Place the template on the

slab and cut out the square
using a ruler or batten as an
extra guide for cutting the
edges straight.
Working on a sheet of plastic, reduce the bulk

of a block of clay. It must be large enough to
accommodate the size of your template.
Beat the clay with the side of your rolling pin. Work
in measured, even strokes from one side of the clay
to the other, to avoid making
deep grooves in the surface.
Roll out the slab between
your roller guides to ensure
an even thickness of clay. Lift
and turn the slab regularly
through 90° as you roll so that
it will be the correct size for
the template.
4
Cut a bevel on one side of the slab, by placing a ruler
5mm from the edge of the clay. Then, with the tip of the
knife on the work surface and the blade resting against
the ruler, cut from one end to the centre then repeat
from the other end. Cutting this way prevents the clay
from distorting.
With the ruler still in place, score the bevelled edge
with a serrated kidney.
Repeat on the opposite edge to prepare the joining
sides of the form.
Smooth over the surface with a rib to compact the clay

once you’ve finished rolling. .
SKILL SCHOOL
PROJECT
TWO
7
5
Place a sheet of cotton over the slab then lift it (still in
place on the plastic sheet) and drape it over the ridge Repeat the process to make a second slab in the same
tile so that the bevelled edges are on the underside. way.
Peel the plastic sheet off when you’re happy the slab is Allow both slabs to stiffen to leather hard on the tiles.
in the correct position.
When able to
handle the slabs
without distorting
the shape, lift them
off the tiles and
stand them upright
on a clean batt.
Apply a liberal
amount of slip to all
the scored edges.
Smooth over the surface

of the slab with a rib very
carefully, taking care at the
edges which are vulnerable to
damage with the bevel on the
underside.
9 12
Join the edges together, pressing firmly with your

thumbs to seal the surfaces. Roll another slab of clay to the same thickness as the
walls and large enough to accommodate the base, with
some spare for the feet.
10 Smooth over the slab with a rib once rolled, then allow it
to stiffen up to the same level as the body. You can speed
the process up by placing the slab on an absorbent board.
13
Work over the joins with

a rib to neaten them up and
remove excess slip, then
paddle the edges with a
wooden spatula.
11 Place the body of the form on the base slab in an

economical position but allowing a little spare around the
edge.
Mark the outline with a pin. Reserve the spare slab for
later.
14
Apply some slip to
the interior edge of
the join then reinforce
with a coil of soft clay.
Work the coil
thoroughly into the
join with a suitably
shaped wooden tool
to avoid air being
trapped behind.
Repeat the exercise
on the opposite side.
Cut out the base with up to 5mm spare around the
scored outline. .
SKILL SCHOOL
PROJECT
TWO
17
Positon the body on the base slab and apply firm

15 pressure to seal the surfaces.
Tap the form on the work surface a few times as an extra
measure for a good seal.
Score the
marked position
on the base slab,
and the bottom 18
rim of the form,
with a serrated
kidney.
16
Cut away the excess clay around the base with a

knife, then work over the join with a wooden tool to
neaten up and reinforce.
Apply a liberal amount of slip to the base slab and base

rim of the form.
19
Use a long-handled paintbrush to clean away any excess

slip on the inside of the base join.
22
20
Neaten around each strip with a wooden tool to remove

excess slip.
From the reserved slab, cut two 20-30mm wide
strips of clay. You can use a ruler or batten as a good
measure of the width required if you don’t want to 23
measure – it’s much easier!
Place the strips on the base of the form, equally
spaced in from the pointed ends.
Mark the positions with a pin.
Turn the form upright on a batt then carefully cut away

the protruding strips, level with the body.
Neaten up with a rib when finished, then soften all
edges with a finger to remove any sharpness.
21
Remove the strips then score

one side of each of them plus the
marked positions on the base.
Apply slip to all joining surfaces
then fix the strips back in place,
applying firm pressure to squeeze
out surplus slip and prevent air
being trapped. .
SKILL SCHOOL
PROJECT
TWO
25
24
An optional extra:
To change the shape at the rim, draw out an outline
with a pin then carefully cut the shape out in one piece
with a sharp knife.
Use the cut-out section from the first side as a
template to cut out the opposite rim.
Neaten the rim up with a
surform if required, then
work over the edges with a
kidney to soften and round
them off.
26
The finished form is now ready to decorate.

27 28
Apply three even coats of white slip to the outside of

the form only, allowing each coat to dry to the touch
before applying the next coat.
If possible, avoid brushing over the edges at the rim,
these are nice left so the clay can clearly be seen in
contrast to the surface decoration. Use your original template
to cut out a few sheets of
paper to do your design
work on – you may want to
make several designs before
deciding on the best one.
Hold one sheet against the
side of the form and draw
the shape of the rim from the
back, as shown.
Cut this section out of the paper.
29
Draw out a design of your choice on the template. template that was sitting against the clay when you drew
the rim shape.
IMPORTANT to note – the printing process works in Re-draw the design in marker pen when you’re happy
reverse, so you should draw the design on the side of the with it.
.
PROJECT
SKILL SCHOOL
TWO
32
30
Again, using the original
template, cut out four squares
of newsprint.
Trace out the design onto
two of the sheets in pencil.
The marker pen will clearly Using a damp sponge, fix the paper to the side of the
show through the newsprint, so form. Smooth it over the surface gently until the fit is neat,
this isn’t difficult. with no raised areas around the circles.
31 33
On the remaining two sheets of newsprint, draw three

circles to correspond with a relevant feature of the
design – like the seed heads shown.
You can use anything useful to draw around.
Carefully cut out the circles with a very sharp blade Sponge a colour of choice in all three circles, working
and include the outline of the rim so that the print will over the surface several times to ensure a good
register (line up) correctly when applied to the surface. coverage.
Allow the slip to dry to the touch.
34 37
Now apply a second colour of

slip over the first using a much With a barely damp sponge, press the print onto the
more open-textured sponge surface.
so that the underlying colour DO NOT RUB THE PAPER!
clearly shows through.
Peel the paper off when
finished and repeat the
process on the opposite side
of the form.
35
38
Return to the traced sheets of newsprint and very
carefully paint over the lines of the design in an underglaze
colour of choice, using a fine brush.
36
Continue to press the print onto the surface, supporting

the wall from the inside as you work.
You can lift the paper carefully to see how well the print
Allow the underglaze to dry until no longer shiny then is transferring. If unhappy with it – put it back carefully and
position the paper up against one side of the form. work over the surface again.
.
SKILL SCHOOL
PROJECT
TWO
39 40
Carefully lift the print paper To add extra detail to the surface,
off the face of the form, you can sgraffito in extra features
taking care not to smudge as required – just take care not to
the print. touch the printed detail.
41 42
Once bisque fired, dip the form in transparent glaze and

One side is now finished – repeat the process on the fire to your clay’s recommended temperature.
opposite side. The example shown was made from grogged red
Allow the form to dry slowly before bisque firing. earthenware clay – fired to 1080°C in an electric kiln.
Shop online at http://www.claymansupplies.co.uk
CERAMIC SUPPLIES FOR THE HOBBY AND CRAFT POTTER
Clays • Decorating Slips • Casting Slips • Powdered Glazes • Brush-on Glazes • Colours
Onglaze Colours • Media • Raw Materials • Grogs • Raw Clays • Opaciﬁers
Frits • Oxides • Brushes • Making Tools • Workshop Tools • Wheels & Accessories
Kilns & Equipment • Plasters • Books • Bisque
*
Morrells Barn, Park Lane, Lower Bognor Road, Lagness, Chichester, West Sussex, PO20 1LR
Phone 01243 265845 • Fax 01243 267582 • Email info@claymansupplies.co.uk
SKILL SCHOOL
PROJECT
THREE
PLASTER BATT
You will need a plaster batt to complete project four.
Fortunately, they are quick and easy to make and can be used
for lots of different things
YOU WILL NEED:

■ Potters plaster
■ Buckets for mixing
■ Scales for weighing plaster
■ Clay – old plaster clay is fine (if you have
some) so long as there are no large lumps of
plaster in it
■ Plastic sheet – Rolling pin, roller guides (min
10m thick)
■ Surform
■ Newspaper
■ A3 sheet of card or paper
Difficulty rating ★★★★ ★
1
You will need a large block of clay for this project

because it will be rolled thicker than usual and to a large Once fully rolled, smooth over the surface of the slab
size. with a rib to compact the clay.
Working on a sheet of plastic, reduce the bulk of the
block of clay, by beating it with the side of your rolling pin.
Work in measured, even strokes from one side of the clay
to the other, to avoid making deep grooves in the surface.
4
Place the template back on the slab and cut it to size

using your batten as an extra guide for cutting the edges
straight.
Roll out the slab between your roller guides to ensure
an even thickness of clay.
When half rolled and still much thicker than the
roller guides, square off the corners by rolling the pin
5
sideways, freehand.
Now lift and turn the slab as normal and roll again
until level with the roller guides.
Test your A3 template over the slab regularly to
ensure it is the correct size. If you find you have wildly
overestimated the amount required simply cut it down
to a more approximate size as you roll and turn.
Lift the slab on

the plastic sheet
and carefully turn it
over onto a non-
absorbent board.
Peel off the
plastic sheet then
smooth over the
surface with a rib
again.
.
SKILL SCHOOL
PROJECT
THREE
8
6
Roll another 10mm thick slab of clay. It must be longer
than the longest side of the slab by approximately 6cm. Overlap the wall strips at each end and smooth the
Cut the slab into four strips, each 5-6cm deep. clay together to prevent the wall busting open.
Check the wall is straight when you come to the last
section by placing the batten on the outside.
7 Ensure all walls are reinforced.
Use the strips to build a wall around the slab – 10mm

from the edge.
Reinforce the outside of the walls with coils of soft
clay to prevent plaster spillage later.
If you place your roller guide on the inside of the wall
and hold it there firmly as you reinforce the outside, it
will help keep the wall straight.
DIFFICULTY RATING ★★★★ ★
11
9
TIP: if you are worried about the sturdiness of

clay walls, masking tape can add surprising
extra strength. Simply wind the tape around the wall 2
Stir the plaster with your hand (or a mixing tool if
allergic) to remove any lumps.
or 3 times – it will easily stick to itself after the second

wind.
12
Periodically scoop off any bubbles from

the plaster mixture into a newspaper-
T: lined bowl.
IMPORTAoNmes Keep stirring until the mixture
Plaster bec hot begins to thicken.
ely
10 extr em
s. If
as it hardenyour
mixing with n't
hands, do den
ar
allow it to h em.
around th
Measure 6 pints of water into a clean bucket.

Weigh 9lb of plaster.
Add the plaster to the water a handful at a time but
taking care not to create too much dust.
.
PROJECT
THREE
15
13
Once the plaster begins to thicken you must work
quickly.
Pour the mixture into the frame, filling it to just
short of the top of the wall.
Before removing the clay walls, shave off any
irregularities on the surface of the plaster with a surform so
that it will be level and sit flat when turned over.
16
14
Now remove the clay walls.
Reserve the clay for future use
in a dedicated PLASTER CLAY
bag. Label it clearly so as not
to confuse it with other clay.
Surform the edges of the
batt to remove any sharp
areas – include the corners.
Dispose of the plaster
shavings carefully.
Once all the plaster is in the frame, wiggle the surface

with your hand to bring any trapped air bubbles to the
surface.
Leave the plaster to set. It will go through a chemical
process which causes it to heat up, once this is over you
can then work on the batt further.
Whilst you are waiting, clean out your plaster bucket
with newspaper and tidy up the work area to avoid any
possible plaster contamination.
17 19
DO NOT dig into the clay to

remove the slab – lift it at
one corner with a wodge
Your batt should now have clean rounded edges of soft clay. From there it
ready to be turned over. is easy to lift out and can be
stored with the rest of the
clay in the plaster clay bag.
20
Wipe over the surface of the batt with a clean damp

cloth to remove all traces of the clay.
18
21
Your finished batt must be placed somewhere warm to

Once turned over, surform the upper edges as you did dry out thoroughly before use. Try the airing cupboard or
on the underside. on top of the kiln – just make sure it is elevated if placed on
the kiln.
SKILL SCHOOL
PROJECT DECORATIVE SLIP
FOUR
CAST VASE
This is an
exciting way of
working in clay
that allows you
the freedom
to create bold
and wonderful
surface
decoration
with just a few
flourishes of
your brush
Using a soft mop-type brush

and your first choice of slip
colour, brush some random
marks onto your plaster batt
(see project 3, page 34). You
You will need: can be as abstract and free as
■ A cutting mat you like when doing this – there’s
■ Card templates (optional – you can work without no need to be precious about it.
them) cut to the size you would like your vase to be, Try dripping the slip for dots,
allowing several extra centimetres for overlap swirling it for movement, or laying
■ Ruler and knife for cutting it down in blocks.
■ A tube - cardboard or plastic. Downpipe works
well 3
■ Plaster batt
■ 3 - 6 coloured casting slips – clay type of choice.
One slip should be black, and you will need a larger
amount of white (at least double the quantity of the
coloured slips)
■ Transparent glaze
1
Choose a second slip colour and start to fill in the spaces
next to the first colour. You can make similar marks, but the
idea is to build up and fill in the surface.
Wrap your tube in a sheet of newspaper and secure the Move on to a third colour when happy with second and
overlap with a tiny piece of masking tape. completely fill in all the spaces left behind. Be generous
Stuff the excess paper at each end into the tube. with this covering so no bare areas are left. .
PROJECT
SKILL SCHOOL
FOUR
5 6
Using the tip of a wooden tool (not a pin or knife, as Brush the black slip over the lines and marks, making
these will cut into the plaster), draw through the slip to sure they are completely filled.
make a series of marks of your choice.
Don’t worry about the little burrs that are created.
If you want, you can tear bits out to make exciting
marks or even scrape away whole areas.
8
7
Carefully lift the slab out of the batt and place it colour-
side down on an absorbent board.
You may find you have to release the slab around the
edges with a rib before you can lift it out.
Finally, pour the white slip over the entire surface to fill 9
the frame of the batt.
You can lift and move the batt around to ensure
an even layer of slip, and even pour in a little more if
required, before it sets.
Once happy with the layer of slip, allow it several
minutes to stiffen. This will depend on the type of slip
used and the thickness of the slab you have made.
The slab is ready to use when the sheen has gone off
the surface and it doesn’t mark when you touch it, but
be aware that it must still have some flexibility to allow
it to be rolled around the tube.
If you made a card template to fit around your tube use

it to cut the slab to size.
Otherwise, cut the slab to size freehand, using a batten to
ensure a straight line.
Cut away any edges that may have been damaged when
you lifted the slab out of the batt.
10
Place your tube on the slab and

roll the clay around it.
Cut away the excess at the end
of the slab, allowing for a 10-20mm
overlap. .
SKILL SCHOOL
PROJECT
FOUR
14
11
Carefully peel the newspaper out of the top of the tube
Stand the tube upright – the shape should hold easily in then lift out the tube itself.
this position. Finally, carefully peel the newspaper out of the
Water down a small amount of casting slip for joining – it interior.
needs to be thinned to work.
Brush the slip along the end of slab that will overlap the
body.
12
Seal the ends of the slab
together carefully, pressing the
clay into place with your fingers.
Try to avoid distorting the clay
as you do this. 15
Sit the vase on the base slab and mark the
circumference with a pin.
16
13
Cast another, plain white section of slab for the base.
You can make a temporary clay wall to cast smaller slabs
when required, as shown – this avoids wasting precious and
expensive materials.
Again, the casting time will depend on the type of slip Carefully cut out the base circle. You will need a sharp
being used. knife because casting slip can tear easily.
17 20
Apply some of the watered- Gently finish off by working around the rim with a damp
down slip to the base slab, sponge to neaten it up, then turn the vase over and
then fix the body in place on repeat on the underside.
top. Allow the vase to dry out – it won’t take long – then
Gently tap the vase up bisque fire it.
and down on the work Apply a transparent glaze and fire your vase to the
surface to make sure the clay’s recommended temperature.
joining surfaces seal together
well.
18
21
Turn the vase upside down and neaten up the base very
carefully with a kidney.
You can clearly

19 see that the rim of
the vase is irregular
– you may want to
level yours if similar
to this one, but I like
this aspect of the
form, it works well
with the abstract
surface design and
is not so irregular
that it looks wrong
or unintentional.
You can make these
decisions as you go
along – some things
work – others don’t. The slips used for this project were Nano Parian
coloured slips which fire between 1220°C and 1240°C.
Linda Bloomfield
shines a light on black glazes
Linda Bloomfield is a scientist

turned potter. More glaze recipes
can be found in her books,
Advanced Pottery (2011), Colour
in Glazes (A&C Black 2012), The
Handbook of Glaze Recipes
(Bloomsbury 2014) and Science
for Potters (The American
Ceramic Society 2017). She is
currently writing a book on Special
Effect Glazes, out next year
W
hen light falls on an
object, some of the light is
absorbed, and the colour Adam Buick, tenmoku moon jar, thrown stoneware, reduction fired.
we see is the remaining
part of the colour spectrum not absorbed. For example, a cobalt glaze iron oxide. In an electric kiln it often
absorbs the yellow light and we see a fires brown, while in a fuel-burning
blue colour, the complementary colour kiln when fired in reduction, it turns
in the light spectrum. Black objects black, breaking to brown on rims.
absorb all the light, so we see no colour. Adding colouring oxides to a glaze may
One way to make a black glaze is to cause it to run during firing. This
add a mixture of colouring oxides to a happens because many of the colouring
glaze. Each oxide absorbs a different oxides, particularly copper, cobalt and
colour of light and together they make manganese act as fluxes and melt the
a black glaze. I often use the following glaze during the firing.
mixture of oxides: cobalt 2, manganese
2, iron 2, chromium 1. Another good Glossy black glaze 1260°C
combination is cobalt oxide 1, and iron ● Potash feldspar 34
oxide 10 (see glaze recipe below). This ● Borax frit 14
is an economical way to make black, as ● Whiting 11
cobalt is very expensive. Without the ● China clay 13
addition of cobalt, the glaze would ● Quartz 23
appear dark brown. +
Ken Eardley, Cow parsley jugs, ● Cobalt oxide 1
slab-built earthenware, black and Tenmoku is a type of glossy brown-
● Iron oxide 10
white underglazes. black glaze made using around 10% red
Glazing
Linda Bloomfield still life group of

bottles with satin matt black and grey
glazes, thrown porcelain.
Another way to make black is by Tanya Gomez, Nocturnal, metallic matt black using manganese and copper
using a black stain or underglaze. oxides.
There are several types of black stain
available, some including cobalt, iron aluminium (Al), while iron oxide can
Metallic gold-brown-black
and chromium and others using just replace both. Cobalt sometimes bleeds pigment 1260°C
iron and chromium oxides. Ceramic out into the surrounding glaze, forming
● Potash feldspar 30
stains are made by calcining (heating) blue streaks, so a cobalt-free stain may ● China clay 40
colouring oxides and grinding them to be preferable for painting detailed ● Manganese dioxide 26
a powder. The colouring oxides in a decoration. Black stains provide an easy ● Copper oxide 4
stain form a very stable crystalline way to achieve a true black (rather than
structure called a spinel, with the brown or blue-black) and 5-10% stain is
chemical formula MgAl2O4. In black needed in the glaze. In conclusion, black glazes can be
stains, cobalt replaces the magnesium made either using a combination of
(Mg) and chromium replaces the Satin matt black glaze 1260°C colouring oxides, or using a black stain,
● Potash feldspar 33 which is also made from a mixture of
● Talc 21 oxides. The oxides used are iron,
● Whiting 12 cobalt, manganese and chromium. 
● Zinc oxide 3
● Quartz 16
● China clay 15
+
● Cobalt oxide 2
● Iron oxide 2
● Manganese dioxide 2
● Chromium oxide 1
Metallic black pigments can be made

using a combination of manganese
dioxide and copper oxide mixed with
some clay. However, these are not
Lucie Rie, black and white pourers,
suitable for use on surfaces that come stoneware with black manganese
into contact with food. The glaze is pigment and tin white glaze.
saturated with colouring oxides which
Linda Bloomfield, black and white do not dissolve completely, but remain Next month:
vases, thrown porcelain with satin on the surface as a brown-black Blue glazes
matt glazes. metallic pigment.
SKILL SCHOOL
PROJECT
FIVE DECAL
DECORATION
Difficulty rating ★
Difficulty rating ★★★★
★★
★★
If you don’t have the time to make

mugs but have some great ideas
for surface decoration, this is
the project for you. All the time-
consuming business of making is
removed by buying ready-glazed
blanks and stock decals which, if
used creatively, can make unique
and exciting decoration. Of course,
you can also use this technique on
your own glazed ware
.
SKILL SCHOOL
PROJECT
FIVE
1
Measure the height and circumference of the mug

then cut out a card template. Check the size around
the mug once this has been cut out, and make any
adjustments to the size as required.
Any design you create must now fit inside this
template. This is an easier way to get the size right,
rather than measuring against the mug all the time.
You will need:

■ A box of glazed mugs – available from various
suppliers – foleypottery.com is one – or just enter
'buy white ware' into your search engine
■ Cutting mat
■ Craft knife
■ Pencil
■ A selection of decals – Bailey Decal (baileydecal.
co.uk) has a really extensive range of stock decals
to choose from, available in A3 sheets, and will also
print your own designs
Write ‘Mug template’ on the card so that you always

have it for reference.
3 5
Very carefully cut out the decals on your cutting mat.

On another sheet of card, draw out a series of shapes
you might like for the surface of the mug.
Carefully cut out the shapes when you are happy with 6
them.
These templates will be used to draw around on the
decal sheets, so look after them if you want to repeat the
design.
Soak the decals in a

bowl of water. They
are ready to use when
they easily slide off
the backing paper.
Position your chosen template on the decal sheet as

economically as possible to avoid wastage, and draw
7
around the shape.
Draw as many shapes as you need.
Position the decal carefully on the side of the mug. It

will slide over the surface easily for correct positioning. .
SKILL SCHOOL
PROJECT
FIVE
10
Repeat the
8 process to
apply any
Wipe over the decal with a sponge to remove surface more decal
water. shapes to the
surface of the
mug.
9
11
Very, very carefully work over the surface of the decal

from centre outward to force out any air or water that If you want to apply block areas of decal, cut out all
sections required to fit the card mug template, allowing a
may be trapped on the underside.
little extra if you want the decal to fit around the handle.
This is a delicate job if the decal shape is intricate so
take care.
12
Apply the smallest section of decal first, following the

earlier process.
Large dots like those shown here make a great contrast
to other designs, positioned at either the top or bottom of
the mug.
13
15
With a very sharp

craft knife you can
cut the decal around
the handle for a
better fit. It is tricky
but worth trying if
you feel confident.
Otherwise, cut it at
the most appropriate Carefully cut the decal around the handle.
place to one side of the handle. If you don’t have the confidence to do this, cut the decal
Don’t forget to work over the surface of the decal to fit around the mug so that it starts on one side of the
with the kidney when it’s in the right position. handle and ends on the other.
14 16
Applying larger areas of decal can also be tricky

because there’s a greater chance of trapping air or water
on the underside. The key is to begin at one side of the
handle and gently ease over the surface with the kidney as Really pay attention to the surface around the handle to
you work around to the other side. ensure it’s a good fit, with no trapped air underneath.
17
You can see just a few ideas here for decal decoration, but the possibilities are endless, and you’ll find your designs
will get more sophisticated as you practice.
Fire the decals onto the mugs at 750°C.
Doug’s
STARTING IN BUSINESS
(Photo: Layton Thompson)
Doug Fitch
diary
G reetings from a very frosty
Galloway and welcome to my
final diary post of 2018.
Last month I spoke of our imminent
Michael Cardew
dish.
online exhibition and the worries and

doubts we had as to whether we would sell
any pots or cover our costs. Well, my
goodness, I’m relieved to report, the show
was a blinding success.
As soon as it went live, our inbox filled
up with people asking to buy the pots. We
were utterly stunned. At one stage there
was a backlog of 30 emails unopened, then
the landline started ringing and our
mobile phone too; it was quite an
extraordinary frenzy.
Hannah is thankfully a much better
administrator than me, so she made
brilliant notes of who wanted what and
took orders so we could make repeat items
of those pieces that had sold. In total, out everything has got to its destination how much they must dispose of by other
of 97 pieces, over 70 were sold, plus we undamaged and people have been pleased means.
took a stack of orders. with their purchases. I received an We are now working our way through
There have since followed many days of emotional answerphone message from a the extensive list of orders, trying to get
wrapping and packing and collector who was moved to as much of it as possible sent out before
customs declaration forms for tears by the jug they had Christmas.
pots that have gone bought. I was so touched Hannah has been making plates and
overseas. So far, and thrilled to bits. mugs and small jugs. Her small plates are
We always use always well received and she has a few
Pressed dish from recycled packaging collectors who are pleased to snap up a
the Cardew mould.
(Photo: Shannon Tofts) whenever we can. new design.
Banana boxes are The most popular pieces that I made
particularly suitable as were a candlestick and a puzzle jug and I
they are constructed with have orders for six of each. Both are
such robust corrugated card; complicated and time-consuming to make
it makes sense, as they are, after and certainly not something that I would
all, designed to send bananas all around produce as a production run, but it’s a
the globe. We stockpile them throughout good discipline to make a few in
the year and they’re easy to store as they succession, because it’s the best way to
stack so nicely. overcome the complications of their
Something else that we scavenge from manufacture.
our local supermarket fruit aisle is bubble The candlesticks take the form of a tree
wrap. Every tray of apples and pears with a thrown trunk, to which modelled
contains two sheets, cut to a very useful branches, covered in birds, are added.
size. The supermarkets are happy to let us When leather hard, they are dipped into
have it. It’s remarkable how much we white slip. It’s at this stage that things can
Candlestick and snuffer. (Photo: manage to collect, sometimes nearly 20 start to go horribly wrong. As the clay
Shannon Tofts) sheets on a visit, so it’s horrifying to think rehydrates and softens, the weight of the
KILNS
Hannah wrapping birdie jars for

The New Craftsman Gallery.
Pippin making Christmas

decorations.
white slip, then allowing it to toughen.

When it has dried sufficiently, the design
is scratched onto the pot’s surface,
revealing the contrasting colour of the
clay beneath the slip. It’s a
traditional technique,
favoured by the country
potters of southwest
England, particularly in
Sgraffito the 18th and 19th as a handle. They are kiln fillers, fitting
puzzle jug. (Photo: centuries. nicely in between bigger pieces on the kiln
Shannon Tofts) The majority of the shelf. I’m hoping to sell a few as stocking
birds can easily pull the profits from our online fillers.
branches away from the exhibition will be We’re heading down south tomorrow
main structure. To prevent reinvested into the business. for a few days. We usually take our annual
this happening, I toughen them We still have to insulate and line holiday in November, but this year it’s just
up with a paint-stripping gun as soon as the roof in the new workshop extension, been too busy. Instead, we’re off to visit
they are dipped. so that’s going to take a good chunk of it. my dear mum in her care home, but with a
Of the six candlesticks that I made, five However, we did treat ourselves to an detour en route to Newark Antique Fair,
are in the glaze kiln tonight. early Christmas present, in the form of a which is apparently the biggest in Europe.
Frustratingly, the other one is in the press-molded dish that was made by the There may be old pots there waiting to
reclaim bucket as, in spite of blasting it late, great Michael Cardew in 1977. It was meet us. I’m sure that if there are some
with the stripper gun, I couldn’t stop it pressed on one of the moulds that we now nice ones they’ll tempt us to take them in
collapsing. It’s fitting really, as they’re own and use regularly in the workshop. I and share our home with them. We always
inspired by an old horse chestnut tree near supply these exclusively to the Goldmark joke that we sell pots in order to buy pots.
the kiln site that has also recently Gallery. We’re going to be delivering We’re also going to an event in Oxford
collapsed in a heap. them a stack of these in the next few days. at the Bodleian Library. It’s the launch of a
Puzzle jugs are fun to make but are also With Christmas approaching, Pippin book about Alan Caiger-Smith and his
complicated and labour-intensive. I wrote has been making decorations, rolling out legacy, and the book features one of
about puzzle jugs in a previous diary, so I sheets of clay with a textured rolling pin Hannah’s pots. Alan, now 88, will be
won’t go into great detail about them here, and cutting out Christmas trees with giving a talk. In truth, Hannah will be at
but if you look them up on Wikipedia, biscuit cutter. She’s really enjoyed doing it the talk, I’ll be exploring the Ashmolean
you’ll find a useful description. These ones and has started sticking abstract shapes Museum while looking after the babies.
take a particularly long time as they’re together, which are – in her eyes – When our expedition is complete, we’ll
decorated using the sgrafitto technique. dinosaurs. It’s lovely to see. Last weekend travel back to Scotland and have a last few
This process involves dipping the pot in was our village craft fair, so she took 18 of days of panic, to get pots out to people
her tree decorations along and sold every before the big day arrives.
one of them, with the money donated to 2018 has been a great year for us;
Save the Children Fund. bringing with it our baby boy Fred and a
In the past weeks, I have been making new workshop at home in the garden.
pots for The New Craftsman Gallery in There certainly won’t be any more babies
Mayfair. They asked for some lidded jars, in 2019, but there will without doubt be
with modelled birds, similar to the ones some great adventures.
on my moneyboxes. Thank you for sharing the past year
I’ve modelled a lot of birds recently, over with me and with my beautiful family, I
300 in fact, in the past couple of weeks, hope somebody out there has found it
many of which have been for candle enlightening. Hannah, Pippin, Fred and I
snuffers. These are little pinched cones, wish you a joyous Christmas and a very
Freshly slipped candle snuffers. with a bird on the top, the tail operating happy 2019. 
OWL PLAQUE
SKILL SCHOOL
PROJECT
SIX
This is a project that combines slabbing with simple sculpture
techniques to make a raised relief wall plaque
BEFORE YOU BEGIN: YOU WILL NEED:

You don’t have to copy the stylised owl shown ■ A4 sheets of card, pencil, sharp knife, ruler,
here – you can make yours more, or less, realistic. tracing paper, cutting mat
The key is not to make the bird too complicated ■ Clay of choice – earthenware or stoneware
or detailed, a pared-down, simplified shape will be
much easier to form in clay and fine detail can be ■ 10mm thick roller guides, rolling pin, plastic
added at the final stages of making. sheet
Look for images of owls (or other birds) that you ■ Wooden modelling tools
like in books or online – copy and print the image
then enlarge it to the size you require or, as shown ■ Modelling loop tool (optional)
here, to fit an A4 sheet of card. ■ Ribs/kidneys
1
3
Begin this project by planning the image in drawing Reduce the bulk of a block of clay. It must be larger
form.
than normal to accommodate the extra thickness of
Enlarge your owl to a size that will fit onto an A4 sheet
the roller guides.
of card. Trace the outline and pertinent details of the bird,
Beat the clay, on a sheet of plastic, with the side of
then transfer the shape to your sheet of card, positioning it
your rolling pin. Work in measured, even strokes from
as centrally as possible.
one side of the clay to the other, to avoid making deep
Fill in the drawing with any extra details you might like to
grooves in the surface.
include – like the leafy branch the owl is sitting on, shown
Roll out the slab between your roller guides to
here.
ensure an even thickness of clay. Lift and turn the slab
Finally, position a ruler over the owl’s head and to the
regularly through 90° as you roll so that it will be the
right. Starting at the top, draw a line down to the head,
correct size for your templates – A4.
then from the underside of the head down between the
Smooth over the surface with a rib to compact the
leaves of the branch.
clay once you’ve finished rolling.
Carefully cut along this drawn line, going around the
shape of the head and leaves so that they extend out at
the side.
Repeat the exercise on the left side of the drawing.
THIS IS YOUR REFERENCE for what the plaque will look
like when finished.
On a separate sheet of card, draw and cut out the

outline of the owl, then a separate head and finally the
wing and tail feature, resulting in an owl in three parts. .
SKILL SCHOOL
PROJECT
SIX
4 5
Using an A4 sheet of card as a template, cut out the Turn the slab over onto an absorbent board and remove
slab carefully using a ruler or roller guide to help ensure the plastic sheet.
the cut is straight. Smooth over the surface of the slab again with a rib.
Reserve the offcuts of the slab under plastic for later.
Place the complete owl template at the centre of the Finally score the wing, making sure you include the
slab and lightly score around the outline. line detail as in the drawing.
Repeat using the head template for the outline only.
9
7
Transfer the wing template to a section of the spare

slab and score around the outline, omitting the tail
section.
Carefully cut the wing out with a sharp knife then
run your finger around the cut edge to soften and
round it off.
Use a serrated kidney to remove clay where necessary

on the wing, to form it to a more natural shape.
10
8
When you’re happy with the shape of the wing
generally, blend the clay at the top onto the body
then, using a wooden tool, work around and slightly
under the remainder of the wing so that it looks lifted
from the body – as though the bird is preparing to
take flight.
Score the underside of the

wing and the corresponding
position on the body with a
toothbrush and water.
Fix the wing in place, pressing
down firmly to ensure no air
is trapped between the two
sections.
Use a wooden modelling tool to remove any slip that
may have oozed out at the sides. .
PROJECT
SIX
13
11
Reshape the wing if you
think it needs it, then smooth
over the surface with a finger Cut out the head from the remainder of the reserved
or rubber kidney. slab using the card template as you did for the wing.
Smooth over the cut edge with a finger to soften
and round it off as before.
12
Using an angled wooden
modelling tool, define
the shape of the owl by
bevelling the clay inwards
from the scored outline
to give the bird some 14
dimension.
Work around the entire
body first, then the head,
as shown.
If you prefer, you can use a fine-tipped modelling
loop tool to remove the clay at the edges, but return
to the wooden tool to smooth over the surface when
you’re happy with the shape.
Turn the head over and bevel around the edge of the
underside. You’ll have to do this freehand, holding the
head in place as you cut, but take care to keep your fingers
out of the way of the knife as you work.
15 17
Score and slip the

back of the head and the Score over the impressed lines with a pin to define
corresponding position on the them more clearly.
body with a toothbrush and Impress the eyes with a suitably sized, round implement
water, then fix it in place as you like this old pen top.
did for the wing.
Use a wooden tool to blend
just the top of the head onto the 18
body, leaving the remainder of the head looking raised
from the body as though it could move.
Clean away excess slip from the underside of the head to
neaten it up.
16
Using a fine-tipped modelling loop tool, carve out the

areas around each eye, as shown.
19
Trace the features of the face then cut out the tracing.
Place the tracing over the head and draw over the
features to transfer the detail into the clay, as shown.
Redefine the outline of

the eye area with a pin as
often as you feel necessary,
then smooth over the carved-
out area with a round-ended
modelling tool.
.
SKILL SCHOOL
PROJECT
SIX
23
20
Carve away the clay around the beak and underside of
the eyes to give the face greater dimension.
With your original drawing close by for reference, now

draw in the details of the branch and leaves that the owl
will be sitting on. It is easy to do this freehand with a pin.
24
21
Carefully score the line detail around each eye with a
pin. Begin by dividing the areas into four sections then
spacing the lines equally within each section to form a ray-
like pattern. If you want the plaque to be the same size as your
original drawing, place it over the clay then mark the
straight lines (what will be the edge of the plaque)
from the top down to the head then from underneath
to the leaves and between.
22
Continue to refine the features of the owl as you feel
necessary to give some sense of life to the bird.
26
25
Using a loop tool, carefully

carve away the clay around the
branch so that it stands out in
relief.
Carefully cut around the head and leaves and along Smooth over the carved-out
the marked straight lines, then remove the excess clay. area where possible.
Repeat the exercise on the opposite side of the
plaque.
27
You can add in extra

features at this stage if
you want to.
Suggestions include:
■ Feather features on
the wing
■ Maybe a sun or moon
and stars – an old mascara
brush is a great tool to impress stars and you can use
a small cookie cutter for the outline of the moon.
.
SKILL SCHOOL
PROJECT
SIX
31
28
Complete your plaque by
carving out any other areas you
want to more clearly define.
Remember to smooth over the You can work in stages if
clay when finished you prefer, painting over
Allow the plaque to dry out the surfaces in specific
really slowly to avoid it warping. areas. So, for instance,
when half the plaque has
been covered, wipe back
the underglaze with a
damp sponge to see how
it will look when completed. This way you will know if
it needs more underglaze, or more wiping back.
The aim is to wipe the underglaze back from the
surface – leaving it in the deeper carved out areas to
give the detail a more 3D appearance.
Once you’re happy with the surface, complete the
rest in the same way.
Bisque fire
the plaque
when it has
29 dried out
completely. OPTIONS:
■ If using underglaze as opposed to oxide, you
could fill in the plaque with more colour – painting
the owl brown perhaps, the leaves green and the
night sky blue-black with a white moon etc.
You have the option to transparent glaze the
entire surface or only partially, to highlight certain
details.
■ OR: Simply leave the surface as it is and

when dry, fire the plaque to the clay’s optimum
temperature.
30 The finished
32 plaque waiting to
Paint over the entire surface be fired.
of the plaque with either an Made from a
underglaze colour of your mixture of 2 parts
choice (black was used here) T-material and 1
or oxide wash. Iron oxide will part porcelain clay,
result in a brown finish, cobalt or fired to 1260°C in
copper oxide in a metallic green/ an electric kiln.
blue black. The colour of the Stoneware
oxides will only be evident if the firing vitrifies the
plaque is glazed, which is an optional finish for those who clay, making the
prefer a shiny surface but be aware, it will radically change plaque suitable for
the look of the piece. Pay special attention to the deeper hanging outdoors
areas of the carving to make sure every part is covered. if required.
READER OFFER
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Fabric
weight
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NEXT
NEXT STEPS
MONTH PINCH, COIL, SLAB AND THROW
Don’t
miss it!
ISSUE 23
ON SALE
18 JANUARY
Instagram appeal Succulent planters

What harnessing the power of social Simple but beautiful little pots for succulents and cacti
media did for one potter
Handles
So many
people seem
to struggle
with handles,
we thought
we’d explore
the different
techniques
for making
them. There’s
bound to be
one to suit
you
Kilns pt 2
Things are about to heat up!
● Textured bisque rollers - How
to create permanent versions of your
own patterns and textures, that can
be used time and time again
● Napkin rings – We continue
using casting slip to make stunning
coloured slabs that can form the
basis of so many different things
Here, we make simple napkin rings
Lemon squeezers
Plus: Blue glazes • Readers’ makes • Doug’s Diary Two ways: a thrown version, and one
* 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.
that’s hand-built
Confessions
of a novice
Running before PART
I could walk TWO
More on my raw-glazing adventure.
And I still don’t know if they’ll ever get fired.
L ast month I had my first go

at glazing on my wheel and I
decided it was the way
forward. It made the whole process of
glazing round pots much quicker.
However, my wheel is in the
greenhouse, which is getting damper
and colder by the day. Not to mention
darker. Luckily, I managed to find a
toy pottery wheel, small enough to fit
in my tiny indoor room, for less than
£10. I used this to glaze the final
moon jar, following the instructions in
ClayCraft issue 18, first applying an
underglaze design, before adding wax
resist and glaze over the top. I was less
than confident in my brushing
technique though, and in a hurry as
ever, so I decided to apply the
underglaze with a stamp. I cut out a
For this pot, I decided to adapt

the ClayCraft instructions...
grass shape freehand, grabbed the greenhouse, brushing the webs and
wallpaper seam-roller I’d previously insects out of my hair, I realised that
nabbed in a DIY shop, and set to. It no, it must be in the little room after
worked pretty well, giving a nice all. And so began a cycle of trying the
faux-deliberate roughness to the edges, little room, then the greenhouse, then
so I went over each one three times for the little room, then… until it became
an even coat, and proceeded to the clear that in fact I would need to tidy
wax resist. up, at which point I came to have a cup
I pored through the various boxes, of tea and write this.
tiny cupboards and shelves in my little It turned up eventually and I
room, hunting for the wax resist, dumped half a bottle of out-of-date
before deciding it must be in the food colouring into it, to make myself
... and use a stamp made of craft greenhouse. After peering into the feel more like a pro. Now, I’m not sure
foam. grubby nooks and crannies in the if the colourant was the problem or if I
BLOG
The hardest part was deciding

how to place the pattern.
keen to point out it’s not the once-

firing that causes it, but the same
human error that would cause it at any
Of course the stamp's makeshift handle fell off almost immediately. time: overly-thick pieces, moisture in
the clay… pretty much all the mistakes
just didn’t apply it thickly enough, but different firing schedule is required for I’m very likely to have made with my
it didn’t seem to actually resist, as you single firing when compared to work. I was glad we hadn’t taken the
can see in the photos. I carried on separate bisque and glaze firings. risk, particularly as those moon jars
regardless, mixing Amaco Rainforest There is a chance of pieces exploding, are still thicker than thick, even with
and Storm Celadon glazes randomly just as there is in any firing, but when all the trimming I’d done. And so, for
over the top. The toy wheel worked they do it covered in glaze, imagine now, those pieces will be stored away,
very well, albeit noisily, but doesn’t the damage they can do to the kiln. a monument to running before you can
seem perfectly level and will only spin We decided to hold fire for the time walk, and a lesson in patience. That’s
clockwise. Some versions I’ve seen can being, while I talked to Usch okay by me. This is a learning journey,
be reversed, but not this one. Still, it Spettigue, who knows about these I was prepared for them all to come
was better than sitting in a cold things. out looking dreadful the first time I
greenhouse. Usch confirmed that explosions do single-fired, and this is just a different
But having got this far, and also sometimes happen, though she was variation on them not going to plan.
raw-glazed all the porcelain vases I’d
made, we now started to think more
about the firing. Mariam Cullum, who
sometimes fires my work, was
generously willing to experiment with
me, and I spent some time with her to
build my confidence at making my
own glazes. We knew that a very
When I finally found my wax

resist, I painted it on rather than
using the stamp. The toy wheel worked pretty well, if noisily.
BLOG
A finishing touch inside, before

clearing up the mess...
But the wax
didn’t seem to
have resisted.
It’s the nature of learning, the nature imagine, with my face stretched into
of pushing your limits, and absolutely the widest grin it could manage. How
the nature of pottery. frustrating that I don’t yet have
I mentioned last month that I’d got a anywhere to fire it! I have since had
small kiln on loan from Rachael at the cabling put in a trench down my
Sudbury Pottery Class. I spent a really garden and will soon be ready to take
lovely evening last month picking up down the greenhouse. I’ve picked out a
the kiln and meeting the Thursday shed that calls itself a summerhouse,
night class. They were a great bunch meaning it has lots of windows and
and I really wished I lived nearer so I therefore natural light, but I doubt I’ll
could join in! I drove home, as you can be up and running until after … and it was ready for firing…
maybe… one day.
Christmas. Patience is a virtue though,

and I keep reminding myself how
lucky I am to even consider owning
this equipment myself. And who
knows, one day I might even pluck up
the courage to fire my stash of raw-
glazed moon jars. 
■ Find me at
@pottlemuddery on Instagram,
Facebook and Twitter.
■ Usch is at
spettigue.com and
@uschspettigue on Instagram.
■ Mariam is at
mariamcullumceramics.co.uk
and @mariamcullum on
Instagram.
■ Sudbury Pottery Class is at
sudburypotteryclass.co.uk and
@sudburypotteryclass on
The Thursday night group at Sudbury Pottery Class, including Bluebell Instagram.
the gorgeous dog.
EVENTS Do you have an event you’d like listed?
Email us at claycraft.ed@kelsey.co.uk for free inclusion
DECEMBER UNTIL 31 DEC UNTIL 6 JAN 12 JAN TO 23 FEB 2019

CRAFTED FOR CHRISTMAS Christmas selling exhibition Maker in Focus: Ken Eardley
This show of high quality craft takes Walford Mill Crafts and the Wondrous World of
UNTIL 22 DEC place throughout New Brewery Arts Wimbourne, Dorset Colour & Shapes
Oxford Pioneers buildings; the Craft Shop, Gallery and walfordmillcrafts.co.uk Brighten up your home and
Celebrating the 50th anniversary of resident makers are also involved kitchen with Ken Eardley’s
the founding of the Oxford Gallery 9am-5pm Mon – Sat, 10am-4pm Sun UNTIL 27 JAN decorative ceramic ware that brings
oxfordceramics.com FREE CHRISTMAS EXHIBITION vibrancy into the everyday. With a
newbreweryarts.org.uk 17 Nov – 27 Jan background in textiles, Ken explores
UNTIL 22 DEC GALLERY CLOSED from 23 December his passion for strong graphic
Natural Living UNTIL 24 FEB - 4 January inc. patterns and colour in his fun, bold
From delicate landscapes through Shoji Hamada: Exhibition Gallery re-opens at 9.15am on 5 and functional ceramics featuring
understated elegant studio pottery 40 years on January 2019 birds, flora and fauna, polka dots and
to warm cosy pastel scarves, a The Leach Pottery proudly presents Purple Gallery, Bourneville love hearts.
beguiling selection to adorn the this significant touring exhibition purplegallery.com Ken’s pieces are hand-made glazed
home as our thoughts turn to the marking the 40th anniversary of earthenware and made using press-
festive season the death of Hamada (1894-1978) 12 29 JAN moulds. His ranges include vases,
artichokegallery.co.uk - generally regarded as one of the 12th Annual Graduate Show jugs, mugs, bowls and lamps and
greatest potters of the 20th century, Bevere Gallery are all hand-painted. Ken lives in
UNTIL 23 DEC and one of the figures who initiated As each year passes it occurs to us Brighton.
Our eARTh 2018 Britain’s modern studio pottery that we may not be able to sustain New Ashgate Gallery
100+ selected artists’ work movement. the quality, creativity and interest that Farnham, Surrey
responding to climate change and Comprising 40 pots, from superb we hope is inherent in any Graduate newashgate.org.uk
the environment resist and brush decorated bottles Show. This year is particularly
Kunsthuis Gallery and generously glazed jugs to 25 JAN  24 MARCH
encouraging as the range of work
Crayke, N Yorks Hamada’s incomparable tea bowls, and the creative energy is as strong Fresh
kunsthuisgallery.com yunomi and crisply cut boxes, this as any of the best years we have 201 Ferrers Gallery
show is a retrospective of his best been holding this important event Ashby de la Zouch
UNTIL 23 DEC work from the early 1920s to the – important because it is one of the Leicestershire
‘Shades of Clay’ Annual Winter 1970s. The pots are drawn from vehicles through which the studio ferrersgallery.co.uk
Show 2018 important private collections, ceramic sector is re-energised.
Kunsthuis Gallery, Crayke, N Yorks including a tea bowl that was in the As always, we will be asking visitors FEBRUARY
kunsthuisgallery.com possession of Bernard Leach. The to select the maker that they like
exhibition has travelled to St Ives after the best and the exhibitor with the 2 26 FEB
UNTIL 24 DEC showing at Oxford Ceramics Gallery, most votes will be represented by the Focus on February: Featured
RBSA Members & Associates and it is a fitting tribute for Hamada’s Gallery for the coming year. maker Geoffrey Swindell
exhibition pots to show at the Leach Pottery – This year, we will be showing three Bevere Gallery, Worcester
Annual exhibition of The Royal the place established by Hamada and makers from last year – One Year On beveregallery.com
Birmingham Society of Artists Bernard Leach in 1920, almost 100 – Spencer Penn, the winner last year,
student work years ago. Julie Hutton and Kate Bergin. 2 FEB
rbsa.org.uk This is a rare opportunity to see the Bevere Gallery, Worcester Independent Ceramics Market
work of a modern master. beveregallery.com 11am-6pm
UNTIL 24 DEC The exhibition runs in the Leach Unit 8, Copeland Park,
Winter Wonderland Pottery Entrance Gallery 12 JAN  23 FEB 133 Copeland Road
This Christmas exhibition will All works for sale. Prices from £950 to Peter Hayes: Fire, Earth Water - London, SE15 3SN
see all three floors sparkling with £6,500 Evolving Ceramics To keep up to date, join the
craftmanship leachpottery.com We are delighted to welcome back Peter Facebook event here:
Ferrers Gallery Hayes, the internationally renowned bit.ly/2zYNGYQ
Ashby de la Zouch JANUARY sculptor and ceramicist working in Bath.
ferrersgallery.co.uk The distinctive organic appearance 910 FEB
UNTIL 3 JAN of Peter Hayes’ work builds on the Grown & Thrown
UNTIL 29 DEC MAKE 2018 - Contemporary techniques and methods he learned in 11am-6pm
Oriel Myrddin Gallery Makers Crafts for Christmas Africa, India, Asia and New Mexico. Peter DIY Art Shop
Market 2018 Jubilee Gallery is drawn to the shapes of artefacts from London, E8 2EB
Some of the best individual makers, Riverside Mill, Bovey Tracey other cultures and times that remain To keep up to date, join the
designers and artists from Wales and Open daily, 10am-5.30pm. Free timeless. Facebook event here: bit.ly/2QK0g8L
across the UK in a winter exhibition The festive season brings with Peter is interested in the process of
Carmarthen it this annual Christmas selling change in objects: his work does not 23 FEB
orielmyrddingallery.co.uk exhibition. Filled to the brim with compete with nature; but evolves Hornsea Ceramics Festival
contemporary craft, the Jubilee within the environment. For example, A brand new pottery festival in
UNTIL 31 DEC Gallery will host work by designer- the introduction of minerals into the Hornsea. The celebration will take
‘A Woman’s Place’ makers from across the UK ceramic surface such as iron and copper place at Hornsea Town Hall to
Abbey House Museum bit.ly/2PjOIsj with the elements of time and erosion coincide with the installation of the
Leeds creates unique pieces. Similarly, the new ‘Heritage on the High Street’
bit.ly/2FFsqMy UNTIL 5 JAN 2019 individual character of materials exposes public realm artworks.
In the Spotlight 2018 both limitations and tolerance. As Peter The Festival is set up to encourage
UNTIL 31 DEC A selection of makers creating says, each individual piece takes on its makers to come to the town and
Focus on: Rowena Brown, Petra collections that captivate curious own developing surface; its own history for those based there to share their
Bittl, Masazumi Yamazaki, minds and aesthetic. work and bring ceramics back to
Yo Thom and Gabrielle Koch The Craft Centre & Design Gallery, New Ashgate Gallery Hornsea. Hornsea Town Hall
Bevere Gallery, Worcester Leeds Farnham, Surrey Hornsea East Riding
beveregallery.com craftcentreleeds.co.uk newashgate.org.uk studioeleven.co.uk
Kiln conversion
What’s involved
in converting a
kiln with a sitter,
to one with a
programmable
digital controller?
F irstly, this is not a
DIY guide to
converting your
kiln, but when I recently
involved than I expected,
and took two experts from
Northern Kilns, Adrian
Cross and Pete Varga, more
decided to have my old sitter than three hours.
replaced with a digital The first thing Adrian did
controller, I imagined it after checking the power
would take maybe an hour. was off, was to carry out a
Not so. It’s a lot more visual inspection. He was Adrian Cross from Northern Kilns.
happy that the kiln’s in a

1 good location in my cellar,
under a ventilation chute,
and is very safe, with 2
nothing around it, and
nothing to fall onto it. The
brickwork was very good;
there were a few chips here
and there but nothing
detrimental to the
performance. I’d sent
photographs of the elements
before arranging the
appointment, and Adrian One element was
took a look at them in the reading significantly lower
flesh. He said that they than the others…
weren’t really bad enough to
need replacing there and The existing elements
then, but – obviously were 3 x 2kW, but this kiln
depending on the number of is very well-powered for its
firings – they would need to size – a bit like a sports car,
be changed at some point. If said Adrian – so it has the
I were further north, he potential to fire quickly,
would have advised waiting leading to uneven heating.
until it became necessary, With the new controller, I’ll
but even though the be able to fire with much
Northern Kilns team does more precision.
travel the length and Adrian explained that one
The front panel was removed and Adrian and Pete
tested the electrical supply to the elements. I’d reported breadth of the country, given option would be to change to
that the sitter hadn’t worked on my last glaze firing, and that I’m right down on the heavier gauge, 3kW wire.
even though I’d decided to replace the elements, Adrian south coast, it’s quite a trek This is more substantial,
wanted to establish what was going on. just for some elements. will have a longer life and
Kiln conversion
6
The new contact blocks
3 were put into position and
secured.
(7) The socket for the controller, mid-wiring. The

… so the voltage was checked at the contactor. The orange wire is for the thermocouple, and receives
supply was going in but not coming out. It was the the signal from the pyrometer. The blue wire is the
bottom element that wasn’t coming on; the contact controller’s neutral, brown is the controller’s live
wasn’t working, but they managed to bypass the wire, and it has an earth. Black is for the coils on the
contactor to get readings. Instead of a total of 6kW, contactors, and the yellow and black and white wires
it was 5.8kW, so once the supply issue was sorted out switch those individually. The black and white is the
the elements would have been ok, even with the slight worker, and the yellow is the auxiliary.
bunching and opening they were exhibiting. But, I had
decided to replace them, so it was a moot point. 8
4
The controller was plugged into a Harting socket

and Adrian gave me very thorough tuition on how to
programme it.
won’t be so prone to matter of time before they
collapse. That said, if the failed, and since I’d bought
existing elements gave a the kiln secondhand, I didn’t
good reading, we could leave know how old they were or
The old electronics were stripped out… them. They weren’t in that how many times and to what
bad a condition. I decided to temperatures they’d been
replace them with the higher fired. I wanted to start with
5 gauge anyway. It was only a a blank slate. 
Cost
Call out, supply and fit new Stafford 215 controller,
Harting socket, rewire the kiln with primary and
safety relays, R-type thermocouple and tuition: £748
To fit new elements while on site: £210
Total: £958 inc VAT
northernkilns.co.uk
Next month: things heat up! Making and fitting the elements
… and new contactors were wired up.
NORTHERN KILNS
info@northernkilns.com 01253 790307
Equipment Lessons
aSpares & repairs aValue for money aHelpline

aNationwide service aEase of use aService aReliability
FOR ALL YOUR SUPPLIES

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

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Dates: Mon-Sat 10am-9pm E: leafylanepottery@gmail.com Courses: Introduction to clay,
CLAY WORKS STUDIO Location: Sheffield City centre NORTHLIGHT ART STUDIO handbuilding, throwing, slip casting,
Courses: All levels from beginners arthousesheffield.co.uk Courses: Evening and day glaze workshop
to intermediate. Taster courses, KATIE BRAIDA workshops, summer schools and Dates: Afternoons and evenings
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JAMES OUGHTIBRIDGE
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Dates: Various Dates: Thursday evenings & day Yorkshire Dates: Weekly throughout the year
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Dates: Mon-Thurs 6.30-8.30pm throwing. Classes, one to one and THE DOWN TO EARTH
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FB: loveheartworkshops Tel: 07769955150
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BALTIC CLAY FB: thedowntoearthpottery
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Dates: April - October (3 & 5 Days) LEAFY LANE POTTERY BY
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YORKS residential homes, schools and Courses: Handbuilding.
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ART HOUSE, SHEFFIELD your home and gardens courses Courses: Pottery Discovery weekends
Courses: Wheel, handbuilding, Dates: Throughout the year and Dates: Various, see website Dates: Various,
porcelain, raku, figurative, area Location: Accrington, Lancs Location: Colne, Lancs
workshops, summer intensive Location: Hull and East Yorkshire bluebutterflycrafts.co.uk Tel: 01282 871129
PILLING POTTERY/ Location: Hulme, Manchester GLOSTERS Dates: Saturdays, 9.30-3pm
NORTHERN KILNS claystudio.co.uk Course: Throwing Location: Peterborough/East
Courses: From novice to MIDLANDS ART CENTRE Dates: April, Midlands
professional: throwing, hand- Courses: Ceramics Open Studio Location: Porthmadog FB: @potterydayz
building, glazing, making glazes, Dates: Various glosters.co.uk E: potterydayz@gmail.com
kiln loading, programming kiln Location: Birmingham JANE MALVISI Woodnewton Pottery
controllers, fitting elements macbirmingham.co.uk Courses: Pottery classes, including Courses: Weekly; throwing, hand
Dates: Various Raku. All abilities welcome building, decorating (Tues/Weds).
Parkwood Throwing
Location: Pilling, Lancs Dates: Mon/Tues/Weds days and Clay sculpture
Courses
pillingpottery.com evenings Dates: Throughout the year
Courses: Basic and intermediate
THE POTTERS BARN throwing Location: Bridgend, S Wales Location: Near Peterborough
Courses: Adult half & full day: Dates: 8-week Thurs evenings, janemalvisi.co.uk robbibbyceramics.co.uk
beginners throwing & weekend courses, taster sessions ORIEL BODFARI GALLERY ZOO CERAMICS
handbuilding. Intermediate & Location: Nr Alfreton, Derbyshire AND POTTERY Courses: Half and full day
advanced throwing. Raku & pit parkwoodthrowingcourses.co.uk Courses: Throwing, handbuilding, handbuilding workshops,
firing Raku, etc 10-week pottery classes
PLAY WITH CLAY
Dates: Various Dates: Various Dates: Various
Courses: Throwing, toddler clay
Location: Sandbach, Cheshire/ Location: Bodfari, North Wales Location: Waddington, Lincolnshire
Dates: Saturday mornings,
Staffs border orielbodfarigallery.co.uk zooceramics.co.uk
Tuesday afternoons, throwing
thepottersbarn.co.uk
weekly by appointment.
CARLA POWNALL Location: Loughborough CAMBS/LINCS WORCS/SHROPS/
Courses: Throwing, 6-week course, creationspottery.co.uk STAFFS/HEREFORD
beginner to advanced using SEVEN LIMES POTTERY PAULA ARMSTRONG
stoneware and raku clay. Courses: Varied courses/classes Courses: Handbuilding, workshops ALL-YEAR-ROUND POTTERY
One-off courses on last Saturday Dates: All Dates: Monday and Thursday Courses: Weekly classes;
of the month. Location: Moss Side, Manchester mornings, Tuesday & Thursday taster sessions; one & two-day
Dates: Weds am & pm, plus last 7Limes.co.uk evenings, monthly Saturday courses in throwing, hand-
weekend of the month workshops building and decorating; pottery
Location: Wirral SEYMOUR ROAD STUDIOS Location: Willingham, Cambs parties for all ages. All for
E: carlapownall@yahoo.com Courses: Weekly/1-day weekend parmstrongceramics.co.uk beginners and more advanced
FB: carlapownallceramics classes
MATTHEW BLAKELY Dates: Various all-year-round!
Dates: Various
Courses: Weekend Courses: Location: South Herefordshire
Location: West Bridgeford, Notts
NOTTS/DERBYS/ Throwing, Porcelain throwing all-year-round.org.uk
seymourroadstudios.co.uk
LEICS/MIDLANDS PAT SHORT CERAMICS
Dates: Monthly AMERTON ARTS STUDIO
Location: Lode, Cambs Courses: Life sculpture. Working
SANDY BYWATER @ CURIOUS Courses: Beginners’ handbuilding matthewblakely.co.uk from a life model to create a
STUDIOS workshops
DEEPDALE POTTERY figurative sculpture. Step-by-step
Courses: All pottery skills, suitable Dates: Various
Courses: Handbuilding and tuition, beginners welcome
for the beginner or the more Location: Edgbaston, Birmingham
throwing for beginners and Dates: Termly, Saturdays
experienced patshortceramics.com
experienced Location: Stowe by Chartley
Dates: Tuesday afternoons and LINDA SOUTHWELL Dates: Weekend and weekday amertonartstudio.com
evenings. Monthly, Saturday Courses: Evening classes and courses, including yurt BRITISH CERAMICS BIENNIAL
themed workshops one-to-one experiences accommodation if required, Courses: Beginners &
Location: Sneinton Market, Dates: Wednesday evenings and throughout the year Intermediate
Nottingham by arrangement Location: Barton upon Humber, Dates: Tuesday & Thursday
sandybywaterceramics. Location: The Harley Ceramics North Lincs Location: Stoke-on-Trent,
wordpress.com Studio, Welbeck, Worksop yurtatthechapel.co.uk Staffordshire
CAN-DO POTTERY lindasouthwell.co.uk
HILLS ROAD SIXTH FORM The BCB operates a clay school
Courses: Hand-building for COLLEGE and a variety of courses
beginners WALES Courses: Handbuilding, throwing, throughout the year.
Dates: Thursdays 10.30am-12.30pm BASEART STUDIO, GALLERY & plus summer school workshops britishceramicsbiennial.com
Location: Mellor, Stockport POTTERY WORKSHOPS Dates: Various EARTH AND FIRE CERAMICS
candopottery.wixsite.com/ Courses: Handbuilding; throwing; Location: Cambridge Courses: hand-building,
group 1-2-1 one-off sessions; parties hillsroadadulteducation.co.uk throwing by arrangement, pop-up
THE CLAY ROOM LEICESTER (adults, children, team-building) THE POT SHOP pottery.
Courses: Range of classes for all Dates: Ongoing, days and evenings Courses: Individual and small 1:1 or small groups, 2-hour intensive
abilities, plus membership scheme Location: Taff’s Well, Cardiff groups pottery classes in a lessons
for more experienced makers baseart.org professional workshop Dates: Various, 4-weekly courses
Dates: Throughout the year CARDIFF POTTERY WORKSHOPS Dates: Various, throughout the Location: Great Haywood, Stafford
Location: Leicester Courses: Handbuilding; throwing; year Facebook: @earthandfireceramics
theclayroom.co.uk one-off Saturday sessions; 1-2-1 Location: Lincoln KAREN FINCHAM CERAMICS
CLAY STUDIO MANCHESTER throwing; masterclasses with Anne Facebook, Twitter & Instagram: Courses: Hand building and
Courses: One-off taster sessions to Gibbs; parties (children, adults, @potshop1 throwing. One to one and group
regular weekly courses and 1-to-1 teambuilding); pottery membership Tel. 01522 528994 sessions
tuition. Anyone from beginner tutored & un-tutored Potterydayz Dates: Weekdays, evenings and
upwards is welcome. monthly Dates: 6-wk day & eve sessions, Courses: Wheel throwing for Saturdays
membership scheme for more various beginners and more experienced. Location: Redditch,
advanced makers Location: Cardiff Raku courses through the Worcestershire
Dates: Various cardiffpotteryworkshops.com summer clayclass.co.uk
LoveClay at P-U-P Rugby Hants.
Valentine Clays Courses: Pop-up pottery, pay-as- BEDS/BUCKS/HERTS angelsfarm.co.uk
Courses: Basic/intermediate/ you-go. Come and have a go! BRACKNELL AND
professional/families. Throwing, Dates: Wednesdays, fortnightly CHARLIE’S POTS WOKINGHAM COLLEGE
slip casting & slip decorating, Location: Newton Village Hall, nr Courses: Intensive day-long Sunday Courses: Mixed ability adult
sculpture, basic ceramic techniques, Rugby throwing courses for beginners leisure classes taught throughout
professional masterclasses, ceramic FB: @popuppotteryrugby Dates: Various the daytime and evening. All
painting E: puprugby@gmail.com Location: Aylesbury, Bucks abilities welcome in our well-
Dates: Evenings & weekends E: throwingpottery@gmail.com equipped pottery studio,
SWANSPOOL CERAMICS
(various) Courses: Handbuilding, throwing, CLAY WITH CAROLE where a range of pottery
Location: Stoke-on-Trent Courses: Handbuilding, throwing techniques are taught by
all levels. Open access studio.
loveclay.co.uk Dates: Various experienced tutors. One-
Weekend courses & one-off Location: Hitchin, Herts day specialist courses taught
POP UP POTTERY STUDIO experiences claywithcarole.co.uk throughout the year
(EARTH & FIRE CERAMICS) Dates: Termly, year-round Dates: Mon – Thurs, daytime and
Courses: Beginner courses to learn Location: Castle Ashby, Northants DIGSWELL CERAMICS
COMMUNITY evening
simple techniques swanspoolceramics.co.uk Location: Woodley Hill House,
Dates: Tuesday evenings & Courses: Beginners’ tuition,
support for experienced potters Earley, Berks
Friday afternoons NORFOLK/SUFFolk/ Dates: Tuesdays, Thursdays bracknell.ac.uk/courses/
Location: Great Haywood (near ESSEX Location: Letchworth Leisure/courses/ceramics-
Stafford), Staffordshire FB: Digswell Ceramics sculpture
E: carolinefarnellsmith@ DEBORAH BAYNES Community Tel: 01344 868600
gmail.com Courses: Residential and E: debbie@debbiebent.com CERAMICSPACE
POTCLAYS nonresidential NORTH MARSTON POTTERY BRADFORD ON AVON
Courses: Basic/Intermediate/ Dates: Weekends (spring/autumn), Courses: Variety of pottery courses Courses: Full time access and/
Advanced Throwing, Intro to full weeks (July/Aug) Dates: Contact directly for further or practice without tuition
glazes, Pottery Basics, Moulding Location: Shotley, Suffolk details (experienced ceramicists), one-off
and Slipcasting, Tilemaking potterycourses.net Location: North Marston, Bucks 2.5hrs taster sessions (beginners),
Dates: Various BRICK HOUSE CRAFTS northmarstonpottery.co.uk adults taster workshops (individuals
Location: Stoke-on-Trent Courses: handbuilding, throwing, or groups), mentoring/tutoring/
KATE RADFORD POTTERY
potclays.co.uk decoration, mould making, raku specialist training (1 or 2 days),
Courses: Hand building, throwing
in the summer. Beginners to intensive course (4 days in groups)
THE SCULPTURE PLACE and sculpture for all abilities and
professional welcome. Leisure classes Gift vouchers: for lessons or taster
Courses: Figurative Sculpture ages. Electric, gas and raku firings
& City & Guilds L2 and L3 courses Dates: Weekly courses on a workshops
Classes Dates: Tues - Friday 10am to 4pm, Location: Bradford on Avon
Dates: Weekly sessions: Monday, Wednesday, Thursday and Friday
Sat 10am - 12 midday daytime and evenings, one to one Wiltshire
Wednesday & Thursday (running Location: Silver End, Essex Tel: Julia Warin 07800 778582
for 6 weeks) and group sessions available
brickhouseceramics.co.uk Location: Kensworth, South E: juliaartscool@btinternet.com
Location: Wolverhampton, FB: CeramicSpace Bradford on Avon
MARIAM CULLUM Bedfordshire
Staffordshire ‘CLAY SURGERY’ WITH
Courses: 1:1 tuition in throwing, kateradfordpottery.co.uk
thesculptureplace.co.uk SUZANNE & ABBY
hand-building, slip-casting, surface RUBY SHARP
STONEHOUSE STUDIOS decoration and glaze preparation Courses: Hand building, throwing, Courses: Throwing,
Courses: Throwing & handbuilt and application. decorating pots, sculpture for home handbuilding, glazing, raku,
ceramics, sculpture & life Dates: Various - Monday to Friday and garden mould-making for beginners and
sculpture. Portrait drawing, 10am-4pm Dates: Throughout the year improvers
painting, & general art. One off Location: Bury St Edmunds (weekend & day sessions available) Dates: Weekends throughout the
workshops & one-to-one tuition mariamcullumceramics.co.uk Location: Amersham, year
on request KATIE'S POTTERY STUDIO Buckinghamshire Location: Waterlooville, Hants
Dates: Throughout the year Courses: One-to-one & small group rubysharppottery.co.uk E: abbyducharme@hotmail.
One offs by arrangement tuition in throwing, handbuilding, co.uk
Where Inspiration Blooms
Location: Drayton Basset, nr decorating, glazing & firing for all Courses: Beginners’ classes, THE CREATIVE CAVERN
Tamworth, Staffs ages and abilities. workshops, hand-building, family Courses: Various, inc 1:1 throwing,
stonehousestudios.co.uk Children's Saturday class sessions, pottery room hire, kiln Dates: Various
Dates: Throughout the year space hire Location: Winnersh, Berks
WOBAGE FARM CRAFT thepaintnightcompany.co.uk/
Location: Leiston, Suffolk Dates: Year round
WORKSHOPS pages/the-creative-cavern
katiespotterystudio.co.uk Location: Chesham,
Courses: Various multiple-day
throwing workshops SUDBURY POTTERY CLASS Buckinghamshire Eastcott Studios
Dates: Various Courses: Weekly classes, whereinspirationblooms.co.uk Courses: Workshops, classes,
Location: South Herefordshire workshops, one offs and pottery for drop-in sessions, open access
workshops-at-wobage.co.uk kids. Various hand building, slab, coil WILTS/HANTS/ Dates: Various
and surface decoration. BERKS Location: Swindon, Wilts
All abilities welcome eastcottstudios.co.uk
WARKS/N’HANTS/ Dates: Weekly, daytime and ANGELS FARM POTTERY FIRED THOUGHTS ARTS
OXON evening/ some weekends Courses: Residential (B&B) & STUDIO
Location: Sudbury, Suffolk non-residential. Throwing, Courses: Ceramics & ceramic
CENTRE OF ENGLAND ARTS sudburypotteryclass.co.uk handbuilding, decorating sculpture courses/workshops, all
Courses: Novice to experienced, Thaxted Potters Dates: Sat and w/ends once a skill levels. Raku, 1:1 throwing, all
including throwing Courses: Beginners and month. handbuild techniques
Dates: Weekly, Thursday evenings intermediates Weekly evening classes & Fri am. Dates: Weekly, daytime &
7-9pm Dates: Various 6-week sessions One-off days for groups, min 4, evening/weekends
Location: Nr Solihull Location: Thaxted, Essex max 8 attendees Location: Devizes, Wilts
coea.co.uk thaxtedpotters.co.uk Location: Lyndhurst, New Forest, E: whelan581@btinternet.com
JEANNE LEWISTIFF who have no access to a kiln.
Courses: Small groups or 1-1 in Ideal for community groups.
throwing and/or hand building Based in Dorset
Dates: Contact for details facebook.com/creativeclayforall
Location: Maidenhead, Berkshire E: creativeclayforall@yahoo.co.uk
E: Jeannelewi@hotmail.co.uk PATRICK ESSON
DIANA PATTENDEN Courses: Modelling, coiling, slab
Courses: Sculpture, throwing, hand work, pinching, throwing
building, Prosecco & Clay sessions, Dates: Various
children's parties, hand casting. All Location: Gloucester
ages and abilities welcome E: p.esson@aliqua-art-gallery.com
Dates: Daytime, evenings and CHARLOTTE MILLER
weekends CERAMICS
Location: Newbury, West Berkshire Courses: Throwing, handbuilding,
dianapattenden.co.uk mould-making, surface decoration
SASHA WARDELL Dates: Termly part-time, taster classes handbuilding, throwing sessions
Courses: Bone china & mould workshops, pottery parties Dates: Various, each month Dates: Terms of 6 weeks, various
making courses Location: Bournemouth Location: St Ives, Cornwall Location: Burwash, East Sussex
Dates: May to September ( incl.) charlottemillerceramics.com leachpottery.com burwashpotter.co.uk
in SW France /Feb & March in Wiltshire KITE STUDIOS CLAY STUDIO TARKA POTTERY THE CERAMIC STUDIO
Location: SW France/ Wiltshire Courses: Throwing, handbuilding, Courses: All levels from beginners Courses: From beginner to
sashawardell.com glazing, adult & children courses to intermediate all year round. professional, plus taster sessions
STONEHENGE POTTERY weekly & weekend. One-to-one Taster sessions for individuals or Dates: Various
Courses: weekly classes, Tuesday sessions and pottery birthday parties groups, weekly throwing and Location: Five Oak Green, Kent
and Thursday, hand building and Dates: Mon-Sat various times handbuilding courses. theceramicstudio.me.uk
throwing. Weekender workshops Location: Kemerton, Child/family workshops, parties CERNAMIC
and group sessions by arrangement Gloucestershire, and London Dates: Tuesday to Saturday Courses: With Nam Tran;
Dates: Various all year round kitestudios.org Location: North Devon throwing, mould-making, raku
Location: Winterbourne Stoke, NEW BREWERY ARTS tarkapottery.co.uk Dates: Various
Near Salisbury and Amesbury Courses: Variety of ceramic courses Location: SE London
Tel: 01980 620328 Dates: Contact directly for further KENT/SUSSEX/ cernamic.com
stonehengepottery@
details SURREY/LONDON Claynglaze Pottery
btinternet.com
Location: Cirencester, Studios
Gloucestershire ART OF MINE Courses: Pay as you go pottery for
DORSET/GLOS/ newbreweryarts.org.uk Courses: 1-1 throwing tuition, hand all levels. Various training days/
SOMERSET RUARDEAN GARDEN POTTERY
building, surface decoration for all weekend courses & fine art
ages and abilities. Birthday parties, workshops
Courses: Weekends, week-long
ARTISAN CRAFT CLASSES & team building and taster sessions Dates: Days, evenings & weekends
Courses: Throwing, Pot Making
WORKSHOPS Dates: Various throughout the year
Dates: Various Location: Maidstone, Kent
Courses: Weekly pottery classes - Location: West Sussex
wheel and handbuilding Location: Forest of Dean E: info@thisartofmine.co.uk
ruardeanpottery.com claynglaze.co.uk
Dates: Mondays and Wednesdays, ART SHOP AND POTTERY
one-offs by arrangement Rachel Fooks: Ceramics THE CLAY PLACE
Courses: 1-to-1 throwing tuition. Courses: 6-week courses,
Location: Winterborne Monkton, Courses: Weekly classes and One-off taster sessions & longer
Dorchester one-off sessions, hand-building & one-day workshops, bespoke clay
courses available. Slabbing, tile days.
E: mail@artisandt1.co.uk throwing for all abilities making and Kids Clay Club.
Location: Wareham, Dorset Hand building techniques, slab,
ASHBROOK STUDIO Dates: Monday to Saturday coil, surface decoration
Courses: Throwing, handbuilding, rachelfooksceramics.com 10.00am - 6.00pm Dates: Wednesday/Friday 6-week
glazes Location: Brighton & Hove
One-to-one or small group, daily DEVON/CORNWALL artshopandpottery.com
courses
Various dates for one-day workshops
Dates: All year Christow Pottery AYLESFORD POTTERY Location: Ashurst, West Sussex
Location: Waterrow, Somerset Courses: 2-day saggar & raku-firing Courses: Raku days, 1-day, jwceramics.net
ashbrook-ceramics.co.uk weekend workshops with Abi 10-week Pottery classes, THE CLAY ROOM UK
BANWELL POTTERY Higgns/Alison West. All abilities Mould Making, Glaze Theory Courses: Clay taster workshops;
Courses: Throwing, handbuilding, Dates: Throughout the year & Application introductory pottery; mould-
modelling, slab work, coil work, Location: Devon Dates: Various terms making & slip-casting; transfer;
tile-making abihiggins.co.uk Location: Aylesford, Kent termly pottery courses; Christmas
Dates: Weekly evening class, Weds alisonwestceramics.com aylesfordschoolofceramics.co.uk workshops & private lessons
6-8pm GOONZOYLE POTTERY LOUISE BELL CERAMICS Dates: Various
Location: Weston-super-Mare, Courses: Wheel, handbuilding, Courses: Hand building, surface Location: Chelsfield, Orpington
N Somerset glazing, raku and pit-firing. For all decoration, simple mould making theclayroomuk.com
banwellpottery.org abilities in fully equipped rural studio. and glazing for beginners. THE CLAY STUDIO
CARANTOC ART Dates: Morning, Afternoon & Taster afternoons and bespoke Courses: Handbuilding, throwing,
Courses: Intensive & regular classes Evening drop-in workshops sessions for up to three people of surface decoration, glazing for
available in pottery & ceramic throughout the year. Contact any level or ability. beginners/experienced potters.
sculpture directly for more information. Dates: Various Raku, smoke-firing and animal
Dates: Year-round Location: Camborne, Cornwall Location: Lewes, East Sussex sculpture
Location: Weston-super-Mare, FB: Goonzoylepottery Louisebellceramics.com Dates: Mon-Thurs all day inc evenings
North Somerset marykaunenglish.com BURWASH POTTERY Location: Groombridge, nr
carantoc-art.co.uk LEACH POTTERY Courses: Various handbuilding, Tunbridge Wells
CREATIVE CLAY FOR ALL Courses: 3 & 5-day throwing, decoration. All levels. Classes, E: claystudio@eunicelocher.
Travelling clay workshops for those evening workshops, parties, taster com
The Clay Workshop decorating, glazing. Location: Chichester, West Sussex MAS SARRAT POTTERY
Courses: Throwing, hand-building, Masterclasses. Open access E: sarahamos1305@gmail.com Courses: Introduction to
glazing, decorating, raku. All levels, Dates: Various, year round, plus SULEYMAN SABA pottery (handbuilding and
inc 1:1s open access Courses: Pottery classes throwing).
Dates: Various, ongoing Location: Three studios in Dates: Tuesday and Wednesday Improver pottery handbuilding
Location: Central Eastbourne Peckham, East London evenings (Clapham), and throwing) 5-day courses
grahammatthewsceramics.com thekilnrooms.com Mondays and Tuesdays (Kingsbury) Dates: April 16-30 and 23-27
PETER CUTHBERTSON KITE STUDIOS CLAY STUDIO Location: London (Kingsbury and Location: Cazals, Lot, France
Courses: Throwing and Courses: Throwing, handbuilding, Clapham) Jenniegilbert.com
handbuilding, beginners and glazing, adult & children courses suleymansaba.com Facebook: @cvpotterycourses
more advanced weekly & weekend. SUTTON COLLEGE
Dates: Weekly regular day and One-to-one sessions and pottery UN PETIT TOUR DE TERRE
Courses: Hand building, Courses: All levels,
evening classes plus one off birthday parties throwing, plus summer
weekends by arrangement Dates: Mon-Sat various times hand-building, surface
workshops, mixed abilities,
Location: East Hoathly, East Location: Kemerton, decoration, making tools, raku,
adult and family education.
Sussex Gloucestershire, and London Dates: Starting in September glazing. Full-board accommodation
E: peter.cuthbertson@ kitestudios.org with various dates throughout available
phonecoop.Coop Clover Lee Ceramic the year. Dates: All year round,
EASTBOURNE STUDIO POTTERS Courses: Throwing courses for Location: Sutton, Surrey Monday 9am to Friday 5pm
Courses: Throwing, hand building, one day or 6 weeks, and suttoncollege.ac.uk Location: Saint Génies de Comolas,
surface decoration and glazing independent sessions for all STAR POTTERY France
for beginners and experienced abilities Courses: Taster, Weekly classes Facebook: @FredPotierGres
potters. Dates: Weekly regular, weekends Dates: Various SASHA WARDELL
Plus, Personal Project Development and private booking available Location: Lewes, East Sussex Course: Bone china & mould
with specialist support. Open through out the year hamid-pottery.co.uk making courses
access: studio hire available for Location: South West London, SW19 Dates: May to September (incl)
THE STUDIO AT CLAPHAM LTD
experienced makers clover-lee.com in SW France/Feb & March in
Courses: Taster course, project
Dates: Weekly courses throughout LILLAGUNILLA CERAMIC based workshops, tailored tuition. Wiltshire
the year. Personal Project on Weds STUDIO Beginners Handbuilding Courses. Location: SW France/Wiltshire
6-9pm. Courses: One-day workshops and Learn to pinch, coil, slab and throw! sashawardell.com
Location: Eastbourne Saturday classes in throwing and Wednesday drop in for
E: eastbournestudiopottery@ hand-building experienced enthusiasts. All levels
gmail.com Dates: Various catered for. spain
eastbournestudiopottery.com Location: Charlton, South East Dates: Various
FOREST ROW SCHOOL OF London Location: Clapham Near Worthing, TOTEM CERAMICS POTTERY
CERAMICS lillagunillaceramics.co.uk West Sussex SCHOOL
Courses: Adult intensive throwing MAZE HILL POTTERY thestudioatclapham.com Courses: Throwing, sculpting,
and handbuilding weekly classes. Course: Weekly Evening Classes IMOGEN TAYLOR-NOBLE handbuilding, slip casting,
Weekend workshops: raku, soda/ Dates: Throughout the year Courses: Weekly pottery classes general skills for beginners.
smoke firing, animal sculpture, Location: Greenwich, London for adults and children. Weekly classes & courses
glaze chemistry, slip decorating. mazehillpottery.co.uk Suitable for all levels. Dates: 1-5 day courses, weekly
Three-month residential Sept-Nov MORLEY COLLEGE Hand-building, glaze mixing & classes, year-round
2018 Courses: Hand building, throwing, glazing, experimental firing days. Location: Andalucia
Location: Forest Row, West Sussex plus summer workshops, beginner Obvara, Raku, & Saggar. 1:1 throwing totemceramics.com
frschoolofceramics.co.uk to advanced levels, adult and family sessions at my Whitstable studio
GO CREATE education. Dates: Various REST OF WORLD
Courses: Pottery, sculpture & craft Dates: Starting in September with Location: Espressions Art Cafe,
Dates: Various various dates throughout the year. Canterbury
DUCTAC, MALL OF EMIRATES
Location: SW London Location: London imogentaylor-noble.com
Courses: Introduction to ‘Pottery
gocreate.co.uk morleycollege.ac.uk TURNING EARTH for all’; hand-building & throwing.
CLAIRE GRIFFITHS PADDOCK STUDIO POTTERY Courses: Open access studio Trial sessions
Dates: Starting September; Courses: 1-day individual or Tues-Sun for all levels – must be Dates: Sunday, Monday, Thursday
Weds 10.00am -12.30pm & shared, throwing, handbuilding working independently.
10-1pm. Tuesday 6.30-9.30pm
Thurs 7.00- 9.30pm Dates: Various Classes available, see website for
details/availability Location: Dubai, UAE
Location: Whitstable Location: Lewes, East Sussex ductac.org
E: jc.griffiths@btinternet.com thepaddockstudiopottery.co.uk Dates: Open access studio Tues-
Sun. STACEY MCDONALD POTTERY
HANDMADE IN CHISWICK THE PAINTING POTTERY CAFE Location: Hoxton E2 and Lee Valley Courses: Fully equipped, spacious
Courses: Weekly classes and Courses: Evening classes: E10, London clay studio offering beginner &
one-off workshops inc 1:1 throwing. Throwing, coiling, slab & pinch e2.turningearth.uk intermediate wheel throwing,
Studio time for more experienced for different monthly projects. All
learners materials and glazes provided. handbuilding and beginner
Dates: Term time for weekly classes, £35pp
FRANCE sculpture classes, workshops
by arrangements for workshops Dates: 3rd Thursday of the month and special events for adults
L’APIPOTERIE /E. PENSA
and studio time 6.30-9.30pm and children 10 and over. Cone 6
Courses: Handbuilding for
Location: London, W4 Location: Brighton utilitarian use and animal sculpture. electric firing, white stoneware and
HandmadeinChiswick.weebly.com paintingpotterycafe.co.uk Bilingual course French and English a selection of other clay bodies,
Twitter: @jolyopsimath POTTERY CORNER @ NO. 45 Dates: 10-12 July and glazes made in-house
THE KILN ROOMS Courses: Clay club, Raku, 25-27 August Dates: Ongoing start dates; days,
Courses: Beginners one-off taster handbuilding and throwing courses Location: Beaufort sur evenings and weekends
sessions; beginners taster classes: available. Gervanne/South East of France Location: 12 W. Spring St. Illinois
beginner/intermediate courses Clay club on Tues/Thurs evenings, in the Vercors regional park USA
in hand-building, throwing, others various throughout the year E: epensa26@gmail.com staceypottery.com
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PINCH SLAB CLAY STORE PINCH, COIL, SLAB AND THROW THROWING A DEEP BOWL
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ALSO INSIDE: Glazing combinations NCECA report ALSO INSIDE: Ceramic artists • Summer events • Coiled mugs ALSO INSIDE: Opaque glazes • Empty Bowls Project MOON JAR GLAZING FAKE CELADONS CAST VASES ALSO INSIDE: Doug Fitch’s diary • Courses Events diary Me & My Pot
001 Clay Craft Cover Issue 15.indd 1 08/05/2018 13:10 001 Clay Craft Cover Issue 16.indd 1 05/06/2018 14:27 001 Clay Craft Cover Issue 17.indd 1 10/07/2018 16:59 001 Clay Craft Cover Issue 18.indd 1 07/08/2018 15:41 001 Clay Craft Cover Issue 19.indd 1 11/09/2018 15:15
ISSUE 15 ISSUE 16 ISSUE 17 ISSUE 18 ISSUE 19

• Herb/strawberry planter • Thrown wall planter • Moon jar • Chinese bowl • Thrown ginger jar
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• Thrown shallow dish • Thrown deep plate inspiration at your fingertips!
• Porcelain box • Hedgehogs
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• Coasters & trivets • Lustre decoration ONLINE: shop.kelsey.co.uk/crabinder CALL: 01959 543 747
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ME AND MY POT
Clay type: Mainly earthenware
Selena Bragg
Firing: Saggar firing, pit firing

and using ferric chloride
Build technique: hand-built
Decoration process: I
burnish the forms to a highly
smooth surface before bisque
firing. To create the different
effects I will then refire them in
my raku kiln wrapped in tin foil
adding such things as seaweed,
horsehair, sawdust and copper
wire, or I will place pieces in
the garden incinerator with
seaweed and salts to create
wonderful random patterns,
colours and smoke effects
Inspirations & influences: I

have found that I can translate
my love of lightness, texture
and shape into my ceramics
and I get great satisfaction
in creating pieces that evoke
these qualities. My inspiration
comes from the natural world,
and I hope to reflect the
wonderful forms and textures
of nature within my pottery
See/buy my work at:

Primavera, Cambridge
(primaveragallery.co.uk);
The Gallery Norfolk,
Norwich (thegallerynorfolk.
co.uk); The Brett Gallery,
Monks Eleigh, Suffolk
(bridgefarmbarns.co.uk)
and selenabraggceramics.
com
If you would like a piece of

your work to be featured,
email us at: claycraft.ed@
kelsey.co.uk
Gwalia CeramiCs
Owners Jacqui Atkin and Charmain Poole
Hand crafted contemporary ceramics
SALES OF KILNS, WHEELS,
EQUIPMENT, TOOLS
All ceramic making equipment
serviced and maintained
Clays and glazes

in stock
Opening times: Wednesday to Saturday 10am to 5pm - Sunday 10am to 4pm

Llangollen, Denbighshire
Tel: 01978 869 109
Find us on Facebook @ Gwalia Ceramics
gwaliaceramics.co.uk
56 High Street Burton Latimer Kettering Northants NN15 5LB

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SIX GREAT STEP-BY-STEP PROJECTS

PINCH, COIL, SLAB AND THROW Issue 22

RELIEF OWL PLAQUE

CAST SLAB VASE

ALSO INSIDE: Decals on blanks • Oval baker

provide great protection while you’re

40 Project 4: slip cast vase

6 News 22 Project 2: decorating with 46 Linda Bloomfield

56 Project 6: relief owl plaque

Cover up and look good with our

keep your magazines organised in SLAB-BUILD

ALSO INSIDE: Decals on blanks • Oval baker

the magazine delivered to your

Meet the Makers

Tutored sculpting workshop

Recently, kiln models from the Toploader

Before you begin:

You will need:

 Because this is a functional piece, it needs a good strong

8 Sponge out any remaining water from the interior of

 Finish by running a finger under the rim on the outside

Throwing the base

 Secure your batt on the wheel head then cone up and

Make a gentle swirl in the clay using two fingers (which

Fixing the wall to the base

18  Place the wall on the base in an oval position, making

 Carefully underwire the base before lifting the batt off

 Lightly smooth over the join with a sponge to neaten it

Split through the excess clay with a knife then carefully

 Wire through the underside of the base once more, then

 Use the side of your finger to remove excess clay at each

To pull the handles

 Allow the dish to dry slowly

BATH POTTERS SUPPLIES

1: Jamila Haynes: “What was really

7: Katrina said of Esther Broughton’s

Emerson College – Forest Row, East Sussex, RH18 5JX

You will need: ■ White slip plus two coloured varieties

BEFORE YOU BEGIN: 3

 Place the template on the

 Working on a sheet of plastic, reduce the bulk

 Smooth over the surface with a rib to compact the clay

 Smooth over the surface

 Join the edges together, pressing firmly with your

 Work over the joins with

11  Place the body of the form on the base slab in an

 Positon the body on the base slab and apply firm

 Cut away the excess clay around the base with a

Apply a liberal amount of slip to the base slab and base

 Use a long-handled paintbrush to clean away any excess

 Neaten around each strip with a wooden tool to remove

Turn the form upright on a batt then carefully cut away

 Remove the strips then score

 The finished form is now ready to decorate.

Apply three even coats of white slip to the outside of

On the remaining two sheets of newsprint, draw three

Now apply a second colour of

 Continue to press the print onto the surface, supporting

 Once bisque fired, dip the form in transparent glaze and

CERAMIC SUPPLIES FOR THE HOBBY AND CRAFT POTTER

YOU WILL NEED:

 You will need a large block of clay for this project

 Place the template back on the slab and cut it to size

 Lift the slab on

Because this is a functional piece, it needs a good strong

Finish by running a finger under the rim on the outside

Secure your batt on the wheel head then cone up and

18 Place the wall on the base in an oval position, making

Carefully underwire the base before lifting the batt off

Lightly smooth over the join with a sponge to neaten it

Wire through the underside of the base once more, then

Use the side of your finger to remove excess clay at each

Allow the dish to dry slowly

Place the template on the

Working on a sheet of plastic, reduce the bulk

Smooth over the surface with a rib to compact the clay

Smooth over the surface

Join the edges together, pressing firmly with your

Work over the joins with

11 Place the body of the form on the base slab in an

Positon the body on the base slab and apply firm

Cut away the excess clay around the base with a

Use a long-handled paintbrush to clean away any excess

Neaten around each strip with a wooden tool to remove

Remove the strips then score

The finished form is now ready to decorate.

Continue to press the print onto the surface, supporting

Once bisque fired, dip the form in transparent glaze and

You will need a large block of clay for this project

Place the template back on the slab and cut it to size

Lift the slab on

Measure 6 pints of water into a clean bucket.

Once all the plaster is in the frame, wiggle the surface

Wipe over the surface of the batt with a clean damp

Your finished batt must be placed somewhere warm to

Using a soft mop-type brush

If you made a card template to fit around your tube use

Place your tube on the slab and

You can clearly

Linda Bloomfield still life group of

Write ‘Mug template’ on the card so that you always

Very carefully cut out the decals on your cutting mat.

Position the decal carefully on the side of the mug. It

Apply the smallest section of decal first, following the

Applying larger areas of decal can also be tricky

Hannah wrapping birdie jars for

Pippin making Christmas

On a separate sheet of card, draw and cut out the

Use a serrated kidney to remove clay where necessary

Score the underside of the

Score and slip the

Using a fine-tipped modelling loop tool, carve out the

Redefine the outline of

With your original drawing close by for reference, now

Using a loop tool, carefully

Instagram appeal Succulent planters

The hardest part was deciding

When I finally found my wax

A finishing touch inside, before

(7) The socket for the controller, mid-wiring. The

The controller was plugged into a Harting socket