ry 4 PAGES OF PRACTICAL STEP-BY-STEPS PINCH, COIL, SLAB AND THROW Issue 30 GREAT SLAB 9 A 204024! il 4 Exhibiting at fairs @ Supplier spotlight @BlogHOM VeWZGANI"@) 0 <4 Book your place on our September Courses Visit eventbrite.co.uk, search Potclays a Meet the team.. Jacqui Atkin { Simon Shaw Keep cups pts { Thrown goblet. pe —_ > - Coe ear peg Cayce Magne Trac See Welcome ust as I was sitting down to write this, I was contacted by one of the producers of Radio #’s You and Yours. She wanted to know if pott about what I could tell her anecdotally. ‘Talking about it with someone from ‘outside’ made me think any gis can find — but my response was that _ for other people, and perhaps more so yes, itis still growing, I know from the in pottery than other fields. I don't people I have contact with through the _ know why. Maybe it's because it's so magazine, that there are waiting lists physical; the feel of wet clay, what you for classes, demand for equipment and can do with it, the tactile end resuits tools is rising, and there is still abuzz Td love to hear what you think, and around pottery. about how you fell in love with clay When I visited Bluematchbo: We know that a lot of our readers Grant was talking about expansic are also teachers, and we've published Hartley & Noble has burst onto the a book of handbuild projects, which scene manufacturing new tools; new pulls 22 of our features into a handy fairs and events are being started; this reference book. It’s available now magazine continues to grow, and wi through the Kelsey website: shop. receive feedback from people we visit, Kelsey.co.uk/BKCRA19 or by calling such as The Cheshire Clay Collective, 01959 543747 and quoting BKCRA19 telling us their studios are flourishing. to get your copy for £212.95 ine P&P. Texplained that, during my career in publishing, Tve been involved with many different subject areas, and have learned a lot about each of them, But and it's a big "but’ ~ this is the only ‘one where right from the first moment T touched clay, [fell in love with what 1 was doing. I suspect that it’s th sorromat Ransgop rector dovenrienen sas itPreecancometee oe COKELSEY ‘ertin Maar Hanger: worwkelsey.co.uk Issue 30ClayCratt 3Issue 30 6 News 8 Project 1: thrown goblet type A ach to making 16 Linda Bloomfield Useful advice and tips for exhibiting at fairs Project 2: slip-casting Eco-friendly keep cups made from a mould 25 Supplier spotlight: Bluematchbox Find out mi At this and gallery comer service i ‘container, perfect ea al plants, 38 Back issues a month? All the s at a glance 40 Project 4: sounc-boosting 54 Doug's Diary After a whirlwind of travel, family is finally back home = for the time being! 70 Confessions of a novice 72 Events 74 Seeking inspiration 76 Courses Fe —, Tracey has fallen in love with goblets (ur listing of what's on around the country Verity Howard of her lat ‘explains the origins iy of work ip for a class? Find in our useful free 8 Next month Find out what's coming up in the next issue 56 81 Reader eviKg ClayCraft Apron sue 20 ClayCraft 5If you have a news story, product launch or details of some other topical item you'd like our readers to know about, email claycraft.edi@kelsey.co.uk ARTISTQ&A Name: Sarah Nicol anc Peter O'Neil ~ Earls Croome House @: Can you tell usa bit about yourself and your backgrounds as artist/ makers? A: Sarah: lam trained in Textiles and surface pattern, with a BA hons in textiles from Somerset Collage in Taunton 1996 and an MA in textiles from Bath 2008. For those years, my favourite thing to make were appliqué cushions. |n 2008, | started putting my desions on the pottery that Peter made, and we've been selling to galleries all over the country ever since. Peters sel-tauaht and opened his first pottery studio in 1993 in Cornwall. He has been throwing pots ever since. He works mostly with white earthenware, sometimes with porcelain and recently he is rediscovering raku. Q: What is your biggest source of Inspiration? A: Sarah Strangely, its often the sea. We tend to head for the coast during our downtime, and | have a life-long passion for fish. | adore aquariums and began drawina fish during a snorkelling holiday when | was 12. & fish project for my A levels, and a year studying fish as part of my MA, have brought me to covering pots in aquatic life. Peter also loves the sea, but his Inspiration is more about form, and he enjoys seeing pots made by the best ceramicists the world can offer, He goes to exhibitions and museums, auctions {and shops to see clay in any form, @: Tell usa bit about your creative process. (For example, what's involved/how long it takes to make ‘Sarah Nicol and Peter O'Neil outside their studio at Earls Crome House. (mois toni ten © ClayCraft Issue 30 ‘Sarah Nicol decorates the pots that Peter makes. => (ews"onen apiece of work/which stage in the creative process you find most interesting or exciting) ‘A: Peter makes the pottery that | paint. He throws with white earthenware on the wheel. The making of the shapes is his favourite bit, and the painting of the pictures onto these shapes is my favourite bit. It is then fired, and Peter does the glazing, The pots are then fired again, and if they are having gold lustre, | paint again onto the glazed piece. They ‘are then fired again. This process usually takes us two weeks from wet clay to finished piece with all the drying and cooling times. ‘With the raku, the second firing is done in the garden with a gas kin: the pots are removad red hot and dropped into a metal bin full of sawdlust or paper, ‘which promptly bursts into flames. I's very exciting. @: Why are you taking part in Worcestershire Open Studios and what ‘can visitors expect to find if they visit your studio? ‘A: We are taking part because we think that people wil realy enjoy visting our space. We will have work for sale and refreshments for donation. We have {an ntoresting home. It's a bit chaotic, there's too much stuff, the garden is ‘overgrown, and i's ld and in need of repair, but ithas a charm and a feeling of an old world, a peaceful feeling of retreat and a lovely place to visit. There are bantam hens wandering about ‘outside the studio, a nice walk into the orchard and meadow, there will be a raku-firing demonstration every day and a chance to handle some clay. : Do you have a favourite piece of work that you just can't bear to let go of? A: Ittends to be the textiles that I get sentimental about. Some of my early cushions are still around, It's often the Creative process of coming up with a new product that leaves me attached to anitem. Once | have polished the design, | am happy to see it go, We lke to keep a souvenir of each hase. We both will make a product for 2 few years, which will evolve and then move on to something different. @: What advice do you have for artists who are just starting out? ‘A: Keap making. Don't be afraid to do the same thing over and over again until you get It right. Keep drawing. Keep looking, go to exhibitions and see shows. : Have you taken part in Worcestershire Open Studios previously, and if so, what happened to you and your artwork as a result? As This is our first time. 1 What are you looking forward to most about participating in Worcestershire Open Studios this year? A: We are really looking forward to opening up the house, garden and studios to the public and hopefully providing some worthwhile entertainment. Meeting some new people and showing our work. i Pottery POTTERY FOR BEGINNERS We're pleased to announce that an edited selection of 22 of our hhandlbuilding projects is now available in book form. It costs £12.95 inc P&P, but if youre Visiting Artin Clay Hatfield, you ‘can pick one up on our stand for Just £10! Order online at SHOP. . | KELSEY.CO.UK/BKCRAIS & Or call 01959 543747 and © quote BKCRAI Tor beginners — ‘The August bank holiday weekend from 23 to 26 August ela |D = Seatisgetntetmemiascteyuatcccire’ | _imovave ins and machina wth he oe erees and materials. aoe panes constant technical innovation since 1982. Teter neiheiiccatisuatcan est rcotnclen Our commitment can be seen in the handling worcestershireopenstudios.org and in ouides available effic ind q in libraries, tourist information centres and other locations ensuring enjoyment with your result ROHDE® Worcestershire Open Studios is a not for profit Issue 30 ClayCraft oe “=r, QUALITY, SAFETY, EFFICIENCY AND PASSION. Helmut ROHDE GmbH has been producing lualty of our products, organisation run by a group of artists who want to connect the region with local arts. The event was highly commended in the Visit Worcestershire Awards of Excellence 2018 and is sponsored by the Malvern School of Art and Bevere Gallery, 7THROWN«¢ | na a GOBLET, TYPE 2 This is the second goblet in our series, showing an alternative approach to making these tricky vessels st re ee ee Peg ee eet) re oye ey Re ee Cr Rn) Glaze to suit clay type 8 ClayCraft lus 30 lssue 0 ClayCraft 9SON seal te) TS Bile) Coat leo ‘A To make a cup 10 x 10cm, you'll need 2809 of clay. Prepare the clay by kneading thoroughly to remove any possible trapped ait. You can throw this form directly on the wheel head but if you prefer to work on a batt, fix one to the wheel head = for details visit claycraft.co.uk/how-to Centre the clay - you can see full instructions on how. to do this by visiting our website for more information 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 hand to level it off and bring it to centre. (Open out the clay to a rounded base, fingers of the right hand pressing down at the centre of the clay to within 10mm of the wheel head - left hand supporting the right for a steady manoeuver. ‘A Widen the base of the cup a little by drawing the clay back toward your body with your right-hand fingers, steadied by the left hand, as shown. ‘A Pinch and lift the wall upward into a basic cylinder shape between the fingers and thumb of your left hand, with right-hand fingers on the outside of the wall to, prevent it bellying outward. Making sure you work all the clay from the base, lift the wall again by knuckling up (or using the tips of ‘your fingers instead of the knuckle if you find it easier ‘on a small item like this). Use the fingers of your left hand on the inside, just above the knuckle or fingers that are on the outside of the wall Pull out the curve at the base of the cup into the wall to form a slight flare in the shape. ‘A Remember to compress the clay at the rim after each lift by gently holding it between your finger and thumb while running another finger over the surface. Only if needed, lift the wall one more time to refine the shape. You can leave the throwing ings as a feature of the goblet; they can look really good as glaze breaks over them, OR work over the surface with a rib to remove them as required. DIFFICULTY RATING * ‘Sponge out the interior of the cup carefully. Wipe ‘away excess slurry from the rim by pinching it gently between fingers and thumb as you did when compacting the clay, but using a sponge instead of 2 finger for a quick wipe. WARNING - don’t over work the sponge on the rim; it will expose the grog, content of the clay to leave a very aritty surface, which is unpleasant to drink from. 10 ClayCrait lesue 30 ‘A Wipe away excess slurry from the wheel head then remove excess clay from around the base of the cup, using a rib, Finish up by cutting a small bevel around the base with the tip of arib. Issue 30 ClayCraft 11Wire the underside of the cup, holding the wire really taut, Lift the cup off the wheel head and onto a wooden board. Allow the cup to firm to leather hard ready for trimming. Make as many more as required in the same way, trying as far as possible to work to the same dimensions ‘A Before you begin, prepare a small ball of clay to make aa pad to secure the cup for trimming, Place the clay on the wheel head as centrally as possible and flatten it out a little ~ it only needs to be a little wider than the rim of the cup once fully flattened out. <%) 12. ClayCrait lesue 30 ‘A Centre the clay in the same way as you did for the cup, then flatten the clay out with the first two fingers of your right hand. Use the left hand to support the side of the clay as you flatten the pad. 4 Level and compress the pad thoroughly with the side of a rib. This will also remove excess water and slurry from the surface - it must not be wet when in use for trimming. 4 Check the pad is wide enough to hold the cup in place securely for turning. a —aall Position the cup on the pad and tap it to centre - see claycraft.co.uk/how-to for instruction on how to do this. ‘Once the cup is central, apply alittle force to press it down into the pad to secure it in place. This pressure forms a rim in the pad which can then be Used to centre subsequent cups, providing they are the same size of course! A With your left thumb at the centre of the base, holding the cup in place and using your turning tool of choice, trim the base of the cup down toa diameter of 25-30mm, DIFFICULTY RATING * ‘A. Brush the base of the cup with a liberal amount of slip then score the surface with a pin or similar tool. Form the second ball of clay, for the stem, into a small ‘cone shape as shown, then score the wider base of, the cone as you did the base of the cup. Issue 30 ClayCraft 13SON 018 ONE Position the cone in place then smooth the clay down ‘onto the cup until the join is completely concealed. 4. Using 2 minimum amount of water on your hands, cup the cone shape in your right hand, thumb over the top, with the left palm supporting the shape from the opposite side. Apply gentle inward pressure to bring the clay to centre and level the top. It’s important to avoid over-wetting the cup itself. 14 ClayCrait lesue 30 ‘A Once centred, the clay should look like a small knob ‘on the base of the cup. 4 Press down into the centre of the clay with your right ‘thumb until you reach the base of the cup. Use your left hand to steady the clay and keep it to centre as you open out the shape. Pinch and lift the wall of the stem between the fingers and thumb of your left hand, Using the tips of your right- hand fingers to steady the litt DONOT PULL the clay up hard because you will lift it ff the cup! Work in small, gentle stages. DIFFICULTY RATING * A Lift the stem a second time by knuckling up (or again, Using the tips of the fingers, if that's easien). Place the left finger inside the stem, just above the knuckle (or finger) of the right hand on the outside, and lift carefully. ‘A Lift the wall to @ gentle flare, in balanced proportion to the cup, Remember to compress the clay at the rim by gently pinching it between the fingers and thumb of the left hand while running your finger over the surface. ‘The goblet is now finished. Transfer it to a wooden’ board to firm up in an upside-down position, Turn it over to even up the drying once the stem is firm ‘enough to support the cup. Complete the rest of your goblets in the same way if you're making more than one. Bisque fire once completely dry. ‘A Gently sponge over the surface to remove the excess slurry and tidy up. © 4 Glaze your goblet according to your clay type. ‘Amaco, Iron Lustre brush- on (cone 5-6) glaze was used for this goblet. It’s a lovely, luscious glaze that breaks into different colours and tones over textured surfaces. For the best results, fire at the lower end of the temperature spectrum rather than the top. Issue 30 ClayCraft 15Getting started Linda Bloomfield shares her advice on exhibiting at shows POO eu parece rete, cling at fairs is a good way to get your pottery seen by all kinds of people. As well as selling to the general public, your work may attract gallery ‘owners, curators, retail buyers and interior designers. I started offin 2008 selling at local fairs; at the local farmers market and the British Crafts fair in Chiswick Town Hall. After a while I started to apply to larger, more prestigious fairs, for which itis essential to have a set of high-quality images of a consistent body of work, Ceramics fairs can be ve competitive, and it may take a while to get your work accepted. After getting into Earth and Fire once, Hound I sold better at mixed craft fairs such as The Contemporary Craft Festival at Bovey ‘Tracey. You never know who might see your work; the first time [exhibited at Ceramics in the City at the Geffrye 16 layCraft lesue 30 museum, my work was seen by a buyer from Liberty's, who placed a large order When I demonstrated at Art in Action, an editor saw my leaflet on glaze colours nd asked me to write a book on glazes. 3 exhibiting at fairs is not just about, selling your work, but also about raising your profile, People might see your work ata fair and then order online later, so it is important to have an online presence, both a website or marketing platform such as NotOnTheHighStreet.com, and (on social media, particularly Instagram, ‘There isa yearly timetable of fairs and application dates six months earlier (ee boxout for this year’s examples}: Hepworth Wakefield Contemporary Ceramics Fair in May; The Contemporary Craft Festival in Devon in June; Earth and Fire in Nottinghamshire, followed in July by Potfest in Cumbria and Arcin Clay at Hatfield in August. In the autumn are Wardlow Mires Pottery and Food festival in the Peak District, The Great Northern Contemporary Craft Fair and in the south, Made London Marylebone nd Handmade in Britain at Chelsea “Town Hall It’s a good idea to visit the fairs before applying. You need to see the quality of the work exhibited and decide whether your work would fit in, as well as askin ‘ther exhibitors how the show went for them. The fairs listed here all show very high-quality work. other craft firs of varying quality, some including food, clothes and various imported goods. Not all fairs attract the quality or quantity of customers you need to buy your work As well as ceramics fairs and eraft here are many firs, there are trade fairs where your ‘work can be ordered by eraft buyers from shops, museums and galleries, The main craft trade fairs are Top Drawer in London in January and September London Design Fair in September and the British Craft Trade ‘A Linda Bloomfield’s stand at Ceramics in the City at the Getfrye Museum, next to Agalis Manessi and Helen Rondell, 2014. ‘A Linda Bloomfield exhibiting at Artin Action, Waterperry Gardens, Oxford 2012 Harrogate in April. [find trade shows easier than retail fairs, as you only need to bring one sample of each product you make. Buyers usually understand that you are just one erafts person making all the work, so don’t be too worried about having to produce huge orders; just ake the lead time longer every time you take a new order. Icis very important to design your stand carefully, It needs to fit inio your car nble in a few hours. I use a folding table with painted MDF to fit the top and white~ faced hardboard eut to fit the sides and Front (attached with stick-on velcro} that it ends up looking like a large plinth with storage space underneath, At some fairs I cover the table with a dark grey cloth folded around and pinned at the sides. I have three nesting plinths to put nd should be easy to ase ‘on top of the table so that pots can be displayed at different heights. Lighting is also important; some fairs include lighting in the stand package known as a sheil scheme: a space surrounded on three sides by white walls, You can also order an electrical socket on your stand, Many shows open with an evening private view, so it is important to have sufficient lighting to make your work stand out. [usually order two spotlights for a 2m long stand Other fairs have no walls between stands, just a tabletop o market stall Consider carefully which work to take to sell at the fait. It should be a cohesive range of shapes and colours that work well together. The display needs to look good from far away as well as close u so it’s worth taking a few big pieces that stand out and catch the eye, Don't put everything out on your stand at once as it will look cluttered e's better display a few selected pieces and allow space around them, with the rest of the stock stored underneath to take out as you sel. For retail fairs, you will need quite a bit of stock, at least 10 of each of your best-selling pieces, Aim to take at least louble the stand fee in sales, so work out how much stock you need to make three to five times the stand fee. For example, if the stand costs £2500, make at least £1,500-,£2,500 worth of stock. I pack all the stock in stacking plastic erates, that fit under my stand table. Remen that everything needs to fi well as any luggage, campin, children or helpers). Don't f in the car (as Gob a arth an ey where gst of Examples of major pottery and craft fairs, dates in 2019 and pplication deadlines for 2020 Hepworth Wakefield Contemporary Ceramics Fair, 4-5 May 2019, apply in March The Contemporary Cratt Festival at Bovey Tracey, June, 7-9 June 2019, apply by 30 November Earth and Fite, Welbeck, Nottinghamshire, 21-23 June 2019, apply by 1 December Potfest, Penrith, Cumbria, 2-4 August 2019, apply early November Art in Clay, Hatfield House, 16-18 August 2019, apply in December Wardlow Mires Pottery and Food festival, 7-8 September 2019, potsandfood.co.uk Great Northern Contemporary Craft Falr, Manchester 10-13 October 2019, apply end of February Made London Marylebone 24-27 October 2019, apply by 31 March Handmade in Britain, Chelsea Town Hall, 8-10 November 2019, apply by 31 July GLAZING heavyduty spring clamps in case of rainy Make sur showing your name or brand you have a large sign most shows provide these but you can also get adhesive ving, name or logo, Take business cards, postcards or leaflets for people to take away. Hide all your clutter such as packing materials, paper bags, handbag. and coat. As well asa card reader (such as Square or SumUp), take change in case there is no phone signal or Wi-Fi and customers want to pay in cash, It is 1 good dea to take a high stool ta sit on while remaining at eye level with the custo At trade shows, you will also need a price list or catalogue and an order book or line sheets on a clipboard so that you can take orders. A line sheet is alist of all your products, including different well as thumbnail pictures. Wholesale prices are usually around half the retail price, or divi 2.4-to account for VAT (most shops are VAT registered, even if you are not). Be colours and sizes 3 ready co tell buyers your minimum order «quantity, delivery prices and lead times, This may sound daunting but after doing years of retail firs, [now much prefor trade fairs where you take orders and then make everything to order over the next few months rather than trying to anticipate in advance what your customers might want to buy. ‘A Tortus Copenhagen at Tent London 2015 (now known as London Design Fair), showing the importance of stand lighting, aH EE ar asic Issue 30 ClayCraft 17have your cup an ef the coffee sh vere it te TW an a wh me | i | it —————44 Stir the casting slip thoroughly using a wooden spoon. Ibe quite thick to Begin with but will become more fluid {as you stir. It's ready when it looks lump-free and runs very freely from the spoon. The longer you mix, the better. 20 ClayCrait lesue 30 4 Decant the slip from the casting bucket, through a sieve, into the jus. (You could pour the slip through, the sieve directly into the mould, but this is fraught with potential spillage problems ~ it’s best to avoid accidents at this stage!) Pourte iomone | @ io, eg rat one topinone ge tino Time your casting according to the type of slip used: Akitchen timeris a good tool for this job White earthenware: 20-30 minutes, Firing temp 1000-1IS0°C (1832-2102°F) lm Red earthenware: 20-30 minutes. Firing temp 1000-IS0°C (1832-2102°F) i Stoneware: 45 mins to 1 hour. Firing temp 1160-1290°C (2120-2354°F) lm Semi-porcelain/ high-firing white earthenware: 20-30 minutes. Firing temp T100-1280°C (2012-2300°F) Porcelain: 5-10 minutes. Firing temp 1260-1280°C (2300-2336°F) Bone china could be acided to this list, but it’s not 2 ‘9004 slip for beginners because it requires special firing treatments and is notoriously difficult to handle. If you have no prior experience of casting, start with white earthenware because it's easy to cast and fire, and is the cheapest option Periodically top-up the slip as i's casting, to maintain the level to the rim, You'll see it begin to shrink from the edges as the plaster draws the water out of the slip, ‘When the correct casting time is reached, pour the slip out of the mould and back into the bucket. ‘4 Once the slip has been emptied from the mould, transfer it to the battens suspended over the bow to allow the remaining drops to drip out. Leave the mould in this position for a short time only ~ just until it has stopped dripping, then turn it upright to allow the clay to firm up. The cast is ready to remove from the mould when. ‘the surface of the slip no longer looks shiny and isn’t tacky to the touch. The clay will also have shrunk. considerably away from the plaster walls when it's ready to remove. Turn the cup out onto a wooden board. ‘You can allow it to dry out completely if preferred because it's less likely to distort once dry. scrape away any excess, 4 Allow the cup to dry out considerably before handling. Even out the thickness of clay at the rim using a kidney to ‘4 Wipe around the rim with a damp sponge to smooth away any marks made by the kidney. If the rim of the cup is uneven, dampen the surface of the glass sheet or chamois-covered board with a dribble of water. Issue 30 ClayCraft 21PROJECT TWO DIFFICULTY RATING cok 10 13 Sg Sit the cup rim on the glass and carefully rotate it in a circular motion until it's level. ‘Whether working on glass or a chamois board, this is the best method for levelling, 1 Lightly wipe around the rim again with a damp sponge to remove excess slip created when levelling, re 12 Z > ‘To maintain a round rim to the cup it'll help if it can dry out ona slightly domed shape like this cup sitter, but upturned bowls or other round objects can work as well "Note about cup sitters: Cup sitters are items of kiln furniture, generally purpose- made for makers to fire cups and other round objects of a specific size. You can buy sitters indifferent sizes (often left over from specific orders) which can be used if you're careful to position the object to be fired absolutely centrally, but the shape will distort if this is not achieved. If you manage to obtain any cup sitters, you can centre them ‘ona whirler then draw in concentric lines with a pencil to ensure you position your work accurately, 22. ClayCraft lesue 30 Once the cup has dried out completely you have several choices for surface design: Either decorate the surface in the following way, using underglaze colours (or oxide) and a pattern of choice. ‘Or simply bisque fire the cup and glaze it in your preferred way. ‘To decorate as shown, use the card ruler to draw a series, of stripes around the cup. The spacing is up to you. Paint in the first stripe in underglaze or axide colour of choice. You can now sgraffito through the colours to create a surface design of your own. Here, the card ruler is used ‘again as a guide to ensure straight lines are drawn into the stripes but your design doesn’t have to be the same - you could sgraffito something completely freehand if you choose, Brush over the surface of the cup periodically with a soft mop to remove burrs and neaten up. 15 Paint in the next stripe in a complementary colour or different strength of oxide. Continue to work through the stripes using different colours in the same way until all are filled Consists warkon the I surfae unt allthe stipes fave Bon decorted ~ IF any underglaze was brushed over the edge on the Underside of the cup, carefully use a kidney to remove it. 20 IF you're making more than one cup they'll ook good decorated in the same pattern but different colourways. ‘Allow the cup to dry out again then bisque fire in the usual way. Cover in transparent glaze and fire the cup to your clay's optimum temperature, ‘Once glaze-fired, fit the lid and sleeve on your cup, and you'llbe ready to 90. Issue 30 ClayCraft 23ONLY £12.95 INC. P&P* hi ih A selection of simple projects, covering all the handbuilding techniques. Learn the basics, then apply them to making your own decorative objects and functional ware, The easy to follow step-by-step guides are supported by advice on tools and glazing Available for pre-order now! Jacqui Atkin and Rachel Graham Order online at Or call and quote BKCRA19 Calls are charged at your usual network rate, Lines are open Monday to Friday 8.30am-530pm. “Price applies to UK orders only. EUR, US, Canada & ROW price: £14.95. All prices include P&P, Full terms and conditions can be found at shop kelsey.co.uk/terms eye LIGHT: BLUEM TEN YEARS ON When Grant Pratt first opened his shop in Tilehurst, 10 years ago, it was a gallery and working studio, with a few shelves of glazes and tools for sale. Fast-forward to today, and it’s clear that his plans for Bluernatchbox will need bigger premises, says Rachel Graham have to admit that | was slightly nervous about meeting Grant, because receive his newsletter every Saturday. It always makes me laugh out loud, and his hu knowledge and self-deprecation really are an engaging combination, But, if made a fool cof myself, would I find myself mentioned in his “Mudzine? Grant assured me that everything in the newsletter comes ‘from a place of love, but on arrival I immediately curried favour by admiring his chickens (in a previous incarnation, L worked on Practical Poultry) and 1 think I passed muster! Although he described himself ashaving been a ‘self-taught jobbing potter, Grant has certainly done a great job of so we could tell customers how to building a pottery supplies get the best results. People need business where providing excellent that now more than ever: Its customer service drives everything important to me that the customer they do. He and bis wife Pelin, is happys I get personally upsi ‘ who is an artist, are both adamant they arent. about this. “Service is so “We do try our best, but most important,” said Pelin. “People people expect instant, ‘Amazon come to us because we're makers prime’ deliveries these days. We | 100, so we understand their aim to get our orders out the next q problems” day, but if you place an order at ‘This does ereate certain uupm on a Sunday, Um afraid it : challenges though, Grant ‘won't be sent out until Monday! \ explained: "It’s a problem when it Now celebrating its 10th comes to finding staff we need anniversary, the shop is along, people who know what we know: If thin building that extends Tm running a shop, I want the backwards into the garden in a | staff to know what they're talking maze of rooms and outbuildings. about, to have tried the products, When it opened, the idea was that ) For me, this is not just retail, it’s the couple would have a wonderful more than retail. Its good Bohemian life balanee of throwing. practice. Il be honest if ]haven't and selling pots. The shop started ‘A-T-shirts are my latest things. If used something, but wedo try to. asa gallery, and Grant's studio someone wearing one at a show, Ill give them a _ test everything the other day we wasat the back. “To make it look voucher!” tried out some new graffito paper, like an old pottery, we made Issue 30 ClayCraft 25BLUEMATCHBOX take 2-3 weeks to get more, which is another reason why we need to move to somewhere bigger The sheer volume of stock, both in the shop and ‘out the back’ is staggering, “We used to have a few plinths; the shelving you can see in the shop, jority of the n't there, There was just one b thought that would be enough. But people con om tier, and for some reason, 1 ein and they w choice, so we have to offer as much as we can, In America, no one worries about using brush-on glaze, or a pre-made stamp, and things are changing. thankfully This is obvious. The ‘A The shop is still a gallery, and has work by Grant, Pelin, Louise Atkinson (Bluematchbox staff) and David Pope. shelves are brimming with countless tools glazes from Amaco, Mayco, Potterycrafts, Bot Duncan, Porclays and Sarva Rohde and Potterye and five brands of wheel ae that whenever we want to add available, not forgetting t more shelves, or walls, wehave ty The‘on _previously mentioned number of make them to match the originals. site’ pottery, —_ clays. Accessories, books, and everything from serateh, sometimes using old palettes, and painted the walls with gesso. The problem now is kilns, We created a bit ofa rod for our overrun with "T-shirts —it really is like being in ‘own backs there!" laughed Grant. Part-finished the potter's equivalent of a sweet Wemoved fom the shade ofthe SOPPMISSIONS. oy Everywhere you look there willow tee where wehad been GpGee Magis something you want. chatting and went inside. Every fo tho ‘The intemet has opened up the room, every surface is full, and! ‘mindfulness’ market enormously. People can see cam understand the need to move area. overseas products and are now to somewhere bigger “When we first st small garage and I and my stock in ther,” said Grant. “Then we moved here, and I was recently looking at photos of when we first opened. It's hilarious how empty it was, How I ‘ever thought it was going to be ‘enough, [don’t know. Now, this is nowhere near enough room. It just oops growing, and I love itt “We've squee amount of sta, but leant get stock in fast enough. Clay can be a problem, We have 40-50 different clays, but we ean only hold a small amount ofeach, s0if someone ‘comes in and clears us out, it can 26 ClayCraft lesue 30 ted, Thad a id my studio 4 Lots of tools and stamps in aisle 1! Bluematchbox is the only mainiand UK retailer of Diamond Core tools. asking for them here, “I don't use ‘many tools myself, but Ive learned to keep an eye on what's available and bring in things. I try to keep slightly ahead of the game,” said Gram. Bluematchbox is the only mainland UK retailer of Diamond Core tools, and regularly nds them into Europe. Ivis one of the top sellers of Rohde kilns in this country and Grant installs them and teaches customers how to use them. However, as the pottery supplies market grows, he suspects that import duty and carriage will Jead to customers wanting domestic suppliers/manufacturers At this point, Grant expressed some frustration: “The overseas companies are s0 good at promoting their products, with videos of people using their tools, nitastic brochures with great nages and information, but over here we seem to be rubbish at it Its frustr investing in their products. I's never modernised and the general 8 to be, ‘Why should un import it ‘We have the knowledge here to make stuff, but nobody seems to ng no one seems to be attitude see wane to do it. So we have to import ‘Things will change, bigger companies will need to adjust to the demand. Ie take time, but it will happen. Property in the area commands ridiculously high prices, and often sells before it ever hits the open market, so finding the right premises will be a challenge. As well as the retail side, mnt would like to run an open access studio. The vision is that the new premises will run independently of the current shop, which will return to bei Grant's studio. “I really want to get back to making,” said Grant. “have ‘commissions waiting to be made. But to do that, [ need to take on staff to free my time up. When we have a bigger A One side of a wall of Botz glazes. place, and this is just a pottery, I'l be able todo that.” Wherever they eventually expand to it have tobe right from the oft. "We started as a gallery and buil up slowly Dut you only have one chance with a first vist - if someone comes through the door and its not what they’e looking for, they don’t come back again ‘You cant say ‘come in 10 years, i be fantastic” said Grant Bluematchbox is all about serviee and knowledge, and Grant and Pelin are genuinely obsessive. Im looking forward to seeing their next venture, because Fim sure it wort be a case of szving it 10 years before its fantastic. 8 Bluematehbox Potter's Supplies 205 Halls Road, Tilehurst, Reading. Berks RG30 4PT bluematchbox.co.uk [And do sign up for the newsletter! PAn aisle of colours, glazes, stains, slips and (eR Pe recgst Ratna BLUEMATCHBOX as eraicg lesue 30 ClayCraft 27provect WACTANS(P) 1) od BN) rere alata cic THREE This is a large planter, for individual garden specimens. Simple in design and to make, it’s bound to make visitors Za . » envious and want one of their own ‘The size of planter you make is going to depend ue ee when making your template - and scale the size up | [MEAalt Re agiancuG peepee You'll find that periodically turning the slab ‘The shape is a classic square ~ make your paper rolling much easier and ensure it’s square, template to your required size. The example here is, re rreics PERU occu Cece? width from the edge. Divide the inner space into as many squares as See ero SLs ‘YOU WILL NEED: 'm Stoneware clay ~ heavily grogged preferably ~ etc eer u asd Poo’ Ole a Manes Corry Pe eee crea OUR ed Pores reer ee Ca Lect) Coe Unt og Pee ten esis 3F your rolling pin, le of th ep grooves in the‘4 Turn the slab over and reinforce the join on the thumb, then roll the slab again until the thickness is even, underside with a coil of soft clay. Blend the coil in with your yd ‘4 Once fully rolled out, smooth over the surface of the slab with a rib to compact the clay. ‘Again using the roller guide, work over the pencil lines ‘on the template with a fine-tiped wooden tool or pencil to impress the lines into the clay. Lift the template off when finished, “ | ae ‘4 Place the template on the slab and cut around it using the roller guide as extra help to cut straight lines. 30 layCraft leue 30 ‘4 Work over the lines again with the tool and roller guide to impress the outlines more clearly in the clay. Beginning with the first of the texture blocks, impress your chosen shape within the squares to create a repeat as required. 4. If you find the texture block sticks in the clay after a while, dust It over with cornstarch, using a soft mop brush The starch will burn away in firing, so there’s no need to worry about residue. DIFFICULTY RATING 33% ‘4 Continue to fill in the squares with the texture blocks to complete the design. 4 j ‘A Turn the st the plastic sheet, A Lightly smooth over the back of the slab with a rib. DO NOT press too hard because it will squash the texture on the other side. Make three more panels in the same way, and a fifth, undecorated panel for the base. Allow all sections to firm up to leather hard, lsue 30 ClayCraft 31DIFFICULTY RATING 33% ‘A Making sure the panels are all the same way up, so that the pattern is aligned, bevel the bottom edge and two sides of each one, Place a ruler Smm in from the edge of the panel, then cut through the clay at an angle, with the tip of the knife on the board and the blade resting on the ruler. Cut from the side towards the centre - then the opposite side back to the centre, to avoid distorting the clay. ‘A Fix the side panel in place, supporting it from the front with something heavy that will stop it falling over. A plaster mould acts as a useful support when working with large slabs. Once the second panel is secured in place, the support is no longer needed. Reinforce the join on the inside of the planter with a coil of soft clay. Press the coil into place with a finger, then’ smooth over it with the rounded end of a kidney. ‘A With the ruler still in place, score each of the bevelled exiges with a serrated kidney. 4 Apply slip to one scored ‘edge of the base slab and tha: base edge of the first side panel 32. ClayCrait lesue 30 ‘A. Before you continue to fix the remaining panels in place, make a series of drainage holes in the base slab, using ‘an appropriately sized cutter. You can, of course, do this before you begin construction if you prefer. 4 Fix the panel in place, gently pinching the edges together on the outside to ensure they seal A You can use a spatula to paddle the corners as an extra measure to ensure the joins are sealed, if required. A. Reinforce the internal joins as before, with coils of soft clay, smoothed over with a kidney for a neat finish, ‘A Surform the rim of the planter if there are any irregularities in the level, then score the edges with a serrated kidney, A Slip the next edge of the base panel, the side of the first panel and the adjoining edges of the second panel. ‘A. Continue to add the remaining panels in the same way Until all are fixed in place and reinforced, ‘4. Fill your extruder with clay and extrude a coll long enough to fit along the rim of one panel Issue 20 ClayCraft 33‘4 Smooth over the extrusion with a rubber kidney to rneaten it up, then score the central length of the underside where it will fit onto the rim. ‘A Position the extrusion along the rim of one side of the planter and cut it to size with angled ends, as shown. ‘A. Take the rim section off again and score the angled ends. 34 ClayCraft lesue 30 4 Apply slip to the planter rim and the underside of the extrusion, then carefully it it into place, Continue to add extruded sections in the same way Until all are in place. Butt the corners together carefully to ensure the ‘ends seal together well, and the join is secure. Neaten up the joins with a kidney. Reinforce the underside of the rim on the outside, with a coll of soft clay. Blend the coil in with a finger then. eaten up with a kidney. ‘A. Paddle the rim after reinforcing the underside, to check the seal has not been broken when reinforcing, planter in the same way. VERY carefull, lft the planter, hol off alittle. Repeat for each side. kidney after each roll, to neaten up. DIFFICULTY RATING ‘A. Reinforce the underside of the rim on the inside of the and roll the join at the base back and forth to round it ‘Smooth over the base joins with a finger or rubber tO git at each side, Issue 30 ClayCraft 35DIFFICULTY RATING 30% INS > Se ‘4 Using a roller guide or ruler positioned along the edge of the length of the block, cut down into the clay to the same depth as the width of the guide. 39 2 E> ae ‘A. Impress the rim corners with the edge of a square block {a8 a final detail to complete the planter. Divide and mark the bl into equal sections about A mores the font ofeach Pac daltenieat thorn support with a stamp of choice, asa eal reras ‘ ‘You wil need eight supports shown in total two for each side of the t i planter ‘4. The planter is now finished. It will take some time for a Turn the block on end, as shown, and again, using the it to dry out before bisque firing - days or even weeks, feuadareit through the cisy to the frat ene depending on size. Allow it to dry slowly to avoid warping. PROPS TO ELEVATE THE PLANTER 40 aed \ \ » \ A f ; hy . - You should row have an L-shaped block. Smooth over ‘A. Forma piece of clay into a brick-sized block. the cut edges with a rib to neaten them off. 36 ClayCrait Iesue 30 ‘4 Decorate your planter in your preferred style. Here, only the patterned areas were glazed, with the glaze wiped back to highlight the texture. The supports were finished in the same way. Fired to 1200°C in an electric kiln Issue 30 ClayCraft 37ClayCraft BACK ISSUES FOR MORE INFORMATION ON EACH ISSUE AND TO ORDER PLEASE VISIT: FOR MORE INFORMATION ON EACH ISSUE AND TO ORDER PLEAS! shop.kelsey.co.uk/ccback OR CA\|: 01959 543 747 jit:°r"....., shop.kelsey.co.uk/ccback O CALL: 01959 543 747 =:DIFFICULTY RATING 333k Seren see . ae urna sre cae et eee rere Pe eae eer peer re Pec econo reese te erase Pearl ocr PHONE HOLDER ihe TYPE 2 This phone holder has been designed to amplify sound Emo Ne rine asc NA o1 Pe ee ee Re nec oa ‘A Prepare a block of clay, large enough to accommodate the size of your texture panel, ‘Working on a sheet of plastic, reduce the bulk of the clay by beating it with the side of your rolling pin. Work in measured, even strokes from one side of the clay to the other, to avoid making deep grooves in the surface. Roll out the clay between your roller guides, making sure the slab is wide and long enough for the texture panel, You'll find that periodically turning the slab will make rolling much more manageable and ensure it’s the right shape for the job. ‘Once rolled, smooth over the surface of the slab to ‘compact the clay. >» Zr Rall the tube in the newspaper and secure the ‘overlap with a tiny piece of paper tape. Stuff the surplus paper into the ends of the tube ~ if there's a lot of excess, cut some off before stuffing the ends. Place the texture panel over the slab and roll it into the clay making sure the roller guides are stil in place as you do so, to maintain an even thickness Peel the texture off the slab once rolled, 40 ClayCraft Issue 30 Issue 30 ClayCraft 47DIFFICULTY RATING 934340 ‘4 Cut the bottom end of the slab straight using the ‘A Holding the slab in this position, place a ruler 5mm. roller guide to ensure a straight line. from the edge and bevel the edge by cutting through the Now cut the slab to a 22cm width: Don't worry about clay at an angle. the top edge. ‘Cut from the side towards the centre, then the opposite Unroll the slab a little then score the marked position side towards the centre. This avoids distorting the clay. for the join. Slip both scored areas. ‘4 Rolla thin coil of clay and flatten it along the length of ‘one side with a finger, to create a triangular shape, £ ‘A Turn the slab over onto another plastic sheet and gently smooth over the surface with a rib. Don't apply A With the ruler still in place, score the bevelled edge too much pressure because you'll spoil the texture on the with a serrated kidney. Apply a small amount of slip to the join, as shown, underside. then fix the coil in place - thinned edge innermost in the angle. ‘Smooth the coil in with a wooden tool. 4 e ‘A Roll the slab over until the bevelled edge rests on the ‘A Place the paper-covered tube at the cut end of the _slab below, slab, then - using the plastic sheet to avoid handling the Mark the position of the join on the lower part of the ‘4 Roll the slab up again to seal the slipped surfaces clay too much = roll the slab up to the halfway position. _slab with a pin. together, 42 ClayCraft Issue 30 lesue 30 ClayCraft 43‘Place a 20-30mm-wide batten next to the join, as shown, then cut the surplus slab off with a sharp knife. This is the back of the holder, and the extended section of the slab is there to balance the shape and stop it from rolling over. Reserve the excess slab under some plastic for later, With the tube still inside the holder, stand the shape Upright, then beginning at the join, cut a half-elliptical section out of the clay - working back to the join on. the other side. 44 ClayCraft Issue 30 Remove the tube from the holder after releasing the DIFFICULTY RATING 943440 ‘A. Cut the ends of the extending slab at the back of the holder at an inward angle to neaten up. ‘A Use the cut-off section to measure the exact shape ‘on the opposite side of the holder and cut this out in the same way. ‘4 Once both ends have been cut evenly, sit the holder back on the work surface. Use a hairdryer to firm the form up until the shape will hold once the tube is removed. paper from the ends. It should slip out easily, leaving the paper behind, Carefully remove the paper. Very carefully, cut out 10 x 2em strip from the top of the holder. Make sure you measure accurately and position the strip centrally before cutting. The section will be re-used, so it must be neat. Carefully remove the ‘A Neaten up the join on the inside of the holder with a suitable tool, ‘A From the slab reserved from earlier, cut another strip of clay, the same width as the one cut out of the holder. Issue 30 ClayCraft 45DIFFICULTY RATING 34340 ‘A Repeat the exercise at the opposite end then work ‘over the smoothed area with the tip of a wooden tool to texture it to match the rest of the surface. ‘A Carefully lower the step \ bback through the opening Slip all the scored areas, then press the arm sections to rest on the foam. It firmly into place. should be 20-25mm below the opening. Score one end of each of the small sections, plus the top surface at the ends of the strip removed from the holder, where these will sit. This will form an internal ‘step’ for the bottom of the phone to sit on. Apply slip to the adjoining edges. Mark the position of the step on each arm, as shown, then score the area just below the mark. If possible, cut a length of foam totheright thickness to support the | step asi dries inside the | holder. Place the foam support inside the holder, below the opening, ‘A Reinforce these joins on the inside of the holder with coils of soft clay, blended in with a wooden tool. ‘4 Fit the section onto the strip and secure it with a thin coil of clay, blending it in with a wooden tool 46 ClayCraftlssue 30 lesue 30 ClayCraft 47PROJECT FOUR ‘4 Carefully cut away the arms extending above the 4 You can easily impress the texture back into the clay by positioning the texture panel over the tricky area then gently working over the surface with a tool to press it into the clay. However, you must support the form from the underside as you do this, Vt ‘4. Neaten up the join on the tap of the holder carefully to avoid spoiling too much of the texture. ‘A Tho holder is now finished. Allow it to dry out completely before bisque firing, AB ClayCraft Issue 30 Once bisque-fired, the holder will look best glazed in ‘a coloured transparent that will poo! in the texture, as shown here. Make sure the glaze is suitable for your Clay's firing requirements. HESKETH | POTTERS’ SUPPLIES FOR ALL YOUR SUPPLIES INCLUDING KILNS, WHEELS, RAW MATERIALS, CLAYS, GLAZES, COLOURS ‘WE ARE DUSTRIBUTORS FOR RHODE GMBH & POTTERYCRAFTS LTD KILNS, OFFERING ADVICE AND (QUALITY AFTER SALES SERVICE. > sails crimination cn e ‘TEL: 01323 896444 EMAIL: CHRIS_HESKETH@HESKETHPS.CO.UK WWW.HESKETHPS.CO.UK Lessons) Shares) & repairsjvValue,for,moneygy,Helplin waNationwide service}y, Ease of use}y Service} Reliabilitys COPS g ta reg rd Die Ee eeu’ rea Brie eer ered . .gladstoneengineering.comFROM A STANDING START Stuart and Nicky Hartley own Hartley & Noble, a CNC machining business in Wellingborough, Northamptonshire. From a standing start eight months ago, they have rapidly rade an impact on the pottery world, with their range of tools and equipment. So how did it all begin? asked Rachel Graham icky was a nurse for several ‘years and loves working with people and developing relationships with customers. “The pottery com unity has been so welcoming,” she said, Stuartis an ‘engineer and started work in a food factory before he progressed through to ‘end up as head of engineering for the group. Ten years ago, he changed career and started an energy consultancy business. After spending several years working all over the world, Stuart realised that he had moved away from his core skills ~ he wanted to design and make things. He sold that venture and was looking at different opportunities when he came across a CNC machining me thing that attracted me was the flexibility of the machine. The ‘company had previously been installing van lining and racking systems, but we had lots of different ideas; furniture systems, pegboards, and signs,” he business.“ 4 The CNC machine cuts with high precision. 50 ClayCraft lesue 30 explained, However, a chance order for 200 mavine ply batts was about to havea big impact "We came across pottery because we were doing some CNC cutting for a local carpenter who wanted 200 dises. We didnt know what they were for, but we found out, and as we looked into it, we found there was a demand. They are simple to make on our machine, but much harder to make yoursel. The arther we delved, the more we realised that there was a whole world of pottery- based things that we could make, design ‘and improve on.” Stuart and Nicky began making batts and tools, HARTLEY AND NOBLE “This was very customer-led,” said Stuart. “Things were coming up in conversation with our customers that they were frustrated with, and they were asking, ‘Could you do this, and that? How about if you put this on there?" and that’s how our products developed.” Nicky expanded on this: "When we ‘were sanding, and even packing the original 200 marine ply batts, we got splinters. When we started to look at feedback, we sav that people were reporting that the marine ply economy products swell, warp, twist, give you splinters and weren't lasting! We sourced range of different materials and tested ‘A Stuart and Nicky Hartley. them.” They decided on two grades of MDE, one of which they describe as alletproof’ and is now used in their premium range. You ean see the results of the test here: bitly/2KeQSVK The company makes throwing batts from both economy and premium grade MDE, meaning there isan option forall budgets, and they come with or without batt pin holes. When drilling precision batt pin holes, they insert round bole and a tablet-shaped slot so that it fits easily over the batt pins. ‘The shape of the slot allows for a litle more movement when placing the batt on the wheel head. They can afford to swell a litle because ofthis, and it doesn't affect performance or durability When it comes to tile batts though, the story is very different, “We realised that potters all throw differently; some use a lot of water, especially beginners and so we tested our product with 2 potter in London, which was really helpful,” said Nicky. “We could build-in an allowance for swelling on the inserts,” added Stuart tut the customer woud have to sand them down after a while, and we decided ‘A. The basic Over-The-Wheel tile batt system. A. The Russian Doll system offers more flexibility in tile insert size. that it wasn't good enough. They had to bbe made from the higher quality warp- 1. The customers who have trialled the premium batts love them Following these trials, Start and Nieky decided that they would only use the premium MDF to make their tile batt systems. NC cutting allows great precision — to within 0.5mm ~ and with the new ‘lletproof material, de inserts fit ally snugly. “When you're pulling, the Insert does’ lift out, or move about or twist, but they pop out easily when you 10," said Stuart. “The material is expensive, so the products have a premium price, but it gives us the ability to:make sure that products retain their shape and size throughout thei life, unlike ply. They will last for years. Also, knowing that our products won't swell cor move, opens up the design options for “Phe batts work with a clay pad Instead of pins, if that’s how your wheel's set up,’ said Stuart, “but we'e also developed a system for those who don't Ihave, or don’t want toa bate pins, and don’t lke the clay pad method. I's called cour ‘Over-the-Wheel Batt System. It sits cover the wheel, which means we have to use really thick MDF and machine out around mm of material. We know it’ and water-resistant mat want th robust and sound, and will work. Most of all, its easy to use, which is what we're trying to achieve. You just wet the batt ig, put iton the wheel, stick your batt fon top... and youire good to gol My HARTLEY & NOBLE — Tiles on the machine bed. When the inserts are cut, it’s with just 0.5mm of space around them, so they fit very snugly. background has been about making things repeatable and simple, which is the same philosophy we've brought to this. asked where the idea had come from. “A customer rang wanting something to fit on her wheel. She had no pins and was struggling to use the clay pad method, s0 she asked how we could do it” explained Stuart. “AS we talked, ideas were running through my head, and I began describing them to her: ‘What ifit sat ‘over the wheel and this fitted on there, and we can use something to keep icin place’, We arrived at a concept. Next, [ made a design in CAD, which merges with the software for the CNC machine, and allows me to send a 8D pieture or Video to the customer: ‘My background is engineering, so 1 tend fo use technical terms. It's important that when ['m talking to someone, we both understand the terminology, the sizes, how it'll work, ete, Once they receive the image, they can see that i's what we agreed on. We ‘Hen send the produet out t0 them, and if it's not right, we're very much about lesue 30 ClayCraft 51 °HARTLEY & NOBLE over a Shimpo wheel with hanging Containers under it fr tools Nicky says itslie that exery week: they wake up sith ideas o customers come up with things AWican make everything bespoke i : need be We try to move away rem , that else is out there; everyone's muaking square ad round formers, but tre dont want to be competing with other suppliers, We make formers in all stapes and sizes, with single or double chamfered edges, RR statever people want. 4 Acustomerted Were in the great acaptationy an positon of being 3 able to come up notch 4 witha dedign and set it out quickly We want to provi > Asset of round experience using our produets, and we'll grow and develop at the same time.” said Stuart “That's what attracted us to pottery. A lot of the tools and equipment come from America, and it seems like there's rot much development going on in the UK. We adapt and improve our designs all the time, in conjunction with feedback from customers, We are now selling batts into Americ One of the challenges is keepi standardised range, because i everything bespoke, it becomes a bit of a beast to manage and stay on top of, so rationalising the systems and building up stock are current priorities, as is the launch of their new website, anticipated at the end of August. “We've been amazed at the reception we've had. We are very customer focused drape forms. ‘working with our customers tomake them happy. So, if its ‘wrong, tll us. [Fiteould be improved, tell us. This is how the little lifting notch under the tile insert came about. A custome said they were having trouble lifting it out, and didn’t want to scratch their wheel head, so we added a notch that allows for easy lifting, while ng with its funetion. We're not inter really customer-led; we love responding to them, As we were talking about the potential of CNC cutting, Nicky said that every day they have new ideas, Teven came up atpack stepped display stands, aflatpack plaster reclaim table (1 know... it’ lazy, but I just accept that T won't make one), and a ware shelf to fit with some ~ 4 Drape form edges can be made angled, double-chamfered or rounded. 52 ClayCraft lesue 30 ‘excellent custom and deliver what they need. Those service, making sure things are so important, and help us people have a great stand out from the crowd.” EB ‘Simple solution ‘The ‘over-the-wheel’ (OTW) tle batt system eliminates the need to stick batts to the wheel head! using pads of clay or use batt pins. Not only does this save time, but it covers the wheel head, 0 it is Tess messy. “The master batt is made-to-measure, to fit any wheel head, and is undercut so that it slots over the top of the wheelhead, “The batt rug is made from leather and ensures that the batt doesnt spin and is secure during throwing: They are currently testing a synthetic, animal-ree alternative ‘The tile inserts save space on the drying shelf and make centering clay a piece of cake. The 9 & 12mm thick tiles have a corner cut lifting tab; this makes it really easy to lift the tile off once youive finished throwing. When finished, simply take the tile out and put it to one side to dry, without needing to touch your work. Pat a fresh tile in and start on your next piece. ‘The basic ‘Over-the-Whee!'kit costs £100 and includes 5 x 160mm inserts, It is designed for wheels without batt pins. They also make a Russian Doll Style ‘which includes 100mm, 150mm, and 200mm tile inserts... all using the same batt. This costs £2140. And of course, all oftheir batts can be tailored to suit ANY wheel. “What we pride ourselves on the most is our ability to be entirely flexible and offer a hespoke, made-to-measure service forall our customers. Set us a challenge, and we will rise to it” ‘At present, you can only buy direct from Hartley and Noble by emailing sales@ hartleyandinoble.couk. The workshop is open Monday to Friday, so you can also sive them a call on 01933 818956 with any queries. Shordy, they will be developing an e-commerce site to make shopping easier, and will also be using Shopify on Instagram. “We will also be further developing cour range of pottery drape forms, tools, and ribs.. so watch this space!” Check out their latest innovations on Instagram and Facebook: @ardleyandnoble Gift vouchers available pues ey CLAYMAN For yeataie expert as kate coast wsrd so another month flies by. As exer, we've spent. lot of it awake in the workshop, but despite a ters a fir amount of success in Tabours has made it all worthwhile We got back in the early hours lastnight after nearly a week on the road; my gocriness wee tired, After alate and somewhat slow startin the workshop this morning, Ive got going again on the next batch of pots. These are to take with us when we head to Artin Clay, Hatfield in less than three weeks from now. Its good tobe able to breathe in the clean, damp air of Galloway and to sit down this evening at our dining room table and write my diary in the comfort of our own home, Travelling good it’s great to see friends and broaden the horizons, but really, for me, theres no place like home. [ove to be surrounded by miles of uninterrupted countryside and pots and toys and the general household chaos of our life here together. TH fill you in on our adventures shortly, ‘A Decorating a big jug for Potfest while Pippin trails slip. 54 ClayCraft Issue 30 but first I want to tell you about a recent Visit that we had from Koichiro (Koi) Isaka and his assistant, Rumi Koike from Tokyo. Koi runs Gallery St Ives in the Setagaya region of Tokyo, specialising in British studio pottery particulary, as the name of the gallery would imply, pots that rete in some way tothe Leach tradition. Hannah and [have both shown with him over the sears, and Hannah had a solo exhibition With him earlier this year: “They came to see is in our new workshop and to invite us to travel to Fapan in spring 2021 to exhibit in two exhibitions, one in Tokyo and the other, (Osaka Is long enough away for us no to bbe worrying, too much at the moment, so wwe nonchalantly agreed There’ plenty of ‘opportunity to panic about that one nearer the time! Teas great to sce Koi, weve become good friends over the years, and! Ruri is always such a jolly young woman, she makes us smile. We were working silly hours when they were here, but we still found time to chat During those long days and nights, 1 managed to get a good body of work together to send to the Slipped exhibition at the Contemporary Ceramies Centrein London, Uniortunately all three of the large tapered jugs that featured in their raw state in last month's diary eracked in the bisque firing, It was so disappointing after the days of work that had gone into making them. [can only assume that it was due to their proportions; che wide bases heating more slowly than ther tall walls, causing, the eracking: In future, Fl fire them on clay pips or pieces of broken kiln shelf to allow heat underneath during the early stages ofthe firing. [wasall set to chuck them in the hedge but a collector friend saw a post about them on our social media and asked if he could have them. I was pleased that they were going to find an appreciative home, so [boxed them up and ‘4 Rumi and Koi outside the workshop. Joaded them on board the van to take to Pottest in ‘The Par, ready to pass them on. ‘We were concerned that we wouldnt have enough pots for Potiest, so we packed pretty much everything we had, the final kaitn loads, yet again, providing some gems atthe lst minute. Potiest set up day was Thursday in Penrith, but the Private View of Slipped in London was the night before. Cleary, the journey would be too much from Dumities, so.on the Tuesday, we drove to Darlington, {just two and a half hours by train to London, where we were able to stay with fiends. ‘That enabled us to travel to London on Wednesday, attend the opening (of Slipped and back to Darlington that night and then head to Penrith and Potfest on Thursday: Are you still flowing? Tt ‘was a heetic schedule, but necessary and as ‘Hannah just said as Tread this to her, shes ala she didnt read it before we id it! London was scorching; the hottest day of the year so far. We plastered the kids in a thick layer of sunblock and walked on the shady side ofthe street, from Kings Cross to. park fora picnic and then to the temperature-controlled environment ofthe British Museum. ‘We live 14 miles from the nearest town, so the sights and sounds ofthe city and the steer number of people was, unsurprisingly, stimulating forthe kde, Fred's fvourite word atthe moment is ‘bs; and he was able to use it with great frequency, pointing excitedly as the humerous, red double-deckers drove by: ‘At 6pm, we headed fo the Contemporary Ceramics Centre, which is situated directly ‘opposite the British Maseu Te was quite emotional to suddenly see iy jugs there in the window as we waited tocross the road they looked so different from how they did on the dusty shelves of the workshop and commande the space with more presence than Thad ever cespected. [felt my wonderfal Hannah's pride in me as we stood there and that was a lxely sensation; as Pve said before, every pot I make is mace for her, and it was just fab, that was all the approval I needed ‘A One of the show cases at ‘Slipped’, Nigel Lambert’s work to the left, Dylan Bowen's to the right and mine in the middle. Pane aan eee tT Les Dylan Bowen and Nigel Lannbert, my co-exhibitors, were already there. We ‘welcomed a turnout of 30 or so guests who had braved the erazy heat to get there “The show looked fantastic. Dylan had made his characteristic feely-traile plates, bottles and sculpted jugs: Nigel, dishes and coval jugs, decorated with lively brush strokes and my, more traditional pieces demonstrated that they too convey a contemporary element as our work complemented each others’ so wel. My biggest por was bought, and another large jug, before we lef to etch the train back to Darlington. Quite a few more Pieces by all three of us have since been sold, but you can stil see the pots inthe gallery and online at epacer Until 17 Angus. The next morning, we blearily made our ‘way to Potfest and set up the show In spite of our cancers, we had plenty of good pots, and we were very pleased with the display once assembled. The weather ‘was quite a contrast to the day before, and the kiddies experienced their frst thunderstorm when the heavens opened and a deluge, which was to return with regularity throughout the weekend, began. Infact, it was the soggiest Potest we have ever known. ‘Thankfully. however, peopl stil came, and we sol pots We are so short of reserve stock atthe ‘moment that we want to sell enough, but ‘not too much, ait creates pressure for the next show. That was pretty much how it worked out, We had some great chats. There are faces that we see regularly at the shows, and its always good to catch up. We had a Tong conversation with one couple who seemed familar, well the husband at least. We assumed it was because we'd seen them before at the shows, but discovered later that it was Sir Chris Bonington, Even he looked like he wasnt enjoying the ‘weather much as he peeped out from his anorak hood. (On the Saturday night, had a terrible fever and slept badly. By the morning I felt ‘much better but poor Hannah and little Fred both had tummy bugs, so Pippin and went to the show on our ov She's such 8 good little girl and was no trouble Sales were steady, and itaveraged out ‘over the weekend to be a suecessfil show. ‘Our fiend turned up forthe eracked pots that I mentioned earlier, and I sent him off to the van to collect them, Kewasmit Until the show ended ancl I was pacing, down that I discovered the van keys we missing, [unpacked everything again, searched the boxes and repacked. In fact, by now the keys were two ho sway in our chums pocket. Pippin and I vere stranded; Hannah was in the accommodation with Fred and no phone signal, wondering what had happened to us Just as [as resigned to catching a taxi to the accommodation, staying an extra night and calling the AA in the morning, ‘our buddy arrived back with the keys, Poor chap, Idd fel for him, We loaled the van, I picked up a very worried Hannah and Fred, and we headed for home, ‘So, my frends, that’s why start today! Teall starts again in the morning; goodnight. 8 ‘A Our stand at Potfest. Hannah's huge chargers had a lot of attention. Issue 30 ClayCraft 556 ClayCraft sue 30 FISH SCUEP TE Whimsical little sculptures like these are great fun to make and look lovely in groups. Make several and use slightly different surface decorations, for a unique shoal that matches your decor DIFFICULTY RATING 333 lee Ra] Sarr Pre eae eta Plaster ef Cae ean Pvc ati) Preto snnrg Peto ‘A. Transfer the outline of the shape onto a non: board by drawing around the template with at! pen. sorbent marker nothing beats looking at the shapes of the real thing ‘when making animal forms. Look in books, at online resources etc, for inspiration, then do some basic outline drawings of shapes and surface details in your sketchbook. Don't over-complicate the drawings - keep them. simple. Just record details that you might like to include on your fish. You can merge details from different fish in one design ~ you don't have to make an identical copy of one particular species. This way, the form becomes unique to you. ‘Aim to make your first fish symmetrical in shape ~ that way, you only need to make one mould. We will make more complicated, non-symmetrical, two-part moulds in a future issue. Build up the shape in clay (Clay reserved for plaster work is perfect), working carefully up to the marker lines. Providing you work within these lines the shape will work when two haves are put together, but the finished fish will look so much better if the model is symmetrical, so it’s worth taking the time to get the shape right Work over the clay with a rib to form the shape then, when you're happy that i's as uniform as you can make it, smooth over the surface with a rubber kidney. Pay special attention to the clay around the outline; $3 it should slope gently upward and inward with no undercuts, ‘A Measure and draw out your fish shape to the size you've chosen on a sheet of card. The example shown here is a basic lozenge shape measuring 15 x Scm. Carefully cut out the template. Issue 30 ClayCratt 87DIFFICULTY RATING tO ae a work if you have it). The cottle should be 3-4em deeper than the model, ‘Reinforce around the cottle with coils of soft clay to avoid possible spillage when the plaster is poured in. ‘A. Prepare your workspace for plaster making: Weigh out and measure the required amount of plaster and water for your model, working on the ration of 114 Ib of plaster to one pint of water. The exact amount will depend on the size of your model 50 you will have to gauge it accordinaly, but for the size of model made here, 1¥ pints of water to 2 % Ib of plaster is sufficient. Line a bow! with newspaper for plaster residue. 58 ClayCratt lerue 30 A Carefully sprinkle the plaster into the water to avoid creating too much dust. Stir the mixture with your hand (wearing a rubber glove i you have any skin conditions that could be affected by the plaster) until it’s smooth and lump-free ‘A Scoop off the bubbles that rise to the surface of the plaster and dispose of them in the paper-lined bowl, 4 Continue to mix the plaster until it begins to thicken slightly ‘A Shiver the surface of the plaster with your hand to bring ‘any remaining bubbles to the surface - burst them if any appear, Allow the plaster to set (go off), It will go through a chemical heating process in the process of hardening. Once this is over the plaster is solid Remove the cottle from {around the mould and put the clay back in your plaster clay bag. Make sure the bag is clearly marked as ‘plaster Gay's yout ute efor 2 sryting eos oncesed win \ piston . Ss t= ‘A. Surform the sharp edges around the mould, disposing of the shavings carefully in the newspaper bow! Turn the mould ‘over and shave the upper edges in the same way to round them off Issue 30 ClayCrate 894. Carefully remove the clay from the mould using a wooden tool. Take great care not to dig the tool into the plaster because it can easily mark at this stage. ‘4 Wipe out the interior of the mould with a damp cloth, to remove all traces of clay. Allow the mould to dry out somewhere warm before use. This can take several days so you will have to be patient, MAKING THE BASE STAND You will need: Pre heart 1 Texturo sheet of choice - ar ene Seung Canoe oe Pare 60. ClayCraft Issue 30 ‘4 You can make the base stand any size you want, but if you want it to be roughly the size of the fish, measure the dimensions of your mould template again (unless of course, you already have them recorded somewhere) to decide on the best proportions. Using the given dimensions, make a template for the base to the same length and wide enough to accommodate the depth of the fish when the ‘moulded sections are joined together. The height is up to you. Make another template for the end sections. Each template shown here shows how many parts, you will need to cut out. Prepare a block of clay, large enough to accommodate the size of your texture sample Working on a sheet of plastic, reduce the bulk of the clay by beating it with the side of your rolling pin. Work in measured, even strokes from one side of the Clay to the other, to avoid making deep grooves in the surface. Roll out the clay between your roller guides, making sure the slab is wide and long enough for your texture You will find that periodically turning the slab wil make rolling much more manageable and ensure it’s the right shape for the job. ‘Smooth over the surface of the slab once rolled to compact the clay. DIFFICULTY RATING 333% ‘A. Transfer the textured slab to an absorbent board - texture face up. ‘Cut out four sections of the larger of the two templates, positioning it as economically as possible to ensure they can all be cut from one slab. 2 prac te texture sample over thedabandolitiniotheciy Tmaking sure theroller gues are \W stlin pace as you do so, Boothe texture of te slab once ole, Using the smaller, end template, cut two sections from the fourth large piece. Issue 30 ClayCraft 61‘A. Bevel the ediges of the sections in the following order: Ist long section ~ bevel four sides Two side sections - bevel one long edge and two short, edges (three sides) ‘Small end sections - three sides. To bevel, place a ruler Smm in from the edge of the clay, then cutting at an angle with the tip of a knife on the work surface and the blade resting on the ruler, cut from the edge towards the centre, then the opposite edge back to the centre, This will avoid distorting the clay. = Fix the side panel in pace, then = reinforce the join with a coil of soft 23 yy clay. Blend the call inwith a Suitable wooden tool 4 Continue to fit the remaining sections in place in the same way, 4 After bevelling each edage, score the clay with a serrated kidney while the ruler is still in place. ‘4 Beginning with the section with four bevelled edges, slip one long side and the corresponding edge of a side panel 62 ClayCraft Issue 30 ‘A Turn the base upright and carefully work over the joins Cn the outside to neaten them up. Take care to avoid spolling the texture as far as possible. © we knesbition ocetaries textes | Nuneaton and open studios galeries endgroup | andilusteions at 45 Southse openartstrail.org artwork with the ASsouthside.co.uk wes oper The Wokingham Art Trail wokinghamartstrail.co.uk heart.org.uk Sheffield Ceramics Festival Devon Open Studios: < he peace sechded waled Riverside Gallery exhibition ¥ hint ey pub Aerie Gell, pen dal 1am = y ees 00KPark two mes om th 20pm Shai Cente ofthe nba ty of Shel crafts org.uk eae ishosting he fh sete Coram EES Exhibitions & Demonstrations @Gallery1673 largely crow fom the ervions of Seneca Mee cHaea forCeramies, Gk hefReld but aso including guest on Boswell Tetumnstathe Enteprise | potters from other arees wl iene hopping Cente Eastbourne Two | exhibiting and offering work or theclayloft.co.uk days of al hings ved ia Kin, sheffieldceramicsfestival Haraford Are Market FB @SussexCraftandDesignFair PEGs Somerset Art Weeks Festival notiee,hametamary ctestve Oxford Arts Market Anniversary of Somerset Art nd the At Motketis Dvford Arts Market slocated inthe | Weeks with the fst event in 1994 Gur showesse fo local talent beautiful andiconie setting ofBroad_ featuring 160 venues wth ass 2 and desgner/makersfom the eet Ovfordinthe shadow of mary | groups, organisations and one-cf wil find 2 terge he Cty’ famous landmarks. The | exhibitions taking part. sno onal artworks tract ry from profesional an ha wil total ty boffyartsandevents.com London Design Week ondon Design Festival celebrat and promotes London as the design londondesignfestival.com ErrETas North East Open Studios 2019 averse range of creatives exhibiting somersetartworks.org.uk Prato Vintage & Handmade Barnstaple Pannier Market devon-pop-ups.co.uk rT Unite, London, SEIS 35 diyartmarket.com 28 SEPT Moseley Arts Market Moseley Arts Market sa popula boftyartsandevents.com St Werburghs Arts Tr he tral aber pace how stwerburghsarts.org.uk Pe ‘POUR ME A DRINK’ rien Matheson Hendon vane ond beat tobe ound tunenonal objects ESA Galley 4 Book tt act Birmngharm 63 1SA rbsa.org.uk Issue 30 ClayCraft. 73WHERE TOS TARE Making ceramics is an art form just like any other. But for those who want to develop an idea and a style unique to them, it can be daunting, says Paul Bailey ne way is to look at stories that are personal to you or the area in which you live ‘The latter gives maker Verity Howard the starting point to her work. For the past year, Verity's development has been based around the work and documentation of Alfred Wathins. He was a naturalist in Hereford in the early 1900s, which is where Verity lives. The title ‘Sacrificial Stone’ came from one of ‘Watkins’ maps, drawn when he was researching his theory on ley lines. These are apparent alignments of landmarks, religious sites, and man= made structures which, Watkins theorised, were created for ease of overland travel by line-of-sight navigation during neolithic times, and have persisted in the landscape over millennia. In the 1960s the term was revived, and ley lines were ascribed spiritual/mystical significance ‘4 Reticulation: Sacrificial Stone Series. Black stoneware clay, coloured slips and underglaze. 22cm x Willem. (Photo: Dan Barker Studios) 74 ClayCrait lesue 30 (Left) Fragment: Sacrificial Stone Series. Hidcm x W7cm. Right) Monolith: Sacrificial Stone Series. H32cm x WIScm, White stoneware clay, grey slips and underglaze. (Photo: Dan Barker Stuaios) Verity was intrigued by Watkins’ dravsings, and she loved the place names marked on his maps, or example, Devil's Bridge, Flight’s Farm and Sacrificial Stone. This led to her series in which she explores the words Sacrificial Stone’ as a starting point, to conjure up a mental image and a feeling of something that may never have been seen before. Verity has translated these images and feelings into reality by creating physical ceramic artworks. She explained: “To me, the words that Eas Seen evoke a feeling regarding ‘Sacrificial Stone! are ‘surreal, stone-Hike, obs and encaged! By monoprinting with grey slips, [have created a stone-like surface quality to the slab-built forms, By layering monoprint line drawings onto the surface of the work, it has created a feeling of these forms being obscured and encagedl ‘When beginning this body of work, ity immediately related the title sacrificial Stone’ to images she had seen used by Alfred Watkins in ed vi ‘Goodrich Huntsham ‘Queen Stone with Basketwork Cage’ Photograph by Alfred Watkins, 1933. (image courtesy of the Hereford ‘Museum Resource and Learning Centre) ‘Stone’ at Huntsham, Watkins believed this Queen Stone to have been used as a sacrificial cage, He demonstrated this theory by placing stieks and branches in the vertical grooves of the Queen Stone, demonstrating how people were caged ‘on top of the stone, Verity was interested in how the title ‘Sacrificial Stone’ immediately brought back memories of these sinister and mysterious images. When making her work, Verity starts by rolling out a few large slabs of clay She then creates texture on these by rolling in textured wallpaper or hitting the slabs with rocks or other found objects and, in places, rolling mesh textures into the slabs to reference the feeling of the works being eneaged and obscured, Next, she builds up colours on the surface of her slabs, using slips with varying amounts of powdered underglaze. She starts by painting slips onto sheets of eut or torn newspaper and placing them face-down onto the ela. She cither draws on top ofthese sheets of slip-covered newspaper or rolls over th ng the sip onto the surface ofthe clay: She does this for several hours, building up layers on the surface. Once Verity is happy with the clay slabs she looks at them closely and finds a section that draws her in. Next, she cots out this section and then another and starts to bend and shape them. Next, she joins the slabs together and cats out another piece from her large slab of clay, repeating this process and continuing to build with the words ‘surreal, ‘stone-like, ‘obscured andl ‘encaged! in mind. 4 ‘Brobury Scar, Notch in East and West Road’. Photograph by Alfred Watkins, 1927. (image courtesy of the Hereford Museum Resource and Learning Centre) ‘Once her form is finalised, she reworks the surface further by sponging, with slips or layering up more ‘monoprints, This means that the seams where she has joined the pieces of clay together start to disappear, and the starts to feel more whole, ‘This isa very different way of working with clay, and might not be for everyone, but it does demonstrate how flexible and unique the creative proce: ean be. Pail Bailey produces Emerging Potters online magazine and writes ‘on modern ceramic makers Paulbailey123@googlemail.com lesue 30 ClayCraft 75