PINCH, COIL, SLAB AND THROW THE THROW DOWN | & nao COLLEGE! We talk to Kevin Millward and Elaine Wells NEW FAIR BUTTONS eee Ss Bird feeder @ Teaching workshops @ Garden totemsed Designer Liner lab Po POTCLAYS (4 Peso mM eRe CoMe RelA) lines of production. They enable me to apply very colourful and patterns to my ceramics. The colours are really strong and B and even the reds and oranges keep their brilliance at quite high firing temperatures. Meet the team rd © ne thing I've learned about experienced potters is that they seem to operate within a unique timeframe. The Jacqui Atkin Simon Shaw cycle of making, decorati Paper clay p20. Feeder/drinker emia . for their method of working ~ appears to lull them into a rhythm that belongs only to creatives; lost in the he moment, and schedule to J myself proc working from one firing the next. As a novice, If 's, focusing rushing things, anxious to see result, thinking I'm more able than I Linda Bloomfield | Doug Fitch Bock actually am, and it does lead to Workshops pis home ps4 frustration Working exposed to so many temptin that my head is always buzzing things I want to try. I don’t know if V'm a thrower or a handbuilder THE THROW DOWN ICLAY COLLEGE! 9 6 aa whether I want to make finetional ware or decorative objects, and don’t get me started on glazes! Luckily, there are so many brilliant ready-made versions that I don’t have to think too hard about it, but if I did, L could quite easily see myself disappearing down that particular he end —_—_ — much, and yet he’s still as enthusiastic as ever: Hearing how he teases information out of his students about what sort of maker they want to be was very interesti something I then focus on gaining the skills I need to achieve that. Now the evenings are drawing in, Il be putting some -ed to think about, and serious thought into defining my pottery goals, After all, they won't be set in Stone... goalposts move all the time, don't they? See? I suspect I'm a lost cause! * Fires from cone 06-6 (1000-1230°C) * Certified AP Non-Toxic and Food Safe* when suitable clear glaze is applied over. *See website for full details. 0e90 potclays.co.uk Clay, materials, tools, equipment, and kilns for ceramics. Est. 1932, ‘make your own’ wormhole Cite We talk to Kevin Millward, The m behind 7he Great Pottery Throw has done so much, and knows so Speaking to Kevin Millward for this month's magazine was fascinating. He KELSEY www.kelsey.co.uk Issue 31 ClayCraft 3ESI Contents 34 Back issues Mi 74 Working with porcelain er tips and 44 Project 4: spaghetti hoops 6 News Make a handy portion-s 8 Poles bie ee 52 New ceramics fair n feeder with combined We learn about th Tracey k with minded potters, and has @ jater trough the Crouch End 18 Linda Bloomfield shops. Helpful tips 20 Project 2: paper clay Make this versatile clay, which is very forgiving and easy to use garden totem will bull n sculpture porcelain buttons 81 Reader ovar¢ ClayCraft Apron 4° ClayCraft issue 31 Issue 31 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.ed@kelsey.co.uk Milton Bridge has been relatively unknown for hobby glazes until now. 2? 23? TSRRF a) BS S88 aa Surprisingly, the company has been holds over 350 ceramic glazes and Colour recipes, Previously manufact manufacturer, ts glazes have also been sold under other brand names. I ftom earthenware coloured glazes to Spectl effect textured and stoneware gS pplication methods and a few of fs eee = colour ranges are available in a ready- as > to-use pen applicator. Although a relatively Bridge distributes to over 55 countries many more trough Gistoution networks. In the UK Cirection ty retaling ts own glazes through ts ow e-commerce website, fen, inberesting colour products to UK Ccstorners. Check out the rr webs eT saaaer or COLOUR IN GLAZES tinsscioomieis Fully updated and revised, Colour in Glazes is an essential handbook for the studio potter working towards achieving a fantastic spectrum of colourful glazes. This new edition contains advances in technology and new discoveries in the Periodic Table, new materials and new glaze recipes as well as methods of testing and information on how to make stable, dishwasher-safe glazes. Types of base glazes and the fiuxes used to make them are discussed in relation to colour response. Emphasis is placed on using colouring oxides to achieve depth {and variety of colour, rather than just resorting to commercial ceramic stains. The practical aspects of mixing, applying, testing and adjusting glazes are explained. and a large section of test tiles and glaze recipes is included, for se on white earthenware, stoneware and porcelain fired in electric, gas and salt kilns. A very useful book aimed at making glazes to achieve the colour you want, and to help you broaden your palette. Published by Bloomsbury, available from 3 October, RRP £20, ISBN 978+1-9122-1782-3 6 ClayCrafttssue 31 POTTERY COURSES ON MERSEYSIDE Lord Derby Academy in Huyton is running 8-week pottery courses, The next course will startin mid-January, For more details, contact Karen Martlew at: karenmartlew@ hotmail.co.uk DESIGN, FORM, THROW, DECORATE AND MORE, WITH WORKSHOPS FROM PROFESSIONAL MAKERS OKI COMPLETE POTTERY TECHNIQUES ~ Covering every technique from throwing to firing, glazing to saraffito, this book is the ideal companion for potters. This book has contemporary design and ideas, and Inspiration from top ceramicists. Beautifull illustrated, with clear and detailed instructions, this book would be a great, addition to your pottery library. Published by Dorling Kindersley, RRP £20, ISBN 978-0-2413-8185-4 POTTERY FOR BEGINNERS Our edited selection of 22 of our handbbuilding projects is now avallable in book form. It costs £12.95 ine P&P, Order online at SHOP. KELSEY.CO.UK/BKCRAIS Or call 01959 543747 and ‘quote BKCRAIS Even better! (OHDE TO! ERS TE STANDARD FLOOR HEATING continuous development of innovations new, efficient solutions t requirem Reoently E-S series have been equipped wit standard floor heating to improve femperature distribution and al use of the firing chamber fficien ee ROHDE® Issue 31 ClayCraft 7‘cone BIRD FEEDER This ingenious form is both a feeder and waterer in one. Our throwing expert, Simon Shaw, was shown how to make them while working with a potter in the Caribbean so we thought we would PERS Ms Cen con ol a Dee ee conte en eee ae eens eon ON Lane We eee ee ae ae con ene ete Picea Throwing tools - bowl, sponge (including a sponge on a stick), cutting wire, throwing batt, rib Peer ear Eo nvontae details visit elaycratt. ! Centre the < full instruction: with your left When finished surrounded by ac our left hand, right hand,Pull the clay outward from the central mass toward your body to a distance of approximately Scm, storing Clay in a fat rim to shape later. ‘4. Consolidate the clay at the rim by pinching it between finger and thumb, then running another finger over the surface, Remember to do this after each action. 10 ClayCratt sue 31 ‘A Move to the central mass of clay. Open out the centre by again pressing down into the clay with the fingers of your right hand. ‘A. Draw your fingers across the base towards your body to ‘open and flatten it to a width of 8-10cm. This base should be at the same level as the base of the surrounding dish. ‘A Work over the base several times with your fingers or the side of your knuckle to consolidate the clay. ‘4 Pinch and lift the central wall between the finger and thumb of your left hand, supporting the wall with the fingers of your right hand as you work. 4 Lift the wall again by knuckling up - fingers of the left, hand inside the form, knuckle, or fingertips of the right, hand, just above, on the outside. Raise the wall to a cone shape. Repeat the exercise to thin the wall to about a Smm thickness. Clean out the interior of the shape with a sponge ona stick, The form will be enclosed when finished, so it’s important that there's no excess water inside. Begin to close in the top of the cylinder using as, litle water as possible on the inside. ‘Supporting the shape from the inside with the fingers of the left hand, lift the wall, at the same time gently pressing inward as you reach the top, to form a dome shape. Collar in the opening of the dome by holding the left hand around the top, with your forefinger over the rim, ‘At the same time, ease the clay inward with the fingers of your right hand. lesue 31 ClayCraft 11Sten =e18 DIFFICULTY RATING fe) 5 ‘Supporting the opening with a finger inside, as shown, carefully refine the wall of the feeder Shape the chimney with the tips of the fingers of both Continue to close in the top to a small opening, hands with a rib (or an old store a ¢ approximately 10mm wide, then lft the clay remaining cardi to remove the SS at the rim to form a short chimney or spout. Shrowing nes and excess ~ slurry. Repeat the action several times, lifting and closing the wall further with each manoeuver. Eventually, you will only be able to work with one finger inside, TIP tems ‘uneven, carefully use a needle tool to remove the excess and level it off. The wheel should be turning relatively slowly as you do this ‘A As you reach the top of the dome with the rib, cut into the clay slightly to define the dome from the neck of the opening, ‘4 Finally, neaten the rim by gently running a sponge over it to soften the edge. 12 ClayCraft issue 31 lesue 31 ClayCraft 13ee dik tne rman ery covtuypaconaitte | ft ae wrato wen and deepen | Fa Tenet amoung the conta sane meaning sar st posnbim ace crane. Supporting the rim from the underside with one hand, carefully cut a groove into the rim with the tip of a rib, Gently wipe over the groove with a sponge when finished to soften the edges slightly. DIFFICULTY RATING ‘A. Clean away excess clay and slurry surrounding the suitable tool feeder then cut a bevel around the base with a rib or other Underwire the base of the feeder, making sure you keep the wire really taut as you cut. Remove the batt from the wheel head with the feeder still in place and leave it to firm up to leather hard, Clean your hands off, then press the edges of the dish upward and inward in quarters, to create a scalloped edge. Using a suitably sized cookie cutter, cut out an opening in the dome, positioned towards the top rather than bottom so that the bird feed will be contained and not saturated by the surrounding water. 14 ClayCratt sue 31 ‘4 When you can handle the feeder without distorting the shape, turn it over and run your finger around the bevelled edge to soften any rough areas. ‘A Wipe around the rim of the opening with a damp sponge to soften the cut edge. lesue 31 ClayCraft 15Repeat the onthe opposite side of the feeder. ‘A Allow the feeder to dry out thoroughly before bisque firing. 16 ClayCratt sue 31 Complete the feeder by covering it in a glaze of your choice. ‘Amaco Akai Matt Shino has been used here, fired to cone 6 in an electric kiln ‘A. The finished feeder. DIFFICULTY RATING * » 4 To make a hanging device for the feeder, you will need: A length of strong wire or sturdy string MA bead with a large hole to accommodate the wire when doubled, oF the string. Note, the bead must be larger than the opening at the top of the feeder, ‘A Fold the wire in half, to make a loop, Push the cut ends of the wire through the hole at the top of the feeder and out through the side, as shown. ‘A Hold the ends of the wire together and thread them through the bead. ‘4 Bend the excess wire back up and around the bead until it will hold securely, ‘4 Pull the loop of wire upward until you can see the bead through the opening. ‘You are ready to fill the feeder with food and hang it somewhere in the garden - preferably where you can see the birds feeding from your window. Issue 31 ClayCraft 17Tae) cra eet ‘4 Demonstrating throwing at Art ‘Academy Lier, Belgium, 18 ClayCratt sue 31 ‘4 Students throwing porcelain at Art Academy Lier, Belgium. > Student Alisha Gent making a series of glaze tests at Forest Row School of Ceramics. During the course, Alisha developed a new white matt glaze now used in the studio. $a potter or ceramic artist, it is not easy to make a living solely by selling your work, so many potters also teach courses or workshops. 1 teach courses on making g understanding glaze chemistry. [also coceasionally teach and demonstrate throwing porcelain on the wheel. As my own studio is quite small, I prefer to teach at colleges such as West Dean College and Forest Row School of Ceramics, as well as clay studios such as Studio45 on the Dartington Estate in Devon, where Bernard Leach wrote A Potter's Book and set up Dartington Pottery ‘When teaching away at studios, its important to make sure that all the required materials and equipment are available, as well as safety equipment. ‘The biggest hazard with making glazes, as with all clay processes, is the dust created, Its important that students wear respirator masks while handling dry powders and clean up spillages promptly. It’s also inadvisable to eat or drink in the studio. Breaks and lunch should be served in a different room or outside. When weighing glaze materials, its necessary to use accurate scales, either digital scales or a triple beam balance The glazes then need to be sieved through an 80-mesh sieve, and an array of various sized bowls and buckets is useful. When teaching throwing, the studio needs to be equipped with several potter’s wheels, and the electrie plugs and eables need to be kept well away from the bowls of water used for throwing, There should be enough space at workbenches for all the students; my workshops usually have from seven to 15 students. All the materials and equipment are quite expensive, so it's important to charge enough to cover all the costs When demonstrating techniques such as throwing on the wheel, iis, much more stressful than throwing by yourself in your own studio, The clay needs to be at just the right state of softness, particularly when throwing A Linda Bloomfield with a group of glaze students at Forest Row School of Ceramics. porcelain, Sometimes it is necessary to leave the clay out of the bag for several hours or mix two different batch soft and firm, which is not possible if all the clay supplied by the studio is to0 soft. However, it’s fine to make mistakes; then people can see that however easy you make it look, throwing is actually quite difficult and needs practice A Glaze preparation area at Studio 45 Dartington. The buckets are for washing glaze equipment so that every scrap of glaze can be recycled. ‘A. Studio manager Raphaela Seck unloading the kiln at Studio 45, Dartinaton. Learning styles Each student has their own preferred path of learning, whether by reading, watching demonstrations, or trying it cout for themselves. Only when able to explain it to someone else, do you really gain a full understanding of the subject, The four learning types are theorist, reflective, pragmatic and active, although most people are a mixture of these, Reflective learners like to observe and consider, while pragmatists want to put their learning: into practice, provided it is relevant to their particular needs. Theorists need to understand and question underlying concepts, while active learners like to have a go and learn by trial and error ‘On my courses, after a short demonstration, [et the students launch straight into making a glaze so that they become familiar with the various glaze materials: feldspar, whiting, china clay and flint. After making a basic glaze, we add various colouring oxides and then make a series of colour blends. Once they have made a few glazes, the students become more used to the names of the raw materials that make up a glaze ‘The glazes are applied to biscuit-fired test tiles and loaded into the kiln to -e overnight. The next day, while the GLAZING ‘A Student wearing a respirator mask making a series of glaze tests at North Devon Ceramics Academy and Studio. glaze tests are cooling in the kiln, I introduce the theory and chemistry, to explain how the glaze works, what each material contributes to the mix, ‘what makes the glaze melt in the kiln and how to make it glossy or matt. ‘When the tests come out ofthe kiln, I ask each student in turn to talk to the group about the glazes they made and hhow they plan to go forward with developing their glaze palette. This also reminds students how important its to take good notes of the glaze recipes and quantities so that they can be replicated back in their studio, BX Ceramics Studios where | have jught workshops @ Forest Row School of Ceramics, Forest Row, East Sussex frschoolofceramics.co.uk © North Devon Ceramics ‘Academy and Studio, South Molton, Devon ndeaas.co.uk @ Studio 45, Dartington Hall, Totnes, Devon studio4Suk.com © West Dean College, Chichester, West Sussex westdean.org.uk @ Art Academy Lier, Nae Issue 31 ClayCraft 19MAKING PAPER CLAY Paper clay is an amazing material which you can buy ready-made from most clay suppliers. It comes in all clay types, to meet all of your making needs - earthenware, stoneware, porcelain, red, white, grogged, and so on. You will need: © Aroll of two-ply toilet roll Clay slurry lm Sieve | Tea tree essential cil (bleach will work too, but tea tree smells nicer) Food processor/ juicer/liquidiser = Drill ~a single food- mixer blade should fit the chuck, to act ‘asa mixer for the clay Plaster batt or whatever you normally use for drying reclaim. HardieBacker board is great Bowl/bucket for mixing Regular clays are all great at doing their jobs, but sometimes you start a project and think ‘paper clay would be perfect for this’. Of course, you don’t have any and can't get to the supplier to get some. So, what do you do? Make your own! The perfect solution Some useful information and tips before you begin You can buy dry paper fibre from most ceramic suppliers, and it cuts out a stage in the making process if you have some in the cupboard for those times you want to make paper clay. IF you use this material, you must wear a dust ‘mask when first mixing it~ at least unti it has been soaked in water, Alternatively, you can use tissue paper or newspaper, and it's worth experimenting with other papers if you have time. The weights used in this mix are not scientific but will ‘work well = you can alter the ratios of paper to clay, but the ‘more paper you add, the more open and friable the clay will Become. If you want to change the mix, you will have to experiment to find a ratio that will suit the item you want to make, but | would not suggest more than a 50/50 mix. 20 ClayCraft Issue 31 Homemade paper clay will rot quickly and smell quite dreadful - hence the addition of tea tree oil or bleach. This slows down the formation of bacteria to some degree, but the best solution to the problem is to make only enough Clay for the project in hand. Any scraps left over from making can be allowed to dry, then slaked down the next. time you want to make something. YOU MUST ventilate your kiln well when firing paper clay. ‘The paper will burn away during firing, causing fumes, which can be very unpleasant. The fumes will affect the kin elements over time if the ventilation is not adequate. ‘You shouldn't be in the studio when firing paper clay and the room itself should also be well ventilated, Paper clay can be used in exactly the same way as your normal clay, with some extra benefits It can stick to itself in any state, wet or dry, thin or thick, and paper clay slip can be used as a glue. 4 Unroll a roll of toilet paper into a bow! The beauty of using toilet paper is that it will break down quickly It will Ook like 2 large amount when dry but will break down to only a small bow! full ‘4. Pour boiling water over the paper. This helps it break down more quickly than cold water. Give the paper a good mix with a spatula then leave it until the water has cooled down again, or even overnight (if, you can wait that long). DIFFICULTY RATING 3330 — OM Liquidise the paper in a blender. You'll need to add an adequate amount of water for the paper to break up well, ‘and zizz it for several minutes before transferring it to another bowl. It will look like porridge when ready. 4 Scoop outa handful of paper and allow it to drain through asieve to most of the water = give ita little squeeze to help it along, ‘Transfer the paper to a bowl or bucket and add two. handfuls of clay slurry. You can weigh these mixtures if you prefer ~ 2 clay to 1 paper ~ but it isn’t necessary Unless you want to avoid the mess of scooping out the slurry/slip in your hand. Alternatively, you could use a ‘cup for measuring - the same ratio. Repeat this ratio of clay to paper to make as much or little paper clay as you need for your project. lesue 31 ClayCraft 21‘Add a drop of tea tree oil to the mixture or a small capful of bleach, Fix the food blender blade into the end of the drill and secure, then mix the paper clay mixture thoroughly for several minutes to ensure it is well blended. Empty the bow! of clay onto a plaster batt using a rubber kidney to ensure none of the mixture is wasted 22 ClayCralt sue 31 Spread the clay evenly over the batt using a rib or similar tool Note - You could leave the slab to dry completely in this way; it can then be used for a slab project - easily cut to size and shape with a knife at either the leather hard stage or when fully dried. ‘Scoop the clay up periodically with a rib and turn it over to allow it to firm up evenly if you want to use the clay in a plastic state. This can be a bit messy, depending on how much water is in the clay and may need to be done a few times. 12 ‘When the clay easily peels off the plaster without being a squelchy mess, knead it until it’s a completely smooth and even body with no visible air pockets. It's now ready to be used for slabbing, coiling or modelling land there's no need for the work to be made hollow if you don't want it to be because the paper opens the body enough to allow for the safe escape of air in firing. You can work to any scale - paper clay is extremely strong in both green and fired states but only a fraction of the weight of regular clay ‘Auuseful idea: While stil a slip, spread the mixture into a mould to dry out - areat for bowis! ‘You could even throw with it, although this isnt easy. ‘reat the clay in the same way as you would for your usual practice in terms of decoration and firing, bearing in mind that it's great for raku and other extreme firing processes, Tore www.claycellar.co.uk online - instore ae! a proper potters shop # BLUEMATCHBOX POTTER'S SUPPLIES 205 Halls Road ,Tilehurst , Reading , Berks , RG3O4PT_ 0118 9455933 Se PAWN oer U ey WHEELS & EQUIPMENT IB a AU as) 3>] ° RACLAYMAN [eee ee eee eTDIFFICULTY RATING 3% PAPER CLAY } DOGS >. * Saat These are simple modelled forms that require minimal skill to create, making them a super project to do with children. Giving the dogs colourful coats makes them look jolly and individual. Make a few to display in groups erica Peed Glaze of choice (to fit Dee rae 24 ClayCratt Issue 31 sue 31 ClayCraft 25‘A. Begin by rolling a short coil to form the body of the dog, The thickness of the coil depends on the type of dog you want to make, so you should work accordingly. This is going to be a Dachshund, so the coll is about 20mm thick to begin with. Picturing the shape of your chosen dog, begin to manipulate the coil to the same proportions. Paper clay is easy to form, so bend, stretch and ‘smooth until you get the shape you want. It helps to think about the anatomy of the dog as you work. ‘4. Manipulate the clay downward at the rear of the dog, to form part or all of the legs, depending on how long you want them to be, Note - you can add coils if you want to elongate the legs later. ‘A.Use a knife to split the clay that will form the legs, as shown. + Carefully model each of the split sections into two legs, It’s a bit fiddly because you're working on such a small scale but persevere until you get them to the correct proportions. 26 layCraft lesue 31 Think about where the dog's joints would be and bend the legs to correspond. Ys = ®F , iat ‘A Lay the body on its side on the work surface, then roll two short coils into a cone shape - thinner at one end ‘A Flatten the fat ends of the coils by pinching them between finger and thumb. DIFFICULTY RATING 23% ‘A Holding the leg in one hand, shape it as you did the back one, not forgetting the paw. ‘A Score the position for the leg on the shoulder of the body, plus the adjoining side of the flattened section at the top of the leg itself ‘A Apply a small dab of slip to the scored areas, sue 31 ClayCraft 27y 4 6 ‘A. Fix the leg in place and blend the clay in with a finger Until smooth, ‘A Repeat the exercise on the opposite side for the second front leg, ‘4 Now, carefully ease and manipulate the clay at the shoulder into a short neck 28 cl wyCraft Issue 31 ‘A Forma small ball of clay into a cone shape, again, picturing the shape of your dog's head, Score the underside of the head and the top of the neck, then apply a dab of slip. iss / &»> 7 4 <<. ¥ ey 4 + i x af a ‘A Fix the head onto the body then blend the clay over the join until no longer visible. Roll a small, thin coil of clay then cut off two lengths to make the ears, ‘A Model the ears to the correct size and shape for your, dog, DIFFICULTY RATING 23% 20 hed 4 ‘A Fix the ears in place with a small dab of slip then blend the clay at the top of the ear only, onto the head. ® Ww “~~ - " i > a yf ; 7 ‘A. Shape the end of the head to form a distinctive nose. ‘4 Roll another short, thin, conical coil to form the tail sue 31 ClayCraft 29‘A Cut the tail to the correct lenath, Score the position for the tail on the body and the adjoining end of the tail itsel Fix the tail onto the body with a dab of slip. Blend the clay around the tail until the join is no longer visible, 24 Ly with a suitable tool - an old pen ‘A Impress the dog's eye: partis used here, Now draw in the outline of the dog's coat - around the neck, the back end and top of each leg. 4 a 3 3 ‘4. Draw in the line of the mouth with a pin, 30 ClayCratt Issue 31 ‘4 Allow the dog to dry out thoroughly before bisque firing, ‘A Impress a design on the surface to represent a pattern con the coat. ‘A Make more dogs in different heights and proportions they look cute in packs! DIFFICULTY RATING oe DECORATING YOUR DOG YOU WILL NEED: Port eres eiensc) Pree ger ree pre Pie) Beginning with your first choice of underglaze colour, paint in the coat of the dog, working around the stamped decoration. Apply three coats, allowing each to dry before applying the next. A . - isue 31 ClayCraft 31‘A Fill in the stamped detail with a second, contrasting colour of underglaze, 4 Highlight the impressed decoration with a final dot of yet another colour of underslaze. 32 ClayCraft Issue 31 ys DIFFICULTY RATING 43% applying as many coats as recommended by the manufacturer of the glaze. Paint in the body with your chosen colour of glaze, Using the black glaze, paint in the eyes, nose, mouth and any other areas you want to highlight. Allow the glaze to dry out before firing. ‘These little dogs were fired to cone 6 in an electric kiln ‘Amaco Acai and Cacao shinos were used on the bodies. You can see that when fired to higher temperatures, velvet underglazes develop a satin matt sheen, which forms a lovely contrast to the shinier glazed body. Issue 31 ClayCraft 33ClayCraft BACK ISSUES (_.. ClayCraft BACK ISSUES FOR MORE INFORMATION ON EACH ISSUE AND TO ORDER PLEAS| FOR MORE INFORMATION ON EACH ISSUE AND TO ORDER PLEAS| shop.kelsey.co.uk/ccback OR CAL|: 01959 543 747 j2i"7"....., shop.kelsey.co.uk/ccback O CA\\: 01959 543 747 ;2AND THEN I GET A PHONE CALL... Clay College and the consultant behind The Great Pottery Throw Down. He is also one of the consultants on ClayCraft and provides the majority of our throwing projects, but his career has been long, full and very varied! We met him at the Clay College, Stoke, and asked him how itall began, COLLEGE Kevin Millward will be known to many of you as the course director at the CL Y “ twas always going to be difficult for me to pursue an academic career because fm dyslexic. [knew I wasnt thick, but in those days you had to be able to ‘write it downy. [was always into the arts ~ I put paintings into exhibitions when I was as young. as nine or 10—and I'd always made things, 90 decided my route was to go to art school. In those days, you could elect to leave school at 15 to go to art school, which meant you could earry on with maths and English, but pursue more a creative art base. [first touched clay in High School in 1968. Literally within a _year before leaving to go to art school, they opened up a pottery department, so Thad a chance to make a pot. went to Leek School of Art for four ‘years, Itwas avery traditional art school but the standard and quality of the tutors were second=to-none, and people used to say that the quality of the ‘work that came out ofthat college at Foundation level was the equivalent to ost degree students’ work. Originally, wanted to be a sculptor; isin the family on my mother's side. I thought I'd do painting and sculpting, and as part of that sculpting thing one day I wandered into the pottery department. We'd done abit, and I thought this was a way of creating simple forms that I could sculpt onto, But of course, once you get on the wheel... I was sold “I looked at what potters ofthe time were doing — Bernard Leach, Michael Cardew and I was thinking how brown itall was, then I came aeross Colin Pearson, Hans Coper, Luey Rie and Ruth Duckworth, and I thought ‘that’s something Im more interested inj clay asa material and the process, but in @ more sculptural approach, But, when I came to leave art school, there were no ceramic degree courses, There were diploma courses like the one I was, doing, or Dip ADs (Diploma in Art and 36 ClayCraft Issue 31 Design), but you had to have English and maths to get on. Id failed both umpteen times, so I couldn't go and do that course at 19.’The only option was to go back at 21 because then I'd be an adult and it would be like an Access course. IF L was going to do that, fd have to kick my heels for a couple of years, My parents said that ifT thought I ‘was going to sit around while they supported me, I'd better think again!” Missing letter In the local paper, I saw an ad ‘Wanted, potter to work in a small studio in Cheshire, Ie was Coopers Pottery; based just outside Congleton. A typical romantic image ofa studio pottery in the early 1970s, a black andl White Tudor house, farm buildings, and stables converted into a studio, They had a 200K oil-fired kiln, a small salt kiln, a team of four throwers and a couple of other people. The team was a husband and wife; Dave had a career in industrial ceramics and had done the Potteries Manager course at Staffs Uni, and his wife had done a diploma in studio ceramics, so they were ideally suited to put this business together “L went for an interview, waited, butheard nothing back. I said to my mun, “Obviously {haven't got it, Fm not experienced enough’ She was furious that they hadn't contacted me, even if to tell me I hadn't got the job, and suggested I give them a ring. So I did, and they said:‘Ob, we thought you dide’t want ie. [asked what they ‘meant. ‘We sent you a letter saying you'd got the job, but you didn’t reply” 1 never had the bloody letter! They offered ime the job, The only downside was that I couldnt afford to move there. travelled every morning, two and a half hours on the bus, to get there. I got up at Sam, caught the 5.30 bus from Leck to Hanley, then a bus from Hanley to Sandbach, [had to get offat an ‘unrecognised stop and walk for half an hour down a lane to the pottery, getting there at 8.90-9am., I'd do a full day's work, walk back, catch the bus and get home about opm. I'd have something to eat, go to bed and do it all again the next day. did that until I had enough set aside fora little car, which cut my journey time to just under an hour. I did that for just ove for £19 a week! (Photo: Artin Clay Hatha brilliant. We worked together for three years, and he Was a Early promise T was getting a bit frustrated because they wanted me to do less throwing and more of the running of things, because I swas good att. They said throwers were enny, but what they could’ get with ‘your intuitive ability to pack kilns, glaze things, and get stuff roving through the system, We want Uo that. My frustration was that I wanted more time on the whee, to build iny throwing skills “My mother was a keen amateur archaeologist and had gone on a trip to the newly opened Gladstone Pottery Museum, While she was there, she overheard someone say they could do with a potter. She jumped straight in with My son's a potter, and they suggested I get in touch, Trang them, and they said yes, they were looking for another potter to work with Dave [Rooke], who had jus started. T went to see them, and they give me the jo. They had the pottery and people could come in and watch people working. ‘Wall, when youire making pots, you throw something, then you have to set it aside, then you have to turn it, then you pt the handles on, then you glaze and fire it. Ifyoulve only got one person, it leaves a massive gap in the workshop. “They needed someone on the wheel seven days a week, so that meant at least two potters one throwing and one bundling and turning and doing all chat. Ie was really successful. Dave was huge help with my throwing skills ‘One day, I was in the workshop, and a man in a suit walked in and. asked for Da Mayer (now Potteryerafts)” Dave came out. "We've got a seminar in Ireland this weekend, and the potter who was doing it has let us down, We've been told youtre a great thrower and raconteur. Could you come over tomorrow afternoon to give a ‘workshop and demo?” Dave had a family event, but he said “Kev'l do it” So, this skinny young lad with, Jong hair arrived in Ireland, They didn’t realise how good I was until I got there. blew them away. [really enjoyed myself, and did tricks =I threw a row of pots, then threw all the lids and dropped them in, and they all fitted, without measuring, ‘They were amazed. I've always been able to come Up with a good joke and a story, and I came home, having had a good time and got back to work” e-‘Tm from Harrison opportunity "A week later, I was asked to go to Harrison Mayer to speak to them. 1 went, and they offered me a position. They said, “We've been looking for someone with practical, technical knowledge who can get up and talk ‘We wanta person who can bridge the gap between the technical guy in the lab and the punter who eomes into the shop! I told them I'd do it for three years. “They put a package on the table; three times what [was earning, a company car, an expense account, my own office, a secretary, and when went anywhere, 5-star hotels. They flew me everywhere. [lived on my expenses; it was amazing: While I was there, my technical knowledge leapt assively. The head technical guy, Derek Royal... what he didn’t know, ‘vase word Roane ec aD) Issue 31 ClayCraft 37KEVIN MILLWARD many of the top makers and potters who wrote books on ceramics; he did all the technical stuff behind the phenomenal help and encouragement. ‘When the three years were up, [eft ‘They couldn't believe it and offered me more to stay, but I'd done my time. “left, set my own studio up in Leek and started making pots, but no one wanted to buy them. I could just about make a living, but I was seraping by. had quite a ot of money set aside, but I realised that it wasnt sustainable, and the reserves were dwindling” 1. He was a And then | get a phone call An old art school friend rang, asking if | fancied teaching some Foundation classes, and I was really good at it. The boss pulled me in and said: "You've turned this ceramics department round, all on your own. Before you came, people didn’t want to go down there’ I said, ‘Yes, it's because I know how to generate enthusiasm, because I have the enthusiasm. These kids relate to me, and know what they want. I knew how to rake it fi. It wasnt hard work to me The Head of Art asked me to rewrite the programme for the college. I resisted because it was ‘writing, but he said, ‘No, ‘you just tll us what you want the course tobe, and we'll sort it out’ I redesigned the layout ofthe whole studio soit could ‘A. At work for Harrison Mayers, giving a demonstration, be cleaned and rewrote the programme = it all made sense to me, with its spelling mistakes and no punctuation! I handed it in, and they said they'd put it Into ‘education speak’. They gave me a copy back, and I couldn't believe it was what I'd written! We got it going and then gradually, things started to change, and my hours were cut from three and a half days a week down to one oF two days” And then I get a phone call... froma friend who was teaching at Leicester Poly. ‘Do you want a job? We ‘A. The Gladstone Pottery Museum was where Kevin honed his throwing skills. 38 ClayCraft Issue 31 ‘A. Thrown on one of the wheels Kevin Used to build, these 3,500 tea bowls were to raise funds for a children’s charity. need someone with your studio ceramics expertise’"I went up to see them, and they gave me a trial period. 1 went in, and at the end of the first day, John Cook beckoned me over. I thought it was all over... he told me to sit down. ‘Youre the first person in 10 years who Tye seen go into that studio, roll their sleeves up and make something — actually show the students how its done’ I told him, “That's how I teach? If a student wants to know something oF asks me ‘how do you do that? I establish my credibility by getting on ind making it, in a way that blows them away. ‘Then they know that T know what Im talking about. That bond is immediately made where they trust me, and that’s how I work. We turned out some phenomenal students And because I had the industrial background, I could flick into that too; they were very strong on mould making and plasterwork. I was there for lly collapsed. It became De Montfort Uni, and the writing was on the wall ‘Gradually, it was phased out. the whee 19 years until the course grad Then | get a phone call Someone [know sho worked at Bucks Uni rang asking iT wanted todo some teaching at High Wycombe. He wanted to move back north, and we were Jooking for someone like him at De Montfort, so [told him to put me in touch with whoever I needed to speak to at Wycombe, and I'd do the same for him at De Montfort. Neil Brownsword, 4 Kevin is a great demonstrator who'd just got a post at High Wycombe, put a word in for me with the hhead of department, and I joined them. I thought I'd put up with the travelling... 19 years later, was still were. In between teach there, I was still doing visiting lectur country, filling in my d known within the system. Then. all over the s by being I get a phone call Someone from Harrow rang and said that although the course was closing, there were sil five years eft to run, and ‘would Ibe interested in some teaching to get the last cohort through the system. I fitted in well with what I was already doing, Vd do one day at ‘A Students working at the Clay College. a ‘The Clay College. A tired Kevin after a busy summer of graduation shows and events. “It's been a mammoth success, but it's nearly killed Wycombe, and the next day at Harrow. By this, time, the college courses were all winding down, with closures ete, and. Then | get a phone call “Ie was someone from Love Productions. “We want to doa programme like Bake Off bat with pottery. Everybody we speak to says it cant be dane, but that if anybody can doit, i's you. Do you think it’s possible?" [said "Well, it depends on svhat you want to da’ We had quite a few phone calls initially when [tried t0 explain what you ean and can't do, because they knew nothing about pottery, and then after a lot of tong and froing they said “What we really need to donow is hammer out what the format ‘would be. We need to meet up and could you send some info about yourself, your background?" So F sent my CV, and they were really impressed by my TV credits (bee next page). But, they were also abit ofa problem, ‘We need someone who's fresh to TV. We still want to meet you though. We can get a presenter, what we need is expertise and someone who knows how TV works; who ean help dlevelop the set, and who understands the system ‘We sat down and thrashed out the format; one major make down the middle (che only things that are fired), and I'd come up with the project and make sure it worked; the throw down, which the potter would do, and then an expert with a particular knowledge, who would deliver it and the contestants would have a go. The problem, certainly for the first series, was that the viewers wouldn't know what things were, eg aku, so we needed little vignettes slipped in, which explained the history of it, and showed examples, without being preachy or ‘educational’ so the viewer would understand what t were watching. developed the system for testing, the applicants and interviewing them. We finally settled on Middleport, which was the right location, and I oversaw the building of the sets ete. While I was working on Throw Down had a phone call! twas Lisa Harnmond asking iff be interested in being onthe Adopt a Potter t- One ofthe objectives was to look at newly graduated potters and award them a grant to go and work alongside an established maker. After couple of et the conclusion that we) sue 31 ClayCraft 39 years, we caKEVIN MILLWARD ‘A. The ethos of the college is that students are taught proper skills. had to train them ourselves. They were _graduating with lots of creativity but lacking in practical skills. The old Harrow, Derby, Chesterfield courses were great, so we turned the clock back, while removing the ethic of ‘tis is what you SHOULD be making’ From a standing start to opening was two years, We badgered MPs, local authorities, StaffS Uni, and got nowhere. ‘The local MP Tristram Hunt was great, but no one could ‘get’ what we were trying to do, Tristam Hunt told us that to get anywhere, we needed to produce some fats and figures. So we thought the only way we could do it was to appeal to our own community; studio potters here and abroad. They were 100% behind it. Ninety-eight per cent of potters thought it should be a hands-on, practical, studio-based course. A couple said there should be a design element in it, and 95% said it should be based in toke-on-Trent. Three weeks later we told Tristram we'd got a report together, ‘What? In three weeks?!” We showed it -yone wanted to keep it!) but {got nowhere. We got no funding from the big people because they don't do 000 to get it off the ground, and the community came together; crowdfunding, people selling pots, cake sales, rolled in. Because I was at Middleport doing Throw Down, knew this building was here, and all the bits ofthe jigsaw came together took the job as course director because how could I persuade someone to take the job if there was a risk it wasn't going to work? I'd take it on and get it off the ground, then ifit worked, I could phase-out, and we could bring 40 ClayCratt Issue 31 someone else in. It’ been a mammoth success, but it’s nearly killed me! I wrote all the projects, the core curriculum, and did the bulk of the teaching. ‘When we're working through the applicants, I'm looking for ‘the spark i's all. [don't care what they can do, because [ean teach them to do it. Ifs not iy job to tell them what to make Thever let my personal taste impinge ‘on what Tm doing, It’s not about me; about what they want and what I can bring out of them. It’s my job to teach them how to make what they want to make, and for them to have the confidence in me that I know how to deliver it, Its challenging for a tutor, bbecause if someone comes in and says I want to do XYZ, and you know nothing about XYZ, then you have to go and find out about it. But you have to do it right, or the student goes wrong and. gets despondent. I've told students, L know nothing about that, but this time next week I will’ and I go and find out about it. Ihave the tangible skills to be able to translate what find out. AIL need is the information, I don't have to learn how to do it, because I can already use my hands. If know swhat iti, 1 know how to do it. Then I can say to the student, “This is what we do and we do it together. Each time that happened lover the past 40 years, I've banked more Knowledge. That's why I know so much!” AAs we went to press, the second cohort of students was arriving at the college for the start of their two-year course, and filming for the third series of the ‘Throw Down was underway. Exciting times at Middleport, and all due respect to Kevin, the lynehpin of both, Television ("ve been involved with TV. for years. My first appearance was Blue Peter in 1974-5. It came about when | was at the Gladstone Pottery Museum, and Blue Peter came as part of the opening ceremony; they filmed Dave and me working. Gladstone was used quite alot as a historical set/background; there were always TV companies there filming. | was in all sorts Of things, in the background, potting and people would come and ask about it. Not everyone ccan speak in front of a camera, but I can, so as the ‘voice of knowledge’, I'd do whatever they wanted. The Discovery Channel asked me to dress up ‘as Wedgwood, and things grew from there. There were lots of little TV programmes, and it’s a small world, so I got known as being a safe pair of hands. Then I get a phone call! It was the BBC, in need of a potter for The Generation Game. I did six with Bruce Forsyth and a couple with Jim Davison. There were children’s programmes, Saturday morning kids’ stuff, lots of educational stuff for schools. Time Team, the Antiques Roadshow, Equinox, Spitting Image... One thing rolls on to the next. And the latest, of course, is, The Great Pottery Throw Down. 4 Playing the part of Wedawood for a BBC programme, mShares,& repairs|vValue, for, moneygv,Helpline) vNationwide\service) ZReliabilitye Oo HESKETH POTTERS' SUPPLIES 7 FOR ALL YOUR SUPPLIES INCLUDING KILNS, WHEELS, RAW MATERIALS, CLAYS, GLAZES, COLOURS ‘WE ARE DUSTRIBUTORS FOR RHODE GMBH & POTTERYCRAFTS LTD KILNS, OFFERING ADVICE. ee oS pe Wit ior iain ia eran oO TEL: 01323 896444 EMAIL: ‘CHRIS_HESKETH@HESKETHPS.CO.UK WWW.HES! UK POTTERYCRAFTS| _MKM Ponrery Tools ellbtng cons ehrough the honds of pottee™ LIMITED 2a “URUK manufactured hag rs New MKM Big Hand Roller Design Roderveld wheels, equipment & POTTERYCRAFTS kilns are bull by our dedicated team to an exceptionally high standard at our factory in ‘Stoke-on-Trent. S co wat “For the beginner and expert Kins = Wheels a > Claes & Stains in ceramics & pottery” Js Raw Materials Bisque & Moulds = Extensive Range of Clays cc, | Potterycroftsiitd Compbell Rodd) Stoke-on-Trent, ST4 4€T Tel: 01782 tot £p potterycrofts.co.uk F cx: 07782 746000 _“scles@potterycraofts.co.uk} www.mkmpotterytools.com Phone: 01 (920) 903-6918 mkmtools1@gmail.com eS career gre can ‘btoomatcibon cokTHE CLAY COLLEGE Familiar to many as a participant in the second series of The Great Pottery Throw Down, Elaine Wells was one of the students in the Clay College's first cohort. We asked what drew her to the college, and about her experiences there... ‘Thirteen students from all over England and Mumbai with ambitions to become studio potters started the Clay College Diploma course; ineluding me, even though I was vas so excited that first if day, two years ago Influences to start pottery Encouraged by my parents, [ developed an interest in a wide variety of crafts; knitting, dressmaking, ete With no formal art education, it was many years later that the influence of a television programme The Craft ofthe Potter first aired on the BBC in 1976 ignited a passion for thrown pottery Getting started From 1991, several attempts at taking up pottery as a hobby were overtaken by working in the family banana business and having two children. [ kept up my interest in clay by joining, Buckinghamshire Pottery and Sculpture Soci Chairman at one point. We had monthly demonstrators and trips to see potters, along with an annual exhibition. [had acquired a wheel and ‘a small top-loading kiln. I shared a lean-to on the side of the house with ‘our eats, but sometimes my wheel ‘would sit idle for months. Finally, in 2015, | took the ‘opportunity to pot almost full-time. By this time, I had moved my wheel to ‘of which T was ‘cricket pavilion at the end of my garden, which the children had used as a playroom, I produced what I considered to be pleasing pots, whieh 1 sold at local craft fairs and Bucks (Open Studios. Throw Down Ie was a completely out of character decision to apply for series two of 1 Great Pottery Throw Down in 2016. 1 hhad told no one that I'd applied, but had to confess to my family when it appeared that [ had actually made it to the final 10. [ was always photo-shy, and yet I was going to put myselfon the iclevision, for thousands to see, having only been potting on a regular basis for a year. Filming Throw Down ‘was enormous fun, and I now have a close, supportive friendship with the other contestants, Clay College Tean’t help but be disappointed in myself for not getting further in the competition, but it led t0 an internship with Kate Malone, which made 1 recognise that I had not even touched on the possibilities of clay. I wanted more, but how? ‘The Clay College promised to provide core skills and the use of materials, taught by professionals. In the end, it delivered a wealth of experience in production throwing in all genres; developing glazes; kiln~ building; using a variety of firing em TS ‘A. The Cricket Pavilion at the bottom of Elaine's garden is now her studio, 42 ClayCratt Issue 31 4 Elaine Wells techniques and, more importantly, the ability to assess, recognise and explore the pieces you made in order to develop your work into something special ‘The knowledge and teaching of over 20 of the most suecessfll studio potters — along with our course director Kevin Millward, who was with us 9-5, Monday to Friday — have provided the essential skills for years of further development. My head is overflowing with ideas In the past, my pots were naive, and Clay College has given me the skills 10 4 Students at work at the Clay College. A First day! explore the interaction of the lay and throwing in and so I hope my pots now reflect that, My attitude towards glazing has loosened; my first love is still anything in white, but now with a more natural feel, rather than the ‘toilet white’ I used before. Regrets IFT were younger, would take up wood firing as I love the interaction of A Elaine's work has evolved during her time at the college. THE CLAY COLLEGE ‘A. The 15 students in the Clay College's first cohort. wood and fire on the elay and not knowing what will come from the ashes. Some of my best work has come from the wood-fired kiln we built on a site close to the college. [console myself by using ash in the glazes I fire in my eleetric kiln, and I am starting to build a gas kiln so I can further explore Shino, Nuka and Celadon glazes. What next ‘The Clay College organised three _graduate shows for us to promote our ‘work at the end of term, Showing your work to the world is hard, but I found it easy when asked to give guidance about what I'd learned at Clay College ‘A. and now feels much freer. and L love that I now have that knowledge to pass on ~ albeit that I still have so much to learn, ove giving demonstrations, and try tocentertain as well as educate, to appeal to a wide audience. We need to encourage people ofall ages to take up ‘craft on any level. Businesses are beginning to realise that they have to look beyond academic qualifications and experience, and that those with bring new solutions for difficult problems. Elainewellspotter@gmail.com elainewellspotter.co.uk facebook/elainewellspotter Instagram/elainewellspotter A Elaine loves giving demonstrations. Seen here at this year's Art in Clay Hatfield, sharing her knowledge. Issue 31 ClayCraft 43PROSECT FOUR SPAGHETTI MEASURE Take the guesswork out of estimating the right amount of spaghetti per person by making ‘one of these handy measures. Simple to make, we show you three ways to decorate the surface, which can easily be adapted to fit your kitchen colour scheme a art Di eeu ele’ Cee eo Soe The three measures together clearly show the Pore ten different effects that can be achieved, relatively Src eT simply, and with minimal materials. 44 ClayCratt Issue 31 Before you begin; The proportion of spaghetti recommended per person is 75g so measure this amount, and multiples Of it, to work out the size of holes required for different numbers of people. Now look for a round shape (cookie cutter or ‘other) that the individual amount of spaghetti will fit through with a little space to spare to allow for clay shrinkage. Do the same for each portion size you want to include in your measure - up to four. ‘A Working on a cutting mat, fold one end of an Ad sheet of paper over, approximately 8cm, DIFFICULTY RATING 333 v, ‘4 Now draw half the outline of the shape you want your measure to be = this is a leaf shape, but the choice is, entirely yours. 4 \ Carefully cut out the shape through the double layer. ‘Open out the shape when finished to reveal the template, \ a lesue 31 ClayCraft 45oO » ‘Take the four round shapes made earlier to represent the correct portion sizes, and place them on the template to determine how you want to position them. When happy with the positions, draw around each one with a pencil, © ls ‘A Make more templates in the same way if you want to make versions in different shapes. 46 ClayCratt Issue 31 Depending on how many measures you want to make, prepare an appropriately sized block of clay for rolling. Working on your 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 template. ‘You will find that periodically turning the slab will make rolling much more easy, and ensure it’s the right shape for the job, ‘Once rolled, smooth over the surface of the slab to compact the clay. DIFFICULTY RATING 3330 © ed A Turn the slab over onto an absorbent board. Smooth over the surface again with the rib, then place the templates on the surface, ‘4 Carefully cut around the shapes with a sharp knife but leave the templates in place on the surface. Remove the surrounding clay. soften and round them off. ‘A Run your fingers over the edges of each shape to then carefully cut each one out, Impress each marked circle again with the corresponding shape to clearly define the outline, Using the cookie cutters, position them on the various ‘drawn outlines then press down lightly to transfer the ‘outlines to the clay. ‘When you lift the template off the clay, the outlines should be clearly visible. lesue 31 ClayCraft 47 °‘A Again, run your finger around the edge of each cut out circle to soften and round them off. ‘4 Make a hole for hanging the measure at the top of each shape. Use a suitably sized cutter or a hole-making tool 4A If your clay is still quite damp despite being on an absorbent board, firm it up to leather hard before proceeding to the next step. 48 layCraft esue 31 BCT tre Dee eee eau Pee etc Cros Pea ere cee nave been cut toa leaf shapes in t Peon Using the mop brush, paint the surface of the measure with a background colour of slip. Apply two even coats for good coverage, allowing the first coat to dry to the touch before applying the second coat, ‘4 Decant a small amount of a strongly contrasting colour of slip into a shallow dish. Dip the larger of the two sponges in the slip then dab off the excess as shown so that it's not overloaded. DIFFICULTY RATING 401 We Ze 4 ‘4 Apply the sponge decoration in an arrangement of your choice over the surface of the measure - positioning the shapes in different directions, imagining the holes are not there. O<¢ ‘4 Working with yet another slip colour but using the same technique, sponge the smaller shape over the first shape as shown, ! ‘4 When the slip has dried to the touch, define the outline of the shapes, and any other detail to want to include, with black (or dark) underglaze, using a fine brush. ‘A Allow the finished measure to dry out before bisque firing. Then all that’s required is a covering of transparent glaze to finish it. Dye wallpaper or stencil template as used here <4 Position the clay measure between the roller guides Carefully place oO the texture over the \ surface and rollit : hl ite the cay ifthe shape distorts aittle Siterroling in the texture, place the template over the Surface and cut back to shape. ‘A. Again, soften and round off the edges of the measure as you did with the first example, by running your fingers around it, as shown, lesue 31 ClayCraft 49‘Cut out the measuring holes as you did for the first ‘example, remembering to soften the cut edges with finger when finished. ‘4 Once bisque fired, coat the measure in a coloured transparent glaze to best show off the textured surface. Pot TR tT Ed aT) Dt Dee ae) Pee ae ear ‘4 Allow the measure to dry slowly, turning it reularly as it dries to help keep it flat. 50 ClayCraft Issue 31 Prepare the measure as you did the first example, softening the edges to begin with, to round them off. Cut out the measuring holes as before and neaten up with a wooden tool where required Using the closed texture sponge, apply the yellow slip all over the surface of the measure. Allow the first coat to firm to the touch then apply a second coat. ‘Applying the slip in this way will give the surface a lemon skin texture. DIFFICULTY RATING 333% ‘A. Sponge the stem of the lemon in green slip, then, using the open texture sponge and again, the green slip, lightly sponge over the yellow in selected areas to give, the surface visual depth. Allow the measure to dry out, along with the others before bisque firing, Once fired, it can simply be covered in transparent glaze to complete. Issue 31 ClayCraft 51NEW CERAMICS FAIR Hearing about a new ceramics event is always exciting, and when Liz Edmunds got in touch to tell us about a new venture she’s involved with, we were delighted to help promote it. Liz tells us how it all came about... ver a regular monthly social lunch at Turning. Earth E10, (the East London oper wwe are members of), the conversation turned to the issues of selling our pottery, and the merits of doing so at craft markets vs Instagram. Quite a few of us weren't currently selling in any organised way at all, but steadily amassing a collection of finished pieces at home, taking up space! Although ‘our studio holds a yearly ceramics sale for its members, we felt that we'd like access to a more regular event. We discussed opening a shop, but this involved considerably more risk financial commitment than we had the appetite for, so as a compromise we decided to explore the idea of putting ‘on our own independent ceramies fair. We formed a core group of three who would organise and promote the fair, make any creative and f decisions and communicate to the sellers. There was a long list of things to be done (), which fell broadly three areas: the selection of a venue; recruiting and communicating with sellers, and marketing the event, We allocated these areas of responsibility among the three of us, according to existing expertise and spare time Our first issue, venue that ticked the boxes of suitabili access studio locating a suitable wailability and ‘A Thrown sake set by @noriko_ nagaoka. cimae Noriko Nagaoka) 52 ClayCraft Issue 31 7 eel eel eee cuny affordability, was quickly resolved. Already on our radar was @ local chureh hall, which had a history of hosting suecessful craft sales, and which handily hired out tables and chairs. We took a calculated risk in putting down a deposit, feeling confident that we would fill enough of the 19 tables to allow us to cover the venue hire, and leaving a modest marketing budget. The advantage of the hall was that it came with a fully equipped kitchen, so we ould offer refreshments which might encourage buyers to linger. Between choosing the location and the sale date (6 October) ‘we had three months in which to make all arrangements, market the fair and produce enough work to sell. We took an early decision not to charge entry to maximise the number of vistors. ‘We then began recruiting sellers in cearnest by asking the potting, community at Turning Earth who would be interested in taking part. We sent out an email with full details of the proposed sale, and asked makers to reserve their table with a deposit of £25 and were pleased that within a ‘couple of weeks all the spaces had been erved. Having filled the tables, we were free to think about marketing, and as the budget was fairly restricted, we ss —, ‘A Thrown and altered forms by @kaytea. White stoneware/molochite, blue stain. cage « Kaytea Bucé-2rophy) decided on a mix of social media and print advertising, For consistency, the marketing was handled by one of the team, who set up Instagram, Facebook and a website for the fair, Instagram was particularly useful as a tool to introduce makers and their work and also a means to follow as many relevant accounts as possible. A hashtag #erouchenedceramiesfair was created, and sellers were asked to use it when posting images of work on their own feeds ‘We explored suitable local newspapers and ma aulvertise in: some were free or kindly gave us discounted rates, (on account of our being a new local business). A ‘conversation with the owner of Beach Media, which publishes a number of North London titles, led to a conversation (and eventual agreement) about them sponsoring the fair, as they were keen to support local initiatives We also approached local community forums, newsletters, Facebook groups and websites to list and promote the event as well as well-known listings sites such as Time Out In addition, colour postcards were dlesigned for distribution to suitable local verwies North London (such as cafes, independent cinemas and the ‘A Handbuilt vase with glazed interior and matte black underglazed exterior by @kasiahowlett «nage = Kase Howier farmers’ market) plus the streets immediately surrounding the venue. The makers also agreed to distribute them in their own neighbourhoods and among friends and family. We made an A-board to place outside the hall on the day of the sale to catch the eye of any passers-by who might be unaware of the sale ‘The organisers regularly emailed the sellers with information about the salle ed to consider taking out insurance, buying mobile card-readers for taking payment, labelling work if not food safe, and reminded them when 0 post or email cout ‘save the date’ messages or invitations to their networks We represented a range of makers from the studio, including throwers and hand-builders, and those making decorative and funetional work. One of the potters, Kaytea Budd-Broph whose thrown and altered forms celebrate the resilience of the human spirit, shared her hand-building, tips, She loves the look of porcelain and white stoneware, but adds her clay bodies for strength. Rather than joining pieces using slip, which she finds too m is careful to deeply seore the edges of the sections before joining, and to add a reinforcing coil of clay. She has amassed a collection of homemade ribs, (suitable for any conceivable task), by sanding and filing old eredit or loyalty cards into the shapes she needs. Kaytea has found that working on her hand-built forms in groups (ie, in or 75) gives her the greatest flexibil in being able to move efficiently between pieces at various stages of the making process ‘George Bronw is primarily a wheel-thrower, who enjoys making functional tableware such as large jugs, bowls and platters. He often uses his own elay body mix of sanded buff and lava fleck so he ean control the levels of speckling. Inspired by 14th century Kashan ‘wares, George has experimented with two ways of reproducing this technique. Method one involves first uch as the m jolochite to she uses water but on the other hand, ‘A Thrown stoneware large masala set by @purplepots.co.uk cimave coating the piece at the greenware stage with two layers of white slip, then painting freehand with cobalt oxide/porcelain slip applied with a Chinese brush. A very steady and confident hand is required here! After bisque firing, a transparent glaze is applied before firing, Method two again sees the pot white slipped and bisqued, but this time the design painted on using a mix of cobalt oxide and transparent glaze and then given a final dip of transparent glaze before firing. George has found that freehand painting of the design is easier to control with the cobalt/glaze in method two, which also gives a glossier final result. However, the downside is that the line definition he achieves with his first method is not so The Crouch End Ceramics Fair has been a fin project to be involved with, Setting up a sale of this type from seratch requires energy and commitment from the organisers and cooperation from the sellers, but it has certainly added to a renewed sense of purpose and focus among the studio members who are busy making for the market. We'll keep you posted on the outcome after 6 October! BF Crouch End Ceramics Fair Hornsey Parish Church Hall Cranley Gardens, London NiO 34H 19 stalls. Free entry. Refreshments available 1G: @crouchendceramicsfair FB: crouchendceramicsfair ‘crouchendceramicsfair.weebly.com Issue 31 ClayCraft 53ete ‘tscems like an age since I wrote my post, which means that either I'm well past the editorial deadline, or that we've ‘rammed loads into the past few weeks, ‘or, more likely, both. ‘Were back at home in Scotland now after a couple of busy weeks on the road, attending Artin Clay at Hatfield House, followed by a few days’ breakin a cottage in Buckinghamshire, while we visited my «elderly mother. “The break was good, but Tin happy to be home again. Nov we have to rebuild the momentum necessary to hit our next deadlines, which will be upon us in no time. Its always hard to get going again ‘and this week is punctuated with optician and dentist appointments as well a the usual nursery runs, so we've not really hit the ground running yet. Before we headed off on our long journey, we took a day trip to Potfest in the Pens in Penrith. Aeme Batts had a stand there, and we wanted t0 collect some new kiln shelves from them for one of our electric kilns. The Pens’ is an interesting show; unselected, soan ‘opportunity for potters who are just starting out to exhibit alongside established makers. As the aggests, its set within the pens of a cattle market. Ie about an hour and a half from home, so a pleasant trip out and an enjoyable change to be punter rather than exhibitor, We had some other errands to run while in Cumbria, returned home late andl 54 ClayCraft Issue 31 ‘A. Big jug orders, (Photo: Hannah McAndrew) reversed our white van onto the drive. A police van stopped as I parked and shone ‘bright light at us. We don't see police vans where we live, 14 miles from town, so it was unusual. The following conversation took place: Policeman: "Good evening, sir do you live here? Mes "Yes" Policeman and WC look suspiciously fat me and the van, anything exciting? M Policeman: “It is rather late to be out and can [ask where youve been?” Oh, yes, Potest, Policenian and WPC look startled and bemused by this reply. ‘Me, suddenly realising the cause of their concern: “That doesn’t sound good, does it?” Po Have you been up to iceman and WPC in unison: “No.” Me: “It’s pottery show, Ima potter. live here; there's my workshop’, now starting to worry about my tomato plants in the window Policeman: “Very well sir, goodnight”, no doubt Googling Potfest’ as soon as they could find a phone signal to do so! Artin Clay Hatfield was tremendous “4 Enjoying a brew in Tracey's muss. fin, but goodness me, what along way from home. Most places that we exhibit are. That’ one of the very few downsides of living in the Seottish wilderness. ‘We broke the journey overnight in Bedford, then headed to Hatfield and set upon the Thursday, ready for the show to ‘open on Friday Pippin had made lots of lite pices with her cookie cutters and was very keen, indeed insistent, that she should be allowed her* own stand! We pat aplinth beside our trestles, and she laid ‘out her wares, along with wrapping raterials and sat inher ite ei, awaiting the crowds. She sold out entirely ‘on the frst day. Im now considering ‘wearing my hair in bunches at all future shows because cuteness appears to have been a great marketing success for her, 0 T think I need to take this strategy on board and see iit helps. (On the frst morning ofthe show, we went tothe demonstration marquee to do ‘our presentation, We'd convineed ‘ourselves that there would be nobody there as it was the frst demo ofthe show (On lifting the door flap to enter, we found a full house, with folks standing along the sides. “The demo was always going to be a Tittle bit chaotic as we had the kiddies with us. It was my birthday, and my sister had ao turned up to surprise me, and she was able to entertain them a little. We began witha short slide presentation, but the generator kept filing, plunging us into darkness. We made it through that bit, then Fred decided he needed feeding, s0 Hannah did her bit for the #normalisebreastfeeding cause, of which sheis a great evangelist Pippin joined the demo with clay at the side of the stage and then played quietly in a banana box on the stage, while Hannah decorated a large charger. Fred, in my arms and having a fall tum, performed in his own special manner: think you'll understand what I mean if 1 that he changed the atmosphere up on the stage and possibly the first few rows! “The whole demo was like taking a slice of cour daily life and living it out on a stage, ‘which actually, is just how we want it to be, chaos and all T decorated a jug, drawing through wet slip, while talking about different approaches to slip decoration and then suudenly after a fll-on, enjoyable and hopeilly entertaining hour, it was all cover. Certainly, it seemed wellreceived, 0 we thanked the audience for their kind support and breathed sigh ofreliet ‘The first day was great, lots of pots sold ‘and some really good conversations, Ie’ a Jong time since we've exhibited at that show, seven years I think, so there were people we hadn't seen for ages. The second clay, we made half the sales of the first day, and on the final day, we only sold a couple of mugs. That's the usual pattern for us, Overall, it was worthwhile financial ud we ean now invest in the next pha of our workshop building project; ‘wooden, insulated floor in the new ‘workshop extension, All we need is the time todo it, Tt was wonderfl to catch up with Editor Rachel and to meet Tracey (Confessions of a Novice) forthe first time oon the ClayCraft stand, We were thrilled swith a pair of mugs that Tracey gave to us, seen here in use in the workshop srarden ‘We came back with lots of new pots. AS {mentioned earlier, it was my birthday, and there's no better place to be than a pottery show on your birthday. Hannah ‘gave me a splendid Rob Parr sculpture of three erows, Paul Young and Alex Shimwell gave me teabowls and other friends came to the show bearing gifts of antique country pots for our collection. ‘What a lucky old man I am! ‘The day after the show, we went to visit Michael O’Brien, a very well renowned, now elderly potter, who worked with “Michael Cardew at his potteries in Cornwall and Africa. Michael has established a trust fund entitled The Michael Cardew Trust, with the aim of providing workshop space and mentor support for fledgling potters. [ama trustee and took one ofthe recent graduates from Clay College Stoke to meet Michael with a view to a possible internship in the future. At the moment, there ae stil quite afew issues that need sorting out, Health and Safety procedure et, but the Trust will provide an excellent opportunity for new potters, once it is flly established, So now were back to work, with busy times ahead as ever: We have a big order fora lovely shop in Ledbury called ‘Tinsmiths to make. Also dishes for the Goldmark Gallery which we aim to fire in the wood kiln, which we haven't used in nearly a year. After that, we need pots for our fourth online exhibition, imaginatively titled, Fitch & MeA ndrew Online IV, which goes live atthe end of October hope you'll be back to hear all about it next month, Until then, todle pip. #8 ‘A Pellet jugs on our stand at Artin Clay Hatfield. (Proto: James Haziewooc) lesve 31 ClayCraft 55=> GARDEN TOTEM Some patience will be required to complete this project because this is the first ina series that will build over several issues to make a garden totem DIFFICULTY RATING tok Peed Because this is a relatively shallow mould and the clay will be carved once the sections are joined together, ‘we will make this first shape of the totem asa solid form. To do this, simply fill the mould with clay, ‘working in small amounts and pressing each piece firmly in, to squeeze out any air which may get trapped, Continue working in this way until the mould is Seria 5 ( completely filled, eee ay eer oa eee Pein etn Prter een Build the model in soft clay eee eet eta aa even Secure a cottle around the model - you can use. Peeeeaa esc Cv eae seas feet PAY ene oe Rete ees SRT Steen ee one eeccs Pee oer Rear SR Cn IL) eee Ey Posen o me tel 56 ClayCralt sue 3 1 ClayCraft $7DIFFICULTY RATING tok A To completely compact the clay in the mould and ‘ensure there is no trapped air, roll over the surface with a rolling pin several times. ‘A. Score the surface of the clay thoroughly with a serrated rib, or similar tool then turn the form out onto a board. Remove the excess clay at the surface with the side of a ‘batten resting on the central plaster section and the side wall Draw the batten around the circle, periodically removing the excess to make the process easier. The surface should be ‘completely flat when finished. ‘A Work over the surface of the clay with a rubber kidney until completely smooth and unmarked. ‘4 Turn the first half over on the board and slip the surface In the same way. ° : ff Cs ‘A Fit the first section onto the section still in situ in the mould Press the two halves together firmly to ensure there is no air trapped in the join. 58 ClayCraft issue 31 ‘A Make the second half of the form in the same way as the first, to step 5, but leave it in the mould once you have scored the surface. Now apply an ample covering of slip to the surface. _—— ce tf . && Gi >» ae yy ox 23YOU WILL NEED: Coloured casting slips - as many as you lik int arena eee) eae Pra ukG ae m Plastic sheet eee cd Stir your darkest colour of casting slip thoroughly until it's the consistency of single cream and lump-free. Fill your slip-trailing bulb with the slip and fix the nozzle in place. Trail a loose pattern over the entire expanse of the plaster slab. Be aware that precision and neatness are not a requirement for this technique because the resulting shapes will only show abstract lines of colour. Clean out the trailing bulb and fil with a second slip colour, Work over the first colour, filling in some of the space between the first lines - adding dots and other line features you want to include. This is a really fun process, and the slab should bbegin to look like the first stages of a Jackson Pollock painting once the second colour has been laid down, 66 ClayCratt Issue 31 ‘And again, apply a final colour of slip, varying the direction of the lines to almost fill all the space between the colours. DIFFICULTY RATING 300% ‘A Once the slab is adequately thick, you can use a rib or ‘old credit card to even out the surface if required. ~ ————— Thoroughly stir the background white slip until it’s free- flowing and without lumps. our the slip over the colours to a depth of 3-Smm. It may help to pour a small quantity first then lift and turn the plaster slab so that you can gauge the thickness and ensure the slip covers the colours evenly. Pour: more as required, ‘4 Allow the slab to firm to the point where it’s no longer tacky to the touch - this will only take a few minutes. Place a clean plastic sheet over the surface and lay a board over the top to turn the slab out onto. ‘(A glass sheet was used here, but this is purely because it’s the right size for the plaster mould - a wooden board would be usual.) ‘A Turn the slab out onto the board and plastic sheet. Issue 31 ClayCraft 67‘A Gather together some shapes you'd like to make your buttons from - small cookie cutters are good, or the type of cutters used by cake decorators. These are widely available in a multitude of shapes, and it always helps to look out for new ones when you're out and about. ‘You will also need a wooden skewer and a thin plastic tube - the sort that are used in plastic spray bottles are the perfect size. Cuta short length off the plastic tube and feed it onto the end of the skewer, as shown, Begin to cut out your button shapes in an as economical ‘way as possible, to maximise, the use of the slab. Transfer the cut-out shapes to a wooden board then punch out the required number of holes with the plastic tube extended a short length beyond the end of the skewer. Cut out different shapes in. regular numbers to make | up sets of buttons. Maybe make one extra of any particular shape in case of mishaps during handling or firing, After cutting out the holes in each button, push the skewer through the tube to remove the plugs of Clay ~ this is a great way of avoiding clogging up the tube. Keep the buttons fiat by drying them between boards with a weight on top. ‘4 Once the buttons have dried, very carefully fettle the holes with a pointed wooden tool to remove burrs and sharp edges. Simply twizzling the tool in the holes will have the desired effect. A Finish off by wiping over the holes and edges of each button with a damp sponge - ON THE BACK ONLY - the colours will blur if you wipe the fronts. DIFFICULTY RATING 330% 4 One cast slab will make lots of lovely buttons in different sizes and shapes - all ready for bisque firing, SREB wes GOD ‘4 You have the option to leave the buttons unglazed, in which case they can be fired up to the clay’s optimum temperature in one firing, or you can apply a transparent glaze after bisque firing. This example clearly shows the difference between the ‘two - the top line of buttons has been glazed and they have a markedly softer look to them, while the bottom ones, without glaze, are more vibrant and the coloured lines and details more clearly defined. Both are lovely in their own way. ‘A The finished buttons have been transparent glazed and fired to cone 6 (1200°C) in an electric kiln sue 31 ClayCraft 69Confessions we. Of A novice cre I sit, in an air-conditioned apartment in Gran Canaria, thankful that the wildfire further north is no longer growing, taking a bit of time out of the blazing ay. I second-best to actually playing with lay, and I debated whether to bring a {ew kilos so I could pinch pots on the balcony in the evenings. However, a {quick search of the Clay buddies Facebook group assured me that I'd be risking a full-on strip search if this Jump of elay were scanned and deemed to be possible plastic explosives. It has been said that I'm like a dog with a bone and true to form I was browsing. internet as soon as I arrived, hoping to organise a delivery. Alas, this wasn't sun to write about ‘A Rachael Pedersen @rachaelpedceramics makes a whimsical coil-built fairy house... 70 ClayCratt sue 31 Five go potty in Essex A few days with nothing to do but play with clay. What could go wrong? ‘A Rachael, Claire and Lucy getting stuck into the glazing. to be, so I have contented myself with shaping wet sand on the beach with the kids (not easy to centre it), reading pottery mag back issues and now writing my blog. A. ...as Lucy Fowler @potscow tries out her raku glaze samples... Yve recently been welcomed into the fold ofa little group of potters, and we decided at least six months ago that we couldn't do without a dose of potters camp in 2019. Although Anglian Potters arranged several fantastic events throughout the summer while relocating the full camp experience to a new venue, there was something, about 4... and both had great results with their raku firings! ‘A As well as throwing great wide bowls, Claire Porter @claireintheair47 inspired us by altering them with hand-building techniques... the total immersion, away from real life, waking to clay, talking clay all day, cating and drinking with clay buddies and then dreaming clay before waking and doing it all again, that just had to be recreated. Since Lucy has a studio big enough for the four of us, we decided to camp there. ‘On arrival, we pitched the tents, had barbecue and some wine, oohed and aahed over the hand-made goblets and mugs we'd each brought to drink from, and turned in, Next morning we were off. We wanted to complete a gas firing and a cone 6 electri firing, as well as, getting my little beast going on a Single-firing; all of this and raku, which meant glazing - lots of it. We had all brought bisque-ware and glazes, so we tried out new ‘combinations. There were lots of pots that Lucy had made up from Stephen Murfitt’s glaze book, Claire had big buckets of reduction glazes, and there were branded jars that Rachael and I had brought along. We set tot the honey bees swarming outside the barn were a peaceful reminder that wwe were right out in the countryside, but the wasps nesting inside its roof were more alarming. As I glazed ~ my least favourite pottery activity — and glanced anxiously up at the buzzing thrum, flinching as a few naughty explorers whizzed around my head, I st ‘4. ... and finally managed to get a long-imagined beach scene idea out of her head and onto clay. felt a little deflated. This wouldn't do. I wanted a full-on pottery buzz, not a buzz. shortly followed by a sting! It didn't take me long, to decide that I should give in to the eraving and unload my paraphernalia from the 1 just wanted to throw. My little Shimpo Whisper T caused a small stir With its beautiful soundtrack of nothingness; it really does help with the meditation-like feeling if your wheel isn't growling like a decades-old tractor. And from that point on [barely moved from the wheel for the next three days. Ah, it was bliss As [ threw, [ watched the other three do their creative things. Luey and Rachael have their own distinet styles of detailed decoration and spent time painting beautiful designs on tiles and bowls. Not for me, I thought, slathering, myself in mud, making large shapes that were as far from elegant and detailed as they could get. And yet as their designs started to materialise out of the raku kill, [felt those stabs of envy that come from looking at somebody else's fabulous clay-work Lucy’ tiles were inspired by flowers and made fall use of the range of colours and metallic hues available in raku, Rachael started painting animals and within an hour ofa small pheasant pot emerging from the fire, had sold it via Instagram for an excellent priee. ‘The creativity also spawned a new ‘A The combination of Claire's throwing and Rachael's underglaze painting Isa eal winner. creative venture: pots and bowls thrown by Claire our throwing guru = and painted by Rachael. They've called it @porterpedceramice were singing, [was at my wheel and all was good! with the world On the third day, both the gas and electric kilns were ready to unload, We made a beeline () to them even before coffee anc peered in, Of course this is the moment where my decision to ditch glazing n favour of throwing seemed its most regrettable, as the ol pulled piece after glorious pice out of the kilns, and my few experimental pots came out looking the worse or ‘A |was ABSOLUTELY IN MY ELEMENT. lesue 31 ClayCraft 71BLOG ‘4 Rachael narrowly avoids getting blown away with the tents! wear (always stir your glazes well and, if you don't, never drop your pot in the sladge you've left at the bottom). I had 1g of Claire's that had been positioned hangi shelf of the as kiln and therefore ended up with a effect from the reduction (I'l put this and Lucy had pwing red sunrise some fantastic colours on her beautifully delicate hand-built po ‘The only way to feel better about not havi pulled good ps of the kilns was to make more pots, and I needed extra clay from my tent. As I approached, it was clear that the tents were not happy. By this time, the wind was whipping up; which is to say the tents were, in fact, blowing down, This was the weekend of the gales, and the full force of the wind was due to hit at about, well, now! It was suddenly all ‘lay-covered hands on deck, as we whacked pegs back into the ground, reattached guy-ropes that had either snapped or broken at the attachment points, attempted to mend a wrecked ly ran from one tent to the next, averting disaster. Eventually, the situation was in hand, and we could return to the pole (mine, of course) and gener barn, where at least the wind had temporarily subdued the wasps. I now had a sense of time running out, so as the others somehow still managed to raku in a relatively sheltered corner, I decided that my grand finale would be a large do-or-die pot with my last half bag of clay. Fd been throwing non- 72 layCraft esue 31 few days on the ClayCraft moon texture and a r, thinner neck. All th meant that I man: throw the 6kg lump, though you could hardly call it effortless or stylish. I've put a heavily-edited video on my social ottlemuddery, if Before we packed up on the last day we laid out all of our creations on a big table. The sense of achievement and pride in ourselves and our friends was immense. Rachael put it perfectly when she said she really loved seeing how different we all are but how we all have some the table In this case, quite literally! The table looked fantastic, as you can see by the photo — where you can also see the previously unmentioned fifth member the gang, beautiful Bluebell, who valiantly (but unwisely) attempted to ‘wipe out the wasps by eating them one by one But let’ finish on the previous having survived the wind and the wasps, and with a surprising assortment of music blaring trom one of the tents, we spontaneously started to dance; in a field, in the dark, in the middle ie English countryside, four grinning potters celebrated the joy of friendship and of clay. [highly recommend it. Looking back on that Tean’t deny that I am 100 lay addict, and I'm reminded of the song by Pulp — for those few days I was clay ‘n glaze, but I ¢ seem to have left an important part of my brain, somewhere, somewhere in a tally sorted field in Essex, alright! And as I write that, it's clear that one of my next blogs needs to capture that joyous dancin moment by means of the paper clay figures way back in issue 10, Come to think of it, I don’t think I searched for paper clay delivery on the Canary Islands. With special thanks to Lucy Fowler of Cow Pat Pots — family nd her welcon Follow me via @pottlemuddery & ‘A. Before we packed up, we displayed our creations. The grins say it all. Eston f contemporary presentedalongsde a ° tion gather doddingtonhallcom Ceramic showcase: Dew Caines eresot anmat headed scr ures callectvey calehn Els Dearie craftcentroleeds. cok 'UNTIL300CT Salisbury Family Collection of. Eclectica-Global inspirations sa show ofscuptutesby Haima Cosel Manchester Ar Gallery, Mi manchesterartgallery.org Great North Art Show an exting and verse open eshantion in nen Cathedral in Roth Yorkshire Open daly dam — 430m greatnorthartshow.co.uk Pra PEST ant 0 days ofall things red ina ln FB @SussexCraftendDesignFair PEST ‘Oxford Arts Market sss design nd boffyartsandevents.com EET ‘Open Arts Tal 20 venues, over 100 Maker ofthe Month-Phil Mumford Stonenat and porcelain veel pen day am Spm thepottersgallery.co.tk er Devon Open studios: Riverside Gallery exhibition verde Gallery, open daly 13 crafts.org.uk tesserae er North East Open Studios 2019 Ouranard-nimingcolectne ot ‘ese ange of crestves exibng Ter work, the NEOS event a unique pperaunty to moet and chat with india arts see thetrinspirations andwarking methods and discover The weahhn of tert wehaveln northeastopenstudios.co.uk Exhibitions & Demonstrations @ Galleryi673, Rathsnne Tubal, Mark ifthe anc Benbow’ theclayloft.co.k openartstrall.org 21-22 SEPT ‘The Wokingham Art ral ‘wokinghamartstallco.uk PETIT Sheffeld Ceramics Festival ut sOleading and up a ing potter rt lus guest pater rom o sheffieldceramicsfestival.com pers Somerset Art Weeks Festival esti ats event inthe somersetartworks.org.uk UME Ser] Do you have an event you'd like listed? PR a gece te rd Vintage & Handmade Pop-ups.

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