You are on page 1of 82

SPOTLIGHT ON: MIDDLEPORT POTTERY

ClayCraft
PINCH, COIL, SLAB AND THROW

33
Issue 8 £4.25

SLIP-CASTING CYLINDERS
Using a mould
for repeat
makes
CREATIVE IDEAS

7 STEP-BY-STEP
PROJECTS
PINCH POTS

Practical scoops
MEET THE POTTER

Intricate carving SURFACE


NEW WORK DECORATION
Water-etching
& slip-trailing
LONDON DESIGN FAIR Issue 8
£4.25
Where craft meets commerce
From FRESH show ALSO INSIDE: Readers’ makes • Settling tank
001 Clay Craft Cover Issue 8.indd 1 11/10/2017 12:46
Meet the team... Just keep
making!
Jacqui Atkin
Woven basket
p55
Kevin Millward
Throwing a
teapot p12
S ometimes, when everything
around you seems to be falling
apart, you just need to keep
making. The therapeutic effect of being in
the zone and creating something, and the supermarkets already having their
physical response our bodies have to Christmas stock on show, but our 'Next
touching clay, all help to provide ‘somewhere month' page, has… decorations and gift
else’ for you to go, even if only temporarily. ideas. I love Christmas (in December), but
Do it often enough, and it becomes a more such is the world of firing schedules that we
permanent place to be, and eventually – need to start early if we’re to get everything
Alan Ault Doug Fitch hopefully – things work out. We met Craig made, bisqued and glazed in time, so please
Choosing the Keeping notes Mealing a few months ago, who is using don’t be annoyed when you see it!
right clay p25 p46 pottery to manage his PTSD, and the
subject of this month’s Meet the Potter,
*
Missed an issue? WIN £555 of vouchers
Amberlea McNaught, found that the
encouragement she received from some key Rachel Graham, Editor
ClayCraftClayCraft
THROW DOWN’S DANIEL PULLS HANDLES

people, at a pivotal point in her life, helped


vouchers up for grabs

ClayCraft
of
WIN £500
£500-worth

PINCH, COIL, SLAB AND THROW Issue 3 £4.25

PINCH, COIL, SLAB

34 This
AND THROW
CREATE YOUR OWN TEA SET

42 bring her back from the brink and ‘heal


Issue 2 £4.25

SPOTLIGHT ON: MIDDLEPOR


Issue 1 £4.99
PINCH, COIL, SLAB AND THROW
IN THE SPOTLIGHT!

ClayCraft
Throw Down potter Starting with a slab-built teapot
FREE
KIDNEY TOOL!
WORTH
explains slips
INSPIRATIONAL
INSPIRATIONAL IDEAS
Emerging potters to watch out for
T POTTERY
£3.00 IDEAS 7 GREAT PROJECTS

14 through making’. Potters are very lucky, in month’s


JOINING PINCH POTS

POTTERY
PROJECTS

cover
to inspire you
Making pods and fruit

that what they do, and love doing, is


APPLYING GLAZE
IN THE MAKE YOUR
MARK! PINCH, COIL, SLAB

33
SPOTLIGHT!
AND THROW
3
Read about
studio potters types of Issue 8 £4.25

SLIP-CASTING CYLINDERS
and their work stamp
Dipping, brushing and pouring SKILL SCHOOL

something that can have such a positive image is a


EARTHENWARE
GLAZING Learning to centre
COIL POT BUILD SMOKE-FIRING SKILL SCHOOL BRIGHT UNDERGLAZE
POTTERY TOOLS clay on the wheel

OPEN!
Using a mould
for repeat
Issue 1 Economic, versatile clay New ceramics school in Sussex

affect on their lives. I know it doesn’t always teapot from


One of 7 hands-on guides Judging glaze thickness
£4.99

WIN 2-day throwing course with Throw Down potter


to making your own THROWING MUGS AND ALSO Issue 3
INSIDE: Your Q&As • Doug Fitch’s diary • Specialist

ClayCraftClayCraft
Basic kidney exercises £4.25 directory
SLIP RESIST AND TAPE MAKING HANDLES STUNNING NEW COLOURS
ALSO INSIDE: Your Q&As • Clay
types explained • Courses directory
CREATIVE IDEAS makes
001 Clay Craft Cover Issue 2.indd 1

ALSO INSIDE: Stoneware clay • Spring Fling • Emerging Potters £200

7 PROJEC
WIN voucher for Ruthanne Tudball
29/03/2017 09:42

Down potter
31/01/2017 14:39

throwing course with Throw

ClayCraft
WIN 2-day STEP-BY-STEP
Clay Craft Cover new.indd 1
001 Clay Craft Cover Issue 3.indd 1 09/05/2017 17:09

Pottery
TS
PINCH, COIL, SLAB AND THROW

feel like it when your wrists hurt from


26
Issue 5 £4.25

PINCH, COIL, SLAB


MAKING SIMPLE FLOWERS
Issue 4 £4.25
AND THROW Issue 6 £4.25
PINCH, COIL, SLAB AND THROW

54
Pinch yourself a posy! DECORATIVE PAPER RESIST PINCH POTS
EGG CUPS
PINCH POTsimple

44
Stunning, bold designs with slip
and fun!

West’s
Attractive,

½7 wedging, and your hands and feet are


CREATIVE IDEAS
PRICE INSPIRATIONAL
STEP-BY-STEP
TICKETS
IDEAS

INSPIRATIONAL PROJECTS
FOR PAPER CLAY
DIY IDEAS ART IN CLAY
HATFIELD

½ freezing, the sink hole is bunged up with new range, Practical scoops
Slab animals
BIRD BATH Pt
Pt 2
PRICE
TICKETS LARGE MEET THE POTTER
FOR COIL-BUILD

clay, the glaze has dripped onto the kiln ‘Brut’. To


ART IN CLAY Make a pebble
HATFIELD Glazing & firing
bird bath
MOULD PROJECT

RAKU FIRING TEXTURE TRANSFERS


SURFACE DECORATION THROWING TRANSFERS
ONE TO WATCH

shelf and the last firing resulted in exploded find out


Issue 6
Relief bowl
Intricate carving
Issue 4 £4.25
£4.25

SURFACE
UNIQUE EFFECTS PERFECT PATTERNS ALSOIssue
£4.25
5
INSIDE: Potfest report • Meet the potter • Hatfield preview
EMERGING TALENT SLIP INLAYS JUG OPTIONS USING DECALS
• Kiln loading • Supplier spotlight NEW WORK
ALSO INSIDE: Two-part moulds
001 Clay Craft Cover Issue 6.indd 1

ALSO INSIDE: Pottery archaeology • Tea set series • Meet the potter 08/08/2017 16:40

DECORATION
13/06/2017 16:42

Buy now by visiting: pots, but this ‘thing’ potters do, is wonderful. more, see
Steve.indd 1
001 Clay Craft Cover Issue 4 v1
001 Clay Craft Cover Issue 5 v1.indd 1 11/07/2017 17:01

Water-etching
& slip-trailing

shop.kelsey.co.uk
LONDON DESIGN FAIR
I hardly dare say it, given the amount of page 36
Issue 8
Where craft meets commerce £4.25
From FRESH show ALSO INSIDE: Readers’ makes
• Settling tank

fury I see on social media about


001 Clay Craft Cover Issue 8.indd
1

11/10/2017 12:46

ClayCraft Magazine MANAGEMENT Toll free USA subscription orderline: c/o Classified Central Media Ltd views expressed in the magazine are
www.claycraft.co.uk Managing Director: Phil Weeden 1-888-777-0275 Unit 3, Block A, Kingfisher Heights, not necessarily those of the Editor or
Kelsey Media Chief Executive: Steve Wright UK customer service team: 2 Bramwell Way, Royal Docks, the Publisher. Kelsey Publishing Ltd
Chairman: Steve Annetts 01959 543 747 London E16 2GQ accepts no liability for products and
Cudham Tithe Barn, Berry’s Hill,
Customer service email address: Fax: 020 7216 8557 services offered by third parties.
Cudham, Kent TN16 3AG Finance Director:
subs@kelsey.co.uk DISTRIBUTION Kelsey Publishing Ltd uses a multi-
EDITORIAL Joyce Parker-Sarioglu
Publishing Operations Manager: Customer service and subscription Seymour Distribution Ltd, 2 East layered privacy notice, giving you brief
Editor: Rachel Graham; postal address: details about how we would like to
claycraft.ed@kelsey.co.uk Charlotte Whittaker Poultry Avenue, London, EC1A 9PT
ClayCraft Customer Service Team, www.seymour.co.uk use your personal information. For full
Retail Distribution Manager: Kelsey Publishing Ltd, Cudham Tithe
Consultant editors: Tel: 020 7429 4000 details, visit www.kelsey.co.uk , or call
Eleanor Brown Barn, Berry’s Hill, Cudham, Kent,
Jacqui Atkin, Kevin Millward 01959 543524.
Audience Development Manager: TN16 3AG. United Kingdom PRINTING
Assistant Editor: Katherine Weir Andy Cotton If you have any questions, please ask
Find current subscription offers/ William Gibbons & Sons Ltd,
Brand Marketing Manager: as submitting your details indicates
Contributors: Jacqui Atkin, Alan Ault, buy back issues at shop.kelsey.co.uk Willenhall, West Midlands
Kate Chamberlain your consent, until you choose
Paul Bailey, Linda Bloomfield, Billy Already a subscriber? Kelsey Media 2017 © all rights otherwise, that we and our partners
Byles, Mark Dally, Doug Fitch, Thomas Events Manager: Kat Chappell
Manage your subscription online at reserved. Kelsey Media is a trading may contact you about products and
Subscriptions
Hayman, Kevin Millward, James Otter, shop.kelsey.co.uk/myaccount name of Kelsey Publishing Ltd. services that will be of relevance to
Alan Parris 12 issues of ClayCraft are published www.kelseyshop.co.uk Reproduction in whole or in part is you via direct mail, phone, email or
Art Editor: Rob Terry; per annum forbidden except with permission in SMS. You can opt out at ANY time via
CLASSIFIEDS
rob@focusedondesign.co.uk UK annual subscription price: £51.00 Tel: 0906 802 0279 (premium rate writing from the publishers. Note to email: data.controller@kelsey.co.uk or
Europe annual subscription line, operated by Kelsey Publishing contributors: articles submitted for 01959 543524.
ADVERTISEMENT SALES
price: £64.49 Ltd. Calls cost 65p per minute, plus consideration by the editor must be ISSN 1743-0712
Talk Media Sales
USA annual subscription price: your telephone companies access the original work of the author and ClayCraft is available
Gary Smythson, 01732 447008
charge. Lines open Monday-Friday, not previously published. Where for licensing worldwide.
gary.smythson@talkmediasales.co.uk £64.49
Rest of World annual subscription 10am-4pm). For complaints or any photographs are included, which are For more information, contact
Production Supervisor: queries about the premium rate not the property of the contributor, bruce@bruceawfordlicensing.com
Amy Proud, price: £70.49
number, please call 01959 543723, permission to reproduce them must
01733 362317, UK subscription and back issue available 9-5pm, Mon-Fri. have been obtained from the owner
kelseyspecialist@atgraphicsuk.com orderline: 01959 543 747 Email address: of the copyright. The editor cannot
Team Leader: Overseas subscription orderline: ads@kelseyclassifieds.co.uk guarantee a personal response to
Melanie Cooper 01733 362701 0044 (0) 1959 543 747 Kelsey Classifieds all letters and emails received. The www.kelsey.co.uk
Issue 8 ClayCraft 3

003 Welcome Issue 8.indd 3 11/10/2017 12:47


Contents Issue 8
28

12

28 Happy anniversary!
It’s Potclays’ 85th anniversary
this year: there's plenty to celebrate

33 PROJECT 3: slip-casting
Using a mould to produce
repeatable work using casting slip

36 London Design Fair


Where craft meets commerce.
Paul Bailey reports

39 Linda Bloomfield
Glaze application methods:
brushing, pouring and dipping
6 News
42 PROJECT 4: sandwich tray
10 Your photos We bring our tea set build to
A selection of work sent close, with a tray. Put the
in by our readers kettle on!

11 Fixing a batt 46 Doug’s Diary


For easy removal of fresh work Doug Fitch on the importance
from the wheel head of keeping notes, and the Rev
Richard Coles
12 PROJECT 1: thrown teapot
Step-by-step guide to throwing
all the parts for a teapot

18
18 Meet the potter
Amberlea McNaught’s intricate
carving showcases her
training in Morocco

22 PROJECT 2:
pinched scoops
We continue our ‘spoons’ theme
with this larger version

10
25 Material matters
Alan Ault of Valentine Clays
explains how to choose the right
50
clay for your work

4 ClayCraft Issue 8

004-5 Contents Issue 8.indd 4 10/10/2017 17:08


CONTENTS

54
62

48 Next month
With Christmas looming, we 73 Events
get in the swing of things with Your guide to pottery and
decorations and gifts ceramics events right
across the country
49 Pots from the past
Thomas Hayman reports from a 78 Emerging Potters

46
dig at the Leeds Pottery site Paul Bailey introduces more
up-and-coming new potters
50 Keep your cool! who are destined for success
Damp box options to keep
greenware workable for longer 80 Courses listing
59 Settling tank build Fancy signing up for a class?
51 Letters A DIY option for keeping your Find one near you in our
Share your thoughts sink’s waste water clean handy free listing guide

52 Glossary 62 Project 6: slip-trailing

59
Your essential guide to the most Mark Dally shares his tools and
commonly-used pottery terms methods for getting this
decoration right
54 Project 5: woven basket
Using flattened coils to weave 65 Pottery suppliers directory
a useful basket for bread or fruit
67 Spotlight:
Middleport Pottery
This historic site has so much

39 to offer visitors

70 Project 7: surface
decoration
Water-etching, with wax resist
SPOTLIGHT ON: MIDDLEPORT POTTERY

ClayCraf t
76 ClayCraft
PINCH, COIL, SLAB

33
AND THROW Issue 8 £4.25

SLIP-CASTING CYLINDERS
Using a mould

subscriptions offer
for repeat
CREATIVE IDEAS makes

7 STEP-BY-STEP
PROJECTS
PINCH POTS

Save money and have the Practical scoops

magazine delivered to your door.


MEET THE POTTER

You know it makes sense! Intricate carving


NEW WORK
SURFACE
DECORATION
Water-etching
& slip-trailing
LONDON DESIGN FAIR Issue 8
Where craft meets commerce £4.25

From FRESH show ALSO INSIDE: Readers’ makes • Settling tank


001 Clay Craft Cover Issue 8.indd 1
11/10/2017 12:46

Issue 8 ClayCraft 5

004-5 Contents Issue 8.indd 5 11/10/2017 12:47


E
IN TH
If you have a news story, product launch or details of some

S
other topical item you’d like our readers to know about,

NEW email claycraft.ed@kelsey.co.uk

KBJ @ FRSC

Keith Brymer Jones visited


the Forest Row School of
Ceramics recently, to give
a wonderfully entertaining
talk and demonstration. His
humorous and candid stories
were very well-received, and
the attendees learned a lot
from his throwing demos. If
you get the chance to catch
Keith at a live event, jump at it!
Keith is planning to move
production of his porcelain
ware to the old Spode site in
Tana West, (UN)WOVEN, 2017. Eusebio Sanchez, Antropomórfico.
Stoke-on-Trent, creating 50
(Photo: Joel Fildes) (Photo: Joel Fildes)
jobs, and hopes to be able
to offer apprenticeships and
AWARD AND FRESH WINNERS ANNOUNCED some teaching modules, in
Ceramics and Glass Department at the conjunction with Staffordshire
Tana West has won the British Ceramics
V&A. The 10 shortlisted artists all created University. We will be keeping
Biennial’s £5,000 Johnson Tiles AWARD
new work for BCB, which collectively you up to date with this as it
for her monumental new work (UN)
exemplifies the abiding interest in clay progresses.
WOVEN. Rising star of the ceramics
world Eusebio Sanchez has been as a medium for making and exploring
selected as winner of FRESH for his ideas.
collection of sculptural objects. Forming FRESH winner, Eusebio Sanchez, has 35th anniversary
the centerpiece of the British Ceramics been awarded a one-month funded show dates
Biennial (BCB), AWARD and FRESH residency at Guldagergaard International
bring together work by some of the Ceramics Research Centre in Denmark The Craft Centre Puffins, Jennie
most talented established and emerging in 2018, and a BCB artist into industry and Design Gallery
Hale.
ceramic artists in the UK, giving a residency, also in 2018. FRESH celebrates Leeds is pleased
to announce its
snapshot of contemporary ceramics and gives a platform for artists at the
new exhibition
practice. beginning of their creative careers, and
programme, to
As well as the £5,000 prize, Tana West represents the breadth of work created
mark its 35th
has been awarded a commission for the across the ceramic spectrum. The 2017 anniversary.
2019 edition of BCB. The judges were shortlist featured 22 recent ceramic Over the coming
impressed by the scale and impact of graduates from the UK and Ireland. months you can
(UN)WOVEN, which has been made on Major new commissions by the see work from
site at BCB in the former Spode factory 2015 winners of AWARD and FRESH, many ceramicists, including
site. This work is part of the artist’s Sam Bakewell and Hannah Tounsend Jane Muir, Gin Durham,
ongoing investigation into idea of the respectively, have been created for the Jack Doherty, Jennie Hale,
barriers and divisions across Europe, both 2017 British Ceramics Biennial. These Rob Parr, Sarah Saunders,
real and perceived, and what this means works, together with the AWARD and Sophie Southgate, Duncan
in the context of Brexit. She was selected FRESH exhibitions, will be on show in the Ross, Christine Cummings
from a shortlist of 10 artists by a judging BCB’s main festival hub, the China Hall of and Anthony Theakston.
panel chaired by Alun Graves, senior the original Spode factory in Stoke-on- craftcentreleeds.co.uk
curator in the Sculpture, Metalwork, Trent, until 5 November.

6 ClayCraft Issue 8

006-9 News.indd 6 10/10/2017 17:09


IN THE NEWS

INNOVATIONS IN CERAMIC MODERN MAKERS


ART APPLICATIONS OPEN SEMINAR
Thursday 9 November, 10am-3pm
Online Ceramics is looking for people who Theatre Royal, 66-68 Shakespeare St,
produce quality work with clay to take part Dumfries DG1 2JH
in the next Innovations in Ceramic Art. They Who will be the skilled craftspeople
are keen to include work by artists who of the future? How can we show
challenge what can be achieved with the people the joys, and sometimes
medium, regardless of it being destined for the disappointments, of designing
domestic, gallery or any other settings. and making a beautiful object from
This will be the third Innovations, and has scratch?
moved from the autumn to early spring 2018. How can we encourage young
It will be the first major ceramics show of people to try their hand at making
the year, three weeks before Ceramic Art when arts provision in schools is under
London. threat, when colleges are reducing
Craft Potters Association members will their craft courses and the computer
receive a 10% discount. Closing date: 21 screen is a dominant pastime?
October. This seminar will debate these
For an application pack and more details, questions with the makers and
visit: onlineceramics.com young people who have taken part
in Upland's Modern Heritage Craft

Science for Potters and Modern Makers projects. They


Science for Potters

will be joined by speakers who are


Linda Bloomfield’s latest book, investigating other ways of providing
Potters, is now available
Science for Potters openings into a skilled craft making

sthetics, with soda’s potential extending


Science for Potters at ceramicartsnetwork.org/shop/
science-for-potters You can choose
career. The seminar acts as an
opportunity to broaden the discussion
or glazing with sodium carbonates has
ontemporary challenge is to explore
to receive it as a book ($29.97), or if around creative apprenticeship
d to set aesthetic directions for this new
you can’t wait to get your hands on it, models and routes into craft.
omprehensive survey of contemporary
r is it a compendium of glaze and clay
s that fill those roles. This book is largely
it’s also available as a PDF download Speakers include Carol Sinclair
m years of technical and aesthetic
ology of research, study of materials and ($19.97). The contents cover chemistry, (Applied Arts Scotland), Robin
of soda glazing. The aim is to challenge
of the art.
ed possible in the beginning. Technical
geology, clay, crystals, the science Wood MBE and Tam McGarvey
d like pretty stones on a beach, just there
et to be found. The thrill of participating
of colour, and glazes. We will let you (GalGael), along with past makers and
is one of the most exciting aspects of
ares some of the excitement of discovery, know when it’s available in the UK. participants from the Modern Makers
with soda, clay and fire. —XXX
and Modern Heritage Craft Projects.
This event is free but booking
Linda Bloomfield

Two Atomic Bottles by Kate Malone, is essential. Please book here: bit.
courtesy of Adrian Sassoon. ly/2gp2mHB
Linda Bloomfield

‘The Teabowl: Past & Present’


The Leach Pottery’s new museum of the Leach Pottery, the exhibition
exhibition tells the story of the also tells the history of the teabowl,
teabowl, a highly valued ceramic as it arose in the East through use in
form closely linked with Japan and chanoyu, or Japanese tea ceremony,
becoming increasingly popular in and its journey to the West. Outside
contemporary Western ceramics. Japan, many potters have venerated
The exhibition presents 55 examples traditional teabowl techniques and
of teabowls, including historic aesthetics, while some have chosen
teabowls from the East, teabowls to subvert and challenge its deep
made in the West in the spirit of cultural legacy.
tradition, and teabowls made with a The exhibition runs in the Cube
sense of subversion. Gallery until 11 March 2018. Selected
Curated by artist and writer Dr works for sale.
Bonnie Kemske, and Dr Matthew Tyas leachpottery.com

Issue 8 ClayCraft 7

006-9 News.indd 7 10/10/2017 17:09


E
IN TH
WS
NE

BCB picks
The following is a small
selection of what’s on offer at the
British Ceramics Biennial, the six-
week festival in Stoke-on-Trent, which
runs until 5 November. For a full
list of all the artists taking part, see:
britishceramicsbiennial.com

8 ClayCraft Issue 8

006-9 News.indd 8 10/10/2017 17:10


The Annual CoCA IN THE NEWS

Lecture 2017: Why China? Chorley’s Auction House


Chorley's Auction House is now
consigning for its Modern &
Felicity Aylieff and Takeshi Yasuda Contemporary Auction in November
Saturday, 28 October, 4pm-5pm to include studio pottery. Contact
Takeshi Yasuda has been living and frances.robinson@chorleys.com for a
making pottery in Jingdezhen, China free and confidential valuation.
since 2003. The initial draw was chorleys.com
an invitation to set up and run the
Pottery Workshop artist’s residency
programme. Fourteen years later, he Roundhouse Gallery
An exhibition of the latest ceramic
continues to spend the majority of his
work by John Maltby, Peter Hayes,
time over there. Ceramic design studio with a Chinese
Philip Evans, Sarah Jenkins, Robin
In 2006, Felicity Aylieff joined partner and assistants. Here, they
Welch, Ben Arnup, David and
Takeshi in Jingdezhen and discovered design and produce porcelain Margaret Frith, Paul Wearing, Jane
the potential the city offered to work tableware, unique thrown work, Hollidge, Albert Monserrat, Richard
with large-scale porcelain vessels, undertake commissions and make Heeley, and Lisa Ellul.
and realised new talents for painting work for exhibition. Opens 4 November, at 10.30.
and pattern-making. She goes back In their talk, they look at what took Please feel free to come and have
and forth to London on a regular them to Jingdezhen in the first place, a look at The Roundhouse Gallery,
basis, where she teaches at the Royal the challenges they faced making Foston, Derbyshire.
College of Art. work in an unfamiliar culture, and roundhousegallery.co.uk
Working in collaboration with how taking on these new experiences
small family workshops and skilled opened up opportunities and
craftsmen, they have seen the extended their creativity as artists Crafts in the Pen
change in fortune of many of and makers. Ceramics and sculpture at the annual
these individuals, witnessed the York Museums Trust is able to run crafts market, at Skipton Auction
entrepreneurial spirit of the young this event with the generous support Mart, 18 and 19 November, 10am-
4pm. With over 230 stalls, there’s
and seen a growing optimism within of the Northern Potters Association
sure to be something for everyone,
the development of small businesses. and the Friends of York Art Gallery.
so put it in your diary now!
Recently, they have moved to a brand Drinks will be on sale after the lecture.
craftsinthepen.org.uk
new studio, supported by the local Yorkshire Museum
government, and set up RedHouse Museum Street, York YO1 7FR
Help needed!
Arts@theCrypt is a lovely gallery

UAL: not just a shop


in Seaford, Sussex, built around a
13th-century vaulted, flint and stone,
undercroft.
not just a shop is UAL's new retail workshops, on topics ranging The trustees and committee
and enterprise learning space from pricing work to protecting members are all volunteers for the
in High Holborn. It sells design intellectual property. Proceeds charity and need to raise funds to
products and artwork by the from the shop are reinvested back keep this amazing space running.
University’s alumni, while also into supporting the department’s They are always looking for
providing a space for students enterprise programme, which volunteers and additional committee
to get support with starting and includes free talks, workshops, members who can offer their help
and expertise.
developing their businesses. funding and one-to-one business
On November 11 and 12, they are
UAL has long supported education.
having a ‘Sponsor’ weekend with
its students with starting and Join the mailing list at: bit.
an exhibition, and are appealing for
developing their businesses; ly/2wIpdUG or follow them on donations of work to be sold at the
helping students and alumni to Instagram, Facebook or Twitter to usual selling price, with all proceeds
embark on their professional be informed about special events going into the gallery’s funds. Any
futures in the creative industries, and offers. unsold work will be returned to the
find jobs, set up businesses and sell not just a shop 272 High Holborn, artist.
their work. London, WC1V 7EY If this is something you would like
As the name suggests, not notjustashop@arts.ac.uk to take part in, or you’re interested
just a shop is much more than a Monday-Friday, 11am-3pm in hiring the space, please call 01323
commercial retail space; it also arts.ac.uk/about-ual/not-just-a- 896444 or email chris_hesketh@
hosts a programme of talks and shop heskethps.co.uk

Issue 8 ClayCraft 9

006-9 News.indd 9 10/10/2017 17:10


2
1

3 4

Readers’ work
We love to see what you’ve done, both with our projects, and your own work! Here’s a selection of pieces sent
in by our readers. If you’d like to share your photos with us, please email them to: claycraft.ed@kelsey.co.uk

1: Peter Teago: I’ve just finished this catfish, and thought you might like to see. It will get glazed and fired and put then into a
frame. Made at Carron Pottery. 2: Maddie Janes: I thought I would share this mosaic with you. It is for a project in The Potteries
and inspiration came from a book entitled ‘Burslem Saturday’ by Len Barnett, illustrated by Anthony Foster. They gave permission
for me to use it as inspiration for this mosaic. 3: Elaine Wells from Throw Down: I have been running a couple of classes at my
studio and everyone uses ClayCraft for ideas, as it’s so easy to follow the steps. Sarn has just finished a plate based on the ones
demonstrated in issue one and so we thought you might like to see it. 4: Elizabeth Dawber: I thought you might be interested
in this pinch pot made by my 91-year-old mother, following the method outlined in your magazine. She is from Southport and
attends a weekly pottery class here. Sent in by Carole Dawber.

5 5: Sarah Vanic: Here’s a picture of our 6


volunteer technician/trainee Hannah
Weber on the electric wheel, practising
techniques described in ClayCraft. We
really enjoy the magazine and are using it
as a resource for the students at the Art
House. Thanks for all the great info, and
I’m looking forward to next month’s issue.

6: Sian Griffiths: Thank you very much for


an interesting and informative magazine.
Your step-by-step projects are easy to
follow. I've been making pottery for two
years with Sue Zeppelini from Base Art,
in Taffs Well, near Cardiff. With her help, I
made the fish mobile from issue five as a
birthday present. I didn't want to part with
it! Looking forward to the next projects.

010 Readers makes.indd 10 10/10/2017 17:17


DIFFICULTY RATING ★★★★★

Technical
know-how
Fixing a batt to
the wheel head
Wheels come in many shapes and sizes, and some already have a wheel head
specifically designed to accommodate batts for fast production work. It’s almost
always better to throw on a batt to avoid having to remove the pot from the wheel
head when it's still wet, and vulnerable to distortion. If you don’t have a wheel with
a batt-locating mechanism (lotus wheel head, for example), then the following
method is a good alternative.

1 2

 Centre your chosen


weight of clay on the wheel
head following the method  Using your forefinger,
explained in issue 2 of and again supporting one
ClayCraft (details of this hand with the other, make
can be found on the ‘How a series of concentric
to’ pages of our website at: grooves in the clay,
claycraft.co.uk) beginning at the centre
Using the side of your right hand, held in a fist position and working evenly to the
and supported by the fingers of the left hand, as shown, outer edge.
begin at the centre and draw the clay outwards, towards
your body, applying firm and even pressure until you’re
within half an inch of the edge of the wheel head. 4

 Position the batt on the pad of clay, making sure it’s


central, then give it a thump in the middle to ensure it
fixes onto the clay securely.
 Wipe over the underside of the batt with a damp Before starting to throw, dampen the surface of the
sponge to clean the surface and give a key to stick it to batt with a wet sponge, but don’t saturate it or the clay
the clay. will slide off when you try to centre again.
Issue 8 ClayCraft 11

011 Fixing bat.indd 11 10/10/2017 20:40


SKILL SCHOOL

PROJECT
ONE THROWING A TEA POT

T
he teapot is probably the most
challenging of all thrown
items to make because
of the many different
techniques involved in the
component parts – body, spout, lid,
handle, etc, plus the technique of turning
or trimming. The key to success is to make
all the parts in one session so that they all
firm up at the same rate, to reduce the
problem of cracking at the joints.
This is a really comprehensive guide to
throwing a teapot, with step-by-step
guidance through each stage of making
and turning to ensure a successful outcome.
Next month we’ll be showing you how to
assemble the pieces and turn them, so
you’ll need to either wait until then to start
the project, or store the parts in a damp
box (on their batts), to ensure that they
don’t dry and become unworkable. To make
a simple damp box, turn to page 50. 

Before you begin -


things to consider:
Clay weights: Much will depend THE TEAPOT BODY
on the clay you’re using –
earthenware will shrink less than
Tip:
stoneware, so the following See the ‘How To’
weights will vary the size of the
finished product accordingly. pages at claycraft.
Four-cup teapot: 1 ½lb (0.7kg) co.uk for a step-
clay for the main body – extra by-step guide to
clay will be required for the
spout and handle. centering
This will make a pot 4 ½ in
(11cm) high
A standard round lid will require
approximately 5oz (0.14kg) of 1
clay
Six-cup teapot: 2 ½lb (1.1kg)  Fix a batt to the wheel head then centre
clay your chosen weight of clay and lift it to form a
This will make a pot 5 ½ in basic cylinder. The width at the base should be
(14cm) high approximate to the size you want it to be when
finished, but remember to allow for the clay
A standard round lid will require that will be removed when turning the foot.
8oz (0.2kg) of clay When finished, use a kidney to remove excess
clay at the base of the cylinder and from the
batt.

12 ClayCraft Issue 8

012-17 Project 1 Throwing a Teapot Issue 8.indd 12 10/10/2017 17:37


DIFFICULTY RATING ★★★★★

4
 Using the second finger of your
right hand on the outside of the
2 pot, and supporting the underside
of the rim with the fingers of the
Begin to belly out the body with the left hand inside, other hand, gently close the belly
applying outward pressure and the other on the inward to form the shoulder –
outside supporting the developing shape with either stopping when the opening is
the knuckles, finger tips or a rib, as shown here, as the correct for the size of the pot.
clay lifts into a rounded shape.
Remember to compress the clay at the rim with
your fingers after each lift to keep the shape true.

5
 Again supporting the inside shoulder of the pot with
the fingers of one hand, run a rib over the outer surface
to remove excess slurry, compact and refine the clay.

6
3
 Still supporting the underside of the rim with one
 Before closing the rim to a point where you can no hand and holding a rib almost flat, as shown, carefully
longer get your hand inside, sponge out excess water cut a raised flange around the opening – this is where the
carefully, taking care not to distort the shape. lid will sit. .
Issue 8 ClayCraft 13

012-17 Project 1 Throwing a Teapot Issue 8.indd 13 10/10/2017 17:37


SKILL SCHOOL
PROJECT
ONE

7
 Again using the tip of the rib, form a waist at the mid-point of the body. It is still important to support the
body at the rim as you do this.
Finally, work over the body with the rib one last time to refine the surface and remove excess slurry.
The first part of the pot is now complete. Wire the underside but leave the pot on the batt, then carefully lift
the batt off the wheel head and put it to one side for the body to firm up while you prepare the other parts.

THROWING THE SPOUT

1
 Centre and open up a small 2
ball of clay, then lift the wall
to form a cylinder. The shape Start to collar-in the shape using the finger and
should have a slight inward thumb of your left hand to pull up the wall, while
lean – be conical rather than pushing the clay inward gently with the fingers of the
straight – DO NOT allow the right hand.
shape to flare outward. After the first lift remember to compact the clay at
Remember to compress the the rim again, using the tip of a finger.
clay at the rim after each lift,
to keep control of the shape.

14 ClayCraft Issue 8

012-17 Project 1 Throwing a Teapot Issue 8.indd 14 10/10/2017 17:38


DIFFICULTY RATING ★★★★★

3
5
 Using one
finger only on the
When happy with the spout, remove excess clay and
inside, lift the wall
slurry from the surface of the batt with a rib, then cut
again applying
a mitre around the base.
pressure gently
outward from the
inside and inward
on the outside.

4
 Continue to narrow and lift
the spout to your required height
using the fingers and thumbs in a
pinched position as shown.
As the spout narrows, use your
little finger internally if you need
to refine the shape and lift the
wall higher – other fingers will
generally be too thick to make
the spout narrow enough at
this stage. Work over the shape
several times until you are pleased
with the shape and the height. 6
 Wire the underside of the
spout making sure the wire is
flat to the batt.
You can leave the spout in
situ on the batt to firm up, or
gently lift it one side with a
rib and transfer it to another
board. The spout will be cut
to size and shape later, so a
little distortion to the base
won’t matter.
Issue 8 ClayCraft 15

012-17 Project 1 Throwing a Teapot Issue 8.indd 15 10/10/2017 17:39


SKILL SCHOOL
PROJECT THROWING A LID OFF THE HUMP
ONE This is a good way of working if you want to make several lids at one time and it’s very much the
practice when production throwing, where the maker has many lids to make for his pots.

1
 Centre your clay and lift it into a cone – do this a
couple of times to make sure the clay is properly centred.
Keep your thumb on the top of the cone to maintain a
level surface as you lift the clay.

4
Supporting the inside of the bowl with the left hand,
gently press down with the finger of the right hand
to split the rim – leaving the flange standing upright.
This will create a gallery to sit inside the pot (as
opposed to the whole lid sitting inside the pot where
the gallery would then be on the body).
IMPORTANT – measure the opening for the lid
on the body of the pot using a pair of calipers
(use a ruler if you don’t have calipers). Check the
2 caliper measurement against the lid and make any
corrections required – you may need to collar in the
 Cup your right hand around the top of the cone, flange slightly to make it smaller or widen the flange
applying pressure with the side of the hand to form the slightly from the inside.
top into a doughnut shape. Hold the left hand at the Once you have the correct size, using your fingers
same angle to maintain the shape. only, refine and lift the flange – remembering to
compact the rim when you have finished.

3
 Still cupping the doughnut
shape between your hands,
press the thumb of the right
hand down into the centre
and draw it sideways to open
the shape out to a shallow
bowl with a thick rim – you
will need the extra clay at the
rim to form the flange.

16 ClayCraft Issue 8

012-17 Project 1 Throwing a Teapot Issue 8.indd 16 10/10/2017 17:39


DIFFICULTY RATING ★★★★★

5
7
 With the fingers of your
right hand on the underside
of the lid for support, gently
 Using the tip of a rib, carefully score a V shape into
the clay on the underside of the lid to mark the point for
press a finger down on the wiring-off.
outside of the flange wall Be careful to leave enough clay on the underside to
to create a slight groove as turn the shape of the lid later.
shown.

8
 Carefully wire the lid off the hump at the marked point
and transfer it to a board to firm up for turning.
You could now throw another lid from the same hump
6 if required, and it’s sometimes useful to make several at a
time in case you spoil one when turning.

 Tweak the flange slightly to an inward angle then


check the size is still correct with the calipers.
Carefully sponge excess slurry from the inside of the lid,
taking care not to distort the shape.

Next month, we’ll be constructing and turning,


so you can either wait to start the throwing until
you can do it all in one go, or store the parts in
a damp box until then, if you’re itching to get
started!

Issue 8 ClayCraft 17

012-17 Project 1 Throwing a Teapot Issue 8.indd 17 10/10/2017 17:40


MEET THE POTTER
Amberlea McNaught’s life has been a rollercoaster, with not a little serendipity at
play. A series of chance connections have led this extraordinary young woman to
produce some of the most exciting work currently on the ceramics scene

A mberlea describes the past year


as being her first good one
since graduating from Cardiff
School of Art & Design with a First in
Ceramics, in 2013. “It still feels like
yesterday! I came out with no idea how to
start the journey, and made loads of
Eunice Locher.
mistakes. It takes years to truly learn it
all.”
That journey was put on hold when,
just after graduating from university,
Amberlea moved home to Sheffield to
then face the death of her best friend . “I
was unplugged for a year, not making
anything – just staring at the clay – my
work changed a lot after that. It
transformed from terracotta and gold
lustre to heavily grogged black clay
almost overnight. I made sporadically
and it took me two years to really get
back into making again.
“I started making shrines. Big pieces,
that I couldn’t exhibit or talk about. No
one would buy them and my confidence
was shattered. I was broken. Adrian and
Dylan, from Northern Kilns, were
wonderful; they installed my kiln, and Fresh out of the kiln.
told me to just start. ‘Don’t think about Amberlea’s testing out new forms
anything else, just make pots and don’t

give up’. They are amazing people. I have


an incredible network of people who have
been very supportive in helping me to
heal through making.
“Then a year later, another close friend
suffered a great tragedy and I needed to
care for her, but I had to get away from
the darkness; it was consuming my work
– you can’t exhibit your art therapy!”
An email from a university friend set
the next stage of Amberlea’s life in
motion. It was details of a residency
programme in Fes, Morocco with an
organisation called ‘Culture Vultures’,
run by Jessica Stephens. “I needed a new
perspective on my work and my life, so I
decided to go” says Amberlea. “For five
 Amberlea works surrounded by inspiration and photos of her masters. weeks, I was exposed to lots of artisans
18 ClayCraft Issue 8

018-21 Meet the Potter.indd 18 10/10/2017 18:51


MEET THE POTTER
A piece of work given
to Amberlea by her
master. If you think students.” Sadly, these are unlikely to be
her work is intricate… Moroccan girls.
“Leaving was really emotional, we’d
become a family unit. I don’t feel like a
visitor anymore; I feel I’ve become one of
them. My master told me that when I
come I have an open-ended invitation to
just come, stay at his house, and work
with him”.
“I went back for a couple of months this
year in February, and he was very happy
to see me. I took him some ceramic tiles,
carved in a pattern he’d taught me, and
he had never seen that before. I showed
him pictures of what I’d been making and
and came back a totally new person. It incredible. I only made three pieces in a he was blown away – he’d never seen it
was the best thing I ever did. I needed to week, but they were quite big! I was applied to ceramics.
be with people, immersed in a new absorbed, not taking lunch, or breaks, I “I’ll continue to go back, but I have to
culture and language.” really didn’t want to stop. The college juggle making time to travel – to feed my
Starting in the ceramics room, focuses on teaching traditional craft soul and my work – and finding time for
Amberlea quickly realised that she’d only skills, but does not encourage innovative making and selling my work – to feed my
be taught very traditional patterns on design. The students don’t need to design bank balance – which allows me to go
repetitive forms. “They really liked my their own work; they are trained to back to Morocco. I’m trying to build in
unique designs, and even offered me a job follow the traditional patterns set by the time to go for a couple of months each
in a factory teaching it to their workers,” master. I was the opposite – bursting year, to further my training.
explains Amberlea. “They said I’d made with ideas but lacking in technical ability!
contemporary Moroccan designs, and There were a few students who would Ceramics commitments
they had international clients who’d love
to buy my pieces. Which was crazy!”
push the boundaries, and I really
encouraged them.
Once home, Amberlea continued working .
However, she wanted to do something “I’m the only female plaster carver in
different, and asked to move to the Morocco. I didn’t know that at the time.
plaster room. “I’d never seen people Other Stucco Mallam (Masters) were
carving plaster before until I went to travelling to see me in the college, they
Morocco. I’d seen Stucco at the were intrigued and amazed to see me
Alhambra in Granada, and was desperate working with my master. It was because
to do it myself, but I believed that all the I’m a woman. It was amazing, upsetting,
craftsmen who made it were long dead. and daunting, that I was so unique.”
I wondered how I could learn and it The culture is such that even if
was only when I saw the masters in Amberlea were to set up a school for
Morocco I realised that this craft was women, taught by women, girls just
still alive! It’s just across the water, wouldn’t be allowed by their families to
THAT’S where it came from. Having come and learn what are deemed to be
traced the craft back to its root, I wanted ‘male’ crafts.
to explore further.” “I have a great relationship with my
In the plaster room, a master was master, he respects me as an artist but
teaching traditional carving skills, and also treats me like a family member. He
Amberlea was hooked. “It was a busy gave me my own ‘master’s jacket’ – which
room, with about 15 students, and the was a massive honour –so all the students
master was there, working alongside recognise that I’m a guest. They call me
them, chiselling plaster plaques. At ‘Mallama’, (female form of ‘master’), but I
University I’d done a lot of intricate was just learning like they were! They
plasterwork – casting formers and were impressed with the way I picked up
carving moulds– using dental tools, but the techniques, and my master said I
never a chisel. taught him a lot . He would never have  Carving is hard on the neck and
“In Fes, I learnt to carve using chisels thought that a woman could do it, and wrists. Amberlea needs to take
on plaster blocks on the wall. It was would now consider taking on female breaks. (Photo: Ben Boswell)
Issue 8 ClayCraft 19

018-21 Meet the Potter.indd 19 10/10/2017 18:51


in plaster, but she had commitments to
shows, and needed to make pots. “I
realised that I can’t solely continue
plaster; my pottery has started to become
much more sought after, so I’m torn.
Everyone wants me to make the pots, so
I’m having to put down my chisels – for
the moment.”
She applied her knowledge back onto
her ceramics, working on curves, with a
knife, not a chisel. “I changed the
material and the tools, but it’s the same
understanding of how to take a piece out,
the angles, building the pattern, how to
grid things. The transition just came; I
didn’t need to be shown how to do it, it
just happened. The basics were all there,  Master Abderrazack Bahij, with the only female plaster carver in Morocco!
I was just applying the knowledge in a
different way. negative comments. I’ve been really lucky and I’m still constantly progressing,
“When I took the work out for the first to have met some very supportive, slowly improving my technique. But, you
time, the feedback was amazing – people established potters, who have taken me need to pick your area of specialism – you
were buying it! They could see the under their wing and kept me making can’t be a master of it all.
Moroccan influence, straight away, so I when I was slipping. “I’ve had years of people telling me I’m
continued to develop it, chasing the “The real key to success is never giving not a potter, which was very hurtful. I
possibilities.” up. It’s a hard thing to tell someone, went to university and did a ceramics
Moving from Cardiff back home to when they haven’t got the physical or degree! But the more I heard it, the more
Sheffield meant Amberlea lost all of her mental strength, but you just need to I thought, actually, they’re right. I’m an
network, and had to rebuild it. “I’d had a keep making. I’m lucky to have a really artist, not a potter. It hurts, but then it’s
busy few years developing and making a supportive family, who want me to keep also a positive thing – it sets me apart
whole body of work, being completely making – so I’m taking advantage of from tableware potters. We’re all the
rejected at most shows, selling absolutely that! same underneath; we all use clay, we just
nothing – and doing that repeatedly. It’s “I’ve realised there’s no point in make different things.
been a hard exercise! You learn at every making hundreds of bad pieces, so I’ve “It is difficult, but if I concentrate on
show you go to, getting feedback – good had to sit and have a slow making year, my throwing, and improve the weight
and bad, and while the positive stuff is making really intricate pieces, one at a and the form, I ’ll then be making
really great, you really absorb the time, and thinking about quality over domestic forms into art. I’ll be combining
quantity. I’ve made less, but better, work; Moroccan artisanship with British studio
condensing it down and thinking about pottery, in a unique fusion.”
how I could tighten up my practice – I Amberlea feels under pressure to make
stopped designing hundreds of different more commercially, but she’s adamant
forms, I selected one and nailed it. I that it’s not for her. “I put my fingers in
decided to use two clay bodies, on one my ears! They don’t understand me, my
form, varying the patterns and shapes of aesthetic choices, or my values as a
the carving, so this became the central maker. There are reasons I carve things,
focus of the work.” a reason why I resonate with this kind of
work, and I’m not devaluing what I do for
Potter or artist? money. That’s been a conscious choice.
Amberlea confesses that her throwing It’s hard to listen to your own inner beat
used to be ‘appalling, heavy enough to when people are telling you otherwise,
kill someone!’, so she began to explore which is why it’s so nice to have a maker
carving, which helped reduce the weight. you respect say, ‘no, you make what you
“There are functional aspects that I want’. Of course, you listen to advice,
ignored, about the weight, thickness, and take it on, but then pour it back out, don’t
evenness. My throwing was lacking that, keep it in and beat yourself up. I just don’t
 Amberlea McNaught. so now I’m spending time on the wheel make functional stuff!”
20 ClayCraft Issue 8

018-21 Meet the Potter.indd 20 10/10/2017 18:51


MEET THE POTTER

Serendipity application.” was mortified – I’d only been there a


Amberlea has had several chance The second opportunity came after a couple of weeks – but he was adamant.
meetings that have led to extraordinary lecture in her second year at Cardiff. “At OP Jain, the founder of Sanskriti
experiences. the end, I went up to the lecturer Reyaz Kendra, a cultural centre in Delhi,
The first came during her gap year Badaruddin and asked, ‘If I come to came over and picked up a terracotta
when she went to Ghana, and fell into a India, will you help me find a job?’ He piece of mine, and asked how much it
job training at a pottery in Accra. “I said, ‘yes, call me’, so I booked a flight to was. I told him I was taking it home; it
learned to throw on a wheel (with an India, got there, and rang him! We met wasn’t for sale. Bhuvnesh was furious!
arm-turn handle) and make figurative the next day, and he asked if I wanted to OP Jain is the owner of an entire
work. The clay was full of sticks and work with a traditional or contemporary terracotta collection – like the Charles
stones, and I had someone facing me, maker? I told him traditional, and he Saatchi of India – and I’d refused him! I
turning the wheel while I was working! I drove me to Bhuvnesh’s pottery. wrapped it up and ran back to him. I told
came home knowing that I wanted to do Bhuvnesh Prasad is one of the most him I’d come to India to gain skills and
pottery, so I changed university courses famous potters in India. I had no idea knowledge, which had been given to me,
at the last minute, from Applied Arts in where I was going! and the least I could do was to give my
Nottingham to Ceramics at Cardiff. The “Bhuvnesh was invited to the pot to him. He took it for his collection!”
Cardiff deadline was that day, so I dashed Potters Haat festival in Then the chance email about
off to the computer, sent my application Delhi, and wanted Culture Vultures took her to Fes,
in and got an interview. The stuff I’d to take some of from where her current work
done abroad really enhanced my my work too. I stems.
“I’ve been head down,
Main image: Stunning working for three years
work on display. and now suddenly it’s
Circled image: How exploded,” says
many cuts per pot? Amberlea, delighted but
Amberlea has no idea – still – charmingly –
hundreds and hundreds! surprised at the attention
(Photo: Ben Boswell)
she’s receiving.
“Every day, when I sit in
my studio, I look at photos of
my masters from around the
world. They are with me, reminding
me of my lessons, even if I’m not
physically with them. The most
influential points in my career have been
going out of the country and working
with artisans abroad, where I can’t speak
the language but we have an amazing
connection through our hands and our
tools. I don’t know how I found them, I’ve
been very lucky.”
Yes, Amberlea has been lucky, but it’s
more than that. Her thirst for knowledge,
her courage to travel and discover new
skills, and her undoubted talent and
dedication to her craft, are just the
beginning of this story. 

You can see Amberlea’s work at:


● Gwalia Ceramics, Llangollen,
Wales
● Bills & Rye: (Coming soon)
● Last show of the year is Elemental
at Westonbirt Arboretum 28th
October – November 2nd.

Issue 8 ClayCraft 21

018-21 Meet the Potter.indd 21 10/10/2017 18:52


SKILL SCHOOL
PROJECT
TWO
FIVE
PINCHED SCOOP
SPOONS
T
his is our second instalment in a series of
spoon-making projects, and this month
we make two useful scoops to use in the
kitchen – perfect for anything that needs
to be scooped in larger quantities like flour, rice,
salt, ground coffee, etc. You can make the scoops to
any size you choose – the only limit will be the
amount of clay you can successfully pinch. 

„ The scoops have


been covered with
food-safe, brush-
on glaze and fired
to the manufacturer’s
recommended
temperature. This type of
glaze is very useful for small
projects like this, where only a
relatively small amount of glaze
is needed, but they wouldn’t
be cost effective for much larger
projects. However, you can have great
fun with these glazes, and there are huge
ranges to choose from – Amaco, Mayco, and
Duncan, to name but three – ask your ceramic
supplier for advice.

SCOOP ONE

1
 Weigh the required amount of clay to make the
first scoop. The reason for weighing is to ensure you
can repeat the build again to approximately the same
dimensions, and you can only do this if you know how 2
much you began with.
The small scoops shown here used 50g clay each for  With the pinched form in the palm of your hand,
the main body. gently squeeze the sides together to change the shape
Pinch the clay out evenly between fingers and thumb to oval.
as demonstrated in previous issues of ClayCraft, to form a Leave one end of the oval nicely rounded, but pinch
cup shape. You can also find the basic pinching technique the opposite end slightly to narrow it so that the outline
on the ‘How to’ pages on our website (claycraft.co.uk). shape becomes egg-like.

22 ClayCraft Issue 8

022-24 Project 2 Scoop Spoons.indd 22 10/10/2017 18:54


DIFFICULTY RATING ★★★★★

3
 Firm the clay up with 5
a hairdryer so that the
shape will hold, and when
it’s more handleable,
 Curl the strip over to form a teardrop shape, as shown.
The size will depend on the size of your scoop body,
surform the rim to level
but whatever size you make it, be sure you can get your
it.
fingers comfortably through the loop.
When happy with the
When happy with the size, cut the ends off with a metal
level, work over the edge,
scraping tool or a knife.
inside and outside with a
kidney to give a rounded and
refined finish.

6
 Check the size of the handle against the scoop
body and make any small adjustments necessary
to ensure the size balances well, and is in good
proportion.
When you’re happy that the size is correct, remove
the handle and firm the clay up with a hairdryer until it
holds its shape and is no longer floppy. Be careful to
only dry the clay to the same level as the body.

4
 Roll a thin strip of clay 10-15mm wide. Use the thinnest
roller guides you have to do this – the clay should be
about 3mm thick preferably, but 5mm max otherwise the
handle will look too bulky for the scoop itself.
Smooth over the strip with a kidney, then run your
fingers along the edges to smooth and round them off.
Repeat the exercise on the underside of the strip. .
Issue 8 ClayCraft 23

022-24 Project 2 Scoop Spoons.indd 23 10/10/2017 18:54


PROJECT
SKILL SCHOOL
TWO
SCOOP TWO

7
 Sit the handle on its side
on a work surface, and cut
the ends at an angle so that
 To make the second scoop,
repeat steps 1-9, then cut off
it will fit to the scoop body
one-third of the clay at the
at a jaunty angle – slightly
end of the scoop as shown,
elevated from the body.
using a metal scraper to
Hold the handle to the side of the scoop and using a
achieve a clean straight cut.
pin, mark the position for joining.
Sit the scoop body on a whirler
as you do this, to avoid distorting
the shape of the handle.

8 2
Score and slip the marked  Carefully cut excess clay
position on the body of away around the newly-
the scoop and the ends of formed edge of the scoop
the handle, then fit the two with a sharp knife to thin it
sections together. out a little – then work over
Reinforce the join with a very tiny coil of soft clay – the edge with a kidney as
blend in well with a modelling tool until the join looks you did before, to round it
seamless. off until it looks smooth and neat.

ƒYour scoop is ƒ The finished scoop;


now finished – you decorate and fire as for
can decorate the the first scoop.
surface with slips or
underglazes at this
stage if you want,
or leave it to dry for 3
bisque firing and
glazing later.
Support the scoop Bisque fired scoops.
on a roll of clay or
foam to dry if it
won’t easily stand in
9 position.

24 ClayCraft Issue 8

022-24 Project 2 Scoop Spoons.indd 24 10/10/2017 18:55


WHICH CLAY?
How to choose the right clay for you

 There are many different types of clay to choose from.


should be considered when
making your decision.

Firing range of your kiln


The firing range of your kiln
should be the first consideration
for any potter, as this will
determine which type of clays
Alan Ault of Valentine you will be able to use. Lower
Clays explains clay choice temperature kilns are more
suitable to earthenwares,
whereas higher temperature

O ver the past few issues,


we’ve discussed the
different forms of clay
and their uses. With so many
kilns can accommodate
porcelains and stonewares. The
glaze you use with your chosen
clay body is also affected by the
options currently in the market, temperature of your kiln.  Modelling (Emma
whether you’re a beginner or Rodgers), and…
professional potter, choosing the Application you ƒ … throwing (Kevin
right clay can be a difficult plan to use Millward) require
different clays.
decision. Over the past 30 years, The type of work that
we have worked directly with you intend to create is sculptured or modelled
the studio potter community, also an important – will dictate this, and in
formulating and fine-tuning factor when considering the same way, so will the
clays, using the best possible the most appropriate end-use – ornamental,
ingredients. This close working clay. What methods you inside or outside use,
relationship has enabled us to choose to use –whether it functional, domestic, or oven
identify seven key areas that will be thrown, handbuilt, to tableware. .
Issue 8 ClayCraft 25

025-27 Clay Issue 8.indd 25 10/10/2017 18:55


Size of your work
Another key area is the size of
work you plan to create; larger
pieces often require a more
heavily-grogged clay, whereas
smaller pieces of work can
require more plasticity.

Texture you would


like to create
The texture of the clay body you
choose is equally as vital when
identifying the best clay for use.
The feel and look of the ceramic
piece you are creating is affected
by the amount of grog within
the clay body. No grog will
result in a smooth
polished finish, a fine  Patricia Shone creating texture with clay.
grog will give some
strength and Glaze temperature of your kiln is also a
stability, or by compatibility contributing factor when
increasing the and application considering the most appropriate
grog size and Glaze compatibility clay and compatible glaze.
percentage within and application can be
the clay you’ll be a technical process, Samples and testing
able to achieve a and it’s important to The most important key area is
coarser finish and test glazes with the clay testing, as this will determine
high-strength result. you choose. The the ideal clay for use. Once the

Fired colour a Glaze compatibility is something you need to think about…


key factor  How the (Peter Beard, Bulbous blue pink vessel)
From terracottas to porcelains, clay is to
and now black clays, there is be fired,
will affect
even more choice for the studio
your choice
potter. As most clay bodies can of body.
also vary with temperature, the (Susanne
decision is even more difficult. Lukács-Ringel)

 Left to right: red earthenware, stoneware,


white earthenware and porcelain.
26 ClayCraft Issue 8

025-27 Clay Issue 8.indd 26 10/10/2017 18:56


ALL ABOUT CLAY
1

appropriate clay bodies have


been chosen, based on the above
key areas, then samples are the
best method for testing.
Technical Information Charts
have been designed to further
help when making your decision.
This type of chart can offer
information on chemical
analysis, contraction, thermal
expansion, texture and fired
colours. Some of these factors
may be important to you and the
2 3
project you are creating.

Other useful tips


 The Clay hardness is also a
finished consideration when purchasing
texture is
affected
clay, and the use you intend to
by the clay put it to. Most clays are
type used. produced to a medium
1: Andrew consistency, of 6.5 – 7 as
Topliss 2: measured by a penetrometer
Jean Blood’s (clay hardness tester). But you
‘Angels with can also specify alternate types
Attitude’ and
3: Chiu-i Wu.
of hardness, as the below rating
chart demonstrates:
Clay hardness rating
Description Hardness
Soft 6.0 – 6.5
Medium 6.5 – 7.0
Firm 7.0 – 8.0
The above may seem a little
daunting to those of you who are
beginners, but many companies
ƒ … as is the selling clay will offer a technical
size of the service to help you decide the
finished piece. right one for you. Ask for their
(Jim Robison) advice, and then test, test, test! 
Issue 8 ClayCraft 27

025-27 Clay Issue 8.indd 27 10/10/2017 18:56


SP
 T
 LIGH
OT ...
ON
POTCLAYS
 
A POTTED HISTORY – CELEBRATING 85 YEARS
 discussion with a pub landlord
near Walsall.

P otclays celebrates its 85th


anniversary this year.
It’s still owned and run
by the same family – now in its 4th
During the recession of the late
1920s and early 1930s, the British
government implemented a
number of policies to stimulate
generation – and they still use the growth in British manufacturing,
traditional manufacturing including the restriction of foreign
methods dating back half a imports. This gave an enormous
century. They held a special boost to UK manufacturing,
Anniversary Open Day on including the pottery industry.
Saturday 30 September, with William had retired as works
factory tours, talks from esteemed manager of Twyfords, which was
speakers such as Tallie Maughan at the time one of the largest
of Turning Earth and Lisa sanitary ware manufacturers in
Hammond of Clay College, and the UK. He knew that the
throwing demonstrations from industry was crying out for a
Tom Knowles Jackson, runner-up reliable source of pale firing clay,
from series one of the Great which, at that time, had to be
Pottery Throw Down. Tom also brought up from the South West
judged the efforts of the of England by canal and rail, at
competitors in the blindfold great expense.
throwing contests. Photographer During his research, William
Ben Boswell covered the event, discovered the work of a Professor
and some of his images Mitchell from Liverpool  The iconic realising the value of this specific
accompany this feature. University; specifically, his report Potclays type of fireclay, began prospecting
The company has a long and on the Northern part of the South chimney at the local coal mines and talking to
the Brick Kiln
varied history, and its story Staffordshire coalfield, which was workers in the public houses at the
Lane site.
begins with the purchase of a indicated as having geology end of their shifts.
failing coal mine by William usually associated with highly The Swan pub in Pelsall Road,
Warbreck Noake in 1932, when he plastic clays. William came to Walsall, was opposite a coal mine
was 65, following a chance know Professor Mitchell well and, that was suffering financially. One

 A selection of images from 1947, showing clay being dug and loaded onto ships for transportation to the continent.
28 ClayCraft Issue 8

028-31 Potclays.indd 28 10/10/2017 18:56


POTCLAYS

Works. He enlisted the help of a


gentleman by the name of Samuel
Rameses Jones as colliery
manager and The Potter’s Clay &
Coal Co Ltd was incorporated a
few years later, in 1935.
William died in 1938,
whereupon his son Warbreck (who
had been working for the
company) took on the
management. At this time, the
clay was extracted from a deep
shaft mine, loaded onto carts
pulled by pit ponies and drawn up
in tubs by hand. The clay was
then transported to the company’s
depot (yard and wharf) in
 Albion Pottery in 1932, from Copeland Street, Stoke-on-Trent.
the north… Nowadays, Swan Works
continues to produce Potclays’ red
day, William overheard some and buff clay bodies. The fireclay
miners complaining of the ‘awful, that was mined at the site still
sticky mud’ they had to contend forms the basis of many of
with in order to reach the coal. A Potclays’ clay bodies,
conversation ensued whereby manufactured at both Swan and
William discovered that the coal Albion Works (Stoke-on-Trent).
seams were so shallow that they  … and from silica drags on the teeth when The mining area was landscaped
came to the surface. The landlord the south. chewed, whereas a low silica by Potclays in the 1980s, with
consequently invited him down content has a soapy feel. With a thousands of trees planted, and is
into the pub cellars, where a loose mouthful of clay, and confident now home to a rich variety of
brick was taken from the wall, and this was the high-quality fireclay wildlife, including red deer who
from the cavity a lump of coal was he had been looking for, William use the area as a rutting ground.
retrieved, followed by a handful of decided to invest his life-savings
the soft, buttery, pale grey clay he in buying the shaft mine across The growth of Potclays
had heard about. the road, which he named Swan In 1941, Potclays Limited was
He proceeded with a very formed, to market the raw clays
scientific quality test: clay high in and the clay bodies processed at
Swan Works. In 1947, the .

 Becky Otter and Sandra Whyles (who was


a contestant in the first series of the Throw
Down), taking part in the blindfold throwing
challenge… (Photo Ben Boswell)
„ … which was judged by Tom Knowles
Jackson, runner-up in the first series of the
BBC’s Great Pottery Throw Down.
(Photo Ben Boswell)
Issue 8 ClayCraft 29

028-31 Potclays.indd 29 10/10/2017 18:56


 Graham managing director in the mid-
Marsden has 1970s, when Harry Fraser Ltd
worked for
 A Cat 910 wheeled loader Potclays for
merged with Potclays. In addition
moving clay at the Valley Works. to developing the non-clay
decades…
(Photo Ben channels of the business, Harry
premises of the Downing Brick & Boswell) was instrumental in Potclays’
Tile Works was bought, and for entry into the hobby market, and
many years it was used by kiln-building.
Potclays as a grog processing After training in ceramics at
plant for the ceramic market and Cardiff, Becky Otter joined the
steel industry (known as Valley family business in 2003. She
Works). In 1963, Albion Works oversees the ‘public face’ of the
– formerly occupied by Kirklands, „ … here in company through social media,
an earthenware producer – was the late 1970s, marketing and events, and is
bought. The building was built in bagging clay… wholly committed to Potclays’
the late 18th century, and appears mission to promote ceramics in
on Ordnance Survey maps from Crank. These panmills were Education (#educlaytion). Her
the early 19th century onwards. originally from the Cadbury’s experience at Cardiff has given
During the 1960s, Warbreck factory, where they were used to her a unique insight into the
made the inspired decision to buy blend chocolate. On arrival at
the panmills, which are used to Potclays, the design was modified
this day for manufacturing ‚ … and slightly to best suit the production
panmilling in
Potclays’ most iconic clay bodies 2017. (Photo of clay bodies. The Cadbury’s
such as St Thomas and Craft Ben Boswell) badge was recently revealed
during maintenance work (see
photo).
Jonathan Noake joined the
business in 1969, whereupon he
developed, diversified and grew
the business into one of the
leading manufacturers in the craft
ceramics market. He was
responsible for upscaling the clay
mining operation over a 50-acre
site over the course of the next 15
years.
Harry Fraser, author of a
number of publications and
articles in leading periodicals,  Potclays kilns are built on
joined the company as joint site. (Photo Ben Boswell)
30 ClayCraft Issue 8

028-31 Potclays.indd 30 10/10/2017 18:57


POTCLAYS

 Three generations:
 The two James and Becky
panmills came Otter, with their
from the Cadbury daughter, Emily,
factory. (Photo and Becky’s father,
Ben Boswell) Jonathan Noake.
(Photo Ben Boswell)
 85 years on and the future’s
potter’s experience. She Education, looking bright!
has worked alongside their education, education
now-retired technical manager Over the past few years, Potclays member of other bodies, such as
for a number of years, and is now ‡ Cadbury has worked hard to bring its the National Society for Education
first port-of-call for technical Bros panmill business to a new audience. It has in Art & Design (NSEAD) and
advice. plate. (Photo invested heavily in its offers numerous forms of support
James Otter joined the business Ben Boswell) e-commerce, taking on new staff to teachers, including educational
in 2013, as director, after 12 years and working with key partners discounts and free of charge
working in Tax Advisory. His and social media resources. advice. Each year, Potclays
background has enabled him to Education is still, and will provides a round of graduate
bring unique skills and expertise continue to be, top of their awards to Further Education
to the business, and he has agenda. Craft education has courses across the UK to
developed a detailed knowledge of ‚ The suffered in recent years, and both encourage and showcase new
kilns and machinery. He works showroom Becky and James firmly believe ceramic talent. Some of the award-
with Becky to promote and bring was busy the arts offer children access to a winners from past years are
during the
Potclays’ goods and services to a Open Day
richer and more fulfilling life. building successful careers for
new generation of potters, as well celebrations. James is a signatory on the Bacc themselves, and fast becoming
as ‘doing their bit’ for the (Photo Ben for the Future campaign letter to renowned practitioners. 
community they live and work in. Boswell) government, alongside luminaries
such as Philip Pullman. Potclays Potclays offers a
has a long relationship with the comprehensive service,
both online, and through
Crafts Council and, as a its showroom at Brick Kiln
Manifesto Partner, works with Lane, supplying clays,
them to support their efforts in glazes, equipment and
promoting craft in education. accessories. The staff
Potclays also continues to are helpful, friendly and
support the British Ceramics knowledgeable, and the
Biennial Education Programme range of products on offer is
very wide. More details can
and donates many tonnes of clay be found at: potclays.co.uk
to the cause. It is an active
Issue 8 ClayCraft 31

028-31 Potclays.indd 31 10/10/2017 18:57


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

TEL: 01323 896444 EMAIL: CHRIS_HESKE


KETH@HESKE
E KETHPS.CO.UK
E WW
WWW
WW.HESKE
W KETHPS.CO.UK
E



S
KILN CLA
Y

EL S
MAI WHE
NTEN
ANC
LS E
TOO

MAT
ERIA
LS

56 High Street Burton Latimer Kettering Northants NN15 5LB


SKILL SCHOOL
DIFFICULTY RATING ★★★★ ★
PROJECT
THREE SLIP CASTING
You w ill n ee d :
T
his project
follows on issue
from last ✔ The mould you made in the last
month, when we made a eware or
✔ Casting slip: earthenware, ston
simple two-part cylinder – avail able from your clay supp lier
porcelain
es abou t 20 casts,
mould for slip casting. readymade for use. 12.5l mak
a pint to fi ll the mou ld. The
This is a quick way of each needing about
casts depe nds on the type of clay and
making items where they number of
ner, resu lting
all need to be exactly the size of mould. Porcelain is cast thin
same, but this doesn’t in more items.
a future
We will make our own casting slip in
mean that the process is , but this is the best way to begi n for those
issue
limiting, because there trying the process out for the first time
are still many things you for
✔ A wooden spoon or spatula
can do to change the stirring
look of the item once it’s is
✔ A sieve (the kitchen variety
been cast, if you want to. this inst ance)
Casting isn’t for the easiest to use in
everyone, but it is ✔ Plastic jugs
something you should at ✔ A natural sponge
least try, to see what ✔ Wet and dry sandpaper
potential it holds for ed and
✔ A chamois leather, stretch
experimentation and fixed ove r a boa rd
bulk making. 

1
2

 Stir the casting Decant a jug-full of slip


slip thoroughly using from the container then
a wooden spoon. It pour it through the
will be quite thick sieve into a second jug.
to begin with, but (You could pour the slip
will become more through the sieve directly
fluid as you stir. It’s into the mould, but this
ready when it looks is fraught with potential
lump-free and runs spillage problems – it’s
very freely from the best to avoid accidents at
spoon. The longer this stage!).
you mix, the better.

Issue 8 ClayCraft 33

033-35 Project 3 Casting.indd 33 10/10/2017 18:58


SKILL SCHOOL
PROJECT
5
THREE

3
 Pour the slip into the mould,  Top the slip up periodically as you need to maintain the
filling it right to the top in one level to the rim. You’ll see it begin to shrink from the edges
go, as shown. as the plaster draws the water out of the slip.

4 6

 Pour the slip out of the mould


and back into the bucket when
 Time your casting slip according to type of slip used: the correct casting time has been
A kitchen timer is a good tool for this job. See panel for
reached. Hold it over the bucket
timings.
for a while, then transfer it to two
battens suspended over a bowl to
■ White earthenware: 20 - 30 minutes. Firing temp allow the remainder of the slip to
1000°C to 1150°C (1832°F to 2102°F) flow out.
■ Red earthenware: 20 - 30 minutes. Firing temp
1000°C to 1150°C (1832°F to 2102°F)
■ Stoneware: 45 mins - 1 hour. Firing temp 1160°C 7
to 1290°C (2120°F to 2354°F)
■ Semi-porcelain/ high-firing white earthenware:
20 - 30 minutes. Firing temp 1100°C to 1260°C
(2012°F -2300°F)
■ Porcelain: 5 - 10 minutes. Firing temp 1260°C to
1280°C (2300°F to 2336°F)
Bone china could be added to this list, but it’s not
a slip to choose when first starting to experiment
with slip casting, 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  The cast’s ready to remove from the mould when the
fire, and is the cheapest option. surface of the slip no longer looks shiny and isn’t tacky to
the touch. The clay will also have shrunk away from the
plaster walls considerably by this point.

34 ClayCraft Issue 8

033-35 Project 3 Casting.indd 34 10/10/2017 18:58


DIFFICULTY RATING ★★★★ ★
11
8

 Using a plastic kidney,


remove the excess slip from the  Dampen the surface of the
top of the mould. chamois leather-covered board
Cut away the ‘spare’ carefully, then sit the cylinder base on the
holding your knife in a vertical surface and rotate it in a circular
position and making sure none motion until the underside is
of the waste clay falls inside the smooth and flat.
form. Repeat the exercise for the rim,
but be slightly gentler because
the rim is more vulnerable to
breaking. This is the best method for levelling.
9
ƒSponge over
12 the seams with a
damp sponge (the
water won’t affect
the surface unless
you really saturate
it, in which case
simply allow it to
dry out again before
continuing).

 Lie the mould on its side and remove the restraining 14


straps. Lift off one half of the mould, then elevate the
second half and allow the cast to gently fall out into
13
your hand. It should be firm enough to handle without
damaging the surface in any way.
Place the cast on a board and allow it to dry out
completely.

10  To refine the rim,


dampen the clay by wiping
it around with a sponge
then carefully cut away any
excess clay on the inside
with a sharp knife. Once all
has been removed, smooth
over the rim again with
the sponge to neaten and
smooth it off.

Your cylinder is now


finished. Allow it dry
 Once the cast is bone dry, out completely before
sand off the seams and base bisque firing, or see
with wet and dry sandpaper project 5 on page 70
until the surface is smooth and for a decorative surface
the seams no longer visible. treatment.

Issue 8 ClayCraft 35

033-35 Project 3 Casting.indd 35 10/10/2017 18:58


London Design Fair
– where craft meets commerce, by Paul Bailey

(Photo: Sophie Mutevelian)


‚ Each of

B
rick Lane in east countries, including independent
London has long Olivia Walker’s designers, established brands, pieces are in porcelain, others in
been known for pieces is international country pavilions, a high-fired terracotta, and each
thrown on the
Asian restaurants, features, and exhibitions. piece is thrown on the wheel
wheel before
and nearby is the high-tech area she hand- Visitors are 74% trade, and 56% before Olivia hand-builds onto
known as ‘silicon roundabout’. builds onto international, and it’s in this the surface of the form.
Where could more suitable, the surface of setting that a group of new Sometimes, she will
then, for a massive design show the form. ceramic makers is entering this deconstruct the wall of the piece
in a revamped brewery building. area of the industry. before building on top of it, to
Its location in Shoreditch is Launched in 2007, the London create a piece that almost looks
the creative heart of London. Design Fair has earned itself decaying. The process involves
The London Design Fair is the reputation as the go-to her applying hundreds of
a four-day industry event trade show during the annual paper-thin shards of clay
that brings together 500 London Design Festival. Each incrementally, to make a surface
exhibitors from 28 year, over 27,000 influential that has a sense of movement,
retail buyers, producers, almost as if something is
architects, designers, interior growing over the surface of the
designers, press and design- piece. One really nice aspect of
ƒ Olivia savvy public, will attend to see the show she observed was
Walker applies
hundreds of the very latest in furniture, seeing people’s reactions to the
paper-thin lighting, textiles, materials and work for the first time – there
shards of clay conceptual installations, from all was lots of surprise and interest
incrementally, around the world. in how the piece was made.
to make a One of the new makers She commented: “My
surface that
showing for the first time was impressions of the show were
has a sense
of movement. Olivia Walker. Her work is on really positive. There was a
(Photos: the more ‘art’ end of the varied crowd, which I think
Sylvain Deleu) spectrum. A number of the reflects the variety of the work
36 ClayCraft Issue 8

036-38 Design Fair.indd 36 10/10/2017 18:59


craft and objects d’art, from
designers and studios across the
globe, filled the Old Truman
Brewery’s maze of hip spaces.
Rebecca Proctor from the
Modern Craft Workshop is
based in North Cornwall and
makes wheel-thrown pottery for
everyday use. It is simple, pared
back, functional pieces. She often
works with chefs and
restaurants, creating tableware
for some amazing dining rooms.
Rebecca uses local Cornish
stoneware clay and mixes her
own glazes using natural  A teapot from Pottery
on show, and it was good in  Brut jug materials. West’s new range, Brut.
terms of sales and contacts with white She commented: “Taking part
made. The area – Brick Lane glaze, by Matt in the British Craft Pavilion, enjoyed chatting with customers
and Catherine
– was perhaps not quite the right part of the Fair, was fantastic. and getting direct feedback on
West, of
context for my work, as it is very Pottery West. Hole & Corner, the magazine different pieces. I was pleasantly
design-orientated, but I do think that organised the event, is surprised to find out that some
this made the more craft-based committed to celebrating craft, of my more unusual pieces,
work stand out. The people who ‚ Rebecca and it was great to be featuring wood-fired shells, were
turned up were varied – there Proctor makes surrounded by so many talented popular, so I’ll definitely be
functional
was a lot of press and trade, but pieces at her
makers. Living in North making more of those in the
then there were also some studio, the Cornwall, the event offered an future”.
collectors and interested Modern Craft opportunity for me to take my The show also saw the launch
members of the public. The Workshop. work to a wider audience, and I of Pottery West’s new ceramic
variety of the turn-out exceeded tableware range, Brut. Raw,
my expectations.” exposed clay with contrasting
One of the London Design lustred textured glazes, and
Fair’s unique characteristics is minimal, utilitarian forms are
its ability to mesh new and the emphasis in Matt and
upcoming design talents with Catherine West’s new collection.
seasoned brands. Named after Béton Brut (raw
The amount of good design on concrete), the resolutely
offer at this year’s event was utilitarian photographs of Bernd
profuse. Furniture, lighting, and Hilla Becher are cited as
inspiration, but, most
importantly, Pottery West
wanted to make a collection that
is highly functional for everyday
use.
It was designed and produced
in their studio at Persistence
Works, Sheffield. Here, they
work together to create designs;
Matt acting as lead thrower, and
Catherine specialising in glaze
development.
About the new collection, they
commented: “As a starting point,
our intention was to work with
Inside the Truman Building.
very simple, architectural forms. .
(Photo: Sophie Mutevelian) Issue 8 ClayCraft 37

036-38 Design Fair.indd 37 10/10/2017 18:59


We’ve been looking at the work
of photographers Bernd and
Hilla Becher. Their extensive
collection of photographs – or
typologies – capturing industrial
architecture and structures, has
really informed this new
collection in their pragmatism
and matter-of-fact sensibility.
“We’ve tried to be ruthless
with the design to make sure we
don’t add any features to the
form which aren’t necessary. For
example, the ‘U’ shape of the
spout references the industrial
concrete arches, but is also a
very functional way of creating a knowledgeable, and engaged.  Rebecca know, via email or in person,
spout on a vessel that pours well. There were a lot of interior Proctor uses that they love to use my pottery
Like concrete, the tones and hues designers, architects, buyers local Cornish and that they are used regularly
stoneware
of the collection are, in fact, from galleries and shops. For clay and
at home. That second one is
quite soft and raw.” David, the location and building mixes her particularly pleasing, and always
David Worsley’s stand was were both superb. own glazes gives me a lift.”
located in the British Craft David runs the Dove Street using natural The show is very different to a
Pavilion, also part of London Pottery in Shipley, West materials. purely ceramic exhibition, and
Design Fair. He felt that the Yorkshire. He commented: “I demonstrates how far craft
show had great energy and come from a ‘Fine Art’ ceramics has gone in being
vibrancy. It was busy most days, background and came to pottery ‚ Functional important in an international
and beautiful
with a huge range of people: because I wanted to make work by David
mix of creative industries. And,
young and old, students and beautiful objects that people Worsley of even though the area is
professionals, locals but also a engaged with, every day, in their Dove Street becoming gentrified, the
noticeable number from overseas homes. The two biggest Pottery. restaurants are still there. 
(he had interest from galleries in compliments I can get as a
Italy and Japan). The element maker are, firstly, someone
they all had in common was that putting their hand in their
they were interested; people pocket and making the choice to
didn’t just wander in off the buy one of my pieces that I have
street, they were curious, made and, secondly, to let me

David Worsley
wants his pieces to
be used, and loves
to hear from his
customers who
are using them
at home.

WEBSITES:
Olivia Walker: oliviawalker.co.uk
Rebecca Proctor: moderncraftworkshop.com
David Worsley: dovestpottery.co.uk
Pottery West: potterywest.co.uk

38 ClayCraft Issue 8

036-38 Design Fair.indd 38 10/10/2017 18:59


Glaze mixing and application:
brushing, pouring, dipping
Layered glazes:
Runny glaze
applied on rims
on top of a matt
glaze. Thrown
porcelain by Linda
Bloomfield.

Linda Bloomfield is a scientist


turned potter. More glaze
recipes can be found in her
books, Colour in Glazes (A&C
Black 2012) and The Handbook
of Glaze Recipes (Bloomsbury
2014). Her new book, Science for
Potters (The American Ceramic
Society 2017), is now available at:
ceramicartsnetwork.org

O
nce you have tested a few sieving three times through an 80 consistency. In general, glazes need to
glaze recipes and found mesh sieve. You may need to add water be applied more thickly on stoneware
one that gives the fired to help flush the glaze through the than on porcelain. The glaze thickness
result you want, you will sieve. If it ends up too thin, you may on the pot can be anywhere between
need to mix up a larger batch of glaze need to leave to settle overnight and 1-3 mm.
so that you can start applying it to remove water from the top, so if
your pots. The simplest application possible, make the glaze the day before
methods are pouring, dipping and you need to use it. The consistency EARTHENWARE
brushing. should be between milk and single TRANSPARENT GLOSSY
In order to dip the pots in the glaze, cream, but some glazes such as ash GLAZE RECIPE (1060-1100°C)
you will need to mix up at least 5 to 10 glazes need to be thicker. I stir by ● Calcium borate frit 39
litres. I usually mix 7.5 kg of glaze in a hand and if it is the correct thickness, I ● Soda feldspar 27
● Whiting 5
10 litre bucket with a lid. The glaze can just see the hairs on the back of ● China clay 6
recipes shown are multiplied by 75 to my hand through the glaze coating. ● Quartz 23
give the batch weight in grams. Start However, ash glazes are caustic, so
by half filling the bucket with water, always wear rubber gloves when
then carefully weigh out the glaze mixing those. When the consistency is STONEWARE TRANSPARENT
ingredients and tick them off the list right, mark the level on the glaze GLOSSY GLAZE RECIPE
one by one. It is best to add the china bucket and use the same level every 1260°C
● Potash feldspar 34
clay or ball clay first, as this helps to time you make a new batch of that ● Calcium borate frit 14
suspend the heavier ingredients in the glaze. Alternatively, you can weigh a ● Whiting 11
water. If you add the feldspar first, it is pint of glaze and record the weight, ● China clay 13
likely to settle in a hard mass at the then make sure the pint weight is the ● Quartz 23
bottom of the bucket. Then leave all same each time you mix a new batch. ● Dolomite 5
the ingredients to slake in the water Some potters prefer to use a
for a few hours before mixing and hydrometer to gauge the glaze .
Issue 8 ClayCraft 39

039-41 Glazes.indd 39 10/10/2017 20:42


GLAZE SCIENCE

Preparation for glazing


You will need biscuit fired pots, fired
to around 1000C for stoneware or
1100C for earthenware.. Some potters
raw glaze unfired pots, but biscuit
firing allows you to wash off the glaze,
leave to dry and start again if
anything goes wrong. If you apply
glaze straight after the biscuit firing, it
should not be necessary to wash the
pots. If they have been lying around
for some time in the studio, any dust
should be sponged off before applying
glaze.

Pouring
Pouring is the best application method
for the inside of pots, or if you need to  Brushes for glazing.
glaze a pot which is too large to dip.
The glaze should be stirred very Dipping
thoroughly, and stirred again between Dipping is a good way to apply glazes
glazing pots, otherwise it may start to when you need a very even application.
settle in the bucket. Scoop up a Hold the pot sideways by the rim
measuring cup full of glaze and pour and foot, between finger and thumb, or
carefully into your pot, swill around using glazing tongs. Dip it swiftly into
and pour out. You may need to use a the glaze and out again, pouring out
funnel to glaze the inside of narrow- all the glaze from the inside of the pot.
necked pots. If you want a different If you are only glazing the outside,  Spraying glazes. Some areas are
glaze on the outside, wipe any glaze hold the pot by pressing your fingers masked using masking tape.
drips from the outside using a sponge against the inner sides of the pot and
and leave to dry. Very thin-walled pots dip up to just below the rim. Place on a again until the glaze has dried. You
will also need to be glazed on the clean surface and don’t touch the pot can finish by dipping the rim upside
inside first, then left to dry before down or brushing glaze on to the rim.
glazing the outside. Very large pots Any drips should be scraped flat with
can be placed on a whirler or wheel a sharp knife. Any finger marks or
and rotated slowly while glaze is bare patches can be touched up using a
poured over the outside. brush.

Brushing
To make the glaze easier to brush on,
you can add CMC (carboxy methyl
cellulose) or gum arabic to the glaze.
Two or three coats of glaze will be
needed to get an even coverage. I
usually apply brush strokes round the
pot, then go round a second time,
starting each brush stroke in between
the previous brush strokes. Potters
often use Chinese calligraphy brushes
or wide Japaense hake brushes for
covering larger areas.
You can mask areas you don’t want
 Checking the thickness of the glazed by applying wax resist, latex or
glaze. This particular runny porcelain
glaze needs to be applied quite  Pouring glaze over a large bowl. masking tape. However, I find it easier
thinly. (Photo: Henry Bloomfield) (Photo: Henry Bloomfield) to scrape glaze off the base using an
40 ClayCraft Issue 8

039-41 Glazes.indd 40 10/10/2017 20:43


GLAZE SCIENCE

 Sponging the bottom of a mug.


The glaze was first scraped off using
an old credit card. (Photo: Henry
Bloomfield)

old credit card and then carefully


sponge the base. When throwing pots
on the wheel, I always bevel the edge
of the base to make a neat line to
sponge back to. This also prevents the
glaze from sticking onto the kiln shelf.

Spraying
The advantage of spraying is that you
don’t need to mix up a large batch of
glaze. The drawback is that you need a
lot of equipment: a spray booth, spray
gun and compressor. A respirator
mask should also be worn while spray
glazing. The pot is placed on a whirler
and rotated while spraying glaze on in
several thin coats.

Layering glazes
Underglaze colours or oxides can be
brushed on before applying the glaze.
Rich effects can be obtained by
applying several layers of different
glazes, for example a white glaze over
a darker glaze or a runny glaze over a
matt glaze. The glazes often react,
producing interesting effects. 

NEXT MONTH
Glazes using natural materials:
ash glazes
 Dipping a mug. (Photo: Henry Bloomfield)
Issue 8 ClayCraft 41

039-41 Glazes.indd 41 10/10/2017 20:43


SANDWICH TRAY
SKILL SCHOOL

PROJECT
FOUR This is the last item in our monthly teaset project, so soon you’ll
be able to serve tea to your family or friends, and boast that you
have made the whole set yourself!

The finished tray has been


decorated in the same way as
previous items in the set, marking
a grid in pencil first, then filling in
the design with underglaze colours
before covering with transparent
glaze and firing.

1
 You can make the tray to any size 2
or shape you choose, the principle for
constructing will be the same, so cut On one of the slabs, carefully
out a template you want – foam sheet score an outline ring to form
makes the best material for templates, the footring.
but card would also work. If making a large tray, score an outline for a second,
Roll a large enough slab of clay to cut out two sections inner ring as shown.
using your template. Depending on size, you may need to When you’re happy that the rings are evenly spaced
roll two slabs – they should be no thicker than 5mm. and shaped, cut them out using a sharp knife.
Transfer the slabs to an absorbent board, like Supalux
fireboard, so that the clay firms up quickly.

42 ClayCraft Issue 8

042-45 Project 4 Tray.indd 42 10/10/2017 19:01


DIFFICULTY RATING ★★★★★

3 6
Lift out the spare clay from
around the footrings – leaving the  Work around the outer edge with a scraping tool to
footrings in place on the board. remove any excess slip that may have oozed out from the
join.

4 7
 Position the inner ring on the Roll a long coil of clay about
base slab and mark the position 20mm thick, then flatten it
with a pin. You can estimate the on a sheet of plastic with the
outer ring position more easily, so palm of your hand.
do this freehand. Position the coil between
Score the marked areas and the underside of the rings. two roller guides and roll it
flat and even.
When flat, cut a straight
edge with a knife using the
roller guide to ensure a
clean cut.

5
Slip the scored areas on the base
slab then fit the rings in place,
making sure the seal is good – you
can do this by placing a board
over the surface and applying a little pressure if you
are unsure. Neaten up the edges with a modelling or
scraping tool to remove excess clay.
Run your finger around the edges of the rings to
soften and round them off.
Issue 8 ClayCraft 43 .
042-45 Project 4 Tray.indd 43 10/10/2017 19:02
SKILL SCHOOL
PROJECT
FOUR
PROJECT
SIX 10

8  If the wall has been made


in two halves, the ends should
overlap. Cut through both
 If you want the wall of the sections of wall at an angle, then
tray to have a fancier rim, cut score and slip the cut ends and
a template to your chosen join them together.
shape (this example is a simple, Work over the joins, inside
undulating, wave-like design). and out with a kidney to remove
You will find it easier to cut excess slip and neaten them up,
out the template in two halves if until they look seamless.
the tray’s large, because one length
would be too difficult to position.
Place the template over the wall strip,
then cut it out carefully. Repeat if making in two halves.

Score the positon for the wall on the base and the
joining edge of the wall strip, as shown.
Slip the scored area on the base, then fix the wall in
place.

11
 Reinforce the wall on the inside
with a coil of soft clay. Blend the
clay in, first with a finger, then
work over the surface with a
kidney to remove the excess clay.
Work around the outer edge
again to smooth and neaten the clay.

44 ClayCraft Issue 8

042-45 Project 4 Tray.indd 44 10/10/2017 19:02


Doug’s
STARTING IN BUSINESS
(Photo: Layton Thompson)

Doug Fitch
DIARY
I t always seems that I
start my diary, sitting
at the firebox of the
kiln, saying how busy we are and
what hard work it all is; well,
there’s nothing new this issue!
Thankfully, we’re starting to get
on top of things, and the stock of
pots for our online exhibition is
coming together. If this firing is
a success, then we will be well on
the way.
There’s a cool autumnal wind
pulling the flame through the
kiln chamber this morning, and
I’m sheltering behind a stack of
wood to avoid its surprising
freshness getting to the back of
my neck.
Every so often, I’m being given Doodles in onto the corrugated steel roof of been to Wardlow Mires Pottery
a terrible fright as nuts from the the kiln log. the kiln shed. Big bangs are the and Food Festival in Derbyshire,
overhanging beech tree clatter (Photo: Doug Fitch) last thing you need to hear when which was great fun. The
firing the kiln; I keep leaping out weather was shocking, but people
of my skin! still came, in spite of cars having
The swallows are gathering, to be pushed on and off the
chattering away, preparing for parking field by a bunch of big
their epic journey to warmer burly helpers. It was lovely to
climes, and the leaves on the ash meet so many people who
trees are turning vibrant yellow. subscribe to ClayCraft and to
Here comes the autumn. know that some folks do read
I often sit here and doodle on these ramblings; thank you for
firing day – scribbled drawings stopping to chat.
of pots that I’d like to make, on Since we came back, we’ve kept
scraps of paper in the firing log. up the momentum. This kiln is
I’m very bad at keeping sketch packed full of pots for the online
books; I find them rather show and we are aiming for at
intimidating and so my drawings least one more kiln-load for the
end up on these scraps of paper, exhibition. It’s going to be our
here, there and everywhere. They second; we did the first at the
invariably get lost, or reappear same time last year, and plan to
months later, when I think to keep it as an annual event.
myself ‘oh yes, that’s a good idea, We have amassed a collection
I should try that’, before losing of our best pots from a number of
them again. Hannah keeps firings, with more still to come.
telling me to keep them all We will have them all
together; I shall endeavour to photographed professionally for
Doug and Hannah delivering a charger to listen to my good wife. the catalogue. It’s so important
Reverend Richard Coles. (Photo: Joe Fitch) Since my last post, we have to have good quality images, and
46 ClayCraft Issue 8

046-47 Doug Fitch Diary.indd 46 10/10/2017 19:04


KILNS

we employ the skills of Shannon


Tofts, a much-respected
photographer of the crafts, who
has an intuitive understanding of
how to light an object to bring
out all of its qualities.
These images, plus others of us
making pots, taken by our friend,
photographer James Hazelwood,
will be uploaded to an online
publishing platform called Issu.
com. Doug and more detail, so the budget will to us, because that’s where we
Issu is a great site to view Hannah at exceed £2,000. That’s a lot of meet the people who like our
online publications. You can find Wardlow pots we need to sell, just to stand work, with an expanding family,
Mires. (Photo:
all sorts, simply by typing still, so it’s all a little bit scary. the logistics are becoming
Paul Morgans)
keywords into the search facility You’ll be able to view the film increasingly complicated. If the
on the site. Check it out; there on our Youtube channel from 14 online show can save us from
are some great pottery things on October. having to make just one of those
there. Living where we do, in South big journeys, then it is a success.
The investment is considerable ‚Doug West Scotland, means that we It also allows us to offer our
checking a jug
for our exhibition, advertising before loading often have to drive hundreds of work to a global market. From
and photography is costly, plus the kiln. miles to attend the many pottery last year’s show, we posted our
this year we’re having a short (Photo: Hannah shows throughout the year. wares to the States, Canada,
film made to show the pots in McAndrew) Though the shows are important Australia and Japan, as well as
all over the UK.
We even sold pots to Rev
Richard Coles. He now has a
good few of our pieces in his
collection, the most recent of
which we had the pleasure of
delivering to the vicarage a
month or two back, where much
tea and cake was consumed. Now
seems an opportune moment, as
the Rev is currently dancing his
toes off on Strictly Come Dancing,
to show off the image of us all in
the vicarage garden.
Well, I shall get back to firing
the kiln in the hope that it will
provide us with some great
treasures.
Please check out our online
offerings, we go live on our
website, fitchandmcandrew.
co.uk on 27 October at 6.00 pm
GMT.
Bye for now! 
Issue 8 ClayCraft 47

046-47 Doug Fitch Diary.indd 47 10/10/2017 19:04


NEXT
NEXT STEPS Don’t
miss it!
MONTH
ISSUE 9
ON SALE
NOV 17

 Restaurant
ƒ Meet the commissions
Potter We learn about Aylesford
Mary Clarke, Pottery’s tableware ranges
for restaurants
 Decorations of Burwash
Christmas will soon be upon Pottery, runs PLUS:
us, so we have a selection of a successful • Lidded serving
decorations and items you teaching studio,
can make in advance. Use and still finds dishes
them yourself, or give them the time to • Lustre decoration
as presents; either way you’ll make wonderful * These are just some of the features planned for the next issue but
circumstances outside our control may force last-minute changes. If
love them! animals this happens, we will substitute items of equal or greater interest.

PAY
FROM JUST
MAGAZINE £9.95 *

BINDER
Each binder will store a year’s worth of
ClayCraft magazines, keeping all your
back issues in one place ready for you
to refer to whenever needed. Keep
inspiration at your fingertips!

*£9.95 is the price for a single binder delivered to a UK address. We can deliver internationally
but the postage rate will vary, please visit our webshop for more detailed pricing

ONLINE: shop.kelsey.co.uk/crabinder CALL: 01959 543 747


Hotline open: Mon - Fri 8am - 6pm

48HALF_BINDER_17.indd
ClayCraft Issue 1 8 30/06/2017 10:08

048 Next Month.indd 48 10/10/2017 19:05


POTS FROM
Thomas Hayman THE PAST
LAZENCROFT POTTERY
T he pottery at Lazencroft, near
Leeds, is a little different from
the others I’ve looked at, as it
has been nearly fully excavated but still
nearby.
The first was opposite the kiln site,
where sherds had come up a few years
previously when erecting a pylon. We
relatively little is known about it. The opened a small area, approximately 2m2,
earliest mention is in a lease agreement slowly taking off the loose layers, and we
between Edward Gascoigne, who owned quickly reached a dense layer of compacted
land nearby, and a William Gough, which kiln waste. This was made up of coal waste
A selection of finds from the site,
is dated 1739. from firing the kiln, broken saggar and the including a hand-thrown kiln prop
There, they produced striking slipware odd piece of later pottery; the kind and several slip-trailed sherds.
in large quantities, rivalling the wares of produced by Leeds Pottery and other local
Staffordshire at the time. A large variety of manufacturers, dating approximately from started to find sherds that were sitting on
wares have been found since its discovery 1870 to the mid-20th century. This gave top of the natural clay present all over the
in the early 2000s by the Leeds way to a much thicker layer, full of site. We slowly scraped back one, two,
Archaeological Fieldwork Society (LAFS), 18th century slipware. This is generally three, and, before we knew it, we had half a
including tankards, cups, posset pots and characterised by its white earthenware bucketful of pieces, all of a similar design.
press-moulded dishes. body and striking ‘wet on wet’ trailed A quick look left me feeling that some of
The work done by LAFS uncovered the designs. This was mixed with waste clay these probably fitted together. Then,
kiln site itself, along with areas of dumping and broken fire-brick, presumably from astonishingly, there was a small piece of
nearby to make up paths and trackways. when the kiln was repaired between uses. what appeared to be bone sticking out
This was a common method of reusing It was a frustrating process, knowing from the clay. It was carefully cleaned
kiln waste at the time, and still goes on to that only a hundred yards away many around, and it soon turned it into a
a certain extent. Some 30,000 sherds were hundreds of near-complete pieces had been beautiful knife handle from the early 18th
recovered and sorted through; a pot- found. We got a handful of large pieces, century, with cross-hatching on each
hunting dream – or nightmare, when you but were clearly on the outskirts of the site, handle ‘scale’. Rivets and remnants of the
start cleaning them! perhaps in a filled ditch when the site came blade were still intact. A few were found
My involvement with the site began in out of use. We persevered nearly a metre during the original excavation but, as yet, I
2016, when a large trunk road and down, only to realise the wet ground haven’t been able to compare them.
development scheme for the site was meant the trench was filling as quickly as Once home, the similar sherds were
announced. Road widening and rail we could empty it! We abandoned for the cleaned and laid out on a board, the
projects put a lot of the surrounding day and came back a few weeks later to television on in the background, and slowly
countryside at risk of being covered over glorious sunshine and a dry trench. a small dish appeared before me. With the
by tarmac. I, and my friend Andrew Digging in wet clay isn’t fun, even for a smallest amount of glue I could get away
Naylor (one of the original excavators) potter. with, I re-stuck the pieces to find I had
sought to try and find the extent of the site The wait seemed to pay off, as we almost half of the piece. It was press-
using small test pits in areas of wasteland moulded, with a raised rib in the middle,
slipped in white clay then trailed with red
and a feather pulled through the wet slip.
A really beautiful, small dish, that
stylistically matched several others found
across the road.
As work continues on the site, we hope
to be able to return and uncover more
information about the site and its
production processes. A little hope is that
 My first 18th century slipware  The slow but exciting process of some of this will not be covered over, and
sherds. (Photo: Andrew Naylor) trying to match sherds. might be saved from the digger! 
Issue 8 ClayCraft 49

049 Pots from the Past.indd 49 10/10/2017 19:05


Keeping your cool!
SKILL SCHOOL

S ometimes it’s necessary to keep


a piece of greenware in stasis,
not allowing it to dry out, so
that you can come back to it at a later
1 4

date. Large work also needs to dry slowly


– to avoid cracking – and in both these
cases, controlling the ambient moisture
level is vital. There are several ways of
achieving this.
It’s common practice to wrap  A couple of inches of plaster in  … and seal the bottom with clay.
greenware in plastic, which works well, the bottom of a sealable box create
but it can damage anything that’s the perfect environment for keeping
sticking out, or is delicate. A container greenware damp. 5
where the work can sit in a controlled
atmosphere is a solution to this. It can be 2
large or small; completely sealed to
prevent drying; or ventilated to allow for
controlled evaporation. The ambient
conditions in your studio will affect the
rate of drying, and you’ll have to allow
for this. In hot weather, you’ll need to add
more water than in the winter (unless  If you get a big enough box, you
you have heating in your studio!). You’ll can double up.
learn what works for you, and if things  An old fridge can be used; the
door seals make it airtight.
get too wet, or too dry, it’s simple to 3
adjust the conditions accordingly.
The first option is a damp box, for 6
smaller work. This is simply a sealable
box, with a layer of plaster in the bottom
onto which you place a batt with the
work on it. Never put clay directly onto
the plaster surface, as it may pick up tiny
amounts of plaster, risking explosions in
the kiln. The plaster is dampened, and
the atmosphere in the box stays moist,
preventing drying. The amount of water
controls the amount of drying, and can
be tailored to what you’re using the box
for. The lid can be left on the top – to
protect the work from dust and damage
– but unclipped, to allow a little  Place a bucket over the top of
large pieces…
ventilation if you want a slow rate of  With the door open, and the front
drying, or fastened completely to keep To allow slow drying, prop the door wide covered with plastic, slow drying will
occur.
the greenware workable. open and hang a curtain of plastic over
An old fridge (unplugged) also provides the front of the fridge, weighing the bottom with clay to remove any air
an excellent environment for greenware, bottom edge down to provide a protective circulation and keep the work damp, or
as the seals around the door keep the covering, but through which air can prop it up slightly if you want to provide
inside atmosphere stable. For added enter. The work may need to be moved, slow drying conditions. You may need to
moisture, to prevent any drying, you can both in terms of its position in the fridge, loosely wrap the bottom half with plastic,
add a bowl of water, or some old, and also rotating the batts so all sides of since this part will be more exposed to
reclaimed clay. If using clay that’s been the work get a turn at facing the front. the incoming air than the top half, but
exposed to plaster (when building For large pieces, a simple upturned check periodically, to make sure that they
moulds, for example), make sure your bucket will do the job. You can place a are drying at the same rate. You don’t
work doesn’t come into contact with it. cup of water inside and seal around the want a wet bottom and a dry top! 
50 ClayCraft Issue 8

050 Damp Box.indd 50 10/10/2017 19:06


LETTERS
If you’d like to get in touch to tell us
about what you’re doing, suggest ideas
for features you’d like to see, or to tell us how
you’re using ClayCraft, we’d love to hear from you!
Please email us at claycraft.ed@kelsey.co.uk
Dear ClayCraft,
I run Eastcott Studios in Swindon and we provide a range of
informal and very sociable workshop sessions for
beginners. We have been thoroughly enjoying the easy to
follow projects in your magazine - you can see loads of
pictures and a lot more about us on our website
at eastcottstudios.co.uk and on our Facebook page.
We also encourage local artists to use our facilities to run
their own workshops and have a small exhibition area. It
would be fantastic if some of our beginners’ and visitors’
work was featured in your magazine. It is amazing, with a
little encouragement, just how creative people can be and
how quickly their confidence grows! We have all ages, from
our Tots and Pots pre-schoolers to 80-year-olds,
families, team-building, retired people, home
schoolers, parties and, of course, couples celebrating their
pottery anniversary! It really is something for everyone. 
Jo McAree
Ed: Thanks Jo! We love to see photos of people’s work, so please
do send them in.

Dear ClayCraft,
I’ve just started reading your fab
magazine and thought I’d send a
photo of my first attempt at figure
work. I loved doing them, and I might
try some animals next, but it’s all
experimentation as a beginner! I
attend Eunice Locher’s studio in
Groombridge and only took up
pottery last November. Eunice is a
great teacher and I’m now an addict!
Kate Jackson

Ed: What wonderful figures! What a great result for your first
attempt. Do please keep in touch and send us more photos.

Dear all,
Just to say how much I love your magazine. I was at Hatfield
and am so pleased that I subscribed. I have been reading and
referring to the six issues I picked up, ever since.
After a break of 40 years from ceramics, and now that I
have time on my hands, your magazine has been inspirational
and helped me to revise and learn a lot of new techniques and
materials that are now available which were not then. 
Thank you for such a lot of useful information and ideas.
Also, being dyslexic the pictures showing the process are
great. Deana Moore
Ed: How lovely that you’re now finding the time to get back into
ceramics. I’m pleased to hear that the magazine is useful. It’s
amazing how things evolve over time. It would be interesting to
hear the kind of things you’ve found have changed since you were
last involved. Issue 8 ClayCraft 51

051 Letters.indd 51 10/10/2017 19:06


GLOSSARY
Here’s a convenient listing of the technical terms used in ClayCraft. Over the coming months, we will add
to this as more terms and phrases are included in the articles we publish. This will build into a valuable
and useful reference source covering the complete range of common pottery-related terminology
■ Agateware a combination of clay, leaving others to form the design. number, the finer the mesh. ■ Size A priming liquid that forms a
coloured clays, mixed in such a way ■ Etruria A type of clay found in and ■ Mocha diffusion A decorative barrier.
that the striated result looks like agate. around Stoke-on-Trent. technique that uses a coloured acidic ■ Slaking Rehydrating dried, unfired
■ Alumina Aluminium oxide, a ■ Eutectic Two or more combined solution over a layer of wet slip, which clay, for reclamation.
constituent of clay, giving plasticity. substances, the melting of point of ‘breaks’, pulling the solution into
Used in glazes, it acts as a stabiliser which is lower than that of any one organic, fern-like patterns. ■ Slip trailing Using slip to apply
and also affects the stiffness of the individual component. ■ Natch Locating-points used in patterns in thin trails, usually with the
glaze’s flow. mould-making. One protrudes, filling use of a bulb or other finely-nozzled
■ Feathering A pattern produced
■ Ball clay A highly plastic, light the other. applicator.
by drawing a tool through lines of
coloured clay usually used with the slip applied to a ground colour, in ■ Opening up A technique used in ■ Sprig A moulded clay decoration
addition of grog or sand, or combined alternate directions. throwing to form the base and wall applied to the surface of a pot.
with other clays. Firing range: 1100°C ■ Feldspar A group of alkali minerals of the pot.
to 1200°C. ■ Stall A meshed finger-covering that
used as flux in clay bodies and in glazes. ■ Paddle A flat tool used to shape allows you to dip into glazes without
■ Bat(t) A flat surface, made of plaster, ■ Fireclay Clay used for its high- and firm-up clay. Paddling is also leaving marks on the glaze surface.
wood or ceramic. Used in kilns, on temperature applications, eg pizza called ‘settling’.
wheelheads, and for drying. ovens, firebricks. Also used to improve ■ Pint weight A method of ■ Stoneware A type of clay body
■ Bentonite A highly-plastic clay. other clay bodies. working out the thickness of a glaze. fired above 1200°C, at which point
■ Bisque (biscuit) Pottery that has Comparing various weights allows the the clay and glaze fuse, forming an
■ Flocculant An additive used to
been fired but is not glazed. dry weight of the glaze powder to be integrated layer.
cause very fine particles to clump
■ Blunger Equipment used for together, improving settling, or to calculated and adjusted. ■ Surform A rasping tool used to
mixing clay and water into a slurry hold larger particles in suspension. ■ Porcelain A type of clay used for remove excess clay.
prior to workable clay preparation. ■ Flux A substance that improves the fine work, firing to a translucent finish. ■ T Material A coarse, heavily-
■ Casting slip A loose slip that is fusion of ceramic particles in glazes. Very plastic to work with, making it grogged clay with low thermal
poured into a porous mould, left to ■ Glost Another name for glaze firing. tricky to throw when pure. expansion.
form a layer, then tipped out, leaving ■ Greenware Work which has not yet ■ Potash Potassium carbonate.
a cast. Found in wood ash, used in glazing, ■ Terra sigillata A very fine slip
been bisque fired.
■ Centering The precise positioning as a flux. coating, which gives a smooth, glossy
■ Grog Finely ground fired clay, finish.
of a ball of clay in the centre of the added to clay bodies to improve ■ Pugging The blending,
wheel head. texture and drying, which affect firing. compressing and de-airing of clay to ■ Thermal shock The stress created
■ Chamotte Another name for Grog ■ Gum Arabic Hardened sap from give a workable product. in a piece of clay as it’s fired, caused by
■ China clay The purest natural Acacia trees, used (in this case) as an ■ Raku A firing method of rapid the temperature change.
clay, used to add whiteness. Essential adhesive. heating and cooling a piece of glazed ■ Thixotropy The property of
ingredient in porcelain. ■ Inlaying Decorative patterns work, coupled with various post-firing certain substances that are thick
■ CMC Carboxymethyl cellulose. which are incised into the work, then treatments, usually contact with (viscous) under normal conditions,
An additive that prevents glaze from covered with slip which is pared organic materials, which affect the but flow (become thin, less viscous)
drying too fast. away to reveal the coloured pattern. glaze. The results are an attractive, when shaken, agitated, or otherwise
■ Combing A decorative technique Similarly, glaze can be applied to unpredictable combination of colours stressed.
using a tool with teeth or serrations to bisque-fired pieces with patterns on and patterns.
■ Resist/wax resist Using a physical ■ Turning The removal of excess clay,
make parallel lines. them The glaze will settle in different
barrier to prevent one thing from from a leather-hard piece of work to
■ Cone eg cone 6. Firing temperature thicknesses, highlighting the pattern
colouring another. Usually wax or refine the shape, create foot rings, etc.
at which a particular pyrometric on firing.
cone will distort inside the kiln, ■ Kidney A kidney-shaped tool with paper. ■ Undercut Area on a model which
evidencing that a particular heat has many uses, which vary according to ■ Roller guides Thin wooden undercuts and traps plaster then
been reached. Available in a range of the flexibility of the material it’s made battens of varying dimensions used prevents removal or withdrawal of the
numbers, each relating to a certain from. to achieve a uniform thickness when mould after casting.
temperature. ■ Leather hard Fresh clay that has rolling slabs. ■ Underglaze A colour applied to
■ Coning up The repeated raising dried to the point where it feels like ■ Saggar A container used to protect the clay surface before being covered
and lowering of a ball of clay on the leather. It will be dry enough to handle pots from direct contact with flames with a transparent glaze (optional)
wheel head, to remove air bubbles. without distorting and is the point at and sudden changes in heat during and fired. Available in a wide range of
■ Cottle A retaining wall put up which it should be turned. firing. colours, it can be applied with brushes
around a model to contain the plaster ■ Majolica Late 19th century pottery ■ Score and slip The roughing up for freehand work.
when making a mould. using highly-colourful, shiny glazes. of two clay surfaces, which are then
dampened with slip, to allow them to ■ Wax resist See Resist.
■ Earthenware Used to describe ■ Maquette A small-scale model.
work that is fired and glazed below ■ Marl A friable clay containing form a bond. ■ Wheel head The spinning disc on a
1100°C. Also a general term for pottery chalk and iron oxide, used for ■ Settle See Paddle. potter’s wheel. Detachable heads can
that is waterproofed by being almost low-fired earthenware and bricks. ■ Sgraffito Applying layers of be fitted to the main head, allowing
entirely glazed. Other types of friable clay are also colour to the surface, then scratching for easy removal of fresh work.
■ Engobe A slip with a lower called marls, eg Etruria Marl, and so patterns through the top layer(s) to ■ Whirler Technically, a manual
percentage of clay, and higher it is also a term used for general red reveal the colours below. wheel used for press-moulding,
percentages of silica. earthenware clays. ■ Silica Silicon dioxide. The material but here used as another name for
■ Etching The making of surface ■ Mesh Used for describing the that makes glazes ‘glassy’ and a banding wheel, for decorating or
patterns by removing some areas of gauge of sieves. The higher the transparent when fired. turning.

52 ClayCraft Issue 8

052 Glossary.indd 52 10/10/2017 19:06


ANGLIA CLAY SUPPLIES
www.angliaclaysupplies.co.uk

NORFOLK’S LEADING
SUPPLIER OF
POTTER’S MATERIALS,
TOOLS AND EQUIPMENT
Shop online at http://www.claymansupplies.co.uk

CERAMIC SUPPLIES FOR THE HOBBY AND CRAFT POTTER

Clays • Decorating Slips • Casting Slips • Powdered Glazes • Brush-on Glazes • Colours
Unit 13, Alby Craft Ctr, Cromer Rd, Erpingham, Onglaze Colours • Media • Raw Materials • Grogs • Raw Clays • Opacifiers
Norwich, Norfolk, NR11 7QE Frits • Oxides • Brushes • Making Tools • Workshop Tools • Wheels & Accessories
Kilns & Equipment • Plasters • Books • Bisque

07947 880163 *
Morrells Barn, Park Lane, Lower Bognor Road, Lagness, Chichester, West Sussex, PO20 1LR
Phone 01243 265845 • Fax 01243 267582 • Email info@claymansupplies.co.uk

M a n u f a c t urers
UK

Gladstone Engineering Co Ltd


Foxley Lane
Milton
Made in the UK Stoke-on-Trent
Quality ST2 7EH
Reliability Tel +44(0)1782 536615
Durability www.gladstoneengineering.com
COILED WOVEN
SKILL SCHOOL

PROJECT
FIVE
BASKET

This is a much easier


project than it looks,
because, in effect, all you’re Tip: The number of coils you will need depends entirely on the size of
doing is weaving the clay. your mould and the width of your coils. To estimate the correct number,
The key to success is to cut a series of paper strips to the same width as your batten and lay
them in the mould side by side, in two layers. You can then make the
work with relatively soft corresponding number of coils
clay, and prepare all the
coils before you begin.

You will need:


A press mould – it can be any
shape; the principle is the same
no matter what the shape.
Alternatively, you can work
over a hump mould or any
rounded object, like a bowl or
dish, providing it doesn’t have 1
a footring, because that would
impress into the clay and spoil  Roll a long, medium-thick coil of clay and flatten it out with the palm of
the look. your hand, following the method shown in previous issues (basic coiling can
You can use either earthenware also be found on the ‘How to’ pages of our website at: claycraft.co.uk).
or stoneware clay. Sit a roller guide or a wooden batten (max 25mm width) over the coil, and
roll it from side to side, applying most pressure at the edges so that the coil
rounds off to a dome shape.

54 ClayCraft Issue 8

054-58 Project 5 Coiled Basket Issue 8.indd 54 10/10/2017 19:08


SKILL SCHOOL
PROJECT
FIVE

6
 Now begin to place the
coils in the opposite direction –
outwards from the central coil, 8
weaving under and over the
already-laid coils, in the same  Level the rim and remove the remaining bulk from the
way. edges using a wooden batten held flat on the rim of the
It can get a little fiddly as mould. Carefully draw the batten towards your body,
you get towards the rim of the moving around the mould in stages until all is level.
mould, so aim to get all the
most central coils in place first. Work the remaining coils
up and over the rim, rather than leaving them short in the
actual mould space – the surplus will be removed to give
a much better finish later.

9
 Carefully and lightly, score a line about 25mm from
the rim of the basket to mark the point for attachment of
the finishing coil.
Score the marked off area with a serrated kidney.
7

Carefully cut away the excess


coils that remain over the rim
of the mould. Use a knife, but
don’t let it come into contact
with the plaster.

56 ClayCraft Issue 8

054-58 Project 5 Coiled Basket Issue 8.indd 56 10/10/2017 19:08


DIFFICULTY RATING ★★★★★

10
 Roll another long coil of clay and flatten it as before, 12
but shape it into a round or horseshoe, as shown – this
is quite easy if the clay is soft enough, and you should  When the basket has firmed up enough to hold
shape it as you flatten it out, rather than flatten then its shape, turn it out of the mould and support it on
shape it. Cut the inner edge of the coil with a knife to something round – a hump mould or bowl will work well.
even it up and neaten the shape – the outer edge doesn’t Repeat the scoring exercise on the outer rim, as shown,
matter at this stage – we will deal with it later. then roll a second long coil and flatten it into the same
Score the entire surface of the coil with a serrated shape as the previous one.
kidney. Slip the scored surface on the basket.

11

Slip the scored line on the


basket, then carefully position
the rim coil in place, gently
pinching it into position as you
work around the edge. Cut
away the clay where the coil
overlaps at the ends, and carefully
blend the joins together, scoring and
slipping first to ensure a seamless finish.

.
13
 Attach the outer rim coil in
the same way as the inner one,
pinching it gently as you ease it
into position, to ensure it fixes onto
the basket.
When in place, give it a paddle
with a spatula to make sure it is
evenly attached.
Issue 8 ClayCraft 57

054-58 Project 5 Coiled Basket Issue 8.indd 57 10/10/2017 19:08


SKILL SCHOOL
PROJECT
FIVE

16
 Adding some texture to the rim coils finishes the look
of the basket, but is not essential – here a lemon zester is
used to add to the basket look – working over the clay in
14 opposite directions to create a pattern.
Finally, if the woven coils have been damaged in
handling, spend a little time neatening them up again –
 Return the basket to the original mould, then carefully it’s not difficult. Use the end of the batten to re-impress
cut away the excess clay at the rim as shown, using a
the central channel on the coils where necessary, and
knife.
smooth over the coils with a kidney where needed.

15
 Use a surform blade to remove any remaining excess 17
clay, and finely level the rim and surface of the coils,
inside and out. Work over the surface with a kidney to  The finished basket should be allowed to dry upside-
smooth it off when you are happy with the level. down, before bisque firing.

Once fired,
you can cover the
basket with an oxide
wash and re-fire to
the clay’s optimum
temperature, or glaze
and fire as you would
for other items

58 ClayCraft Issue 8

054-58 Project 5 Coiled Basket Issue 8.indd 58 10/10/2017 19:09


SETTLING TANK
DIY

A You w ill n ee d :
s potters, you Not having much time to
know that actually pot – this magazine
unexpected things is a great time thief – I don’t
but useful)
can happen when you fire use much water at any one ✔ A handy joiner! (optional,
your work. Things stick, time, and a tall, plasterer’s ✔ A 25-gallon water tank
0mm Perspex.
melt, and can even explode. bucket was working fine. I ✔ One sheet of 900mm-180
, which
Well, in the interests of being left it to stand overnight, We used 2mm (easiest to find)
ble up and
completely transparent, this then just tipped the water was too thin. Either dou
eth er with mit re-joint
settling tank build is being into the gulley. However, I do stick the sheets tog
one sealant , or sou rce 4-5mm
brought to you, warts and all. plan to spend more time glue or silic
In principle, it sounds easy; down there, and thought a (recommended)
blade
it’s just a big tank, separated settling tank would a) be ✔ A jigsaw with a fine scroll
to make a
off into compartments. The helpful, and b) make a great ✔ A contour gauge (or card
technical aspects proved to project. template)
be a little trickier! My initial plan was to use a ✔ Stanley knife
My studio is in the cellar, large cold-water storage tank ✔ Chisel
and there’s a sink left over with a couple of smaller ones
✔ Silicone sealant and gun
from when we had workmen inside it, connected in series, (optional)
✔ 20mm marine ply or MDF
in for months. It’s plumbed with the final run-off
into cold water, and the waste entering the big tank before ✔ 4 casters (optional)
te pipe –
runs off into an existing exiting into the gulley. We ✔ An appropriate length of was
r to fi t you r exis ting system
gulley, which leads to a sump had a joiner on site, who diamete
to ach ieve any
– installed to keep the cellar asked what I was doing. ✔ Push-fit pipe fittings
connect
dry when it was in use as a When I told him, he asked to bends/falls/joints you need to
exis ting was te syst em. Push-fit is
restaurant. There’s some sort see what a ‘proper’ one to your
ant le them
of artesian well, from what I looked like. Once he saw that, needed so you can easily dism
to move the tank
can gather. From there the he told me I was over- to match the
water is pumped up and out complicating things. It would ✔ Drill with hole-cutting bit
into a soakaway in the be much easier to make one pipe diameter
k
garden. Clean water, no much more like a real one. I ✔ Mitre-joint glue, 2-part pac
problem. rushed off to buy Perspex! 

1 2 Cut the Perspex to the


right width, using a
Stanley knife to cut a
firm line, then bending
to break it. Leave the
protective film on while
cutting; it helps guard
against splintering and
shattering. Use a fine-
toothed hacksaw to take
off any remaining bits that
stick out. Don’t worry if
little shards break inwards,
you can fill any holes
when you silicone.

 Measure the inside width of the tank.


Issue 8 ClayCraft 59

059-61 Settling Tank.indd 59 10/10/2017 19:10


SKILL SCHOOL
3 6

 Repeat on the other corner, making sure you remember


to reverse the template! Check the placement. Don’t worry
 Use a contour gauge to copy the shape of the moulding too much about any small gaps, silicone will fix those.
at the bottom. You could use thin card, which will be more
fiddly (a bonus of having a joiner on-site, he had a gauge!)
but do-able. 7

 Remove the bits of moulding on the inside of the tank


supports, with a chisel.

 Transfer the shape to one of the corners of the 8


Perspex…

ƒ … and carefully
5 cut it out with a
scroll blade on a
jigsaw – turn off the
pendulum action if
your drill has one. It
moves the Perspex
too much. When
cutting, keep the
blade as straight
Measure the height you want
as possible. Any
the partitions to be and cut
deviation stresses
them to length with a jigsaw.
the Perspex and
Knowing what we now know,
runs the risk of
taking them up to where the
splintering. Again, it
tank naturally widens, was too
doesn’t matter too
high for the thickness of Perspex
much if these are
we used – the weight of the water
small, they can be
bowed the partitions – and two-thirds
filled with silicone
of the height up would have been better. If using the
later. Cut in straight
recommended thickness then the height shown is
lines, coming in
fine. We cut one corner off on each partition, to give
from the edge if you
a V-shaped gap for the water to flow through, and
need to, to make
installed them on opposite sides to each other.
allowances for any
bends.

60 ClayCraft Issue 8

059-61 Settling Tank.indd 60 10/10/2017 19:10


9 13 14

 Apply the liquid bottle half of the mitre-glue to the  Insert a short length of
plastic. In our first attempt, it was only put onto the base pipe, and attach fittings
parts, and the Perspex came off when the tank was flexed.  Drill a hole in the emptying to achieve the necessary
The second time it was applied to the base and up the sides. end of the tank, about half- route to your existing
way up. system.
10
15

 Spray the second part of the glue onto the Perspex,


and hold in place while it sets. This takes a minute or so.
Once dry, apply a liberal line of silicone sealer to the edges
of both sides of each partition all around, smooth and
leave to dry. You can fill any small gaps that were made by
splintering (or inaccurate measuring) at this point.

11

 Ignore the old pipework, still visible! Shortly after this


 Cut a base to fit the bottom of the tank if you want to photo was taken, the partitions began to bow under the
be able to move it easily, and add casters. weight of the water. It was rectified with the somewhat
Heath Robinson addition of short lengths of leftover pipe
slotted in between the partitions, horizontally, to brace
12 them. This fix means that they can be easily removed for
cleaning, so I’m happy with it.

I now have a tank that separates the dirty water very


nicely, and is mobile, so I can wheel it out for cleaning,
and when I want to use the original bucket system
when I’m working with plaster.
It cost just over £90, not factoring in the joiner’s
time, and the fact that I already had the material for the
base, and some of the tools. Compared to £300-£400
 Present the tank to your under-sink area and assess the for a ‘proper’ one, I think this is a DIY job that’s worth
plumbing. For ease, I took the trap off and mine empties doing. I may retro-fit some draining points in each
straight out of the sink waste, into the first compartment, compartment at a later date, if I find it’s too unwieldy to
but you could add a piece of straight piping if you want – empty from full. I’ll report back! Rachel Graham
although you’ll have to disconnect it to move the tank out.
Issue 8 ClayCraft 61

059-61 Settling Tank.indd 61 10/10/2017 19:10


SKILL SCHOOL
PROJECT
FIVE
SIX
SURFACE
DECORATION
Mark Dally shares his slip-trailing hints and tips

 1: Latex slip trailing bag with rubber ferrule. 2: Small syringe top, cut down in length. 3: Metal blunt syringe tips, in
a variety of internal diameters. 4: Glass pipettes, with insulating tape to increase their diameter. 5: 10ml syringe for
cleaning out tips. 6: Angled nozzles in metal and plastic. 7: Very fine nozzle to help clear a blocked nozzle.

S
lip trailing is a ceramic technique that
applies a relief pattern onto leather-hard 1
clay by trailing liquid clay slip – like
cake decorating. Coloured slips can be
used to create the raised lines, dots and strokes,
creating an appealing tactile decorative surface.
I’ve been slip trailing for over 30 years. I love
the flowing, energetic marks that this centuries-
old technique produces. It benefits from a
confident, quick approach, which can give a bold
contrast to the pot’s surface.
I use the slip trailer (1, above) to decorate my
work. It consists of a thin latex bag with a rubber
ferrule, into which a cut-down syringe (2, above)
or glass pipette (4, above) can be inserted. The hole  A range of different tips and nozzles (3, 4, 6 top photo) can
be screwed onto the end of the syringe or pushed into the ferrule
in the ferrule is where I fill it up with the coloured hole of the slip-trailing bag. Metal tips (3) come in a wide variety
slip of my choice. Some potters use several slip of internal diameters, so that extremely thin lines or very thick
trailers simultaneously, each filled with a different lines can be slip-trailed onto the leather-hard surface of the pot.
coloured slip as part of their decoration.  The viscosity of the slip should be regulated to suit the different
diameters of the tips, by mixing water into the clay slip to the
desired consistency: small-diameter nozzles will need quite a runny
62 ClayCraft Issue 8 slip, while a wide-diameter nozzle will need it to be much thicker.

062-64 Project 6 SURFACE DECORATION.indd 62 10/10/2017 19:11


PROJECT
SKILL SCHOOL
SIX
11

8
 To get confident and flowing lines onto the surface of  It’s almost certain that whichever nozzle you’re using,
your pot, it’s best to hold the pot in your other hand for it will get blocked at some point. Being able to clear the
finer control. Holding the nozzle at a shallow angle helps blockage easily is a real bonus. This is where the 10ml
the slip trailer’s tip glide easily across the leather-hard clay, syringe comes in: fill it with clean water, apply to the
rather than dig into its surface. If the pot’s too large to nozzle and quickly push the plunger down so that a high-
hold, try and adjust the position of the pot, or yourself, in a pressure jet of water forces through the nozzle, clearing
way that is easy to achieve a shallow slip-trailing angle. away any clay or dried slip stuck in the tube.

9 12

 Many potters slip trail their pots with dots as part of  In some very small-diameter nozzles, this doesn’t
their decoration. Slip-trailing is perfect for making raised always work. In this case, use the very fine nozzle, a
dots on the clay surface. Squeeze the slip trailer gently needle or strand of thin wire to push up the tube tip in a
and dab the surface of the pot with the nozzle. A light bowl of water, and finish with the 10ml syringe method.
and easy movement will create a raised dot – press down Your nozzle will be clear and ready for use.
too hard, and clay will block the nozzle. You can control
the amount your dots are raised from the pot’s surface ƒ This large platter
by altering the slip’s viscosity. Thick slip can create raised 13 by Mark Dally, in his
and spiky dots, while thin slip will form dots flatter to the ‘Japanese Clouds’
surface of the clay. design, incorporates
many of the above
slip-trailed techniques:
10 big drip dots (plastic
pipette); small touch
dots (medium metal tip);
thick slip trailed linework
(glass pipette), and fine
slip-trailed linework (thin
metal tip).

Mark’s slip trailer kit is available to buy,


 Very large slip dots can be made by watering the complete with the variety of tips, nozzles
slip down to a fairly thin viscosity, then letting the slip
drop from the nozzle 2 or 3 inches above the surface and cleaning syringe shown. Email:
of the clay. As the force of the slip droplet hits the markdallyceramics@mac.com, or visit:
clay, it radiates out to make a circular dot. markdallyceramics.co.uk

64 ClayCraft Issue 8

062-64 Project 6 SURFACE DECORATION.indd 64 10/10/2017 19:12


SUPPLIERS  Email claycraft.ed@kelsey.co.uk for free inclusion in our listing

 Alisdair Kettles  Heraldic Pottery  Valentine Clays GLAZES/GLAZE


alisdairkettlespotterysupplies.com heraldicpottery.co.uk valentineclays.co.uk INGREDIENTS
 Anglia Clay Supplies  Warm Glass  Bath Potters’ Supplies
 Hesketh Potters’
angliaclaysupplies.co.uk warm-glass.co.uk bathpotters.co.uk
Supplies
 Bath Potters’ Supplies heskethps.co.uk  Celtic Kilnware
bathpotters.co.uk
 Hobby Ceramicraft
ACCESSORIES celtickilncare.co.uk
 bisque UK hobbyceramicraft.co.uk  bisque UK  Clayman
bisqueuk.com
 Industrial Mineral bisqueuk.com claymansupplies.co.uk

 Bluematchbox Potter’s
Services  Celtic Kilnware  CTM Potters Supplies
industrialmineralservices.com celtickilncare.co.uk
Supplies ctmpotterssupplies.co.uk
bluematchbox.co.uk  Isle of Axholme  Eazi-Stops
 Industrial Mineral
Pottery eazi-stops.com
 Brickhouse Ceramics axholmepottery.co.uk Services
 Maragon Arts industrialmineralservices.com
ckwarner.wixsite.com/  KilnLinings
brickhouseceramics and Crafts
kilnlinings.co.uk maragon.co.uk  Potclays
 Bryant Products  Kiln Services potclays.co.uk
 MHK Craft Supplies
atretainer.co.uk kiln-services.co.uk
clay-extruder-gun.co.uk  The Potters Connection
 Castree Kilns  MITSCO pottersconnection.co.uk
 SCH Web
castreekilns.co.uk mitsco.co.uk
shcweb.co.uk
 Potterycrafts
 Ceramatech  Moonbow Ceramics
 Specialist Lampfitting potterycrafts.co.uk
ceramatech.co.uk moonbowceramics.co.uk
Supplies  Scarva
 PaperClay Products specialistlampfittingsupplies.co.uk
 The Clay Cellar paperclay.co.uk scarva.com
claycellar.co.uk
KILNS/KILN ACCESSORIES  Sneyd Ceramics
 Potclays
sneydceramics.com
 Clayman potclays.co.uk  Castree Kilns
claymansupplies.co.uk castreekilns.co.uk
 The Potters Connection WHEELS/WHEEL
 Commercial Clay pottersconnection.co.uk  Celtic Kilnware ACCESSORIES
commercialclay.co.uk celtickilncare.co.uk  Bath Potters’ Supplies
 Potterycrafts  Corby Kilns Ltd bathpotters.co.uk
 Corby Kilns Ltd potterycrafts.co.uk corbykilns.co.uk
corbykilns.co.uk  Bryant Products
 Roderveld  Cromartie batretainer.co.uk
 Country Love Crafts roderveld.com cromartiehobbycraft.co.uk
countryloveceramics.com  Cromartie
 Rohde  Essex Kilns cromartiehobbycraft.co.uk
 Cromartie kilnsandequipment.co.uk essexkilns.co.uk
cromartiehobbycraft.co.uk  Discus
 Scarva  Kiln Care
potters-wheels.co.uk
scarva.com kilncare.co.uk
 CTM Potters Supplies
 Kiln Services  Giffin Grip
ctmpotterssupplies.co.uk  Scotclay
kiln-services.co.uk giffingrip.com
scotclay.co.uk
 Dawnmist Studio  Kilns and Furnaces  Hesketh Potters’
dawnmist.org  Sedgefield Pottery
Supplies
kilns.co.uk Supplies
 Discus sedgefieldpottery.co.uk  MITSCO heskethps.co.uk
potters-wheels.co.uk mitsco.co.uk
 Spencroft Ceramics  Potclays
 Essex Kilns spencroftceramics.co.uk  Northern Kilns potclays.co.uk
essexkilns.co.uk northernkilns.com
 Stanton Kilns  The Potters Connection
 Fired Art stanton-kilns.co.uk  Potclays pottersconnection.co.uk
firedartdesigns.co.uk potclays.co.uk
 Studio Bisque  Potterycrafts
 Giffin Grip studiobisque.com  Potterycrafts
potterycrafts.co.uk
giffingrip.com potterycrafts.co.uk
 Top Pot Supplies
 Roderveld
 Gladstone toppotsupplies.co.uk  Rohde
gladstoneengineering.com kilnsandequipment.co.uk roderveld.com
 Ulster Ceramics Pottery
 Held of Harrogate Supplies  Stanton Kilns  Scarva
held.co.uk ulsterceramicspotterysupplies.co.uk stanton-kilns.co.uk scarva.com

65 ClayCraft Issue 8 Do you want your entry to stand out? For details, contact Gary on 01732 447008

065 Suppliers Issue 8.indd 65 10/10/2017 19:13


DIFFICULTY RATING ★★★★★

2
 Potters use all sorts of tubes as their nozzle. I have  Screw your chosen metal/plastic tip onto the end of
heard of potters using Bic biros with the pen removed, the syringe, or insert your glass pipette or other nozzle.
creating a tube. I like to use glass pipettes (4) with Remember to alter your slip’s viscosity according to your
straight and/or slightly bent tips. Glass pipettes are chosen tip’s diameter, to allow you more control and
particularly good for fast, long sweeping lines. Because freedom when decorating.
the glass is smooth at its fire-polished tip, it glides well
on the clay surface.
If you find a tube that you would like to use as a slip 6
trailer nozzle but its diameter is too small to fit into the
ferrule hole, wrap insulating tape round the nozzle to
build up the diameter until it’s a good tight fit. Angled
tips (6) allow smooth slip-trailing on the inside of pots,
and to parts of pots difficult to access.

 You can now use the filled slip-trailing bag to decorate


your pot. The slip-trailing grip is surprisingly relaxed:
your thumb and forefinger hold the ferrule to guide the
tip; your remaining three fingers fold over to apply gentle
 Washing up bottles are great for storing your pressure on the reservoir, which you control according to
bulk slip. Their small nozzle allows easy filling of the
slip-trailing bag, with no spills. When filling the bag, the slip’s viscosity.
squeeze in the slip almost up to the top but leave a
small air space. When not using the bulk slip, clip on
the bottle’s cap to keep your slip from drying out. 7

 Use a light and fluid wrist and arm movement to give


energy to those lines. Try to practice the design of your
line work by slip-trailing onto a surface that’s not your
 Squeeze out the last bit of air from the slip-trailing pot, such as a melamine board, to familiarise yourself
bag, and straight away insert the small syringe top, with the hand, wrist and arm movements. Building
gently squeezing the bag so that slip fills up to the top of this muscle memory will help give you a confident and
the syringe. This excludes trapped air in the slip-trailing
bag, preventing ‘spluttering’ while slip-trailing.
assured technique when it comes to decorating. .
Issue 8 ClayCraft 63

062-64 Project 6 SURFACE DECORATION.indd 63 10/10/2017 19:11


NORTHERN
KILNS
Pottery Wheel Taster S essions for all ages
agess
Hand Building Evening Classe es
Potterr y Parties for every occcasion
Adultss, Children and Familiess welcome
Corpoorate Team Building and d Events

‘All are we
elcome to my garden
studioo to exp
perience the jo
oy of clay.’

info@northernkilns.com
01253 790307
 :
Middleport Pottery

 LIGHT
OT E
SP TOK
S  Having come to the attention of the wider public as the setting for

 the BBC’s Great Pottery Throw Down, Middleport Pottery has a
fascinating history, and lots to offer visitors

I
n 1862, William Leigh and Middleport Pottery,
Frederick Rathbone home of Burleigh.
Burgess took over Central Situated on the Trent
Pottery in the heart of and Mersey Canal and
Burslem, calling their new business home to one of Stoke's
Burgess & Leigh Ltd. Eventually, the last remaining bottle
ovens.
founders’ surnames were combined to
form the brand name ‘Burleigh’. In
1889, they moved to their state-of-the-
art, purpose-built site beside the Trent
and Mersey Canal at Burslem.
Middleport Pottery was described as
‘The Model Pottery of the Staffordshire
Pottery Industry’ when it was first
built, and it was designed to make all
the production processes more efficient,
and to improve conditions for the
workforce. The passageways between
the ranges were just wide enough for a
cart to get through, and for the easy
movement of the workers and pottery.
Finished pottery was sent out by door to the pottery in 1946, and she
horse and cart, via the road, or placed spent her working life bringing clay
(using the crane next to the packing from Cornwall to the Potteries. In
house) straight onto barges on the 2012, she was bought as a rotting shell
canal, which were waiting to take the by the Narrowboat Heritage
ceramics out to the coast for Foundation, and moved from Middlesex
international export. to Alvecote Marina, near Tamworth.
This September, one of Britain’s last Enthusiasts at the charity have spent
remaining wooden-built narrowboats, thousands of hours over the past five
Dane, returned to its historic home of years, expertly restoring the craft into
Middleport after being rescued from what many now believe to be the most
 The Workers' Bathhouse.
Currently underground, these original years of decay and disrepair. The barge authentic rebuild of a wooden
washrooms will be opened up to the was built at the Mersey Weaver and narrowboat for more than 30 years.
public at the beginning of December. Ship Canal Carrying Company next Now, 70 years after starting her service
on the Trent and Mersey Canal, the
Studios and college 70-foot-long Dane will be returning to
Also on the site is a range of studios, where visitors can see the artists at her Middleport mooring, ready to
work, and buy their wares, and the newly-opened Clay College. become a permanent part of the
● Burslem Pottery: burslempottery.com working pottery’s story.
● The Clay College: claycollegestoke.co.uk Sarah said: “The craftsmanship
● Richard Howle Photography: potteriesimages.co.uk completed by the Narrowboat Heritage
● Emma Bailey Ceramics: emmabaileyceramics.co.uk
Foundation on this boat is breath-
● Libby Ward, contemporary jeweller: libbyward.co.uk
● Amy Helena Clarke, ceramics and surface pattern designer: ahclarke.com taking, and we are absolutely delighted
● Alex Allday, ceramic and surface pattern designer: alexallday.co.uk that the charity approached us to
● Canadian Pine Company, furniture: facebook.com/CanadianPineCo provide a long-term home for Dane. We
● Jon French, potter: french-jon.wixsite.com/jonfrenchceramics appreciate that it has been a very
personal project for them, and we’re .
Issue 8 ClayCraft 67

067-69 Stoke.indd 67 10/10/2017 19:13


STOKE

honoured to be able to showcase her to


the public.”
Dane will become a key part of the
Middleport experience, and plans are
currently being drawn up to use her for  Iconic Calico – Burleigh's iconic blue and white ware, made at Middleport Pottery.
educational activities, tours, and even
boat trips. Middleport’s marketing
manager, Sarah Nadin, said: “We are so FORWARD-THINKING and we believe they were possibly
When Burgess and Leigh started their deliberately designed this way as part
excited to be bringing this really business, one of their priorities was to of the concept of creating the perfect
important piece of Staffordshire’s improve conditions for the workforce. pottery.
cultural history back home for all to For decades, a hidden time capsule lay “To be able to open the washrooms
see. The canals were an integral part of undiscovered before it was uncovered will give visitors a unique insight
the pottery industry, and Dane will in April this year. into Middleport Pottery and the
The unique forgotten gem, a workers’ community working there.”
become an important part of our unique
washroom – possibly the only one of its As well as a new entrance, the
story-telling at Middleport.” Middleport team will be turning the
kind – was buried and forgotten, after
Middleport is also in touch with a empty room into an interpretation
over 120 years of development had left
local crate maker who made crates for it below ground level at Middleport space with information panels about
barges such as Dane, and is Pottery. Now the hidden underground the washrooms. Significant work
investigating the feasibility of restoring complex of historic washrooms is to be will also be undertaken to make the
the Middleport loading crane. This restored, and opened to the public for floor safe, which has suffered from
would mean it may be possible to the first time. large-scale leakages of clay and glaze
The bathroom facilities are believed – believed to be from an historic leak
demonstrate loading her with crates,
to be part of the original factory design from a burst pipe on the glazing floor
exactly as would have been done just above.
from 1888. It’s thought that Middleport
after World War II. was the only ceramic factory to contain It’s believed the washrooms may
such facilities. The three-room suite have been in use until the 1960s, but
Regeneration contains a space with eight ceramic very little is known about them.
Sadly, in 1999, Burleigh’s directors took sinks, another room with a large Hayley Underwood, heritage
the difficult decision to go into oversized bath, and an additional area and operations manager, said:
voluntary receivership. Fortunately, of unknown previous use. “The opening of the washrooms
Director, John Lowther, said: “The is just a small part of the exciting
William and Rosemary Dorling of the
wash house was almost part of folklore. developments we are about to
China Box Company stepped in, bought Some of our older volunteers had undertake on the site, and is the
the assets and founded Burgess Dorling remote memories of it, so we decided forerunner to our much larger
& Leigh Ltd. to explore more. There was huge developments on Harper Street, which
anticipation about what we would find. will see new additions to the tourist
“We weren’t disappointed. It is a attraction, space for local artists, and
unique survivor from when the factory areas for community use.
was first built. They are an important “They provide an exciting insight into
part of Middleport’s story. This pottery the social history of Middleport life and
was built as a model Victorian factory, demonstrate the value that Burgess
not only showcasing the very latest and Leigh as employers placed on
ceramic techniques of the time, but their workers. We urge anyone who
also leading the country in ways to recalls the wash rooms in active use
look after a workforce and care for to come forward, and help us to piece
 Handcrafted – each piece of the surrounding community. The together yet another part of the
Burleigh-ware passes through 25 fixtures and fittings are quite ornate, Middleport story.”
pairs of hands.

In 2010, the company was acquired


by Denby Holdings Limited. However,
Middleport Pottery was at serious risk
of closure because of the very poor state
of repair of the buildings. This would
have seen the loss of jobs and
substantial buildings of historic
significance would have been left to
 Dane, a restored narrowboat, has returned to Middleport, and will become further degenerate. But in the same
a visitor attraction. year, United Kingdom Heritage
68 ClayCraft Issue 8

067-69 Stoke.indd 68 10/10/2017 19:14


STUDIO VISIT
MIDDLEPORT POTTERY MEMBERSHIP - FROM £12 A YEAR
In the three years since Middleport Pottery opened its doors following an
extensive restoration project, it has grown to become one of the country’s
most beloved tourist attractions – it’s difficult not to fall in love with this
special place.
However, the restoration continues, boxes upon boxes of social and
industrial history require archiving, and the aim is to open up more areas of
the pottery to the public and endeavour to share more of its history.
Middleport Pottery membership supports all of these activities, and more.  Following a £9-million restoration,
Secure a future for heritage from just £12 a year! the factory now welcomes 40,000
Other benefits include; visitors a year.
● FREE factory tour ● UNLIMITED heritage access
● 10% OFF tea room purchases* ● 10% OFF Burleigh factory shop*
● 10% OFF Middleport Studios* ● Discounts on events
● 10x FREE play-with-clay (self-led, worth £20) – Family Membership only
*Exclusions apply, please enquire
● Family membership £25 per year ● Individual membership £12 per year
To join, speak to a member of staff or call: 01782 499766.

 Grade II* listed Bottle Oven. One


of 47 left in Stoke on Trent.

● PLEASE NOTE – The tour is of a


working factory, which can be quite
noisy in places and there are some trip
hazards and limited mobility access to
some areas.
 The art of slipcasting. It takes an The centre is open from 10am until
 Ware boards full of ware are a expert eye to know when to remove 4pm daily and welcomes groups and
common sight at Middleport Pottery. the plaster mould. coach tour operators. To find out more,
or book a factory tour, visit: middleport.
Building Preservation Trust The visitor centre allows a unique org or call 01782 499766. 
(UKHBPT) stepped in to buy and save chance to see Burleigh ware produced
the site and began a £9-million project over the years in the beautiful MEMORIES OF MIDDLEPORT
POTTERY BROUGHT TO LIFE
to regenerate and revitalise it, leasing showroom, explore the original A book documenting the rich oral
half of it back to Burgess and Leigh, so Victorian offices, and learn about the histories of people who worked at
production of Burleigh could continue. people and events that have shaped the or lived near Middleport Pottery
The site now hosts a visitor centre, a Pottery. Step back in time as you has been produced by The Prince’s
Burleigh showroom and outlet shop, explore the mould store, housing Regeneration Trust (PRT).
factory tours, studios, a café, and, a Europe’s largest collection of ceramic Middleport Memories is a series
recent addition, The Clay College. moulds. And take an inside look at the of fond recollections of working life
at the home of Burleigh pottery in
pottery’s huge bottle kiln, one of the days gone by, including accounts
few remaining in Stoke and an iconic that are both amusing and moving.
reminder of the city’s great industrial The subjects of the book were
heritage. There is a team of friendly either those who worked at the
volunteers on hand to answer any Pottery’s Burgess & Leigh (Burleigh)
questions and bring the history to life.  factory, or who lived nearby in
The Middleport Pottery factory tour Burslem.
A short film to accompany the
is unique. It offers the chance to see book, showing interviews with some
pottery being made using the same of the book’s participants, can be
handcraft methods as in the 1880s. The viewed at: bit.ly/2xik8Hg
tour takes you through each stage of Middleport Memories costs £5,
production in sequence, showing how a plus postage, and is available to
 Tissue transfer. Burleigh is believed lump of clay is transformed into a buy at Middleport Pottery’s visitor
to be the last remaining factory to use centre, on 01702 499766, or by
the age-old tissue transfer process. finished piece of pottery. You will also
emailing: middleport@princes-
The tissues are printed by hand- see the steam engine, which once regeneration.org
engraved copper rolls. powered the whole factory.
Issue 8 ClayCraft 69

067-69 Stoke.indd 69 10/10/2017 19:14


WATER ETCHING
SKILL SCHOOL
PROJECT
SEVEN
WITH WAX RESIST
T
his is a really great way of
creating exciting surfaces on
slip-cast items, although it’s
also possible on surfaces made from
other clays. Try this out on the cast
cylinders we made in on page 33.
We’re starting with a really simple
design so that you can get an idea of
how the process works, but, ultimately,
you’ll be able to make the design as
complicated as you choose, providing
you follow the guidelines. 

You will need:


✔ Bone dry (but not fired) slip-
cast cylinder from project three
✔ Wax emulsion
✔ A fine brush for the wax
✔ A pencil
✔ A card or foam template of
your design
✔ Natural sponge and water

1 2 ƒ Carefully transfer the shape of


your template onto the surface of
the cylinder by drawing around
it with a pencil. Start at the top,
positioning the first outlines equally
between your dividing markers, then
fill in the design so that it repeats
around the circumference until you
reach the bottom.
You can plot the design by simply
spacing each shape between the
shapes above, in successive rows.
The spacing should look evenly
balanced when finished, but if you
make a mistake, just rub the pencil
mark out and re-draw the shape in a
better position.
Fill in blank spaces at the top and
 If you want to space your design bottom as though the design was
equally around the surface of the just continuing upwards or down
cylinder, measure it out into the – here, you can see a single flower
required divisions using a protractor petal filling the space, as it would if
and pencil positioned at the top or there were more clay to draw out
bottom of the form. the whole shape.
This design is spaced within three
divisions.

70 ClayCraft Issue 8

070-71 Project 7 Resist.indd 70 10/10/2017 19:15


DIFFICULTY RATING ★★★★ ★
3

 When the waxed design has completely dried,


dampen the sponge in water and start to wipe away
the clay around the design. Rinse the sponge regularly
 Draw in any finer details you and work around the whole surface systematically.
want to fill the spaces between the
When you have worked over the surface once, repeat
template shapes, freehand.
the process until you’re happy with the results.
When you start to wipe away
If the clay starts to saturate and you aren’t yet
the clay, some of these details will be
happy with the surface, allow the cylinder to dry out
positive and others negative so think how you want the
completely, then etch the clay again. You can do this as
detail to look. It will stand out, in relief, if covered by wax,
many times as you need. It’s a very satisfying process,
or etched away otherwise.
but don’t get too carried away because the wall has to
have some substance to support itself in firing.
When finished, the design should clearly stand out in
4 relief from the rest of the surface.
Allow the form to dry out, and then fire to your clay’s
given temperature.

 Paint the design with wax


emulsion and a fine brush, taking
care to stay within the drawn lines
ƒ The forms can be
as far as possible. Remember
– where you apply the wax will
6 glazed after bisque
firing or, as in the
stay in relief, while unwaxed
case here, which
areas will be reduced when water
has been cast in
etched.
porcelain, simply
fired up to its top
temperature and
left unglazed.

In future issues
we will learn how
to decorate water-
etched surfaces in
different ways to
expand further on
the basic technique
– the possibilities
are many and
exciting.

Issue 8 ClayCraft 71

070-71 Project 7 Resist.indd 71 10/10/2017 19:15


LA MERIDIANA
INTERNATIONAL SCHOOL OF CERAMICS IN TUSCANY

SWANSPOOL CERAMICS
Pottery is our passion!

Pottery Courses
Clay Experiences
Gift Vouchers

E: info@swanspoolceramics.co.uk
T: 01604 968533
To advertise in
Castle Ashby, Northampton
NN7 1LA
www.swanspoolceramics.co.uk

We offer a range of daytime, evening and full-weekend


wheel-throwing courses for all levels, as well as memberships

Please call Gary on


for those who just need studio space and firing services.

Also available: 2-hr tasters, private groups/parties,


corporate team-building, 1-to-1 tuition.
01732 447008
ONLY
BACK ISSUES £4.25
PER ISSUE
INCLUDING
P&P!
WIN £500 WIN £555 of vouchers WIN 2-day throwing course with Throw Down potter

ClayCraft
£500-worth of vouchers up for grabs

PINCH, COIL, SLAB AND THROW


Plaster press mould
ISSUE 2
ClayCraft
PINCH, COIL, SLAB AND THROW Two-part moulds
ISSUE 4
ClayCraft
PINCH, COIL, SLAB AND THROW

26
Issue 1 £4.99 Issue 3 £4.25 Issue 5 £4.25

FREE Throw Down potter MAKING SIMPLE FLOWERS


42
explains slips CREATE YOUR OWN TEA SET
KIDNEY TOOL! Starting with a slab-built teapot
Pinch pot egg cups Pinch yourself a posy!
WORTH
£3.00 Joining pinched sections
14
CREATIVE IDEAS
INSPIRATIONAL

Slab-built milk jugs 7 STEP-BY-STEP


IDEAS

Sgrafitto bowls PROJECTS


POTTERY
PROJECTS Building & Raku firing
to inspire you Making sprigs coiled vessels
IN THE
½
PRICE
SPOTLIGHT! MAKE YOUR TICKETS LARGE
Coiled slab planter MARK! FOR COIL-BUILD

3 Texturing slabs
Read about
studio potters types of ART IN CLAY Make a pebble
and their work stamp HATFIELD
bird bath
POTTERY TOOLS COIL POT BUILD GLAZING Paper resist decoration SMOKE-FIRING SKILL SCHOOL BRIGHT UNDERGLAZE
Porcelain wind chimes SURFACE DECORATION THROWING TRANSFERS

THROW DOWN’S DANIEL PULLS HANDLES WIN 2-day throwing course with Throw Down potter
Issue 1

ClayCraft ClayCraft
One of 7 hands-on guides THROWING MUGS AND Issue 3 Issue 5
Basic kidney exercises to making your own Judging glaze thickness £4.99 £4.25 £4.25
SLIP RESIST AND TAPE MAKING HANDLES STUNNING NEW COLOURS SLIP INLAYS JUG OPTIONS USING DECALS
ALSO INSIDE: Your Q&As • Clay types explained • Courses directory ALSO INSIDE: Stoneware clay • Spring Fling • Emerging Potters ALSO INSIDE: Pottery archaeology • Tea set series • Meet the potter
Clay Craft Cover new.indd 1 31/01/2017 14:39 001 Clay Craft Cover Issue 3.indd 1 09/05/2017 17:09 001 Clay Craft Cover Issue 5 v1.indd 1 11/07/2017 17:01

ISSUE 1 PINCH, COIL, SLAB AND THROW


ISSUE 3 PINCH, COIL, SLAB AND THROW
ISSUE 5
34
Issue 2 £4.25 Issue 4 £4.25

IN THE SPOTLIGHT!

44
Emerging potters to watch out for
PINCH POT EGG CUPS
Attractive, simple and fun!
Making and attaching Symmetrical press moulds
Pinch pots for beginners
½
INSPIRATIONAL IDEAS
PRICE
7 GREAT PROJECTS sprigs INSPIRATIONAL
TICKETS
FOR
DIY IDEAS

Simple slab box with lid


JOINING PINCH POTS ART IN CLAY
HATFIELD Pinching simple flowers
Pinch pot birds
Incised tiles Making pods and fruit
Porcelain buttons
APPLYING GLAZE
Making potters’ stamps
Decorated square plate Slab-built cups &
Dipping, brushing and pouring SKILL SCHOOL Slab-built teapot saucers
Simple coiled bowl EARTHENWARE Learning to centre ONE TO WATCH RAKU FIRING TEXTURE TRANSFERS
clay on the wheel
Marbling decoration Large coiled pebble bird
Plate with painted slip bath
OPEN! New ceramics school in Sussex Coiling & moulding a Issue 4

decoration
£4.25
Economic, versatile clay EMERGING TALENT UNIQUE EFFECTS PERFECT PATTERNS

ALSO INSIDE: Your Q&As • Doug Fitch’s diary • Specialist directory


001 Clay Craft Cover Issue 2.indd 1 29/03/2017 09:42
tall necked vessel ALSO INSIDE: Two-part moulds • Kiln loading • Supplier spotlight
001 Clay Craft Cover Issue 4 v1 Steve.indd 1 13/06/2017 16:42
Slip inlay decoration

FOR MORE INFORMATION ON EACH ISSUE AND TO ORDER PLEASE VISIT:


shop.kelsey.co.uk/ccback OR CALL: 01959 543 747 Hotline open: Mon - Fri 8am - 6pm

72 ClayCraft Issue 8
HALF_BACK_ISSUES_17.indd 1 31/07/2017 17:26

072 Back Issues Ads.indd 72 10/10/2017 19:16


EVENTS Do you have an event you’d like listed?
Email us at claycraft.ed@kelsey.co.uk for free inclusion

FROM NOW UNTIL


THROUGHOUT OCTOBER can add pleasure to routine daily Part of the Canterbury Festival 2017 Oriel CRiC, Crickhowell, Powys
‘Boxes’ moments or they can be part of a A community pottery experience at visitcrickhowell.co.uk
The Oxford Ceramics Gallery celebration. Bowls are elemental, the heart of historic Canterbury.
oxfordceramics.com forms for sharing, which at their 50 Kent potters offer free UNTIL 30 NOV
best are open and generous. They opportunities for all-comers to Autumn Returns
THROUGHOUT OCTOBER can be tiny and fragile or rugged throw or build a pot. The Nail Factory
FOCUS 2017 and monumental in scale. I use one Every day until 4pm. See Dalbeattie, Scotland
Bevere Gallery clay, one colouring material, and a Canterbury Festival website for Artists include Doug Fitch/Hannah
Featured potters: Sara Moorhouse, single firing, believing that focusing location. McAndrew and Jason Shackleton.
Masazumi Yamazaki, Barry Stedman. on a simple process can produce canterburyfestival.co.uk nailfactory.org.uk
Supported by over 40 Studio work of complexity and depth.’
Potters, Original Paintings, Fine Art cpaceramics.com UNTIL 4 NOV UNTIL 24 DEC
Hand Crafted Prints, Jewellery & Canterbury Festival Open GRAYSON PERRY: THE
more. UNTIL 28 OCT Houses MOST POPULAR ART
beveregallery.com Anna Lambert Cherry Tewfick Pottery open 11-5 EXHIBITION EVER!
Summer Ceramic Showcase each of the three weekends of the A major exhibition by one of the
UNTIL 21 OCT The Craft Centre & Design Gallery, festival. Stoneware, earthenware, world’s most charismatic artists
Exhibition and sale of Leeds porcelain and raku, domestic and and astute commentators on
ceramics Anna has been creating her decorative pots. contemporary society.
Dacorum and Chiltern Potters Guild distinctive earthenware since 15 South Canterbury Rd, Grayson Perry: The Most Popular
268 High St, Berkhamsted, HP4 1AQ. 1980. Using a range of techniques Canterbury, CT1 3LH Art Exhibition Ever! tackles one of
thedcpg.org.uk including altered clay slabs, cherrytewfik.com the artist’s primary concerns: how
modelling, slip and underglaze contemporary art can best address
UNTIL 28 OCT painting and various simple UNTIL 13 NOV a diverse cross section of society.
Jack Doherty printmaking methods, Anna Autumn Exhibition On show for the first time outside
New work, on show at the Lambert has developed her hand The Oriel CRiC Gallery upstairs in of London, the exhibition is central
Contemporary Ceramics Centre built forms to reflect a connection the CRiC is a beautiful space, which to the autumn season at Arnolfini
‘The ceramic pieces that I love are with her locality. showcases creative excellence at and a programme of events
the most fundamental of forms, craftcentreleeds.co.uk its best. The programme of group inspired by Perry’s irreverent take
and most of my recent work is exhibitions per year features art on contemporary culture.
based on just two. Vessels to drink UNTIL 28 OCT in various mediums: painting, Open Tuesday - Sunday, 11am to
from are surely among the most The Canterbury printmaking, sculpture, ceramics, 6pm
intimate objects that we use. They Throwdown glass, and jewellery. arnolfini.org.uk

OCTOBER Canterbury Festival since 2000-2001 pottery to SCG members and their School, Woodstock Road, Oxford on
returns this year, with a new town guests from 10-4pm. Saturday and Sunday the 28th & 29th
1922 OCT having joined the trail: Deal. There £20 for members, guests £25. Coffee, October between 10am - 5.30pm
MADE London are 21 artists across 12 ‘house’ venues tea and biscuits will be available on (Saturday), 10am - 4.30pm (Sunday).
One Marylebone, London ready to open their homes/studios/ the day. Please bring a contribution oxfordceramicsfair.co.uk
An annual contemporary craft and galleries to welcome you and share to an American Supper-style lunch,
design fair where the very best of with you their works, inspirations and as well as your own crockery and 28 OCT  2 NOV
national and international designer- projects. cutlery. Denmead Community Centre, Elemental 2
makers present and sell their work to Support local artists and venture out Hampshire, PO7 6LU The Firestorm Artists Collaborative will
the public. Over 120 exhibitors across on this new Deal town trail during Please contact Zyg Kruk for bookings: be displaying an exciting mixed
all media (ceramics, wood, silver, gold, October weekends, (from 14/15, 21/22 e-mail: zyg@kruk.co.uk: Tel: 023 924 media exhibition utilizing the
glass, textiles and more) showcase and 28/29th) Venues will be open 69104 Mob: 078649 95843 incredible natural properties of the
their original, unique and exceptional at 11-5pm unless stated. Find info southernceramicgroup.org. rocks, minerals and earth beneath
work to the capital. regarding participating artists and uk our feet - using glass ceramics and
madelondon-marylebone. town trails on the ekoh.org.uk website bronze, artists will be displaying a
co.uk and download a brochure and map(s). 2829 OCT breath-taking array of work alongside
Oxford Ceramics Fair the changing autumn leaves.
2122, 2829 OCT 22 OCT More than 60 of the UK’s leading Please note that on the final day the
East Kent Open Houses Demonstration by potters will be exhibiting and selling exhibition will close at 3pm.
town art trails Dylan Bowen their ceramics at the Oxford Ceramics Westonbirt Arboretum,
East Kent Open Houses town art Dylan Bowen will be demonstrating Fair. Now in its 18th year, the event Gloucestershire. 10am-4pm
trails, which have been part of the building and decorating slipware is again to be held at St Edward’s forestry.gov.uk
Issue 8 ClayCraft 73

073-75 Events Issue 8.indd 73 10/10/2017 19:17


EVENTS Do you have an event you’d like listed?
Email us at claycraft.ed@kelsey.co.uk for free inclusion

NOVEMBER 1029 NOV


creating various sculptures with
ceramic artist Penny Price. There
3 NOV24 DEC Wild! will be a focus on animals but there
‘SHADES OF CLAY 2017’ Wild is a collaboration by artists and friends Fiona Pearce, Lisa Bartlett, will be an opportunity to learn how
The highly anticipated show Shades Karen Burling and Penny Fleet. Inspired by the natural world, the to make other types of sculpture,
of Clay welcomes a select group of artists first came together at art group ‘the Cross Barn’ in Odiham. depending on the class’s interests.
ceramicists living and working both Although their interpretations and their use of colour and texture differ, Cost £100 per person. Includes
in the UK and internationally, who thematically and aesthetically, they complement each other beautifully. homemade, vegetarian lunch.
are pushing the boundaries of their The artists are no strangers to Treloar’s. Fiona has exhibited at the Jowett Carantoc-art.co.uk
creative practice. The exhibition Centre twice before, and in April all four artists volunteered their time
celebrates our belief that ceramics and creative expertise to bring our College art students’ vision for their 2226 NOV
can engage, inspire and invite the ‘Sitting with Jane’ bench design to life, with stunning results. Christmas Contemporary
contemplation of the process of Entry is free and all are welcome. Craft & Design Fair
design. Exhibition opening hours: 9am - 5pm (Monday to Friday) Contemporary craft and design fair in
kunsthuisgallery.com Jowett Centre, Treloars, Holybourne, Alton, Hampshire the gardens at RHS Wisley.
treloar.org.uk 9am - 6pm
35 NOV craftinfocus.com
Lustre 2017 12 NOV to potters with many years of creative
Contemporary Craft Maker’s Market One Day Throwing work behind them. From animal 2426 NOV
Nottingham Workshop sculptures to kitchen and garden pots The Kiln Rooms
lakesidearts.org.uk Weston-super-Mare, North Somerset with a variety in between to interest Christmas sale and Open Studio,
An excellent opportunity to learn the anyone who enjoys skilfully-crafted across both sites (Bellenden Rd,
35 NOV basics of throwing pottery. During objects. With over 70 exhibitors, talks and Copeland Park, Peckham Rye,
Made by Hand Cardiff the session we will cover throwing a and demonstrations, there will be London).
Made by Hand is back for its fourth mug, vase, bowl and plate. Cost £100 plenty to tempt you. thekilnrooms.com
year at the historic and prestigious per person. Includes homemade, Sat 10am – 5pm, Sun 10am- 4.30pm
City Hall, Cardiff in November. vegetarian lunch. artinclayfarnham.co.uk 25 NOV  10 DEC
Featuring a handpicked selection of Carantoc-art.co.uk Brighton and Hove Artists
135 leading award-wining makers 1819 NOV Open Houses
from all over Wales and the UK. 1619 NOV Contemporary Crafts Fair The Open Houses are grouped
This year’s attractions include The Living Crafts at Christmas Milland Village Hall in local trails, each with their
Pottery Showdown where visitors Enjoy choosing the perfect presents GU30 7NA, 10am-4pm own unique character, from the
can challenge contestants from the from over 180 designer-makers An annual Meet the Makers event, fishermen’s houses of Hanover,
popular show, drop-in workshops, showcasing the very best of featuring a wide range of crafts. Regency houses of Brunswick, to
and demonstrations. contemporary British craft. With Prize draw and refreshments, with the urban warehouse spaces of North
madebyhand-wales.co.uk twinkling Christmas trees, seasonal donations to The Samaritans. Laine and cottages of the South
food and drink, street theatre and For more details, email: Hilary@ Downs village of Ditchling.
45 NOV entertainment, Living Crafts for totallytextiles.co.uk Festival weekends are: November 25-
Pre-Christmas exhibition Christmas is a fantastic and festive 66, December 2-3 and December 9-10
Six Sussex (and visitor!) artists and day out. 1819 NOV aoh.org.uk
craftsmen- pre Christmas exhibition, Blenheim Palace Totterdown Art Trail
hosted by Jonathan Chiswell Jones, Woodstock, OX20 1PP Bristol 25 NOV
ceramics. livingcrafts.co.uk The oldest art trail in Bristol, where Brockley Open Studios
The English Wine Centre each year around 200 professional Artists
Alfriston Road, Berwick, East Sussex. 18 NOV and amateur artists, working in a wide Christmas Fair
BN26 5QS. 10am-5pm Craft and Gift Market, variety of media, display and sell their 12-4pm
Cranleigh artwork to members of the public. brockleyopenstudios.co.uk
11 NOV Cranleigh Village Hall This year the theme is Fairytales,
Christmas Craft Fair Village Way, Cranleigh, Surrey GU6 Myths and Legends, which doesn’t 2526 NOV
Rural Life Centre, Tilford, nr Farnham. 8AF mean to say the art needs to reflect Aylesford Pottery
Lots of stalls of handmade goods in 10am - 4pm the theme, but expect to see some Sale, 10% off. Come and enjoy mulled
the Rural Life Centre. The stalls are in folklore related ‘goings-on’. wine and mince pies, and bag
several venues about the site (some 1819 NOV frontroom.org.uk yourself a Christmas bargain!
open) so a coat and boots might Art in Clay Farnham aylesfordpottery.co.uk
be a good idea! Entry is FREE and Art in Clay at Farnham is back for its 19 NOV
refreshments are available. Lots of 21st year. Now owned and run by One Day Ceramic 2526 NOV
free parking at the venue. Richard & Anna Miller (Froyle Tiles). Sculpture Day North Bristol Art Trail
10.30am-3pm There will be a range of work, from Weston-super-Mare, North Somerset 10am-6pm
rural-life.org.uk newly qualified artists working in clay An introduction into the basics of northbristolartists.org.uk
74 ClayCraft Issue 8

073-75 Events Issue 8.indd 74 10/10/2017 19:17


DECEMBER To achieve success in applying to galleries, for commissions and residencies or to sell your work
online, your craft needs to be represented by high-quality images. Professional studio images are
2526 NOV
always worth the investment. However, makers need to be able to regularly document their work
London Potters Local W4 to the highest standard. Budgets and logistics may mean professional photography is not always
Ceramic Fair possible. This workshop will help you support your own practice by providing you with the skills you
St Michael’s Church, Elmwood Rd, need. First impressions are vital, and a high-quality photograph is worth a thousand words.
Chiswick
W4studiopottery.weebly. 14 DECEMBER textured or non-reflective Manager and Talent Development
com Photographing craft surfaces eg ceramics, wood, Manager will highlight the
techniques willow. different styles of photographs
13 DEC The Goldsmiths’ Centre, London Workshop Two: 1.45 –5.15pm, needed for Collections, Product
The Design Museum Market Photographer Anne Purkiss aimed at makers working with and Marketing Photography.
The Design Museum Market presents provides useful tips and reflective surfaces; eg jewellery ■ Based on the images you have
a beautiful selection of jewellery, techniques for photographing and glass. brought (your own or pictures,
ceramics, glassware, textiles, craft, enabling you to capture and examples of what you
homewares, graphic design, digital the essence of your work and What to bring: would like to achieve), Anne will
and children’s products - everything improve your marketing. ■ Examples of images of craft discuss how better results can be
from original stocking fillers to stand- The day has been spilt into two that inspire you, and if possible achieved, what you can attempt
out gifts. sessions. The first session is aimed some photographs that you have to do on your own, when you
224 - 238 Kensington High Street at makers who produce work already taken of your work. may need professional help and
London W8 6AG that has a textured surface, for how to get it.
designmuseum.org example wood, ceramics, textiles Workshop content: Crafts Council courses, events,
and willow. The afternoon ■ Demonstration of talks and workshops strike a
23 DEC session is aimed at makers photographic techniques using balance between information-
Aylesford Pottery who produce work that has a some of the Crafts Council led and practical training, always
Sale, 10% off. Come and enjoy mulled reflective surface, for example Handling Collection pieces in a friendly, open atmosphere
wine and mince pies, and bag jewellery and glass. ■ Tutorials of simple editing that encourages discussion and
yourself a Christmas bargain! techniques using the informal networking.
aylesfordpottery.co.uk Which session should I photographs taken to show you £40 per session, £5 discount for
sign up to? how you can make the most of Crafts Council Directory makers
34 DEC Workshop One: 9.30am – 1pm, your photographs and Goldsmiths’ members
Turning Earth Winter aimed at makers working with ■ Crafts Council Collections craftscouncil.org.uk
Market
60 artists, live music, demonstrations,
food and mulled wine. 12-6pm. 10 DEC 17 DEC by meteorites and shooting stars
Arch 362, Whiston Rd, London E2 8BW Independent Ceramics One Day Throwing through to space-age ceramics and
e2.turningearth.uk Market Workshop ethereal glass, this exhibition offers
Rich Mix London Weston-super-Mare, North Somerset an opportunity for stargazing right
9 DEC Showcasing over 90 innovative An excellent opportunity to learn the in the heart of Brum! With a wide
DIY Art Market ceramicists and DIY potters, the basics of throwing pottery. During variety of products and prices, this
Rich Mix London Independent Ceramics Market is the the session we will cover throwing a display is perfect for those looking
Pick up unqiue gifts just in time for ideal location for discovering a new mug, vase, bowl and plate. Cost £100 for alternative Christmas gifts, all
Christmas wave of ceramic artists. per person. Includes homemade, handmade with love!
The DIY Art Market brings together a Exhibitors include current students, vegetarian lunch. rbsa.org.uk
community of creatives and provides plus up-and-coming graduates, as Carantoc-art.co.uk
visitors the opportunity to discover well as established ceramicists from UNTIL 10 JUNE 2018
and take home unique pieces. various London ceramic studio’s UNTIL 14 JAN 2018 Radical Clay: Teaching with
Pick up art prints, ceramics, zines, and workshops including, Turning Rachel Kneebone the great potters of the
independent publications, risograph Earth, Glebe Road Studios, Porcelain sculptures 1960s
prints, lo-fi sculptures, jewellery, sewn Peckham The Kiln Rooms, Ceramics V&A Museum Bristol Museum & Art Gallery
items, screen prints, and artist books. Studio Co-op, among many others. vam.ac.uk Ground breaking pieces from the
This event will showcase a curated The ceramic market provides a leading potters of the time, including
selection of over 100 emerging unique opportunity to see a diverse UNTIL 27 JAN 2018 Hans Coper, Lucy Rie, Janet Leach,
artists, exhibiting alongside some range of ceramic artwork, and buy Starlight Ruth Duckworth, Bernard Leach,
more established, all from a wide direct from the maker. Original Craft Gallery, Birmingham Michael Cardew and Gillian Lowndes.
range of artistic backgrounds, all of ceramics for sale will include lamps, Blast off into a galaxy far away with A piece by Kate Malone, made when
whom demonstrate an innovative tableware, vases, pots, sculptures, Starlight; an exhibition exploring she was a student at Henbury School
approach to their practise. jewellery, and unique pieces. the spectacle and wonders of outer in Bristol, will also be on show.
richmix.org.uk richmix.org.uk space. From jewellery inspired bristolmuseums.org.uk
Issue 8 ClayCraft 75

073-75 Events Issue 8.indd 75 10/10/2017 19:17


3 EASY WAYS TO ORDER
1 ONLINE
shop.kelsey.co.uk/xclay WRAP-UP CHRISTMAS!

2 POST
Buy one of our
SUBSCRIPTION GIFT PACKS
Fill in the form and send to: this Christmas and let a friend or loved one
Subscriptions, FREEPOST RTKZ-HYRL-CCZX, choose the magazine they want.
Kelsey Publishing Ltd., Cudham Tithe Barn,
Berry’s Hill, Cudham, Kent, TN16 3AG. AUTOMOTIVEHave a passion for cars?
Our magazines cover the full gamut
of motoring,
performance to classic and one marque. from

3
GT PORSCHE
is for aficionados off BMW CAR
demos the CSLs, E30 TRIUMPH WORLD
Germany’s most famous
sports car maker. M3s and M1’s and other brings readers a
Containing model reviews, marque classics. With roundup from the
buying guides, classic road tests of the latest much missed Standard

CALL
features, race coverage models, it reviews the and Triumph marques

Christop latest high performance including features


pher Fro
and the latest news, GT
o st Porsche is a must for all
fans of Stuttgart’s most 13
machinery, tuning,
prototypes and provides
on specific models,
readers’ cars, buying
famous export. a comprehensive buying 15 and maintenance advice

YOU HAVE BEEN GIVEN A ULTIMATE


PORSCHEE
guide for the brand.
JAGUAR WORLD
plus a section focused
on clubs and forums.

6 MONTH CHRISTMAS GIFT SUBSCRIPTION cellebrates some


of the finest four-
is an essential resource
for Jaguar drivers,
TO ONE OUR WONDERFUL MAGAZINES wheelers ever buyers and ownerrs

BY: produced with owner


stories, rare archive
material, buying advice
alike. Every mo onth, the
magazine features road
tests, archive material,
Jackie Skellton 12
and expert opinion
on maintaining
motorsport and the
latest marque news from
and modifying
your Porsche.
14 around the world - a
must for leaping 16
As you will see, we publish a whole cat lovers!
range of magazines, ranging from
agricultural to motoring, transport to lifestyle to fitness,
animal keeping – there is a titlle there

01959 543 747 & quote offer code XCLAY


are grouped in interest group on this for everyone (titles ULTRA VW
VW CAMPER & BUS
fold-out)! Whether you are interested brings you the very best
of a yoga ashram, want to follow the in the teachings VWs from around the covers every generation
restoration of a vintage traction engine, world including an eclectic of the VW Transporter.
viability of smallholding and husbandry investigate the mix of Beetles, Campers, Each issue is crammed
r or enter your first triathlon, our magazines Karmann Ghia’s, the full of the best feature
the veryr best quality coverage of their subject will provide occasional Porsche and vehicles, technical
guides, product reviews
for the next 6 months. classic water-cooled Golf
17 too – if it’s a VW, Ultra VW
19
and inspirational travel
features. Where, what,
Just look through the e titles on this gift fold-out (they’re all MG ENTHUSIAST
has it covered.
how-this is the magazine 21
here) and choose the title you would VOLKS WORLD for you.
like a subscription n for – you’ll receive 6 issues over the is dedicated to all
V t
VW
e coming months. MGs, from pre-war
TFs, to the Midget,
has focussed on
air-cooled Volkswagens provides a monthly
MGA’s, B’s , C’s ’s and since 1987. if you fix of T4, T5 and T6
want to be inspired by Van-related content
WHICH TITLE  THE CHOICE IS
the MGF Every r month,
100 pages are packed the very best Beetles, for the water-cooled

YOURS? with the very best cars,


buying guides, road
tests, show report
buses, Karmann Ghias
and Type 3s and learn
what, how, when and
Volkswagen Transport r er
fan. Each issue is full
of reviews, road tests,
r s,
how much to buy, this industry specialists, road
To receive your copy every month,
motorsportr and
practical advice. 18 is the only magazine
20 trips, essential technical

Hotline open: Mon – Fri 8am – 6pm.


couldn’t be easier or quicker. Go to

R GIFT
you’ll ever need. advice, and fabulous
last page, and confirm both your name the gift form on the feature vehicles.
and address details are correct. Complete

YOU
with the publication you
u’ve chosen and pop the completed the section MERCEDES DRIVER
envelope provided and post back to form in the PRIORITY
T FREEPOST reaches out to real MINI WORLD
RETRO CARS
us. Mercedes owners of
vintage and contemporary
is the world’s best-seller
for the Mini in all its forms is packed with cool
models alike to provide from 1959 trailblazers to cars from the 50s to
As soon as we receive confirmation the most in-depth and fuel-injected Coopers. the 90s. Each month
of your order, we will arran
ngee for the subscription of your authoritative roundup of From readers’ cars there is practical advice
chosen publication to start with the Mercedes information, to buying advice and for anyone considering
next available isssue. legend and practical practical tips, MiniWorld modifying their classic
advice on iconic models 23 is the definitive read for
25
motor together with
stories of brave owners
I do hope you enjoy your subscription of the marque. any fan of this
and will be inspired, informed and pioneering city car. and the stories behind
next 6 months. entertained for the MODERN MIN their beautiful restorations.
MINI MA
AG
is the only magazine
for the BMW Mini in is de
edicated to
the UK, covering the surviving originals and
Yours Sincerelyy latest news, providing restored rarities, through
brilliant technical advice to the maddest custom
and detailed practical and performance
art
r icles together Minis, every issue has
with features on real comprehensive coverage
22 owners’ cars from
24
of the Mini world with
around the world. a highly respected
Sarah Sharp technical section. 26

AUTOMOTIVE
Have a passion for cars?
Our magazines cover the full gamut
of motoring,
LIFESTYLE
Want to move to the Coast, cycle
performance to classic and one marque. from the JOGTLE route, find an
exercise regime or just want to watch
the best SCIFI movie?
We have the magazine for you!
BANZAI
is packed full of FAST CAR
is today’s car culture, PERFORMANCE
performance-orientated BMW COAST
Japanese vehicles and bringing together the TOP SANTÉ
hottest gear and kit, is a high-powered is for those who love the SCI FI NOW
with ground-breaking sea or relish the seaside. is packed with
photography, exciting inspiring guides with the magazine about the fastest
information on features big news on the

YES! I would like to take advantage of these special


very best cars. As the of the brand. Interested in Every issue has coastal
and slick editorial features stories, lifestyle, food, wellbeing, fitness, best shows, interviews,
comprehensive show high performance market going fast? The magazine
walks, wildlife and interior food, beauty and much reviews containing
reports and informative place, Fast Car is the is full of the latest news dedicated sections for
design which together more believing every
and fascinating features
from around the world.
27 magazine for all those
working on projects, 29
on forthcoming models,
the best mods and parts with seaside escapes, woman has the ability sci-fi fans. Each issue
homes, gardening and to maximise her health also includes a section
bodywork or performance. together with stunning
CUSTOM CAR readers’ cars. property make up the
appeal of every issue.
2 and beauty whatever
her age. 4
dedicated to the best
(and sometimes worst)
was the first modified FAST FORD films, shows and sci-fi
motoring magazine. is the magazine for Ford- PSYCHOLOGIES literature.
Every issue is filled powered performance CLAYCRAFT
with the best cars in enthusiasts. Packed with is about what we’re like
inspirational cars, useful on the inside not what is for ceramics
the UK, invaluable enthusiasts to improve
technical advice, drag guides, events, projects we look like. Want a e
magazine that’s explores their skills and take
racing news and the and updates from the

discounted prices. Please start my subscriptions with


the way we think, them to a higher level.
very best roun
ndup of race world. Interested in The magazine offers
behave and connect?
26 custom cars, hot rods
and street machines. 28
fine-tuning anything with
a blue oval badge? It’s all Want to be a better numerous practical
step-by-step projects
in Fast Ford! 30 1
parent, partner or friend?
Psychologies will help and information on clay
you become one. 3 choice, glazing, firing
kilns, design, tools, and 5
product reviews.
PERFORMANCE
VAUXHALL RETRO JAPANESE
monitors the growing

SUBSCRIPTION
is the UK’s one and THE GREAT
only Griffon-dedicated popularity of classic OUTDOORS HOLIDAY LIVING
performance magazine. It Japanese cars. Each created by hillwalkers for is Britain’s best magazine
has the very best modified month, models are hillwalkers. Wilderness for giving you holiday
Vauxhall and Opels from described and, analysed

the first magazine issue after Christmas to:


instructors and writers inspiration; dedicated to
around the world and through road tests and provide enthusiasts with helping you get the most
31 expert technical advice,
step-by-step DIY project 33
reviews, together with
buying guides, advice
ideas and inspiration out of your free time and
making the most of every
PERFORMANCE
guides and show reports. and technical content. 35 6
through stunning
photography, top class holiday opportunity,
V
VW ROLLS ROYCE &
BENTLY DRIVER CLASSICS MONTHLY
writing and brilliant walking
and backpacking routes.
8 from glamping to quirky
breaks, from cabins 10
has been at the OUTTDOOR
forefront of modified is devoted to the history to caravans.
is dedicated too the FITNESS PARK HOME &
VW’s for over a decade of these two great buying, rebuild and HO
OLIDA
AY CARAVAN COLOUR-ME
now, shaping the marques, this new incorporating Triathlon COLLECTION
maintenance of cars Plus and Running is is the only magazine
scene into the most magazine explores and from the 1930s - 80s. Looking for a simple way
innovative of its kind. explains the makes and the only UK magazine in the UK to cover
Each issue is packed which helps you get fit, park homes, feature to relax for a few minutes...
If you’re after the different models from with great technical or an hour? Subscribe
fastest, finest and most the first Silve train and compete for the newest models,
er Ghost advice, simple guides, events. Outdoor Fitness give practical advice to this new collection of
fun VAG metal, then
Performance VW V is 32 and 3 litre to
the present day’s 34
and project progress,
taking you through the
shows you how to train on site living and have adult colouring books with
fresh, modern themed
for you. and plan for exciting a “Questions of Law”
Dawn & Bentayga. nitty gritty of repair and and challenging designs,
restoration.
challenges and ho
complete them.
ow to 7 service, a sites guide
and a garden section. 9 all printed on high quality
paper to produce quality

Magazine .............................................. No of issues ........ £............


CLASSIC JAGUAR results.
CLASSIC CAR MART
relives the golden era of
20/09/2017 17:19
is the world’s best-seller MATCH
Jaguar motoring, profiling for the Mini in all its forms
the people, places and is essential for the young
from 1959 trailblazers to football enthusiast.
the cars that built the fuel-injected Coopers.
marque. With its focus Each fan receives the
From readers’ cars complete rundown on
on classic models of the to buying advice and

NOT
the Premier League,
marque, Classic Jaguar is
the perfect complement
37
practical tips, MiniWorld
is the definitive read for
the latest news, results
and reports on all the
Then just
to Jaguar World.
39 continue looking
FOUND
any fan of this favourite teams together
pioneering city car. with great cover gifts
CLASS
SIC FORD
CLASSIC CAR and collectibles.
through this fold
WHAT YOU
is about pre-1990 BUYER
Fords, standard or
modified - from Populars provides unique insight out brochure
ARE LOOKING
and Cortinas, and into the classic motor
Capris to Granadas, market, with its news,
until you find

Magazine .............................................. No of issues ........ £............


Full of practical advice auction reports and

FOR YET? what magazine


on buying, maintaining events of the classic
and restoring, every scene. With over 1500
36 cars and parts for sale in
suits you.....
issue report r s on shows,
events, runs, rallies 38 its Free Ads section, the
and racing. magazine is THE market-
place for classics. 11

A3_XMAS_FOLDER.indd 1

This subscription is for myself This subscription is a gift


With a range of over 60 titles -
FREE GIFT SUBSCRIPTION CARD there’s a publication for everyone!
A gift For all gift subscription orders received before the
for you... 11th December, we will send a free gift card so that
Choose a 6 or 12 issue subscription (with a
you can inform the recipient of their special gift. suitably festive discount) and we’ll send you
the pack with an array of over 60 magazines
SUBSCRIPTION GIFT PACK OPTIONS to choose from. Give it to your recipient and
6 issues at £18 No of packs ........ £............ they choose the title they’d like to read over
12 issues at £35 No of packs ........ £............ the next 6 or 12 months. We provide a pre-paid
Orders must be received by 11th December to ensure delivery of your Gift Pack before Christmas.
envelope for confirmation of the title: your
friend or family member returns it to us and
YOUR DETAILS we’ll do the rest. It couldn’t be easier!
Mrs/Ms/Miss/Mr ............... Forename ..............................................
Surname .........................................................................................
Address ...........................................................................................
shop.kelsey.co.uk/giftpack
.........................................................................................................

Christmas
The No1 magazine for a fabulous Christmas
The
................................................................ Postcode .........................
2017
For
stockists
turn to
page 144

SANTAS GIFTS

Daytime phone ........................................ Mobile ........................... magazine


Ho Ho Ho Christmas tags,
£3.95, Nancy & Betty Studio

150
Email ............................................................................................... GREAT S
IDEA
GIFTEVERY
FOR
ONE
Traditional combo
Brown paper with matt red paper makes for a
winning combination for wrapping presents.
Add in a unique twist with natural foliage from holly
and berries to sprigs taken from your Christmas tree –
simply tuck under a ribbon to attach. Up the glamour
with the introduction of a touch of red foil wrap for
extra special key gifts.
RIBBON REMINDER
Do Not Open Ribbon, £4,
The Contemporary Home

YOU KNOW
Wrapping paper, from £4, Kraft gift accessory pack, £5; BOOTY BAG
all Wyevale Garden Centres. Christmas wishes
present sack, £10,
Paperchase

)$%'4 30 *."*+1 4$ 2$(3+%0 1+&0"0%4 40-45"0!

DELIVERY DETAILS (if different from above)


CHRISTMAS TABLE

FESTIVE $. "+33$% *%1 /"*# .$" 4,0 30!4 0&024!


WIN! SEASON SIMPLE STARS
White Magic
FOR KIDS
RIBBON White stars, £3 for 10, B&Q Snow and Ice is always a popular and elegant
look but warm it up with on-trend touches of gold
FINISH
A PERSONALISED White Ribbon
Fabric, £4, GOLD
and bronze – on the tree decs, napkin rings, place
mats and cutlery. Use simple white plates then add
interest by choosing champagne glasses with a

YEAR-AHEAD Easy projects Flying Tiger STANDARD


6-piece two tone
16
different white design on each one. A modern
twig tree takes centre stage.
7ft Emperor flocked Christmas tree, £89.99;

Family days out


cutlery set, £24.99,

HOROSCOPE BY
baubles, from £9.99; Rustic table top twig
arrgos.com tree, £12.99; Wooden tree decorations,
LOVELY LLAMAS £29.99; Sheepskin rug, £269.99; Viners 16-piece
Board games gold titanium cutlery set, £109.99; 12-piece charger

RUSSELL GRANT! plate set, £19.99; Mikasa balloon goblets, £39.99

Mrs/Ms/Miss/Mr ............... Forename ..............................................


Paperchase

PLUS WIN books! Vibrant pop


STUCK ON YOU (set of 4); Mikasa balloon flutes, £39.99 (set of
4); Wreath, £17.99; Grace Cluster pendant light,

Winter
Blue Stripe Fabric Sticky
£99.99; all very.co.uk
Gift Tape, £3.95, Dotcom
giftshop

BE THE /,+40!
A classic white backdrop for your
Fun and bright, add a playful charm to
your pressies this year with bursts of colour
and plenty of character. Don’t be afraid
to clash, confuse and contradict with this

BEST
Christmas presents creates a whimsical style that both kids and grown-
chic, elegant look. You can then ups can enjoy.
introduce splashes of gold, silver Santa Cactus wrap, 3m, £4; silver wrap, BAG IT UP
and black. Alternate between thick 5m, £5; llama with presents hanger, £6; Treat bags, £2.99 for 12,

HOST
ribbons and natural twine and add a geometric disco bauble, £5; confetti bauble,
£5; felt festive seal, £6; jingle bell star, £5; all
Talking Tables
simple star decoration to finish.
GOODY BAG Christmas Wrapping Paper, from COOL CENTREPIECE John Lewis
£3.50, Waitrose
Let It Snow gift bag, 89p, Home Bargains Amarilis Spiral T-Light

Surname .........................................................................................
Tips and tricks Bronze Glow Holder in Gold, £55,
outthereinteriors.com
The Christmas Magazine 2017
47

to be ready for 46
Charger plates come into their own at this time of
year – they make a great base for your place setting

SERVE UP: anything and they are readily available in lots of colours.
Bronze on grey is a winning combination. Then layer
up a white plate and crisp napkin then finish off with

plus shopping a gold pomegranate decoration and a pheasant


feather sprig for an individual look.
FESTIVE DRINKS Rustic Gold Partridge ornament, £29.99; Gold Base
tealight holder, £14.99; Pheasant feather, £7.99;

BEST TURKEY Pomegranate decoration, £4.49; Wine glasses, £39.99;


Dining plates, from £8.95 each;

Festive inspiration!
CHEESE BOARD
all dobbies.com

Address ...........................................................................................
ADD SPARKLE AND SHINE
parkly gold cracker, £25 for 6,
Sp
ebenhams.com
de

METAL EFFECTS
Copper Place mats,
£40 for 2, miafleur.com

DECORATIONS,, WRAPPING,, RECIPES,, CARDS


GS S From STAG PARTY

......................................................................................................... £5
TABLE SETTIN YULE RECIPE
Gold Glitter Reindeer,

CRAFTY MAKES
£15, tch.net

Go For Glitter
A runner of real moss is really easy to
achieve but looks fantastic. Add beaded
pin lights for sparkle then choose grey and

Shopping made
white tableware for a sophisticated look.
Use sprigs of fern on the napkins, place a
bird feather decoration on each plate and
give a different silver and white cracker

easy: gift guide!


to each person. The stag looks
fabulous with his fur scarf!
TABLE TALK Idris table, £259; and chairs, £99; Pearl lights,
Stag Mistletoe £8; Premium crackers, £5; Decorations,
napkin, £22.50 for 4, from £1; Glitter reindeer, £5; Silver tree, £8;

................................................................ Postcode .........................


thornbackandpeel.com 12 piece ribbed tableware range, £18; Grey
tableware range, from £4; 16-piece silver
£4.99

glitter set, £8; White napkins, £4 set of 4;


Cut glass ceiling lights, £15; Silver tealight
holder, £12; all george.com

PLUS 24 TIPS TO MAKE THIS CHRISTMAS YOUR BEST EVER!


33
The Christmas Magazine 2017
32 The Christmas Magazine 2017

Daytime phone ........................................ Mobile ...........................


Email ...............................................................................................
P.S. For great Christmas inspiration
PAYMENT DETAILS
take a look at The Christmas Magazine,
I enclose a cheque made payable to Kelsey Publishing Limited,
available at:
for the sum of £ .......................

Please debit £ ....................... from my:


shop.kelsey.co.uk/xmas
Visa Visa Debit MasterCard
Card number ALL OF OUR MAGAZINES CAN BE
Security number SPOTLIGHT: WORLD OF WEDGWOOD PURCHASED AS DIGITA
ClayCraft
PINCH, COIL, SLAB AND THROW Issue 7 £4.25
SUBSCRIPTION GIFTS.
Valid from ..................... / ..................... Expiry date ..................... / .................... WIN!
VIP BCB TOUR
BRITISH CERAMICS BIENNIAL
6-week festival TO BUY CLAYCRAFT VISIT:
+ TEA AT
WEDGWOOD

pktmags.com/claycraft
Signature ......................................................... Date ....................... 7 STEP-BY-STEP
PROJECTS
Hands-on guides

FOR OUR OTHER TITLES VISIT:


to inspire you

MODERN
Offers available to new subscribers only (find out why we are unable to honour these prices for MAKERS
Apprenticeship
renewals visit our website at shop.kelsey.co.uk/pricing). Offer closes 25th December 2017. Kelsey scheme for
young people Issue 7
£4.25

Publishing Group Ltd., uses a Multi Layered Privacy Notice giving you brief details about how we CERAMIC SPOONS NEW MAKERSPACE USING RESISTS

would like to use your personal information. For full details visit www.kelsey.co.uk or call 01959 543
7474. If you have any questions please ask as submitting your data indicates your consent, until you PINCH PROJECT STONEHOUSE STUDIO GLAZE ON GLAZE

ALSO INSIDE: "!!!!!!!!!!!!!!!! # "!!!!!!!!!!! # "!!!!!!!!!!!!


choose otherwise, that we and our partners may contact you about products and services that will
be of relevance to you via direct mail, phone, email and SMS. You can opt-out at ANY time via email
data.controller@kelsey.co.uk or 01959 543 747.

XCLAY
SPOTLIGHT: WORLD OF WEDGWOOD

C lay Cra ft Down


g course with Throw Do

ClayCraf t
y throwin
WIN 2-da
PINCH, COIL, SLAB AND THROW Issue 7 £4.25

BRITISH CERAMICS BIENNIAL


/#1(%" (0#9" @9-+ -1& >%,08
WIN! 6-week festival

26
MAKING SIMPLE FLOW VIP BCB TOUR
Pinch yourself a po + TEA AT
WEDGWOOD

CREATIVE IDEAS

7 STE P-BY-STE P
PROJECTS
7Hands-o
STEP-BY-STEP
PROJECTS
n guides
to inspire you

MODERN
½ MAKERS
PRICE LARGE
TICKETS COIL-BU ticeship
FOR Appren
Makescheme
SAVE
ap for
ART IN CLAY
HATFIELD bird young
bath people Issue 7
£4.25

SURFACE DECORATION
THROWING TRANSFERS
CERAMIC SPOONS NEW MAKERSPACE UP TO
31%
USING RESISTS

JUG OPTIONS USING DECALS


SLIP INLAYS
C ) >=. :=6 :=<3=: )
ALSO INSIDE: /A66=<C .<B7.=AEA; PINCH PROJECT STONEHOUSE STUDIO GLAZE ON GLAZE
ALSO INSIDE:

6 ISSUES £18 OR 12 ISSUES £35 1

shop.kelsey.co.uk/xclay

SAVE MONEY ON THESE POPULAR TITLES THIS CHRISTMAS...


Marvin at work
in the studio.

MUDDY FINGERS POTTERY


– Paul Bailey found a people’s champion
I
came across Marvin He explained that the pottery was
Kitshaw on a visit to the based nearby, in Jarrow, and runs on the
Biscuit Factory Gallery in model of part working studio taking on
Newcastle this summer, and commissions and part teaching resource.
it’s well worth a visit if you’re in the Describing the philosophy behind the
area. He was busy demonstrating Raku pottery, Marvin commented: “Like
firing for the public. many small potteries, we’re very much a
part of the local community, working on
a range of projects. Together with Diane
Nicholson, we teach a limited number of
students, which allows us to develop
them technically and challenge their
perceptions of ceramics.”
Muddy Fingers was born in 2003,
when Marv Kitshaw founded the
company. He trained as a 3D designer
and only later on in life did he discover
his love of clay.
From then onwards, the pottery has
run night classes to teach people the joys
of creating with clay. Diane joined as a
student in 2007, and a couple of years
later she joined the business as a potter,
alongside Marv.  Carley Pearson– Hand-built
succulent pots, made from slabs of
School workshops, building bread grogged stoneware bisque-fired to
 Sue Edmundson – Grogged ovens and running various making
stoneware. Bisque-fired in electric kiln 1020°C in an electric kiln. Raku-fired
to 1020°C then Raku-fired to 950°C. workshops are all part of the day-to-day to around 950°C with copper Raku
Handbuilt and press-moulded forms. activities at the pottery, but the main glaze.
78 ClayCraft Issue 8

078-79 Emerging Potters Issue 8.indd 78 10/10/2017 19:18


EMERGING POTTERS

 Pit-fired vessel by Marvin Kitshaw.


is a top priority.
In contrast to the tableware, they are
also well-known for their Raku
workshops, which they take all over the
country. Just this summer, they’ve been
to Glastonbury festival, art galleries and
museums, and also Middleport Pottery,
the home of the BBC Great Pottery
Throw Down programme.
 Clare Lockey – Wheel-thrown As part of the weekly adult night
cauldrons made from grogged classes, which run three nights a week,
stoneware with rutile glazes. Bisque- the students get to do Raku sessions,
fired to 1020°C and then glaze-fired design their own glazes, learn slab, coil
in electric kiln to 1240°C.  Michael Clarke – Made with
and pinch methods, as well as throwing grogged stoneware. Wheel-thrown
focus at the minute is tableware. They pots. Pit-firing has been a passion of vessel, saggar-fired in a Raku kiln with
currently supply a number of Michelin Marvin’s since the beginning, and as organic materials and ferric chloride.
starred and world-class restaurants as well as writing his own book on the Bisque-fired in electric kiln to 1020°C
part of their collaboration with subject he has also been featured in then Raku-fired to around 950°C.
Goodfellow and Goodfellow Chef pit-firing books and on the BBC.
suppliers. Tom Kerridge, Jason To conclude, Diane summed things up teachers, doctors, IT workers, architects
Atherton, and Burberry are just some of as follows: “Our students come from all and engineers on our courses. Generally,
the places where you’ll be able to eat backgrounds. At the moment, we have they come to get away from the daily
from a Muddy Fingers plate. stresses of life. Pottery classes give them
Using stoneware clay for its durability something else to focus on for a few
and flexibility, and throwing most of hours a week, and help clear the mind.
their pottery on the wheel, Marv and Some of them say it should be on the
Diane also design their own glazes to NHS, it’s so therapeutic!” 
complement their restaurant ranges. ■ muddyfingerspottery.com
Glaze chemistry is something to focus ■ Twitter: @muddyfingerspot
on, and getting the glazes completely ■ Facebook and Instagram
food-, microwave- and dishwasher-safe

 The pottery went into a local


school and made these poppies with
the students for their new garden.  Workshop on Heritage Open
 Marv, pit-firing. They got a local graffiti artist in too. Days.
Issue 8 ClayCraft 79

078-79 Emerging Potters Issue 8.indd 79 10/10/2017 19:18


COURSES  Do you run a course that you’d like to see here?
Email claycraft.ed@kelsey.co.uk for free inclusion in our listing
SCOTLAND various others leafylanepottery@gmail.com
Tel: 07886 841936
and 7-9pm
Location: Scarborough Saturdays and Sunday workshops:
katiebraida.com various dates throughout the year
THE WEE MUD HUT OLD STABLES STUDIO
Location: The Wirral
Courses: Handbuilding, throwing for FIRED ART DESIGNS Courses: Throwing: bootcamp,
monceramics.co.uk
all ages/abilities. Groups and individual Courses: 1:1 wheel work, brushwork, weekends, tasters and regular classes
sessions surface decoration. Handbuilding, slab Dates: Various GREEN MAN CERAMICS
Dates: Various work, coil work. Classes Location: Hebden Bridge, Yorkshire Courses: Pottery Discovery weekends
Location: East Kilbride, Scotland Dates: Various Dates: Various
Lanarkshire JAMES OUGHTIBRIDGE
Location: Pontefract, Yorkshire Location: Colne, Lancs
theweemudhut.co.uk Course: Large Scale Slab Building
firedartdesigns.co.uk Tel: 01282 871129
Dates: Contact for details
JILL FORD Location: Holmfirth, West Yorkshire
CUMBRIA/N EAST Course: Workshop and Day Courses jamesoughtibridge.blogspot.co.uk NOTTS/DERBYS/
MUDDY FINGERS POTTERY
Dates: Thursday evenings & day JIM ROBISON CERAMICS LEICS/MIDLANDS
courses throughout the year Courses: Week-long Ceramics, and
Courses: Adult night classes Location: York
Dates: Tuesday and Thursday Glaze and surface courses
Tel: 01717 289008 Dates: Various CAN-DO POTTERY
evenings, every six weeks Courses: Hand-building for beginners
Location: Jarrow, Tyne and Wear JOY GIBBS PRICE CERAMICS @ Location: Holmfirth, Huddersfield
GRAPE VINE STUDIOS boothhousegallery.co.uk Dates: Thursdays 10.30am-12.30pm
muddyfingerspottery.com Location: Mellor, Stockport
Courses: Handbuilding, throwing,
ANNIE PEAKER SCULPTURE LOUNGE STUDIOS candopottery.wixsite.com/group
raku
Courses: Figurative Ceramic Courses Courses: Throughout the year
Dates: Weekly sessions, Thurs 6-8pm, MIDLANDS ART CENTRE
Dates: April - October (3 & 5 Days) Dates: Contact directly for further
Fri/Sat 10am-12pm Courses: Ceramics Open Studio
Location: Penrith, Cumbria information
Location: Mattersley, Doncaster Dates: Various
anniepeaker.co.uk Location: Holmfirth, West Yorkshire
joygibbsprice.co.uk sculpturelounge.com Location: Birmingham
GREENWOOD CRAFTS macbirmingham.co.uk
YORKS Courses: Handbuilding; throwing ANNA-MERCEDES WEAR
PLAY WITH CLAY
from beginners onwards Courses: Regular one-day
handbuilding courses, includes Courses: Throwing, toddler clay
ART HOUSE, SHEFFIELD Dates: All year Dates: Saturday mornings, Tuesday
Location: N Yorks making and decorating animals and
Courses: Wheel, handbuilding, afternoons, throwing weekly by appt.
tryacourse.co.uk figures
porcelain, raku, figurative, workshops, Location: Loughborough
Dates: Throughout the year
summer intensive week (chimeneas) LEAFY LANE POTTERY BY SUZIE creationspottery.co.uk
Location: Sheffield
Dates: Mon-Sat 10am-9pm
Courses: Hand building courses anna-mercedeswear.com SEVEN LIMES POTTERY
Location: Sheffield City centre
for all abilities. Learning disabilities, Courses: Varied courses/classes
arthousesheffield.co.uk
residential homes, schools and private Dates: All
KATIE BRAIDA sessions, and sculptures for your home LANCS/CHESHIRE/ Location: Moss Side, Manchester
Courses: weekly class and day and gardens MERSEY 7Limes.co.uk
workshops Dates: Throughout the year and area
Dates: Every Thursday evening and Location: Hull and East Yorkshire SEYMOUR ROAD STUDIOS
BALTIC CLAY Courses: Weekly/one-day weekend
Courses: Evening and weekend clay classes
courses Dates: Various
Dates: Tue, Wed, Thurs (6.30pm - Location: West Bridgeford, Notts
8.30pm) & Sat seymourroadstudios.co.uk
Location: Liverpool
balticclay.com PAT SHORT CERAMICS
Courses: Beginners’ handbuilding
BLUE BUTTERFLY CRAFTS workshops
Courses: Handbuilding. Weekly 2-hr
Dates: Various
sessions and day-courses
Location: Edgbaston, Birmingham
Dates: Various, see website
patshortceramics.com
Location: Accrington, Lancs
bluebutterflycrafts.co.uk LINDA SOUTHWELL
JOAN CHAN Courses: Evening classes and one-to-
Courses: Introduction to clay, one experiences
handbuilding, throwing, slip casting, Dates: Wednesday evenings and by
glaze workshop arrangement
Dates: Afternoons and evenings Location: The Harley Ceramics Studio,
Location: Greasby, Wirral Welbeck, Worksop
T: 07803 848212 lindasouthwell.co.uk
E: joancchan@aol.com
FB: jccermaics WALES
THE CRAFTY POTTER
CARDIFF POTTERY WORKSHOPS
Courses: Throwing, hand-building &
Courses: Handbuilding; throwing;
modelling
one-off Saturday sessions; 1-2-1
Dates: Various
throwing; masterclasses with Anne
Location: Chorley, Lancashire
Gibbs; parties (children, adults,
thecraftypotter.co.uk
teambuilding);
PAUL GOULD/MON CERAMICS pottery membership tutored
Courses: Beginners & intermediates & un-tutored
Dates: Tuesdays & Wednesdays 2-4pm Dates: 6-wk day & eve sessions,
80 ClayCraft Issue 8

080-82 Directory - courses Issue 8.indd 80 10/10/2017 19:19


Do you want your entry to stand out?
For details, contact Gary on 01732 447008
various KAREN FINCHAM CERAMICS
Location: Cardiff Courses: Hand building and
cardiffpotteryworkshops.com throwing. One to one and group
sessions
GLOSTERS Dates: Weekdays, evenings and
Course: Throwing Saturdays
Dates: April Location: Redditch, Worcestershire
Location: Porthmadog clayclass.co.uk
glosters.co.uk
POP UP POTTERY STUDIO
JANE MALVISI (EARTH & FIRE CERAMICS)
Courses: Raku: full day workshop 2nd Courses: Beginner courses to learn
Saturdays Two-hour pottery classes simple techniques
inc Raku Dates: Tuesday evenings &
Dates: Mon/Tues/Weds days and Friday afternoons
evenings Location: Great Haywood (near
Location: Bridgend, S Wales Stafford), Staffordshire
janemalvisi.co.uk carolinefarnellsmith@gmail.com
BLUEBELL CERAMICS Courses: Various, inc 1:1 throwing,
ORIEL BODFARI GALLERY AND POTCLAYS Courses: Weekly classes, one-offs, Dates: Various
POTTERY Courses: Basic/Intermediate/ Location: Winnersh, Berks
workshops. Various handbuilding, slab,
Courses: Throwing, handbuilding, Advanced Throwing, Intro to glazes, thepaintnightcompany.co.uk/
coil and surface decoration
Raku, etc Pottery Basics, Moulding and pages/the-creative-cavern
Dates: Mon am, Mon pm, Tues am
Dates: Various Slipcasting, Tilemaking Location: Sudbury, Suffolk ANGELS FARM POTTERY
Location: Bodfari, North Wales Dates: Various E; bluebellceramics@gmail.com
rjpceramic@gmail.com Location: Stoke-on-Trent Courses: Residential (B&B) & non-
T: 07572 574763 residential. Throwing, handbuilding,
orielbodfarigallery.co.uk potclays.co.uk
decorating
THE SCULPTURE PLACE BEDS/BUCKS/HERTS Dates: Sat and w/ends once a month.
CAMBS/LINCS Courses: Figurative Sculpture Classes Weekly evening classes & Fri am.
Dates: Weekly sessions: Monday, CLAY WITH CAROLE One-off days for groups, min 4, max 8
PAULA ARMSTRONG Wednesday & Thursday (running for Courses: Handbuilding, throwing attendees
Courses: Handbuilding, workshops 6 weeks) Dates: Various Location: Lyndhurst, New Forest,
Dates: Monday and Thursday Location: Wolverhampton, Location: Hitchin, Herts Hants.
mornings Staffordshire claywithcarole.co.uk angelsfarm.co.uk
Location: Willingham, Cambs thesculptureplace.co.uk
DIGSWELL CERAMICS SASHA WARDELL
parmstrongceramics.co.uk WOBAGE FARM CRAFT COMMUNITY Courses: Bone china & mould making
WORKSHOPS Courses: Beginners’ tuition, support courses
MATTHEW BLAKELY Courses: Various multiple-day
Courses: Weekend Courses: for experienced potters Dates: May to September ( incl.) in SW
throwing workshops Dates: Tuesdays, Thursdays France / Feb & March in Wiltshire
Throwing, Dates: Various
Porcelain throwing Location: Letchworth Location: SW France/ Wiltshire
Location: South Herefordshire sashawardell.com
Dates: Monthly workshops-at-wobage.co.uk NORTH MARSTON POTTERY
Location: Lode, Cambs Courses: Variety of pottery courses
matthewblakely.co.uk Dates: Contact directly for further DORSET/GLOS/
HILLS ROAD SIXTH FORM WARKS/N’HANTS/ details SOMERSET/AVON
COLLEGE OXON Location: North Marston,
Courses: Handbuilding, throwing, Buckinghamshire
northmarstonpottery.co.uk ARTISAN CRAFT CLASSES &
plus summer school workshops ROB BIBBY WORKSHOPS
Dates: Various Courses: Pottery classes RUBY SHARP Courses: Weekly pottery classes -
Location: Cambridge Dates: Tuesday morning and evening, Courses: Hand building, throwing, wheel and handbuilding
hillsroadadulteducation.co.uk one-offs by arrangement decorating pots, sculpture for home Dates: Mondays and Wednesdays,
ZOO CERAMICS Location: Woodnewton, Oundle and garden one-offs by arrangement
Courses: Half and full day robbibbyceramics.co.uk Dates: Throughout the year (weekend Location: Winterborne Monkton,
handbuilding & day sessions available) Dorchester
workshops, 10-week pottery Location: Amersham, mail@artisandt1.co.uk
classes Dates: Various
NORFOLK/SUFF/ Buckinghamshire
Location: Waddington, ESSEX rubysharppottery.co.uk ASHBROOK STUDIO
Courses: Throwing, handbuilding,
Lincolnshire glazes
zooceramics.co.uk PHIL ARTHUR WILTS/HANTS/ One-to-one or small group, daily
Courses: Pottery classes BERKS Dates: All year
Dates: Tuesday evening, Thursday Location: Waterrow, Somerset
WORCS/SHROPS/ afternoon ashbrook-ceramics.co.uk
STAFFS/HEREFORD Location: Cawston, Norfolk ‘CLAY SURGERY’ WITH SUZANNE
Philarthur1951@btinternet.com & ABBY BANWELL POTTERY
Courses: Throwing, handbuilding, Courses: Throwing, handbuilding,
BRITISH CERAMICS BIENNIAL DEBORAH BAYNES modeling, slab work, coil work, tile-
Courses: Beginners & Intermediate glazing, raku, mould-making for
Courses: Residential and beginners and improvers making
Dates: Tuesday & Thursday nonresidential Dates: Weekly evening class, Weds
Dates: Weekends throughout the year
Location: Stoke-on-Trent, Staffordshire Dates: Weekends (spring/autumn), full 6-8pm
Location: Waterlooville, Hants
The BCB operates a clay school and a weeks (July/Aug) Location: Weston-super-Mare, N
abbyducharme@hotmail.co.uk
variety of courses throughout the year. Location: Shotley, Suffolk Somerset
britishceramicsbiennial.com potterycourses.net THE CREATIVE CAVERN banwellpottery.org

Issue 8 ClayCraft 81

080-82 Directory - courses Issue 8.indd 81 10/10/2017 20:44


CARANTOC ART Location: Aylesford, Kent classes THE PAINTING POTTERY CAFE
Courses: Intensive & regular classes aylesfordschoolofceramics.co.uk Weekend workshops: raku, soda/ Courses: Evening classes: Throwing,
available in pottery & ceramic smoke firing, animal sculpture, glaze coiling, slab & pinch for different
BURWASH POTTERY chemistry, slip decorating
sculpture monthly projects. All materials and
Courses: Various handbuilding, Location: Forest Row, West Sussex
Dates: Year-round glazes provided. £35pp
decoration. All levels. Classes,
Location: Weston-super-Mare, North frschoolofceramics.co.uk Dates: 3rd Thursday of the month
workshops, parties, taster sessions
Somerset 6.30-9.30pm
Dates: Terms of 6 weeks, various GO CREATE
carantoc-art.co.uk Location: Brighton
Location: Burwash, East Sussex Courses: Pottery, sculpture & craft
paintingpotterycafe.co.uk
CREATIVE CLAY FOR ALL burwashpotter.co.uk Dates: Various
Travelling clay workshops for those Location: SW London SULEYMAN SABA
THE CERAMIC STUDIO gocreate.co.uk
who have no access to a kiln. Ideal for Courses: Pottery classes
Courses: From beginner to
community groups. Dates: Tuesday and Wednesday
professional, plus taster sessions CLAIRE GRIFFITHS
Based in Dorset evenings (Clapham), Mondays and
Dates: Various Dates: Starting September; Weds
facebook.com/creativeclayforall Tuesdays (Kingsbury)
Location: Five Oak Green, Kent 10.00am -12.30pm & Thurs 7.00-
creativeclayforall@yahoo.co.uk Location: London (Kingsbury and
theceramicstudio.me.uk 9.30pm
Clapham)
PATRICK ESSON Location: Whitstable
CERNAMIC suleymansaba.com
Courses: Modelling, coiling, slab jc.griffiths@btinternet.com
Courses: With Nam Tran; throwing,
work, STAR POTTERY
mould-making, raku HANDMADE IN CHISWICK
pinching, throwing Courses: Taster, Weekly classes
Dates: Various Courses: Weekly classes and
Dates: Various Dates: Various
Location: SE London one-off workshops inc 1:1 throwing.
Location: Gloucester Location: Lewes, East Sussex
cernamic.com Studio time for more experienced
p.esson@aliqua-art-gallery.com hamid-pottery.co.uk
learners
THE CLAY ROOM UK Dates: Term time for weekly classes,
CHARLOTTE MILLER CERAMICS
Courses: Throwing, handbuilding,
Courses: Clay taster workshops; by arrangements for workshops and FRANCE
introductory pottery; mould-making studio time
mould-making, surface decoration
& slip-casting; transfer; termly pottery Location: London, W4 L’APIPOTERIE /E. PENSA
Dates: Termly part-time, taster
courses; Christmas workshops & HandmadeinChiswick.weebly.com Courses: Handbuilding for utilitarian
workshops, pottery parties
private lessons use and animal sculpture. Bilingual
Location: Bournemouth sylviejoly@blueyonder.co.uk
Dates: Various course French and English
charlottemillerceramics.com Twitter: @jolyopsimath
Location: Chelsfield, Orpington Dates: 10-12 July and 25-27 August
NEW BREWERY ARTS theclayroomuk.com MAZE HILL POTTERY Location: Beaufort sur Gervanne/
Courses: Variety of ceramic courses Course: Weekly Evening Classes South East of France in the Vercors
THE CLAY STUDIO
Dates: Contact directly for further Dates: Throughout the year regional park
Courses: All build techniques,
details Location: Greenwich, London epensa26@gmail.com
decorating, glazes. Also, rentable open
Location: Cirencester, mazehillpottery.co.uk
spaces SASHA WARDELL
Gloucestershire
Dates: Mon-Thurs inc evenings PADDOCK STUDIO POTTERY Course: Bone china & mould making
newbreweryarts.org.uk
Location: Groombridge, Sussex/Kent Courses: 1-day individual or shared, courses
RUARDEAN GARDEN POTTERY Border throwing, handbuilding Dates: May to September (incl) in SW
Courses: Weekends, week-long Dates: Various France/Feb & March in Wiltshire
LAURA CROSLAND CERAMICS
Courses: Throwing, Pot Making Location: Lewes, East Sussex Location: SW France/Wiltshire
Courses: Various, one-to-one or
Dates: Various thepaddockstudiopottery.co.uk sashawardell.com
group
Location: Forest of Dean
Dates: Various
ruardeanpottery.com
Location: Chatham, Kent
lauracroslandceramics.com
DEVON/CORNWALL
PETER CUTHBERTSON
LEACH POTTERY Courses: Throwing and handbuilding,
Courses: 3 & 5-day throwing, evening beginners and more advanced
classes handbuilding, throwing Dates: Weekly regular day and
Dates: Various, each month evening classes plus one off weekends
Location: St Ives, Cornwall by arrangement
leachpottery.com Location: East Hoathly, East Sussex
peter.cuthbertson@phonecoop.
Coop
KENT/SUSSEX/
SURREY/LONDON EASTBOURNE STUDIO POTTERS
Courses: Throwing, hand building,
surface decoration and glazing for
ART SHOP AND POTTERY beginners and experienced potters.
Courses: 1-to-1 throwing tuition. Plus, Personal Project Development
One-off taster sessions & longer with specialist support.
courses available. Slabbing, tile making Dates: Weekly courses throughout
and Kids Clay Club. the year. Personal Project on Weds
Dates: Monday to Saturday 10.00am 6-9pm.
- 6.00pm Location: Eastbourne
Location: Brighton & Hove eastbournestudiopottery@gmail.
artshopandpottery.com com
AYLESFORD POTTERY eastbournestudiopottery.com
Courses: Raku days, 1-day, 10-week FOREST ROW SCHOOL OF
Pottery classes, Mould Making, Glaze CERAMICS
Theory & Application Courses: Adult intensive
Dates: Various terms throwing and handbuilding weekly

82 ClayCraft Issue 8

080-82 Directory - courses Issue 8.indd 82 10/10/2017 19:19


Explore the layering options at
www.scarva.com/amacolayering

You might also like