ClayCraft 10 2017

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ALSO INSIDE: Making paper clay • Fish dish build • Studio spotlight
001 Clay Craft Cover Issue 10.indd 1 13/12/2017 07:55
Meet the team... Happy New Year!
A s I’m writing this, most of the
country is under a blanket of
snow. Where I am, in Sussex, we
haven’t had anything more than a flurry or
two, which I have to say I’m pleased about.
Jacqui Atkin Kevin Millward I love the look of snow, and it certainly
Figurative Throwing tea leads to some inspirationally beautiful
builds p38 bowls p10 landscapes, but the inconvenience of not means that copies will cost just £2.92
being able to get out of our lane and do all each – a massive 40% discount compared
the things that need doing in time for to the shop price! This offer won’t be
Christmas would worry me. That said, available forever though, so if you are
would it be the end of the world if we were considering taking a subscription, now’s
snowed in? No! It would mean I could the perfect time. Turn to page 76 for more
spend some time in the studio without details. Readers from outside the UK can
Alan Ault Doug Fitch
Raw materials Old and
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p17 new p50 my friends and family would receive to shop.kelsey.co.uk/ccoverseas to find
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42
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PINCH, COIL, SLAB AND THROW
Throw Down potter Starting with a slab-built teapot IN THE SPOTLIGHT!
FREE explains slips Emerging potters to watch out for
KIDNEY TOOL!
INSPIRATIONAL IDEAS
WORTH INSPIRATIONAL
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POTTERY
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JOINING PINCH POTS
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Making pods and fruit
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IN THE MAKE YOUR
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and their work stamp
Dipping, brushing and pouring SKILL SCHOOL
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EARTHENWARE
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COIL POT BUILD SMOKE-FIRING SKILL SCHOOL BRIGHT UNDERGLAZE
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Issue 10 ClayCraft 3
003 Welcome Issue 10 NEW.indd 3 13/12/2017 07:56

Contents Issue 10
10
30
36 Studio spotlight:
Swanspool Ceramics
We visit this innovative studio and
discover the interesting business
model behind it
38 PROJECT 4:
figurative build
These individual and quirky
figures look stunning, and are
easy to achieve
44 Raku for beginners

Tim Huckstepp of Raku Days
shares his experience
6 News to make your first raku-firing a
success
10 PROJECT 1: tea bowls
How to throw off the hump, 50 Doug’s Diary
making tea bowls that are A poignant goodbye, a successful
finished traditionally or with a online sale and a new roof are
more modern touch news this month
17 Material matters 52 PROJECT 5: bird feeder
Alan Ault of Valentine Clays A simple pinch and coil build
explains the raw materials that creates an attractive hanging
make up clay bodies feeder to keep the birds happy
this winter
20 PROJECT 2: fish plate
Step-by-step guide to creating
a fishy serving plate, using a
sling mould
20
28 Glazing
Linda Bloomfield describes how
to create glazes with lichen,
volcanic and crystalline effects
38 30 PROJECT 3: wall plaques

Using the slab-build technique to
create decorative wall hangings
52
4 ClayCraft Issue 10
004-5 Contents Issue 10.indd 4 13/12/2017 07:57

CONTENTS
50
44 78 Emerging Potters
Paul Bailey introduces more
up-and-coming new potters
58 Ceramics in Japan who are destined for success
Wendy Kershaw reports on her
three-week trip to visit Japanese
museums, exhibitions and studios
70 81 Courses listing
Fancy signing up for a class?
Find one near you in
63 Next month 65 Confessions of a novice our handy listing
Discover what’s in store in our Our project-blogger tackles a
next issue vase build, using her plaster
mould
69 WIN! £250 VOUCHER 58

65 Enter our free draw to be in with
the chance of winning a voucher
to spend at Online Ceramics
70 PROJECT 6: paper clay

Simple instructions on how to
make this forgiving and versatile
clay at home
74 Events
Your guide to pottery and
ceramics events right across
the country
76 ClayCraft SPECIAL 6 PINCH, COIL, SLAB
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AND THROW Issue 10 £4.99
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13/12/2017 07:55
004-5 Contents Issue 10.indd 5 13/12/2017 09:23

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,
W
NE ROYAL SEAL OF APPROVAL
email [email protected]
HRH The Prince of Wales officially

opened the Clay College last month.
On 28th November, Clay College was visited

and opened by His Royal Highness Charles,
Prince of Wales during a day-long visit to
Stoke-on-Trent.
The visit began with trustee Lisa the space. This was designed
Hammond MBE introducing by Adam Cornish of Studio
HRH The Prince of Wales to the Partington. The money to fund
Clay College trustees and staff this development was kindly
gathered in the gallery. He used donated in memory of potter The current of the students develop, the
this as an opportunity to find Susan Neal. His Royal Highness slipware ‘Clay College Studio Range’ will
out about Clay College, and took got to see this development exhibition will be available through the gallery.
the time to admire the range of and meet the different parties be replaced Developing a studio range allows
slipware on display in the gallery. involved with making it happen. in January by the students to begin to develop
His Royal Highness was then The slipware on display a selection and hone their core skills and
taken on a tour of the college was the first exhibition at the of work production-throwing technique.
and met the Clay College college, and showcases the from leading Any profit made through the
students, where he briefly found beauty, drama and diversity of stoneware gallery and sales contributes to
out what had brought each of contemporary slipware, through potters. the ongoing sustainability of the
them to study at the college. the work of leading potters; College, and funding the aims
The College is based within Clive Bowen, Dylan Bowen, and developing the educational
the Prince of Wales Studios; Patia Davis, Doug Fitch, Geoff goals. claycollegestoke.co.uk
a building on the Middleport Fuller, Nigel Lambert, Hannah
Pottery site that was restored McAndrew, Josie Walter and
by the Prince’s Regeneration Paul Young. Several of these Slip-trailing kits
Trust and re-opened in 2016. potters have also visited as Mark Dally is now selling his slip-trailing
For the college to move guest tutors. kits, as seen in issue 8 of ClayCraft. If you
want to dot, dribble and line like a pro, then
into the building, a range of The next exhibition will be
these kits are perfect. Each one comes with
alterations were made and a work of leading stoneware
a selection of tips and nozzles, and includes
whole mezzanine was added potters, and opens on 20th
a cleaning syringe. For more details, visit:
to a rear room of the building January. markdallyceramics.co.uk
to house the library and divide As the College and the work
006-8 News Issue 10.indd 6 12/12/2017 20:07

THE NORTHE RN POTTERS’ IN THE NEWS
ASSOCIATION – NOW WE ARE 40

It is clay in its many states that
fascinates us all, whether makers,
users or collectors, hobby potters,
professionals, gallery owners or
teachers. And it is an unbounded
enthusiasm for this medium that
is the mainstay of the Northern
Potters Association.
The Association began in 1977,
when a group of potters met in a
‘dungeon-like crypt’ below
the sumptuous galleries
of Bowes Museum and
voted to start the
group. It has now
been very much
in the light for 40
years, providing Members voted for their
a focal point favourite pieces of work
in the North for submitted by their colleagues
everyone interested and the results are as follows:
in ceramics. An active ■ Novice:
volunteer committee Functional Work: Mary Brandon
works hard to plan and organise Decorative Work: Hugh Thomas
the many events. (also received the most votes
Founder member Maggie Angus overall)
Berkowitz, in 2005, likened it to ‘an Sculptural: Steven Rice
available vehicle, one to be hopped
Amateur
into and driven by whoever was
Functional Work:
so inclined (so long as a sufficient
Martine Bequet
number of passengers agreed to
Decorative Work:
go along and paid their fare)’. Micaela Schoop
Funding in the past from Sculptural: Richard Hedges
Regional Arts Associations
supported programmes of lectures, Professional
exhibitions and weekend potters’ sessions, an exhibition and lively Functional Work: Steve Booton
camps at Bretton Hall, Yorkshire evening socialising. Decorative Work:
Sculpture Park, Ripon & York St There are six regional groups Amberlea McNaught
Johns College and Middlesborough within the Association, who Sculptural: Elizabeth Smith
College. The potters’ camps always organise events for those areas Hugh Thomas received the
had a full programme of workshop – exhibitions, workshops, studio most votes overall, and one of
visits and socials. They have been our newest members, Steven
very active celebrating our 40th Rice, won the Novice Sculptural
birthday this year. category.
We celebrated our 40th year
with a Party Table at Potfest In The will no doubt be put to good use.
Pens, replete with splendid ceramic Looking to the future, the
party food, and it was even Northern Potters Association, now
featured on the local BBC station. with nearly 600 members, has
Our Online Competition embraced social media and has
illustrated the wide range of a Facebook page, is on Twitter @
creativity and skills present NorthernPotters and, of course, a
throughout the Association’s website: northern-potters.co.uk
membership, and the prizes Dianne Cross – NPA Publicity
donated by our generous sponsors [email protected]
006-8 News Issue 10.indd 7 12/12/2017 20:07

E
IN TH
EWS
N
Potclays courses Potclays has announced its programme of courses for 2018.
Places are filling up fast, so book early to avoid disappointment!
For more details, and to book, visit: potclays.co.uk
■ Basic Throwing with Jon French ■ Advanced Throwing with David ■ Pottery Basics with Jacqui
2-day course, £245 Frith Atkin
Jan 22-23, Feb 19-20, April 16-17, 3-day course, £385 1-day course, £150
Oct 15-16 March 19-21, Oct 8-10 June 26
■ Intermediate Throwing with ■ Introduction to Glazes with

Richard Heeley ■ Mayco Pottery Camp Jacqui Atkin
2-day course, £245 2-day course, £135 1-day course, £150
Jan 29-30, Feb 26-27, April 23-24, May 14-15, Sept 27-28 June 27
May 21-22
■ Animal Sculpture with Jeremy ■ Mouldmaking & Slipcasting with ■ Tilemaking with Richard Miller
James Ed Bentley 2-day course, £220
2-day course, £240 2-day course, £220 Sept 11-12
March 14-15 June 18-19
Summer Ceramic Jobs in Maine!

Camp Laurel, a premier children’s summer camp in
Maine, is seeking ceramics instructors for the summer
of 2018.
Excellent facilities, beautiful location and amazing
community. Mid-June to Mid-August. Salary, travel
allowance, room and board included.
Interested applicants should contact me at tim@
Valentine Clays has officially launched LoveClay, an
camplaurel.com or call 203.227.8866. To apply
initiative aimed at promoting the ceramics industry
online, visit camplaurel.com
I look forward to hearing back from any interested and the importance of clay. At its new state-of-the-art
applicants and encourage you to forward this to your premises in Fenton there are a gallery, exhibition space
peers and ceramic network. and workshop facilities. The gallery and workshop are
Tim Eldredge, Staffing Director | Camp Laurel available for private hire, and a list of 2018 events will be
www.camplaurel.com | 203.227.8866 released shortly. To keep up-to-date with what’s on offer,
sign up to the newsletter at: valentineclays.co.uk
006-8 News Issue 10.indd 8 12/12/2017 20:07

ME AND MY POT
Clay: Potterycrafts Craft Crank

Build: Coils/pinch and slab
Firing: 1250°C electric
Decoration: Oxide wash and porcelain coloured slips
Inspiration: The wildlife of the Wiltshire and southwest countryside and beyond. I love
textural forms and endeavour to capture the true essence of an animal.
My work can be seen at Fired Thoughts Arts Studio Gallery, Azure in Sidmouth Devon and
online: geraldinefrancisceramics.weebly.com
If you would like a piece of your work to be featured, email us at: [email protected]
Geraldine Francis
009 Me and My Pot Geri Issue 10.indd 9 12/12/2017 20:28

SKILL SCHOOL
PROJECT
ONE
THROWING TEA BOWLS
OFF THE HUMP
This selection of bowls shows a range of finishes; some simply

glazed to suit the free style in which they were thrown, others
finished in a more elaborate decorated style, with line detail and
graphic colour. You can decorate your tea bowls as you choose,
in accordance with the type of clay used.
010-16 Project 1 Throwing Tea Bowls Issue 10.indd 10 12/12/2017 21:03

DIFFICULTY RATING ★★★★★
T
hrowing bowls off the hump is a technique
employed for quick reproduction of a form. It takes
practice, but from a 10-15lb (4.5-6.8kg) lump of clay
Tip:
you could throw 10-12 bowls each weighing
450-500g, and possibly more as you improve, although you
must factor in the extra clay you’ll need to leave for turning For tips on how to
foot rings later. 
fix a batt to the
wheelhead, and
centering clay, see
our ‘How to’
guides at:
claycraft.co.uk
.

SKILL SCHOOL
PROJECT
ONE THROWING TEA BOWLS OFF THE HUMP
1
Before you begin: You can centre the clay directly onto 4
the wheel head for this type of throwing, because each
bowl will be cut and lifted off as it’s made. If you prefer to Repeat step 3, bellying the form outward by applying
throw on a batt, fix it to the wheel head. Centre the clay more pressure on the inside as you lift the wall from the
then cone it up and down a couple of times until it’s running base, but easing off the outward pressure as you reach the
smoothly through your hands – ending with the clay in the three-quarter mark to prevent the bowl flaring out too far
coned up position. Form a doughnut shape at the top by at the rim.
placing the hands either side of the cone about 5cm from At this stage of lifting, change the pressure to the outer
the top, and applying pressure with the sides of the hands wall until the lift is completed.
until they cup the shape. Place the thumb of the right hand
over the top of the hump while still cupping the shape
in the hands. Gently press down with the thumb, pulling
gently towards you as you open up the shape of the bowl.
5
2 Using the tip of a rib, cut a groove at the base of the
bowl at the point where you will wire it off.
Still cupping the shape with the right hand to prevent it Make sure the groove is below the interior base line of
from flaring out, gently pinch and lift the wall of the bowl the bowl, and that you allow enough clay to turn the foot
upwards with the fingers and thumb of the left hand. ring.
3
Remember to compress the rim between your fingers 6
after each lift, and drizzle a little water over the form
periodically to keep it spinning smoothly. Now belly-out the bowl one last time to your preferred
Position the knuckle of the right hand at the base of the shape – taller and narrower, or wider and squatter, for
bowl, with the fingers of the left hand inside just the below example.
the knuckle, and begin to pull up the wall, keeping the Remember to compress the clay at the rim again when
hand position steady for an even wall thickness. you’ve formed the shape you want.

TEA BOWL FOOT – STYLE 1
1
7
When the tea bowl is about leather-hard, you can trim
Carefully sponge out the excess slurry from the interior the base to form a foot ring.
of the bowl. Using a rib and only one finger on the inside, Centre the bowl on the wheel head using the concentric
remove the slurry from the outer wall as shown. rings to get it as close to centre as possible, then tapping it
(see claycraft.co.uk 'How to' guide, or issue 9, teapot) until
running true.
Fix the bowl in place with wads of soft clay, making sure
you hold it securely with one hand as you fix the wads to
the wheel head.
8
As a final detail, rest a finger on the outside of the rim, 2
then gently turn the clay very slightly outward with one
finger of the left hand – this will form a comfortable rest
for the lips when drinking from the bowl.
Holding the bowl in place with the fingers of the left
hand, level the base with your turning tool to ensure it’s
Wire the bowl off the hump below the groove line, then flat. Decide how wide you want the foot to be, then mark a
gently lift it off the hump and onto a waiting batt. circle with the tip of the turning tool to cut the outer edge
Re-centre the clay and you’re ready to throw the next to.
bowl in the same way.
9 3
Cut the outer edge of the foot
This bowl has been thrown downwards at a slightly bevelled angle
towards the end of the hump, but
it would still be possible to throw – the depth will depend on how much
another after this. clay you have to remove, but try to
You can see clearly how the ensure it’s in proportion to the form.
form should be wired and lifted off You could cut the foot straight down if preferred –
the remaining hump between the the bevelled approach suits this particular form, but
splayed fingers of both hands. may not be appropriate for yours.

SKILL SCHOOL
PROJECT
ONE
5
Begin to remove the clay from the
inner section of the foot, allowing
3-5mm width for the foot itself.
You won’t have much scope for
choice, but work from the centre
out to the ring if possible, trimming
in small amounts and following the
interior shape, which you will have
to visualise. It will help to change the
shape and size of turning tool periodically as you work.
4
When the outer wall of the foot is finished and the
shape you want it to be, start to remove excess clay
from the lower section of the body, just below the foot,
until it’s the same thickness as the rest of the wall and
the shape is balanced and pleasing.
When happy with the finish, cut a tiny groove where
the body meets the foot – this forms a natural point to
glaze to later.
6
When you’ve finished trimming the foot out, run your
finger over the inner edge of the ring to soften and smooth
the clay a little, and remove any little burrs of clay.
7
Finally, cut a small bevel on the outer edge of the ring,
then run your finger over this as well, to complete it.

TEA BOWL FOOT – STYLE 2
3
Using a short cutting wire held
taut between both hands, make a
series of 5 or 6 equally-spaced cuts
1 from the top of the foot down and
outwards, as shown.
Centre the bowl on the wheel head as you did for style 1
and secure it in place with wads of soft clay.
Level the base with the turning tool, but don’t worry
about the edge of the foot.
4
Lift the bowl off the wheel head and turn it over, then
carefully roll the base around a couple of times to soften
2 the edge of the foot.
This a quick and spontaneous way of working in the
Japanese style, where the beauty lies in the free style of
Trim away a shallow dish shape from the centre of the the form – so it must not be overworked.
base – it doesn’t need to be very deep and can be freely
turned, with the turning tool shape left visible in the clay.
5
To finish, stamp your maker’s mark in one of the cut-off
sections.

SKILL SCHOOL
PROJECT
TEA BOWL DECORATION – GLAZE
ONE Traditionally, tea bowls are simply decorated with glazes – not over-worked or at all fussy; the beauty
of the vessel lies in its simplicity. However, in reality, there’s no reason why the decoration can’t be as
elaborate as anything else you would make, so here are some options for surface finish which cover
both approaches
These tea bowls have been coated in multiple of layers of Mayco brush-
on stoneware glazes (there are many more makes to choose from).
Widely available from pottery suppliers, these glazes come in a myriad
of colours and textures and give great scope for experimentation. The
beauty of using this glazing option lies in the fact that the outcomes are
far more predictable than other glazes, because all the testing has been
done for you. Of course, the results will vary depending on the type of
clay used and the conditions inside your kiln, but the variation won’t be
so great that it looks nothing like what you expected. In addition, the
glazes are less wasteful because they are brushed on, and brushing is an
easier method of application than most others – helpful for the beginner.
1 2 3
1: A base coat of Eggplant is followed by a simple wax leaf motif then coated in Birch. Two layers of Eggplant – two
of Birch. 2: Total covering of birch, then the outer wall covered with Purple Mint from half-way up to the rim only. (No
waxed design). Birch is a good base for other colours, looking like oatmeal on its own, it breaks nicely over throwing
rings or raised detail. Three layers of Birch – two of Purple Mint. 3: This example again has a total covering of Birch base
layer, a wax leaf motif, then Cinnabar on the outside only, applied thickly to the rim to dribble down the inside. The result
is subtle, but two colours are obvious, with the wax design showing through. Three coats of Birch – one thick coat of
Cinnabar. All three samples were fired to 1240°C in an electric kiln.
TWO ALTERNATIVE APPROACHES

The following two examples have been thrown in earthenware clay. The outer surface of these bowls has been finely
finished to allow more elaborate decoration to be applied, although the fact that they have been thrown is still clearly
visible on the inside
This bowl has a repeat design carefully spaced around the form. It was
transferred to the leather-hard clay by drawing through a paper template then using
sgraffito to more clearly define the lines. Black underglaze was used as an inlay to
fill the lines after bisque-firing. However, the traditional inlay technique could have
been used to similar effect at the green stage, using a thick, coloured slip. Because
the image is meant to represent winter seedheads or grasses, no more colour was
used, but a simple transparent glaze applied. Fired to 1120°C in an electric kiln.
This bowl is carefully divided into six sections for two designs to be repeated
around the outside. While still leather-hard, the design was transferred to the
surface by drawing over a paper template then using sgraffito to draw the lines in
more clearly, as for the first example. After bisque-firing, the design was infilled
with black underglaze then wiped back so that the lines remain sharp. Certain areas
were then painted in with a selection of underglaze colours.
When dry, the bowl was covered with transparent glaze and fired to 1120°C in an
electric kiln.
Of course, these are a very few examples of the decorating options for these vessels – the possibilities are endless, but ultimately
the secret is to make something unique to you. Hopefully, these will give you some good starting points to develop from.

BASIC BUILDING BLOCKS
There are lots of different types of raw materials that can be used for ceramic purposes,
and we explore the most popular ones used to develop clay bodies
Alan Ault of Valentine Clays

explains raw materials
Choosing a raw material

The main criteria when you choose a
raw material are what you’re trying to
create, and the market you would like to
sell your product into. If you want to
sell into a white pure-body market,
then you will need to use the best raw
materials, whereas if you’re looking to
sell into an earthenware market, you
want to choose clays that are less white Ball clay in a pen prior to processing. The various colours are obvious
here, ranging from dark grey, to sandy, to light grey.
and cheaper. Quite often the market
that you’re going to sell into will small list of raw material products to Another thing to consider is how
determine the raw materials you choose from, while at the cheaper end of plastic you need your clay body to be,
choose. Generally, with the whiter more the market where there is far more which again will determine how much
expensive end of the market, there is a choice. clay you will need to put in. .
BASIC CLAY BODY STRUCTURE
■ Flint and the silica sand form the ■ China clays are available in several although some very tiny particles will
skeleton or structure of the pottery forms, with different price points. The get through the sieve mesh because
body. They form the base that all of the cheapest china clays will be less white it’s too fine to be taken out completely.
other components hang on to. They when firing, and also tend to be less Since it burns away on firing it doesn’t
create whiteness and a sort of rigid plastic. The most expensive china clays actually cause too many complications.
structure, as they have a high melting are very plastic and very white. Again, Raw materials can be acquired from
point of about 1700°C. Some grades of your choice will be determined by the end all over the world. For example, you can
silica sand can be very pure and white, product that you’re looking to achieve. get ball clays from countries such as
as they have a low iron content. For the Ukraine, where the material is much
other grades, with a higher iron content ■ Ball clays are a bit more difficult to more plastic than the standard UK ball
the fired colour will be less white. The differentiate by just looking at them. clay deposits. This means you do pay
whiteness of flint is somewhere in the They are all quite dark, grey, and off- a premium for these more specialised
middle of the range, so your decision white looking. However, even the dark products. Medium ball clays – generally
about which to use depends on what ones can fire fairly white because they the most popular type of ball clay – are
you’re looking to achieve in terms of contain a lot of lignite, which burns out standard products that have a good
your end product. on firing. Lignite is a form of carbon a blend of whiteness and plasticity, which
bit like coal – which is associated with is reflected in the cost price.
■ Feldspar, which melts on firing and the deposits – so it makes the ball clay
acts like the glue that holds the pottery look actually darker than it is. Lignite ■ Glass frit, formed by melting different
together. Various types of feldspar doesn’t cause too many problems glass-forming oxides together and then
are available, such as potash feldspar when the ball clay is made into a clay quenching them in water to create a
or soda feldspar or feldspar which is a body, as it will have been screened out shattered glass frit that is supplied to
combination of potash and soda, for during the production process. Almost manufacturers to mill. Other components
example Forshammer feldspar. all lignite will be extracted at this point, are then added together to form a glaze.
017-19 Clay Issue 10.indd 17 12/12/2017 20:32

Which raw materials
to select, and why
Silica can be either bought in
flint or sand form. It’s generally
thought of as the ‘skeleton’ of the
ceramic particle, and has a fairly
high melting point. The other
components fit in around the
silica and perform other
functions. China Clay plays a part
in plasticity, but also with
whiteness. On the other hand,
ball clays have less to do with
whiteness, but are more involved
with shaping and forming –the
‘plasticity’ of the clay. This is also
known as the ‘green strength’.
Then there is 'flux', which can
be a feldspar, dolomite, limestone China that all the holes are ‘filled in’
or nepheline. This melts at a clay held in with the liquid glass. Although
certain temperature, and creates a pen. While the extra glass phase makes the
there are
the ‘glue’ when it’s fired, to hold object tougher, it can also make
slight colour
everything together. This variations, it more prone to shocking and
becomes permanent when the it’s clear that breaking if it experiences a sharp
temperature reached is anything China clay is knock.
over 1000°C. The harder you fire white. The choice of raw materials
it, the more the flux melts, and then, depends on what you want
this generates more of the liquid to achieve from the end result.
phase, which fills in all the holes,
so you end up with less porosity. The importance of
So, if you only fire a ceramic testing to maintain
piece to 1000°C, you have a lot of good quality
porosity when compared to It is important to test your
firing it a stoneware product – especially when it’s
temperature, such as intended for daily use – to Glass frit is a component of
1280°C, when it is ensure that it meets certain glazes.
almost fully-vitrified so criteria, and the pieces
don’t come back from your glaze aren’t matched adequately.
customer a few weeks after When testing crazing issues,
you’ve sold them. you need to measure the thermal
The most common issues expansion of the bisque and the
and ceramic faults that we thermal expansion of the glaze.
tend to see are: Generally speaking, the
■ Thickness of the glaze relationship between the two is
(Left) Flint ■ The glaze and the bisque are that the bisque’s has to be higher
and silica mismatched than that of the glaze. The glaze
sand (above) ■ The porosity is way too high is then kept in compression on
are both used
■ Wall thickness of the ceramic the surface, which actually makes
to create the
structure that piece the ceramic piece a lot tougher,
the rest of the and less likely to break. If you
body ‘hangs Crazing don’t have enough compression
on’. Silica One of the biggest issues within on the glaze and it relaxes too
sand gives a the ceramic industry tends to be much, this is quite often caused
whiter finish crazing, which is a fault that can when the bisque and glaze
than flint.
occur when the clay body and thermal expansion figures are too
017-19 Clay Issue 10.indd 18 12/12/2017 20:32

MATERIAL MATTERS
Feldspar the higher figure. This will then

acts as a
flux, melting create enough compression to
at high stop the crazing effect. It’s also
temperatures worth considering that if you
and vitrifying have too much compression, this
the clay. creates a fault known as ‘peeling’
or ‘chittering’. This is caused
where there is so much
compression that it actually
lifts the glaze off the
surface.
The glaze thickness also
close together. This is has to be right; the thicker
when you get a crazing the glaze, the more
effect, which allows water difficult it is for the body
into the ceramic piece. to create the compression
Is it possible get your needed. It’s often recommend
pieces tested by external that the thickness of a fired
companies, such as Lucideon piece’s glaze is 0.1mm – 0.2mm,
(lucideon.com), but if you are ‘S’ cracks, which will help with the crazing
using proprietary clays and or dunting, issue.
result when
glazes, an easier way to do this is differences The difference in wall
to get the technical data from in the wall Glaze thickness is apparent here,
your suppliers on the clay and thickness lead Another issue that affects some from the base to the rim.
glaze that you are using. You can to thermal glazes which have been standing
then look at the thermal shock. They for a long period of time, is the Thickness
expansion figures to see how may not be precipitation of calcium in the The wall thickness of the ceramic
well-suited they are. When immediately form of small balls, almost like piece can also cause issues,
apparent, but
looking at this information, can appear
grains of sand. It is, therefore, especially if there are differences
typically the expansion of the if you pour advisable to sieve your glaze within it, such as being thick at
body has to be 0.03% – 0.06% boiling water before you use it, especially if you the base and thin at the rim. You
higher than that of the glaze – into a mug, for have stored it for a while. It’s also get a thermal gradient across the
the clay body always has to be example. worth bearing in mind that the piece after it’s fired, and begins to
warmer the storage conditions cool. At this point, strain can be
for your glaze, the more the set up across the piece and,
calcium will precipitate out of the although you might not see this
glaze. straight away on removing from
the kiln, sometimes a small
Porosity knock, or introducing something
It isn’t just the expansion that can like boiling water, can be enough
cause issues, but the porosity of to cause the piece to fail. Quite
your piece too. The more porous often you will see an S-shaped
it is, the more prone it is to crack, also known as ‘dunting’,
absorbing moisture or cracking where it’s failed the thermal
in the kiln. For example, an shock because it can’t handle the
unglazed foot can cause issues if stresses. For this reason, it’s
the bisque is quite porous, as it important to keep the profile as
will act as a sponge and absorb even as possible. You can test this
moisture, which can lead to during making, by cutting a test
crazing issues. When you have a piece in half and checking. It’s a
porous piece – often lower-fired good habit to get into, and it soon
clay bodies – it would be becomes second nature, and you
Crazing occurs when the thermal expansion advisable to ensure that the glaze won’t have to check because you’ll
of the body and the glaze aren’t correctly
matched. Check with your supplier for the covers as much of the piece as have learned the ‘feel’ of what it’s
technical data for your materials. possible, to avoid this issue. like when it’s right. 
017-19 Clay Issue 10.indd 19 12/12/2017 20:32

FISHY PLATE
SKILL SCHOOL
PROJECT
TWO
FIVE
This plate is the perfect solution for serving fish and
any number of small fishy morsels. It makes a great
centrepiece plate if made large enough, but it looks
even better with a matching set of smaller plates for
individual servings
020-27 Fish Plate P2 Issue 10.indd 20 12/12/2017 21:06

PROJECT
SKILL SCHOOL
FISHY PLATE
TWO
Use a photocopier to scale

this up or down to suit. The
template used in this project
was approx 40x24cm.

PROJECT
SKILL SCHOOL
TWO
5 6
Get the sling mould ready, supported in some way to Allow the plate to firm up to leather-hard in the sling.
allow the fabric to drape freely below. You can accelerate the process with a hair-dryer, as long
Carefully peel the plastic away from the fish then lie the as you keep it moving continuously to prevent any one
shape in the mould, detailed-side up. area drying more than the rest. Failure to do this will
cause tensions in the clay, which will lead to distortion
TIP: If the clay seems too soft to do this easily, turn it and possible cracking.
over onto an absorbent board again and leave it for a
few minutes for the clay to firm up a bit more
7
ALTERNATIVE MOULDS:
If you don’t have, or can’t make a sling mould, you
have other options
When the plate is firm enough to handle without

distorting, lift it out of the mould and drape it over
something to support the shape – scrunched up soft
plastic (the sort you get from the dry cleaners) or an
old pillow are two good examples.
A plaster hump mould – easily made from an old
wok, and incredibly useful for any number of projects.
A ridge tile – widely available from builders'

merchants. Cover with newspaper, because the tiles
are non-absorbent.

PROJECT
SKILL SCHOOL
TWO
11 13
Turn the plate the right way up and allow it to dry Sponge your first/base colour all over the plate – try to
thoroughly before bisque-firing. avoid completely filling in the black lines but don’t worry
if a little gets into them.
Work over the upper surface and the underside of the
plate.
14
12
To decorate the plate, first
fill in the drawn lines with black
underglaze. Don’t worry if you
make a bit of a mess.
Allow the underglaze to dry, Sponge a second and third colour over selected
then sand over the lines with areas of the fish to give some depth and liveliness to
sandpaper until they look neat the surface. Keep the sponge marks light, and spaced
and clean. so that all the colours show through.
WEAR A DUST MASK TO DO THIS
Brush away excess dust with a soft brush, into a bin.

Special effect glazes:
crystalline, lichen and volcanic
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 Linda Bloomfield:
Potters (The American Ceramic crackle ash glaze, 60
Society 2017), is now available at: wood ash, 40 feldspar, fired
ceramicartsnetwork.org in oxidation to cone 9.
C
ommercially-produced relatively high expansion. These
glazes are often materials include feldspar, nepheline
transparent, glossy and syenite and high alkaline frit.
well-behaved, with no
glaze defects such as crazing or
crawling. However, many studio Crackle glaze, cone 6-9
potters like to use these glaze defects This alkaline glaze will give a
as interesting effects. turquoise colour with copper
oxide, and lime green with
chromium oxide.
CRACKLE
Crazing occurs when the glaze is too ● Nepheline syenite 24
small for the clay body. If the clay and ● Strontium carbonate 18
glaze expand and contract at very ● Lithium carbonate 10
different rates, the glaze fit will be ● Whiting 3
poor and crazing may occur. The ● China clay 6 Linda Bloomfield: porcelain
extent of crazing will depend on the ● Flint 31 teapot with crystalline matt glaze
mismatch between the clay and glaze. with added cobalt oxide.
The glaze is not able to stretch, so
instead it forms a network of cracks to CRYSTALS glaze will be. Small crystals form
release the stress. This can occur over Crystal glazes can be made by adding when calcium and magnesium are
time and is responsible for the pinging titanium dioxide or rutile to a glaze added to the glaze in the form of
sound sometimes heard when pots are that is relatively low in clay (with less dolomite. Larger crystals grow in zinc
removed from the kiln. Crazing or than 10% clay). The alumina in the oxide glazes that are cooled very
crackle glazes can be achieved by clay tends to suppress crystal growth, slowly by holding them at 1100°C for
adding glaze materials that have a but the less clay, the more runny the several hours at the end of firing. As
028-29 Glazes Issue 10.indd 28 12/12/2017 20:40

GLAZE SCIENCE
Lichen glaze, cone 6

● Nepheline syenite 70
● Light magnesium carbonate 25
● Ball clay 5
+
● Zirconium silicate 5
handling the glazed pot, as the cracked

glaze can easily be knocked off when
placing in the kiln. This glaze can also
Joanna Howells: ‘Dishipede’, porcelain be applied on top of a glossy glaze such
with a chun glaze fired in reduction. as the runny turquoise glaze (recipe in
middle column).
DRIPS VOLCANIC GLAZES

Crystalline matt glaze, Michael Another popular glaze effect involves
Bailey, cone 6-8 drips of glaze running down a pot.
Colouring oxides can be added, The drips can be encouraged by
such as cobalt or copper oxide.
The crystals are often a different
applying glaze more thickly in certain
colour to the background. areas. These runny glazes must be
applied and fired very carefully to
● Soda feldspar 42 avoid the drips of glaze sticking the
● Dolomite 22 pot to the kiln shelf. It helps if the
● Quartz 22 glaze is applied only to the top half or
● China clay 6 third of the pot. The kiln shelves
● Whiting 3
● Zinc oxide 5
should be batt-washed, or an old piece
of batt-washed kiln shelf can be placed
Very runny blue and yellow under the pot. Jan Lewin-Cadogan: large bowl,
stoneware with layered barium
crystal glaze, cone 8 turquoise and volcanic glazes, fired
● Potash feldspar 63 in oxidation to cone 8.
● Dolomite 16 Runny turquoise glaze, cone 8
● Zinc oxide 17 oxidation
● Soda feldspar 45 Crater glazes are usually made by
● Rutile 3
● Cobalt oxide 1 ● Quartz 17 adding coarse silicon carbide to a matt
● Calcium borate frit 15 glaze. The silicon carbide breaks down
● Whiting 14 during firing to give off carbon
these glazes are low in clay, they can ● China clay 5 dioxide. The base glaze needs to be
be very runny, so care should be taken ● Tin oxide 5 viscous during melting so that the gas
+
not to apply them too thickly on the bubbles are trapped without healing
● Copper oxide 1
outside of pots. over. Volcanic glazes can be layered
over other matt glazes. A volcanic
Emma Williams: large bowl, black effect can also be obtained by layering
clay with shrink and crawl glaze, fired
in oxidation. LICHEN GLAZES a matt glaze over a clay slip containing
Lichen – or shrink-and-crawl – glazes silicon carbide. Some crater glazes
are made by adding around have blisters, which need to be ground
30% light magnesium off after firing. 
carbonate to a glaze.
Magnesium carbonate is
Volcanic glaze, cone 9 oxidation
a light, fluffy material and
● Nepheline syenite 61
shrinks on drying, forming ● Strontium carbonate 14
cracks that remain after ● China clay 11
firing. Lichen glazes need to ● Flint 13
be applied thickly to +
encourage the cracking to ● Silicon carbide 4
occur. Care should be taken when
028-29 Glazes Issue 10.indd 29 12/12/2017 20:40

WALL
SKILL SCHOOL
PROJECT
THREE
PLAQUE
Wall plaques are great fun to make and give enormous
scope for creativity and individuality because of the combinations of materials used
030-35 Projet 3 Wall Plaque Issue 10.indd 30 12/12/2017 20:41

DIFFICULTY RATING ★★★★ ★
Making the plaques using the process shown in this project

allows only one of a kind to be created because of the
plant samples used, therefore, each one is unique. The up-
2
side of making in this way is that you won’t get bored by
having to repeat a design and hopefully, each plaque you
make will inspire ideas for the next one.
You will need:

■ Card template in your chosen size –
the example used here is 30 x 15cm
■ Thin strips of patterned texture –
embossed wallpaper, lace, etc
Wooden, clay or plaster stamp blocks
■ Organic material – plants, grasses, dried seed Place the template over the slab and cut out the shape
heads, etc carefully, using your roller guide as an extra straight edge
■ Clay of choice – Earthenware or stoneware to ensure a neat cut.
but preferably white firing to better show up the
colour
■ A selection of brush on underglaze colours
3
■ Transparent glaze to suit the firing
temperature of your clay
Lay out your design lightly on the surface of the

clay with textured pattern strips at the top and bottom
of the slab, on either side of your stamp blocks.
Position the organic material in a pleasing
arrangement between the two strips.
It’s important to spend some time doing this to
produce a pleasing arrangement, but also to ensure all
the components will fit together.
Roll a slab of clay on a sheet

of plastic using roller guides at
least 5mm thick.
If you begin with your block
of clay formed into a brick, it’ll
be much easier to roll it to the
correct shape.
Roll from the centre to each
end.
If the clay begins to distort at
the ends, carefully square the
shape off with the end of your
rolling pin before lifting and
turning the slab over to roll again on the other side.
Check the size and shape of the slab periodically against
the template, to make sure it will fit.

SKILL SCHOOL
PROJECT
THREE
6
Remove the organic material as much as possible, but

if it proves difficult and the clay is spoiling in the attempt,
leave it in place because it’ll burn away during firing.
Lift off the pattern strips.
4
Remove the stamp blocks then place the roller 7

guides either side of the slab.
Very carefully, roll the paper and plant material into
the clay.
Score a number of lines with a pin or fine-tipped

modelling tool to frame the pattern texture, top and
bottom. These are additional details that don’t need to be
added if you prefer not to, but they can help to build up
the picture.
8
5
Use a stem from your plant to align the design so that

it appears to continue below the pattern. Use a pin to first
With all the materials still in place on the slab, stamp the mark the extension, then carefully press the stem into the
block design into the spaces left behind. clay below the line.

11
Stamp any more small details you want onto the surface
of the plaque – your name stamp would look good if well-
placed.
Turn the plaque over onto an absorbent board and
peel off the plastic sheet.
Smooth over the surface gently with a kidney, taking
care not to press too hard because it will spoil the
detail underneath. Use the batten to round off the
edges again, as you did on the upper side.
Allow the plaque to dry on the board, turning it
regularly to ensure it stays flat.
Bisque-fire when dry.
10
Place the template over the
slab again and carefully cut it
back to size using the batten
again, to ensure a straight cut.
Now soften the edges of the
plaque with the batten placed
as shown – rocking it forward
and back a little, and working
around all four sides. 12
Two bisque-fired examples ready for decorating.


SKILL SCHOOL
PROJECT
THREE
15
13
WEARING A DUST MASK – sand over the texture to
Using masking tape, block off the areas either side of reveal the pattern in finer detail. Remove excess dust
the textured pattern at the top and bottom of the plaque, by brushing over the surface with a soft brush, before
plus the stamped designs. carefully disposing of it.
14 16
Using an underglaze colour of With a fine brush and a watered-

your choice, sponge over the down solution of underglaze, carefully
blocked-out patterned areas of fill in the lines either side of the
the plaque. pattern, and the stems of the plant. Don’t worry if you
Allow the colour to dry, then make a bit of a mess, but try to be as neat as you can.
sponge a second, contrasting
colour more lightly over the
top of the first.
Remove the tape when the
colour has dried.
17
Using a fine brush and, again, a
watery solution of underglaze colour, paint in the detail of
the plant and all other texture areas, in contrasting colours
that will balance well. Allow the colour to dry thoroughly.

18 20
PUT YOUR DUST MASK BACK ON – then sand over The plaque should be allowed to dry thoroughly before
the plant detail and other texture until the design looks dipping in transparent glaze.
sharply-defined and neat. Remember to wipe all traces of glaze from the back of
Carefully brush away all traces of dust and dispose of it the plaque before firing.
sensibly.
21
When fired, fix a hanging device to the back of the
19 plaque using a very strong glue.
D-rings, like the one shown here, are widely available
from DIY stores.
Fill in with additional colour
washes to complete the image.
You can build up depth quite
easily by painting more
colours in selected areas.
Finally fill in any small details
left, to complete the plaque.
22
Two examples of plaques made by this method, using
white earthenware clay fired in an electric kiln to 1120°C.


 DIO
Swanspool Ceramics
U T
ST LIGH
Nestled in the picturesque
OT
Northamptonshire countryside at Castle
SP  Ashby is Swanspool Ceramics, a relatively
 new studio operating a very flexible
 system of classes and open access
S
arah Plackett worked as a studio, and that’s where most of my
freelance translator for wheel training came in. I was there for
years, before signing up to just over a year, and did the courses,
a local authority pottery and the membership, and watched how
hand-building evening class in 2012. they ran it. I thought it would have
She immediately loved it, and went been perfect for me when I was
straight on to do a throwing course, starting out, but there wasn’t really
and then bought her own wheel. anything like it here. Sarah Plackett knew exactly how
she wanted her studio to run. It
“By chance, the person I bought it “I was still enjoying translation offers flexible open access alongside
from was fairly local and ran classes, so work, but I was looking for something its regular classes.
I got more wheel experience there. I else to do, so I started focusing on my
had just set up a studio at home, with pottery, and it all just fell into place. I everyone and there being one available
my own kiln and wheel, when I had to came back to the UK in October 2016, any time people wanted to come in,
go to San Francisco for work. I wasn’t having already started to look at was important to me.
really expecting to have to go, and I premises while still in the USA. I “Our website didn’t really get up
wasn’t looking forward to doing no happened across this studio and a running until late December, so we had
pottery, so when I got there I thought friend came and looked at it for me. She a quiet start on 16th January 2017,
I’d take a class. I found Clay by the Bay sent me a video and photos, and said when we first opened. There was a
(claybythebaysf.com), the studio that what she thought was good and bad class of two and one of three, but each
I based the model for mine on. about it. Really, it was all cosmetic session has got busier.”
“You could do anything there; it was stuff, and once the floor had been At the moment, the classes are taught
so flexible – a two-hour taster session, replaced and the whole lot was painted, by Sarah and Philip, who was one of
six-week classes, and there it was ready to go!” Sarah’s first students, “and we have
were memberships – there Sarah also took the unit Carol, who comes in and runs courses
was something for next door, and both studios in between her other commitments on
everyone. Classes were swiftly fitted out the local adult education course,”
included open access with wheels, kilns and all explained Sarah. “She was my original
time, where you could the necessary equipment. teacher! The course has moved from
come in outside your The second studio where I did it six or seven years ago,
class times and use the eventually proved too but it’s still running.
small, and in June this year, “This session (we run in six-week
Sarah moved it across the blocks) we’ve had four beginners’
courtyard, into a bigger unit with classes, and we also run intermediate
a good first-floor space as well. This and advanced classes, where the
third, upstairs studio is used for students will move on to teapots,
hand-building classes and provides a bottles, two-part pieces, and so on. A
second glazing area. lot of our students stay with us, and
Opening a studio (or three!) is a big progress from the beginner classes, on
commitment, and the only thing that and up to advanced, and a couple of
Sarah knew for sure was that there’s people have joined from outside, at
With seven wheels in one studio, always a waiting list for the local adult intermediate level. This has been our
and nine in the other, Sarah has learning courses, which have no busiest session so far. It’s our first
ensured that there’s always one throwing content. She also knew that September, and that seems to be the
available for every student. Circled: she wanted to run her studio on the month when people start things!
With so many students, recycling
the clay and keeping on top of it is a
same lines as Clay by the Bay. “When I “The next session in January will
big job. When we visited, there was was doing my first evening class there probably be a bit quieter, as people will
a backlog of 15 bins awaiting the was one wheel for 15 people. The idea maybe either take a break, or move to
arrival of the new pugmill. of having a studio that had a wheel for the membership option. Membership is
036-37 Swanspool Ceramics Issue 10.indd 36 12/12/2017 20:43

STUDIO VISIT
The advanced students are Philip demonstrating glazing in

working at a high level, producing the upstairs studio…
teapots, vases and vessels.
either for four or six weeks, and they is lovely. … and a lavatory brush is the
secret to keeping the glaze well-
can come in and use the facilities. They “We’re looking for another teacher
mixed!
just buy the clay they use, and we fire for January; we’re at the capacity of
and provide the glazes. During open what the two of us plus Carol can will be able to consolidate on the
access time, (we’re closed Wednesdays teach. At the moment, including the progress made over the past year, and
and Sundays), they can come in adult learning users who come for open she’s happy to keep things as they are.
whenever they want. It’s a good option access, we have just over 70 students. The studio has gone from strength to
if people can’t commit to a six-week We have seven wheels in one studio strength, following the flexible model
regular slot. and nine next door, and most classes she so admired in America. We wish
“We initially struggled to get are eight students. We haven’t yet had her every continued success. ■
hand-building off the ground; thanks someone come in and not be able to use
to the Throw Down, everyone wants to a wheel, and we wouldn’t want to get to
throw, but now the students who have that stage. Having two studios gives us SWANSPOOL
gone pretty much as far as I can teach the flexibility to only have one open for CERAMICS
them on the wheel, are thinking about members if it’s quiet outside the Six-week courses
hand-building, so, hopefully, in January teaching periods.” ■ Beginners’ throwing
Carol will be able to run a class for us.” The weekend courses have proved ■ Intermediate throwing
Corby Kilns is conveniently local and very popular, with the ‘wet work’ ■ Advanced throwing
has been very supportive, says Sarah. taking place on Saturdays, and the ■ Handbuilding
* All classes include open-access
“They’ve been really helpful, and it’s pieces dry enough to trim, turn and
studio hours
great having them so close. They underglaze the following day. In the
supply all our clay, glazes and kilns, winter, the slower drying times will Weekend courses
and recommend us to customers, which mean that there’ll be extra throwing ■ Beginners’ throwing
on the first day, and the work will be ■ Intermediate throwing
simply glazed.
Sarah originally used Mayco glazes One-offs
Throwing taster, couple’s throwing,
in her own studio, and Amaco in San
private groups/individuals,
Francisco, and that is what’s in the children’s parties, teambuilding
Swanspool studios now. She finds the
available ranges are so good, that Memberships
there’s no need to make her own – not Four-week, six-week, quarterly or
that she’d have the time even if she did annual, for experienced potters.
want to! Enjoy the full use of the facilities,
with firing and glazes included
“We use earthenware clay, but it has
quite a wide firing range, so we can use Gift vouchers are available for all
low stoneware glazes too. People tend classes/courses
to be a bit scared of dipping, and prefer
to use the brush-ons, even when we Swanspool Ceramics
show them it’s not scary! Once they try, Parkhill Yard, Parkhill Road, Castle
they realise it’s fine.” Ashby, Northampton NN7 1LA
E: [email protected]
A wide range of brush-on and For the moment, Sarah is very happy
T: 01604 968533
dipping glazes from Mayco and with how things are going. With swanspoolceramics.co.uk
Amaco is available to the students. another teacher in the new year, she
036-37 Swanspool Ceramics Issue 10.indd 37 12/12/2017 20:43

PROJECT
FOUR
SKILL SCHOOL
PAPER CLAY FIGURE
038-43 Project 4 Figurative Build.indd 38 12/12/2017 20:44

M
ore than 20 years ago I was shown how to make
these figures when doing a workshop with the
You will need:
wonderful Steve Mattison, when he lived in the
■ A small batch of paper clay – see project 6 on
wilds of mid-Wales. I was bowled over by the page 70
simplicity of making, but effectiveness of the outcome.
■ A thin cardboard tube (the sort you get from a
I think the attraction of these comes from the fact that roll of tin foil or similar)
the figure is quite abstract – the features are only
■ A sheet of cotton or similar fabric to roll the
suggested, allowing you to make a recognisable figure with clay on
only the vaguest need for anatomical accuracy. 
3
1
Roll the cardboard tube in a sheet of newspaper,
securing it in place by stuffing the excess paper into each
On the cotton sheeting, roll end.
a slab of clay using roller guides
not thicker than 5mm.
When rolled, tear the ends to
make the slab 25-30cm long.
4
Place the tube on the clay close
Cut the edge of to the thinned edge, then using the
one length of fabric to help you, roll the slab around
the slab straight the tube until it meets the clay again.
with a knife, then
carefully roll the
cut edge with a
rolling pin to thin
it by half.
Issue 10 ClayCraft 39 .
SKILL SCHOOL
PROJECT
FOUR
5 8
Cut the spare clay off the slab about 5mm from the Roll over the joined edges with a printing roller if you
overlap as shown. have one, until the join is no longer visible. If you don’t
have a roller, a short length of dowelling, or anything
thinner than the rolling pin will do. Failing any of those, just
work over the join with a kidney.
Firm the clay up a little with a hair-dryer, to a point where
it will hold its shape when the tube is removed, but with
still some flexibility in the clay.
6
Unroll the clay tube a little, then thin the newly-cut edge
with the rolling pin, as you did for the first edge.
7
9
Pull out the paper from one end of the tube inside the
clay, then carefully pull out the cardboard tube – it should
slide out easily.
Then pull out the paper very carefully, to avoid distorting
the clay too much.
Score and slip the edges to be joined, then, still using

the cloth sheet to hold the shape, roll the edges
together.

PROJECT
SKILL SCHOOL
FOUR
15
Draw in lines to represent the hair using a pin, if you
14 want this feature. Make sure you support the underside of
the head as you work.
Work over the shoulders again to make sure they’re
a good shape and that the clay has joined together
well.
Turn the shape around and reinforce the clay at the
back of the neck with a small amount of clay, to help
maintain the shape.
Blend the extra clay in with a modelling tool, but
don’t over-work it. The surface finish generally is quite
freely-formed, so you don’t want to detract from that.
16
Form two small balls of clay
to make the breasts for a female
figure. Score and slip the position for
attaching them, then fix them onto the
body, blending them in with a modelling
tool until they’re the correct shape – again,
you don’t have to over-work this feature.
17
Use the tip of a fine, pointed
modelling tool to impress a navel into
the torso and draw in a small line to
represent the female genitalia (this is
optional – you don’t have to add this if it
makes you feel uncomfortable).

21
18 Reinforce the leg joins with a coil

of soft clay – blending it onto
Use the edge of a batten to impress the lines of the legs the base and up the legs with a
where they meet the hip. wooden modelling tool.
19
Roughly form a
small, thickish slab
of clay to stand the
figure on, then roll
four equally-sized
balls of clay to make
the feet for the
Allow the finished
figure to dry thoroughly
base. 22 before bisque-firing.
Flatten each ball
with the end of the
roller guide, then
fix them onto the
base in each corner,
scoring and slipping
beforehand.
Mop up excess
slip around the feet
with a brush dipped
in water.
20
23
This selection of figures have been made in differing
Mark the position for the figure sizes and proportions, with a variety of paper clay types and
on the base with a pin, then score includes a male figure. The figures have been painted with
the marked area. oxides, wiped back with a damp sponge to give highlighted
Score the underside of the legs, definition to different surface areas. They aren’t glazed, but
then apply some slip and fix the simply fired up to the clay’s optimum temperature.
figure in place – holding it firmly
until you’re happy it’s secure. Issue 10 ClayCraft 43

Keep it simple
Tim Huckstepp, of Raku Days, shares his advice on raku-firing for the first time
T
hose of us who catch
‘pottery-itis’ will at,
some time, be
confronted with
‘raku disease’. Raku is another of
those all-consuming processes
that all pottery addicts have to
face at some point or other in
their learning journey. This
firing technique has its origins
back in the ancient Japanese Tea
Ceremony, and was used for
making tea bowls. After being
taken from the kiln, the bowls
were used in the tea-drinking
ritual, which stained the crazing
in the glaze. There are plenty of
books and articles written about
its history, and the word ‘raku’
translates as ‘joy and happiness’.
WHERE TO START?
You will need: A raku kiln
● Bisque-fired ware of a made from an
suitable clay body oil drum. Tim
● A suitable glaze sells these on
● A raku kiln his website.
● Gas bottles and burners in a normal electric kiln, it’s too
● Lidded bins for reduction
slow and there’s a high risk of
● Combustible material –
softwood shavings, being electrocuted. Not nice. Or
paper, etc you can buy a raku kiln from the
● Heatproof gauntlets – usual kiln manufacturers.
welders’ gloves are ideal The kiln shown in this article
● Long raku tongs is tried and tested, made from an
● Scouring pads upcycled oil drum, which I make
and sell from my website
rakudays.co.uk
Well, the first thing you will So, you have your kiln, and are
need is a suitable kiln. If you are ready to make some pots. Which
good at DIY, you can make your clay should you use? Your clay
own, and there are plenty of supplier will be able to help, as
simple designs on the internet there are lots of suitable clays.
for self-build raku kilns. You can Clays that are ‘open’ and able to
also adapt or modify any old kiln put up with the thermal shock
– remember that you need access are best, eg Earthstone ES20,
to the firing chamber while Ashraf Hannah, any cranks,
everything is really hot, so you porcelain, or any clay with
need to be able to lift the lid or additions of molochite, or grog
open the door. You will also of about 20%. My own
need a suitable gas burner. I preferences are white clays and a
would not recommend rakuing transparent glaze. My mantra is
044-49 Raku Issue 10.indd 44 12/12/2017 20:46

RAKU FOR BEGINNERS
Tim’s own for a single dip – straight in and

recipe is very
forgiving. straight out. Remember, the
longer you hold your pot in
glaze the thicker the glaze
coating will be. This glaze is
quite forgiving, so don’t worry
Transparent too much about drips and runs.
crackle glazes You can pour this if your pots
work well
with raku,
are too large for dipping, or
producing brush on, trying to achieve as
unique results even a coating as possible. Any
each time. areas you leave unglazed will go
black in the reduction (explained
a bit later). You can blank off
areas with masking tape
or wax/latex, so they
resist the glaze.
Remember to wipe the
always to keep it simple, available, and if you pot bottoms, and
particularly when just starting have one that you know ‘Keep It Simple’.
out. Simple works best; simple works, then you can use
shapes and simple glazing. that. My own recipe is Firing
Remember that the glaze crazes, simply 6.5 pints water, 5lb preparation
or crackles, during the process high alkaline frit, 5lb The emphasis must
and so complicated forms and standard borax frit, and 1lb always be on safety, and the
textured surfaces may not 2oz China clay. Weigh these firing site must be prepared
benefit from lots of crackly ingredients out as accurately as with this as your priority. Raku
glaze. Aim for smooth, possible. This will give you must be performed outside – do
uncomplicated surfaces and one about half a bucket of a clear not raku fire indoors. My own
glaze. Ok, let’s go. transparent glaze that looks raku area, although outside, is
great over white clays. Pop it covered with corrugated iron,
Glazing through a minimum 60-mesh and provides an all-weather
Bisque-fire your pots to 1,000°C. sieve and, if you have the location.
You now need to mix your glaze. patience, a 120-mesh. The Position the kiln so that you
Again, there are lots of recipes thickness of this mix is suitable have a comfortable working
space around it. Put the gas
bottle well away from the kiln, .
A single
dip is all it
takes.
Pass
through a
60-mesh
sieve and,
if you have
the patience,
again through
a 120-mesh.
044-49 Raku Issue 10.indd 45 12/12/2017 20:46

and make sure that you can’t trip
over the hose or kick the burner.
If working on grass, you can peg
the gas hose down with tent
pegs. The burner needs to be
placed so that the nozzle end is
outside the kiln’s fire mouth.
Don’t push the burner end into
the kiln. It may be necessary to
make a platform from bricks and
kiln shelves for the burner to
rest on. If using a round kiln and
your burner is outside, pointing
into the fire mouth, direct the
flamepath at an angle of about
45°, so that the flame bounces
off the kiln wall and swirls
around the chamber. Make sure
all your gas connections are
tight.
Before you light the gas, you Place the combustible material for the
need to prepare the reduction work carefully reduction process. Suitable
bins. Galvanised dustbins are in the kiln, combustibles are softwood (pine)
fine, or any metal container with with plenty of shavings – available in pet shops,
room around
a lid, such as old saucepans or a each piece, to
equine suppliers, garden centres
metal box. I’ve also made brick make it easier – shredded paper, newspaper, etc.
boxes, with old kiln shelves as to extract I like to shred all my junk mail
the lids. Make sure they a them. at home, which gives me a
suitable size for your work to go constant supply! What works for
into – you will put several pieces me is to line the reduction box/
into one container/bin. You need bin with softwood shavings, say
Angle the burners such

that the heat will be While waiting for the kiln
directed around the come up to temperature,
inside of the kiln. prepare the reduction bins.
These can be simple buckets
with lids, or purpose-made
structures. Load them up with
softwood shavings and/or
shredded paper.
a 2” layer, with some shredded

paper over the top.
Pack your first raku kiln,
making sure you use batt wash
on the placing shelf. Until you
build up your confidence with
lifting out the fired pots (also
called ‘drawing’), place your pots
with plenty of space around
them. This is because when you
pick pots up with tongs, they
tend to swing a little, and if you
should touch the pot next to it,
they will stick like nothing you
044-49 Raku Issue 10.indd 46 12/12/2017 20:46

RAKU FOR BEGINNERS
have ever seen stuck before.

Panic will set in, and you’re
likely to spoil several good pots.
So, plenty of space.
Lighting up
You are now ready to light up
and fire. A good tool for lighting
is a gas lighter – the sort you
would use to light a gas hob in
the kitchen. Open up the valve
on the gas bottle. Turn the
burner control on gently and
light the gas. This can be an
unnerving experience, so it can
be a good idea to practise this, so
you get used to how it sounds
and behaves. You need the
burner on a nice low setting to
start with. If you have a
pyrometer, you can watch the
temperature rising in the kiln.
Don’t fire too quickly – you need
the ware to heat up gently,
allowing any moisture present to
evaporate away. If you heat too
rapidly, there’s a danger of the kiln shown is an updraft kiln; For the too quickly. Although, having
pots popping and cracking. So the heat goes in at the bottom, best crackles, said that, raku is a rapid
keep it gentle to start with. and comes out through the top. the glaze technique compared to
needs to
Leave the top vent open. The There’s no advantage in firing set before
conventional firings, which can
reducing. take 8-12 hours to reach the
Tim uses a same temperature. This is why
fan, but you we use clays that tolerate the
can just put extremes of raku, ie rapid
them on an heating and cooling.
old kiln shelf. On a low flame, the kiln will
When you
hear the glaze
get to 150°C in about 15
‘pinging’, minutes, which is when you need
it’s ready to to turn up the gas. The burner
go into the will begin to ‘roar’ a little, as
reduction you introduce more heat into the
chamber. chamber. Leave it for another
10-15 minutes while the
temperature climbs
progressively. When it gets over
350°C, increase the gas again.
You can also part-cover the top
vent, by about one-third, to help
keep some of the heat in. As the
temperature increases, the rate
of heating up will slow down, so
gently increase the gas until you
When the glaze appears shiny and molten, with no scaliness or feel that the kiln is progressing
bubbles – or when your pyrometer reads 1,000°C – you’re ready
to extract the pieces. Wear long gauntlets, use long tongs, and be steadily.
very careful! At around 800°C, you’ll see a .
044-49 Raku Issue 10.indd 47 12/12/2017 20:46

dull red glow starting to appear;
at about 850°C the glaze will
start to melt – you can watch
this through the vent in the lid.
As the temperature increases,
the colour will change to a dull
orange colour. If you have a
pyrometer you can monitor the
progress quite exactly. If just
using your eye, you now need to
watch for the glaze to become
shiny and molten, with no
bubbles or scaly-looking areas.
At 1,000°C the glaze should be
ok. My own glaze will go higher,
but 1,000°C is fine. Other glaze
recipes will have their own
maturing temperature, so make
sure you know what that is. At
the top end you can ‘soak’ for a
few minutes – this is achieved by
turning the gas down a little,
and waiting for a bit. When
you’re happy with the
melt, turn your burner
off.
While the kiln is
firing you need to Place the piece into the reduction bin, and then cover
prepare your working with more paper…
area for the lifting and
reduction. Have your … and put the lid on.
gauntlets handy, your tongs

accessible and the combustibles
to hand, with bins, boxes and
lids at the ready. The
temperature will now drop quite
rapidly – again, if working with
a pyrometer, you can see this
happening. Let it drop to about
850°C. Wearing protective
gauntlets – you can also wear a
mask and protective head gear
– and with long tongs at the
ready, lift the lid and place it
down safely, or open the door.
For the best crackles, the glaze
needs to set before reducing. I
place my pots in front of an
electric fan to blow some cold air
onto the glaze as it sets.
Alternatively, you can sit them
on an old kiln shelf and wait.
After around 20 minutes, you’re ready to unpack the chamber. The pieces will When you hear the glaze
still be hot, so use the same precautions as before. ‘singing’ or crazing, and see
044-49 Raku Issue 10.indd 48 12/12/2017 20:46

RAKU FOR BEGINNERS
cracks forming on the glaze Once cold,

surface, put the pots into the a scrub with
reduction chamber. a scouring
pad will reveal
the patterns
Reduction magic made by the
As you load the reduction bins, carbon.
the combustible material catches
fire. Once loaded, top with
plenty of shredded paper. When
you have lots of flame, shut the
bins/boxes down by putting the
lid on. This will trap all the
smoke inside the box/bin,
allowing it to do its magic – pots
absorb carbon while they’re hot.
Leave them for at least 20
minutes.
Again, think ‘safety first’. The
metal lids and handles will be

very hot, so wear your gauntlets.
Take the lid off, and put it down
safely. Brush away the burnt
paper and carefully lift the pots
out. Remember the pots will still
be very hot, and could
potentially give you a serious
burn. Place them onto an old
kiln shelf or paving slab, and
spray with water to cool them
down. You can plunge them into
a bucket of cold water if you
want, but I feel this only exposes
them to an extra risk of
breaking, and it’s not really
necessary. Once cold, you can
clean all the mess off using
scouring pads and water. A little
Vim can help too. Stand back
and admire!
Good luck, and remember,
‘keep it simple’. 
Tim Huckstepp has been a professional potter

for 40 years and has sold his work worldwide.
He has exhibited at ceramic festivals, both
home and abroad, and the Chelsea Flower
Show and other selected Craft & Design Fairs.
Tim lives and works at Sellindge in Kent, where
he runs very popular raku days at his studio
through the spring and autumn. The drum
raku kiln featured here is available through his
website: rakudays.co.uk
044-49 Raku Issue 10.indd 49 12/12/2017 20:47

Doug’s
STARTING IN BUSINESS
(Photo: Layton Thompson)
Doug Fitch
DIARY
W e arrived home in
Scotland last night
after a few days away
in Devon and Cornwall. This was
Hollyford
Pottery
circa 2010. I
thought I'd be
there for ever.
partly as a short break and a (Photo: Nancy
chance to visit friends, but in the Gallagher)
main part, it was to begin the sad
task of dismantling Hollyford
Pottery, my old workshop, nestled
deep in the Devon countryside.
I set up Hollyford Pottery
almost 15 years ago. It was a
derelict agricultural barn when I
took it on, as a long-term loan
from some friends. Over a period
of time, I insulated it and doubled
it in size with the somewhat
‘nailed on’ additions of lean-to
sheds that were made out of scrap
materials from the local recycling
centre. Hollyford
It had a large wood-fired kiln Pottery as I even built a small, quaint, little Pippin and ultimately,
that I built with help from my it is today. cottage annexe, where I lived for a affordable property prices north of
chum Marky Mark, and a huge The door period of time (albeit illegally!) the border decided it for us.
on the left
blunger, with the plan of when my life took a difficult turn It’s now over two years since we
was my little
processing some of the abundance house. One several years ago. It was a made pots at Hollyford, and a year
of fine earthenware clay that lay door opens, beautiful situation, looking out since we went there last.
just beneath the surface of the another door across to the deciduous woodlands When we arrived last week, my
adjoining field. falls off! where I expected to one day have once carefully tended cottage
my ashes scattered. It was the gardens had returned to the wild,
place that I imagined that I would and the workshop had begun to be
make pots for the rest of my engulfed beneath the brambles
working days… and then I fell in from which I exposed it 15 years
love with a sweet, slipware ago. It was a sad sight.
pottery-making girl from Unscrewing its fixtures and
Scotland, and suddenly everything fittings left me feeling bereft. My
changed. best friend drove up from
For a while, during our Cornwall in his big van and we
courtship, Hannah and I spent loaded the equipment on board. I
periods of time making pots in my knew once the wheels were taken
Devon workshop and then up in out and put on the van, that it was
Scotland. This was the sensible no longer a pottery.
thing to do, until we knew we It sounds like I’m full of regret.
were going to be together forever, I’m not in the slightest, but I have
at which stage we would then to admit, I shed a few tears as the
make a decision as to where we curtain finally came down on that
would live. era of my life. Hollyford Pottery
Getting married, the birth of was good to me; it was where I
050-51 Doug Fitch Diary Issue 10.indd 50 12/12/2017 20:47

KILNS
really learned my trade, full of

successes and failures, triumphs
and frustrations, all with the
tremendous love and support of
some wonderful people.
How odd it is now, to see the
once-familiar equipment, now
sitting alongside the tools of the
trade that I have become
accustomed to using up
here in our new
workshop. One thing’s Michael Cardew's wheel on a pallet in the garden. Soon it
for sure; we are will have a new purpose-built home. (Photo: Hannah McAndrew)
suddenly well- Money box with rooks. 22cm high. (Photo: Shannon Tofts)
equipped, which will Eighteen people wanted to buy this piece, so I’m now
be useful when we making orders.
decide to run courses
or night classes fortunate to be able to buy our online exhibition, which went
someday. one of his kick wheels from live a few weeks ago and ends
The work of the late the now defunct Wenford shortly. It was a great success,
Michael Cardew, Bernard Bridge Pottery in Cornwall. The thank you so much to everybody
Leach’s first and most celebrated wheel is huge, with an angle iron who supported it. We have been
apprentice, is one of my greatest frame and a wooden fly-wheel, packing pots and sending them all
influences. A few years ago, I was and it feels a great privilege to use over the world ever since. Ninety-
and own it. It’s so big that it won’t odd, out of 120 pots have so far
fit through a conventional door. gone to new homes. The sales
This is the cover
We unloaded it from the van last were so good that it has enabled us
photo for the
online show. Both night, onto a pallet in the garden to invest in the construction of the
pots were bought and it’s currently sitting under a new roof much sooner than we had
by a collector in tarpaulin, awaiting the next stage anticipated.
America. of our workshop development, We have virtually no stock left
which will begin here next week. and a full order book. The early
On Monday, a local shed-maker months of the year can be
is coming to construct a new roof financially quite difficult, so it’s a
over the top of one of our reassuringly secure position to be
portakabins. This will double the in, particularly as the birth of the
size of its footprint. Ultimately, new baby becomes increasingly
the sides will be filled in with imminent.
weatherboarding, windows and Today, I’m recovering from the
double doors, and it will be the big drive of yesterday and writing
new home of the Cardew wheel. this diary, which is as ever, beyond
It’s an exciting development for the editorial deadline. Tomorrow, I
us (and our neighbours!), as it is need to get back to work with
the beginning of turning the site some considerable gusto, to make
into an attractive place to work, a new batch of pots. I hope to
rather than the building site that it share some words and pictures all
currently is. about it in my next diary. Until
In my last diary, I wrote about then, toodle pip! 
050-51 Doug Fitch Diary Issue 10.indd 51 12/12/2017 20:47

BIRD FEEDER
SKILL SCHOOL
PROJECT
FIVE There are few people who aren’t delighted to see birds feeding in their
garden, but it’s extra special when you’ve made the feeders yourself
052-56 Bird Feeders Project 5 Issue 10.indd 52 12/12/2017 20:53

T
his version is made by the pinching and coiling
methods, but it could also easily be made using press
moulds – adapting moulds you may already have, for
the purpose. It’s made in the shape of an acorn, but
you could change it to another organic form if you prefer. 
2
Pinch out the rim to the same thickness as the rest of
the form. Once complete, firm the clay up a little with a
1 hair-dryer so that the form holds its shape.
Use stoneware clay in preference to earthenware

for outdoor use – the clay vitrifies in firing, making
it impermeable to water and therefore much less
susceptible to damage from rain and frost, etc. Craft
Crank would be a good choice. Begin by pinching a
ball of clay large enough to sit comfortably in the palm
of your hand. This half of the form should look like the
more pointed end of an egg once complete. Holding
the ball in one hand, press down into the centre with
the thumb or finger of your other hand until you can
feel some resistance in the palm of your hand, then
start to pinch the shape between your fingers, moving
around the form in regular movements so that the wall
thins out evenly. Concentrate on thinning the base 3
of the form first because you may find it difficult to
reach once you have worked up the wall. Try to keep
the opening of the form as closed as possible to begin Work over the interior and exterior
surface of the form with a kidney
with; it will help if it doesn’t flare out too quickly.
to remove lumps and bumps from
the clay, until the wall is of an even
thickness throughout.
4
Sit the form in something that will support the shape
without distorting it – like thick foam with a hole cut out, as
shown here.
Roughly level the rim using a surform blade – it doesn’t
have to be precise because a coil will be added on, but it
will help you maintain the shape if it’s mostly correct. .

SKILL SCHOOL
PROJECT
FIVE
5 7
Roll a thick coil of clay then Roll a very thin coil of soft clay
flatten it out with the palm of your and use it to reinforce the join
hand in a slight curve, as shown – on the inside of the form. Blend
working on a sheet of plastic. it in well with either your finger
Lift the coil and turn it over – flatten again in the same or a modelling tool, then scrape
way, repeating the process until the coil is the same back with a kidney to remove any
thickness as the wall of the pinched form. unevenness.
Repeat the exercise on the outer
wall of the form – use a paddle to
refine the shape where necessary,
this will also help ensure the clay
fills the join to seal it well.
If the rim is very uneven when
finished, level it off again with a surform, as before.
6
Score and slip the rim of the form,
then carefully place the coil in
position. Where the ends meet,
overlap the clay and cut through
both sections on a diagonal. Score
and slip the cut ends, then join them together.
Smooth over the join with a modelling tool or kidney
until it can no longer be seen.

8
Repeat the exercise for the cup part of the acorn shape 10
– this time pinching the shape with a wider, slightly flatter
base. The rim of this pinched form must fit over the first
section, so monitor the dimensions carefully as you pinch.
The cup part of the acorn looks
best textured – you can use any
Regularly check the size against the first half, being careful
tool you like to do this – here, the
to maintain the even wall thickness as you pinch out the
serrated tip of a modelling tool has
clay the last few times, until the fit is correct.
been used, but a kitchen knife would work as well.
When the shape is correct, firm the clay up with a hair-
Work from the top of the cup down to the edge, filling
dryer to equal the firmness of the first half.
in all of the space with texture but don’t press too hard
because you could go right though the wall.
9
Score the clay on the first half of the form about 1cm
down from the rim, on the outer edge, as shown. 11
Repeat the exercise on the inner edge of the cup half.
Slip the surfaces, then fit the cup over the acorn body. Roll a short coil of clay, thick enough
To ensure the two surfaces are sealing together, to hold the weight of the feeder (at least
paddle the join with a spatula, but don’t paddle too 1cm thick).
hard. It’s important to maintain the look of the cup Curl the coil over to form a loop, then
holding the acorn inside. Remove any excess slip with a fix it to the bottom of the cup, marking
modelling tool to neaten. the position first, before scoring and
slipping all surfaces to be joined.
Don’t be tempted to lift the feeder by
this loop until the form has been bisque-
fired.
.

SKILL SCHOOL
PROJECT
FIVE
13
12 Just below each opening make a second hole with a

hole-cutter, just large enough to fit a small twig or piece of
dowelling for the birds to land or rest on when feeding.
Cut out a circle or oval shape in Smooth over all cut edges with a barely-damp sponge to
card to use as a template to draw remove any sharpness, then allow the feeder to dry before
around for the openings to the bisque-firing.
feeder. The size will depend on
your feeder, but should be large
enough to allow the bird to feed
easily while allowing the base to
contain a good amount of seed.
Place the template on the side
of the feeder just below the edge
of the cup, and score around the shape with a pin.
Remove the template, then cut out the hole carefully
with a knife.
Repeat as many times as you want openings around
the form – three or four looks good.
Work around each opening with a wooden modelling
tool to refine the clay at the openings and remove any
sharp burrs.
14
To decorate your feeder, simply apply an oxide or
underglaze wash, then wipe it back with a damp sponge.
Allow the form to dry, then fire to the clay’s recommended
temperature.
When fired, insert a twig or dowelling rest in each hole
and glue into place.
Use wire or heavy-duty twine to hang the feeder.
The
finished
feeder – filled
with peanuts,
just waiting
15 for the birds
to find them.

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Jomon figures.
CERAMICS IN JAPAN
Well-known ceramicist Wendy Kershaw shares her experience of a three-week trip
to Japan, where she visited museums, exhibitions and studios
L
ike many ceramicists, I’ve on display, and the prominent status to sculptural pieces, all displaying
wanted to visit Japan for a that it was given. It was amazing to what he had described as ‘akaru sabi’
long time, and in see the ancient Jomon pottery, as old (bright sabi). Dark sabi is associated
September I finally made it. as 10,000 BCE, and the large figures with melancholic gloom; in contrast,
I’ve been attracted to many aspects of and animals from 8300-5000 BCE, bright sabi is filled with unforced
Japanese pottery, intrigued by the thought to be representations of the gorgeousness and light humour, which
culture and aesthetics, and wanted to spiritual world. There were Imari he demonstrated so ably in this work.
experience a country that seemed to ware dishes, with exquisitely painted After visiting many Tokyo
appreciate ceramics much more than cobalt and enamel images, and I loved museums, I had a long and interesting
my own. the Oribe ware, with its free and walk along Kappabashi Street, where
My partner Jey and I spent one week anarchic decoration, as if different the pottery and cook shops are. There
in Tokyo, then two weeks seeing as patterned cloths in the layers of a were so many of them selling
much as we could of the main island, kimono were juxtaposed.
Honshu, clutching our Japan rail A highlight of my visit was ‘The Tsuji Seimei.
passes, lugging rucksacks on and off beauty of Akura Sabi’, an exhibition of
buses, cable cars, boats and some very the work of ceramicist Tsuji Seimei
comfortable fast trains. It’s a safe and held in the National Museum’s craft
easy country to get about, with most gallery building. He lived from 1927
signs being in English as well as – 2008, and made wood-fired vessels
Japanese, and is very organised. The and objects in Shigaraki. I loved his
Japanese must be the politest nation, work, and was moved by its generosity,
and we were given so much help and warmth and wit. There was a joy
treated with courtesy. radiating from it, and humour too,
In Tokyo, I visited the National with his series of vessels inspired by
Museum, and was bowled over by the half-opened food cans. The work
wonderful large collection of ceramics ranged from tea vessels and sake sets,
058-60 Japan Issue 10.indd 58 12/12/2017 20:54

JAPAN VISIT
I came away
enthused and
inspired…
cloth kimono with thousands of small
red ceramics butterflies sewn onto it.
Pottery towns
There are at least 10 pottery towns in
Japan. We only had time to visit one,
and I choose Mashiko, as I’d read and
heard so much about it, and knew that
it was where Shoji Hamada (1894 –
1978) had worked. It’s 145 miles from
Tokyo, and holds a potter’s market
twice a year, with up to a thousand
potters selling their work, which must
be an experience – like one of our
pottery fairs, but 10 times larger.
Kappabashi Street. Unfortunately, that wasn’t on when we
visited, but there was a very long
handmade ceramics, crammed full and street seeming to contain nothing but
piled high, for restaurants and the pottery galleries, with one end of the
public. There was a wide range of street having mostly the better-quality
styles, from rough rustic to work. I don’t know how many we
sophisticated, clean forms. If only my visited, but even I started to flag after
rucksack had more room in it! It was visiting nearly all of them, and had to
obvious that pottery in Japan is much agree with Jey that perhaps we had
more a part of everyday life, and has a seen enough pots for the day. Some of
far larger audience. Handmade the galleries were run by the potters
ceramics are sought-after and themselves, and we got chatting to one
appreciated by a much wider section of man whose family owned and ran one
the population than in the west, which of these. He kindly gave us a tour,
must be linked to the strong, tradition including their large, wood-burning,
role that ceramics has played in chambered climbing kiln, which they
Caroline Cheng.
Japanese cultural life, such as the tea only fire twice a year. He explained
ceremony. We were fortunate that the Mino how they enjoyed the rhythm of the
This was also demonstrated in many International Ceramics Festival was year, with the six-month build-up to
of the Japanese restaurants that we on while we were in Japan. It provided the big firing.
visited, where the food was beautifully
presented on handmade plates and
another highpoint on our trip, with its
11th international competition
My favourite part of Mashiko was .
bowls. Even when we had chips in a exhibition. It is one of the four biggest
craft brewery pub in Kanazawa, they ceramic competitions in the world, and
were served on a sturdy handmade did not disappoint. For a start, it was
platter. All the department stores that wonderfully displayed, with most of
I visited had studio ceramics for sale the 141 pieces of work sitting on a vast
on the top floor, ranged from white surface, that flowed around a
accessible prices to very high. Once large hall, with bigger works
again, my rucksack didn’t have enough interspersed around the room. The
room. At every tourist site there pieces were challenging, beautiful,
seemed to be pottery on sale, some conceptual, technically amazing and
better than others, but the expectation intriguing. One of the prize-winners
Climbing kiln
was there that people would want to was Caroline Cheng from China, with
in Mashiko.
buy ceramics. her unique work ‘Prosperity’, a black
058-60 Japan Issue 10.indd 59 12/12/2017 20:55

JAPAN VISIT
visiting Shoji Hamada’s beautiful

traditional home, workshop, climbing
kiln and museum. He had such a
significant influence on studio pottery,
was a major figure of the Mingei
folk-art movement, and was designated
a ‘Living National Treasure’. It was
very moving to see, and not only was
there his own beautiful work, but also
his collection of ceramics and other
crafts that inspired him, including
early English slip ware. At the shop, on
leaving I couldn’t resist buying a
Hamada T-shirt.
Mashiko’s museum runs a residency Shoji Hamada’s
programme, which started in 2014. I’m workshop.
so glad that we got to see the
exhibition by this summer’s two
resident potters, Anne Mette
Hjortshøj, from Denmark, and Carina
Ciscato, from Brasil. The work was
inspiring, and of exceptional quality.
They both made domestic vessels,
skillfully experimenting with different
combinations of the local clays, slips
and glazes, fired in electric and wood
kilns; both working in their own way
to great effect. The vessels quietly sang
with each potter’s own voice.
If anyone with an interest in
ceramics is considering a trip to Japan,
Carina Ciscato.
I’d definitely recommend it, there is so
much to see, and I know that in three
weeks we only got to see a part of it. I
came away enthused and inspired by
what I’d experienced, by encountering
pots that moved me, that I felt a gut
connection with, and that the world
was a more meaningful place with
them in it. It’s really heartening to visit
a culture that highly values ceramics
and embraces it in everyday life. I did
manage to take a few very small pots
back to Scotland, but if you do go, leave
some room in your rucksack! 
Anne Mette Hjortshøj. ■ wendykershaw.org
058-60 Japan Issue 10.indd 60 12/12/2017 20:55

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We are looking to recruit a part time Pottery tutor to our large and
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You will have experience of working within an educational establishment
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Duties will include teaching non-accredited part time pottery courses,
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You should be educated to at least level 3 standard in Pottery or have
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• Please visit https://jobs.bexley.gov.uk/wrlive to find out more and apply.
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This authority is committed to safeguarding and promoting the welfare of children
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This post is considered by the authority to be a customer-
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The appropriate standards are set out in the JD/Person
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Confessions
of a novice
Our have-a-go pottery blogger Tracey continues her
mould project, and builds a vase
Misadventure 2:
Creating a vase from
10% clay and 90%
pig-headedness
If you read my last blog you’ll
recall the utter chaos that was
my attempt to make a plaster
slump mould from issue 5. Well,
this time you’ll be glad to hear
that no rooms or outdoor areas
were destroyed. However, I can’t
honestly pretend a single second
of it went smoothly. It’s beyond Decorators’ fraught with such stress and
me how I can turn something I filler was panic.
enjoy so much into a process pressed into I did eventually come out of
action to the last blog with a plaster
smooth out
gaps and
mould that I’d made myself. All I
holes in the needed to do was let it ‘dry out
mould. thoroughly’ as per the
instructions, and then I could
test it out. ‘Letting it dry’ is a
crucial part of plaster-mould-
making, as dry plaster absorbs
Waiting for moisture from the clay and helps
the clay to dry
in the damp it to stiffen up and lift away from
mould was the mould, ready to come out.
frustrating. Yep, a nice dry plaster mould
Did I wait? will make the whole process
What do you proceed beautifully.
think? You won’t be surprised to hear
that I didn’t wait for my mould
to dry. Blame the internet: it worst that could happen if I
wasn’t very clear on how long didn’t wait? Surely my vase
this ‘thorough drying’ would would just take longer to dry. No
take, which I took as biggy. Right?
Making a confirmation that I should just So, the day after the
template for have a go. The estimates ranged aforementioned garden carnage,
the clay slab from a few hours to a few weeks. I embarked on my first attempt
wasn’t easy. Weeks? As if! And what was the at using the mould. I rolled out .
065-68 Blog Issue 10.indd 65 12/12/2017 20:57

some clay on my kitchen table attempted to lay plastic-wrap in
between sheets of newspaper. the mould and draw around the
Rolling by hand, as you will shape with a marker pen. Let’s
have found, is a truly laborious just agree it didn’t work. It was
process. Plus, I needed a fairly floppy and massive. I ended up
large slab (I refer you to my with a huge slab of clay, most of
stubborn insistence on making a which was clearly going to be
mould both asymmetric and trimmed away. After much
large, completely against the prodding and pressing, I
written advice), and I soon found eventually got the clay down
that the rolling pin wasn’t long into the slump without ripping
enough to span the clay and still it. Just. I didn’t use a rubber rib
remain on both guides. Diagonal as advised, because at this point
rolling commenced. I’m sure you I’d entered panic-mode, and had
know exactly what I mean. forgotten the instructions even
At this point, I realised that existed.
the flat template I’d used to I’ve missed something out…
draw the shape for the mould When I said earlier that I had a
wouldn’t be the right shape or mould, what I’ve really got is a
size to fit the rounded 3D shape, right hash of something that
even with the recommended roughly approximates a mould.
10mm extra. Concluding that I First of all, it weighs an absolute
needed a new template, I tonne! Note to self: if you will
Vase mark insist on making large,

three had asymmetric shapes, make two
crumpled separate moulds. Second, the
plastic bags
back and sides are lumpy and
lining the
mould… uneven, and (to my real shame,
and slight terror) flaky!
Wherever I moved it, I found
there was a crumbly layer of
plaster left behind.
Let us take a second to reflect
on the perils of plaster and kilns.
I was advised in class that I
should use plastic or wooden
tools when working on clay in a
plaster mould, since metal tools
can scrape off bits of plaster that
are likely to stick to (or in) the
clay. This in turn will explode
– yes, explode – in the kiln,
damaging your work and that of
anybody unfortunate enough to
be sharing the kiln.
So, the flaky nature of my new
mould was a big concern. I broke
off as much of the loose stuff as
possible by hand, but I didn’t
take a surform to it. Who’s got
… which
time for that when there’s a new
resulted in
this wonderful mould crying out to be tested?
texture. Plus, I haven’t got a surform.
065-68 Blog Issue 10.indd 66 12/12/2017 20:57

There were also a few next day the clay seemed just as
pockmarks and air-bubbles in moist. The plaster itself felt
the finished mould surface, damp, so I wasn’t surprised it
caused by the plaster being too hadn’t dried the clay. Days
thick and lumpy when I poured passed. Still nothing was
it. I smoothed these with happening. It was a whole week
decorators’ filler, and later (behold my patience), that I
immediately blocked the whole decided enough was enough. For
episode out, hence omitting this better or for worse, it was time
detail earlier. Good enough, my to get it out.
friends, it was good enough. Or, Running a credit card around
it would have to be good enough, the border, I could see that
because I really wanted to get on although the edges were still
and make the damn vase! stuck, the clay beneath actually
Confessions over, let’s get back lifted fairly easily. However, it
to the clay. At this point I finally still felt pretty wet and fragile,
remembered the instructions, and my shape was particularly
and scored the edges while they flimsy, so rather than getting
were still nice and moist. My both segments out, I decided to
serrated rib did a great job, leave one in the mould, flip the
almost certainly – or at least other over on top, and support it
probably – without scraping any with some large-bubbled
plaster into the clay in the packaging. Unfortunately, the
process… Lalalalalala, nobody clay really was so damp that it
mention plaster in the clay, I’m just couldn’t hold its shape. It
not listening. was flopping! In a panic, I took
Now the clay was in the my hair-dryer and set about
mould, I really did have to wait. blowing warm air up through
Obviously, I was hoping it would the bottom of the pot to try to
only be overnight. However, the dry the inside of both halves,
leaving the outside wet enough Voila! a slab, cut round it, scored,
to smooth the joins. wetted, stuck the base on,
To my temporary relief, this blended it in… and then finally
worked very well, very quickly. breathed and stepped back.
The clay was extremely thin, due It was a complete and utter
to pressing it into a fairly deep pig’s ear. I tidied it as best I
mould (and I must admit, some could around the joins, but it
bits were thinner than others), so was fragile, and I was reluctant
in no time the top half was to mess about with it too much.
supporting itself over the bottom It would have to do.
half. Imagine my dance of joy. At this point, college evening
I decided I needed to tidy up classes weren’t in session and I
the joints on the outside and put had a tonne of greenware
a base on immediately, before the cluttering up my house. Having
clay dried any further. And I joined Anglian Potters (find
couldn’t do that without taking them online and on social
the whole thing out of the media), I asked its hive-mind if
mould. The next 15 minutes are anybody rented kiln space, and
a bit of a blur. I guess I must found a fantastic local potter
have lifted it out and stood it up. called Mariam Cullum, who was
I know I watched the base flare more than happy to oblige. With
and split under its weight, and I full disclosure about my fears
Bisque-firing complete, with hastily cut off the bottom few regarding the plaster, Mariam
no explosions or apocalyptic centimetres with a scalpel. I’m carried out a bisque-firing for
damage to the kiln. fairly sure I stood it up again on me, while I tried not to picture .
065-68 Blog Issue 10.indd 67 12/12/2017 20:57

BLOG
exploding kilns and apocalyptic the mould up to experience, and

damage. I was on tenterhooks, tucked it away in the box-room.
but soon Mariam got in touch to It wasn’t until three months
say the firing was done. She later that I finally lugged it back
didn’t mention any explosions, out. I’d attended my first
and she wasn’t sobbing, so I Anglian Potters workshop, in
allowed myself to believe I had which Jim Robison (Booth
managed to avoid plaster-related House Gallery) constructed and
kiln-carnage on this occasion. decorated a large slab-based pot
The least said about my in front of a hundred or so
bisque-fired piece the better. enthusiastic potters. I was so
Wearing a serious face-mask we excited by Jim’s use of texture on
had for DIY (not a paper one), I slabs, particularly overlapping
sanded it as far as I could, to different textures at interesting
make it a little bit more angles, that the very same night
respectable. I will never do this I decided to have another go
again, even with the mask. Not with the mould, incorporating
only is clay dust deadly, but even these ideas. Because the mould
after all this hard work, the piece was now genuinely dry, this vase
still features lumps that tell the came out fairly easily the
full story of wrestling it into the following day, and now that I
mould, of the rips that opened up was a little more experienced,
in the thinnest areas as I joined the assembly was far less
the two halves, and by now I’d stressful.
completely gone off the swirly, Buoyed by this success, and
over-the-top shape. I consigned newly inspired by the texture on
the vase to a shelf and started a block of clay when it’s been
pondering really thick, busy covered in plastic-wrap, later
glazes that might hide the worst that week I scrumpled up some
of those imperfections. I chalked bin-bags and lined the mould, Inspired by when putting it into the mould.
leaving them inside as I pressed an Anglian The results were getting better
in the clay. This really was a Potters’ all the time, and that texture
demonstration
bodge-job. Trying to get clay really is wonderful. I felt like a
by Jim
that wasn’t big enough into a Robison, I was queen of clay.
mould that was also half-full of really pleased This feeling lasted all of three
bin-bags was a bit of a with this vase… days. It was October, and finally
nightmare. It also dawned on me the new college term was
half-way through that lining the starting. So it was that carrying
plaster with plastic was going to a box of greenware to the car,
counteract any drying effect the bursting with excitement and
plaster had previously had on the ready to think about glazing
clay. Nevertheless, I persisted, these three vases, I’d literally
and the payoff as I peeled it away taken a single step out of the
again, revealing the most door when I glanced down and
stunning texture, was fabulous. my heart sank.
This time I decided to address One of the tall curls had
the fact that the two halves of silently snapped off when I
the mould have a different shape wasn’t looking. 
around the opening (you may
have spotted this from the Next time: Here’s my
photos of the mould), and I set at handle, here’s my… spouts?
it with a scalpel while it was Tracey attempts the issue
leather-hard. I also went back to 8 teapot, having only ever
... until the tip of one of the the instructions and used a thrown two pots
curls fell off. rubber rib to smooth the inside
065-68 Blog Issue 10.indd 68 12/12/2017 20:57

n! • WIN! • WIN! • WIN! • WIN! • WIN! • W
Wi 0 We’ve teamed up with Online Ceramics to offer
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W hatever your taste, there’s Geoffrey

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To see the range of work available, visit:
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Tony Laverick. John Pollex. Tim Andrews.
TO BE IN WITH A CHANCE OF WINNING THIS PRIZE DRAW, SIMPLY COMPLETE THE

FORM BELOW, OR ENTER YOUR DETAILS AT: SHOP.KELSEY.CO.UK/CLAYCRAFT6
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Send your entry to: ClayCraft competition, Kelsey Publishing Ltd, Cudham Tithe Barn, Berry’s Hill, Cudham, Kent, TN16 3AG.
The draw closes at midnight on 25th January 2018 . The winner will be drawn at random on the 29th January and notified.
For full terms and conditions see the website.
069 Competition Issue 10.indd 69 12/12/2017 20:58

MAKING PAPER CLAY
SKILL SCHOOL
PROJECT
FIVE
SIX
Some useful information and
tips before you begin
You can buy dry paper fibre from
most ceramic suppliers, and it
cuts out a stage in the making
process to have some in store
for those times you want to
make paper clay. If you use this
material, you must wear a dust
mask when first mixing it – at
least until it has been soaked in
water.
Alternatively, tissue paper or
newspaper can be used, and it’s
worth experimenting with other
papers if you have time. The
weights used in this mix are not
scientific but will work well – you
can alter the ratios of paper to
clay, but the more paper you
add, the more open and friable
the clay will become. If you want
to change the mix, you will have
to experiment to find a ratio
that will suit the item you want
to make, but I wouldn’t suggest
more than a 50/50 mix.
Homemade paper clay will rot
quickly and smell quite dreadful
– hence the addition of tea tree
oil or bleach. This slows down the
formation of bacteria – to some
P
aper clay is an amazing good clays, but sometimes you start a degree – but the best solution
material, which you can buy project and think ‘paper clay would be to the problem is to make only
readymade from most clay perfect for this’, and, of course, you enough clay for the project in
hand. Any scraps left over from
suppliers to meet all of your don’t have any and can’t get to the
making can be allowed to dry,
making needs – earthenware, supplier to get some. So, what do you then slaked down the next time
stoneware, porcelain, red, white, do? Make your own of course – the you want to make something.
grogged, and so on. These are very perfect solution!  YOU MUST ventilate your
kiln well when firing paper
clay. Obviously, the paper will
burn away in firing, but this
You will need: paper clay. It should be the
causes fumes that can be very
consistency of thick mayonnaise.
■ A roll of two-ply toilet roll unpleasant. The fumes will also
(See step 6 for visual reference)
■ Clay slurry; craft crank has affect the kiln elements over time
■ Tea tree essential oil (or
been used here, but you could if the ventilation isn’t adequate.
bleach will work as well – tea
use any clay to suit the project You shouldn’t be in the studio
tree just smells nicer)
you’re working on. Crank is when firing paper clay and the
particularly good, however, for ■ Food processor/juicer/ room itself should also be well-
sculptural builds, such as the liquidiser ventilated.
figure in project 5. Slake down ■ Drill – an electric food whisk Paper clay can be used in
completely dry clay in warm blade should fit the chuck easily, exactly the same way as your
water, as you would if you were to act as a mixer for the clay. normal clay, with some extra
reclaiming it. When it has broken For very large quantities, use a benefits: it has the ability to stick
down, decant off the water and plasterer’s whisk to itself in any state; wet or dry,
give it a mix. You now have a ■ Plaster batt thin or thick, using paper clay slip
clay slurry suitable for making as a glue.
■ Bowl/bucket for mixing
070-72 PaperClay Project 6 Issue 10.indd 70 12/12/2017 20:59

PROJECT
SKILL SCHOOL
SIX
8 10
Fix the food beater blade into the Spread the clay evenly over the batt using a rib or similar tool.
end of the drill and secure, then mix Note: You could just leave the slab to dry completely in this way. It can then be
the paper clay mixture thoroughly used for a slab project – easily cut to size and shape with a knife at either the
for several minutes to ensure it is well leather-hard stage or when fully dried.
blended together.
11
Scoop the clay up periodically with a rib and turn it over to allow it to
firm up evenly if you want to use the clay in a plastic state.
This can be a bit messy depending on how much water is in the clay, and
may need to be done a few times.
9
Empty the bowl of clay onto a When the clay peels off the plaster easily
plaster batt using a rubber kidney without a squelchy mess, knead it until it’s a
to ensure none of the mixture is completely smooth and even body, with no
wasted. pockets of air visible. It’s now ready to be used
for slabbing, coiling or modelling, and there’s
no need for the work to be made hollow if you
don’t want it to be, because the paper opens
the body enough to allow for the safe escape
of air during firing.
You can work to any scale – paper clay is extremely strong in both
green and fired states, but only a fraction of the weight of regular clay.
A useful idea: While still a slip, spread the mixture into a mould to dry
out there, in the given shape – great for bowls!
You could even throw with it, although this isn’t easy.
Treat the clay in exactly the same way as you would normally, in terms
of decoration and firing, bearing in mind it’s great for raku and other
extreme-firing processes.
Happy paper clay making! We’d love to see how you use yours – send
us a photo, to: [email protected]
070-72 PaperClay Project 6 Issue 10.indd 72 12/12/2017 20:59

S
KILN CLA
Y
EL S
MAI WHE
NTEN
ANC
LS E
TOO
MAT
ERIA
LS
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SWANSPOOL
CERAMICS
Modern, well-equipped ceramics Pottery is our passion!
studio in an idyllic rural location near
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EVENTS: Raku Days, Special Occasions and • Pottery Courses
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The Clay Studio, Hendal Farm, Cherry Gardens Hill,
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EVENTS Do you have an event you’d like listed?
Email us at [email protected] for free inclusion
RUNNING UNTIL 9 JAN  12 APRIL through your vision and values

Jane Pritchard Ceramic • Tips on where to focus your online
UNTIL 7 JAN UNTIL 11 FEB Showcase marketing
Ceramics 247 Marit Tingleff: New Craft Centre & Design Gallery, Leeds. This Reaching Your Market workshop
Hackney Road, London Ceramics craftcentreleeds.co.uk is part of a series of Business
Ceramics 274 are a collective of 10 Roche Court,East Winterslow development workshops and events
London potters. We’ll be running Salisbury, Wiltshire 13 JAN  24 FEB designed by the Crafts Council to
a shop stocked with our own sculpture.uk.com The Natural Pleasures of provide makers with skills to promote
products. Mr Yorke their work successfully.
This year we are welcoming guest UNTIL 11 MARCH 2018 Virginia Ray and Paul Wearing Book now: Just £40 (£30 Early Bird
artists to join us for two week slots – The Teabowl: Past and newashgate.org.uk tickets available until 12th January 2018)
so there’ll always be something new Present Tickets via Eventbrite at: bit.
to see. Keep an eye on Instagram (@ The Leach Pottery 13 JAN  24 FEB ly/2iEJ4is
ceramics274) to find out who the The exhibition will present 55 Eastern Influence
guests are and for details of our examples of teabowls, including newashgate.org.uk 15 FEB  10 MARCH
opening event. historic teabowls from the East, Porcelain³
Participants: Andrea Roman, teabowls made in the West in the 13 JAN Jo Davies. Katharina Klug. Anja Lubach
Natascha Madeiski, Ned Davies, spirit of tradition, and teabowls Made with Love The Contemporary Ceramics Centre
Sarah Hall, Grace McCarthy, made with a sense of subversion. These talented British makers come These three ceramicists are all
Ben Sutton, Lisa Ommanney, leachpottery.com together to showcase their beautiful known for their individual use of
Arjan van Dal, Ida Riveros and jewellery, ceramics and works in porcelain and have been chosen for
Ditte Blohm. UNTIL10 JUNE mixed media resulting in an array of their unique places in influencing
ceramics274.com Sara Radstone ideal gifts for Valentine’s and Mother’s contemporary ceramics.
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Porcelain sculptures ceramic artists. The exhibition 20 JAN 24 MARCH
V&A Museum features more than 50 works by Through the Window 3 4 MARCH
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work has changed and developed artichokegallery.co.uk onlineceramics.com
UNTIL 27 JAN over the course of a career spanning
Starlight nearly 40 years. 20 JAN  25 FEB 3 MARCH  14 APRIL
Craft Gallery, Birmingham yorkartgallery.org.uk Mixed exhibition Rising Stars 2018
Starlight; an exhibition exploring cambridgegallery.co.uk newashgate.org.uk
the spectacle and wonders of outer UNTIL 10 JUNE
space. Radical Clay: Teaching FEBRUARY 3 MARCH  14 APRIL
rbsa.org.uk With the Great Potters of Julie Massie: Fragile Edges
the 1960s 3  27 FEBRUARY - Winner of Rising Stars
UNTIL 5 FEB Bristol Museum & Art Gallery FOCUS ON Award in 2017: One Year
Woman’s Hour Craft Prize Ground breaking pieces from Featured potters: Sophie Southgate, On
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Organised in partnership with BBC including Hans Coper, Lucy Rie, beveregallery.com
Radio 4 and the Crafts Council, the Janet Leach, Ruth Duckworth, 10 MARCH  21 APRIL
Prize was launched to celebrate the Bernard Leach, Michael Cardew 8 FEB  10 MARCH Equinox
70th anniversary of BBC Radio 4’s and Gillian Lowndes. A piece by Matthew Warner Solo Show For this mixed exhibition, makers
Woman’s Hour. Twelve finalists have Kate Malone, made when she was a Contemporary Applied Arts have been selected whose work has
been shortlisted, whose work will be student at Henbury School in Bristol, A solo exhibition of new work by an elemental quality, or celebrates
exhibited in this display. will also be on show. London-based potter and CAA maker the abundance of the natural world.
vam.ac.uk bristolmuseums.org.uk member Matthew Warner Confirmed artists include Kate
caa.org.uk Bajic, Amanda Baron,
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Lizzie Farey, Elaine Jones, and
6  30 JAN Reaching your Market: Lucy Jade Sylvester.
The Graduate Show 2018 Making the most of your bluecoatdisplaycentre.com
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talent selected from the crop of 2017 • Advice on understanding how to CAL
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074 Events Issue 10 v2.indd 74 12/12/2017 21:00

SUPPLIERS  Email [email protected] for free inclusion in our listing
 Alisdair Kettles  Hesketh Potters’

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Do you want your entry to stand out? For details, contact Gary on 01732 447008
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Creative Matter in the
Bermondsey studio.
COLLECTIVE MATTER
If you’ve ever wondered what happens to ceramic students after college, here is
the story of three who graduated from the Royal College of Art in 2016.
Paul Bailey went to their new studio opening to meet them
F
or Eva Masterman, Katie facilitates public workshops, and something like this; to realise this
Spragg and Mary O’Malley community engagement, as well as a multi-purpose space, they needed
it has been a time of funded residency programme for facilities and equipment, including
constant exhibiting, professional makers. custom-built workbenches and storage,
teaching and residences, both in this Katie added: “We joke about the specialist equipment such as kilns,
country and abroad. But then in October Collective Matter ‘Hive Mind’. It has throwing wheels, clay modelling tools,
2017, they decided to launch their own allowed us to approach projects with our paintbrushes, banding wheels, materials
studio called ‘Collective Matter’ as individual skills and personalities. For such as decorating slips and glazes, and
well as continuing their solo careers. me, it has given an alternative outlet for studio essentials including a mop and
Collective Matter is a flexible clay my practice – particularly allowing me bins!
studio space in Bermondsey, south east to develop the social-engagement Together they launched an online
London. They share the building with element; something that’s important in Crowdfunder campaign to raise the
Turner Prize-winning arts/ my own development.” funds needed to equip the studio,
architecture/design group Assemble, The main problem for the group has offering ceramic workshops and ‘your-
and they aim to create a permanent been the cash required to set up name-here’ on equipment as rewards for
space in which to explore clay in all its
possibilities. Through combining
practical work with critical discussion,
they hope to contribute to the wider
professional understanding of ceramics
and its impact within the arts in
general.
Mary commented: “Creating this
collective was an excellent way to keep
the momentum going after graduation.
Alongside our individual practices, we
had each other to continue to bounce
ideas around, and stay motivated.”
Their ambition is to eventually create
a fully-equipped clay workshop that Creative Matter’s Bermondsey studio in progress.
078-79 Emerging Potters Issue 10.indd 78 12/12/2017 21:01

A selection of the
artists’ solo work
■ Eva
Through her work as a teacher and
artist at the Camden Arts Centre,
she was selected for a six-week
exchange residency with Arts
Initiative Tokyo, Japan in spring Mary O’Malley, ‘Foreign Objects’. (Photo: Sylvain Deleu)
2017. Most recently, she was selected
for the 2017 AWARD exhibition at ■ Mary Craft Council Awards of Excellence,
the British Ceramic Biennial and the She has been invited to the Jingdezhen one of which culminated in a residency
NOVA Welsh Art Prize. Ceramic Institute as an inaugural at the Hambidge Center for the
resident in its international school, and Creative Arts and Sciences in North
has twice been awarded American Georgia.
■ Katie
She has exhibited, held residencies and
taught ceramics at institutions, both
nationally and internationally –
including South Korea, Denmark and
Germany. Recent achievements include
the acquisition of her piece ‘Hedgerow’
by the Victoria and Albert Museum,
being shortlisted for the British
Ceramics Biennial AWARD show, and
Eva Masterman, ‘Nice Jugs’. selected for a ‘Spotlight’ space at Collect
Katie Spragg, ‘Daydream’.
(Photo: by the artist) 2017 with Flow Gallery. (Photo: Sylvain Deleu)
pledges. They also received a generous involving an aspect of clay. worried about the state of creative
donation to enable them to buy a large Before opening the studio, their education, the closure of material
kiln, and many ‘in-kind’ donations. largest joint project was a six-month specific courses, and the lack of
They managed to get a small loan to residency for the Tate Exchange in 2017. opportunities that are given to young
make the studio in Bermondsey partially In collaboration with Gasworks, people, especially. This collective gives
functional, but it needs further Beaconsfield Gallery Vauxhall, Pump us a chance to do something worthwhile,
investment to create a space that House Gallery, and the Nine Elms that will hopefully benefit communities
facilitates both their own creative and Vauxhall Partnership, they worked with and professionals, then potentially even
skilled making, plus public use and other local young people and community offer models for alternative learning
professionals working on projects groups to explore the changing practices in the future.” 
narrative of the area of Nine Elms
through clay workshops. Contact details
Eva commented: “We’re all really ■ Collective Matter
collectivematter.co.uk
■ Mary:
[email protected]
maryomalley.co.uk
■ Eva:
[email protected]
evamasterman.com
■ Katie:
[email protected]
Katie, Mary and Eva at Tate katiespragg.com
Exchange. Mary teaching at Tate Exchange.
078-79 Emerging Potters Issue 10.indd 79 12/12/2017 21:01

FOR ALL YOUR SUPPLIES
INCLUDING KILNS, WH
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NORTHERN KILNS
Kilns, wheels, clay, glaze and equipment
Service and delivery nationwide
01253 790307
[email protected]
Lessons in throwing, handbuilding and

various aspects of ceramics
01253 799928
[email protected]
COURSES  Do you run a course that you’d like to see here?
Email [email protected] for free inclusion in our listing
Do you want your entry to stand out? For details, contact Gary on 01732 447008
surface courses Dates: Various POTTERYDAYZ
SCOTLAND Dates: Various Location: Birmingham Courses: Wheel throwing for beginners and more
Location: Holmfirth, Huddersfield macbirmingham.co.uk experienced
SEATREE CRAFTS boothhousegallery.co.uk PARKWOOD THROWING COURSES Dates: Saturdays, 9.30-3pm
Courses: Beginners' classes, workshops, after SCULPTURE LOUNGE STUDIOS Courses: Basic and intermediate throwing Location: Peterborough/East Midlands
school club, supervised open access Courses: Throughout the year Dates: 8-week Thurs evenings, weekend courses, FB: @claydayzz, E: [email protected]
Dates: Various Dates: Contact directly for further information taster sessions ZOO CERAMICS
Location: Innellan, Argyll Location: Holmfirth, West Yorkshire Location: Nr Alfreton, Derbyshire Courses: Half and full day handbuilding
seatreecrafts.co.uk sculpturelounge.com parkwoodthrowingcourses.co.uk workshops, 10-week pottery classes
ANNAMERCEDES WEAR PLAY WITH CLAY Dates: Various
THE WEE MUD HUT
Courses: Regular one-day handbuilding courses, Courses: Throwing, toddler clay Dates: Saturday Location: Waddington, Lincolnshire
Courses: Handbuilding, throwing for all ages/
abilities. Groups and individual sessions includes making and decorating animals and figures mornings, Tuesday afternoons, throwing weekly zooceramics.co.uk
Dates: Various Dates: Throughout the year by appt.
Location: Sheffield Location: Loughborough
Location: East Kilbride, Scotland Lanarkshire
theweemudhut.co.uk anna-mercedeswear.com creationspottery.co.uk WORCS/SHROPS/
SEVEN LIMES POTTERY STAFFS/HEREFORD
CUMBRIA/N EAST LANCS/CHESHIRE/ Courses: Varied courses/classes
Dates: All
BRITISH CERAMICS BIENNIAL
MUDDY FINGERS POTTERY MERSEY Location: Moss Side, Manchester
7Limes.co.uk Courses: Beginners & Intermediate
Courses: Adult night classes
SEYMOUR ROAD STUDIOS Dates: Tuesday & Thursday
Dates: Tuesday and Thursday evenings, every
BALTIC CLAY Courses: Weekly/one-day weekend classes Location: Stoke-on-Trent, Staffordshire
six weeks
Courses: Evening and weekend clay courses Dates: Various The BCB operates a clay school and a variety of
Location: Jarrow, Tyne and Wear
Dates: Tue, Wed, Thurs (6.30pm - 8.30pm) & Sat Location: West Bridgeford, Notts courses throughout the year.
muddyfingerspottery.com
Location: Liverpool seymourroadstudios.co.uk britishceramicsbiennial.com
ANNIE PEAKER balticclay.com
PAT SHORT CERAMICS KAREN FINCHAM CERAMICS
Courses: Figurative Ceramic Courses
BLUE BUTTERFLY CRAFTS Courses: Beginners’ handbuilding workshops Courses: Hand building and throwing. One to
Dates: April - October (3 & 5 Days)
Courses: Handbuilding. Weekly 2-hr sessions and Dates: Various one and group sessions
Location: Penrith, Cumbria
day-courses Location: Edgbaston, Birmingham Dates: Weekdays, evenings and Saturdays
anniepeaker.co.uk
Dates: Various, see website patshortceramics.com Location: Redditch, Worcestershire
clayclass.co.uk
YORKS Location: Accrington, Lancs
bluebutterflycrafts.co.uk
LINDA SOUTHWELL
POP UP POTTERY STUDIO (EARTH & FIRE
Courses: Evening classes and one-to-one
JOAN CHAN experiences CERAMICS)
ART HOUSE, SHEFFIELD Courses: Beginner courses to learn simple
Courses: Introduction to clay, handbuilding, Dates: Wednesday evenings and by arrangement
Courses: Wheel, handbuilding, porcelain, raku, techniques
throwing, slip casting, glaze workshop Location: The Harley Ceramics Studio, Welbeck,
figurative, workshops, summer intensive week Dates: Tuesday evenings & Friday afternoons
(chimeneas) Dates: Afternoons and evenings Worksop
Location: Greasby, Wirral lindasouthwell.co.uk Location: Great Haywood (near Stafford),
Dates: Mon-Sat 10am-9pm Staffordshire
T: 07803 848212, E: [email protected]
Location: Sheffield City centre
arthousesheffield.co.uk
FB: jccermaics
CLAYWORKS
WALES [email protected]
POTCLAYS
KATIE BRAIDA Courses: Basic/Intermediate/Advanced
Courses: Evening & daytime classes for all abilities CARDIFF POTTERY WORKSHOPS
Courses: weekly class and day workshops Throwing, Intro to glazes, Pottery Basics, Moulding
(with occasional weekend events such as 'Raku', etc) Courses: Handbuilding; throwing; one-off
Dates: Every Thursday evening and various others and Slipcasting, Tilemaking
Dates: Weekly throughout the year Saturday sessions; 1-2-1 throwing; masterclasses
Location: Scarborough Dates: Various
Location: Southport, Lancashire with Anne Gibbs; parties (children, adults,
katiebraida.com Location: Stoke-on-Trent
[email protected] teambuilding); pottery membership tutored &
FIRED ART DESIGNS T: 0754 115 6119, FB: arthousesca un-tutored potclays.co.uk
Courses: 1:1 wheel work, brushwork, surface Dates: 6-wk day & eve sessions, various THE SCULPTURE PLACE
THE CRAFTY POTTER
decoration. Handbuilding, slab work, coil work. Classes Location: Cardiff Courses: Figurative Sculpture Classes
Courses: Throwing, hand-building & modelling
Dates: Various cardiffpotteryworkshops.com Dates: Weekly sessions: Monday, Wednesday &
Dates: Various
Location: Pontefract, Yorkshire Location: Chorley, Lancashire Thursday (running for 6 weeks)
firedartdesigns.co.uk GLOSTERS
thecraftypotter.co.uk Course: Throwing Location: Wolverhampton, Staffordshire
JILL FORD PAUL GOULD/MON CERAMICS Dates: April thesculptureplace.co.uk
Course: Workshop and Day Courses Courses: Beginners & intermediates Location: Porthmadog STONEHOUSE STUDIOS
Dates: Thursday evenings & day courses Dates: Tuesdays & Wednesdays 2-4pm and 7-9pm glosters.co.uk Courses: Throwing & handbuilt ceramics,
throughout the year Saturdays and Sunday workshops: various dates sculpture & life sculpture. Portrait drawing,
JANE MALVISI
Location: York throughout the year painting, & general art. One off workshops & one-
Courses: Raku: full day workshop 2nd Saturdays
Tel: 01717 289008 Location: The Wirral to-one tuition on request
Two-hour pottery classes inc Raku
JOY GIBBS PRICE CERAMICS  GRAPE VINE monceramics.co.uk Dates: Mon/Tues/Weds days and evenings Dates: Mon-Fri inc weekends throughout the
STUDIOS GREEN MAN CERAMICS Location: Bridgend, S Wales year. One offs by arrangement
Courses: Handbuilding, throwing, raku Courses: Pottery Discovery weekends janemalvisi.co.uk Location: Drayton Basset, nr Tamworth, Staffs
Dates: Weekly sessions, Thurs 6-8pm, Fri/Sat 10am-12pm Dates: Various stonehousestudios.co.uk
ORIEL BODFARI GALLERY AND
Location: Mattersley, Doncaster Location: Colne, Lancs POTTERY WOBAGE FARM CRAFT WORKSHOPS
joygibbsprice.co.uk Tel: 01282 871129 Courses: Throwing, handbuilding, Raku, etc Courses: Various multiple-day throwing workshops
GREENWOOD CRAFTS PILLING POTTERY/NORTHERN KILNS Dates: Various Dates: Various Location: South Herefordshire
Courses: Handbuilding; throwing from Courses: From novice to professional: throwing, Location: Bodfari, North Wales workshops-at-wobage.co.uk
beginners onwards hand-building, glazing, making glazes, kiln loading, [email protected]
Dates: All year programming kiln controllers, fitting elements orielbodfarigallery.co.uk
Location: N Yorks Dates: Various WARKS/N’HANTS/
tryacourse.co.uk
LEAFY LANE POTTERY BY SUZIE
Location: Pilling, Lancs
pillingpottery.com
CAMBS/LINCS OXON
Courses: Hand building courses for all abilities. THE POTTERS BARN PAULA ARMSTRONG
Learning disabilities, residential homes, schools Courses: Adult half & full day: beginners throwing & Courses: Handbuilding, workshops ROB BIBBY
and private sessions, and sculptures for your handbuilding. Interemediate & advanced throwing. Dates: Monday and Thursday mornings, Courses: Pottery classes
home and gardens Raku & pit firing Tuesday & Thursday evenings, monthly Saturday Dates: Tuesday morning and evening, one-offs
Dates: Throughout the year and area Dates: Various workshops by arrangement
Location: Hull and East Yorkshire Location: Sandbach, Cheshire/Staffs border Location: Willingham, Cambs Location: Woodnewton, Oundle
[email protected] thepottersbarn.co.uk parmstrongceramics.co.uk robbibbyceramics.co.uk
Tel: 07886 841936
MATTHEW BLAKELY PUP RUGBY
OLD STABLES STUDIO Courses: Weekend Courses: Throwing, Porcelain Courses: Pop-up pottery, pay-as-you-go. Come
Courses: Throwing: bootcamp, weekends, tasters NOTTS/DERBYS/LEICS/ throwing and have a go!
and regular classes
Dates: Various
MIDLANDS Dates: Monthly
Location: Lode, Cambs
Dates: Wednesdays, fortnightly
Location: Newton Village Hall, nr Rugby
Location: Hebden Bridge, Yorkshire matthewblakely.co.uk FB: @popuppotteryrugby
JAMES OUGHTIBRIDGE CANDO POTTERY HILLS ROAD SIXTH FORM E: [email protected]
Course: Large Scale Slab Building Courses: Hand-building for beginners COLLEGE SWANSPOOL CERAMICS
Dates: Contact for details Dates: Thursdays 10.30am-12.30pm Courses: Handbuilding, throwing, plus summer Courses: Throwing, handbuilding, all levels.
Location: Holmfirth, West Yorkshire Location: Mellor, Stockport school workshops Weekend workshops. Membership & open access
jamesoughtibridge.blogspot.co.uk candopottery.wixsite.com/group Dates: Various Dates: 6-weekly classes, year-round, various
JIM ROBISON CERAMICS MIDLANDS ART CENTRE Location: Cambridge Location: Castle Ashby, Northants
Courses: Week-long Ceramics, and Glaze and Courses: Ceramics Open Studio hillsroadadulteducation.co.uk swanspoolceramics.co.uk
081-82 Directory - courses Issue 10.indd 81 12/12/2017 21:01

handbuild techniques animal sculpture, glaze chemistry, slip decorating
Dates: Weekly, daytime & evening/weekends Location: Forest Row, West Sussex
NORFOLK/SUFF/ESSEX Location: Devizes, Wilts KENT/SUSSEX/ frschoolofceramics.co.uk
E: [email protected] SURREY/LONDON GO CREATE
PHIL ARTHUR SASHA WARDELL Courses: Pottery, sculpture & craft
Courses: Pottery classes Courses: Bone china & mould making courses Dates: Various
Dates: Tuesday evening, Thursday afternoon Dates: May to September ( incl.) in SW France / Feb ART SHOP AND POTTERY Location: SW London
Location: Cawston, Norfolk & March in Wiltshire Courses: 1-to-1 throwing tuition. One-off taster gocreate.co.uk
[email protected] Location: SW France/ Wiltshire sessions & longer courses available. Slabbing, tile CLAIRE GRIFFITHS
DEBORAH BAYNES sashawardell.com making and Kids Clay Club. Dates: Starting September; Weds 10.00am
Courses: Residential and nonresidential Dates: Monday to Saturday 10.00am - 6.00pm -12.30pm & Thurs 7.00- 9.30pm
Dates: Weekends (spring/autumn), full weeks Location: Brighton & Hove Location: Whitstable
(July/Aug) DORSET/GLOS/ artshopandpottery.com [email protected]
Location: Shotley, Suffolk SOMERSET/AVON AYLESFORD POTTERY HANDMADE IN CHISWICK
potterycourses.net Courses: Raku days, 1-day, 10-week Pottery classes, Courses: Weekly classes and one-off workshops inc 1:1
BLUEBELL CERAMICS Mould Making, Glaze Theory & Application throwing. Studio time for more experienced learners
Courses: Weekly classes, one-offs, workshops. ARTISAN CRAFT CLASSES & Dates: Various terms Dates: Term time for weekly classes, by
Various handbuilding, slab, coil and surface decoration WORKSHOPS Location: Aylesford, Kent arrangements for workshops and studio time
Dates: Mon am, Mon pm, Tues am Courses: Weekly pottery classes - wheel and aylesfordschoolofceramics.co.uk Location: London, W4
Location: Sudbury, Suffolk handbuilding BURWASH POTTERY HandmadeinChiswick.weebly.com
E; [email protected] Dates: Mondays and Wednesdays, Courses: Various handbuilding, decoration. All [email protected]
T: 07572 574763 one-offs by arrangement levels. Classes, workshops, parties, taster sessions Twitter: @jolyopsimath
KATIE'S POTTERY STUDIO Location: Winterborne Monkton, Dates: Terms of 6 weeks, various KITE STUDIOS CLAY STUDIO
Courses: One-to-one & small group tuition in Dorchester Location: Burwash, East Sussex Courses: Throwing, handbuilding, glazing, adult &
throwing, handbuilding, decorating, glazing &
[email protected] burwashpotter.co.uk children courses weekly & weekend. One-to-one
firing for all ages and abilities. Children's Saturday ASHBROOK STUDIO THE CERAMIC STUDIO sessions and pottery birthday parties
class Courses: Throwing, handbuilding, glazes Courses: From beginner to professional, plus Dates: Mon-Sat various times
Dates: Throughout the year One-to-one or small group, daily taster sessions Location: Kemerton, Gloucestershire, and London
Location: Leiston, Suffolk Dates: All year Dates: Various Location: Five Oak Green, Kent kitestudios.org
katiespotterystudio.co.uk Location: Waterrow, Somerset theceramicstudio.me.uk MAZE HILL POTTERY
ashbrook-ceramics.co.uk Course: Weekly Evening Classes
THAXTED POTTERS CERNAMIC
Courses: Beginners and intermediates BANWELL POTTERY Courses: With Nam Tran; throwing, mould- Dates: Throughout the year
Dates: Various 6-week sessions Courses: Throwing, handbuilding, modeling, slab making, raku Location: Greenwich, London
Location: Thaxted, Essex work, coil work, tile-making Dates: Various Location: SE London mazehillpottery.co.uk
thaxtedpotters.co.uk Dates: Weekly evening class, Weds 6-8pm cernamic.com
Location: Weston-super-Mare, N Somerset PADDOCK STUDIO POTTERY
CLAYNGLAZE POTTERY STUDIOS Courses: 1-day individual or shared,
banwellpottery.org
Courses: Pay as you go pottery for all levels. throwing, handbuilding
BEDS/BUCKS/HERTS CARANTOC ART Various training days/weekend courses & fine art Dates: Various Location: Lewes, East Sussex
Courses: Intensive & regular classes available in workshops thepaddockstudiopottery.co.uk
CLAY WITH CAROLE pottery & ceramic sculpture Dates: Days, evenings & weekends throughout the
Dates: Year-round THE PAINTING POTTERY CAFE
Courses: Handbuilding, throwing year Location: West Sussex
Location: Weston-super-Mare, North Courses: Evening classes: Throwing, coiling, slab
Dates: Various claynglaze.co.uk
Somerset & pinch for different monthly projects. All materials
Location: Hitchin, Herts CLAY PLACE
carantoc-art.co.uk and glazes provided. £35pp
claywithcarole.co.uk Courses: Handbuilding, surface decoration,
CREATIVE CLAY FOR ALL Dates: 3rd Thursday of the month 6.30-9.30pm
DIGSWELL CERAMICS slip application. Tile & form making. Personal Location: Brighton
COMMUNITY Travelling clay workshops for those who have no development
access to a kiln. Ideal for community groups. paintingpotterycafe.co.uk
Courses: Beginners’ tuition, support for Dates: Weds 2.30-5pm, Fri 10am-12.30pm. One-
experienced potters Based in Dorset day project workshops, 7 hrs, lunch provided SULEYMAN SABA
Dates: Tuesdays, Thursdays facebook.com/creativeclayforall Location: Ashurst, W Sussex Courses: Pottery classes
Location: Letchworth [email protected] jennywightwick.wix.com/ceramics Dates: Tuesday and Wednesday evenings
PATRICK ESSON (Clapham), Mondays and Tuesdays (Kingsbury)
NORTH MARSTON POTTERY THE CLAY ROOM UK
Courses: Modelling, coiling, slab work, pinching, Location: London (Kingsbury and Clapham)
Courses: Variety of pottery courses Courses: Clay taster workshops; introductory
throwing suleymansaba.com
Dates: Contact directly for further details pottery; mould-making & slip-casting; transfer;
Location: North Marston, Dates: Various termly pottery courses; Christmas workshops & STAR POTTERY
Buckinghamshire Location: Gloucester private lessons Courses: Taster, Weekly classes
northmarstonpottery.co.uk [email protected] Dates: Various Location: Chelsfield, Orpington Dates: Various
RUBY SHARP CHARLOTTE MILLER CERAMICS theclayroomuk.com Location: Lewes, East Sussex
Courses: Hand building, throwing, decorating Courses: Throwing, handbuilding, mould-making, THE CLAY STUDIO hamid-pottery.co.uk
pots, sculpture for home and garden surface decoration Courses: Handbuilding, throwing, surface
Dates: Throughout the year (weekend & day Dates: Termly part-time, taster decoration, glazing for beginners/experienced
sessions available) workshops, pottery parties potters. Raku, smoke-firing and animal sculpture FRANCE
Location: Amersham, Buckinghamshire Location: Bournemouth Dates: Mon-Thurs all day inc evenings
rubysharppottery.co.uk charlottemillerceramics.com Location: Groombridge, nr Tunbridge Wells L’APIPOTERIE /E. PENSA
KITE STUDIOS CLAY STUDIO euniclocher.com/classes Courses: Handbuilding for utilitarian use and animal
Courses: Throwing, handbuilding, glazing, adult & THE CLAY WORKSHOP sculpture. Bilingual course French and English
WILTS/HANTS/BERKS children courses weekly & weekend. One-to-one Courses: Throwing, hand-building, glazing, Dates: 10-12 July and 25-27 August
sessions and pottery birthday parties decorating, raku. All levels, inc 1:1s Location: Beaufort sur Gervanne/
ANGELS FARM POTTERY Dates: Mon-Sat various times Dates: Various, ongoing South East of France in the Vercors regional park
Courses: Residential (B&B) & non-residential. Location: Kemerton, Gloucestershire, and London Location: Central Eastbourne [email protected]
Throwing, handbuilding, decorating kitestudios.org grahammatthewsceramics.com SASHA WARDELL
Dates: Sat and w/ends once a month. Weekly NEW BREWERY ARTS LAURA CROSLAND CERAMICS Course: Bone china & mould making courses
evening classes & Fri am. One-off days for groups, Courses: Variety of ceramic courses Courses: Various, one-to-one or group Dates: May to September (incl) in SW France/Feb
min 4, max 8 attendees Dates: Contact directly for further details Dates: Various Location: Chatham, Kent & March in Wiltshire Location: SW France/Wiltshire
Location: Lyndhurst, New Forest, Hants. Location: Cirencester, lauracroslandceramics.com sashawardell.com
angelsfarm.co.uk Gloucestershire
newbreweryarts.org.uk PETER CUTHBERTSON
‘CLAY SURGERY’ WITH SUZANNE & ABBY Courses: Throwing and handbuilding, beginners
Courses: Throwing, handbuilding, glazing, raku, RUARDEAN GARDEN POTTERY and more advanced SPAIN
mould-making for beginners and improvers Courses: Weekends, week-long Dates: Weekly regular day and evening classes
Dates: Weekends throughout the year Courses: Throwing, Pot Making plus one off weekends by arrangement TOTEM CERAMICS POTTERY
Location: Waterlooville, Hants Dates: Various Location: East Hoathly, East Sussex SCHOOL
[email protected] Location: Forest of Dean [email protected] Courses: Throwing, sculpting, handbuilding, slip
THE CREATIVE CAVERN ruardeanpottery.com casting, general skills for beginners. Weekly classes
EASTBOURNE STUDIO POTTERS
Courses: Various, inc 1:1 throwing, RACHEL FOOKS: CERAMICS Courses: Throwing, hand building, surface & courses
Dates: Various Courses: Weekly classes and one-off sessions, decoration and glazing for beginners and Dates: 1-5 day courses, weekly classes, year-round
Location: Winnersh, Berks hand-building & throwing for all abilities experienced potters. Plus, Personal Project Location: Andalucia
thepaintnightcompany.co.uk/ Location: Wareham, Dorset Development with specialist support. totemceramics.com
pages/the-creative-cavern rachelfooksceramics.com Dates: Weekly courses throughout the year.
EASTCOTT STUDIOS Personal Project on Weds 6-9pm.
Courses: Workshops, classes, drop-in sessions, DEVON/CORNWALL Location: Eastbourne REST OF WORLD
open access [email protected]
Dates: Various LEACH POTTERY eastbournestudiopottery.com DUCTAC, MALL OF EMIRATES
Location: Swindon, Wilts Courses: 3 & 5-day throwing, evening classes FOREST ROW SCHOOL OF Courses: Introduction to ‘Pottery for all’; hand-
eastcottstudios.co.uk handbuilding, throwing CERAMICS building & throwing. Trial sessions
FIRED THOUGHTS ARTS STUDIO Dates: Various, each month Courses: Adult intensive Dates: Sunday, Monday, Thursday 10-1pm.
Courses: Ceramics & ceramic sculpture courses/ Location: St Ives, Cornwall throwing and handbuilding weekly classes. Tuesday 6.30-9.30pm Location: Dubai, UAE
workshops, all skill levels. Raku, 1:1 throwing, all leachpottery.com Weekend workshops: raku, soda/smoke firing, ductac.org
081-82 Directory - courses Issue 10.indd 82 12/12/2017 21:02

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With this issue of ClayCraft landing on

PINCH, COIL, SLAB AND THROW Issue 3 £4.25

PINCH, COIL, SLAB

34 your doorstep so close to Christmas, it’s

probably going to be 2018 by the time you

manage to find some spare time to read it!

Issue 1 Economic, versatile clay OPEN! New ceramics school in Sussex

it feels heavier and looks better, and that’s

WIN 2-day throwing course with Throw Down potter

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

throwing course with Throw

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because we’ve improved the paper and These wonderfully

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54 Pinch yourself a posy! DECORATIVE PAPER RESIST

4 expressive figures are one

given the magazine a ‘proper’ spine, which

of our project builds this CLAY

will help store your copies more neatly. FIGURES

– which is also a project.

RAKU FIRING TEXTURE TRANSFERS

EMERGING TALENT UNIQUE EFFECTS PERFECT PATTERNS

JUG OPTIONS USING DECALS

the cover price has gone up slightly. Do send us photos of

Buy now by visiting: However, the subscription price hasn’t

GLAZING FOR TEXTURE

to see them! claycraft.

shop.kelsey.co.uk changed. You can still buy a 12-issue [email protected]

ClayCraft subscription for just £35. This

003 Welcome Issue 10 NEW.indd 3 13/12/2017 07:56

44 Raku for beginners

38 30 PROJECT 3: wall plaques

004-5 Contents Issue 10.indd 4 13/12/2017 07:57

69 WIN! £250 VOUCHER 58

70 PROJECT 6: paper clay

WIN £250 to spend at Online Ceramics

76 ClayCraft SPECIAL 6 PINCH, COIL, SLAB

NEW IMPROVED LOOK!

magazine delivered to your door GLAZING FOR TEXTURE

You know it makes sense!

004-5 Contents Issue 10.indd 5 13/12/2017 09:23

HRH The Prince of Wales officially

On 28th November, Clay College was visited

006-8 News Issue 10.indd 6 12/12/2017 20:07

ASSOCIATION – NOW WE ARE 40

006-8 News Issue 10.indd 7 12/12/2017 20:07

■ Intermediate Throwing with ■ Introduction to Glazes with

Summer Ceramic Jobs in Maine!

006-8 News Issue 10.indd 8 12/12/2017 20:07

Clay: Potterycrafts Craft Crank

009 Me and My Pot Geri Issue 10.indd 9 12/12/2017 20:28

 This selection of bowls shows a range of finishes; some simply

010-16 Project 1 Throwing Tea Bowls Issue 10.indd 10 12/12/2017 21:03

This selection of bowls shows a range of finishes; some simply

Feldspar the higher figure. This will then

When the plate is firm enough to handle without

A ridge tile – widely available from builders'

Lay out your design lightly on the surface of the

Roll a slab of clay on a sheet

Remove the organic material as much as possible, but

Remove the stamp blocks then place the roller 7

Score a number of lines with a pin or fine-tipped

Use a stem from your plant to align the design so that

Two bisque-fired examples ready for decorating.

Using an underglaze colour of With a fine brush and a watered-

The advanced students are Philip demonstrating glazing in

Tim’s own for a single dip – straight in and

cracks forming on the glaze Once cold,