Professional Documents
Culture Documents
5
Issue 17
STUDENT EXHIBITION
West Suffolk College
GREAT PROJECTS
TRY
FOR YOU TO
PERFECT
FOR PIMMS!
Slab-built jug
DOUBLE WALLED
BOWLS
Piercing for
decorative effect
COIL BUILD SLAB BUILD SPOTLIGHT PINCH, COIL, SLAB AND THROW
Issue 17
£4.99
BREAD BIN CHEESE DISH FURZEBROOK STUDIO
Jacqui Atkin
Kevin Millward
Classic moon
W Earth and Fire, and it was
very nice to meet so many
of our readers. It was a
wonderful show, brilliantly organised
Summer jug p56 jar p8 and run, and I’d like to thank Sue
Cullen and all the staff, who were so
helpful. As Doug Fitch mentions in
his diary this month, they had even
thoughtfully put up an open-sided
tent for the little children to play in.
The weather was amazing, but almost
too hot at times, so it was very kind of
Tracey Parsons Linda Bloomfield them to provide some escape.
Penguin Opacity in
problems! p54 glazes p40
The standard of the work on display
was incredibly high, and the first day always be available, and can be found
saw collectors rushing in to bag via our website.
50% OFF ART IN CLAY HATFIELD
themselves a bargain. I couldn’t resist, I also recently bagged a bargain in
and bought some beautiful pieces for the form of equipment and supplies
PINCH, COIL, SLAB AND THROW
my budding – but still very small – from a nearby studio that’s
5
Issue 17
STUDENT EXHIBITION
West Suffolk College collection! downsizing. I haven’t had time to go
GREAT PROJECTS
TRY
We took a supply of back issues with through it all yet, but there’s a great
FOR YOU TO
us, which sold out as quickly as we selection of plaster moulds, a wall-
PERFECT
FOR PIMMS! could put them on the shelves! If you mounted extruder and assorted glazes
DOUBLE WALLED
Slab-built jug
missed out, I’m sorry. They really are and mysterious ‘powders’. I look
BOWLS
Piercing for
decorative effect
very popular with readers wanting to forward to finding out what they are,
COIL BUILD SLAB BUILD SPOTLIGHT PINCH, COIL, SLAB AND THROW
fill gaps in their collection. Issues and – hopefully – putting them to
three and five are completely out of good use!
Issue 17
stock, but we still have all the others.
If you’re planning on collecting the
£4.99
BREAD BIN CHEESE DISH FURZEBROOK STUDIO
ClayCraft Magazine Team Leader: USA annual subscription price: £72 DISTRIBUTION and emails received. The views
www.claycraft.co.uk Melanie Cooper 01733 362701 Rest of World annual subscription Seymour Distribution Ltd, 2 East expressed in the magazine are
MANAGEMENT price: £78 Poultry Avenue, London, EC1A 9PT not necessarily those of the
Kelsey Media
Managing Director: Phil Weeden www.seymour.co.uk Editor or the Publisher. Kelsey
Cudham Tithe Barn, Berry’s Hill, UK subscription and back issue
Tel: 020 7429 4000 Publishing Ltd accepts no liability
Cudham, Kent TN16 3AG Chief Executive: Steve Wright orderline: 01959 543 747
Chairman: Steve Annetts PRINTING for products and services offered
EDITORIAL Overseas subscription orderline:
William Gibbons & Sons Ltd, by third parties.
Editor: Rachel Graham; Finance Director: 0044 (0) 1959 543 747 Willenhall, West Midlands Kelsey Media takes your personal
claycraft.ed@kelsey.co.uk Joyce Parker-Sarioglu Toll free USA subscription orderline:
Publishing Operations Manager: Kelsey Media 2018 © all rights data very seriously. For more
Consultant editors: 1-888-777-0275
Charlotte Whittaker reserved. Kelsey Media is information of our privacy policy,
Jacqui Atkin, Kevin Millward UK customer service team:
Retail Distribution Manager: a trading name of Kelsey please visit www.kelsey.co.uk/
01959 543 747 Publishing Ltd. Reproduction
Contributors: Jacqui Atkin, Alan Ault, Eleanor Brown privacy-policy. If at any point
Customer service email address: in whole or in part is forbidden
Paul Bailey, Linda Bloomfield, Billy Audience Development Manager: subs@kelsey.co.uk you have any queries regarding
Byles, Mark Dally, Doug Fitch, Kevin Andy Cotton except with permission in writing Kelsey’s data policy you can
Customer service and subscription from the publishers. Note to
Millward, James Otter, Alan Parris, Brand Marketing Manager: email our Data Protection Officer
postal address: contributors: articles submitted
Tracey Parsons Kate Chamberlain at dpo@kelsey.co.uk
ClayCraft Customer Service Team, for consideration by the editor
Events Manager: Kat Chappell
Art Editor: Rob Terry; Kelsey Publishing Ltd, Cudham must be the original work of ISSN 1743-0712
Print Production Manager:
rob@focusedondesign.co.uk Tithe Barn, Berry’s Hill, the author and not previously ClayCraft is available
Nicola Pollard
Cudham, Kent, TN16 3AG. published. Where photographs for licensing worldwide.
ADVERTISEMENT SALES Print Production Controller:
United Kingdom are included, which are not the For more information, contact
Talk Media Sales Georgina Harris
Find current subscription offers/ property of the contributor, bruce@bruceawfordlicensing.com
Sara Clark, 01732 445 055 Subscriptions buy back issues at shop.kelsey.co.uk permission to reproduce them
sara.clark@talkmediasales.co.uk 12 issues of ClayCraft are published Already a subscriber? must have been obtained from
Production Supervisor: per annum Manage your subscription online at the owner of the copyright.
Amy Proud, 01733 362317, UK annual subscription price: £59.88 shop.kelsey.co.uk/myaccount The editor cannot guarantee a
kelseyspecialist@atgraphicsuk.com Europe annual subscription price: £72 www.kelseyshop.co.uk personal response to all letters www.kelsey.co.uk
Issue 17 ClayCraft 3
Contents Issue 17 18
8
18 PROJECT 2: bread bin
Create your own heirloom
kitchenalia with this large
coil-build
30 PROJECT 3: double-walled
bowls
Double-walled bowls are much
easier to handbuild than you
might imagine, and this one has
decorative cut-outs on the outer
6 News wall
14 26
16
14 Empty Bowls Project
Diane and Marv, from Muddy
Fingers Pottery, and Stephan Aal
– all members of North East
Potters – recently held a food
poverty-awareness event in
Newcastle upon Tyne
16 Me and my Pot
Avril James’ delicate handbuilt
form
4 ClayCraft Issue 17
42 CONTENTS
30
56
68 Studio spotlight: our handy binder
Furzebrook Studios
Rachel Fooks has created an arts 50% OFF ART IN CLAY HATFIELD
community in Dorset
74
PINCH, COIL, SLAB
5
AND THROW Issue 17
STUDENT EXHIBITION
West Suffolk College
GREAT PROJECTS
FOR YOU TO TRY
PERFECT
FOR PIMMS!
Slab-built jug
DOUBLE WALLED
BOWLS
Piercing for
decorative effect
76 ClayCraft
COIL BUILD SLAB BUILD SPOTLIGHT PINCH, COIL, SLAB AND THROW
OFFER!
Save money and have 001 Clay Craft Cover Issue 17.indd 1
10/07/2018 16:59
6 ClayCraft Issue 17
Artisan Market applications open
Our Game
Helen Cammiss and Sarah
IN THE NEWS
Following the success of ‘Clay: A Festival of Ceramics’
held in the Pannier Market in Barnstaple early in July, the
Heaton of The Clayrooms organiser – Devon Pop Ups – has announced a ‘Save the
are pleased to announce the Date’ for a winter event.
installation of ‘Our Game’ Artisan Market will focus on beautiful or tasty handmade
in St Oswald’s Church, goods and products, and applications are now open.
Ashbourne. Although the Tracey Benton, of Devon Pops Ups, said: “Applications
Ashbourne Festival has are invited from artists, makers and artisans of all
finished, the figures will persuasions whose work is beautifully and thoughtfully
remain on display until mid- made by hand.
September. “We are looking to cover a range of disciplines including
“Where and how we live The ‘hug’, with a (but not limited to) painting, drawing & illustration,
are intrinsic to the way we special 'Our Game' ball printmaking, sculpture, textile art, glass, jewellery, ceramics,
feel about the world around painted by Shrovetide leather work, mixed media, wood, clothing & accessories,
us. The closer we get to ball painter Tim Baker. homewares, lotions & potions and food produce.”
home the more we become Find the online application form at: bit.ly/2zrcuLX and
rooted in our own traditions and community. In a fast- applications close on 16 August. We will let you know when
changing, busy world some communities struggle to the date and venue have been confirmed.
retain their identity; however, Ashbourne is a place
DON’T FORGET
where tradition, community and pride come together
every year for the annual Shrovetide football game.
This unique event unites the town on many levels, from
the shopkeepers and schools that close for two days, to The Kiln Rooms’ Clay Store in SE London is open 11am-6pm
the players who train in all weathers during the build-up every Saturday and Sunday.
to the game and the spectators who follow them. Ove the coming months there will be three separate
“The project represents the thousands of people who shows, each launched with a private view on the Friday
attend the game. We all have a sense that we belong in before (2pm-8pm).
Ashbourne and we can see this in the figures created; Currently on, is ‘Home’ show; 14 July - 2 Sept. A beautiful
from the mums carrying babies, the hug players or the selection of unique homeware and tableware.
followers, look closely and you will see some familiar ‘Friends of The Kiln Rooms’ show; 8 Sept - 14 Oct. Group
faces. exhibition of contributors to our professional development
“This ambitious project was developed for the talks. A show of the highest quality from established
Ashbourne Festival in partnership with The Clayrooms ceramicists.
pottery in Ashbourne. The 5,000 small figures, The Kiln Rooms Clay Store aims to connect its studio
representing the crowd and players, have been created members with the public and sell work to help support their
by hundreds of schoolchildren, local residents and ongoing practice. thekilnrooms.com/clay-store
visitors during school visits, 'pop-up' workshops and
in The Clayrooms studio. It has brought together the
best of our traditions; from making multiple terracotta
Anglian Potters’ Summer Exhibition
The hugely popular Anglian Potters Summer Exhibition
figures, to the sense of community involvement and returns to Emmanuel College, Cambridge, 11-26 August
inclusiveness and, of course, the pride shown by every and will be showcasing the latest work from more than 60
maker of every figure. talented potters in the delightful surroundings of the Old
“To top-off the centrepiece of the 'hug', a special 'Our Library at Emmanuel College.
Game' ball has been painted by Shrovetide ball painter Celebrating its 35th anniversary this year, Anglian Potters
Tim Baker.” is a vibrant organisation run by potters, for potters. The
Our Game is funded by Arts Council England and also Summer Exhibition is one of the highlights of the year and
received support from Redrow pie, Dove Computer attracts entries from members with a broad range of ceramic
Solutions, Moy Park, Avanti Jewellers and St Oswald's interests from functional domestic ware to cutting-edge
Church. contemporary ceramic art. It offers an exciting and eclectic
mix of everything from hand-thrown studio pottery to wall-
mounted pieces, jewellery and sculpture.
Ian Vance, the exhibition organiser, said: “Visitors are
welcome to explore our Summer Exhibition and to meet
some of the talented exhibitors. There are always a number of
potters on hand to help and who are always happy to talk to
visitors, sharing their enthusiasm and knowledge of the craft.
With free entry and something for every taste and budget,
this event is not to be missed.”
Open Monday to Saturday from 10am to 6pm and Sunday
Left: Helen Cammiss and Sarah Heaton of The from 10am to 5pm, the exhibition is in The Old Library,
Clayrooms. Right: The installation of 5,000 figures Emmanuel College, Cambridge. As this is a selling event, all
will be on display in St Oswald’s Church until mid- purchases may be taken away on the day. Further information
September. is available at: anglianpotters.org.uk or follow them at
@anglianpotters on Facebook, Instagram and Twitter.
Issue 17 ClayCraft 7
THROWN MOON JAR
SKILL SCHOOL
PROJECT
ONE This is the most difficult thrown project in ClayCraft to date,
mainly because it uses a much larger amount of clay, but it also
requires more skill to develop the shape accurately
You will
need:
–
■ 2. 25kg (5lb) clay
earthenware or
stoneware
■ Throwing tools;
sponge, rib, cutting
wire
8 ClayCraft Issue 17
DIFFICULTY RATING ★★★★★
Before you begin: If you’re confident about lifting the pot off when it’s finished, you can throw this
form directly onto the wheel head. If you’re unsure of handling something this big, fix a batt to the wheel head.
Knead the clay thoroughly and form it into a cone.
1
Place the prepared cone of clay on the wheel head as
4
centrally as possible, to make it easier to centre.
Open up the centre of the clay by pressing down with
the fingers of your left hand, supported by the right
hand to keep the manoeuvre steady – work to within
10-15mm of the wheel head.
2
With the wheel turning at a medium to fast speed, cone
up the clay – left arm held firmly on the wheel pan, pushing
the clay to centre with the right hand – thumb over the top
of the clay to keep the shape.
3 5
With your left hand firmly in place on the side of the With the fingers of the left hand, open out the base quite
clay to maintain centre, flatten the top of the clay with the wide while supporting the side with the heel of your right
fingers of your right hand. hand, fingers over the rim and supporting the left hand.
6
9
Compress the clay in the base by running the side of the
knuckle of your right forefinger over the clay several times Lift the wall a second time by knuckling up – the side of
– working from the centre to the outside wall. your right knuckle on the outside wall, fingers of the left
hand just above the knuckle on the inside.
Begin at the base and lift the clay to form a cylinder,
keeping the top fairly narrow and making sure it’s
running true.
Leave a little thickness at the rim. You’ll need this later
to develop the neck of the form.
7
Pinch and lift the wall with your left hand while
supporting it with your right hand, forefinger over the
rim to keep it in shape. (Note, this is pinching with the
left hand to lift the wall, not knuckling-up with your
right hand).
Lift the wall up and inwards, to form a cone.
8
Compact the clay at the rim with the fingers of your
right hand after lifting the wall.
REMEMBER to do this after each lift.
10 ClayCraft Issue 17
DIFFICULTY RATING ★★★★★
12
10 Use a rib to clean away excess slurry from the wheel
head, then neaten up the base of the cylinder. You won’t
Begin the next lift right from the base, bellying outward
be turning the base of this form, so it’s important to get the
fractionally as you get to the mid-point of the lift, and
weight and balance right at this stage.
fading again as you get towards the top, to establish
the neck.
Leave just enough room to get your hand/arm inside,
and maintain the extra thickness at the rim.
13
To develop the shape, replace your knuckle with a rib
to lift the wall again. Place your left hand inside, as you
would if knuckling-up, but use the rib on the outer wall
instead.
Beginning at the base, gently shape the form very
slightly outward by applying slightly more pressure
from the inside for the first third of the lift, then from
this point increase the outward pressure to exaggerate
the belly until you reach the shoulder.
At this point, release the outward pressure gently, so
that the shape curves gently into the shoulder.
To maintain the shape, the angle forming the shoulder
into the neck should be no more than 45°.
11
Gently clasp both hands just
below the rim of the form to
establish the neck, then run your
right forefinger over the rim to flare
it very slightly outward.
.
Issue 17 ClayCraft 11
SKILL SCHOOL
PROJECT
ONE
16
14 Repeat the shaping process one more time, to round
the form out to a balanced and pleasing shape.
Repeat this lift to develop the fatness of the body,
remembering the importance of the angle at the
shoulder as you close into the neck.
You’re aiming for a rounded and balanced body.
Repeat the lift until you’re happy with the shape.
15
17
Use the knuckle of your right fore or second finger to
establish a definite neck. The fingers of your left hand over Sponge out the surplus water from the interior of the
the rim should curve the shape outward slightly. pot very carefully to avoid knocking it off-centre.
12 ClayCraft Issue 17
DIFFICULTY RATING ★★★★★
18 21
To set the neck, place the fingers Turn the clay gently outward as you reach the rim –
of your left hand around the clay remembering to compact the clay when finished.
with the central three fingers of
your right hand over the rim, and
the little fingers and thumbs of
both hands splayed on the outside,
as shown.
With the hands in this position, and the wheel turning at
medium speed, carefully reduce the diameter of the neck.
22
Clean away all the slurry from the wheel head or batt,
and from around the base of the pot.
Wire the underside of the pot then carefully lift it off
the wheel head onto a waiting batt.
If you’ve thrown the form on a batt, wire it off in the
same way but leave it in place on the batt and carefully
19 remove the batt from the wheel head.
Whichever method used, allow the clay to firm to
leather hard before handling, then turn it over to allow
Continue to narrow the neck to the base to dry.
a size that balances with the rest
of the form and emphasises the Bisque-fire when fully dried.
roundness.
20
Use the knuckle of your right hand on the outside, and Next month:
the fingers of the left hand on the inside, to establish a decorating and glazing
definite neck, as you thin and lift the reserved thickness at
the top up to the rim.
Issue 17 ClayCraft 13
EMPTY BOWLS PROJECT –
NEWCASTLE UPON TYNE
As team members of North East Potters (the North East branch of the Northern
Potters Association), Diane and Marv from Muddy Fingers Pottery, along
with Stephan Aal, organise a number of events each year for the members to
participate in. Diane reports on a recent Empty Bowls project
I
n February, I started reading
about the Empty Bowls
(Photos courtesy of: Diane Nicholson, Jamie Sadler, Leona Mulvenney, Mia Malone and Zoe Robinson).
Projects that happen all
around the world. The first
one took place in Michigan in the early
1990s, and the basic premise is to raise
awareness of food poverty in your local
area. As my local area is classed as
deprived, and there’s a real need for our
local food bank and for food training
sessions, I thought this would be a great
project!
The objectives of Empty Bowls are to:
● Raise money to help fund food
charities in the local area
● Increase awareness of hunger and
food knowledge
● Be an advocate for arts education
Local potters donate a bowl or two, food
is served in the bowl, people pay a set
amount, and they get to take their bowl
home after eating their meal. All money
raised goes to local food awareness
groups, and the people who’ve
taken part in the event get to
experience a community
meal, where they can
learn about local food
problems.
If you would like a piece of your work to be featured, email us at: claycraft.ed@kelsey.co.uk
16 ClayCraft Issue 17
NORTHERN KILNS
info@northernkilns.com 01253 790307
Equipment Lessons
6)*( $8'87*0 7- #: '%8&$%&0 -&$;2 *!/$40*5 "89"$%&05 + 85$%&052 -)*( %,,$8*5 .-( % $8'87*0 3'*1
SKILL SCHOOL
PROJECT
TWO
COILED
BREAD BIN
It occurred to me recently that I’ve been using my bread bin for at least 40 years
– a long time – and it still pleases me as much as the day it first arrived in my kitchen.
It’s certainly an important part of the furniture, and almost an heirloom – a great idea for
a project then, I thought!
18 ClayCraft Issue 17
DIFFICULTY RATING ★★★★★
3
Roll out a large slab of
clay to accommodate
a circle with a 30cm
minimum diameter. Use
roller guides no thinner
than 5mm – they can
be a little thicker if you
prefer.
Cut out a large circle to form the base of the bin. You
may already have something you can use as a template
– like the old Frisbee shown here, which is the perfect
size – but you could make a paper template or use a
Turn the coil over and flatten it again until it’s the same
thickness as the base slab.
circular batt as your template.
When finished, smooth over the coil with a rib to remove
Turn the circle over, onto a wooden batt, and peel off
surface marks.
the plastic sheet.
Smooth over the slab with a rib to compact the clay.
4
5
Overlap the ends of the coil, then
cut through both on a diagonal,
as shown. Remove the surplus Supporting the wall on the inside with one hand, carefully
then gently squeeze the cut ends blend the clay from the base slab up and onto the wall,
together, scoring and slipping first using a flat-sided wooden tool.
if the clay requires it. When finished, smooth over the join with a rectangular
Smooth over the join with a rib or scraper, holding it flat on the batt to ensure the wall
kidney, until no longer visible. remains straight.
20 ClayCraft Issue 17
DIFFICULTY RATING ★★★★★
9 12
Roll and flatten a second coil in the Firm up the clay wall with a hairdryer. It must be sturdy
same way as the first, then position enough to hold its shape and support subsequent coils as
it on the slipped rim. they’re applied, but not over-dry because this could lead to
Carefully press the second coil cracks due to inconsistency in moisture – it’s a fine balance.
down onto the first, working in
small pinching movements around the join until it’s secured.
Cut off the overlapping ends on a diagonal and finish off 13
in the same way as for the first coil.
10
11
19
15
Measure the circumference of the rim. It may be that
you’ve worked to a specific size, as shown here, but if not,
place a large sheet of paper over the rim with a board over
the top then draw the circumference from the underside
with a pencil.
Cut out the paper template when finished. Roll yet another slab of clay on a sheet of plastic and cut
a second circle using the template used previously. Transfer
the cut-out circle to a batt.
20
22 ClayCraft Issue 17
DIFFICULTY RATING ★★★★★
21 24
Very carefully remove the ring then score and slip the Lift the domed part of the lid off the
marked position and the adjoining edge of the ring. base again, then level the underside
Fit the ring back in place and reinforce the join on of the rim with a surform blade.
the inside with a coil of soft clay. Smooth over the Score the rim surface when
reinforcement with the round end of a small kidney to finished.
neaten.
25
Place the
22 batt on a
whirler, then
carefully work
around the join
on the outside
of the ring with
an angled rib to
remove excess Score and slip all joining surfaces then position the
slip and smooth dome back on the lid base.
over the clay. Smooth over the dome with a kidney, paying special
attention to the joining edges to ensure the surfaces seal
together.
23
26
27
Make a knob for the top of the lid from a small ball of
clay, in any shape you like. Make sure it’s the right size for
Turn the lid over and rest it on a foam bed with a circle easy lifting.
cut out of the centre, as shown, to support the shape.
Mark the knob’s position on the lid with a pin.
32
28
Using something circular to draw around, like the trusty Score and slip the position for the knob and the
plastic lid shown here, score a circle inside the flange, about underside of the knob itself, then fix it in place.
2cm smaller in diameter than the ring of the flange itself. Reinforce around the base of the knob with a small coil of
soft clay.
Blend the coil in neatly with a wooden tool and smooth
around with a finger to finish off.
33
29
Carefully cut out the circle with a sharp knife, taking care
not to cut too deeply, to avoid cutting the domed upper
part of the lid.
Neaten up
the cut edge
with a kidney.
W
est Suffolk College, in the strongly that those interested in
heart of Bury St ‘alternative’ art and imagery, for
Edmunds, boasts a example, shouldn’t be forced to make
thriving community of flowers, and vice versa. And while this
Adult Education potters, thanks in could feel daunting for those who
part to good facilities – there’s a arrive without a clear vision of what
dedicated pottery room and two large, they want to make, there’s no
workhorse kilns – and partly due to judgement, and always a folder of
tutor Libbi Hutchence, who’s been inspirational pictures on hand. Libbi
running the sessions for the past six also goes through the basics with the
years. At the moment, 68 students very new students: pinch-pots made
attend the evening or weekend courses into ‘Cornish pasty birds’, coil pots,
each week, with many of them and basic slab vases are just the
returning from a previous term. This beginning.
June saw the first-ever pottery Libbi has found that many students
students’ exhibition, and, as can be are then off on their own mission,
seen by the photos on these pages, it coming to classes each week knowing
was a great success. exactly what they want to work on. In
The courses at West Suffolk College any given session, some people will be
are deliberately loosely-structured, so practicing on one of the three wheels Winner of the visitors’ choice
that students can work on anything (booking their slot in advance to make award was Cassie Godfrey (pieces are
they find appealing. Libbi feels the best use of that resource), some approximately 15cm tall).
26 ClayCraft Issue 17
EXHIBITION
Egg cup
and vase
by Jasmine
Graham.
Vase by
Natasha Trinder.
Issue 17 ClayCraft 27
EXHIBITION
Oxide wash
leaves by Maria
Zajdler.
30 ClayCraft Issue 17
Difficulty rating ★★★★ ★
Double-walled bowl
with cut detail
Double-walled bowls are much easier to handbuild
than you might imagine, but there will be some who
question the point of them because essentially you
are just reducing the usable space. However, in
this instance, the point is to make the outer
wall decorative, with cut-outs allowing
you to see through to the inner bowl,
which remains functional
1
Roll a large slab of clay using 5mm roller guides. Press the overlapped edges
After rolling, smooth over the surface with a rib to together with a thumb or finger
compact the clay. to ensure they are well sealed
together.
Blend over the joins with a
kidney, to remove lumps and
bumps and reduce the clay
thickness until it is even throughout.
8
6
Allow the bowls to firm up Take the bowl off the slab and cut out the circle 5mm
until they can be removed smaller than the actual size, as shown. This allows for the
from the moulds without thickness of clay wall in the bowl with a little extra wiggle
distorting the clay, then turn room for fixing.
them out and reinforce the
joins on the outer edges
with coils of soft clay.
Smooth over the coils 9
with a kidney until the joins are no longer visible.
Score and slip around the edge of the circle, and the
rim of the bowl, then fix the bowl in place.
13
Again, reinforce the join with a coil of soft clay and,
when blended in, smooth over the join with the
rounded end of a kidney to neaten up.
11
Place the larger
bowl over the
first, smaller
one, and mark
its position with
a pin.
Cut out the
bigger circle
10mm larger
than the marked
size, as shown.
34 ClayCraft Issue 17
Difficulty rating ★★★★ ★
16
14
15 17
Issue 17 ClayCraft 35
PROJECT
THREE
19
36 ClayCraft Issue 17
Difficulty rating ★★★★ ★
23
20
Very carefully cut out the spaces between the shapes The finished bowl.
with a sharp knife. It’s best to dry this upside down on its rim to prevent the
inner bowl from sagging. It may take a little longer for it to
dry thoroughly because of the double wall. When ready,
you should also bisque fire it on its rim.
24
21
Issue 17 ClayCraft 37
FOR ALL YOUR SUPPLIES
INCLUDING KILNS, WH
HEELS, RAW
RA
A MATERIALS, CLAYS, GLAZES, COLOURS
WE ARE DUSTRIBUTORS FOR RHODE GMBH & POTTERYCRARAFTS
A LTD KILNS, OFFERING ADVICE AND
QUALITY AFTER SALES SERVICE
WE ALSO OFFER A COMPREHENSIVE SAMPLES COLLECTION ON OUR WEBSITE
To advertise
please
call Sara on
01732 445302
If you would like a piece of your work to be featured, email us at: claycraft.ed@
kelsey.co.uk Andrew MacDonald
Issue 17 ClayCraft 39
Opacifiers: how to make your glaze opaque
Matt and glossy black glazes made
using cobalt, iron, manganese 2%
each and nickel oxide 1%. Without
the nickel oxide, the glaze would be
more translucent.
P
otters in Persia (now Iran opaque glaze. A coat of opaque, white
and Iraq) in the 9th century glaze provides a background for
first used a white tin glaze applying decoration. The colours will be Glossy opaque white glaze on red
to cover their coarse clay brighter if applied on top of a white earthenware. Tin oxide.
body, in imitation of Chinese glaze than directly onto a darker
porcelain. The opaque tin glaze provided coloured clay body. The majolica white.
a smooth, white surface to decorate by technique involves brushing colouring A less expensive opacifier is zirconium
brushing on colouring oxides: cobalt, oxides and stains on to an unfired white silicate (ZrSiO4), although more is
copper, iron and manganese. The use of tin glaze. This is known as an in-glaze needed (10-15%) to fully opacify a glaze.
technique, as the oxides sink into the Zirconium silicate has a very high
surface during firing. melting point of 2550ºC. It gives a cold,
hard white, which may be marked by
Opacifiers cutlery. However, zirconium will not
Tin oxide (SnO2) was the original pick up pink flashing from copper (in
opacifier used by potters, but it has now reduction) or chromium (in oxidation)
become very expensive. Tin was once during firing in the kiln. Zirconium
mined in Cornwall, but now comes from silicate gives a glassy, opaque finish.
Southeast Asia and South America. Titanium dioxide (TiO2) is used to
Around 5-10% tin oxide is needed to encourage mottling and crystallisation,
opacify a glaze. The melting point of tin but it also makes glazes opaque. 5-10%
oxide is 1150ºC and a small amount can be used in a glaze to give opacity
(1-2%) will dissolve in the glaze. Tin and mattness. However, it tends to
oxide is an essential ingredient in both combine with iron oxide from the clay
chrome-tin pink glazes and copper reds, body. Titanium is also found, together
where it helps to stabilise the colour. with iron oxide, in ilmenite (50% iron
Satin matt opaque black and white However, white tin glazes may pick up oxide) and rutile (10-15% iron oxide).
glazes on porcelain vases by Linda pink flashing from other pots in the The presence of iron oxide gives it a
Bloomfield. (Photo: Henry Bloomfield) kiln. Tin oxide produces a soft, milky beige or tan colour, so on buff stoneware
40 ClayCraft Issue 17
Glazing
Opaque oxides
Chromium and nickel oxides are
refractory and can cause opacity in
glazes; in particular, black glazes are
often opaque. Glazes can be coloured
black using mixtures of colouring
oxides including cobalt, iron,
Two stoneware jugs by Laurence manganese, chromium and
McGowan, oxides and stains brushed nickel. The colouring
onto an opaque white glaze. (Photo: oxides in small
Henry Bloomfield) quantities dissolve Laurence McGowan
in the glaze to panting outlines using a
it is a less white opacifier than zirconium make transparent, fine brush on a decorated
stoneware bowl. (Photo:
or tin. The melting point of titanium coloured glazes.
Henry Bloomfield)
dioxide is 1830ºC. However, if they
Opacifiers are refractory materials are used in large Laurence McGowan
applying a mixture of
that can be fired to a high temperature quantities, the copper and iron oxides
without melting. They remain as white glaze will often using a wide brush onto an
particles suspended in the molten glaze, become opaque. opaque white glaze. (Photo:
causing it to become opaque. Because Henry Bloomfield)
they are acidic oxides, they act as Opaque stains
anti-fluxes, and can cause the glaze to Many commercial stains are opaque Satin matt white glaze (1240-
become underfired. If this happens, you because they are stabilised using an 1260°C)
can reduce the amount of silica (quartz opacifier. Red, orange and yellow stains ● Soda feldspar 44
or flint) in the glaze by 5% or add a are made from cadmium and selenium ● Dolomite 23
small amount (1-2%) of zinc oxide. encapsulated in a matrix of zirconium ● Whiting 3
Laurence McGowan used a white silicate. This prevents them from ● China clay 6
zirconium silicate glaze (see recipe burning out at high temperatures. ● Quartz 23
+
below), onto which he painted mixtures Vanadium turquoise, praseodymium ● Zirconium silicate 5
of oxides, stains and gum arabic. He yellow and iron red stains are also made
combined copper and cobalt oxides for using zirconium silicate, with some of
blue-green, adding iron oxide for darker the zirconium substituted by one of the Slips and engobes
shades. Stains were used for reds and colouring oxides. Chrome-tin pink and Slips and engobes can provide a white,
purples. He was influenced by the Arts purple stains are stabilised using tin opaque layer to cover a darker clay body.
and Crafts movement and traditional oxide. These stains will be opaque Slips are often made using a mixture of
Islamic design, often painting stylised unless used in very small quantities china clay and ball clay, and are usually
birds, fish and flowers. He trained at (less than 2%), where there may be applied to leather-hard ware, while
Aldermaston with Alan Caiger-Smith, a slight translucency. To make the stain a engobes also have the addition of
master of brushwork who made tin- paler colour, zirconium silicate can be feldspar or frit and can be applied to
glazed earthenware and reduction-fired added, eg red stain added to zirconium biscuit ware. Coloured slips can be made
lustreware. Both potters have now silicate will make an opaque pink. by adding colouring oxides and stains to
retired, but other Aldermaston students, a white slip.
including Andrew Hazelden and Ursula Opacity by mattness In conclusion, glazes can be opacified
Waechter, continue to make work using Matt glazes are usually semi-opaque as by adding zirconium silicate or tin oxide.
this technique. the matt surface is made up of tiny A third option is titanium dioxide, which
crystals which scatter light. A shiny also provides a crystalline, matt surface.
White glossy opaque glaze, glaze can be made matt by decreasing Opacity can also be achieved using
Laurence McGowan (1260°C) the silica (quartz or flint) or increasing commercial stains. Matt glazes, slips and
the china clay. Additions of dolomite or engobes can provide an opaque covering
● Cornish stone 38.5 talc will make soft, satin matt glazes to a darker clay body.
● Whiting 13.5
● Dolomite 7.5
(see recipe below). To make matt glazes
completely opaque, a small amount of
● Zinc oxide 1.0
opacifier such as zirconium silicate can
Next month:
● Ball clay 7.7 How to make fake celadon glazes
● Flint 19.3 be added. The thickness of application for oxidation firings
● Zirconium silicate 12.5 will also affect the degree of opacity.
Issue 17 ClayCraft 41
CHEESE DISH
SKILL SCHOOL
PROJECT
FOUR
This is a larger than usual cheese dish because, I don’t know about
you, but when I serve cheese I like to have a selection on offer, not
just a little wedge. You can, of course, make yours smaller if you want!
You will need: ■ Rolling pin, 5mm roller guides, plastic sheet
■ A dome-shaped mould. A deep, rounded bowl ■ Foam block – the type used for upholstery –
mould will also work* available from interiors outlets and fabric shops
■ A wooden batt – approximately 20mm wider than ■ Clay – earthenware or stoneware. A white clay will
the diameter of your mould show colours better when decorating
■ Plain paper to make a template – lining paper is ■ Brush-on underglaze colours
great for this ■ Transparent glaze
■ Scissors or sharp knife, pencil, protractor or
other round shape
42 ClayCraft Issue 17
DIFFICULTY RATING ★★★★★
*For details on
how to make a
simple plaster
mould,
visit: claycraft.
co.uk/how-to
.
Issue 17 ClayCraft 43
PROJECT
SKILL SCHOOL
FOUR
MAKING THE PLATE
1 3
44 ClayCraft Issue 17
Difficulty rating ★★★★★
8
Place the template over the slab and cut out the shape
carefully with a sharp knife. .
Issue 17 ClayCraft 45
SKILL SCHOOL
PROJECT
FOUR
12
9
Soften the cut edges by running your finger around
them gently to round them off.
Place the wooden batt
centrally on the slab then
press down firmly with both
hands until the sides of the
plate rise up. Make sure the
sides have risen evenly all
around the plate, then lift the
batt out carefully.
10
Place the plastic sheet back over the shape, making sure
it sticks to the clay.
11
Lift the slab, in place on the plastic sheet, off the board
and transfer it to the foam block.
Peel the plastic sheet off again.
46 ClayCraft Issue 17
Difficulty rating ★★★★★
15
13
Impress each ball with a suitably-sized stamp. Dip the
Make a series of eight, very tiny but equally-sized balls stamp in cornstarch before each pressing, to avoid it
from very soft clay. sticking in the clay.
Allow the plate to dry slowly on a wooden batt.
14
13
Roll another large slab of clay following the same
procedure as for the plate.
When rolled, cut a semi-circular section from the slab and
fit it into one half of the mould, easing it into place gently
with a barely damp sponge. .
Issue 17 ClayCraft 47
PROJECT
SKILL SCHOOL
FOUR
19
17
Remove the surplus clay at the rim of the mould with
a wooden batten held flat on the rim of the mould. Draw
Cut a second semi-circular section and fit it into the the batten sideways and back towards your body in small
mould so that the edges overlap the first half. If the section
movements until all the clay is removed.
doesn’t completely fill the mould, cut another suitably-sized
Leave the dome to firm-up in the mould while you work
section to fill in where necessary.
on making the knob.
18
20
To make the mouse knob, form two equally-weighted
small balls of soft clay – each no more than the size of a
walnut.
Holding one ball in the palm of your left hand, press
down into the centre with the little finger of your right hand
– any other finger will be too large at this stage for such a
small ball of clay.
Press the overlapped edges together with a thumb or
finger to ensure they’re well sealed together.
Blend over the joins with a kidney to remove lumps 21
and bumps and reduce the clay thickness until it’s even
throughout.
48 ClayCraft Issue 17
DIFFICULTY RATING ★★★★★
22
24
23
26
Impress the eyes on either side of the nose using a
suitably-shaped tool – old pen tops work well. .
Issue 17 ClayCraft 49
SKILL SCHOOL
PROJECT
FOUR
29
27
Pinch two tiny balls
of clay flat to form
the ears, then fix
them in place just Now return to the dome and carefully turn it out of the
above the eyes, mould onto a batt.
remembering to Reinforce the section join with a coil of soft clay, then
score and slip first. smooth over with a kidney until the join is no longer
Use a wooden visible.
modelling tool to Neaten up around the base/rim of the dome with a
press the ears into scraper.
place.
28
Roll a very thin coil of clay for the tail of the mouse then
fix it into place so that it curls around the body – again,
scoring and slipping before attaching,
Clean away excess slip with your modelling tool when the
tail is in place.
50 ClayCraft Issue 17
Difficulty rating ★★★★★
30
33
Measure and mark the central
position for the mouse knob with Holding the dome very carefully, while at the same time
a pin. supporting the mouse, make a hole through the inside and
into the body of the mouse. This will allow for the release of
air when firing.
34
32
Turn the dome over again onto a batt. Score the marked
position on the top of the dome and the underside of the
mouse, then apply a little slip and fit the mouse in place.
Reinforce around the base of the mouse with a thin coil of
soft clay.
Blend the coil in well with a wooden tool. .
Issue 17 ClayCraft 51
SKILL SCHOOL
PROJECT
FOUR
DECORATING THE DISH
35
Rest the dome on its plate and mark the positions
exactly opposite the decorative balls on the plate – inside 38
the scored band, as shown.
Using underglaze colours
or oxides of your choice,
paint the small balls on
the plate and dome with a
thick application to ensure
it fills the texture then
carefully wipe the colour
back with a damp cloth.
Take care to avoid getting
the colour on other parts
of the clay.
36
Make another series of tiny
balls and apply them to the
marked positions after scoring
and slipping.
Stamp the balls as you did on
the plate, to finish off.
37
Allow the cheese dish to dry out thoroughly with the
dome in place on the plate before bisque-firing.
52 ClayCraft Issue 17
Difficulty rating ★★★★★
39
40
Paint the eyes of the mouse black, and the body in
a combination of the colours used for the rest of the
decoration.
Paint the band between the balls with a contrasting
Note: The method for decorating is a guideline only,
colour, taking care to keep within the lines.
you could add to the surface by decorating the dome and
Paint the rim of the plate in the same colour.
plate itself if you want to add more detail – or decorate in
a completely different way, for example, with a coloured
glaze.
To complete the style of decoration shown, simply
dip in transparent glaze and fire to the clay’s optimum
temperature.
Issue 17 ClayCraft 53
STARTING IN BUSINESS
Confessions
of a novice
“A massage
for the soul”
Tracey takes in ‘The Potters Cast’ and – feeling guilty
about her recent wheel-mania – turns to hand-building
I ’ve been immersing myself in again, with two attempts at our raku penguin. At least,
pottery even more than usual, we think that’s a penguin…
playing with clay as much as
possible, reading about it, and listening
to The Potters Cast, a podcast in which
US host Paul Blais interviews potters
from all over the world. Have a listen, if
you haven’t already. In episode 417, he
muses that pottery is ‘a massage for the
soul’, and I remember thinking how true
that is, and how therapeutic clay
has been for me through an
extremely difficult time.
I’ve also been
posting a lot on
social media, trying
to connect with as
many pottery
people as I can, and
I noticed a More potato than penguin.
comment on one of These cracks can’t be good.
my posts: a pottery to have a wheel. So this Another quote from The Potters Cast was
friend had simply month I thought I’d get back relevant here, from a recent interview
written ‘wheel envy’. I felt to hand-building, and since I’d with Janene Waudby. Janene makes
really bad. I’ve been so busy also been fortunate enough to try stunning smoke-fired work in Scotland,
obsessing over my desire for a kiln that raku in a friend’s garden, the issue 16 and she described how in the process of
I’d completely forgotten how lucky I am raku penguin really caught my eye. learning, hundreds of vessels have to be
‘sacrificed to the smoke fire’. It was with
Watching the second attempt take shape. that in mind that I dared to put some of
I suppose it’s starting to look a bit bird-like. my favourite pieces in the raku kiln, with
a sense of ‘what will be will be’.
I sat down in my tiny room without
even bringing any clay. Clay is a fairly
fundamental ingredient in most pottery
projects, I’m sure you’ll agree. Luckily,
the damp box I made from an earlier
ClayCraft issue sits on my desk, and I had
a vague memory of a few old lumps
stored in there. There was a touch of
54 ClayCraft Issue 9
BLOG
56 ClayCraft Issue 17
Difficulty rating ★★★★★
1
Place the template on the slab and cut out the shape
carefully, using your roller guide to help ensure the cut is
Roll a slab of clay on the plastic sheet, large enough to
straight.
fit the template.
Begin by beating out the lump of clay with the
rolling pin in firm but even strokes to reduce the bulk
before rolling. Try not to make hugely deep ridges in 5
the clay as you do this.
When the clay is reduced to a manageable size, first
lift it off the plastic and turn it over and through 90°,
then roll it between your roller guides to form a
rectangle large enough for the template.
You will benefit from lifting and turning the clay
several times because it makes rolling easier.
After rolling, smooth over the surface with a rib to
compact the clay.
Roll a second, smaller, slab of clay using the same
roller guides, and store it under plastic to prevent it
drying out while you work on the body of the jug.
6
Score and slip the joining edges at the ends of the
slab, then roll them together gently until the join Unravel the paper stuffed
holds. into the top of the tube and
Turn the tube upright and press the join together lift out the tube. The paper will
more firmly with a finger or thumb. stay in place in the cylinder.
10
58 ClayCraft Issue 17
Difficulty rating ★★★★★
13
11
Remove the body from the slab and cut out the base
with a sharp knife.
14
12
The base of this jug sits up inside
the body. Score the position for
the base on the inside of the body
20mm down from the rim, as shown.
15
60 ClayCraft Issue 17
Difficulty rating ★★★★★
22
20
Score and slip the area around the opening for the
spout, and the curved edge of the spout itself.
21 24
25
Reinforce the joins, inside
and outside the spout,
with coils of soft clay.
Blend the coils in with a Use a surform blade to level
finger or modelling tool, the spout more finely, then
then smooth over with a neaten up the edges with a
kidney, removing excess kidney to soften and round them
clay as necessary. off.
28
Carefully cut the top of the spout level with the top of
the jug. Alternatively, this excess gives you the option to
make a feature here if you don’t want to cut it level.
62 ClayCraft Issue 17
Difficulty rating ★★★★★
29 31
30 32
Working on a board, curve the handle into the shape Score and slip the edges of the handle and marked
you would like it to be, then firm the clay up in this position positions on the body, then fix the handle in place, making
with a hairdryer until it will hold its shape. sure it correctly aligns with the spout.
Issue 17 ClayCraft 63
SKILL SCHOOL
PROJECT
FIVE
34
33 SURFACE DECORATION
This is a simple decorating technique that we haven’t
Reinforce around the handle joins with thin coils of
shown before. The design used here, to demonstrate the
soft clay. Blend the coils in with a modelling tool then
process, isn’t complicated, and could easily be adapted to
smooth with a kidney to finish off.
be more detailed. As always, the decorating suggestions
are just a point to start from.
35
36
64 ClayCraft Issue 17
Difficulty rating ★★★★★
38
40
Complete the
jug by dipping
in transparent
glaze and firing
to your clay’s
recommended
temperature.
The example
shown here was
fired to 1120°C in
an electric kiln.
Issue 17 ClayCraft 65
Doug’s
STARTING IN BUSINESS
(Photo: Layton Thompson)
Doug Fitch
diary
T he weeks fly by and July
is almost upon us (as I
write). The buttercups in
the field beside our workshop are
Ben
Boswell with
the jug we
made him.
(Photo: Eileen
lifting their golden blooms to a Blackaby)
cloudless blue sky. I don’t remember
such a sustained period of hot
weather for years; this feels like the
summers did when I was a boy.
A lot has happened since my last
post. We’ve seen our exhibition at
the Schaller Gallery in
Michigan open and close,
fired the wood kiln for the
first time in months and
attended our first
ceramics fair of the how we’ll cope with that! the first wood firing of the year.
summer, Earth & Fire in The Schaller exhibition Our friend Alex McErlain joined us
Nottinghamshire. got off to a flying start, for the firing, on one of the few
There have been with pots selling rapidly in rainy days we have had of late. The
further developments in the first few days. However, kiln was packed full of jugs, mugs,
the home workshop, with the it petered out after a while, plates and dishes, the children’s
electricity supply installed to which was a little disappointing. hand prints and the big clay dog
the kiln room and the concrete A third of the pots have sold so far that Susan Halls and I made
floor to be laid any time now. Alex and, in spite of the exhibition together a few months ago (see
There’s family news too, little Fred stoking the having finished, the rest will stay at issue 14).
has just learned to sit up, which is kiln in a blur the Gallery until they are hopefully, The kiln and the fuel were
giving him a much better of flame. eventually sold. It wasn’t entirely a perfectly dry and after 16 hours of
perspective on the world. Next failure and we made some money, continuous stoking, we reached top
stage, crawling; goodness knows but there are still a lot of my big temperature with relative ease,
jugs, sitting unloved in a gallery in clammed up the firebox doors with
Michigan, while here we are wet clay and waited three anxious
desperately short of stock, and that days for the kiln to cool. There’s
is mighty frustrating. always so much risk with wood
I wonder if perhaps that by the firing, as pots can be underfired,
time the cost of the shipping and with terrible crazing, or overfired
the gallery’s mark-up were added, and muddy brown.
that it made them too expensive, or What a relief. It was a good
whether they were just too firing, one of the best so far, in fact.
‘English’ in style for the American A little underfired in a couple of
market. That said, we have places, but some lovely things
regularly sold our pots in the emerged. Susan’s dog fired really
States. Whatever the reason, it was well and Pippin enjoyed trying in
a knock to my self-assurance and it vain to feed it a stick.
Pippin took a while to start making pots With renewed vigour, we packed
feeding Susan again with any spirit of enthusiasm the pots in boxes and took them off
Hall’s dog a and confidence. to Earth & Fire. We were also able
stick. My mood was lifted however by to send new work to the CPA
66 ClayCraft Issue 17
KILNS
meet and have their craft afternoons, and putting a totally new body of work
I still go out for dinner with them. It’s a together. This is a very exciting time for
massive support group, an incredible me as my new work will be experimental,
community, all with pottery in common.” research-based and will take me on a
In her classes Rachel uses a standard brand-new journey. Watch this space!”
buff school stoneware, but always has Rachel’s new work also aims to show
crank, sculpture clay, white stoneware, people that the local area has a great
porcelain and paperclay in stock, which pottery heritage, with the local ball clay
anyone can use. deposits – used by Josiah Wedgwood –
“I like to make sure that if they still being processed by Imerys just a
come to me with a project mile down the road from her studio, the
A few of the ClayCraft that would be better suited history is on show at the wonderful
projects the students to a clay other than the mining museum just outside of Corfe
have made. standard buff Castle.
Bowls made stoneware, I have the Finally, Rachel says, “I love learning,
by Nicky after
doing a workshop
right clay for the job. so this really is my perfect profession!
encouraging People also like to buy You’ll never know everything. Ever.
experimentation with clay from me and make There’s always something new to learn
oxides. things at home which and I’ve found something that’s a whole
they bring in to be fired. I lifetime of learning. I’ll never get bored,
Watching the class in love the idea that they’re and never finish learning. There’s always
progress, it was clear that carrying on potting at home, something new to do, and I will always
Rachel’s friendly, flexible and informal and it’s great that you don’t need any try to instill that in my classes and
approach works very well. The equipment really, just a solid surface and introduce students to new things.”
atmosphere was relaxed and happy, and a serrated kidney! To colour the pottery
the standard of work was amazing. The we use brush-on underglazes, glazes, ● For more photographs, visit claycraft.
shelves of students’ work in various slips and oxides and experiment a lot co.uk and search for ‘Furzebrook
stages of completion were a treat to see, with different glazing techniques. Studios’.
and not only because they included When Rachel isn’t teaching, she spends
several ClayCraft projects that the her time working on commissions and
students had adapted and made their stock for galleries and shops that sell her
own! work. At the moment, she’s busy with
Rachel commented, “When I first orders resulting from the local Purbeck
started teaching, it was a way to make and Dorset Art Weeks. These provide an
money, but what I didn’t appreciate was amazing platform to exhibit work to a
the incredible friendships that would huge audience, as they generate hundreds
form. People have left the class, but still of visitors to her studio.
“After the Art Weeks I can have a list
of commissions which can sometimes
keep me going until the next year! I also
get orders from people who come for
one-off lessons, see my work on display Ciara’s birds, which will be made
in my studio and ask me to make things into brooches.
for them.”
Rachel is very happy teaching, and Contact
would never stop, but her vision for the Rachel Fooks
future is changing. FURZEBROOK STUDIOS
“I’ve reached my full capacity working 52 Furzebrook Road
on my own and need to employ someone Nr Wareham
to deal with all the admin that takes up Dorset BH20 5AX
too much of my time, and an apprentice Tel: 07966 433165
to make with me, who will learn from me Email: info@rachelfooks.co.uk
Test tiles made by Katie, helping and in turn develop the knowledge and rachelfooksceramics.com
her to learn about using glazes on skills needed to take their own ideas furzebrookstudios.com
textures. forward. I am also in the early stages of
70 ClayCraft Issue 17
Readers’ work
We love to see what you’ve done, both with our projects, and your own work. Here’s a selection
of pieces sent in by our readers. If you’d like to share your photos with us, please email a
high-resolution version (min 1MB) to: claycraft.ed@kelsey.co.uk
1: I am now a proud co-owner of
1 a new raku kiln. I wanted to whip 2
up a quick test project and the
figurines in issue 10 sprang to
mind. I’m pretty chuffed with how
they turned out (and survived!).
Andrea Arogyaswamy
Don’t
miss it!
ISSUE 18
ON SALE
AUGUST 17TH
Slab-built
sculpture A
3D decorative
piece; let your
imagination
run wild
MARKET MAGIC Paul Bailey went to see what’s stirring in East London
M
akers from the Turning from Turning Earth Studios, Earth, Stefania Coccia of Coccia
Earth studios in North showcasing 15 of their makers each Ceramics, said, “I brought a selection of
London have made the week. tableware and decorative pieces
move from not just selling Pop-up craft markets are that I had been making
their work online and through open growing in popularity recently. My stall had a
studio days, but have now taken to the across London. With a selection of work in
markets of East London. resurgence of interest different sizes to help
The Hoxton Square Market is a in hand-making with the display, and
weekly market that launched in June, generally, Rollo in total I took around
and features farmers and food Millership and 40 pieces with me. I
producers alongside high-quality Edmund May, try to have a little
locally-made crafts, including ceramics community
entrepreneurs behind
Hoxton Square Market,
saw that the time had
come for a regular weekly
selling event. Adding stalls from a
range of contemporary makers to more
conventional market fare, they have
taken the farmers’ market concept –
already an important community hub
for people who want to buy and sell
ethical, locally-sourced products – to Above: Miyelle Karmi from Turning
Stella Cassanelli, one of the makers the next level. Earth Studio. Inset: Stefania Coccia of
and organiser on the day. One of the makers from Turning Coccia Ceramics.
74 ClayCraft Issue 17
ENTERPRISE
PAY BY CHEQUE / DEBIT / CREDIT CARD All of our digital magazine subscriptions and issues can
be downloaded from anywhere in the world and read
UK: 6 issues £29.94 on PC, Mac, iPad, iPhone, Android devices, Kindle Fire,
UK: 12 issues £59.88 SAVING 16% £49.99 Windows 8 devices and any HTML5 compatible device.
USA / EUROPE: 12 issues £72
REST OF WORLD: 12 issues £78 IDEAS READERS’ WORK SHARED
I enclose a cheque made payable to Kelsey Publishing Ltd. (Drawn from a UK bank account) SINGLE
Please debit my Visa Visa Debit MasterCard ISSUE ONLY
£3.99
PINCH, COIL, SLAB AND THROW Issue 12
Card number
Security number
Valid from ............ / ............ Expiry date ............ / ............
6
GREAT STEP-B
Y-STEP
PROJECTS INSIDE
!
MOTHER’S
DAY MAKE
Two slab-
built vases
GLAZING
SLIP- How to
Signature ............................................................. Date ................................... CASTING
Re-using a
correct
crazing
mould to
make mugs
(UK ONLY) PLEASE SEND COMPLETED FORM TO: Issue 12 £4.99
Publishing Ltd., Cudham Tithe Barn, Berry’s Hill, Cudham, Kent, TN16 3AG RABBIT LISA STEVENS WALL HANGING JACQUI JAMES
(INTERNATIONAL ONLY) PLEASE SEND COMPLETED FORM TO: 001 Clay Craft Cover Issue 12.indd 1 06/02/2018 16:12
SAVE
SPECIAL SUBSCRIPTION OFFER:
33%
SAVE 33% ON THE SHOP PRICE
*
RECEIVE EVERY ISSUE
DELIVERED DIRECT TO YOUR
DOOR WITH FREE UK DELIVERY
*UK Direct Debit print edition offer only
25 YEARS POTF EST IN THE PENS
TUTORIALS
47 PAGES OF HANDS-ON
28 PAGES OF STEP-BY-STEP PROJECTS
6
SHOW PICKS
P-BY-STE! P
GREAT STE IDE
PROJECTS INS
PINCH POT PENGUINS
GLAZES
Industri alEP-BY-ST
GREAT ST
EP
IDE!
PROJECTS INS
or studio?
WITH RAKU-FIRED FINISH GLAZING
SUMMER SALADS POCKE
KNOW-HOW TED
LAMP BASE DishwasherER
PLANT -safe WIN TICKETS
glaze recipes
Plus matching
Unique decor Contemporar y Craft Festival
for your home
MISSED AN ISSUE?
PINCH SLAB
SPOTLIGHT tray
watering
CLAY STORE PINCH, COIL, SLAB AND THROW
THROWING DECORATION PINCH, COIL, SLAB AND THROW
visit: shop.kelsey.co.uk/ccback
PINCH, COIL, SLAB AND THROW
Events diary
Issue 14
£4.99
3
EASY
1 ONLINE
2
shop.kelsey.co.uk/cra
POST
Fill in the form and send to: FREEPOST RTKZ-HYRL-CCZX (UK only -
overseas omit this),
ClayCraft Magazine Subscriptions, Kelsey Publishing Ltd.,
WAYS Cudham Tithe Barn, Berry’s Hill, Cudham, Kent, TN16 3AG
80 ClayCraft Issue 17
Location: Maidstone, Kent The Clay Workshop glazing. Location: Espressions Art Cafe,
E: info@thisartofmine.co.uk Courses: Throwing, hand-building, Masterclasses. Open access Canterbury
ART SHOP AND POTTERY glazing, decorating, raku. All levels, Dates: Various, year round, plus open imogentaylor-noble.com
Courses: 1-to-1 throwing tuition. inc 1:1s access TURNING EARTH
One-off taster sessions & longer Dates: Various, ongoing Location: Three studios in Peckham, Courses: Open access studio
courses available. Slabbing, tile Location: Central Eastbourne East London Tues-Sun for all levels – must be
making and Kids Clay Club. grahammatthewsceramics.com thekilnrooms.com working independently.
Dates: Monday to Saturday 10.00am LAURA CROSLAND CERAMICS KITE STUDIOS CLAY STUDIO Classes available, see website for
- 6.00pm Courses: Various, one-to-one or Courses: Throwing, handbuilding, details/availability
Location: Brighton & Hove group glazing, adult & children courses Dates: Open access studio Tues-Sun.
artshopandpottery.com Dates: Various weekly & weekend. Location: Hoxton E2 and Lee Valley
AYLESFORD POTTERY Location: Chatham, Kent One-to-one sessions and pottery E10, London
Courses: Raku days, 1-day, 10-week lauracroslandceramics.com birthday parties e2.turningearth.uk
Pottery classes, Mould Making, Glaze PETER CUTHBERTSON Dates: Mon-Sat various times
Theory & Application Courses: Throwing and Location: Kemerton, Gloucestershire, FRANCE
Dates: Various terms handbuilding, and London
Location: Aylesford, Kent beginners and more advanced kitestudios.org L’APIPOTERIE /E. PENSA
aylesfordschoolofceramics.co.uk Dates: Weekly regular day and LILLAGUNILLA CERAMIC Courses: Handbuilding for utilitarian
evening classes plus one off STUDIO use and animal
BURWASH POTTERY sculpture.
Courses: Various handbuilding, weekends by arrangement Courses: One-day workshops and
Location: East Hoathly, East Sussex Saturday classes in throwing and Bilingual course French and
decoration. All levels. Classes, English
workshops, parties, taster sessions E: peter.cuthbertson@ hand-building
phonecoop.Coop Dates: Various Dates: 10-12 July and
Dates: Terms of 6 weeks, various 25-27 August
Location: Burwash, East Sussex EASTBOURNE STUDIO POTTERS Location: Charlton, South East
London Location: Beaufort sur Gervanne/
burwashpotter.co.uk Courses: Throwing, hand building, South East of France in the Vercors
surface decoration and glazing lillagunillaceramics.co.uk
THE CERAMIC STUDIO regional park
Courses: From beginner to for beginners and experienced MAZE HILL POTTERY E: epensa26@gmail.com
professional, plus taster sessions potters. Course: Weekly Evening Classes
Plus, Personal Project Development Dates: Throughout the year MAS SARRAT POTTERY
Dates: Various Courses: Introduction to pottery
Location: Five Oak Green, Kent with specialist support. Open access: Location: Greenwich, London
studio hire available for experienced mazehillpottery.co.uk (handbuilding and throwing).
theceramicstudio.me.uk Improver pottery handbuilding
makers PADDOCK STUDIO POTTERY
CERNAMIC Dates: Weekly courses throughout and throwing) 5-day courses
Courses: With Nam Tran; throwing, Courses: 1-day individual or shared, Dates: April 16-30 and 23-27
the year. Personal Project on Weds throwing, handbuilding
mould-making, raku Location: Cazals, Lot, France
6-9pm. Dates: Various
Dates: Various Jenniegilbert.com
Location: Eastbourne Location: Lewes, East Sussex
Location: SE London Facebook: @cvpotterycourses
E: eastbournestudiopottery@ thepaddockstudiopottery.co.uk
cernamic.com UN PETIT TOUR DE TERRE
gmail.com
Claynglaze Pottery THE PAINTING POTTERY CAFE Courses: All levels, hand-building,
eastbournestudiopottery.com
Studios Courses: Evening classes: Throwing, surface decoration, making tools, raku,
Courses: Pay as you go pottery for
FOREST ROW SCHOOL OF coiling, slab & pinch for different glazing. Full-board accommodation
all levels. Various training days/
CERAMICS monthly projects. available
weekend courses & fine art Courses: Adult intensive throwing All materials and glazes provided. Dates: All year round,
workshops and handbuilding weekly classes. £35pp Monday 9am to Friday 5pm
Dates: Days, evenings & weekends Weekend workshops: raku, soda/ Dates: 3rd Thursday of the month Location: Saint Génies de Comolas,
throughout the year smoke firing, animal sculpture, 6.30-9.30pm France
Location: West Sussex glaze chemistry, slip decorating. Location: Brighton Facebook: @FredPotierGres
claynglaze.co.uk Three-month residential Sept-Nov paintingpotterycafe.co.uk
2018 SASHA WARDELL
THE CLAY PLACE POTTERY CORNER @ NO. 45 Course: Bone china & mould making
Location: Forest Row, West Sussex Courses: Clay club, Raku,
Courses: 6-week courses, one-day frschoolofceramics.co.uk courses
workshops, bespoke clay days. handbuilding and throwing courses Dates: May to September (incl)
Hand building techniques, slab, coil, GO CREATE available. Clay club on Tues/Thurs in SW France/Feb & March in Wiltshire
surface decoration Courses: Pottery, sculpture & craft evenings, others various throughout Location: SW France/Wiltshire
Dates: Wednesday/Friday 6-week Dates: Various the year sashawardell.com
courses Location: SW London Location: Chichester, West Sussex
gocreate.co.uk E: sarahamos1305@gmail.com
Various dates for one-day workshops
Location: Ashurst, West Sussex CLAIRE GRIFFITHS SULEYMAN SABA
spain
jwceramics.net Dates: Starting September; Courses: Pottery classes TOTEM CERAMICS POTTERY
THE CLAY ROOM UK Weds 10.00am -12.30pm & Dates: Tuesday and Wednesday SCHOOL
Courses: Clay taster workshops; Thurs 7.00- 9.30pm evenings (Clapham), Courses: Throwing, sculpting,
introductory pottery; mould-making Location: Whitstable Mondays and Tuesdays (Kingsbury) handbuilding, slip casting,
& slip-casting; transfer; termly pottery E: jc.griffiths@btinternet.com Location: London (Kingsbury and general skills for beginners.
courses; Christmas workshops & HANDMADE IN CHISWICK Clapham) Weekly classes & courses
private lessons Courses: Weekly classes and suleymansaba.com Dates: 1-5 day courses, weekly
Dates: Various one-off workshops inc 1:1 throwing. STAR POTTERY classes, year-round
Location: Chelsfield, Orpington Studio time for more experienced Courses: Taster, Weekly classes Location: Andalucia
theclayroomuk.com learners Dates: Various totemceramics.com
THE CLAY STUDIO Dates: Term time for weekly Location: Lewes, East Sussex
Courses: Handbuilding, throwing, classes, by arrangements for
workshops and studio time
hamid-pottery.co.uk REST OF WORLD
surface decoration, glazing for IMOGEN TAYLOR-NOBLE
beginners/experienced potters. Location: London, W4 Courses: Weekly pottery classes DUCTAC, MALL OF EMIRATES
Raku, smoke-firing and animal HandmadeinChiswick.weebly.com for adults and children. Courses: Introduction to ‘Pottery for
sculpture Twitter: @jolyopsimath Suitable for all levels. all’; hand-building & throwing. Trial
Dates: Mon-Thurs all day inc THE KILN ROOMS Hand-building, glaze mixing & sessions
evenings Courses: Beginners one-off taster glazing, experimental firing days. Dates: Sunday, Monday, Thursday
Location: Groombridge, nr sessions; beginners taster classes: Obvara, Raku, & Saggar. 1:1 throwing 10-1pm. Tuesday 6.30-9.30pm
Tunbridge Wells beginner/intermediate courses in sessions at my Whitstable studio Location: Dubai, UAE
E: claystudio@eunicelocher.com hand-building, throwing, decorating, Dates: Various ductac.org
Issue 17 ClayCraft 81
ONLY
£4 .99
BACK ISSUES PER ISSUE
INCLUDING
P&P!
6
PINCH, COIL, SLAB AND THROW Issue 13
GREAT STEP-B
Y-STEP
!
MEET THE
PROJECTS INSIDE
POTTER
GLAZING THROWING 12-year-old
Fin Barnes-
Long
GLAZING
KNOW-HOW
STRONTIUM
& BARIUM
SIMPLE
FLOWERPOTS
WOMEN IN Dishwasher-safe WIN TICKETS
PINCH POT PROJECT
HISTORY glaze recipes Contemporary Craft Festival
Commemorative SPOTLIGHT THROWING DECORATION PINCH, COIL, SLAB AND THROW
ware
Issue 13 £4.99
Issue 14
£4.99
EASTER BIRD WEMYSS WARE LARGE PLANTER SLIP & BALL CLAY
ALSO INSIDE: Porcelain artists • Sprig moulds • Me and my Pot ALSO INSIDE: Social enterprise: Banwell Pottery Events diary
001 Clay Craft Cover Issue 13.indd 1 13/03/2018 15:54 001 Clay Craft Cover Issue 14.indd 1 10/04/2018 14:50
MAGAZINE
47 PAGES OF HANDS-ON TUTORIALS 25 YEARS POTFEST IN THE PENS
PAY
FROM JUST
BINDER
PINCH, COIL, SLAB AND THROW PINCH, COIL, SLAB AND THROW
6
Issue 15 Issue 16
£9.95*
for different effects Simple wall planter
6
-STEP
GREAT STEP-BY
PROJECTS INSIDE!
PINCH POT PENGUINS
GLAZES
Each binder will
Y-STEP
GREAT STEP-B Industrial
PROJECTS INSIDE!
or studio?
store a year’s
WITH RAKU-FIRED FINISH
POCKETED
SUMMER SALADS
worth of ClayCraft
Unique decor Plus matching
for your home watering tray
PINCH SLAB CLAY STORE THROWING A DEEP BOWL
PINCH, COIL, SLAB AND THROW
magazines, keeping
COLOURING CLAY
MONEYBOXES
NCECA report
Issue 15
£4.99
APPLIQUÉ TECHNIQUE