2018-07-01 ClayCraft

50% OFF ART IN CLAY HATFIELD
PINCH, COIL, SLAB AND THROW
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
ALSO INSIDE: Opaque glazes • Empty Bowls Project

Meet the team...
Welcome e had a lovely time at
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
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,
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
ALSO INSIDE: Opaque glazes • Empty Bowls Project

001 Clay Craft Cover Issue 17.indd 1
On the cover this month is a set

10/07/2018 16:59
complete set, it might be sensible to

of bowls – from first-ever to most start doing it sooner rather than later,
recent – made by one of the students as once they’re gone, they’re gone.
at West Suffolk College, see p26 Rachel Graham, Editor
That said, the digital back issues will
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Issue 17 ClayCraft 3
Contents Issue 17 18
8
18 PROJECT 2: bread bin
Create your own heirloom
kitchenalia with this large
coil-build
26 West Suffolk College

The first pottery student
exhibition was a resounding
success
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
8 PROJECT 1: moon jar 39 Me and my Pot

This is the most difficult thrown Andrew MacDonald takes
project in ClayCraft to date, inspiration from Medieval pottery
mainly because it uses a much for his thrown slipware
larger amount of clay, but it
also requires more skill to 40 Glazes
accurately develop this very Linda Bloomfield explains why
traditional shape you might want an opaque glaze,
and how to make them
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
42 PROJECT 4: cheese dish 71 Readers’ work

This large dome-lidded platter A selection of pieces sent in by
allows you to be generous with our readers
your cheese selection. Scale it up
or down to suit your needs 72 Next month
See what’s coming up in the next
54 Confessions of a novice issue of ClayCraft
Tracey turns to hand-building
again, with two attempts at our
raku penguin
73 Events
Your guide to pottery and
ceramics events right across the
68
56 PROJECT 5: jug country
A slab-built jug, perfect for
serving summer drinks. Pimms 74 Hoxton Square Market 78 Courses listing
Fancy signing up for a class?
anyone? Makers from the Turning Earth
Find one near you in our useful
studios in North London have
66 Doug’s Diary free listing
made the move to the markets of
The weeks are flying by for Doug East London
and Hannah, while Pippin keeps a
82 Missed an issue?
Fill that gap with a back issue,
watchful eye on things!
and keep them all organised in
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
subscriptions BREAD BIN CHEESE DISH
ALSO INSIDE: Opaque glazes • Empty Bowls Project SPECIAL

FURZEBROOK STUDIO
Issue 17
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READER OFFER! CODE CLAYCRAFT50 AT CHECKOUT
International ceramic artists and innovative
new talent take centre stage at Art in Clay
Europe’s most prestigious ceramic furthering their ceramic knowledge Jon Barrett-Danes.
arts festival is set to fire the and expertise
imagination in a few weeks, when ● A Clay Creation Zone to fire both
internationally renowned ceramicists children and adults’ imagination with
display their work alongside options to throw a pot on a potter’s
innovative new talent. wheel, have a go at Raku or make a
Art in Clay will bring together creation by hand with guidance from
a record number of more than an experienced potter
200 ceramic artists when it ● Visitors can also have a go at the
opens its doors at Hatfield House, clay challenge
Hertfordshire on 17, 18 and 19 August, ● Exhibitor awards including The
showcasing the finest ceramics Valentine Clays Peers Award and
currently being created by individual The Potclays Student Award, which
makers in the UK and Europe. recognise an outstanding peer and
This highlight of the ceramic art newcomer to the world of pottery
calendar, now in its 24th year, will and ceramics.
see world-class artwork displayed by Hannah Ault, show director, said:
leading names such as Jim Malone, “Thanks to shows like The Great Friday 17 and Saturday 18 August
Eddie Curtis, Nicola Theakston, Jin Pottery Throw Down, the world of from 10am to 5.30pm, and on
Eui Kim, Brendan Hesmondhalgh, ceramics is increasingly high-profile. Sunday 20 from 10am to 5pm.
James Oughtibridge, Peter Beard Art in Clay is a great introduction to Admission prices are adult £11,
and Tony Laverick. the amazing world of contemporary concession £10.50, two-day ticket
With artwork available to buy, ceramics, as visitors can chat with £19, three-day ticket £27. Children
discerning collectors will be eying the artists, learn from the experts aged 15 and under are FREE.
up pieces by newcomers including and even try their hand in the Clay ClayCraft readers can get a
Rhiannon Evans, Alice McIlroy, Tom Creation Zone. generous 50% discount on tickets by
Peterson and Joshua Schoeman. “The ceramic art world is vibrant entering the code claycraft50 at the
In addition to the 200 exhibitors and thriving, and it is a testament to checkout.
showcasing their art, a full daily the prestige of Art in Clay that for For further information on Art in
programme will include: serious ceramics collectors it is a Clay or to book tickets, please visit
● Ceramic talks and demonstrations must-visit annual event.” cpceramics.co.uk or email sales@
for those with an interest in Art in Clay opens its doors on cpceramics.co.uk
Empty Bowls project Model and mould-making course

Diane and Marv, from
CP Ceramics still has space on its beginners’ course on
Muddy Fingers Pottery,
and Stephan Aal, all 24-25 July. Its courses are designed to teach people
members of the North the Stoke-on-Trent industry standard way to make
East Potters, recently moulds, and with a maximum of two students per
held an Empty Bowls class, they are fairly intensive.
Project in Newcastle This two-day course costs £135 per day. The course
on Tyne (see page 15 is aimed at personal projects (within a limited size
for a report). They are range). You will be able to take home all the items you
delighted to announce have made, at the end of the course. An introduction
that the total raised was to slip casting can also be arranged.
shared between two There will be more courses during September,
charities, Hebburn Helps, and Food Nation, with each for more details, and to book a place, visit: sales@
organisation receiving a cheque for £1,000. Well done to cpceramics.co.uk
everyone involved!
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.
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
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.
For ‘How to’ details on basic techniques, visit claycraft.co.uk/how-to

.
SKILL SCHOOL
PROJECT
ONE
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.
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.
.
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.
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.
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.
The Empty Bowls projects raise awareness of food poverty.

Circled: Children were welcome at the event, held in the Tyne
Bank Brewery.
Diane and Marv, from Muddy Fingers Pottery, and Stephan Aal, team
members of North East Potters.
Empty Bowls in event. It could be by donating a bowl,

Newcastle upon Tyne buying a ticket or helping out on the
A few months ago, we put a shout out night. We had a good response, with
to all 201 members of North East around a third of our members
Potters, asking them to take part in the donating a bowl and others
A great crowd of people turned up.
A small selection of the bowls on

the night.
A great crowd of people turned up to support the event.
volunteering for dishwashing duties.
Our target was to sell 100 tickets for evening. evening and handed out raffle tickets.
the evening, so we needed 100 bowls, Tyne Bank produces its own craft We had printed a leaflet with a list of
someone to cook for us, and a venue. beers, runs brewery tours, and holds participating potters, as well as
Muddy Fingers makes tableware for events like vinyl markets, food markets, information about the two causes we
restaurants, and one of the local and even baby socials! It’s a great place were supporting: ‘Hebburn Helps’, a
eateries we supply very generously said to chill with friends or family, and kids food bank in South Tyneside and ‘Food
they would make all the food for us. and dogs are welcome too. Nation’, a food education enterprise
Harissa Kitchen in Sandyford, So that sorted the venue, food, based in Newcastle.
Newcastle serves fresh, colourful, tasty volunteers and pots. Over the past We have a wide variety of potters in
food from all corners of the couple of weeks, we had deliveries of our area, and there were so many
Mediterranean. Their dishes are bowls and also went out to collect them beautiful bowls to choose, from lovely
seasonal, and ingredients come from from our potters in the group. We earthenware bowls decorated with
some incredible suppliers and managed to get 115 bowls in total, coloured slips, eye-catching rutile blue
producers. They bring you relaxed which was brilliant! glazes on stoneware, and even some
vibes, sharing dishes and superb Kapala skull bowls!
flavours, right in the heart of On the night Everyone gave us really positive
Sandyford and, as a social enterprise, The event was advertised on Facebook feedback from the evening, and lots of
they invest their profits back into the and people could buy their tickets via people posted their dishes on social
community via their sister Paypal. The event was running from media. It was such a good atmosphere,
organisation, Food Nation. 6-8pm, so we went to set up the bowls, and we raised over £1,800 to be shared
Muddy Fingers also runs pottery and the food stand at 4.30pm. It was a between the two causes. The event ran
classes at various venues throughout good job we did, as people started smoothly, but there are always lessons
the North East and has previously turning up at around 5 o’clock, to be learned so I’m already thinking
taught hip flask-making workshops at obviously super keen to get first dibs about next year’s event and how we can
Tyne Bank Brewery in Newcastle. The on their choice of bowls! make it bigger and better! 
brewery very kindly waived the fee for We sold 90 tickets out of the 100, and
the venue and opened their bar for the the majority of people came before ● Northern Potters Association:
6.30pm. There was a huge queue at one northern-potters.co.uk
More point, but everyone was so patient with ● Muddy Fingers Pottery:
bowls! us as we explained the concept of the muddyfingerspottery.com
The delicious Mediterranean food

Kapala skull bowls. was supplied by Harissa Kitchen.
ME AND MY POT
Avril James.
Clay type: Stoneware

Firing temp: 1196°C / glaze temp: 1240°C
Build technique: Handbuilt using coils to create ball shape and then flattened coils to decorate
Decoration process: Shiny white over shiny black glaze
Inspirations and influences: I look to nature for my inspiration. I love the work of Ronit Baranga and I am inspired by Sunshine
Cobb's glazing
See/buy my work at: avriljamespottery.wordpress.com
If you would like a piece of your work to be featured, email us at: claycraft.ed@kelsey.co.uk
NORTHERN KILNS
info@northernkilns.com 01253 790307
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We supply, maintain and repair kilns and wheels.
Scottish agents for Potclays & Potterycrafts supplying clay,
glazes and tools.
Kiln Services Scotland Ltd

8/11 Whistleberry Park Industrial Estate, Burnbank, Hamilton, ML3 0ED
Tel: 01698 822032
www.kiln-services.co.uk
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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!
You will need:

■ Clay of your choice
– earthenware or
stoneware
■ Rolling pin, plastic
sheet, roller guides
■ Plaster or bisque,
domed hump mould
■ Spirit level
■ Batts
■ A piece of foam
1 Roll a long, even

coil of clay about
30mm thick then
flatten it along its
length with the
heel of your hand.
Hold one end up
slightly as you
work along the
coil. This makes it
easier to flatten
until you get to the
end.
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
Place the coil on its side around the circumference of the

base slab, approximately 3mm in from the edge. .
SKILL SCHOOL
PROJECT
TWO
7
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.
Reinforce the join

on the inside of
the base with a Score the
coil of soft clay. rim of the
Blend the coil in coil with
with a finger or a serrated
modelling tool, kidney then
then smooth over apply some
with the rounded slip.
end of a kidney.
Support the wall
with your other
hand as you work.
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
Roll a long, thin coil of soft

clay and gently press it
into the join on the inside
between the two coils.
Repeat on the outside
join.
11
Continue to build up the wall of the bin in the same way

Blend in the coils, inside and out, with a finger or suitable until you get to the height you want. 25-30cm will be
tool, then smooth over with a kidney, removing any surplus about right.
clay as necessary to even-up the thickness of the wall. .
SKILL SCHOOL
PROJECT
TWO
17
14 Lifting the cut-out circle on the plastic sheet it was rolled

on, carefully position it on the hump mould then smooth
Level the rim of the bin with a surform blade, then over the surface with a kidney – taking care not to distort
smooth over it with a rib to neaten it up. the shape.
Check the rim is level by placing a board over the
top, with a small spirit level on it. Make any adjustments Roll and
as required. 18 flatten another
longish coil
(15mm thick)
then, using your
roller guide
to ensure a
straight edge,
cut the coil to a
15mm width.
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
Place the coil on the slab circle, 1cm in from the

16 outer edge. Cut off the surplus length and join the ends
together, as you did when building the body.
Neaten up the join with a kidney.
Roll a slab of clay large enough to accommodate the Mark the position of the ring on the slab with a pin.
template, then cut out the circle.
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
Firm the flanged slab up a little with a hairdryer until it

can hold its shape, then turn it over onto another batt so
that it’s sitting on the flange.
Lift the domed part of the lid off the mould and place it on
the base as centrally as possible, then mark the position Work around the join with an angled rib to remove
with a pin when finished. excess slip and neaten up. .
SKILL SCHOOL
PROJECT
TWO
31
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.
The finished bin must be allowed to dry slowly with the

lid in place before bisque-firing.
30 Next month: decorating and glazing

Slab-built plate by
Bryan Hooson.
Celebrating student success

at West Suffolk College
In early June, West Suffolk College tutor Libbi Hutchence – along with 38 students
from her evening and weekend pottery classes – held their very first exhibition
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).
EXHIBITION
Mask and Peas by Debbie

Karl Silverback’s Lamond.
teapot and spiky
mug prototype. clay-based items coming out of
those kilns, and Libbi – proud of
the students’ work – has been
Libbi Hutchence. wanting to show it off in an
exhibition for some years.
will be working on an This June it finally came
ongoing project, perhaps together, and with the
something large and support of the college, 38
ambitious, while others students selected the
will be making a smaller pieces they wanted to
item just for that session, display, and managed to get
and some will be glazing. them to the Gateway
So there’s a wide range of building, one of West Suffolk
College’s relatively newly-built
Heart by areas, filled with natural light
Laura Whaley. and plenty of space.
David Ruddy, director of .
Egg cup
and vase
by Jasmine
Graham.
Vase by
Natasha Trinder.
EXHIBITION
employability and community

learning, said: “I was absolutely
delighted by the recent pottery
exhibition, the first of what we
hope will be many more. The
talent, diversity and creativity
on display were truly inspiring.
“Our leisure learning
programme is designed to be for
everyone. It’s never too late to
learn or try a new skill. And as
the college provides programmes
for students of all abilities,
everyone is welcome.
“We are here to serve this ABOVE and LEFT: Barbara Tarsnane displayed a
community, so if you fancy timeline of pots she’s thrown, from her very first
one to her latest.
trying your hand at something
new, please check out the courses
we have on offer at: westsuffolk.
ac.uk”
To add an air of excitement to
the exhibition, visitors were multi-glazed bowl, only to have
asked to vote for their favourite to explain that – like many
exhibitor, and the votes were potters before her – she’s unable
counted at the end of the night. to remember exactly which
The winner was Cassie Godfrey, glazes she used! Still, she’s found
with her nature-inspired pieces: a great way to display it at home,
a large seed-pod, apple and using it as a water bowl for her
acorn. dogs: “It’s at ground level, so you
Barbara Tarsnane, proud of can see the inside really well,
her progress on the wheel, and of course the water is
decided to display a timeline of see-through,” she said, though Lidded
her thrown pots, from the very she did acknowledge the need to casserole and has provided me with the
first one all the way to her most scrub off the limescale prior to dish by Carrie opportunity to explore my
Reilly.
recent – a horsehair raku bowl exhibiting! It’s great to see creativity.”
featuring a burnished blue slip potters enjoying their pots so Not all the wares on display
she made in the ‘experimental much, and actually using them were functional. Sian Paisley
glazing’ class. in daily life despite issues like made a wonderful owl, and says
Karen Player found many these, and of course, the risk of the courses are “brilliant, for any
people were drawn to her breakage. ability – I would highly
This is also the case with the
tried-and-tested casserole dish
made by Carrie Reilly, who’s
visually-impaired, and attends
classes with helper Anita
Cleaver.
“It is very difficult for a blind
person to get things across, but
Anita and I work together in
unison to create beautiful pieces.
I do all of the work, but Anita is
my trusty aid, helping with
Multi-glazed bowl and coil- safety around the studio, and
built strawberry-planter by practical work. The West Suffolk
Karen Player.
Owl by Sian
College has a policy of inclusion Paisley.
EXHIBITION
Oxide wash
leaves by Maria
Zajdler.
ABOVE and CIRCLED:: Bowl

by Kim Holmes.
recommend it.” Laura

Whaley created a
fascinating white
heart, and Kim Holmes’ learning, with pieces from both
stunning draped blue dish is brand new potters, who’d only
now her favourite piece, “which attended classes for a few weeks,
is ironic, as it almost went in the and those who’ve worked with
bin after bisque-firing, as I was clay for years, all sitting
displeased with the shape. I alongside one another, much as
guess it’s what’s known as a their makers do each week in
‘happy accident’!” classes. We wish Libbi, her
Karl Silverback has been students, and West Suffolk
working on a design of striking College continued pottery
spiky mugs. It was only when he success, and look forward to
lifted up the piece on display hearing about the next
that it became clear the bottom Lemon showing, in a real testament exhibition.
had fused to the kiln shelf and squeezer and both to his attitude to learning Don’t forget you can share your
was therefore now missing! One pots by Julia and the accepting atmosphere work with us, whether or not it’s
Hadley.
of the spikes had also dropped created by Libbi, who says, “I based on our projects, via
off the mug, and the glaze really appreciated the @claycrafting on Twitter, Facebook
attached it in its new position, opportunity the college gave us and Instagram. And if your local
draped across a couple of others. Cheese to put on the exhibition, and I course hosts a students’ exhibition,
Asked if he’d prefer to turn the plate with mice am incredibly proud of my do let us know! 
mug away so that it didn’t show by Pamela amazing, creative, talented
in the photo, Karl said to leave it D’Alberto. students. Pottery is a long
process from gooey clay to a
glazed, finished piece and lots
can happen during that journey.
I encourage all my students to
learn from things going wrong
as well as right, sometimes
mistakes can be amazing and
wonderful. That is one of the
beautiful things about pottery
– it’s a constant development,
and there’s always something
new to learn or to try.”
This exhibition was a real Monster mug by Charlie Proctor
celebration of all stages of (aged 11).
SKILL SCHOOL
PROJECT
THREE
TIP: ting bowls

Look for nes s from –
m o u ld
to make
n le ss st ee l or plastic
stai und
d can be fo
are best an e stores, but
ar
in kitchenw ity shops and
ar
check out ch s for bargains.
o o t sa le
car b ls will fit
Nesting bow est
togeth b er
’re the
because they e
same sh ap
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
You will need:

■ Two plaster bowl moulds of similar
shape – the bowls, once made, must
fit inside one another with a minimum
30mm gap between them.
■ Earthenware clay of your choice
■ Plastic sheet, roller guides, rolling
pin
■ Sponge
A note before you begin:

If you can’t find or make plaster moulds,
you could make this project on a smaller
scale by pinching the bowls, or coiling
them for a larger version.
For details on how to make a simple plaster mould, visit: claycraft.co.uk/how-to

.
SKILL SCHOOL
PROJECT
THREE
3
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.
Remove the surplus clay at the rim of the mould with

a wooden batten held flat on the rim of the mould. Draw
the batten sideways and back towards your body in small
stages until all the clay is removed.
When rolled, cut a semi-circular

section from the slab and fit it
into one half of the first mould,
easing it into place gently with a
barely damp sponge.
Cut a second semi-circular
section from the slab and fit it into
the mould so that the edges overlap
the first half. If the section doesn’t
completely fill the mould, cut another suitably-sized piece
to fill in where necessary. Fill the second mould in the same way.
DIFFICULTY RATING ★★★★ ★
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.
Roll a second slab of clay, large enough to

accommodate the largest bowl with 5-10mm extra around
the circumference when positioned upside down over the
slab.
First, place the smaller bowl in the centre of the slab and
mark around the circumference with a pin. .
SKILL SCHOOL
PROJECT
THREE
12
10 Score and slip within the marked

line for the larger bowl, and
Reinforce around the join of bowl to slab with a coil the rim of the bowl itself, then
of soft clay. Blend the coil in with a finger or suitable fix it into place, applying firm
modelling tool, then smooth over the surface with the pressure to ensure the two
round end of a kidney for a neat and seamless finish. surfaces seal together.
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.
16
14
Using a surform blade, carefully neaten up the outer rim

Turn the bowl upright and very carefully cut away the of the bowl so that it’s perfectly round and even, then
excess slab around the edge of the inner bowl using a smooth over the edge with a kidney to round it off a little
sharp knife. and neaten it up.
Take care not to cut into the clay of the bowl itself. Take the time to do this well – edges are important, and
a bad one will be the first thing that people notice.
15 17
Turn the bowl over onto a wooden board so that it sits

on the rim.
Visually divide the size of the outer bowl into three, and
score a line around the circumference, one-third up from
When all excess clay has been removed from around the base. You can use something round and suitably-sized,
the join of the inner bowl and the slab, smooth over like the little bowl shown here, to do this job or sit the bowl
the surface with a kidney to neaten up and remove all centrally on a whirler and do it freehand holding the pin
evidence of the join. firmly at the correct height as the wheel spins.
PROJECT
THREE
19
Using the same card

template, and spacing
the shapes evenly
18 around the bowl, draw
out the design to fill the
Turn the bowl over again and divide the rim into upper two-thirds of the
sections – the number to suit your template design. bowl.
Make a card template of a design that will fit around The shapes must
the rim of the bowl in repeat within your measured always join onto
spaces. A simple leaf shape is used here. another at some
Positioning the template carefully and holding it in position as you build up
place as you work, draw (or score) the outline into the the design, so plan the spacing really carefully.
clay with a pin, or use a pencil, as here. When the shape has been fully repeated around the
When all the shapes are filled in, draw in any extra edge of the bowl, fill in larger spaces between the shapes
detail as required. with smaller sections, to fill the space. You can then draw
in any extra detail as required, as you did for the rim.
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
There are many ways in which a bowl like this can be

finished off.
The example shown here was decorated by painting
in the design detail with different coloured underglazes,
Neaten-up the cut edges with a suitable wooden tool, outlined in black then dipping in transparent glaze.
to soften them off and remove the appearance of a hard,
A similar effect could have been achieved with coloured
sharp edge.
slips applied at the green stage, which would allow you
to sgraffito extra detail into the design if required before
bisque-firing then dipping in transparent glaze.
22 Another alternative would be to dip the bowl with a
single colour translucent glaze that would pool in the
texture to define the design clearly.
A note about glaze firing:

If working in earthenware, you can glaze the entire
surface and fire the bowl supported on star pins,
but this would not be recommended at stoneware
because the clay would sag over the props.
Sharpen the definition of For those of you uncomfortable with firing on
the outline of your design by pins, remember to wipe away glaze thoroughly
working over the drawn lines from any surface coming into contact with the
again with a pin or pencil as kiln shelf before firing. In this example, the lower
sections are cut away. section of the bowl would be a perfect area to
Continue to work around the clean away for firing.
bowl until all the inter-design spaces are removed and
neatened up.
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56 High Street Burton Latimer Kettering Northants NN15 5LB

ME AND MY POT
Clay type: Terracotta

Firing temp: About 1000°C
Build technique: This is wheel-thrown slipware. After being thrown, the terracotta dish
is coated in a layer of buff slip and left to harden
Decoration processes: The design is drawn into the bowl with a pencil, which cuts
through the layer of buff slip revealing the clay colour underneath
Inspirations & influences: I like most handmade pottery and am particularly drawn
to Medieval and early tin-glazed ceramics. I enjoy the simplicity, directness and natural
colours of slipware
See/buy my work at: The Pot Shop, Lincoln
Follow me: Facebook, Twitter and Instagram @potshop1
If you would like a piece of your work to be featured, email us at: claycraft.ed@
kelsey.co.uk Andrew MacDonald
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.
Linda Bloomfield is a scientist

turned potter. More glaze recipes
can be found in her books,
Advanced Pottery (2011), Colour
in Glazes (A&C Black, 2012), and tin oxide migrated with the potters to
The Handbook of Glaze recipes Spain (where the term Majolica
(Bloomsbury 2014). Her latest originated), then to Italy (Faenza) and
book is Science for Potters (The the Netherlands, where it was known as
American Ceramic Society, 2017). Delftware.
These are all available from her
website: lindabloomfield.co.uk
There are several reasons for making
an opaque glaze. You may have a dark
clay body that you want to cover with an
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
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.
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
*For details on
how to make a
simple plaster
mould,
visit: claycraft.
co.uk/how-to
.
PROJECT
SKILL SCHOOL
FOUR
MAKING THE PLATE
1 3
Measure the diameter of the mould to establish the

right size for your plate. Alternatively, test your batt
over the opening of the mould to check it’ll be big
enough.
Cut out the circle then fold

it in half three times to make an
eight-sectioned wedge shape.
Measure and mark a point 10-15mm down from the top

of the wide edge of the wedge, at each side, as shown,
then use something round to draw a semi-circle from
the two points.
Make a paper template by

drawing a circle 20-30mm
larger than the batt. You can
use something like an old
Frisbee to draw around if it’s
the right size, or bucket lids
or plates work just as well.
Difficulty rating ★★★★★
Cut along the drawn section

of the circle with scissors or
a sharp knife then open the
template up to reveal the
outline shape. You can change
TIP: If you see small air bubbles in the clay
after smoothing over the surface, simply burst
the shape if you want.
them with a pin then smooth over the surface
again. It’s important to remove them to avoid
explosions in firing
6
On a sheet of plastic, roll a

large enough slab of clay to
accommodate 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 very
7
deep ridges in the clay as you
do this. Turn the slab over and onto an absorbent board.
When the clay is reduced to a manageable size, first lift it Peel off the plastic sheet and smooth over the surface with
off the plastic and turn it over and through 90°, then roll it a rib.
between the roller guides to ensure an even slab.
You’ll 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.
8
Place the template over the slab and cut out the shape
carefully with a sharp knife. .
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.
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
Score a position for each

Making the dome
of the balls between the
rounded sections of the
plate, as shown, then apply
a little slip and press the
balls into place – flattening
them a little in the process.
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. .
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.
Carefully pinch the shape to

form a tiny cup, then repeat with
the second ball, but this time pinch
the clay downwards from your
little finger, into a cone shape.
Check the rim size against the
first half from time to time, to make
sure they’ll fit together neatly.
22
24
Score and slip the rims of

the pinched sections with a
Make a hole at one end of the egg then gently pinch
toothbrush and water then
and pull the opposite end to form a nose shape.
join them together. Hold
them in place for a second
or two to ensure they seal
together well.
23
Place the body on

the work surface to
establish a good sitting
position. Once happy
with the position, tap the
body down a couple of
times to ensure it will sit
Reinforce the join
independently.
with a coil of soft
You can now plug the
clay.
hole on the underside
Blend the coil over 25 with some soft clay.
the join with a finger
then smooth over
the surface with a
kidney.
You should now
have a form the size
of a small hen’s egg.
26
Impress the eyes on either side of the nose using a
suitably-shaped tool – old pen tops work well. .
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.
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
If you have a throwing wheel, you can do this next step

on that. Position the dome centrally on the wheel-head
using the concentric lines as a guide, then, with the
31 wheel turning slowly, score two lines about 10mm apart.
ALTERNATIVELY – if you don’t have a wheel, follow
the method shown. You’ll need two pieces of wooden
Turn the dome over carefully and rest it on a foam bed. batten 5mm and 15mm thick. You can stack up your
Carefully neaten and round-off the rim with a kidney. roller guides if you don’t have battens of a suitable
thickness.
Use the 5mm batten to score the lower ring, then the
15mm block for the top one.
Lay the batten on the batt next to the dome then
rest your pin on the block and gently draw it around
the circumference, moving the block as necessary but
always keeping the pin flat on it. Repeat with the 15mm
block.
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. .
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.
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.
WARNING; you must fire the plate and dome

separately once glazed, or they will seal together
Made in white earthenware, this dish has

been decorated with vibrant blue and
turquoise underglaze and covered with
transparent glaze.
Fired to 1120°C in an electric kiln.
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
BLOG
and accidentally knocked off its end. Eyes

turned out to be a problem, as I
couldn’t even see them in the
pictures I was working from
– they sit ‘somewhere’ in the
black feathers on the side of
I’m pretty sure that’s a
creature from Dr Who… the head. I had a go, but
… but finally it gets my penguin looked very
somewhere close(ish). odd, so I immediately
smoothed them away again.
But look, let’s gloss over the Eyes could come later. Note
Giving it a whack with a hake rest of this penguin. You don’t that at the time of writing, the
brush (that’s ‘har-kay’, apparently,
want to hear about the cracks penguins are bone dry, and only
rather than rhymed with cake).
opening up all over the body, or the beak have two eyes between them (update: and
mould, and it wasn’t the best clay I’ve coming off, or the fact that it looked so only three toes; further update: and now only
ever used, let’s be honest. It was hard and much like an owl at one point that I had three wings).
somewhat sweaty on the surface, but to really force myself to keep aiming for Eventually, I did have two creatures in
otherwise seemed dry. It cracked easily. penguin. I decided that if I just went for front of me. The first one is not a penguin
Does this mean it was ‘short’, like pastry? baby penguin it might be okay. Baby by any stretch of the imagination, and
I couldn’t be bothered to go and find penguins have little stumpy beaks, are before I accidentally broke her wing off, I
better clay I thought it would be a useful much rounder in the body, and very cute. planned to make her a raku bird of many
experiment to see what clay in this state I kept telling myself this, even as the clay colours. However, I also now realise that I
could and couldn’t do, so I kept at it. thing moved further and further away also missed the instructions to make
About two centimetres into the first from penguin, and closer to kiwi. Kiwi holes in the penguins’ bodies... Still, the
pinch pot, I got cramp-like pains in my fruit that is… second attempt is definitely an
fingers and thumb. There’s a definite risk The next day, determined to learn improvement, and a reminder not to give
of arthritis in my family, and I’d rather it something from this project, I had up just because something doesn’t work
didn’t get me just yet, so I slowed down another go, wedging up some of the the first time. I could’ve just made the
and tried different positions. This would reclaim on my newly-made plaster batt. I first one and written this blog with the
be one good reason to use nice, soft clay could feel that this was going to be nicer sense that ‘I’m no good at animals’ or ‘I
in future. I wasn’t helped by the fact that to work with. It also had a bit of grog in can’t hand-build’, but having persevered, I
I’d grabbed quite a large piece of clay to it, which will probably help it survive in a feel really good about my improvement.
start with, having ignored the raku kiln. I hadn’t wedged or prepared So keep at it, fellow potters, and share
instructions to ‘weigh out’ two balls. I the first batch of clay the day before – no your versions on social media. I love to
pinched merrily away without much wonder it hadn’t come out right! see them. 
thought about shape, and as a This time I knew I needed a
result, the first pot was wide much narrower body. A brief
and squat. Ou ght to be look at some images
obvious: When showed that penguins are
Below: In the damp recreating something elegant, tall and sleek,
box, hoping for a in clay, make sure
wing-related miracle with a much smaller head
you know what it’s than you might think,
supposed to look positioned on the front
like… rather than directly on top
of the body. With this in
mind, I did a much better job
assembling the creature so that you can LINKS
actually tell what it’s supposed to be. In ■ Pottlemuddery.com
particular, I spent a lot of time shaping Instagram, Facebook and Twitter:
the head, neck and shoulder area. @pottlemuddery
Possibly I ought to have looked at ■ thepotterscast.com
pictures in the first place. Instagram: @pdblais
This time I made the wings much
■ jwaudbyceramics.com
thinner, and only had one minor
Instagram: @janenewaudby
catastrophe when I tried to trim the beak
SLAB JUG
SKILL SCHOOL
PROJECT
FIVE
This large jug is easy to make, and is perfect for serving
summer drinks on warm evenings in the garden
You will need:

■ White firing clay
– earthenware or
stoneware
■ Rolling pin, roller
guides, plastic sheet
■ Wide cardboard
tube or short length
of plastic downpipe,
25-30cm long
■ Newspaper
■ Underglaze pencils
in colours of your
choice – two minimum
■ Transparent glaze
to fit your clay type
1
Wrap the tube in a sheet

of newspaper and secure it in
place by stuffing the surplus
into each end.
Measure the circumference of Lift the large slab on its plastic sheet and turn it over
the tube then make a card onto an absorbent board.
template adding an extra 20mm onto Peel off the plastic sheet.
the measurement to allow for overlap.
The template should be 25-30cm deep. Test that it fits
around the tube with plenty of overlap before moving on 4
to the next stage.
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.
Place the tube on the slab and roll it around carefully,

lining one long edge up with the bottom of the tube. .
SKILL SCHOOL
PROJECT
FIVE
8
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.
Carefully lift the paper out of the cylinder, supporting

the wall with your other hand as you do so.
10
If you have a printing roller,

work over the join a few times
to blend the clay and even-
up the thickness of the wall.
Otherwise, smooth over the
join with a kidney, removing any Smooth over the join on the inside of the cylinder with a
excess bulk as necessary. kidney until it’s no longer visible.
13
11
With your hands either side of the cylinder, gently

squeeze the shape into an oval.
Use a hairdryer to firm the shape up in this position
until it can be handled without distorting.
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
Place the body of the

jug on a section of the slab
reserved from earlier, and mark
the interior outline of the base
with a pin. You will have to do
this by feel because there may not Score and slip the edge around the base and sit it on
be much room to see inside once your something 20mm deep, like this sponge sheet, which has
hand is in there. been cut to shape especially for this job.
.
SKILL SCHOOL
PROJECT
FIVE
18
Make a card template 50mm long in the shape of a

teardrop cut in half lengthways and about 15mm deep.
16 Position the template on the side of the jug at the base,
then score the position with a pin or pencil. Repeat on the
opposite side, making sure you align the shapes exactly,
Fit the body over the and the template is pointing in the same direction.
base then gently squeeze the
sides to seal the two surfaces
together. You may find it easier
to turn it upside down to do this.
19
17 Cut out the marked sections with a sharp knife then

smooth over the edges with a kidney to neaten and
Reinforce the join inside and out with a coil of soft round them off.
clay.
Blend the coil in with a finger, or suitable tool, then
scrape over the blended clay with the round end of a
kidney for a clean and neat finish.
22
20
Fit the curved edge of the spout to the body to check

Stand the jug upright, then score a deep U-shaped that the size is right – don’t worry if it’s a little bit too big, it
line at the front, where the spout will be. can easily be cut back to size when in place.
Cut out the shape when you’re happy with the
position and size.
23
Score and slip the area around the opening for the
spout, and the curved edge of the spout itself.
21 24
Measure around the U-shaped opening for the spout –

easily done with a thin strip of stiff paper.
From the extra slab, cut a rectangle to the measured size
making one of the long edges curved, as shown. This will Fit the spout onto the body, making sure the seal is
be the edge that fits onto the body. good between the two surfaces. .
SKILL SCHOOL
PROJECT
FIVE
27
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
From the remaining slab, cut a strip of clay long

enough to make a comfortable handle for the jug.
Make the strip 15-20mm wide. Roller guides can be
26 useful for this if they are the approximate width.
Run your fingers along the cut edges of the strip to
soften the clay off a little.
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.
29 31
Test the handle against the side of the jug to establish

Use a cookie cutter to cut a rounded edge at each the best position, then mark both the top and bottom
end of the strip, as shown. points with a pin.
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.
SKILL SCHOOL
PROJECT
FIVE
34
Allow the jug to dry slowly before bisque firing.
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
Draw your design on a sheet of tracing paper, bearing in

mind it will be transferred in reverse unless you also draw it
in again on the underside.
36
Holding the tracing paper in place, transfer the design

to the surface of the jug. Don’t worry about the pencil
marks; they will burn away in firing.
You can use paper/masking tape to hold the tracing
paper in place if you find it easier.
38
You can smudge these colours to give a soft pastel

effect if you want to. Gently rub over the lines with a finger
but be careful not to touch other parts of the surface
with your finger afterwards because you’ll end up with
fingerprints all over the place. You can remove these with
37 an eraser if you’re careful.
Draw over the transferred pencil lines with an

underglaze pencil in a colour of your choice, adding 39
more detail freehand to build up the design if
required.
Fill in the design with

colour detail to complete the
decoration.
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.
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
KILNS
painting the shelves at 3.45am on

the day we left, and Hannah was
hemming and ironing the new
cloths we bought to cover the stand.
I love Earth & Fire and I’m
always pleased to be selected. It was
the first ceramics show that I did
when I started out many years ago,
and I haven’t missed a year since. A pot off to a new home.
This year there were 125 exhibitors,
celebrating the diversity of work I get terribly anxious before a
that the clay world offers. show as it’s an experience out of my
Sue Cullen took over sole comfort zone and a contrast to the
gallery in London, Contemporary A big responsibility for the running of the quiet calm of our remote country
Ceramics and to the Stratford jug under show three years ago. She has a workshop. It’s silly really, because
Gallery. scrutiny. (That great understanding of potters and once I’m there and all set up, I love
This is possibly the tightest we’ve face! Ed) their needs and runs the event like a it. I really enjoy seeing my potter
ever cut it, firing on the Friday, well-oiled machine. This year, she buddies and meeting the people
unpacking on the Monday and allocated the spaces so that we were who come. It was nice to catch up a
leaving for the show on the next to our friend Tim Lake, the few ClayCraft readers as well as
Wednesday. Usually we like to have stoneware potter, who has a little Rachel, the editor.
everything fired and ready, and the girl a few months younger than Ben Boswell, the renowned
shelves and plinths painted further Pippin. Sue arranged for a special photographer of potters, came and
in advance, but with two babies, it’s open-sided baby tent for them to collected the jug that we made for
all chaotic this year. I was still play in. What a life saver it was too, him in exchange for photographing
as we were roasted all weekend by our wedding. He was pleased with
the sun. I’m struck by how exciting it, and we were relieved he was. It
it will be for the kiddies as they only took three years!
grow up, meeting up with their Earth & Fire was the final show
little friends at pottery fairs. for our dear friend Anna-Mercedes
It was a good show for us. In fact, Wear, who is so terribly poorly. She
there were moments when we was awarded the ‘People’s Potter
couldn’t wrap the pots quickly Prize’, voted for by the visitors. It
enough. It restored my belief in was richly deserved. Anna will
what I’m trying to do and, surely know that she is a much-
importantly, restored stability to loved woman.
our bank balance. And so we begin again in the
Pottery fairs are always an workshop. Of course, I have started
unknown quantity. There have been by making big jugs and no doubt in
times when we have stood behind my next post I will be complaining
our stand all weekend and sold that I ran out of time to make
hardly anything. For some, this was anything else! The pressure is on to
their unfortunate experience last fill the wood kiln with pots and fire
weekend. It’s very tough when that it again for our next show, Potfest
happens, particularly for potters for in the Park, Penrith, 29-31 July.
Pots
unpacked whom, like us, this is their sole This is our ‘local’ show, as it’s only
from the income. It hurts financially and an hour and a half from home.
wood kiln. emotionally. Come and see us if you can. 
Furzebrook Studios
Rachel Fooks is one of life’s perpetual students, never happier than when
acquiring new skills, and it was this love of learning that led her to pottery and
the setting up of her studio, near Wareham, Dorset
T old from an early age that a

career in the creative industry
would never make her any
money, Rachel was steered towards
quietly beside me while I carried on with
my business, but I soon realised that
wasn’t going to happen! I’d also changed
in myself - going back to graphic design
graphic design at school, and went on to didn’t sit well with who I wanted to be as
have a very successful practice. However, a mother - and knew I needed to do
it wasn’t fulfilling her, and she felt that something more creative.”
she had to find a creative outlet in Rachel had three porcelain tealight
learning different crafts. By 2002, having holders – the only pottery she had made
tried pretty much everything except at college that hadn’t gone horribly
pottery, she thought she’d give it a go wrong! They were slab-built with
and enrolled on a City and Guilds pressed textures, white on the outside,
Ceramics course at a local college. and coloured on the inside. Feeling brave,
“What I immediately loved about she took them to a gift shop in Corfe
pottery, was the fact that I wasn’t very Castle and asked the owner if she could
good at it! I loved the challenge (and still sell them. The owner very kindly said
do). Once I started getting a bit better at she would try, and amazingly they sold
making, I realised that I could use my almost immediately, and she asked for
design skills to bring three-dimensional more.
ideas to life which was very exciting – I’m “At this point I realised that I needed a work, maybe others can too.”
still very much a designer at heart, with kiln, so bought one from eBay at a After a few years successfully selling at
clay being my medium. bargain price. Very quickly I went from shops and at craft events, Rachel felt that
“On the course, I made every single three tealights to a few more, to a whole she wanted to take her work to a new
mistake it’s possible to make, in fact I shelf of vases, decorated hearts and other level, so she went back to the drawing
made hardly anything that turned out homeware items, all in the same style, all board, revisited some ideas that she’d
okay, but I really enjoyed working with made from my kitchen table. I called it first had at college and brought out a new
clay and was determined to get better at the ‘Summertime’ collection because I collection titled 'Fantasea'. The new work
it. At the same time, I realised that I took inspiration from the colourful was a lot more sculptural and very
didn’t want to do graphic design meadows behind my cottage. Incredibly, different to what she was doing before. It
anymore, I’d just had my first child, and the collection just kept selling and after a sold really well and was the pivotal
had naively imagined she would sit while I thought if this shop can sell my moment where galleries started to
contact her and collectors travelled to
buy her work. This gave her the
confidence and contacts needed to launch
another new collection a couple of years
later, totally made up of fantastical
sea-inspired sculptures made from a
groggy clay which is left unglazed. This
‘Out of the Depths’ collection saw her
featured in the press both locally and
nationally and put her firmly on the
makers’ map.
“I’m lucky that where I live there is an
amazing art community where people are
so supportive, helpful and friendly. I don’t
think I could have achieved what I have if
I lived somewhere else.”
In 2007, although sales were going
There’s a lovely relaxed atmosphere in the light and airy studio. well, Rachel needed to generate more
Studio spotlight
Students are encouraged to explore their own ideas and

try new things. Rachel’s ‘Out of
the Depths’ range is
Work in various stages of completion. inspired by the sea.
income and had a desire to introduce that I’d hand out at craft
other people to pottery, so she decided to events and I put posters in space where Rachel does
run hand-building classes. galleries, shop windows, etc. raku firing, and at the end
She laughed, “I’ve made ALL the Fortunately, I hardly advertise at of every term there’s an
mistakes possible and so thought I could all now, as I’m pretty well known and outdoor party.
show other people how not to do that! I people come to me through word of “Since I’ve been here, there have been
love hand-building because I find it much mouth or find me on the internet.” massive changes – people coming to the
more creative than throwing. Throwing During this time Rachel had her classes soon became more creative and it
is a discipline, and I’m not particularly second child, and it wasn’t until her really started to feel like a little pottery
disciplined!” daughter was due to start school that community had been created, people can
Rachel hired the local sports pavilion, Rachel felt able to take on another class, drop in as they pass, and I get people
which was very affordable because it’s a and, after nine years in the sports hall, coming in and asking me about classes,
community space. she began to look for more suitable or my work. The location is perfect too,
“I couldn’t have started the classes premises. Once again, the local being rural but still just off the only main
without that space. I was running two community proved to be a wonderful road into and out of the area.”
weekly classes, everything was in boxes resource. In an amazing stroke of luck, As well as Rachel’s classrooms, kiln
that I had to carry back and forth each one of Rachel’s students knew the room and her studio, the building is
time, taking people’s work home to be chairman of the local NFU, and they home to a printer and fine artist, doing
fired and then carrying it all back again arranged for all the local farmers and collagraph and running workshops; an
– bubble wrap, bubble wrap! landowners to receive an email asking if art teacher; a company making miniature
“I promoted the classes with leaflets they had any barns to convert and offered scenery for model makers; another potter,
to help set her up with rural development and a jeweller. The entrance to the
grants. building doubles up as a gallery space.
“Everyone was so kind,” Rachel said. The move to new premises meant that
“Somebody came back to me and said, ‘I Rachel could increase her classes to three
don’t have a barn to convert, but I do days a week, on Mondays, Thursdays and
have a building that hasn’t been used for Fridays.
some time, part of it may be suitable for “It’s still hand-building in the weekly
you’. You know when you get that feeling classes but if people know how to use the
in your tummy? I had it. I came down the wheel or have had an introductory
drive and thought ‘this is it!’ Initially, it session on it, it’s there to be used. I find
was just supposed to be two rooms, but I that most people want to socialise
asked if I could take on the whole though, and throwing is quite a lone
building and sub-let, to create an art activity. Throw Down saw a massive
community. The owner agreed; she was surge in people wanting to use the wheel
so kind and helpful. This is my dream.” so I run one-off throwing experiences,
Horse made by Hilary, the result The building didn’t need much work. It for people who feel an urge to give it a
of a glaze resist workshop. has amazing light, and a great outdoor go. That has taken off massively.”
Studio spotlight
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
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
2: I have recently learnt to work

with clay, my favourite being
porcelain. I’m self-taught. I love
ClayCraft and get so excited
when it gets posted through my
door! 10% of sales from my braille
items goes to two blind charities,
as my nephew’s two children are
blind/highly visually impaired. 3
Here are two examples of my
work, I hope you like them!
Lois Gray
3: I have just been reading your excellent

magazines. Though I have almost finished my
4 stint as a craft potter I thought you might be
interested in some of my work. I was quite a
4: I just thought I'd write and tell you how much I am enjoying your prolific potter for over 30 years, sending work
magazine, and how it is inspiring my pottery. I had wanted to make across the world.
a mould for some time and had thought of a bottle, so when your I enclose just a few of my many pictures
magazine arrived with wonderful directions from Jacqui Atkin I set spanning those memorable days. I wish I were
to. I love the mould, so am attaching some photos of my work. I love starting again, with all the new and exciting
working with clay but my passion is decorating. Varie Freyne products available. Geoff W Jaques
5: I am 72 years old and bought the first issue of ClayCraft

5 hoping to find some tuition in a craft I’ve never tried before.
Although I’ve worked as a textile artist and trained at
Dartington College of Arts in the 1960s, somehow ceramics
slipped the net.
In your courses listing, I discovered Suzanne Reffold of Leafy
Lane Pottery, East Yorkshire and enrolled in one of her classes.
After creating a few tiles, I made sculptures of a pair of Ibis
birds. Beginner’s efforts, but they amuse all those who see
them.
I’m hoping you might put them in ClayCraft to make a few
more people smile, and to encourage more seniors to discover
the joys of pottery.
The clay is stoneware and I used a manganese glaze with
coloured glazes for the features.
Finding an inspiring and highly skilled teacher is essential for
beginners. I count myself lucky to have found Suzanne. Having
subscribed from the beginning, I now have a good collection of
ClayCraft projects to try in the future. Nikki Abramson
NEXT
NEXT STEPS
MONTH PINCH, COIL, SLAB AND THROW
Don’t
miss it!
ISSUE 18
ON SALE
AUGUST 17TH
Chinese bowls Traditional and

characteristic forms
Decorating moon jar Decorating and glazing

last month’s throwing project
Slab-built
sculpture A
3D decorative
piece; let your
imagination
run wild
Plaster batt wall Berry bowl A pretty and

vase Casting with a useful draining bowl, with
textured plaster slab matching serving dishes Meet the potter: Mariam Cullum
Plus: • Ben Boswell’s jug • Bread bin decoration • Me and my Pot and more…
* These are just some of the features planned for the next issue but circumstances outside our control may force last-minute changes. If this happens, we will substitute items of equal or greater interest.
Do you have an event you’d like listed?
Email us at claycraft.ed@kelsey.co.uk for free inclusion
RUNNING UNTIL achieved in this medium UNTIL 4 SEPT Celebrating the Leach
oxfordceramics.com Vote 100: Suffragettes and Pottery’s Restoration
UNTIL 28 JULY Propaganda A series of events, exhibitions, talks
Ceramic Showcase: Adam UNTIL 1 SEPT Cartwright Hall and creative sessions
Frew Is it Useful? Bradford leachpottery.com
For this showcase Adam has selected Co-curated by Charlie Birtles, bit.ly/1LIiVnK
functional pieces including mugs, jugs showcasing a collection of beautifully UNTIL 23 DEC
and bowls, as well as his one-off vessels. handcrafted, intellectually conceptual UNTIL 7 OCT Our eARTh 2018
All pieces are available to purchase objects ‘Roelof Uys: Works Of 100+ selected artists’ work responding
craftcentreleeds.co.uk unittwelve.co.uk Function, Works Of Art’ to climate change and the environment
This is Roelof’s first solo show since Kunsthuis Gallery
UNTIL 28 JULY UNTIL 2 SEPT joining the Leach Pottery five years Crayke, N Yorks
Sutton Taylor ABOUT CLAY ago, presenting an exclusive body of kunsthuisgallery.com
Sutton Taylor’s vivid and shimmering Pearls of European Ceramic Art work comprising 200 new pots from
lustres have become a very distinctive ONOMA summer show our lead potter UNTIL 31 DEC
part of British studio ceramics in the The Cooperative of Artisans, Designers leachpottery.com ‘A Woman’s Place’
past 40 years. They epitomise the and Artists in Fiskars Abbey House Museum
decorative opulence and sensuality, Fiskars Village, Finland UNTIL NOV Leeds
the technical mastery that can be onoma.fi 10 Year Anniversary: bit.ly/2FFsqMy
JULY marketplace in the heart of East London.

Taking place on a quarterly basis
day masterclass. Structured to include
a wide variety of making, finishing and
showcasing local makers, alongside the
Woman’s Hour Craft Prize
4 JULY  5 SEPT throughout the year, 50 contemporary decorating techniques and taking a look bristolmuseums.org.uk
When Decoration Becomes Form designer makers are at the Old Truman at form and how a pot is made from start
London Potters’ Violante Lodolo D’Oria is Brewery for a two-day design event like to finish. Cost: £490 1012 AUG
exhibiting at Madeinbritaly Gallery, no other leachpottery.com Handmade Edinburgh – The
London W9 thelondonartisan.com Craft and Design Fair
2729 JULY
madeinbritaly.com 21 JULY The event brings together over 100
Potfest in the Park designer-makers from across the UK for
7 JULY  2 AUG INTERMEDIATE THROWING Over 100 exhibitors invited from all a three-day selling event at The Hub, on
IN THIS MOMENT COURSE over Europe and beyond. All with very the infamous Royal Mile.
New exhibition of paintings and One-day course, £120 per person distinctive individual styles, all passionate handmadeinbritain.co.uk
ceramics, feat. Lara Scobie Teacher: Matthew Dimbleby about working with clay
thestratfordgallery.co.uk An intermediate throwing course aimed potfest.co.uk 11 AUG
at those with some experience of
2729 JULY Talk by Neil Brownsword
7 JULY  9 SEPT throwing who are looking to develop
Neil Brownsword makes installations
Leach Pottery Studio: 10 Years their knowledge and skills. Great Northern Contemporary
using ceramics, performance and film.
On loveclay.co.uk Craft Fair Sheffield
His recent work has highlighted the risk
To complement its 10-year celebrations, Bringing together 75 specially selected
21 JULY 23 SEPT of losing traditional skills in the British
the Leach Pottery presents an exhibition designer-makers from across the UK
ceramics industry
featuring potters who have worked in the Lasting Impressions greatnorthernevents.co.uk
The Make Space is an area for activities
Leach Studio since its reopening 10 years Lasting Impressions takes a closer look
28 JULY  12 AUG and for showcasing local makers,
ago. Expect all manner of domestic wares at how craftspeople make and the
alongside the Woman’s Hour Craft Prize.
for your home and kitchen, including processes they use to produce an object Summer Exhibition Book in advance.
special decorative pieces, made by that will last. This exhibition celebrates The Southern Ceramic Group’s annual bristolmuseums.org.uk
established and early career potters from the crafting of objects that will become selling exhibition will be open to the
as near as Cornwall and as far away as tomorrow’s heirlooms; pieces with a public at the Bishops Kitchen in the 1126 AUG
Japan, India and the USA timeless quality constructed from the grounds of Chichester Cathedral
best raw materials with integrity and southernceramicgroup.org.uk Anglian Potters Exhibition
leachpottery.com
ingenuity. Scott Benefield, Adam Buick, Emmanuel College, Cambridge
12 JULY Sebastian Cox, Ashraf Hanna, Nicola AUGUST anglianpotters.org.uk
Our Ceramic Life: The Revival Henley, Walter Keeler, Andrew Lamb,
Ptolemy Mann, John McKeag, Eleri Mills, 35 AUG 1617 AUG
of Stoke-on-Trent’s Historic
Industry Liz Nilsson, Helen O’Connell, Cillian Ó Potfest in the Pens Ceramics with Mary Watson
A collaborative exhibition of ceramics, Súilleabháin, Mourne Textiles, Adi Toch, The only unselected show in the UK Spend the day with Mary Watson and
photography, and sound, that focuses Paul Wearing, Neil Wilkin, giving an opportunity to see the work watch her demonstrating the process of
upon the ceramics industry and the Yusuke Yamamoto. of the well-established alongside the making the ‘Lovely Lady’ ceramic vessel
current resurgence and rebirth that it is ruthincraftcentre.org.uk up-and-coming. Around 170 potters will series in the morning and join in with
witnessing. Its aim is to challenge the way be taking part in this, the oldest potters’ sessions in the afternoon. Drop in during
that we think about ceramics and how it 2129 JULY market in the UK. the weekend.
forms part of much of our modern-day life. Tywi Valley Open Studios potfest.co.uk bristolmuseums.org.uk
The installation aims to engage children, 39 artists invite you to visit their studios
young people, and adults, within Stoke- tywivalleyopenstudios.wales 8 AUG 25 AUG
on-Trent, and visitors to the region, by Cast sculpture with Holly Beginners throwing course
raising awareness of the city’s rich ceramic 23 27 JULY Bennett Price: £120
heritage and exciting future opportunities Five-day advanced throwing Join Holly Bennett as she demonstrates This one-day course which will be run by
loveclay.co.uk masterclass sculpture making and the process, experienced Potter Matthew Dimbleby
Roelof Uys: Exploring making and displaying work at various stages of is an opportunity to have a one to one
2122 JULY decorating completion, as well as finished sculpture experience for those who would love to
The London Artisan A rare opportunity to join the Leach work. Drop in during the day. The Make learn how to throw with clay.
The London Artisan is a curated Pottery’s lead potter for an intensive five- Space is an area for activities and for loveclay.co.uk
Olivia Joseph setting-
up her stand.
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.
ENTERPRISE
microbreweries, fermenters, street food

vendors and entertainers.
Stella Cassanelli, who was one of
the makers and the organiser on the
day, said: “The market went well. It was
my first-ever market experience, so I
considered selling even one
piece a success! I’m going
Capucine Giraud from Inoui studio, to be selling here again
and friend.
– I can’t wait. Next
stock ready for each market. The time I’m going to
clientele was actually quite diverse, with concentrate on a The food stalls
surrounded the
families and young people alike coming more vertical and ceramics stalls.
through, but I would say that while the plain layout. This
people who generally come to our open being at my first 17 makers attend the
studio sales are there to buy, at the experience, I didn’t market. They sold their
market I felt most people where simply realise how much work from 9am to noon on
browsing. My advice to anyone effort you need to put the Saturday.
thinking of doing a similar market – into your display and in The first week they sold
don’t give up too soon, and keep on promoting yourself. But, you £100-worth of work and were very
making!” know, we were there to learn!” excited. The second week, 25 people
The new ‘farmers and makers’ market The last comment comes from came and sold £3-worth. Undeterred,
brought makers together for the first Miyelle Karmi, who said: “I came they came back every Saturday from
time in a collective celebration of ‘slow laden with espresso cups, jazzy handled 9-noon for eight weeks.
living’, an umbrella concept that draws mugs, bowls, dishes and jewellery. Most After those eight weeks, business was
together artisan-produced food with of my pieces were smaller items, so I brisk. Today there are 80-120 makers
handcrafts and popular ‘mindful’ brought a lot to fill the table. Hoxton selling ceramic work in the market, and
activities like yoga and community Square Market is great as it attracts a over some of the best weekends they
gardening. wide variety of people. I met folk who have sold over £12,000-worth of work.
To launch the market, 15 different were visiting London for the weekend Young makers settled in Jingdezhen,
Turning Earth ceramicists will set up from other parts of the country or bought cars and apartments, and set up
shop each week over the summer, abroad, as well as locals. Many were studios, resulting in the town’s
alongside makers working in other visiting to see what the Turning Earth regeneration.
craft disciplines, produce stalls, makers had on offer. There were also Let’s hope Hoxton Market and the
lots of people who were just passing by makers from Turning Earth Studio
who hadn’t come for the ceramics but have the same impact. 
ended up going home with several
ceramic pieces! It’s a lovely day out and
it’s great meeting all the local makers
and farmers.”
How markets can develop is
illustrated by the Chinese town of
Jingdezhen. On the first week they had
Paul Bailey produces Emerging

Potters online magazine and writes
on modern ceramic makers
Tableware was among the most Crowds start to gather at the Paulbailey123@googlemail.com
popular buys. market.
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SCOTLAND JILL FORD
LANCS/CHESHIRE/
GREEN MAN CERAMICS
Courses: Pottery Discovery weekends
Course: Workshop and Day
CLAY WORKS STUDIO Courses MERSEY Dates: Various,
Courses: All levels from beginners Dates: Thursday evenings & day Location: Colne, Lancs
to intermediate. Taster courses, general courses throughout the year BALTIC CLAY Tel: 01282 871129
pottery and throwing courses. Open Location: York, Tel: 01717 289008 Courses: Evening and weekend clay PILLING POTTERY/NORTHERN
access facility for more advanced JOY GIBBS PRICE CERAMICS @ courses KILNS
makers coming soon GRAPE VINE STUDIOS Dates: Tue, Wed, Thurs (6.30pm - Courses: From novice to professional:
Dates: See website Courses: Handbuilding, throwing, raku 8.30pm) & Sat throwing, hand-building, glazing,
Location: Dumfries & Galloway Dates: Weekly sessions, Thurs 6-8pm, Location: Liverpool making glazes, kiln loading,
clayworksstudios.co.uk balticclay.com programming kiln controllers, fitting
Fri/Sat 10am-12pm
BLUE BUTTERFLY CRAFTS elements
FORGAN ARTS CENTRE Location: Mattersley, Doncaster Dates: Various
Courses: All levels and ages catered joygibbsprice.co.uk Courses: Handbuilding.
Weekly 2-hr sessions and day-courses Location: Pilling, Lancs
for in hand building, throwing, Raku, GREENWOOD CRAFTS pillingpottery.com
sgraffito and mishima Dates: Various, see website
Courses: Handbuilding; throwing Location: Accrington, Lancs THE POTTERS BARN
Dates: Various (see website)
Location: Newport on Tay, Fife from beginners onwards bluebutterflycrafts.co.uk Courses: Adult half & full day:
Dates: All year beginners throwing &
forganartscentre.co.uk Location: N Yorks JOAN CHAN
Courses: Introduction to clay, handbuilding. Intermediate &
SeaTree Crafts tryacourse.co.uk advanced throwing. Raku & pit
Courses: Beginners' classes, handbuilding, throwing, slip casting,
LEAFY LANE POTTERY BY SUZIE glaze workshop firing
workshops, after school club, Dates: Various
supervised open access Courses: Hand building courses Dates: Afternoons and evenings
for all abilities. Learning disabilities, Location: Greasby, Wirral Location: Sandbach, Cheshire/Staffs
Dates: Various border
Location: Innellan, Argyll residential homes, schools and private Tel: 07803 848212,
sessions, and sculptures for your E: joancchan@aol.com thepottersbarn.co.uk
seatreecrafts.co.uk
home and gardens FB: jccermaics CARLA POWNALL
THE WEE MUD HUT Courses: Throwing, 6-week course,
Dates: Throughout the year and area THE CLAY HOUSE
Courses: Handbuilding and throwing beginner to advanced using
for all ages/abilities. Groups and Location: Hull and East Yorkshire Courses: Two 3-hr workshops every
Tel: 07886 841936 stoneware and raku clay.
individual sessions month
E: leafylanepottery@gmail.com One-off courses on last Saturday
Dates: Various Dates: Various, see website
of the month.
Location: East Kilbride, Scotland NORTHLIGHT ART STUDIO Location: Cedar Farm, Mawdesley,
Dates: Weds am & pm, plus last
Lanarkshire Courses: Evening and day workshops, nr Ormskirk, weekend of the month
theweemudhut.co.uk summer schools and taster days. All Tel: 01704 807320 Location: Wirral
levels theclayhouseatcedarfarm.co.uk E: carlapownall@yahoo.com
CUMBRIA/N EAST Dates: Weekly and throughout the CLAYWORKS FB: carlapownallceramics
year Courses: Evening & daytime
classes for all abilities (with occasional
MUDDY FINGERS POTTERY
Courses: Adult night classes
Location: Hebden Bridge, Yorks
Tel: 01422 843519 weekend events such as 'Raku', etc) NOTTS/DERBYS/
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northlightstudio.co.uk
evenings, every six weeks Location: Southport, Lancashire SANDY BYWATER @ CURIOUS
Location: Jarrow, Tyne and Wear OLD STABLES STUDIO FB: arthousesca
Courses: Throwing: bootcamp, STUDIOS
muddyfingerspottery.com sca-network.co.uk Courses: All pottery skills, suitable
weekends, tasters and regular classes CRAFFITY POTTERY STUDIO
ANNIE PEAKER for the beginner or the more
Dates: Various Courses: 'Create with Clay' drop-
Courses: Figurative Ceramic Courses experienced
Location: Hebden Bridge, in sessions, with or without input. Dates: Tuesday afternoons and
Dates: April - October (3 & 5 Days) Yorkshire
Location: Penrith, Cumbria Regular and seasonal workshops evenings. Monthly, Saturday themed
anniepeaker.co.uk JAMES OUGHTIBRIDGE Dates: Various workshops
Course: Large Scale Slab Building Location: Bury, Greater Manchester Location: Sneinton Market,
YORKS Dates: Contact for details craffitycreations.co.uk Nottingham
Location: Holmfirth, West THE CRAFTY POTTER sandybywaterceramics.
Yorkshire Courses: Throwing, hand-building & wordpress.com
ART HOUSE, SHEFFIELD
Courses: Wheel, handbuilding, jamesoughtibridge.blogspot. modelling CAN-DO POTTERY
porcelain, raku, figurative, workshops, co.uk Dates: Various Courses: Hand-building for
summer intensive JIM ROBISON CERAMICS Location: Chorley, Lancashire beginners
week (chimeneas) Courses: Week-long Ceramics, and thecraftypotter.co.uk Dates: Thursdays 10.30am-12.30pm
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arthousesheffield.co.uk beginners to advanced. We are always group
Location: Holmfirth, Huddersfield
KATIE BRAIDA boothhousegallery.co.uk trying out new techniques such as THE CLAY ROOM LEICESTER
Courses: weekly class and day use of decals and coloured clay Courses: Range of classes for all
SCULPTURE LOUNGE STUDIOS abilities, plus membership scheme
workshops Dates: Year-round: Tuesday pm
Courses: Throughout the year and Wednesday eve. Some Saturdays for more experienced makers
Dates: Every Thursday evening
and various others Dates: Contact directly for further Location: Clitheroe. Lancs Dates: Throughout the year
Location: Scarborough information E: lesleywoods19@hotmail.com Location: Leicester
katiebraida.com Location: Holmfirth, West Yorkshire FB: thedowntoearthpottery theclayroom.co.uk
sculpturelounge.com
FIRED ART DESIGNS PAUL GOULD/MON CERAMICS CLAY STUDIO MANCHESTER
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slab work, coil handbuilding courses, includes making 2-4pm and 7-9pm tuition. Anyone from beginner
work. Classes and decorating animals and figures Saturdays and Sunday workshops: upwards is welcome. monthly
Dates: Various Dates: Throughout the year various dates throughout the year membership scheme for more
Location: Pontefract, Yorkshire Location: Sheffield Location: The Wirral advanced makers
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Location: Hulme, Manchester JANE MALVISI Location: Near Peterborough Stafford), Staffordshire
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MIDLANDS ART CENTRE Raku. All abilities welcome ZOO CERAMICS com
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Dates: Various evenings handbuilding workshops, 10-week Courses: Basic/Intermediate/
Location: Birmingham Location: Bridgend, S Wales pottery classes Advanced Throwing, Intro to glazes,
macbirmingham.co.uk janemalvisi.co.uk Dates: Various Pottery Basics, Moulding and
Parkwood Throwing ORIEL BODFARI GALLERY AND Location: Waddington, Slipcasting, Tilemaking
Courses POTTERY Lincolnshire Dates: Various
Courses: Basic and intermediate Courses: Throwing, handbuilding, zooceramics.co.uk Location: Stoke-on-Trent
throwing Raku, etc potclays.co.uk
Dates: 8-week Thurs evenings, Dates: Various THE SCULPTURE PLACE
weekend courses, taster sessions Location: Bodfari, North Wales WORCS/SHROPS/ Courses: Figurative Sculpture Classes
Location: Nr Alfreton, Derbyshire orielbodfarigallery.co.uk STAFFS/HEREFORD Dates: Weekly sessions: Monday,
parkwoodthrowingcourses.co.uk Wednesday & Thursday (running for
PLAY WITH CLAY CAMBS/LINCS ALL-YEAR-ROUND POTTERY 6 weeks)
Courses: Throwing, toddler clay Courses: Weekly classes; taster Location: Wolverhampton,
PAULA ARMSTRONG sessions; one & two-day courses Staffordshire
Dates: Saturday mornings,
Courses: Handbuilding, in throwing, hand-building and thesculptureplace.co.uk
Tuesday afternoons, throwing weekly
workshops decorating; pottery parties for all STONEHOUSE STUDIOS
by appointment.
Dates: Monday and Thursday ages. All for beginners and more Courses: Throwing & handbuilt
Location: Loughborough advanced
creationspottery.co.uk mornings, Tuesday & Thursday ceramics, sculpture & life sculpture.
evenings, monthly Saturday Dates: Various all-year-round! Portrait drawing, painting, & general
SEVEN LIMES POTTERY workshops Location: South Herefordshire art. One off workshops & one-to-one
Courses: Varied courses/classes Location: Willingham, Cambs all-year-round.org.uk tuition on request
Dates: All parmstrongceramics.co.uk AMERTON ARTS STUDIO Dates: Throughout the year
Location: Moss Side, Manchester Courses: Life sculpture. Working One offs by arrangement
7Limes.co.uk MATTHEW BLAKELY
Courses: Weekend Courses: from a life model to create a figurative Location: Drayton Basset, nr
SEYMOUR ROAD STUDIOS Throwing, Porcelain throwing sculpture. Step-by-step tuition, Tamworth, Staffs
Courses: Weekly/1-day weekend Dates: Monthly beginners welcome stonehousestudios.co.uk
classes Location: Lode, Cambs Dates: Termly, Saturdays WOBAGE FARM CRAFT
Dates: Various matthewblakely.co.uk Location: Stowe by Chartley WORKSHOPS
Location: West Bridgeford, Notts amertonartstudio.com Courses: Various multiple-day
seymourroadstudios.co.uk DEEPDALE POTTERY
Courses: Handbuilding and throwing BRITISH CERAMICS BIENNIAL throwing workshops
PAT SHORT CERAMICS for beginners and experienced Courses: Beginners & Intermediate Dates: Various
Courses: Beginners’ handbuilding Dates: Weekend and weekday Dates: Tuesday & Thursday Location: South Herefordshire
workshops courses, including yurt Location: Stoke-on-Trent, workshops-at-wobage.co.uk
Dates: Various accommodation if required, Staffordshire
Location: Edgbaston, Birmingham throughout the year The BCB operates a clay school and
patshortceramics.com Location: Barton upon Humber, a variety of courses throughout the WARKS/N’HANTS/
LINDA SOUTHWELL North Lincs year. OXON
Courses: Evening classes and britishceramicsbiennial.com
yurtatthechapel.co.uk
one-to-one experiences EARTH AND FIRE CERAMICS CENTRE OF ENGLAND ARTS
Dates: Wednesday evenings and by HILLS ROAD SIXTH FORM Courses: hand-building, throwing by Courses: Novice to experienced,
arrangement COLLEGE arrangement, pop-up pottery. 1:1 or including throwing
Location: The Harley Ceramics Courses: Handbuilding, throwing, small groups, 2-hour intensive lessons Dates: Weekly, Thursday evenings 7-9pm
Studio, Welbeck, Worksop plus summer school workshops Dates: Various, 4-weekly courses Location: Nr Solihull
lindasouthwell.co.uk Dates: Various Location: Great Haywood, Stafford coea.co.uk
Location: Cambridge Facebook: @earthandfireceramics
hillsroadadulteducation.co.uk P-U-P Rugby
WALES KAREN FINCHAM CERAMICS Courses: Pop-up pottery, pay-as-you-
THE POT SHOP Courses: Hand building and go. Come and have a go!
BASEART STUDIO, GALLERY & Courses: Individual and small groups throwing. One to one and group Dates: Wednesdays, fortnightly
POTTERY WORKSHOPS pottery classes in a professional sessions Location: Newton Village Hall, nr
Courses: Handbuilding; throwing; workshop Dates: Weekdays, evenings and Rugby
1-2-1 one-off sessions; parties (adults, Dates: Various, throughout the Saturdays FB: @popuppotteryrugby
children, team-building) year Location: Redditch, Worcestershire E: puprugby@gmail.com
Dates: Ongoing, days and evenings Location: Lincoln clayclass.co.uk
Facebook, Twitter & Instagram:
SWANSPOOL CERAMICS
Location: Taff’s Well, Cardiff LoveClay at Valentine Clays Courses: Handbuilding, throwing, all
baseart.org @potshop1
Courses: Basic/intermediate/ levels. Open access studio. Weekend
CARDIFF POTTERY WORKSHOPS Tel. 01522 528994
professional/families. Throwing, courses & one-off experiences
Courses: Handbuilding; throwing; Potterydayz slip casting & slip decorating, Dates: Termly, year-round
one-off Saturday sessions; 1-2-1 Courses: Wheel throwing for sculpture, basic ceramic techniques, Location: Castle Ashby, Northants
throwing; masterclasses with beginners and more experienced. professional masterclasses, ceramic swanspoolceramics.co.uk
Anne Gibbs; parties (children, Raku courses through the summer painting
adults, teambuilding); pottery Dates: Saturdays, 9.30-3pm Dates: Evenings & weekends (various)
membership tutored & un-tutored Location: Peterborough/East Location: Stoke-on-Trent NORFOLK/SUFFolk/
Dates: 6-wk day & eve sessions, various Midlands loveclay.co.uk ESSEX
Location: Cardiff FB: @potterydayz POP UP POTTERY STUDIO
cardiffpotteryworkshops.com E: potterydayz@gmail.com (EARTH & FIRE CERAMICS) PHIL ARTHUR
GLOSTERS Woodnewton Pottery Courses: Beginner courses to learn Courses: Pottery classes
Course: Throwing Courses: Weekly; throwing, hand simple techniques Dates: Tuesday evening, Thursday
Dates: April, building, decorating (Tues/Weds). Dates: Tuesday evenings & afternoon
Location: Porthmadog Clay sculpture Friday afternoons Location: Cawston, Norfolk
glosters.co.uk Dates: Throughout the year Location: Great Haywood (near E: Philarthur1951@btinternet.com
DEBORAH BAYNES Electric, gas and raku firings handbuild techniques KITE STUDIOS CLAY STUDIO
Courses: Residential and Dates: Weekly courses on a Dates: Weekly, daytime & Courses: Throwing, handbuilding,
nonresidential Wednesday, Thursday and Friday evening/weekends glazing, adult & children courses
Dates: Weekends (spring/autumn), daytime and evenings, one to one Location: Devizes, Wilts weekly & weekend. One-to-one
full weeks (July/Aug) and group sessions available E: whelan581@btinternet.com sessions and pottery birthday parties
Location: Shotley, Suffolk Location: Kensworth, South JEANNE LEWISTIFF Dates: Mon-Sat various times
potterycourses.net Bedfordshire Courses: Small groups or 1-1 in Location: Kemerton, Gloucestershire,
BRICK HOUSE CRAFTS kateradfordpottery.co.uk throwing and/or hand building and London
Courses: handbuilding, throwing, RUBY SHARP Dates: Contact for details kitestudios.org
decoration, mould making, raku in the Courses: Hand building, throwing, Location: Maidenhead, Berkshire NEW BREWERY ARTS
summer. Beginners to professional decorating pots, sculpture for home E: Jeannelewi@hotmail.co.uk Courses: Variety of ceramic courses
welcome. Leisure classes & City & and garden SASHA WARDELL Dates: Contact directly for further
Guilds L2 and L3 courses Dates: Throughout the year Courses: Bone china & mould details
Dates: Tues - Friday 10am to 4pm, Sat (weekend & day sessions available) making courses Location: Cirencester, Gloucestershire
10am - 12 midday Location: Amersham, Dates: May to September ( incl.) newbreweryarts.org.uk
Location: Silver End, Essex Buckinghamshire in RUARDEAN GARDEN POTTERY
brickhouseceramics.co.uk rubysharppottery.co.uk SW France / Feb & March in Wiltshire Courses: Weekends, week-long
MARIAM CULLUM Location: SW France/ Wiltshire Courses: Throwing, Pot Making
Courses: 1:1 tuition in throwing, sashawardell.com Dates: Various
hand-building, slip-casting, surface
WILTS/HANTS/ Location: Forest of Dean
decoration and glaze preparation and BERKS ruardeanpottery.com
application. DORSET/GLOS/ Rachel Fooks: Ceramics
Dates: Various - Monday to Friday ANGELS FARM POTTERY
Courses: Residential (B&B) & non-
SOMERSET/AVON Courses: Weekly classes and one-off
10am-4pm sessions, hand-building & throwing
Location: Bury St Edmunds residential. Throwing, handbuilding, ARTISAN CRAFT CLASSES & for all abilities
mariamcullumceramics.co.uk decorating WORKSHOPS Location: Wareham, Dorset
Dates: Sat and w/ends once a month. Courses: Weekly pottery classes - rachelfooksceramics.com
KATIE'S POTTERY STUDIO Weekly evening classes &
Courses: One-to-one & small group wheel and handbuilding
Fri am. One-off days for groups, Dates: Mondays and Wednesdays, DEVON/CORNWALL
tuition in throwing, handbuilding, min 4, max 8 attendees
decorating, glazing & firing for all one-offs by arrangement
Location: Lyndhurst, New Forest, Location: Winterborne Monkton, Christow Pottery
ages and abilities. Children's Saturday Hants.
class Dorchester Courses: 2-day saggar & raku-firing
angelsfarm.co.uk E: mail@artisandt1.co.uk weekend workshops with Abi
Dates: Throughout the year
Location: Leiston, Suffolk BRACKNELL AND WOKINGHAM Higgns/Alison West. All abilities
ASHBROOK STUDIO Dates: Throughout the year
katiespotterystudio.co.uk COLLEGE Courses: Throwing, handbuilding,
Courses: Mixed ability adult leisure Location: Devon
SUDBURY POTTERY CLASS glazes abihiggins.co.uk
classes taught throughout the
Courses: Weekly classes, workshops, One-to-one or small group, daily alisonwestceramics.com
daytime and evening. All abilities
one offs and pottery for kids. Various Dates: All year
welcome in our well-equipped GOONZOYLE POTTERY
hand building, slab, coil and surface Location: Waterrow, Somerset
pottery studio, where a range of Courses: Wheel, handbuilding,
decoration. All abilities welcome ashbrook-ceramics.co.uk
pottery techniques are taught glazing, raku and pit-firing. For all
Dates: Weekly, daytime and evening/ by experienced tutors. One-day BANWELL POTTERY
some weekends abilities in fully equipped rural studio.
specialist courses taught throughout Courses: Throwing, handbuilding, Dates: Morning, Afternoon & Evening
Location: Sudbury, Suffolk the year modelling, slab work, coil work, tile-
sudburypotteryclass.co.uk drop-in workshops throughout
Dates: Mon – Thurs, daytime and making the year. Contact directly for more
Thaxted Potters evening Dates: Weekly evening class, Weds information.
Courses: Beginners and Location: Woodley Hill House, Earley, 6-8pm Location: Camborne, Cornwall
intermediates Berks Location: Weston-super-Mare, FB: Goonzoylepottery
Dates: Various 6-week sessions bracknell.ac.uk/courses/ N Somerset marykaunenglish.com
Location: Thaxted, Essex Leisure/courses/ceramics- banwellpottery.org
thaxtedpotters.co.uk sculpture LEACH POTTERY
CARANTOC ART Courses: 3 & 5-day throwing,
Tel: 01344 868600 Courses: Intensive & regular classes evening
BEDS/BUCKS/HERTS ‘CLAY SURGERY’ WITH SUZANNE available in pottery & ceramic classes handbuilding, throwing
& ABBY sculpture Dates: Various, each month
CLAY WITH CAROLE Courses: Throwing, handbuilding, Dates: Year-round Location: St Ives, Cornwall
Courses: Handbuilding, throwing glazing, raku, mould-making for Location: Weston-super-Mare, leachpottery.com
Dates: Various beginners and improvers North Somerset
Location: Hitchin, Herts Dates: Weekends throughout the carantoc-art.co.uk TARKA POTTERY
claywithcarole.co.uk year Courses: All levels from beginners
CREATIVE CLAY FOR ALL to intermediate all year round. Taster
DIGSWELL CERAMICS Location: Waterlooville, Hants Travelling clay workshops for those
E: abbyducharme@hotmail.co.uk sessions for individuals or groups,
COMMUNITY who have no access to a kiln. Ideal for weekly throwing and handbuilding
Courses: Beginners’ tuition, support THE CREATIVE CAVERN community groups. Based in Dorset courses. Child/family workshops,
for experienced potters Courses: Various, inc 1:1 throwing, facebook.com/creativeclayforall parties
Dates: Tuesdays, Thursdays Dates: Various E: creativeclayforall@yahoo.co.uk Dates: Tuesday to Saturday
Location: Letchworth Location: Winnersh, Berks PATRICK ESSON Location: North Devon
FB: Digswell Ceramics Community thepaintnightcompany.co.uk/ Courses: Modelling, coiling, slab tarkapottery.co.uk
E: debbie@debbiebent.com pages/the-creative-cavern work, pinching, throwing
NORTH MARSTON POTTERY Eastcott Studios Dates: Various
Courses: Variety of pottery courses Courses: Workshops, classes, drop-in Location: Gloucester KENT/SUSSEX/
Dates: Contact directly for further sessions, open access E: p.esson@aliqua-art-gallery.com SURREY/LONDON
details Dates: Various CHARLOTTE MILLER CERAMICS
Location: North Marston, Location: Swindon, Wilts Courses: Throwing, handbuilding, ART OF MINE
Buckinghamshire eastcottstudios.co.uk mould-making, surface decoration Courses: 1-1 throwing tuition, hand
northmarstonpottery.co.uk FIRED THOUGHTS ARTS STUDIO Dates: Termly part-time, taster building, surface decoration for all
KATE RADFORD POTTERY Courses: Ceramics & ceramic workshops, pottery parties ages and abilities. Birthday parties,
Courses: Hand building, throwing sculpture courses/workshops, all Location: Bournemouth team building and taster sessions
and sculpture for all abilities and ages. skill levels. Raku, 1:1 throwing, all charlottemillerceramics.com Dates: Various
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
ONLY
£4 .99
BACK ISSUES PER ISSUE
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ISSUE 5 ISSUE 6 ISSUE 7 ISSUE 8 ISSUE 9

• Symmetrical press • Bisque hump mould • Two-part cylinder • Thrown teapot • Hanging porcelain birds
moulds • Pinch-built tealights casting mould • Pinched scoops • Pierced heart tree
• Pinching simple flowers • Slab-built paperclay • Pinched mice • Slip-casting decorations
• Porcelain buttons animals • Porcelain spoons • Slab-built sandwich tray • Textured tree decorations
• Slab-built cups & saucers • Slab-built cake stand • Slab-built sugar bowl • Woven basket from coils • Lidded serving dishes
• Large coil-built bird bath • Glazing the bird bath • Terracotta wine cooler • Slip-trailing • Candleholders
• Slip inlay decoration • Paper stencil resist • Making tiles • Animal toast racks
SPRING GREAT IDEAS FOR THE GARDEN 28 PAGES OF STEP-BY-STEP PROJECTS

CAL
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HISTORY glaze recipes Contemporary Craft Festival
Commemorative SPOTLIGHT THROWING DECORATION PINCH, COIL, SLAB AND THROW
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Issue 13 £4.99
Issue 14
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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
ISSUE 10 ISSUE 11 ISSUE 12 ISSUE 13 ISSUE 14

• Throwing teabowls off • Throwing a kitchen bowl • Thrown glaze-test ring • Thrown flowerpot • Thrown planter
the hump • Heart ramekins • Slab-built planter and • Ball clay decoration • Slip & ball clay decoration
• Sling mould fish plate • Slip-cast lamp shade tray • Rhubarb forcer • Colouring clay Pt 2
• Wall plaques • Coil and slab-built • Pinched rabbit • Colouring clay • Bisque template
• Figurative build vessel • One vase, two shapes • Making original sprig • Foam pressing
• Haging bird feeder • Smoke-firing • Casting mugs moulds • Earth & Fire
• Making paperclay • Porcelain jewellery • Retro tile panel • Bird sculpture • CAL
MAGAZINE
47 PAGES OF HANDS-ON TUTORIALS 25 YEARS POTFEST IN THE PENS
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COLOURED CLAY OUTDOOR DECOR
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6
-STEP
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MONEYBOXES
ALSO INSIDE: Glazing combinations

SALT PIG KILN ROOMS SHOP
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APPLIQUÉ TECHNIQUE
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Issue 16
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ISSUE 15 ISSUE 16 to whenever needed. Keep
• Herb/strawberry planter • Thrown wall planter inspiration at your fingertips!
• Slab lamp base • Raku penguins
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• Colouring clay Pt 3 • Colouring clay; applique ONLINE: shop.kelsey.co.uk/crabinder CALL: 01959 543 747
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50% OFF ART IN CLAY HATFIELD

PINCH, COIL, SLAB AND THROW

ALSO INSIDE: Opaque glazes • Empty Bowls Project

ALSO INSIDE: Opaque glazes • Empty Bowls Project

On the cover this month is a set

complete set, it might be sensible to

26 West Suffolk College

8 PROJECT 1: moon jar 39 Me and my Pot

42 PROJECT 4: cheese dish 71 Readers’ work

subscriptions BREAD BIN CHEESE DISH

ALSO INSIDE: Opaque glazes • Empty Bowls Project SPECIAL

the magazine delivered to your

NEW email claycraft.ed@kelsey.co.uk

50% OFF TICKETS BY USING THE

Empty Bowls project Model and mould-making course

For ‘How to’ details on basic techniques, visit claycraft.co.uk/how-to

 The Empty Bowls projects raise awareness of food poverty.

Empty Bowls in event. It could be by donating a bowl,

 A small selection of the bowls on

 The delicious Mediterranean food

Clay type: Stoneware

aSpares & repairs aValue for money aHelpline

Kiln Services Scotland Ltd

Kiln Services Scotland Ltd

You will need:

1 Roll a long, even

 Place the coil on its side around the circumference of the

Reinforce the join

Roll a long, thin coil of soft

Continue to build up the wall of the bin in the same way

14  Lifting the cut-out circle on the plastic sheet it was rolled

 Place the coil on the slab circle, 1cm in from the

 Firm the flanged slab up a little with a hairdryer until it

 The finished bin must be allowed to dry slowly with the

30 Next month: decorating and glazing

Celebrating student success

 Mask and Peas by Debbie

employability and community

ABOVE and CIRCLED:: Bowl

recommend it.” Laura

TIP: ting bowls

You will need:

A note before you begin:

For details on how to make a simple plaster mould, visit: claycraft.co.uk/how-to

 Remove the surplus clay at the rim of the mould with

When rolled, cut a semi-circular

 Roll a second slab of clay, large enough to

10 Score and slip within the marked

Using a surform blade, carefully neaten up the outer rim

 Turn the bowl over onto a wooden board so that it sits

Using the same card

 There are many ways in which a bowl like this can be

A note about glaze firing:

TEL: 01323 896444 EMAIL: CHRIS_HESKE

SALES OF KILNS, WHEELS,

Clays and glazes

56 High Street Burton Latimer Kettering Northants NN15 5LB

Clay type: Terracotta

Linda Bloomfield is a scientist

Measure the diameter of the mould to establish the

 Cut out the circle then fold

Measure and mark a point 10-15mm down from the top

 Make a paper template by

The Empty Bowls projects raise awareness of food poverty.

A small selection of the bowls on

The delicious Mediterranean food

Place the coil on its side around the circumference of the

14 Lifting the cut-out circle on the plastic sheet it was rolled

Place the coil on the slab circle, 1cm in from the

Firm the flanged slab up a little with a hairdryer until it

The finished bin must be allowed to dry slowly with the

Mask and Peas by Debbie

Remove the surplus clay at the rim of the mould with

Roll a second slab of clay, large enough to

Turn the bowl over onto a wooden board so that it sits

There are many ways in which a bowl like this can be

Cut out the circle then fold

Make a paper template by

On a sheet of plastic, roll a

Carefully pinch the shape to

Score and slip the rims of

Place the body on

Wrap the tube in a sheet

Place the tube on the slab and roll it around carefully,

Carefully lift the paper out of the cylinder, supporting

If you have a printing roller,

Place the body of the

Make a card template 50mm long in the shape of a

Fit the curved edge of the spout to the body to check

Measure around the U-shaped opening for the spout –

Allow the jug to dry slowly before bisque firing.

Draw your design on a sheet of tracing paper, bearing in

Holding the tracing paper in place, transfer the design

You can smudge these colours to give a soft pastel

Fill in the design with

Students are encouraged to explore their own ideas and

Chinese bowls Traditional and

Decorating moon jar Decorating and glazing

Plaster batt wall Berry bowl A pretty and