ClayCraft 18 2018

SUMMER BERRY BOWL & DISHES
6
PINCH, COIL, SLAB AND THROW Issue 18
CREATIVE PROJECTS
Thrown
Chinese
bowls
PINCH, COIL, SLAB AND THROW
WORCESTERSHIRE
OPEN STUDIOS
Porcelain potter Issue 18
£4.99
MOON JAR GLAZING FAKE CELADONS CAST VASES

Meet the team...
Welcome
I
was very disappointed to hear
that the BBC is not
commissioning a third series
of The Great Pottery Throw
Jacqui Atkin Doug Fitch
Slab sculpture Ben Boswell’s Down. The second series reportedly
p52 jug p34 out-performed Top Gear for audience
numbers, and the series was undoubtedly
instrumental in raising the profile of
pottery. Classes are over-booked and
people have had to go onto waiting lists,
potters report being asked many more only be a good thing? Now when people
questions and an increase in sales at shows, see a mug for £25, they have an
as the level of engagement and appreciation of why it costs more than a
Tracey Parsons Linda Bloomfield understanding of the process of creating mass-produced £3 one from Ikea and are
Rolling, rolling Fake celadons
rolling… p50 p36
something from clay has grown among the more likely to buy it.
general public. Although the launch of There has been a groundswell of
ClayCraft wasn’t related to the series, it has discontent about the decision, and
SUMMER BERRY BOWL & DISHES undoubtedly helped in its great success supporters are being urged to make their
that pottery is enjoying such a high feelings known to the BBC via its Points of
mainstream profile, with images appearing View programme (bbc.in/1HO4cd5). A
6
CREATIVE PROJECTS in adverts, it being touted as 'the new petition has also been raised which, as we
mindfulness', and celebrities like Johnny go to press, has received over 25,000
Vegas talking about it on television shows signatures. If you’d like to add your
Thrown
Chinese that aren’t related to crafts. Pottery is now support, visit: bit.ly/2M73ReA or scan the
bowls
WORCESTERSHIRE
so much of a ‘thing’, that it even became QR code below. It may not persuade the
OPEN STUDIOS
Porcelain potter Issue 18
worthy of a mention when Brad Pitt used it BBC to re-think its decision, but could just
£4.99
to help him during his divorce. Would that help sway any other producers who might
have been reported three or four years be considering taking it on.
ago?
I know that it was divisive among
established potters, but it was an
MOON JAR GLAZING FAKE CELADONS CAST VASES
001 Clay Craft Cover Issue 18.indd 1 07/08/2018 15:41
On the cover this month is our entertainment show, not a serious,

summer berry bowl and little
educational programme. Surely, anything
dishes project on page 38 Rachel Graham, Editor
that helps raise the profile of your craft can
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Issue 18 ClayCraft 3
Contents Issue 18 28
26
38 PROJECT 4: berry bowl

This is really just a fancy colander,
but it’s pretty enough, with its
little water tray and matching
bowls, to serve luscious summer
fruits at the table
50 Blog
6 News 16 PROJECT 2: textured slab Our projects aim to provide clear,
vase step-by-step instructions, but
8 PROJECT 1: Chinese bowl This is a slip-casting project using
if they inspire you to do it your
This bowl has a characteristic textured plaster batts to make
own way, we say go for it! This
shape, typical of bowls from the vases of varying sizes and shapes
month, Tracey seems to have
orient; rounded, closing in at the
really embraced that particular
rim to show containment, and 26 Open studios idea…
with a very small foot ring Nine ceramicists are among
the artists opening their studios
52 PROJECT 5: slab sculpture
14 Me and my pot in Worcestershire this August
This is a whimsical little project
Susan Garcia uses underglaze bank holiday weekend (25-27).
to test your slabbing, pinching
pencils in her work Three days, 81 different locations
and sculpting skills. The finished
item has no practical use, but is
28 PROJECT 3: moon jar
16
fun to make and look at
Last month we showed you
how to throw a moon jar. Here
we introduce a method of surface
decoration that incorporates
underglaze decoration with wax
resist and brush-on glazes for a
rich and luscious effect
33 Ben’s jug
Three years ago, when Doug
Fitch and Hannah McAndrew
were married, Ben Boswell was
their photographer. As payment,
he asked them to make him a big
jug. Here are the step-by-step
photos of the process
36 Glazing
Learn how to create fake
celadons, with Linda Bloomfield
36
4 ClayCraft Issue 18
CONTENTS
70
78 Courses listing
52
Fancy signing up for a class?
Find one near you in
our useful free listing
81 Next month
64 Doug’s diary See what’s coming up in the next
Between making, firing and issue of ClayCraft
attending shows, Doug found
time to visit a museum, and 82 Missed a copy?
discuss a bespoke clay recipe Fill that gap with a back issue,
with Valentine Clays and keep them all organised in
our handy binder
66 PROJECT 6: bread bin
decoration SUMMER BERRY BOWL & DISHES
We use underglazes to decorate
last month's old-fashioned bread
bin
66
6
CREATIVE PROJECTS
64 70 Meet the Potter
Mariam Cullum, potter in
porcelain Thrown
Chinese
73 Events bowls PINCH, COIL, SLAB AND THROW
Your guide to pottery and WORCESTERSHIRE

ceramics events right across the OPEN STUDIOS
country Porcelain potter Issue 18

£4.99
74 ClayCraft
subscriptions MOON JAR GLAZING
SPECIAL
OFFER!
FAKE CELADONS
Save money and have

CAST VASES
001 Clay Craft Cover Issue 18.indd 1
07/08/2018 15:41
the magazine delivered to your

door You know it makes sense!
If you have a news story, product launch or details of some
E
IN TH
other topical item you’d like our readers to know about,
WS email claycraft.ed@kelsey.co.uk
NE Clay College Founders plates

The three plates designed and
produced by Clive Bowen to
commemorate the founders
of The Clay College are being
installed on the wall overlooking
the throwing room, for students
and visitors to view. If you’re
visiting Middleport Pottery, do
drop into the college and see
the exhibitions in the gallery.
These showcase the work of
leading studio potters within tries to show the breadth of

Stoke-on-Trent, the work of contemporary practice around
current students, and allow a specific theme, sometimes
students to learn directly about following specifically what the
selling work by giving them a students are studying.
live opportunity to do it. If you want to stay up to date
The college hosts 5-6 different with the exhibition programme,
exhibitions a year of 8-9 potters sign up to the mailing list at:
at a time. Each exhibition claycollegestoke.co.uk/gallery
The Great Pottery New Ceramic Vessels by Jo Davies

Throw Down
This September Jo Davies
will launch an installation of
new significant vessels at
It’s very disappointing to hear that the the London Design Festival
BBC isn’t commissioning a third series inside the British Craft
of The Great Pottery Throw Down. The Pavilion – a selection of
programme undoubtedly helped to raise the best of contemporary
the profile of pottery, and even those who British Craft and the perfect
didn’t like that the ‘entertainment’ aspect place to discover new work
gave a false impression of the process, from established makers
for example the use of enforced drying, like Jo Davies alongside
would still agree that it turned a welcome emerging talent. Jo Davies is
spotlight on the craft. a respected London maker
There has been a groundswell of who exhibits and sells Pair of coral twist vases. Wheel-
discontent about the decision, and her handmade porcelain thrown porcelain with 24ct
supporters are being urged to make their internationally, a Royal goldleaf.
feelings known to the BBC via its Points College of Art graduate and
of View programme (bbc.in/1HO4cd5). sought-after tutor of wheel-thrown porcelain.
A petition has also been raised which, The work White to Black via Red appropriates the colour red
as we go to press, has received over and its variants and represents a significant leap into colour for
26,000 signatures. If you’d like to add a maker who has predominantly become known for her use of
your support, visit: bit.ly/2M73ReA. It black and white over the past decade.
may not persuade the BBC to re-think its The British Craft Pavilion at The London Design Fair
decision but could just help sway any other The Truman Brewery, Brick Lane, London
producers who might be considering taking 20-23 September 2018
it on. londondesignfair.co.uk
ClayCraft at Potfest
We had a wonderful three
IN THE NEWS
days at Potfest in the Pens,

with Jacqui Atkin running
a programme of hands-
on events for visitors. We
took three of our projects
and invited people to have
a go. Several were repeat
visitors, coming back over
the course of the show to try
their hand at press-moulded
dishes, pigs and the ever-
popular pinch pot penguins.
It was lovely see a range of
experience, from none at
all, to a working potter who
throws, saying, ‘It’s been
such a long time since I
hand-built that I thought I’d
forgotten how to do it’. Everyone had a great time, not least me
and Jacqui, as we caught up with old friends, and made new
ones. Yes, Rob and Stuart (Whitfield Raku Kilns), we mean you!
Residencies at the Leach Pottery
The Leach Pottery is committed to the
New autumn courses

promotion of excellence in ceramic arts, and
offers national and international residencies
at the Leach to facilitate professional
This two-day introduction to pottery course is aimed at development. As part of these it offers
enthusiastic beginners and those with limited experience. It a schedule of related talks, exhibitions,
covers the basics of slab building, coiling and throwing. You will presentations and demonstrations.
be guided through the processes by Emily Myers and Jennie The Leach is looking for self-directed
Gilbert. The course will take place in Jennie’s workshop in the ceramic artists of a demonstrable standard of
Chalke Valley, west of Salisbury in Wiltshire. quality, who have a connection to or significant
New dates for autumn courses: interest in the Leach Pottery and its objectives.
Thursday 20th & Friday 21st September 2018 The resident should display a willingness
Thursday 27th & Friday 28th September 2018 to engage with the public and share their
Price/person for two days is £190 including lunch and processes with visitors and the pottery’s
refreshments. production team.
If you have a group of friends and would like a course just for Resident potters have included Jeff
you (4-6 people) get in touch and dates can be arranged. Oestreich (2012 and 2016), Tomoo Hamada
For further details either call the workshop: 01722 780402, (2009), Koie Ryoji (2010), Akira Yagi (2012),
email: emily@emilymyers.com or jennie.gilbert@yahoo.co.uk Warren Mackenzie (2013), Clementina van der
Also see the Facebook page: cvpotterycourses Walt (2016) and Aaron Angell (2017).
There is currently availability for 28 October
- 15 December 2019.
Clay College masterclass Deadline for applications is 5pm, 31 August

2018. For more details, visit the website at:
Following the fascinating, sold-out demonstration and talk that Ken leachpottery.com/residencies
Matsuzaki gave last year to raise funds for the Clay College, they are
both excited and honoured that he has agreed to come back and
teach a hands-on masterclass.
Great North Art Show
Preview evening, 31 August, Ripon Cathedral,
Ken apprenticed under Living National Treasure Tatsuzo
6.45-8.80pm. This is the first opportunity to
Shimaoka, who trained under founding member of the Mingei see the show, and a chance to meet many of the
movement, Shoji Hamada. He established his own kiln in Mashiko exhibiting artists and enjoy a glass of wine with
in the 1970s and today his work is exhibited worldwide and held in delicious canapés. Presentation of this year’s
national collections from the V&A to the Metropolitan Museum of prize winners will take place at 7.30pm.
Art. This practical masterclass is a rare opportunity to learn from, Tickets £12 online or £15 on the door (U16s
and work alongside, one of the leading international figures of free). Everyone is welcome!
ceramic art. The Great North Art Show is open daily from
Visit: bit.ly/2LSW3xX for more details and to book, but hurry 1-23 September 10am – 4.30pm
because places are limited. greatnorthartshow.co.uk
CHINESE
SKILL SCHOOL
PROJECT
ONE
BOWL
This bowl is called ‘Chinese’ because of its characteristic shape, typical of bowls from
the orient, dating back centuries. It has a rounded shape, closing in at the rim to
show containment, and a very small foot ring for delicate balance.
DIFFICULTY RATING ★★★★★
You will need: For

■ 700g - 900g (1 ½ - 2lb clay) – the example shown
is stoneware, but you can use earthenware if preferred details on
■ Tools for throwing – sponge, water bowl, batt,
cutting wire, rib
fixing a batt
■ Turning tool and centering,
■ Glaze of choice see claycraft.
co.uk/how-to
.
PROJECT
SKILL SCHOOL
ONE
4
1
Fix a batt to the wheel head. Begin by placing the clay
as centrally as possible on the batt, then with your left arm
braced on the side of the wheel pan and your hand held
firmly against the side, gently push the clay until it runs
freely in your hands without wobbling.
The right hand should be positioned over the clay, Raise the wall a second time by knuckling up. Beginning
steadied by the left hand, to flatten the surface as centre is at the base of the bowl, position the side of the knuckle
achieved. of your right forefinger on the outside wall, and the
fingers of the left hand just above it on the inside.
Lift the wall outward in a gentle curve until you get
three-quarters of the way up, then close it in slightly to
a gentle shoulder curve.
2
Aim to create a doughnut shape – narrower at the base,
as shown. This is the best shape from which to develop the
bowl. Open up by placing the thumb of your right hand in
the centre of the clay and pressing down to within 10-15mm
of the batt.
Support the thumb with the fingers of your right hand for
a steady movement as you press down.
Change position to pinch and lift the wall with the left
hand. Place your right hand around the wall, with your
thumb and forefinger over the rim, as shown, to keep it
running true to centre.
Flare the shape slightly as you lift, closing in a little as you
reach the top, for a rounded effect.
Difficulty rating ★★★★★
Turning the foot ring

5
1
You can turn the foot of the bowl by placing it directly

on the wheel head, using the concentric lines to help centre
it, or on a batt as shown here.
Repeat the last step to round out and refine the shape Dampen the surface of the wheel head or batt then
of the bowl until you’re happy with it and the clay wall is position the bowl rim down and tap to centre.
a suitable thickness. Secure the centred bowl with wads of soft clay if it makes
Clean away excess clay and slurry from the surface of you feel more secure about it staying in place.
the batt and tidy up around the base of the bowl with a
rib.
Lift the wall one last time to refine the shape further if 2
necessary, remembering to compact the clay at the rim
with your finger when finished.
Begin by flattening the base of the bowl with the turning

tool, working from the centre to the outside edge, with the
wheel turning at a slow to medium speed.
With the fingers of your For a video on

left hand positioned in the
centre of the base, to keep it how to tap to
steady, and the turning tool centre scan here
resting against your finger,
6 trim away the clay from the
side of the foot. Reduce
Wire the underside of the bowl but leave it on the batt. the diameter of the base to
Carefully lift the batt off the wheel head and allow the approximately 40mm overall
bowl to firm up to leather hard, or until it can be handled (Chinese bowls have small
without distorting the shape. foot rings) and bevel the
When you can handle it, turn it over to allow the base to foot wall slightly inward to
firm up to the same stage ready for turning the foot. complete this step. .
SKILL SCHOOL
PROJECT
ONE
5
Returning to the foot, score a circle about 4mm in from

the outer edge of the base, then cut down to form an
outward bevelled angle to match the depth on the outside.
At this stage the foot should widen from the rim to where
it meets the body of the bowl, both inside and outside the
ring.
4
Trim away the excess clay below the foot from the 6
wall of the bowl until reduced to a pleasing, round and
balanced shape.
Trim away the clay from the

interior of the foot ring,
working from the centre
outwards in a gentle curve to
follow the shape of the bowl.
7 9
Refine the foot by cutting into the inner bevelled edge

to reduce it to a straighter angle, then cut a tiny groove Finally, trim any remaining excess clay from the wall of
at the base of the foot wall. the bowl around the foot until you’re happy with the
Remove more clay from the interior as necessary to shape and balance of the form, then allow the bowl to
neaten it up. dry out completely before bisque firing.
10
Return to the outside wall

of the foot and cut down
into the bevel to narrow and
straighten it, as you did on
the outside. You’re aiming for Finish the bowl with a glaze of your choice. The
the ring to be about 4mm wide examples shown here have been finished with Mayco
when finished. stoneware glazes in Celadon Bloom, Midnight Rain and Iron
When happy with the size, wash.
gently pinch the foot ring edge These glazes perform well from cone 5 – 10 in oxidation
between the fingers of one hand as you run the forefinger or reduction with consistently good results, and can look
of the other hand over the edge, to soften and round it off. stunning if used in combination.
ME AND MY POT
Clay: White stoneware

Firing: 1240°C
Build: Wheel thrown
Decoration: Pencils, wax resist and glaze
Inspiration: Patterns and forms found in nature and textiles,
and the love for blue and white Delft pottery
My work can be seen at The Clay Studio in Groombridge and
Instagram @susanagarciaceramics
susanagarcia.co.uk
If you would like a piece of your work to be featured, email us at:

claycraft.ed@kelsey.co.uk
Susan Garcia
NORTHERN KILNS
info@northernkilns.com 01253 790307
Equipment Lessons
aSpares & repairs aValue for money aHelpline

aNationwide service aEase of use aService aReliability
Kiln Services Scotland Ltd

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
6)*( $8'87*0 7- #: '%8&$%&0 -&$;2 *!/$40*5 "89"$%&05 + 85$%&052 -)*( %,,$8*5 .-( % $8'87*0 3'*1
SKILL SCHOOL
PROJECT
TWO SLIP-CAST VASE
This is a slip-casting project using textured plaster batts
to make vases in varying sizes and shapes
TEXTURED PLASTER BATTS

Textured, patterned plaster batts are very useful for making
2
slabs of a particular design in quick repeat, but they can
also be used to make slip cast forms in different sizes and
proportions, if you want to work in series using a particular
pattern theme
Roll a 5mm thick

slab of clay on a
plastic sheet using
roller guides to
ensure an even
thickness – the
slab must be
large enough to
accommodate the paper template.
Smooth over the surface of the slab with a rib to
compact the clay once rolled.
You will need: 3

■ Textured vinyl wallpaper
■ A frame for the slab – 30mm depth. The
wooden battens shown in the project could be
replaced with thick clay slabs
■ Plaster
■ Large plastic jug for mixing plaster
■ Non-absorbent board
1 With the roller guides still in place, roll the textured

paper into the clay.
Decide on a size for your slabs. 30cm square is a good

size to begin with, but you can make it larger if you want.
Measure and cut out a sheet of textured paper to your Cut away the surplus clay around the paper template,
chosen size. using the roller guide to ensure a straight cut. .
SKILL SCHOOL
PROJECT
TWO
7
Using the ratio of plaster to water below, estimate

how much you will need to fill your frame (we used
5 between 1 ½ and 2 pints), then weigh out the plaster
and measure the water in a large plastic jug. Add the
Transfer the slab, with the paper still in place, to a non- plaster to the water and stir until the mixture begins to
absorbent board then peel off the paper carefully, to avoid thicken or go off.
distorting the slab. Quickly pour the plaster over the slab to fill the frame.
Plaster / water ratio
675g (1 ½ lb) plaster
575ml (1 pint) water
6 This will give a strong enough mix for most pottery
uses
Fix the frame around the slab and seal around all
edges that could be a possible escape route for plaster,
with coils of soft clay. You’ll need to do this even if you
used clay to make the walls.
8 11
Before becoming totally solid, the plaster will go Turn the plaster slab over and peel the clay off the
through a chemical reaction and heat up. When this has surface. You should now have a lovely textured batt to
happened, and it cools down again, it’s safe to peel away work with.
the securing coil from around the frame.
12
9
Surform the upper edges of the plaster as you did on

the underside.
If you’ve used a wooden frame for your slab, level You will need two of these batts to make the vase, so
the surface of the plaster while it’s still relatively soft by
repeat the process and make a second batt. You will also
drawing the side of a metal ruler over the surface until level
need to make a third, small, plain plaster batt if you don’t
with the frame.
already have one.
You can do the same thing if the cottle frame was made
Place all batts somewhere warm to dry out completely
from clay but you won’t have the wood as a gauge to level
before using.
by – you will have to do it by eye once the surrounding wall
has been removed.
To make the vase
10
You will need:
■ Two textured plaster batts, large enough to cut
in two
■ One small, plain plaster batt
■ Casting slip of choice – porcelain is used in this
project
■ Fine kitchen sieve
■ Large plastic jug
■ Bowl and wooden battens for draining the
mould
Remove the frame from the
batt, then surform the edges to ■ String and masking tape
remove any possibility of sharp ■ Underglaze colours
bits of plaster breaking off and ■ Transparent glaze
contaminating clay at a later
stage. .
SKILL SCHOOL
PROJECT
TWO
4
1
Measure the plaster batts to divide them in half. Mark
the division clearly with a thick pencil line.
Decide on a shape for your vase. Play around with

different configurations of the batts until you’re happy
with one. You’ll be surprised how many sizes of vase
you can make – the batts are very versatile.
2
Support the batts on two blocks then cut them in half
carefully with a fine-toothed hacksaw.
Cutting the batts (as opposed to making smaller ones in
the first place) gives more flexibility for making a specific
shape later, but it’s also less fiddly to make larger batts
than lots of small ones. Cutting them up only takes minutes.
3
Neaten up the cut edges with a surform, to remove
the possibility of bits of plaster breaking away from sharp
edges and contaminating the clay later, when casting.
5
8
Place the textured batts in your chosen shape, on the

plain plaster batt and secure them in place with a length of
string tied firmly to stop them from moving. You may find it Stir the casting slip thoroughly until it runs freely. It’s
useful to seal each one at the base with coils of soft clay to ready when it flows like single cream when poured
hold them in place while you fix the string. from a spoon.
6
Once the mould is secure, seal all seams with coils of
soft clay to prevent any possible leakage of casting slip.
You must do this diligently to avoid accidents later, paying
special attention around the base.
9
7
As an extra precaution to secure the mould, wind Decant the slip through a fine sieve and into a large jug
masking tape around the plaster several times – top and to remove any possible lumps.
bottom, as shown. Pour the slip into the mould until completely full. .
SKILL SCHOOL
PROJECT
TWO
12
10
Rest the mould upside down on two wooden battens
suspended over a bowl to allow the remainder of the
Time the slip according to the type used (see below). A
casting slip to drain out.
kitchen timer is useful for this job.
■ White earthenware: 20-30 minutes. Firing temp
1000-1150°C (1832-2102°F)
■ Red earthenware: 20-30 minutes. Firing temp 1000- 13
1150°C (1832-2102°F)
■ Stoneware: 45-60 minutes. Firing temp 1160-1290°C
(2120-2354°F)
■ Semi-porcelain/ high-firing white earthenware: 20-
30 minutes. Firing temp 1100-1260°C (2012-2300°F)
■ Porcelain: 5-10 minutes. Firing temp 1260-1280°C
(2300-2336°F)
■ Bone china could be added to this list, but it’s not a
slip to choose when you’re first starting to experiment
with slip casting because it requires special firing
treatments and is notoriously difficult to handle. If you
have no prior experience of casting, start with white
earthenware because it’s easy to cast and fire, and is
the cheapest option
When the slip has stopped dripping and the walls look
as though they are shrinking away from the plaster,
dismantle the mould carefully.
Save the clay used for sealing the seams for future
plaster work use, but don’t use it for anything else, in
case it’s contaminated with plaster.
11
Holding the mould very securely at the base and sides,
pour the slip out and back into its container when the
recommended casting time has been reached.
14 16
You may find that the slip bled into the seams when Use something round (like a cookie cutter) or make
the vase was cast, leaving sharp protrusions at the edges. another template to shape the sides of the vase – score the
Carefully cut these away with a knife, taking great care not shape as before, then cut the clay away.
to cut into the body of the vase.
17
15
You now have the option to fettle the rim to neaten

it up as it is, or change it to a different shape, or for a
different use.
For a plain rim simply use a knife to cut the ragged
Repeat the process for
the front of the vase – with a
edge level. You’ll find it easier to hold a metal ruler up variation on the back shape or a
to the rim as a rest for your knife as you cut it level. straight copy.
To make a wall-hanging vase, first cut a card
template to a design of your choosing. The back wall
of this vase is higher than the front, which in turn is a
small repeat of the back shape, but you can make front
and back the same if preferred.
18
Sit the template against the back wall at the rim, as
shown, and score the outline with a pin.
Now cut the section out above the pin line very
carefully with a sharp knife.
Work over the cut rim with a damp sponge to soften the
sharp edges.
SKILL SCHOOL
PROJECT
TWO
22
19
If you’re very careful you can sponge over the outside
corners of the vase to neaten them up, but take care not to
over-work this because it will spoil the texture.
This is a suggestion for decoration using underglaze

wash in the texture. It is a little fiddly and time
consuming and won’t suit everyone, but it can be used
for earthenware or stoneware clays.
You will need at least three underglaze colours, but
more if you like.
Fill in the texture pattern with a thin wash of the first
colour.
20
Make a hole in the back wall
to hang the vase from. Make
sure it’s central and use a hole
cutter. Remember the clay will
shrink during firing so make the
hole larger to accommodate this.
Neaten up the hole with a kidney to remove burrs, then
gently sponge over the surface to finish off.
21
Here you can see three versions
of vase: the simple square version
has been bisque-fired ready for
decorating. The other two options
include one for wall hanging and a standing version as a
slim vase. Allow the vases to dry slowly to avoid the shape
warping, then bisque fire in the usual way.
23
If the colours have bled out of the

texture, simply sand the surface
back with fine sand paper. WEAR
A DUST MASK TO DO THIS.
Highlight certain areas of the design with a stronger Remove the dust from the
colour wash. surface thoroughly with a fine
Finally, finish with a contrasting colour to enliven the brush then simply dip the vase in
design. transparent glaze and fire to your
clay’s recommended temperature.
Alternatively, apply a coloured clear glaze which will

pool in the texture, or paint an oxide wash over the
texture then wipe it back for a one-colour treatment
before transparent glazing.
24
WORCESTERSHIRE OPEN
STUDIOS: A CREATIVE
ADVENTURE!
Discover fantastic art and crafts created in Worcestershire
this August bank holiday weekend (25-27), when artists,
craftspeople and arts organisations open their studios,
homes and shared spaces for three days at 81 different
locations across the county
T
his is the fourth year that
Worcestershire Open
Studios has provided the
public with the chance to
explore the wonderful creative spaces of
local artists and craftspeople, as well as
galleries and arts organisations. Over
the three days, visitors will be able to
take themselves on a self-guided art tour
through the county, uncovering
sensational artwork as well as
interesting creative people, and take the
opportunity to chat to them about their
intriguing techniques and inspiration.
Talk, for example, with potter Chris
Greening, who explains his creative
practice: “I’m influenced by the
traditional roots of European slipware
pottery, but as a marine geologist I’m
also heavily influenced – as depicted in Chris Greening.
my more abstract designs – by the fantastic selection of talented ceramicists
patterns generated by the Earth’s forces geomorphology of the coast and the for you to meet. Chris Greening is
(eg metamorphic rocks) and the effects of waves on the shoreline.” opening his home studio for the first
And admire the sensational creatures time this year. Chris says, “This is my
crafted by ceramic artist, Hiromi first Worcestershire Open Studios, and
Nakajima, who says: “I I’m looking forward to it immensely.
love animals, especially Bringing awareness of the
horses. I worked as a groom creativity in the county is such
for a long time and spending an important aspect of what
time with horses has given me defines Worcestershire, and
lots of ideas and inspiration!” having an opportunity to
With the work of over 170 see it in the actual artist’s
different artists and craftspeople place of work provides an
on display, there’s more than additional vibrancy to
enough to suit every taste. that.”
From drawing, painting, To help you get involved
printmaking and photography, with the creativity, some
to ceramics, jewellery, textiles artists are also offering
and mixed media, there’s both demonstrations and ‘have a go’
traditional and contemporary sessions.
styles and two- and three- Guides containing details of
dimensional work available to all the venues, opening times and
view and purchase. examples of some of the work
Rupert Brakspear. This year the event features a that you will be able to see
Gloria Norman.
OPEN STUDIOS
Hiromi Nakajima.
profit organisation
Hiromi Nakajima. Stephanie Emmerich. and is sponsored by
over the weekend are available to county, discovering Bevere Gallery and
download from the website or to pick up parts of Malvern School of
from libraries, Tourist Information Worcestershire you Art. 
Centres and other locations. With FREE never knew existed. Follow the event on
entry to all venues, it’s a great way to To find out more and Twitter:
spend a bank holiday with the whole plan your trip, visit: @OpenStudios_WR
@OpenStudios_WR,
family. Pick up a printed guide or simply worcestershireopenstudios. Instagram:
follow the dark blue arrows to design org.uk @worcestershireopenstudios and
your own creative adventure through the Worcestershire Open Studios a not for Facebook: worcestershireopenstudios
CERAMICS
Nine individual ceramicists and one a go’ sessions on offer. These need to Chris Bell
ceramics gallery are participating in be booked in advance (please allow “I enjoy making a wide variety of items
the event this year, with five locations 15 mins) and will incur a small charge, including animal sculptures, thrown
offering demonstrations/six artists a portion of which will be donated pots, personalised garden planters for
demonstrating to local charity, Worcester Arts weddings and anniversaries, as well as
Workshop. raku-fired items. My work can be seen
Bevere Gallery – ceramics gallery facebook.com/CareCeramics throughout the year at the pottery I
Contemporary studio ceramics share at the Jinney Ring Craft Centre,
alongside original prints and paintings Rupert Brakspear where we also run classes and one-
from local, regional and national “I’m interested in the relationship off pottery sessions.” Chris will be
ceramicists and artists. between people and landscape, and demonstrating.
beveregallery.com make functional items for everyday chrisbellpottery.com
use, recently with a focus on baking
Chris Greening of Greening Pottery bowls and pint beakers. I use ‘wild’ Gloria Norman
Functional slipware decorated raw materials (clay, rock dust and Colourful bowls and jugs as well as
with abstract designs. Chris will be ash), that I find as I explore my quirky birds, all in high-fired stoneware.
demonstrating his techniques. immediate environment and other
chrisgreeningpottery.co.uk iconic landscapes linked to ceramic Hiromi Nakajima
production.” Animal sculptures, focusing on horses,
Barry Lockwood with Worcestershire rbrakspear.com hippos, cats and birds. Every sculpture
Guild instagram.com/brakspearceramics is unique, and Hiromi hopes that when
A display of nine different crafts you look at each animal, it will bring a
by members of the Worcestershire Steph Emmerich smile to your face.
Guild. Barry Lockwood creates studio Individual, hand thrown and hachiuwo.wixsite.com/
ceramics for the exhibition. altered stoneware pottery. “I enjoy hirominakajima
worcestershireguild.co.uk experimenting with clay, form and glaze
application.” Pottery demonstrations John Beck
Kay Mullett and ‘have a go’ on the wheel sessions Functional stoneware ceramics such
Traditional, magical and fun ceramic art offered. as bowls, mugs and vases. John and
pieces, including collaborative pieces facebook.com/ Hiromi are opening their shared studio
produced with adults with learning StephanieEmmerichStonewarePottery and are offering ‘have a go sessions’
difficulties. Demonstrations and ‘have and instagram.com/steph_emm_ and demonstrations.
SKILL SCHOOL
PROJECT
THREE
Difficulty rating ★★★★ ★
Moon jar
part TWO – Decorating the surface
Last month, in part one of this project, you learned how to throw a moon jar. Here
we’re introducing a technique to decorate the surface, which incorporates underglaze
decoration with wax resist and brush-on glazes, for a rich and luscious effect
You will need: 2

■ Black (or a colour of your choice) brush-on
underglaze
■ Two contrasting brush-on glazes. Mayco
Capri blue and Eggplant were used here
■ Wax emulsion
■ Fine tipped brushes for decorating
Before you begin:

Think about the design you might like to use – a
simple leaf has been used here, but you can make
the form your own by designing a decoration
unique to you.
Make some sketches – look at online resources
for inspiration – Pinterest is very good. Look at
the work of other potters and draw together the
details you like from as many as possible, to form Draw your design, working down from the first marked
something new and individual. division. You can do this freehand to begin with, to
establish the correct positioning. If you make a mistake, or
don’t like the design, simply rub it out with an eraser and
start again.
1
3
Using a suitably sized cookie cutter, that will just fit over Once you’ve drawn in the first part of the design, and
the neck of the vessel, draw a circle on the clay in pencil, are happy that it fits the form well, trace the outline so that
then divide the circle into three. Mark the divisions clearly. it can be repeated exactly around the form. .
SKILL SCHOOL
PROJECT
THREE
4 7
Repeat the design, working from the two remaining Carefully paint over the design with wax emulsion.
divisions, then reverse the tracing and position each You’ll find it much easier to paint the wax if you water it
section equally between the downward designs, but down a little before you begin.
this time working upward from the base. You may find it Try to keep the wax within the painted design as far as
easiest to do this by turning the pot upside down, so that possible.
you’re actually working downward again.
5
If the design looks gappy when finished, fill in the
spaces with smaller details of the same design until you’re
happy with the result.
Remember, you can always rub the design out and do it
again if you’re not happy with it. Mix the glaze thoroughly in its container, then pour
enough into the pot to coat the sides. Swirl the glaze
around, making sure the entire surface is coated, and
pour out any surplus.
6
Carefully paint over the design in an underglaze colour
of your choice. You will need to apply three even coats for
good coverage, allowing each coat to dry before applying
the next. Use a fine brush if the design detail is delicate.
Difficulty rating ★★★★ ★
9
12
Apply a second/contrasting glaze colour on the inside

After pouring the glaze out of the pot, use a brush to of the rim, down to the neck, and on the outside, down
tidy up and even out the excess at the rim (which may look to the point where the design begins (where you drew
excessive and runny). the original circle.)
Brush the colour out evenly then allow it to dry, and
apply a second coat if required.
10 Allow the glaze to dry thoroughly, then fire the pot
to the glaze’s recommended temperature.
Paint the glaze over the

entire surface of the outside of
the pot, including the design.
The glaze will bead over the 13
waxed design, don’t worry, it
adds an extra quality to the finish
when fired, or you can carefully sponge it off.
11
Allow the first coat of glaze to dry, then apply a second

generous coat to the exterior only. Fired to 1,200°C in an electric kiln.
Doug
Fitch
JUG Doug Fitch shares his step-by-step
production of a jug made for Ben Boswell
T hree years ago, when Hannah

and I were married, we
persuaded the renowned
photographer of potters, Ben Boswell, to
be our wedding photographer. As
payment, he asked us to make him a big
jug. Recently, he visited our workshop to
document the process of its creation.
Here are his step-by-step pictures. 
1. After wedging and kneading an 11-pound lump of clay, I centred it on the

wheel.
2. The body of the pot was thrown first. I always throw the body first with
larger, bellied pots and subsequently add the neck. This allows me to push
the body out further, without the fear of the neck collapsing.
3 6
The neck was placed on top of the
The aperture at the top of the
toughened body and first joined on 9
pot was measured with callipers, to
determine the size of the neck. the inside, before being joined on the
outside by dragging clay down with After the pot had dried sufficiently,
the fingertips. It’s always important I pulled the handle.
to join the inside first, as this helps to
centre the neck on the body.
4 7 10
The body of the pot was toughened The wheel was sped up and the The pot was cross-hatched, and
up, with the use of a gas torch. neck thrown into shape with the aid slurry was applied to ensure a good
of a rib, to compress and consolidate join.
the join.
5
The neck was roughly thrown 8
from a one-pound ball of clay on a 11
separate wheel. If you only have one A spout was formed with the right
wheel, throw the neck first and put it index finger against the thumb and The handle was fixed to the pot
to one side until the body is thrown. forefinger of the left hand. and pulled into shape.
KILNS
16
12 14
Some text was applied, the theme
It was then joined by deft Hannah trailed her foliate of which is a long story, about which
movements of the thumb. decoration across its surface. you’ll have to ask Ben!
17
The jug is complete and ready to
13 15 fire. We presented the finished piece
to Ben at Earth & Fire in July, there
The pot toughened up overnight She feathered the leaves using a was a picture of him, us and it, in my
and was then coated with black slip. piece of bristle. diary last month.
How to make celadon glazes
for electric kiln firings
Linda Bloomfield is a scientist Teapot, Linda Bloomfield, thrown and faceted white stoneware with green
wood ash celadon, fired to cone 9 in an electric kiln.
turned potter. More glaze recipes
can be found in her books,
Advanced Pottery (2011), Colour electric kiln using a mixture of copper applied relatively thickly, but can be
in Glazes (A&C Black, 2012), and and cobalt oxides or a commercial runny, so make sure you fire a test piece
The Handbook of Glaze recipes blue-green stain. A less well-known before applying it to a whole kiln load of
(Bloomsbury 2014). Her latest method is to add a local reduction agent pots.
book is Science for Potters (The
such as silicon carbide, silicon or
American Ceramic Society, 2017).
These are all available from her aluminium powder to a traditional
website: lindabloomfield.co.uk celadon glaze recipe to reduce the ferric
iron oxide Fe2O3 to ferrous iron oxide
C
eladon glazes are transparent FeO in an electric kiln.
grey-green glazes originally Wood ash contains varying proportions
made in China in the Song of calcium, silica, potassium, sodium,
dynasty (960-1279). The phosphorus, magnesium, iron and
Chinese were attempting to imitate the manganese. In a reduction firing, a
colour of jade and made their glazes using mixture of wood ash, feldspar and clay
mixtures of feldspar, clay and wood ash. can produce green, glassy glazes similar
Celadon glazes range from olive green to to celadons. To achieve this effect when
pale blue in colour and satin matt to firing in an electric kiln in oxidation,
glossy in texture. They can sometimes be small amounts of copper oxide and cobalt
crazed or crackled; covered in a fine oxide can be added to an ash glaze to
network of cracks. The type of clay used make a blue-green glaze, similar in colour
affects the glaze colour; celadons are often to a celadon. This glaze may be slightly
green on stoneware and blue on porcelain. speckled unless it is sieved several times
The blue or green colour of the celadon through a 100-mesh sieve. It should be
glaze traditionally comes from small
quantities (0.5-1%) of iron oxide fired in a
Green crackle celadon for
reduction atmosphere in a fuel-burning
stoneware, cone 9 oxidation
kiln. Any titanium dioxide impurities in ● Wood ash 30
the clay will combine with the iron oxide ● Potash feldspar 30
in the glaze to produce a green colour. ● China clay 17
In this article we will explore how to ● Whiting 4
create celadon-like glazes in an electric ● Flint 21
kiln. In oxidation in an electric kiln, small +
● Copper oxide 0.5
amounts of iron oxide fire to a straw- Tall Helix bottle, Joanna Howells,
● Cobalt oxide 0.1
yellow colour. Transparent blue-green porcelain with crackled celadon glaze
celadon-like glazes can be made in an fired in reduction.
Glazing
Another way to make a celadon-like

glaze in an electric kiln is to use iron
oxide (as you would with a traditional
reduction celadon), together with a
reducing agent. This will locally reduce
the iron oxide in the glaze, giving a green
celadon, even in an electric kiln. The most
Two small jugs, Edmund De Waal, widely-used reducing agent is finely
porcelain with celadon glaze, fired in ground silicon carbide but this may
reduction. produce bubbles of carbon dioxide which
can form blisters in the glaze. Other, less
To make a reduction celadon, a small widely-known reducing agents include
amount of iron oxide (0.5-1%) is added to silicon and aluminium powder. You can
a clear glaze. Blue celadons can be made if buy 200-mesh aluminium powder from
the clay and glaze materials are low in sculpture suppliers, who use it mixed with
titanium dioxide, which causes the iron in resin to make cast metal-like sculptures.
the celadon to turn green in reduction. Silicon is also available as a fine powder. It
The ideal clay is porcelain, which is low in is the pure semi-metal used to make
titanium and provides a white background silicon wafers for the semiconductor
for the celadon glaze. A blue celadon-like industry, not to be confused with silica
glaze can be made in oxidation by adding
My porcelain cake stands with
(silicon dioxide) or silicone rubber. All graduated copper oxide glazes, top
a small amount (0.1%) of copper oxide or these reducing agents will react with 1%, middle 0.5%, bottom 0.1% copper
copper carbonate instead of the iron oxide. oxygen in the glaze during firing, causing oxide, fired to cone 8 in an electric kiln.
The clay content needs to be low (less the iron in the glaze to change from a
than 5%), otherwise the colour will be honey-yellow colour (Fe3+) to a blue- combined with the blue reduced iron, will
more green. green colour (Fe2+). make green.
Aluminium powder can be unstable as In conclusion, there are several ways to
Blue celadon for porcelain, cone it reacts readily with oxygen and does not make celadon-like glazes in an electric
6-8 oxidation always give consistent results. I have kiln. You can colour a clear glaze using
● Soda feldspar 45 found that the glaze is very sensitive to small amounts of copper oxide and
● Quartz 17 the amount of aluminium powder used; cobalt oxide, or even a blue-green
● Borax frit 15 add too much and the glaze will have commercial stain. However, it may take a
● Whiting 14 black speckles of aluminium, or even turn series of tests to find the exact shade of
● China clay 5
completely black. The following celadon blue-green you want and there may be
+
● Copper oxide 0.1 recipe has 0.2% aluminium powder. specks of cobalt oxide unless you sieve
Several different forms of iron can be through a fine-meshed sieve. The other
used. The usual form of iron oxide used way is to use iron oxide together with a
by potters is red iron oxide, Fe2O3 but finely-ground reducing agent such as
yellow iron oxide Fe2O3. H2O can also be silicon carbide, silicon or aluminium
used, although is a slightly weaker form. powder. This will give a more authentic
It may be more difficult to get a blue green celadon but reducing agents can
celadon using this method, as any be difficult to control and there may be
oxidised iron will remain yellow and, black speckles still remaining in the
glaze.
Green celadon using reducing The idea of using aluminium powder
agent, cone 6-8 oxidation was suggested by Dr William Carty,
● Potash feldspar 34 professor of Ceramic Engineering at
● Borax frit 14 Alfred University, New York, USA. The
● Whiting 11 use of silicon powder has been
● China clay 13 researched by Richard Slade of the
● Quartz 23
University of Westminster in the UK. 
Test tiles, green celadon with ● Dolomite 5
0.75% yellow iron oxide using 0.2% +
aluminium powder as a reducing ● Yellow iron oxide 0.75 Next month:
agent, fired in an electric kiln to ● Aluminium powder 0.2 how to make pink glazes
cone 8.
SKILL SCHOOL
PROJECT
FOUR BERRY BOWL
This berry bowl is really just a fancy colander, but it’s pretty enough, with its
little water tray and matching bowls, to serve luscious summer fruits at the table
You will need:

■ Clay of choice – earthenware or stoneware
■ Round-bottomed plaster press mould if
possible, or general bowl mould
■ Rolling pin, plastic sheet, roller guides
■ Foam block – type used for furniture
■ Selection of wooden tools and ribs/kidneys
■ Glaze to fit clay type
.
PROJECT
SKILL SCHOOL
FOUR
3
1
The mould used in this project was made from a round- Cut a semi-circle out of the slab, as shown, and place
bottomed bowl designed to sit on a metal ring, found in a
this in the mould, smoothed side down onto the plaster.
charity shop. Look out for similar shapes to make moulds
Ease it into place with a damp sponge.
from, but don’t despair if you can’t find one, you can use
other deep bowl shapes equally well.
For instruction on mould-making go to

claycraft.co.uk/how-to
2
Roll a large slab of clay on
4
the plastic sheet, between
5mm thick roller guides,
reducing the bulk of the
block first by bashing the
clay with the rolling pin in
small, even strokes.
Turn the slab regularly,
each time turning it through
90° before rolling again to ensure an evenly thick
section to the clay. Smooth over the surface with a
metal rib or scraper when finished rolling.
Cut a second semi-circle and place it in the mould,

edges overlapping the section already in place. If the
second section doesn’t quite fit, cut another smaller piece
to make up the shortfall.
5 8
Roughly remove the greater part of the overlapping clay Remove the remainder of the clay at the rim to level it,
at the rim with a knife. Don’t cut down to the plaster at this by drawing the side of a wooden batten around the edge,
stage – we will level it properly later. as shown, keeping it flat to the plaster rim as you work.
6
When the clay in the mould has firmed up to the point
Thoroughly blend together the overlapping edges of where it’s beginning to shrink away from the plaster,
the slabs in the mould by pressing firmly with a finger or
turn the bowl out onto a board.
thumb.
Reinforce the join on the outside with a very thin coil
of soft clay.
Blend the coil in with a kidney, removing excess in the
process, then smooth over the surface.
7
Smooth over the blended surface with a rib, removing
excess clay as necessary to even the thickness of the clay
wall. .
SKILL SCHOOL
PROJECT
FOUR
10 12
Place the bowl on a whirler Make a single cut to the ring, as shown, then curl the
using the concentric lines shape up to form a cone – the size will depend on your
to make sure the bowl is individual bowl. Test it on the bowl to make sure it’s a
centred. balanced size for a foot.
Place a cookie cutter on
the base of the bowl and tap
it to centre then faintly mark
the position with a pin. This
mark will act as a guide to position the foot.
11
13
Make a 20cm circle template out of card. Draw another Allowing for a small joining overlap, cut away the excess
circle inside this, 5cm smaller, to give a ring 5cm wide. clay from the cone then score the edges to be joined.
Roll a second slab of clay, place the template on the
slab and cut out a circle.
Use a cookie cutter to remove the clay from the
centre of the circle and thus make the ring.
14 16
Apply a little slip to the scored edges then join them

together, pinching the clay firmly to ensure the seam
won’t come apart. Using a serrated kidney,
Smooth over the join with a kidney. score and slip the marked
position, plus the edge of
the foot to be joined, then
fit it in place carefully, taking
care not to distort the shape
of the foot.
17
Reinforce the inner area of the foot with a coil of soft

clay. Blend the clay in with a wooden tool or finger,
then smooth over with a kidney. Remove excess clay as
15 necessary.
Place the footring on the base of the bowl using the

marked circle as a guide to position it centrally.
Mark the position for the foot with a pin. .
PROJECT
SKILL SCHOOL
FOUR
21
18
Repeat the reinforcement on the outside of the foot,
applying a coil in the same way and blending it in with Slip the rim of the bowl then fit the coil in place on the
a wooden tool or finger, but using an angled tool, like a surface, scored edge down.
redundant store card cut to shape, to neaten up.
19
Turn the bowl upright and score the rim.
22
20
Roll a very even coil
about 10mm thick, long Overlap the ends of the coil then cut through both on a
enough to fit around the rim. diagonal for a perfect join. Score and slip the ends then fix
Score along the length of them together.
the coil. Smooth over the join until it’s no longer visible.
23 25
Roll another very thin coil of soft clay and reinforce the
underside of the rim coil on the inside of the bowl.
Blend the coil in with a finger, then smooth over with
a rib.
Roll another 10mm thick coil and cut it into two 10cm
lengths to make the handles.
Curl the coils into a teardrop shape, as shown, then fix the
ends together with a little slip.
26
24
Decide on a position for the handles on opposite sides

of the bowl, allowing them to protrude above the rim
Use a rib to remove excess slip below the rim coil on the sufficiently to lift the bowl later when fired.
outside of the bowl. Mark the positions with a pin. .
SKILL SCHOOL
PROJECT
FOUR
28
27
Score and slip the marked positions plus the undersides Drape the bowl on something round and suitably-sized to
of the handles, then fix them in place, squeezing them support it as you work on making the drainage holes.
onto the bowl between thumb and fingers to ensure Using a hole-cutter, make five evenly spaced holes in the
they’ll stay in place. base of the bowl at the centre of the footring, then a series
If you like, impress a small stamp detail at the base of of holes around the perimeter, just outside the footring.
the handle to finish off.
29
Neaten the holes up with a pointed wooden tool to

soften the edges and remove any burrs of clay left behind
by the hole-cutter.
30 32
Turn the bowl over and

remove the burrs on the
inside with a kidney then,
again, neaten them up with
the wooden tool.
31
If you have suitable moulds you can make small dishes

for serving berries, following the same method – simply
omit the holes.
33
Allow the finished bowl to dry out over an upturned

container if possible to maintain the round shape. The
bowl will shrink as it dries, so whatever you use to
support it, must allow for this or the bowl will get stuck.
A cone is the best shape, as the bowl can move up the
cone slightly as it shrinks. If in doubt, don’t dry the bowl
in this way.
Bisque-fire the bowl when dry.
It’s useful to have a dish to sit the berry bowl in, for
containing the drips of water left after washing your
fruit.
Measure the diameter of your bowl’s footring then
look for something solid and round which is fractionally
larger than the measurement to use as a template. A
small plastic lid or wooden batt will work well.
If using a lid, as shown here, cut out a foam sheet
cover for it and secure it to the underside of the lid with
double-sided tape. .
SKILL SCHOOL
PROJECT
FOUR
35
34
Cut out a paper circle
4-5cm wider than your
template.
Fold the paper three Roll another slab of clay using your roller guides as
times to divide the circle before. Place the template on the clay and carefully cut out
into eight sections. the shape, then run your finger gently around the scalloped
Round off the top of the edges to soften and round them off.
folded paper by drawing
around a cookie cutter as
shown. Carefully cut along
the drawn line, then open 36
the circle up to reveal a
scalloped edge.
Place the scalloped slab on the foam block then put the
lid/batt at its centre.
Press the lid down firmly into the clay with two hands
– the sides of the dish will rise as the clay is pressed into
the foam.
When happy with the shape, lift the lid out and
transfer the dish to a wooden batt to dry out before
bisque firing.
37
After bisque-firing the berry bowl, tray and small dishes, cover the surface in a glaze of your choice. Choose a colour
that will show off the lovely berry colours to best effect.
You can either dip the items or use brush-on glaze as shown here. If using this option however, you must make sure
you work the glaze into the holes well, to avoid missing any areas.
If the holes appear blocked with glaze use the trusty wooden tool to gently open them up again before firing.
38 39
The finished set has been glazed in Capri Blue brush-on

Remember to wipe away all traces of glaze from all stoneware glaze from Mayco, fired to 1200°C in an electric
surfaces that will sit on the kiln shelf when firing. kiln.
STARTING IN BUSINESS
Confessions
of a novice
Rolling, rolling, rolling…
Our projects aim to
provide clear, step-by-
step instructions, but if
they inspire you to do it
your own way, we say go
for it! This month, Tracey
W ell, I didn’t get that funding I

applied for, but I had an
enjoyable couple of months
dreaming about building a studio-shed
seems to have really
embraced that particular
idea…
and setting it up with a kiln and
running water, and sometimes the was going to have to learn fast. Extra
dream is almost as good as the reality fast, because it was my turn to make
– it would’ve been a real pain digging dinner, and I had about half an hour to
up the garden and knocking down my roll out slabs and get them into the
trusty greenhouse, and I’d miss the mould. An initial rolling led to a
spiders. Thankfully, I got a surprise masterful-looking slab, if I ignored the
refund for something that would cover oozing from between the canvas sheets,
a mini slab-roller. Obviously, once I but as I sliced a semi-circle as
Above: The finished piece, after raku
added some clay and a few pottery instructed, it turned out to be about
firing at Potters Camp with Anglian
ingredients to the order, I’d completely twice as thick as I needed it. Potters.
exceeded the refund amount, but still. Having already used both wooden
I needed a few more raku pieces for boards, both canvas sheets and some ready for the mould – a cast-iron
Potters’ Camp and remembered the newspaper – this is how you vary the mortar. Its pestle partner had been
fantastic vase in issue four. Having only slab thickness – it still wasn’t thin cunningly hidden, because a lonely
tried a few test pieces with the slab- enough. Luckily, I had a rubbery pestle sitting in the kitchen begs the
roller, and with my final bisque firing cutting board downstairs, and headed question ‘have you got the bloody
for Potters’ Camp in less than 10 days, I off to retrieve it. On the way I passed mortar in the clay-room now?’, whereas
the front door, and briefly considered
the doormat, before deciding that was
an experimental step too far. What I
did have to hand, of course, was
ClayCraft issue four, and even as the
budding-clay-professional on my left
shoulder whacked me over the head,
shouting “don’t do it”, the tired,
after-work, slap-dash devil on
my right was egging me on,
because I really ought to be
making dinner already.
Needless to say, the
magazine didn’t come out
I really must learn how to estimate of this well, but there was
It seemed like a
the amount of clay needed. It looked good idea at the time…
perfect until I realised how thick it no time to grieve over its Inset: Er, Rachel, how do
was! passing. The slab was now I order back-issues?
BLOG
… wilful ignoring of The rim needed an

instructions had left an initial trim…
The overlapping slabs worked interestingly-shaped Inset: … before the first
nicely, but... rim. coils could be attached.
both absent they might go unmissed for rim, so I trimmed with a the coiled shapes so I could
weeks. scalpel. It was a bit drier than cut round them and then
I was pleased with the way the bowl’s I’d have liked, but no time to stop attach the cut strip on top, but
rim formed from the overlapping slabs, and think, or spray it with water, once I tucked it in place, I liked the way
so I left it as it was, despite instructions because I was on a roll. Speaking of it looked. A bonus was that this would
to take the excess off with a batten. which, I was now supposed to create thicken up those thin areas, so I scored,
This would be my first major deviation long rolls, but I hate making them! I’d wetted, and stuck it on.
from the instructions, and I was aware already decided I was going to cut To finish off, I added one final strip,
that it could be a bad move, but I really slices of the excess slab instead, and again allowing it to naturally
like to be guided by what the clay seems round them off with my fingers, before determine the shape of the rim, rather
to want to do. rolling them just enough. This is not a than attempting to level it – whether
The second bit of rule-breaking came method I’d use again, by the way, as it that was artistic inspiration or laziness,
after dinner, when I turned out the left me with lumpy, uneven coils, which I’ll let you decide – added a couple of
bowl and found that the outer seam was also seemed too thin, so that when I circle impressions with the blunt end of
lovely. How a seam can be lovely is attached them to the body, it left an my needle tool, and then, in an attempt
completely beyond me. It’s just a line. area thinner than the slab base. to improve a distinctly intestine-like
It’s not even even, as it were. And yet I Those of you who tried this project area, added way too many. Finally, I
really didn’t want to smooth it away. yourselves will realise I diverged from pressed in the plaster maker’s-mark I’d
With this and ‘listening to the clay’, I the instructions again here, since I was made with issue 10, and – even though
began to have some understanding of supposed to add a couple of wide strips I knew I’d got too many of those circles
those emotional reactions of Keith to increase the pot’s height. Since I already – found myself adding even
Brymer Jones in The Great Pottery couldn’t see how to achieve this with more.
Throw Down, which I initially found my shaped rim, I moved straight on to Let’s hope that a ‘less is more’
bemusing, especially since they tended the shaped coils, thinking I’d sort it out project is planned for a future
to happen in response to pieces I later. However, when I’d had enough of ClayCraft issue… 
thought were distinctly average (sorry, coiling once I was happy with the
potters). decorative area, I still couldn’t see how Follow Tracey @pottlemuddery on
It was clear that I’d have to tidy the to do it. I tried holding my strip behind Instagram, Facebook and Twitter
The first few coils looked okay, Attaching a strip to the back of Eventually I was happy with the
but a bit uneven. the coiled area. shape, if not the pattern.
SKILL SCHOOL
PROJECT
FIVE SLAB
SCULPTURE
This is a whimsical little project to test your slabbing, pinching and sculpting skills. The
finished item has no practical use, but is amusing to both make and look at when finished
You will need:

■ Clay of your choice – earthenware or stoneware
■ 5mm roller guides, rolling pin, plastic sheet
■ Underglaze colours or brush-on coloured glazes
Before you begin: 3

you need to make your templates – you will need:
■ A cutting mat
■ Sharp knife
■ Pencil
■ A sheet of textured wallpaper 20 x 15cm
■ Card
Cut out a card template measuring 20 x 28cm (the back),

plus one template measuring 20 x 8cm (sides) and one 8 x
8cm (ends).
Roll a large slab of clay on a plastic sheet, using roller

guides to ensure an even clay section.
The slab should be big enough to accommodate the
largest of the templates.
Smooth over the surface of the slab with a rib to
Draw a tree design on the back of the textured compact the clay after rolling.
wallpaper so that the branches of however many trees you
include, interlock as shown.
5
2
Using the knife, very Place the tree template, texture

carefully cut out the spaces side down, on the slab then roll it
between the branches and into the clay, again using the roller
trunks of the trees. guides. .
SKILL SCHOOL
PROJECT
FIVE
8
When you have finished cutting out all the

intersections of the branches, carefully peel off the
paper template, trying not to distort the clay as you do
6 so.
Place the large card template

over the trees and cut out the slab
carefully.
9
7 Roll out another large slab of clay in the same way.

Smooth over with a rib when rolled, then cut out one large
Transfer the slab to an template (back), three sides and two ends, as shown.
absorbent board, face up so
that you can see the textured
pattern, then very carefully 10
cut out the sections between
the branches and trunks with
a sharp knife.
Bevel three edges of two of the side sections, all four

edges of the remaining side, and three edges of both box
ends, but read step 11 before starting.
Place a ruler (preferably metal) about 5mm in from the
edge to be bevelled then cut the clay at an angle, with the
knife edge resting on the ruler.
11
14
Continue to fit the remaining sides of the box in the

same way, fitting them together with slip and
While the ruler is still in place, score each mitre with a reinforcing the joins with coils of soft clay as each
serrated kidney before moving on to the next edge.
section is added.
12
Apply slip to the scored edges and begin to construct

the box, making sure the edges fit together neatly.
13
15
Reinforce the join on

the inside with a coil of soft
clay. Blend the coil in with a
modelling tool or finger then
neaten up with the round end When all five sides have been assembled, turn the box
of a rib to smooth the surface and over carefully and neaten up the outer edges by paddling
remove any surplus. them with a spatula, then smoothing over with a kidney. .
SKILL SCHOOL
PROJECT
FIVE
19
16
Place the box on the large slab and mark its position Very carefully turn the tree slab over (it should have
with a pin, as shown. firmed up a little while you were making the box), then
score and slip the back of the trees only.
20
17
Lift the box off the back slab and score the fixing Separate the trees from the solid base of the slab.
position, plus the rim of the box. This was only there to help maintain shape while the slab
Apply slip to all joining edges then fix the box in place, firmed up a little and as you worked on the fiddly detail of
making sure it seals all the way around the join. the branches. You can use a scraper, as shown, or a knife
to cut the clay.
21
18
Position the trees on the
Reinforce the outer join back slab of the box as shown.
where the box sits on the back Press down firmly to ensure a
slab with a coil of soft clay. good fit and squeeze out any
Blend it in well, then neaten up excess slip. If the branches
with a rib until it looks seamless. extend over the top and side
Neaten up all other edges with edges don’t worry, this won’t
a kidney to remove excess slip. detract from the sculpture.
22
25
Work around the branches and trunks of the trees with Finally, cut a strip out of the
a modelling tool to remove the excess slip and neaten up. base, as shown, about the width of
It's a fiddly job! a ruler, to allow for the release of
air in firing.
23
26
Now make the body for the dog by pinching two,
Roll three small, equally-sized balls of clay, then pinch equally-sized, small balls of clay into cup shapes.
them out to form discs. Join the pinched sections together after scoring
Impress each disc with a stamp design of your choosing. and slipping the edges, then reinforce the join with a
coil of soft clay.
Blend the coil in with a tool then smooth over the
surface with a kidney.
The body should be roughly duck-egg sized when
finished.
24
Mark equally spaced
positions for the discs on the
front of the box, then score
and slip the positions and the
backs of the discs and fit them in
place. Press each one down gently
to squeeze out excess slip, but try to
avoid spoiling the stamp design.
Remove excess slip round the discs with a wooden tool
to neaten up. .
SKILL SCHOOL
PROJECT
FIVE
30
27
Make a hole in the fat end of the egg shape then tap the
body on the work surface until it sits comfortably without
wobbling.
Fill the hole back in with a tiny plug of soft clay when Join the head parts together after scoring and slipping.
you’re happy with the way it sits. Smooth over the join until it’s no longer visible – you can
reinforce the join if you’re worried that the sections might
come apart.
28
Make the head from a small ball of clay. Form the ball 31
into a cone using the end of a pointed wooden tool.
Fix the head onto the body

at a jaunty angle after scoring
and slipping the joining parts.
Reinforce the neck with a coil
of soft clay and smooth it in
with a wooden tool.
32
29
From an even smaller ball of clay, make the back of

the head by pressing your finger into its centre to form
an acorn-sized cup.
Make two ears to suit your dog, they can be perky and
upright or floppy, as shown here.
Fix the ears in place with a little slip, blending them onto
the body where appropriate.
33
36
At this point you need to decide how realistic or naïve

you want the dog to be.
If opting for the latter option, simply impress the eyes
with a suitable stamp tool.
For a more realistic dog leave this step out for the time If you omitted step 33, instead opting to make the
being, and move on to the next step. dog more realistic, shape the head by pinching and
manipulating the clay to the shape you would like it to
be – this one is very roughly modelled on a beagle!
34 When happy with the shape of the head, form the
eyes from two tiny balls of clay. Fix them onto the
head with a dab of slip, then blend a tiny coil over the
top of each eye to form a lid.
Roll a short coil with a pointed end and attach it to the

back end of the dog with a little slip, to form a pert tail.
35
Roll a coil of clay to form the legs. Cut two lengths for
the front legs, long enough to bend into feet.
Attach the legs to the body so that the feet sit on the
work surface, blending them in to look as natural as
possible.
Apply two very short coils for the back legs and attach
them in the same way, and in the position shown. .
SKILL SCHOOL
PROJECT
FIVE
39
37 Sculpt a tiny, solid ball of
clay into a simple bird shape.
Make two holes in the head for the release of air in Impress the eyes with an
firing, conveniently positioning them as nostrils. appropriate tool and draw in
Draw in the mouth with a pin and make the toes of the wing detail with a pin.
the paws with the end of a wooden tool.
40
38 Make a hole in the body of the dog to allow for the
release of air in firing then score the underside of the
body, and the position on the box where you want the
dog to sit.
Stand the box on a board and place a second board

behind it, supported by something solid so that the board
can’t move.
41
44
Fix the dog onto the box with some slip. Neaten around
the join to remove excess slip when you’re happy the dog Paint over the trees with black or dark brown
will stay in place. underglaze. Take great care not to let the underglaze
dribble onto the background between the branches.
42
Fix the little bird on the box in the same way.
43
45
Paint over the texture detail

on the discs on the front of the
Allow the finished sculpture to dry very slowly to avoid box with black underglaze, plus the
warping, then bisque fire in the usual way. wings and eyes of the little bird.
SKILL SCHOOL
PROJECT
FIVE
46
48
Using a damp cloth, wipe back the underglaze on the
trees so that it only remains in the texture. You will
need to rinse the cloth out regularly as you do this to Continue to paint in the detail of the sculpture using
avoid contaminating the background. your chosen colours until all surfaces are covered.
Once the trees have been wiped back, wipe back
the underglaze on the discs and the bird in the same
way. 49
47
Paint in the background The finished sculpture was made from grogged white
behind the trees in a colour of earthenware clay and painted with velvet underglaze
your choice – blue was chosen colours, many of which were mixed to specific colours.
here. Working between the branches The sculpture is unglazed but could be covered in
can be quite tricky, so use a fine brush transparent if preferred.
to avoid getting the colour on the trees. Fired to 1,120°C in an electric kiln.
POTTERS WHEELS
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traditional kick wheel that Woodley’s
made for many years in the past
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with ball joints working on true
geometric mechanical principals
• Fly-wheel constructed from dense
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• Re-designed adjustable seat for comfort
• Frame constructed using solid oak on three legs and braced for
stability. Full mortised and tenon with bolted joints
• Frame designed to pass through a standard door
• See our website for current prices and delivery
Manufactured by
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Phone 01243 265845 • Fax 01243 267582 • Email info@claymansupplies.co.uk
Doug’s
STARTING IN BUSINESS
(Photo: Layton Thompson)
Doug Fitch
diary
J uly has been good to us so
far, with pots selling well
and the clay running
through my fingertips successfully
Hannah
admiring
the slipware
dishes in The
Potteries
as I make stock to replace them. In Museum (Fred
recent weeks, I have been able to rather less
throw with relative ease, (it isn’t interested).
always so). Life is settling down a bit
and I’m not feeling the pressure that
I was a month or two back, and that
has a huge impact on my ability to
work well. Selling lots of pots at
Earth & Fire of course was greatly
reassuring and is, in turn, a
great impetus to fill the
shelves again.
Consequently, it’s been a
characteristically hectic the managing director of chargers produced by Thomas Toft
few weeks since my last Valentine Clays. Both in the 17th century, model cradles
post, not least as we Hannah and I use made to commemorate a birth, and
haven’t been here for a Valentine’s Etruria Marl. numerous other fine examples of
chunk of time. Hannah uses it with 10% country pottery.
Following Earth & Fire, grog and I do for smaller In another cabinet were medieval
we hot-footed down to pieces, but I find it needs a bit jugs of robust form, with all the right
Reading, to see my 23-year-old more ‘structure’ when throwing curves in all the right places; just the
son Joe graduate with a first class bigger pieces. To this end, I add sort of pots that get me all excited.
Master’s degree in Chemistry. I'm The coarse coarse grog, made from granulated The collection boasts many
extremely proud of him and hopeful grog I add to brick clay that I get from Ibstocks wonderful pieces of studio ceramics
that he might be able to resolve any my clay. brickworks in Bristol. I fire it, and too, including some fantastic
glaze issues that we might encounter then pug it into the clay. examples made by my great hero,
along the way! I wanted to speak to Alan about Michael Cardew when he was at
We broke the journey on our way the possibility of having this coarse Winchcombe Pottery in the late
down south, in Stoke-on-Trent. We’d grog added at source, when the clay 1920s and 1930s.
arranged a meeting with Alan Ault, is processed at the factory. He was When we returned to Scotland
very agreeable, so I’m hoping that after a week on the road, we had to
soon, we will have our very own clay hit the ground running, with very
body in production, which will save little time to make pots for a wood
me a lot of pugging and will make it firing, destined for Potfest in the
available to anybody else who likes a Park.
coarser, red clay body to throw with. After a string of crazy long days,
While in Stoke, we visited the yet again working into the early
Potteries Museum in Hanley, to look hours, we managed to make a
at their extraordinary collection. I kiln-load of pots. My contribution, as
All the would recommend a visit to this ever, big jugs, and Hannah’s, mugs,
right curves,
a Medieval museum to any pottery lover; it is Yunomi and lidded boxes. The
jug in The phenomenal. continuous scorching weather
Potteries There is one huge cabinet, stacked allowed us to dry the pots rapidly.
Museum. high with slipware, beautiful We fired the kiln three days ago.
KILNS
Freshly
slipped
tapered jugs.
Fired size
33cm approx.
Stoking the
firebox and
burning my
knees.
Our friend Alex came again and however, seemed to go pretty well, so
assisted with packing the day before, I felt fairly confident that we were concerned that it was a bit chunky
then helped with the firing, which going to get something out of it. when it was delivered, but foolishly
was brilliant. There are always a few losses and took it instead of sending it back.
We would really struggle without disappointments, such is the nature Plus, another stupid error, we used a
Alex's help as he knows his stuff, so of firing with wood. Generally, the bucket of defective glaze that should
is able to just crack on while our bad ones are really bad, but the good have been thrown away but had
hands are full with babies. It’s always ones are spectacular, and that is why found its way back into the system.
great to talk about all things pottery we do it. Once again, it’s a case of trying to do
with Alex. To have the opinion of This morning we took the door too much in the short time that we
somebody who is close enough to us down and what did we find? Well, have and, because we are distracted,
to know what we’re trying to do, but sadly it was one of the worst firings mistakes happen. Before the next
has enough distance to see things we’ve ever had, dreadful colours and firing, we will source some lighter
clearly, is invaluable. He has such a underfiring throughout. timber and that bucket of dodgy
broad knowledge, through his life, After much gnashing of teeth and glaze will be long gone.
not just as a potter, but also as a cursing, (fortunately the babies were So now we just need to move on,
curator and academic. asleep), we could see that we did get a concentrate on the good pots, discard
The kiln took 15 hours of stoking, few really lovely pots out, so all was the worst pots and put the average
with lengths of pine and pallet wood, not ruined, but the losses were
Finished pots on the seconds shelf.
jugs for
a hot and fiery affair, and the fact that terrible and left us feeling utterly Potfest, Tomorrow we load the car and
it rained on firing day was despondent. average head off to Penrith and to Potfest. I’m
something of a relief. Thankfully, I think I know what height 33cm. optimistic that we’ll come back
It takes three days for the kiln to caused the problem. My theory is revitalised, ready to get stuck in
Below left:
cool, so today was the big day to that the timber that we were stoking again. We have a string of orders to
Alex and
open it up to see whether we had the kiln with was too chunky and so Hannah make and we need to set a date on
trash or treasure. the flame wasn’t long enough to packing the the calendar for the next, hopefully
I get extremely anxious before the penetrate the whole chamber. I was kiln. much more successful, wood firing. 
door is unbricked, worrying about
what the losses will be. This firing,
SKILL SCHOOL
PROJECT
FIVE
SIX
GLAZING THE
BREAD BIN
Last month we built an old-fashioned bread bin, using flattened coils.
This is how we decorated it
You will need:

■ Four contrasting
brush-on glazes.
These glazes are
particularly useful
for one-off projects;
they’re easy to apply
and behave well in
firing
Mayco cone 6
stoneware glazes
have been used in the
example shown here,
but there is a wide
variety of brush-on
glazes available for all
firing temperatures –
ask your supplier for
advice
1 3
The easiest way to glaze the interior is to pour a small

amount of glaze into the bin then brush it out evenly
Before starting to glaze, sand away any sharp edges to coat the base and sides up to the point where the
and burrs of clay from the bisque-fired bin using wet and flange will fit – 15mm down from the rim.
dry sandpaper. If you paint above this point, or inadvertently dab
WEAR A DUST MASK when sanding. Brush away glaze somewhere it shouldn’t be, just wipe it away
surface dust when finished, then wipe over the sanded with a damp cloth when finished.
areas with a damp cloth. Paint the outer wall of the bin up to – but not over –
the rim, beginning 5-10mm from the base, to allow for
glaze run when firing.
Paint a coat of base glaze on the lid of the bin, inside

and out, except for the outer side of the flange and
the underside part of the lid that sits on the bin. Any
surfaces that meet must be glaze-free to avoid them
sealing together in firing.
When the glaze is touch dry, repeat with a second
coat.
.
PROJECT
SKILL SCHOOL
SIX
3
Load your brush with a contrasting colour glaze and

1 paint in a design of your choosing on the top of the lid
and the lower section of the bin below the pencil line.
Sit the bin on a whirler, and holding your hand very
steady, draw a line with a pencil 10-12cm up from the
base. The whirler makes it much easier to do this because
you can rotate the bin with one hand while holding the
pencil steady in the other.
The pencil mark will burn away in firing.
2
Apply a good second coat of glaze on the outside wall
of the bin from the pencil line up to the rim.
Paint in more detail with a third, dark glaze colour – filling in between the areas of colour you’ve already applied.
5 6
Finish up with a light,

scattered sponging of a final
glaze colour to complete the
design.
All that remains is to fire the bin to the recommended

temperature for your choice of glaze and clay.
The example shown here was fired to 1,200°C in an
electric kiln.
MARIAM CULLUM,
POTTER IN PORCELAIN
Still learning and experimenting, 23 years on
F rom her well-equipped home

studio in a tiny village in West
Suffolk, Mariam Cullum
produces high-quality porcelain pieces,
from Mariam’s family, who she describes
as incredibly supportive. She came to
England in 1974, having lived in Italy
for three years before that – in Rome,
drawing on a range of cultural Venice and Florence respectively. She
influences, and striving to throw as thin recollects that “The art there is
as she possibly can. She continues to incomparable” – and eventually settled
embrace new ideas and techniques, in Barnet, on the outskirts of London,
joking that, “Like Lucie Rie, I want to where she was based for most of her
make pots into my 90s.” This year, for working life.
the first time, Mariam is branching out It was in Barnet that Mariam
into Potfest in the Pens, and the discovered clay. She’d always wanted to
Wardlow Mires Pottery and Food
Festival, on top of her usual exhibitions,
which include regular Anglian Potters
events such as at RHS Hyde Hall and
Emmanuel College in Cambridge. We
wanted to hear about how Mariam
became a potter, and how her diverse
cultural influences impact on her work.
Though Mariam’s family comes from
India, they’d moved from Zanzibar to
Kenya by the time she was born, and
– despite being Muslim – she attended a
Catholic school run by nuns. This is a
setup that suggests a real tolerance of
differences, both from the school and
Charlie, along with another two

cats, is good company in the studio.
be a potter and recalls seeking potters

out wherever she went, repeatedly
telling Ian, her husband, that she wanted
to make pots herself. Eventually, Ian
pointed out that she’d never make any
pots at all if she just kept on talking
about it, and so Mariam enrolled in the
local evening classes, where she says, “I
was never more frustrated – only two
hours a week!” After completing a City
and Guilds, finding that the work she
was producing was not reflecting what
she was about, Mariam decided to study
at City Lit, part of London Metropolitan
University. “I had the most wonderful,
wonderful tutors,” she says, and on
Above and above right: One of the newest works-in-progress, using a completing her diploma in ceramic
wooden roller for texture. design, she was the only graduate to sell
Meet the potter
Above and right: Mariam carves a Porcelain is slaked in Mariam’s hard-

bowl that’s been thrown and altered. won stain recipe.
out her entire final year exhibition – a

feat she says they still comment on to
this day. One tutor gave her a piece of not, “Well, we still had a lovely evening
advice: “A mug is your bread and butter with food and drink!”
– and he was so right,” she laughs. In 2011, Mariam and Ian retired,
From that point on, there was no moving away from London and into the
turning back. Ian had converted an air East Anglian countryside, where a much
raid shelter in the back garden of their more luxurious studio could be built at
Barnet house into a studio, complete the end of their glorious garden. A
with wheel, hot water, a soakaway, and number of kilns are dotted around in
“shelves upon shelves upon shelves, on separate sheds, including electric, raku
all four walls”. It was sturdy but cold, and wood-fired. Her latest acquisition is the rugs hand-made by Navajo Indians,
Mariam remembers. A keen hostess, she an old gas kiln, which was originally in and her face lights up as she describes
started inviting friends round for the Glasgow School of Art, and which the colours and the craftsmanship, as
informal exhibitions and Indian food – she has only just begun experimenting well as their ability to make such
she’s a great cook – and if the visitors with. wonderful work in incredibly humble
liked her pieces, they bought some, but if And so, with all the facilities she conditions, having been displaced from
needs, Mariam has been able to produce their original home.
beautiful pottery, always functional, as Mariam also produced a range of pots
she wants people to be able to use the featuring beautiful Arabic calligraphy.
things she creates. “I always wanted to During those early years in Kenya, at
be a potter, and strive to produce work the end of each school day, Mariam and
that is a little different from the usual, her siblings attended an Arabic
that people enjoy using,” she explains. ‘madrassa’, which she describes as the
Over the years, her work has been equivalent of a Sunday school. Here they
inspired by a range of cultural learned to read and write Arabic. In her
influences. One set of pieces reflects a adulthood, Mariam recalled the
US trip where she was blown away by beautiful prayers they’d recited as
children: “Universal messages of
tolerance, faith, peace and love,” now
also appreciating the visual impact of
the script. “But it’s not just beautiful, it
flows, and I’d like to think it lends itself
to the fluid shapes of pottery.” Mariam
photographed these Arabic prayers and,
after working on them in Photoshop,
sent the files to Heraldic Pottery, who
made them into ceramic transfers that
allowed her to put those prayers directly
onto her functional forms.
Behind a beautiful wooden screen from her family home is a wide range of Another range was inspired by henna
books, including Mariam’s own sketchbooks. designs – the traditional Indian patterns .
Beautiful Arabic prayers on
thrown and altered bowls.
Some of Mariam’s most recent

work features wooden spoons
hand-made by her Kenyan
wood-turner friend, Thomas.
painted onto hands for weddings and now regularly makes small batches,
auspicious religious occasions. Earlier slaking the porcelain in the colourant
this year, Mariam and Ian travelled to mixture for weeks, mixing daily, until
Mexico, taking time to visit the Mata all the colour is absorbed. A pair of double-bellied bottles
Ortiz pottery. She excitedly describes While her work tends to be with texture.
the pieces she saw being made, and it deliberately fine and delicate, often
would be surprising if what she saw featuring sgraffito, Mariam is currently Leicester), Lion House Gallery in
didn’t influence her future work, because working on new pieces, including a Lavenham, and at various exhibitions
while she still looks back for inspiration range of larger mugs with stamped – for the latest list, see her website.
in the notebooks made in her time as a textures, still drawing on inspirations Mariam also takes students, and
student, Mariam also likes to try new gathered over the years. You can find particularly offers 1:1 tuition in
things. Drawn initially to porcelain her work via her website at: throwing on the wheel, hand
because of its beauty and capacity to be mariamcullumceramics. building and glaze
thrown very thin, she began seeking a co.uk, at the Gift Shop technology. 
particular blue colour. Unable to find or in Holkham Hall
create it in glaze form, she decided to (some of her work is ● Follow Mariam on
colour the porcelain herself. Twenty also in the private Instagram and
meticulously-documented attempts later, collection of the Facebook:
she’d found the recipe she was after, and Countess of @mariamcullum
Above and circled: A selection of Mariam’s pieces. Mariam’s East Anglian studio.
Do you have an event you’d like listed?
Email us at claycraft.ed@kelsey.co.uk for free inclusion
RUNNING UNTIL
UNTIL 1 SEPT Mourne Textiles,
Is it Useful? Adi Toch, Paul Wearing, Neil Wilkin,
Co-curated by Charlie Birtles, Yusuke Yamamoto.
showcasing a collection of beautifully ruthincraftcentre.org.uk
handcrafted, intellectually conceptual UNTIL 7 OCT
objects for RHS members and family guest 89 SEPT
unittwelve.co.uk ‘Roelof Uys: Works Of Last entry 1 hour before closing Staithes Festival
Function, Works Of Art’ Tickets may be purchased on entry to the Staithes has a long and celebrated history
UNTIL 2 SEPT This is Roelof’s fi rst solo show since garden or you can buy in advance and of art from the 19th-century Staithes
ABOUT CLAY joining the Leach Pottery five years enjoy 10% off when you buy your tickets
ago, presenting an exclusive body of Group of Artists, to the present day.
Pearls of European Ceramic Art online here: gardentickets.rhs.org.
work comprising 200 new pots from uk We will be celebrating the art of the village
ONOMA summer show and much more when the villagers of
The Cooperative of Artisans, our lead potter craftinfocus.com
leachpottery.com Staithes will open their cottage doors to
Designers
and Artists in Fiskars
25 AUG the public as temporary galleries for a
UNTIL NOV Moseley Arts Market selling exhibition of work by resident and
Fiskars Village, Finland visiting artists. Last year we hosted 130
onoma.fi 10 Year Anniversary: Birmingham
Celebrating the Leach artists in 87 venues.
moseleycdt.com
UNTIL 4 SEPT Pottery’s Restoration Visitors will be able to walk the maze of
Vote 100: Suffragettes and A series of events, exhibitions, talks 25 AUG lanes visiting ‘galleries’ as well as taking
and creative sessions Beginners throwing course part in a programme of guided walks,
Propaganda
Cartwright Hall leachpottery.com Price: £120 workshops, talks and film shows. There will
This one-day course which will be run by be a vibrant programme of music ranging
Bradford UNTIL 23 DEC
experienced Potter Matthew Dimbleby from street buskers to concerts. Food and
bit.ly/1LIiVnK
Our eARTh 2018 is an opportunity to have a one to one drink will be provided by the pubs and
UNTIL 23 SEPT 100+ selected artists’ work cafes in the village. The regular cafes will
experience for those who would love to
responding be supported by a number of pop-up
Lasting Impressions learn how to throw with clay.
to climate change and the tea rooms and other food offerings in
Lasting Impressions takes a closer loveclay.co.uk
environment locations across the village.
look at how craftspeople make, and
the processes they use to produce an Kunsthuis Gallery SEPTEMBER staithesfestival.com
object that will last. Scott Benefield, Crayke, N Yorks
Adam Buick, Sebastian Cox, kunsthuisgallery.com 12 SEPT 14 SEPT
Ashraf Hanna, Nicola Henley, UNTIL 31 DEC Kiln! Ken Matsuzaki masterclass
Walter Keeler, Andrew Lamb, Fired Up for Ceramics, Glass & Enamelling Clay College
Ptolemy Mann, John McKeag, ‘A Woman’s Place’ returns to the Enterprise Shopping Centre,
Abbey House Museum, claycollegestoke.co.uk
Eleri Mills, Liz Nilsson, Helen Eastbourne. Two days of all things fired in
O’Connell, Cillian Ó Súilleabháin, Leeds a kiln, with makers, workshops, demos &
bit.ly/2FFsqMy 2223 SEPTEMBER
suppliers.
FB @SussexCraftandDesignFair Clover Lee and Emilia
1126 AUG Radlinska Open Studios:
123 SEPT We invite you to visit our studio as part of
Anglian Potters Exhibition Merton Art Festival. We will be showcasing
Emmanuel College, Cambridge
Great North Art Show
An exciting and diverse open exhibition and selling our finest ceramic work,
anglianpotters.org.uk of contemporary art by professional and running mini throwing workshops
northern artists, in the magnificent setting through out the weekend!
2427 AUG
of Ripon Cathedral in North Yorkshire. clover-lee.com
Craft In Focus The exhibition features some of the mertonartsfestival.org
An opportunity to see the best of United Kingdom’s finest painters,
British contemporary craft and to illustrators, printmakers, photographers 23 SEPT
purchase work direct from the maker. and sculptors.
Purchase from a stunning treasure Open daily 10am – 4.30pm
London Design Festival
trove of original and affordable greatnorthartshow.co.uk Independent ceramics market
designs created by some of the finest 11am - 6pm
craftsmen and artists in the UK. Textiles, 7 SEPT14 OCT Hackney Arts Centre
paintings, furniture, metal, leather, Friends of The Kiln Rooms 13 Stoke Newington Road
ceramics, jewellery, glass, fashion and The Clay Store, Bussey Building, Peckham, London, N16 8BH
more. London
RHS Garden Hyde Hall
diyartmarket.com
A selling-exhibition of professional
RHS Hyde Hall, CM3 8ET ceramicists who have contributed to the 29 SEPT
10am to 5pm daily Kiln Rooms’ professional development
Garden closes 6pm programme for their emerging potters in Moseley Craft Market
Craft Fair entry included in normal the past three years. Birmingham
garden admission charges; free entry thekilnrooms.com/clay-store moseleycdt.com
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Don’t
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ISSUE 19
ON SALE
21 SEPTEMBER
Confessions of a novice blogger Quirky tripod beakers are our slab build project
Tracey fires her project penguin for September
We
begin a
series on
naked
raku with
a simple
coil-built
vessel using
a resist
technique
Kevin
Millward
takes us
through the
process for
throwing a
ginger jar
and lid in a Meet the Potter: Richard Hedges
step-by-step Discover how Richard left a career as a
guide drug and alcohol practitioner to become
a full-time sculptor and teacher
Plus: • Pinch pot pouring bowls • Pink glazes • Me and my Pot • Events 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.
COURSES  Do you run a course that you’d like to see here?
Email claycraft.ed@kelsey.co.uk for free inclusion in our listing
SCOTLAND Dates: Every Thursday evening Dates: Contact for details 'Raku', etc)
and various others Location: Holmfirth, West Dates: Weekly throughout the year
CLAY WORKS STUDIO Location: Scarborough Yorkshire Location: Southport, Lancashire
Courses: All levels from beginners katiebraida.com jamesoughtibridge.blogspot. FB: arthousesca
to intermediate. Taster courses, FIRED ART DESIGNS co.uk sca-network.co.uk
general pottery and throwing Courses: 1:1 wheel work, JIM ROBISON CERAMICS CRAFFITY POTTERY STUDIO
courses. Open access facility for brushwork, surface decoration. Courses: Week-long Ceramics, and Courses: 'Create with Clay' drop-in
more advanced makers coming Handbuilding, slab work, coil Glaze and surface courses sessions, with or without input.
soon work. Classes Dates: Various Regular and seasonal workshops
Dates: See website Dates: Various Location: Holmfirth, Huddersfield Dates: Various
Location: Dumfries & Galloway Location: Pontefract, Yorkshire boothhousegallery.co.uk Location: Bury, Greater Manchester
clayworksstudios.co.uk firedartdesigns.co.uk SCULPTURE LOUNGE STUDIOS craffitycreations.co.uk
FORGAN ARTS CENTRE JILL FORD Courses: Throughout the year THE CRAFTY POTTER
Courses: All levels and ages catered Course: Workshop and Day Dates: Contact directly for further Courses: Throwing, hand-building
for in hand building, throwing, Raku, Courses information & modelling
sgraffito and mishima Dates: Thursday evenings & day Location: Holmfirth, West Yorkshire Dates: Various
Dates: Various (see website) courses throughout the year sculpturelounge.com Location: Chorley, Lancashire
Location: Newport on Tay, Fife Location: York, Tel: 01717 289008 ANNA-MERCEDES WEAR thecraftypotter.co.uk
forganartscentre.co.uk JOY GIBBS PRICE CERAMICS @ Courses: Regular one-day THE DOWN TO EARTH
SeaTree Crafts GRAPE VINE STUDIOS handbuilding courses, includes POTTERY
Courses: Beginners' classes, Courses: Handbuilding, throwing, making and decorating animals and Courses: Hand-building for
workshops, after school club, raku figures beginners to advanced. We are
supervised open access Dates: Weekly sessions, Thurs Dates: Throughout the year always trying out new techniques
Dates: Various 6-8pm, Location: Sheffield such as use of decals and coloured
Location: Innellan, Argyll Fri/Sat 10am-12pm anna-mercedeswear.com clay
seatreecrafts.co.uk Location: Mattersley, Doncaster Dates: Year-round: Tuesday pm
joygibbsprice.co.uk LANCS/CHESHIRE/ and Wednesday eve. Some
THE WEE MUD HUT Saturdays
Courses: Handbuilding and GREENWOOD CRAFTS MERSEY Location: Clitheroe. Lancs
throwing for all ages/abilities. Courses: Handbuilding; throwing
E: lesleywoods19@hotmail.com
Groups and individual sessions from beginners onwards BALTIC CLAY
FB: thedowntoearthpottery
Dates: Various Dates: All year Courses: Evening and weekend
Location: East Kilbride, Scotland Location: N Yorks clay courses PAUL GOULD/MON CERAMICS
Lanarkshire tryacourse.co.uk Dates: Tue, Wed, Thurs (6.30pm - Courses: Beginners & intermediates
theweemudhut.co.uk 8.30pm) & Sat Dates: Tuesdays & Wednesdays
LEAFY LANE POTTERY BY 2-4pm and 7-9pm
SUZIE Location: Liverpool
balticclay.com Saturdays and Sunday workshops:
CUMBRIA/N EAST Courses: Hand building courses various dates throughout the year
for all abilities. Learning disabilities, BLUE BUTTERFLY CRAFTS Location: The Wirral
MUDDY FINGERS POTTERY residential homes, schools and Courses: Handbuilding. monceramics.co.uk
Courses: Adult night classes private sessions, and sculptures for Weekly 2-hr sessions and day-courses
your home and gardens Dates: Various, see website GREEN MAN CERAMICS
Dates: Tuesday and Thursday
Dates: Throughout the year and Location: Accrington, Lancs Courses: Pottery Discovery weekends
evenings, every six weeks
area bluebutterflycrafts.co.uk Dates: Various,
Location: Jarrow, Tyne and Wear
Location: Hull and East Yorkshire Location: Colne, Lancs
muddyfingerspottery.com JOAN CHAN
Tel: 07886 841936 Tel: 01282 871129
ANNIE PEAKER Courses: Introduction to clay,
E: leafylanepottery@gmail.com PILLING POTTERY/NORTHERN
Courses: Figurative Ceramic handbuilding, throwing, slip casting,
NORTHLIGHT ART STUDIO KILNS
Courses glaze workshop
Courses: Evening and day Courses: From novice to
Dates: April - October (3 & 5 Days) Dates: Afternoons and evenings
workshops, summer schools and professional: throwing, hand-
Location: Penrith, Cumbria Location: Greasby, Wirral
taster days. All levels building, glazing, making glazes,
anniepeaker.co.uk Tel: 07803 848212,
Dates: Weekly and throughout the kiln loading, programming kiln
E: joancchan@aol.com
year controllers, fitting elements
FB: jccermaics
YORKS Location: Hebden Bridge, Yorks Dates: Various
THE CLAY HOUSE Location: Pilling, Lancs
Tel: 01422 843519 Courses: Two 3-hr workshops every
ART HOUSE, SHEFFIELD pillingpottery.com
Courses: Wheel, handbuilding, northlightstudio.co.uk month THE POTTERS BARN
porcelain, raku, figurative, OLD STABLES STUDIO Dates: Various, see website Courses: Adult half & full day:
workshops, summer intensive Courses: Throwing: bootcamp, Location: Cedar Farm, Mawdesley, beginners throwing &
week (chimeneas) weekends, tasters and regular nr Ormskirk, handbuilding. Intermediate &
Dates: Mon-Sat 10am-9pm classes Tel: 01704 807320 advanced throwing. Raku & pit
Location: Sheffield City centre Dates: Various theclayhouseatcedarfarm.co.uk firing
arthousesheffield.co.uk Location: Hebden Bridge, CLAYWORKS Dates: Various
KATIE BRAIDA Yorkshire Courses: Evening & daytime Location: Sandbach, Cheshire/
Courses: weekly class and day JAMES OUGHTIBRIDGE classes for all abilities (with Staffs border
workshops Course: Large Scale Slab Building occasional weekend events such as thepottersbarn.co.uk
LINDA SOUTHWELL DEEPDALE POTTERY
Courses: Evening classes and Courses: Handbuilding and
one-to-one experiences throwing for beginners and
Dates: Wednesday evenings and experienced
by arrangement Dates: Weekend and weekday
Location: The Harley Ceramics courses, including yurt
Studio, Welbeck, Worksop accommodation if required,
lindasouthwell.co.uk throughout the year
Location: Barton upon Humber,
WALES North Lincs
yurtatthechapel.co.uk
BASEART STUDIO, GALLERY &
POTTERY WORKSHOPS HILLS ROAD SIXTH FORM
Courses: Handbuilding; throwing; COLLEGE
1-2-1 one-off sessions; parties Courses: Handbuilding, throwing,
(adults, children, team-building) plus summer school workshops
Dates: Ongoing, days and evenings Dates: Various
Location: Taff’s Well, Cardiff Location: Cambridge
baseart.org hillsroadadulteducation.co.uk
CARDIFF POTTERY THE POT SHOP
WORKSHOPS Courses: Individual and small
Courses: Handbuilding; throwing; groups pottery classes in a
one-off Saturday sessions; 1-2-1 professional workshop
throwing; masterclasses with Dates: Various, throughout the
CARLA POWNALL tuition. Anyone from beginner year
Courses: Throwing, 6-week course, upwards is welcome. monthly Anne Gibbs; parties (children,
adults, teambuilding); pottery Location: Lincoln
beginner to advanced using membership scheme for more Facebook, Twitter & Instagram:
stoneware and raku clay. advanced makers membership tutored & un-tutored
Dates: 6-wk day & eve sessions, @potshop1
One-off courses on last Saturday Dates: Various
various Tel. 01522 528994
of the month. Location: Hulme, Manchester
Dates: Weds am & pm, plus last claystudio.co.uk Location: Cardiff Potterydayz
weekend of the month cardiffpotteryworkshops.com Courses: Wheel throwing for
MIDLANDS ART CENTRE
Location: Wirral GLOSTERS beginners and more experienced.
Courses: Ceramics Open Studio
E: carlapownall@yahoo.com Course: Throwing Raku courses through the summer
Dates: Various
FB: carlapownallceramics Dates: April, Dates: Saturdays, 9.30-3pm
Location: Birmingham
Location: Porthmadog Location: Peterborough/East
macbirmingham.co.uk
glosters.co.uk Midlands
NOTTS/DERBYS/ Parkwood Throwing FB: @potterydayz
LEICS/MIDLANDS Courses JANE MALVISI E: potterydayz@gmail.com
Courses: Basic and intermediate Courses: Pottery classes, including
SANDY BYWATER @ CURIOUS throwing Raku. All abilities welcome Woodnewton Pottery
STUDIOS Dates: 8-week Thurs evenings, Dates: Mon/Tues/Weds days and Courses: Weekly; throwing, hand
Courses: All pottery skills, suitable weekend courses, taster sessions evenings building, decorating (Tues/Weds).
for the beginner or the more Location: Nr Alfreton, Derbyshire Location: Bridgend, S Wales Clay sculpture
experienced parkwoodthrowingcourses.co.uk janemalvisi.co.uk Dates: Throughout the year
Dates: Tuesday afternoons and Location: Near Peterborough
PLAY WITH CLAY ORIEL BODFARI GALLERY AND robbibbyceramics.co.uk
evenings. Monthly, Saturday Courses: Throwing, toddler clay POTTERY
themed workshops Dates: Saturday mornings, Courses: Throwing, handbuilding, ZOO CERAMICS
Location: Sneinton Market, Tuesday afternoons, throwing Raku, etc Courses: Half and full day
Nottingham weekly by appointment. Dates: Various handbuilding workshops, 10-week
sandybywaterceramics. Location: Loughborough Location: Bodfari, North Wales pottery classes
wordpress.com creationspottery.co.uk orielbodfarigallery.co.uk Dates: Various
CAN-DO POTTERY Location: Waddington,
SEVEN LIMES POTTERY
Courses: Hand-building for Lincolnshire
beginners
Courses: Varied courses/classes CAMBS/LINCS zooceramics.co.uk
Dates: All
Dates: Thursdays 10.30am-12.30pm Location: Moss Side, Manchester PAULA ARMSTRONG
Location: Mellor, Stockport 7Limes.co.uk
candopottery.wixsite.com/
Courses: Handbuilding, workshops WORCS/SHROPS/
group
SEYMOUR ROAD STUDIOS Dates: Monday and Thursday STAFFS/HEREFORD
Courses: Weekly/1-day weekend mornings, Tuesday & Thursday
THE CLAY ROOM LEICESTER classes evenings, monthly Saturday ALL-YEAR-ROUND POTTERY
Courses: Range of classes for all Dates: Various workshops Courses: Weekly classes; taster
abilities, plus membership scheme Location: West Bridgeford, Notts Location: Willingham, Cambs sessions; one & two-day courses
for more experienced makers seymourroadstudios.co.uk parmstrongceramics.co.uk in throwing, hand-building and
Dates: Throughout the year PAT SHORT CERAMICS MATTHEW BLAKELY decorating; pottery parties for all
Location: Leicester Courses: Beginners’ handbuilding Courses: Weekend Courses: ages. All for beginners and more
theclayroom.co.uk workshops Throwing, Porcelain throwing advanced
CLAY STUDIO MANCHESTER Dates: Various Dates: Monthly Dates: Various all-year-round!
Courses: One-off taster sessions to Location: Edgbaston, Birmingham Location: Lode, Cambs Location: South Herefordshire
regular weekly courses and 1-to-1 patshortceramics.com matthewblakely.co.uk all-year-round.org.uk
AMERTON ARTS STUDIO Wednesday & Thursday (running for potterycourses.net details
Courses: Life sculpture. Working 6 weeks) BRICK HOUSE CRAFTS Location: North Marston,
from a life model to create a Location: Wolverhampton, Courses: handbuilding, throwing, Buckinghamshire
figurative sculpture. Step-by-step Staffordshire decoration, mould making, raku northmarstonpottery.co.uk
tuition, beginners welcome thesculptureplace.co.uk in the summer. Beginners to KATE RADFORD POTTERY
Dates: Termly, Saturdays STONEHOUSE STUDIOS professional welcome. Leisure Courses: Hand building, throwing
Location: Stowe by Chartley Courses: Throwing & handbuilt classes & City & Guilds L2 and L3 and sculpture for all abilities and
amertonartstudio.com ceramics, sculpture & life sculpture. courses ages. Electric, gas and raku firings
BRITISH CERAMICS BIENNIAL Portrait drawing, painting, & general Dates: Tues - Friday 10am to 4pm, Dates: Weekly courses on a
Courses: Beginners & Intermediate art. One off workshops & one-to- Sat 10am - 12 midday Wednesday, Thursday and Friday
Dates: Tuesday & Thursday one tuition on request Location: Silver End, Essex daytime and evenings, one to one
Location: Stoke-on-Trent, Dates: Throughout the year brickhouseceramics.co.uk and group sessions available
Staffordshire One offs by arrangement Location: Kensworth, South
MARIAM CULLUM
The BCB operates a clay school and Location: Drayton Basset, nr Bedfordshire
Courses: 1:1 tuition in throwing,
a variety of courses throughout the Tamworth, Staffs kateradfordpottery.co.uk
hand-building, slip-casting, surface
year. stonehousestudios.co.uk decoration and glaze preparation RUBY SHARP
britishceramicsbiennial.com WOBAGE FARM CRAFT and application. Courses: Hand building, throwing,
EARTH AND FIRE CERAMICS WORKSHOPS Dates: Various - Monday to Friday decorating pots, sculpture for home
Courses: hand-building, throwing Courses: Various multiple-day 10am-4pm and garden
by arrangement, pop-up pottery. throwing workshops Location: Bury St Edmunds Dates: Throughout the year
1:1 or small groups, 2-hour intensive Dates: Various mariamcullumceramics.co.uk (weekend & day sessions available)
lessons Location: South Herefordshire Location: Amersham,
KATIE'S POTTERY STUDIO
Dates: Various, 4-weekly courses workshops-at-wobage.co.uk Buckinghamshire
Courses: One-to-one & small group
Location: Great Haywood, Stafford rubysharppottery.co.uk
tuition in throwing, handbuilding,
Facebook: @earthandfireceramics WARKS/N’HANTS/ decorating, glazing & firing for all
KAREN FINCHAM CERAMICS OXON ages and abilities. Children's WILTS/HANTS/
Courses: Hand building and Saturday class BERKS
throwing. One to one and group CENTRE OF ENGLAND ARTS Dates: Throughout the year
sessions Courses: Novice to experienced, Location: Leiston, Suffolk ANGELS FARM POTTERY
Dates: Weekdays, evenings and including throwing katiespotterystudio.co.uk Courses: Residential (B&B) & non-
Saturdays Dates: Weekly, Thursday evenings SUDBURY POTTERY CLASS residential. Throwing, handbuilding,
Location: Redditch, Worcestershire 7-9pm Courses: Weekly classes, decorating
clayclass.co.uk Location: Nr Solihull workshops, one offs and pottery for Dates: Sat and w/ends once a
LoveClay at Valentine coea.co.uk kids. Various hand building, slab, coil month. Weekly evening classes &
Clays P-U-P Rugby and surface decoration. All abilities Fri am. One-off days for groups,
Courses: Basic/intermediate/ Courses: Pop-up pottery, pay-as- welcome min 4, max 8 attendees
professional/families. Throwing, you-go. Come and have a go! Dates: Weekly, daytime and Location: Lyndhurst, New Forest,
slip casting & slip decorating, Dates: Wednesdays, fortnightly evening/ some weekends Hants.
sculpture, basic ceramic techniques, Location: Newton Village Hall, nr Location: Sudbury, Suffolk angelsfarm.co.uk
professional masterclasses, ceramic Rugby sudburypotteryclass.co.uk BRACKNELL AND
painting FB: @popuppotteryrugby Thaxted Potters WOKINGHAM COLLEGE
Dates: Evenings & weekends E: puprugby@gmail.com Courses: Beginners and Courses: Mixed ability adult
(various) SWANSPOOL CERAMICS intermediates leisure classes taught throughout
Location: Stoke-on-Trent Courses: Handbuilding, throwing, Dates: Various 6-week sessions the daytime and evening. All
loveclay.co.uk all levels. Open access studio. Location: Thaxted, Essex abilities welcome in our well-
Weekend courses & one-off thaxtedpotters.co.uk equipped pottery studio, where
POP UP POTTERY STUDIO
experiences a range of pottery techniques
(EARTH & FIRE CERAMICS)
Dates: Termly, year-round are taught by experienced tutors.
Courses: Beginner courses to learn
Location: Castle Ashby, Northants
BEDS/BUCKS/HERTS One-day specialist courses taught
simple techniques
swanspoolceramics.co.uk throughout the year
Dates: Tuesday evenings & CLAY WITH CAROLE Dates: Mon – Thurs, daytime and
Friday afternoons Courses: Handbuilding, throwing evening
Location: Great Haywood (near NORFOLK/SUFFolk/ Dates: Various Location: Woodley Hill House,
Stafford), Staffordshire ESSEX Location: Hitchin, Herts Earley, Berks
E: carolinefarnellsmith@gmail. claywithcarole.co.uk bracknell.ac.uk/courses/
com PHIL ARTHUR DIGSWELL CERAMICS Leisure/courses/ceramics-
POTCLAYS Courses: Pottery classes COMMUNITY sculpture
Courses: Basic/Intermediate/ Dates: Tuesday evening, Thursday Courses: Beginners’ tuition, Tel: 01344 868600
Advanced Throwing, Intro to glazes, afternoon support for experienced potters ‘CLAY SURGERY’ WITH
Pottery Basics, Moulding and Location: Cawston, Norfolk Dates: Tuesdays, Thursdays SUZANNE & ABBY
Slipcasting, Tilemaking E: Philarthur1951@btinternet.com Location: Letchworth Courses: Throwing, handbuilding,
Dates: Various DEBORAH BAYNES FB: Digswell Ceramics glazing, raku, mould-making for
Location: Stoke-on-Trent Courses: Residential and Community beginners and improvers
potclays.co.uk nonresidential E: debbie@debbiebent.com Dates: Weekends throughout the
THE SCULPTURE PLACE Dates: Weekends (spring/autumn), NORTH MARSTON POTTERY year
Courses: Figurative Sculpture Classes full weeks (July/Aug) Courses: Variety of pottery courses Location: Waterlooville, Hants
Dates: Weekly sessions: Monday, Location: Shotley, Suffolk Dates: Contact directly for further E: abbyducharme@hotmail.co.uk
THE CREATIVE CAVERN BANWELL POTTERY BURWASH POTTERY
Courses: Various, inc 1:1 throwing, Courses: Throwing, handbuilding, DEVON/CORNWALL Courses: Various handbuilding,
Dates: Various modelling, slab work, coil work, Christow Pottery decoration. All levels. Classes,
Location: Winnersh, Berks tile-making Courses: 2-day saggar & raku-firing workshops, parties, taster sessions
thepaintnightcompany.co.uk/ Dates: Weekly evening class, Weds weekend workshops with Abi Dates: Terms of 6 weeks, various
pages/the-creative-cavern 6-8pm Higgns/Alison West. All abilities Location: Burwash, East Sussex
Eastcott Studios Location: Weston-super-Mare, Dates: Throughout the year burwashpotter.co.uk
Courses: Workshops, classes, drop- N Somerset Location: Devon THE CERAMIC STUDIO
in sessions, open access banwellpottery.org abihiggins.co.uk Courses: From beginner to
Dates: Various CARANTOC ART alisonwestceramics.com professional, plus taster sessions
Location: Swindon, Wilts Courses: Intensive & regular classes GOONZOYLE POTTERY Dates: Various
eastcottstudios.co.uk available in pottery & ceramic Courses: Wheel, handbuilding, Location: Five Oak Green, Kent
FIRED THOUGHTS ARTS sculpture glazing, raku and pit-firing. For all theceramicstudio.me.uk
STUDIO Dates: Year-round abilities in fully equipped rural studio. CERNAMIC
Courses: Ceramics & ceramic Location: Weston-super-Mare, Dates: Morning, Afternoon & Courses: With Nam Tran; throwing,
sculpture courses/workshops, all North Somerset Evening drop-in workshops mould-making, raku
skill levels. Raku, 1:1 throwing, all carantoc-art.co.uk throughout the year. Contact Dates: Various
handbuild techniques CREATIVE CLAY FOR ALL directly for more information. Location: SE London
Dates: Weekly, daytime & Travelling clay workshops for those Location: Camborne, Cornwall cernamic.com
evening/weekends who have no access to a kiln. Ideal for FB: Goonzoylepottery Claynglaze Pottery
Location: Devizes, Wilts community groups. Based in Dorset marykaunenglish.com Studios
E: whelan581@btinternet.com facebook.com/creativeclayforall LEACH POTTERY Courses: Pay as you go pottery for
JEANNE LEWISTIFF E: creativeclayforall@yahoo.co.uk Courses: 3 & 5-day throwing, all levels. Various training days/
Courses: Small groups or 1-1 in PATRICK ESSON evening weekend courses & fine art
throwing and/or hand building Courses: Modelling, coiling, slab classes handbuilding, throwing workshops
Dates: Contact for details work, pinching, throwing Dates: Various, each month Dates: Days, evenings & weekends
Location: Maidenhead, Berkshire Dates: Various Location: St Ives, Cornwall throughout the year
E: Jeannelewi@hotmail.co.uk Location: Gloucester leachpottery.com Location: West Sussex
SASHA WARDELL E: p.esson@aliqua-art-gallery.com TARKA POTTERY claynglaze.co.uk
Courses: Bone china & mould CHARLOTTE MILLER Courses: All levels from beginners THE CLAY PLACE
making courses CERAMICS to intermediate all year round. Courses: 6-week courses, one-day
Dates: May to September ( incl.) Courses: Throwing, handbuilding, Taster sessions for individuals or workshops, bespoke clay days.
in SW France /Feb & March in Wiltshire mould-making, surface decoration groups, weekly throwing and Hand building techniques, slab, coil,
Location: SW France/ Wiltshire Dates: Termly part-time, taster handbuilding courses. surface decoration
sashawardell.com workshops, pottery parties Child/family workshops, parties Dates: Wednesday/Friday 6-week
STONEHENGE POTTERY Location: Bournemouth Dates: Tuesday to Saturday courses
Courses: weekly classes, Tuesday charlottemillerceramics.com Location: North Devon Various dates for one-day workshops
and Thursday, hand building and KITE STUDIOS CLAY STUDIO tarkapottery.co.uk Location: Ashurst, West Sussex
throwing. Weekender workshops Courses: Throwing, handbuilding, jwceramics.net
and group sessions by arrangement glazing, adult & children courses KENT/SUSSEX/ THE CLAY ROOM UK
Dates: Various all year round weekly & weekend. One-to-one SURREY/LONDON Courses: Clay taster workshops;
Location: Winterbourne Stoke, sessions and pottery birthday introductory pottery; mould-
Near Salisbury and Amesbury parties ART OF MINE making & slip-casting; transfer;
Tel: 01980 620328 Dates: Mon-Sat various times Courses: 1-1 throwing tuition, hand termly pottery courses; Christmas
stonehengepottery@ Location: Kemerton, building, surface decoration for all workshops & private lessons
btinternet.com Gloucestershire, and London ages and abilities. Birthday parties, Dates: Various
kitestudios.org team building and taster sessions Location: Chelsfield, Orpington
DORSET/GLOS/ NEW BREWERY ARTS Dates: Various theclayroomuk.com
SOMERSET/AVON Courses: Variety of ceramic courses Location: Maidstone, Kent THE CLAY STUDIO
Dates: Contact directly for further E: info@thisartofmine.co.uk Courses: Handbuilding, throwing,
ARTISAN CRAFT CLASSES & details ART SHOP AND POTTERY surface decoration, glazing for
WORKSHOPS Location: Cirencester, Courses: 1-to-1 throwing tuition. beginners/experienced potters.
Courses: Weekly pottery classes - Gloucestershire One-off taster sessions & longer Raku, smoke-firing and animal
wheel and handbuilding newbreweryarts.org.uk courses available. Slabbing, tile sculpture
Dates: Mondays and Wednesdays, RUARDEAN GARDEN POTTERY making and Kids Clay Club. Dates: Mon-Thurs all day inc
one-offs by arrangement Courses: Weekends, week-long Dates: Monday to Saturday evenings
Location: Winterborne Monkton, Courses: Throwing, Pot Making 10.00am - 6.00pm Location: Groombridge, nr
Dorchester Dates: Various Location: Brighton & Hove Tunbridge Wells
E: mail@artisandt1.co.uk Location: Forest of Dean artshopandpottery.com E: claystudio@eunicelocher.com
ASHBROOK STUDIO ruardeanpottery.com AYLESFORD POTTERY The Clay Workshop
Courses: Throwing, handbuilding, Rachel Fooks: Ceramics Courses: Raku days, 1-day, 10-week Courses: Throwing, hand-building,
glazes Courses: Weekly classes and Pottery classes, Mould Making, glazing, decorating, raku. All levels,
One-to-one or small group, daily one-off sessions, hand-building & Glaze Theory & Application inc 1:1s
Dates: All year throwing for all abilities Dates: Various terms Dates: Various, ongoing
Location: Waterrow, Somerset Location: Wareham, Dorset Location: Aylesford, Kent Location: Central Eastbourne
ashbrook-ceramics.co.uk rachelfooksceramics.com aylesfordschoolofceramics.co.uk grahammatthewsceramics.com
MAZE HILL POTTERY
Course: Weekly Evening Classes FRANCE
Dates: Throughout the year L’APIPOTERIE /E. PENSA
Location: Greenwich, London
Courses: Handbuilding for
mazehillpottery.co.uk
utilitarian use and animal
PADDOCK STUDIO POTTERY sculpture.
Courses: 1-day individual or Bilingual course French and
shared, throwing, handbuilding English
Dates: Various Dates: 10-12 July and
Location: Lewes, East Sussex 25-27 August
thepaddockstudiopottery.co.uk Location: Beaufort sur Gervanne/
THE PAINTING POTTERY CAFE South East of France in the Vercors
Courses: Evening classes: regional park
LAURA CROSLAND CERAMICS Location: Whitstable Throwing, coiling, slab & pinch for E: epensa26@gmail.com
Courses: Various, one-to-one or E: jc.griffiths@btinternet.com different monthly projects. MAS SARRAT POTTERY
group HANDMADE IN CHISWICK All materials and glazes provided. Courses: Introduction to pottery
Dates: Various Courses: Weekly classes and £35pp (handbuilding and throwing).
Location: Chatham, Kent one-off workshops inc 1:1 throwing. Dates: 3rd Thursday of the month Improver pottery handbuilding
lauracroslandceramics.com Studio time for more experienced 6.30-9.30pm
and throwing) 5-day courses
PETER CUTHBERTSON learners Location: Brighton
Dates: April 16-30 and 23-27
Courses: Throwing and Dates: Term time for weekly paintingpotterycafe.co.uk
Location: Cazals, Lot, France
handbuilding, classes, by arrangements for POTTERY CORNER @ NO. 45 Jenniegilbert.com
beginners and more advanced workshops and studio time Courses: Clay club, Raku, Facebook: @cvpotterycourses
Dates: Weekly regular day and Location: London, W4 handbuilding and throwing courses
UN PETIT TOUR DE TERRE
evening classes plus one off HandmadeinChiswick.weebly.com available.
Courses: All levels, hand-building,
weekends by arrangement Twitter: @jolyopsimath Clay club on Tues/Thurs evenings,
others various throughout the surface decoration, making
Location: East Hoathly, East Sussex THE KILN ROOMS
year tools, raku, glazing. Full-board
E: peter.cuthbertson@ Courses: Beginners one-off taster
phonecoop.Coop Location: Chichester, West Sussex accommodation available
sessions; beginners taster classes: Dates: All year round,
EASTBOURNE STUDIO beginner/intermediate courses E: sarahamos1305@gmail.com
Monday 9am to Friday 5pm
POTTERS in hand-building, throwing, SULEYMAN SABA Location: Saint Génies de
Courses: Throwing, hand building, decorating, glazing. Courses: Pottery classes Comolas, France
surface decoration and glazing Masterclasses. Open access Dates: Tuesday and Wednesday Facebook: @FredPotierGres
for beginners and experienced Dates: Various, year round, plus evenings (Clapham),
potters. open access Mondays and Tuesdays (Kingsbury) SASHA WARDELL
Plus, Personal Project Development Location: Three studios in Location: London (Kingsbury and Course: Bone china & mould
with specialist support. Open Peckham, East London Clapham) making courses
access: studio hire available for thekilnrooms.com suleymansaba.com Dates: May to September (incl)
experienced makers in SW France/Feb & March in
KITE STUDIOS CLAY STUDIO STAR POTTERY
Dates: Weekly courses throughout Wiltshire
Courses: Throwing, handbuilding, Courses: Taster, Weekly classes
the year. Personal Project on Weds Location: SW France/Wiltshire
glazing, adult & children courses Dates: Various
6-9pm. sashawardell.com
weekly & weekend. Location: Lewes, East Sussex
Location: Eastbourne One-to-one sessions and pottery hamid-pottery.co.uk
E: eastbournestudiopottery@ birthday parties spain
IMOGEN TAYLOR-NOBLE
gmail.com Dates: Mon-Sat various times Courses: Weekly pottery classes
eastbournestudiopottery.com Location: Kemerton, TOTEM CERAMICS POTTERY
for adults and children.
FOREST ROW SCHOOL OF Gloucestershire, and London Suitable for all levels. SCHOOL
CERAMICS kitestudios.org Hand-building, glaze mixing & Courses: Throwing, sculpting,
Courses: Adult intensive throwing Clover Lee Ceramic glazing, experimental firing days. handbuilding, slip casting,
and handbuilding weekly classes. Courses: Throwing courses for one Obvara, Raku, & Saggar. 1:1 throwing general skills for beginners.
Weekend workshops: raku, soda/ day or 6 weeks, and independent sessions at my Whitstable studio Weekly classes & courses
smoke firing, animal sculpture, sessions for all abilities Dates: Various Dates: 1-5 day courses, weekly
glaze chemistry, slip decorating. Dates: Weekly regular, weekends Location: Espressions Art Cafe, classes, year-round
Three-month residential Sept-Nov and private booking available Canterbury Location: Andalucia
2018 through out the year imogentaylor-noble.com totemceramics.com
Location: Forest Row, West Sussex Location: South West London, SW19 TURNING EARTH
frschoolofceramics.co.uk clover-lee.com Courses: Open access studio REST OF WORLD
GO CREATE LILLAGUNILLA CERAMIC Tues-Sun for all levels – must be
Courses: Pottery, sculpture & craft STUDIO working independently. DUCTAC, MALL OF EMIRATES
Dates: Various Courses: One-day workshops and Classes available, see website for Courses: Introduction to ‘Pottery
Location: SW London Saturday classes in throwing and details/availability for all’; hand-building & throwing.
gocreate.co.uk hand-building Dates: Open access studio Tues- Trial sessions
CLAIRE GRIFFITHS Dates: Various Sun. Dates: Sunday, Monday, Thursday
Dates: Starting September; Location: Charlton, South East Location: Hoxton E2 and Lee Valley 10-1pm. Tuesday 6.30-9.30pm
Weds 10.00am -12.30pm & London E10, London Location: Dubai, UAE
Thurs 7.00- 9.30pm lillagunillaceramics.co.uk e2.turningearth.uk ductac.org
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CREATIVE IDEAS
7 STEP-BY-STEP
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ART IN CLAY Make a pebble
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001 Clay Craft Cover Issue 5 v1.indd 1
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ISSUE 8 ISSUE 9 ISSUE 10
• Thrown teapot • Hanging porcelain birds • Throwing teabowls off
• Pinched scoops • Pierced heart tree the hump
• Slip-casting decorations • Sling mould fish plate
For digital issues go to • Slab-built sandwich tray

• Woven basket from coils
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pktmags.com/claycraft • Slip-trailing • Candleholders
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SPRING GREAT IDEAS FOR THE GARDEN 28 PAGES OF STEP-BY-STEP PROJECTS 47 PAGES OF HANDS-ON TUTORIALS

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ISSUE 11 ISSUE 12 ISSUE 13 ISSUE 14 ISSUE 15

• Throwing a kitchen bowl • Thrown glaze-test ring • Thrown flowerpot • Thrown planter • Herb/strawberry planter
• Heart ramekins • Slab-built planter and • Ball clay decoration • Slip & ball clay decoration • Slab lamp base
• Slip-cast lamp shade tray • Rhubarb forcer • Colouring clay Pt 2 • Whale moneybox
• Coil and slab-built • Pinched rabbit • Colouring clay • Bisque template • Colouring clay Pt 3
vessel • One vase, two shapes • Making original sprig • Foam pressing • Salt pig
• Smoke-firing • Casting mugs moulds • Earth & Fire • NCECA
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SUMMER BERRY BOWL & DISHES

MOON JAR GLAZING FAKE CELADONS CAST VASES

On the cover this month is our entertainment show, not a serious,

38 PROJECT 4: berry bowl

Your guide to pottery and WORCESTERSHIRE

country Porcelain potter Issue 18

Save money and have

the magazine delivered to your

NE Clay College Founders plates

leading studio potters within tries to show the breadth of

The Great Pottery New Ceramic Vessels by Jo Davies

days at Potfest in the Pens,

New autumn courses

Clay College masterclass Deadline for applications is 5pm, 31 August

You will need: For

Turning the foot ring

 You can turn the foot of the bowl by placing it directly

 Begin by flattening the base of the bowl with the turning

 With the fingers of your For a video on

 Returning to the foot, score a circle about 4mm in from

Trim away the clay from the

Refine the foot by cutting into the inner bevelled edge

 Return to the outside wall

Clay: White stoneware

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TEXTURED PLASTER BATTS

Roll a 5mm thick

You will need: 3

1  With the roller guides still in place, roll the textured

 Decide on a size for your slabs. 30cm square is a good

Using the ratio of plaster to water below, estimate

 Surform the upper edges of the plaster as you did on

Decide on a shape for your vase. Play around with

 Place the textured batts in your chosen shape, on the

You now have the option to fettle the rim to neaten

This is a suggestion for decoration using underglaze

If the colours have bled out of the

Alternatively, apply a coloured clear glaze which will

You will need: 2

Before you begin:

Apply a second/contrasting glaze colour on the inside

 Paint the glaze over the

 Allow the first coat of glaze to dry, then apply a second

T hree years ago, when Hannah

 1. After wedging and kneading an 11-pound lump of clay, I centred it on the

Another way to make a celadon-like

You will need:

For instruction on mould-making go to

 Cut a second semi-circle and place it in the mould,

Apply a little slip to the scored edges then join them

Reinforce the inner area of the foot with a coil of soft

 Place the footring on the base of the bowl using the

 Decide on a position for the handles on opposite sides

 Neaten the holes up with a pointed wooden tool to

 Turn the bowl over and

 If you have suitable moulds you can make small dishes

Allow the finished bowl to dry out over an upturned

 The finished set has been glazed in Capri Blue brush-on

W ell, I didn’t get that funding I

 … wilful ignoring of  The rim needed an

You can turn the foot of the bowl by placing it directly

Begin by flattening the base of the bowl with the turning

With the fingers of your For a video on

Returning to the foot, score a circle about 4mm in from

Return to the outside wall

1 With the roller guides still in place, roll the textured

Decide on a size for your slabs. 30cm square is a good

Surform the upper edges of the plaster as you did on

Place the textured batts in your chosen shape, on the

Paint the glaze over the

Allow the first coat of glaze to dry, then apply a second

1. After wedging and kneading an 11-pound lump of clay, I centred it on the

Cut a second semi-circle and place it in the mould,

Place the footring on the base of the bowl using the

Decide on a position for the handles on opposite sides

Neaten the holes up with a pointed wooden tool to

Turn the bowl over and

If you have suitable moulds you can make small dishes

The finished set has been glazed in Capri Blue brush-on

… wilful ignoring of The rim needed an

Cut out a card template measuring 20 x 28cm (the back),

Roll a large slab of clay on a plastic sheet, using roller

Using the knife, very Place the tree template, texture

When you have finished cutting out all the

Place the large card template

7 Roll out another large slab of clay in the same way.

Bevel three edges of two of the side sections, all four

Apply slip to the scored edges and begin to construct

Reinforce the join on

Fix the head onto the body

From an even smaller ball of clay, make the back of

At this point you need to decide how realistic or naïve

Roll a short coil with a pointed end and attach it to the

Stand the box on a board and place a second board

Fix the little bird on the box in the same way.

Paint over the texture detail

All that remains is to fire the bin to the recommended

Charlie, along with another two