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    ClayCraft 27 2019

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    of 43
    PINCH, COIL, SLAB AND THROW Issue 27 Thrown tagine and handbuilt butter dish MT —— Dal Gee Herb stakes and aa Soe < VUARIAL USANA Join’ i mud “ WOrK Of Jon d Meet the team. Jacqui Atkin Coiled tagine p50 Doug Fitch Diary column Cod Pere ee Prec ret aeeTd Cerrar) ‘Simon Shaw Butter dish p8 Welcome ts ‘would call a #LateReview, Holiday weekend. 'd never been there churches, squares, a river and extremely sant buildings in golden sandstone, nice people, What more could you want? I say the people were nice, in all truth I only met a traffie warden —who, very kindly, didn’t issue me with a (deserved) ticket — and the potters at the Stamford Pottery Market, but they were all lovely Katherine Winfrey, who started the event nine years ago, explained that the exhibitors are a combination of professional and keen amateur potters, and the work on display was enticing ‘There was something for everyone, and Tl certainly be back next year, making. sure I have more time to find a legal parking spot, and to spend perusing the stands, Ceramic Wales is another show that’s well worth a visit, particularly this year, when it will move to a new venue offering better access and parking, and ‘outdoor marquees. If you've been before and found it hard to negotiate, do support it by giving it another go. The ind you'll have the chance to speak to Jacqui Atkin about our projects, things you'd like us to cover, and ask about anything else exhibitor list is impressiy ted You'll notice a book ad on page 38. This is a collection of handbuilding projects taken from the magazine, plus ‘guides to the basic technique glazing, all edited into one volume. If you use the magazine as a teaching resource, this could be just the thing for your studio, No more leafing through individual magazines to find that project you know you sav; ifit's a star project, itll probably be one of included in this book. Available for pre-order now, more details will be available on our website shortly , 000 potclays.co.uk POTCLAYS Clay, materials, tools, equipment and kilns for ceramics. Est. 1932 (Onyx Black Porcelain 64-ONYX Image Credit: Shannon Tots ‘Cayce Magne Sertin Maar Hanger: worw kelsey.co.uk Issue 27 ClayCratt 3 ontents Is: 6 News 8 Project 1: butter dish Altering the shape of thrown forms is a good way of making items more individual, Iryou'te a beginner, the prospect may seem daunting, so starting with something small ke this butter dish is the best introduction to the technique 22 Red glazes Red has always been a difficult colour to obtain in ceramics Linda Bloomfield offers her expert advice on how to achieve great results| 24 Project 2: herb stakes This is a quick and easy project for gardeners who might like to 4° ClayCraft Issue 27 rz make their pots more exciting with individual plant stakes. If you don't garden yourself, the stakes make lovely gifts 30 Project 3: pebble planters Cacti and succulents look fabulous in these little planters, especially when grouped together, They are quick and easy to make, so you should be able to turn out your own little arrangement in no time at all 40 Project 4: bird brooches These little bird brooches are simple to make and look lovely fired in an array of colours and etal, Perfect to give as gifts, its hard to imagine anyone wouldn't bbe thrilled to receive one 50 Project 5: tagine For those who might like to make this coiled tagine, the question here is ‘should it have a hole in the lid or not? and after much research, it seems there's no ‘common consensus - some do, ‘and some don't, so you decide! 62 Stamford Pottery Market Katherine Winfrey explains how she came to set up this vibrant Lincolnshire event 64 Back issues Missed a month? All the available issues at a glance 66 Doug's Diary Spring Fling, a wedding anniversary, a tablewere commission for Hannah, jugling the school run with sorting out the workspace and, of course, making enough work to keep up with demand 70 Ceramic Wales A change of venue this year bodes well for this year's event. With better access and parking, and more exhibition space in ‘outdoor marquees, this is one to pput in your diary for July. Jacqui ‘Atkin will be there, and invites you to come along and ask her questions about anything clay- related 73 Events Find out what's on around the country 74 Confessions of a novice Tracey puts her moulds to use and casts her Parian goblets. It was a steep learning curve, as youll discover 38 Reader evii-lg sed a aad ed 76 Courses Fancy signing up for a class? Find fone near you in our useful listing 81 Next month ‘What's in store in the next issue 82 Me and my pot Sophie Dove's delightful moongazing hare has given her the impetus to take her pottery further Pottery for beginners lesue 27 ClayCratt 5 If you have a news story, product launch or details of some ‘other topical item you'd like our y/ email Cinjeratteceasey04 oe Tr oe BATT SYSTEMS Celebrating Ceramics at the Capital of Craft CRAF T... iB Northamptonshire-based Hartley and Noble has come up with an ever-increasing range of equipment for potters, from ribs to complete batt systems and drape moulds. All are manufactured from premium quality MDF that is thoroughly tested for waterproof qualities and warp resistance, and comes in 6mm, 9mm and 12mm, thicknesses. (One recent addition to the range is the Russian Doll 3-in-1 batt system. Simply attach the batt to your wheel head (with or without pins). Then select from 100mm, 150mm, or 200mm tile inserts. Pop the insert into the batt using the adaptor tiles included. When you've finished, lift the tile off and put your finished piece to one side. Put 2 fresh tile in, and throw your next WHITEKNIGHTS STUDIO TRAIL Whiteknights Studio Trail (WST) is back again with exciting new artists and trail regulars. There's something for everyone. Thirty-eight artists, designers ‘and makers of the Whitekniahts area of Reading will once again open their doors ~ 21 venues in total - and invite people to come, view and buy their work ‘as well as enjoy a pleasant stroll around the area and have cake and tea in various venues. As ever, the trail will also showcase Reading's creative community by including events, activities and demonstrations. Visitors can see and buy artworks ranging from fine art paintings, ceramics and printmaking to jewellery, furniture and photography. Enjoy a walk around the area and wander into artists' homes and studios. Discover the wealth of creativity in this area as well as buy artwork at affordable prices. You can browse and chat with the artist about their work while stopping for lunch and © ClayCraft Issue 27 piece. The CNC-cutting company can add personalised touches to orders ~ for example, suction-release tabs to batts - and is happy to discuss bespoke designs. You can order by calling 01933 818956, emailing info@ hartleyandnoble. co.uk, of by using the shop facility ‘on the company’s Facebook page @hertleyandnoble, where you can see videos of the products in action. @ hartleyandnoble.com refreshments on the way. One of the ceramicists taking part this year is Sue Mundy. (Sue Mundy Ceramics, Venue 16, Leighton Park School, Peckover Hall, Shinfield Road RG2 7ED). Sue combines the gentleness of undulating landscapes, the turmoil of the sea and the soft sensuality of the human form into her work. Using a variety of traditional hand building techniques, Sue creates contemporary sculptural forms. Sue trained at North Staffordshire University and has over 30 years’ experience a ceramic artist. She teaches internationally and regularly runs ceramic workshops in. schools, colleges and her own studio. Her work is exhibited through galleries, art fairs and specialist ceramic events across the UK. Currently, Sue is Artist in Residence at The University of Reading. suemundy.com This year, WST is tri new enterprise: ‘Whiteknights RS The nestable batts in the Hartley and Noble Russian Dolls Batt System offer great flexibility when throwing pots of different sizes. Studio Trail Introduces’. Young artists, between the ages of 16 and 21, are being encouraged to develop their practice and pursue a creative career, ensuring a vibrant and diverse creative future for Reading residents. From the many applicants, three were chosen: Charlie Boothright, painting and drawing; Janet Curley Cannon, mixed media, and Cathy Newell Price, jewellery. It’s a Studio Trail, Open House and Open Garden event rolled into one! Twelve of the venues will have demonstrations of tools and techniques used by the artists to make their work. © 15-16 June © Venues open Tlam - 6pm daily @ studiotrail.co.uk © facobook.com/ WhiteknightsStudioTrail © Twitter and @WSTReadingUK Festival Craft Festival, Bovey Tracey hosts an enviable selection of craft each year, showcasing the best in ceramics, furniture, glass, leather, mixed media, metal, precious and non-precious jewellery, wood, paper, siNer and textiles, Celebrating its 16th season this summer, Craft Festival has always demonstrated its commitment to ceramics, ‘This year it has exceeded itself, with a record number of ceramicists applying from every comer of the U«, all wishing to exhibit at this highly acclaimed, multiaward-winning festival ‘at Mill Marsh Park, Bovey Tracey from 7-9 June, ‘TOP OF THE POTS Sarah James, Craft Festival director, who also has a BA Honours Degree in Ceramics from Glasgow School of Art, shares her favourite ceramics at this ‘year's Festival Clive Bowen “I'm so. pleased that Clive will be Joining us this year as one ‘of our demonstrators. He is one of the Uk's most loved and respected living potters, and i's an honour to host him at the festival this year, Jaejun Lee “We first exhibited Jaejun's porcelain at Made by Hand, Carcif, ‘and | happened to go onto his stand while Walter Keeler was casting an ‘eye over his work. Walter muttered, “im an amateur.” referring to the impeccable finish and extraordinary refined surfaces of Jeajun’s porcelain vessels. Exceptional praise from Walter, which gives you an idea of Jaejun’s masterly use cf one of ceramic's most cemanding materials. This will be JaeJun's frst trip to Bovey, and I can’t wait to see his work again.” Deiniol Williams "I've developed quite a taste for a gnarly, wood-fired pot, something I never thought | would say. | was so not into that kind of work as a student and when | made my own work. Over the year's my palette andi taste have changed, and I love the warm tones, lumps, bumps and irregular shapes.” Sasha Wardell “Sasha's work is a masterciass in working with impossibly brittle bone china, revealing its strenath and subtleties. Russell Kingston “As, much as possible, | like to tse my collection of studio pottery every day. Potters love me as | use the pots, sometimes break the pots and buy more pots. You have to produce hardy pots to survive my house! Russell's robust and very usable slipware Is great to Use, strong shapes, glossy surfaces and used every ay, Perfect!” The organisers look forward to welcoming you to the Craft Festival 2019, one of Europe's most Vibrant and friendliest festivals. (@ Open Friday, Saturday & ‘Sunday 10-5pm (@ Tickets (per day): Adult £9, concessions £8 (@ Weekend 3-day ticket: £17 (E15 concessions) ‘@ Accompanied children under 18 FREE yd Crea cee Pe QUALITY, SA EFFICIENCY ‘AND PASSION. Helmut ROHDE GmbH has been producing innovative kilns and machinery with the highest requirements for product quality and constant technical innovation since 1982 Our commitment can be seen in the handling efficiency and quality of our products, ensuring enjoyment with your re: ROHDE® Issue 27 ClayCraft 7 rohde-onina net DIFFICULTY RATING THROWN a BUTTER DISH sce batt, calipers Altering the shape of thrown forms is a good way of making items more individual, but if - ‘ niece Da you're a beginner the prospect may seem . ciliata = daunting, so starting with something 4 small like this butter dish is the best introduction to the “ technique 8 ClayCraft Issue 27 ‘A Centre the clay (you can see full instructions on how to do this on our website). Begin by coning the clay up between both hands to get it to the correct consistency. Then, push the clay down with the right hand while supporting the edge with the left, to level it off and bring it to centre. Repeat this until it runs smoothly through your hands with no hint of a wobble. ‘4 With the wheel turning at medium speed and using the fingers of your left hand, press down into the centre of the Clay, to within 10mm of the batt. Use your right hand to support the left as you open the base. It should rest over the wall, with the fingers onto the left hand to keep it centred as you work. Maintaining the position of your hands, draw the clay outward and back toward your body until there is a span of approximately 14cm, ‘When you've finished opening up the base, consolidate the clay at the rim by pinching it between finger and thump, while at the same time running a finger over the surface to flatten it off slightly. ‘4. Consolidate the clay in the base by running the side of your knuckle or your thumb over the surface at least three times. Begin at the centre and work outward to the wall. 10 ClayCraft sue 27 ‘4 Pinch and lft the wall between the fingers of your left hand - using the right hand to keep the wall steady as you lift, and with the forefinger over the rim to keep it to shape. Knuckle the wall up to a height of approximately 8-10cm, ‘To lft the clay, position the side of your right forefinger knuckle on the outside wall, with the fingers of your left hand placed on the inside, just above the knuckle. Leave a fat rim - this is very important, you will need it to, form a gallery for the lid To form the gallery, pinch the clay at the rim, then. gently split the clay by pressing down on the inside with your left index finger to a depth of about 10mm. At the ‘same time, position a right-hand finger over the rim to keep the clay level and to centre. DIFFICULTY RATING ‘A. Sponge away the slurry from the batt surrounding the dish. Then, using a rib, remove excess clay from the exterior wall at the base, Finish by cutting a bevel at the base as shown, using the tip of the rib, ‘A Sponge out surplus water and slurry from the interior of the dish, ZA | - ‘A Forma spiral in the bottom of the dish with the first two jt Having cut the bevel, but withthe rib stl in place, tt Tage ot yor rh hana cobaared by theloft nara ton” (Eup slightly, so the clay forms a smal idge as the wheel turns. oee me stoneyine youworle ‘The ridge should be just above the level of the interior base of the dish and is an important detail, so don’t leave this step out. S Al ‘4 Widen the gallery a little by pulling the rim outward very slightly to ensure a id will sit on it comfortably. Do this by repeating the position for the hands used when creating ‘A. Using the ridge as your guide to where to cut, make a 6-8cm long incision through the wall with a sharp knife as the gallery, but pull the rim toward your body a litte. shown. Issue 27 ClayCraft 11 DIFFICULTY RATING * Make an identical incision exactly opposite the first one, fon the other side of the dish. Do take care not to cut into the base of the dish. Squeeze the cut sides inwards between both hands, to 12. ClayCraft ius 27 Straighten them and form the dish into a rectangular shape. Place your index fingers either side of the gallery to square off the ends of the dish as shown. Pull the clay gently sideways to straighten the edge and form the shape. Keep working on the overall shape until you're hapoy with it iS A ‘Wire off the underside of the dish, making sure you hold the wire very taut as you cut, ‘A. Before continuing, measure the width of the dish at the ‘widest point, using calipers, as shown, ‘A Carefully neaten up the clay at the base of the outside ‘wal to seal the cut areas together. Don't worry about the join because thrown clay is wet ‘compared to that used for hand building, and the cut surfaces seal together readily. ane ‘Carefully cut away the excess base, left behind | ‘when the sides were straightened. ‘A. Finish by running your finger over the cut surface on the inside of the dish until the evidence is no longer visible and the seal is perfect. See claycraft.co.uk/how-to for video. Issue 27 ClayCraft 13 TU eine) Si eee enc etary Fix a batt to the wheel head as you did for the body. Centre the clay until the top is level and the sides straight, as the image shows. ‘A Open up the clay with the right-hand thumb at the centre, pressing down to within 10-15mm of the batt. Steady your hand with your leftshand fingers as you work. 14 ClayCraft issue 27 ‘4 Carefully pull the clay outward and upward to a gently rounded, shallow bow! shape using the fingers of your left hand with the right hand cupping the side of the clay, index. finger over the rim to keep it level and central ‘A Thin the wall out by first pinching and lifting it between the fingers and thumb of your left hand - supporting the outside of the wall with the fingers of your right hand. DO NOT let the shape flare out too widely at this stage. ‘A Lift and thin the wall a second time in the same way, Using either the tips of your fingers on the outside wall or the side of your knuckle, ‘As you reach the end of the lift, flare the shape outward to form a perfect, gently-curved apen bowl ‘A. Sponge out the interior of the bowl and consolidate the clay at the rim by pinching it gently between the fingers of your left hand, at the same time running a finger or sponge over the edge. ‘A. The width of the lid must be at least the width of the caliper measurement you took from the base earlier. Note ~ it can be a littl larger but definitely not smaller. IF i's too small, throw the shape out a little more until it’s the right size, ‘A Supporting the shape —_/ from the underside with your fingers, run the side of a rib ‘over the interior surface to | refine the shape and remove \ the throwing lines. ‘A Optional: make a spiral at the centre of the id with two fingers, remembering to steady your hand with the fingers of your opposite hand as you work, Clean away surplus clay and slurry from the surface of the batt surrounding the lid, using a rib, Wire off the underside of the lid and remove the batt from the wheel head. ‘Allow the lid to firm to leather hard - tuning it upside down for the centre to firm up once the sides are stiff enough to support it. ae eT es Issue 27 ClayCraft 15 DIFFICULTY RATING * TURNING THE LID Sor eee Manes ‘A Fix another batt onto the wheel head and moisten (not. wet) the surface. Centre the leather-hard lid on the batt by tapping it to centre - see elaycraft.co.uk/how-te for instruction on how to do this, If you're unsure about the centred lid remaining in place as you trim it, secure it in place with small wads of clay. With the fingers of your left hand pressing down gently, fon the surface of the clay, and the thumb resting on the right hand as you work, start to trim away the clay with your turning tool, as shown, {As the outline shape of the lid develops, you can work. worried about trimming away too much clay. The same principles apply ~ work the kidney from the more finely on the surface with a serrated kidney if you're Continue to trim avray the clay to a gentle, domed shape that follows the interior curve. Work from the centre of the lid outward, repeating the exercise as ‘many times as required to get the correct shape. centre outward until you're happy with the shape. Once you have a shape you like, that is the correct, thickness throughout, work over the surface again with a metal kidney or rib until completely smooth again 16 ClayCraft sue 27 ‘A Measure the dimensions Of the dish with the caliper tips resting on the gallery ~ length and width, Transfer the dimensions to the lid using the tips of the calipers to pinpoint the corner positions and a point in ‘between on each side, as a guide for cutting. ‘Score a curved line from point to point along each side Of the lid using the tip of a knife or a pin It's easier to correct a scored line than a cut one; therefore, i's important to get the shape right. You can rework it several times if you make a mistake, as the image clearly shows. Issue 27 ClayCraft 17 DIFFICULTY RATING * Once happy with the shape, cut along three sides very carefully and remove the surplus clay. ‘A Before cutting the final side, check your measurements against the calipers one more time ~ make adjustments if required, before cutting the final side. 18 ClayCraft sue 27 ‘A Neaten around the cut edges of the lid with a damp. sponge, oe S&S Fit the lid into the dish carefully. If some fine-tuning to the shape is reauired, shave the clay with a surform blade until it fits neatly. ‘Sponge over the shaved ‘edges again before sitting the lid in place, then sponge ‘over the entire surface of the dish to neaten it up. ‘A. Run the edge of your thumbnail around the pinched off ‘A Make a simple strap ] edge to neaten it up. handle for the lid, either from a flattened coil of clay or by pulling one if you're confident at this, Position the handle centrally on the lic and fix tin place with a litle dab of slip, if the clay is firm, ‘A. Check the handle curve is correct by running your finger underneath it, to even out the shape. ‘A Press the handle onto the lid at each end with a finger, {as shown, ‘A Pinch the clay either side of the fingermark so that the fend forms to a point. Repeat at the opposite end, ‘A. Allow the finished dish to dry out thoroughly before bisque firing, Issue 27 ClayCraft 19 DIFFICULTY RATING 3% LAZING YOUR DISH You will need: Drea ae eee caer Cece retry ‘A. Finally, glaze the handle. As a finishing detail, it's nice to add a complimentary glaze into the finger marks at either end of the handle, but this is purely for decoration, Fire the dish with the lid in place, to your clay’s optimum temperature ‘A Repeat on the outside of the dish, glazing over the rim just to the point that won't come into contact with the li. edge Begin by working on the Interior of the dish, Glaze up to, but not over, the gallery by brushing on three even coats, allowing each to dry before applying the next. Draw a pencil line around the edge of the underside of the lid as a point to glaze to. It should be far enough in from the edge for the lid to sit on the gallery, to avoid 4glaze coming into contact from both surfaces. The pencil will burn away during firing. ‘A. The finished dish was thrown in white stoneware clay and glazed in a Mayco cone 6, brush-on glaze. Fired in an electric kiln to 1200°C. lesue 27 ClayCraft 21 20 ClayCraft issue 27 ed has always been a difficult colour to obtain in ceramics. There a e red using colouring oxides s ‘copper or chromium and tin, but they seldom make a true, bright red. The easiest way to get a really bright red is by using commercial stains. Red stains are made using cadmium ways to m: Sara Flynn, Slant Vessels, copper red glaze, fired in reduction, h 31cm 22 ClayCraft Issue 27 ‘Suleyman Saba. Two-tone bow/| detail, iron red glaze, fired in oxidation to 12BO"C. (Photo: Stonhen Bryno) sulphide and cadmium selenide. They are mixed with zireonium silicate and fired, then ground into a powder, Red stains used to burn out at stoneware firing tempe However, there are now new, red inclusion stains where the red stain is eneapsulated in a matrix of zireonium silicate. This prevents the red from burning out at high temperatures above 1200°C. Cadmium is one of the two toxie terials regulated by law against leaching in ceramic tableware, the other being lead. Ifthe red stain is fired into a stable glaze, it will not leach. A stable glaze is a glossy transparent with no crazing (or erackle). The best way to find out whether your glaze is stable is to put the glaze recipe into an online calculator such as glazy.org to find out the glaze formula (see my article ‘on dishwasher safe glazes in ClayCraft issue 14). The glaze should not be too high in alkali metal oxides, including lithium carbonate, soda and potash feldspar. ‘The molecular formula should be around one-third alkali metal oxides to two-thirds alkaline earth oxides, including calcium, magnesium, barium and strontium. ‘This ratio makes the most chemically stable and durable glaze which will not leach or fade in the dishwasher. Jaze The popular iron red glaze can be made made using iron oxide in a glaze base containing talc, bone ash and lithium carbonate. This particular glaze base forms crystals of red iron oxide on the surface. The iron red is slightly orange, the colour of rust or persimmon (kaki in Japanese). In other glaze bases, 8-12% iron oxide makes a brown glaze. tron red glaze, (Michael Bailey) stoneware cone 6 (1240-1260°C) Potash feldspar 47 ne ash 15 Lithium carbonate 4 Tale 17 Quartz 115, China clay 6 + Red iron oxide 1.5 Copper red ‘To obtain ox-blood red from copper oxide, the black cupri oxide CuO needs to he reduce! red cuprows oxide CusO. Reduction i usually achieved ina fuel-burning kiln, but is also possible using a reducing agent such as silicon carbide in an electric Kiln. The silicon earbide works best if itis very finely ground, to around 1200-mesh, Chrome-tin red glaze, (Jonathan Keep) stoneware, cone 8 (120°C) FFF feldspar 47 China clay 6 Quartz 12 Whiting 24 Calcium borate frit 6 Lithium carbonate 6 Tin oxide 6 Chromium oxide 0.1 Copper red glaze tests fired in oxidation using coarse silicon, medium silicon carbide and fine silicon carbide 1200-mesh, Finally, the way to make a true, bright red is by using a commercial red stain, The base glaze needs to be a glossy transparent to obtain the Copper ed sacs, (Derek may) utest red colour Red sais wi eee eee OO] also work in matt glazes but the colour Soda feldspar 45 will be less bright, At least 510% red Quartz? stain is needed for a saturated colour, Borax frit 15 Whiting Eaamary puny ceelied os - glossy, cone 04 (1060-1100°C) in oxide 1 ort oa oxide O3 oda feldspar Fine silcon eorbide 03 ina China clay 4 Flint 6 + Another way to make a dark maroon Sarre red is by using chromium oxide and tin, known as chrome-tin pink, The shaule of pink depends on the ratio of chromium to tin oxide. The best colour comes from a oxide and 0.1-0.5% chromium oxide. Lithium earbonate in the base glaze helps to make a brighter red colour. The base glaze also needs to be relatively high in caleium (whiting) and low in alumina (clay), see recipe above right In conclusion, red glazes ean be made using iron oxide for an orange red, copper oxide and silicon carbide for ox-blood red, Some chrome-tin, ound 6% tin Grice eae als ene GLAZING Tanya Gomez, thrown porcelain, red stain. ;Phote: Domine Tenusir) pink glazes are a dark maroon red, using around 6% tin oxide and 0.1-0.5% chromium oxide, However, the only way to get a true bright red is by using a commercial red stain. The latest inclusion stains ean be fired to stoneware temperatures Issue 27 ClayCraft 23 DIFFICULTY RATING Xone | You will need: || m White stoneware clay - stoneware is preferable for items that will be placed outside because the clay vitrifes in firing, making it impermeable to water. This is a quick and easy project for all those gardeners out there Earthenware alvays remains porous to somo degree SMe h ack ur chur asec RTM Mee en TeIs Eis Urge oll on yearn peer Noga stakes. If you don't garden yourself, the stakes make lovely giftsto. Letter stamps i 1 Herb leaves 4 Arrange letters into the herbs' individual names. ‘This isa child’s set of letters, which clip together for accurate spacing. You can find similar in places like Hobbycraft, or search online, 3 Working on a sheet of plastic, reduce the bulk of a block of clay. It must be a large enough block to cut up. to make two or three slabs of different leaf designs. Beat the clay with the side of your rolling pin, working in measured, even strokes from one side of the clay to the other, to avoid making deep grooves in the surface. Roll out the clay between your roller guides, making sure it's wide enough for a good arrangement of leaves. You will find that periodically turning the slab will make rolling much easier, and ensure it’s an even thickness. (Once rolled, smooth over the surface of the slab with || arib to compact the clay. 4 Prepare your first herb sample by separating the leaves from the main stem. This Is only necessary if the stem is woody and bulky because this would impress too deeply into the clay and be unsightly. Certain herb leaves are beautifully displayed individually, like the sage shown here, bbut much will depend on the plant type itself 4 Cut off a section of slab, large enough to make several stakes about 3cm wide. Position the leaves over the surface of the slab, with the underside of the leaf on the clay, in a random but neat arrangement. lesue 27 ClayCratt 25 : PROJET) Roltelaverintoime | | aS Gay wth te rl aude til npc on Ste te of he sab Youmay find ensir fo okt lon ort a day n stages because fey anata lees Gurlup when too may ore postioned a ones Using a roller guide or a ruler as a width measure, cut the slab into strips with a sharp knife. S 7 6 Y) (Once the whole siab has been / seas 7, completed carefuly tthe | * feavesof the cay winapi. \@ fame ony 26 ClayCraft sue 27 Using a cookle cutter, or something similar, draw 2 ‘small circle on a sheet of card, then carefully cut it out. DIFFICULTY RATING 330k Place the card circle at one end of each stake and cut ‘around the edge as shown, to round off the tops. ‘You might ask ‘why not cut the ends with the cookie cutter’, but it's difficult to do this without cutting into the clay lower down with the opposite side of the cutter, spoiling the surface. You can find your own alternative to, making a template if you want to. ‘ ee s/ Run your fingers along the eciges of each stake - front ‘and back - to soften and round them off. Impress the herby name into the clay just below each rounded end, Use a metal rib or knife to cut the opposite ends of the stakes into points, TIP ce" letter stamps don’t release easily once impressed in clay. To ‘overcome sticking problems, try dipping the stamps in cornflour prior to impressing. The flour will burn away in firing, leaving no residue Issue 27 ClayCraft 27 PROJEQT Youcan make stakes | of different lengths toffit pots with herbs at different stages of growth, Continue to make . more stakes, impressing different herbs into the clay for each type, mm Once you've made al the stakes required, allow them to dry out on a mesh lke a cake rack, or sandwiched between boards, to keep therm lat. Bisque fire them when dry. DECORATING THE STAKES You will need: Underglaze colours of choice - 2 oF 3. lus black A palette for mixing colours or small 28 ClayCraft ius 27 Begin by painting in the herbs names in black, then 3 wipe back the colour with | | a damp sponge so that it gigi remains only inthe lettering. | > eg Slightly water down your first underglaze colour - itl be easier to apply if slightly thinner and will better fil the texture of the leaves. Paint in the leaves carefully, trying to contain the colour as far as possible Again, wipe back the colour with a damp soonge so that it only remains to highlight the veining of the leaves. 19 Paint in a second colour, darker but complementary to the first colour, in selected areas only of each leef. Finish by painting in 3 really contrasting colour as a highlight, again in selected areas only. Repeat the process with different herb samples. You ‘can use a different colour palette or the same one ‘because the herb leaves themselves will each have thelr own character, enough to make the stakes look different, DIFFICULTY RATING 330% OPTIONAL You can glaze the upper face of the stakes with transparent glaze if you want a shiny finish or simply leave them unglazed and fire them up to stoneware temperature, Make sure the undersides are clear of glaze before firing, or the stakes will stick to the kiln shett. 23 Her stakes, fired and ready for planting, Issue 27 ClayCraft 29 PLANTER Cacti and succulents look fabulous in these little planters, especially when grouped together. They are quick and easy to make so you should be able to turn out your own little arrangement in no time at all 30 ClayCraft tesve 27 Planted up with Cacti and succulents, the pebbles make a ‘wonderful display in their little group. paar Teh use t part Se Leics pene ee ett ae rene’ ea DIFFICULTY RATING 343% \ \ ew. = ‘ = 4A If the clay seems a litle floppy, firm it up with a hairdryer until the shape holds. two equally sized balls of clay - the s your choice and depends on what size pebble you want to make but also how much you can successfully pinch ~ trial and error will dictate what you can manage. Holding the first ballin the palm of one hand, push the thumb of the other hand down into the centre of the clay until you can feel the pressure from it in your palm. an ‘A Carefully start to pinch out e the wall between your fingers. ay thumb - work in smal ‘ even pinches around the clay ¥ beginning at the base because this will be harder to reach as the size increases jo avoid the shape flaring outward at the rim, maintain an inward pinch with your thumb as you reach this The clay should be about Smm thick throughout whe finished @ ~ ~ \ \ 4 pul Pinch the second ball in exactly the same way as the first Check the size of the opening regularly against the first half and continue to pinch until they are equa ‘Score the rims of each half with a serrated kidney, before applying slp. Join the sections together, holding them in place for a few seconds to ensure the bond is good. 27 ClayCratt 31 2 DIFFICULTY RATING 333 Ax z TN VE | Rs ‘A Reinforce the join with a coil of soft clay - blend it in ‘A. Using the loop tool, carve out a circle on one side of the well with a finger or suitable tool. pebble as shown, but make sure you don't cut through the Clay. This can be in any position ~ it doesn’t have to be at ‘one end - and will form the striations in the surface of the pebble. ‘4. Using your chosen pronged too! (an onion holder was ~ used here ~ never used for onions but used extensively in the studio!) texture the clay between the striations. You ‘4. smooth over the reinforced join with a kidney, removing excess clay as necessary, until the surface is even and neat. ‘A Carve out a second circle, 1mm from the first, then before continuing to make more striation lines, score the position for the opening with a pin. From this point, your, lines only need to follow up to the opening, Now carve out as many more lines as you want around the pebble, working up to the opening. = ‘A IF you crosshatch the surface, don't brush away the burrs that form but paddle them back down gently. As you do this, you will find the burrs flatten out to create another dimension to the texture, which is very pebble-like, Padalle the surface of the form with a wooden spatula ‘to improve the shape and compact the clay, then, if the clay seems a little floppy, firm it up with a hairdryer Until it holds without distorting or marking with the fingers as you handle it ‘At this point, the air inside the form is acting as a resistance to maintain the form, so in order to manipulate the shape you must make a hole with a pin ‘at one end to allow for the release of some of the air. Paddle the clay again to create a more pebble-like é shape. You can sit the pebble on a board to paddle it if preferred ~ this will establish a flat underside. Plug the hole to prevent further air loss when youre happy with the shape. ‘A Fill in the carved-out lines with thin coils of your alternately coloured Clay. Press the coils in firmly with your fingers ‘A The spaces between the ’ narrower striations can be as quite tricky to texture so take care. The danger is that you but try not to smudge the ‘can drag the coloured clay colour too deeply into the ‘A. Firm the form up again with a hairdryer if you feel it’s out, so avoid scoring over J surrounding clay. necessary to maintain the shape them as far as possible. 32 layCraft lesue 27 ‘When the texturing is complete, cut out the opening of the pebble with a sharp knife. ‘A Neaten up the opening by cutting away thicker areas of clay on the underside, as shown ‘A Having opened up the pebble, you will be able to see the Join of the two halves on the inside, so work over the area with a finger to blend the Clay together until the join is no longer visible. Neaten around the opening with a kidney, then run your finger over the clay to soften and round off the edge. IMPORTANT - if you intend the pebble for outside, make a couple of drainage holes in the underside so. that water can freely drain away. This is especially important in colder weather because frozen water ‘expands and can crack the form, Paint over the surface of the bisque fired pebble with a coloured glaze of choice - one layer only is required. Avoid painting over the striations - this isa little fidaly but possible. DIFFICULTY RATING 340% If working on more than one pebble, glaze them all in the same way, using different coloured glazes for each if possible. ww.claycellar.co.uk up i y — | ol, * 3 —— ‘A. The planters shown here don’t have drainage holes ‘A This selection of pebbles have all been finished in the because they are made for indoor use to be planted with same way and are ready for firing. Even though stoneware cacti and succulents, which need little water and almost _clay has been used to make these and they will be fired thrive on neglect! to ahigh temperature, they will be supported on tiny bar ‘You don't have to glaze the interiors of the pebbles props to avoid glaze firing onto the kiln shelf. Although this because they won't be seen, but ifthe clay isn't fired to. _is nat generally advised because stoneware clay can slump vitrification, you may get water seepage, in which case you at higher temperatures if propped, it seems to work in the are ads o glace nse. Earthenware loys can seep so caseo these forms wih nol elec g CL Avm An ® fatal gc a pau tet § ‘ 3 PAWN oars) TOOLS WHEELS & a1 2 EQUIPMENT ao Ue I WEARING A DUST MASK, sand back the surface of the pebble until the glaze remains in the texture only, Very carefully brush the excess glaze off the surface of the pebble onto a plastic sheet before disposing of it (or reconstituting it~ you can add water to the dry ‘material then sieve it through a fine mesh to remove clay dust and then use it again). ‘A The fired pebbles before planting up. Two have been glazed internally to show the difference ~ two remain unglazed, but all have been fired to 1220°C in an electric kiln, een 01892 722011 36 ClayCraft sue 27 ONLY £12.95 INC. P&P* / / A selection of simple projects, covering all the handbuilding techniques. Learn the basics, then apply them to making your own decorative objects and functional ware. The easy to follow step-by-step guides are supported by advice on tools and glazing. Available for pre-order now! Order online at Or call for beginners —— Pottery Jacqui Atkin and Rachel Graham and quote BKCRAI19 Calls are charged at your usual network rate. Lines are open Monday to Friday 8.30am-5.30pm. “Price applies to UK orders only. EUR, US, Canada & ROW price: £14.95. All prices include PEP. Available for pre-order now. On sale Ist August 2019. Full terms and conditions can be found at shop.kelsey.co.uk/terms, v, Nationwide) service}v, Ease, of use}v, Service) Rel Shares) &irepairsy Value, forzmoneysyHel HESKETH POTTERS’ SUPPLIES FOR ALLYOUR SUPPLIES INCLUDING KILNS, WHEELS, RAW MATERIALS, CLAYS, GLAZES, COLOURS Lessons) ‘WE ARE DUSTRIBUTORS FOR RHODE GMBH & POTTERYCRAFTS LTD KILNS, OFFERING ADVICE AND (QUALITY APTER SALES SERVICE. v eee oO ‘TEL: 01323 896444 EMAIL: CHRIS_HESKETH@HESKETHPS.CO.UK WWW.HESKETHPS.CO.UK CPE ei Cosme UTES) Boot) el age ig Cras | - bobs eras td PS De eu ured as pesca DIFFICULTY RATING 30 BIRD BROOCHES These little bird brooches are simple to make and look lovely fired in an array of colours and detail. Perfect to give as gifts, it’s hard to imagine anyone wouldn't be thrilled to receive one ST Tt Dy Dee une er] i Texture of some kind - lace, blown vinyl rome Por tren A selection of coloured transparent glazes orearic Re as eas! Bee 40 ClayCraft lseue 27 leeve 27 ClayCraft 41 nee eas BROOCH TYPE 1 - TEXTURED 4 Begin with alittle visual research to decide on shapes for your brooches. Draw out a few simple outlines in your sketchbook, working from books or online resources like Pinterest, When you're happy with your outline shapes, trace them in two parts - body outline and wing. Transfer the outlines to stiff card, then cut the shapes ‘out carefully. T Pissing more than one style of bird, wil help to mark which wing belongs to which bird - Bird 1- Wing 1 to avoid confusion later 42 ClayCraft Issue 27 DIFFICULTY RATING Jo Working on a sheet of plastic, reduce the bulk of a small block of clay by beating it with the side of your rolling pin. Work in measured, even strokes from one side of the clay to the other, to avaid making deep grooves in the surface. Roll out the clay between your roller guides toa thin, ‘even section. ‘You will find that periodically turning the slab will make rolling much easier and ensure it’s an even thickness. ‘Once rolled, smooth over the surface of the slab with rib to compact the clay. 6 With your roller guides still in place on either side of the slab, place your chosen texture aver the surface, ‘This large crocheted dolly isa recent find that I've been wanting to test out - look for similar ones in charity shops; they only cost pennies in many cases. Roll the texture into the clay, then peel it off when finished. Issue 27 ClayCraft 43 DIFFICULTY RATING 94340 a series of birds in sets of body | and wing, using a sharp knife. | ‘A. Repeat the exercise to cut out the second shape. Use up all of the slab to avoid waste, ‘4. Using a plastic tube from an old spray bottle, cut out an eye in each bird, It's important to do this while the clay is. still quite soft = if t's very firm, it will crack. 44 ClayCraft Issue 27 \ Lf Dk Wipe around the edge of each bird and wing with a ‘damp sponge, to neaten them and smooth them off. Apply a dab of slip to the scored area on the body then fix the wing in place. Press the wing down gently with ‘your finger until all axcess slip is squeezed aut. A ‘4 Position the wing on the bird and score around the shape with a pin. a fa — ‘A Score inside the marked area with a serrated kidney or pin, and do the same on the underside of the wing, ‘4 Wipe away the excess slip from around the wing with a ‘damp sponge. —— ag « ‘A. Finish off all the birds in the same way. You can adjust the angle of the wings to vary the brooches if you like. Allow the finished birds to dry out before bisque firing, Note - they will dry quickly ‘A. Finish off the textured brooches by covering them in transparent coloured glazes, which will pool in the texture. BROOCH STYLE 2 Py DD bad —— \ le =e ] if W ‘A. Roll out a second slab of clay in the same way as the first slab, but don't texture this one, ‘Cut out your birds as before in sets of body and wing Issue 27 ClayCratt 45 ‘A. Stamp an eye in each bird with whatever suitable shape you have to hand - something like an old pen part is Perfect. Position the wings as before and mark the outline with apin ‘Score the marked position on the body. 46 ClayCraft Issue 27 Use the tip of a rib to texture the end of the wing to look like feathers, pressing it gently into the clay. Repeat the texture to make a tall feather detail. ‘4 Neaten around the edge of | the wing with a damp sponge, then score the back, ready for fixing onto the body. ‘A. Fix the wing in place with a dab of slip as in the first version. DIFFICULTY RATING 334340 Using the tip of a pin, draw in any additional features you want to add to the bird. You can refer to your source material for inspiration or just make up the ‘marks to suit the bird. 7 Pp Fs as a J, By Neaten around the wing with a wooden tool to remove ‘excess slip, then sponge around the edge of the entire bird to smooth it off ‘A. Finish off all the birds in variations on the theme, then, dry them out ready for bisque firing ‘A. After bisque firing, apply black underglaze to the textured areas on the birds, Allow the underglaze to dry, then wipe it back with a damo sponge until it only remains in the texture. Issue 27 ClayCraft 47 DIFFICULTY RATING 943440 aeuaes FOUR =) Paint the birds in underglaze colours of your choice, Don't worry if you paint over some of the black; it will fire through the colour if not too thickly covered. ‘A When the underglaze has dried, cover the birds in transparent glaze. Make sure there is none on the underside before firing to the glaze’s optimum temperature. \A The finished brooches, ready to wear. 4B ClayCraft Issue 27 lesue 27 ClayCraft 49 50 ClayCratt leue 2: OILED TAGINE rom tal who might like to make this tagine, t! Tela) ee Mag eM MN ACN Rea eoeae Rime s-icee eee es on creased Recta reer Me Meteo T eter: 0 eRe CERN et Senta ee Rell be aT re PIGS eae cc) eras Seen eee Pers 1 Rolling pin and roller guides ~ no thicker Working on a sheet of plastic, reduce the bulk of a block of clay that's large enough to fill your mould lonce rolled Beat the clay with the side of your rolling pin. Work in measured, even strokes from one side of the clay to the other, to avoid making deep grooves in the surface. Roll out the clay between your roller guides, keeping it as round as possible. You will find that periodically turning the slab will make rolling much easier and ensure it's an even thickness. Smooth over the surface of the slab with a rip to compact the clay once rolled. DIFFICULTY RATING * ‘4. Carefully place the slab in the mould and press it in gently with a barely damp sponge ‘4 Cut away the parts of the slab overlapping the edge of ‘mould, taking care to ensure the knife doesn't come into contact with the plaster. 4) a oe 4 i = 7 2 ‘A. Level the rim of the bowl by resting the side of a batten on the plaster edge then drawing it around the circumference sideways. Hold the clay in place in the dish with your sponge as you do this - it has a tendency to drag ‘out of the mould if you aren't careful It will help to have the mould on a whirler as you level the ClayCraft 81 Form a lump of clay into a thick rudimentary coil between both hands, then roll it on a non-absorbent work surface with the paims of the hands, not the fingers, until smooth and even, and 2-3mm thick. - 4 Working on a sheet of plastic, flatten the coil with the palm of your hand. You'l find it easier to flatten if you elevate one end as you work along the length Turn the coil over and repeat the flattening process until it's an even thickness throughout 52. ClayCraft leue 2 DIFFICULTY RATING ‘4 Lay a roller guide along the length of the coil to use as a guide to cut a straight edge. Score the cut edge with a serrated kidney. © . ‘Score the rim of the dish while it's still in the mould, then either apply some slip to the scored areas or ‘work over the areas with a toothbrush and water for the same result. = —, | x ‘A. Carefully fix the coil in place by pinching it downwards onto the dish rim. Overlap the ends of the coil to hold it upright. ‘A. Cut through the overlapped ends at an angle with 2 sharp knife. = ha me ~ ‘4 Score and slip the cut ends then join them together. ‘Work over the join, inside and out with a rib to secure the seal and neaten up. STrouth over te sufoce ath 2 inside of the dish with a thin coil toneaten up. of soft clay. Work the coil into the join with a finger, then \ Place a wooden batt over the surface of the dish then turn the whole ing over. Lift the mould off the dish, Issue 27 ClayCratt 53 Reinforce the join on the outside of the dish with another thin coil of soft clay. Work the clay into the join with a rib then smooth over the surface, removing excess clay as necessary to achieve an even finish. 4 Using something circular and suitably sized, like a trusty plastic lid, mark the position for a foot ring on the Underside of the dish with a pin. 54 ClayCratt leue 2 4 Using a smaller circular guide, score a second ring, Tomm inside the first. Roll out a slab of clay 5-10mm thick, then using the same measures as those used on the dish, cut out a large circle. Carefully lft the circle out of the slab. DIFFICULTY RATING * oe a cell “<= Place the smalier measure inside the circle and cut around the edge to make a ring ‘Again, lft the circle at the contre out. area properly ee A ‘A. Score and slip the position for the foot ring on the underside of the dish, plus the footring itself Neaten around the inside and exterior of the foot ring with a wooden tool or rib to remove excess slip. Issue 27 ClayCratt 85 ‘4 Turn the dish upright and work over the rim with a rib to eaten it up and round off the edges. Score the position for a gallery around the inside of the dish, just below the rim. ‘Apply some slip to the area when finished. 56 ClayCratt leue 2 Rolla coil about 10mm thick and long enough to fit ‘around the dish, then position it around the scored, slipped ‘area, pressing it into place firmly. ‘A. Cut through the overiapped ends of the coll at an angle, then join them together with a dab of slip. ‘A Carefully pinch the coil out between your fingers and thumb, to form a ledge for the lid to sit on. You may have to work around the gallery several times to thin it out sufficiently. Neaten up with a rib when you're happy with the fit and thickness of the gallery. Correct the shape of the gallery circle and reduce its size with a surform, Shave away enough clay to leave a comfortable platform for the lid to sit on, then work around the shaved edge with a rib to soften and. round off the clay and remove any burrs created by the surform. A. To measure the correct size for the lid, roll a thick coil of clay we = and flatten it out as you did at the beginning ofthe project, then stand it on the gallery of the dish and overlap the ends. Cut through the overlap with your knife held at an angle, DIFFICULTY RATING A Lift the coil off the dish and reform it into a circle on a wooden bat. Score and slip the cut ends then join them together. Work over the join with a rib to neaton it up. 7 oS 7 a ‘A. From here, all coils should be flattened into a semi- circle as shown, to accommodate building the characteristic shape of the tagine lid. The wider, longer side of the curve is added onto the coil underneath, to create an inward curve, at ‘A. Add the next coil onto the rim of the first after scoring and slipping the rim. ‘Squeeze the coil into place carefully, trying not to distort the clay too much. Issue 27 ClayCratt 87 ‘A. Reinforce the join, inside and out, with thin coils of soft Clay. Blend the coils into the join with a finger, then work over the join with a rib to remove excess clay and smooth the surface. If you need to correct the shape at any time, cut out \-shaped sections from the wall, as shown, in as many places as required to keep the shape accurate. Score and slip the cut edges, then carefully blend them back together again, making sure the seal is, elec A ‘2 58 ClayCraft lesue 27 DIFFICULTY RATING * 4 Smooth over the joins with a kidney or rib until no longer visible. ® we N 4 Continue to build up the lid with another coll, cutting and refining the shape where required. ‘Work over the surface with a rib or kidney after reinforcing the Joins. You will keep control of the shape better if you smooth the surface and remove irregularities on a regular basis @ J PP ® = ‘A. Score and slip the rim of the cone and the rim of the lid. Carefully fix the cone in place. ‘A When you reach the height before the last coll, score a level line at the top of the form, just below the rim, with a pin held taut and steady in your hand as you turn the shape on a whiter. ‘4. Shave the rim, down to the scored line, using a surform, ® = { Again, reinforce the join with a coil of soft clay. ‘A Turn the lid over onto a batt ‘and work on the interior surface, blending clay in where joined, with a finger. Scrape back the surface with a kidney until the clay is smooth and even. Remove excess clay as required. ® @, Vi" ‘A Pinch a small ball of clay to a cone shape to fit on top of the lid, Refine the surface with a rib until the clay section is the same thickness as the rest of the lid ‘A Refine the shape at the top of the lid with a kidney. Issue 27 ClayCratt 59 ‘4 Rolla short coil, 1Omm thick. Place the coil around the top of the lid and overlap the ends. Cut through the overlaps then remove the coll and, after scoring and slipping the ends, form it into a ring. 4. Score and slip the position for the knob at the top of the lid, and the interior edge of the ring itself, as shown. ‘4. Fix the ring in place on the lid to form a knob. Take care rot to squeeze the shape too much as you fix it in place, or the shape will distort 60 ClayCrattlssue 2 Reinforce the knob with a tiny coil of soft clay. Blend in the coll with the rounded end of a wooden tool. A. Trim the lower rim of the lid with a knife, until neat and perfectly circular. Test the fit of the lid on the dish. IFit's too large, shave off a little more clay until the fit is correct. DIFFICULTY RATING * 4 Allow the tagine to dry out thoroughly with the lid in place, then bisque fire in the usual way (still with the lid on). ‘A. Once the tagine has been bisque fired, you can glaze it as you like. Remember that you can’t apply glaze to surfaces, that come into contact with one another, like the rim of the lid and the gallery it sits on, plus the foot ring that sits on the kiln shelf Traditionally, tagines are glazed in bright colours, but this doesn't have to be the rule. Mayco Cinnabar and Walnut were used to decorate this example - fired to 1200°C in an electric kiln, Issue 27 ClayCraft 6 A Soca eu gia offers a light and airy space. MARKET MUSINGS AND A DIY GUIDE TO STARTING UP YOUR OWN Katherine Winfrey explains how she came to set up the Stamford Pottery Market was aS an apprentice, so L didnt have to worry about building an iresistible stand and selling enough pots to cover my costs. I did have other worries though, mainly that 1 coulda speak a word of German and the market was taking place in Diessen, just south of Munich. A second worry was that my French wasn't good either, and that made communication with my employer Erie Astoul, alittle challenging [had even understood that swe were going to Germany to do a market until the day before we lft We set off early in the morning in a tightly packed car. [had to stifle laughs on the journey as Erie drove into a boulder, gatepost and smart German ear complete with irate German diver. Ina fit of exasperation, he ejected a cassette of avantgarde jazz and threw it out the ‘window, possibly to unspool is ribbon sn autobahn tree and hun riff in the was very lucky that the frst I pottery market Tate bres Finally, we arrived at Diessen and were ‘met with surprise and bewillerment. Erie halt sene in an application, and no-one knew he was coming, Fortunately, a space 62 ClayCraft Issue 27 was found, andl we setup the stand ‘And then the rain began. Walkways turned into quagmires. The eampsite was awvash, and a stream sprang up through ‘our tent. Great quantities of sawdust were shovelle all over the site, quickly turning into a woexly porridge with water-filled pock holes made by stiletto heels, And I absolutely loved the whole thing. Hoved being surrounded by so much handmade pottery of quality, beauty and Variety. Hoved seeing how another country mace its pots and valued handmade ceramics. I loved the cinema tent with the rolling programme of pottery themed films. I quite enjoyed watching stiletto heels sinking into the sodden sawdust too. Tcanit remember whether we sold many ‘of Astoul’s pots, but I still have and use the German ones I bought there and, most importantly, had learnt that pottery markets were definitely a Good Thing “Three years later I was back working in France, this time at atelier Bottani- Dechaud in La Borne, and I got the chance to see French pottery markets, “They seem to take place somewhere in France almost every weekend and are usually run by pottery associations and ‘town councils, Often a communal meal is provided, and wine is one of the essential five-a-day needed to in order to keeps market-fit, We travelled all over France, down south to the ege-frying heat of St Quentin La Poterie and just down the roadl to St Palais, And [learned two more important things. Selling directly to the public works, and potters like to meet up with potting friends and have a par Once my travelling and work experience were done, [set up for mysel back home and started selling my pots. 1 Karen Atherley. tried c f markets but found it soul- destroying having to compete with vintage cars and fudge, and being next to a jeweller with a tiny stall selling hand ‘over fist. Fortunately, some pottery rmarkets had sprung up in the UK, often inspired by the continental ones, and here 1 ound customers interested in my work and a welcoming potting community. T would sometimes contemplate setting upa market myself when I was at a concert in the magnificent Georgian ballroom atthe Stamford Arts Centre, I ‘would imagine kitting-out the room with stalls and showing films or demonstrations on the stage. It always seemed just an impossible pipe dream. “Then in 2011, the Craftsman magazine announced that May would be National Craft Month and that the first week of May would be National Ceramic Week. I don't know if the publie was ever aware of this plan, butt gave me the impetus to contact the Stamford Arts Centre and propose a two-day market in the ballroom cover the May Day bank holiday weekenel ‘Tomy great surprise, they said they would give us the venue. Brilliant news, but terrifying too as I then had to find potters to fill the hall. Fortunately, there is strong concentration of professional potters inthe area so [put out the call A David Salsbury fox tile. and they pretty rmch all said We were up and running. [Nine years later and were sill going strong. The market is an established annual event in Stamford’ calendar. The Arts Centre's briliant and helps us enormously. The tables chairs and kitchen faites are onsite and, most importantly, there is indoor plumbing, so don't have to think about the dreaded Portaloo. To repay’ their generosity, we always have a rafile stand of donated pots, with proceeds going toa charity with local links Al the potters do their bit to make it work ina team effort. Arash offr of help resulted in the wonderful Pam Orme being in charge of publicity ~ajob 1 Katherine Winfrey. would hate. As the venue is small, with a maximum capacity of about 25 stands, we have a policy of jst having local potters, resulting in an interesting. mix of professionals and serious amateurs, with one or to new faces every year, There ae throwing, demonstrations on the stage and projected pottery fills (ne year with lve rmusial accompaniment) This year we tried out a Ceramie Café —a free coffee with every mag bought remember one ofthe potters a that first show telling me I'd made myself a jobefor-life. [laughed then, but nine y ‘on [fil he might have been right. We take ita year at time, but I definite) hhope tobe here to celebrate our tenth anniversary next year. Ht br - sda lesue 27 ClayCratt 63 Ore era Car} pktmags.com/claycraft FOR MORE INFORMATION ON EACH ISSUE AND TO ORDER PLEASE VISIT: FOR MORE INFORMATION ON EACH ISSUE AND TO ORDER PLEAS shop.kelsey.co.uk/ccback OR CALL: 01959 543 747 (2t"0r" ..., shop.kelsey.co.uk/ccback OR CA\|: 01959 543 747 ‘= rogress has been sporadic in recent weeks, Hannah's pots for her solo show in Tokyo were sent; the show opened and w: great success. The seems an age ago and were now looking. ahead to some ever-frantic months of tight deadlines and late-night working. ‘We are energised, however, and following a long, wet and dark Galloway winter, the countryside has woken from its slumber and somehow that makes life easier: The curlews are proclaiming the change of season, the buds are bursting States adventur and the lambs are skipping in the field in front of the workshop. Dum and Galloway is stunning, particularly at this time of year, with a breathtaking variety of bright green along the leafy lanes, punctuated by the 4 Hannah, with the miniature sgrafitto jug that | gave her on our wedding day. 66 yyCraft Issue 27 4 The freshly painted workshop extension, with his and hers white froth of May blossom and the cobalt bl that so many artists and craftspeople are IIs. Ie no small wonder SI) awn to the region, in search of an inspirational and affordable place to live and work. Many of these artists and craftspeople throw open their doors to the public during Spring Fling Open Studios which takes place during the second Bank Holiday weekend of May. Were taking ‘Freshly slipped big jugs and money boxes. part again this year, although we'll be setting up an exhibition in our local village hall as, since we moved our ‘workplace home, we no longer have sufficient parking to accommodate many Exhibiting with us in the hall (where T gave my wedding speech, four years ago tomorrows, atti writing), will be our friend, William Spurway, who describes himself as a landscape painter with leanings towards sem abstraction. [eve his work; it Should be a good show Spring Fling attracts visitors from all cover the country, de to the quality ofthe exhibitors, (its very rigorously selected). So if you fancy a visit toa beautiful region, packed with talented painters, printmakers, potiers te, [highly recommend it (spring-fling.co.uh}. ‘One such potter and Spring Fling regular was our fiend Peter Wareing, whose workshop was in Whithorn in the est of the region, We were shocked and desperately saddened when Peter died a few weeks ago, after a short illness, Peter was a sweet man and a very good maker He had taken early retirement from teaching and moved to the area in 2011, intent on joining the vibrant ct cconimunity here. He had a great eye for form and was a particularly fine draftsman, as the illustrations on his, pots demonstrate. Do please take time to Took at his website (peterwareingceramics.co.uk), He will the much missed by many people in this ative Were struggling to build up stock at the moment for our string of summer aie show commitments because we're overwhelmed with orders for galleries Is a positive problem to have admittedly, but [ wish we had more time, Tm exhausted from the long hours were working. Last week, Pippin started nursery in our nearest town, some 14 miles away She goes two mornings a week. It’ t00 far to drop her off, and then eome home again, just to return to collect her after four hours. So we're taking turns to drop her, and then take Fred to do the shopping, reeyeling ete The new structure is working quite well so far, as it allows the one at home to focus without distraction, Last week I took the children, while Hannah spent some time on a new project, A while ago we were asked by The New Craftsman Gallery if we could produce an exclusive range of tableware. At first we were reluctant. It’s been a Tong time since either of us had made PEuuueael ied Cee Set tableware in any volume and our business has steered more towards the production of the individual, gallery type of pot. Furthermore, the range was to be particularly aimed at the US market. Our glazes are rigorously tested t0 ensure that they are food safe, however any glazes that contain lead even safe fritted lead such as ours ~ are outlawed in the States After some deliberation, Hannah decided she would enjoy the challenge and has been hard at it, producing samples of dinner and side plates, dessert bowls, pasta bowls, mugs and jugs in two sizes. She's such a skilled production thrower, amazing to watch. She's been testing an array of new, lead-free glazes, There have been some very peculiar colours coming out of the kin in recent days, certainly nothing of the palette that we are accustomed t0 using on our work, Im unable to share pictures with you yet, but hopefully, by the next issue, some decisions will have bbeen made and Ill have photographs. ‘This week Hannah bas been on the nursery run, so [ve been in the workshop by myself for a couple of days. enjoy playing loud punk rock on the Acerepit workshop laptop, while deep in the zone of throwing, This only ever happens when Tim alone; wher we're in the workshop together, things are very ‘much calmer! Tye been making orders for big jugs, ry favourite thing to do, so Pm happy: too, have been making pots for the New Craftsman Gallery. They asked me to produce some pieces influenced by our collection of antique country pottery, jugs. puzzle jugs and moneyboxes among lesue 27 ClayCratt 67 other things, which are to be exhibited in an antique cabinet within the gallery, on aa date that is sooner than [dare think about I've also been making pressed dished for the Goldmark Gallery and Yunomi for an exhibition in the States, Soon there will be a huge stack of packing and dispatching to be done, once everything: is fired, Alongside the making of pots, Ive been trying to get the new workshop extension sorted out. As some of you ‘may remember, we had a big roof built ‘ver our Portakabin some time ago, doubling its footprint. Timber walls and windows were added back in the autumn, Although it was all insulated, it still required internal cladding, Ie has been piled fill of things brought back from my Devon workshop and boxes of stuff from ry parents’ house clearance. We've got somebody coming to make a film here later this month, so Tm determined to have it fully operational by then. Following the landing on the doormat of a £2K bill for repair of our new vehicle I realised it would have to be done on a shoestring, Fortunately, fm & hhoarder of sheet material, $0 I've been able to cover the foil-faced insulation with salvaged timber, including old bits of wardrobe, to good effect, One end of the workshop is almost finished. ‘The huge kiekwheel on the left of the picture used to belong to Michael Cardew and I rescued it, long with the 4 Peter studied life drawing for many years and his well-trained eye is evident in the quality of his decoration. 68 ClayCraft Issue 27 rehydration after slipping. racking, irom his semi-dereliet pottery at Wenford Bridge. The racking was built into my Devon workshop and ['m so pleased to have it reinstalled up here "The Leach wheel is Hannah's pride and joy. [ook forward to sitting next to her kicking away the years together. That woman is amzing. As T mentioned earlier in this text, tomorrow May gnd) will be our fourth wedding anniversary. The picture shows a miniature jug that I made for her as a wedding day gift. filled it with wood sorrell, picked from the woods on the way to our wedding, I've made quite a 4 Gas torching a big jug, drying ita little, to prevent it splitting due to few of these little love tokens for her she'll be getting another tomorrow ‘What a lot we've achieved in these past four years; two beautiful children, our ‘own house in the Scottish countryside and a fantastic workshop in the garden. It’s all been paid for by hard work and a passion shared, Tam nothing without Hannah; she is my daily inspiration and [make every pot for her approval. Best of all, she's beside me now; and she's sharing her white chocolate Easter bunny. As if it cever could, my life just gets better and better! nd thousands of c s around the UK Gift vouchers available POTTERYCRAFTS Roderveld wheels, equipment & POTTERYCRAFTS kilns are built by our dedicated team to an exceptionally high standard at our factory in Stoke-on-Trent. Raw Materials, wy Bisque & Moulds Extensive Range of Clays Helpful & Friendly Advige Potterycrofts Ltd Campbell Rodd) Stoke-on-Trent, ST4 4€T Tel: 01782745000, wWutv.potterycrofts.co.uk Fox:01782 746000 _cles@potterycrafts.co.uk| ane CEN, cee) CERAMIC WALES IS MOVING LOCATION This is an appeal to all who love ceramics to support Ceramic Wales, which is a treasure of an event - the only one of its calibre taking place in North Wales and definitely one not to miss he School of Creative Arts (Wrexham Glyndwr University) is passionate about ceramies and the importance of creativity, and isa vibrant and creative community with strong international and sional connections. prot Ceramic Wales was established in 2016 and, now in its fourth year, looks forward to welcoming visitors once again to an exhibition featuring makers’ stars, demonstrations and lectures, trade stands and installations, Due to scheduled building work and renovations at the usual Regent Street campus venue, the decision has been ‘made to move Ceramic Wales 2019 to the ‘main Glyndwr University campus, next to Weexhiam football ground. The venue is conveniently located just off the Aas with ample visitor and exhibitor paring, show will be housed within marquees to the front of the main entrance of the building, ‘The organisers are hoping that the change of location, with easier and quicker access for visitors, will encourage more people to visit and support the event, which has been hampered by poor attendance in the past. ‘The event is suitable for all ages, not only offering free admission and parking, Helen Higgins. 70 ClayCraft leeve 27 but also the opportunity to talk and buy directly from the makers. In addition to this, visitors can get involved in community projects and discover clay for themselves in the ‘have a go’ workshop, Highlights of the weekend will include lectures and demonstrations by professional curators and maliers like John Scott, who will be raku firing ~a technique which is always exciting to watch, Also, many of the makers will be creating work at their stands so visitors will be able to pick up lots of tips and trade secrets. In addition, there will be the ‘Made in Wales’ exhibition, which last year featured Walter Keeler and his wife Madloline, plus Bev andl Terry Bell- Hughes. ‘This year's exhibitors have yet to be announced, but are expected soon, and you will be able to find out more by Visiting the Ceramic Wales website at ceramiewales.co.uk Te would be such a shame to lose an event like this, positioned as it is within ‘easy reach from cities like Chester Liverpool and Manchester and the ‘counties of Cheshire, Shropshire and Staffordshire ~ not to mention all of North Wales! [think we can often ‘complain that there are no events like this in ‘our particular area, Jane Plahe. but then don’t support them when they are! Unfortunately, the sad fact is that they can only continue if we do make the effort to attend, Meet Jacqui I willbe there with a stand for my gallery, Gwalia Ceramics, along with iy buisness partner Charmain Poole will aso be promoting ClayCrgftand will be available to meet anyone who ‘wants to pick my brain or talk about the content. It would be fabulous to ‘meet you lovely readers, so do come along, for @ good natter and let's try to establish this special event on the calendar. Jacqui Atkin Jule Lug BD Fewster, Julie —£, Fewster. CERAMIC WALES Mark Smith. ne) Jacqui Atkin ‘Simon Shaw. en oop Wayne Emmett Ceramic Wales Exhibitors: Angela Sidwell; Bob Emmett; Charmian Poole; Dan Chapple; David Lawson; Elspeth Hart; Emily Hughes; Helen Higgins; Helen Owen; lan Hams; Jason Braham; Jenny Murray; ess Duffy; Joanna Clark; John Scott; Joy Sisley; Julie Fewster; Kim Ford; Kirsti Brown; Lesa Grimes-Thomas; Lorry Cudmore; Mark Smith; Meri ‘Wells; Phil Arthur; Rebecca Parrin; Ruby Sharp; Ruth Vintr; Simon Shav; Steve Booton; Sue Crossfield; Tara Squibb; Terrence Bunce; Top Pot Supplies; ‘Wayne Clark and Wendy Lawrence Saturday 18 July 1oam-5pm Sunday 14 July — 10am-spm. ceramiewales.co.uk lesue 27 ClayCraft 77 CUM mra READER OFFER =. ‘OIL, SLAB@M AND THROW ne oe PERCE UR Ua CK MC rors gacisersrcnewy | | EESCETIT SPLIT-LEG APRON ft a = ee ; ; Sowar ton fend handbuilding or glazing. Our heavy-duty [15 16JUNE 100% cotton canvas apron is soft, strong and eoningsandlassodpins CSch nace; | | GalterDuckFastval shrek | Whitsknight stuioTrall hardwearing, and comes in dark blue with an ‘ lsalats embroidered logo. Each side split is 45cm wide, offering generous coverage for each leg without the need for constant adjustments. The IScm pocket is. handily placed for convenience while you're sitting at the wheel, and the extra-long waist ties provide comfortable fastenings for all sizes. srmchguesprosucediatjext manchesterartgallery.org " studiotrall. coe FB ofocuscrattairs 15—23 JUNE cy (EXCI are trai anc open studios PotsatThe Parsonage Ceramic Fusion i [ese mers cedenvalleyartistcretwork cok Spring at Hampstead Schoolof Art ares rea athe Th age Dit a i ops facebook com/groups! 7th Annual Ludlow Fringe Art Tra kingrgateworkshops.org.k didsburyparsonagetrustiorg.uk _‘ThetaramicFuslonSiee acalnees ETT {mal ceramichison mailagmal.com Focus raft fair EXE Warwickshire open studios > : we Rutland Open studios ; : " warwickshireopenstudtos scotlandrafts.cowk rutlandopenstudios.c.uk a later Father's Day Craft Fair Potfest Scotland ma belpererttestivalorg is Plo FB efocuscratairs Spring Fling a CS artande Bovey Tracey Earth and Fite crafttestival coat i i : ES carthancivecouk spring fing.co.uk Ar Housebeicester PTY) arthouse-org.uk Socnaenen ‘openstudioscorwal-co.uk South East Open Studios suttoncoldfieldartraiL wordpress.com aa ae ‘lay Workshop. Southwold Arts Festival n 1am-4pm Stonehaven Craft Fair southwoldarstestval.couk Iymeregismuseum.co.uk te, tam FB efocuscrattairs To buy online go to shop.kelsey.co.uk/claycraftapron Or phone +44 (0)1959 543747. son-Fri sam to Spmand quote code CLAYAPRON aha CTC

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