ClayCraft 45 2020

54 PAGES OF CREATIVE STEP-BY-STEP PROJECTS
PINCH, COIL, SLAB AND THROW Issue 45
CREATE A POTTERS
WHO INSPIRE
CHRISTMAS Discover who
LANTERN & what has
influenced
QUICK AND EASY Linda
Christmas gift ideas! Bloomfield
DECORATIONS
FOR TABLES OR TREES

BAUBLES
CASTING MULTIPLES
ANIMALS
£5.75
ISSUE 45
KELSEYmedia
PERFECT FOR KIDS PLUS: • Box-frame art • Coasters

Meet the team...
Welcome he second and preserving, mostly
Jacqui Atkin Linda Bloomfield

Box-frame art p30 Inspirations p 20
T national
lockdown has
just started in
England as I write this.
– are full of hope, sharing
and… niceness. This
positivity is such a
welcome antidote to
I’m watching the US everything else, and I
election until late into the believe, is testament to the November, to arrive in
wee hours and, to me, the power of using your hands time for Christmas if
world feels battered and to create something. you’re gifting one. You
shocked. I’ve seen and Working with clay is can pre-order yours now
heard people who are well-documented to be at shop.kelsey.co.uk/cc21
Doug Fitch scared, angry and therapeutic, and we all and I hope to be able to
Tracey Parsons Online success intolerant; others are in need more of that at the fill mine with positive,
Slip-casting p62 p65
various stages of despair. moment! inspiring things.
There is, however, a whole On a more positive
tranche of people in my note, let’s look forward to
54 PAGES OF CREATIVE STEP-BY-STEP PROJECTS
circle who seem to be next year being much
coping relatively well, and better. We have a lovely
I consider them to be 2021 ClayCraft calendar,
CREATE A POTTERS ‘creatives’; potters, artists, available from mid- Rachel Graham, Editor
WHO INSPIRE
CHRISTMAS Discover who crafters, gardeners and
LANTERN & what has
influenced
cooks, among others. I’m
QUICK AND EASY Linda Available for pre-order ● Superb calendar for all clay
Christmas gift ideas! Bloomfield
DECORATIONS
lucky to live somewhere makers
with a bit of space, which ● New fascinating print every
FOR TABLES OR TREES meant that during the first month
● Room to add daily notes
BAUBLES
lockdown, I could increase

my food-growing and ● Large A3 format
CASTING MULTIPLES
start preserving the (297mm x 420mm)
ANIMALS
£5.75
surplus. Life slowed down ● Calendars will be available by

ISSUE 45
mid-November, pre-order
for my family and me, and
KELSEYmedia
PERFECT FOR KIDS PLUS: • Box-frame art • Coasters your copy now!
in a way, it got simpler.
On the cover this month is ● Price quoted includes postage
The social media groups I & packaging to UK addresses
Simon Shaw’s thrown lantern 2021
project (page 8).
belong to – pottery, veg CALENDAR ● £8.99 (approx $11.51 or €10.25)
growing, smallholding
10/09/2020 08:48
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Issue 45 ClayCraft 3
Contents Issue 45 20
28 Janina Myronowa
22 Discover this Ukranian artist’s bold
and distinctive sculptures
30 Project 3: porcelain squares

6 News 22 Project 2: transfer- Decorative tiles put together as an
decorated coasters artwork in a box frame – another
8 Project 1: thrown lantern Underglaze decals make these a simple but effective gift idea
This is a lovely item to make for quick and easy present to make
winter. In stoneware, it can be put 48 Project 4: Christmas tree
outside to light your path, but it animal decorations
can also be used indoors 27 Back issues Animals are always popular with
Find a project you missed, children and there’s still plenty of
20 Inspirations complete your collection, or add to time to make these quick and easy
Linda Bloomfield reveals the artists your reference library decorations
and inspirations that have shaped
her work
28
8
4 ClayCraft Issue 45
CONTENTS
30
62
68 Project 6:
Christmas crackers
56 These little crackers make sweet
table decorations, and can be
scaled down to hang on the tree,
68
or made larger for more impact
77 Courses
Do you need to find someone to
fire your work?
Looking for a course for when
restrictions are lifted?
Search our free directory
82 Next issue
Find out what’s in store for you
65 in the next packed issue
48
56 Project 5: Christmas
candelabra pt 2
Complete this project by 54 PAGES OF CREATIVE STEP-BY-STEP PROJECTS
decorating the partridge and the

pear tree with underglazes
CREATE A POTTERS
62 Confessions of a Novice
46 ClayCraft SPECIAL
CHRISTMAS WHO INSPIRE
Discover who
A slip-cast bauble – part 1 LANTERN & what has
influenced
QUICK AND EASY Linda
Time for a showdown with Tracey’s Christmas gift ideas! Bloomfield
subscriptions OFFER!
DECORATIONS
nemesis – plaster of Paris – which

would either end up in tears or FOR TABLES OR TREES
triumph BAUBLES
Save money and have the

65 Doug’s Diary magazine delivered to your door. CASTING MULTIPLES
ANIMALS
This year… this year! Despite some

£5.75
ISSUE 45
last-minute panics, the online show You know it makes sense!

K
KELSEYmedia
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was a success PERFECT FOR KIDS
001 Clay Craft Cover Issue 45.indd 1
If you have a news story, product launch or details of some
IN THE other topical item you’d like our readers to know about,
NEWS email claycraft.ed@kelsey.co.uk
POTTERY POTENTIAL?
If you're looking to relocate to the
country and set up your own studio,
how about this little Grade II-listed
gem? We've been contacted by the
son of the owners, who explained:
"I'm trying to sell my parents'
property in Marshfield, in the
Cotswolds. It has been a butcher's
shop for 50 years, and latterly has
incorporated the village Post Office.
The building has a traditional shop
front, with large open kitchens and
workspace.
"We have been approached by
potters, who unfortunately couldn't
proceed, but it made us think
outside the box, and we love the
idea of it going on to be an asset to a
talented creative person, rather than
for development. It would be perfect
for a potter.
"The property has a number of
"I'm a vet, but that's me helping
advantages, with space for a kiln,
my dad out in the shop last
Christmas to celebrate 50 years of
owning the shop! We would love it
to go on as an asset to a talented,
creative person rather than for
development."
The traditional shopfront is very

The layout attractive and offers gallery potential.
offers good The first-floor accommodation has a
working separate entrance.
flexibility on the
ground floor, and three-phase electricity, workfloors,
five-bed living amenities, a courtyard, an office
accommodation space, accommodation, a shop front
on the first and and gallery space – all in a bustling
second floors. village outside Bath that has a
There's plenty vibrant and thriving arts scene, so it
of space to hold has loads of potential for a potter."
workshops… and For more photos of the property
separate access and details of the accommodation,
from the back. visit: davismeade.co.uk
HARROW OPEN STUDIOS

The Harrow Open Studios Winter Festival event is the organisers' first online show, allowing you to view original art
by local artists, designers and makers, all of which are available to purchase from the artists. The vast diversity of
disciplines and styles means that you're sure to find something beautiful that would make a perfect gift for a loved
one, or a special treat for yourself (we all deserve something special this year).
So, sit back with your favourite drink, in your most comfortable chair and take the time to explore the range of
beautiful work and enjoy the talents of this local art community. harrowopenstudios.com
IN THE NEWS
Annika Schüler master

ceramist from Munich
fires with two TE-S series
toploaders
ROHDE kilns.
Enjoy your results.
potterswheelconference2020.wordpress.com
THE GREAT POTTERY

THROW DOWN
If you aren't very
active on social
media, you may
“It’s so inspiring when
have missed the traditional crafts come together
announcement that with modern design.”
the fourth series of
the Throw Down
has finished filming. ROHDE has been producing kilns and machinery designed
There have been to meet the highest standards since 1982. The company’s
ongoing pursuit of technical advancement creates
some changes to
outstanding quality and efficiency that you can rely on.
the lineup, with Rich
So you can enjoy your results.
Miller, previously the
show's technician,
joining the team as
Learn more about Annika’s story
Keith Brymer Jones'
www.rohde-online.net/artist
co-judge. This series
will be hosted by Irish actress Siobhán McSweeney, who
is best known for her role in Derry Girls and has also www.rohde-online.net
appeared in a special episode of The Great British Bake
Off.
As yet, there's no word on when the series will air, but
watch this space – as soon as we know, you'll know!
SKILL SCHOOL
PROJECT
ONE THROWN
LANTERN
This is a lovely item to make

for Christmas. Put it by your
front door to welcome guests,
or it can also be used equally
well indoors and would look
great with seasonally themed
cutaway sections
You will need:

■ Stoneware clay
if you intend to use
the lantern outside,
otherwise earthenware
or stoneware type of
your choosing
■ Items for throwing
– water bowl, sponge,
rib cutting wire
■ Two batts
■ Turning tool
■ Sharp knife
■ Glazes to suit clay
type
DIFFICULTY RATING ★★★★★
THROWING THE BASE

2
Open out the centre by pressing the fingers of your

right hand down through the clay to within 6-10mm of
the wheel head, keeping your hand on the left side to
Before you begin: keep the clay to centre.
Prepare 900g (2lb) of Support your right hand with your left as you draw
clay by kneading it well the clay back towards your body until the base is
to remove any possible opened to a width of approximately 12cm.
trapped air, then fix a batt The result should look like a thick doughnut.
to the wheel head – for
details visit claycraft.
co.uk/how-to
Form the clay into a

rough cone shape.
Dampen, but don’t
flood, the surface of the
batt or wheel head, and
position the clay as close to the centre as possible.
Dribble a little water over the surface of the clay, then Compress the clay in the base by running your fingers
pat it down to make sure it’s secure. or the side of your knuckle over the surface several times,
Centre the clay – you can see full instructions working from the centre to the outer edge.
on how to do this on our website – but begin by Compressing the clay in this way prevents cracking
dribbling a little water over the surface then cone the during drying and firing.
clay up between both hands to get it to the correct
consistency.
Continue by pushing the clay down with your right TIP To check the thickness of the base, stop the
wheel and press down into the clay with a pin.
Drop your finger down to the surface of the clay and
hand while supporting the edge with the left. This will
level it off and bring it to centre. hold it there as you lift the pin out. This will clearly show
you the thickness of the base
.
PROJECT
SKILL SCHOOL
ONE
6
Repeat the lift to thin and raise

the wall higher, still maintaining
the cylinder shape with a
narrower rim.
It’s essential to keep the top
of the form narrow to prevent the
shape getting out of control but at the
same time maintaining the fat rim.
4
Pinch and lift the wall between the fingers and thumb of
your right hand. The shape will look cup-like as you begin 7
this. Maintain the left-hand’s position, with the fingers of
your right hand on the opposite side of the wall to steady
the lift as the shape rises.
Remember to compress the clay at the rim after each

lift – pinch the rim gently between the fingers and
thumb of your left hand, but rather than flattening off
the top as usual with the forefinger of your right hand,
angle the rim downward, as shown, for the lid to sit on.
5
Change the position of your hands to pull the wall
upwards to a cylinder shape – your left-hand fingers on
the inside, the tips of your right-hand fingers (or side of the
knuckle) on the outside, just above those on the inside.
Raise the wall straight, to half its height, in this lift –
narrower at the top than the base – and leaving a fat rim at
the top.
8 10
Reverting your hands to the earlier position, pull the

wall up one last time to lift the lantern to its finished
height, but this time straighten the wall. When finished,
the wall should be evenly thick throughout.
Supporting the wall from the inside with your left hand,
carefully work over the outer wall with a rib, to remove
the throwing lines.
Carefully mop out the interior of the pot with a sponge

on a stick, including the wall. .
SKILL SCHOOL
PROJECT
ONE
14
11 Measure the top opening of the lantern with callipers

and underwire the base.
Again, pinching the rim between the fingers and thumb Carefully remove the batt from the wheel head with the
of your left hand, run the rib over the angled surface to pot still in situ, then allow it to firm to leather hard.
neaten it up.
THROWING THE LID
15
12
Clean away the slurry from the batt then carefully bevel
the base of the pot with the tip of the rib.
Fix another batt to the wheel head as you did earlier,
then centre 340g (12oz) clay.
16
13
Score light pin lines on the outside wall to divide it into
four equally spaced sections – these will act as guidelines Open the centre of the clay straight down – again to
for your cut-out design later. within 6-10mm of the batt.
17 19
Lift the wall directly outward in an inverted cone

shape, with your left-hand fingers on the inside Lift the wall again as
and your right-hand fingers just below them on the required until the diameter
outside. at the rim is wider than that
of the base pot. The calliper
measurement will tell you
when the rim is the same size
as the base but widen it just a
little more to ensure it will sit
comfortably.
The lid should be totally conical when finished, with
enough clay left at the base to turn it to a neat shape
for a knob.
18
Remember to compact the clay at the rim after each

lift by pinching it between the fingers and thumb of your
left hand then running a finger of your right hand over the
surface. .
SKILL SCHOOL
PROJECT
ONE
22
20
Carefully sponge out the interior of the lid and include
the rim. Cut a small bevel at the base of the lid as a guide for
the cutting wire, to complete the throwing part of this
project.
21
23
Clean away the slurry

from the batt then work over
the outer surface of the lid
with a rib, to remove the
throwing lines as you did for
the base, remembering to
support the shape from the Underwire the base of the lid, then remove the batt from
inside as you work. the wheel head and allow the lid to firm to leather hard.
TRIMMING THE LID

25
CENTERING FOR TRIMMING – KNOCKING
ON TO CENTRE – A GENERAL GUIDELINE
Knocking on to centre (or ‘tapping to centre’) is the
term used for centering pots for trimming. It’s the most
traditional method but also the most difficult to learn.
Added to this, the method can’t easily be demonstrated
photographically, so you’ll need to practice to master
this technique, but it’s by far the best and fastest
method once you have the knack.
Method: Dampen the wheel head or batt surface then
position your pot as close to the centre as possible.
With the wheel rotating, look at the edge of the pot
on the left side and when you see a wobble tap the
opposite side of the pot with the other hand. Repeat the
process until the pot runs true to centre.
TIP Practice knocking on to centre with pots

from the kitchen – cups, bowls etc. This will
save you having to make things just to practice the
Holding the lid in place with the thumb of your left
hand and using a turning tool of choice, begin to trim
away the clay from the top of the lid until the shape is
technique. For a video demonstration visit claycraft. reduced to a perfectly straight-sided cone with a small
co.uk/how-to flat area at the top for attaching a knob.
24
If it helps, you can turn the top of the lid by placing it

directly on the wheel head, using the concentric lines to
help centre it, or on a batt as shown here.
Dampen the rim of the lid then position it rim-down
and tap to centre, as described above.
Secure the centered lid by gently pressing it down or
with wads of soft clay if it makes you feel more secure
about it staying in place.
.
PROJECT
SKILL SCHOOL
ONE
28
26
Form a small amount of clay into a ball in the palm of Once you’re happy with the size of the knob, hollow out
your hand, then carefully pinch it to the shape you want the interior with a small loop tool.
your knob to be – it doesn’t have to be the bird shown
here.
29
27 Add any distinguishing

or design details to the knob
as required – here, eyes and
wing details are applied to
give the bird some character.
30
Test the size of the knob on the lid and make Score and slip the top of the lid and the underside of the
adjustments as required for balance. knob, then carefully fix it in place.
31 34
Reinforce around the join with a coil of soft clay. Make a card template in your chosen shape. It must fit
Blend the coil onto the knob and lid until it’s no longer between two of the scored lines you’ve just made.
visible. Place the template between the lines, within the marked
spacing, and score the first outline.
32
35
Turn the lid over and make a hole through the top into Continue to score the outlines of your chosen shape,
the knob cavity to allow for the release of air in firing. spacing them equally within your marked divisions.
33 36
Return to the lantern body and carefully measure its

circumference to determine the spacing for your cut-out
shapes. Divide the circumference into equal spaces with a When all the outlines have been scored, very carefully
light pin-mark. begin to cut the shapes out with a sharp knife. .
SKILL SCHOOL
PROJECT
ONE
40
37
Neaten around the cut
edges of each shape with a
rib, then carefully run your
finger over the edges to
smooth them off. Place the lid on the lantern and allow them to dry
together until ready for bisque firing.
41
38
Continue until all the shapes have been cut out and
neatened up, then sharpen any angles and details with a
pin, as shown, to finish up.
Glaze your lantern to fit your clay type. Make a feature

39 of the knob by glazing in different colours or simply cover
the whole thing in one glaze.
Don’t forget the inside of the lantern; it will require Mayco Stoneware – ‘Shipwreck’ was used for the body of
some attention as well. Use a rib or suitable wooden tool to this lantern and Black walnut for the bird.
neaten around the cut-out design. Fired to cone 6 – 1222°C (2232°F) in an electric kiln.
ONLINE & IN STORE
BATH POTTERS SUPPLIES

www.bathpotters.co.uk
Linda Bloomfield reveals the artists
Inspiration wo of my earliest forms were curvy, playful and
and inspirations that have shaped her
work over the years
T
Linda
influences are organic. She had worked in Bloomfield,
Lucie Rie and the ceramics manufacturing Organic tea
Eva Zeisel, both industry in Germany and set, thrown
talented emigrants from Russia before emigrating to porcelain,
Europe at the start of the America, where she continued 2007.
Second World War. Studio to design tableware for
potter Lucie Rie came from American ceramics
Austria to London and manufacturers. She designed
started making tableware and the shapes, and the factories
buttons for the fashion had moulds made and carried
industry, while Hungarian out the production. Her
ceramics designer Eva Zeisel modern, white porcelain
emigrated to New York after tableware was exhibited in the
being imprisoned in Russia Museum of Modern Art in
for more than a year. New York in 1942. (Photo: Jacqui Hurst)
Lucie Rie, together with her
student Hans Coper, made Tableware My tips
modernist tableware for shops Before becoming a potter, I ● Visit art exhibitions to be inspired.
such as Heal’s in London that spent years making pottery as ● Look for inspiration in nature, textiles, interiors,
were very different from the a hobby, throwing with anything you are interested in, not just other ceramics.
Oriental-inspired pots being stoneware and porcelain in ● Work towards specialising in one clay body, one
made by the Leach pottery. various potters’ studios and making technique and one or two glazes and find your
Her jugs were tall, straight- adult education classes. I lived own style.
sided, with a side handle, in Japan for a year and made ● Be open to new directions in your work.
glazed in tin white and pottery at weekends,
manganese black, sometimes collecting beautiful Japanese midcentury modern tableware making technique, one or two
inscribed with sgraffito lines tableware that I still use every and organic forms of Eva glazes and develop a signature
through the black to the clay time I make Japanese food. I Zeisel. I eventually got my style.
beneath. Her forms were visited exhibitions, in own wheel and electric kiln When I came back to
simple and modern, inspired particular, one showing Lucie and started reading glaze London and started my
by the Bauhaus architecture Rie pots at the Crafts books (mainly by Emmanuel pottery business in 2004, I
in Europe. Lucie had already Council in 1992 that made an Cooper) and testing glazes. I made thrown porcelain
won an international prize for impression. I particularly particularly like matt glazes tableware inspired by Eva
her studio pottery in Paris in liked her matt and textured made with dolomite or talc. I Zeisel; softly rounded and
1937. In contrast, Eva Zeisel’s glazes and her colour wasn’t very good at dimpled forms with a satin
combinations, including pink brushwork or decoration, so I matt glaze on the outside and
and turquoise. While living in dipped and poured my glazes. colour on the inside. I made
California in the late 1990s, I It’s important eventually to teapots, dimpled jugs, cups,
became aware of the decide on one type of clay, one cake stands and plates. The
colours were inspired by
1950s ceramics such as Poole
 Eva Zeisel, Granit teapot,  Linda Blomfield,

produced by Design Within  Lucie Rie jugs, manganese black and tin white glazes, Dimpled ware, porcelain,
Reach, New York. private collection, London. 2007. (Photo: Jacqui Hurst)
Linda
Bloomfield GLAZING
porcelain
jugs, 2014.
(Photo: Henry
Bloomfield)
Morandi inspired pots and

quinces, 2015. (Photo: Henry
Bloomfield)
woods this autumn so that

they look like a growth of
strange fungi. The
installation shows the effect of
collection of glass bottles, Recently I was inspired to pollution on lichens,
lamp bases, olive oil tins and make some non-functional beginning with lichen-
 Linda Bloomfield, jugs in different groupings in ceramic art. I used the covered forms in grey and
porcelain tableware, 2011. his studio, showing the lichen-effect glazes I verdigris and ending in dark,
(Photo: Emma Lee)
importance of composition developed while researching barren pieces. I have also
Pottery Twintone and colour and space between the objects. for my new book Special Effect made a range of bowls and
combinations used in textiles I was inspired to make a Glazes. I made some closed lidded pots with the same
by Lucienne Day: turquoise, range of still-life bottles using forms inspired by lichen effect.
grey and green. The range matt glazes I developed, based stromatolites and fungi and While thinking of the next
was successful, and in 2007 it on Morandi’s subtle tones of applied the lichen-effect exciting project, I feel it is
sold through Liberty and white, mustard and grey. I glazes. The installation I important to keep a signature
David Mellor in London. I also made a range of mugs in made was exhibited at the style that runs through the
have continued to make my these colours, matt on the Craft Council’s Collect work. 
dimpled ware range and outside and glossy on the exhibition at Somerset House, More tableware inspiration
varied the colours from inside. I took part in several and I have recently made a can be found in my
turquoise, green and pale blue exhibitions with the painter larger group of 30 pieces and book Contemporary Tableware,
to pink, grey and pale blue. I Sarah Spackman, showing her photographed them in the Bloomsbury 2013.
also had manufactured still-life painting and my pots.
versions made, which I have I also exhibited a large group
sold to restaurants, including of bottles at the Future of
the café in the Royal Albert Craft, an exhibition held in
Hall. I often make tea ware for Bargehouse, Oxo Tower
tea companies and cups for Wharf during London Craft
coffee specialists. week last year. This work has
drawn me towards making art
A change in direction as well as tableware.
In 2013 I saw an exhibition of
Morandi etchings and Nature and art
paintings at the Estorick Nature is also a big inspiration Lichen-effect closed
 Lichen installation in the
woods, 2020. (Photo: Henry
Collection of Modern Italian for me. I love walking in the form, 2020. Bloomfield)
Art. Morandi painted his woods and foraging for fungi.
Linda Bloomfield is a scientist
turned potter. More glaze
recipes can be found in her
books, Advanced Pottery
(2011), Colour in Glazes (A&C
Black 2012), The Handbook of
Glaze Recipes (Bloomsbury
2014) and Science for Potters
(The American Ceramic
Society 2017). Her new
book Special Effect Glazes, and
the second edition of Colour in
Glazes are both out now
Mustard and grey mug, 2020. Lichen-effect bowl, 2020.
SKILL SCHOOL
PROJECT
TWO COASTERS
If you’re struggling to think what to give
someone for Christmas, why not try making
these lovely coasters? They are quick and easy
to make, look great tied together with ribbon or
raffia and friends or family will really appreciate
the fact that you made them yourself
Position the decal sheets underglaze side face-up in the

plaster batt.
You can put two different sheets of design into the mould
if you like.
You will need:

■ Underglaze decals – readily available from many
sources but Bluematchbox Potter’s Supplies has a
really good selection
■ Framed plaster batt – see issue 22 for
instruction on making a plaster batt, or find it on our Secure the decals onto the plaster with very thin strips
website: claycraft.co.uk/how-to of masking tape. Make sure the sheets are flat, with no
■ Masking tape creases, before taping them down.
■ Casting slip of choice – earthenware, stoneware or
porcelain
■ Kitchen sieve 3
■ Large jug
■ Large cookie cutter
■ Sharp knife
■ Transparent glaze to fit clay type
Prepare the casting slip by stirring it until it runs off the

spoon like single cream. Place the sieve over the jug then
decant the slip through it until you have enough to fill the
mould in one pour. .
SKILL SCHOOL
PROJECT
TWO
6
4
Release the decals from each corner of one end using a
pin, then peel the paper off in one go.
Pour the slip into the mould It’s very exciting to see the decal transferred to the
to cover the decals to a surface of the slab as you peel the paper away!
thickness of about 5mm.
Leave the mould to one
side to allow the clay to
firm up. It will be ready
to remove when you can
touch the surface without
leaving marks – that is, it’s
no longer tacky.
When the slab has firmed enough to remove from the

mould, lay a plastic sheet over the surface, then, holding
the sheet in place, turn the mould over.
Lift the mould off the slab when ready.
7
9
Cut the slab in half to separate the designs if you’ve

used more than one, then measure and mark one sheet of
design into equally sized squares, large enough to sit a cup
or glass on and allowing for clay shrinkage.
This is especially important if using porcelain casting slip
– it will shrink more than either earthenware or stoneware –
so make allowances for this.
ALTERNATIVELY – cut the slab into rounds with a

cookie cutter.
Carefully cut the slab into squares, aligning your

measured marks.
You will probably be left with sections of slab that
aren’t quite the right size – don’t waste them, they can
be used to make brooches or other jewellery.
.
SKILL SCHOOL
PROJECT
TWO
12
After bisque firing, simply

apply transparent glaze to the
upper surface of the coasters
only, then fire them to your
clay’s optimal temperature.
10
13
Again, don’t waste the spare bits of slab – cut them into
shapes to maximise what’s left.
11
After firing, simply apply felt circles to the underside

of the coasters to prevent them from scratching wooden
surfaces.
14
The fired coasters are

now ready to tie into
Allow the coasters to dry out completely, turning them bundles with pretty
regularly to ensure they stay flat, then very carefully fettle ribbon, raffia or string.
the underside edges with a damp sponge to remove any The examples shown
sharpness. were made from
DO NOT allow the sponge to touch the patterned upper porcelain slip, fired to
surface – it will wipe away the design. 1222°C (2232°F) in an
Make more coasters in other designs in the same way. electric kiln.
Bisque fire the coasters when fully dried.
OVER
100
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A UNIQUE VISION
Paul Bailey delves into the world of Janina Myronova
ew maker Janina
N Myronova has burst onto

the ceramics scene this
year with her bold and
distinctive sculptures, showcased via
her social media.
Janina’s slab-built sculptures vary in
thickness depending on their size.
Using slabs, which speeds
construction most of the time, allows
her to spend more time on the details.
Working with both stoneware and
porcelain, using engobes, underglazes,
and glazes, Janina has started to
combine them with glass.
“I enjoy working on the shape of a
piece,” she explained. “Sometimes, the
clay dictates to me how the figure will
look. I also love the moment when clay
is getting slowly dry, and I can work
more detail into the shape. I add a lot
 “Taiwanese children”. (Photo Ma Kang Li)

of polishing to the surface while the one from the Lviv National Academy
clay is completely dry, as well as when of Art in Ukraine, and the second from
it’s been bisque fired.” the Eugeniusz Geppert Academy of
But where does Janina’s inspiration Fine Art and Design in Poland. Then
come from? Mainly she uses people followed two years’ experience with a
and animals drawn from her
imagination, but some are inspired by
the people she meets in everyday life.
She commented: “They might have
different backgrounds and be different
ages, but something that they all have
is that they have a quite specific type
of body and characteristic faces, with a
nose that is wider at the top, and red
cheeks.”
The people she makes are similar to
figurines created by ancient
communities. Janina looks to ancient
images and ideas from around the
world, mythological creatures, and
toys. There are influences from the
pre-Columbian period and Mexican
folk art, but most of her influences
come from childhood.
At 14, she started to make ceramics
in her native town of Donieck in  Janina at the Sculpture Symposium
 ‘New look’ sculpture. Ukraine and has never stopped. Janina at the Center of Polish Sculpture in
(Photo: @pracownia2f) has two Master’s degrees in ceramics; Oronsko.
MEET THE POTTER
leading ceramic studio at the Institute “Travelling is an essential part of

of Design Kielce in Poland. After that, the influence on my work, and my
she returned for PhD studies at the studio travels with me,” she said.
Academy in Wroclaw and obtained a “There are favourite tools that I
doctorate. While holding classes for always bring along, no matter which
students, Janina was also country I find myself in.
able to find time to Every studio I work from
travel the world and feels like my own.” In
continue making her 2020 she received a
work while scholarship from the
learning about Ministry of
other cultures and Culture in Poland
gaining new to establish her
experiences. Since own studio, which
2012 she has lived will have a kiln
in Poland. and an independent
space.
During a period as
the artist in residency at
the International Ceramic
Research Center Guldagergaard in
Denmark, Janina started to work on a  ‘Best Friend’, one of
large-scale sculpture for the park. Janina’s favourite pieces from
Then, in summer 2020, she had the the Voilà show. (Photo: Rebecca Fanuele)
opportunity to visit the artist in
residency programme of Gallery janinamyronova.com
Lefebvre & Fils, in Versailles. There Follow Janina on Instagram at:
she was working on pieces for a solo janinamyronova
exhibition in Paris called VOILÀ.
Looking to the future, Janina plans
Paul Bailey produces Emerging
to continue to work with public art.
Potters online magazine and writes
The interaction between the maker
on modern ceramic makers.
and the viewer will always be central
Paulbailey123@googlemail.com
to her work. 
 Work in progress at the

Guldagergaard International Ceramic
Research Center in Denmark.
Circle: ‘When the stranger comes to

your home’, 2020. Chamotte clay,
underglaze paint and engobe.  Installation view of Voilà at Galerie Lefebvre & Fils, Paris, 2020.
(Photo: Rebecca Fanuele) (Photo: Rebecca Fanuele)
SKILL SCHOOL
PROJECT
THREE
MINI
PORCELAIN
TILES
The idea here is simply to make lots of little decorative tiles to put together as an
artwork in a box frame – another simple but effective idea for a Christmas gift
YOU WILL NEED:
■ Porcelain clay
■ Rolling pin, roller guides (absolutely no thicker MAKING METHOD 1 –
than 5mm), plastic sheet BLOCK STAMP IMPRESSIONS
■ Block stamps – textured wallpaper, lace, etc
■ Organic material – leaves, flowers etc.
■ Card templates of animals, birds
■ Tiny sprig moulds if available (see claycraft.
co.uk/how-to for instructions on how to make
3
these)
■ Carving tools
■ Underglaze colours
■ Glazes in different colours
■ Various grades of brush for different applications
■ Box frame
BEFORE YOU BEGIN:

The tiles demonstrated here are all square, but
they don’t have to be – they can be any shape and
still fit together in a good arrangement within the
box frame. You could include circular, rectangular, Prepare a block of porcelain – make it large enough
triangular shapes, for example – the possibilities are to allow you to make several tiles in one go.
endless so let your imagination run wild. Working on the sheet of plastic, reduce the bulk of
the 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 avoid making deep grooves in the
surface.
1 Roll out the clay between your roller guides.
You will find that periodically turning the slab will
make rolling much easier and give you more control to
achieve the approximate shape that you need.
Once rolled out, smooth over the surface of the slab
with a rib to compact the clay.
Begin by gathering together the items you intend to

use to decorate your tiles – wooden block stamps, organic
material, sprig moulds etc.
Also, make card templates of animals or birds if you
want to make this style of tile, and make a 5cm x 5cm card
template for the tile itself.
Having cut out the outline template for the tile, check
that the block stamp designs will actually fit inside them.
Sometimes it doesn’t matter if the block overlaps the
edges; it can still be cut to square and look okay, but this
doesn’t always work so you will have to judge for yourself. .
SKILL SCHOOL
PROJECT
THREE
5
4
Stamp the blocks directly into the slab to maximise the
available space.
Fill the slab with detail, allowing enough space
around each impression to fit the square template.
Place the template over the impressed designs,

choosing the best position in each case, then cut
around the outline using a batten or ruler as extra help
to cut the lines straight.
6 9
Position a square between

your roller guides, then arrange
the template on the surface.
When all the squares have been cut out, roll the side of Carefully roll over the template
the batten over the edges of each, to gently round them
so that the outline is impressed
off.
into the surface of the clay.
7
10
Make as many more squares in this style as you choose.

Don’t waste smaller sections of texture if you have bits
left over. They can be used as spacers, for example, if you
choose to make a picture from assorted shapes.
METHOD 2 – CARD TEMPLATES
Leaving the
template
in place,
arrange
some
botanical
samples
around it,
Roll a second slab of then roll
porcelain as you did the it into the
first, then cut it up into as clay.
many plain squares as the
slab will allow.
.
PROJECT
THREE
12
Draw in any additional detail you want to add to the

picture using a pin. Here, eyes, wing and leg features
are drawn in.
11
Carefully remove the organic material and templates
from the surface using a pin. Don’t worry if some of
the organic stuff won’t lift off easily; it will burn away
in firing. DO NOT be tempted to dig into the surface
to get it out; you will spoil the detail.
15
13
The shape of the square may have distorted slightly

in the process of adding the design detail, so place
the template back over the surface and carefully cut it Make as many more tiles in this style as you need. Try
back to size. making them in different arrangements and with varying
botanical samples.
METHOD 3 – ORGANIC MATERIAL
16
14
As you did with the wooden blocks, look for well-
textured leaves that will fit your card template.
Sage leaves are always a good choice because they have
such lovely veins.
17
Roll another slab of clay then line the leaves up in pairs

along the width, as shown.
Remember to roll the batten over the edges of each With the roller guides in place at the side of the slab, roll
panel as you complete them. the leaves into the clay. .
PROJECT
THREE
21
18
Carefully remove the leaves from the slab.
Cut the slab into squares, maximising all of the
available space and making smaller samples where the
surface is too good to throw away.
Round the edges off with the batten when they have
all have been cut out.
19
Cut the tiles out using the template, making sure the
leaves are central in each.
20
ALTERNATIVELY – Arrange a selection of different
botanical samples over the whole of the slab until
completely covered, then roll them into the clay as
before, with the roller guides in place at the side.
METHOD 4 - SPRIGS 24
This method of decorating the tiles will only be
possible if you have some suitably sized sprigs to fit
your square. Making sprigs was shown in issue 2, but
you can find details by visiting claycraft.co.uk/how-to
22
Place the sprig centrally on a pre-cut tile and score

around the outline with a pin.
25
Press a small section of slab into the sprig with your

thumb, applying firm pressure to ensure the detail is
impressed into the surface.
Score and slip the position on the square and the

underside of the sprig, then fix it in place, applying
gentle pressure.
Excess slip will ooze out around the edge of the sprig
as you press it into place. It is important to ensure you
are not trapping air between the layers, so the more
slip that is squeezed out, the less chance of trapped air.
23
Lift the clay out of the

sprig, then very carefully cut
away the excess around the
edge, as shown. .
PROJECT
THREE
METHOD 5 – CARVED RELIEF
28
26
Remove the excess slip with a suitable wooden tool, Roll another slab and cut out a set of plain tiles.
then gently wipe around the edge with a damp sponge Allow the tiles to dry out completely, turning them
to neaten up. regularly to ensure they stay flat, then draw a design of
your own choosing on the surface of one, using a soft
pencil.
29
Dampen the surface of the tile, then using your

carving tool, begin to reduce the level of the clay
around the drawn outline.
BE AWARE – this is a slow and fiddly process
because it’s a small area to work on.
Brush away the carved clay regularly and re-
dampen (but don’t soak) the tile as necessary to make
the carving easier.
27
Make more sprigged tiles in the same way.
30 33
Neaten the carving up when finished, by wiping over Allow all the tiles to dry out completely, then wipe
the surface with a damp sponge. around the edges of each with a damp sponge to soften
them off and neaten up.
Bisque fire the tiles when they have fully dried out again.
31
DECORATING THE TILES
34
Continue to work on the detail where required,

otherwise allow the tile to dry out ready for bisque firing.
32
Once bisque-fired, your tiles are ready to decorate.
35
As you continue to make the tiles, you’ll see how they

fit together to make interesting arrangements. It helps to
have lots to choose from when putting an arrangement Beginning with the bird/animal tile, paint in the outline
together. details using black underglaze and a fine brush. .
SKILL SCHOOL
PROJECT
THREE
36 38
Wipe over the surface of the tile with a damp cloth until Now paint in the detail of the bird in a selection of
the detail remains only in the lines. colours.
37
Paint in the botanical detail in colours of choice –
39
again, using a fine brush.
Returning to the black

underglaze, paint in the fine
feature details like beak and eyes
and touch up any areas where
the detail is indistinct, or you
have gone over in another colour
by accident.
Allow the underglaze to dry out
completely.
40
Cover the tile in a transparent glaze to finish. You can
see from the image that the glaze can miss certain
areas of detail if not careful – you must work over
these until fully covered; otherwise, the glaze will look
crawled when fired.
42
As for the first example, wipe the surface of the leaves
back with a damp cloth until the colour shows the veining
clearly.
41 43
Moving on to other botanical surfaces like the sage
leaves shown here, and again using underglaze, paint the Build some depth into the veining by painting a darker
surface in a base colour. wash of colour around the edge of each leaf. .
SKILL SCHOOL
PROJECT
THREE
44
45
Fill the centre of each leaf with a purply shade of
underglaze to finish. Again, apply a transparent or opaque glaze to the
Allow the tile to dry out. surface of the tile to complete.
46
For the stamped tile designs, fill in selected areas with different coloured underglaze or glaze. Mayco Stroke and
Coat colours were used here, for their bright jewel-like quality.
48
47
Similarly, you can decorate the sprigged tiles with

underglaze colour and transparent glaze or just
coloured glaze on the sprig itself, as demonstrated
here.
The relief style tiles look best with a simple,
transparent coloured glaze – like celadon, which will
pool in the detail to define the design.
Fire the tiles when you have enough to choose from for
your particular size of box frame. .
SKILL SCHOOL
PROJECT
THREE
51
49
Your tile panel is now finished and ready to hang.
Cut out a background for the tiles to fit the frame, then All the tiles shown in this project were fired to cone
secure it to the backboard with glue or double-sided tape. 6 – 1222°C (2232°F) in an electric kiln.
Arrange your chosen number of tiles on the background
– measure the position to ensure they are equally spaced
and mark the spots with pencil dots.
MAKE SURE – the hanging device on the back of the
board is the correct way up for the arrangement of tiles!
50
Attach sticky pads to the backs of the tiles, then fix
them in place on the background, making sure they
are correctly positioned. The pads will raise the tiles
from the surface a little, so they look as though they
are suspended with nothing behind them.
Fit the backboard in the frame and secure it in
place.
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SKILL SCHOOL
PROJECT
FOUR
ANIMAL
DECORATIONS
Animal decorations
are always popular
with children. Use
the given templates
to make this small
selection or make
templates of your
own to widen the
menagerie!
DIFFICULTY RATING ★★★
★★
Supplied
templates
on page
55
You will need:

■ Clay of choice – earthenware or stoneware
■ Rolling pin, plastic sheet, roller guides
– no thicker than 5mm
■ Card templates
■ Knife
■ Liquid underglaze colours
■ Brush for applying underglaze
■ Transparent glaze
.
PROJECT
SKILL SCHOOL
DECORATION 1 - OWL
FOUR
2
1
Starting with the owl templates, place them on the
prepared slab and cut out a body – 2 wings, 2 feet, 2
Prepare a block of your chosen clay – make it large
small circular eyes using a suitably sized cutter (not
enough to allow you to make several decorations in
shown) and a beak, which can be cut freehand from a
one go.
scrap of remaining slab.
Working on the sheet of plastic, reduce the bulk of
Put the sections together to check they will fit.
Reserve any usable remaining slab under plastic for
other decorations later.
surface.
Roll out the clay between your roller guides.
achieve the approximate shape that you need.
Score around all the placed features to mark their

positions then remove them and score the areas along with
the undersides of the parts.
Before beginning to fix the features in place, texture the
breast of the bird by impressing a round-ended wooden
tool into the surface in horizontal lines. Off-set subsequent
lines to make the texturing look like feathers.
7
4 Fix the remaining features onto the owl after slipping
adjoining areas. Neaten around each part after attaching
them.
Apply slip to the adjoining surfaces of the eyes then Finally, punch a hole in each side of the head to hang the
fix them in place, applying enough pressure to ensure any
decoration from. I use the tube from inside a spray bottle
possible air is eased out between the surfaces. Clean away
with a wooden skewer threaded through to push the plug
any surplus slip from around the eyes.
of clay out easily after making the holes.
8
5 Add any more feature detail you choose, like the lines
scored in the wings here, to complete the decoration.
Use a small circular tool – like the pen top used here – to
impress the pupil of the eye.
DECORATION 2 – PENGUIN
9
6 If you have slab left over from the first decoration, place
the penguin template on the surface and cut around it
Impress a series of lines radiating out from the pupil to carefully. Note – you will have to roll another slab if you .
form the iris, using a wooden tool or pin. used up all of the first one.
SKILL SCHOOL
PROJECT
FOUR
13
Score a light line to define the areas for colouring with

underglaze. Begin at the point where the wing meets
the body and arc the line upward to the neck then back
10 down to the opposite wing.
Paint the upper half of the body in black underglaze,
including the sides of the wings and the feet.
Once the penguin has been cut out, run your fingers Allow the first coat to dry to the touch then apply a
over the edges to soften and round them off a little.
second coat for good coverage.
14
11
Punch a hole through the top of the head to hang the
decoration.
Paint the breast of the penguin in white underglaze –

again allowing the first coat to dry to the touch before
applying a second coat – and maybe even a third if the
white looks patchy.
12
Score inside the marked area with a serrated kidney or
Impress an eye with the tip of a wooden tool. pin, and do the same on the underside of the wing.
DECORATION 3 – LEAPING HARE

18
15
Place the template on the slab and carefully cut the

shape out.
To make the hare, you will need a sheet of underglaze

decal – these can be bought from many ceramic suppliers –
Bluematchbox Potter’s Supplies has a really good selection,
or search online.
16
19
Cut a section of decal large enough to accommodate

the size of the template and place it underglaze face down
on a prepared slab of clay.
Work over the surface of the decal, gently pressing down
with a damp sponge to transfer the design to the clay.
17
Drill a hole for the hare’s eye using a tiny drill bit if you
have one – it can be an old bit from a tool kit – it doesn’t
have to be a dedicated tool.
20
Lift one small corner of the decal to see if the design

has transferred to the surface well. If not, put it back down
and work over the surface again with the damp sponge,
applying the same gentle downward pressure.
When the decal has transferred, peel the paper off the
slab. To finish, punch a hole in the raised area on the back, to
Allow the surface to dry to the touch. hang the decoration. .
SKILL SCHOOL
PROJECT
DECORATION 4 – HOUND DOG
FOUR
25
21
From your remaining slab, carefully cut out the last
animal from the templates.
Add a wash of brown colour to the underside of the
belly of the dog – or other chosen parts as preferred.
26
22
Score the outline of the dog’s ear in the clay then
carefully drill out an eye hole as you did for the hare.
Colour in the remaining parts
of the dog in black – the
back, nose, around the eye
and foot.
When all the decorations
are finished, allow them to
dry out slowly, then bisque
fire them as usual.
The owl is best decorated in colours that will pool in
the texture to highlight or in Mayco Foundations with
Stroke and Coat detail painted over the top.
23 All the other decorations can simply be glazed
in transparent and fired to your clay’s optimal
temperature.
Punch out a hole in the back at a suitable point to hang
the decoration from.
24
Score light lines to determine the different areas to
colour on the dog then paint the bulk of the body and head
in white underglaze – include the tip of the tail.
DIFFICULTY RATING ★★★
★★★
SKILL SCHOOL
PROJECT
FIVE
A PARTRIDGE
AND A PEAR TREE
Following on from last
PART
month’s build, we’re now
ready to decorate this
Christmas partridge and a
pear tree candle holder
TWO
DIFFICULTY RATING ★★ ★★★
Gather together all the underglaze colours you want to

use. Include a paint palette or similar for mixing colours,
and a selection of brushes in different sizes.
You may need to mix several underglazes to create
the predominant colour for the bird. White, with a
touch of black and blue, should make a good colour.
Credit: Dave Kjaer
Make sure you mix enough to coat the area twice,

then paint it onto the relevant areas.
Continue with secondary colours and additional
detail in those colours.
2
Look for a good image of a partridge to work from in
terms of surface colour and detail, or work from this one.
The bisque-fired
tree and bird, ready
to decorate.
.
SKILL SCHOOL
PROJECT
FIVE
7
5
When working on the wing, apply a double coat of
white first, allowing the first coat to dry before applying
the second.
Paint the neck detail, to include the eye and beak.
Paint the wing colour detail with a fine brush, then

add any line detail in black to define the colours.
Sit the bird upright on a foam pad with a hole cut out of
it, to allow it to dry out.
11
9
Now move to the tree and paint the trunk and Paint the leaves in green.
branches in brown. Again, you can mix a couple of
shades of brown from other colours to make it more
individual, rather than using one straight from the pot.
Apply two coats, making sure you get into all the 12
nooks and crannies.
Paint the undersides of the cups in a colour of your

choice, or extend the colour from the trunk to make it
look as though they have grown out from the branch.
10
Using a super-fine brush, paint some line detail around

the trunk to make it look more realistic. .
SKILL SCHOOL
PROJECT
FIVE
13
Paint the pears in another shade of green, then touch the leaves in random places with the same colour, to give
them some depth.
14
Dot some surface detail on the pears in a contrasting colour, then stipple over the surface, using a stiff brush with a
darker shade of green.
15
Paint the insides of the cups in a colour of choice – the same colour as the base is a good idea.
19
16
Finally, colour the base

making sure to apply two
good coats for depth.
17
Once fired, glue the bird to the base with a long metal
nail – locating it through the hole in both the base and the
underside of the bird.
Allow the candelabra to dry out completely, ready for Note: If firing the form to high temperatures, the shape
firing. can distort, but it all adds to the organic nature of the
sculpture.
18
A NOTE ABOUT VELVET UNDERGLAZE
Velvets contain some flux which makes the
underglaze matt and velvety at low temperatures
but increasingly shiny the higher they are fired. If
you want a more matt effect, simply fire to a
lower temperature – you can generally take them
up to 1100°C with little change in appearance.
A FINAL NOTE FROM JACQUI

This project was devised as a candelabra but,
having made it as such, I feel it would be equally
Just before firing, dot the eyes of the bird with some lovely just as a sculpture. If you want to omit the
transparent glaze to make them shine.
cups, simply add a few more leaves to the top.
Fire the bird on its side, elevated off the kiln shelf on a
star pin.
BLOG
Confessions
of a novice
A slip-cast
bauble – part 1
Time for a showdown with my nemesis – plaster of
he first blog I wrote for Paris – which would either end up in tears or triumph
T ClayCraft was back in issue
9, and it came about like
this: someone at my college
clay class made the art-deco-looking
teapot from a ClayCraft template, and
my mind was blown by how you could
make something so professional-
looking out of slabs of clay. I
immediately subscribed to the
magazine and, being the overconfident
bull in a china shop that I am, decided
to make a large plaster mould from the
instructions in issue 5 as my first
project.
It did not go smoothly. I failed to
have enough buckets, enough plaster,
enough newspaper for clean-up (I am
the only person in England with no
free newspaper coming through the
door), and the list goes on. Plaster
seeped out around the boards I’d used
The original bauble, resting on three lumps of clay, with a line around its
middle and a spare made from duct tape.
as cottles, the eventual leftover set six Since that disaster, I’ve dabbled with
inches solid in the bucket, and the small amounts of plaster and this year
garden ended up a mess. It was my braved a larger amount for the top of
own fault due to lack of preparation, of my wedging table. As my confidence
course, so I knew that in future I’d slowly increased, my desire to try
have to be more organised with slip-casting rocketed. There have been
plaster. It did, however, provide me several slip-casting projects in
with a great story to tell and landed ClayCraft, and only my fear of plaster
me the opportunity to write for has held me back. Well, finally this
Wrapping a sheet of sticky-back
plastic (backing still in place) around ClayCraft, so I wouldn’t change a month I decided the time had come.
the bauble in its bed of clay. thing. I really wanted a two-part mould,
BLOG
and in a momentary lapse of plaster-

related bravery, I briefly considered
buying one. After all, practically every
week another person on social media
offers their ‘no longer required’
collection of slip-casting moulds, and
there are always 2,000 of them. It is a
distinct possibility that the same 2,000
moulds are moving from one person
deluded enough to think them a
bargain to the next, as soon as they
realise their error. But, I really wanted
to learn the skill of mould-making, so
I decided to face the plaster after all.
First, I needed something to mould.
I wanted to follow the instructions for
a ball mould, but I didn’t want to cast a Pouring plaster and crossing Removing the block of clay once
ball, so I needed something just fingers. the plaster had set.
similar enough. I would also need a
cottle. I’d seen a few people using rolls enough, but would it be strong the bauble was covered with clay up to
of flashing or similar, and fancied that enough? its centre line, whether or not it was
instead of wooden boards. A quick trip As ever, I found that I’d made my life properly horizontal probably wouldn’t
to the local sell-everything store found much harder than it needed to be by matter. Since I had no way of levelling
me an oversized bauble (which would not just following the instructions. it at this point, I would be forced to
therefore remain a decent size even First, the shape made it difficult to test that theory by trying it out.
after porcelain shrinkage), but no draw a line around the middle and to You can see from the photos that I
flashing or anything remotely similar. create a spare to create the pouring didn’t do the smoothest job. I just had
The best I could find was a roll of hole. I managed to sit it onto three a go and then folded my sheet of
sticky-back plastic, the kind that kids blobs of clay, using a ruler to make sticky-back plastic in half and wrapped
use to cover their schoolbooks. It was sure that the centre line was the same it around, held in place with plenty of
in a roll, it was waterproof, it was long height off the base all the way around. duct tape. It seemed sturdy enough, so
But as soon as I started building up I sealed all the edges with more clay
the clay, the bauble slid around! And and began to mix the plaster. Now, if
once the clay was there, it was very you have a tip for estimating the
difficult to re-measure. I gave it a bit amount needed, do fill me in. You
of thought and decided that so long as don’t want too little, but you also don’t
want too much (I refer you to my 6
inches of set plaster in a bucket
scenario). I repeatedly held up a
measuring jug and frowned at it until I
was so fed up I just decided to go for it.
I used the exact ratio of plaster to
water suggested and got mixing. It
took ages. Believe me, I very nearly
poured in more plaster because it
didn’t seem to be setting, but
eventually I felt it start to thicken. It’s
one of those ‘not yet… not yet… not
yet… NOW!’ moments, and this time I
seemed to have judged it exactly right.
I filled up to the top of the cottle and
only had a little left to pour into my
Using lip balm to lubricate the first kitchen-roll-lined bin.
Using a butter knife to make
indents for locating the second half part of the mould in the absence of Smugly peeling off the plastic, duct
of the mould. mould-maker’s size. tape and clay, I remembered that I .
BLOG
… which
worked like a
Impatient first attempt at casting dream.
on the dining room table…
hadn’t resolved the ‘mould maker’s had myself a pretty decent two-part ta-da! The first bauble came out close
size’ issue. There is apparently a mould. The outside was rough and to perfect. What a triumphant
worldwide shortage of the stuff. I’d ready, but the actual bauble shape feeling! 
read you can use Vaseline, so long as looked great.
it’s not on the surfaces that will absorb I left the mould in the airing
water from the slip, but of course, my cupboard for an impressive day or two Next time I’ll tell you about the
decades-old tub of that was nowhere to before realising I couldn’t wait any decorating and firing, some of
be found. I improvised with an old longer. One evening, day-job finished, which worked out well, some
waxy tin of lip balm. Repeating the dinner eaten and pots put away, it was not so much, as I’m sure you can
imagine. If you’re impatient, have
process of cottling, duct-taping and either settle down in front of the telly
a look on my social media feeds
pouring of plaster was pretty simple, or see if the mould worked. Pour, wait, via @pottlemuddery
and I was quite shocked to find that I pour out, wait even longer, and…
Unglazed and
decorated before
it was made – I’ll A glaze test – I’ll tell you next time why
explain next time. this isn’t as fantastic as it first appears.
Doug’s
(Photo: Layton Thompson)
Doug Fitch
DIARY
W
' e need to be more ...and the finished
organised next year and piece. It’s 48cm wide!
(Photo: Shannon Tofts)
have the catalogue ready,
the day before it goes live.' That's what
we said last year.
Of course, we would have to make
sure we did; it made absolute sense.
We would book our photographer,
Shannon Tofts with plenty of time in
advance so that he could get the
images back to us and we could upload
them, alongside our short films, to the
online publishing platform Issuu, with
time to spare.
It would be even more important to
get started earlier this year, as we'd
never embedded film before, plus we
were going to link from the
descriptions beneath the images in the
catalogue, to the shop page of our
website, to enable people to buy. In
previous years, it had been a matter of
folks viewing the catalogue, then
emailing us if they wanted to make a
purchase, which was a rather development, for the customer and us, This had come about because, once
cumbersome method. What a great to have a newly designed website that again, we'd found ourselves in the
would enable a speedy checkout. ridiculous predicament, where, in
This year, it was going to be so order to get everything done, it had
much easier. This year, we were going come down to the wire. There had
to nail it. This year, this year, this been some significant kiln disasters,
year... this year, three minutes before and we had felt that we were so short
the 7pm launch, I was still editing of pots, that we'd booked Shannon for
video and Hannah was working on the the Monday before going live on
behind-the-scenes mechanics that Friday, to enable us to get some more
enable the products in the catalogue to pieces completed.
link through to our sales page. However, despite our eleventh-hour
The children were snapping at our frenzy, it looked like we were actually
ankles, tired, hungry and in need of going to make it in the nick of time.
attention; it was a high-pressure, panic All the pots were loaded to our shop
situation, and much as we'd been page, and Hannah had created all but
determined to avoid it, on this, the three of the links, from catalogue to
fifth year of trying, this was our shop.
Groundhog Day. Suddenly she exclaimed, 'It's all
There were anguished cries of the gone, everything, it's crashed!' and it
annual refrain, 'We need to be more had.
organised next year and have the Thankfully, the shop page was all
Hannah decorating her Dandelion catalogue ready, the day before it goes set and ready to go, and as the clock
Charger… live.' ticked past the 7pm deadline, our .
Doug’s IN BUSINESS
STARTING
DIARY
inbox filled with orders. We've plans to do some more advanced
Two of Hannah's huge, beautifully
decorated chargers sold immediately projects together next year, not just product
as she set about reloading the shots, but some of the making process and
catalogue, unable to hear my words of
congratulations, deafened by her state maybe even some short films too
of distressed consternation. have the catalogue ready, the day because no matter how well the pots
Within the hour, I had the kiddies before it goes live.' I nodded in may be made, a catalogue will only
fed and watered, and Hannah was back agreement; it's always good to have ever look as good as its worst photo.
at work sorting out the catalogue. something to aim at. Shannon is great company, and we
After a further half an hour, Hannah Shannon did a fantastic job as ever of always have such inspiring
had unknotted her internal organs, the photographs. He is so clever at conversations. He lives in Edinburgh,
was happy and was smiling her using his lights to enhance elements of which is 90 winding miles from here, I
enchanting smile again. It was up and the decoration and form of pots, really wish he was closer. I miss
running by 11pm on our home page knowing just how to place them, in interaction with others from the
and looked even lovelier than we had order to position a highlight on a rim, creative world.
hoped. By then, many pieces had a belly or a handle. We've tried to take We've plans to do some more
already sold. All was good again in our own photographs before, but they advanced projects together next year,
our world, as she said to me, 'We need were hopeless, in spite of setting up not just product shots, but some of the
to be more organised next year and our photo lights. It's just not worth it, making process and maybe even some
short films too, which will no doubt be
rather more professionally shot and
edited than my chopped together
mobile phone footage.
That said, my rough little films
worked fine in the catalogue, their
shabbiness disguised by speeding them
up, applying a filter that gave them a
vintage feel, and turning them into
black and white. The great advantage
of speeding the film up is that it's
possible to illustrate a whole process,
in a fraction of the time. The black and
white allowed the YouTube thumbnails
to sit on the opposite virtual page to
the pots in the catalogue, without
detracting from their colour images.
As I've already mentioned, we had

quite a few losses in the run-up to the
photoshoot. One of the terrible
problems that rears its ugly head
occasionally is 'shivering'. That is
sometimes caused by a disparity in the
shrinkage between the pot and the
glaze during firing. Essentially, the
glaze parts company with the rims and
handles of the pots. It's intermittent in
our glazes, which is even more
frustrating, because it's harder to
correct. It also seems to happen when
we're rushing and under pressure, so it
makes us wonder whether it may
Some of my dishes, destined for the Goldmark Gallery. Largest 34.5cm. sometimes be to do with not slipping
(Photo: Hannah McAndrew) the pots at the optimum moment.
KILNS
My favourite
jug from the
Whatever it is, we have lost many pots exhibition.
to it over the years and have adjusted 30cm high
both clay and glaze in an attempt to (Photo: Shannon Tofts)
eliminate it.
Casualties included a number of
large jugs and plates, a 'medieval'
watering can, and the long-awaited
Covid mugs, although these didn't
shiver, they just turned out horrible
because the slip was too thin. We
decided they weren't worthy of a
photograph, so we'll make them again,
and they'll be in the next ClayCraft
issue – at last. The homeless are going
to need a lot of help this winter, so
they'll not be too late to support the
cause. I sense we're all heading into a
long, cold and sad winter. For some
poor souls, it will be colder than it will
be for others.
Our next production, once again up
against a tight deadline, is for the
Contemporary Ceramics Centre in
London and the Craft Potters Over the past few months, I've made weeks.
Association Christmas Show (19th a batch of trailed dishes for the So, along with 80-odd online sales,
November – 31st December). The wonderful Goldmark Gallery in and pots to send to other galleries,
Gallery won't be open to the public, for Uppingham. I'd been saving them up there's a lot of packing to do in the
a while at least, but the pots will be on for our new wood kiln, but as that's next week or two. I see more late-
their website, and I believe it may be taking much longer than expected, I night working ahead, but at least we'll
possible to make a Zoom appointment decided to electric fire them, and I'm be doing it in the warm soon.
to view the pieces. really pleased with how they came out. Thankfully our builder has returned,
I also have to make pieces for an The news on the wood kiln, however, and we have him hard at work, fitting
exhibition with MAIR Arts in is that there's progress. A blacksmith the wood burner, just in time, as we
Brighton, so no time to rest. And for friend of ours is currently designing a slip into colder weather.
the New Craftsman Gallery in new steel kiln shed, ready for It was Hannah's birthday yesterday,
Mayfair. construction here in the forthcoming so we had a much-needed day off with
the little ones and took them to the
park. We were supposed to go to the
beach, but it took me ages (with Pippin
and Fred's 'help') to bake their mummy
a cake. I need to be more organised
next year and have the cake ready on
the day before her birthday. It's always
good to have something to aim at.
It was a super intense chocolate cake,
filled with homemade jam and clotted
cream, covered in chocolate butter
icing and topped with four different
types of chocolate button. She's a
special woman is my Hannah; she
deserved a special cake. I've just eaten
a huge slice of it, and I think I need to
Shannon Tofts
in action.
lie down!
Take care everyone, look after
yourselves, bye-bye for now. 
CRACKERS
SKILL SCHOOL
PROJECT
SIX
These little crackers

make sweet table
decorations at
Christmas. Try tying a
name tag to each one
with a ribbon as table
placings – it will save the
chaos of who’s meant
to sit where in the
scramble to get to
the table
YOU WILL NEED:

■ Porcelain, earthenware or
stoneware
■ Rolling pin, plastic sheets x 2,
3mm roller guides
■ Rubber texture mat (or use
textured wallpaper, lace, etc)
■ Selection of underglaze colours
■ Transparent glaze
■ Lustre – colour of choice
1 2
Place the texture mat over the slab and roll it into the
clay with your guides still in place at the side.
Peel the mat off carefully and cut away the surplus
clay from the sides, but leave the slab on the plastic
sheet.
Prepare a block of porcelain large enough to fit your

texture mat.
Working on the sheet of plastic, reduce the bulk of
surface.
Roll out the clay between your roller guides.
achieve the approximate shape that you require.
Copy the given template (page 76) and make a

stiff card version. Place the template on the slab as
economically as possible to maximise the space so that
you can make more than one. .
SKILL SCHOOL
PROJECT
SIX
6
4 Repeat these first few steps to prepare a second

cracker.
Cut around the template using the roller guide as extra

help to ensure straight lines. 7
Place the second sheet of plastic over the top of the

prepared slabs then turn them over, so the texture is on
the underside.
Peel what’s now the top sheet off the slabs.
5
Carefully cut out and remove the diamond sections, as 8
shown.
Roll thick paper into tubes, just long enough to fit

between the diamond sections on the slabs. These tubes
will support the shape, so make sure they’re sturdy
enough. You could use cotton wool wadding as an
alternative if you choose. Both will burn away in firing.
Place the tubes on the slabs, between the diamonds.
9 12
Roll the slab over the first tube until it overlaps the clay Roll the ends together carefully with a finger in each
on the opposite side. end of the cracker to maintain the round shape.
10 13
If you find you haven’t made your tubes fat enough, but
like the size of the cracker as it will be anyway, simply cut Score and slip the diamond-shaped cut-outs.
off the excess from the opposite end of the slab allowing
enough spare for a 5mm overlap.
14
11
Gently pinch the edges of each diamond together to

gather the shape in. Take care not to spoil the texture as
Score and slip the untextured underside of the overlap. you work. .
PROJECT
SIX
18
15
Work over the closed areas carefully with a pointed

wooden tool, to remove the excess slip and neaten up.
Apply a dot of slip to the ends of the coils, then close

them together and work over the joins with a wooden
tool until they’re no longer visible.
Make as many more crackers in this style as you
need.
16
If the shape has distorted when it was handled, roll the
cracker over the work surface a couple of times to return
the shape to round.
17
Roll a very thin coil of soft porcelain, then wind it
around the gathered ends and cut it to size.
EARTHENWARE CRACKERS
19
You can make plain, untextured crackers from

earthenware clay for elaborate and colourful surface
decoration.
At the same time, you can make the crackers larger if
you want to, by simply adding a few millimetres to each
end when you cut the cracker shapes out. The image
shows how extra width has been added to these.
Simply repeat the making process as for the porcelain
versions but omit the texturing stage.
PROJECT DECORATING
SIX You have several choices with the porcelain crackers:
1. Simply fire them directly up to their optimal
temperature – they will look lovely just like this. You
must make sure to observe the bisque firing ramp at the
first stage of firing, but it’s quite all right to keep going
from that point up to stoneware.
2. Bisque-fire the crackers first then cover them in
transparent glaze and fire to temperature.
3. Glaze-fire the crackers, then apply lustre in selected
areas and fire on at 750°C.
23
20
The good thing about making plain crackers is that the
diamond seams can be neatened up much more easily.
Really work on the seams with your fingers to ensure they
can’t break open.
The earthenware crackers can be decorated before or

after bisque firing.
If decorating before bisque firing, allow them to dry out
completely then apply a base coat of underglaze colour,
painting the insides of the ends first.
21
Lay the crackers on the work surface and neaten the 24
joins with a wooden tool. You’ll find it easier to maintain
the round shape if you support the end with your little
finger inside as you neaten up.
22 Continue to cover the

entire surface of the cracker
Make as many more crackers as you need in the same with underglaze.
way – either textured or plain – or both! Allow the colour to dry, then
Allow them all to dry out thoroughly, ready for repeat the process for best
decorating or bisque firing. coverage.
25 26
When the cracker has dried out again, draw a design of Paint in the design in a bold complementary colour to
choice on the middle section only, using a soft pencil. finish the cracker.
27
Repeat the surface decoration in different colours for each cracker.
TIP If you use Velvet underglaze colours you won’t need to glaze these crackers. The underglaze contains
some frit, which melts to a soft sheen the higher the item is fired. The crackers will look velvety at a cone
06-04 bisque (999°-1060°C, 1830°-1940°F) after that they will get shinier the higher they are fired.
You can, of course, glaze them in transparent if you want a shinier finish.
SKILL SCHOOL
PROJECT
SIX
28
Continue to decorate your crackers until they are all
finished and ready for firing.
CRACKER TEMPLATE
 Do you run a course that you’d like to see here?
COURSES
SCOTLAND
Email claycraft.ed@kelsey.co.uk for free inclusion in our listing
Location: East Kilbride, Scotland Lanarkshire Dates: Various information
theweemudhut.co.uk Location: Pontefract, Yorkshire Location: Holmfirth, West Yorkshire
STEF BAXTER POTTERY firedartdesigns.co.uk sculpturelounge.com
Courses: Handbuilding & throwing day class CUMBRIA/N EAST FIREFLY POTTERY – LEEDS
Courses: Pottery courses for beginners
SHEEPWALK STUDIOS
Courses: Handbuilding and throwing.
drop-in. Night and weekend classes. 1-1
tuition & Raku classes. Suitable for all levels. HANDKNITTED POTTERY & developers. Wheel & hand building Classes, one to one and workshops –
Open access coming. Courses: Throwing (individual or two workshops for all levels. One-to-one & group including Christmas reindeer workshop.
Dates: see website together), handbuilding (groups and private pottery wheel lessons Dates : Contact for info
Location; Govan, Glasgow lessons). Gift vouchers available Dates: Various Location: Upton, West Yorkshire
stefbaxterpottery.com Dates: Various Location: Leeds Tel: 07769955150
CLAY WORKS STUDIO Location: Esh Winning near Durham fireflypottery.co.uk E: l.bulleymentceramics@gmail.com
Courses: All levels from beginners to handknittedpottery.co.uk JILL FORD sheepwalkstudios.com
intermediate. Taster courses, general pottery LOVEHEART WORKSHOPS Course: Workshop and Day Courses TWISTED EARTH CERAMICS
and throwing courses. Open access facility for Courses: Evening and daytime weekly Dates: Thursday evenings & day courses by Richard Hedges
more advanced makers coming soon classes for all abilities, taster sessions, parties throughout the year Courses: Essential techniques for creating
Dates: See website (adults, children, team-building) Location: York, animal sculptures. All levels catered for.
Location: Dumfries & Galloway Dates: Mon-Thurs 6.30-8.30pm & Tues-Wed Tel: 01717 289008 1-1 and groups, private workshops, parties,
clayworksstudios.co.uk 12.30-2.30pm weekly class running all year JOY GIBBS PRICE CERAMICS team-building
DUNDEE CERAMICS WORKSHOP round Courses: Weekly pottery workshops, raku Dates: Various
Courses: Classes for all levels from beginner Location: Stockton-on-Tees, and private tuition available Location: Mobile, or come to me.
to intermediate, for individuals and groups. Cleveland/Durham/Teesside Dates: Various Dozens of venues across Yorkshire
1-1 tuition available. Open studio access and FB: loveheartworkshops Location: Everton, S Yorks twistedearthceramics.com
kiln hire for members loveheartworkshops.co.uk thepottery.co.uk WENTWORTH POTTERY
Dates: Throughout the year (see website) MUDDY FINGERS POTTERY GREENWOOD CRAFTS Courses: All levels, throwing, decoration.
Location: Dundee Courses: Adult night classes Courses: Handbuilding; throwing from Half & full-days. 10-week evening class
dundeeceramicsworkshop.com Dates: Tuesday and Thursday evenings, beginners onwards Dates: See website
FORGAN ARTS CENTRE every six weeks Dates: All year Location: Aldbrough, Yorks
Courses: All levels and ages catered for in Location: Jarrow, Tyne and Wear Location: N Yorks wentworthpottery.co.uk
hand building, throwing, Raku, sgraffito and muddyfingerspottery.com tryacourse.co.uk
mishima
Dates: Various (see website)
ANNIE PEAKER
Courses: Figurative Ceramic Courses
HULL COLLEGE
Courses: Specialist Ceramics and Glass
LANCS/CHESHIRE/
Location: Newport on Tay, Fife Dates: April - October (3 & 5 Days) Courses to suit a range of abilities. MERSEY
forganartscentre.co.uk Location: Penrith, Cumbria Full range of techniques covered, within
HOLY LOCH POTTERY anniepeaker.co.uk bespoke facility supported by specialist BALTIC CLAY
Courses: Hand building & throwing tuition QUIRKY WORKSHOPS lecturer and technician. Courses: Evening and weekend clay courses
for all levels. Some sculpture sessions Courses: Various (eg raku, silver clay, Outdoor firing area, gas reduction facilities Dates: Tue, Wed, Thurs (6.30pm - 8.30pm)
available. Raku & alternative firing techniques Green man, textures in porcelain, tiles) Dates: 10 weeks per term – Autumn term: & Sat
offered. Individual & groups courses by Dates: Various 25th, 26th, 27th September 2019. Location: Liverpool
Location: Penrith Spring term: 8th, 9th, 10th January 2020. balticclay.com
arrangement
Dates: By arrangement quirkyworkshops.co.uk Summer term: 25th, 26th, 27th March 2020 BLUE BUTTERFLY CRAFTS
Location: Kilmun, nr. Dunoon, Cowal Location: East Yorkshire Courses: Handbuilding.
Peninsula, Argyll YORKS Tel: 01482 598751 enquiries/view facility
01482 598744 info/enrolment
Weekly 2-hr sessions and day-courses
Dates: Various, see website
holylochpottery.co.uk
ART HOUSE, SHEFFIELD 07961 734 729 lecturer Location: Accrington, Lancs
MUDFLAIL CERAMICS E: npliener@hull-college.ac.uk
Courses: Wheel, handbuilding, porcelain, bluebutterflycrafts.co.uk
Courses: Basic handbuilding
Dates: Various raku, figurative, workshops, summer HULL TRAINING AND ADULT JOAN CHAN
Location: Glasgow intensive week (chimeneas) EDUCATION Courses: Introduction to clay, handbuilding,
karenjamesceramics.webs.com Dates: Mon-Sat 10am-9pm Courses: Range of courses for all abilities throwing, slip casting, glaze workshop
Location: Sheffield City centre Dates: Various Dates: Afternoons and evenings
THE POTTER'S HOUSE POTTERY arthousesheffield.co.uk Location: Preston Road Adult Education Location: Greasby, Wirral
Courses: Wheel & claywork sessions. Pottery Centre, Hull Tel: 07803 848212,
painting, suitable for all ages and abilities. KATIE BRAIDA
Courses: weekly class and day workshops hcctraining.ac.uk E: joancchan@aol.com
Individuals and groups welcome FB: jccermaics
Dates: Every Thursday evening and various LEAFY LANE POTTERY BY SUZIE
Dates: Tues - Sat 10-5
others Courses: Hand building courses for all THE CLAY HOUSE
Location: Muir of Ord, Highland
Location: Scarborough abilities. Learning disabilities, residential Courses: Two 3-hr workshops every month
thepottershouse.scot katiebraida.com homes, schools and private sessions, and Dates: Various, see website
POWDERHALL BRONZE ART STUDIO CLAYHOUSE STUDIO sculptures for your home and gardens Location: Cedar Farm, Mawdesley, nr
Course: Clay modelling with Alan Beattie Courses: All levels from beginners to Dates: Throughout the year and area Ormskirk,
Herriot. Figure making with Kenny Hunter intermediate. Taster courses, handbuilt Location: Hull and East Yorkshire Tel: 01704 807320
Dates: March 2019 pottery and specialist workshops. Tel: 07886 841936 theclayhouseatcedarfarm.co.uk
Location: Edinburgh Dates: See website for details E: leafylanepottery@gmail.com CLAYWORKS
powderhallbronze.co.uk Location: Sheffield S10 5DB NORTHLIGHT ART STUDIO Courses: Evening & daytime classes for all
SEA DRIFT POTTERY STUDIO theclayhousesheffield.co.uk Courses: Evening and day workshops, abilities (with occasional weekend events
Courses: Weekly classes, wheel taster BOO EVERETT summer schools and taster days. All levels such as 'Raku', etc)
sessions, 1-2-1 wheel tuition, monthly project Courses: Day and evening courses in all Dates: Weekly and throughout the year Dates: Weekly throughout the year
workshops. Kiln hire available aspects of hand building with clay. Further Location: Hebden Bridge, Yorks Location: Southport, Lancashire
Dates: Various courses available in order to decorate the Tel: 01422 843519 FB: arthousesca
Location: Sandbank, nr Dunoon, Argyll fired bisque. Individual one to one or group northlightstudio.co.uk sca-network.co.uk
seadriftpottery.co.uk sessions. All tailor made to your OLD STABLES STUDIO CRAFFITY POTTERY STUDIO
SEATREE CRAFTS requirements Courses: Throwing: bootcamp, weekends, Courses: 'Create with Clay' drop-in sessions,
Courses: Beginners' classes, workshops, after Dates: The dates are flexible. My studio is tasters and regular classes with or without input. Regular and seasonal
school club, supervised open access always open, so I can fit in with you Dates: Various workshops
Dates: Various Location: Castle Howard Estate, North Location: Hebden Bridge, Yorkshire Dates: Various
Location: Innellan, Argyll Yorkshire, about 12 miles from York. JAMES OUGHTIBRIDGE Location: Bury, Greater Manchester
seatreecrafts.co.uk E: booeverett@onetel.com Course: Large Scale Slab Building craffitycreations.co.uk
STUDIO MAMA boo-artist.com Dates: Contact for details THE CRAFTY POTTER
Services: affordable kiln hire, 1-1 & group FANCY FROG POTTERY Location: Holmfirth, West Yorkshire Courses: Throwing, hand-building
handbuilding workshops (for all ages and Courses: Various options including: 5 weeks jamesoughtibridge.blogspot.co.uk & modelling
abilities), glaze table hire, gift vouchers, a beginner wheel throwing; taster sessions; JIM ROBISON CERAMICS Dates: Various
webshop and bespoke commissions private groups and individual tuition Courses: Week-long Ceramics, and Glaze Location: Chorley, Lancashire
Dates: by arrangement via Location: Scarborough, N Yorks and surface courses thecraftypotter.co.uk
studiomamayoung@gmail.com Dates: Various options see website Dates: Various THE DOWN TO EARTH POTTERY
studiomama.co.uk fancyfrogpottery.co.uk Location: Holmfirth, Huddersfield Courses: Hand-building for beginners
THE WEE MUD HUT FIRED ART DESIGNS boothhousegallery.co.uk to advanced. We are always trying out
Courses: Handbuilding and throwing for all Courses: 1:1 wheel work, brushwork, surface SCULPTURE LOUNGE STUDIOS new techniques such as use of decals and
ages/abilities. Groups and individual sessions decoration. Handbuilding, slab work, coil Courses: Throughout the year coloured clay
Dates: Various work. Classes Dates: Contact directly for further Dates: Year-round: Tuesday pm
For free inclusion in this listing, email: claycraft.ed@kelsey.co.uk
and Wednesday eve. Some Saturdays from beginners to experienced makers arrangement Dates: Various
Location: Clitheroe. Lancs Dates: Various see website for dates Location: The Harley Ceramics Studio, Location: Carmarthen
E: lesleywoods19@hotmail.com Location: Ashbourne, Derbyshire Welbeck, Worksop siramik.co.uk
FB: thedowntoearthpottery theclayrooms.co.uk lindasouthwell.co.uk TREE HOUSE POTTERY
FIRED 4 U CLAY STUDIO MANCHESTER DAVID STOCKS Courses: Pottery in a real Treehouse. We offer
Courses: Guided evening workshops & do Courses: One-off taster sessions to regular Courses: Beginners Basics, although open courses & taster sessions for beginners, clay
your own, clay work and painting ceramics weekly courses and 1-to-1 tuition. Anyone to all, including disabled (carers free when building & potters wheel
Dates: 1st & 3rd Wednesday 7pm, from beginner upwards is welcome. monthly accompanying). Pinch pots through to slabs, Dates: Various
pre-booking essential membership scheme for more advanced coil work and throwing and glazing Location: Gower Heritage Centre, Swansea
Location: Preston, Lancashire makers Dates: Thursday Evenings 18.15-21.00 £15 per gowerstoneart.co.uk/tree-house-
fired4u.co.uk Dates: Various session (Dorridge), plus Tuesday & Wednesday pottery
PAUL GOULD/MON CERAMICS Location: Hulme, Manchester evenings at the Sense Pears Centre. See web
for details of 10 and 8 week courses.
Courses: Beginners & intermediates
Dates: Tuesdays & Wednesdays 2-4pm and
claystudio.co.uk
LITTLE MOUSE POTTERY Location: Dorridge Methodists Church and CAMBS/LINCS
7-9pm Saturdays and Sunday workshops: Courses: Adult & children handbuilding & Sense Pears Centre, Selly Oak (see above) PAULA ARMSTRONG
various dates throughout the year wheel workshops RamOnTheRoundaboutPottery@gmail. Courses: Handbuilding, workshops
Location: The Wirral Dates: Throughout the year com for Dorridge, or for Selly Oak contact Dates: Mon, Weds, Fri mornings. Tues, Thurs
monceramics.co.uk Location: Keyworth, Nottingham Sense Pears Centre: sunney.sharma@sense.
evenings. Monthly Sat workshops, Sun
E: enquiries@littlemousepottery.co.uk org.uk
GREEN MAN CERAMICS morning child/family workshops
Courses: Pottery Discovery weekends T: 0115 9375950 WOODSETTON ART POTTERY Location: Fenstanton, Cambs
Dates: Various, FB, IG & littlemousepottery.co.uk Courses: A levels are taught by postgraduate parmstrongceramics.co.uk
Location: Colne, Lancs MIDLANDS ART CENTRE production thrower and designer maker with
8 years experience in Stoke on Trent ART BARN GAMLINGAY
Tel: 01282 871129 Courses: Ceramics Open Studio Courses: Handbuilding, raku and pit-firing
Dates: Various Dates: Various
LEMON STUDIO Location: Woodsetton, Dudley W Mids Dates: Wednesday and Thursday evening
Courses: Handbuilding for all levels, taster Location: Birmingham clay classes. 2-day raku making and firing
macbirmingham.co.uk woodsettonartpottery.com
sessions, workshops and parties @woodsettonpots workshops, Saturday 27th April
Dates: Various PARKWOOD THROWING COURSES and Saturday 18th May. Clay in a Day class,
Location: Warrington Courses: Basic and intermediate throwing Saturday 28th September.
lemonstudio.co.uk Dates: 8-week Thurs evenings, weekend WALES Location: Gamlingay, Cambs/Beds border
PILLING POTTERY/NORTHERN KILNS courses, taster sessions JACKIE BARBER CERAMICS E: art.barn@hotmail.co.uk
Courses: From novice to professional: Location: Nr Alfreton, Derbyshire Courses: One-to-one throwing lessons T: 07715 206780
throwing, hand-building, glazing, parkwoodthrowingcourses.co.uk Dates: Various FB: Art Barn Gamlingay
making glazes, kiln loading, programming PLAY WITH CLAY Location: Pencader, Ceredigion MATTHEW BLAKELY
kiln controllers, fitting elements Courses: Throwing, toddler clay jackiebarberceramics.co.uk Courses: Weekend Courses: Throwing,
Dates: Various Dates: Saturday mornings, Tuesday BASE ART STUDIO, GALLERY & Porcelain throwing
Location: Pilling, Lancs afternoons, throwing weekly by POTTERY WORKSHOPS Dates: Monthly
pillingpottery.com appointment. Courses: Handbuilding; throwing; 1-2-1 Location: Lode, Cambs
POT FACTORY Location: Loughborough one-off sessions; parties (adults, children, matthewblakely.co.uk
Courses: Beginners & more advanced. creationspottery.co.uk team-building) DEEPDALE POTTERY
Handbuilding, throwing, glazing & playing POTTERY ARTS Dates: Ongoing, days and evenings Courses: Handbuilding and throwing for
with clay! Courses: Fun adult workshops teaching Location: Llanbradach, Caerphilly beginners and experienced
Dates: Afternoons and evenings specialist techniques decorating functional baseart.org Dates: Weekend and weekday courses,
Location: Liverpool homewares: jugs, teapots, bowls, mugs, CARDIFF POTTERY WORKSHOPS including yurt accommodation if required,
thepotfactory.co.uk coasters and more, in artist's home studio Courses: Handbuilding; throwing; throughout the year
THE POTTERS BARN Dates: Various one-off Saturday sessions; 1-2-1 throwing; Location: Barton upon Humber, North Lincs
Courses: Adult half & full day: beginners Location: Melton Mowbray masterclasses with Anne Gibbs; parties yurtatthechapel.co.uk
throwing & handbuilding. Intermediate & potteryarts.co.uk (children, adults, teambuilding); pottery
SEVEN LIMES POTTERY membership tutored & un-tutored HILLS ROAD SIXTH FORM COLLEGE
advanced throwing. Raku & pit firing
Courses: Varied courses/classes Dates: 6-wk day & eve sessions, various Courses: Handbuilding, throwing, plus
Dates: Various
Dates: All Location: Cardiff summer school workshops
Location: Sandbach, Cheshire/Staffs border
Location: Moss Side, Manchester cardiffpotteryworkshops.com Dates: Various
thepottersbarn.co.uk
7Limes.co.uk Location: Cambridge
CARLA POWNALL CARMEL POTTERY hillsroadadulteducation.co.uk
Courses: Throwing, 6-week course, SEYMOUR ROAD STUDIOS Courses: 6-week throwing courses.
beginner to advanced using stoneware Courses: Weekly/1-day weekend classes Hand-building courses. One-to-one THE POT SHOP
and raku clay. One-off courses on last Dates: Various lessons. One-off half or full day experiences. Courses: Individual and small groups pottery
Saturday of the month. Location: West Bridgeford, Notts Beginners welcome classes in a professional workshop
Dates: Weds am & pm, plus last weekend seymourroadstudios.co.uk Dates: Various Dates: Various, throughout the year
of the month THE SHIRE WORKSHOPS Location: Carmel, Carmarthenshire Location: Lincoln
Location: Wirral Courses: Night school: Mon & Thurs - E: Carmelpottery@outlook.com Facebook, Twitter & Instagram: @
E: carlapownall@yahoo.com throwing, hand building & decoration. T: 07740291608 potshop1
FB: carlapownallceramics One-day sculpture workshops twice a month. Tel. 01522 528994
GLOSTERS
Raku days. Visiting guest artists throughout Course: Throwing POTTERYDAYZ
the year. Private & group bookings available. Dates: April, Courses: Wheel throwing for beginners and
NOTTS/DERBYS/ Pay per hour to come and use our workshop Location: Porthmadog more experienced. Raku courses through
LEICS/MIDLANDS casually. Materials & kiln space available glosters.co.uk the summer
Dates: See website JANE MALVISI Dates: Saturdays, 9.30-3pm
SANDY BYWATER @ CURIOUS STUDIOS Location: Wilbarston, Market Harborough Courses: Pottery classes, including Raku. All Location: Peterborough/East Midlands
Courses: All pottery skills, suitable for the theshireworkshops.co.uk abilities welcome FB: @potterydayz
beginner or the more experienced PAT SHORT CERAMICS Dates: Mon/Tues/Weds days and evenings E: potterydayz@gmail.com
Dates: Tuesday afternoons and evenings. Courses: Beginners’ handbuilding Location: Bridgend, S Wales ROWAN ARTS CENTRE
Monthly, Saturday themed workshops workshops janemalvisi.co.uk Courses: Handbuilding, throwing, untutored
Location: Sneinton Market, Nottingham Dates: Various MID WALES ARTS group for those with experience
sandybywaterceramics.wordpress.com Location: Edgbaston, Birmingham Courses: Two-day course on wood-firing Dates: Various
CAN-DO POTTERY patshortceramics.com kilns. Make your work then fire it Location: Cambridge
Courses: Hand-building for beginners POTS IN NOTTS Dates: Various rowanhumberstone.co.uk
Dates: Thursdays 10.30am-12.30pm Courses: Weekly classes and wheel taster Location: Maesmawr, Powys WOODNEWTON POTTERY
Location: Mellor, Stockport sessions midwalesarts.org.uk Courses: Weekly; throwing, hand building,
candopottery.wixsite.com/group Dates: throughout the year, contact ORIEL BODFARI GALLERY AND decorating (Tues/Weds). Clay sculpture
THE CLAY ROOM LEICESTER for more details POTTERY Dates: Throughout the year
Courses: Range of classes for all abilities, Location: Worksop, Notts Courses: Throwing, handbuilding, Raku, etc Location: Near Peterborough
plus membership scheme for more E: lynnestaniland@icloud.com Dates: Various robbibbyceramics.co.uk
experienced makers T: 07811 171369 Location: Bodfari, North Wales ZOO CERAMICS
Dates: Throughout the year FB & IG: @potsinnotts orielbodfarigallery.co.uk Courses: Half and full day handbuilding
Location: Leicester LINDA SOUTHWELL SIRAMIK workshops, 10-week pottery classes
theclayroom.co.uk Courses: Evening classes and one-to-one Courses: Throwing; half/full days, weekends Dates: Various
THE CLAYROOMS experiences (accommodation included). Location: Waddington, Lincolnshire
Courses: Handbuilding, throwing, sculpting Dates: Wednesday evenings and by All Covid-19 compliant zooceramics.co.uk
 If you run other creative courses, register free at craftcourses.com
Dates: Year-round E: Creativeblockdesigns@yahoo.com
WORCS/SHROPS/ WARKS/N’HANTS/ Location, Debenham Suffolk T: 07465608771
STAFFS/HEREFORD OXON tonycarterpotteryschool.com FB: The Studio at Creative Block Designs
MARIAM CULLUM ART BARN GAMLINGAY
ALLYEARROUND POTTERY CATHERINE ANNE CERAMICS Courses: 1:1 tuition in throwing, hand- Courses: Handbuilding, raku and pit-firing
Courses: Weekly classes; taster sessions; Courses: Small groups and one-to-one of all building, slip-casting, surface decoration and Dates: Wednesday and Thursday evening
one & two-day courses in throwing, hand- ages and mixed ability. glaze preparation and application. clay classes. 2-day raku making and firing
building and decorating; pottery parties for Throwing, hand building, glazing. Dates: Various - Monday to Friday 10am-4pm workshops, Saturday 27th April and
all ages. All for beginners and more advanced Family sessions during school holidays Location: Bury St Edmunds Saturday 18th May. Clay in a Day class,
Dates: Various all-year-round! Dates: Weekdays. Various evenings mariamcullumceramics.co.uk Saturday 28th September.
Location: South Herefordshire and weekends available LIBBI HUTCHENCE, HANDMADE AT Location: Gamlingay, Cambs/Beds border
all-year-round.org.uk Location: Staverton, Northants BRAMLEY COTTAGE E: art.barn@hotmail.co.uk T: 07715 206780
AMERTON ARTS STUDIO catherineanneceramics.com Courses: 1:1 tuition in throwing, hand- FB: Art Barn Gamlingay
Courses: Life sculpture. Working from a life CENTRE OF ENGLAND ARTS building, surface decoration & glaze making ARTSHED ARTS
model to create a figurative sculpture. Courses: Novice to experienced, including for all ages/abilities Courses: Hand building, throwing & surface
Step-by-step tuition, beginners welcome throwing Dates: Throughout the year pattern. All levels. Throwing taster sessions,
Dates: Termly, Saturdays Dates: Weekly, Thursday evenings 7-9pm Location: Culford, Nr Bury St Edmunds private throwing tuition & sculpture. Pottery
Location: Stowe by Chartley Location: Nr Solihull handmadeatbramleycottage.co.uk parties
amertonartstudio.com coea.co.uk KATIE'S POTTERY STUDIO Dates: See website
BRITISH CERAMICS BIENNIAL tonycarterpotteryschool.com Courses: One-to-one & small group tuition in Location: Ware, Hertfordshire
Courses: Beginners & Intermediate DAISYROOTS CERAMICS throwing, handbuilding, decorating, glazing artshedarts.co.uk
Dates: Tuesday & Thursday Courses: Beginner’s wheel sessions 1:1 or & firing for all ages and abilities. Children's CHARLIE’S POTS
Location: Stoke-on-Trent, Staffordshire small groups. Handbuilding techniques Saturday class Courses: Intensive day-long Sunday
The BCB operates a clay school and a variety taught with support for home hobby with Dates: Throughout the year throwing courses for beginners
of courses throughout the year. kiln firing service. Paint-your-own pottery Location: Leiston, Suffolk Dates: Various
britishceramicsbiennial.com & craft studio katiespotterystudio.co.uk Location: Aylesbury, Bucks
EARTH AND FIRE CERAMICS Dates: Just book! SUDBURY POTTERY CLASS E: throwingpottery@gmail.com
Courses: hand-building, throwing by Location: Crawley Village, Witney, Courses: Weekly classes, workshops, one offs CLAY WITH CAROLE
arrangement, pop-up pottery. 1:1 or small Oxfordshire and pottery for kids. Various hand building, Courses: Handbuilding, throwing
groups, 2-hour intensive lessons DaisyrootsCeramics.co.uk slab, coil and surface decoration. Dates: Various
Dates: Various, 4-weekly courses All abilities welcome Location: Hitchin, Herts
Location: Great Haywood, Stafford M & K RAKU WORKSHOPS
Courses: One-day raku workshops run by Dates: Weekly, daytime and evening/ some claywithcarole.co.uk
Facebook: @earthandfireceramics weekends
Mark Compton and Kirsteen Holuj. Bring your CREATIVE CLAY FOR BEGINNERS
EASTNOR POTTERY & THE FLYING own bisque-fired pots or sculptures along or Location: Sudbury, Suffolk Courses: Handbuilding, various levels, full-
POTTER buy pots from us on the day to glaze and fire. sudburypotteryclass.co.uk time/part-time
Courses: Remarkable potter’s wheel All levels. THAXTED POTTERS Dates: Various
experiences for all ages and abilities, run by Dates: Workshops run monthly from April Courses: Beginners and intermediates Location:Newbury, Berks
studio potters Jon Williams and Sarah Monk. to October Dates: Various 6-week sessions newbury-college.ac.uk
Tasters, days and weekends Location: Thaxted, Essex
Location: Milton Keynes DIGSWELL CERAMICS COMMUNITY
Dates: Regularly throughout the year (see thaxtedpotters.co.uk
mkraku.co.uk Courses: Beginners’ tuition, support for
website) TONY CARTER POTTERY SCHOOL
Location: Ledbury, Herefordshire POTTERYDAYZ experienced potters
Courses: Handbuilding, throwing lessons Courses: Beginners & experienced potters: Dates: Tuesdays, Thursdays
Website: eastnorpottery.co.uk all hand building, throwing, design, model &
from Richard Gibbons Location: Letchworth
LOVECLAY AT VALENTINE CLAYS mould-making FB: Digswell Ceramics Community
Dates: Full and half days by arrangement
Courses: Basic/intermediate/professional/ Dates: Year-round E: debbie@debbiebent.com
Location: Kings' Cliffe, Northants
families. Throwing, slip casting & slip Location: Debenham Suffolk
E: potterydayz@gmail.com NORTH MARSTON POTTERY
decorating, sculpture, basic ceramic tonycarterpotteryschool.com
FB: potterydayz Courses: Variety of pottery courses
techniques, professional masterclasses, DOMINIC UPSON
ceramic painting PUP RUGBY Dates: Contact directly for further details
Courses: Pop-up pottery, pay-as-you-go. Courses: Adult classes in all the build Location: North Marston, Bucks
Dates: Evenings & weekends (various) techniques, running in six-week blocks.
Location: Stoke-on-Trent Come and have a go! northmarstonpottery.co.uk
Dates: Wednesdays, fortnightly One-to-one classes in throwing taller, thinner
loveclay.co.uk KATE RADFORD POTTERY
Location: Newton Village Hall, nr Rugby and production making
POP UP POTTERY STUDIO Courses: Hand building, throwing and
FB: @popuppotteryrugby Dates: Various
EARTH & FIRE CERAMICS sculpture for all abilities and ages. Electric,
E: puprugby@gmail.com Location: Battisford, Suffolk
Courses: Beginner courses to learn simple gas and raku firings
dominicupson.com
techniques SWANSPOOL CERAMICS Dates: Weekly courses on a Wednesday,
Dates: Tuesday evenings & Friday afternoons Courses: Handbuilding, throwing, all levels. WEST SUFFOLK COLLEGE Thursday and Friday daytime and evenings,
Location: Great Haywood (near Stafford), Open access studio. Weekend courses & one- Courses: Beginners, intermediate, mixed one to one and group sessions available
Staffordshire off experiences abilities & workshop classes in hand-building, Location: Kensworth, South Bedfordshire
E: carolinefarnellsmith@gmail.com Dates: Termly, year-round throwing, glazing & decorative surfaces & kateradfordpottery.co.uk
Location: Castle Ashby, Northants other techniques RUBY SHARP
POTCLAYS Dates: Saturday daytime and evening for
Courses: Basic/Intermediate/Advanced swanspoolceramics.co.uk Courses: Hand building, throwing,
6 or 10 weeks. Terms starts January 2020 & decorating pots, sculpture for home and
Throwing, Intro to glazes, Pottery Basics, April 2020
Moulding and Slipcasting, Tilemaking garden
Location: Bury St Edmunds
Dates: Various NORFOLK/SUFFOLK/ wsc.ac.uk
Dates: Throughout the year (weekend & day
sessions available)
Location: Stoke-on-Trent
potclays.co.uk
ESSEX Location: Amersham, Buckinghamshire
THE SCULPTURE PLACE BEDS/BUCKS/HERTS rubysharppottery.co.uk
Courses: Figurative Sculpture Classes DEBORAH BAYNES WHERE INSPIRATION BLOOMS
Courses: Residential and nonresidential ALONDENE PHILLIPS Courses: Beginners’ classes, workshops,
Dates: Weekly sessions: Monday, Wednesday Courses: Hand-building for beginners to
& Thursday (running for 6 weeks) Dates: Weekends (spring/autumn), full weeks hand-building, family sessions, pottery room
(July/Aug) intermediate. 1:1 and small group workshops. hire, kiln space hire
Location: Wolverhampton, Staffordshire Opportunities to do sgraffito, mishima,
thesculptureplace.co.uk Location: Shotley, Suffolk Dates: Year round
potterycourses.net slipwork, simple mould making. Location: Chesham, Buckinghamshire
STONEHOUSE STUDIOS Plus creating & applying sprigs, decorative
Courses: Throwing & handbuilt ceramics, BRICK HOUSE CRAFTS whereinspirationblooms.co.uk
stencilling & printing on clay.
sculpture & life sculpture. Portrait drawing, Courses: handbuilding, throwing, decoration,
Workshops can also be tailored around
painting, & general art. One off workshops mould making, raku in the summer. Beginners
& one-to-one tuition on request to professional welcome. Leisure classes & City
specialist techniques.
Classes run all year round daytime and
WILTS/HANTS/
Dates: Throughout the year & Guilds L2 and L3 courses
Dates: Tues - Friday 10am to 4pm,
evenings between Monday - Wednesday BERKS
One offs by arrangement 10.30 - 12.30, 2.30 - 4.30pm, 7-9pm (Due to
Location: Drayton Basset, nr Tamworth, Staffs Sat 10am - 12 midday Covid 19 we will be opening with reduced ANGELS FARM POTTERY
stonehousestudios.co.uk Location: Silver End, Essex class sizes of 1-2 people from late July / Courses: Residential (B&B) & non-residential.
WOBAGE FARM CRAFT WORKSHOPS brickhouseceramics.co.uk August - please email for details Ceramics Throwing, handbuilding, decorating
Courses: Various multiple-day TONY CARTER POTTERY SCHOOL Classes at Home also available with Studio Dates: Sat and w/ends once a month.
throwing workshops Courses: Beginners to experienced potters, in a box. Weekly evening classes & Fri am. One-off
Dates: Various all hand building, throwing, design, model & Kiln firing included. (Within 5 miles of Milton days for groups, min 4, max 8 attendees
Location: South Herefordshire mould making. Keynes area only). Location: Lyndhurst, New Forest, Hants.
workshops-at-wobage.co.uk Small friendly groups, personal tutor. Location: Milton Keynes angelsfarm.co.uk
For free inclusion in this listing, email: claycraft.ed@kelsey.co.uk
ACTIVATE LEARNING AT BRACKNELL SASHA WARDELL pottery parties FB & IG: @lucktaylorceramics
AND WOKINGHAM COLLEGE Courses: Bone china & mould making Location: Bournemouth lucktaylorceramics.co.uk
Courses: Mixed ability adult leisure classes courses charlottemillerceramics.com TARKA POTTERY
taught throughout the daytime and evening. Dates: May to September ( incl.) in KITE STUDIOS CLAY STUDIO Courses: All levels from beginners to
All abilities welcome in our well-equipped SW France /Feb & March in Wiltshire Courses: Throwing, handbuilding, intermediate all year round. Taster sessions
pottery studio, where a range of pottery Location: SW France/ Wiltshire glazing, adult & children courses weekly for individuals or groups, weekly throwing
techniques are taught by experienced sashawardell.com & weekend. One-to-one sessions and and handbuilding courses. Child/family
tutors. One-day specialist courses taught STONEHENGE POTTERY pottery birthday parties workshops, parties
throughout the year Courses: weekly classes, Tuesday and Dates: Mon-Sat various times Dates: Tuesday to Saturday
Dates: Mon – Thurs, daytime and evening Thursday, hand building and throwing. Location: Kemerton, Gloucestershire, Location: North Devon
Location: Woodley Hill House, Earley, Berks Weekender workshops and group sessions and London tarkapottery.co.uk
activatelearning.ac.uk/study/subjects/ by arrangement kitestudios.org ALISON WEST CERAMICS
ceramics-and-pottery Dates: Various all year round LANSDOWN POTTERY Courses: Weekend raku, saggar and barrel
Tel: 01344 868600 Location: Winterbourne Stoke, Near Courses: For all levels, beginnners firing
CÁIT GOULD CERAMICS @ THE BASE Salisbury and Amesbury and intermediate Dates: Various
Courses: All levels from beginners to Tel: 01980 620328 Dates: Tuesday and Wednesday mornings Location: Chagford, Devon
intermediate. Taster courses, general pottery stonehengepottery@btinternet.com (10 - 12.30) Tuesday evenings (6.30 - 9.00) alisonwestceramics.com
and throwing courses. Pottery parties by STUPOTS POTTERY STUDIO Location: Stroud
appointment Courses: Wheel taster sessions, hand T: 01453/298567
Dates: See website
Location: Newbury & Reading
building & glazing.
Dates: Every weekend & some evenings
E: lansdownpottery@onetel.com KENT/SUSSEX/
MOON STUDIO
caitgould.com Location: Yate, Bristol Courses: Hand building, throwing, surface
SURREY/LONDON
CERAMICSPACE BRADFORD ON AVON stupots.co.uk design. Taster sessions, short courses, pottery
Courses: Full time access and/or practice parties, kids clay time & mobile pop up ART OF MINE
without tuition (experienced ceramicists), pottery Courses: 1-1 throwing tuition, hand building,
one-off 2.5hrs taster sessions (beginners), DORSET/GLOS/ Dates: Weekly classes all year, plus private surface decoration for all ages and abilities.
adults taster workshops (individuals or
groups), mentoring/tutoring/specialist
SOMERSET tuition for individuals and groups Birthday parties, team building and taster
sessions
Location: Christchurch, Dorset
training (1 or 2 days), intensive course (4 days moonstudioceramics.co.uk Dates: Various
in groups) Gift vouchers: for lessons or taster ARTISAN CRAFT CLASSES & FB: Moon Studio Ceramics Location: Maidstone, Kent
workshops WORKSHOPS NEW BREWERY ARTS E: info@thisartofmine.co.uk
Location: Bradford on Avon Wiltshire Courses: Weekly pottery classes - wheel and Courses: Variety of ceramic courses ART SHOP AND POTTERY
Tel: Julia Warin 07800 778582 handbuilding Dates: Contact directly for further details Courses: 1-to-1 throwing tuition. One-off
E: juliaartscool@btinternet.com Dates: Mondays and Wednesdays, Location: Cirencester, Gloucestershire taster sessions & longer courses available.
FB: CeramicSpace Bradford on Avon one-offs by arrangement newbreweryarts.org.uk Slabbing, tile making and Kids Clay Club.
CHALKE VALLEY POTTERY COURSES Location: Bockhampton, Dorchester Dates: Monday to Saturday 10.00am -
E: mail@artisan.org.uk RUARDEAN GARDEN POTTERY
Courses: 2-day courses in spring and Courses: Weekends, week-long 6.00pm
autumn, with Jennie Gilbert & Emily Myers, ASHBROOK STUDIO Courses: Throwing, Pot Making Location: Brighton & Hove
Learn the basics in a relaxed and friendly Courses: Throwing, handbuilding, glazes. artshopandpottery.com
Dates: Various
environment, or improve your skills. One-to-one or small group, daily AYLESFORD POTTERY
Location: Forest of Dean
See website for details Dates: All year Courses: Raku days, 1-day, 10-week Pottery
ruardeanpottery.com
Dates: Various Location: Waterrow, Somerset classes, Mould Making, Glaze Theory &
Location: Broadchalke, Wilts ashbrook-ceramics.co.uk RACHEL FOOKS: CERAMICS
Application
Courses: Weekly classes and one-off
jenniegilbert.co.uk BANWELL POTTERY Dates: Various terms
sessions, hand-building & throwing for all
THE CREATIVE CAVERN Courses: Throwing, handbuilding,
abilities
Location: Aylesford, Kent
Courses: Various, inc 1:1 throwing, modelling, slab work, coil work, tile-making aylesfordschoolofceramics.co.uk
Location: Wareham, Dorset
Dates: Various Dates: Weekly evening class, Weds 6-8pm LOUISE BELL CERAMICS
rachelfooksceramics.com
Location: Winnersh, Berks Location: Weston-super-Mare, N Somerset Courses: Hand building, surface decoration,
thepaintnightcompany.co.uk/ banwellpottery.org STUPOTS POTTERY STUDIO simple mould making and glazing for
Courses: Wheel taster sessions, hand
pages/the-creative-cavern BEING WITH CLAY beginners. Taster afternoons and bespoke
Courses: Clay and mindfulness building & glazing. sessions for up to three people of any level
EASTCOTT STUDIOS Dates: Every weekend & some evenings
Courses: Workshops, classes, drop-in incorporating handbuilding techniques & or ability.
mindfulness practises Location: Yate, Bristol Dates: Various
sessions, open access stupots.co.uk
Dates: Various Dates: Weekly or day courses. Maximum of Location: Lewes, East Sussex
Location: Swindon, Wilts 3 people or 1-2-1. Well equipped and Louisebellceramics.com
eastcottstudios.co.uk relaxed studio.
Location: Claverham nr Yatton,
DEVON/CORNWALL BURWASH POTTERY
FIRED THOUGHTS ARTS STUDIO Courses: Various handbuilding,
& GALLERY North Somerset CHRISTOW POTTERY decoration. All levels. Classes,
Courses: Weekly classes: introductory & beingwithclay.co.uk Courses: 2-day saggar & raku-firing weekend workshops, parties, taster sessions
advanced. CARANTOC ART workshops with Abi Higgns/Alison West. All Dates: Terms of 6 weeks, various
Throwing & sculpture a speciality. Courses: Intensive & regular classes abilities Location: Burwash, East Sussex
Open Studio bookings, 1:1 throwing. available in pottery & ceramic sculpture Dates: Throughout the year burwashpotter.co.uk
Various workshops. Dates: Year-round Location: Devon CERAMIC SPIRIT
Group sessions & more, see website Location: Weston-super-Mare, abihiggins.co.uk Courses: Weekly, day and evening.
Dates: Various North Somerset alisonwestceramics.com All techniques. Surface decoration, glazing
Location: Market Lavington, Wilts carantoc-art.co.uk GOONZOYLE POTTERY Dates: See website
firedthoughts.co,uk CREATIVE CLAY FOR ALL Courses: Wheel, handbuilding, glazing, raku Location: Horsham
JEANNE LEWISTIFF Travelling clay workshops for those and pit-firing. For all abilities in fully equipped ceramicspirit.co.uk
Courses: Small groups or 1-1 in throwing who have no access to a kiln. Ideal for rural studio. THE CERAMIC STUDIO
and/or hand building community groups. Based in Dorset Dates: Morning, Afternoon & Evening drop- Courses: From beginner to professional, plus
Dates: Contact for details creativeclayforall.co.uk in workshops throughout the year. taster sessions
Location: Maidenhead, Berkshire KAREN DAWN CURTIS Contact directly for more information. Dates: Various
E: Jeannelewi@hotmail.co.uk Courses: 1:1 throwing; 3 & 6-week courses; Location: Camborne, Cornwall Location: Five Oak Green, Kent
NEW DIRECTIONS pottery practice; Saturday making sessions,; FB: Goonzoylepottery theceramicstudio.me.uk
Courses: Exciting range of ceramics courses parties & team-building; have a go – throwing marykaunenglish.com CERNAMIC
to suit all abilities in a well-equipped studio. Dates: Various, see website LEACH POTTERY Courses: With Nam Tran; throwing, mould-
Taught by specialist tutors and technician. Location: Bridport, Dorset Courses: 3 & 5-day throwing, evening making, raku
Dates: Various, see website karendawncurtis.co.uk classes handbuilding, throwing Dates: Various
Location: Reading PATRICK ESSON Dates: Various, each month Location: SE London
newdirectionsreading.ac.uk Courses: Modelling, coiling, slab work, Location: St Ives, Cornwall cernamic.com
DIANA PATTENDEN pinching, throwing leachpottery.com CLAYNGLAZE POTTERY STUDIOS
Courses: Sculpture, throwing, hand building, Dates: Various LUCKTAYLOR CERAMICS Courses: Pay as you go pottery for all levels.
Prosecco & Clay sessions, children's parties, Location: Gloucester Courses: Hand building and Raku firing Various training days/weekend courses & fine
hand casting. E: p.esson@aliqua-art-gallery.com courses for beginners and advanced art workshops
All ages and abilities welcome CHARLOTTE MILLER CERAMICS students. Fully equipped rural studio. Dates: Days, evenings & weekends
Dates: Daytime, evenings and weekends Courses: Throwing, handbuilding, Dates: Various throughout the year
Location: Newbury, West Berkshire mould-making, surface decoration Location: St Buryan, Cornwall Location: West Sussex
dianapattenden.co.uk Dates: Termly part-time, taster workshops, E: info@lucktaylorceramics.co.uk claynglaze.co.uk
 If you run other creative courses, register free at craftcourses.com
CLAYKILNCRAFT FOREST ROW SCHOOL OF CERAMICS throwing, handbuilding TURNING EARTH
Courses: Beginners intensive throwing; Courses: Adult intensive throwing and Dates: Various Courses: Open access studio Tues-Sun for
mixed intro to pottery; handbuilding & handbuilding weekly classes. Weekend Location: Lewes, East Sussex all levels – must be working independently.
half-day one-off classes covering all aspects workshops: raku, soda/smoke firing, animal thepaddockstudiopottery.co.uk Classes available, see website for details/
of pottery and glazing. All levels catered for sculpture, glaze chemistry, slip decorating. THE PAINTING POTTERY CAFE availability
but must be 16 and over. Also Open Access Three-month residential Sept-Nov 2018 Courses: Evening classes: Throwing, coiling, Dates: Open access studio Tues-Sun.
Membership. Location: Forest Row, West Sussex slab & pinch for different monthly projects. Location: Hoxton E2 and Lee Valley E10,
Dates: Year-round one-offs to 9-week frschoolofceramics.co.uk All materials and glazes provided. £35pp London
courses & intensive short courses GO CREATE Dates: 3rd Thursday of the month 6.30- turningearth.org
Location: Crystal Palace, SE London Courses: Pottery, sculpture & craft 9.30pm
claykilncraft.com Dates: Various
Location: SW London
Location: Brighton
paintingpotterycafe.co.uk
REST OF WORLD
THE CLAY PLACE
Courses: 6-week courses, one-day gocreate.co.uk PARKGATE POTTERY L’APIPOTERIE /E. PENSA  FRANCE
workshops, bespoke clay days. Hand building CLAIRE GRIFFITHS Courses: One-to one throwing Courses: Handbuilding for utilitarian use
techniques, slab, coil, surface decoration Dates: Starting September; Weds 10.00am Dates: Various and animal sculpture. Bilingual course French
Dates: Wednesday/Friday 6-week courses -12.30pm & Thurs 7.00- 9.30pm Location: Dorking, Surrey and English
Various dates for one-day workshops Location: Whitstable parkgatepottery.co.uk Dates: See website
Location: Ashurst, West Sussex E: jc.griffiths@btinternet.com THE POTTERS STUDIO Location: Beaufort sur Gervanne/South East
jwceramics.net HANDMADE IN CHISWICK Courses: Beginners to intermediate. of France in the Vercors regional park
THE CLAY ROOM UK Courses: Weekly classes and one-off Taster sessions, 1-1 tuition, hand building E: epensa26@gmail.com
Courses: Clay taster workshops; workshops inc 1:1 throwing. Studio time for & throwing workshops. Open access DUCTAC, MALL OF EMIRATES UAE
introductory pottery; mould-making & more experienced learners memberships for more advanced makers Courses: Introduction to ‘Pottery for all’;
slip-casting; transfer; termly pottery courses; Dates: Term time for weekly classes, by Dates: All year round. See website hand-building & throwing. Trial sessions
Christmas workshops & private lessons arrangements for workshops and studio time Location: Hawkhurst, Kent Dates: Sunday, Monday, Thursday 10-1pm.
Dates: Various Location: London, W4 thepottersstudio.co.uk Tuesday 6.30-9.30pm
Location: Chelsfield, Orpington HandmadeinChiswick.com THE POTTERY CORNER Location: Dubai, UAE
theclayroomuk.com IG: @sylvieopsimath Courses: Clay club 4-week evening courses, ductac.org
THE CLAY STUDIO JESS JORDAN CERAMICS Handbuilding 5-week Saturday courses, MAS SARRAT POTTERY  FRANCE
Courses: Handbuilding, throwing, Courses: Handbuilding, throwing, wheel throwing and raku tuition. 5 students Courses: Introduction to pottery
surface decoration, glazing for beginners/ decoration, glazing max. All levels welcome (handbuilding and throwing). Improver
experienced potters. Raku, smoke-firing and Dates: Various Location: Chichester, West Sussex pottery handbuilding and throwing) 5-day
animal sculpture. Weekend workshops Location: Worthing, W Sx thepotterycorner.co.uk courses
Dates: Mon-Fri all day inc evenings pottyjess.co.uk DANIEL PRATAP  THE TRIANGLE Dates: See website
Location: Groombridge, nr Tunbridge Wells THE KILN ROOMS POTTERY Location: Cazals, Lot, France
E: info@theclay.studio Courses: Beginners one-off taster sessions; Courses: Throwing and hand building, Taster jenniegilbert.com
THE CLAY WORKSHOP beginners taster classes: beginner/ sessions, 1:1 throwing and regular weekly Facebook: @cvpotterycourses
Courses: Throwing, hand-building, glazing, intermediate courses in hand-building, courses. Beginners and advanced
throwing, decorating, glazing. Masterclasses. STACEY MCDONALD POTTERY  USA
decorating, raku. All levels, inc 1:1s Dates: Day and evenings
Open access Courses: Fully equipped, spacious clay
Dates: Various, ongoing Location: Farnborough Hampshire
Dates: Various, year round, plus open access studio offering beginner & intermediate
Location: Central Eastbourne E: danielp.ceramics@gmail.com
Location: Three studios in Peckham, wheel throwing, handbuilding and beginner
grahammatthewsceramics.com SULEYMAN SABA
East London sculpture classes, workshops and special
SU CLOUD CERAMICS Courses: Pottery classes events for adults and children 10 and over.
Courses: Clay club twice weekly, raku, hand thekilnrooms.com Dates: Tuesday and Wednesdayevenings Cone 6 electric firing, white stoneware and a
building, porcelain paperclay, various project KITE STUDIOS CLAY STUDIO (Clapham), Mondays and Tuesdays selection of other clay bodies, glazes made
workshops, 3-week and 6-week courses. Courses: Throwing, handbuilding, glazing, (Kingsbury) in-house
All levels. Daytime/evening & Saturday adult & children courses weekly & weekend. Location: London (Kingsbury and Clapham) Dates: Ongoing start dates; days, evenings
workshops. Purpose-built studio for up to 6 One-to-one sessions and pottery birthday suleymansaba.com
parties and weekends
students SUSAN RAMSAYSMITH POTTERY BARN Location: 12 W. Spring St. Illinois USA
Dates: Various Dates: Mon-Sat various times Courses: Experienced tutor, small groups,
Location: Kemerton, Gloucestershire, and staceypottery.com
Location: Bognor Regis throw or hand-build, all abilities.
sucloudceramics.com London OLD HEAD STUDIO  IRELAND
Dates: Tuesdays am/pm 2 hour sessions,
kitestudios.org Courses: Handbuilding for all levels, week-
THE CORNER WORKSHOP 5/10 weeks or Taster weekends
CLOVER LEE CERAMIC long ceramics, glaze and surface decoration.
Courses: Beginner courses for adults. Hand Location: Heathfield, East Sussex
Courses: 12-week throwing courses, taster & On-site accommodation available
building & a variety of decorating methods. experiencesussex.co.uk/ceramics
intensive throwing workshops. Private classes, Dates: May to September
Small class sizes SUTTON COLLEGE Location: Near Louisburgh Co. Mayo, Ireland
Dates: Various, weekly parties & independent sessions for all abilities Courses: Hand building, throwing, plus
Date: Weekly regular, weekends & private E: sarah.lyons3@btinternet.com
Location: Balcombe, West Sussex summer workshops, mixed abilities, adult and
E: rezacworkshop@gmail.com bookinga available year-round family education. TOTEM CERAMICS POTTERY SCHOOL
Location: Clapham South, London Dates: Starting in September with various  SPAIN
PETER CUTHBERTSON
clover-lee.com dates throughout the year. Courses: Throwing, sculpting, handbuilding,
Courses: Throwing and handbuilding,
LILLAGUNILLA CERAMIC STUDIO Location: Sutton, Surrey slip casting, general skills for beginners.
beginners and more advanced
Courses: One-day workshops and Saturday suttoncollege.ac.uk Weekly classes & courses
Dates: Weekly regular day and evening
classes in throwing and hand-building Dates: 1-5 day courses, weekly classes,
classes plus one off weekends by STAR POTTERY
Dates: Various year-round
arrangement Courses: Taster, Weekly classes
Location: East Hoathly, East Sussex Location: Charlton, South East London Location: Andalucia
Dates: Various
E: peter.cuthbertson@phonecoop. lillagunillaceramics.co.uk totemceramics.com
Location: Lewes, East Sussex
Coop MAZE HILL POTTERY hamid-pottery.co.uk CHRISTINE PEDLEY  CENTRAL FRANCE
JO DAVIES Course: Weekly Evening Classes Courses: Throwing, hand building, and
THE STUDIO AT CLAPHAM LTD
Courses: Throwing classes; for beginners and Dates: Throughout the year Courses: Taster course, project based decorating for beginners and advanced
intermediates with Jo's experienced studio Location: Greenwich, London workshops, tailored tuition. Beginners students.
tutors; masterclasses or one-to-ones with mazehillpottery.co.uk Handbuilding Courses. Learn to pinch, coil, Dates: March-october
Jo for those wanting to improve or refresh MORLEY COLLEGE slab and throw! Wednesday drop in for Location: La Borne - France
their practice Courses: Hand building, throwing, plus experienced enthusiasts. Tel: 0033248267744
Dates: Various summer workshops, beginner to advanced All levels catered for. Web-site: www.chris-pedley.eu
Location: Dalston, London levels, adult and family education. Dates: Various UN PETIT TOUR DE TERRE  FRANCE
jo-davies.com Dates: Starting in September with various Location: Clapham Near Worthing, West Courses: All levels, hand-building, surface
EASTBOURNE STUDIO POTTERS dates throughout the year. Sussex decoration, making tools, raku, glazing.
Courses: Throwing, hand building, surface Location: London thestudioatclapham.com Full-board accommodation available
decoration and glazing for beginners and morleycollege.ac.uk IMOGEN TAYLORNOBLE Dates: All year round, Monday 9am to Friday
experienced potters. Plus, Personal Project NEW LIFE CERAMICS Courses: Weekly pottery classes for 5pm
Development with specialist support. Courses: Pay-as-you-go weekly day and adults and children. Suitable for all levels. Location: Saint Génies de Comolas, France
Open access: studio hire available for evening classes for all abilities, throwing and Hand-building, glaze mixing & glazing, Facebook: @FredPotierGres
experienced makers handbuilding experimental firing days. Obvara, Raku, SASHA WARDELL  FRANCE
Dates: Weekly courses throughout the year. Dates: See website & Saggar. 1:1 throwing sessions at my Course: Bone china & mould making courses
Personal Project on Weds 6-9pm. Location: Biggin Hill, Kent Whitstable studio Dates: May to September (incl) in SW France/
Location: Eastbourne newlifeceramics.co.uk Dates: Various Feb & March in Wiltshire
E: eastbournestudiopottery@gmail.com PADDOCK STUDIO POTTERY Location: Espressions Art Cafe, Canterbury Location: SW France/Wiltshire
eastbournestudiopottery.com Courses: 1-day individual or shared, imogentaylor-noble.com sashawardell.com
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Issue 46
LAB AND THROW 18

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54 PAGES OF CREATIVE STEP-BY-STEP PROJECTS

PINCH, COIL, SLAB AND THROW Issue 45

FOR TABLES OR TREES

PERFECT FOR KIDS PLUS: • Box-frame art • Coasters

Welcome he second and preserving, mostly

Jacqui Atkin Linda Bloomfield

lockdown, I could increase

surplus. Life slowed down ● Calendars will be available by

30 Project 3: porcelain squares

65 in the next packed issue

decorating the partridge and the

nemesis – plaster of Paris – which

Save money and have the

This year… this year! Despite some

last-minute panics, the online show You know it makes sense!

PLUS: • Box-frame art • Coasters

001 Clay Craft Cover Issue 45.indd 1

NEWS email claycraft.ed@kelsey.co.uk

 The traditional shopfront is very

HARROW OPEN STUDIOS

Annika Schüler master

THE GREAT POTTERY

This is a lovely item to make

You will need:

THROWING THE BASE

Open out the centre by pressing the ﬁngers of your

Form the clay into a

 Repeat the lift to thin and raise

Remember to compress the clay at the rim after each

Reverting your hands to the earlier position, pull the

 Carefully mop out the interior of the pot with a sponge

11  Measure the top opening of the lantern with callipers

THROWING THE LID

Lift the wall directly outward in an inverted cone

 Remember to compact the clay at the rim after each

 Clean away the slurry

TRIMMING THE LID

TIP Practice knocking on to centre with pots

If it helps, you can turn the top of the lid by placing it

27  Add any distinguishing

 Return to the lantern body and carefully measure its

 Glaze your lantern to ﬁt your clay type. Make a feature

BATH POTTERS SUPPLIES

 Eva Zeisel, Granit teapot,  Linda Blomﬁeld,

Morandi inspired pots and

woods this autumn so that

 Position the decal sheets underglaze side face-up in the

You will need:

 Prepare the casting slip by stirring it until it runs oﬀ the

 When the slab has ﬁrmed enough to remove from the

 Cut the slab in half to separate the designs if you’ve

ALTERNATIVELY – cut the slab into rounds with a

Carefully cut the slab into squares, aligning your

 After bisque ﬁring, simply

 After ﬁring, simply apply felt circles to the underside

The ﬁred coasters are

A subscription to your favourite

Or call 01959 543 747 Quote XMAS20

N Myronova has burst onto

 “Taiwanese children”. (Photo Ma Kang Li)

leading ceramic studio at the Institute “Travelling is an essential part of

 Work in progress at the

Circle: ‘When the stranger comes to

The traditional shopfront is very

Repeat the lift to thin and raise

Carefully mop out the interior of the pot with a sponge

11 Measure the top opening of the lantern with callipers

Remember to compact the clay at the rim after each

Clean away the slurry

27 Add any distinguishing

Return to the lantern body and carefully measure its

Glaze your lantern to ﬁt your clay type. Make a feature

Position the decal sheets underglaze side face-up in the

Prepare the casting slip by stirring it until it runs oﬀ the

When the slab has ﬁrmed enough to remove from the

Cut the slab in half to separate the designs if you’ve

After bisque ﬁring, simply

After ﬁring, simply apply felt circles to the underside

Begin by gathering together the items you intend to

Position a square between

Make as many more squares in this style as you choose.

Roll another slab of clay then line the leaves up in pairs

Place the sprig centrally on a pre-cut tile and score

Lift the clay out of the

Continue to work on the detail where required,

As you continue to make the tiles, you’ll see how they

Returning to the black

Score around all the placed features to mark their

To make the hare, you will need a sheet of underglaze

Cut a section of decal large enough to accommodate

Lift one small corner of the decal to see if the design

Gather together all the underglaze colours you want to

Paint the neck detail, to include the eye and beak.

Using a super-ﬁne brush, paint some line detail around

Copy the given template (page 76) and make a

4 Repeat these ﬁrst few steps to prepare a second

Cut around the template using the roller guide as extra

Place the second sheet of plastic over the top of the

Roll thick paper into tubes, just long enough to ﬁt

Gently pinch the edges of each diamond together to

Work over the closed areas carefully with a pointed

The earthenware crackers can be decorated before or

22 Continue to cover the