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54
DECORATIVE PAPER RESIST
Stunning, bold designs with slip

L
INSPIRATIONA
IDEAS

PAPER CLAY

Slab animals
BIRD BATH Pt
Pt 2

Glazing & firing

MOULD PROJECT

Issue 6
£4.25
Relief bowl
ALSO INSIDE: Potfest report • Meet the potter • Hatfield preview
001 Clay Craft Cover Issue 6.indd 1 08/08/2017 16:40
 Meet the team...
Welcome
T
ravelling round, meeting
potters and attending
events, one of the main
impressions that I come away with is the
feeling of community that potters seem
Jacqui Atkin Kevin Millward to have. Even if they are working alone,
Paper clay Adopt a Potter
animals p38 at ICF p7 in the middle of nowhere, they have a
network of other potters that has
developed over the years, sometimes
dating back to having trained together,
and cemented by meeting up at various
events. Jacqui Atkin perfectly describes a – not just from any alcohol that ‘may’ have
feeling of belonging to a very special been involved! – and pleasure of being with
Alan Ault Doug Fitch family, in her report from Potfest in the like-minded, old friends, is tangible.
Specialised Natural Park. Sitting in a cramped village hall, Not that this is a closed family, however.
clay bodies p26 inspiration p47 surrounded by fellow potters, the warmth One young potter whose name is being
mentioned a lot at the moment by potters

Missed an issue?
*
vouchers up for grabs
and collectors is Amberlea McNaught. Her
striking, deeply-carved pieces are stirring
THROW DOWN’S DANIEL PULLS HANDLES

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34
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PROJECTS PINCH, COIL, SLAB AND THROW
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26
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MAKING SIMPLE FLOWERS

IN THE
that’s the point. Fresh faces and ideas, and
APPLYING GLAZE
SPOTLIGHT!
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studio potters
CREATIVE IDEAS and their work

POTTERY TOOLS
7 STEP-BY-STEP
COIL POT BUILD

PROJECTS
GLAZING
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EARTHENWARE
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new, young blood in the form of emerging
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SURFACE DECORATION THROWING TRANSFERS

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Buy now by visiting:

shop.kelsey.co.uk  Jacqui Atkin engrossed in
conversation at Potfest in the Park. Rachel Graham, Editor

ClayCraft Magazine MANAGEMENT Toll free USA subscription orderline: c/o Classified Central Media Ltd views expressed in the magazine are
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Issue 6 ClayCraft 3

003 Welcome Issue 6.indd 3 08/08/2017 16:44

 Contents Issue 6
45

35

30 Supplier spotlight:
Potterycrafts
Lucy Tilstone gives us the low-
down on one of Stoke-on-Trent’s
leading suppliers

35 Linda Bloomfield
Adding colour to glazes
with stains and oxides

38 Project 3: Slab-built
animals
Using templates to make stylised

WIN!
animals in paper clay
6 News and views 44 New Designers
Paul Bailey reports on this
10 Skill school: Lithography grad show
Transferring images using
ink and gum Arabic 45 Pots from the past
Thomas Hayman explains how
13 Project 1: Bisque mould to dig without causing damage
Step-by-step guide to
a relief bowl hump mould 47 Doug’s diary
Doug takes inspiration from the
19 Meet the potter local wildlife
Craig Mealing uses clay

18
to cope with PTSD

COMPETITION
Win £200 towards a piece
of Ruthanne Tudball’s work

22 Project 2: Pinch pot

tealights
Simple but effective
pierced lighting spheres

10
26 Material matters
Alan Ault of Valentine Clays
explains specialised clay bodies
19
and their uses
4 ClayCraft Issue 6

004-5 Contents.indd 4 08/08/2017 16:46


48 Project 4: Our tea set
series continues
Make a three-tier cake-stand
53 Me and my pot
Clare Dales shares her delicate
wavy-edged dish
54 Art in Clay Hatfield
We preview what’s in store for
visitors to this three-day show
58 Project 5: Bath time!
Part 2 finishes our bird bath
with glazing and firing
60 Pottery Associations listing
Find one near you!
61 Me and my pot
Elaine Drew’s tall, bright work
48
004-5 Contents.indd 5
38 CONTENTS
70
65
74 Glossary
Your essential guide to the most
commonly-used pottery terms
75 Next issue
78 Events
Your guide to pottery and
62 Potfest in the Park ceramics events right across the
Jacqui Atkin’s personal country
account from this show
80 Courses listing
65 Project 6: Surface Fancy signing up for a class?
decoration Find one near you in our handy
Mark Dally shares his technique free listing guide
for paper stencil resist
82 Pottery suppliers directory
69 Clever coiling
We make Daniel Pratap’s
useful coil roller
70 Celebrate Stoke!
The Ceramics Trail has much to
offer for pottery enthusiasts
72 Emerging Potters
58
Paul Bailey introduces more
up-and-coming new potters
who are destined for success
WIN £200 voucher for Ruthanne Tudball
ClayCraf t
76 ClayCraft
PINCH, COIL, SLAB AND THROW Issue 6 £4.25
54
DECORATIVE PAPER RESIST
Stunning, bold designs with slip
subscriptions offer
INSPIRATIONAL
IDEAS
PAPER CLAY
Save money and have the Slab animals
BIRD BATH Pt
Pt 2
magazine delivered to your door. Glazing & firing
You know it makes sense!
MOULD PROJECT
Issue 6
Relief bowl £4.25
ALSO INSIDE: Potfest report • Meet the potter • Hatfield preview
001 Clay Craft Cover Issue 6.indd 1
08/08/2017 16:40
Issue 6 ClayCraft 5
08/08/2017 16:46
 E
IN TH
If you have a news story, letter, product launch or details of some

S
other topical item you’d like our readers to know about,

W
NE My pottery dad
email claycraft.ed@kelsey.co.uk

For a long, long time, I resented

being thought of as the kid with the
‘pottery dad’. It was a label that would
be difficult to shake, because for
many years he regularly infiltrated my
classroom; humiliating me in front of
friends with his tiling workshops, coiling
projects, slip-trailing demonstrations
and unfashionable, clay-stained clothes.
I just wanted my parents to be normal.
I wanted the house to look like an
IKEA magazine. I despised the eclectic
collections of pots adorning each room.
I desperately pleaded with Dad to go
back to university as a very mature
student and retrain as a businessman or
brain surgeon.
There were unofficial competitions
at school to see whose parents were
working abroad the longest. I always
remained silent during these bragging
sessions, the reason: Dad had his
combined office and workspace in our
subterranean cellar. Essentially, he had
the whole footprint of the house to
himself and therefore, most ashamedly,
didn’t go out. The fact that Dad took
over a whole floor for himself has isn’t such a bad thing – an underfloor accepted the exclamations of acclaim
remained a volatile subject in the family. heating system, albeit periodical. and learnt to smile.
Mum, being an architect, has great Dad has recently been getting back More recently, after the airing of
plans for our Grade II listed Georgian into shows after a nine-year hiatus. the Great Pottery Throw Down, I was
house, which entail turfing Dad outside It was a regular adventure which the surprised at the popularity of a skill
to a shed at the bottom of the garden whole family used to share, travelling to that seemed so unimpressive to me,
– with electricity supply, of course. various crevices of the country to pitch having watched Dad effortlessly churn
However, undeterred by various up a tent and enjoy a long weekend, out hundreds of perfect pots for years.
incentives, Dad has so far definitively my brother and I running slightly feral It was a hot topic of discussion among
refused to donate this proportion of our between the demonstrators’ stands. my friends, and I noticed I was no
house back to us. Despite this, in truth, I fondly recall fashioning a bubble- longer ashamed to contribute to the
having three kilns warming the house wrap suit with crown at Potfest in conversation, rather than remaining
the Park, then spending hours rolling dumb on the subject.
around trying to pop all the bubbles – a Now, I recognise that doing
privilege not all of my friends would something as creative and beautiful
have experienced. as making and designing pottery
As I grew up out of homemade requires skill almost equal to a brain
bubble-wrap outfits, Dad’s seconds surgeon. It takes years and years
shelf became rather helpful in providing of practice to intricately decorate
thank-you presents to teachers when something confidently and with ease.
I’d left everything to the last minute. I Importantly, designing, making and
always felt a little embarrassed to say decorating pottery is something that
that my father had created the piece allows expression and creative flair, and
that I was gifting, but it would invariably I realise why Dad remained true and
come to light when the teacher didn’t retrain as a brain surgeon. He
pulled Dad’s business card from the enjoys his job immensely, and I’m proud
wrappings. Over time, it became such of him. I’m proud to have a pottery Dad.
a regular occurrence that, eventually, I Isabel Dally

6 ClayCraft Issue 6

006-9 News.indd 6 08/08/2017 16:47

 IN THE NEWS

KEVIN MILLWARD REPORTS ON

Join the Dacorum & Chiltern Potters
Guild members in the beautiful
Kingsbury Barn to see a range of
their ceramics. There will be making
demonstrations and the chance to have-
a-go on Saturday 9 and Sunday 10.
ADOPT A POTTER AT ICF
It was a lovely sunny Saturday
when I arrived at the International
Ceramics Festival (ICF),
Aberystwyth. I was there with
Adopt a Potter, on a fund-raising
event for the upcoming opening of
Clay College in September. Talking
of potters, there were potters in
abundance, in every direction –
which is always a good thing, in
my book!
It was a great opportunity to
catch up with friends, old and new.
Hot on everyone’s lips was the
question, ‘when is the next Throw
Down on?’ – I’m sorry to say,
there’s still no news on that front.
For those of you who aren’t  Rob Parr, winner of the
Kecskemét Award
familiar with ICF, the weekend
is made up of demonstrations, demonstrating and firing the kilns
workshops and lectures to suit a that he and his helpers had built
broad range of disciplines, with the on site. There were numerous
demonstrations being delivered by kiln-building projects to watch, to
well-known, established makers. complement a full programme of
Most of the main ceramic suppliers demonstrations from potters from
were there too, showing off their home and abroad.

One to watch!
Jacqui Atkin returned
wares – there were wheels, kilns
and tools in abundance, and it
was great to see them all under
For fans of the Throw Down,
many of the potters from the first
series were there for the weekend,
from Potfest in the one roof. This allows visitors to chatting with the visiting potters
Park very excited compare products and save on - they are still very popular with
about a new talent: a trip to Stoke-on-Trent, as not the pottery community. The
Amberlea McNaught. everyone can get up there and Kecskemét Award was won by
Amberlea is a spend a day visiting the suppliers. Rob Parr, the trophy having been
Ceramics graduate It was great to see veteran kiln- made by yours truly.
of Cardiff School of builder and author Nils Lou. His It was a great weekend – it’s
Art & Design, and book on kiln design and building a shame that we have to wait
continued her training is a must if you’re thinking of another two years for the next
internationally with building your own kiln. He was one.
skilled artisans,
studying traditional  An example

Jugs
of Amberlea
art forms from master
McNaught’s
craftsmen in India and
deeply carved
North Africa.

galore!
vessels.
She has now
established her studio in Sheffield, where
her most recent body of work consists of
deeply carved black stoneware vessels.
Rachel Byass, of Fired Art Designs,
Following a residency in Morocco, these
sent us this photo of the jugs her
pieces translate carved plaster surfaces
students made from our ‘Build
into sharp geometric ceramic forms.
a tea set’ series. It’s so nice to
We hope to bring you a Meet the Potter,
see how our readers adapt our
featuring Amberlea very soon.
projects to make them their own.
Find out more on her website, at:
Thank you!
terrapotter.co.uk

Issue 6 ClayCraft 7

006-9 News.indd 7 08/08/2017 16:47

 E If you have a news story, product launch or details of some
IN TH
WS other topical item you’d like our readers to know about,

NE
email claycraft.ed@kelsey.co.uk

Ceramic Wales
Ceramic Wales, a contemporary ceramic
art show, is running for a second year,
from 1 to 3 of September 2017, at the
School of Creative Arts Wrexham
Glyndwr University.
This free event creates an exciting
opportunity to come and admire a wide
range of quality artwork, and to buy
direct from the makers.
Following on from the success of
Ceramic Wales 2016, there will once curators and educationalists and even
again be the opportunity to enjoy free experience live Raku firing.
demonstrations from international Hands-on, ‘have a go’ workshops will
experts, talks by ceramic makers, be running throughout the event, for
all ages and abilities, including hand-
building and the chance to try throwing
a pot on the wheel.
Local artists, including Tim Pugh,
will be leading a community project,
creating and decorating a large mural
based on local heritage and geography, With refreshments and parking
which visitors will be invited to get available on site plus free admission for
involved with. all, this is certainly an event not to be
This year the event will also include missed.
‘Made in Wales’ a focus exhibition of For more details visit: wearesca.com/
works by David and Margaret Frith. ceramicwales

Clay College
Masterclass
The Clay College is now running a
series of masterclasses, prior to its
opening later this year. The first of
these is a three-day workshop with Akiko Hirai – now fully booked
– but if you missed this, she is holding an evening masterclass on
25 August.
Celebrated Korean potter Lee Kang Hyo will be demonstrating
his skills and discussing his work on 23 September; details of all
masterclasses are available at: claycollegestoke.co.uk
You can now follow the Clay College on Instagram,
@claycollege

Correction
In the last issue, we mistakenly announced that the
winners of our competition would receive prizes
from Potclays. It was, in fact, Potterycrafts who
generously provided the prizes for that particular
competition. We apologise for any confusion this
may have caused.

8 ClayCraft Issue 6

006-9 News.indd 8 08/08/2017 16:48

 Ceramic Art Andenne 2018 now taking applica tions
IN THE NEWS

The organisation of the Ceramic Art Andenne (BE) is the

next Ceramic Art Andenne
(former Biennial of Ceramics) is
now underway. It will be held from
11 May to 10 June 2018, in Andenne,
Belgium, where there will also be
contemporary ceramics exhibitions
and a ceramics fair.
 Fabienne Withofs will be the invited
Belgian ceramicist for CAA 2018
new name of the former Biennial
of Ceramics of Andenne (Belgium).
This artistic and cultural event has
taken place in Andenne since
1988, and has gained national and
international recognition. The event
invites visitors to learn about the
industrial ceramics history of the
city, and aims to build a relationship
with contemporary ceramists.
The event offers a rich and varied
programme, including exhibitions of
contemporary ceramics, ceramics
international market, an exhibition
of works by students of academies
and schools art, artist residency
programme, lectures, and artist
demonstrations.
Exhibitor applications are now
being invited. The deadline is 31
October 2017. Find out more at:
ceramicartandenne.be

Keep Poole Pottery

Studio in Poole
Poole Pottery’s rich history in the town
dates back to 1873 and has long been
recognised as a centre of excellence for
the most skilled craftsmen and artisans.
The owners of Poole Pottery Retail
outlet and Studio have been seeking
new premises, and unless something
is found urgently, on 15 October, Poole
Pottery’s base in Poole will close. The
council is being urged to do everything in
its power to help the company to secure
new premises in conjunction with the
owners of the pottery.
The town is already suffering the closure
of other retail outlets, and if the Pottery
closes, Poole will lose something that
makes it unique. There are collectors
of Poole Pottery worldwide, and the
collectors club has active members
in Australia, Canada, the USA and in
Europe. While the Poole brand is safe – it
will continue in Middleport – the unique
one-off Studio pieces, which are bought
as gifts and by collectors, are hand-
thrown and decorated in Poole. It is these
pieces that carry the Poole name into the
future. To lose something that is known
worldwide would be a blow that the town
would forever regret.
Campaigners are calling for people to
help save what remains of a once larger
industry by signing their petition at:
bit.ly/2uyqoUZ Issue 6 ClayCraft 9

006-9 News.indd 9 08/08/2017 16:48

 SURFACE DECORATION
LITHOGRAPHIC PRINTS
L ithography uses a variety of
treatments to repel ink from
where it’s not wanted,
allowing you to print the bits you do
want. Here, we used gum Arabic and
linseed-oil-based ink on photocopied
images, to reproduce the picture onto
leather-hard clay. It’s important that the
image is photocopied using a good,
old-fashioned ‘Xerox’ machine, not
printed from your computer, as this
method relies on the toner from the
photocopied image taking up the ink.
Computer printers use different inks,
and won’t work. Try your local library
if you don’t have access to a photocopier, TOP TIP
and remember to mark your original Use small images,
print, so that you can use it again. This as a large piece
was a photo of cow parsley that was of wet paper is
made into black and white in Photoshop, hard to handle
then printed out before being copied.  and tears

You w ill n ee d :
easily

✔ Gum Arabic (liquid or crys

tals) In advance
✔ Lindseed oil Make the ink by mixing 3 parts stain to 2 parts linseed oil. Thoroughly
on
✔ Stain – we used black Mas combine the two, and stir for 10-15 minutes until it is the consistency of cream.
Leave at least overnight. It will settle, and need stirring again before use.
✔ Sponges
✔ Gloves
d for
✔ A rubber roller, such as use
lino printing
✔ A piece of glass
✔ Soft leather-hard clay
✔ A potter’s needle
✔ A spoon for burnishing
✔ Two bowls of water
te
A high-contrast black and whi
ge, trim med
photocopy of your ima
pap er – but leave
to remove excess
rou nd the edg es, to
approx 3cm
allow for handling

 If you are using gum Arabic crystals (easily available from Amazon,
500g for around £13), you will need to dissolve them in water first. This
can take a long time, so breaking them up into smaller pieces first will help.
Use 500g to 1-1.5 litres of hot water – scale this up or down, depending on
how much you want to make. It doesn’t keep terribly well, so we suggest
making smaller batches if you aren’t going to use it regularly.
Gently heat the mix in a saucepan, stirring occasionally. It does take a
long time, so be patient. Once fully dissolved, strain to remove any debris,
and pour into a sterilised, lidded bottle or jar. This will help prolong its
shelf-life.
10 ClayCraft Issue 6

010-12 Litho Issue 6.indd 10 08/08/2017 16:49

 1 3

 Spread a little ink onto the glass, and roll into a thin film.
 Add a dash of gum
Arabic into one bowl of
water. This will be used
to clean the surface
of the print. Spread
enough gum Arabic
onto the glass to cover
an area the size of your
paper then place the
image on top of it and
spread a film of more
gum over the surface.
This coats the toner TOP TIP
with the sticky gum,
which allows the ink to
Try to work as
stick to it. cleanly as you can.
It’s easy to get ink
where you don’t
2 4 want it

 Apply to the
image, moving
the roller in one
direction at a time
only, so it doesn’t
pick up the edge of
the paper and take
it around the roller.
 Clean up the glass around the paper with a damp If this does happen,
sponge, as too much gum around the edge can interfere gently unroll it back
with the quality of the result. onto the glass. .
Issue 6 ClayCraft 11

010-12 Litho Issue 6.indd 11 08/08/2017 16:49

 5 7

 Once done,
carefully pick up
 Once the one corner of the
image is covered
with ink, squeeze image, using a
a little of the potter’s needle
water/gum or tweezers if
mix onto the necessary, and take
surface, and it off the glass and
gently sponge place it on the clay.
the surface, You only have one
removing the ink chance to get it in
from the white the right place; you
areas. can’t move it once
it’s been applied.

6 8

 Gently blot the

back of the paper
with a sponge and
clean water.
Allow to dry
 Repeat this inking and cleaning process three times, slightly until the
going in different directions with the ink each time. paper starts to go
white again, then
burnish with the
back of a spoon.
Check by peeling a
corner back.

ƒ You can glaze

9 straight over the image,
or bisque-fire before
glazing. The image is
not permanent until
glazed and will rub off,
so it does need to be
protected. The stain
will fire to whatever
temperature you need
for the clay body used.

12 ClayCraft Issue 6

010-12 Litho Issue 6.indd 12 08/08/2017 16:49

 SKILL SCHOOL
DIFFICULTY RATING ★★★★★
PROJECT
ONE BISQUE HUMP MOULD

T
his is a great alternative
method for making hump
moulds for those who don’t
like – or don’t have the facilities for –
working with plaster. A plaster hump
mould is used here to make the bisque
mould, but you could use an upturned
bowl as an alternative, providing it
does not have a footring. Also, this is a 1
mould with a decorative surface
design, which means you can only
make this style of bowl from this
mould – if you want a plain mould for
more flexibility, simply leave out the
impressed detail. 

You w ill n ee d :
✔ Clay – any type will do alth
ough
BEFORE YOU BEGIN:  Roll a slab of clay on a sheet
of plastic – the slab must be large
use you r
it would be wasteful to enough to cover your mould or bowl
clay bec aus e and at least 10mm thick.
best or expensive
–
it will only be fired to bisque Sit the mould or bowl on a whirler
pen sive sch ool -typ e clay is (or potter’s wheel), and carefully
inex
perfectly acceptable for the se drape the slab over the
surface.
moulds.
Remove the plastic
ign
✔ Stamps to impress your des and smooth over the
– woo den , plas ter
into the surface surface of the clay
hom ema de or bou ght .
or clay – with a rubber kidney.
uld
✔ Hump mould – a plaster mo
l sha pe, or a foo tles s bow l
in a bow
you like the shape of.

If using a bowl to form your

mould, first cover it with cling
film to make sure the clay
doesn’t stick to the surface.

Issue 6 ClayCraft 13

013-17 Project 1 Bisque hump mould.indd 13 08/08/2017 16:51

 SKILL SCHOOL
PROJECT
ONE

4
 Using your chosen stamps,
impress a design around the
2 circumference of the dish inside
the scored line and rim but leave
the centre free.
 Holding your potter’s knife level with the bottom of
the mould or bowl, neatly cut away the surplus clay at
the base.
Work around the rim again with a sharper knife to
remove burrs and refine the cut edge.

5
 With the mould still centred on your whirler, rotate
the mould and gently cut a shallow spiral with a loop
tool, wooden or metal rib. This feature will allow the
glaze to pool deliciously when fired.
Smooth over the spiral with a finger then carefully
stamp any more detail you might like to add to
complete the design. You may need to re-cut the base
(rim line) at this stage because it will have distorted
slightly when the clay was impressed.

3
 Centre the mould on a whirler then using a potter’s
pin, rib or pointed tool, score a line about 10cm from the
rim of the clay (at what will be the rim when turned the
right way up).

14 ClayCraft Issue 6

013-17 Project 1 Bisque hump mould.indd 14 08/08/2017 16:52

 DIFFICULTY RATING ★★★★★

6
 Score a second line about 1cm from the rim, taking care
not to spoil the impressed design.
Allow the mould to firm up to a point where it can be
handled without distorting the shape.
9
 Score the rim of the bowl and corresponding
position on the slab – apply slip to both the areas to be
joined and fit the two parts together.
Apply firm pressure to the bowl part of the mould to
make sure the two sections fix together and that the
bowl is perfectly round.

7
 Roll another slab of clay for the underside of the mould
and allow it to firm up to the same degree as the bowl part.
Now carefully lift the bowl off the mould and position
it on the slab of clay. Score around the mould to mark its
position on the slab, then carefully remove it again and
return it to the mould temporarily.

10
8
 Cut away the excess clay
 Cut out the base circle slightly larger than the marked around the base of the mould with
outline; this will give you the flexibility to make corrections a sharp knife then smooth over
if the bowl distorts slightly in handling later, when fitting the join carefully with a kidney or
the two parts together. scraper to neaten it up.

Issue 6 ClayCraft 15

013-17 Project 1 Bisque hump mould.indd 15 08/08/2017 16:52

 SKILL SCHOOL
PROJECT
ONE MAKING A BOWL FROM THE HUMP MOULD

11
 When the clay has firmed up enough to handle
easily, turn the shape over and carefully cut out a circle
in the base, large enough to fit two fingers inside – this
will allow for easy lifting after making the actual bowl.
Allow the finished mould to dry slowly before bisque
firing.
1
 Begin by rolling a slab of clay
large enough to fit over the mould
as you did when making it.
Place the slab over the mould
then, if you have one, roll over the
surface carefully with a printing roller to make sure the
texture is taken up on what will be the inside of the bowl.
Alternatively, if you don’t have a print roller, smooth
over the surface several times with a rubber kidney.
Cut away the surplus clay at the rim as you did when
making the mould.

ƒ Centre
the mould on
a whirler (or
wheel), then
lightly score
a line where
you would
like the foot
2 ring to be.

3
 Roll a coil of clay to about 1cm
thickness. Position the coil on
the bowl at the scored position to
measure the correct length.
Cut both ends of the coil on a diagonal
where they meet – this makes a better join than butted
12 ends. Remove the coil – score and slip the ends then
join them together and smooth over the join.
 The bisque-fired mould.
16 ClayCraft Issue 6

013-17 Project 1 Bisque hump mould.indd 16 08/08/2017 16:52

 DIFFICULTY RATING ★★★★★

Much of the process for making a bowl from your hump mould is the same
as it was for actually making the mould itself, with just a few additions.

4 7
 Score and slip the upper  Blend the clay inside the footring
surface of the footring and the with a finger (this is easier than
marked position on the bowl, then using a tool for awkward areas),
fit the ring in place making sure it then carefully remove any lumps and
is perfectly round. bumps with a kidney until the ring is
neat and of an even thickness all the
way around.

5
 Place a wooden batt over the footring and check the
level is correct with a spirit level. Correct the level by
applying pressure to the batt.
8
 Turn the mould and bowl over onto a batt, then
carefully – but as quickly as possible – lift the mould out.
Surform the rim to even and neaten it up, then soften
the edge by wiping it around with a barely damp sponge.
Don’t over work the sponge because it will spoil the rim
rather than improve it if used too much.
Allow the bowl to dry slowly before bisque and glaze
firing.

6
 Blend the outer edge of the
ring onto the bowl body using
a wooden modelling tool then
smooth over the join with a kidney
to remove excess clay and neaten
the shape.

Issue 6 ClayCraft 17

013-17 Project 1 Bisque hump mould.indd 17 08/08/2017 16:53

 WIN
£200
TO SPEND ON
A PIECE OF
RUTHANNE
TUDBALL’S
WORK!

Simply visit: shop.kelsey.co.uk/claycraft2 and leave your details.

Entries close at midnight on 6/9/17. The winner will be drawn at random on 8/9/17,
no purchase necessary, UK only. Full Ts &Cs available on the website.
18 ClayCraft Issue 6

018 Competition.indd 18 08/08/2017 16:53

 MEET THE POTTER
When Craig Mealing contacted us with his story, we were struck by the obviously
therapeutic effect that working with clay has had on him. We often hear from potters
who are working with people dealing with challenges, both mental and physical, but it
was fascinating to speak to someone who has experienced this from another perspective
C raig joined the army when he
was 16, and over his 23 years
of service, he spent time in
Northern Ireland, Bosnia, Kosovo, Iraq
and Afghanistan. He took voluntary
redundancy in 2013, and as part of
the army’s resettlement programme,
he trained as a fibre-optics engineer.
While fitting fibre-optics at DP World
in Essex, it was suggested that he apply
for a position at the company, which he
successfully did. He moved in with his
partner and imagined he’d be settled for
life. Unfortunately, his experiences in the
army had left their mark.
“Before I left the army, while I was in
Germany, I knew I had a problem,”
explained Craig. “I was drinking a lot,
which wasn’t unusual; the culture in the
army is work hard, play hard, and when
off-duty, alcohol is a coping mechanism
for many soldiers.” Others throw
themselves into working excessively
hard, but Craig relaxed in the bar,
drinking hard and fast to self-medicate
for something he couldn’t yet name. “We
didn’t show our emotions, or talk about
what we’d been through, but I knew
there was something wrong, and asked
What is PTSD?
Post-Traumatic Stress Disorder
(PTSD) is essentially a memory filing
error. It can happen when people are
exposed to an extraordinary life-
threatening situation, which is
perceived with intense fear, horror and
helplessness.
The problem is that when the mind
presents the memory for filing it can be
very distressing. The mind repeatedly
and automatically presents the memory
in the form of nightmares, flashbacks
and intrusive unwanted memories,
which can be very unpleasant and
distressing.
019-21 Meet the Potter.indd 19
for help. I saw a psychiatrist, but I didn’t
feel like they were really listening to
what I was saying. I didn’t know then
that I had PTSD, but it just wasn’t
working out with him, so I didn’t go
back.”
The symptoms perpetuate themselves
in a vicious cycle, which can go on for
years.
PTSD comprises three symptom
clusters:
● Re-experiencing of the traumatic
experience
● Hyper-arousal and emotional numbing
● Avoidance
In veterans helped by Combat Stress,
the commonest co-morbid clinical
presentation of PTSD presents with
depression and alcohol misuse disorders.
Find out more on the Combat Stress
website, by visiting: bit.ly/2undVn0
Returning to Civvy Street was hard
for Craig, who was suffering from night
terrors and anger issues. “I’m not proud
of my behaviour,” he said. “When you
leave the army, you lose everything
you’ve been used to; the routine, the
camaraderie, being told what to do.
Without those, I began to fall off the
edge of a cliff.” He began to drink more
heavily, and after a series of events,
eventually accepted that he had an
alcohol dependence.
“I contacted Combat Stress, a charity
for veterans that helps with mental
health issues. They told me that while I
was drinking, they couldn’t help me, but
they referred me to an alcohol misuse
unit. The support I got there helped me
to stop drinking, but in the meantime,
things came to a head at home, after a
particularly nasty row in November
2015. When Combat Stress found out,
my support worker there told me that if I
wasn’t careful, I’d find myself homeless.
He was right. In February 2016, I was
arrested for trying to gain entry to the
house. It wasn’t possible to return home
and found myself living in a hotel and
fast running out of money. I ended up
sofa-surfing and staying with friends
and family for a couple of months. I was
really lucky that my boss was very
understanding, and allowed me to have
lots of time off from work during this
period, to sort myself out.”
Luckily, Craig’s involvement with
Combat Stress meant that he was ‘in the
system’, and The British Legion paid the
deposit and a month’s rent in advance for
his flat, which allowed him to get back
on track. In April 2016 Combat Stress
offered him a place on a two-week
intensive course where he was given
access to a psychiatrist, a key-worker,
workshops on subjects like anger
management, ‘what is PTSD?’,
medications, etc, and an all-important
occupational therapist, who was to prove .
Issue 6 ClayCraft 19
08/08/2017 16:54
 CRAIG’S
TOP TIPS
ecific
● Don’t buy a sp
ur
instrumental in potter’s stool for yo
l; sup pli ers of dis ability
whee
Craig’s future. m for a
equipment have the
If you respond well fraction of the price
en
to the initial course, ● Use an old wood
Combat Stress then spoon to work the
inside of your
goes on to provide a pots
six-week placement. It’s
flexible, in that if you start the
course and you aren’t ready, you can go
back to the two-week course and try
again later.
The longer course is similar in
content, but it is provided in more depth,
and included art therapy and
mindfulness. Craig was referred for the
longer course. There are small cohorts of
around six attendees, which allows for a
building of rapport and trust; something
that helped Craig to see that he wasn’t Craig discovered that stools are A wooden spoon is perfect for
alone. “During the classes, we would talk much cheaper if bought through working on the inside of thrown
about things, but not in any great detail. suppliers of disability equipment. pieces.
But we would get together in the
smoking area and talk among ourselves she suggested that I have a go on the really nice to throw with, and it’s cheap!”;
about specific things we’d experienced. It wheel, and I was hooked from day one. I Millenium White, and smooth buff. “I
really helped by showing me that it would go on it every chance I got, in try everything, but I hate terracotta. It’s
wasn’t just me who was feeling these between the workshops. I just kept too messy! I’ll use it at Brickhouse, but
things,” said Craig. throwing and throwing! not at home,” he laughed.
“When it was clear that this was Craig is self-taught, mainly from
Introducing pottery something I was going to carry on with, watching YouTube videos, reading books
“It was through the occupational the occupational therapist contacted and ClayCraft, and he is a fan of the Great
therapist that I first started with clay. SSAFA [formerly, Soldiers, Sailors, Pottery Throw Down. He did try out a
Although she’s mainly a hand-builder, Airmen and Families Association], who local pottery barn, but it wasn’t what he
approached other charities and gathered was looking for, so he went to
the funds for a kiln and wheel for me. Brickhouse Ceramics, in Silverend,
There are lots of support organisations where one of the owners, Mary, has
out there; Help for Heroes, the Royal become somewhat of a mentor to Craig.
Engineer Association, the Army “I know I need to get out and meet
Benevolent Fund, etc, but you need to be
willing to ask for help. The trouble with
soldiers is that we’re proud, and don’t
want to ask for help. It’s probably that we
still see it as a sign of weakness. There’s
still a stigma around mental health,
although it is getting a bit better; it’s in
the media daily, and people like Prince
Harry help, by talking about their own
experiences.”
Once he had his equipment, Craig
began throwing in earnest. He uses
several clays, and is always trying out
new ones to see how they work for him.
Current favourites are SWE – “a very
 Craig won’t use terracotta at plastic, white earthenware, which throws
home, but made this sectional well”; APC (all-purpose clay) – “really  One of Craig’s early pieces, glazed
strawberry planter at a local studio. good for plates, it’s soft, forgiving, and with Botz Copper Gold.
20 ClayCraft Issue 6

019-21 Meet the Potter.indd 20 08/08/2017 16:54


 The use of soft colours (Botz
Harlequin, Morning Dew and Sunrise)
possibly reflects the calming
influence that clay has on Craig.
people. I don’t like busy, crowded places,
but I know it’s important not to shut
myself away,” he explained. “I go to
Brickhouse every week, popping in for a
chat and pottery advice. It’s good to see
other potters and their ideas, and ask
how or why they have done something,
and socialise. I get advice, support, and
constructive criticism. But I’m my own
harshest critic. If something’s not right,
it goes in the bin! I’ve been told I throw
too fast, and I also pull from the inside. I
photograph everything though, so I can
remember what I’ve done, and learn from
it.
“I really wanted to do a City and
Guilds course, but they seem to be
closing at a scary rate, which is such a
 A selection of Craig’s work drying in the sunshine.
019-21 Meet the Potter.indd 21
MEET THE POTTER
shame. Luckily, Mary is planning to do
an independently-verified course at
Brickhouse, which I’m very interested
in.”
Craig’s ultimate aim is to start his own
business, and give his profits back to the
charities that have helped him so much.
“I need to find my own thing. I’m
experimenting with large vases –
thrown in sections – small vases, mugs,
bowls and pots, until I find something I
can make my own.
“Teapots were a challenge! I’ve done
them a couple of times, and sent photos
to a friend who said they were terrible,
but I haven’t got a teapot, so I don’t  Craig’s wheel and kiln were
know about them! Once you realise how supplied by SSAFA, a veterans’
to do them, it’s pretty simple really. The charity, and fit neatly into his flat.
spout’s the hardest thing, and my
handles need a bit of work. night terrors, particularly if I’m in a
“I buy Botz glazes; I’m too impatient to strange place, and smells can take me
make my own. I just want to get it all on straight back. But I manage it now; I can
as quickly as possible. I usually fire tell when it’s starting and have
weekly, but it depends on how much I’ve mechanisms in place to deal with it.
been making, and also on the weather. It When I’m throwing, I chill. I have no
can get pretty hot in here in the summer, worries, and I feel calm and focused; it’s
with the kiln on, but my neighbour loves mindfulness in action.”
it when I fire in the winter. He doesn’t To find out more about Craig, visit his
have to have his heating on!” website at: potteryptsd.co.uk 
Spending time with Craig, so many
emotions cross his face while he’s talking
about his experiences, but mention clay
and he just lights up from inside. His
body language changes, he relaxes and
looks like a different man. “I still have
Combat Stress is the UK’s leading
charity for veterans’ mental health.
The charity provides treatment for
conditions including PTSD,
depression and anxiety, at its
treatment centres and also through its
network of community teams. The
work of Combat Stress is as vital
today as it was after the First World
War, when the charity was founded –
during the past year the charity had
more than 2,000 referrals.
combatstress.org.uk
Issue 6 ClayCraft 21
08/08/2017 16:55
 PROJECT
SKILL SCHOOL
PIERCED TEALIGHT
TWO SPHERES

T his project demonstrates two

styles of tealight that are
relatively simple and easy to
make. Use any clay of your choosing
TEALIGHT TYPE 1

1 2
but be aware that the porcelain version
is slightly more difficult because the
clay is inclined to dry out quickly in
the pinching process, especially if you
have warm hands. 

You w ill n ee d :
✔ A sharp, pointed knife or cut
ting
too l to cut the sha pes out of
your sphere
✔ Hole cutter
✔ Potter’s pin (needle)
✔ Fine drill tool (available from
pottery suppliers – different
sized bit at each end)
✔ Very small fancy shaped
cutters or, alternatively,
cardboard templates
 Form a lump of clay
approximately 1lb (450g) in weight
into a ball and pinch the shape as
demonstrated in earlier issues of
ClayCraft.
Work around the ball in small,
even pinches concentrating on the
top of the dome first because it will
become more difficult to reach this
as the shape is pinched out.
Try to keep the opening small for
as long as possible to keep control
of the shape.
 When you have pinched the shape
to your required size, remove excess
clay and smooth the surface of the
interior using a small kidney.
When happy with the interior
surface, dry the interior off a little
using a hair dryer until it holds its
shape well, then rest it on a foam
bed and refine the outer wall with a
metal kidney.

22 ClayCraft Issue 6

022-25 Project 2 Pinched t light sheres.indd 22 08/08/2017 16:55

 DIFFICULTY RATING ★★★★★

3 5 7

 Roll a small  Using a loop tool and rotating

slab of clay the whirler as you work, cut a
about 8mm small groove immediately within
 With the form still supported on thick and the original marked circle – this
the foam bed and sitting with the using either will form the locating ring for the
rim upwards, carefully surform the the pastry tealight body.
edge until it is level. cutter or your Again, run your finger over the
Refine the rim further with a card template, groove to soften and compact the
kidney to soften, smooth and gently mark clay.
compact the clay. the circumference
on the slab. Don’t press the cutter
down too much – it’s only a guide to
outline size.
Cut out the circle allowing at least
1cm spare around the marked interior
circle.

8
4

 Transfer the slab circle to a

whirler, placing it as centrally as
possible.
Now cut the circle more
accurately, using the lines on the
whirler as a guide. Make sure you
maintain the 1cm excess around  Check that the tealight fits onto
the marked centre. the base comfortably and make any
Soften and round-off the outer small adjustments if required by
edge of the base with your finger. repeating step 7.

 If you have a set of graded pastry

cutters, you can use one to gauge
the size of the rim. If you don’t have
a set, simply invert the tealight on a
sheet of card and draw around the
circumference then cut the circle out
and use it as a template.
Issue 6 ClayCraft 23 .
022-25 Project 2 Pinched t light sheres.indd 23 08/08/2017 16:55
 SKILL SCHOOL
PROJECT
TWO
9
 Divide your pastry cutter into
three equally-spaced sections and
mark the divisions with a black pen.
Alternatively, use the card template
divided in the same way, into
equally-spaced sections.
Holding the cutter or template
on the rim of the tealight, mark the
divisions on the surface of the clay
using a pin. (This will help you space
your design evenly later).
10
 Use one or two fancy cutters
to impress the shapes of your
choosing onto the surface of the
tealight but don’t cut right through
because the force will distort the
shape.
Space the shapes evenly around
the form to correspond with your
marked dividers until you’re happy
with the arrangement.
Using a sharp knife or cutting
tool, carefully and slowly, cut out
the shapes.
24 ClayCraft Issue 6
022-25 Project 2 Pinched t light sheres.indd 24
11
 Using a hole-cutting tool, make a
series of holes in the spaces between
the cut-out shapes. You can cut as
many as you like, but be aware that
the more holes you cut, the more
vulnerable the clay wall becomes to
breaking, so work slowly and very
carefully.
12
 Make smaller holes with the drill
tool to further expand the design
and fill in even more spaces. This
is much trickier because the clay
will probably be firming up quickly
by this stage, so take care and, if
possible, support the shape on the
inside as you work.
13
 The finished tealight has been
given a light sanding when dry to
create an atmospheric surface, but
this is fraught with danger because
the shape can easily be broken. If
you want to try, you must wear a
dust mask as you work. It’s not an
essential stage of the making and
can quite easily be omitted.
Allow the tealight to dry
thoroughly before bisque firing.
14
 This tealight has been made in
exactly the same way as the first
version, but only the hole cutter and
drill tool have been used to create
the surface design. The surface
is adorned with only a simple,
transparent glaze to show the
surface design more clearly.
15
 The bisque-fired tealight has been
roughly coated in velvet underglazes,
mixed to create a midnight sky
colour to complement the night-time
theme of the design.
08/08/2017 16:56
 TEALIGHT TYPE 2 This tealight is basically a simple, open, pinched cup shape,
DIFFICULTY inverted ★
unlike theRATING ★★★★
first
version. Made from porcelain, it’s more difficult to make because of the nature of the clay, but if you take your
time, you’ll get a feel for the material and soon understand its handling properties

4 6

1
 From a similar weight of clay
as used to make the first tealight,
pinch out a bowl as thinly as you can
 Fill in detail between the cut
shapes with drilled holes as before.
manage. If your hands are inclined to Support the wall on the inside as
be warm, cool them down periodically  Very carefully cut out the you work because porcelain is quite
in cold water to prevent the clay drying fancy rim, following the lines you
fragile to work in fine detail like this.
too quickly as you work. When fully have drawn using a sharp knife or
Continue until the whole surface
pinched, refine the walls of the pot as cutting tool.
has been completed to your
you did in the first version but don’t Smooth over the cut rim with a
satisfaction.
worry about the rim at this stage. kidney to neaten and refine the
Cut a thin, flexible strip of card about edge.
1cm wide, and long enough to fit the
circumference of the pot at the rim.
7
Measure and divide the card strip into
equal sections and mark the divisions
with a pencil.
Carefully transfer the divisions to the
rim of the pot in the way shown, using
a pin or pencil.

 Allow the
tealight to dry
completely,
then using a wet
2 5 sponge, smooth
over the cut edges
and whole surface to
 Centre the pot on a whirler, rim soften and refine it. Sponge both
down, then using the thin strip of card
inside and out, allowing the clay to
in position around the circumference
dry off again between sponging if
of the rim (as shown), carefully score a
you think it is getting too wet.
light line to mark its position.
Oddly, porcelain is much less
vulnerable to work in this way if
it is completely dry rather than
leather-hard.
Your tealight should have no
sharp edges when finished.
 Using your
fancy cutters
or cardboard
templates,
3 mark and cut
out a series
 Using a pencil, draw out a design of shapes at
of your choosing, between the complementary
marked divisions to form a repeating positions to fit the
shape around the rim. This can be as design of the rim. Follow the same
simple or elaborate as you choose. procedure as for version one.

Issue 6 ClayCraft 25

022-25 Project 2 Pinched t light sheres.indd 25 08/08/2017 16:56

 SPECIALISED CLAY BODIES
AND THEIR USE…
Alan Ault of Valentine
Clays explains specialised
clay bodies
I n the past few issues,
we have looked at the
different types of
general clay bodies, including
earthenware, stoneware,
porcelain and bone china.
Although these are the main
types of clay, there is also the
option to choose from specialised
clay bodies that have been
developed with a specific
purpose in mind. This month,
we will look at six different
types of specialised clay bodies
to give you an idea of how they
can be used.
26 ClayCraft Issue 6
026-28 Clay Issue 6.indd 26
Peter Beard uses the
professional range of clay.
Here: Bulbous blue vessel, 14cm.
Paper clays
Paper clay is any clay body to
which cellulose fibre has been
added. Earthenware, stoneware,
terracotta and porcelain clay
bodies can all be made into paper
clays, transforming their
handling properties.
Paper clay is incredibly
versatile, strong and flexible at
all stages of the making process.
The reinforcing property of the
added cellulose fibres allows the
clay to be stretched without
tearing. The fibres also add
tremendous strength as it dries,
resulting in a much greater
handling ability before firing.
Another outstanding benefit of
paper clay is that it can be joined  Adrian
Bates uses
in a conventionally plastic-to- black clays
any stage, before and after firing.
plastic state, but also, quite when creating This opens up a whole new field of
radically, in plastic-to-dry or his ceramic development in both construction
dry-to-dry, allowing repairs at forms. and firing methods.
08/08/2017 16:57
 ALL ABOUT CLAY

Main benefits of 1. A fired example of a black clay.

paper clay 2. A fired example of a porcelain 3
• Incredibly strong slabs – even paper clay, used by potters
extra thin slabs will fold, bend such as Hayley-Jay Daniels.
and drape without tearing. 3. A fired example of
a crank paper clay,
2
• Extra-large or thick forms hold
up under their own weight. ideal for creating 4
larger pieces.
• Greenware re-wets easily and
evenly, allowing you to re-work, 4. A fired
example of
alter or add new clay at any stage a terracotta
of dryness. coloured paper 1
• It is possible with this clay body clay.
to build an armature and allow it 5. A red stoneware
to dry as a support sculpture that fired example at
need not be removed for firing. 1180°C. 7
• Moisture evaporates so evenly 6. A red 5
from this clay body that it can be stoneware fired
force dried with excellent results. example at
• Exaggerated forms hold their 1260°C; the
shape. Be careful not to get too higher the firing
extreme: once bisqued, the fibre
temperature, the 6
darker the clay
structure burns out, and slumping becomes.
may occur if the base clay is 7. One of the
over-fired. most popular clays from the
• Greenware, even bone dry, is professional range, this clay
unbelievably strong and easy to is ideal for Raku firing and is
handle or transport if necessary. used by potters such as James
• Make paper clay into a putty to Oughtibridge.
repair cracks in greenware or to
construct forms out of previously
made modules. • Firings can be oxidised,
• In addition, the burning out of ‚ Air reduced, Raku or salt and soda.
the paper fibres results in a hardening • During firing the combustion of
clay is ideal
noticeably lower fired weight – organic, cellulose pulp and flax
for classroom
especially in large-scale works – use as shown fibres will create a smoke effect
and the resulting openness gives in this picture – avoid inhalation. The kiln
improved thermal shock taken at Art in should be well-ventilated, ie
properties to most clay bodies. Clay. suitable extraction fan or canopy
fitted that allows the fumes to be
safely removed from the kiln
room. Without adequate
ventilation it could trigger a
smoke alarm.

Air hardening clay  Emma Rodgers uses paper

Air hardening clay is a popular
and relatively inexpensive choice
for projects big and small. It can
also be a very good way for
budding artists to practice and
hone their skills. Air hardening
clay can be used for a variety of
projects such as jewellery,
ornaments and decorations. Best
of all, it doesn’t require an oven
clay to create her pieces. Here:
87 Brothers Grimm Tales.
or a kiln to create beautiful
products. Due to the fast-drying
nature of air hardening clay, and
the fact that it can be easily
decorated with acrylic paints, it’s
ideal for use in the classroom.
The fibres contained within it, .
Issue 6 ClayCraft 27

026-28 Clay Issue 6.indd 27 08/08/2017 16:57

 ALL ABOUT CLAY

Susan Page uses the

professional range of clays.

and very fine texture of the clay,
make it an excellent choice for the
finest modelling work.
Bone china flower clay
Fine bone china flower clay is a
bone china body that contains an
additional plasticiser, making it
more flexible, resilient and easier
to handle. This addition of a
plasticiser allows artists to create
flowers and intricate ceramic
details. Its high strength allows it
to be produced in thinner
cross-sections than other types of
porcelain.
 Ian Harris uses the
professional range of clays.
28 ClayCraft Issue 6
There is a long history of bone
china flower-making in Stoke.
Clusters of the glazed flowers
made up as ‘florals’ were once
extremely popular, with the
industry employing several
hundred flower makers across the
city. The flower-making industry
has now all but disappeared.
There are, however many skilled
flower-makers still living and
working within the
potteries and they can
still be seen in
Gladstone Pottery
Museum.
Professional clays
The manufacturing process,
using the most plastic ball
and china clays available
today, produces bodies with
higher grog content and
unrivalled plasticity. The
batching method of production
also ensures accurate formula
preparation and allows moisture
content to be very accurately
controlled. The process is similar
to the pan-milling process used
by other manufacturers, however,
our method of mixing
homogenises the dry materials to
an optimum degree, producing
outstanding clay bodies.
Black clays
Black clays are beautiful clay
bodies designed for sculptural
ware rather than functional
pieces. Their raw nature has
 James become very appealing to ceramic
Oughtibridge artists. Due to their very low
uses black shrinkage, black clays are also
clays when very well-suited to architectural
creating his ceramics.
work.
Red stoneware clays
This red stoneware is suitable for
potters seeking high-fire
red clay. Its fine
texture makes it
excellent for throwing
large pieces and hand
building, without the
fear of slumping. It can
also be used as a red Raku
body. Outstanding plasticity
and the right amount of tooth
make it resistant to warping,
cracking and thermal shock. At
1160-1220°C firing yields a
brick-red colour. Increasing the
temperature to 1220-1280°C
darkens the colour gradually to
rich reddish-brown. 
 Lindy
Martin
uses black
clays when
creating her
ceramic work.
Here: Prince
Charming.
Black
stoneware,
shino glaze,
62cm, inc
stand.  An example of red stoneware.

026-28 Clay Issue 6.indd 28 08/08/2017 16:57

 Shop online at http://www.claymansupplies.co.uk

CERAMIC SUPPLIES FOR THE HOBBY AND CRAFT POTTER

Clays • Decorating Slips • Casting Slips • Powdered Glazes • Brush-on Glazes • Colours
Onglaze Colours • Media • Raw Materials • Grogs • Raw Clays • Opacifiers
Frits • Oxides • Brushes • Making Tools • Workshop Tools • Wheels & Accessories
Kilns & Equipment • Plasters • Books • Bisque
*
Morrells Barn, Park Lane, Lower Bognor Road, Lagness, Chichester, West Sussex, PO20 1LR
Phone 01243 265845 • Fax 01243 267582 • Email info@claymansupplies.co.uk
  
 PLIER T
P H
SU TLIG
O 
SP 

Lucy Tilstone
gives us the
low-down on
this specialist
supplier

A ffectionately known as ‘The

Potteries’, Stoke-on-Trent is
home to leading manufacturer
and supplier, Potterycrafts. The company
was formed in 1983 when three ceramic
manufacturing and material-supply
companies merged. The business has a
long history and an enormous wealth of
knowledge, allowing Potterycrafts to
proudly say that they have been serving
the pottery industry for more than 34
years, but with a legacy that stretches
back to the 1890s. Today, they focus
their attention not only on the very heart
of the potteries but right around the
world.
Kiln manufacturing
Potterycrafts specialise in kiln
manufacture and design. Jeremy Cross,
the manufacturing manager, has over 30
Then and now. A very
old Laser kiln on the left.
Centre, is the Salamander
force-fed gas kiln from
approx 1990, and right,
a Potterycrafts test kiln
from a few years ago.
30 ClayCraft Issue 6
 Potterycraft kilns mid-way through the production process.
years’ experience with building kilns and
has been with the company for nine
years. He particularly focuses on
front-loading and top-loading kilns,
although he has recently resurrected his
passion for truck-kilns, which are
extremely popular with companies
producing ceramic ware on an industrial
scale. Jeremy notes: “We have a vast
distribution overseas; the Middle East,
Far East and Europe, and our sister
company Ceradel, based in France, has
close connections in North Africa, which
supports us further.”
Jeremy has a team of seven staff, all
very experienced and highly trained in
electrics and installation, alongside their
building techniques. When
manufacturing our equipment, we source
the best materials and have over a
thousand kiln element specifications.
The stringent production process,
quality materials and their design mean
that our elements can last many years
before they need replacing. We can also
offer cost-efficient and affordable prices
for replacement elements, and Jeremy
and the team research new insulation
materials and engineering innovations.
Potterycrafts continues to make
quality kilns at affordable prices, without
compromising on materials; when we say
a kiln will fire to a specific temperature,
it really does! Close inspection of the
insulation will show that the thickness
exceeds that of all other kilns currently

030-33 Potterycrafts.indd 30 08/08/2017 16:58

 SUPPLIER SPOTLIGHT

on the market. Also, the thickness of the
wire used for our heating elements is
generous, offering a long life-expectancy.
Jeremy’s team also manufactures our
pottery equipment; including potters’
wheels, slab rollers and extruders.
Several years ago, we bought the
 Tony Plant, Dawn Thompson,
Sue Boot, Yvonne Johnson, Dawn
Truman and Lucy Tilstone.
Chris Hesketh
using one of
Potterycrafts'
Roderveld
wheels.
renowned Dutch
company Roderveld,
after the owner
retired. We moved the
production of the
Roderveld Max Red and
Max White wheels to our
Stoke-on-Trent factory and continue to
maintain the high standard of quality.
We also manufacture the Roderveld
Pyramid gas and wood-fired kilns,
which many will be familiar with, thanks
to a certain TV pottery programme and
their innovative use of this type of kiln
in their Raku firing. Besides
manufacturing our own wheels and
equipment, we also offer well-known
brands, including Cowley, Brent, Shimpo
and Venco, and we have an in-depth
knowledge of these, allowing us to offer
great support and guidance.
Dave Tilstone, our warehouse
manager, has been with the company for
41 years and is vastly experienced; from
working in the slip house, making clay,
working in production and export
packing, to supervising and now
successfully managing multiple
departments. He began his journey with
no formal experience or industry
knowledge but has gone on to learn the
 Jeremy Cross,
kiln manager.
ƒ In order from
furthest to closest:
Glyn Mandley
(warehouse
operative), Ant
Stubbs (warehouse
supervisor) and Alan
Shaw (warehouse
operative).
trade. David comments: “I‘ve been here
for a long time now. Pottery never
changes, it’s still the same as it always
has been, there are just different
influences and technologies to support it
now.”
Dave also manages our mould-making
department, where we produce a vast
range of moulds on site, from chess
pieces to large lamp bases, full dinner
services in several designs, mugs, wine
goblets, beer tankards, or tea cups – the
choice is endless.
Technical support
and advice
All our manufactured products have an
extensive warranty, backed up by our
approved service engineers and trusted
contractors nationwide. Our technical
support and advice service is an elite
division of this. Our reliable advice
draws on not only decades of knowledge,
but plenty of experience, to offer .
Issue 6 ClayCraft 31

030-33 Potterycrafts.indd 31 08/08/2017 16:58

 SUPPLIER SPOTLIGHT
customers the best possible service. Our
three leading advisors are Jeremy Cross,
Ken Shelton and Gerry Barnett.
Jeremy’s experience, gained from
working in the kiln industry and
managing the department for the past
nine years, is pivotal. He offers great
technical support to customers
over the phone and by email
and can also arrange to
have kilns diagnosed,
repaired or serviced.
Often, customers
would like to be
experimental with
kilns and try new firing
techniques, and Jeremy
is usually the best person
to consult. He can offer great
support and advice and always
puts the condition of the kiln and the
safety of the operator first.
Ken Shelton is our in-house potter. He
runs his own pottery business with his
wife, Valerie, and has decades of
experience, advising people across the
world. He is an immense support for
customers who are after help and advice
on making pottery, throwing, kiln firing
and fault-finding. Ken has tried and
tested many of our kilns, which has led
to him expanding his advice service to
schools and independent businesses. He
 Ken Shelton, Potterycrafts’ in-
house potter and kiln expert.
32 ClayCraft Issue 6
030-33 Potterycrafts.indd 32
 Ready for
shipping!
ƒ Wayne Cotton, kiln
department supervisor.
currently runs monthly kiln-training
courses, which are very popular,
especially with new customers and those
wanting to learn more about operating
kilns. Ken also travels to schools, locally
and nationally, advising technicians and
teachers on the best methods to get their
desired finished product and offering
safety advice, which is of course, vital in
schools. “Throwing a pot or creating
something, in general, is great therapy.
I’ve seen the positive effects this can
bring, especially with the younger
generations. It brings a positive, calming
influence and should be encouraged.”
Gerry Barnett is our very own ceramic
chemist and has been involved in the
industry since he was 16. He offers
advice to customers who are nervous
about trying a new method or are
uncertain of the outcome of a piece. He is
particularly talented with queries
relating to glazes and materials, and has
an incredible ability to create unique
colours for glazes; if there is a shade that
is currently not offered on the market, or
he is struggling to source it, Gerry can
create it – something he loves to do! “If
customers have something in mind, I’m
able to make recommendations based on
their idea. It can be difficult as a potter,
sometimes, as you have an idea of what
you want to create but aren’t sure exactly
what you need; the market is so vast
now. I always encourage customers to
contact us. It’s sometimes best to have a
chat to assess exactly what they plan to
do. We stock numerous clays, and there
are hundreds of glazes, so it can be
difficult and costly for customers if they
aren’t sure where to run with an idea.
We try our best to help with this, to
ensure they get accurate results the first
time and don’t have to spend a fortune on
trial and error techniques.”
For those just starting out in pottery,
there is a common concern that the cost
of equipment and materials is a potential
obstacle. Gerry advises, “Of course, cost
does need to be factored in, especially for
those who consider pottery as a hobby
rather than a business venture. We offer
great quality, non-firing products.
Air-drying clays and non-firing colours
allow beginners to develop skills for
potting and decoration without the
requirement for firing. These products
are something to consider for those who
are just starting out. They keep costs
down, and they encourage artistic
involvement; anything can be done with
clay. Television programmes have
generated a fresh interest in pottery, and
we want to make it affordable for
everyone. There have been many
improvements in the industry in recent
times, especially after such a large period
of decline on an industrial scale, but
there is an exciting future ahead for
potters, and we want to be part of that
future – and are looking forward to it.”
Tony Plant, our general manager, has
a degree in Ceramic Technology and
brings his individual touch to the
business. He is experienced in industrial
ceramics, including wall and floor tile
manufacture, as well as heavy clay
08/08/2017 16:58

industries of brickmaking and roof tile
production. He has knowledge and
experience of clay body design, and tile
decoration. “Ceramics and pottery are
based on art and design, to produce
aesthetically pleasing products. Many
industrial processes have developed to
emulate the art and skills of the potter.
In brickmaking, I worked on the
development of simulated hand-made
bricks. A whole factory was developed,
producing bricks that were all slightly
different in finish and colour, so they
were indistinguishable from actual
hand-produced bricks.”
Potterycrafts has a strong family
atmosphere in all our departments.
Yvonne Johnson and Karen Smallman,
in accounts, have both been with the
company continuously for 40 years.
Karen started only a week behind
Yvonne, and they have been close friends
ever since. When asked why she has
stayed with the company for such a long
time, Yvonne responded: “I love the
people; both the ones I work with and
the customers. I enjoy my work, and we
have certainly moved with the times.”
She added, “We are more like a family
than work colleagues; there’s a lot more
job satisfaction when you enjoy who you
work with, and that helps you to enjoy
what you do, too. You all become part of
the furniture when you’ve been here as
long as us!”
Sue Boot, who works in purchasing,
plays an important role in sourcing
 Dave Tilstone, warehouse and
mould-making department manager.
030-33 Potterycrafts.indd 33
The ceramic
brick linings
being built.
quotes the best materials at the right
price. “My biggest aim is to build good
relationships with other companies. For
our kiln and equipment parts, it’s
important to remain focused and ensure
that the right research is done. I spend a
lot of time sourcing the best possible
prices without having to compromise on
quality. Both are important, but with our
customers in mind I have to make sure
that we’re buying the finest materials at
the most competitive rates, to ensure
that we give the best service, at
reasonable prices.” Sue has done three
separate stints with the company now,
and is affectionately nicknamed ‘the
boomerang’ in the office! Laughing it off,
she said, “I couldn’t keep away for long! I
came back each time because I love my
job, and I always have done. The people I
work with, as Karen has said, are more
like family than colleagues and that
makes it difficult to leave a place and to
settle into somewhere else.”
Sales supervisor Dawn Thompson has
been with the company for 21 years, and
has seen big changes within the industry,
which are important to adapt to. “Hobby
potters used to buy lots of slip to make
bisque. Moulds aren’t as common as they
once were, and since there’s been more
national media coverage of pottery,
people are becoming more interested in
throwing pots. Export orders are
SUPPLIER SPOTLIGHT
increasingly popular, and the website has
gone from strength to strength. Years
ago, people wouldn’t dream of ordering
their materials online, but now we
encourage customers to use the website
as it’s such a great resource for gaining
basic knowledge; we can offer tips and
advice online. Digitising the catalogues
is much more environmentally friendly
and makes them easy to access anywhere
in the world. It’s a great resource,
especially for overseas customers.
Education still plays a big part within
the company, and we have great
associations with many schools, colleges,
universities and health services.”
We have recently begun to establish
links with local colleges and universities,
and offer apprenticeships alongside work
experience. Many of the placements we
offer to university students include those
studying at postgraduate level, who are
looking to improve their skills. This is
hugely beneficial to both the company
and the student; it allows them to
progress in a relaxed environment and
helps to keep the company up to date
with the latest ideas and able to adapt in
the future, offering a fresh outlook.
To see the extensive range of
equipment, clays, glazes and
resources Potterycrafts offers,
visit: potterycrafts.co.uk
Issue 6 ClayCraft 33
08/08/2017 16:58
 SWANSPOOL CERAMICS
Pottery is our passion!

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Clay Experiences
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E: info@swanspoolceramics.co.uk
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 Colouring glazes
Linda Bloomfield continues her series on glazes with advice on adding colour
Linda Bloomfield is a scientist
turned potter. More glaze recipes
can be found in her books, Colour
in Glazes (A&C Black 2012) and
The Handbook of Glaze recipes
(Bloomsbury 2014). Her next
book is Science for Potters (The
American Ceramic Society 2017),
out later this year.
G
lazes can be coloured by
adding commercial stains
or colouring oxides. Stains
and underglaze colours
have been mixed with stabilisers and
opacifiers and have already been fired,
so their colour won’t change further
during firing. However, colouring
oxides are more likely to change colour
during firing as they dissolve and react
with the materials in the glaze, giving
 Copper oxide in potash and soda
glazes and copper silicate mineral
chrysocolla.
035-37 Glazes.indd 35
 Linda Bloomfield, nesting bowls
with coloured glazes inside and satin
matt white outside. (Photo: Henry
Bloomfield)
transparency and depth. The colouring
oxides include cobalt, copper,
chromium, iron, manganese, nickel,
rutile and vanadium. Oxides can be
brushed directly on to biscuit-fired
ware and covered with a clear glaze, or
mixed in with the glaze to give more
uniform colour. When they are added
to a base glaze recipe, they are added as
an extra percentage amount. For
example, if a recipe has 2% copper  Cobalt oxide in ash glaze and
oxide, you will need to add 2g to 100g Chinese porcelain and cobalt
dry weight of base glaze. Once mixed arsenide mineral skutterudite.
with water, the glaze will need to be
sieved several times using an 80 to The fluxes in the base glaze will have
100-mesh sieve. If speckles still remain, an affect on the colour developed
you may need to sieve again through a during firing. For example, potash-
120-mesh sieve. Many of the colouring based glazes will make green with
oxides are toxic, so a mask must be copper oxide, while soda-based glazes
worn when weighing the dry will be turquoise, particularly if the
ingredients, and firing fumes should be clay content is low. The kiln
avoided. atmosphere will also affect the colour; .
Issue 6 ClayCraft 35
08/08/2017 16:58
 GLAZE SCIENCE
restricting the oxygen intake during
reduction firing will cause copper oxide
to turn oxblood red, and iron oxide to
turn celadon blue-green. Dolomite matt
glazes tend to have subdued colour,
while barium matts can have bright
colours, including turquoise from
copper, lime green from chromium,
purple and pink from nickel oxide.
Barium carbonate is toxic, so it may be
preferable to substitute with non-toxic
strontium carbonate. A small addition
of lithium carbonate can also brighten
the colours obtained from oxides.
In general, small amounts of
colouring oxide will dissolve in the
glaze, resulting in a transparent
coloured glaze. Larger amounts will
remain as undissolved particles and the
glaze will be opaque. In matt glazes,
the matt surface is often made of tiny
crystals, which will be coloured by
oxides. Crystal growth can be
encouraged by adding rutile or
titanium.
Colouring oxides
„ Cobalt
Cobalt oxide is named from the
German ‘kobold’; goblins once thought
to live in mines that produced toxic
ores. Cobalt is toxic and it is found in
minerals such as smaltite in
combination with arsenic. In glazes,
cobalt oxide or carbonate give a strong
 Iron oxide in red and yellow
glazes and hematite mineral.
36 ClayCraft Issue 6
035-37 Glazes.indd 36
 Chromium oxide and chrome diopside silicate mineral including quartz
crystals.
 Rutile in pink and yellow glazes
and needle-shaped crystals of rutile.
blue colour. The carbonate is a weaker
form and 1.5x the amount of oxide is
needed to give the same strength of
colour. Amounts of 0.5-2% cobalt oxide
will give a strong blue in glazes, which
can be subdued by adding iron and
manganese oxides. Black glazes can be
made using 2% each of cobalt,
manganese, iron and 1% nickel oxide.
Matt glazes containing dolomite or talc
will turn cobalt a lavender blue colour.
„ Copper
Copper oxide will give green in
potassium-based glazes and turquoise
in sodium- or barium-based glazes
fired in oxidation, or oxblood red when
fired in reduction. The carbonate is a
weaker form and can be substituted for
copper oxide but 1.5x is needed. 1-3%
copper oxide will give a strong colour,
but more than this will produce a black,
metallic effect.
„ Chromium
Chromium oxide gives a range of
colours in glazes. The usual colour
from chromium is bright green, but a
small amount (0.1-0.5%) will give a
pink colour with tin oxide (5%), known
as chrome-tin pink. Chromium turns
brown in the presence of zinc oxide.
Chromium oxide is toxic.
„ Iron
Iron oxide is used in many traditional
glazes including honey yellow, celadon
green-blue, tenmoku brown-black and
khaki red-brown. 0.5-15% iron oxide
can be added to glazes, with larger
amounts giving stronger colours. Iron
oxide is present in rust and red
earthenware clay. Iron oxide pigments
used by potters include red iron oxide,
black iron oxide and yellow ochre.
„ Rutile
Rutile is a mineral containing titanium
dioxide and 15% iron oxide. A similar
mineral containing 50:50 titanium and
iron oxide is called ilmenite. 2-10%
rutile can be used to give streaked and
mottled effects in glazes.
08/08/2017 16:59
 GLAZE SCIENCE

GLAZE RECIPES
Stoneware glaze recipe, iron red,
cone 6 (1240-1260°C)
● Potash feldspar 47
● Bone ash 15
● Lithium carbonate 4
● Talc 17
● Quartz 11.5
● China clay 6
PLUS
● Red iron oxide 11.5

Earthenware glaze recipe,

 Nickel oxide in green and mustard satin matt glazes, and nickel arsenate
mineral annabergite. Nickel crystal glazed pot by Avril Farley.
„ Nickel
Nickel oxide can be used to make grey
glazes, together with cobalt. It will
produce green and mustard colours
with titanium dioxide or pink and
steel-blue in barium and zinc glazes.
0.1-3% is needed in a glaze. Nickel
oxide is toxic.
„ Manganese
Manganese dioxide will produce a dark
brown in quantities of 1-15%. It will
give a pinkish brown in barium glazes
and purple when combined with a small
amount of cobalt.
„ Vanadium
Vanadium pentoxide can be used in dry
matt glazes to give a mottled yellow
 Vanadium pentoxide in matt
glazes and vanadinite.
turquoise glossy, cone 04
(1060-1100°C)
● Borax frit 50
● Soda feldspar 35
● Whiting 5
● China clay 4
● Flint 6
PLUS
● Copper oxide 1
Satin matt green glaze, cone 8
(1240-1260°C)
● Potash feldspar 33
● Talc 21
● Whiting 12
● China clay 15
● Quartz 16
● Zinc oxide 3
PLUS
● Nickel oxide 3
● Titanium dioxide 5
Strontium matt turquoise glaze,
cone 8 (1240-1260°C)
● Potash feldspar 40
 Manganese dioxide in a barium ● Strontium carbonate 30
glaze and silicate mineral rhodonite.
● Lithium carbonate 3
● China clay 6
colour. 2-8% is needed in the glaze. ● Flint 18
Vanadium is toxic. ● Zinc oxide 3
PLUS
„ Opacifiers ● Copper oxide 2
White glazes are made by adding tin
oxide or zirconium silicate to a clear
glaze. Amounts of 5% tin oxide or 10% glaze opaque. If you want to make a
zirconium oxide are needed to opacify bright yellow, orange or red glaze, you
the glaze. Black and grey glazes can be will need to buy stains, as those colours
made using various combinations of cannot be made easily using oxides.
iron, manganese, nickel and cobalt Red and orange inclusion stains, where
oxides. the pigment is encapsulated in a matrix
of zirconium silicate, are stable up to
Stains and underglaze high temperatures. If you want blue,
colours green or brown it is better to use
Commercial stains are made by heating oxides, which give more interesting
colouring oxides together with silica depth of colour than stains. Underglaze
and opacifiers. Many stains contain colours are stains mixed with clay and
zirconium silicate, which makes the frit to make them easier to apply. 
Issue 6 ClayCraft 37

035-37 Glazes.indd 37 08/08/2017 16:59

 SKILL SCHOOL

PROJECT
THREE
PAPER CLAY
ANIMALS

T
he inspiration for this project came from the
charming but rudimentary metal animals made
in third world countries. Adapting the shapes to
clay isn’t difficult because of the malleable nature
of the material, and the animal shapes themselves are very
simplified, so you don’t need to have an in-depth
understanding of anatomy to make something pleasing to
look at. In fact, the quirkier the animals, the more charming
they tend to be.

About paper clay

Paper clay is an amazing material to work with because it
has the ability to stick to itself whether thick or thin, wet or
dry. It’s possible to make slabbed vessels from completely
dry sheets of paper clay – by simply cutting them to the
required dimensions, the sheets can be fitted together easily
after dipping the edges in paper clay slip, which acts as a
glue for an instant fix. In the same way, you can build onto
a form that is bone dry – when coiling, pinching or
modelling – you simply re-wet the edges then continue to
build.
Paper clay can be used for all hand-building methods but
without the limitations that many clays impose by their
38 ClayCraft Issue 6
nature and composition. In this project, we use the clay to
build animals from a single template shape. You can use the
templates provided to make a pig or antelope, or make your
own following the given instructions – almost any animal
can be made in this way as long as you think the shape of
the animal out carefully in advance.
You can make your own paper clay or buy it ready-made
from your clay supplier – available in earthenware and
stoneware clay types, smooth and grogged – it’s worth
buying a bag first, to find out if you like working with it,
before embarking on making your own. 

038-43 Project 4 Slab animals.indd 38 08/08/2017 17:00


YOU WILL NEED:
● Sheet foam to make the template (you could
use card but the foam will last longer for repeat
making).
● Paper clay – a grogged clay is good if you want
to Raku fire the animal.
1 2
 Begin by making the template
– you have to imagine what your
chosen animal would look like
if flattened with its legs splayed
out at either side. You must make
allowances for the legs to be rolled
around the dowelling when working out the proportions,
and allow a section to fold on the underside for the belly
of the animal and possibly the neck (depending on the
animal). If using the given templates all these measurements
have been worked out, but if making your own animal try
to imagine all the areas where you might need extra clay to
close the shape and build this into the splayed design – all
must be accommodated in the one template, except for the
added details like ears, etc.
The easiest way of doing this is to draw the shape on a
folded sheet of paper or card as shown, so that the spine of
the animal aligns with the fold in the card.
Cut the shape out with the paper still folded so that when
opened it forms the whole animal, then cut away the belly
flap from one side.
Now transfer the outline to the
sheet of foam and cut it out.
038-43 Project 4 Slab animals.indd 39
DIFFICULTY RATING ★★★★★
● Thin wooden dowelling – 5mm max, cut to 4 x
15cm lengths – long enough to support from the
spine to the foot of the animal with at least 1cm
spare.
● Cotton wool – for packing the body of the animal.
● Props (kiln props, bricks, wooden blocks) to
support the animal as you work.
 Roll a 5mm thick slab of paper clay on a sheet of
plastic. It should be large enough to fit the template
comfortably, with some spare.
Carefully cut out the shape – the paper or fibre in the
clay often makes it slightly more difficult to cut cleanly
but don’t worry, this won’t affect the finished item.
Reserve any offcuts of slab for use later.
3
 Cut a small length of card about 5cm wide to fit
inside the body to support the leg dowels as you work
on the rest of the body. Make sure the card fits inside
the boundaries of the body, leaving enough spare clay
around it to make the joins. This detail is important to
prevent the leg dowels from pushing through the body
clay later. .
Issue 6 ClayCraft 39
08/08/2017 17:00
 SKILL SCHOOL
PROJECT
THREE

4 6
Still holding the body in
 Place a length of dowel your hand, carefully apply
centrally on each leg as a little slip to the edge of
shown so that they rest the belly flap then close it
on the card at spine level. over the cotton wool and
Using a toothbrush and a fix it to the opposite side.
little water, score the first Smooth the join over with
leg edges and roll the clay a kidney until seamless.
around the dowel – securing
the clay firmly when the two
edges meet.
The clay won’t close all
the way to the belly, but this
doesn’t matter – just join the
edges until they won’t close
any more without distorting the shape of the body.
Form the remaining three legs in the same way –
leaving all the dowels in place when finished.
Support the head with wodges of cotton wool if the
clay starts to tear.

7
 Turn the animal over and lay it on its back, supported
on each side with kiln props or similar. Now start work
to close the rear of the animal using the toothbrush and
water to score the edges before joining them.
Smooth over the join with a kidney for a seamless
finish.

5
Very carefully lift the
animal on the plastic sheet
with the leg dowels still
in place, then holding
the form upside down in
one hand, carefully stuff
the body with cotton
wool. This will belly-out
the shape and help retain that shape as you finish 8
construction. The cotton wool will burn away, along
with the card, during firing.  You can now turn the animal upright, and it will sit on
Don’t worry about the head at this stage. its legs comfortably with the dowelling still in place.
Stuff the body until you can just close the belly flap Score and wet the joins that form the top of the head,
over. then join the two edges together neatly, making sure the
seal is good.

40 ClayCraft Issue 6

038-43 Project 4 Slab animals.indd 40 08/08/2017 17:00

 DIFFICULTY RATING ★★★★★

9
 Turn the animal upside down again then pack the head
with cotton wool to give it some shape, then seal the
underside edges in the same way as the rest of the body.
12
 Pinch two ears to a pleasing shape and fix these
in place in the same way – use the end of a rounded
modelling tool to form an indentation in each ear as a
final detail.

13

 Finally, roll a short, thin coil, pointed at one end, for

the tail and wind it around a piece of dowel to form a
curl. This will be very vulnerable when handling and
great care should be taken to ensure it’s fixed in place
securely. It may help to fix the tail in place when it’s
10 completely dry so that it holds its shape. Remember,
this is possible with paper clay!
 You can leave the body
and head cavities open like
this if you want to, as they 14
are in the metal animals, or
close them up with triangular
sections of slab cut from the
reserved spare clay.
Make sure to blend the clay in well until it looks
seamless. You can use a finger or wooden modelling tool,
as shown, to do this.  When the animal is leather hard,
carefully remove the leg dowels.
Add any extra details like nostrils
before allowing the form to dry out
completely before bisque firing.

15

11
 Turn the animal upright again and sit it on its dowel
legs. Roll two tiny balls of clay to form the eyes – fix them
either side of the head with a little water then impress
them with the end of a wooden tool, or even a pencil, to
give some character. Make other animals following the same method.
Issue 6 ClayCraft 41

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 SKILL SCHOOL
PROJECT
THREE

Pig
template

 When bisque fired, decorate the body by roughly painting a base layer of underglaze all over the surface.
Paint on some randomly shaped spots in a contrasting colour before dipping in transparent glaze. Fire to a
temperature suitable for your clay.
42 ClayCraft Issue 6

038-43 Project 4 Slab animals.indd 42 08/08/2017 17:01

 DIFFICULTY RATING ★★★★★

Antelope
template

Issue 6 ClayCraft 43

038-43 Project 4 Slab animals.indd 43 08/08/2017 17:01

 NEW DESIGNERS SHOW:
THREE MAKERS
The New Designers event showcases fresh thinking and talent from
the UK’s 3,000 most creative and innovative design graduates from
the country over a two-week period. Paul Bailey went along…

T he show is so big that it’s split

into two sections over the two
weeks. It covers areas such as
textiles and fashion, costume design,
jewellery, ceramics and glass, furniture,
product design, graphic design,
illustration, animation and digital arts.
There are also awards from sponsors, to
add to the excitement.
Alongside the show are 75 emerging
designers who are in their first year of
business and have been selected for the
entrepreneurial showcase ‘One Year On’.
Given the sheer size of the show, we will
look at just three of these ceramicists.
Julie Massie has already been selected
to take part in Rising Stars at the New
Ashgate Gallery in Farnham – which she
won – and will now have a solo show at
the gallery in 2018. She also took part in
the Royal Academy Summer Exhibition
and Collect 17 at the Saatchi Gallery in
London, in February. For the latter, she
created five wall hangings that involved
hundreds of hand-stitched ceramic tiles.
Next, she will be exhibiting with Craft
Continuum at the Menier Gallery this
September.
Julie commented: “Exhibiting with
New Designers has been an opportunity
to showcase my work to galleries,
interior designers and art consultants, as
well as a chance to be inspired by the
other great talent on show.”
The Spring Oven by Patrick Kendal is
an innovative bread maker for home use,
 Maisie Jones: Feast ‘Summer’.
 Patrick Kendall: The Spring Oven.
„ Julie Massie: Copper Edges.
with its unique steam baking process
resulting in perfect, crusty bread.
Originally started as a university
project, Patrick went on to win a ‘One to
Watch’ award from the Design Council.
In June 2016, it was launched on
Kickstarter. It is an interesting example
of how a product designer uses craft
ceramics.
Maisie Jones brought a new collection
to this year’s show. Called ‘Feast’, these conversations she had with visiting
are all hand thrown pieces, which are members of the public or fellow
then brushed with decorative slip. She exhibitors gave feedback that will be
has used two clay bodies in the collection vital to making the next steps.
– a finely grogged white clay and a finely Presenting the awards, special guest
grogged black clay. All of the work is Keith Brymer Jones said: “For me, design
fired to a low stoneware temperature. is an essential part of life. We interact
In September she will be taking part with design every day and it is that
in The New Ashgate Gallery’s Autumn interactive process that forms, to a
Craft Collection 2017. greater or lesser degree, an aesthetic,
For Maisie, New Designers practical and emotional response for the
was a great opportunity user. For over 30 years ‘New Designers’
for her to create a new has been celebrating the people who take
collection after on these three fundamental issues.”
graduating last We look forward to another 30 years,
summer. It has also and more. 
given her exposure
to press, galleries and ● juliemassie.co.uk
retailers. She found the ● maisie-jones.squarespace.com
● Patrick Kendal: thespringoven.com

44 ClayCraft Issue 6

044 New Designers.indd 44 08/08/2017 19:05

 POTS FROM
Thomas Hayman THE PAST
A nother month, another site to
explore and find some wonderful
pieces – alongside the occasional
plastic bottle cap! Now it’s time to focus on
a good methodology and trying to work
out what you have found.
Looking around and digging at sites
always presents a conundrum for the
digger. The site is preserved perfectly as it
is, unless it’s likely to be bulldozed or some
such. You must take care to intrude as
little as possible, only opening a small
window into the site. Doing this means
carefully removing the turf layer so as not
to stick your spade through anything
under the surface.
Slowly, with a small trowel, scrape back
the loose material on the surface to get an
even layer. Make a note of the differing
colours of soil/clay and clean down to each
layer at a time. Take lots of photos as you
go, noting any finds or abnormalities; a
sketch can make this easier as there will be
details that you’ll inevitably forget six
months on. Once the finds are recorded,
carefully remove them and bag them
according to their trench and layer.
Progress down into your test pit and back
through time until you hit the natural
surface for the site you are on. This
practice best describes ‘rescue archaeology’;
a process of quickly and carefully working
through a site to discover important
information before it is destroyed, usually
by housing developments.
 A range of late C19th and
early C20th pottery from Julius
Whitehead’s Fireclay works, Clayton,
Bradford; a complete mix of materials,
both domestic and industrial. The
triangular piece is a test ring from the
kiln, pulled out while firing a salt kiln.
(Photo: Natasha Reyner)
045 Pots from the Past.indd 45
Digging sites can be confusing – and
sometimes frustrating – as you pick
through the layers, going further back in
time. Now and again, you will get lucky,
and there’ll be one layer of occupation
sitting on a natural bed rock or clay layer.
This can be a boon in that you don’t have
to dig three feet down, or it can be a pain
as you’ve nothing to compare your finds
against. This is why it’s important to work
slowly and methodically!
While digging a test pit at Small Clues
in Bradshaw, Halifax I had this problem.
The works opened in the early C19th and
closed in 1879, subsequently being
demolished. This leaves us with a building
having only one layer of occupation. There
is nothing before it to provide a dateable
Two jugs from the mid C19th. The
left, a recent purchase made around
Calderdale. The right is a much
smaller example excavated from Small
Clues in 2016. (Photo: Natasha Reyner)
boundary, merely a mess of pieces from the
whole period of operation. Identifying
finds and dating them proved very difficult
and confusing. I found a piece of pearlware
(clear glazed earthenware with a blue tinge
from the late C18th) alongside typically
late C19th pieces of slipware and mass-
produced earthenware. It must be assumed
that the pearlware is a piece that had been
around for some time and was thrown in
with the waste when the building was
demolished.
Identification issues
Finding pottery is easy enough in the UK,
as we have a long-standing tradition of
cooking and drinking from ceramic
Pearlware dated to the late C18th
with its characteristic blue tinge and
the brighter, whiter mass-produced
earthenware of the mid C19th.
(Photo: Natasha Reyner)
vessels. Working out what you’ve found is
somewhat more challenging, and it can
prove tricky to date pieces exactly. The
two most common types are earthenware
and stoneware, making up the bulk of
domestic ware. Occasionally domestic
porcelain will turn up from the late C18th,
though its identification and attribution
are worthy of several books on their own.
Earthenware generally comes naturally
in white, buff, brown and red. Each of
these can be turned into a slip to decorate
the surface before firing. Being porous
even once fired, it’s usually covered in a
glaze – lead-based up until the mid C20th.
Colourful oxides can be added to produce
vibrant colours, copper oxide for bright
greens and iron oxide for red and brown
hues.
Stoneware is a much harder material and
fires higher, making it impervious to water.
Usually grey or dark brown, salt was often
added to the kiln to create a glaze on the
surface for decoration, generally when a
harder-wearing and abrasion-resistant
material was needed.
A great resource for identifying
your finds can be found at:
leicsfieldworkers.co.uk where you’ll
find downloadable identification sheets
of shards from different eras. 
Issue 6 ClayCraft 45
08/08/2017 17:02
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 Doug’s
(Photo: Layton Thompson)
Doug Fitch
A nybody who read my diary in
last month’s issue will know
that Hannah has been really
poorly with terrible morning sickness.
I’m pleased to report that she’s very
much better now and has been making
her first pots in two months. It’s a huge
relief to us both.
She is extraordinarily skilful at
lettering with a slip trailer and always
has a burgeoning order book for
commemorative plates, celebrating births
and wedding anniversaries, etc, so you
can imagine her anxiety as deadlines
were beginning to loom close, while she
was completely debilitated.
I’ve been looking after Pippin during
the daytime while Hannah has worked
away at her list of orders. She’s almost
caught up. Still exhausted, however, she
retires to bed early in the evening. After
she and Pippin have headed up the stairs,
I go back to work, making pots into the
early hours. It’s not sustainable in the
long term, but it’s been essential that we
should get another wood firing through
before our next show, which is Potfest in
the Park, Penrith, in a week from now, as
I write.
047 Doug Fitch Diary.indd 47
DIARY
Recently, we supplied a rather
salubrious gallery named Hauser and
Wirth, which has outlets all over the
globe, including Zurich, New York, Tel
Aviv and Somerset. They contacted us
the other day, asking for photographs of
what we have in stock. They then
proceeded to buy all of my big jugs. It’s a
fantastic predicament, but suddenly I
have needed to do a month’s work in two
weeks in order to replenish the stock for
Slipware birdie moneybox. 23cm
high. (Photo: Shannon Tofts)
our forthcoming commitments.
We fired the wood kiln yesterday,
packed full with my freshly-made big
jugs, pressed dishes and some beautifully
decorated jugs that Hannah made last
week. Our friend Alex McErlain came
and helped with the firing. Alex taught
Hannah when she was a student and is a
regular kiln-hand at the firings. He
kindly takes the early morning shift,
enabling us to get ourselves and Pippin
fed and watered before we join him later.
All seemed to go well, in spite of some
very wet Galloway weather. Now we
must wait for three days for the kiln to
ƒDoug glazing one of Hannah’s jugs
prior to firing. (Photo: James Hazlewood)
Hannah slip-trailing one of Doug’s
jugs as a gift for a friend.
cool sufficiently to open.
The wood kiln is in the corner of a
field, adjacent to the workshop. Across
the lane is a wonderful old horse
chestnut tree and on firing days I love to
watch the rooks that inhabit its leafy
bows. It’s fascinating watching them
coming and going, they are clearly aware
of our presence and observe our every
move with suspicion. In the 19th century,
it was common for traditional country
potteries to make moneyboxes, topped
with simply-modelled birds and the
rooks have inspired me to make
contemporary interpretations.
What a privilege to live and work in
the countryside. At the moment, the
hedgerows are magnificent with vibrant,
purple-pink spears of rosebay willow
herb in abundance and golden-cream
meadowsweet radiating its heady
fragrance upon the breeze. It feeds my
work and my soul.
To see how the firing came out, search
for ‘Fitch & McAndrew’ on Youtube,
Instagram and Facebook. Catch us next
at Wardlow Mires Pottery & Food
Festival, Derbyshire, SK17 8RW, Sat 9
and Sun 10 September. 
Issue 6 ClayCraft 47
08/08/2017 17:02
 CAKE STAND
SKILL SCHOOL
PROJECT
FOUR
FIVE
TIP:
stand
Your cake

T
his instalment of our robably
ill p
monthly tea set project fittings w o ns
h instructi
shows you how to make a come wit c tio n , b ut
u
cake stand in three parts. for constr , the rods
ases
in most c er
This is a relatively simple project sc rew togeth h
simply w it
because we’re using metal parts to e holes,
through th e underside
n th
hold the plates together. Making cake washers o
stands with ceramic columns is to h o ld the plates
notoriously difficult because the plates in lace
p
are inclined to slump over them in
firing, distorting the shape – even
industrially-made stands share this
problem, so using the metal parts
makes for a much happier outcome. 

You will need:

■ 3 wooden batts or discs of
increasing size – approximately
50mm, 100mm and 150mm
diameter and 1-2cm thick. They
can be square or round. (Plastic
container lids are used in this
example).

■ Metal cake stand parts (easily

available through the internet at
small cost).
■ Card/paper and foam
sheeting to make your templates.
■ Clay – the same type you used
for other parts of the build.

48 ClayCraft Issue 6

048-51 Project 4 Cake Stand.indd 48 08/08/2017 17:03

 DIFFICULTY RATING ★★★★★

1
 Make the plate
templates first – cut a
circle of foam sheeting to
cover each wooden batt.
3
Stick the foam discs to
the batts with double-sided  Roll a slab of clay on a sheet of plastic for the first
tape to prevent them from plate – 3-5mm thick (any thicker would look too bulky).
moving. Place the batt on the slab and very lightly mark the
circumference with a pin.

2 4
 Cut preliminary circles of  Place template 1 over the circle
paper or card to the same
marked on the clay and make a
size as each batt (template 1).
pin hole through the template
Once cut-out, fold each circle
centre and slab as shown.
into four to determine a centre point.
Now remove template 1 and
Draw around the batts again on a larger piece of card.
replace with template 2. Place
Position template 1 over the larger circle with the point
a pin through the centre of the
of a compass at the centre.
template then locate it in the
Draw a final circle approximately 5cm larger than the
pinhole on the slab.
inner one. This will make the rim of the plate.
Cut the larger circles out carefully and mark the pin
hole at the centre (template 2).

.
Issue 6 ClayCraft 49

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 PROJECT
SKILL SCHOOL
FOUR

7
 Smooth over the surface of the clay with a kidney
5 so that the shape forms around the batt underneath,
to form an obvious rim. Make sure the rim rests on the
 Cut out the clay circle carefully, making sure it is a board all the way around.
clean cut.
Once cut out, run your finger around the edge to
soften and round it off.

8
 Roll a second slab of clay to the same thickness as
before and cut out a circle the same diameter as the batt
underneath the plate.
Cut a second circle within the first, 6-8mm smaller.
Remove the inner circle of clay but leave the footring on
the plastic.
Score and slip the footring and the corresponding
position on the plate, then fix the ring in place – only
removing the plastic sheet it was rolled on when you are
happy the position is correct.

6
 Place the wooden
batt in the centre
of the cut-out slab
then, making sure
the batt doesn’t
move, lift the slab on
the plastic sheet and
turn the whole thing
9
over onto another
board.  Centre the plate on a whirler
then carefully neaten the footring
Remove the plastic
using a turning or loop tool.
sheet.

50 ClayCraft Issue 6

048-51 Project 4 Cake Stand.indd 50 08/08/2017 17:03

 DIFFICULTY RATING ★★★★★

10
 Use the cake stand fitting to mark the size for the
central hole by impressing it into the clay over the
original pin hole at the centre.
13
 Allow your plates to dry slowly to prevent them from
warping, then bisque fire them.

11
 Allow the plate to firm
up until you can handle
it without distorting the
shape. 14
Place a batt over the surface then carefully turn it
upright. Remove the central batt.  Decorate the rims only using
the same technique as used for
all the other parts of the set, using
your card ruler to draw pencil lines
as a grid for the design.
You can make each plate the same,
or different colours as shown here.

ƒ Check that the parts

fit together comfortably
before glazing. If the fit is
tight you can sand or drill
the holes to make them
larger if really necessary
12 – this isn’t too difficult at
the bisque stage, but it’s
 Cut a hole at the centre of the far better to make the
plate with a hole-cutter where you holes large enough at the
previously marked the size and making stage.
position. The type of clay you’re When glazing, make
using will dictate the size of hole required – in all cases sure the holes at the
it must be larger than the rod, to allow for shrinkage in
firing but obviously the higher-firing the clay, the greater
15 centre of the plates do not
block.
the shrinkage, so do make allowances for this. There is
room for flexibility with the fittings if the hole is slightly
too large but not if too small.
TIP: Old mascara brushes make great tools for
Check that the fitting goes through the hole with cleaning out and neatening holes in clay. Give then
considerable wiggle room. a good wash before use, to make sure all traces of
Make the remaining two plates in exactly the same way. mascara are removed
Issue 6 ClayCraft 51

048-51 Project 4 Cake Stand.indd 51 08/08/2017 17:03

 FOR ALL YOUR SUPPLIES
INCLUDING KILNS, WH
HEELS, RAW
RA
A MATERIALS, CLAYS, GLAZES, COLOURS
WE ARE DUSTRIBUTORS FOR RHODE GMBH & POTTERYCRARAFTS
A LTD KILNS, OFFERING ADVICE AND
QUALITY AFTER SALES SERVICE
WE ALSO OFFER A COMPREHENSIVE SAMPLES COLLECTION ON OUR WEBSITE

TEL: 01323 896444 EMAIL: CHRIS_HESKE

ETH@HESKE
ETHPS.CO.UK WWW
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WW.HESKE
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To advertise please
call Gary Smythson
on 01732 447008

BEGINNER/INTERMEDIATE 6 WEEK COURSE
The 6 week course costs £90 (each session is an hour and a
half long) and will teach you how to make a range of pots.
Including, plates, cups and vases.
Your work will then be fired and ready to take home at no
extra cost. Suitable for complete beginners!
To book your place go to www.cardiffpotteryworkshops.com
or get in touch with Kelly on 07949 765 221
THROWING CLASSES
Sunday Morning 1-2-1 Sessions
The 6 week course costs £110 (Each session is one and a half
hours long) and will teach you how to make a range of pots
- including, plates cups and vases
Your work will be fired and ready for you to take home at no
extra cost. Suitable for complete beginners!
To book your place go to www.cardiffpotteryworkshops.com
or get in touch with Kelly on 07949 765 221
 ME AND MY POT

Clay: White stoneware

Firing temp: 1060°C
Build technique: Pinch pot
Decoration process: Brushed underglaze, Aztec Turquoise (interior) and white (exterior)
Inspirations & influences: “I take inspiration from all sorts of natural and urban forms. As
a printmaker and architectural designer/historian, I find inspiration in the most unlikely
places. I mostly work using pattern and abstraction of form, often distorting scale and
exaggerating elements to achieve designs. This is my first ceramic piece, and the short
course I’ve just completed has really opened my eyes to the exciting possibilities
Find my work: I sell privately, and through galleries and art fairs. I take part in Artists Open
Houses and Art events across the south coast, and hope to have a small collection ready for
sale soon. Watch this space!
Visit Facebook Clare Dales Art and claredales.co.uk or follow me on Twitter @clare_
dales

If you would like one of your pots to be featured, email us at: claycraft.ed@kelsey.co.uk
Clare Dales.

Issue 6 ClayCraft 53

053 Clare Dales Me and My Pot.indd 53 08/08/2017 17:04

 Art in Clay Hatfield 2017
We preview the treats in store for visitors to the 35th year of this event, held over three days -
18-20 August. We’ll be there, so do come along and say hello, and enter our free draw to be in
with a chance of winning £200 to spend on your choice of work by Ruthanne Tudball
If you use the code
ClayCraft50 before midnight
on Thursday 17 August, you
can get half-price tickets and
enjoy a fantastic day out!

W
ith over 200 exhibitors,
there’s sure to be
something for everyone;
from iconic potters to
newcomers, Adopt a Potter and pottery
suppliers, to talks, demonstrations,
award ceremonies and the opportunity
to get your hands dirty in the Clay
Creation Zone.
The following offers just a flavour of
what’s on offer from 18-20 August.

 Adopt a Potter will be there, so go along and support this great cause by
buying a tombola ticket!

CLAY CREATION ZONE

 Jin Eui Kim, winner of the 2016

Valentine Clays Peers Award.

 Paul Wearing demonstrating his

skills on his stand.
54 ClayCraft Issue 6

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 TALKS AND DEMOS
FRIDAY 18 AUGUST
11am
● SVEND BAYER
The building of the Kigbeare kiln
– illustrated talk
The kiln has now been built,
and the test firing was carried
out at the end of March. All the
kiln builders made pots to go in
the kiln, knowing that this was
 Ben Brierley. a tremendous risk, because the
performance of the kiln can’t be
known until after the firing; finding
out how the flames circulated
 Pollie & Gary Uttley. around the kiln, where the best ash
deposits were, if there were any
cold spots, etc. The kiln was also
still in the drying-out phase, and
how this would affect the pots was
an unknown quantity. Svend will
bring us up to date with the news
of the Crowdfunding firing, which
took place in June.

12.30pm
● JANE CAIRNS
Ceramics and the City
 Eric Moss.  Marieke Ringel. Jane shares the overlooked beauty
she finds in the urban environment
and demonstrates the innovative
way she creates the textured
surfaces this inspires.

2.00pm
● PETER HAYES
From Brum to Cornwall, over to
Africa, back to Bath and on to
India.
Travelling has been the most
influential aspect on Peter’s work
and still plays an important part
in his creative thinking; to such
an extent that he has now has a
studio workshop in Udaipur, India.
He will be talking about these
experiences.

3.30pm
● HALIMA CASSELL
My journey, from the beginning to
now – illustrated talk
Halima shares her initial
inspirations and journey from the
early stages of her work to now
and how it’s developed through
residency, scholarships and
pushing the boundaries of the
material. One not to be missed.

Continued overleaf.
 Peter Hayes’ outside demo, which he will also be doing this year. .
Issue 6 ClayCraft 55

054-57 Art in Clay Hatfield 2017.indd 55 08/08/2017 17:05

 ƒ Susanne
Lukacs-Ringel
presenting the
2015 Valentine
Clays Peers
Award winner Nic
Collins with the
award piece that
she created.

TALKS AND DEMOS

SATURDAY 19 AUGUST
11am ƒ Svend Bayer.
● SUSANNE LUKACS-RINGEL
Talking pots – talk/demo
Susanne will show a 7-minute film NEWCOMERS STAND 2017
about ‘talking pots’. She will also
demo one of her porcelain slab
pieces, which she will then finish on
the wheel.

12.30pm
● ROGER LEWIS
Developing ideas with clay – talk/
demo
Developing ideas with clay. Roger’s
a man of few words and very little
hype. But try and get to this one, 1
as he is a master craftsman.
4
2.00pm
● MARCUS BOHM
The making of the maker – talk/
demo
Marcus has been wood firing/
salt glazing for more than 30
years back home in Germany, and
recently switched to soda firing.
Here, he gives us an insight into
the teachers, tools and materials 2 5
that have influenced him, and tells
us how he learnt his craft and how
he re-learnt it some decades later
under different circumstances.
This presentation also includes a
throwing demonstration.

3.30pm
● JOHN HIGGINS
The unprompted and fortuitous –
talk/demo
Letting go to that which happens 6 7
along the way in the exploration
of the accidental, the spontaneous 1. Oliver Fenwick. 2. Katie Netley.
and unexpected. 3. Babs Belshaw. 4. Charlie
3 Clarke. 5. Erica Fransson. 6. Ania
Perkowska. 7. Charlie Collier.
56 ClayCraft Issue 6

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 ART IN CLAY HATFIELD 2017

TALKS AND DEMOS

 Kyra Mihailovic.
SUNDAY 20TH AUGUST
11.30am
● PAUL JACKSON
Madrugada, The Art of
Abstraction? – talk/demo
Several years ago, Paul found a
new path to form and decoration
as he developed his Madrugada
(the Portuguese for ‘Dawn’) series.
The discovery of a new slip base
freed up his long-held love of
painting, much the way a painter
mixes on a pallet. Hinged on a
paper resist geometric structure,
they embody immediacy and
energy. Paul will show and give us
an insight into how this works for
him.

12.30pm
● MATTHEW BLAKELEY
‘True Grit: Turning rock into
gold’… and blue, green, white,
black, brown – illustrated talk
Matthew travels around the
country collecting rocks and
transforming them into glazes that
represent the geology of these
different locations.
It’s an exacting job, so hear him
talk about what drives him to do it.

1.30pm
● JENNIE HALE
A bird from the hand
Jennie shows us how drawing and
clay work together.
 Paul Jackson.  Andrew Hull.  Allen Richards. 2.30pm
● JEREMY NICHOLS
Talks and demos From bridges to breadknives: the
taking place in the brief history of a teapot design
Richard Godfrey An illustrated talk showing how
Marquee. There’s Jeremy’s teapot designs come
a full programme about. Influenced by a wide and
this year. diverse variety of other kinds of
functional objects.

 Ruby Sharp.
● Visit artinclay.co.uk for more details.

Issue 6 ClayCraft 57

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 BIRD BATH
SKILL SCHOOL
PROJECT Part
FIVE two

T
his project
follows on from
the last issue, where
we made the bird bath.
Given the time it takes for such large
items to dry out before bisque firing, you
should now be ready to glaze the piece and
present it to the garden birds. 

1 2

 Choose strongly coloured glazes to complete the

bath – an orange/red is used here (what used to be called
Geoff Brown Red) for the main body of the form, with a
contrasting green to reflect the quality of water in the bath
itself.
Begin by coating the surface liberally with the glaze
using a mop brush.
Make sure you fill the texture with the glaze.
 Cover the whole upper surface of the bath, but leave
the underside clear to avoid it sticking to the kiln shelf
later.
Also, leave the bath itself unglazed if you want to apply a
different colour in here.

58 ClayCraft Issue 6

058-59 Project 5 Pebble bird bath.indd 58 08/08/2017 17:06


 Wearing rubber or latex gloves, start to wipe back the
glaze with a wet sponge so that the glaze mostly only
remains in the texture.
4
 Make sure you wipe back the glaze over the decorative
details (ammonites) as well as the rest of the surface – this
will pick out the detail better than leaving them completely
glazed.
 Fill the well of the bath with your second colour of glaze
– apply it liberally again – it doesn’t matter if it runs into
the well, this will add to the effect nicely.
058-59 Project 5 Pebble bird bath.indd 59
DIFFICULTY RATING ★★★★★
 Dab small drops of the contrasting glaze randomly over
the surface of the texture in small areas to look like lichen
growing on stone.
 The finished bath should be allowed to dry out
thoroughly before glazing because the water used to wash
off the glaze will have saturated the clay.
You may find it useful to fire the birdbath on a bed of
silica sand to help maintain the shape – especially if firing
to stoneware temperatures.
 Your bird bath is now ready to place in the garden for
all those little birds to wash in or drink from. It would look
really nice elevated on a block of wood or stone.
Issue 6 ClayCraft 59
08/08/2017 17:06
 DIRECTORY
ANGLIAN POTTERS
We are a group of potters, collectors
of studio pottery, ceramics sculptors.
Anglian Potters is a lively and thriving
organisation that aims to provide the
opportunity for members to meet
and share their experience and
enthusiasm.
Anglian Potters was originally
founded as the East Anglian Potters
Association (EAPA) in 1983. The
association has grown over the past
30 years to over 400 active members.
We welcome anyone with an
interest in clay, makers or non-makers,
students or advanced, pottery groups
and related institutions
anglianpotters.org.uk
BUCKS. POTTERY &
SCULPTURE GROUP
The Society was formed in 1963, and
exists to support and encourage
artists who work in 3D.
We hold regular monthly talks,
slide shows and demonstrations by a
wide range of artists. These are a great
opportunity to meet and talk with
other local artists over a cup of tea or
coffee.
buckspotters.com
CRAFT POTTERS
ASSOCIATION
The Craft Potters Association was
formed in 1958 to promote the work
of its members and to increase public
awareness of contemporary studio
pottery.
Ceramic Review was launched,
becoming a respected international
journal, and always reflecting the
diversifying scene in contemporary
pottery and ceramics. In 2010, the CPA
opened the Contemporary Ceramic
Centre in Bloomsbury, opposite the
British Museum.
Recently becoming a member
of the International Academy of
Ceramics, the CPA today has a
membership of over three hundred
Selected and Fellow members
and over seven hundred associates,
and through its businesses, events and
activities, continues to be a standard
bearer for excellence in British studio
ceramics.
craftpottersassoc.co.uk
DACORUM & CHILTERN
POTTERS GUILD
Whether you are a collector of pots,
a professional potter, a student, or
just interested in studio pottery,
you’ll find a warm welcome. We have
regular, monthly meetings, at which
well-known potters come along to
show slides, demonstrate their skills
and talk about what they do. The
atmosphere is informal and there
is an opportunity to talk to other
60
60 ClayCraft
ClayCraft Issue
Issue 6
2
060 Directory Issue 6.indd 60
Email claycraft.ed@kelsey.co.uk for free inclusion in our listing
members during the evening.
thedcpg.org.uk
EAST DORSET POTTERS
East Dorset Potters, founded 20 years
ago as a branch of the Bridport-based
Dorset Pottery Group, was established
for potters in the Poole, Bournemouth
and Christchurch area. A number
of the members exhibit regularly
together. The group is an interesting
mix of full-time and part-time potters,
some of whom teach or have retired
from teaching and some who are
simply interested in ceramics.
We meet once a month in our homes,
studios or other venues. Sometimes
we have practical workshops on a
theme, led by one of the group or an
invited guest. Other months we may
visit a local potter or simply meet
socially. We also collectively exhibit
our work at several local venues.
eastdorsetpotters.com
KENT POTTERS
The Kent Potters Association was
formed in 1974, and includes
professionals, amateurs, teachers and
students. Our aim is to promote good
craftsmanship and to exchange ideas
and experiences in tackling pottery
problems. Membership is open to all
with an interest in pottery.
kentpotters.co.uk
LONDON POTTERS
London Potters is a voluntary
organisation formed in 1986 to
provide a forum for the exchange
of ideas and experiences of all
those involved with or interested in
ceramics. It is the only London-based
society offering membership to both
professional and non-professional
ceramicists; all its members are united
by the appreciation of ceramic art and
a desire to further their knowledge
and communicate with fellow ceramic
artists and collectors.
londonpotters.com
MIDLANDS POTTERS
The Midlands Potters Association is a
non-profit making organisation and is
run by a volunteer committee.
Founded in 1980, the membership
has grown from 35 to over 120. The
membership spans 10 counties in the
Midlands area and also has members
in Wales, Scotland and overseas.
Membership is open to everyone
interested in ceramics whether you
are a professional, student, complete
beginner, hobbyist, workshop group,
collector, gallery or supplier.
midlandspotters.co.uk
NORTHERN POTTERS
The aim of the NPA is to encourage
and support artists in the production
of sculptural, functional, fine art
and decorative studio pottery in all
its forms throughout the North of
England.
Membership is open to anyone
and everyone with an interest in
ceramics. We currently have about
500 members, mostly in the North of
England.
northern-potters.co.uk
NORTH WALES POTTERS
North Wales Potters is a member’s
organisation open to anyone
interested in ceramics in the widest
sense. Our membership includes
professional potters, enthusiastic
hobby potters, complete beginners
and those with a fascination with
ceramics. We aim to encourage the
exchange of ideas and techniques
through practical demonstrations by
master potters and hands-on practical
sessions. Lectures cover many aspects
of ceramics including technical,
historical and artistic topics. Leading
ceramic artists are invited to discuss
their work, its development and
inspiration. These events are held at
various venues throughout North and
Mid Wales, often in a member’s studio
or home.
northwalespotters.wales
SCOTTISH POTTERS
The Scottish Potters Association
promotes awareness of pottery in
Scotland and aims to raise standards
in the craft. We are a members’
organisation and we work to support
our members. The SPA is open to
any individual or organisation with
an interest in ceramics. Professionals,
amateurs, collectors or those with a
commercial interest in ceramics are all
welcome to join.
scottishpotters.org
SOUTHERN CERAMIC
GROUP
The Southern Ceramic Group was
started in 1975, by a small group of
enthusiastic potters. Their aim was
to enable potters and sculptors
normally working alone to meet other
like-minded people and share ideas
and techniques. The idea worked
so well that the Southern Ceramic
Group now has around 120 members
from Hampshire and the surrounding
counties. Our members are potters,
sculptors, professional and amateurs,
teachers and students, collectors and
enthusiasts.
southernceramicgroup.co.uk
SOUTH WALES POTTERS
South Wales Potters is one of the
largest groups of professional and
hobby potters and ceramicists in
the UK.
We have more than 100 members,
based in South, Mid and West Wales,
over the water in the South West
and the Heart of England and even
some working abroad. Members
include full-time potters, sculptors and
students.
We organise a full programme
of events for members including
demonstrations, ‘skill-share’ sessions
and wood-kiln firings from our brick
kiln. We have a busy exhibitions
programme, giving members an
opportunity to showcase and sell their
work.
We welcome everyone interested
in ceramics, whether you are a maker
or not.
southwalespotters.org.uk
WEST COUNTRY POTTERS
The Association was established in
1993, and has been flourishing ever
since, with nearly 300 members
distributed throughout the South
West of England.
We welcome everyone, professional
and amateur, who shares an interest
in handmade pottery and ceramic
sculpture. Our aims are to increase
public enthusiasm for the qualities
of handmade pottery by an active
programme of interesting and
informative events, and to provide
the opportunity for the enjoyable and
stimulating exchange of ideas with
fellow potters at social gatherings.
westcountrypotters.co.uk
WEST FOREST POTTERS
Founded in 1983, West Forest Potters
is a guild of potters of all kinds,
professionals, amateurs, throwers,
handbuilders and sculptors. We
promote greater skill and knowledge
of all things ceramic through
regular meetings with talks and
demonstrations given by a wide
range of well-known potters. Our
friendly and thriving group welcomes
members from Berkshire and
surrounding counties.
westforestpotters.org.uk
WEY CERAMICS
The Wey Ceramics Society is a group
of individuals who meet regularly for
workshops (including pit firing) and
demonstration days with leading
potters, which foster discussion and
the exchange of ideas and techniques.
We create and exhibit a wide variety
of work, including raku, clay sculptures
and large-scale work and garden pots,
domestic ware and one-off stoneware
and porcelain studio pieces.
The group stages regular
exhibitions to display and market
our work. We have also undertaken
community projects.
weyceramics.co.uk
08/08/2017 19:02
 ME AND MY POT

Clay: White grogged

stoneware
Firing: 1240°C
Build: Hand-built, slabbed
Decoration: Slip, underglaze,
glaze
Inspiration: I love bright
colours, pattern and textiles
My work can be seen: at The
Clay Studio in Groombridge
and my Instagram:
drew.69elaine

If you would like one of your

pots to be featured, email us at:
claycraft.ed@kelsey.co.uk

Elaine Drew.

Issue 6 ClayCraft 61

061 Me and My Pot Elaine Drew.indd 61 08/08/2017 17:07

 POTFEST IN THE PARK Jacqui Atkin gives a personal report

F
or many potters, the year
is planned around the
numerous shows and
markets that take place
around the country and beyond – on
the continent or even across the ocean.
It’s a particular way of earning a
living, choosing mainly to sell direct
to the public, over selling in galleries
where, often, a hefty percentage of the
price is deducted in commission.
However, it can be a hard slog going
from one show to another, rushing
home in between them to make more
work; packing pots hot from the kiln
minutes before leaving for the next
destination, camping out to save the  Hutton in the Forest.
cost of hotels, etc. But, and this is a
big but, the camaraderie of doing
these shows is almost addictive, and
the sense of being part of something
special is immense. So, while you may
ask yourself many times, as you get
ready to do a show, ‘why am I putting
myself through this stress?’, you
always end them feeling it was all
worthwhile, because you’re part of a
family and the great coming together
in itself is somehow nourishing.  Chris and Geoff Cox.
I don’t believe that you get a greater
sense of family than you do at the events and he told me that initially he
Potfest in the Park event, which took was frustrated by an inability to be
place from 28 to 30 July. There is accepted; he wasn’t being selected for
something special about the location shows and galleries, and he had a
of Hutton in the Forest, the beautiful young family to provide for. He then
house and gardens – home to Lord did a market on the continent and was
and Lady Inglewood – on the north-  Paul Smith public prize. blown away by the way he was
eastern edge of the Lake District, surrounded by the magnificent instantly accepted and made to feel
woodland of the medieval forest of equal to all the other participants.
Inglewood. Looking out from your Realising that there was nothing like
stand in the open-sided marquees to these events taking place in the UK he
the beautiful countryside beyond, as decided to organise one of his own –
you sell your wares, is wonderful he says he decided that ‘if you can’t
– even when it’s pouring down and the join 'em, beat ‘em’ and so in 1994,
wind is whistling through! Location Potfest in the Pens was born. This
aside though, it is essentially only event is Geoff ’s real baby because
successful because of the tirelessly what he was trying to do was create
hard work that Geoff, Christine and an audience for all those makers who
Matt Cox put into organising and otherwise couldn’t find one. It was a
running the event, and the unique noble venture that has gained
atmosphere they have created in so momentum over the years, but still
doing. runs on its founding principles that
 Four friendly potters. I asked Geoff why he started the anyone can apply, at any level of
62 ClayCraft Issue 6

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 INSPIRED BY THE COAST

 Andrea Martini.
achievement, and whoever applies will
get a place until all are filled –
applicant number one will get the first
place, number two the second, and so
on.  Jacqui Atkin.
Building on the success of the Pens,
Geoff and Christine decided that
maybe another event for professional
potters would also work, in a different
location and with a slightly different
rationale. The principle of providing
an audience was the same, but this
event would be by selection, to give a
balance to the overall making styles
for sale. So in 2001, the first Park
event took place in the new location.
I asked Geoff how he selects makers
to show and he said it isn't easy to get
into because he only changes 20% out
each year, keeping 80% because the
buying public like to come back, again
and again, to buy from their
favourites, and the makers can build a

 Amberlea McNaught.  Chris Cox.

rapport with their buyers – a good
recipe for all parties. It’s much harder
for young makers fresh out of college
to be selected because there are only a
handful of places up for grabs and, as
Geoff says, “We are all on a journey
and established makers have worked
long and hard to get where they are,
often under trying circumstances –
not that the journey is at an end,
because then there would be no need
to continue. There is no destination,
only the interesting journey.” Having
said that, exceptional young makers
do get selected, like this year’s
Amberlea McNaught whose carved
clay is simply, mind-blowingly
amazing – a very talented maker to
 Wendy Kershaw won the Potter's watch on her journey.
prize. I love Geoff ’s honesty when
explaining his reasoning for selection.
“I have to like the work, and make a
balanced selection for the show to be
vibrant and exciting – it’s as simple as
that.” A good proportion of those
selected are foreign; many are
European makers, and some come
from as far as Australia. This makes
for a wonderful mix of styles, and
opens a window on what’s happening
outside the UK. It’s lovely to hear all
the different languages speaking the
same language of clay.
Geoff doesn’t like moaners and
complainers – I understood what he
was saying – after all the back-
breaking hard work you’ve put into
everything, having someone complain
about things is insulting. What comes
across most is the Cox’s desire for .
Issue 6 ClayCraft 63

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 POTFEST IN THE PARK

fairness in all things – there is no

room for Prima Donnas, you have to
accept you are only part of the whole,
and that is what makes it work so well
– it feels inclusive.
But what exactly makes it so
special? Well, several things take
place during the event, like the
competition on the lawn where
individuals make a special piece to a
given theme, which is then judged by
their peers and the public. Everyone is
encouraged to submit a piece for this,
but not all do which fortunately makes  Paul Young.
choosing a winner slightly easier. This  Roger Cockram.
year’s theme was ‘Ancestral voices –
echoes of another time, another place’
and the peer’s prize was given to
Wendy Kershaw for her piece entitled
‘Braille & a lightbulb’, and the public
prize went to Paul Smith for his piece
entitled ‘They spoke to me’.
Then there is the cup swap – a
lovely pass-the-parcel game where
makers present a cup of their making.
You often covet a particular cup and
hope it will come your way and
sometimes you are thrilled with what
you get – sometimes a little
disappointed – but it’s all good fun, so
you don’t really mind either way.
The best part of the weekend
though, apart from meeting  Roger Lewis.
the public and selling ƒ Jennifer Hall.
your work, has to be the
 Virginia Graham.
potter’s meal. Everyone catch up with people’s
squashes together like news, meet old friends, but it is great fun.
sardines in a can in and discuss the success, This great coming together is a
Greystoke village hall or otherwise, of highlight of doing this event, and this
for a meal, a good natter previous events. It’s year, particularly, I was struck by the
and laugh. It’s a time to noisy, and usually very greatest sense of being part of a very
warm because we’re all special family, and I believe the Cox’s
squeezed together so tightly, have achieved something monumental
and some alcohol is consumed, which by creating this wonderful and unique
always has a warming effect! More atmosphere for us all. Thank you,
prizes are given – usually alcohol – by Geoff, Christine and Matt.
each of the foreign countries’ potters It would seem that visitor numbers
to their chosen maker. Scotland, were up slightly this year; I certainly
Wales and Ireland are included as noticed more interest in my work, so
foreign, to add to all the Europeans long may it last, and let us not be
and those makers from even further persuaded by all those gloom and
afield, so the length of the prize- doom mongers out there that things
giving depends on how many of our are going downhill – there’s no
foreign friends are showing, and evidence of it yet, if the success of this
 Harm van der Zeeuw. sometimes can take quite some time, event is anything to go by. 
64 ClayCraft Issue 6

062-64 Potfest.indd 64 08/08/2017 17:08

 SURFACE DECORATION
Mark Dally shares his technique for using paper stencils to create stunning bold decorations

T
he newspaper
stencil resist
technique can
really add contrast and
boldness to your pot when
decorating the surface,
whether it’s a thrown,
slab-built or smoothed coiled
piece.
Paper stencils can be
applied to a reasonably
smooth, flat or curved surface
as long as there aren’t too
many bumps and undulations.
Paper stencils can be simple
or complex in shape, and it
comes down to how finely
and precisely you can cut the
paper. To add a variety of
surface decoration to your pot
design, you may want to
combine newspaper stencils
with other forms of
decorating, such as slip-
trailing, sgraffito or brushed
colour.
Simple, smaller newspaper
shapes – circles, squares, etc
– can be added to the surface
of a pot by directly dipping
them in a bowl of water with
To see more of Mark’s work,
visit: markdallyceramics.co.uk
your fingers, then
immediately applying them
straight onto the leather-hard
surface. A quick sponge-over
will make certain they are
stuck down well.
In this project, I would like
to show you a way of applying
more complex paper stencil
shapes to your pot’s surface. I
have found that more complex
and finer stencil designs tend
to tear easily, when wetted
and handled with your
fingers. By just using sponges
to moisten and then press the
paper stencil onto the pot
surface, you decrease the
chance of tearing and
distortion. The best
newspaper to use for stencils
is the white paper pages in old
telephone books – no
photographs or illustrations.  An example of a finished fired and glazed teapot
Try not to use newspaper that decorated using the paper stencil resist technique. Black
has colour printing. The coloured slip has been used over some very large and
paper from phone book pages small paper stencils on the teapot body, with slip-trailed
decoration on the spout and lid. Platinum lustre has been
is stronger when wet and
applied to the handle and knob of the lid.
does stretch a little, making it
easier for the stencil to adhere
to the pot’s surface.  2

 Draw your design onto a

 You will need a cutting mat and a small sharp craft
knife (use a fresh, pointed blade to get the best results).
A couple of bench sponges, a trigger water sprayer and
a fine pair of tweezers, (although this is optional), and a
brush for applying coloured slips, underglazes or oxides
over the paper stencil.
plain white piece of paper
(a black 0.5mm fineliner
pen works well) and then
put this directly over the
top of three or four layers
of the phone book pages. Using your black line as a guide,
cut through all of the paper layers with the blade held at
approximately 45 degrees. Make sure you firmly hold all of
the sheets together, so that they don’t slip around when
cutting curves or intricate shapes. A good tip is to staple
the paper sheets at the corners or Sellotape the edges
together – this reduces the chance of the sheets moving.
Inset: Once you have cut out your paper stencil shape, you
may wish also to use the negative shape that is left behind,
as part of your decoration design.

Issue 6 ClayCraft 65

065-67 Mark Dally.indd 65 08/08/2017 17:08

 SKILL SCHOOL

3  Quickly press the

second bench sponge
over the top of the
 It’s best to apply paper stencils to the pot surface when saturated paper stencil.
it has dried off to the leather-hard/greenware stage in Make sure the second
the dying process. The surface of the pot has to have a sponge has been well
little porosity, which will draw out and absorb the water squeezed-out beforehand.
from any moistened paper stencils that are applied to its
surface.
„ As the two sponges
sandwich together, the wet
surface of the paper stencil should
4 transfer over to the slightly dryer surface of the
second sponge. If it doesn’t work the first time, just
spray some more water onto the stencil and try again.

 Make sure you know where you want the stencil to go

on your pot; this is part of the design process. Visualise
your placement and memorise the position. You can
always refer to a design sketch, if you have made one
previously.
 Once the paper stencil is on the second sponge, quickly
spray it again with the water sprayer so that it is saturated
5 on the reverse side of the stencil. Give the surface of your
pot where you are placing the stencil a quick wipe with the
other moist sponge.

 Place the stencil onto one end of the bench sponge – a 8

newish sponge that has a smooth flat surface is best. It’s
advantageous to position the stencil near the end edge
of the sponge, to help with locating the exact position of
the stencil on the sponge’s surface. Spray the stencil with
plenty of water so that the paper becomes saturated.
 Look at the stencil on the sponge and visually line it
up, ready to gently push onto your chosen surface in the
correct position.

66 ClayCraft Issue 6

065-67 Mark Dally.indd 66 08/08/2017 17:08


9 11
 Press the wet stencil onto the surface of your
pot. Due to the porosity of the clay surface, it will
stick down and the sponge can be peeled back and
removed. The stencil should now be stuck to the
surface of your pot. If there are any areas not tightly
adhered to the surface, a gentle wipe over with the
sponge will flatten everything down. Be gentle – you
don’t want to wipe the stencil off.
 Leave it a few minutes and you will then be ready to
apply either the coloured slip, oxide or underglaze of
your choice.
10
 Apply the coloured slip, oxide, etc, with a brush or
sponge (for added texture) over the stencil, and allow to
dry for a little while.
065-67 Mark Dally.indd 67
DIFFICULTY RATING ★★★★ ★
 Once dry, use the point of
the small craft knife to lift up
one of the edges of the paper
stencil from the surface and
continue to peel the paper stencil
away from the surface of the pot.
„ At this stage it can sometimes be
helpful to use a fine pair of tweezers. The
tweezers can grip very small parts of the paper stencil with
more control than your fingertips. Try to avoid your fingers
smudging the design.
12
 Completely peel the stencil off. If the design is very
fine, with narrow sections, the paper can sometimes tear.
Once again, use the point of the small craft knife and the
tweezers to remove the leftover sections.
13
 Once the stencil has been removed, you are left with
your design. You may want to use this resist technique all
over your pot or just in certain areas in combination with
other decorating techniques. There is no reason why you
can’t cut further transfers and use them over the top of
existing patterns, but make sure you don’t wipe this time,
if you don’t want smudging. A helpful tip to locate many
complex stencils over a large pot is to photograph the
positions of the stencils before you apply the coloured slip.
Issue 6 ClayCraft 67
08/08/2017 17:08
ANGLIA CLAY SUPPLIES
www.angliaclaysupplies.co.uk

Pottery Wheel Taster S essions for all ages

agess
Hand Building Evening Classe es
NORFOLK’S LEADING Potterr y Parties for every occcasion
Adultss, Children and Familiess welcome
SUPPLIER OF Corpoorate Team Building and d Events

POTTER’S MATERIALS, ‘All are we

studio
elcome to my garden
o to exp
perience the jo
oy of clay.’

TOOLS AND EQUIPMENT

Unit 13, Alby Craft Ctr, Cromer Rd, Erpingham,

Norwich, Norfolk, NR11 7QE

07947 880163

The NOW

Ceramic RECRUITING
ADDITIONAL

Studio
TUTORS

POTTERY CLASSES

W E ARE EXPANDING
NE W P ORC EL AI N & SC U LP TURE CLASS ES FO R 2 01 7

Moat Farm Whetstead Road Five Oak Green Tonbridge TN12 6RR 01892 832901 rani@theceramicstudio.me.uk
 HOME-MADE COIL ROLLER
W
hen we visit potters, we
always ask what their
favourite piece of
equipment is. Daniel
Pratap showed us his coil-roller, and
while it’s important that you learn
how to roll coils by hand, once you’ve
mastered that, there’s no shame in
speeding the process up. This handy
gadget makes coils simply and
quickly. It’s adjustable too, so that you
can use it for large builds, or smaller,
more intricate work. You can use
longer bolts, and boards of different
thicknesses, to give you more coil-
size options. 

YOU WILL NEED

✔ A smooth, flat piece of
board or wood
✔ Four dome-headed
bolts
✔ Nuts, washers and wing
nuts
✔ A drill

1 2 3

 The dome on the head of the

 Start by marking the positions for
the bolts, far enough away from the
edges of the corner to prevent the
board from splitting.
 Carefully drill pilot holes, then
enlarge them to the right size for your
bolts.
bolt will allow it to glide across the
work surface as you roll. A nut on
the underside of the board allows for
large coils, and can be removed for
smaller-diameter coils. The wing nut
tightens the whole fitting, making sure
that all the bolts are the same height.

4 ƒ Slap the clay into roughly 5

the right shape, then place
the roller on top of it. Gently
slide the roller backwards
and forwards, increasing the
pressure as you go, until the
heads of the bolts are sliding
across the workbench. Use the
full depth of the board, rolling
as far in each direction as you
can, to keep the coils smooth
as they form. Pictured, a big
coil, suitable for larger projects
such as our bird bath.
 With the nut removed, smaller coils
are made.
Issue 6 ClayCraft 69

069 Roller.indd 69 08/08/2017 17:27

 Stoke-on-Trent
With Stoke-on-Trent successfully shortlisted for City of Culture 2021
we start a series highlighting all that this city has to offer for pottery-lovers
The Ceramics Trail
With over 30 places of interest, this
trail introduces visitors to the 300-
year history of the local pottery
industry. Museums, iconic potteries,
factory tours, hands-on experiences,
exhibitions and the chance to buy some
wonderful pieces, all add up to a great
– if busy! – day out.
Use the interactive map at visitstoke.
co.uk/ceramics-trail to select the
venues that interest you and plan your
trip. If you can’t get to everything in
one day, there are details of a range of
accommodation options on the website
too. 
ƒ The only complete Victorian pottery
factory with original workshops, huge
bottle ovens, cobbled yard, tile gallery,
Doctor’s House and Flushed with Pride
– the story of the toilet. Visit the gift
shop for handmade pottery, books and M
gifts.
Tuesday – Saturday, Bank Holidays:
April to September: 10:00 – 17:00, Tea
Room: 11:00 – 16:00
October – March: 10:00 – 16:00,
Tea Room: 11:00 – 15:30
stokemuseums.org.uk
GLADSTONE POTTERY MUSEUM

WORLD OF
WEDGWOOD
‚ Trace 250 years of ground-
breaking design and production in
the Wedgwood Museum. Discover the
story of Josiah Wedgwood and his
lasting influence on industry, society
and local infrastructure.
Experience Wedgwood for the day
through shopping, food and visitor EMMA BRIDGEWATER FACTORY
tours.
● Wedgwood Museum  Enjoy a day out at this delightful Victorian working factory. Relax in the
● Factory tour kitchen café, decorate your own masterpiece, shop for amazing gifts. ‘Small
● Design studio Attraction of the Year 2015’.
● Wedgwood flagship store TOUR: The behind-the-scenes tour is a fascinating experience for all the
family. Meet the jiggers, jolliers, fettlers, casters and decorators whose
● Factory outlet store
traditional skills and craftsmanship go into creating every beautiful piece of
MID
● Wedgwood Dining Hall and tea room
worldofwedgwood.com handmade and hand-decorated Emma Bridgewater pottery. Discover how a
lump of clay is transformed into the familiar shapes and patterns.
emmabridgewaterfactory.co.uk

ENSON WORKS MEMORY EXHIBITION

 The only place in Britain where
you can view a bottle kiln from
above, the exhibition acts as a
time-capsule to share local people’s
memories from Longton. The
exhibition includes:
● An animated history of the
Enson works
● An interactive memory map of
Longton
● An exhibition and film about
Longton’s historic beerhouses
● Kiln crown viewing platform
● And much more…
To gain access to the exhibition, pick
up an access code from Gladstone
Pottery Museum, enter it into the
key pad on Short Street and push
open the door. The exhibition is open
every weekday 9am-5pm except
bank holidays, Christmas fortnight,
and when there is an ice hazard due
to the temperature dropping below
0°C.

70 ClayCraft Issue 6

070-71 Stoke.indd 70 08/08/2017 17:27


MOORCROFT HERITAGE VISITOR CENTRE
 Described as the worlds best-kept secret, a visit will reveal
Moorcroft’s unique handcrafted, quality, collectable art pottery.
Factory tours, shopping, museum and bottle oven come together
creating an unforgettable experience.
TOUR: The guided factory tour is an essential element of your visit
to Moorcroft. Comprehensive information on all aspects of the
handmade processes of mould-making, slip-casting, hand-turning,
tube-lining, hand-painting, kiln-firing and, finally, glazing. The
techniques used in Moorcroft pottery are virtually the same today,
as they were a hundred years ago. Advance booking of two weeks
required.
moorcroft.com
MIDDLEPORT POTTERY (HOME OF BURLEIGH)
 Familiar to many as the venue for The Great Pottery Throw Down,
Middleport Pottery, home of Burleigh, is an exciting destination in the
heart of Burslem, the 'Mother Town of the Potteries'. World-famous
Burleigh pottery has been created here using traditional methods
since 1889.
TOUR: The Middleport Factory Tour is unique. It offers the chance to
see pottery being made using the same handcraft methods as in the
1880s. Booking essential, limited mobility access not available to some
areas.
middleportpottery.co.uk
ETRURIA INDUSTRIAL MUSEUM
 Discover how they put the ‘bone’ in bone china at the last working
steam-powered potters mill in Britain. Includes a bone and flint
mill and family-friendly interactive exhibition. Only open for events
specified on the website.
etruriamuseum.org.uk
070-71 Stoke.indd 71
SPRING FLING
SPODE WORKS
VISITOR CENTRE
 A fascinating exhibition at Josiah Spode’s
former pottery, the birthplace of bone china.
There are films, activities, stories of the factory,
the workers and the everyday and amazing
things they made. There is also a selection of
ceramic items from the huge collection cared
for by the Spode Museum Trust. Antique and
vintage ceramics made at the Spode Factory are
available to buy in the new retail shop.
spodeworks.org
DUDSON MUSEUM
„ Discover the
213-year history of
the oldest surviving
family business in the
ceramic tableware
industry. Explore
the original Dudson
factory courtyard
and bottle oven,
housing a wonderful
collection of Dudson
pottery. There is also
a factory outlet just a
mile away.
dudson.com/company/dudson-museum
BRITISH CERAMICS BIENNIAL
 The fifth British Ceramics Biennial (BCB)
takes place between 23 September and 5
November 2017. The six-week long festival
will present work from the UK’s leading
contemporary artists in a series of new
exhibitions and special events across the city,
embracing the heritage of Stoke-on-Trent as the
capital of ceramics.
BCB will take place in established venues
and non-traditional spaces across the city
including The Potteries Museum & Art Gallery,
Airspace Gallery, Gladstone Potteries Museum,
Middleport/Burleigh Pottery and its the main
base in the China Hall at the original Spode
factory site in Stoke town.
britishceramicsbiennial.com
THE POTTERIES MUSEUM
& ART GALLERY
 Discover the world famous Staffordshire
Hoard along with the history of the Potteries,
including the world’s greatest collection of
Staffordshire ceramics - 'unrivaled on both
national and international levels'. The Secret
Garden – a sensory oasis with plants and
fungi to smell and touch. Explore the wildlife,
landscape and geology of The Potteries.
A unique collection of works of art including
Picasso, Durer and Degas and national touring
shows.
stoke.gov.uk/museum
Issue 6 ClayCraft 71
08/08/2017 17:28
 This year’s university winners
Lucille Lewin:
Notions of
Transformance.
Among all of the university degree shows there is a small group of makers who
walk away with an award. Paul Bailey looks at just a few of these
L
ena Peters is the winner of
the New Designers (ND) UK
Young Artists Associate
Prize. Entitled Secrets of the
Hidden North the work is illustrated
ceramic pieces posing as found objects
from a previously undiscovered tribe.
The judges’ citation said: “We were
very impressed by the quality and
making of the work and her strong
concept. We particularly enjoyed Lena’s
artist construct around the idea of an
archaeological discovery. The panel felt
that Lena would truly benefit from
participating in the South Korea
opportunity.”
Lena has won the opportunity to
represent the UK at one of the UK
Young Artists international platforms in
2017/2018, and to participate in the UK
Young Artists National Platform:
Nottingham 18. Both offer significant
profile for the artist’s work, as well as the
opportunity to network with other young
artists nationally and internationally.
She graduated this year with BA
72 ClayCraft Issue 6
072-73 Emerging Potters Issue 6.indd 72
(Hons) Ceramic Design at Central Saint Lena Peters: Secrets of the Hidden
Martins. North. (Photo: Mark Cocksedge)
Lucille Lewin (RCA) is the winner of
the Young Masters Maylis Grand
Ceramics Prize, which is supported by
collector and philanthropist Maylis
Grand and is worth £1,500. She was
chosen from 10 shortlisted artists for her
work, which the judges described as
‘completely original’.
The work is the result of research into
the origins into 18th-century European
porcelain and the alchemists who
invented it. Her pieces, which combine
porcelain with other media including
glass and salt crystals, reference the
Victorian Cabinet of Curiosities and the
early microscopic photographs of the
natural world by Karl Blosfeldt.
A Highly Commended Prize worth
£500 also from the Young Masters was
awarded to Lauren Nauman (RCA). She
has exhibited extensively, including
Decorex Int, COLLECT with the Flow
Gallery, Ceramic Art London and
08/08/2017 17:10

 Lauren Nauman: Lines, 2017.
(Photo: Sylvain Deleu)
UK Potters Council Juried Show at
NCECA, Portland, Oregon, USA among
others.
Alice Funge is a graduate form De
Montfort University and won the ND
National Trust Artisan & Craft Associate
Prize.
Entitled Betty’s Bakeware her ceramic
bakeware has handwritten recipes for
chocolate cake and lemon-blueberry
muffins, from Alice’s grandmother Betty.
The judges’ citation said, “Beautiful,
charming range, with great storytelling
and commercial appeal.” The prize gives
her the opportunity to create a product
range exclusively for the National Trust
Artisan & Craft Collection, to be stocked
for one year as the award-winning maker
of the year.
Alice said: “My inspiration comes from
everyday marks created during our daily
routines, particularly in cooking and
baking. I’ve replicated these marks using
coloured slip, producing a permanent
feature from a temporary, mundane
activity. The words around the rim of the
bowls are handwritten by my grandma
and are transferred to the pieces using
ceramic decals, which are fixed by a firing
in the kiln. Ever since I had the idea to
Daisy Stott: Foraged
Findings.
072-73 Emerging Potters Issue 6.indd 73
produce a range of bakeware I wanted to
add something special to it – my
grandma’s own handwriting seemed the
perfect idea.”
The £500 ND Sainsbury’s Home
Award was won by Daisy Stott for her
Foraged Findings collection. A graduate
from Jordanstone, her designs for a
tableware collection are inspired by edible
plant and foodstuffs found throughout
Scotland.
The judges’ citation said: “Daisy has a
wonderful talent for bridging print,
pattern and typography. There is also a
great British story behind the product and
her textiles. Her use of colour palette and
embroidery was exquisite.”
Daisy commented: “This is quite a
surprise. I’m extremely honoured, and it’s
amazing to be recognised. I think it will
 Bethany Stafford is inspired by
brutalist architecture.
(Photo: Mark Cocksedge)
EMERGING POTTERS
Alice Funge: Betty’s Bakeware.
take me to great places.”
Andrew Tanner, Design Manager,
Sainsbury’s Home said, “We’re keen to
attract the best new design talent into our
in-house design team, who are responsible
for over 80% of Sainsbury’s Home
products. Through the Sainsbury’s Home
Young Designer of the Year Award, we
will be welcoming a rising star into our
ranks as a junior designer with a one-year,
salaried work placement”.
Bethany Stafford, is the winner of ND
London Design Fair Associate Prize with
her Brutalist Inspired Ceramics.
The work is slip-cast, highly-polished
porcelain forms inspired by brutalist
architecture. Talking about the show, she
said: “A fantastic surprise, and I never
thought I would win something like this!
It’s exciting to see that there are
opportunities for me to continue with my
work.”
Her prize is a complimentary 6m2 stand
at London Design Fair 2017 to allow her
to present the brand and selected product
launches to over 27,000 trade visitors,
industry press and design-savvy
consumers.
With so many very talented ceramic
makers graduating, it once again
demonstrates the richness of talent in
this country, and as such, they are all
winners. 
Emerging Potters is an online ceramics
magazine produced for people who make
ceramics for their own enjoyment, and
those ceramic students from the UK
universities about to enter the arts
sector as a career. Published quarterly, it
is available on the ISSUU platform. If
you would like to join the Emerging
Potters free mailing list then contact:
paulbailey123@googlemail.com
Issue 6 ClayCraft 73
08/08/2017 17:11
 GLOSSARY
Here’s a convenient listing of the technical terms used in ClayCraft. Over the coming months, we will add
to this as more terms and phrases are included in the articles we publish. This will build into a valuable
and useful reference source covering the complete range of common pottery-related terminology
■ Agateware a combination of
coloured clays, mixed in such a way
that the striated result looks like agate.
■ Alumina Aluminium oxide, a
constituent of clay, giving plasticity.
Used in glazes, it acts as a stabiliser
and also affects the stiffness of the
glaze’s flow.
■ Ball clay A highly plastic, light
coloured clay usually used with the
addition of grog or sand, or combined
with other clays. Firing range: 1100°C
to 1200°C.
■ Bat(t) A flat surface, made of plaster,
wood or ceramic. Used in kilns, on
wheelheads, and for drying.
■ Bentonite A highly-plastic clay.
■ Bisque (biscuit) Pottery that has
been fired but is not glazed.
■ Blunger Equipment used for
mixing clay and water into a slurry
prior to workable clay preparation.
■ Casting slip A loose slip that is
poured into a porous mould, left to
form a layer, then tipped out, leaving
a cast.
■ Centering The precise positioning
of a ball of clay in the centre of the
wheel head.
■ Chamotte Another name for Grog
■ China clay The purest natural
clay, used to add whiteness. Essential
ingredient in porcelain.
■ CMC Carboxymethyl cellulose.
An additive that prevents glaze from
drying too fast.
■ Combing A decorative technique
using a tool with teeth or serrations to
make parallel lines.
■ Cone eg cone 6. Firing temperature
at which a particular pyrometric
cone will distort inside the kiln,
evidencing that a particular heat has
been reached. Available in a range of
numbers, each relating to a certain
temperature.
■ Coning up The repeated raising
and lowering of a ball of clay on the
wheel head, to remove air bubbles.
■ Cottle A retaining wall put up
around a model to contain the plaster
when making a mould.
■ Earthenware Used to describe
work that is fired and glazed below
1100°C. Also a general term for pottery
that is waterproofed by being almost
entirely glazed.
■ Engobe A slip with a lower
percentage of clay, and higher
74 ClayCraft Issue 6
074 Glossary.indd 74
percentages of silica.
■ Etching The making of surface
patterns by removing some areas of
clay, leaving others to form the design.
■ Etruria A type of clay found in and
around Stoke-on-Trent.
■ Eutectic Two or more combined
substances, the melting of point of
which is lower than that of any one
individual component.
■ Feathering A pattern produced
by drawing a tool through lines of
slip applied to a ground colour, in
alternate directions.
■ Feldspar A group of alkali minerals
used as flux in clay bodies and in
glazes.
■ Fireclay Clay used for its high-
temperature applications, eg pizza
ovens, firebricks. Also used to improve
other clay bodies.
■ Flocculant An additive used to
cause very fine particles to clump
together, improving settling, or to
hold larger particles in suspension.
■ Flux A substance that improves the
fusion of ceramic particles in glazes.
■ Glost Another name for glaze firing.
■ Greenware Work which has not yet
been bisque fired.
■ Grog Finely ground fired clay,
added to clay bodies to improve
texture and drying, which affect firing.
■ Gum Arabic Hardened sap from
Acacia trees, used (in this case) as an
adhesive
■ Inlaying Decorative patterns
which are incised into the work, then
covered with slip which is pared
away to reveal the coloured pattern.
Similarly, glaze can be applied to
bisque-fired pieces with patterns on
them The glaze will settle in different
thicknesses, highlighting the pattern
on firing.
■ Kidney A kidney-shaped tool with
many uses, which vary according to
the flexibility of the material it’s made
from.
■ Leather hard Fresh clay that has
dried to the point where it feels like
leather. It will be dry enough to handle
without distorting and is the point at
which it should be turned.
■ Majolica Late 19th century pottery
using highly-colourful, shiny glazes
■ Marl A friable clay containing
chalk and iron oxide, used for
low-fired earthenware and bricks.
Other types of friable clay are also
called marls, eg Etruria Marl, and so
it is also a term used for general red
earthenware clays.
■ Mesh Used for describing the
gauge of sieves. The higher the
number, the finer the mesh.
■ Mocha diffusion A decorative
technique that uses a coloured acidic
solution over a layer of wet slip, which
‘breaks’, pulling the solution into
organic, fern-like patterns.
■ Natch Locating-points used in
mould-making. One protrudes, filling
the other.
■ Opening up A technique used in
throwing to form the base and wall
of the pot.
■ Paddle A flat tool used to shape
and firm-up clay. Paddling is also
called ‘settling’.
■ Pint weight A method of
working out the thickness of a glaze.
Comparing various weights allows the
dry weight of the glaze powder to be
calculated and adjusted.
■ Porcelain A type of clay used for
fine work, firing to a translucent finish.
Very plastic to work with, making it
tricky to throw when pure.
■ Potash Potassium carbonate.
Found in wood ash, used in glazing,
as a flux.
■ Pugging The blending,
compressing and de-airing of clay to
give a workable product.
■ Raku A firing method of rapid
heating and cooling a piece of glazed
work, coupled with various post-firing
treatments, usually contact with
organic materials, which affect the
glaze. The results are an attractive,
unpredictable combination of colours
and patterns.
■ Resist/wax resist Using a physical
barrier to prevent one thing from
colouring another. Usually wax or
paper.
■ Roller guides Thin wooden
battens of varying dimensions used
to achieve a uniform thickness when
rolling slabs.
■ Saggar A container used to protect
pots from direct contact with flames and
sudden changes in heat during firing.
■ Score and slip The roughing up
of two clay surfaces, which are then
dampened with slip, to allow them to
form a bond.
■ Settle See Paddle
■ Sgraffito Applying layers of
colour to the surface, then scratching
patterns through the top layer(s) to
reveal the colours below.
■ Silica Silicon dioxide. The material
that makes glazes ‘glassy’ and
transparent when fired.
■ Size A priming liquid that forms a
barrier.
■ Slaking Rehydrating dried, unfired
clay, for reclamation.
■ Slip trailing Using slip to apply
patterns in thin trails, usually with the
use of a bulb or other finely-nozzled
applicator.
■ Sprig A moulded clay decoration
applied to the surface of a pot.
■ Stall A meshed finger-covering that
allows you to dip into glazes without
leaving marks on the glaze surface.
■ Stoneware A type of clay body
fired above 1200°C, at which point
the clay and glaze fuse, forming an
integrated layer.
■ Surform A rasping tool used to
remove excess clay.
■ T Material A coarse, heavily-
grogged clay with low thermal
expansion.
■ Terra sigillata A very fine slip
coating, which gives a smooth, glossy
finish.
■ Thermal shock The stress created
in a piece of clay as it’s fired, caused by
the temperature change.
■ Turning The removal of excess clay,
from a leather-hard piece of work to
refine the shape, create foot rings, etc.
■ Undercut Area on a model which
undercuts and traps plaster then
prevents removal or withdrawal of the
mould after casting.
■ Underglaze A colour applied to
the clay surface before being covered
with a transparent glaze (optional)
and fired. Available in a wide range of
colours, it can be applied with brushes
for freehand work.
■ Wax resist See Resist.
■ Wheel head The spinning disc on a
potter’s wheel. Detachable heads can
be fitted to the main head, allowing
for easy removal of fresh work.
■ Whirler Technically, a manual
wheel used for press-moulding,
but here used as another name for
a banding wheel, for decorating or
turning.
08/08/2017 17:11
NEXT
MONTH Don’t
miss it!
ISSUE 7
ON SALE
SEPT 22ND

 Make your own settling tank in our

step-by-step project  In the penultimate instalment of our tea set
It’s vital that you prevent contaminated series, we show you how to make a lidded
water from entering the drainage system, sugar dish using the slab-building technique
but the ready-made tanks can be very
expensive. We explain the options for
making your own

Plus, more inspiring

projects for you to try
● Making a cylinder mould
● Pinching mice
● Terracotta wine coolers
● Multi-layering glazes
● Mark Dally explains his method of slip-trailing

Follow us on Facebook: ClayCraft  Linda Bloomfield explains the importance

of line blends and test tiles. To perfect your
magazine, on Twitter and Instagram
recipe, you need to fine-tune it using varying
@claycrafting, and on Pinterest: ClayCraft
amounts of colouring materials

We love to see your photos, either showcasing your work in

Me and my pot, or sharing what you’ve made from our projects.
Email your images to claycraft.ed@kelsey.co.uk
* These are just some of the features planned for the next issue but circumstances outside our control may force last-minute changes. If this happens, we will substitute items of equal or greater interest.

Issue 6 ClayCraft 75

075 Next Month.indd 75 08/08/2017 17:12

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 EVENTS
AUGUST
14 AUG
Time for Tea
Andrew Matheson solo exhibition
Craftwork in Café, Birmingham
rbsa.org.uk
18  20 AUGUST
Art in Clay Hatfield
Pottery & Ceramics Festival
Hatfield House
Hertfordshire AL9 5NQ
Opening Times:
Friday & Saturday 10am - 5.30pm
Sunday 10am - 5pm
Admission Prices:
Adult £10.00 Concession £9.50
Two-Day Ticket £17.50 Three-Day
Ticket £25.00
Child 15yrs and under FREE
Celebrating 23 years of Art in Clay
at Hatfield House in 2017, this
show has now become one of the
most important ceramic events
in Europe. The makers range from
young imaginative students and
relative newcomers to leading
National and International makers.
There will be demonstrations
taking place inside and outside
the marquees all week-end, you’ll
be able to see throwing, sculpting
and hand decoration at various
points around the show. There is
also a full programme of talks and
demonstrations planned.
There are two awards presented
each year; ‘The Valentine Clays
Peers Award’ (voted for by all the
makers at the show), which went
to Nic Collins in 2015 - a record
breaking third time winner! The
second is ‘The Potclays Student
Award’ and in 2015 this was won
this was won by Souzana Petri
(Brighton University). The awards
are presented when the show
closes on Saturday (5.30pmish) and
you are welcome to attend.
In 2016, the Mick Casson Memorial
Award will be presented on the
Saturday evening - this is a biannual
award.
artinclay.co.uk
25 AUGUST
An evening with Akiko Hirai
Clay College, Stoke-on-Trent
78 ClayCraft Issue 6
078-79 Events Issue 6.indd 78
Do you have an event you’d like listed?
Email us at claycraft.ed@kelsey.co.uk for free inclusion
Master potter Akiko Hirai will be
giving an evening lecture and
demonstrations, showing how she
makes her famous large moon jars,
as well as discussing their surface
treatment. £12, 6-8pm.
claycollegestoke.co.uk
25  28 AUGUST
Craft In Focus
RHS Garden Hyde Hall
nr Chelmsford, Satnav: CM3 8ET
10am to 5pm Daily;
Garden closes 6pm
Craft In Focus returns to the RHS
showcase garden in Essex.
This event will give an opportunity
to see the best of British
contemporary craft and to
purchase work direct from the
maker.
craftinfocus.com
26 AUGUST
Moseley Craft Market
Birmingham
moseleycdt.com
27 AUGUST
Ceramics in Southwell
Market Square, Southwell, Notts
Ceramics fair with leading regional
and international artists, including
workshops and demonstrations.
ceramicsinsouthwell.org.uk
28 AUGUST  1 SEPT
The Art House, Sheffield
Enjoy a stimulating and fun Bank
Holiday week, honing your
handbuilding skills and techniques
in our excellent, city-centre
facilities. During each morning, you
will be hand-building a chimenea
(traditional clay oven) or large
sculpture, for outdoor use, whilst
the afternoon sessions will be
spent with a number of visiting
guest artists and in-house potters.
Afternoon sessions include
creating ceramic tiles from carved
plaster imprints; raku glazing
technique and firing; creating slab
built vessels with multi-coloured,
and laminated clay; and an
extended session throwing on the
potter’s wheel. The week will be
run by Sarah Vanic and Logan
Obermeyer (both members of
Northern Potters Association and
tutors at the Art House) but we will
also have other potters running
afternoon workshops (Tuesday –
Friday): Meghan Downs, Trudy Weir,
Mike Scown.
The cost is £250 for the full week,
9.30am-4.00pm
arthousesheffield.co.uk
SEPTEMBER
THROUGHOUT
Bodi Manz
The Oxford Ceramics Gallery
www.oxfordceramics.com
1 SEPT  3 SEPT
Ceramic Wales
The North Wales School of Art
and Design (Wrexham Glyndwr
University) is passionate about
ceramics and the importance of
creativity; The Sept 2017 exhibition
will feature 50 makers stands,
demonstrations and lectures,
trade stands and installations.
Take the opportunity of free
admission, talking to the makers
and getting involved in hands
on projects. Highlights, not to
be missed, include lectures and
demonstrations by professional
makers and curators. The art school
itself is conveniently located close
to Wrexham town centre with
ample car parking facilities as well
as public transport within walking
distance
Free admission
wearesca.com/ceramicwales
1 SEPT  4 OCT
Kyra Crane
Another group of work from Kyra
Cane. Her first show with us was
very well received and we have
no doubt that her porcelain bowls
and other vessels will provide
an interesting and stimulating
show. She is an elegant ceramicist
with painterly decorative skills.
Supported by over 40 other studio
potters
beveregallery.com
7  10 SEPT
Pots at Kingsbury Barn
Dacorum and Chiltern Potters Guild
Exhibition & Sale
Demonstrations and Have a go
Sessions (Sat & Sun)
10am-5pm daily, free entry
thedcpg.org.uk
7  30 SEPT
Anna Lambert
New works on show, at the CPA
gallery, London
cpaceramics.com
9  17 SEPT
OPEN STUDIO
Fleen Doran Pottery, Wendy
Houghton Ceramics, Stuart
Houghton Clay and Wood
The lively Bankside Studio will
be opening its doors to visitors
every day during the popular
Herefordshire Art Week. Work on
display; Fleen’s woodfired saltglaze
pottery and porcelain tableware,
Wendy’s porcelain paper-clay
sculpture and wall pieces together
with Stuart’s individual porcelain
pieces and work in oak and ash. Talk
to the artists, see the working
spaces and watch throwing and
hand-building demonstrations.
10.00am – 5.00pm
9, Bankside, Little Marcle Road,
Ledbury, HR8 2DR
fleendoran.com
wendyhoughton.co.uk
stuarthoughtonpotter.co.uk
21  24 SEPT
Ceramics in the City 2017
Meet the makers, browse and buy
at the Geffrye Museum’s vibrant
annual celebration of ceramics
which showcases the work of over
50 leading ceramic artists from
across the UK.
An eclectic selection of ceramic
work to suit all budgets will be on
sale direct from the makers, from
practical table-ware to ornamental
08/08/2017 17:12
 objects and striking one-off
collector pieces. Earthy stoneware
will be displayed alongside delicate
porcelain and vivid painterly
pots will contrast with elegant
muted tones in an extravaganza
of texture, colour and style. Part of
the London Design Festival
geffrye-museum.org.uk
23 SEPTEMBER
Lee Kang Hyo Masterclass
Clay College, Stoke on Trent
A masterclass of demonstration
and discussion by one of Korea’s
finest living potters. His dynamic
and contemplative work is
achieved through a physical and
exciting making technique – this is
a demonstration not to be missed!
Places will go fast, so book early via
the website
10am-5pm, £100. Cost includes
lunch and refreshments
claycollegestoke.co.uk
2324 SEPT
Wokingham Arts Trail
This is a wonderful opportunity to
meet artists who live and work in
the Wokingham area (Berks). An
exciting range of work, including
paintings, ceramics, glass, jewellery,
sculpture and textiles will be on
display and for sale at all locations
on the trail. This year, seven local
ceramicists are participating in the
trail. Their work is made using a
wide range of clays and techniques
wokinghamartstrail.co.uk
30 SEPT
Moseley Craft Market
Birmingham
moseleycdt.com
30 SEPT  1 OCT
The first ever ‘Kiln’ festival to
held in the Enterprise Centre in
Eastbourne. Two days celebrating
all things fired in a kiln; ceramics,
glass and enamelling. There
will be a wide range of makers,
demonstrations and trade stands.
Come and join us as a stall holder
or visitor and let’s make this event a
huge success and worthy of being
an annual festival!
For more information and a
078-79 Events Issue 6.indd 79
booking form contact:
emily@enterprise-centre.org
ONGOING
UNTIL 26 AUGUST
Unit Twelve Gallery
(Surface) Pattern
This exhibition will showcase
work that celebrates the beauty
of the material, the decorated
surface, and the many and varied
ways of creating surface pattern.
With work from Marna Lunt, Carla
Edwards, Kate Bowles, Kathryn
Partington, Miranda Sharpe, Ruth
Singer, Lisa Slinn, Morna Darling,
Zoë Hillyard, Silvia K Ceramics,
Katharina Klug, and Adam
Cornish.
unittwelve.co.uk
Nic Collins | Ceramics
Major Exhibition
Goldmark’s third exhibition of
pots by Nic Collins. Collins has
been putting aside the very best
of his work for three years in
preparation for this show and the
results are breathtaking.
Nic Collins remains one of the
very best wood-firing potters in
Britain, a member of a shrinking
group of makers who suffer the
volatile effects of traditional
wood kilns to produce pots with
spectacular surfaces and
textures.
goldmarkart.com
UNTIL 23RD SEPT
Come Dine With Me
The Craft Centre & Design
Gallery
Leeds
Lazy brunches, relaxed Sunday
afternoons or perfect picnics,
dine in style with this collection
of informal and contemporary
tableware, serving utensils,
condiment sets and items to
set the scene including candle
holders and decorative objects.
Pictured; bowls by Helen Faulkner,
vessels and bowls by Luke Bishop,
laser cut wooden coasters by
Simon Denvers and tealight
holders by Timea Sido.
craftcentreleeds.co.uk
UNTIL 31 AUGUST
Red Barn Exhibition 3
Melkinthorpe, Cumbria
Debbie Barber, Bridget Macklin,
Marieke Ringel.
Open daily 10 to 5.
info@redbarngallery.co.uk
01931 712767
UNTIL 3 SEPTEMBER
Whitechapel Gallery
Mamma Mia!
The Whitechapel Gallery presents
a new large-scale installation
by London-based artist Emma
Hart for the sixth edition of the
Max Mara Art Prize for Women.
The commission is the result of
the artist’s six month bespoke
residency which started in June
2016 and was divided between
three Italian cities: Milan, Todi and
Faenza.
The exhibition travels to Collezione
Maramotti in Reggio Emilia on 15
October 2017 and is presented
as part of an exhibition of Hart’s
new work at Fruitmarket Gallery,
Edinburgh in spring 2018.
whitechapelgallery.org
UNTIL 24 SEPT
Ruthin Craft Centre
Gallery 1
Narratives in Making
An exhibition of new and
innovative works from the
Design & Crafts Council of
Ireland’s
PORTFOLIO: Critical Selection
2017–18. The 28 designer makers
represented were selected
by an international panel, for
demonstrating excellence in
craftsmanship, design quality and
technical skill.
Roger Bennett, Úna Burke, Anne
Butler, Edmond Byrne, Mike Byrne,
Stuart Cairns, Julie Connellan, Jack
Doherty, Liam Flynn, Sara Flynn,
Karl Harron, Pierce Healy, Jennifer
Hickey, Joe Hogan, John Lee,
Alison Lowry, Michael Mccrory,
Cecilia Moore, Cara Murphy,
Stephen O’Briain, Susan O’Byrne,
Eily O’Connell, Coílín Ó Dubhghaill,
Angela O’Kelly, Sasha Sykes, Joseph
Walsh, Gráinne Watts, Zelouf + Bell
ruthincraftcentre.org.uk
UNTIL 24 SEPT
Ruthin Art Centre
Gallery 2
Anne Gibbs
The Language of Clay: Still
Anne models and casts work in
bone china, using a bright palette
of colours. The sculptural ceramics
she presents, sometimes in pairs
and sometimes in large groups, are
punctuated with objects she has
collected. Still is a chance for us to
share and celebrate a wonderful
new body of work by Anne as it
tours to venues across Wales. The
exhibition is accompanied by a
variety of engagement activities.
ruthincraftcentre.org.uk
UNTIL 28TH OCT
Summer Ceramic
Showcase at The Craft
Centre & Design Gallery
Leeds
Anna Lambert
Anna has been creating her
distinctive earthenware since
1980. Using a range of techniques
including altered clay slabs,
modelling, slip and underglaze
painting and various simple
printmaking methods, Anna
Lambert has developed her hand
built forms to reflect a connection
with her locality.
craftcentreleeds.co.uk
UNTIL 10 JUNE 2018
Radical Clay: Teaching
with the great potters of the
1960s
Bristol Museum & Art Gallery
Ground breaking pieces from
the leading potters of the time,
including Hans Coper, Lucy Rie,
Janet Leach, Ruth Duckworth,
Bernard Leach, Michael Cardew
and Gillian Lowndes. A piece by
Kate Malone, made when she was
a student at Henbury School in
Bristol, will also be on show.
bristolmuseums.org.uk
UNTIL 14 JAN 2018
Rachel Kneebone
Porcelain sculptures
V&A Museum
vam.ac.uk
Issue 6 ClayCraft 79
08/08/2017 17:12
 COURSES
L’APIPOTERIE /E. PENSA
Courses: Handbuilding for
utilitarian use and animal sculpture.
Bilingual course French and English
Dates: 10-12 July and 25-27 August
Location: Beaufort sur Gervanne/
South East of France in the Vercors
regional park
epensa26@gmail.com
PAULA ARMSTRONG
Courses: Handbuilding, workshops
Dates: Monday and Thursday
mornings
Location: Willingham, Cambs
parmstrongceramics.co.uk
ART HOUSE, SHEFFIELD
Courses: Wheel, handbuilding,
porcelain, raku, figurative,
workshops, summer intensive week
(chimeneas)
Dates: Mon-Sat 10am-9pm
Location: Sheffield City centre
arthousesheffield.co.uk
PHIL ARTHUR
Courses: Pottery classes
Dates: Tuesday evening, Thursday
afternoon
Location: Cawston, Norfolk
Philarthur1951@btinternet.com
ARTISAN CRAFT CLASSES &
WORKSHOPS
Courses: Weekly pottery classes -
wheel and handbuilding
Dates: Mondays and Wednesdays,
one-offs by arrangement
Location: Winterborne Monkton,
Dorchester
mail@artisandt1.co.uk
ASHBROOK STUDIO
Courses: Throwing, handbuilding,
glazes
One-to-one or small group, daily
Dates: All year
Location: Waterrow, Somerset
ashbrook-ceramics.co.uk
AYLESFORD POTTERY
Courses: Raku days, 1-day, 10-week
Pottery classes, Mould Making,
Glaze Theory & Application
Dates: Various terms
Location: Aylesford, Kent
aylesfordschoolofceramics.co.uk
BALTIC CLAY
Courses: Evening and weekend clay
courses
Dates: Tue, Wed, Thurs (6.30pm -
8.30pm) & Sat
Location: Liverpool
balticclay.com
DEBORAH BAYNES
Courses: Residential and non-
residential
Dates: Weekends (spring/autumn),
full weeks (July/Aug)
Location: Shotley, Suffolk
potterycourses.net
ROB BIBBY
Courses: Pottery classes
Dates: Tuesday morning and
80 ClayCraft Issue 6
080-82 Directory and Suppliers Issue 6.indd 80
 Do you run a course that you’d like to see here?
Email claycraft.ed@kelsey.co.uk for free inclusion in our listing
evening, one-offs by arrangement
Location: Woodnewton, Oundle
robbibbyceramics.co.uk
MATTHEW BLAKELY
Courses: Weekend courses:
Throwing, Porcelain throwing
Dates: Monthly
Location: Lode, Cambs
matthewblakely.co.uk
BLUE BUTTERFLY CRAFTS
Courses: Handbuilding. Weekly 2-hr
sessions and day-courses
Dates: Various, see website
Location: Accrington, Lancs
bluebutterflycrafts.co.uk
KATIE BRAIDA
Courses: weekly class and day
workshops
Dates: Every Thursday evening and
various others
Location: Scarborough
katiebraida.com
BRITISH CERAMICS BIENNIAL
Courses: Beginners & Intermediate
Dates: Tuesday & Thursday
Location: Stoke-on-Trent,
Staffordshire
The BCB operates a clay school and
a variety of courses throughout the
year.
britishceramicsbiennial.com
BURWASH POTTERY
Courses: Various handbuilding,
decoration. All levels. Classes,
workshops, parties, taster sessions
Dates: Terms of 6 weeks, various
Location: Burwash, East Sussex
burwashpotter.co.uk
CANDO POTTERY
Courses: Hand-building for
beginners
Dates: Thursdays 10.30am-12.30pm
Location: Mellor, Stockport
candopottery.wixsite.com/group
CARANTOC ART
Courses: Day and weekend
throwing classes
Dates: 24-25 June, 30 July, 12-13
August, 9-10 September
Location: Weston-super-Mare,
North Somerset
carantoc-art.co.uk
CARDIFF POTTERY WORKSHOPS
Courses: Handbuilding; throwing;
one-off Saturday sessions; 1-2-1
throwing; masterclasses with
Anne Gibbs; parties (children,
adults, team-building); pottery
membership tutored & un-tutored
Dates: 6-wk day & eve sessions,
various
Location: Cardiff
cardiffpotteryworkshops.com
THE CERAMIC STUDIO
Courses: From beginner to
professional, plus taster sessions
Dates: Various
Location: Five Oak Green, Kent
theceramicstudio.me.uk
THE CLAY ROOM UK Location: Letchworth
Courses: Clay taster workshops;
FIRED ART DESIGNS
introductory pottery; mould-
Courses: 1:1 wheel work,
making & slip-casting; transfer;
brushwork, surface decoration.
termly pottery courses; Christmas
Handbuilding, slab work, coil work.
workshops & private lessons
Classes
Dates: Various
Dates: Various
Location: Chelsfield, Orpington
Location: Pontefract, Yorkshire
theclayroomuk.com
firedartdesigns.co.uk
THE CLAY STUDIO
PATRICK ESSON
Courses: All build techniques,
Courses: Modelling, coiling, slab
decorating, glazes. Also, rentable
work, pinching, throwing
open spaces
Dates: Various
Dates: Mon-Thurs inc evenings
Location: Gloucester
Location: Groombridge, Sussex/Kent
p.esson@aliqua-art-gallery.com
border
KAREN FINCHAM CERAMICS
'CLAY SURGERY' WITH
Courses: Hand building and
SUZANNE & ABBY
throwing. One to one and group
Courses: Throwing, handbuilding,
sessions
glazing, raku, mould-making for
Dates : Weekdays, evenings and
beginners and improvers
Saturdays
Dates: Weekends throughout the
Location: Redditch, Worcestershire
year
clayclass.co.uk
Location: Waterlooville, Hants
abbyducharme@hotmail.co.uk
FOREST ROW SCHOOL OF
CLAY WITH CAROLE CERAMICS
Courses: Handbuilding, throwing Courses: Adult intensive
Dates: Various throwing and handbuilding weekly
Location: Hitchin, Herts classes
claywithcarole.co.uk Weekend workshops: raku, soda/
smoke firing, animal sculpture, glaze
THE CRAFTY POTTER
chemistry, slip decorating
Courses: Throwing, hand-building
Location: Forest Row, West Sussex
& modelling
frschoolofceramics.co.uk
Dates: Various
Location: Chorley, Lancashire JILL FORD
thecraftypotter.co.uk Course: Workshop and Day
Courses
THE CREATIVE CAVERN
Dates: Thursday evenings &
Courses: Various, inc 1:1 throwing,
Dates: Various day courses throughout the
Location: Winnersh, Berks year
thepaintnightcompany.co.uk/ Location: York
pages/the-creative-cavern Tel: 01717 289008
JOY GIBBS PRICE CERAMICS 
CREATIVE CLAY FOR ALL
GRAPEVINE STUDIOS
Travelling clay workshops for those
Courses: Handbuilding, throwing,
who have no access to a kiln. Ideal for
community groups. Based in Dorset raku
facebook.com/creativeclayforall Dates: Weekly sessions, Thurs
creativeclayforall@yahoo.co.uk 6-8pm, Fri/Sat 10am-12pm
Location: Mattersley, Doncaster
LAURA CROSLAND CERAMICS
joygibbsprice.co.uk
Courses: Various, one-to-one or
GLOSTERS
group
Course: Throwing
Dates: Various
Location: Chatham, Kent Dates: April
lauracroslandceramics.com Location: Porthmadog
glosters.co.uk
PETER CUTHBERTSON
GO CREATE
Courses: Throwing and
Courses: Pottery, sculpture & craft
handbuilding, beginners and more
advanced Dates: Various
Location: SW London
Dates: Weekly regular day and
evening classes plus one off gocreate.co.uk
weekends by arrangement
PAUL GOULD/MON CERAMICS
Location: East Hoathly, East Sussex
Courses: Beginners & intermediates
peter.cuthbertson@phonecoop. Dates: Tuesdays & Wednesdays
coop 2-4pm and 7-9pm
DIGSWELL CERAMICS Saturdays and Sunday
COMMUNITY workshops: various dates
Courses: Beginners' tuition, throughout the year
support for experienced potters Location: The Wirral
Dates: Tuesdays, Thursdays monceramics.co.uk
08/08/2017 17:12
 Do you want your entry to stand out?
For details, contact Gary on 01732 447008
GREEN MAN CERAMICS
Courses: Pottery Discovery
weekends
Dates: Various
Location: Colne, Lancs
Tel: 01282 871129
GREENWOOD CRAFTS
Courses: Handbuilding; throwing
from beginners onwards
Dates: All year
Location: N Yorks
tryacourse.co.uk
CLAIRE GRIFFITHS
Dates: Starting September; Weds
10.00am -12.30pm & Thurs 7.00-
9.30pm
Location: Whitstable
jc.griffiths@btinternet.com
HANDMADE IN CHISWICK
Courses: Weekly classes and one-
off workshops inc 1:1 throwing.
Studio time for more experienced
learners
Dates: Term time for weekly classes,
by arrangements for workshops and
studio time
Location: London, W4
HandmadeinChiswick.weebly.com
sylviejoly@blueyonder.co.uk
Twitter: @jolyopsimath
HILLS ROAD SIXTH FORM
COLLEGE
Courses: Handbuilding, throwing,
plus summer school workshops
Dates: Various
Location: Cambridge
hillsroadadulteducation.co.uk
LEACH POTTERY
Courses: 3 & 5-day throwing,
evening classes handbuilding,
throwing
Dates: Various, each month
Location: St Ives, Cornwall
leachpottery.com
LEAFY LANE POTTERY BY SUZIE
Courses: Hand building courses
for all abilities. Learning disabilities,
residential homes, schools and
private sessions, and sculptures for
your home and gardens
Dates: Throughout the year and
area
Location: Hull and East Yorkshire
leafylanepottery@gmail.com
Tel: 07886 841936
JANE MALVISI
Courses: Raku: full day workshop
2nd Saturdays Two-hour pottery
classes inc Raku
Dates: Mon/Tues/Weds days and
evenings
Location: Bridgend, S Wales
janemalvisi.co.uk
MAZE HILL POTTERY
Course: Weekly Evening Classes
Dates: Throughout the year
Location: Greenwich, London
mazehillpottery.co.uk
080-82 Directory and Suppliers Issue 6.indd 81
MIDLANDS ART CENTRE
Courses: Ceramics Open Studio
Dates: Various
Location: Birmingham
macbirmingham.co.uk
CHARLOTE MILLER CERAMICS
Courses: Throwing, handbuilding,
mould-making, surface decoration
Dates: Termly part-time, taster
workshops, pottery parties
Location: Bournemouth
charlottemillerceramics.com
MUDDY FINGERS POTTERY
Courses: Adult night classes
Dates: Tuesday and Thursday
evenings, every six weeks
Location: Jarrow, Tyne and Wear
muddyfingerspottery.com
NEW BREWERY ARTS
Courses: Variety of ceramic courses
Dates: Contact directly for further
details
Location: Cirencester,
Gloucestershire
newbreweryarts.org.uk
NORTH MARSTON POTTERY
Courses: Variety of pottery courses
Dates: Contact directly for further
details
Location: North Marston,
Buckinghamshire
northmarstonpottery.co.uk
OLD STABLES STUDIO
Courses: Throwing: bootcamp,
weekends, tasters and regular
classes
Dates: Various
Location: Hebden Bridge, Yorkshire
ORIEL BODFARI GALLERY AND
POTTERY
Courses: Throwing, handbuilding,
raku etc;
Dates: Various
Location: Bodfari, North Wales
rjpceramic@gmail.com
orielbodfarigallery.co.uk
JAMES OUGHTIBRIDGE
Course: Large Scale Slab Building
Dates: Contact for details
Location: Holmfirth, West
Yorkshire
jamesoughtibridge.blogspot.co.uk
JOAN CHAN
Courses: Introduction to clay,
handbuilding, throwing, slip casting,
glaze workshop
Dates: Afternoons and evenings
Location: Greasby, Wirral
T: 07803 848212
E: joanchan@aol.com
FB: jccermaics
PADDOCK STUDIO POTTERY
Courses: 1-day individual or shared,
throwing, handbuilding
Dates: Various
Location: Lewes, East Sussex
thepaddockstudiopottery.co.uk
ANNIE PEAKER
Courses: Figurative Ceramic
Courses
Dates: April - October (3 & 5 Days)
Location: Penrith, Cumbria
anniepeaker.co.uk
PLAY WITH CLAY
Courses: Throwing, toddler clay
Dates: Saturday mornings, Tuesday
afternoons, throwing weekly by
appt.
Location: Loughborough
creationspottery.co.uk
POP UP POTTERY STUDIO
(EARTH & FIRE CERAMICS)
Courses: Beginner courses to learn
simple techniques
Dates: Tuesday evenings &
Friday afternoons
Location: Great Haywood (near
Stafford), Staffordshire
carolinefarnellsmith@gmail.com
POTCLAYS
Courses: Basic/Intermediate/
Advanced Throwing, Intro to glazes,
Pottery Basics, Moulding and
Slipcasting, Tilemaking
Dates: Various
Location: Stoke-on-Trent
potclays.co.uk
JIM ROBISON CERAMICS
Courses: Week-long Ceramics, and
Glaze and surface courses
Dates: Various
Location: Holmfirth, Huddersfield
boothhousegallery.co.uk
RUARDEAN GARDEN POTTERY
Courses: Weekends, week-long
courses: Throwing, Pot Making
Dates: Various
Location: Forest of Dean
ruardeanpottery.com
SULEYMAN SABA
Courses: Pottery classes
Dates: Tuesday and Wednesday
evenings (Clapham), Mondays and
Tuesdays (Kingsbury)
Location: London (Kingsbury and
Clapham)
suleymansaba.com
SCULPTURE LOUNGE STUDIOS
Courses: Throughout the year
Dates: Contact directly for further
information
Location: Holmfirth, West Yorkshire
sculpturelounge.com
THE SCULPTURE PLACE
Courses: Figurative Sculpture
Classes
Dates: Weekly sessions: Monday,
Wednesday & Thursday (running for
6 weeks)
Location: Wolverhampton,
Staffordshire
thesculptureplace.co.uk
SEYMOUR ROAD STUDIOS
Courses: Weekly/one-day weekend
classes
Dates: Various
Location: West Bridgeford, Notts
seymourroadstudios.co.uk
STAR POTTERY
Courses: Taster, Weekly classes
Dates: Various
Location: Lewes, East Sussex
hamid-pottery.co.uk
RUBY SHARP
Courses: Hand building, throwing,
decorating pots, sculpture for home
and garden
Dates: Throughout the year
(weekend & day sessions available)
Location: Amersham,
Buckinghamshire
rubysharppottery.co.uk
PAT SHORT CERAMICS
Courses: Beginners’ handbuilding
workshops
Dates: Various
Location: Edgbaston, Birmingham
patshortceramics.com
LINDA SOUTHWELL
Courses: Evening classes and one-
to-one experiences
Dates: Wednesday evenings and by
arrangement
Location: The Harley Ceramics
Studio, Welbeck, Worksop
lindasouthwell.co.uk
SASHA WARDELL
Course: Bone china & mould
making courses
Dates: May to September ( incl.)
in SW France / Feb & March in
Wiltshire
Location: SW France/ Wiltshire
sashawardell.com
ANNAMERCEDES WEAR
Courses: Regular one-day
handbuilding courses, includes
making and decorating animals and
figures
Dates: Throughout the year
Location: Sheffield
anna-mercedeswear.com
THE WEE MUD HUT
Courses: Handbuilding, throwing
for all ages/abilities. Groups and
individual sessions
Dates: Various
Location: Blantyre, S Lanarkshire
theweemudhut.co.uk
WOBAGE FARM CRAFT
WORKSHOPS
Courses: Various multiple-day
throwing workshops
Dates: Various
Location: South Herefordshire
workshops-at-wobage.co.uk
ZOO CERAMICS
Courses: Half and full day hand-
building workshops, 10-week
pottery classes Dates: Various
Location: Waddington,
Lincolnshire
zooceramics.co.uk
Issue 6 ClayCraft 81
08/08/2017 17:12
 SUPPLIERS  Email claycraft.ed@kelsey.co.uk for free inclusion in our listing

 Alisdair Kettles  Heraldic Pottery  Valentine Clays GLAZES/GLAZE

alisdairkettlespotterysupplies.com heraldicpottery.co.uk valentineclays.co.uk INGREDIENTS
 Anglia Clay Supplies  Warm Glass  Bath Potters’ Supplies
 Hesketh Potters’
angliaclaysupplies.co.uk warm-glass.co.uk bathpotters.co.uk
Supplies
 Bath Potters’ Supplies heskethps.co.uk  Celtic Kilnware
bathpotters.co.uk
 Hobby Ceramicraft
ACCESSORIES celtickilncare.co.uk
 bisque UK hobbyceramicraft.co.uk  bisque UK  Clayman
bisqueuk.com
 Industrial Mineral bisqueuk.com claymansupplies.co.uk

 Bluematchbox Potter’s
Services  Celtic Kilnware  CTM Potters Supplies
industrialmineralservices.com celtickilncare.co.uk
Supplies ctmpotterssupplies.co.uk
bluematchbox.co.uk  Isle of Axholme  Eazi-Stops
 Industrial Mineral
Pottery eazi-stops.com
 Brickhouse Ceramics axholmepottery.co.uk Services
 Maragon Arts industrialmineralservices.com
ckwarner.wixsite.com/  KilnLinings
brickhouseceramics and Crafts
kilnlinings.co.uk maragon.co.uk  Potclays
 Bryant Products  Kiln Services potclays.co.uk
 MHK Craft Supplies
atretainer.co.uk kiln-services.co.uk
clay-extruder-gun.co.uk  The Potters Connection
 Castree Kilns  MITSCO pottersconnection.co.uk
 SCH Web
castreekilns.co.uk mitsco.co.uk
shcweb.co.uk
 Potterycrafts
 Ceramatech  Moonbow Ceramics
 Specialist Lampfitting potterycrafts.co.uk
ceramatech.co.uk moonbowceramics.co.uk
Supplies  Scarva
 PaperClay Products specialistlampfittingsupplies.co.uk
 The Clay Cellar paperclay.co.uk scarva.com
claycellar.co.uk
KILNS/KILN ACCESSORIES  Sneyd Ceramics
 Potclays
sneydceramics.com
 Clayman potclays.co.uk  Castree Kilns
claymansupplies.co.uk castreekilns.co.uk
 The Potters Connection WHEELS/WHEEL
 Commercial Clay pottersconnection.co.uk  Celtic Kilnware ACCESSORIES
commercialclay.co.uk celtickilncare.co.uk  Bath Potters’ Supplies
 Potterycrafts  Corby Kilns Ltd bathpotters.co.uk
 Corby Kilns Ltd potterycrafts.co.uk corbykilns.co.uk
corbykilns.co.uk  Bryant Products
 Roderveld  Cromartie batretainer.co.uk
 Country Love Crafts roderveld.com cromartiehobbycraft.co.uk
countryloveceramics.com  Cromartie
 Rohde  Essex Kilns cromartiehobbycraft.co.uk
 Cromartie kilnsandequipment.co.uk essexkilns.co.uk
cromartiehobbycraft.co.uk  Discus
 Scarva  Kiln Care
potters-wheels.co.uk
scarva.com kilncare.co.uk
 CTM Potters Supplies
 Kiln Services  Giffin Grip
ctmpotterssupplies.co.uk  Scotclay
kiln-services.co.uk giffingrip.com
scotclay.co.uk
 Dawnmist Studio  Kilns and Furnaces  Hesketh Potters’
dawnmist.org  Sedgefield Pottery
Supplies
kilns.co.uk Supplies
 Discus sedgefieldpottery.co.uk  MITSCO heskethps.co.uk
potters-wheels.co.uk mitsco.co.uk
 Spencroft Ceramics  Potclays
 Essex Kilns spencroftceramics.co.uk  Northern Kilns potclays.co.uk
essexkilns.co.uk northernkilns.com
 Stanton Kilns  The Potters Connection
 Fired Art stanton-kilns.co.uk  Potclays pottersconnection.co.uk
firedartdesigns.co.uk potclays.co.uk
 Studio Bisque  Potterycrafts
 Giffin Grip studiobisque.com  Potterycrafts
potterycrafts.co.uk
giffingrip.com potterycrafts.co.uk
 Top Pot Supplies
 Roderveld
 Gladstone toppotsupplies.co.uk  Rohde
gladstoneengineering.com kilnsandequipment.co.uk roderveld.com
 Ulster Ceramics Pottery
 Held of Harrogate Supplies  Stanton Kilns  Scarva
held.co.uk ulsterceramicspotterysupplies.co.uk stanton-kilns.co.uk scarva.com

82
82 ClayCraft
ClayCraft Issue
Issue 66 Do you want your entry to stand out? For details, contact Gary on 01732 447008

080-82 Directory and Suppliers Issue 6.indd 82 08/08/2017 17:13

Explore the layering options at
www.scarva.com/amacolayering