Claycraft-Issue 49 2021

44 PAGES OF STEP-BY-STEP INSTRUCTIONS
PINCH, COIL, SLAB AND THROW Issue 49
GARDEN
PROJECTS
TO MAKE
FOR SPRING
CHALLENGE
BE INSPIRED
AND ENTER!
SPOTLIGHT MAKE YOUR OWN HOW TO MIX
£5.75
ON MKM TOOLS WATERING OYA ZINC OXIDE GLAZES

ISSUE 49
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Meet the team...
Welcome s I write, the let us know. We need as
Jacqui Atkin
Slab & mould oya
p36
Simon Shaw
Thrown bird bath
p8
A announcement
that the Covid
restrictions
will start lifting in April
much notice as possible
so that we can get you
into the right issue of the
magazine, but if it’s
is such a relief. During short notice (and we do
the lockdowns and tier appreciate that things
regulations, the are necessarily a bit… featuring a hand-built
importance of online ‘fluid’ at the moment), version, so if you aren’t a
marketing and promotion we can put the word out thrower, we’ve got you
for businesses – and online. Just email me at covered!
Linda Bloomfield Tracey Parsons
Zinc oxide glazes Pressed textured small, creative businesses claycraft.ed@kelsey.co.uk We’ve been very
p34 dishes p72 in particular – came to It’s been lovely to get impressed by that
the fore. Unable to have out into the garden a bit standard of work that
physical contact with more, but it’s upsetting you’ve been sending in
customers, the next best to see our chickens – still for the ClayCraft
thing is to interact undercover as part of the Challenge, and to see
online. Avian Flu measures some of the entries for
Jeni Jacques- It may well have been – looking longingly out this month, take a look
Doug Fitch Williams something you were at the grass. While it on page 62. Sadly, we
A new kiln Smaller studio already doing as part of will probably still be a can’t feature every piece
arrives! p68 equipment p48 an ongoing marketing good couple of months in the magazine, but we
strategy, but to stay until they can be have put them all on our
On the engaged with customers released, we can at least website. Please do
cover this you hope will return help out the wild birds continue to send us your
month is once you reopen, you with the lovely bird bath photos, we love to see
GARDEN
PROJECTS our thrown
TO MAKE bird bath. need to be speaking to project we have in this them, and you could win
FOR SPRING
Made in them regularly. If we can issue. Currently, our prizes worth over £100!
CHALLENGE three parts, help you get back up and garden birds are using a
this is a
challenging running by promoting terracotta dish that I’d
BE INSPIRED
AND ENTER!
build! See your events, sale, shows quite like to have back in
SPOTLIGHT MAKE YOUR OWN HOW TO MIX
page 8 etc, on our news pages, the kitchen! This month
£5.75
ON MKM TOOLS WATERING OYA ZINC OXIDE GLAZES

ISSUE 49
K
in listings and on our it’s a thrown project, but
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Issue 49 ClayCraft 3
Contents Issue 49 36
8
34
36 Project 2: garden oya
Make this clever watering device
using slabs and a mould
48
48 Diary of a studio potter
Jeni Jacques Williams delves into
the smaller, but no less vital, pieces
of equipment you’ll need
6 News
50 Project 3: simple little dogs
8 Project 1: thrown bird bath Great for people of all ages, who
A challenging build, but your just love dogs!
garden birds will thank you for
persevering 59 How has Eastcott Studios
coped over the past year?
32 Supplier Spotlight Owner Jo McAree describes the
Learn more about MKM Tools, and effects on her business, and what
its range of stamps, rollers and she’s learned 64 A new studio enterprise
potters' tools Debbie Bent introduces the Made
62 The ClayCraft Challenge with Clay Studio in Letchworth
34 Linda Bloomfield explains the A round-up of entries from the
ins and outs of making glazes with past few weeks, plus our next 68 Doug’s Diary
zinc oxide winner! Doug and Hannah take delivery of
Make along with the Throw Down a new kiln, and some new storage
and send us your photos. There options for the children! Find out
are prizes! what a ‘plook’ is too
32
50
4 ClayCraft Issue 49
CONTENTS
62 64
76 Back issues
Single issues are available to find a
72 Confessions of a novice project you missed, complete your
Tracey’s on a mission to erase the collection, or add to your reference
68 memory of last month’s project,

and is pressing textured dishes
using her own bisque formers
library
77 Courses
Do you need to find someone to
fire your work during lockdown?
❯❯75 READER OFFER:
Pottery for beginners Looking for a take-home pack?
Search our free directory for
listings near you
Pottery 82 Next month

AND THROW
Find out what’s in store for you in

PINCH, COIL, SLAB
for beginners our wildlife-themed issue

Basic techniques and 22 handbuild projects
72
❯❯71ClayCraft
READER OFFER:
apron
Jacqui Atkin and Rachel Graham
£12.95
GARDEN
66 ClayCraft SPECIAL PROJECTS

TO MAKE
FOR SPRING
subscriptions OFFER! CHALLENGE
Save money and have the

magazine delivered to your door. BE INSPIRED
AND ENTER!
You know it makes sense! SPOTLIGHT

ON MKM TOOLS
MAKE YOUR OWN
WATERING OYA
HOW TO MIX
ZINC OXIDE GLAZES
£5.75
ISSUE 49
K
KELSEYmedia
001 Clay Craft Cover Issue 49.indd 1
If you have a news story, product launch or details of some
IN THE other topical item you’d like our readers to know about,
NEWS email claycraft.ed@kelsey.co.uk
THROW DOWN ROUND-UP

It’s been an exciting animal water feature, flair and used origami-type
few weeks on the show, 70-80cm tall, and a folds. Neither were accepted
with a couple of surprise strawberry planter made by the judges. Ironically,
eliminations. In week 6, the with 10kg clay. The firing they had come first and
potters were working with was an improvement on second in the spot test, an
terracotta. The main build the previous week, but Alabama ring bottle. Peter
was a trio of cooking wares Henry had issues with his won Potter of the Week with
– a chicken brick, a tagine construction, and despite his beautifully finished, light
and a lidded casserole. The having won the strawberry Acoma pots decorated with
size and weight of these pot challenge, he was the stylised birds.
meant that the drying next potter to leave. The next episode is the
time was an issue, and the Week 8 caused not a little semi-final, and we’ll be
firings were mostly very consternation, when two watching with bated breath
disappointing, with multiple potters left for not having as Adam, Hannah, Jodie and
blowouts. The spot test was followed the brief. The main Peter battle it out!
a tile frieze. Sal was Potter of builds were Acoma-inspired
the Week, and Shenyue left water and seed pots. Sal Peter won Potter of the
the show. added a rim to hers, and Week in episode 8 with his
Week 7 featured a lifelike Alon demonstrated his usual Acoma pots
Shenyue Henry Alon Sally
THE CLAYCRAFT
CORRECTION CHALLENGE
In last month’s magazine, We have our
we wrongly attributed this second winner!
news item to Debbie Bent. Congratulations Sarah.
The story was sent in by If you’re enjoying the
Jo McAree of Eastcott Great Pottery Throw
Studios. We do apologise. Down, and have been
inspired to make along
with the episodes,
we’d love to see the
results! We’ll print
a selection of your
work and announce
a winner. For more
Carole made this lovely details, see page 62.
puffin at Eastcott Studios.
IN THE NEWS
(Photo: Art in Clay)
EVENTS LISTINGS
With the very welcome news that the Covid restrictions Annika Schüler master
will begin to ease soon, it looks as if events can be held ceramist from Munich
over the coming months. If you’re holding or attending fires with two TE-S series
toploaders
a market, art trail, show, open studio or sale, please do
let us know and we’ll publish the details.
Email: claycraft.ed@kelsey.co.uk
ROHDE kilns.
NEW BOOK Enjoy your results.
From 25 March, a book
about the life and work
of reknowned Canadian
potter Mary Fox will be
available in the UK via
Amazon, and it’s available
for pre-order now. Part
memoir, part coming-
of-age story, and part
handbook for ceramicists,
the full-colour book
celebrates Mary’s life and
shares her plans to leave
“It’s so inspiring when
a legacy of support and traditional crafts come together
mentorship for young artists. with modern design.”
There will be more on this book in the next issue.
ROHDE has been producing kilns and machinery designed
to meet the highest standards since 1982. The company’s
ongoing pursuit of technical advancement creates
outstanding quality and efficiency that you can rely on.
So you can enjoy your results.
Learn more about Annika’s story

www.rohde.eu/en
www.rohde.eu/en
SKILL SCHOOL
PROJECT
ONE THROWN
BIRD BATH
This is a challenging project that will test your skills, but to make it a
little easier and avoid having to throw large amounts of clay, we’ve
designed the form in three parts. For this to work, you must pay very
close attention to making accurate measurements
ANT
IMPayOseRemTobvious,ns
– it m portio
t th e g iven pro kiln can
bu rk if you
r f
only wo odate the size o he
o m m ein g t
acc hb
s (the dis to
the part ). You may have your
e st fit
larg wn to
e size do all the
scale th won’t fit. Read
kiln if it ructions before
inst eck
in, to ch
you beg scale You will need:
for
■ Clay weight total –
7.7kg (17lb) plus 2.3kg
(5lb) for batt pad
■ Finished height 40cm
– bath dish width 35cm
■ Clay – stoneware (best
for outdoors)
Note – softer clay will be
easier to work with on this
larger scale than hard clay
so maybe start with a new
bag
■ Tools for throwing –
water bowl, sponge, ribs
■ 3 large wooden batts,
including one wide enough
to take your planned water
bowl upside down (see
point 62).
DIFFICULTY RATING ★★★★★
THROWING A PAD FOR A BATT

3
– A REMINDER OF THE PROCESS
BEFORE YOU BEGIN:
Maintaining the position of your left hand, hook your

thumb over the rim and open out the centre of the clay
with the fingers of your right hand. You don’t have to worry
about the depth of the opening or thickness of the base;
the bulk of the clay should be pulled out to within 2-3cm of
the edge of the wheel head, leaving a thick rim.
Items thrown from larger amounts of clay or with

open bases can’t be lifted off the wheel head. Therefore,
you must throw on a batt, which in turn requires a very
substantial clay pad to secure it and support the weight.
Begin by preparing a 2.3kg (5lb) block of clay and form it
into a cone.
Place the cone as close as possible to the centre of the
wheel head.
4
Run your sponge over the
central surface of the pad
to flatten and widen it,
then briefly over the rim
to remove excess slurry.
Dribble some water over the clay and position your left
hand on the side, resting your arm on the wheel pan rim to
hold your hand firmly in place.
As the wheel rotates, push the clay to centre with
opposite force from your right hand, maintaining the left-
hand position.
Now change the position of your hands to apply equal
pressure from both sides of the clay as you force it up into
a cone shape.
Flatten the cone down again, reverting your hand
position so that the left is held firmly at one side while the
palm of your right hand pushes the clay to centre with your
fingers over the top to level the mass. .
PROJECT
SKILL SCHOOL
ONE
SECTION 1 OF THE PEDESTAL
5
Using the sponge to mop up excess moisture as you
work, create a series of suction rings radiating out from the
centre of the pad to the thick rim with your forefinger, as Moisten the surface of the batt
shown. but don’t flood it.
Prepare 2.3kg (5lb) of clay by
kneading to remove all possible
trapped air, then form it into a cone
shape and place it at the centre of
the batt. Pat the cone down with both hands.
6
Place a batt as centrally as possible on the clay pad and
tap it gently from one side until it runs to centre.
To test the position of the batt, hold a finger rigidly
against one side as the wheel rotates. If running true, your
finger will touch the side the whole time, but if not correct, Centre the clay, following the same procedure as used
it will miss the side in places. when forming the pad – first cone up, then, keeping
your left hand at the side, thumb over the top of the
mass, level the surface and bring the clay to centre with
your right hand.
7
When you are sure the batt is centred, give it a firm
whack a couple of times with the side of your hand to
secure it on the pad.
10
12
Change the position of

your hands so that the
left is steadying the right
as you press down into With your left hand at the side of the ring to keep it to
the centre of the clay with centre, slightly pinch and lift the clay with your right hand
your fingers to open out to establish a short thick wall.
the base.
13
11
Now position your left-hand

fingers inside the ring with
Continue to open the base your right-hand fingers (or
right down to the batt – knuckle) opposite on the
this is an open cylinder. outside, then beginning at
Now, draw the clay the very base of the clay,
back towards your body lift the wall to a conical
until 17.5cm wide or cylinder – narrower at the
thereabouts. The clay top than the bottom.
should look like a thick This first lift will look quite
ring doughnut when finished. Carefully chunky.
remove excess clay from the batt inside the ring.
.
SKILL SCHOOL
PROJECT
ONE
15
14
Lift the wall one more time to create more height and
Lift the wall again, positioning your hands in the same fully straighten the sides.
way and making sure you begin from the base, but this
time straighten the wall a little more so that it is less
narrow at the top but still not as wide as the base.
16
Flatten the rim of the cylinder by pinching the clay

between the finger and thumb of your left hand, then
compacting the surface by gently applying pressure to the
rim with the forefinger of your right hand.
17
Starting approximately ¼ inch or 6mm up from the base of the cylinder (to establish a flange at the base), begin to
remove the throwing lines and surface slurry using a rib.
Support the wall from the inside with your left hand as you draw the rib up from the base to establish a perfectly
straight wall.
Repeat the procedure as many times as required to ensure the wall is straight and all surface moisture removed
from the exterior.
.
SKILL SCHOOL
PROJECT
ONE
19
18 Now work around the flange with a rib to remove excess

clay from the batt surrounding it.
Quickly run the sponge over the rim again to fully
compact the clay, then carefully over the wall if
required. 20
Finally, holding the sponge in the position shown,
work around the flange to remove excess moisture and
establish a rounded shape.
Carefully sponge out all excess water from the inside of

the cylinder, including the walls.
21
Using a sturdy, preferably metal, tool,

gently release the batt from the wheel
head.
NOTE: DO NOT underwire the
cylinder at this stage. Because this is an
open form, the shape will distort.
PEDESTAL SECTION 2
24
22
Fix another batt to the wheel head as you did the first. Take a calliper measurement of the diameter of the first
Moisten the surface of the batt, then position the second section to determine how wide to flatten the centred
2.3kg (5lb) of well-prepared clay at the centre and pat it clay of this second section to.
down to secure it in place. NOTE: take the measurement from the rim of the first
section – NOT including the flange.
Now check the measurement against the centred
mass. If it is not wide enough, flatten it out a little more,
23 then recheck the measurement.
Centre the clay again by coning up, then bring it to

centre with a flattened top surface as you did for the
first section.
.
PROJECT
SKILL SCHOOL
ONE
26
Now check again that the base of the cylinder is the
same measurement as the calliper.
25 Do this regularly to ensure the size remains the same as
the first section.
Open out the base completely, as you did for the first
section, until you have the ring doughnut shape, then
pinch and lift the clay to establish the wall.
27
Lift the wall as you did for the first section, making sure
you pull up from the base.
28
Don’t allow the shape to flare outward, wider than the
calliper measurement. If it does begin to flare, collar it in
again between both hands to maintain control. 30
AGAIN – check the base measurement with the
callipers, then lift and extend the width of the wall
29 evenly from base to rim.
Raise this section to a straight-sided cylinder that

narrows inwards a quarter of the way from the top,
leaving a slightly thicker rim.
.
PROJECT
SKILL SCHOOL
ONE
32
31
Measure the diameter at the rim – this is going to fit
Straighten the sides with a rib, at the same time inside the first section, so it must be narrower than the
removing the throwing lines and excess slurry. This time calliper measurement – 15cm maximum.
work to within approximately 3 inches or 7.7cm of the
rim, supporting the wall from the inside with your left
hand as you did before. 33
Repeat the process as many times as required to
establish a clean, straight wall up to the given point.
With your left hand supporting from the inside to

prevent collapse, create a shoulder from the point you have
straightened the wall to, by easing the clay inward with a
finger.
34
Using the rib, re-establish the sharp angle at the

shoulder.
37
35
Now return your left-hand

fingers to the inside of the
rim and gently press into
the clay with the forefinger
of your right hand again
until the angle is sharp and Recheck the measurement to be sure the section will fit
the shoulder is about 2cm inside the base.
wide.
NOTE: this top end of the section is
actually the bottom – and the part you are working on
here should eventually locate inside the first section to 38
make an extended cylinder.
Sharpen up the angles one last

time with the rib, including the
locating section.
36
Lift the remainder of the wall at the centre of the

shoulder until straight, neat and even. .
PROJECT
SKILL SCHOOL
ONE
41
39
Centre the clay by coning
up as before between both
Sponge out the interior of the section carefully, then hands, then supporting the side
remove the batt from the wheel head.
of the clay with your left hand
Both sections must firm up before wiring off and
and pressing down and inward
removing from the batt.
with your right hand until the
clay runs true with no wobble.
MAKING THE BATH
42
40
Fix the third batt onto the

wheel head – the pad should Supporting your right hand with the left, as shown, press
down into the centre of the clay with your fingers to within
still be in good working
1.5-2cm of the batt.
order and indeed would
allow for many more batts
to be attached before
needing remedial attention.
43
Dampen the surface of
the batt, then form 3.2kg
(7lb) of well-prepared clay into a cone and place it at
the centre. Pat the clay down to secure it in place.
To open out the base, draw

the clay back toward your body
until almost as wide as the batt.
You are aiming for a wide base
with a thick doughnut-like rim.
44
47
Compress the clay in the base by running your fingers

or thumb over the surface several times, beginning at the
centre and working outward.
45 Place the middle finger of your right hand in tight at the

base on the outside edge of the dish, with your left-
hand fingers opposite on the inside, thumb over the rim.
Lift the wall upward and slightly outward, but not so
far that the wall will collapse on itself.
Check the width of the dish – it must obviously be wide

enough to sit on/over the pedestal, but the proportions of
the parts must look balanced when they are fitted together.
If working to the proportions given, when fully thrown, the
diameter of the dish should measure approximately 27cm.
IMPORTANT – it may seem obvious, but these proportions
only work if your kiln can accommodate the size of the parts
(the dish being the largest). You may have to scale the size
down to fit your kiln if it won’t take the given sizes.
46
If the base isn’t wide

enough to fit over the
pedestal, open it out a little
further. Remember to compress
the base again when finished. .
SKILL SCHOOL
PROJECT
ONE
49
48
Measure the diameter again to check on the proportions.
Repeat the procedure to stretch the rim outward and
create a shape that curves gently upward and outward
from the centre.
50
Sponge out the interior of the bowl, then compress

the clay at the rim by gently squeezing it between the
finger and thumb of your left hand while briefly but
firmly running the sponge over it.
51
Carefully supporting the underside of the rim with your

left hand, work over the upper surface with a rib to remove
the throwing lines and excess slurry.
52 TRIMMING & FINISHING THE PARTS
55
Score a couple of lines

with the tip of the rib to
delineate the inner section of
the dish from the rim.
53
When the parts are firm

enough to hold their shape
without distorting, underwire the
base section carefully, then turn
it over onto another batt.
56
Now create a spiral in the bottom of the dish with a
finger, working from the centre to the scored lines.
54
Quickly run a sponge over the scored lines to remove

any burrs of clay.
Remove the dish from the wheel, in situ on the batt. Position the base section upside down on the wheel
Place the dish with the other parts for all to firm to soft as centrally as possible, then run your finger around the
leather hard. outside edge of the flange to smooth and round it off. .
SKILL SCHOOL
PROJECT
ONE
59
Underwire the upper section as you did the first, then

repeat the last three steps to finish it off in the same
way.
57
Using a pin, carefully cut
away the excess clay inside
the rim of the base until it’s
level with the wall.
58
Run a finger around the

cut back edge to smooth and
neaten up the clay, then turn
the section upright again on
another batt.
60
62
Centre the upturned dish on a batt. This should not be

too difficult if the dish is almost the same size as the
batt but for details, visit claycraft.co.uk/how-to/video-
tap-to-centre
Now begin to trim away the excess clay around the
outside edge of the base using your turning tool of
choice.
Run a damp sponge around the cut rim to gently soften

the edges but make sure the top remains flat.
61 63
Measure the base to determine where the locating

groove should be positioned. The dish will locate over the
pedestal, so allow a 2cm excess from the groove to the
Having finished the pedestal, now underwire the dish outer edge and lightly mark the spot for the groove with a
carefully. pin. .
SKILL SCHOOL
PROJECT
ONE
66
64 Test that the pedestal top will

fit inside the locating groove
Now cut a groove with the tip of the turning tool where and make adjustments if
you made the mark so that you can clearly see where to required.
position the locating ring.
65 67
Trim a small circle at the

Replace your turning tool for one with a squared-off centre of the base to even
end if possible, and continue to cut a groove, deep and up the stresses of drying
wide enough for the rim of the pedestal to sit inside. and firing.
BE AWARE of the thickness of clay you have to cut The throwing part of the
into in the base – it’s all too easy to cut through if not project is now complete.
careful, but if you followed the earlier instructions
closely, you will be aware that the dish was thrown
with a thicker than average base to accommodate this
groove.
DECORATING THE SURFACE 2

The bird bath can be decorated in any way you like,
or just simply glazed, but here we are using one half
of a bird mould we made in Issue 9 (project 2 – slip
cast Christmas decorations) as a hollow sprig to add
dimension to the surface. Alternatively, if you want to
use solid sprigs, instruction on how to make these can
be found in issue 13 (modelled sprig mould) but details
for both can be found by visiting claycraft.co.uk/how-
to/birdbath
You will
need:
■ Clay as used
for main throwing
parts (amount will
depend on the size
Cut a section of slab, large enough to fit your sprig
mould, then gently ease it into place using a barely damp
of your sprig) sponge instead of your fingers, to avoid distorting the clay.
■ Sprig mould
■ Rolling pin,
5mm thick roller
guides, plastic 3
sheetposition the
locating ring.
Using the side of

a batten, carefully
remove the excess
clay surrounding the
sprig.
Work in small
sections at a time
Working on the plastic sheet and using the roller to prevent pulling
guides, roll out a small slab of soft clay. the sprig out of the
Smooth and compact the surface with a metal rib mould.
once rolled.
.
PROJECT
SKILL SCHOOL
ONE
7
4
While the sprig is still in the mould, very carefully score Position the first sprig on the pedestal wall, within the
the edges, taking care not to cut into the plaster. first delineated area and score around the shape with a pin.
5 8
Carefully lift the clay out of the mould with a wad of soft
clay then impress an eye in the head using a suitable tool Remove the sprig and score around the outline on the
(an old pen top was used here). pedestal.
6 9
Measure the circumference of the lower section of the

pedestal at the mid-line and divide the space into equally
sized sections, large enough for each one to accommodate
your sprig. Slip the scored outline on the pedestal and the rim of
Delineate each section with a pin mark. the sprig.
Assemble the
10 parts of the
birth bath to
test how it
looks, then
disassemble
them again
and allow
them to
dry out
thoroughly
before bisque
firing.
Fix the sprig onto the

pedestal pressing gently but
firmly to ensure it adheres
fully.
Neaten around the join with
a wooden tool to tidy up. 13
11
Make and apply the remaining sprigs in the same way,

then turn the base upside down and make a discreet
pinhole in each of the sprigs to allow for the release of air in
drying and firing.
14
12
Beginning with the underside of the rim of the dish,

apply your chosen colour of glaze in as many coats as
recommended by the manufacturer, allowing each coat to
Working in exactly the same way, apply a series of sprigs dry before applying the next.
to the upper section of the pedestal. Leave the foot and base unglazed. .
SKILL SCHOOL
PROJECT
ONE
18
15 Glaze the birds in a contrasting or complementary

colour – again applying as many coats as recommended.
When the underside has dried, turn it over and glaze the Avoid brushing the glaze on the pedestal wall.
upper surface with the same number of coats.
19
16
Finally, using a fine brush, glaze the eyes and beak in a

bold colour so that they stand out well – black was used
here.
Glaze the pedestal sections in the same way, working

carefully around the birds with a finer brush to avoid
getting the glaze on them.
Caption to come
17
You can glaze over the upper rims of both sections but Here, Amaco Potter’s Choice Indigo Float was used for
be sure to leave the underside of the base and the lower the base glaze, with Mayco Frost blue for the sprigs.
rim of the upper section unglazed to allow for placing in the Bisque fired to cone 04 (1060°C, 1940°F) and glaze fired
kiln. to cone 6 (1222°C, 2232°F).
New Year, New Designs!
FOR ALL YOUR
ADVERTISING NEEDS
Scl-072 (4cm)
RL-026 (6cm)
CONTACT
www.mkmpotterytools.com
Phone: 01 (920) 903-8918
SIMON HYLAND
mkmtools1@gmail.com 01732 445327
Hot Clay
hot-clay.com
Bath Potter’s Supply
bathpotters.co.uk
Scarva Pottery
Supplies
Blue Matchbox
bluematchbox.co.uk simon@talkmediasales.co.uk
scarva.com
SPOTLIGHT ON:
MKM POTTERY TOOLS
Creating beauty in clay!
KM Pottery Tools was and not contracted out to second
M established in 2003 by
Rick McKinney. Rick’s
initial set of tools was
developed in his studio for his personal
parties. New designs are continuously
being worked on, making prototypes
that are then tested, both at the
factory and at Fired Earth Pottery (the
use and weren’t available for sale company’s local community clay
elsewhere. It was the development of centre), adjustments are made, and
the Decorating Disk, the innovative then they are ordered for production.
Throwing Tools, and the broad range It’s a continuous cycle. Some designs
of wood ribs that really launched the are realised very quickly; others need a
business. Rick thought the Decorating lot of work to get them right, with
Disk, a universal pottery template, was many trips back to the
a good idea, but didn’t have the ability prototype machine! There
to screenprint or work with acrylic is no set time, but it
sheets. So he had some made up for typically takes a lot
him, thinking he would sell what he more work to get a
didn’t need. Years later, Rick is still design ‘right’ than Inset: The bevels
selling his Decorating Disk and many one would suspect on each edge of
every line…
other tools, as well. from the final
From the beginning, MKM has product. This is Above: … prevent
specialised in bringing innovative especially true for the clay from
tools to the market that were not rollers. sticking, leading
readily available to the potter. Rick is very to very crisp results
committed to quality. – even on the most
Why MKM stamps and rollers Quality in the original intricate designs.
work so well with clay wood blank material,
All MKM stamps and rollers are quality of design, and quality of
carved at the company’s own factory carving, quality of wood finish (tung At the design level, it’s a bit of a
oil), and, of course, quality service to personal choice. “A design that you like
all of the company’s customers. But is a good one,” said Rick. “Physical
what exactly does quality mean in the texture communicates a wide variety
context of a simple wood tool? of things on a pot, but an ideal design
would have emotional content, as well
as perhaps historical references to the
millennia of graphic design tradition
in so many of the cultures of the world.
So we have designs that reference the
quilt-block traditions in the US,
Middle Eastern tiles, western
mythologies, cartoons, pop culture,
and so on. Connecting all these
traditions with our own design
aesthetic is what makes this business
so much fun!”
At the carving stage, the meaning of
‘quality’ is very specific: the edges of
The Decorating Disk was Rick’s first product and is now available in two the debossed (cut-in) stamps all have
different sizes bevels that compress the clay around
EMERGING
kinds of quality POTTERS
without customer/
user input.
"Our tools are intended to be
innovative and of high quality, and
we’re very open to suggestions and
comments. Please feel free to send
me your comments by email via our
website's Contact page. If you have a
great shot of a wonderful pot or
sculpture made with our tools, send
that along, too. Or post them on the
MKM Facebook Page.
"Tools are solutions, sometimes
elegant, sometimes not, and they
arise from makers of things, which
 Rick McKinney’s first tools all of us, as potters, certainly are.
were for personal use, but quickly They are not a repudiation of human
 The dragonfly hand roller started to sell to other potters.
(HR-052) was used in our oya instinct; they are human instinct. In
project, on page 36. their own way, tools are art, too. If
A note from Rick: you share the problem, then you
the stamp and prevent cracks at the "I hope you enjoy our tools. They are might be interested in sharing the
corners. All the stamps are cut with developed and tested in my studio solution. Art is as much about
cutting blades that leave a bevel for all and among my studio mates and problem-solving, as are most things
the lines and patterns. This means that potter friends. Your comments as to in this world. I hope that these tools
when the stamp is pulled away from their design and usefulness are more will help you solve problems and
the clay or the roller is rolled over it, than welcome. We listen to any and allow you to spend your time making
the tool releases perfectly without all comments regarding design, tool beautiful pots, or other objects."
pulling up any edges. This is why size, etc. Quality is an incremental Rick very kindly supplied a
these stamps work so much better process, and we always strive for selection of stamps and rollers for
than laser-carved stamps. The designs better designs, by which I mean us to use in our projects, so keep
on the stamps and rollers are also designs that communicate what our an eye out for these over the
scaled to work well in the realm of customers want and that work for coming months. We’ll tell you
functional pottery. All the tools are them over many, many years of use. which ones we’re using and where
designed and made specifically for clay There is no way to achieve some to get them from.
workers.
The wood used for the stamps and Rollers are available in various sizes:
rollers is fine-grained and carved very
precisely. “It’s left over from the small roulette…
furniture industry and is ‘recycled ‘by
us to make our small tools,” Rick
explained. “It also takes the tung oil
well.” And why pure tung oil, which is
expensive? “Because it’s one of only
two naturally occurring oils that are
self-polymerising (that harden when
exposed to the atmosphere). This
means that these tools will be much
more durable over time than tools that
are bare wood or finished with other … medium roulette…
oils.” 
mkmpotterytools.com
UK suppliers:
● bluematchbox.co.uk
● hot-clay.com
● scarva.com
● bathpotters.co.uk  … and small and large (pictured)
hand rollers.
LINDA BLOOMFIELD
ZINC OXIDE IN GLAZES
Measuring
and crushing
Linda Bloomfield is a scientist zinc oxide to
turned potter. More glaze recipes reduce lumps.
can be found in her books,
Advanced Pottery (2011), Colour
in Glazes (A&C Black 2012), The with the ginger beer maker’s name. before adding to a glaze. It absorbs water
Handbook of Glaze Recipes Bristol glazes use both zinc oxide and from the atmosphere, so it should be kept
(Bloomsbury 2014) and Science
calcium oxide to form a eutectic, a in a lidded container. It is sometimes
for Potters (The American Ceramic
Society 2017). Her new book Special mixture of materials that melts at a lower calcined (heated to drive off water) before
Effect Glazes, and the second temperature than either of the pure using in glazes. Zinc oxide is mostly used
edition of Colour in Glazes are materials. The calcium is usually supplied in oxidation glazes for electric kilns. In
both out now. Linda has recently
launched her online glazing course,
by whiting or wollastonite, a calcium reduction kilns, it reduces to zinc metal
How Glazes Work, on her website: silicate. Zinc oxide will also form a and evaporates.
lindabloomfield.co.uk eutectic with other alkaline earth fluxes,
magnesium, barium and strontium. Colour
ristol glazes containing zinc Dentists used to use eutectics of silver and Zinc oxide affects some colourants,
B oxide were invented in 1835

in Bristol, England, to
replace toxic lead glazes and
salt firing, where salt was thrown into the
tin metals to make amalgam fillings. The
eutectic mixture is the composition that
melts at the lowest possible temperature.
Zinc oxide is used as a flux in mid-
including chromium oxide, which it turns
brown or pink rather than green. Other
colouring oxides such as cobalt and
copper are not affected by zinc. Nickel
kiln to produce a pitted, glazed surface. It range glazes to help them melt at lower oxide can vary drastically in colour
was used to glaze stoneware ginger beer temperatures and also to make crystalline depending on the other alkaline earth
bottles and flagons, typically in a glazes. You can add a small amount of fluxes used: green with magnesium, pink
two-tone effect with brown at the top and zinc oxide, from around 5%, to increase with barium and purple with strontium.
clear at the bottom, sometimes stamped the melt and up to 25% in crystalline Zinc oxide has a low expansion, so it will
glazes. In small amounts, it can be used to help reduce crazing in glazes. However, in
make matt glazes less dry and more satin large amounts, it can cause crawling and
or glossy. It is an expensive glaze so is often used to make crawl glazes.
ingredient, but only around 5% is needed
to convert a high-temperature cone 10 Glossy Bristol glaze 1260°C
glaze to a mid-temperature cone 6 glaze. cone 8 From Jeannine Vrins
Zinc oxide can often be lumpy, so you ● Nepheline syenite 52
might need to crush it in a mortar and ● Wollastonite 24
pestle and sieve through a kitchen sieve ● Zinc oxide 16
● China clay 9
+Chromium oxide 0.5 for pink
 Wall vases with blue, pink, white +Chromium oxide 0.5 and red
and turquoise crawl glazes. Height 5cm iron oxide 2 for orange
and width 8cm to 18cm. Made in 2018
by Casja Carlenius.
GLAZING
 Glossy and matt Bristol glaze

tests coloured pink and orange with  Nickel pink. Top row, line blend with 40% barium carbonate and 5, 10, 15, 20%
chromium and iron oxides. zinc oxide. Bottom row has 30% strontium carbonate instead of 40% barium. The
strontium glaze turns blue, not pink with increasing zinc oxide.
Matt crawl glaze cone 8-10
apply thickly From Matt Katz Gen’s satin matt crystalline Nickel pink 1260°C cone 8
● Nepheline syenite 39 glaze 1240°C cone 6 no special From Emmanuel Cooper
● Zinc oxide 19 firing schedule required ● Potash feldspar 35
● Quartz 11 From Amazing Glaze by Gabriel ● Barium carbonate 40
● China clay 32 Kline ● Zinc oxide 15
+Chromium oxide 0.5 for pink ● Potash feldspar 35 ● China clay 6
● Zinc oxide 26 ● Quartz 6
● Quartz 23 +Nickel oxide 1.5
Crystalline glazes ● Whiting 13
Zinc oxide is used to make crystalline ● China clay 4
glazes, where the crystals in the glaze are +Rutile 6 Zinc oxide can be used in many types of
composed of zinc silicate. These often +Copper carbonate 1.75 glazes, from glossy Bristol glazes to matt,
need long firing and cooling cycles in the crystalline and crawl glazes. Zinc oxide
kiln in order to grow large crystals. The adversely affects some glaze colours,
crystals can be star-shaped or needle- Matt glazes particularly chromium greens, but can
shaped. However, there are a few types of Zinc oxide is sometimes used to make provide a range of pinks. 
crystalline glazes, such as the recipe given matt glazes. With barium carbonate, zinc
here, that do not need any special firing oxide and nickel oxide, you can make a
schedule. bright matt pink glaze. This glaze is blue
where thin, and bright pink where thick.
It is not suitable for functional ware
because of the high barium content
(barium carbonate is toxic). The pink
colour changes to blue if strontium
carbonate is used instead of barium. The
matt surfaces are made up of tiny crystals
whose colour depends on the ratio of
barium or strontium to zinc.
 Alisa Liskin Clausen’s crystalline

glaze tests, Gen (also known as
Behren)’s satin matt with added 2%
borax frit and 1% cobalt carbonate on  Used in large amounts, zinc oxide
the bottom bowl. can make glazes deliberately crawl.
OYA/OLLA
SKILL SCHOOL
PROJECT
TWO
What is an oya, you might well be asking? Well, it’s a terracotta vessel
that’s buried in the ground to water the garden naturally. Not only does
their use dramatically reduce water waste but also watering time. So,
buried in the ground next to your courgettes, you’re bound to get a
bumper crop with very little fuss!
Before you begin:

We are using a plaster mould here
to make the body of the oya. We’ve
used a globe-shaped mould, but
you could use any symmetrical
shape that will allow for two halves
to be joined together – it is simply
a receptacle for water, so shape
really is irrelevant. It won’t be seen
because it will be buried up to its
neck underground. You can find
instructions for making a half globe
shape by visiting claycraft.co.uk/
how-to/oya
It should be noted that these
vessels can be made in any size
– including miniature versions to
keep your houseplants watered.
You will need:

■ Red earthenware clay
■ Plaster mould
■ Rolling pin, roller guides,
plastic sheet
■ Small texturing tool. See the
wonderful range MKM tools has to
offer – you will want them all!
■ Foam blocks to support the
shape in construction and drying
DIFFICULTY RATING ★
★★★★
.
SKILL SCHOOL
PROJECT
TWO
3
1
Have your mould close at hand, ready for use. Make sure Cut a semi-circle out of the slab, which is large enough
it is clean and dust-free. to fill half of the mould.
2
Prepare a block of clay large enough to fit inside the
mould once rolled – you’ll have to estimate the size
according to your mould.
Working on the sheet of plastic, reduce the bulk of Gently ease the slab section into the mould using a
the clay by beating it with the side of your rolling pin. barely damp sponge to avoid marking the clay with your
Work in measured, even strokes from one side of the fingers.
clay to the other, to avoid making deep grooves in the
surface. 5
Roll out the clay between your roller guides.
You will find that periodically turning the slab will
make rolling much easier and give you more control to
achieve the approximate shape you need.
Once rolled out, smooth over the surface of the slab
with a rib to compact the clay.
Cut out a second semi-circle and place it in the mould

so that it overlaps the first half by a couple of centimetres –
again using the sponge to ease it into place.
6 9
Blend the overlapping edges together thoroughly with Now remove the remainder of the clay at the rim with
your thumb to ensure the seal has not trapped air between the side of a batten resting on the mould.
the layers. Work in small steps, drawing the batten sideways and
backwards to remove small sections at a time until the rim
is level.
7
10
Cut away the bulk of excess clay above the rim of the
mould, making sure the knife doesn’t come into contact When the clay has firmed enough for the shape to hold,
with the plaster. turn it out of the mould onto a board.
8 11
Reinforce the overlap join on the outside of the shape with

Work over the interior surface of the join with a rib, a coil of soft clay.
removing excess clay as required until the walls are evenly Carefully press the coil across the surface into the join with
thick. your thumb. .
SKILL SCHOOL
PROJECT
TWO
15
12
Work over the reinforcement with a rib, removing any Sit one half of the globe on a foam block with a hole cut
excess clay where required, for a neat finish. out at the centre to support it, then score the rim with a
serrated kidney.
Repeat the process for the second half.
16
13
Work over the reinforced area again with a soft kidney
until all evidence of the join is eliminated.
Apply slip to the scored rims, then fit the two halves
together carefully.
14
Make the second half of the globe in exactly the same
way.
19
17
Reinforce the join with

The shape and finish of the oya don’t really matter
because, after all, it will be buried underground. However,
another coil of soft clay. for the personal satisfaction of knowing you have made
Blend the coil in well something to the best of your ability, it is worth aiming for
using your thumb or as good a surface finish as possible. So, for example, if the
finger, then smooth over shape is a little distorted and you really would like it to be
the area with a rib, again round, try paddling the surface with a wooden spatula to
removing any excess clay improve it.
for a neat finish. If you would prefer the globe to have a base to stand
on (this makes firing much easier if you’re nervous about
placing unusually shaped items in the kiln), simply tap it on
the work surface a couple of times to flatten the underside
until it will support itself.
20
18
Look for a circular cutter that’s large enough to get
your hand through.
Place the cutter on the top surface of the globe and
score the outline with a pin.
We don’t often say this, but you can change tools if you
think you have one that is more suited to the job at hand.
We all have our favourites, and every maker will use several
types to form an object.
Bearing this in mind then, feel free to change the rib for a
kidney to achieve a better finish. .
SKILL SCHOOL
PROJECT
TWO
23
Roll a thick log of clay about

12cm long, then gently push
a length of 10mm dowel
21 through the centre and out
the opposite end.
Carefully cut out the circle with a sharp knife and lift it
off the globe.
24
Holding the dowel at each end, roll the log on the work
surface to enlarge the hole at the centre. Continue until you
are just able to get your fingers inside the tube.
25
22
This is where it is important to be able to get your hand With the tube sitting on a whirler, now begin to pinch the
inside the globe. Reinforce the join on the inside with wall to extend the size of the tube. Begin at the midpoint
another coil of soft clay. Blend it in well, then remove the and pinch outward and upward in small rhythmical
excess as much as possible, using a rib. movements to ensure the wall is an even thickness.
26 29
Turn the tube over and pinch the second half in the same
way until it is level with the lower half. The wall should be
even throughout, and vertical when finished.
Now refine the outer surface of the tube using a metal

27 palette rib to ensure it is vertical. Remove clay as required
for a smooth surface finish.
30
Test the size of the tube on the globe to make sure it is

wide enough to fit the opening.
28 Score around the opening of the globe, then the rim of

the neck. Apply slip to both surfaces.
Return the tube to the

whirler, then turning it
slowly while holding a knife
rigid in your hand, carefully
cut the rim level.
.
PROJECT
SKILL SCHOOL
TWO
33
31 NOTE: - this step isn’t shown, but if you’re unhappy with

the size and shape of the neck, you can change it by cutting
out four V-shaped sections from the rim (opposite to one
Fit the neck onto the globe and reinforce around the another) then joining them back together by overlapping
join with a slightly thicker than usual coil of soft clay. the cuts and blending the clay together thoroughly. This is
Blend the coil in with your thumb. really only possible if the clay is still relatively malleable, but
you can use slip for extra security if you feel it is needed.
Blend over the cut joins and the join at the shoulder with
a long throwing rib to fully seal them together.
34
Similarly, if you feel the neck wall is too thick, you can
pare it back with a surform until correct.
32 Once you have removed the required amount of clay,
smooth over the surface with a rib or kidney to remove
the marks left behind by the surform.
Work around the join with the round end of a rib until
smooth and tidy.
 The basic
35 form is now
complete,
and all that
remains to
do is make
a lid for it to
prevent the
water from
evaporating
too quickly
when the oya
is in use.
38
Cut the rim of the tube level as you did the neck, then
quickly check that the size is correct again and has not
been distorted in the cutting.
36
Form another short log-shaped coil about 3cm long and

push the dowel through the centre as you did earlier.
Roll the log to open out the centre until you can get your
fingers inside.
37
39
Place the tube on a whirler

and pinch the shape until
wide enough to fit inside
the neck of the oya with a
little wiggle room. Working on the plastic sheet and using 10mm roller
guides, roll a small slab of clay. .
PROJECT
SKILL SCHOOL
TWO
42
40
Now using your chosen texturing tool, impress the
surface of the slab. This example uses an MKM roller
HR 052 – Dragonfly Party design – very apt for the
garden. Cut out the lid from the textured slab, carefully choosing
the best area to cut it from.
43
41
Turn the lid upside down and centre the tube on the
surface. Mark the position with a pin.
44
Measure the size of the lid you will need to cover the top
of the oya. Luckily, the cookie-cutter shown was just the
right size, but you could make a card template if you don’t
have a cutter in a suitable size. Score the rim of the tube
and marked position on the
TIP
A multi-sized selection of cookie cutters
lid, then apply slip to both
is really invaluable in pottery. They are
surfaces and secure the two
inexpensive to buy, so well worth investing
together.
in a set – you’ll wonder how you managed without them!
45 A NOTE ABOUT FIRING:

Because this oya has been made as a globe, it doesn’t
have a base to sit on in the kiln. You can resolve the issue
of keeping it upright by standing it on a suitably sized
star pin or support it around the base with kiln props –
either method will work.
Alternatively – make the oya with a base – it will work
the same way!
47
Neaten around the outside edge of the join with a

wooden tool to remove excess slip, then reinforce the
inside of the join with a coil of soft clay. Blend the coil in
seamlessly with a wooden tool.
Once bisque fired, a good way of keeping the oya

upright until ready to use in the garden is to sit it in a
46 bucket, as shown.
Check the fit
of the lid in the
48
vessel – it should
sit neatly on the
rim of the oya
with a little wiggle
room to allow
for shrinkage in
firing.
Allow the
vessel to dry with
the lid in place,
then bisque fire
as usual.
The great thing about an oya is that it only needs to be

bisque fired. When low fired, the porosity of the clay is the
key working element of this vessel – allowing water to seep
through the pores slowly to keep the ground moist.
DIARY OF A STUDIO POTTER
JOURNAL ENTRY 4 Studio storage includes
ello again! If you have under-counter cupboards,
H been following my journal

over the past few months,
hopefully, you’ll be
starting to get an idea of all the things
open shelves and trolleys.
you’ll need to set up your own pottery

business. From branding to large
pieces of equipment, I have covered a
lot of the essentials and, this month, I
will be sharing some ideas of what you
will need to set up an effective studio,
so let’s dive straight in…
Last month I wrote about selecting a
kiln, but to start using it, you’ll need
equipment. Basic necessities are kiln
shelves and kiln props, so that you can
safely load your work for firing. I
recommend having a variety of kiln
props so you can vary the height of the help you to stretch your budget.
shelves according to your work. One Practical equipment such as
or two half-shelves are also handy for cupboards, racks or wall-mounted
making the most of the space when shelves are essential to store your kiln
you are firing different sized work. equipment, materials, glazes, tools and,
Remember to use batt wash regularly, of course, to dry and stock your work
to protect your shelves so that you before and after firings. These need to
don’t weld your pots to them – or so be strong and durable, and you should
that at least you can remove them definitely overestimate, or leave space
(Photos: eleanorgracepictures.com)
more easily when you do! to expand into, as you will be
Stilts, cookies and high-fire bead surprised how quickly they fill up!
racks for firing various sizes and types Drying shelves the same depth as your
of work are really useful, but it may boards are also useful to prevent
take a while to build up everything having to continually transfer your
you need. After lots of expense and work. If you have a large space,
experimentation, I now use solid metal consider racking on castors (like the
stilts as they can handle the weight of supermarkets use for restocking
the pottery without cracking or the shelves) so that you can wheel your
metal points bending. All of these are work around rather than constant
available via pottery suppliers. Bead lifting and carrying.  An under-sink clay trap is useful for
racks can be made yourself using Sturdy workbenches and tables are a small studios.
high-fire nichrome wire and clay or must. If you can accommodate more
two kiln props, and occasionally than one, that will help save lots of free in skips! Remember, it needs to be
pre-loved kiln equipment comes up for time and effort constantly rearranging functional, not pretty!
sale in Facebook forums and on eBay, your work; you can assign different Being a potter is physically
so definitely keep a eye out, as this will areas for different tasks, eg making, demanding, so I am always reviewing
glazing, wedging/reclaiming, mixing where I can save myself time and
glazes etc. You can find pre-loved energy, and I recommend that you
storage equipment and furniture in regularly do the same. If something is
local charity shops and ‘For Sale and awkward or tiring you out, take some
Wanted’ social media forums or even time to consider how you can change it
– you’ll thank yourself in the long run.
 Racking shelf systems can be When I was starting out, I read some
adjusted to adapt to different sizes of
pottery and more shelves can advice about setting up a studio space
be added. and how things need to be close
DIARY OF A STUDIO POTTER
together so that you don’t have to walk turning tools that won’t really be of
miles each day. I dismissed the idea any use unless you have a wheel. Also,
because I was working from home and beware of the bulk pottery packs that
didn’t realise how much I would be contain double-ended pottery tools,
standing or how much clay, equipment, which seem a good idea but will slice
or pottery would need moving each your hands to bits and are a nightmare
day. Now, a few years later, I have to store!
walked my little legs off, and I really Health and safety equipment is
appreciate how important this is! absolutely essential; you MUST have a
When I relocated my studio to a farm method of wet-cleaning your studio, as  Open shelves allow for work to be
building last year, I was very careful to sweeping is very dangerous because of displayed. (Photo: jackietuckerphotography.com)
plan out the space so that all my kiln silica dust. For a large or regularly
equipment, drying pottery, etc, is now used studio, I would recommend a approach is that you have to do
stored in easy reach of my kiln; glazes wet/dry vacuum in addition to a trusty everything and have 100% perfection
are on moveable trolleys so that I can mop and bucket. You’re going to be before you launch. This can cause you
locate them next to my workspace using these a lot! Again, these will to feel blocked and that the mountain
when I need them and store them out need a storage space, so that tiny is too big to climb and sets you up for
of the way when they are not in use. corner you had your eye on for your failure – nothing is perfect at the start.
The best bit is that my pottery wheels studio may not actually suffice. Also, The modern, more flexible approach is
are now close to the sink! It’s amazing on the subject of keeping the air clean, to have the basic building blocks in
how small things make such a you will need specialist masks with place and prepare to launch a pared-
difference in saving valuable time and fine filters if you’ll be mixing glazes, back version and then build as you go
energy. working with plaster or refining any along. This latter method always gives
To make your pottery, you will need bisqueware by sanding (not me the confidence to get stuck in and
tools; rolling pins, pottery knives, ribs, recommended unless absolutely just have a go, as it means that you can
boards/cloths to work on, throwing necessary). earn as you learn, and I hope it will
and turning tools. The list is endless, Your sink will need a clay trap so help you too.
and the prices quickly mount up. Make that you don’t block the drains with So, that’s my list of important
a list of all of the items that you think your waste water. There are various equipment. Next month, I’ll move on
you will initially need, and if you systems available, from large settling to look at the supplies you will need,
intend to teach, remember you will tanks to smaller traps that attach to and some hints and tips to help make
have to cater for each of your students, the pipes under the sink. Consider how your money go further. 
especially during the current much waste water you will be
pandemic, as they can’t share producing before you make your
equipment. Look online at eBay and selection; throwing is likely to produce
Amazon as these are often good places a lot more than hand-building and
for basic starter kits of reasonable may require the larger, more expensive
quality. Just ensure that you check solution.
what the packs contain, as the hand- Wow, now that I’ve written it down,
building pottery kits often include that seems like a lot to think about,
and I’m sure there are more things
that you will need. I know all too well
that when you are starting a pottery
business from scratch, it may seem
overwhelming and the upfront costs
too big, but remember, this journal is
to help you take small steps; Rome
wasn’t built in a day! You can amass
many things over time. The main
ingredients are some clay to make
with, a kiln to fire it in, and some Jeni Jacques Williams
glazes to decorate with. As a project Lemon Studio
manager in my former life, I regularly Tel: 07813333235
Email: jenijacques@btinternet.com
 Kiln equipment is stored close to go back to the two different lemonstudio.co.uk
the kiln. approaches for success. An old-school
SKILL SCHOOL
POTTERY
PROJECT
THREE
Many children seem to delight in making animals, so this is a simple and fun
project for them, as well as adults who love dogs. AND, if you don’t have a kiln,
simply use air drying clay and paint the detail with acrylic colour as an alternative
PETS!
YOU WILL NEED:

■ White firing clay – earthenware or stoneware (or
air drying clay)
■ A short length of thin dowel
■ Wooden tools
■ Underglaze colours of choice – or acrylic paints
■ Brushes to apply colour
■ Transparent glaze to fit clay type
.
SKILL SCHOOL
PROJECT
THREE
4
1
Remove the dowel, then begin to form the shape by
pinching the clay between your finger and thumb.
Form 114g (4oz) of clay into a cone shape about 8cm
long – narrower at the top than the bottom.
5
Think about the anatomy of the dog as it would be in
a sitting position and form a rounded back on one side of
the cone by pushing the clay outward from the inside with
2 a finger.
Push the short length of dowel through the centre of

the cone, beginning at the wide end and easing it carefully
until it comes out through the top.
6
Now form the shape of the head from a small ball of
clay. Make sure the size is in proportion to the body.
3 TIP You might find it helpful to have some dog

images to work from
With the dowel still inside, roll the cone over the work Ease the clay carefully into the shape of the muzzle and
surface, applying greater pressure at the wide end to open nose – it doesn’t have to be a breed – crossbreeds can be
it up more than the top. more interesting – simply aim for a basic shape, drawing
Continue until you can just get a finger inside the cone. any excess clay down to form a thin neck.
7
9
Roll a really thin, short length of coil with a finger, then

Make two impressions for the eye sockets with a round- fix a short length of it over the top of each eye.
ended tool.
Blend the coil onto the head on the upper edge only,
using a wooden tool.
Form two tiny balls of clay for the eyes and apply a
dab of slip to each before fixing them into the sockets.
.
PROJECT
THREE
12
10
Using another wooden tool, carefully work around the

lower part of the eyes to make them look natural in the
socket.
Pinch the neck sufficiently until it will fit inside the

body at the shoulder. Arrange the head at the angle
11 you want it to be – looking up, down or to the side.
Draw in the line detail of the mouth with a suitable

tool or pin, then impress a couple of nostril holes with
a pointed implement.
13 16
Once you’re happy with the

position of the head, blend
the clay up from the body to Apply a dab of slip in the appropriate locations on the
secure it in place. head, then fix the ears in place, making sure the clay
There should be no is blended onto the head securely, and the ears look
evidence of the join when natural.
finished.
14
Pinch a small ball of clay between fingers and thumbs

to form a thin slab.
15
Cut two ears from the little slab, in a shape to suit your
dog – upright and pointed, or floppy like the example here. .
PROJECT
THREE
20
17
Roll a short, thin, conical coil of clay with a finger to
form the tail.
Allow the dog to dry out

thoroughly before bisque
firing.
DECORATING THE SURFACE

Before you begin, be aware that the following
method is for guidance only; you can use this
combination of techniques or something completely
different. You will also notice that this dog has been
given a hanging out tongue – something you can
18 add when making your own, if you choose. Anything
goes in terms of decoration unless you are aiming
Score the position for the tail on the back of the dog, to recreate a real pet – but crossbreeds come in all
then apply a little slip to the area. shapes, sizes and colours, giving huge scope for
interpretation.
21
19
Fix the tail in place, blending Paint the entire surface of

it onto the body at the lower the dog in a pale base colour of
end, then neaten around it with underglaze – a slightly creamy
a wooden tool to remove excess shade of antique white is used
slip. here.
22
25
Paint a second colour of underglaze over the first, in

selected areas, as shown. You may need a second coat of
this colour to cover the base layer.
Using black underglaze, paint in the eyes, the nose
and line of the mouth and maybe the tip of the tail or
23 ears.
Blend the second colour into the first at the edges with
dry, hair-like brush marks using the tip of the brush only.
24
Using an open textured natural sponge and a bold

contrasting colour of underglaze, lightly sponge over the
second base colour, as shown. .
SKILL SCHOOL
PROJECT
THREE
27
p Allow the underglaze colours to dry out completely,

then either dip or brush the dog in transparent glaze.
Note: if brushing, you will probably need to apply two
coats of glaze for best coverage.
26 Fire your dog to the clay’s optimal temperature.
TIP
Paint the inside of the mouth with pink underglaze Underglaze colours can sometimes
and the tongue in red. smudge when applying glaze over
the top, so to avoid this happening,
decorate the dog at the leather hard stage before
bisque firing. This will fire the colour onto the
surface, making it much less likely to give trouble
when glazing.
It is perfectly acceptable to decorate surfaces
with underglaze at the green stage.
28
This motley little group of mutts were made from white

earthenware clay and decorated in velvet underglazes with
a transparent glaze covering.
Bisque fired to cone 04 (1060°C, 1940°F) and glaze fired
to cone 05 (1046°C, 1915°F) in an electric kiln.
A final word about air-drying clay. To achieve the shiny
look of the glazed dogs, simply coat the painted surface
of the air-dried variety in clear varnish once the paint has
dried fully.
STUDIO CATCH-UP
The various Covid-related lockdowns and restrictions have impacted
everyone over the past year. Most businesses have struggled, some have
closed, but others have adapted and found a new way of working. We
caught up with Jo McAree from Eastcott Studios to find out how she’s doing
How did you cope with the first
lockdown?
I am a positive person; the first
lockdown was scary, but I looked at it as
an opportunity to invest (time, more
than money!) in my business. I took a
long hard look at my business and the
situation at hand. I was like everyone
else, working in the dark a bit, but I had
to be doing something! I looked at the
legal requirements for re-opening, did
risk assessments, put in screens and
COVID-19 safety procedures, then
added what I needed to make myself and
my customers be, and feel, as safe as I
could. Once I knew that was all in place,
I set about a programme of refurbishing
my studio, doing all those annoying
little jobs, plus some pretty major  Jo McAree took the opportunity provided by the Covid regulations to
restructure and improve her business.
maintenance work that I never seemed
to find time to do. I was very lucky here in that I qualified it went dead. When things opened up
I then looked at my business as a for the first and second business grant, again, class sizes went from 15-20 to a
whole; what I was currently doing? How which has been an amazing help. I used maximum of six, with many classes
was it likely to be affected? What was I most of it to pay essential bills and having no takers at all and pre-bookings
going to do about it? invested what was left in rebuilding my being cancelled. People were still scared,
business, ready for the challenges ahead or shielding, and initially, they were very
Were you able to apply for any of the and re-opening. Unfortunately, I did not reluctant to come to my normal sessions
government help? Did you receive qualify for Universal Credit or any other or even the private ‘bubble’ groups I
enough information about what to support or income but had a little introduced.
do with any staff you might have savings and put a lot of time and work
had? in, so I was able to tick over, keeping the If they were new, how did they find
business going as soon as the you, and how experienced are they?
restrictions were lifted. I do not have Has the profile/behaviour of your
any staff; I bring in specialists for users changed?
classes, workshops and exhibitions. I did Word of mouth, referral, personal
have work experience students in but recommendation, and the internet have
had to stop as they had special needs and always been very important, but with
were therefore vulnerable. fewer coming, there are fewer to help
spread the word! Many of my customers
What happened once the first are total beginners, and quite a few are
lockdown was over? Did you see the also older or needing more support, so
same, fewer, or more customers? my classes are set up to be flexible and
There has been a huge cut in customer provide a safe, friendly, supportive
numbers coming to the studio. Pre- environment where they can build skills,
lockdown my business had just started confidence, and self-esteem, all at their
 ClayCraft is used as inspiration for to grow significantly, things were own pace. ClayCraft magazine is
projects; here are some lovely little looking very good, and I was getting popular here, packed with ideas and
dogs made from issue 31. quite busy. Once lockdown hit, however, inspiration; even those unable to read .
GLAZE SCIENCE
The second lockdown for me has mainly

been about self-improvement, networking and
rebuilding the business
How did you cope with the immediate, physical side of things;
subsequent tier restrictions and the painting floors, repairing walls,
latest lockdown? Were you more able refurbishing pottery wheels, improving
to cope, having experienced the first heating, insulating walls and plugging
lockdown? holes, repainting, building shelves,
Under the tier restrictions, we were moving shelves, reorganising and
slowly rebuilding confidence. I had improving the way I use the available
invested in screens and carefully space. I sold wheels and equipment and
planned sessions to consider the invested in new, modern and more
associated legal requirements, but I also compact ones to help with space and
needed to help people feel safe again. social distancing; I now have six wheels
Those who were returning first were in and extra table space, oh and I bleached
desperate need of the social interaction and sterilised everything! I then moved
and support we offer, both with their on to thinking ahead; adding a drying
 The courtyard has been made into
a covered area where customers can pottery and mental health. Many lived room, repainting the outside of the
paint pottery and markets can be alone, were carers or going through studio and the fence, building an
held. The first one will be on 22 May. stressful or traumatic experiences in outdoor, covered collection point and
their personal lives, which was being creating an inviting courtyard with
can easily follow the step-by-step guides. further accentuated by the lockdown. tables, seating and planted up tubs!
Many come for the therapeutic benefits Others were simply pottery addicts Thankfully, my wonderful and ever-
of clay and being creative, while others desperate to get potting again… it gets patient partner, Peter, rolled up his
are looking for a bit of fun or to start a us all eventually! sleeves and, brandishing his trusty
new hobby and make friends. I also have Although numbers were starting to hammer, paintbrush and toolkit, came to
more advanced makers, who do not rebuild slowly, the second lockdown hit my rescue and was amazingly
perhaps have studio space of their own, harder still, so I will just have to work supportive. I then reviewed and updated
or just like the company! even harder to rebuild all over again. my main website (eastcottstudios.
I introduced a pottery ‘takeaway’ service co.uk), revised the online shop and
so that customers could continue How have you changed things? introduced an appointment system so
projects working from home. However, I Physically, in your studio, and as a people can select, book and pay online
get very few newcomers doing takeaway business. for their pot throwing, hand-building
as they often need to have that initial I explored every avenue I could think of! classes or pottery experience day. As I
interaction to gain enough confidence to Initially, I focused on the more had to decrease numbers in the studio, I
get started. For the more experienced
customers, it seems that many miss the
social aspect of group working, the
friendly ‘banter’, coffee and cake from
the gallery café, bouncing ideas and
techniques off each other, the thrill of
seeing things emerging from the kiln,
the excitement of discovering Raku, and
the encouragement and sharing as they
work through their projects together
and explore new glazes. Zoom, videos
and worksheets all help, but I am
finding people are waiting for ‘real’
sessions to start again, especially as
with family working from home, kids,
etc, people need face to face sessions for
‘time out’, space to work, just to think
and get messy! The studio is fully Covid-compliant, and as safe as it can be.
EMERGING POTTERS
increased the number of sessions and

days I open, offering more evening and
weekend sessions too. I added the
takeaway service for clay, glazes and
firing and created some downloadable
worksheets to help get people started.
Next were new signs, banners and
posters for the fence and studio. My
younger granddaughters even helped me
make some short, starter project videos.
I also just HAD to get to grips with
social media, so the second lockdown
gave me the opportunity for learning.
Finally, I looked at another new area,  Shiny new equipment! Family bubbles can use all the wheels, but unrelated
people are placed at each corner, with plenty of space around them.
pottery painting and slip casting, so I
bought a huge job lot of plaster moulds, Markets, establishing new marketing I am. My mother has always said, we
resold those I didn’t have room for to avenues and have even allowed myself are like little bobbing corks in a bucket;
help fund the project, started some time to experiment with clays and you can hold us under for a while, but we
experimenting making my own moulds glazes and return to a bit of sculpture. I will always bob right back up again…
and, with a bit of help from Peter, built a am continuing to develop my websites During this pandemic, I also found
new stock of bisque ‘blanks’ for pottery and have expanded my online gallery that if you keep sharing the positivity, it
painting, made using our own slip. (eastcottstudiosgallery.co.uk) to is amazing what comes back. As an
The second lockdown for me has showcase not only my work but that of ex-lecturer, teacher, trainer, event
mainly been about self-improvement, my students, studio users and local organiser, web designer, caterer and
networking and rebuilding the business. artists; plus, I think I may have even businesswoman, and having been mainly
After the first lockdown, I took some started to crack some social media self-employed for many years, I have
time to build and develop my own avenues… well, we shall see! We do at been lucky enough to have built a lot of
making skills, take courses, and visit least now have a presence both on skills and experiences to draw from and
other potters. I organised some pop-up, Facebook and Instagram to show off share. I am now watching as people
outdoor Christmas Art Markets, some of our customers’ makes (including around me are starting to blossom on
bringing together local artists and their fantastic chess set challenge work), their own journeys, helping each other,
makers and providing a much-needed and I have even managed to integrate working together and taking small but
temporary venue for them to get back in my gallery shop there too! Yay! positive steps of their own. A few have
touch with new and old customers. It started selling at our markets, on Etsy
was a great success breathing hope and Have you been able to keep going? and their own online shops; one or two
comradeship back into us all. This has If you managed for a while but then have now branched out to their own
led me to build a new website for the had to call it a day, what was the studios. All from thrashing about a bit of
Courtyard (courtyardarts.co.uk), as I final straw? If you did have to close, mud! 
hope to develop it into a more permanent do you hope to re-open in the future If you’d like to share an update on how
feature, with regular markets, (in the same format, or maybe in a your studio has coped, email us at
exhibitions and open days where both completely new one – if so, what will claycraft.ed@kelsey.co.uk for more details.
artists and locals can get together, chill be different?).
out or be creative. Like most survivors, I keep going ‘by USEFUL LINKS:
During lockdown two, I again had the skin of my teeth’, but then, I am a Eastcott Studios:
time (no money, but plenty of time!), so determined little critter!! Lol www.eastcottstudios.co.uk
again, thanks to the good old internet It has been difficult, the second Gallery: www.
and YouTube, I am doing more research lockdown being the worst; I have no eastcottstudiosgallery.co.uk
and review, continually improving and reserves left to draw from and can only Art markets:
building skills. We now have a hope I can keep it all together until we www.courtyardarts.co.uk
temporary cover over the courtyard, open up again, when I can put my plans Facebook: www.facebook.com/
which will give us more sheltered space into practice, and of course, get eastcottstudios
for the markets and pottery painting. marketing! Instagram:www.instagram.com/
After a few more general maintenance eastcottstudios
jobs, including updating the kilns, I am Have you discovered anything, even Swindon Open Studios:
busily making up blanks, building stock in this most depressing of times, www.swindonopenstudios.org
for the planned Spring (or Summer!) Art that was positive?
The ClayCraft Challenge
If, like us, you’re enjoying
the Great Pottery Throw
Down, and have been
inspired to make along with
the episodes, we’d love to
see the results! We’ll print
a selection of your work
and announce a monthly
winner, who will receive
a year’s subscription to
ClayCraft plus one of our
split-leg aprons
hile we do love to see your
W results via our social media,

to enter the competition
please email your photos
to claycraft.ed@kelsey.co.uk
We've been very impressed by the
standard of work that's been sent in so far,
and it's made the job of picking this
month's winner very hard!
Here is a selection of work that
impressed us, but to see all of the
submissions, head over to our website at
claycraft.co.uk/challenge-entries
This month's winner

is Sarah Keogh, who WINNER!
said: I was very excited
to see your post on The
Great Pottery Throwdown 2021
Facebook group. I've been learning
pottery for three and a half years
and, in September 2019, set up my
own garden studio. I've been learning
through my mistakes, from YouTube
and by following along the challenges
on TGPTD. I have really enjoyed the
challenges set on the current series,
which have pushed my skills to a new
level. I have never slab built before,
Allan Page I made several repairs certainly not a 40cm building! And
during construction that left it a bit who knew that making ceramic fruits
wonky and rustic looking! I painted would entail learning new skills.
parts with a thin slip made from
garden clay. The castle was fired by Ed: The level of detail on this house is fantastic, with beautiful little
the Play with Clay group at Blisworth, touches like the open window and the maid's frilly cap. The quality
Northants, once it had shrunk to fit of the build is excellent too, and the whole piece is just delightful.
the kiln. It came out of the bisque Congratulations Sarah! Your prizes are on their way.
kiln without further problems.
Julia Crimmen and Lucy Owen
were Highly Commended. Jacqui
Atkin was also impressed by last
month's winner, Mo Schofield's
Frida Kahlo fruit bowl (below).
Lucy entered via The Great
Pottery Throwdown 2021 Facebook
group, which shows lots of brilliant
work made by its members. If you
like seeing how other potters are
interpreting the challenges set by
the show, why not sign up?
Julia said: This is my cheese

dome and pickle jars. I'm really
enjoying the series and look
forward to seeing everyone's
makes.
Louise Eardley
I loved the cheese dome and felt compelled to make-along! I
didn't have time to do the pickle jars and fondue pot as well,
but it's definitely something I might re-visit. My inspiration was
Portmeirion's mid-century 'Totem' range.
Mo Schofield
Here's my take on Episode
3, a Frida Kahlo Fruit
Bowl. I think it was the
influence of Siobhan's Linda Carter Since being in lockdown, I've
headgear that took me taught myself sculpting in air drying clay (as I
there, although it doesn't don't have a kiln). I find it's a good way to relax.
take much for Frida to find I picked Sir Tom Jones to sculpt from the list as
her way into my work. he's one of my favourite singers. It's a life-sized
head and neck, as my base wasn't wide enough
for shoulders!
Zoe Wai
I don't own a kiln, so I have had
to wait a while for things to be
fired, but here's my attempt at the
illuminated building challenge! This
is my first ever attempt at hand- Helen Baxter
building and working with slabs. Here is my cheese set from Episode 1.
If you’d like to be in with a chance of winning a year’s subscription to ClayCraft and one of our split-leg aprons,
email your photos to us at claycraft.ed@kelsey.co.uk
MADE WITH
CLAY STUDIO
Former members of the Digswell Ceramics Community have
been in touch to let us know about their new studio
etchworth Heritage
L Foundation, North
Hertfordshire District
Council and the Civic
Trust have all contributed to giving
The repair and conversion work was
done by volunteers last summer.
the beautiful, historic Vasanta Hall in

Letchworth a new life as a ceramic
facility – Made with Clay Studio. The
studio is set in its own garden a few
steps away from the town centre. It’s
an aspirational and inspirational space
with two kilns, four wheels, fully
stocked decorative materials, a small
library and a new kitchen. It already
has a creative buzz and a warm,
accepting community, with everyone,
even in these socially distant times,
feeling a sense of it being somewhere
they love to be. They will be
welcoming new members as soon as
the studio re-opens on 12 April.
Debbie Bent takes up the story: “We us, they suggested a beautiful historic
were Digswell Ceramics Community building called Vasanta Hall that had
in Letchworth, but we now have our been built by the Theosophical Society
own little ceramic space. (our website has a bit on the history of
“When I asked Letchworth Heritage the hall). It had fallen into a state of
Foundation if they had a building for disrepair, but we could all see that
restored, it would be perfect for us. It
has thick walls, its own outside space,
two separate rooms for a workshop
and a kiln area with lovely high
ceilings and big windows for great
light.
“We set up as Made with Clay
Studio and got a business plan
together with two other trustees,
which, when approved, gave us
funding to get the building into a
usable state.
“The main building work of
 There’s plenty of space in the well-
equipped studio.
repairing leaks, fitting a kitchen and
restoring the original flooring, as well is no religion higher than truth’ above
as using the stage for the new the main hall and two enormous
shelving, was done by a building firm I paintings by Horace Wooller, which
had used before, called Bob Finch are protected.
Kitchens. They were brilliant and kept “All the clearing, cleaning, painting
 The old stage was repurposed into to a strict budget. The building is and fixing was done by members of
shelving. listed, with a large plaque with ‘There what had been Digswell Ceramic
EMERGING POTTERS
Each potter has PPE, and washing

up bowls are provided for cleaning
tools.
Community and other new interested

partners and their families. All the
materials, equipment and tools were
mine, or were donated to me too.
“We then began a rota of works;
each day of the week, we worked with
two people in each large room or one
person in the other smaller spaces,
such as the toilet. It took a few months,
and we opened in October 2020. It
was only for a month or so,
but we had already signed
up 24 members.
“Some of the
members continued to from the Civic Big windows let lots of light into
pay for a clay and Trust in the high-ceilinged workspace.
firing service when it Letchworth, which
was allowed, but it is paid for us to put in
closed now, apart from central heating and
myself and Zara, our hot water. It has
apprentice technician. made an enormous
We keep the place running difference to how the
and there are a few artists place feels.
making things to sell. “Following Coronavirus guidelines,
“When we’re able, we hope to offer a the studio will be re-opening from 12
more open membership for those who April 2021, with workshops held on
work shifts or want to do extra hours, Tuesdays 10-1pm, Thursdays 12-3pm
but so far, we have only been able to and 6-9pm, and alternate Saturdays
hold workshops for a maximum of 10 10-4pm starting on 17 April. The cost
people each time, split into two is £130 a month for three hours a
groups, using different areas of the week, which includes all tutoring,
main workshop and toilet facilities. available materials and two firings.
Everyone had their own washing up “To find out more or get in touch,
bowl, which we filled for them to wash find us on Facebook (the history of the
any shared tools or materials. It changes are on Facebook), Instagram or
worked really well. at madewithclaystudio.com or email A brand new kitchen thanks to a
“Lastly, we were given another grant admin@madewithclaystudio.com”  grant from the Letchworth Civic Trust.
Join us for step-by-step makes, tips
and inspiration. Inside every issue of
ClayCraft you’ll find practical hands-
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Doug’s
(Photo: Layton Thompson)
Doug Fitch
DIARY
T he month began with more
snow: nothing too crazy, just
a dusting, like sugar, across
our garden. Away in the distance, the
Galloway hills, clearly visible through
the bare boughs of the woodland outside
of the workshop window, were bright
and white with deep snow, rendering
them more evident than usual, against
the dark, blue-grey of the winter skies.
The nights have been clear and the
frost hard, with a billion stars twinkling
in the sky above, as we head out with
baby monitor, kiddies asleep, to attend
our late-evening shift in the workshop.
As the month progressed, heavy rain
washed away the snow. At times it
seemed like it would never end. A few
days ago, at last, I felt warmth on my
face, and my heart was filled with glee.
The birds sang, the children ran around
the garden. It was brief, just two days,
but it happened, a glimpse of the spring
to come.
Hannah looking 'delighted' with my new purchases.

Then more rain came along, and the A pair of sparrows are repeatedly
countryside was awash with flooding returning to view the birdbox on the
everywhere. But today, I can rejoice, side of the workshop, and jackdaws
because the sunshine and relative eying the chimneypot on the house are
warmth are back with us, and it feels so encouraging me to light up the burner
good. more frequently, rather than just relying
The spring bulbs are shooting up on the central heating, to prevent their
with some speed now in the workshop unwelcome occupation.
garden. I’m pleased that Fred and I We are rattling with vitamin D, taken
braved the elements in the early winter daily as an antidote to the lack of sun.
to plant them, and they’ll pay us back But evenings are growing rapidly
with welcome colour fairly soon. Drifts longer now, and with the changing days,
(Photo: Shannon Tofts)
of snowdrops line the lanes in profusion, we are becoming energised after

and the catkins are dangling and doing fighting hard against the potential
their thing. winter slumbers. In fact, as I write, we
The red squirrel, who runs back and have just returned from the forest after
forth along the stone-walled perimeter our first run of the year. It’s been a
of the workshop, comes looking for its while, and my body is testament to that;
Decorating a tall tapered jug share of the peanuts that we put out for I certainly don’t remember needing a
requires great concentration. the birds. sports bra last time we ran!
KILNS
Hannah decorating owl mugs for our website. (Photo: Shannon Tofts)
The little 'buttons' are called they have either been cancelled, or we nothing of it.
'plooks'. What a lovely word! have, so far, made the decision not to Only last week, I found a batch of old
(Photo: Shannon Tofts) apply. The role of our website has pots on Facebook Marketplace. I struck
We’re loving being in the workshop, become all the more fundamental to the a deal and went and collected them. The
which is great, because it certainly isn’t survival of our business. picture was taken as I unloaded them
always so. This is particularly fortuitous Good photography is essential to its from the van into the workshop.
because we have so much to do, and it’s success, and Shannon is as good as you Fortunately, it’s not a moving image, so
going to demand some considerable can get. He’s a top chap too, so to see you can’t lipread Hannah’s expletives as
level of energy and focus to achieve it him, albeit at a ‘safe social distance’, to she questioned where on earth we were
all. coin an expression of these times, was going to put them!
Pots have started to come through the lovely, and we were able to chat about I’ve since built some very heavy-duty
kiln now. It’s great to see new stock on various projects that we might explore shelves in the workshop to display them.
the shelves, and it breathes life back into
the pots that we’ve had a while and
in the future.
His images did the job, and enquiries
I must add, despite her initial concerns .
become tired of. I threw a batch of big from customers have flowed in, and pots
jugs a few weeks ago, the ones I talked have flowed out. He’ll be back in a few
about in the last issue. I’d only got weeks to photograph the pots we’re
orders for a couple of them, but they currently making, so they’ll be on our
were going well, so I made a batch of 12 website in readiness for our
and stored them in polythene bags to participation once again in the Digital
keep them damp. Since then, I’ve had Craft Festival, 26th-28th March
orders for another five of them, so it’s (digitalcraftfestival.co.uk).
been fantastic just to be able to unwrap I used to think that people would
them and decorate them accordingly. never buy pots on the internet, without
The tapered jugs and some of the the opportunity to handle the piece or
‘new shape’ jugs that featured in last to see it in the context of a show, to
month’s article are fired and finished, compare and contrast it with other pots.
and I’m happier than I’ve ever been with It’s certainly a very different experience,
them. We booked a photo session with as selling pots from a show or an
our photographer, Shannon Tofts, to exhibition brings the opportunity to
document the new work so that we hold the pot and gauge its weight and
could upload it to our website. In usual balance and provides the memory of the
times we would be planning for the interactions and conversations during
various ceramics shows that we would the transaction. But thinking about it,
travel to throughout the summer I’ve always bought old pots for our
months, but in this time of pandemic, collection online from eBay and thought Somewhere to keep the kiddies!
Doug’s
DIARY
The Northern Kilns boys, Stuart

(L) and Adrian (R), delivering the
kiln; sodden but still smiling.
One of Hannah's plates, diameter our electric kilns, but also to collect and
29cm. (Photo: Shannon Tofts) deliver a large gas kiln to us from potter
Archie McCall’s workshop, situated
the first time since before Christmas, so elsewhere in the county. Archie no
the past few days, I’ve been back on the longer had a use for it, as it was too
A tall tapered jug, height 31cm. nursery run, and we only have Fred in large for his requirements, so he very
the workshop with us. He’ll be starting generously gave it to us.
nursery after Easter, and then it will It was one of the wettest days of the
about space for such things, Hannah just be Hannah and me. year when Adrian and Stuart carried
really likes them. It’s somewhere to keep They are a very wonderful and out the delivery. They got completely
the kids, after all! welcome distraction, but as you can saturated as they unloaded and
The skills of the makers of those pots imagine, it is quite difficult to reassembled it carefully under our
were extraordinary; I wish I had such concentrate on our work sometimes! lean-to roof.
abilities. To have such wonderful Occasionally they’ll go to their It needs a lot of work, new jets, a new
examples in the workshop is so very grandad’s for a few hours, and it’s bag wall inside and also connecting to
inspiring. It’s becoming something of a surprising how much we manage to get our gas main, so we’ll be getting the
museum in there. done. They need nursery and interaction Northern Kiln boys back up to do all
These particular pots are 19th- with other children, rather than being that, once we’ve decided where its final
century traditional storage crocks, and stuck at home with mum and dad. Fred position will be. All we need to do then,
were made at Wetheriggs Pottery in is only three, so a third of his life has is learn how to fire it!
Penrith. You may remember that there been in lockdown. Well, as I sit writing this, I have just
is an appeal to rescue the pottery, which They have both become increasingly seen the wretched jackdaw return with
is a Heritage site (see ClayCraft, issue accomplished makers. We got Shannon its beady grey eye on my chimneypot.
38). The chap I bought them from had to document the work that they were It’s time to light the burner again and
got them from a farm, about 20 miles decorating in last month’s issue. send it on its smoky way. Farewell until
from here, where they had been used for Hannah helped them make the little next time. 
food storage. pots to decorate, but it won’t be long
There isn’t a huge tradition of this before they’re making them on their
kind of pottery up in South West own.
Scotland, certainly compared to some Just before Christmas, one of our
regions of England. This is partly electric kilns started misbehaving.
because the geology wasn’t necessarily Another needed some maintenance too,
suitable and also that it was more so we called on our buddies at Northern
commonplace for vessels to be made Kilns to come and take a look at them.
from wood. Wetheriggs Pottery, We always use Northern Kilns and
situated about 70 miles south-east of us, recommend them to everybody because
over the border, would have been the their products and service are second to
closest to our region. We rarely find old none. They have become good and
pots up here; if we do, they tend to be trusted friends over the years and
from Penrith. There was no way that I always do their best for us, which is so
could have left them! important when running a business like
It’s strange in the workshop this ours. A Pippin and a Freddie plate. Note
week. Pippin’s nursery has reopened for Not only did we want them to repair Pippin has trailed her name on hers.
PINCH, COIL, SLAB AND THROW
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BLOG
Confessions
of a novice
Textured slab-
built press dishes
After my last blog’s disasters, things
h, the humiliation of last could only get better, and I had at
O month’s cat dishes. The
kids would probably say
something melodramatic,
like ‘kill me now’ or ‘fml’ (which I
least learned how to use my slab
roller more successfully. I’ve had my PART 1
won’t explain in such good company). eye on this project for a while and
Generally, I embrace the process of really enjoyed it
learning through failure, as you know,
but for most blogs, I at least
have something I’m pleased with by the
time we go to press. The failures are
steps along the way rather than the
finished product. Last month, however,
I just had to bite the bullet and send
off the best bad pictures I could
manage. It was the first time that
my ClayCraft arrived on the doormat,
and I opened it with eyes squinted
half-closed so I didn’t have to see how
bad the blog looked all in one go.
So, let’s put it behind us. I mean, if
needs be, do feel free to use those
pages of issue 48 for smoke-firing
purposes. Speaking of which, I’ve been
having a go at naked raku recently, the
kind with a layer of slip or glaze that When in doubt, just have a go. Test shapes ranging from simple to pretty
elaborate…
resists smoke and cracks off, rather online that helped me make it work
than the kind decorated with only with the equipment and materials I
horsehair and feathers and the like. My had on hand. It’s been a LOT of fun.
raku-inspired experiments using my But it’s been extremely cold, so there
electric kiln – since I don’t have a raku was only so much experimentation I
kiln – are all over my social media could do outside. Even throwing pots
channels, if you fancy a look, but I’m in my shed was a bit too chilly – it’s
also planning to write up everything I pretty well insulated, and I have a nice
learned for this blog, after this electric oil heater that takes most of
2-parter. I’ll include everything from the edge off, but still, I’d come in after
… traced around, with extra slices the instructions in issues 19 and 20 to a session on the wheel, and my hands
for handles. various videos and articles I found and feet would take ages to warm up.
BLOG
Those are the times when I squeeze

into the tiny room upstairs and see
what I can hand-build.
If there was one plus to be drawn
from the-project-that-must-never-be-
mentioned, it’s the improvements to
my slab roller. I thought I’d better
capitalise on those and get some
practice in before I get back out on the
wheel and forget I even had a slab I finally got around to trying this
Handle mark II being attached nice doily made by a friend specifically for
roller. and firmly. making texture in clay...
Textured slab dishes it was then,
with specially made presses, as I’ve As you can see, I didn’t quite follow whatever textured items I’d gathered
fancied those for ages (issue 14). I’d the instructions for the handles. This since starting with clay in 2017, and
also recently seen some made by Troy was out of necessity, because I didn’t save the rollers for my next blog. It
Drake on Instagram. If you don’t have enough clay handy for the was good fun, looking through all the
follow him, I highly recommend it. I heavy-duty handles that were tubs I might have stashed things in,
envy his meticulous methods, and like specified. It occurred to me that these finding stuff I’d completely forgotten.
me, he seems to really enjoy the clay. are really just for lifting the former off I was especially glad to find a little
I’d planned ahead for once, and while I the clay after pressing it into the foam. crocheted ‘flower’ that a work friend
was slab-rolling last month, I also The actual pressing down would had made me a couple of years ago,
rolled out some thicker slabs and made probably be done with fingers spread especially for texturing clay, which I’d
the presses, so they could be bisque across the whole shape to make sure never used because of my obsession
fired and ready to go for this issue. To all the edges impress equally onto the with the wheel instead of hand
make shapes, I just folded a sheet of A4 slab. Such a strong handle was building. There was also a piece of
paper into four and drew a nice, curved probably not necessary, then. So I coral, shark’s tooth, various beads, and
edge, then cut round it to get the full made nice little handles out of the slab some latex hollyhock leaves that I
shape. No point in having boring offcuts. The first one looked hard to made in 2017 – perfect for this time of
shapes, I thought, because I could grip, so I made the rest looped and year when there aren’t any of those
probably find those in random objects easy to use. available in the garden. The pièce de
around the house. I was very pleased Once bisque-fired, I was excited to resistance was a large sheet of rubber
with how they came out. have a go. I’d planned to make texture matting, intended to go under rugs, or
rollers from issue 23 but hadn’t yet got perhaps tablecloths that makes a lovely
that far, so I thought I’d start with texture and is big enough to roll into a
good-sized slab. .
Note to self: randomly shaped

… can you see it peeking round I need to press it in more firmly slabs don’t work. This one was
the former? next time. recycled.
BLOG
 Don’t you love the look of drying clay?

around the room I was in and taped a and very enjoyable (with the added
 However, turning the former so it’s pen to the handle of a meat tenderiser. bonus of being in a warm room,
not central did work quite well.
What, you haven’t got a meat because outside it was now snowing).
First, though, I needed to cut the tenderiser in your clay room? Pah! For decoration, I decided to play safe
right shaped slabs. I tested what would Call yourself a potter??? Anyway, with with some very reliable Amaco glazes,
happen if I just cut a rough oval and the two taped together, I ran them Storm and Aqua, which would pool a
pressed the shaped former into that. It around the edges of the formers so little darker in the deep areas of
looked bad, that’s what happened. So I that the pen drew the outline about texture. What do you think? Did I
needed a way to cut a bigger version of 2cm away. Perfect! redeem myself? 
the shapes I’d made for the formers. I This done, I experimented a bit with
could draw around them, scan them in, angling the former in the shaped slab Keep up with my experiments
make them bigger on the computer, – that worked nicely, as you can see in via Instagram, Facebook and
print them out… but I wanted to play the photos. And then I just got busy Twitter (plus occasionally
with clay, not technology! I looked rolling slabs, making texture, pressing TikTok) - @pottlemuddery
into foam… it was quite meditative
Ta-da!
 This version was made by Troy

Drake, a talented potter I enjoy
following on Instagram
(photo with kind permission of @troymadeit).
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INSPIRATION SIMPLE FUN BUILD CHRISTMAS TRY THIS MONTH’S
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• Plates from bisque former • Slab-built egg tray candelabra coasters • Pig money box
• Firing guide pt 2 • Pinched bud vase • Porcelain tree angels • Porcelain squares • NEW Diary of a studio
• Garden cone sculptures • Slab-built fox • Leaping deer for walls • Animal Christmas tree potter: Jeni Jacques-
• Mugs for the NHS • Troubleshooting glazing • Nesting dishes decorations Williams
45 PAGES OF STEP-BY-STEP GUIDES TO CREATIVE MAKES
Pottery MAGAZINE
18-PAGE SPOTLIGHT ON THE GREAT POTTERY THROW DOWN 2021
Pottery for Beginners: handbuild projects
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COURSES
SCOTLAND
Email claycraft.ed@kelsey.co.uk for free inclusion in our listing
CUMBRIA/N EAST FIREFLY POTTERY – LEEDS
Courses: Pottery courses for beginners
SHEEPWALK STUDIOS
Courses: Handbuilding and throwing.
STEF BAXTER POTTERY HANDKNITTED POTTERY & developers. Wheel & hand building Classes, one to one and workshops –
Courses: Handbuilding & throwing day class Courses: Throwing (individual or two workshops for all levels. One-to-one & group including Christmas reindeer workshop.
drop-in. Night and weekend classes. 1-1 together), handbuilding (groups and private pottery wheel lessons Dates : Contact for info
tuition & Raku classes. Suitable for all levels. lessons). Gift vouchers available Dates: Various Location: Upton, West Yorkshire
Open access coming. Dates: Various Location: Leeds Tel: 07769955150
Dates: see website Location: Esh Winning near Durham fireflypottery.co.uk E: l.bulleymentceramics@gmail.com
Location; Govan, Glasgow handknittedpottery.co.uk JILL FORD sheepwalkstudios.com
stefbaxterpottery.com LOVEHEART WORKSHOPS Course: Workshop and Day Courses TWISTED EARTH CERAMICS
CLAY WORKS STUDIO Courses: Evening and daytime weekly Dates: Thursday evenings & day courses by Richard Hedges
Courses: All levels from beginners to classes for all abilities, taster sessions, parties throughout the year Courses: Essential techniques for creating
intermediate. Taster courses, general pottery (adults, children, team-building) Location: York, animal sculptures. All levels catered for.
and throwing courses. Open access facility for Dates: Mon-Thurs 6.30-8.30pm & Tues-Wed Tel: 01717 289008 1-1 and groups, private workshops, parties,
more advanced makers coming soon 12.30-2.30pm weekly class running all year JOY GIBBS PRICE CERAMICS team-building
Dates: See website round Courses: Weekly pottery workshops, raku Dates: Various
Location: Dumfries & Galloway Location: Stockton-on-Tees, and private tuition available Location: Mobile, or come to me.
clayworksstudios.co.uk Cleveland/Durham/Teesside Dates: Various Dozens of venues across Yorkshire
DUNDEE CERAMICS WORKSHOP FB: loveheartworkshops Location: Everton, S Yorks twistedearthceramics.com
Courses: Classes for all levels from beginner loveheartworkshops.co.uk thepottery.co.uk WENTWORTH POTTERY
to intermediate, for individuals and groups. MUDDY FINGERS POTTERY GREENWOOD CRAFTS Courses: All levels, throwing, decoration.
1-1 tuition available. Open studio access and Courses: Adult night classes Courses: Handbuilding; throwing from Half & full-days. 10-week evening class
kiln hire for members Dates: Tuesday and Thursday evenings, beginners onwards Dates: See website
Dates: Throughout the year (see website) every six weeks Dates: All year Location: Aldbrough, Yorks
Location: Dundee Location: Jarrow, Tyne and Wear Location: N Yorks wentworthpottery.co.uk
dundeeceramicsworkshop.com muddyfingerspottery.com tryacourse.co.uk
FORGAN ARTS CENTRE
Courses: All levels and ages catered for in
ANNIE PEAKER
Courses: Figurative Ceramic Courses
HULL COLLEGE
Courses: Specialist Ceramics and Glass
LANCS/CHESHIRE/
hand building, throwing, Raku, sgraffito and Dates: April - October (3 & 5 Days) Courses to suit a range of abilities. MERSEY
mishima Location: Penrith, Cumbria Full range of techniques covered, within
Dates: Various (see website) anniepeaker.co.uk bespoke facility supported by specialist BALTIC CLAY
Location: Newport on Tay, Fife QUIRKY WORKSHOPS lecturer and technician. Courses: Evening and weekend clay courses
forganartscentre.co.uk Courses: Various (eg raku, silver clay, Outdoor firing area, gas reduction facilities Dates: Tue, Wed, Thurs (6.30pm - 8.30pm)
HOLY LOCH POTTERY Green man, textures in porcelain, tiles) Dates: 10 weeks per term – Autumn term: & Sat
Courses: Hand building & throwing tuition Dates: Various 25th, 26th, 27th September 2019. Location: Liverpool
for all levels. Some sculpture sessions Location: Penrith Spring term: 8th, 9th, 10th January 2020. balticclay.com
available. Raku & alternative firing techniques quirkyworkshops.co.uk Summer term: 25th, 26th, 27th March 2020 BLUE BUTTERFLY CRAFTS
offered. Individual & groups courses by Location: East Yorkshire Courses: Handbuilding.
arrangement Tel: 01482 598751 enquiries/view facility
Dates: By arrangement YORKS 01482 598744 info/enrolment
Weekly 2-hr sessions and day-courses
Dates: Various, see website
Location: Kilmun, nr. Dunoon, Cowal ART HOUSE, SHEFFIELD 07961 734 729 lecturer Location: Accrington, Lancs
Peninsula, Argyll Courses: Wheel, handbuilding, porcelain, E: npliener@hull-college.ac.uk bluebutterflycrafts.co.uk
holylochpottery.co.uk raku, figurative, workshops, summer HULL TRAINING AND ADULT JOAN CHAN
MUDFLAIL CERAMICS intensive week (chimeneas) EDUCATION Courses: Introduction to clay, handbuilding,
Courses: Basic handbuilding Dates: Mon-Sat 10am-9pm Courses: Range of courses for all abilities throwing, slip casting, glaze workshop
Dates: Various Location: Sheffield City centre Dates: Various Dates: Afternoons and evenings
Location: Glasgow arthousesheffield.co.uk Location: Preston Road Adult Education Location: Greasby, Wirral
karenjamesceramics.webs.com KATIE BRAIDA Centre, Hull Tel: 07803 848212,
THE POTTER'S HOUSE POTTERY Courses: weekly class and day workshops hcctraining.ac.uk E: joancchan@aol.com
Courses: Wheel & claywork sessions. Pottery Dates: Every Thursday evening and various LEAFY LANE POTTERY BY SUZIE FB: jccermaics
painting, suitable for all ages and abilities. others Courses: Hand building courses for all THE CLAY HOUSE
Individuals and groups welcome Location: Scarborough abilities. Learning disabilities, residential Courses: Two 3-hr workshops every month
Dates: Tues - Sat 10-5 katiebraida.com homes, schools and private sessions, Dates: Various, see website
Location: Muir of Ord, Highland CLAYHOUSE STUDIO and sculptures for your home and Location: Cedar Farm, Mawdesley, nr
thepottershouse.scot Courses: All levels from beginners to gardens Ormskirk,
POWDERHALL BRONZE ART STUDIO intermediate. Taster courses, handbuilt Dates: Throughout the year and area Tel: 01704 807320
Course: Clay modelling with Alan Beattie pottery and specialist workshops. Location: Hull and East Yorkshire theclayhouseatcedarfarm.co.uk
Herriot. Figure making with Kenny Hunter Dates: See website for details Tel: 07886 841936 CLAYWORKS
Dates: March 2019 Location: Sheffield S10 5DB E: leafylanepottery@gmail.com Courses: Evening & daytime classes for all
Location: Edinburgh theclayhousesheffield.co.uk NORTHLIGHT ART STUDIO abilities (with occasional weekend events
powderhallbronze.co.uk BOO EVERETT Courses: Evening and day workshops, such as 'Raku', etc)
SEA DRIFT POTTERY STUDIO Courses: Day and evening courses in all summer schools and taster days. All levels Dates: Weekly throughout the year
Courses: Weekly classes, wheel taster aspects of hand building with clay. Further Dates: Weekly and throughout the year Location: Southport, Lancashire
sessions, 1-2-1 wheel tuition, monthly project courses available in order to decorate the Location: Hebden Bridge, Yorks FB: arthousesca
workshops. Kiln hire available fired bisque. Individual one to one or group Tel: 01422 843519 sca-network.co.uk
Dates: Various sessions. All tailor made to your northlightstudio.co.uk CRAFFITY POTTERY STUDIO
Location: Sandbank, nr Dunoon, Argyll requirements OLD STABLES STUDIO Courses: 'Create with Clay' drop-in sessions,
seadriftpottery.co.uk Dates: The dates are flexible. My studio is Courses: Throwing: bootcamp, weekends, with or without input. Regular and seasonal
SEATREE CRAFTS always open, so I can fit in with you tasters and regular classes workshops
Courses: Beginners' classes, workshops, after Location: Castle Howard Estate, North Dates: Various Dates: Various
school club, supervised open access Yorkshire, about 12 miles from York. Location: Hebden Bridge, Yorkshire Location: Bury, Greater Manchester
Dates: Various E: booeverett@onetel.com JAMES OUGHTIBRIDGE craffitycreations.co.uk
Location: Innellan, Argyll boo-artist.com Course: Large Scale Slab Building THE CRAFTY POTTER
seatreecrafts.co.uk FANCY FROG POTTERY Dates: Contact for details Courses: Throwing, hand-building
STUDIO MAMA Courses: Various options including: Location: Holmfirth, West Yorkshire & modelling
Services: affordable kiln hire, 1-1 & group 5 weeks beginner wheel throwing; taster jamesoughtibridge.blogspot.co.uk Dates: Various
handbuilding workshops (for all ages and sessions; private groups and individual JIM ROBISON CERAMICS Location: Chorley, Lancashire
abilities), glaze table hire, gift vouchers, a tuition Courses: Week-long Ceramics, and Glaze thecraftypotter.co.uk
webshop and bespoke commissions Location: Scarborough, N Yorks and surface courses THE DOWN TO EARTH POTTERY
Dates: by arrangement via Dates: Various options see website Dates: Various Courses: Hand-building for beginners
studiomamayoung@gmail.com fancyfrogpottery.co.uk Location: Holmfirth, Huddersfield to advanced. We are always trying out
studiomama.co.uk FIRED ART DESIGNS boothhousegallery.co.uk new techniques such as use of decals and
THE WEE MUD HUT Courses: 1:1 wheel work, brushwork, surface SCULPTURE LOUNGE STUDIOS coloured clay
Courses: Handbuilding and throwing for all decoration. Handbuilding, slab work, coil Courses: Throughout the year Dates: Year-round: Tuesday pm
ages/abilities. Groups and individual sessions work. Classes Dates: Contact directly for further and Wednesday eve. Some Saturdays
Dates: Various Dates: Various information Location: Clitheroe. Lancs
Location: East Kilbride, Scotland Lanarkshire Location: Pontefract, Yorkshire Location: Holmfirth, West Yorkshire E: lesleywoods19@hotmail.com
theweemudhut.co.uk firedartdesigns.co.uk sculpturelounge.com FB: thedowntoearthpottery
For free inclusion in this listing, email: claycraft.ed@kelsey.co.uk
FIRED 4 U THE CLAYROOMS arrangement Location: Carmarthen
Courses: Guided evening workshops & do Courses: Handbuilding, throwing, sculpting Location: The Harley Ceramics Studio, siramik.co.uk
your own, clay work and painting ceramics from beginners to experienced makers Welbeck, Worksop TREE HOUSE POTTERY
Dates: 1st & 3rd Wednesday 7pm, Dates: Various see website for dates lindasouthwell.co.uk Courses: Pottery in a real Treehouse. We offer
pre-booking essential Location: Ashbourne, Derbyshire DAVID STOCKS courses & taster sessions for beginners, clay
Location: Preston, Lancashire theclayrooms.co.uk Courses: Beginners Basics, although open building & potters wheel
fired4u.co.uk CLAY STUDIO MANCHESTER to all, including disabled (carers free when Dates: Various
PAUL GOULD/MON CERAMICS Courses: One-off taster sessions to regular accompanying). Pinch pots through to slabs, Location: Gower Heritage Centre, Swansea
Courses: Beginners & intermediates weekly courses and 1-to-1 tuition. Anyone coil work and throwing and glazing gowerstoneart.co.uk/tree-house-
Dates: Tuesdays & Wednesdays 2-4pm and from beginner upwards is welcome. monthly Dates: Thursday Evenings 18.15-21.00 £15 pottery
7-9pm Saturdays and Sunday workshops: membership scheme for more advanced per session (Dorridge), plus Tuesday &
various dates throughout the year makers Wednesday evenings at the Sense Pears
Location: The Wirral Dates: Various Centre. See web for details of 10 and 8 week CAMBS/LINCS
monceramics.co.uk Location: Hulme, Manchester courses.
claystudio.co.uk PAULA ARMSTRONG
GREEN MAN CERAMICS Location: Dorridge Methodists Church and
Courses: Handbuilding, workshops
Courses: Pottery Discovery weekends LITTLE MOUSE POTTERY Sense Pears Centre, Selly Oak (see above)
Dates: Mon, Weds, Fri mornings. Tues, Thurs
Dates: Various, Courses: Adult & children handbuilding & RamOnTheRoundaboutPottery@gmail.
evenings. Monthly Sat workshops, Sun
Location: Colne, Lancs wheel workshops com for Dorridge, or for Selly Oak contact
morning child/family workshops
Tel: 01282 871129 Dates: Throughout the year Sense Pears Centre: sunney.sharma@sense.
Location: Fenstanton, Cambs
LEMON STUDIO Location: Keyworth, Nottingham org.uk
parmstrongceramics.co.uk
Courses: Handbuilding for all levels, taster E: enquiries@littlemousepottery.co.uk WOODSETTON ART POTTERY
sessions, workshops and parties T: 0115 9375950 Courses: A levels are taught by postgraduate ART BARN GAMLINGAY
Dates: Various FB, IG & littlemousepottery.co.uk production thrower and designer maker with Courses: Handbuilding, raku and pit-firing
Location: Warrington MIDLANDS ART CENTRE 8 years experience in Stoke on Trent Dates: Wednesday and Thursday evening
lemonstudio.co.uk Courses: Ceramics Open Studio Dates: Various clay classes. 2-day raku making and firing
Dates: Various Location: Woodsetton, Dudley W Mids workshops, Saturday 27th April
PILLING POTTERY/NORTHERN KILNS and Saturday 18th May. Clay in a Day class,
Courses: From novice to professional: Location: Birmingham woodsettonartpottery.com
macbirmingham.co.uk @woodsettonpots Saturday 28th September.
throwing, hand-building, glazing, Location: Gamlingay, Cambs/Beds border
making glazes, kiln loading, programming PARKWOOD THROWING COURSES
kiln controllers, fitting elements Courses: Basic and intermediate throwing WALES E: art.barn@hotmail.co.uk
T: 07715 206780
Dates: Various Dates: 8-week Thurs evenings, weekend
courses, taster sessions JACKIE BARBER CERAMICS FB: Art Barn Gamlingay
Location: Pilling, Lancs
pillingpottery.com Location: Nr Alfreton, Derbyshire Courses: One-to-one throwing lessons MATTHEW BLAKELY
parkwoodthrowingcourses.co.uk Dates: Various Courses: Weekend Courses: Throwing,
POT FACTORY Location: Pencader, Ceredigion
Courses: Beginners & more advanced. PLAY WITH CLAY Porcelain throwing
Courses: Throwing, toddler clay jackiebarberceramics.co.uk Dates: Monthly
Handbuilding, throwing, glazing & playing
with clay! Dates: Saturday mornings, Tuesday BASE ART STUDIO, GALLERY & Location: Lode, Cambs
Dates: Afternoons and evenings afternoons, throwing weekly by POTTERY WORKSHOPS matthewblakely.co.uk
Location: Liverpool appointment. Courses: Handbuilding; throwing; 1-2-1 BOURN POTTERY
Location: Loughborough one-off sessions; parties (adults, children, Courses: 6-week beginner’s course covering
thepotfactory.co.uk
creationspottery.co.uk team-building) slab, pinch, coil & throwing techniques.
THE POTTERS BARN Dates: Ongoing, days and evenings
Courses: Adult half & full day: beginners POTTERY ARTS 2-hour throwing taster sessions for small
Courses: Fun adult workshops teaching Location: Llanbradach, Caerphilly groups. 1:1 tuition in throwing and/or
throwing & handbuilding. Intermediate & baseart.org
advanced throwing. Raku & pit firing specialist techniques decorating functional handbuilding and glazing.
homewares: jugs, teapots, bowls, mugs, CARDIFF POTTERY WORKSHOPS Clay for a Day and 1-day specialist
Dates: Various
coasters and more, in artist's home studio Courses: Handbuilding; throwing; masterclasses. Corporate & team building
Location: Sandbach, Cheshire/Staffs border
Dates: Various one-off Saturday sessions; 1-2-1 throwing; activities. Parties & events for adults &
thepottersbarn.co.uk
Location: Melton Mowbray masterclasses with Anne Gibbs; parties children. Studio and/or mobile. Suitable for all
CARLA POWNALL (children, adults, teambuilding); pottery abilities and ages
potteryarts.co.uk
Courses: Throwing, 6-week course, membership tutored & un-tutored Dates: Various weekday, evening & Saturday
beginner to advanced using stoneware SEVEN LIMES POTTERY
Courses: Varied courses/classes Dates: 6-wk day & eve sessions, various sessions
and raku clay. One-off courses on last Location: Cardiff
Dates: All Location: Bourn, Cambs
Saturday of the month. cardiffpotteryworkshops.com
Location: Moss Side, Manchester bournpottery.co.uk
Dates: Weds am & pm, plus last weekend
7Limes.co.uk CARMEL POTTERY DEEPDALE POTTERY
of the month
SEYMOUR ROAD STUDIOS Courses: 6-week throwing courses. Courses: Handbuilding and throwing for
Location: Wirral
Courses: Weekly/1-day weekend classes Hand-building courses. One-to-one beginners and experienced
E: carlapownall@yahoo.com
Dates: Various lessons. One-off half or full day experiences. Dates: Weekend and weekday courses,
FB: carlapownallceramics
Location: West Bridgeford, Notts Beginners welcome including yurt accommodation if required,
SIMON SHAW Dates: Various
Courses: Introduction to the basics. seymourroadstudios.co.uk throughout the year
Location: Carmel, Carmarthenshire Location: Barton upon Humber, North Lincs
Small individual classes, max 5 students. THE SHIRE WORKSHOPS
E: Carmelpottery@outlook.com yurtatthechapel.co.uk
Handbuilding, sculptural, 1:1 throwing Courses: Night school: Mon & Thurs -
Dates: Various throwing, hand building & decoration. T: 07740291608
HILLS ROAD SIXTH FORM COLLEGE
Location: South Liverpool One-day sculpture workshops twice a month. GLOSTERS Courses: Handbuilding, throwing, plus
E: simonshaw61@icloud.com Raku days. Visiting guest artists throughout Course: Throwing summer school workshops
T: 07505 237 593 IG: @simonshawclay the year. Private & group bookings available. Dates: April, Dates: Various
Pay per hour to come and use our workshop Location: Porthmadog Location: Cambridge
casually. Materials & kiln space available glosters.co.uk
NOTTS/DERBYS/ Dates: See website JANE MALVISI
hillsroadadulteducation.co.uk
THE POT SHOP
LEICS/MIDLANDS Location: Wilbarston, Market Harborough Courses: Pottery classes, including Raku.
Courses: Individual and small groups pottery
theshireworkshops.co.uk All abilities welcome
Dates: Mon/Tues/Weds days and evenings classes in a professional workshop
SANDY BYWATER @ CURIOUS STUDIOS PAT SHORT CERAMICS Dates: Various, throughout the year
Courses: All pottery skills, suitable for the Courses: Beginners’ handbuilding Location: Bridgend, S Wales
janemalvisi.co.uk Location: Lincoln
beginner or the more experienced workshops Facebook, Twitter & Instagram: @potshop1
Dates: Tuesday afternoons and evenings. Dates: Various MID WALES ARTS
Tel. 01522 528994
Monthly, Saturday themed workshops Location: Edgbaston, Birmingham Courses: Two-day course on wood-firing
Location: Sneinton Market, Nottingham patshortceramics.com kilns. Make your work then fire it POTTERYDAYZ
sandybywaterceramics.wordpress.com POTS IN NOTTS Dates: Various Courses: Wheel throwing for beginners and
CAN-DO POTTERY Courses: Weekly classes and wheel taster Location: Maesmawr, Powys more experienced. Raku courses through
Courses: Hand-building for beginners sessions midwalesarts.org.uk the summer
Dates: Thursdays 10.30am-12.30pm Dates: throughout the year, contact ORIEL BODFARI GALLERY AND POTTERY Dates: Saturdays, 9.30-3pm
Location: Mellor, Stockport for more details Courses: Throwing, handbuilding, Raku, etc Location: Peterborough/East Midlands
candopottery.wixsite.com/group Location: Worksop, Notts Dates: Various FB: @potterydayz
THE CLAY ROOM LEICESTER E: lynnestaniland@icloud.com Location: Bodfari, North Wales E: potterydayz@gmail.com
Courses: Range of classes for all abilities, T: 07811 171369 orielbodfarigallery.co.uk ROWAN ARTS CENTRE
plus membership scheme for more FB & IG: @potsinnotts SIRAMIK Courses: Handbuilding, throwing, untutored
experienced makers LINDA SOUTHWELL Courses: Throwing; half/full days, weekends group for those with experience
Dates: Throughout the year Courses: Evening classes and one-to-one (accommodation included). Dates: Various
Location: Leicester experiences All Covid-19 compliant Location: Cambridge
theclayroom.co.uk Dates: Wednesday evenings and by Dates: Various rowanhumberstone.co.uk
 If you run other creative courses, register free at craftcourses.com
WOODNEWTON POTTERY painting, & general art. One off workshops to professional welcome. Leisure classes & City Location: Milton Keynes
Courses: Weekly; throwing, hand building, & one-to-one tuition on request & Guilds L2 and L3 courses E: Creativeblockdesigns@yahoo.com
decorating (Tues/Weds). Clay sculpture Dates: Throughout the year Dates: Tues - Friday 10am to 4pm, T: 07465608771
Dates: Throughout the year One offs by arrangement Sat 10am - 12 midday FB: The Studio at Creative Block Designs
Location: Near Peterborough Location: Drayton Basset, nr Tamworth, Staffs Location: Silver End, Essex ART BARN GAMLINGAY
robbibbyceramics.co.uk stonehousestudios.co.uk brickhouseceramics.co.uk Courses: Handbuilding, raku and pit-firing
ZOO CERAMICS WOBAGE FARM CRAFT WORKSHOPS TONY CARTER POTTERY SCHOOL Dates: Wednesday and Thursday evening
Courses: Half and full day handbuilding Courses: Various multiple-day Courses: Beginners to experienced potters, clay classes. 2-day raku making and firing
workshops, 10-week pottery classes throwing workshops all hand building, throwing, design, model & workshops, Saturday 27th April and
Dates: Various Dates: Various mould making. Saturday 18th May. Clay in a Day class,
Location: Waddington, Lincolnshire Location: South Herefordshire Small friendly groups, personal tutor. Saturday 28th September.
zooceramics.co.uk workshops-at-wobage.co.uk Dates: Year-round Location: Gamlingay, Cambs/Beds border
Location, Debenham Suffolk E: art.barn@hotmail.co.uk
WORCS/SHROPS/ WARKS/N’HANTS/ tonycarterpotteryschool.com T: 07715 206780
FB: Art Barn Gamlingay
STAFFS/HEREFORD OXON MARIAM CULLUM
Courses: 1:1 tuition in throwing, hand- ARTSHED ARTS
building, slip-casting, surface decoration and Courses: Hand building, throwing & surface
ALLYEARROUND POTTERY CATHERINE ANNE CERAMICS
glaze preparation and application. pattern. All levels. Throwing taster sessions,
Courses: Weekly classes; taster sessions; Courses: Small groups and one-to-one of all
Dates: Various - Monday to Friday 10am-4pm private throwing tuition & sculpture. Pottery
one & two-day courses in throwing, hand- ages and mixed ability.
Location: Bury St Edmunds parties
building and decorating; pottery parties for Throwing, hand building, glazing.
mariamcullumceramics.co.uk Dates: See website
all ages. All for beginners and more advanced Family sessions during school holidays
Dates: Weekdays. Various evenings LIBBI HUTCHENCE, HANDMADE AT Location: Ware, Hertfordshire
Dates: Various all-year-round! artshedarts.co.uk
Location: South Herefordshire and weekends available BRAMLEY COTTAGE
Location: Staverton, Northants Courses: 1:1 tuition in throwing, hand- CHARLIE’S POTS
all-year-round.org.uk
catherineanneceramics.com building, surface decoration & glaze making Courses: Intensive day-long Sunday
AMERTON ARTS STUDIO for all ages/abilities throwing courses for beginners
Courses: Life sculpture. Working from a life CENTRE OF ENGLAND ARTS
Courses: Novice to experienced, including Dates: Throughout the year Dates: Various
model to create a figurative sculpture. Location: Culford, Nr Bury St Edmunds Location: Aylesbury, Bucks
Step-by-step tuition, beginners welcome throwing
Dates: Weekly, Thursday evenings 7-9pm handmadeatbramleycottage.co.uk E: throwingpottery@gmail.com
Dates: Termly, Saturdays
Location: Nr Solihull KATIE'S POTTERY STUDIO CLAY WITH CAROLE
Location: Stowe by Chartley
coea.co.uk Courses: One-to-one & small group tuition in Courses: Handbuilding, throwing
amertonartstudio.com
tonycarterpotteryschool.com throwing, handbuilding, decorating, glazing Dates: Various
BRITISH CERAMICS BIENNIAL & firing for all ages and abilities. Children's Location: Hitchin, Herts
Courses: Beginners & Intermediate DAISYROOTS CERAMICS
Courses: Beginner’s wheel sessions 1:1 or Saturday class claywithcarole.co.uk
Dates: Tuesday & Thursday Dates: Throughout the year
Location: Stoke-on-Trent, Staffordshire small groups. Handbuilding techniques CREATIVE CLAY FOR BEGINNERS
taught with support for home hobby with Location: Leiston, Suffolk Courses: Handbuilding, various levels, full-
The BCB operates a clay school and a variety katiespotterystudio.co.uk
of courses throughout the year. kiln firing service. Paint-your-own pottery time/part-time
& craft studio SUDBURY POTTERY CLASS Dates: Various
britishceramicsbiennial.com
Dates: Just book! Courses: Weekly classes, workshops, one offs Location:Newbury, Berks
EARTH AND FIRE CERAMICS and pottery for kids. Various hand building,
Location: Crawley Village, Witney, newbury-college.ac.uk
Courses: hand-building, throwing by slab, coil and surface decoration.
Oxfordshire MADE WITH CLAY STUDIO
arrangement, pop-up pottery. 1:1 or small All abilities welcome
DaisyrootsCeramics.co.uk Courses: Currently workshops are held on
groups, 2-hour intensive lessons Dates: Weekly, daytime and evening/ some
M & K RAKU WORKSHOPS Tuesdays 10-1pm, Thursdays 12-3 and 6-9pm
Dates: Various, 4-weekly courses weekends
Courses: One-day raku workshops run by and alternate Saturdays
Location: Great Haywood, Stafford Location: Sudbury, Suffolk Location: Letchworth
Facebook: @earthandfireceramics Mark Compton and Kirsteen Holuj. Bring your sudburypotteryclass.co.uk
own bisque-fired pots or sculptures along or madewithclaystudio.com
EASTNOR POTTERY & THE FLYING THAXTED POTTERS
POTTER buy pots from us on the day to glaze and fire. NORTH MARSTON POTTERY
Courses: Beginners and intermediates Courses: Variety of pottery courses
Courses: Remarkable potter’s wheel All levels.
Dates: Various 6-week sessions Dates: Contact directly for further details
experiences for all ages and abilities, run by Dates: Workshops run monthly from April
Location: Thaxted, Essex Location: North Marston, Bucks
studio potters Jon Williams and Sarah Monk. to October thaxtedpotters.co.uk
Tasters, days and weekends Location: Milton Keynes northmarstonpottery.co.uk
mkraku.co.uk DOMINIC UPSON KATE RADFORD POTTERY
Dates: Regularly throughout the year (see Courses: Adult classes in all the build
website) POTTERYDAYZ Courses: Hand building, throwing and
techniques, running in six-week blocks. sculpture for all abilities and ages. Electric,
Location: Ledbury, Herefordshire Courses: Handbuilding, throwing lessons One-to-one classes in throwing taller, thinner
Website: eastnorpottery.co.uk from Richard Gibbons gas and raku firings
and production making Dates: Weekly courses on a Wednesday,
LOVECLAY AT VALENTINE CLAYS Dates: Full and half days by arrangement Dates: Various
Courses: Basic/intermediate/professional/ Location: Kings' Cliffe, Northants Thursday and Friday daytime and evenings,
Location: Battisford, Suffolk one to one and group sessions available
families. Throwing, slip casting & slip E: potterydayz@gmail.com dominicupson.com
decorating, sculpture, basic ceramic FB: potterydayz Location: Kensworth, South Bedfordshire
techniques, professional masterclasses, PUP RUGBY WEST SUFFOLK COLLEGE kateradfordpottery.co.uk
ceramic painting Courses: Pop-up pottery, pay-as-you-go. Courses: Beginners, intermediate, mixed RUBY SHARP
Dates: Evenings & weekends (various) Come and have a go! abilities & workshop classes in hand-building, Courses: Hand building, throwing,
Location: Stoke-on-Trent Dates: Wednesdays, fortnightly throwing, glazing & decorative surfaces & decorating pots, sculpture for home and
loveclay.co.uk Location: Newton Village Hall, nr Rugby other techniques garden
FB: @popuppotteryrugby Dates: Saturday daytime and evening for Dates: Throughout the year (weekend & day
POP UP POTTERY STUDIO 6 or 10 weeks. Terms starts January 2020 &
EARTH & FIRE CERAMICS E: puprugby@gmail.com sessions available)
April 2020 Location: Amersham, Buckinghamshire
Courses: Beginner courses to learn simple SWANSPOOL CERAMICS Location: Bury St Edmunds
techniques Courses: Handbuilding, throwing, all levels. rubysharppottery.co.uk
wsc.ac.uk WHERE INSPIRATION BLOOMS
Dates: Tuesday evenings & Friday afternoons Open access studio. Weekend courses & one-
Location: Great Haywood (near Stafford), off experiences Courses: Beginners’ classes, workshops,
Staffordshire Dates: Termly, year-round BEDS/BUCKS/HERTS hand-building, family sessions, pottery room
E: carolinefarnellsmith@gmail.com Location: Castle Ashby, Northants hire, kiln space hire
ALONDENE PHILLIPS Dates: Year round
POTCLAYS swanspoolceramics.co.uk
Courses: Hand-building for beginners to Location: Chesham, Buckinghamshire
Courses: Basic/Intermediate/Advanced intermediate. 1:1 and small group workshops.
Throwing, Intro to glazes, Pottery Basics, whereinspirationblooms.co.uk
Opportunities to do sgraffito, mishima,
Moulding and Slipcasting, Tilemaking
Dates: Various
NORFOLK/SUFFOLK/ slipwork, simple mould making.
Location: Stoke-on-Trent ESSEX Plus creating & applying sprigs, decorative
stencilling & printing on clay. Workshops can
WILTS/HANTS/
potclays.co.uk also be tailored around specialist techniques. BERKS
THE SCULPTURE PLACE DEBORAH BAYNES Classes run all year round daytime and
Courses: Figurative Sculpture Classes Courses: Residential and nonresidential evenings between Monday - Wednesday ANGELS FARM POTTERY
Dates: Weekly sessions: Monday, Wednesday Dates: Weekends (spring/autumn), full weeks 10.30 - 12.30, 2.30 - 4.30pm, 7-9pm (Due to Courses: Residential (B&B) & non-residential.
& Thursday (running for 6 weeks) (July/Aug) Covid 19 we will be opening with reduced Throwing, handbuilding, decorating
Location: Wolverhampton, Staffordshire Location: Shotley, Suffolk class sizes of 1-2 people from late July / Dates: Sat and w/ends once a month.
thesculptureplace.co.uk potterycourses.net August - please email for details Ceramics Weekly evening classes & Fri am. One-off
STONEHOUSE STUDIOS BRICK HOUSE CRAFTS Classes at Home also available with Studio days for groups, min 4, max 8 attendees
Courses: Throwing & handbuilt ceramics, Courses: handbuilding, throwing, decoration, in a box. Kiln firing included. (Within 5 miles Location: Lyndhurst, New Forest, Hants.
sculpture & life sculpture. Portrait drawing, mould making, raku in the summer. Beginners of Milton Keynes area only). angelsfarm.co.uk
For free inclusion in this listing, email: claycraft.ed@kelsey.co.uk
ACTIVATE LEARNING AT BRACKNELL Location: Newbury, West Berkshire Location: Wareham, Dorset TARKA POTTERY
AND WOKINGHAM COLLEGE dianapattenden.co.uk rachelfooksceramics.com Courses: All levels from beginners to
Courses: Mixed ability adult leisure classes SASHA WARDELL KITE STUDIOS CLAY STUDIO intermediate all year round. Taster sessions
taught throughout the daytime and evening. Courses: Bone china & mould making Courses: Throwing, handbuilding, for individuals or groups, weekly throwing
All abilities welcome in our well-equipped courses glazing, adult & children courses weekly and handbuilding courses. Child/family
pottery studio, where a range of pottery Dates: May to September ( incl.) in & weekend. One-to-one sessions and workshops, parties
techniques are taught by experienced SW France /Feb & March in Wiltshire pottery birthday parties Dates: Tuesday to Saturday
tutors. One-day specialist courses taught Location: SW France/ Wiltshire Dates: Mon-Sat various times Location: North Devon
throughout the year sashawardell.com Location: Kemerton, Gloucestershire, tarkapottery.co.uk
Dates: Mon – Thurs, daytime and evening STONEHENGE POTTERY and London ALISON WEST CERAMICS
Location: Woodley Hill House, Earley, Berks Courses: weekly classes, Tuesday and kitestudios.org Courses: Weekend raku, saggar and barrel
activatelearning.ac.uk/study/subjects/ Thursday, hand building and throwing. LANSDOWN POTTERY firing
ceramics-and-pottery Weekender workshops and group sessions Courses: For all levels, beginnners Dates: Various
Tel: 01344 868600 by arrangement and intermediate Location: Chagford, Devon
CÁIT GOULD CERAMICS @ THE BASE Dates: Various all year round Dates: Tuesday and Wednesday mornings alisonwestceramics.com
Courses: All levels from beginners to Location: Winterbourne Stoke, Near (10 - 12.30) Tuesday evenings (6.30 - 9.00)
intermediate. Taster courses, general pottery Salisbury and Amesbury Location: Stroud
and throwing courses. Pottery parties by
appointment
Tel: 01980 620328
stonehengepottery@btinternet.com
T: 01453/298567
E: lansdownpottery@onetel.com
KENT/SUSSEX/
Dates: See website STUPOTS POTTERY STUDIO CHARLOTTE MILLER CERAMICS SURREY/LONDON
Location: Newbury & Reading Courses: Wheel taster sessions, hand Courses: Throwing, handbuilding,
caitgould.com building & glazing. mould-making, surface decoration ART OF MINE
CERAMICSPACE BRADFORD ON AVON Dates: Every weekend & some evenings Dates: Termly part-time, taster workshops, Courses: 1-1 throwing tuition, hand building,
Courses: Full time access and/or practice Location: Yate, Bristol pottery parties surface decoration for all ages and abilities.
without tuition (experienced ceramicists), stupots.co.uk Location: Bournemouth Birthday parties, team building and taster
one-off 2.5hrs taster sessions (beginners), charlottemillerceramics.com sessions
adults taster workshops (individuals or MOON STUDIO Dates: Various
groups), mentoring/tutoring/specialist DORSET/GLOS/ Courses: Hand building, throwing, surface Location: Maidstone, Kent
E: info@thisartofmine.co.uk
training (1 or 2 days), intensive course (4 days
in groups) Gift vouchers: for lessons or taster
SOMERSET design. Taster sessions, short courses, pottery
parties, kids clay time & mobile pop up ART SHOP AND POTTERY
workshops pottery Courses: 1-to-1 throwing tuition.
Location: Bradford on Avon Wiltshire ARTISAN CRAFT CLASSES & Dates: Weekly classes all year, plus private One-off taster sessions & longer courses
Tel: Julia Warin 07800 778582 WORKSHOPS tuition for individuals and groups available. Slabbing, tile making and Kids Clay
E: juliaartscool@btinternet.com Courses: Weekly pottery classes - wheel and Location: Christchurch, Dorset Club.
FB: CeramicSpace Bradford on Avon handbuilding moonstudioceramics.co.uk Dates: Monday to Saturday 10.00am - 6.00pm
CHALKE VALLEY POTTERY COURSES Dates: Mondays and Wednesdays, FB: Moon Studio Ceramics Location: Brighton & Hove
Courses: 2-day courses in spring and one-offs by arrangement NEW BREWERY ARTS artshopandpottery.com
autumn, with Jennie Gilbert & Emily Myers, Location: Bockhampton, Dorchester Courses: Variety of ceramic courses AYLESFORD POTTERY
Learn the basics in a relaxed and friendly E: mail@artisan.org.uk Dates: Contact directly for further details Courses: Raku days, 1-day, 10-week Pottery
environment, or improve your skills. ASHBROOK STUDIO Location: Cirencester, Gloucestershire classes, Mould Making, Glaze Theory &
See website for details Courses: Throwing, handbuilding, glazes. newbreweryarts.org.uk Application
Dates: Various One-to-one or small group, daily RUARDEAN GARDEN POTTERY Dates: Various terms
Location: Broadchalke, Wilts Dates: All year Courses: Weekends, week-long Location: Aylesford, Kent
jenniegilbert.co.uk Location: Waterrow, Somerset Courses: Throwing, Pot Making aylesfordschoolofceramics.co.uk
THE CREATIVE CAVERN ashbrook-ceramics.co.uk Dates: Various LOUISE BELL CERAMICS
Courses: Various, inc 1:1 throwing, BANWELL POTTERY Location: Forest of Dean Courses: Hand building, surface decoration,
Dates: Various Courses: Throwing, handbuilding, ruardeanpottery.com simple mould making and glazing for
Location: Winnersh, Berks modelling, slab work, coil work, tile-making STUPOTS POTTERY STUDIO beginners. Taster afternoons and bespoke
thepaintnightcompany.co.uk/ Dates: Weekly evening class, Weds 6-8pm Courses: Wheel taster sessions, hand sessions for up to three people of any level
pages/the-creative-cavern Location: Weston-super-Mare, N Somerset building & glazing. or ability.
EASTCOTT STUDIOS banwellpottery.org Dates: Every weekend & some evenings Dates: Various
Courses: Pot throwing, individual and group BEING WITH CLAY Location: Yate, Bristol Location: Lewes, East Sussex
sessions, pottery experience days, sculpture, Courses: Clay and mindfulness stupots.co.uk Louisebellceramics.com
beginners and advanced, pot painting, incorporating handbuilding techniques & BURWASH POTTERY
takeaway service, all ages welcome. Onsite mindfulness practises
Art Café, Art Markets and online gallery. Dates: Weekly or day courses. Maximum of DEVON/CORNWALL Courses: Various handbuilding,decoration.
All levels. Classes,workshops, parties,
Dates: Various 3 people or 1-2-1. Well equipped and taster sessions
Location: Swindon, Wilts relaxed studio. CHRISTOW POTTERY
Courses: 2-day saggar & raku-firing weekend Dates: Terms of 6 weeks, various
eastcottstudios.co.uk Location: Claverham nr Yatton, Location: Burwash, East Sussex
North Somerset workshops with Abi Higgns/Alison West. All
eastcottstudiosgallery.co.uk burwashpotter.co.uk
beingwithclay.co.uk abilities
courtyardarts.co.uk CERAMIC SPIRIT
Dates: Throughout the year
FIRED THOUGHTS ARTS STUDIO CARANTOC ART Location: Devon Courses: Weekly, day and evening.
& GALLERY Courses: Intensive & regular classes abihiggins.co.uk All techniques. Surface decoration, glazing
Courses: Weekly classes: introductory & available in pottery & ceramic sculpture alisonwestceramics.com Dates: See website
advanced. Throwing & sculpture a speciality. Dates: Year-round Location: Horsham
Location: Weston-super-Mare, GOONZOYLE POTTERY
Open Studio bookings, 1:1 throwing. Various Courses: Wheel, handbuilding, glazing, raku ceramicspirit.co.uk
workshops. Group sessions & more, see North Somerset THE CERAMIC STUDIO
carantoc-art.co.uk and pit-firing. For all abilities in fully equipped
website rural studio. Courses: For adults & children, from
Dates: Various CREATIVE CLAY FOR ALL Dates: Morning, Afternoon & Evening drop- beginner to professional (including evening
Location: Market Lavington, Wilts Travelling clay workshops for those in workshops throughout the year. & weekend classes). Throwing, hand-building,
firedthoughts.co,uk who have no access to a kiln. Ideal for Contact directly for more information. sculpture, Inspiration for Ceramics & drawing.
JEANNE LEWISTIFF community groups. Based in Dorset Location: Camborne, Cornwall Regular Taster Sessions, Pottery Experience
Courses: Small groups or 1-1 in throwing creativeclayforall.co.uk FB: Goonzoylepottery Days & Guest Pottery Workshops
and/or hand building KAREN DAWN CURTIS marykaunenglish.com Location: Brenchley, Kent
Dates: Contact for details Courses: 1:1 throwing; 3 & 6-week courses; LEACH POTTERY theceramicstudio.co.uk
Location: Maidenhead, Berkshire pottery practice; Saturday making sessions,; Courses: 3 & 5-day throwing, evening CERNAMIC
E: Jeannelewi@hotmail.co.uk parties & team-building; have a go – throwing classes handbuilding, throwing Courses: With Nam Tran; throwing, mould-
NEW DIRECTIONS Dates: Various, see website Dates: Various, each month making, raku
Courses: Exciting range of ceramics courses Location: Bridport, Dorset Location: St Ives, Cornwall Dates: Various
to suit all abilities in a well-equipped studio. karendawncurtis.co.uk leachpottery.com Location: SE London
Taught by specialist tutors and technician. PATRICK ESSON LUCKTAYLOR CERAMICS cernamic.com
Dates: Various, see website Courses: Modelling, coiling, slab work, Courses: Hand building and Raku firing CLAYNGLAZE POTTERY STUDIOS
Location: Reading pinching, throwing courses for beginners and advanced Courses: Pay as you go pottery for all levels.
newdirectionsreading.ac.uk Dates: Various students. Fully equipped rural studio. Various training days/weekend courses & fine
DIANA PATTENDEN Location: Gloucester Dates: Various art workshops
Courses: Sculpture, throwing, hand building, E: p.esson@aliqua-art-gallery.com Location: St Buryan, Cornwall Dates: Days, evenings & weekends
Prosecco & Clay sessions, children's parties, RACHEL FOOKS: CERAMICS E: info@lucktaylorceramics.co.uk throughout the year
hand casting. All ages and abilities welcome Courses: Weekly classes and one-off sessions, FB & IG: @lucktaylorceramics Location: West Sussex
Dates: Daytime, evenings and weekends hand-building & throwing for all abilities lucktaylorceramics.co.uk claynglaze.co.uk
 If you run other creative courses, register free at craftcourses.com
CLAYKILNCRAFT handbuilding weekly classes. Weekend THE PAINTING POTTERY CAFE London
Courses: Beginners intensive throwing; workshops: raku, soda/smoke firing, animal Courses: Evening classes: Throwing, coiling, turningearth.org
mixed intro to pottery; handbuilding & sculpture, glaze chemistry, slip decorating. slab & pinch for different monthly projects.
half-day one-off classes covering all aspects Three-month residential Sept-Nov 2018 All materials and glazes provided. £35pp
of pottery and glazing. All levels catered for Location: Forest Row, West Sussex Dates: 3rd Thursday of the month 6.30-9.30pm REST OF WORLD
but must be 16 and over. Also Open Access frschoolofceramics.co.uk Location: Brighton
Membership. GO CREATE paintingpotterycafe.co.uk L’APIPOTERIE /E. PENSA  FRANCE
Dates: Year-round one-offs to 9-week Courses: Pottery, sculpture & craft PARKGATE POTTERY Courses: Handbuilding for utilitarian use
courses & intensive short courses Dates: Various Courses: One-to one throwing and animal sculpture. Bilingual course French
Location: Crystal Palace, SE London Location: SW London Dates: Various and English
claykilncraft.com gocreate.co.uk Location: Dorking, Surrey Dates: See website
THE CLAY PLACE CLAIRE GRIFFITHS parkgatepottery.co.uk Location: Beaufort sur Gervanne/South East
Courses: 6-week courses, one-day Dates: Starting September; Weds 10.00am THE POTTERS STUDIO of France in the Vercors regional park
workshops, bespoke clay days. Hand building -12.30pm & Thurs 7.00- 9.30pm Courses: Beginners to intermediate. E: epensa26@gmail.com
techniques, slab, coil, surface decoration Location: Whitstable Taster sessions, 1-1 tuition, hand building
Dates: Wednesday/Friday 6-week courses E: jc.griffiths@btinternet.com & throwing workshops. Open access DUCTAC, MALL OF EMIRATES UAE
Various dates for one-day workshops HANDMADE IN CHISWICK memberships for more advanced makers Courses: Introduction to ‘Pottery for all’;
Location: Ashurst, West Sussex Courses: Weekly classes and one-off Dates: All year round. See website hand-building & throwing. Trial sessions
jwceramics.net workshops inc 1:1 throwing. Studio time for Location: Hawkhurst, Kent Dates: Sunday, Monday, Thursday 10-1pm.
THE CLAY ROOM UK more experienced learners thepottersstudio.co.uk Tuesday 6.30-9.30pm
Courses: Clay taster workshops; Dates: Term time for weekly classes, by THE POTTERY CORNER Location: Dubai, UAE
introductory pottery; mould-making & arrangements for workshops and studio time Courses: Clay club 4-week evening courses, ductac.org
slip-casting; transfer; termly pottery courses; Location: London, W4 Handbuilding 5-week Saturday courses,
HandmadeinChiswick.com MAS SARRAT POTTERY  FRANCE
Christmas workshops & private lessons wheel throwing and raku tuition. 5 students
Dates: Various IG: @sylvieopsimath max. All levels welcome Courses: Introduction to pottery
Location: Chelsfield, Orpington JESS JORDAN CERAMICS Location: Chichester, West Sussex (handbuilding and throwing). Improver
theclayroomuk.com Courses: Handbuilding, throwing, thepotterycorner.co.uk pottery handbuilding and throwing) 5-day
THE CLAY STUDIO decoration, glazing DANIEL PRATAP  THE TRIANGLE courses
Courses: Handbuilding, throwing, Dates: Various POTTERY Dates: See website
surface decoration, glazing for beginners/ Location: Worthing, W Sx Courses: Throwing and hand building, Taster Location: Cazals, Lot, France
experienced potters. Raku, smoke-firing and pottyjess.co.uk sessions, 1:1 throwing and regular weekly jenniegilbert.com
animal sculpture. Weekend workshops THE KILN ROOMS courses. Beginners and advanced Facebook: @cvpotterycourses
Dates: Mon-Fri all day inc evenings Courses: Beginners one-off taster sessions; Dates: Day and evenings
Location: Groombridge, nr Tunbridge Wells Location: Farnborough Hampshire STACEY MCDONALD POTTERY  USA
beginners taster classes: beginner/
E: info@theclay.studio intermediate courses in hand-building, E: danielp.ceramics@gmail.com Courses: Fully equipped, spacious clay
THE CLAY WORKSHOP throwing, decorating, glazing. Masterclasses. SULEYMAN SABA studio offering beginner & intermediate
Courses: Throwing, hand-building, glazing, Open access Courses: Pottery classes wheel throwing, handbuilding and beginner
decorating, raku. All levels, inc 1:1s Dates: Various, year round, plus open access Dates: Tuesday and Wednesdayevenings sculpture classes, workshops and special
Dates: Various, ongoing Location: Three studios in Peckham, (Clapham), Mondays and Tuesdays (Kingsbury) events for adults and children 10 and over.
Location: Central Eastbourne East London Location: London (Kingsbury and Clapham) Cone 6 electric firing, white stoneware and a
grahammatthewsceramics.com thekilnrooms.com suleymansaba.com selection of other clay bodies, glazes made
SU CLOUD CERAMICS KITE STUDIOS CLAY STUDIO SUSAN RAMSAYSMITH POTTERY BARN in-house
Courses: Clay club twice weekly, raku, hand Courses: Throwing, handbuilding, glazing, adult Courses: Experienced tutor, small groups, Dates: Ongoing start dates; days, evenings
building, porcelain paperclay, various project & children courses weekly & weekend. One-to- throw or hand-build, all abilities. and weekends
workshops, 3-week and 6-week courses. All one sessions and pottery birthday parties Dates: Tuesdays am/pm 2 hour sessions,
Dates: Mon-Sat various times Location: 12 W. Spring St. Illinois USA
levels. Daytime/evening & Saturday workshops. 5/10 weeks or Taster weekends
Purpose-built studio for up to 6 students Location: Kemerton, Gloucestershire, and Location: Heathfield, East Sussex staceypottery.com
Dates: Various London experiencesussex.co.uk/ceramics OLD HEAD STUDIO  IRELAND
Location: Bognor Regis kitestudios.org SUTTON COLLEGE Courses: Handbuilding for all levels, week-
sucloudceramics.com CLOVER LEE CERAMIC Courses: Hand building, throwing, plus long ceramics, glaze and surface decoration.
THE CORNER WORKSHOP Courses: 12-week throwing courses, taster & summer workshops, mixed abilities, adult and On-site accommodation available
Courses: Beginner courses for adults. Hand intensive throwing workshops. Private classes, family education. Dates: May to September
building & a variety of decorating methods. parties & independent sessions for all abilities Dates: Starting in September with various Location: Near Louisburgh Co. Mayo, Ireland
Small class sizes Date: Weekly regular, weekends & private dates throughout the year. E: sarah.lyons3@btinternet.com
Dates: Various, weekly bookinga available year-round Location: Sutton, Surrey
Location: Balcombe, West Sussex Location: Clapham South, London suttoncollege.ac.uk TOTEM CERAMICS POTTERY SCHOOL
E: rezacworkshop@gmail.com clover-lee.com STAR POTTERY  SPAIN
PETER CUTHBERTSON LILLAGUNILLA CERAMIC STUDIO Courses: Taster, Weekly classes Courses: Throwing, sculpting, handbuilding,
Courses: Throwing and handbuilding, Courses: One-day workshops and Saturday Dates: Various slip casting, general skills for beginners.
beginners and more advanced classes in throwing and hand-building Location: Lewes, East Sussex Weekly classes & courses
Dates: Weekly regular day and evening Dates: Various hamid-pottery.co.uk Dates: 1-5 day courses, weekly classes,
classes plus one off weekends by Location: Charlton, South East London THE STUDIO AT CLAPHAM LTD year-round
arrangement lillagunillaceramics.co.uk Courses: Taster course, project based Location: Andalucia
Location: East Hoathly, East Sussex MAZE HILL POTTERY workshops, tailored tuition. Beginners totemceramics.com
E: peter.cuthbertson@phonecoop. Course: Weekly Evening Classes Handbuilding Courses. Learn to pinch, coil,
Coop Dates: Throughout the year slab and throw! Wednesday drop in for CHRISTINE PEDLEY  CENTRAL FRANCE
JO DAVIES Location: Greenwich, London experienced enthusiasts. Courses: Throwing, hand building, and
Courses: Throwing classes; for beginners and mazehillpottery.co.uk All levels catered for. decorating for beginners and advanced
intermediates with Jo's experienced studio MORLEY COLLEGE Dates: Various students.
tutors; masterclasses or one-to-ones with Jo Courses: Hand building, throwing, plus Location: Clapham Near Worthing, West Dates: March-october
for those wanting to improve or refresh their summer workshops, beginner to advanced Sussex Location: La Borne - France
practice levels, adult and family education. thestudioatclapham.com Tel: 0033248267744
Dates: Various Dates: Starting in September with various IMOGEN TAYLORNOBLE Web-site: www.chris-pedley.eu
Location: Dalston, London dates throughout the year. Courses: Weekly pottery classes for
jo-davies.com Location: London UN PETIT TOUR DE TERRE  FRANCE
adults and children. Suitable for all levels.
EASTBOURNE STUDIO POTTERS morleycollege.ac.uk Hand-building, glaze mixing & glazing, Courses: All levels, hand-building, surface
Courses: Throwing, hand building, surface NEW LIFE CERAMICS experimental firing days. Obvara, Raku, decoration, making tools, raku, glazing.
decoration and glazing for beginners and Courses: Pay-as-you-go weekly day and & Saggar. 1:1 throwing sessions at my Full-board accommodation available
experienced potters. Plus, Personal Project evening classes for all abilities, throwing and Whitstable studio Dates: All year round, Monday 9am to Friday
Development with specialist support. handbuilding Dates: Various 5pm
Open access: studio hire available for Dates: See website Location: Espressions Art Cafe, Canterbury Location: Saint Génies de Comolas, France
experienced makers Location: Biggin Hill, Kent imogentaylor-noble.com Facebook: @FredPotierGres
Dates: Weekly courses throughout the year. newlifeceramics.co.uk TURNING EARTH
Personal Project on Weds 6-9pm. SASHA WARDELL  FRANCE
PADDOCK STUDIO POTTERY Courses: Open access studio Tues-Sun for
Location: Eastbourne all levels – must be working independently. Course: Bone china & mould making courses
Courses: 1-day individual or shared,
E: eastbournestudiopottery@gmail.com throwing, handbuilding Classes available, see website for details/ Dates: May to September (incl) in SW France/
eastbournestudiopottery.com Dates: Various availability Feb & March in Wiltshire
FOREST ROW SCHOOL OF CERAMICS Location: Lewes, East Sussex Dates: Open access studio Tues-Sun. Location: SW France/Wiltshire
Courses: Adult intensive throwing and thepaddockstudiopottery.co.uk Location: Hoxton E2 and Lee Valley E10, sashawardell.com
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Claycraft-Issue 49 2021

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44 PAGES OF STEP-BY-STEP INSTRUCTIONS

PINCH, COIL, SLAB AND THROW Issue 49

ON MKM TOOLS WATERING OYA ZINC OXIDE GLAZES

BATH POTTERS SUPPLIES

Inspiration can strike at any time

CLAYMANSUPPLIES.CO.UK | SALES@CLAYMANSUPPLIES.CO.UK | 01243 265845

Welcome s I write, the let us know. We need as

ON MKM TOOLS WATERING OYA ZINC OXIDE GLAZES

Rachel Graham, Editor

68 memory of last month’s project,

Pottery 82 Next month

Find out what’s in store for you in

for beginners our wildlife-themed issue

44 PAGES OF STEP-BY-STEP INSTRUCTIONS

PINCH, COIL, SLAB AND THROW Issue 49

66 ClayCraft SPECIAL PROJECTS

subscriptions OFFER! CHALLENGE

Save money and have the

You know it makes sense! SPOTLIGHT

001 Clay Craft Cover Issue 49.indd 1

NEWS email claycraft.ed@kelsey.co.uk

THROW DOWN ROUND-UP

 Shenyue  Henry  Alon  Sally

(Photo: Art in Clay)

Learn more about Annika’s story

THROWING A PAD FOR A BATT

BEFORE YOU BEGIN:

 Maintaining the position of your left hand, hook your

 Items thrown from larger amounts of clay or with

Change the position of

Now position your left-hand

 Flatten the rim of the cylinder by pinching the clay

18  Now work around the ﬂange with a rib to remove excess

 Carefully sponge out all excess water from the inside of

 Using a sturdy, preferably metal, tool,

Centre the clay again by coning up, then bring it to

 Raise this section to a straight-sided cylinder that

 With your left hand supporting from the inside to

 Using the rib, re-establish the sharp angle at the

Now return your left-hand

Sharpen up the angles one last

 Lift the remainder of the wall at the centre of the

Fix the third batt onto the

 To open out the base, draw

 Compress the clay in the base by running your ﬁngers

45 Place the middle ﬁnger of your right hand in tight at the

 Check the width of the dish – it must obviously be wide

 If the base isn’t wide

Sponge out the interior of the bowl, then compress

 Carefully supporting the underside of the rim with your

52 TRIMMING & FINISHING THE PARTS

 Score a couple of lines

 When the parts are ﬁrm

 Quickly run a sponge over the scored lines to remove

Underwire the upper section as you did the ﬁrst, then

 Run a ﬁnger around the

Centre the upturned dish on a batt. This should not be

 Run a damp sponge around the cut rim to gently soften

 Measure the base to determine where the locating

64 Test that the pedestal top will

Trim a small circle at the

DECORATING THE SURFACE 2

Using the side of

 Measure the circumference of the lower section of the

Shenyue Henry Alon Sally

Maintaining the position of your left hand, hook your

Items thrown from larger amounts of clay or with

Flatten the rim of the cylinder by pinching the clay

18 Now work around the ﬂange with a rib to remove excess

Carefully sponge out all excess water from the inside of

Using a sturdy, preferably metal, tool,

Raise this section to a straight-sided cylinder that

With your left hand supporting from the inside to

Using the rib, re-establish the sharp angle at the

Lift the remainder of the wall at the centre of the

To open out the base, draw

Compress the clay in the base by running your ﬁngers

Check the width of the dish – it must obviously be wide

If the base isn’t wide

Carefully supporting the underside of the rim with your

Score a couple of lines

When the parts are ﬁrm

Quickly run a sponge over the scored lines to remove

Run a ﬁnger around the

Run a damp sponge around the cut rim to gently soften

Measure the base to determine where the locating

Measure the circumference of the lower section of the

Fix the sprig onto the

Make and apply the remaining sprigs in the same way,

15 Glaze the birds in a contrasting or complementary

Finally, using a ﬁne brush, glaze the eyes and beak in a

Glaze the pedestal sections in the same way, working

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

Reinforce the overlap join on the outside of the shape with

Now reﬁne the outer surface of the tube using a metal

Test the size of the tube on the globe to make sure it is

31 NOTE: - this step isn’t shown, but if you’re unhappy with

Form another short log-shaped coil about 3cm long and

Neaten around the outside edge of the join with a

Once bisque ﬁred, a good way of keeping the oya

The great thing about an oya is that it only needs to be

Push the short length of dowel through the centre of

Using another wooden tool, carefully work around the

Pinch a small ball of clay between ﬁngers and thumbs

Fix the tail in place, blending Paint the entire surface of

Paint a second colour of underglaze over the ﬁrst, in

Using an open textured natural sponge and a bold

This motley little group of mutts were made from white

Julia said: This is my cheese

Each potter has PPE, and washing

Hannah looking 'delighted' with my new purchases.

The Northern Kilns boys, Stuart

Note to self: randomly shaped