Claycraft-Magazine 8 2017
Claycraft-Magazine 8 2017
ClayCraft
PINCH, COIL, SLAB AND THROW
33
Issue 8 £4.25
SLIP-CASTING CYLINDERS
Using a mould
for repeat
makes
CREATIVE IDEAS
7 STEP-BY-STEP
PROJECTS
PINCH POTS
Practical scoops
MEET THE POTTER
ClayCraft
of
WIN £500
£500-worth
34 This
AND THROW
CREATE YOUR OWN TEA SET
ClayCraft
Throw Down potter Starting with a slab-built teapot
FREE
KIDNEY TOOL!
WORTH
explains slips
INSPIRATIONAL
INSPIRATIONAL IDEAS
Emerging potters to watch out for
T POTTERY
£3.00 IDEAS 7 GREAT PROJECTS
POTTERY
PROJECTS
cover
to inspire you
Making pods and fruit
33
SPOTLIGHT!
AND THROW
3
Read about
studio potters types of Issue 8 £4.25
SLIP-CASTING CYLINDERS
and their work stamp
Dipping, brushing and pouring SKILL SCHOOL
OPEN!
Using a mould
for repeat
Issue 1 Economic, versatile clay New ceramics school in Sussex
ClayCraftClayCraft
Basic kidney exercises £4.25 directory
SLIP RESIST AND TAPE MAKING HANDLES STUNNING NEW COLOURS
ALSO INSIDE: Your Q&As • Clay
types explained • Courses directory
CREATIVE IDEAS makes
001 Clay Craft Cover Issue 2.indd 1
7 PROJEC
WIN voucher for Ruthanne Tudball
29/03/2017 09:42
Down potter
31/01/2017 14:39
ClayCraft
WIN 2-day STEP-BY-STEP
Clay Craft Cover new.indd 1
001 Clay Craft Cover Issue 3.indd 1 09/05/2017 17:09
Pottery
TS
PINCH, COIL, SLAB AND THROW
54
Pinch yourself a posy! DECORATIVE PAPER RESIST PINCH POTS
EGG CUPS
PINCH POTsimple
44
Stunning, bold designs with slip
and fun!
West’s
Attractive,
INSPIRATIONAL PROJECTS
FOR PAPER CLAY
DIY IDEAS ART IN CLAY
HATFIELD
½ freezing, the sink hole is bunged up with new range, Practical scoops
Slab animals
BIRD BATH Pt
Pt 2
PRICE
TICKETS LARGE MEET THE POTTER
FOR COIL-BUILD
SURFACE
UNIQUE EFFECTS PERFECT PATTERNS ALSOIssue
£4.25
5
INSIDE: Potfest report • Meet the potter • Hatfield preview
EMERGING TALENT SLIP INLAYS JUG OPTIONS USING DECALS
• Kiln loading • Supplier spotlight NEW WORK
ALSO INSIDE: Two-part moulds
001 Clay Craft Cover Issue 6.indd 1
ALSO INSIDE: Pottery archaeology • Tea set series • Meet the potter 08/08/2017 16:40
DECORATION
13/06/2017 16:42
Buy now by visiting: pots, but this ‘thing’ potters do, is wonderful. more, see
Steve.indd 1
001 Clay Craft Cover Issue 4 v1
001 Clay Craft Cover Issue 5 v1.indd 1 11/07/2017 17:01
Water-etching
& slip-trailing
shop.kelsey.co.uk
LONDON DESIGN FAIR
I hardly dare say it, given the amount of page 36
Issue 8
Where craft meets commerce £4.25
From FRESH show ALSO INSIDE: Readers’ makes
• Settling tank
11/10/2017 12:46
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Issue 8 ClayCraft 3
12
28 Happy anniversary!
It’s Potclays’ 85th anniversary
this year: there's plenty to celebrate
33 PROJECT 3: slip-casting
Using a mould to produce
repeatable work using casting slip
39 Linda Bloomfield
Glaze application methods:
brushing, pouring and dipping
6 News
42 PROJECT 4: sandwich tray
10 Your photos We bring our tea set build to
A selection of work sent close, with a tray. Put the
in by our readers kettle on!
18
18 Meet the potter
Amberlea McNaught’s intricate
carving showcases her
training in Morocco
22 PROJECT 2:
pinched scoops
We continue our ‘spoons’ theme
with this larger version
10
25 Material matters
Alan Ault of Valentine Clays
explains how to choose the right
50
clay for your work
4 ClayCraft Issue 8
54
62
48 Next month
With Christmas looming, we 73 Events
get in the swing of things with Your guide to pottery and
decorations and gifts ceramics events right
across the country
49 Pots from the past
Thomas Hayman reports from a 78 Emerging Potters
46
dig at the Leeds Pottery site Paul Bailey introduces more
up-and-coming new potters
50 Keep your cool! who are destined for success
Damp box options to keep
greenware workable for longer 80 Courses listing
59 Settling tank build Fancy signing up for a class?
51 Letters A DIY option for keeping your Find one near you in our
Share your thoughts sink’s waste water clean handy free listing guide
59
Your essential guide to the most Mark Dally shares his tools and
commonly-used pottery terms methods for getting this
decoration right
54 Project 5: woven basket
Using flattened coils to weave 65 Pottery suppliers directory
a useful basket for bread or fruit
67 Spotlight:
Middleport Pottery
This historic site has so much
39 to offer visitors
70 Project 7: surface
decoration
Water-etching, with wax resist
SPOTLIGHT ON: MIDDLEPORT POTTERY
ClayCraf t
76 ClayCraft
PINCH, COIL, SLAB
33
AND THROW Issue 8 £4.25
SLIP-CASTING CYLINDERS
Using a mould
subscriptions offer
for repeat
CREATIVE IDEAS makes
7 STEP-BY-STEP
PROJECTS
PINCH POTS
Issue 8 ClayCraft 5
S
other topical item you’d like our readers to know about,
KBJ @ FRSC
6 ClayCraft Issue 8
Two Atomic Bottles by Kate Malone, is essential. Please book here: bit.
courtesy of Adrian Sassoon. ly/2gp2mHB
Linda Bloomfield
Issue 8 ClayCraft 7
BCB picks
The following is a small
selection of what’s on offer at the
British Ceramics Biennial, the six-
week festival in Stoke-on-Trent, which
runs until 5 November. For a full
list of all the artists taking part, see:
britishceramicsbiennial.com
8 ClayCraft Issue 8
Issue 8 ClayCraft 9
3 4
Readers’ work
We love to see what you’ve done, both with our projects, and your own work! Here’s a selection of pieces sent
in by our readers. If you’d like to share your photos with us, please email them to: [email protected]
1: Peter Teago: I’ve just finished this catfish, and thought you might like to see. It will get glazed and fired and put then into a
frame. Made at Carron Pottery. 2: Maddie Janes: I thought I would share this mosaic with you. It is for a project in The Potteries
and inspiration came from a book entitled ‘Burslem Saturday’ by Len Barnett, illustrated by Anthony Foster. They gave permission
for me to use it as inspiration for this mosaic. 3: Elaine Wells from Throw Down: I have been running a couple of classes at my
studio and everyone uses ClayCraft for ideas, as it’s so easy to follow the steps. Sarn has just finished a plate based on the ones
demonstrated in issue one and so we thought you might like to see it. 4: Elizabeth Dawber: I thought you might be interested
in this pinch pot made by my 91-year-old mother, following the method outlined in your magazine. She is from Southport and
attends a weekly pottery class here. Sent in by Carole Dawber.
Technical
know-how
Fixing a batt to
the wheel head
Wheels come in many shapes and sizes, and some already have a wheel head
specifically designed to accommodate batts for fast production work. It’s almost
always better to throw on a batt to avoid having to remove the pot from the wheel
head when it's still wet, and vulnerable to distortion. If you don’t have a wheel with
a batt-locating mechanism (lotus wheel head, for example), then the following
method is a good alternative.
1 2
PROJECT
ONE THROWING A TEA POT
T
he teapot is probably the most
challenging of all thrown
items to make because
of the many different
techniques involved in the
component parts – body, spout, lid,
handle, etc, plus the technique of turning
or trimming. The key to success is to make
all the parts in one session so that they all
firm up at the same rate, to reduce the
problem of cracking at the joints.
This is a really comprehensive guide to
throwing a teapot, with step-by-step
guidance through each stage of making
and turning to ensure a successful outcome.
Next month we’ll be showing you how to
assemble the pieces and turn them, so
you’ll need to either wait until then to start
the project, or store the parts in a damp
box (on their batts), to ensure that they
don’t dry and become unworkable. To make
a simple damp box, turn to page 50.
12 ClayCraft Issue 8
4
Using the second finger of your
right hand on the outside of the
2 pot, and supporting the underside
of the rim with the fingers of the
Begin to belly out the body with the left hand inside, other hand, gently close the belly
applying outward pressure and the other on the inward to form the shoulder –
outside supporting the developing shape with either stopping when the opening is
the knuckles, finger tips or a rib, as shown here, as the correct for the size of the pot.
clay lifts into a rounded shape.
Remember to compress the clay at the rim with
your fingers after each lift to keep the shape true.
5
Again supporting the inside shoulder of the pot with
the fingers of one hand, run a rib over the outer surface
to remove excess slurry, compact and refine the clay.
6
3
Still supporting the underside of the rim with one
Before closing the rim to a point where you can no hand and holding a rib almost flat, as shown, carefully
longer get your hand inside, sponge out excess water cut a raised flange around the opening – this is where the
carefully, taking care not to distort the shape. lid will sit. .
Issue 8 ClayCraft 13
7
Again using the tip of the rib, form a waist at the mid-point of the body. It is still important to support the
body at the rim as you do this.
Finally, work over the body with the rib one last time to refine the surface and remove excess slurry.
The first part of the pot is now complete. Wire the underside but leave the pot on the batt, then carefully lift
the batt off the wheel head and put it to one side for the body to firm up while you prepare the other parts.
1
Centre and open up a small 2
ball of clay, then lift the wall
to form a cylinder. The shape Start to collar-in the shape using the finger and
should have a slight inward thumb of your left hand to pull up the wall, while
lean – be conical rather than pushing the clay inward gently with the fingers of the
straight – DO NOT allow the right hand.
shape to flare outward. After the first lift remember to compact the clay at
Remember to compress the the rim again, using the tip of a finger.
clay at the rim after each lift,
to keep control of the shape.
14 ClayCraft Issue 8
3
5
Using one
finger only on the
When happy with the spout, remove excess clay and
inside, lift the wall
slurry from the surface of the batt with a rib, then cut
again applying
a mitre around the base.
pressure gently
outward from the
inside and inward
on the outside.
4
Continue to narrow and lift
the spout to your required height
using the fingers and thumbs in a
pinched position as shown.
As the spout narrows, use your
little finger internally if you need
to refine the shape and lift the
wall higher – other fingers will
generally be too thick to make
the spout narrow enough at
this stage. Work over the shape
several times until you are pleased
with the shape and the height. 6
Wire the underside of the
spout making sure the wire is
flat to the batt.
You can leave the spout in
situ on the batt to firm up, or
gently lift it one side with a
rib and transfer it to another
board. The spout will be cut
to size and shape later, so a
little distortion to the base
won’t matter.
Issue 8 ClayCraft 15
1
Centre your clay and lift it into a cone – do this a
couple of times to make sure the clay is properly centred.
Keep your thumb on the top of the cone to maintain a
level surface as you lift the clay.
4
Supporting the inside of the bowl with the left hand,
gently press down with the finger of the right hand
to split the rim – leaving the flange standing upright.
This will create a gallery to sit inside the pot (as
opposed to the whole lid sitting inside the pot where
the gallery would then be on the body).
IMPORTANT – measure the opening for the lid
on the body of the pot using a pair of calipers
(use a ruler if you don’t have calipers). Check the
2 caliper measurement against the lid and make any
corrections required – you may need to collar in the
Cup your right hand around the top of the cone, flange slightly to make it smaller or widen the flange
applying pressure with the side of the hand to form the slightly from the inside.
top into a doughnut shape. Hold the left hand at the Once you have the correct size, using your fingers
same angle to maintain the shape. only, refine and lift the flange – remembering to
compact the rim when you have finished.
3
Still cupping the doughnut
shape between your hands,
press the thumb of the right
hand down into the centre
and draw it sideways to open
the shape out to a shallow
bowl with a thick rim – you
will need the extra clay at the
rim to form the flange.
16 ClayCraft Issue 8
5
7
With the fingers of your
right hand on the underside
of the lid for support, gently
Using the tip of a rib, carefully score a V shape into
the clay on the underside of the lid to mark the point for
press a finger down on the wiring-off.
outside of the flange wall Be careful to leave enough clay on the underside to
to create a slight groove as turn the shape of the lid later.
shown.
8
Carefully wire the lid off the hump at the marked point
and transfer it to a board to firm up for turning.
You could now throw another lid from the same hump
6 if required, and it’s sometimes useful to make several at a
time in case you spoil one when turning.
Issue 8 ClayCraft 17
Issue 8 ClayCraft 21
SCOOP ONE
1
Weigh the required amount of clay to make the
first scoop. The reason for weighing is to ensure you
can repeat the build again to approximately the same
dimensions, and you can only do this if you know how 2
much you began with.
The small scoops shown here used 50g clay each for With the pinched form in the palm of your hand,
the main body. gently squeeze the sides together to change the shape
Pinch the clay out evenly between fingers and thumb to oval.
as demonstrated in previous issues of ClayCraft, to form a Leave one end of the oval nicely rounded, but pinch
cup shape. You can also find the basic pinching technique the opposite end slightly to narrow it so that the outline
on the ‘How to’ pages on our website (claycraft.co.uk). shape becomes egg-like.
22 ClayCraft Issue 8
3
Firm the clay up with 5
a hairdryer so that the
shape will hold, and when
it’s more handleable,
Curl the strip over to form a teardrop shape, as shown.
The size will depend on the size of your scoop body,
surform the rim to level
but whatever size you make it, be sure you can get your
it.
fingers comfortably through the loop.
When happy with the
When happy with the size, cut the ends off with a metal
level, work over the edge,
scraping tool or a knife.
inside and outside with a
kidney to give a rounded and
refined finish.
6
Check the size of the handle against the scoop
body and make any small adjustments necessary
to ensure the size balances well, and is in good
proportion.
When you’re happy that the size is correct, remove
the handle and firm the clay up with a hairdryer until it
holds its shape and is no longer floppy. Be careful to
only dry the clay to the same level as the body.
4
Roll a thin strip of clay 10-15mm wide. Use the thinnest
roller guides you have to do this – the clay should be
about 3mm thick preferably, but 5mm max otherwise the
handle will look too bulky for the scoop itself.
Smooth over the strip with a kidney, then run your
fingers along the edges to smooth and round them off.
Repeat the exercise on the underside of the strip. .
Issue 8 ClayCraft 23
7
Sit the handle on its side
on a work surface, and cut
the ends at an angle so that
To make the second scoop,
repeat steps 1-9, then cut off
it will fit to the scoop body
one-third of the clay at the
at a jaunty angle – slightly
end of the scoop as shown,
elevated from the body.
using a metal scraper to
Hold the handle to the side of the scoop and using a
achieve a clean straight cut.
pin, mark the position for joining.
Sit the scoop body on a whirler
as you do this, to avoid distorting
the shape of the handle.
8 2
Score and slip the marked Carefully cut excess clay
position on the body of away around the newly-
the scoop and the ends of formed edge of the scoop
the handle, then fit the two with a sharp knife to thin it
sections together. out a little – then work over
Reinforce the join with a very tiny coil of soft clay – the edge with a kidney as
blend in well with a modelling tool until the join looks you did before, to round it
seamless. off until it looks smooth and neat.
24 ClayCraft Issue 8
A selection of images from 1947, showing clay being dug and loaded onto ships for transportation to the continent.
28 ClayCraft Issue 8
Three generations:
The two James and Becky
panmills came Otter, with their
from the Cadbury daughter, Emily,
factory. (Photo and Becky’s father,
Ben Boswell) Jonathan Noake.
(Photo Ben Boswell)
85 years on and the future’s
potter’s experience. She Education, looking bright!
has worked alongside their education, education
now-retired technical manager Over the past few years, Potclays member of other bodies, such as
for a number of years, and is now Cadbury has worked hard to bring its the National Society for Education
first port-of-call for technical Bros panmill business to a new audience. It has in Art & Design (NSEAD) and
advice. plate. (Photo invested heavily in its offers numerous forms of support
James Otter joined the business Ben Boswell) e-commerce, taking on new staff to teachers, including educational
in 2013, as director, after 12 years and working with key partners discounts and free of charge
working in Tax Advisory. His and social media resources. advice. Each year, Potclays
background has enabled him to Education is still, and will provides a round of graduate
bring unique skills and expertise continue to be, top of their awards to Further Education
to the business, and he has agenda. Craft education has courses across the UK to
developed a detailed knowledge of The suffered in recent years, and both encourage and showcase new
kilns and machinery. He works showroom Becky and James firmly believe ceramic talent. Some of the award-
with Becky to promote and bring was busy the arts offer children access to a winners from past years are
during the
Potclays’ goods and services to a Open Day
richer and more fulfilling life. building successful careers for
new generation of potters, as well celebrations. James is a signatory on the Bacc themselves, and fast becoming
as ‘doing their bit’ for the (Photo Ben for the Future campaign letter to renowned practitioners.
community they live and work in. Boswell) government, alongside luminaries
such as Philip Pullman. Potclays Potclays offers a
has a long relationship with the comprehensive service,
both online, and through
Crafts Council and, as a its showroom at Brick Kiln
Manifesto Partner, works with Lane, supplying clays,
them to support their efforts in glazes, equipment and
promoting craft in education. accessories. The staff
Potclays also continues to are helpful, friendly and
support the British Ceramics knowledgeable, and the
Biennial Education Programme range of products on offer is
very wide. More details can
and donates many tonnes of clay be found at: potclays.co.uk
to the cause. It is an active
Issue 8 ClayCraft 31
S
KILN CLA
Y
EL S
MAI WHE
NTEN
ANC
LS E
TOO
MAT
ERIA
LS
1
2
Issue 8 ClayCraft 33
3
Pour the slip into the mould, Top the slip up periodically as you need to maintain the
filling it right to the top in one level to the rim. You’ll see it begin to shrink from the edges
go, as shown. as the plaster draws the water out of the slip.
4 6
34 ClayCraft Issue 8
Issue 8 ClayCraft 35
B
rick Lane in east countries, including independent
London has long Olivia Walker’s designers, established brands, pieces are in porcelain, others in
been known for pieces is international country pavilions, a high-fired terracotta, and each
thrown on the
Asian restaurants, features, and exhibitions. piece is thrown on the wheel
wheel before
and nearby is the high-tech area she hand- Visitors are 74% trade, and 56% before Olivia hand-builds onto
known as ‘silicon roundabout’. builds onto international, and it’s in this the surface of the form.
Where could more suitable, the surface of setting that a group of new Sometimes, she will
then, for a massive design show the form. ceramic makers is entering this deconstruct the wall of the piece
in a revamped brewery building. area of the industry. before building on top of it, to
Its location in Shoreditch is Launched in 2007, the London create a piece that almost looks
the creative heart of London. Design Fair has earned itself decaying. The process involves
The London Design Fair is the reputation as the go-to her applying hundreds of
a four-day industry event trade show during the annual paper-thin shards of clay
that brings together 500 London Design Festival. Each incrementally, to make a surface
exhibitors from 28 year, over 27,000 influential that has a sense of movement,
retail buyers, producers, almost as if something is
architects, designers, interior growing over the surface of the
designers, press and design- piece. One really nice aspect of
Olivia savvy public, will attend to see the show she observed was
Walker applies
hundreds of the very latest in furniture, seeing people’s reactions to the
paper-thin lighting, textiles, materials and work for the first time – there
shards of clay conceptual installations, from all was lots of surprise and interest
incrementally, around the world. in how the piece was made.
to make a One of the new makers She commented: “My
surface that
showing for the first time was impressions of the show were
has a sense
of movement. Olivia Walker. Her work is on really positive. There was a
(Photos: the more ‘art’ end of the varied crowd, which I think
Sylvain Deleu) spectrum. A number of the reflects the variety of the work
36 ClayCraft Issue 8
David Worsley
wants his pieces to
be used, and loves
to hear from his
customers who
are using them
at home.
WEBSITES:
Olivia Walker: oliviawalker.co.uk
Rebecca Proctor: moderncraftworkshop.com
David Worsley: dovestpottery.co.uk
Pottery West: potterywest.co.uk
38 ClayCraft Issue 8
O
nce you have tested a few sieving three times through an 80 consistency. In general, glazes need to
glaze recipes and found mesh sieve. You may need to add water be applied more thickly on stoneware
one that gives the fired to help flush the glaze through the than on porcelain. The glaze thickness
result you want, you will sieve. If it ends up too thin, you may on the pot can be anywhere between
need to mix up a larger batch of glaze need to leave to settle overnight and 1-3 mm.
so that you can start applying it to remove water from the top, so if
your pots. The simplest application possible, make the glaze the day before
methods are pouring, dipping and you need to use it. The consistency EARTHENWARE
brushing. should be between milk and single TRANSPARENT GLOSSY
In order to dip the pots in the glaze, cream, but some glazes such as ash GLAZE RECIPE (1060-1100°C)
you will need to mix up at least 5 to 10 glazes need to be thicker. I stir by ● Calcium borate frit 39
litres. I usually mix 7.5 kg of glaze in a hand and if it is the correct thickness, I ● Soda feldspar 27
● Whiting 5
10 litre bucket with a lid. The glaze can just see the hairs on the back of ● China clay 6
recipes shown are multiplied by 75 to my hand through the glaze coating. ● Quartz 23
give the batch weight in grams. Start However, ash glazes are caustic, so
by half filling the bucket with water, always wear rubber gloves when
then carefully weigh out the glaze mixing those. When the consistency is STONEWARE TRANSPARENT
ingredients and tick them off the list right, mark the level on the glaze GLOSSY GLAZE RECIPE
one by one. It is best to add the china bucket and use the same level every 1260°C
● Potash feldspar 34
clay or ball clay first, as this helps to time you make a new batch of that ● Calcium borate frit 14
suspend the heavier ingredients in the glaze. Alternatively, you can weigh a ● Whiting 11
water. If you add the feldspar first, it is pint of glaze and record the weight, ● China clay 13
likely to settle in a hard mass at the then make sure the pint weight is the ● Quartz 23
bottom of the bucket. Then leave all same each time you mix a new batch. ● Dolomite 5
the ingredients to slake in the water Some potters prefer to use a
for a few hours before mixing and hydrometer to gauge the glaze .
Issue 8 ClayCraft 39
Pouring
Pouring is the best application method
for the inside of pots, or if you need to Brushes for glazing.
glaze a pot which is too large to dip.
The glaze should be stirred very Dipping
thoroughly, and stirred again between Dipping is a good way to apply glazes
glazing pots, otherwise it may start to when you need a very even application.
settle in the bucket. Scoop up a Hold the pot sideways by the rim
measuring cup full of glaze and pour and foot, between finger and thumb, or
carefully into your pot, swill around using glazing tongs. Dip it swiftly into
and pour out. You may need to use a the glaze and out again, pouring out
funnel to glaze the inside of narrow- all the glaze from the inside of the pot.
necked pots. If you want a different If you are only glazing the outside, Spraying glazes. Some areas are
glaze on the outside, wipe any glaze hold the pot by pressing your fingers masked using masking tape.
drips from the outside using a sponge against the inner sides of the pot and
and leave to dry. Very thin-walled pots dip up to just below the rim. Place on a again until the glaze has dried. You
will also need to be glazed on the clean surface and don’t touch the pot can finish by dipping the rim upside
inside first, then left to dry before down or brushing glaze on to the rim.
glazing the outside. Very large pots Any drips should be scraped flat with
can be placed on a whirler or wheel a sharp knife. Any finger marks or
and rotated slowly while glaze is bare patches can be touched up using a
poured over the outside. brush.
Brushing
To make the glaze easier to brush on,
you can add CMC (carboxy methyl
cellulose) or gum arabic to the glaze.
Two or three coats of glaze will be
needed to get an even coverage. I
usually apply brush strokes round the
pot, then go round a second time,
starting each brush stroke in between
the previous brush strokes. Potters
often use Chinese calligraphy brushes
or wide Japaense hake brushes for
covering larger areas.
You can mask areas you don’t want
Checking the thickness of the glazed by applying wax resist, latex or
glaze. This particular runny porcelain
glaze needs to be applied quite Pouring glaze over a large bowl. masking tape. However, I find it easier
thinly. (Photo: Henry Bloomfield) (Photo: Henry Bloomfield) to scrape glaze off the base using an
40 ClayCraft Issue 8
Spraying
The advantage of spraying is that you
don’t need to mix up a large batch of
glaze. The drawback is that you need a
lot of equipment: a spray booth, spray
gun and compressor. A respirator
mask should also be worn while spray
glazing. The pot is placed on a whirler
and rotated while spraying glaze on in
several thin coats.
Layering glazes
Underglaze colours or oxides can be
brushed on before applying the glaze.
Rich effects can be obtained by
applying several layers of different
glazes, for example a white glaze over
a darker glaze or a runny glaze over a
matt glaze. The glazes often react,
producing interesting effects.
NEXT MONTH
Glazes using natural materials:
ash glazes
Dipping a mug. (Photo: Henry Bloomfield)
Issue 8 ClayCraft 41
PROJECT
FOUR This is the last item in our monthly teaset project, so soon you’ll
be able to serve tea to your family or friends, and boast that you
have made the whole set yourself!
1
You can make the tray to any size 2
or shape you choose, the principle for
constructing will be the same, so cut On one of the slabs, carefully
out a template you want – foam sheet score an outline ring to form
makes the best material for templates, the footring.
but card would also work. If making a large tray, score an outline for a second,
Roll a large enough slab of clay to cut out two sections inner ring as shown.
using your template. Depending on size, you may need to When you’re happy that the rings are evenly spaced
roll two slabs – they should be no thicker than 5mm. and shaped, cut them out using a sharp knife.
Transfer the slabs to an absorbent board, like Supalux
fireboard, so that the clay firms up quickly.
42 ClayCraft Issue 8
3 6
Lift out the spare clay from
around the footrings – leaving the Work around the outer edge with a scraping tool to
footrings in place on the board. remove any excess slip that may have oozed out from the
join.
4 7
Position the inner ring on the Roll a long coil of clay about
base slab and mark the position 20mm thick, then flatten it
with a pin. You can estimate the on a sheet of plastic with the
outer ring position more easily, so palm of your hand.
do this freehand. Position the coil between
Score the marked areas and the underside of the rings. two roller guides and roll it
flat and even.
When flat, cut a straight
edge with a knife using the
roller guide to ensure a
clean cut.
5
Slip the scored areas on the base
slab then fit the rings in place,
making sure the seal is good – you
can do this by placing a board
over the surface and applying a little pressure if you
are unsure. Neaten up the edges with a modelling or
scraping tool to remove excess clay.
Run your finger around the edges of the rings to
soften and round them off.
Issue 8 ClayCraft 43 .
042-45 Project 4 Tray.indd 43 10/10/2017 19:02
SKILL SCHOOL
PROJECT
FOUR
PROJECT
SIX 10
Score the positon for the wall on the base and the
joining edge of the wall strip, as shown.
Slip the scored area on the base, then fix the wall in
place.
11
Reinforce the wall on the inside
with a coil of soft clay. Blend the
clay in, first with a finger, then
work over the surface with a
kidney to remove the excess clay.
Work around the outer edge
again to smooth and neaten the clay.
44 ClayCraft Issue 8
Doug Fitch
DIARY
I t always seems that I
start my diary, sitting
at the firebox of the
kiln, saying how busy we are and
what hard work it all is; well,
there’s nothing new this issue!
Thankfully, we’re starting to get
on top of things, and the stock of
pots for our online exhibition is
coming together. If this firing is
a success, then we will be well on
the way.
There’s a cool autumnal wind
pulling the flame through the
kiln chamber this morning, and
I’m sheltering behind a stack of
wood to avoid its surprising
freshness getting to the back of
my neck.
Every so often, I’m being given Doodles in onto the corrugated steel roof of been to Wardlow Mires Pottery
a terrible fright as nuts from the the kiln log. the kiln shed. Big bangs are the and Food Festival in Derbyshire,
overhanging beech tree clatter (Photo: Doug Fitch) last thing you need to hear when which was great fun. The
firing the kiln; I keep leaping out weather was shocking, but people
of my skin! still came, in spite of cars having
The swallows are gathering, to be pushed on and off the
chattering away, preparing for parking field by a bunch of big
their epic journey to warmer burly helpers. It was lovely to
climes, and the leaves on the ash meet so many people who
trees are turning vibrant yellow. subscribe to ClayCraft and to
Here comes the autumn. know that some folks do read
I often sit here and doodle on these ramblings; thank you for
firing day – scribbled drawings stopping to chat.
of pots that I’d like to make, on Since we came back, we’ve kept
scraps of paper in the firing log. up the momentum. This kiln is
I’m very bad at keeping sketch packed full of pots for the online
books; I find them rather show and we are aiming for at
intimidating and so my drawings least one more kiln-load for the
end up on these scraps of paper, exhibition. It’s going to be our
here, there and everywhere. They second; we did the first at the
invariably get lost, or reappear same time last year, and plan to
months later, when I think to keep it as an annual event.
myself ‘oh yes, that’s a good idea, We have amassed a collection
I should try that’, before losing of our best pots from a number of
them again. Hannah keeps firings, with more still to come.
telling me to keep them all We will have them all
together; I shall endeavour to photographed professionally for
Doug and Hannah delivering a charger to listen to my good wife. the catalogue. It’s so important
Reverend Richard Coles. (Photo: Joe Fitch) Since my last post, we have to have good quality images, and
46 ClayCraft Issue 8
Restaurant
Meet the commissions
Potter We learn about Aylesford
Mary Clarke, Pottery’s tableware ranges
for restaurants
Decorations of Burwash
Christmas will soon be upon Pottery, runs PLUS:
us, so we have a selection of a successful • Lidded serving
decorations and items you teaching studio,
can make in advance. Use and still finds dishes
them yourself, or give them the time to • Lustre decoration
as presents; either way you’ll make wonderful * These are just some of the features planned for the next issue but
circumstances outside our control may force last-minute changes. If
love them! animals this happens, we will substitute items of equal or greater interest.
PAY
FROM JUST
MAGAZINE £9.95 *
BINDER
Each binder will store a year’s worth of
ClayCraft magazines, keeping all your
back issues in one place ready for you
to refer to whenever needed. Keep
inspiration at your fingertips!
*£9.95 is the price for a single binder delivered to a UK address. We can deliver internationally
but the postage rate will vary, please visit our webshop for more detailed pricing
48HALF_BINDER_17.indd
ClayCraft Issue 1 8 30/06/2017 10:08
Dear ClayCraft,
I’ve just started reading your fab
magazine and thought I’d send a
photo of my first attempt at figure
work. I loved doing them, and I might
try some animals next, but it’s all
experimentation as a beginner! I
attend Eunice Locher’s studio in
Groombridge and only took up
pottery last November. Eunice is a
great teacher and I’m now an addict!
Kate Jackson
Ed: What wonderful figures! What a great result for your first
attempt. Do please keep in touch and send us more photos.
Dear all,
Just to say how much I love your magazine. I was at Hatfield
and am so pleased that I subscribed. I have been reading and
referring to the six issues I picked up, ever since.
After a break of 40 years from ceramics, and now that I
have time on my hands, your magazine has been inspirational
and helped me to revise and learn a lot of new techniques and
materials that are now available which were not then.
Thank you for such a lot of useful information and ideas.
Also, being dyslexic the pictures showing the process are
great. Deana Moore
Ed: How lovely that you’re now finding the time to get back into
ceramics. I’m pleased to hear that the magazine is useful. It’s
amazing how things evolve over time. It would be interesting to
hear the kind of things you’ve found have changed since you were
last involved. Issue 8 ClayCraft 51
52 ClayCraft Issue 8
NORFOLK’S LEADING
SUPPLIER OF
POTTER’S MATERIALS,
TOOLS AND EQUIPMENT
Shop online at http://www.claymansupplies.co.uk
Clays • Decorating Slips • Casting Slips • Powdered Glazes • Brush-on Glazes • Colours
Unit 13, Alby Craft Ctr, Cromer Rd, Erpingham, Onglaze Colours • Media • Raw Materials • Grogs • Raw Clays • Opacifiers
Norwich, Norfolk, NR11 7QE Frits • Oxides • Brushes • Making Tools • Workshop Tools • Wheels & Accessories
Kilns & Equipment • Plasters • Books • Bisque
07947 880163 *
Morrells Barn, Park Lane, Lower Bognor Road, Lagness, Chichester, West Sussex, PO20 1LR
Phone 01243 265845 • Fax 01243 267582 • Email [email protected]
M a n u f a c t urers
UK
PROJECT
FIVE
BASKET
54 ClayCraft Issue 8
6
Now begin to place the
coils in the opposite direction –
outwards from the central coil, 8
weaving under and over the
already-laid coils, in the same Level the rim and remove the remaining bulk from the
way. edges using a wooden batten held flat on the rim of the
It can get a little fiddly as mould. Carefully draw the batten towards your body,
you get towards the rim of the moving around the mould in stages until all is level.
mould, so aim to get all the
most central coils in place first. Work the remaining coils
up and over the rim, rather than leaving them short in the
actual mould space – the surplus will be removed to give
a much better finish later.
9
Carefully and lightly, score a line about 25mm from
the rim of the basket to mark the point for attachment of
the finishing coil.
Score the marked off area with a serrated kidney.
7
56 ClayCraft Issue 8
10
Roll another long coil of clay and flatten it as before, 12
but shape it into a round or horseshoe, as shown – this
is quite easy if the clay is soft enough, and you should When the basket has firmed up enough to hold
shape it as you flatten it out, rather than flatten then its shape, turn it out of the mould and support it on
shape it. Cut the inner edge of the coil with a knife to something round – a hump mould or bowl will work well.
even it up and neaten the shape – the outer edge doesn’t Repeat the scoring exercise on the outer rim, as shown,
matter at this stage – we will deal with it later. then roll a second long coil and flatten it into the same
Score the entire surface of the coil with a serrated shape as the previous one.
kidney. Slip the scored surface on the basket.
11
.
13
Attach the outer rim coil in
the same way as the inner one,
pinching it gently as you ease it
into position, to ensure it fixes onto
the basket.
When in place, give it a paddle
with a spatula to make sure it is
evenly attached.
Issue 8 ClayCraft 57
16
Adding some texture to the rim coils finishes the look
of the basket, but is not essential – here a lemon zester is
used to add to the basket look – working over the clay in
14 opposite directions to create a pattern.
Finally, if the woven coils have been damaged in
handling, spend a little time neatening them up again –
Return the basket to the original mould, then carefully it’s not difficult. Use the end of the batten to re-impress
cut away the excess clay at the rim as shown, using a
the central channel on the coils where necessary, and
knife.
smooth over the coils with a kidney where needed.
15
Use a surform blade to remove any remaining excess 17
clay, and finely level the rim and surface of the coils,
inside and out. Work over the surface with a kidney to The finished basket should be allowed to dry upside-
smooth it off when you are happy with the level. down, before bisque firing.
Once fired,
you can cover the
basket with an oxide
wash and re-fire to
the clay’s optimum
temperature, or glaze
and fire as you would
for other items
58 ClayCraft Issue 8
A You w ill n ee d :
s potters, you Not having much time to
know that actually pot – this magazine
unexpected things is a great time thief – I don’t
but useful)
can happen when you fire use much water at any one ✔ A handy joiner! (optional,
your work. Things stick, time, and a tall, plasterer’s ✔ A 25-gallon water tank
0mm Perspex.
melt, and can even explode. bucket was working fine. I ✔ One sheet of 900mm-180
, which
Well, in the interests of being left it to stand overnight, We used 2mm (easiest to find)
ble up and
completely transparent, this then just tipped the water was too thin. Either dou
eth er with mit re-joint
settling tank build is being into the gulley. However, I do stick the sheets tog
one sealant , or sou rce 4-5mm
brought to you, warts and all. plan to spend more time glue or silic
In principle, it sounds easy; down there, and thought a (recommended)
blade
it’s just a big tank, separated settling tank would a) be ✔ A jigsaw with a fine scroll
to make a
off into compartments. The helpful, and b) make a great ✔ A contour gauge (or card
technical aspects proved to project. template)
be a little trickier! My initial plan was to use a ✔ Stanley knife
My studio is in the cellar, large cold-water storage tank ✔ Chisel
and there’s a sink left over with a couple of smaller ones
✔ Silicone sealant and gun
from when we had workmen inside it, connected in series, (optional)
✔ 20mm marine ply or MDF
in for months. It’s plumbed with the final run-off
into cold water, and the waste entering the big tank before ✔ 4 casters (optional)
te pipe –
runs off into an existing exiting into the gulley. We ✔ An appropriate length of was
r to fi t you r exis ting system
gulley, which leads to a sump had a joiner on site, who diamete
to ach ieve any
– installed to keep the cellar asked what I was doing. ✔ Push-fit pipe fittings
connect
dry when it was in use as a When I told him, he asked to bends/falls/joints you need to
exis ting was te syst em. Push-fit is
restaurant. There’s some sort see what a ‘proper’ one to your
ant le them
of artesian well, from what I looked like. Once he saw that, needed so you can easily dism
to move the tank
can gather. From there the he told me I was over- to match the
water is pumped up and out complicating things. It would ✔ Drill with hole-cutting bit
into a soakaway in the be much easier to make one pipe diameter
k
garden. Clean water, no much more like a real one. I ✔ Mitre-joint glue, 2-part pac
problem. rushed off to buy Perspex!
… and carefully
5 cut it out with a
scroll blade on a
jigsaw – turn off the
pendulum action if
your drill has one. It
moves the Perspex
too much. When
cutting, keep the
blade as straight
Measure the height you want
as possible. Any
the partitions to be and cut
deviation stresses
them to length with a jigsaw.
the Perspex and
Knowing what we now know,
runs the risk of
taking them up to where the
splintering. Again, it
tank naturally widens, was too
doesn’t matter too
high for the thickness of Perspex
much if these are
we used – the weight of the water
small, they can be
bowed the partitions – and two-thirds
filled with silicone
of the height up would have been better. If using the
later. Cut in straight
recommended thickness then the height shown is
lines, coming in
fine. We cut one corner off on each partition, to give
from the edge if you
a V-shaped gap for the water to flow through, and
need to, to make
installed them on opposite sides to each other.
allowances for any
bends.
60 ClayCraft Issue 8
Apply the liquid bottle half of the mitre-glue to the Insert a short length of
plastic. In our first attempt, it was only put onto the base pipe, and attach fittings
parts, and the Perspex came off when the tank was flexed. Drill a hole in the emptying to achieve the necessary
The second time it was applied to the base and up the sides. end of the tank, about half- route to your existing
way up. system.
10
15
11
1: Latex slip trailing bag with rubber ferrule. 2: Small syringe top, cut down in length. 3: Metal blunt syringe tips, in
a variety of internal diameters. 4: Glass pipettes, with insulating tape to increase their diameter. 5: 10ml syringe for
cleaning out tips. 6: Angled nozzles in metal and plastic. 7: Very fine nozzle to help clear a blocked nozzle.
S
lip trailing is a ceramic technique that
applies a relief pattern onto leather-hard 1
clay by trailing liquid clay slip – like
cake decorating. Coloured slips can be
used to create the raised lines, dots and strokes,
creating an appealing tactile decorative surface.
I’ve been slip trailing for over 30 years. I love
the flowing, energetic marks that this centuries-
old technique produces. It benefits from a
confident, quick approach, which can give a bold
contrast to the pot’s surface.
I use the slip trailer (1, above) to decorate my
work. It consists of a thin latex bag with a rubber
ferrule, into which a cut-down syringe (2, above)
or glass pipette (4, above) can be inserted. The hole A range of different tips and nozzles (3, 4, 6 top photo) can
be screwed onto the end of the syringe or pushed into the ferrule
in the ferrule is where I fill it up with the coloured hole of the slip-trailing bag. Metal tips (3) come in a wide variety
slip of my choice. Some potters use several slip of internal diameters, so that extremely thin lines or very thick
trailers simultaneously, each filled with a different lines can be slip-trailed onto the leather-hard surface of the pot.
coloured slip as part of their decoration. The viscosity of the slip should be regulated to suit the different
diameters of the tips, by mixing water into the clay slip to the
desired consistency: small-diameter nozzles will need quite a runny
62 ClayCraft Issue 8 slip, while a wide-diameter nozzle will need it to be much thicker.
8
To get confident and flowing lines onto the surface of It’s almost certain that whichever nozzle you’re using,
your pot, it’s best to hold the pot in your other hand for it will get blocked at some point. Being able to clear the
finer control. Holding the nozzle at a shallow angle helps blockage easily is a real bonus. This is where the 10ml
the slip trailer’s tip glide easily across the leather-hard clay, syringe comes in: fill it with clean water, apply to the
rather than dig into its surface. If the pot’s too large to nozzle and quickly push the plunger down so that a high-
hold, try and adjust the position of the pot, or yourself, in a pressure jet of water forces through the nozzle, clearing
way that is easy to achieve a shallow slip-trailing angle. away any clay or dried slip stuck in the tube.
9 12
Many potters slip trail their pots with dots as part of In some very small-diameter nozzles, this doesn’t
their decoration. Slip-trailing is perfect for making raised always work. In this case, use the very fine nozzle, a
dots on the clay surface. Squeeze the slip trailer gently needle or strand of thin wire to push up the tube tip in a
and dab the surface of the pot with the nozzle. A light bowl of water, and finish with the 10ml syringe method.
and easy movement will create a raised dot – press down Your nozzle will be clear and ready for use.
too hard, and clay will block the nozzle. You can control
the amount your dots are raised from the pot’s surface This large platter
by altering the slip’s viscosity. Thick slip can create raised 13 by Mark Dally, in his
and spiky dots, while thin slip will form dots flatter to the ‘Japanese Clouds’
surface of the clay. design, incorporates
many of the above
slip-trailed techniques:
10 big drip dots (plastic
pipette); small touch
dots (medium metal tip);
thick slip trailed linework
(glass pipette), and fine
slip-trailed linework (thin
metal tip).
64 ClayCraft Issue 8
Bluematchbox Potter’s
Services Celtic Kilnware CTM Potters Supplies
industrialmineralservices.com celtickilncare.co.uk
Supplies ctmpotterssupplies.co.uk
bluematchbox.co.uk Isle of Axholme Eazi-Stops
Industrial Mineral
Pottery eazi-stops.com
Brickhouse Ceramics axholmepottery.co.uk Services
Maragon Arts industrialmineralservices.com
ckwarner.wixsite.com/ KilnLinings
brickhouseceramics and Crafts
kilnlinings.co.uk maragon.co.uk Potclays
Bryant Products Kiln Services potclays.co.uk
MHK Craft Supplies
atretainer.co.uk kiln-services.co.uk
clay-extruder-gun.co.uk The Potters Connection
Castree Kilns MITSCO pottersconnection.co.uk
SCH Web
castreekilns.co.uk mitsco.co.uk
shcweb.co.uk
Potterycrafts
Ceramatech Moonbow Ceramics
Specialist Lampfitting potterycrafts.co.uk
ceramatech.co.uk moonbowceramics.co.uk
Supplies Scarva
PaperClay Products specialistlampfittingsupplies.co.uk
The Clay Cellar paperclay.co.uk scarva.com
claycellar.co.uk
KILNS/KILN ACCESSORIES Sneyd Ceramics
Potclays
sneydceramics.com
Clayman potclays.co.uk Castree Kilns
claymansupplies.co.uk castreekilns.co.uk
The Potters Connection WHEELS/WHEEL
Commercial Clay pottersconnection.co.uk Celtic Kilnware ACCESSORIES
commercialclay.co.uk celtickilncare.co.uk Bath Potters’ Supplies
Potterycrafts Corby Kilns Ltd bathpotters.co.uk
Corby Kilns Ltd potterycrafts.co.uk corbykilns.co.uk
corbykilns.co.uk Bryant Products
Roderveld Cromartie batretainer.co.uk
Country Love Crafts roderveld.com cromartiehobbycraft.co.uk
countryloveceramics.com Cromartie
Rohde Essex Kilns cromartiehobbycraft.co.uk
Cromartie kilnsandequipment.co.uk essexkilns.co.uk
cromartiehobbycraft.co.uk Discus
Scarva Kiln Care
potters-wheels.co.uk
scarva.com kilncare.co.uk
CTM Potters Supplies
Kiln Services Giffin Grip
ctmpotterssupplies.co.uk Scotclay
kiln-services.co.uk giffingrip.com
scotclay.co.uk
Dawnmist Studio Kilns and Furnaces Hesketh Potters’
dawnmist.org Sedgefield Pottery
Supplies
kilns.co.uk Supplies
Discus sedgefieldpottery.co.uk MITSCO heskethps.co.uk
potters-wheels.co.uk mitsco.co.uk
Spencroft Ceramics Potclays
Essex Kilns spencroftceramics.co.uk Northern Kilns potclays.co.uk
essexkilns.co.uk northernkilns.com
Stanton Kilns The Potters Connection
Fired Art stanton-kilns.co.uk Potclays pottersconnection.co.uk
firedartdesigns.co.uk potclays.co.uk
Studio Bisque Potterycrafts
Giffin Grip studiobisque.com Potterycrafts
potterycrafts.co.uk
giffingrip.com potterycrafts.co.uk
Top Pot Supplies
Roderveld
Gladstone toppotsupplies.co.uk Rohde
gladstoneengineering.com kilnsandequipment.co.uk roderveld.com
Ulster Ceramics Pottery
Held of Harrogate Supplies Stanton Kilns Scarva
held.co.uk ulsterceramicspotterysupplies.co.uk stanton-kilns.co.uk scarva.com
65 ClayCraft Issue 8 Do you want your entry to stand out? For details, contact Gary on 01732 447008
2
Potters use all sorts of tubes as their nozzle. I have Screw your chosen metal/plastic tip onto the end of
heard of potters using Bic biros with the pen removed, the syringe, or insert your glass pipette or other nozzle.
creating a tube. I like to use glass pipettes (4) with Remember to alter your slip’s viscosity according to your
straight and/or slightly bent tips. Glass pipettes are chosen tip’s diameter, to allow you more control and
particularly good for fast, long sweeping lines. Because freedom when decorating.
the glass is smooth at its fire-polished tip, it glides well
on the clay surface.
If you find a tube that you would like to use as a slip 6
trailer nozzle but its diameter is too small to fit into the
ferrule hole, wrap insulating tape round the nozzle to
build up the diameter until it’s a good tight fit. Angled
tips (6) allow smooth slip-trailing on the inside of pots,
and to parts of pots difficult to access.
‘All are we
elcome to my garden
studioo to exp
perience the jo
oy of clay.’
[email protected]
01253 790307
:
Middleport Pottery
LIGHT
OT E
SP TOK
S Having come to the attention of the wider public as the setting for
the BBC’s Great Pottery Throw Down, Middleport Pottery has a
fascinating history, and lots to offer visitors
I
n 1862, William Leigh and Middleport Pottery,
Frederick Rathbone home of Burleigh.
Burgess took over Central Situated on the Trent
Pottery in the heart of and Mersey Canal and
Burslem, calling their new business home to one of Stoke's
Burgess & Leigh Ltd. Eventually, the last remaining bottle
ovens.
founders’ surnames were combined to
form the brand name ‘Burleigh’. In
1889, they moved to their state-of-the-
art, purpose-built site beside the Trent
and Mersey Canal at Burslem.
Middleport Pottery was described as
‘The Model Pottery of the Staffordshire
Pottery Industry’ when it was first
built, and it was designed to make all
the production processes more efficient,
and to improve conditions for the
workforce. The passageways between
the ranges were just wide enough for a
cart to get through, and for the easy
movement of the workers and pottery.
Finished pottery was sent out by door to the pottery in 1946, and she
horse and cart, via the road, or placed spent her working life bringing clay
(using the crane next to the packing from Cornwall to the Potteries. In
house) straight onto barges on the 2012, she was bought as a rotting shell
canal, which were waiting to take the by the Narrowboat Heritage
ceramics out to the coast for Foundation, and moved from Middlesex
international export. to Alvecote Marina, near Tamworth.
This September, one of Britain’s last Enthusiasts at the charity have spent
remaining wooden-built narrowboats, thousands of hours over the past five
Dane, returned to its historic home of years, expertly restoring the craft into
Middleport after being rescued from what many now believe to be the most
The Workers' Bathhouse.
Currently underground, these original years of decay and disrepair. The barge authentic rebuild of a wooden
washrooms will be opened up to the was built at the Mersey Weaver and narrowboat for more than 30 years.
public at the beginning of December. Ship Canal Carrying Company next Now, 70 years after starting her service
on the Trent and Mersey Canal, the
Studios and college 70-foot-long Dane will be returning to
Also on the site is a range of studios, where visitors can see the artists at her Middleport mooring, ready to
work, and buy their wares, and the newly-opened Clay College. become a permanent part of the
● Burslem Pottery: burslempottery.com working pottery’s story.
● The Clay College: claycollegestoke.co.uk Sarah said: “The craftsmanship
● Richard Howle Photography: potteriesimages.co.uk completed by the Narrowboat Heritage
● Emma Bailey Ceramics: emmabaileyceramics.co.uk
Foundation on this boat is breath-
● Libby Ward, contemporary jeweller: libbyward.co.uk
● Amy Helena Clarke, ceramics and surface pattern designer: ahclarke.com taking, and we are absolutely delighted
● Alex Allday, ceramic and surface pattern designer: alexallday.co.uk that the charity approached us to
● Canadian Pine Company, furniture: facebook.com/CanadianPineCo provide a long-term home for Dane. We
● Jon French, potter: french-jon.wixsite.com/jonfrenchceramics appreciate that it has been a very
personal project for them, and we’re .
Issue 8 ClayCraft 67
70 ClayCraft Issue 8
In future issues
we will learn how
to decorate water-
etched surfaces in
different ways to
expand further on
the basic technique
– the possibilities
are many and
exciting.
Issue 8 ClayCraft 71
SWANSPOOL CERAMICS
Pottery is our passion!
Pottery Courses
Clay Experiences
Gift Vouchers
E: [email protected]
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ClayCraft
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26
Issue 1 £4.99 Issue 3 £4.25 Issue 5 £4.25
3 Texturing slabs
Read about
studio potters types of ART IN CLAY Make a pebble
and their work stamp HATFIELD
bird bath
POTTERY TOOLS COIL POT BUILD GLAZING Paper resist decoration SMOKE-FIRING SKILL SCHOOL BRIGHT UNDERGLAZE
Porcelain wind chimes SURFACE DECORATION THROWING TRANSFERS
THROW DOWN’S DANIEL PULLS HANDLES WIN 2-day throwing course with Throw Down potter
Issue 1
ClayCraft ClayCraft
One of 7 hands-on guides THROWING MUGS AND Issue 3 Issue 5
Basic kidney exercises to making your own Judging glaze thickness £4.99 £4.25 £4.25
SLIP RESIST AND TAPE MAKING HANDLES STUNNING NEW COLOURS SLIP INLAYS JUG OPTIONS USING DECALS
ALSO INSIDE: Your Q&As • Clay types explained • Courses directory ALSO INSIDE: Stoneware clay • Spring Fling • Emerging Potters ALSO INSIDE: Pottery archaeology • Tea set series • Meet the potter
Clay Craft Cover new.indd 1 31/01/2017 14:39 001 Clay Craft Cover Issue 3.indd 1 09/05/2017 17:09 001 Clay Craft Cover Issue 5 v1.indd 1 11/07/2017 17:01
IN THE SPOTLIGHT!
44
Emerging potters to watch out for
PINCH POT EGG CUPS
Attractive, simple and fun!
Making and attaching Symmetrical press moulds
Pinch pots for beginners
½
INSPIRATIONAL IDEAS
PRICE
7 GREAT PROJECTS sprigs INSPIRATIONAL
TICKETS
FOR
DIY IDEAS
decoration
£4.25
Economic, versatile clay EMERGING TALENT UNIQUE EFFECTS PERFECT PATTERNS
72 ClayCraft Issue 8
HALF_BACK_ISSUES_17.indd 1 31/07/2017 17:26
OCTOBER Canterbury Festival since 2000-2001 pottery to SCG members and their School, Woodstock Road, Oxford on
returns this year, with a new town guests from 10-4pm. Saturday and Sunday the 28th & 29th
1922 OCT having joined the trail: Deal. There £20 for members, guests £25. Coffee, October between 10am - 5.30pm
MADE London are 21 artists across 12 ‘house’ venues tea and biscuits will be available on (Saturday), 10am - 4.30pm (Sunday).
One Marylebone, London ready to open their homes/studios/ the day. Please bring a contribution oxfordceramicsfair.co.uk
An annual contemporary craft and galleries to welcome you and share to an American Supper-style lunch,
design fair where the very best of with you their works, inspirations and as well as your own crockery and 28 OCT 2 NOV
national and international designer- projects. cutlery. Denmead Community Centre, Elemental 2
makers present and sell their work to Support local artists and venture out Hampshire, PO7 6LU The Firestorm Artists Collaborative will
the public. Over 120 exhibitors across on this new Deal town trail during Please contact Zyg Kruk for bookings: be displaying an exciting mixed
all media (ceramics, wood, silver, gold, October weekends, (from 14/15, 21/22 e-mail: [email protected]: Tel: 023 924 media exhibition utilizing the
glass, textiles and more) showcase and 28/29th) Venues will be open 69104 Mob: 078649 95843 incredible natural properties of the
their original, unique and exceptional at 11-5pm unless stated. Find info southernceramicgroup.org. rocks, minerals and earth beneath
work to the capital. regarding participating artists and uk our feet - using glass ceramics and
madelondon-marylebone. town trails on the ekoh.org.uk website bronze, artists will be displaying a
co.uk and download a brochure and map(s). 2829 OCT breath-taking array of work alongside
Oxford Ceramics Fair the changing autumn leaves.
2122, 2829 OCT 22 OCT More than 60 of the UK’s leading Please note that on the final day the
East Kent Open Houses Demonstration by potters will be exhibiting and selling exhibition will close at 3pm.
town art trails Dylan Bowen their ceramics at the Oxford Ceramics Westonbirt Arboretum,
East Kent Open Houses town art Dylan Bowen will be demonstrating Fair. Now in its 18th year, the event Gloucestershire. 10am-4pm
trails, which have been part of the building and decorating slipware is again to be held at St Edward’s forestry.gov.uk
Issue 8 ClayCraft 73
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The Christmas Magazine 2017
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to be ready for 46
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82 ClayCraft Issue 8