Claycraft issue 60

Issue 60

50 PAGES OF INSPIRATIONAL STEP-BY-STEPS

– PINCH, COIL, SLAB AND THROW

PINCH, COIL, SLAB

AND THROW

Issue 60

ORIENTAL CHARM

CREATE CLEVER LIDDED BOXES GARDEN SCULPTURES

MAKE A SET OF MONOLITHS

ISSUE 60

 STYLISED FIGURE  MODIGLIANIINFLUENCED BUST  HOW TO CORRECT GLAZE DEFECTS  YOUR THROW DOWN CATCH-UP  THROW A ROOFED BIRD FEEDER … AND MORE

£5.75

Plus

SURFACE DECORATION: BUBBLES • LOCAL COURSES LISTINGS • DOUG FITCH 001 Front Cover Issue 60 Plus Spine v2.indd 1

04/02/2022 14:59

experiment with

EXTRAORDINARY

GLAZES

Fire up your studio by exploring a range of versatile glazes that provide the vibrant and lush colors your studio needs! Mayco glazes are easy to apply, consistent in formulation and pair beautifully together in combination to produce a variety of movement, exceptional colors, and visual texture. For inspiration, browse through our thousands of glaze combinations for low-fire (998°C), mid-range (1222°C), and high-fire (1285°C ) artists. Visit MaycoColors.com for inspiration and to find your nearest Mayco distributor.

SCAN ME!

Project Instructions

EL-123 Patina and SW-165 Lavender Mist over SW-187 Himalayan Salt fired to Cone 6 (1222°C)

MaycoColors.com

Meet the team...

Jacqui Atkin p42 Female bust

Linda Bloomfield p18 Glaze defects

Simon Shaw p8 Bird feeder

Tracey Parsons p74 KBJ demo day

Doug Fitch p64 Mugs & music Issue 60

50 PAGES OF INSPIRATIONAL STEP-BY-STEPS

– PINCH, COIL, SLAB AND THROW

PINCH, COIL, SLAB

AND THROW

Issue 60

ORIENTAL CHARM

CREATE CLEVER LIDDED BOXES GARDEN SCULPTURES

ISSUE 60

£5.75

Plus

SURFACE DECORATION: BUBBLES • LOCAL COURSES LISTINGS • DOUG FITCH 001 Front Cover Issue 60 Plus Spine v2.indd 1

04/02/2022 14:59

This month's cover features Jacqui Atkin's lidded box with an ingenious fixing mechanism. See page 20

ClayCraft Magazine www.claycraft.co.uk Kelsey Media The Granary, Downs Court, Yalding Hill, Yalding, Kent ME18 6AL EDITORIAL Editor: Rachel Graham; claycraft.ed@kelsey.co.uk Consultant editors: Jacqui Atkin, Kevin Millward Contributors: Jacqui Atkin, Linda Bloomfield, Doug Fitch, Kevin Millward, Tracey Parsons, Simon Shaw Project photography: Philip Wilkins p.wilkins@btinternet.com Design: Focused On Design Ltd design@focusedondesign.co.uk ADVERTISEMENT SALES Talk Media Sales Simon Hyland, 01732 445327 simon.hyland@talkmediasales.co.uk

t's always lovely to hear from readers, and one email this month made us stop and think. It was an appeal for us to give more details about some of the things we use to make the projects. In this case, it was nichrome wire, but it made us realise that perhaps we've been taking things for granted a little bit. It's all too easy to assume that people will be familiar with terms, methods, tools, and materials. New potters are joining us all the time, and it's important not to forget this.

Every single well-known potter was once a beginner, and everyone's knowledge and skills are built from an initially blank slate. So, if you've felt confused or excluded by any of our content, please do let us know. If you have any questions or would like even more detail about how we did something, just ask, and we'll cover it as a separate, standalone subject. If you've wondered about something, you can bet there will be others with the same question and letting us know so that we

can address it will only help ClayCraft improve as a resource for potters, and everyone's a winner!

In the same vein, if there's something you'd particularly like us to cover in future issues, email me at claycraft.ed@kelsey.co.uk, and I'll add it to our planning list.

Rachel Graham, Editor

POTTER’S SPLIT-LEG APRON

MAKE A SET OF MONOLITHS

 STYLISED FIGURE  MODIGLIANIINFLUENCED BUST  HOW TO CORRECT GLAZE DEFECTS  YOUR THROW DOWN CATCH-UP  THROW A ROOFED BIRD FEEDER … AND MORE

Welcome I

To buy online go to shop. kelsey.co.uk/claycraftapron Or phone +44 (0)1959 543747. Mon-Fri 8am to 6pm and quote code CLAYAPRON

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Kelsey Media 2022 © all rights reserved.

Kelsey Media is a trading name of Kelsey Publishing Ltd. Reproduction in whole or in part is forbidden except with permission in writing from the publishers.

Note to contributors: articles submitted for consideration by the editor must be the original work of the author and not previously published. Where photographs are included, which are not the property of the contributor, permission to reproduce them must have been obtained from the owner of the copyright. The editor cannot guarantee a personal response to all letters and emails received.

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Issue 60 ClayCraft

003 Welcome Issue 60.indd 3

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Contents Issue 60

20

8

COIL

6

News

Catch up with the latest news, views and comment

THROWN

8

Project 1: Bird feeder

This super two-part feeder makes a lovely feature in the garden

18 Linda Bloomfield

How to solve glazing defects and faults

SLAB

A slow build of a woman’s head

20 Project 2: lidded trinket box

52 Throw Down

36 Next month

54 Volume index

An oriental-inspired box with a clever lid fixing method Find out what’s we’ll be making in the next issue

READER OFFER: ClayCraft books ❯❯37 38 Wendy Lawrence

18

42 Project 3: figurative bust

Discover how Wendy creates her weathered textured forms

38

Catch up with the Potters of the Week and hear from the leavers An at-a-glance reference source for the contents of the past year’s issues. Do you see anything you like, but missed?

You can order back issues from our shop at claycraft.co.uk

COIL

56 Project 4: garden sculpture

Weathered monoliths that will make a statement and provide a focal point

42 4

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CONTENTS

52

68

How to blow colour-loaded bubbles onto your work for subtle results

73 Back issues

Single issues are available to find a project you missed, complete your collection, or add to your reference library

74 Confessions of a Novice

Keith Brymer Jones demonstrates

Fancy signing up for a class?

Find local classes, courses and workshops

50 PAGES OF INSPIRATIONAL STEP-BY-STEPS

PINCH, COIL, SLAB

AND THROW

ORIENTAL CHARM CREATE

Issue 60

CLEVER LIDDED BOXES

GARDEN SCULPTURES

40 ClayCraft SPECIA!L subscriptions OFFEPRlus MAKE A SET OF MONOLITHS

Save money and have the magazine delivered to your door.

You know it makes sense!

 STYLISED FIGURE  MODIGLIANIINFLUENCED BUST  HOW TO CORRECT GLAZE DEFECTS  YOUR THROW DOWN CATCH-UP  THROW A ROOFED BIRD FEEDER … AND MORE

£5.75

68 Surface decoration: bubbles

77 Courses

– PINCH, COIL, SLAB AND THROW

TECHNIQUE

for Anglian Potters. Of course, there’s a challenge involved, and even some tears

Issue 60

Doug’s off down to that there London for mud-larking and lots of fun!

74

ISSUE 60

64 Doug’s Diary

64

56

SURFACE DECORATION: BUBBLES • LOCAL COURSES LISTINGS

04/02/2022 14:59

Issue 60 ClayCraft

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• DOUG FITCH

001 Front Cover Issue 60 Plus Spine v2.indd 1

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04/02/2022 17:15

IN THE NEWS READER FEEDBACK

We've been contacted by a reader asking if we could include more details of some of the materials used in our projects, including where to buy them – for example, the nichrome wire in the fox sculpture in our last issue.

This is really helpful feedback for us and is something we'll be implementing in future issues.

The wire used for the fox project was 20-gauge (0.8mm), but since this was a small and light project, a lighter gauge would have been fine, eg 22-gauge (0.6mm). This, along with other gauges, is in stock at bluematchbox.co.uk If there's anything you'd like us to explain in more detail, please do let us know by emailing the editor at claycraft.ed@kelsey. co.uk

If you have a news story, product launch or details of some other topical item you’d like our readers to know about, email claycraft.ed@kelsey.co.uk

New clay body

TKJ Throwing and Handbuilding Body is a versatile clay for use on the wheel and in hand-building. This clay has been developed in collaboration with Tom Knowles Jackson, with properties specifically suited to throwing on a momentum wheel. The clay is responsive to work with on a slow-moving wheel yet retains the plasticity necessary for full-bellied forms and larger vessels and has excellent green strength.

TKJ Throwing and Handbuilding Body fires to a gentle warm brown

in reduction and a golden buff in oxidation (recommended firing range 1200-1300°C).

Available now at: potclays.co.uk

Spring: Blossom – 40 Years in the Making

An exhibition full of the joys of spring! Jewellery, ceramics, sculptures and wall art by a selection of blossoming talented makers accompanied by makers rediscovered from a remarkable 40-year archive, including some real Yorkshire treasures.

Vibrant colours and patterns, nature in all its glory, and amazing wildlife are explored by some of the most talented makers on the craft scene.

Heather ● 5th February – 30th April Elvidge ● craftcentreleeds.co.uk

Can't wait for your next issue of the Smallholder?

Get your Smallholder fix between issues.

Sign up to the free monthly newsletter: a digest of the latest news, features, product reviews and competitions.

Plus, hear from our editor and what’s happening on her smallholding this month.

Join our growing Smallholder community today

Visit yoursmallholding.com and sign up on the homepage

6

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Ceramic Artist of the Year 2021/22 IN THE NEWS

©Hannah Billingham

Hannah Billingham has been awarded Ceramic Artist of the Year at the Corporate Live Wire Yorkshire Prestige Awards 2021/22.

"It has been an amazing year for me,” said Hannah. “I've worked with some brilliant galleries and had a series of successful online exhibitions. It's amazing to receive this award as I prepare to move to a bigger studio and create new works in 2022."

The award adds to Hannah's other accolades from galleries in England and Wales. Hannah said, "It is a privilege to share my passion for ceramics by creating works in my Beverley Studio that sell around the globe. The past year has allowed me to develop my practice, and I am excited to build on this success in the coming year." ● Hannah's work is available to view at: hannahbillinghamart.co.uk ● Instagram: @hannahbillinghamart ● Facebook: facebook.com/hannahbillinghamart

Saggar Firing in an Electric Kiln If you love the stunning effects that can be achieved by alternative firing methods firing but don't have the equipment needed to achieve them, then this book could well be the answer! Jolanda van de Grint explains how to use your electric kiln to create unique colours and patterns by using saggars (closed pots). And the best bit? It doesn't damage your kiln.

By using a saggar containing combustible materials, you're essentially creating a mini wood-kiln inside your electric kiln and can achieve similar results – muted earth tones and unpredictable colour flashing.

Beautifully illustrated and presented in a very engaging way, Jolanda takes us through her journey of discovery, which started with firing a pot every week for a year in an effort to fine-tune the process. She shares her techniques from making the saggar, which clay body to use, to making and using terra sigillata, and glazing. This is all before you start thinking about the combustible materials; which to choose for the best results, and how to use them.

Firing schedules, results and post-firing glazing are covered, and there are useful chapters on experimenting and trouble-shooting.

Each section is accompanied by clear step-by-step colour photos and detailed descriptions, written in a very accessible and personal style. This book is one for the 'musthave' list! ● Saggar Firing in an Electric Kiln A Practical Handbook By Jolanda van de Grint ● Published by Schiffer Craft ● £27.99 ● Format: Hardback ● Pages: 96 ● Illustrations: 206 colour photos ● ISBN: 9780764362323 ● Gazellebookservices.co.uk

006-7 News Issue 60.indd 7

Peter Montgomery, Ceramist and course instructor from Zirl near Innsbruck, throws on the pottery wheel HMT 600.

Pottery wheel HMT 600.

Enjoy your results.

“The seat is a major improvement.

It is really comfortable and easily adjustable.”

The HMT 600 pottery wheel has been designed for everyday use in potters’ workshops. The high-performance machine combines modern control and drive technology with excellent ergonomics and can be individually integrated into everyday workshop life. The long service life and the many setting options of the HMT 600 promise long-term enjoyment of the equipment and perfect ceramic results.

Discover more about the HMT 600 on: www.rohde.eu/en/hmt600

www.rohde.eu/en

04/02/2022 17:17

SKILL SCHOOL

PROJECT

ONE

TWO-PART BIRD FEEDER

This super two-part feeder makes a lovely feature in the garden, and if you hang it somewhere visible from a window, you will have hours of pleasure watching the birds come and go – and a few pesky squirrels, if my garden is anything to go by!

You will need: ■ 2.7-3kg (6-7lb) of stoneware clay plus clay to throw a pad for a batt if you don’t have a quick-fix mechanism ■ Tools for throwing – batts, water bowl, ribs, sponge, serrated edged tools for texturing ■ Turning tools (optional – see steps) ■ Glaze of choice to fit stoneware clay ■ Rope for attaching sections together and/ or strong wire

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ClayCraft Issue 60

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DIFFICULTY RATING ★★★★★

Before you begin: A reminder when throwing – to save wordy repetition!

Always compress the clay at the rim after each lift – pinch the rim gently between your fingers and thumb, at the same time resting the forefinger of your other hand on the rim and applying gentle pressure

3

THE FEEDER DISH This base won’t need turning after it’s been thrown and has firmed up to leather hard, so it’s important to get the proportions right from the start

1

Centre the clay – you can see instructions on how to do this on our website, but begin by dribbling a little more water over the surface, then cone the clay up between both hands, applying equal pressure from both sides to raise it vertically.

Continue by pushing the clay down with your right hand while applying steady pressure with your left hand at the side – this will level it off and bring it to centre.

You’re aiming for a wide dome shape with straight sides.

Repeat these steps until the clay runs smoothly through your hands without wobbling.

Open out the centre by pressing the fingers of your right hand down through the clay to within 5mm of the batt while steadying your hand with your left hand for a smooth action.

4 Throw a pad to fix your batt onto if you don’t have a quick-fix mechanism – you can find details by visiting claycraft.co.uk/how-to if you don’t know how to do this.

Fix the batt to the wheel head, giving it a thump with your fist to secure it in place once centred.

Dampen, but don’t flood, the surface of the batt with a sponge or your fingers.

2

Continuing to support the right hand with the left, draw the clay back towards your body in a steady action until the base is opened to approximately 22cm wide.

Prepare 1.3kg (2¾lb) of clay by kneading it well to remove any possible trapped air, then form it into a rough cone-shape and place it as close to the centre of the batt as possible.

Dribble a little water over the surface of the clay, then pat it down to make sure it’s secure.

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SKILL SCHOOL PROJECT

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5  Compress the clay in the bottom of the bowl by running your fingers over the surface from the centre to the outer edge several times. As you reach the outside edge, push the tips of your fingers into the clay to form a right angle from which to raise the wall.

Continue to support your right hand with the left as you work.

 Lift the wall again, with your hands in the same position, to increase the height by 1-2cm.

8

6

 Sponge out the interior of the dish to remove excess water and slurry.

With your left-hand fingers supporting the wall from the inside (thumb on the outside) and the fingers of your right hand opposite on the outside, lift the wall to a straight-sided cylinder approximately 5cm high.

Compress the clay at the rim.

9

 Use a rib to refine the outer wall of the dish, supporting it from the inside with your left hand as you carefully draw the rib around the circumference.

Note: you can work the rib over the interior base of the dish as well if you want to remove the throwing lines.

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DIFFICULTY RATING ★★★★★

10

THE FEEDER LID The lid can also be thrown in one, again removing the need to do any turning, and we show you how to do this here, but in fact, we did choose to trim the shape and throw a knob to hang the feeder from – read more at the end of the steps

1

When you’re happy with the surface of the walls, use the tip of the rib to cut a bevel around the outside base of the dish and remove the excess clay from the batt.

11

Fix another batt to the wheel head, prepare the remaining clay and form it into a cone shape.

Place the clay at the centre of the dampened batt and pat it down to secure it in place.

Underwire the base of the dish, holding the wire taut

2

and draw it from the front, back towards your body.

12

Carefully prise the batt off the pad with the dish in

situ, and place it somewhere to firm up to leather-hard.

Centre the clay as you did earlier by coning up, then flatten it down again to a wide, flat-topped dome with your right hand.

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SKILL SCHOOL PROJECT

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3 Open out the centre of the form, pressing down with the fingers of your right hand held at an angle to gently curve the interior instead of flattening it.

Work to within 10-15mm of the batt if you think you want to turn the shape later; otherwise, 5mm at the centre.

Compress the rounded base with the tips of your fingers, running them over the surface several times, from the centre outwards and upwards slightly.

With your left-hand fingers on the inside and your right-hand fingers opposite on the outside, lift the wall from the base – upwards and outwards to a gentle flare.

Continue to raise the wall to within 2.5cm (1 inch) of the rim, then ease off so that it remains thicker.

4  Cuff in the outer edge of the clay at the base with the sides of your hands as a point to lift the wall from.

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DIFFICULTY RATING ★★★★★

6

Lift the wall again, with your hands in the same

position, maintaining the inner curve from the base but this time widening the diameter a little and still leaving the thickness at the rim.

8

Sponge out the interior of the lid, then refine the outer surface by running a rib over it while supporting the shape from the inside with your left-hand fingers.

9

7

When you’re happy with the shape of the main part of the lid body, you can turn your attention to the remaining thickness at the rim.

With your left-hand fingers on the inside and your right-hand fingers supporting from the underside, flare the top section gently and gradually outwards at a shallow angle from the body, as shown.

The finished diameter should be approximately 29cm, and the depth of the lid 9-10cm.

Again supporting the wall from inside with a finger, run a serrated-edged tool around the outside wall, just below the flare at the rim. This is a little tricky as you have to squat down to see what you’re doing. An alternative would be to do this when the lid is leatherhard, using a turning or sgraffito tool.

10

Note: you can repeat the serrated detail at the base of the lid if you’re happy for the feeder to have a flat top, but leave this step out if you intend to trim the shape.

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SKILL SCHOOL PROJECT

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11 Cut a bevel with a pointed tool, as shown, below the texture lines at the base of the lid, then remove all surplus clay from the batt surrounding it.

 Underwire the base of the lid, then remove the batt carefully from the wheel head and place it somewhere to firm up to leather hard.

FINISHING THE PARTS BEFORE FIRING To finish the feeder parts off, turn them over once they’re firm enough to handle, and tidy up the undersides with a rib and damp sponge.

If you choose to turn the lid to a domed shape, centre it back on the wheel and secure it in place, then trim away the excess clay with a suitable turning tool.

You can throw a knob onto the lid if you’re confident about doing that, but a simple hole at the centre of the dome is sufficient to hang the feeder.

Cut three holes, equally spaced around the rim of the lid using a hole cutter. Make sure the holes will be large enough to get your chosen material for hanging through, allowing for clay shrinkage.

The holes don’t need to be as large if you intend to use wire.

Cut three corresponding, equally spaced holes in the feeder dish wall.

Allow the parts to dry out thoroughly; then bisque fire them.

Once bisque-fired, glaze the feeder parts in your chosen glaze and re-fire to the optimal temperature.

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DIFFICULTY RATING ★★★★★

JOINING THE PARTS

3

1

Gather the feeder parts and rope, ready to assemble.

You will also need a sharp knife to cut the rope.

Note: If you intend to use wire instead of rope, you will need wire cutters.

Thread the rope back through the holes and secure it with a good, tight knot at each end.

Now measure and cut the remaining two lengths of rope and attach them to the feeder in the same way. You may find a bit of adjustment is required to get the feeder to hang level.

2

To gauge the length of rope you’ll need, thread it through the hole in the feeder dish first, then up through a hole in the lid.

Adjust the length until it seems balanced but leave enough extra at each end to tie a sturdy knot.

Cut the rope to the chosen length, remove it from the parts and measure it.

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SKILL SCHOOL PROJECT

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4  Cut the ends of the rope to neaten up but not too close to the knots.

 Check that the feeder hangs properly before placing it outside.

7 5

If your feeder lid has a flat top with a hole at the centre, run another length of rope through this and secure it with a knot on the underside, then a loop knot at the top end.

Alternatively, if you turned the top of the lid and added a knob, as shown here, with a hole through it, make a double-thickness wire hook to thread through it, as shown.

Make sure any wire you use is sturdy enough to support the weight of the feeder.

 The feeder had been hanging outside for literally minutes before this friendly little robin came to see what was on offer, along with a whole host of other birds, but it wasn’t long before the squirrels found it – pesky varmints!

MAKING AND FIRING DETAILS The feeder was thrown using a white stoneware clay and was glazed in Amaco Shino – Acai Matte.

Bisque-fired to cone 04 (1060°C, 1940°F) and glaze-fired to cone 6 (1222°C, 2232°F) in an electric kiln.

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Happy New Year!

Scxl-034 (6cm)

Scxl-029 (6cm)

www.mkmpotterytools.com Phone: 01 (920) 903-8918 mkmtools1@gmail.com Hot Clay hot-clay.com

Bath Potter’s Scarva Pottery Corby Kilns Blue Matchbox Supply Supplies corbykilns.co.uk bluematchbox.co.uk bathpotters.co.uk scarva.com

WHERE TO BUY

IN WESTERN EUROPE & THE UK Keramix Handels GMBH

Colors 4 Ceramics

Potclays, Ltd.

Korneuburg, Austria

Leinburg, Germany

Stoke-on-Trent, UK

Creakor Bvba

Ceramica Collet, S.A

Cromartie Hobbycraft

Kortemark, Belguim

Esparreguera, Spain

Stoke-on-Trent, UK

Kerasil Oy

Pappel Espanola S.L.

Country Love Crafts

Nurmijarvi, Finland

Madrid, Spain

Sudbury, UK

Les Cousins

Keramikcenter-Art4Fun

Hobby Ceramicraft

Cedex, France

Rydeback, Sweden

Reading, UK

Ceredel

Potterycrafts

Panazol, France

Stoke-on-Trent, UK

Carries Mayco & Duncan

Carries Mayco & Duncan

Carries Mayco

Carries Mayco & Duncan

Carries Duncan

Carries Mayco & Duncan

Carries Mayco

Carries Mayco & Duncan

Carries Duncan

Carries Mayco & Duncan

Carries Mayco

Carries Duncan

Carries Duncan

Carries Mayco

Visit MaycoColors.com for a full list of Mayco Distributors.

LINDA BLOOMFIELD

GLAZE BASICS: ALTERING YOUR GLAZE Last month, I covered how to make and fire glaze tests. This month I will explain how to analyse your glaze test results and adjust the glaze or correct any defects

O

nce you have fired your glaze test and unloaded it from the kiln, you can begin to use your new glaze, make up a bigger batch and glaze some pots with it. Never throw a glaze test away; you may want to come back to it later. After your initial excitement or disappointment, it’s time to take a closer look and analyse your results.

Think about the following qualities.

Linda Bloomfield is a scientist turned potter. More glaze recipes can be found in her books, Advanced Pottery (2011), Colour in Glazes (A&C Black 2012), The Handbook of Glaze Recipes (Bloomsbury 2014) and Science for Potters (The American Ceramic Society 2017).

Her new book Special Effect Glazes, and the second edition of Colour in Glazes are both out now. Linda has recently launched her online glazing course, How Glazes Work, on her website:

lindabloomfield.co.uk

Above: Glaze defects: Crazing, crawling, blisters and pinholes.

Is the glaze glossy or matt?

Is the glaze runny? You will only have an idea of how much it runs if the test tile was fired vertically.

Is it the colour you expected?

Are there any visible glaze defects: cracks, pinholes or blisters?

Glaze defects

Above: Hollis Engley’s crawled shino bowls. The white shino glaze has crawled, showing the stoneware clay beneath. Shino glaze is high in clay, which can cause crawling.

There are several glaze defects that can occur, although one potter’s defect might be another potter’s special effect!

One such defect is known as crazing, when a network of fine cracks develops in your glaze, accompanied by a series of pinging sounds. Crazing occurs when the expansion of your glaze is too high compared to the expansion of the clay body. As the glaze cools after firing, it contracts more than the clay body, and cracks develop to release the stress. If this effect is desired, it is called crackle, although it greatly weakens the pot, which will break more easily than a pot without cracks in the glaze. If you don’t want crackle, you can adjust your glaze by adding quartz (silica) or talc (magnesium silicate) to the glaze in 2% increments, then sieving, dipping a test tile and firing to see if the crazing is reduced or eliminated. You might also need to try out the glaze on a larger test tile or pot to be sure there is no crazing. Thinning the glaze with water will also help correct crazing.

The opposite of crazing is known

as shivering, where the glaze has a lower expansion than the clay body.

This can cause the glaze to flake off in sharp flakes at the base, rim or edges of handles. It can cause porcelain or stoneware pots to crack in two, known as dunting. To correct shivering or dunting, you need to add a high expansion material to the glaze.

Sodium oxide has the highest expansion of all glaze materials, so you can add this in the form of soda feldspar or nepheline syenite, around 2%. As well as correcting shivering, it might also cause the glaze to be slightly more runny.

Crawling occurs when the glaze forms into beads with bare patches in between. It can often be caused by applying the glaze too thickly. You can add water to the glaze to get a thinner application. Some glaze materials can cause crawling, including ball clay and zinc oxide. These materials can be calcined (heated to biscuit temperature) to reduce their shrinkage during drying.

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GLAZING

 Dunting. These underfired plates have cracked owing to a mismatch in the expansion of the clay and the glaze.

Other glaze defects include pinholes and blisters. Pinholes can sometimes be eliminated by firing slightly higher, by soaking for 15-30 minutes at top temperature, or by firing the biscuit ware to a slightly lower temperature.

For the biscuit firing, I usually fire to 990°C (cone 06). The lower the biscuit firing temperature, the more absorbent the biscuit ware will be during the glaze application, and the fewer pinholes there will be.

Blisters can be the result of overfiring or the glaze containing a problem material such as bone ash or silicon carbide, both of which give off gases during firing. If your glaze is too runny, it may form a pool at the bottom of the pot, which might also cause blisters. If this is the case, you can grind down the blisters and refire.

Adjusting the glaze Is the glaze dry and rough? It might be underfired. If you would like the glaze to

Above: Crazing/crackle in an ash glaze.

 Glaze tests made by Cornish potter Julia Crimmen using chromium, tin and copper oxides.

be more glossy and runny, you can add a small amount, around 5%, of a frit, such as borax frit (or Ferro frit 3134). This will help your glaze to melt better and is a good way to convert a high temperature (cone 10) stoneware glaze to a mid-temperature (cone 6) glaze.

Is the glaze too runny? You can add more china clay to stiffen it. Try increments of 2%. Adding china clay might also make the glaze slightly less glossy. Conversely, if you want your glaze to be more runny, you can reduce the amount of clay in the recipe or add a small amount of borax frit.

To convert a matt glaze to a glossy glaze, you can add more quartz (silica).

Try adding 5, 10, 15% quartz, sieving and dipping a tile each time so that you get a series of glazes with increasing gloss. Eventually, if you add too much silica, the glaze will become sugary and underfired, as silica has a high melting point, and beyond a certain amount, it will need more fluxes to melt it. To make a glossy glaze more matt, you can either reduce the silica or add more china clay or dolomite in 5% increments.

strontium and lithium carbonate will brighten colours, particularly turquoise from copper and chartreuse green from chromium oxide. You need to choose the right glaze base for the colour you want to develop.

If you would like your glaze to be more interesting, try adding 5% rutile, which will give streaks and mottling.

In matt glazes, a small amount of zinc oxide will help to grow tiny crystals in the glaze. 

Colour

rutile and various colouring oxides: copper, chromium, iron, manganese and tin oxide.

Colouring oxides added to the glaze will be affected by the fluxes in the glaze. In general, magnesium (talc, dolomite) and zinc oxide will mute some colours and destroy chrome-tin pinks. A lack of calcium (whiting) in the glaze will also prevent the chrome-tin pink colour from developing. Barium,

 Set of glaze tests containing 5%

For glaze recipes, try books such as Colour in Glazes, The Handbook of Glaze Recipes or search online on glazy.org

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SKILL SCHOOL

PROJECT

TWO

TRINKET BOX

Make this oriental-inspired box to keep your little treasures in.

Red and black continue the theme of the orient in the decoration, but other colour combinations would work just as well

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DIFFICULTY RATING ★★★★★

You will need:

2

■ A sheet of stiff card, ruler, craft knife, pencil, cutting mat if you have one ■ A small wooden stamp – the example shown is available from MKM tools ■ Clay of choice – earthenware or stoneware ■ Rolling pin, 3-5mm thick roller guides, plastic sheet ■ Glaze to fit clay type ■ Underglaze ■ Jewellery cord – can be thin leather or other

Sit your chosen stamp into the angle 3-5mm from the pencil lines and draw in the position.

3

1

Measure and draw in the remaining two sides to form a box frame around the stamp detail, making sure the template is a perfect square.

Mark the template as the ‘lid/base’.

Working on a cutting mat and beginning at a corner of your sheet of card, measure and draw a line 1cm in from both edges. The lines don’t have to be any particular length at this stage.

.

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SKILL SCHOOL PROJECT

TWO

4 Continuing the pencil line from the lid section, measure and draw the side panel to your chosen height.

Carefully cut both templates out.

5

Prepare a block of clay large enough to accommodate your templates in multiples of two for lid and base and four for the sides, plus a little extra for added details like feet etc.

Working on the sheet of plastic, reduce the bulk of the clay by beating it with the side of your rolling pin.

Work in measured, even strokes from one side of the clay to the other to avoid making deep grooves in the surface.

Roll out the clay between the roller guides. You’ll find that the slab ‘rounds off ’ at the top and bottom ends, and in this case, it’ll be helpful to keep it as square as possible, so carefully roll the ends sideways to adjust the shape. (Note – you’ll have to do this freehand, without the aid of the guides). Return to rolling as before, between the guides when you’ve corrected the shape.

You’ll find that periodically turning the slab will make rolling much easier and give you more control to achieve the approximate shape that you need.

Once rolled out, smooth over the surface of the slab with a rib to compress the clay.

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DIFFICULTY RATING ★★★★★

6

 Turn the slab over onto an absorbent board and remove the plastic sheet.

Smooth over the surface of the slab again with a rib.

7

9

 Cut a second slab length in the same way, then cut out four side panels and two end panels from the slabs using the templates.

Reserve any remaining slab under plastic for use later.

10

 When working on a square lid/base section, first carefully measure and draw in the frame surrounding the stamp detail.  Using a roller guide as a line to cut along, cut one side of the slab straight.

11

8

 Align the side panel template to the cut edge of the slab, then again, using the roller guide aligned to the opposite side of the template, cut out a length of slab.

 Impress the stamp detail at the centre of the frame, then repeat these two steps to complete the second square section.

.

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PROJECT SKILL SCHOOL

TWO

15

12  Bevel the edges of each section by placing a metal

ruler 5mm in from the edge, then holding a knife at an angle – the tip on the work surface, the blade resting on the ruler – cut from each side towards the centre to avoid distorting the clay.

Apply some slip to one bevelled edge of a square section and the adjoining edge of a side panel, then fix them together.

If you have a wooden block like the one shown here, you’ll find it helpful when slab-building because it helps butt the edges together squarely and neatly.

13  After bevelling each edge, and while the ruler is still in place, score the cut edges with a serrated kidney.

14  Repeat this to bevel all sides of the main body sections.

16

 Apply a second side panel to the base, in the same way, slipping all adjoining edges before fixing the parts together and using the wooden block to butt the edges together neatly.

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DIFFICULTY RATING ★★★★★

17

Carefully remove excess slip from the interior joins

using a suitably shaped wooden tool.

20

Turn the box upright again and fix the top section in place after slipping the edges.

Paddle around the joins again to ensure they have fully sealed together.

18

Continue to build the box in this way until all side panels are attached to the base.

21

19

Turn the box over before applying the top section

and gently paddle the edges with a wooden spatula to ensure the joins are secure.

You can gently roll the wood block over the joined edges to remove the sharp angles if you choose – this is optional, but it softens the lines of the box, and I think makes it look much better.

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SKILL SCHOOL PROJECT

TWO

25

22  Cut four small squares of clay from the reserved slab to form the feet on the box.

Test the size of one square on the underside of the box by placing it in a corner – it should balance in proportion to the underside. Increase or decrease the size accordingly until you’re happy that it’s right.

 Cut the remaining feet in the same way, then sit them on the box and mark their positions.

26

23  Following the lines of the frame containing the stamp

detail, carefully mark a small square on the foot, as shown.

Score and slip each foot’s marked positions and undersides, then fix them in place, pressing them down firmly to squeeze out any air trapped underneath, and excess slip.

24  Remove the foot from the base of the box, then carefully cut out the small square.

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DIFFICULTY RATING ★★★★★

27

Tidy around the feet with a rib and suitable wooden tool to remove excess slip.

29

 From the reserved slab, cut four short lengths to the width of the metal ruler.

30

28 Butt one of the sections up to the side of the lid to estimate the size needed to make a locating frame for it. Cut the section to size.

 With the box still upside down on the work surface, align a metal ruler to the lower edge, then carefully cut through the wall with the knife’s blade resting on it.

Work around each side in this way until the lid is released from the body.

Carefully tidy up the edges of the body and lid without actually altering the cut lines.

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SKILL SCHOOL PROJECT

TWO

31  Cut the remaining three sections to the same size as the first one.

33

 Tidy up the frame with a wooden tool.

34

 Score the outside edge of the locater frame and the inner edge of the box lid, then apply slip to both.

32

35

Bevel and score each short end of the strips, then fix them together with a dab of slip to form an open box frame.

 Fix the locater inside the lid and pinch the walls together firmly to squeeze out trapped air.

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DIFFICULTY RATING ★★★★★

36

Tidy around the locater, removing all excess slip with

a wooden tool.

37

Check the fit of the lid on the box. You may have to shave away some areas on the locater to improve the fit. You can do this with a sharp knife or metal rib.

Once you’re happy with the fit, carefully work around the box with a rib to tidy up.

38

Cut four more small squares. A quick way of cutting these is to use a suitably wide roller guide like the 15mm one shown here. Cut a strip first, then lay the guide sideways on the strip to create a square.

Alternatively, measure and cut the squares out.

39

The squares will attach to the sides of the box in pairs, as a type of lug, so it’s important to check they’re exactly the same size.

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SKILL SCHOOL PROJECT

TWO

40 Hold the squares at the centre of one side of the box, one above and the other below the join.

IMPORTANT – if your stamp detail has a definite alignment, like the dragon in this example, make sure the lugs are positioned to the left and right of it as you look at it.

Mark the position with a pin.

41 Remove the squares from the box and place them on top of one another, then drill a hole through the centre of both using a drill bit. Don’t make the holes too big, but they need to be larger than a pinhole.

42 Score the positions for the squares on the side of the box and corresponding edges on the squares themselves.

Apply a dab of slip, then fix the upper square in place.

Run a pin through the drilled hole of the upper square, then through the lower one as you attach it, to make sure the holes are correctly aligned.

Tidy around the lugs when they are fully attached.

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DIFFICULTY RATING ★★★★★

43

Apply the lugs to the opposite side of the box in the same way, then remove the lid and tidy up the undersides of them on both the lid and body.

44

46

All that remains is to make a bead for the box, and it’s probably best to make two or three in case of accidents.

Roll a short length of clay into a coil about 8mm thick, then cut it into 15mm lengths.

Push a length of thin dowel or a wooden skewer through the centre to create the bead.

Briefly run a damp sponge around the edges of the lid to finish up.

45

Allow the finished box to dry out slowly with the lid in place, ready for bisque firing.

.

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SKILL SCHOOL PROJECT

TWO

GLAZING AND FINISHING

1

47 With the dowel inside the bead, gently roll it over the work surface a couple of times to enlarge the hole.

Using your chosen colour of glaze (suitable for clay type) and a fine brush, carefully fill in the detail of the stamped design.

Try to contain the glaze within the outline as far as possible.

Repeat on both the lid and underside of the box, then allow them to dry out completely.

48 2

 Remove the dowel, then give the bead a little tap on the work surface at each end to flatten them off.

Allow the beads to dry with the box before bisque firing.

 When ready, and wearing a dust mask, sand away the excess glaze until the stamp design detail is sharply outlined.

Brush away the glaze dust carefully and dispose of it.

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DIFFICULTY RATING ★★★★★

3

Using a fine brush, paint around the detail of the stamp design with an underglaze colour of choice.

Note: This takes patience and a steady hand if the design is intricate, so work slowly to ensure you make a neat job of it.

Repeat on the lid, or base if you began with the lid first, applying as many coats as recommended by the manufacturer.

4

Apply a contrasting glaze on the inside of the box and lid to the one you have chosen for the outside, omitting the area where they fit together.

IMPORTANT If you glaze fire the lid in situ on the box, you must leave the area where the locating flange extends into the box unglazed as well, or the lid will fire onto the body. The lid here was fired separately to the box, but this can cause problems if the box isn’t made well because parts can distort.

It is usually advised to fire items with lids together so that any distortion happens in both sections, meaning they still fit well.

.

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SKILL SCHOOL PROJECT

TWO

6

 Glaze the bead in the same colour as either the interior or exterior.

You’ll find it much easier to glaze the bead if you thread it onto the dowel or the end of a paintbrush.

5 Glaze the outer surface, taking care around the stamp design and avoiding the undersides of the feet.

7

To fire the beads, thread them onto a length of nichrome wire, then carefully suspend the wire between two kiln props, making sure it can’t drop by securing one end over the prop into the hole at the centre. ALSO,, make sure the beads are separated; otherwise, they will stick together.

Allow the glaze to dry out thoroughly before firing.

8

 To estimate the length of jewellery cord you will need, thread it through the holes in the lugs on one side of the box and over to the lugs on the other side allowing enough so that the lid can just be lifted off when attached. The image shows the approximate length.

Cut the cord when satisfied.

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DIFFICULTY RATING ★★★★★

9

 Fold the cord in half and make a knot at the centre fold.

Thread both halves of the cord through a bead and check that the knot is large enough to prevent it from pulling off.

10

11

Draw the bead down the cord to secure the lid in place, and your box is complete.

As a final check, make sure that there is enough slack in the cord to lift the lid off easily.

11

 Thread the cord through the lugs on either side of the box and tie a knot on the underside of each one to prevent it from pulling through.

12

 The glazes used in this project were Mayco Black Walnut and Cinnabar. Jet black velvet underglaze was used for the stamp detail surround.

Bisque-fired to cone 04 (1060°C, 1940°F) and glazefired to cone 6 (1222°C, 2232°F) in an electric kiln.

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04/02/2022 15:11

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Each 132 page guide includes step-by-step projects catering for all skill sets.

There's something for everyone!

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MAKER AT WORK: Continuing from our profile of ceramic maker Wendy Lawrence in the last issue, we follow up with a step-by-step guide to her working process

A word from Wendy to begin: into moulds and formers and carve solid “I make for the enjoyment of the material and, therefore, have a variety of hand-building techniques. I gouge out solid pieces, slab build, coil, drape slabs

METHOD 1 – pitted disc form

pieces of clay. I use a heavily grogged stoneware clay from Scarva that is really strong. I start by developing the form then progress to carving, which is

3

by far my favourite stage. I use lots of different tools to carve and texture the clay: loop tools and found objects such as coral, beach pebbles, stones and wood.

5

1

 The outer edge of the disc is

carefully cut back to the marked line, and then a hole is cut at the centre, from which the surface is carved out using a loop tool to taper the shape.

4

 This image clearly shows the

range of tools used to create the holes in a variety of scales, to make the surface look very naturalistic.

6

 Working on a large batt, the clay

is pounded with a mallet to get the basic shape.

Note: the clay must already be quite firm to do this; otherwise, the mallet will stick to it.

2

 Once in an evenly flat shape, the

clay is allowed to firm to fully leather hard before continuing. Next, a circle is marked out, filling as much of the disc as possible.

 A selection of loop tools is used

to carve a series of holes spiralling out from the centre. Some holes are shallow, and others cut through to the opposite side of the disc.

Smaller loop tools are used to make holes within holes in varying degrees of size.

The disc is flatted slightly at one edge for it to stand. The exact point is decided by turning the form until it simply looks best.

Note: the holes are not continued right up to the edge of the disc. This gives a visual sense of containment, but also the thicker frame supports the interior to give stability.

When complete, the disc is turned over, and the back is treated to match the front.

As explained earlier, the form is allowed to dry out very slowly before bisque firing, then is glazed in Wendy’s trademark way.

38 ClayCraft Issue 60

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WEN

ORK:

WENDY LAWRENCE “I use a variety of different volcanic glazes that I multi-layer onto the ceramic using a brush. I also add oxides: copper, vanadium and titanium under and over the glazes. Silicon carbide in the glaze creates a gas during firing, and this creates the bubbles and blisters.

The multi-layering of glazes and

METHOD 2 – Standing form

building up of an uneven surface over the heavily carved clay further amplifies the volcanic look and creates a sense of ancient rock and natural erosion. I fire mainly in electric kilns to about 1250°C. My work can be displayed in interior or exterior spaces.

“I feel incredibly lucky that I have a

2

passion for clay. It has and still continues to open up so many opportunities. I’ve made wonderful friends, met fascinating people, travelled and worked abroad, helped organise new events – Ceramic Wales being the latest show. To be honest, I’m just enjoying a journey with clay.” 

4

1

 As with the first example, a  The tool used by Wendy here is  A whole bag of clay is bashed to form the basic shape of the piece, then is left to dry to leather hard.

from China, but a lead-dressing tool or mallet would work just as well.

3

 Once leather hard, the form is

laid on its side, and a knife is used to delineate the areas that will be carved – both front and back.

If Wendy’s work inspires you, you can find a more detailed step-by-step garden monolith project on page 56

series of loop tools is now used to carve out the detail of the form.

The lines guide where to carve, but other features evolve as the piece develops, meaning that no two are ever the same.

5

The finished form from both sides.

Again, it will be allowed to dry out slowly and thoroughly before bisque firing; then, for both forms, oxides are applied underneath layers of glazes, which themselves have been mixed with oxides.

Stiff glazes are applied in layers combined with fluid glazes give variety and subtlety to the surface.

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THROWN PROJECTS SKILL SCHOOL

PROJECT

ONE

THROWN SQUARED VASE

This form starts as a standard bellied bottle or vase shape, which is altered by paddling the sides with a wooden spatula. It is a good method for altering standard forms to make your creations unique

You will need:

DIFFICULTY RATING ★★★★★

■ 900g (2lb) clay – earthenware or stoneware, white or coloured as preferred ■ Tools for throwing – water bowl, sponge including a version on a stick, cutting wire, batts, ribs – wooden and metal ■ Large wooden spatula ■ Surface decoration as preferred

3

Before you begin: A reminder when throwing – to save wordy repetition!

Always compress the clay at the rim after each lift – pinch the rim gently between your fingers and thumb, at the same time resting the forefinger of your other hand on the rim and applying gentle pressure.

Open out the base to within 3-5mm of the batt by pressing down into the centre with the fingers of your right hand – held at an angle rather than vertically – and supported by the left hand.

Note: the bottom of this vase won’t be turned, so it’s important to get the thickness at the base correct from the beginning. Use a pin to measure the depth of the base if you’re unsure.

1

4

Prepare the clay by kneading it well to remove any trapped air, then form it into a rough cone shape.

If you don’t have a quick-fix mechanism for batts on your wheel, throw a pad to secure one to (you will need extra clay for this), then fix the batt to the wheel head, giving it a thump with your fist to hold it in place once centered. For details, visit claycraft.co.uk/how-to Dampen, but don’t flood, the surface of the batt, then position the clay as close to the centre as possible.

2

● Exclusive glazing content from Linda Bloomfield

5

Centre the clay – you can see full instructions on how to do this on our website, but begin by dribbling a little water over the surface, then cone the clay up between both hands, applying equal pressure from both sides to raise it vertically. Continue by pushing the clay down with your right hand (thumb slightly over the top) while applying steady pressure with your left hand at the side – this will level it off and bring it to centre.

You are aiming for a very slight dome shape.

8

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PROJECT

THREE

HEARTDISH DISH HEART

DIFFICULTY RATING ★★★★★

YOU WILL NEED:

■ Clay of choice – red earthenware used here for a colour contrast with decoration ■ Rolling pin, roller guides (max 5mm thick), plastic sheet, cookie cutters ■ Round hump mould – plaster or bisque (or something rounded you can drape the clay over)

This dish has been designed and made with Valentine’s Day in mind, but it would be a lovely gift to give to anyone, especially if filled with something delicious like chocolates

■ Slips in colours of choice to fit clay type ■ Sgraffito tool ■ Black or dark coloured underglaze ■ Glazes – Mayco Stroke & Coat used here plus transparent earthenware glaze ■ Selection of brushes in varying sizes and shapes for decoration

BEFORE YOU BEGIN:

Working on a cutting mat, if you have one, measure, draw and cut out a heart-shaped paper template in the size you want your dish to be.

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DECORATION SKILL SCHOOL PROJECT

FIVE

SURFACE DECORATION

PAINTING WITH GLAZE As we have said many times before in ClayCraft, glazes and glazing are subjects in their own rights and strike fear into many makers, especially at the early stage of their ceramic learning. There are so many different ways to use glaze, as demonstrated in Linda’s brilliant coverage of the subject each month, but as you must know by now, we use commercially prepared glazes for the projects in the magazine, simply because, in the fast editorial turnaround, there is no time to develop, make and test new glazes, then apply them to the work.

● Never miss out on an issue ● … AND continue to save £££ on the RRP!

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PINCH/SLAB PROJECTS

● Special content from The Great Pottery Throw Down

DON’T FORGET THE BENEFITS OF RENEWING:

Positioning your right-hand thumb over the rim, cuff the clay in at the outside edge of the base with the sides of your hands to form a doughnut shape. This will provide a point from which to raise the wall.

ClayCraft Issue 59

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Draw your fingers back towards your body to open the base to a width of approximately 7cm, maintaining your left hand on the right as you work, to keep it steady.

Run your fingers over the base several times, working from the centre to the outside wall to compact the clay.

DIFFICULTY RATING ★★★★★

You will need: ■ Bisque fired tiles to practice on ■ A selection of brushes for various forms of application ■ Pencil

■ Glazes of choice – they don’t have to be the type used here unless you want to replicate these examples ■ A paint palette is useful to decant small amounts of glaze or for mixing colours

METHOD 1 - Painting an image directly onto the bisque surface

1

 Draw your design directly onto the bisque tile surface in soft pencil.

Don’t worry about the pencil marks – they will burn away in firing.

NOTE: This is a freestyle technique – you don›t even have to draw the design if you prefer to make marks with the glaze in a painterly way. However, if you want to make a design repeat, draw it out first on tracing paper, then transfer it to the tile.

2

Commercially prepared glazes offer wonderful scope for experimentation, available in a huge range of colours and finishes, from matte to glossy, crystalline to crackle; there is no effect that can’t be achieved using them.

They are a good, cost-effective way of testing out ideas and small-scale batch work but not really practical for production work.

Bearing all this in mind, I recommend you try the following glazes: ■ Mayco – Stroke & Coat – available in a huge range of glossy colours with an extensive firing range, from cone 06 (998°C, 1828°F) to cone 10 (1285°C, 2345°F).

■ Mayco – Foundations – again available in a wide range of glossy colours they fire from cone 06 (998°C, 1828°F) to cone 6 (1222°C, 2232°F) and also available in Matte whites and Black, firing up to cone 06.

■ Mayco stoneware glazes – available in many finishes from matte to glossy, textured to crystal. Generally firing from cone 5-10 (1186°C, 2165°F to 1285°C, 2345°F) ■ Amaco – Celadons – firing to cone 5-6 (1186°C, 2165°F to 1222°C, 2232°F) ■ Amaco – Potters Choice – firing to cone 5-6 (1186°C, 2165°F to 1222°C, 2232°F) ■ Amaco also has an exciting range of low fire glazes – too many to mention here, but it’s worth exploring these manufacturers’ catalogues to choose a few to experiment with.

Of course, there are other manufacturers of fantastic ready prepared glazes to try, and your ceramic suppliers will have a wide range of options. Whichever brand you choose, select just a few to begin with – it’s very easy to get carried away with excitement when you first see what’s available.

The following methods demonstrate just one way of using glaze creatively – we will add to the subject in different ways over future issues to build a comprehensive approach to glazing in alternative ways.

Using your glaze colour of choice, begin to paint in the fine detail of the design using a fine liner brush.

Depending on the type of glaze being applied, in this case, Mayco Foundations black matte, you will have to work over the lines two or three times for good effect. Allow each coat to dry before applying the next one.

3

Paint in the design’s main feature in a bright colour to stand out from the line detail – Mayco Stroke & Coat used here in a colour mixed from several others.

Again, you might need to apply the glaze in more than one coat depending on the finish you’re aiming for – a single application will allow the clay to show through a little but give the detail a diaphanous look – more coats will create block colour.

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PROJECT

THREE

FEMALE FIGURE

The process for making this figure is a slow one because it has to be built in stages, allowing the clay to firm up in between times – it should be the perfect project for those who don’t get long stretches of time to work with their clay

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GURE

DIFFICULTY RATING ★★★★★

You will need:

3

■ A grogged clay of choice – earthenware or stoneware. Craft Crank is a good option ■ Plastic sheet ■ Rolling pin and 5mm thick roller guides ■ Wooden modelling tools ■ Ribs

 Before you begin: it’s easier to work with thick coils for a build like this; they will support the form better as it grows, so don’t flatten them too much – certainly no thinner than 1cm if working on a large scale; 15-20mm is better, but they can be thinner if you’re working small.

Working on the plastic sheet and lifting one end of the coil, carefully flatten it along its length with the heel of your other hand.

Note: lifting one end makes it easier to flatten as you work along the length.

1  The idea for this sculpture came from several

sources – Renaissance images of the Madonna, the artist Modigliani and other contemporary references – making it something of an amalgamation of ideas that are stylised during the making.

Yours can be even more stylised than this one if you want – it could have a long neck as depicted in Modigliani’s women, short hair, no hair, piercings, anything at all, the choice is yours.

Gather your own imagery to reference as you work.

Maybe do some preliminary sketches to get an idea of form and size – this is always useful.

4

Stand the coil on edge and form it into a ring, the rough shape of a body just below shoulder height – as shown.

Overlap the ends of the coil and pinch them together to secure them.

Smooth over the join, inside and out, with a rib, removing excess as required until the area of the join is the same thickness as the rest of the coil.

2 Form a good block of clay into a rough coil between both hands, then roll it on the work surface to an even 3-4cm thickness.

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PROJECT

THREE

8

5  Prepare, roll and flatten a second coil of clay in the same way and sit it over the first one.

 When the outside coils have been blended together, work in the opposite way on the inside, drawing the clay from the first coil up onto the second one.

9

6  If the coil is too long, pinch off the bulk of the excess before overlapping the ends and blending them together as you did the first one.

 Gently pinch the rim to level it – this makes the construction much easier. It doesn’t have to be perfect, just more or less even.

10

7 Beginning on the outside of the form, blend the clay of the top coil down onto the first one with a finger.

Tidy up with a rib when finished,

 Roll another coil as before but this time flatten it into a shallow curve. This method is the same as flattening straight; you just curve the lifted end around a little as you work.

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DIFFICULTY RATING ★★★★★

11

13

Sit this coil on the body as before but with the shallower side of the coil upwards so that it curves inwards a little.

Pinch off any excess length, then blend the ends together.

Blend the coil onto the body as earlier.

Roll another fat coil, but this time don’t flatten it.

Instead, place a short length around the shoulder area and blend it onto the body, as shown – inside and out.

12

14

Now think about the shape of the upper torso and shoulder area and manipulate the body to suggest the arms at the side and curve of the chest below the neck.

At the back of the body, think about the line of the spine leading up to the neck and shape this area accordingly.

Carefully close the edges together by pinching and manipulating the clay until the join is completely sealed.

If you think it needs it, you can reinforce the underside of the shoulder with another coil of soft clay but blend it in well to avoid trapping air in the area.

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PROJECT

THREE

17

15  Form the shoulder on the opposite side in the same way, then roughly smooth over the body with your fingers to even up the surface.

Now allow the construction to firm up. This may take a few hours or even a day. Check it regularly to make sure it doesn’t firm too much because you need to be able to build onto it. A barely damp cloth around the neck will keep this area malleable enough to build onto while allowing the rest to firm up.

 You can refine the body’s surface at any stage using a rib.

18

16

Roll another coil, flatten it as before, and then sit around the opening between the shoulders to form the neck.

Blend the coil in as before, then add a second one to raise the height.

Make sure the coils are blended in well on both the outside and inside.

 Form an amount of clay large enough to fill your hand into a ball, then press your thumb through the centre until you can feel some pressure in your palm.

19

 Begin to pinch the clay outward to a conical bowl shape (like the front of a face, the shallow end of the coil forming the chin) between your fingers and thumb.

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DIFFICULTY RATING ★★★★★

20

Sit the bowl on the neck of the body in the position shown, to check the proportions balance with the torso – there should be enough size in the bowl to form the facial features.

21

With the head still in this position, take the

opportunity to roughly form the facial features using your fingers. Simply delineating the features in this way is useful when completing the rest of the head.

22

Carefully remove the head, then cut the neck to better cup the shape when it’s reapplied. You shouldn’t have to cut much away.

23

Sit the head back on the neck and blend the surfaces thoroughly on the inside.

24

Run a coil around the join on the outside and blend it up onto the face and down onto the neck until no longer visible.

25

Support the chin of the face on a large block of foam to prevent it from sagging as it firms up a little.

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PROJECT

THREE

29

26  When the face is firm enough to hold its shape, and while it is still supported by the foam, roll another thick coil of clay and blend it around the opening to build up the shape of the skull.

As earlier, blend the coil down on the outside and the clay upwards on the inside.

27  Add more coils in ever-decreasing lengths to close the top of the head to a small opening.

 Score and slip the surround of the final coil on the head using a toothbrush and water.

30

 Position the skullcap over the opening and carefully paddle it into place with a wooden spatula, paying close attention to the edges so that they merge into the rest of the head.

31

28  To close the head in, pinch a small amount of clay to

a shallow skullcap shape, as shown.

 Blend the cap more thoroughly onto the head with your fingers until it’s no longer noticeable.

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DIFFICULTY RATING ★★★★★

32

33

Carefully draw in the neckline of the figure’s clothes to your chosen shape, using a pin.

Return to the features of the face and consider them in proportion to the whole head. Make adjustments where required.

Develop the shape of the eyes and eyebrows using a suitably shaped wooden tool – increase or decrease the size of the nose and line of the lips until you’re happy with the result.

Remember, the features can be exaggerated or stylised for effect – these details should be decided from personal choice.

34

You can add texture to the clothes in part or as a whole at this stage if you want. Here, the sleeves are fluted using a loop tool to give some sense of movement in the clothes. A stamped pattern would also look good, or the clothes can be left plain and a pattern detail painted on after bisque firing.

Whichever surface treatment you choose, don’t forget that the body has a back, so continue the detail here.

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PROJECT

THREE 37

35

 Turn the slab over onto an absorbent board and peel off the plastic sheet.

 Smooth over undecorated areas with a rib if needed.

38

36 Note: this figure has long hair, so the directions explain how to make and apply it. If you intend your figure to have shorter hair adjust weights accordingly.

Prepare a block of clay large enough to make the hair for your figure.

Working on the plastic sheet, reduce the bulk of the clay by beating it with the side of your rolling pin. Work in measured, even strokes from one side of the clay to the other to avoid making deep grooves in the surface.

Roll out the clay between the roller guides. You will find that periodically turning the slab will make rolling much easier and give you more control to achieve the rough shape that you need, but this isn’t important for this project.

Once rolled out, smooth over the surface of the slab with a rib to compress the clay.

Carefully tear the slab into as many long strips as possible, but keep shorter lengths too, as shown.

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DIFFICULTY RATING ★★★★★

39

40

Blend the slabs together as appropriate to make the hair look more realistic. This can be tricky, so take your time to get it right and continue until you’re happy with the hairline.

Score and slip a central line along the head to attach the hair to, then begin to attach the lengths of slab from this point all around the circumference.

41

Use a serrated tool to score the hair to make it even more realistic.

42

Allow the figure to dry out VERY, VERY SLOWLY, preferably under loose plastic, continuing to support her under the chin with foam.

This drying process can take weeks, but it’s worth allowing it to happen really slowly to avoid stress cracks.

In the next issue, we will show you how to finish the sculpture Issue 60 ClayCraft

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THE GREAT POTTERY THROW DOWN

The Potters of the Week for episodes 1-5, and some snippets from the leavers

W

e’ve all been immensely enjoying this season of the Throw Down and are very impressed by the skills of this year’s participants.

We’ve pulled together some lovely shots from the first five episodes and have excerpts from interviews given by the leavers. You can see more photos and read the full interviews on our website at: claycraft.co.uk/ throw-down/season-5

EPISODE 1: Crockery set and ceramic milk bottles

POTTER OF THE WEEK Lucinda impressed the judges with her children’s tea set and was named the first POTW.

Saying goodbye Bill was the first potter to leave after only managing a pair of bottles, and

being disappointed by the colours on his crockery set.

“I took up pottery at my local evening adult education class when I was in my early 40s at the same secondary school my daughters attended. I was really inspired by my first tutor there, a local artist and talented potter, Russel Wrigley. My favourite piece is one of my first porcelain mugs. I wood fired it at Guldagagard in Denmark.”

What do you feel will take away from your experience on the Throw Down?

“So many amazing memories. We laughed so much! I have met 11 incredibly talented and lovely friends for life. I have renewed interest in pottery with lots of new ideas and projects I want to try.”

What’s next for you in the pottery world, and what are your hopes and ambitions after The Great Pottery Throw Down?

“It’s back to the studio but with lots more ideas and enthusiasm. I’m making lots of pots and would like to make more and sell some if possible. I’m teaching a wheel throwing class in Whitby and absolutely love doing that.”

EPISODE 2: Pendulum wall clock and blindfold challenge POTTER OF THE WEEK Cellan shone at both the challenge and the clock main make to be crowned POTW.

Saying goodbye Zahra’s origami bird clock sadly didn’t hang on the wall (although, of course, in real life, one could have sorted that out!)

“Pottery for me was always a relaxing pastime to wind down with, so the time constraints were a bit of a shock to the system from the get-go of the first week. I’m definitely someone who needs to take my time with things, but I really enjoyed being challenged in a different way, eg speed throwing.

“My best moment on the series

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was probably halfway through the breakfast set challenge as I managed to somehow convince myself I had all the time in the world before I panicked and decorated half of my pieces in the last few minutes!”

What’s next for you in the pottery world, and what are your hopes and ambitions after The Great Pottery Throw Down?

“In the world of pottery, there is so much more I want to learn and explore, and the 12 of us are constantly getting tips and advice from each other, which is so lovely.

I’m currently building my own raku kiln at home, and I’m learning more about crystal glaze making and different firing methods.”

touched the top of the large pot, creating an installation with the theme from the ground up.

“Just taking part in the show will be a memory for the rest of my life, and I will always be proud of what I achieved. But also, the people I met were fantastic. The different challenges and the time pressure made it so exhilarating.”

EPISODE 4: Japanese tea set and handle-pulling POTTER OF THE WEEK AJ’s double whammy of their contemporary gnomes and spectacular forcer won them POTW.

Saying goodbye

EPISODE 3: Inanimate objects and a bottle kiln POTTER OF THE WEEK Tom rose to the challenges of raku-firing with Keith saying it’s ‘the best thing’ he’s done, and was given this week’s title.

Saying goodbye POTTER OF THE WEEK Nick made the most of the unusual qualities of paper clay, and his very detailed boat got him this week’s win.

Saying goodbye Josh’s cart didn’t quite make the grade, and he was the third potter to leave.

“The best piece of work I made was for my second year at uni. I made an installation 6ft chandelier out of porcelain and terracotta pieces. I made each piece by creating my own extruder plate. There were about 200 individual ceramic pieces that got joined to an armature to create the chandelier. Surrounding the chandelier in a circle were loads of thrown pots of various sizes and colours, and in the middle was a very large, half thrown and coiled pot.

The last piece of the chandelier

THROWDOWN EPISODE 5: Character gnomes and a sea kale forcer

Miles was the next to go after his raku was judged to be not quite refined enough.

“I learnt pottery a little at school.

As many artists would say, it was my first art teacher, Miss Nichols, that inspired me. She taught me to make a coil pot, which I still have! I then went on to do an A-Level in pottery at college, where I pushed my work into a more figurative form. Years later, while living in California, I joined an evening class with Mark Churchill, who completely blew my mind with his passion for clay and what you can do when you put your mind to it. Mark taught me how to throw and about shape and balance.

“The worst moment was making something that kept falling apart, which felt like such a disaster. The best moment was when I recovered from disaster and made a giant apple in minutes, using my initiative and determination not to fail. Both things same day, same challenge!”

For Cellan, the big challenge proved too much, and his gnomes were a bit too small.

“My favourite ceramic piece that I have made are the legs of my coffee table. I really wanted to join my favourite materials together, and I found this really interesting. The best piece of pottery I have ever made is probably my own coffee cup.

I use it every day and still enjoy using it; to me, that makes it the best.

“I love throwing; to me, this is what ceramics was all about. As I have continued my ceramic journey, I have started to dive more into the hand-building world, but I still prefer to throw. Because it is not a very social activity, I like to use it to disappear, almost like meditation. I can just focus on one thing and put everything I can into it.

“I mostly like to make mugs and vases as gifts. Anything practical really, I like the idea of someone using a gift that I have given them.”  Next month, we will catch up with the remaining potters and learn more about who’s in and who’s out. Don’t forget you can read more from the potters at: claycraft.co.uk/throw-down/ season-5 Issue 60 ClayCraft

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■ Dishes; rustic, press-moulded ........Issue 59

p56

■ Bookends; mould, slabs .....................Issue 54

p24

■ Egg cups, dinosaur, pinch ................Issue 53

p18

■ Clay oven; DIY .........................................Issue 53

p54

■ Faceted vase; thrown ..........................Issue 51

p8

■ Faceted vase; thrown ..........................Issue 51

p8

■ Figurative polar bear pt 1; pinch ...Issue 56

p40

■ Surface decoration; bubbles ...........Issue 60

p68

■ Figurative polar bear pt 2; slab .....Issue 57

p48

■ Surface decoration; carving & incising .......................................................Issue 58

■ Figurative polar bear pt 3; pinch ..Issue 58

p54

p64

■ Fridge magnets; slab ...........................Issue 53

p30

■ Surface decoration; decals & lustres .......................................Issue 57

p66

■ Flat-bottomed bowl; thrown ..........Issue 53

p8

■ Surface decoration; intro ..................Issue 51

p62

■ Fox; sculpture, paperclay, pinch ...Issue 59

p18

■ Surface decoration; lino cuts ..........Issue 53

p68

■ Surface decoration; Mishima ...........Issue 56

p64

■ Surface decoration; painting with glaze ..................................................Issue 59

p68

■ Surface decoration; sgraffito ..........Issue 55

p62

■ Surface decoration; slips ...................Issue 52

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■ Surface decoration; texture .............Issue 54

p62

p8

■ Apple baker; thrown ............................Issue 56

p8

■ Bats; slab ...................................................Issue 55

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■ Bird bath; thrown ..................................Issue 49

p8

■ Bird feeder; 2-part, thrown ..............Issue 60

p8

■ Bird sculpture; slab ..............................Issue 50

p22

■ Bookends; mould, slabs .....................Issue 54

p24

■ Bottle stoppers; slab ...........................Issue 57

p58

■ Bowl; thrown, 2 feet options ...........Issue 52

p8

■ Box; lidded, trinket, slab ...................Issue 60

p20

■ Butterfly drinker; slab .........................Issue 51

p54

■ Candlestick, country, slab, pinch ..Issue 56

p48

■ Clay oven; DIY .........................................Issue 53

p54

■ Cracker dish; slab ..................................Issue 52

p40

■ Garden oya: slab ....................................Issue 49

p36

■ Garden planter; coil .............................Issue 51

p20

■ Garden sculpture; monolith, slab .Issue 60

p56

■ Gravy boat; thrown ..............................Issue 58

p8

■ Hand puppets; pinched ......................Issue 53

p38

■ Hyacinth bulb vase; pinch, coil ......Issue 56

p28

■ Large platter; thrown ..........................Issue 55

p8

■ Lidded boxes; slab ...............................Issue 57

p32

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■ Altered vase; thrown ...........................Issue 59

PROJECTS

THR OW

SLAB ICK LEST CAND

An at-a-glance reference source for the contents of issues 49-60 See page 73 for details on how to buy back issues – both print and digital TECHNIQUES

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04/02/2022 15:21

14:59

60

SKILL SCHOOL

PROJECT

FOUR

GARDEN MONOLITH This is a somewhat stylised monolith compared to the aged examples we see in stone circles – and, of course, very much smaller in scale. However, covered in magma-like glaze and given time to weather in the garden, it won’t be long before the sculpture looks like something from another time

56 ClayCraft Issue 60

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04/02/2022 15:23

DIFFICULTY RATING ★★★★★

Before you begin:

For once, this is a project where fine attention to form and surface aren’t needed. You can work roughly because the objects we’re replicating come in all shapes and sizes. You don’t have to make the shape shown here, but the principles for building would be the same no matter what the profile.

Note: precise dimensions aren’t given for this project because the ultimate height of your sculpture will depend on the availability of space in your kiln, so you’ll have to work accordingly.

You will need a full 12.5kg bag of clay (or more depending on chosen size) for each sculpture you might want to make. Much of this clay will be carved away once the form is constructed, but it can easily be reclaimed later.

Finally, you will find this form much easier to construct if the clay is relatively soft – this will avoid having to score and slip each level.

You will need:

■ 12.5kg bag of stoneware clay ■ Plastic sheet ■ Plaster relief or sprig mould (see issue 32) OPTIONAL ■ Loop tools of various sizes ■ Magma-type glaze plus another glaze to apply underneath if preferred ■ A good brush for glaze application

2

Working on the plastic sheet, begin to flatten the coil from one end. You’ll find it much easier to flatten if you lift it from the opposite end as you work along the length.

REDUCE THE COIL TO A THICKNESS NO LESS THAN 4-5CM – it must be thick to carve into later.

3

1 Stand the coil on its side and form it into a circle.

Really butt the ends together, then blend the clay over the join inside and out with your fingers.

Note: If your clay is on the firm side and you don’t want to take the risk of the seam coming apart, score and slip the ends before joining.

Roughly form a 10cm thick and 35cm long coil (approximately) between both hands. Roll the coil briefly on the work surface to remove the worst finger marks but don’t worry about it being perfect.

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57

.

04/02/2022 15:23

PROJECT

FOUR

7

4  Before continuing, adjust the shape of the ring to an oval.

Form a second coil in the same way as the first and position it directly on top, but avoid having the ends meet in the same place as the first coil. If possible, position the ends on opposite sides each time you add a coil.

 Work in the opposite way on the interior, drawing the clay up from the base, over the seam and onto the top coil.

8

5  Overlap the ends of the coil then, holding them together, carefully cut through them at an angle with a long knife.

Continue to build up the form in this way, adding as many more coils as needed, remembering to accommodate the available space in your kiln.

6  Butt the ends together and smooth over the join

inside and out with a finger.

Blend over the join around the outer circumference by smoothing the clay from the top coil down over the bottom coil until the seam is no longer visible.

TIP

Because you’re working with very thick coils, the form shouldn’t distort from the weight as it gets bigger, but if you find it does, firm the clay up a little with a heat gun or hairdryer after each level is added

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DIFFICULTY RATING ★★★★★

9

When you’ve built the form to the height you need, pinch the top 4cm of the rim together, making sure the clay walls fully adhere to one another.

10

Shape the top of the form to your own preference – here, the corners are cut away to remove the unnatural angle and round the shape, but the choice is yours.

11

You’ll understand at this point why you sealed the top together so deeply – you must have enough thickness to adjust the shape without cutting into the void.

Make sure the rims are pinched together enough at the opposite corner before cutting it to approximately match the first.

12

Roughly work over the surface of the form with a rib to remove evidence of the layers of coil (there may be obvious lines where the levels were joined).

Don’t aim for a super-smooth surface; we want it to look natural and stone-like.

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04/02/2022 15:23

PROJECT

FOUR

16

13  The next few steps are purely optional – you don’t have to add this detail if you don’t have a sprig or relief panel mould like the one shown here. This was made in issue 32, but you can find instructions for the mould by going to claycraft.co.uk/how-to if you like this detail.

Remove the clay from the mould, then cut out the central detail, as shown.

Make as many more sprigs as you need to decorate your sculpture.

Note: If using a panel mould like the one shown and you want to make several sections for surface decoration on the form, you may as well create the whole panel and then cut out as many individual sections as you need.

When you have prepared all the sprigs, gently run a finger around the circumference of each to soften the sharp edge.

14  Roughly pinch a disc of clay, large enough to fit a small section of your mould.

15  Press the disc into the chosen area of the mould with your fingers, as shown. Be firm about this so that all of the detail is picked up when the clay is lifted out.

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DIFFICULTY RATING ★★★★★

17

Use one of the sprigs to mark the position where you want to attach it.

Place it in position, then score around it with a pin.

18

Using a suitably sized loop tool, carefully scoop out the clay within the marked position, deep enough for the sprig to be inset.

19

Score and slip the carved-out area using a serrated kidney and the back of the sprig itself, then fix it into the recess, pressing gently to force out any possible air that may be trapped behind it.

.

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PROJECT

FOUR

22

20  Smooth around the join with a finger until the detail looks like an integral part of the form – a bit like a fossil in a rock.

 Change your loop tool to one with a narrower head, then carve into the spaces between the first cuts.

Again, carve at different depths and lengths – you’re aiming for the striated look of sedimentary rock that’s been distorted by earth movement.

21 Begin to carve into the form with your largest loop tool.

Vary the depth and position of each line you carve, trying not to be too regular in your alignment and spacing.

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DIFFICULTY RATING ★★★★★

23

WARNING – DO NOT RUSH THE DRYING PROCESS These sculptures have to be dried very, very slowly and therefore take a long time to dry out thoroughly – the two shown here took almost a month to dry out completely. The different thicknesses in the clay create stresses that forced drying would exacerbate, causing the form to crack along the thinner areas, so do take your time with this.

25

When you’ve carved out the surface to your satisfaction, gently paddle over the clay with a wooden spatula to flatten any burrs.

24

Make more sculptures, in the same way, adding extra feature details to suit – they look good arranged in groups in the garden.

The bisque fired stones were glazed in Mayco’s Dark Magma, which mostly obscured the sprig detail, giving a really aged effect.

Bisque-fired to cone 04 (1060°C, 1940°F) and glaze-fired to cone 6 (1222°C, 2232°F) in an electric kiln.

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04/02/2022 15:24

(Photo: Layton Thompson)

Doug’s Doug Fitch

I

always find the winter the hardest time of year, particularly after a break from the workshop, the likes of which we had over Christmas.

Trying to get back to work, doing our best to pretend everything is as usual, after the sadness of just a few weeks ago, has taken some doing. Still, the routine of getting Pippin onto the school bus and Fred to nursery has thrust us back into enforced normality.

It’s been a slow start to the year, inspiration is hard to find, but I know that the only thing to do is not to set our objectives too high, start with something simple that we know how to make without too much complication and, in the fullness of time, the clay will start to flow again.

But I must say, it is hard, and it’s only through bitter experience that I know the way out of it.

And so, we both began to fill the empty shelves with mugs. Although simple, straightforward and not too challenging, mugs still need to be ‘right’, so they’re a good object with which to focus one’s eye without straining one’s body. It allows the

 Mugs in the making.

DIARY

Hannah’s plate 29cm.

(Photo: Shannon Tofts)

senses to awaken before moving on to bigger or more complex things. We never have enough of them either, and some lovely ones have come through the kiln in the past couple of weeks, ready to restock our website. Our photographer, Shannon Tofts, came from Edinburgh recently and took some great pictures of mugs in use in the workshop.

Starting simple worked as a catalyst, and I was able to progress on to making big jugs; another form that I’m familiar with, but these, in turn, were a warm-up ready for confronting the next test to my abilities – an order for two dozen very large and highly decorated lamp bases.

Often, tackling something like this is completely debilitating. The lack of confidence that I can make the pots, and the enormity of the task ahead, looms large and can be overwhelming, to the extent that I worry about it so much that I can’t start the job until the deadline is on the horizon and I’m

about to hit the critical zone, whereby we won’t have the kiln capacity to get everything fired in time. I’m at that stage now. I’d love to make another batch of big jugs, particularly as one of them collapsed after it was slipped, so I feel like I’m one short, but tomorrow, I must make a start on the lamps. It’s crazy, I’ve made them successfully before, but my mind keeps telling me that I can’t do it. The brain can be a mean trickster sometimes. One thing is for sure, if I can get this order out, then I should be good at it by the time I’ve finished, and that will hopefully tell my head to shut up and behave itself. Tomorrow will be revealing. I hope to have this text finished tonight, but I’ll include a photo if I manage to get some made tomorrow.

Hannah has been a busy bee, despite having been poorly with a non-covid virus that knocked her out for days with a high fever, then a subsequent chest infection. She is part of a group exhibition of women artists and

64 ClayCraft Issue 60

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04/02/2022 15:25

DOUG'S DIARY

 Mugs in action. (Photo: Shannon Tofts) craftspeople at the Found Gallery in Brecon, from 22 February, until 19 March, entitled Welcoming 2022. The opening is timed to coincide with Brecon’s Women’s Festival, which lasts for a fortnight, and includes International Women’s Day. She’s been making some of her characteristically beautiful plates, dishes and jugs for the show and is hoping to get one of her huge chargers made in the coming days, time permitting.

Earlier in the week, she received the wonderful news that her This is England charger is to be added to the permanent collection of the Centre of Ceramic Art in York. I’ll briefly explain for readers who may not know what this charger is. Hannah made it in response to the racist abuse that was received by the three black England football players who missed penalties in the Euros last year, and it was subsequently used to raise over £9,000 for Fair Share, the charity championed by Marcus Rashford, which campaigns against food waste and provides for food banks. It’s brilliant that it should continue to spread its message in such a prestigious environment, and our thanks go to the winner of the prize

 Fred and Hannah planting spring bulbs. draw, who kindly donated the piece with that very objective in mind. A publicity event is planned when the piece is formally presented to CoCA, and I’ll report on that when it happens.

The Centre of Ceramic Art houses such a remarkable collection of pottery (it even has one of mine, ha, ha!), and we’re both looking forward to visiting it again when we deliver the charger.

Hannah and I are never happier than when we’re in a museum full of pots; the experience is so inspiring.

There’s so much to learn from the potters of the past, who were incredibly adept with the most basic of materials and equipment.

Of course, with the restrictions of the pandemic, we haven’t had a chance to spend time visiting museums for a couple of years now, and we’ve missed it terribly. Our local museum is very good, but because there’s never been a particularly thriving tradition of pottery in this region, as the geology isn’t suitable, there are very few pots in there to get us excited. There’s plenty of other stuff there to trigger ideas, and writing this sentence has whetted my appetite to take a visit there again soon; we must do that.

Books, or the internet, or our

 A collapsed jug. This is what happens when the heavy slip soaks in, so I tend to blast them with a gas torch. I forgot! collection of old pots have been my resource base for the past couple of years, but I’m desperate to visit some old ‘friends’ in the big museums. I’ve been yearning to see old pots, medieval jugs and 17th-century Issue 60 ClayCraft

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DOUG'S DIARY

 Hairy workshop rockers, Kim with his bouzouki. I need a haircut before I hit the capital! slipware chargers, the likes of which one might see in the V&A or the British Museum or the Museum of London. Those are my great love and provide the inspirational foundation for my own work.

Suddenly, the opportunity has arisen for me to do just that and next week, I’m off to London. I’m not allowed to say much about it yet, but I don’t think I’m in danger of giving too much away if I tell you what I’ll be up to. Hannah and I are working with a gallery in London on a group exhibition. The gallery has arranged for all the contributors to go ‘mud larking’ on the banks of the Thames, to hunt for sherds of old pottery and other ancient relics that might inform a body of work for the show. There is also a session organised with a curator in the extraordinary archives of the Museum of London.

Hannah and I would have loved to have both gone, but with two little ones and no childcare, it just isn’t possible at the moment. We had the back-and-forth discussion of ‘you go’, ‘no, you go’, that went on for days, and in the end, Hannah insisted that I

should be the one to travel.

I’m excited and terrified. I don’t really know how to get around London by myself; it’s a far cry from our shed in the countryside here. I expressed my concerns to my buddy Andrew Grundon, aka Frank, and he agreed to meet me there and make sure that I don’t get lost! I haven’t seen Frank in nearly three years, although we speak daily on the internet, via messenger or video call. He’s allowed to come along to the events too, and I’m really looking forward to sharing the experience with him, as well as some Scotch whisky that I’ve had set aside, especially for our reunion.

He is an amazing sign painter, artist, illustrator and carver, as you can see if you look at his website www. signaturesignsuk.com We have done some collaborative works before, and we›re hoping that this trip will lead to more.

Incredibly, it will be the first time I’ve ever been away from the children for the night and only the second night since we were married that I’ll have been away from Hannah, which is quite something as we’ve been married for nearly seven years.

I do hope this sense that we may be coming out of the worst of the

 I made some big lamp bases!

I’m not wholly happy with them, but it’s a start, and they’ll be a better shape when they’ve been turned.

pandemic is well-founded. Much as I have enjoyed the security of staying at home with my little family, I have missed my friends greatly.

One of my creative vents, other than pottery, is playing music. For 10 years, while still living in Devon, I played bass to the hippies of Dartmoor in what we described as a ‘psychedelic rural punk’ band. That all ended when I moved up to Scotland to be with Yoko… er Hannah, but in recent weeks I’ve dusted the bass off again and teamed up with a photographer buddy, Kim Ayres. We’ve been playing in the workshop in the evenings. It’s fun to be playing again, and whether it will lead to anything more remains to be seen, but for now, we are enjoying ourselves and, at the very least, annoying the workshop mice!

I’m happy to see the nights drawing out at quite a pace now, and the bulbs are sprouting in the workshop garden.

The children have planted up pots full of hyacinths, narcissi and other bulbs that I can’t spell or pronounce. There are snowdrops aplenty in the lanes, and I even saw a daffodil in bloom yesterday, which was surprising and delightful. Spring is a little way off yet, but it’s coming, and how very welcome it will be. 

 One of my lamps in use.

(Photo: Paulo Moschino Design Studio)

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SKILL SCHOOL

PROJECT

FIVE

SURFACE DECORATION

BUBBLE TECHNIQUE This is a real playtime technique. Practice on test tiles or old pieces of bisque ware before trying it out on your work

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DIFFICULTY RATING ★★★★★

You will need: ■ Bisque samples to practice on – they can be tiles, plates or even three-dimensional objects if you have spares sitting around on your shelves ■ Small jug or similar container ■ Washing-up liquid ■ Body stain/powdered underglaze OR oxide ■ Drinking straw ■ Optional: Pale coloured glaze and a selection of glaze colours. Try Mayco Foundations and Stroke & Coat colours to practice with ■ Resists: eg, paper tape, wax emulsion, latex ■ Fine brushes for wax and latex application (not your best ones because either of these can ruin a brush if you’re not careful!)

Before you begin: You can use either body stains/underglazes or oxides to colour the bubbles. If you choose the latter, be aware that they can be very strong, especially cobalt and copper, so only use sparing amounts.

The strength of body stains generally depends on the colour and temperature they will be fired to. Many reds and yellows can fire out at high temperatures and, therefore, work better on lower maturing clays.

Note: We’re not giving amounts here – and this is not a definitive demonstration of the possibilities that the technique offers – we’re showing a very basic approach that should be enough information for you to get started and experiment with further.

As is always the case, you’ll find you get better the more you do it, so don’t be disheartened if it doesn’t work perfectly the first time. Wash the marks off the surface, allow it to dry out, then start again.

2

Add a small amount of your chosen colourant, referring to the notes above.

Half a teaspoon of stain was used here, and it was too much – it could have been reduced to a quarter of a teaspoon.

Give the stain a really good mix in the water.

3

1 Decant a small amount of water into a container, then add a few drops of washing-up liquid – stir the water to disperse the liquid.

Note: for experimental purposes, you should only use a very little water, or the mixture will be wasted. A little makes a lot of bubbles!

Now blow into the mixture using the straw until the bubbles come over the top of the container.

DO NOT SUCK THE MIXTURE UP THE STRAW!!!

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SKILL SCHOOL PROJECT

FIVE

7

4 Begin by testing the mixture direct onto a bisquefired surface.

Using the straw, carefully move the bubbles off the top of the container onto the waiting surface.

Allow the bubbles to burst of their own accord and in their own time.

 Making sure the tape is fully stuck down on the surface of the bisque, repeat the process of creating and applying the bubbles.

8

5

 If you don’t like the result, or find it hasn’t covered the whole surface, apply more bubbles to fill in the blank spaces in the same way.

Keep practising until you find your best way of doing this.

6

 Having cracked the technique, try adding feature detail using resists to develop a design.

FIRST – try thin paper tape. Apply it to the bisque surface in a pattern of your choice.

 You don’t have to use just one colour – try going over the first bubble pattern with another colour. If using a bold primary colour first, use a more subtle colour for the second application or vice versa.

9

 Remove the tape when all the bubbles have burst, and the surface feels dry.

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DIFFICULTY RATING ★★★★★

10

As an alternative to paper tape as a resist, draw a design on the surface of the bisque in pencil, then go over the lines with wax emulsion and a fine brush.

11

When the wax has dried, again apply the bubble mixture to the surface, repeating it as many times as required and in as many colours as you choose until you’re happy with the result. The wax and pencil will burn away in firing to leave the design outline.

12

You can also apply bubbles to glazed surfaces.

Apply a pale coloured glaze to the bisque ware by your chosen method – brushing or dipping as preferred.

You can apply the bubbles directly to the surface once the glaze has dried OR develop the design further with another resist for greater decorative detail, as shown here.

Start by making a card template of your chosen shape, then draw around it in pencil onto the glazed surface in as many repeats as you choose.

13

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Fill in the pencil shapes with latex emulsion.

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SKILL SCHOOL PROJECT

FIVE

14 Apply the bubble mixture over the surface as before and allow the bubbles to disperse again in their own time.

16  You can leave the resisted areas blank or paint them in another glaze, as shown here.

17  Complete your design by applying outline and feature detail with a fine brush and dark glaze.

18

15  Carefully remove the latex when ready. It will easily lift if you rub a finger over it.

 Fire your test pieces to keep for future reference. You can fire them with or without glaze.

The final tile images show the samples fired with a transparent glaze applied over the surface.

A final word – as we said earlier, these are really simple examples of the technique that have been applied to flat surfaces. For a 3-D surface, stand your form on a whirler inside a bowl so that it can be turned as you apply the bubbles. It takes a bit more practice but is not difficult.

HAPPY PLAYING!

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BLOG

Confessions of a novice KEITH BRYMER JONES

IN THE FLESH!

F

or almost two years, I've seen my fellow local potters only via my computer screen, in a fortnightly Anglian Potters Zoom session. In the earliest days of lockdown, this was a great way to stay connected with the group. It was also the perfect opportunity for more experienced potters to share their knowledge with newer ones. People who wouldn't have known each other's names have formed friendships, and many of us have learned not just from our own questions but also from those asked by other members. But there's a

Delayed for a year due to Covid, a long-awaited Anglian Potters demonstration finally went ahead on January 16th

 Andy Wright's brilliant hand-built teapot featured a detachable drip bucket. (Photo: Trudy Staines)

 I was so pleased with the form,

and the huge crystals (my first ones not on test tiles), but it broke in the kiln. I took it along anyway, in the spirit of the Throw Down.

limit to the social possibilities of a video call. It's one big discussion, whereas if you had 20 people in a physical space, you'd end up with several smaller conversations. I haven't had any of those 'getting to know you' chats, other than asking new people, 'what's your name and where do you come from?'.

Before the pandemic, Anglian Potters regularly met in person, with a series of demonstration days in a village hall deep in the Norfolk countryside. Up to about 140 members would get together, with a real sense of community as people brought food to share in a lunchtime buffet. I'd been to sessions with Niek Hoogland, Corina Ciscato, Ashraf Hanna, and Brendan Hesmondhalgh. In early 2021, we were due to be joined by the

inimitable Keith Brymer Jones, but that was transformed into a Zoom session, just like pretty much everything else at the time. It was great, but we were over the moon when Keith agreed he'd still make the trip to East Anglia in real life, albeit a whole year later. I don't suppose any of us quite believed it'd actually happen, but it did, and it was well worth the wait.

Keith and Marj arrived bright and early on the Sunday morning in a borrowed car after theirs had collapsed on the way. I was immediately jealous of Keith's enormous brown coat that looked like it was made out of a thousand teddy bears. He told us it'd originally been for Siobhan but was way too long for her. The Anglian Potters team sprang

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BLOG

Events organiser Trudy Staines grabs a photo with the man himself.

Keith and Marj and a few of Keith's pots. (Photo: Robi Capogna Bateman) into action, laying out chairs a little further apart than usual and having sold fewer tickets in deference to Omicron. Keith and Marj mucked in, helping set up the demonstration space and a table of Keith's pots available to buy. As I arranged the camera for filming, I overheard Keith ask for warm water for his throwing bucket, saying he always throws with warm water. I do, too, even in the summer, and I felt a daft flush of pride that we had something clay-related in common. I know, I know, it's hardly a shared talent, but it's something!

I could listen all day If you get the opportunity to hear Keith talk and watch him demonstrate, snap it up fast. He's a fascinating speaker with a unique story. He's also a bit of an enigma, isn't he, this highly-skilled potter who outsources his mugs to be slip-cast in China. But that's an over-simplification. For a newish potter like me, who'd struggle to fulfil an order for 10 matching pieces, hearing Keith talk about single-handedly throwing 16,000 pieces back in the day – and I'm not

exaggerating – really made me stop and think. I'd heard him tell this part of the story before, but I heard it from a slightly different perspective this time. The first time, the part that struck me was how anybody could feel confident to accept an order for tens of thousands of thrown pots, knowing they'd be able to achieve that in a reasonable time-frame. This time, it was the next part that sank in. If you're getting orders for tens of thousands of pieces from an international company that wants many, many more, what are you going to do? Turn them down? Employ lots of potters to throw thousands each? I suddenly saw that the only sensible option was to shift to a process that would work for mass production. Keith himself says he wishes this were possible in the UK, and still hopes to open a facility in Stoke to fulfil his UK orders.

For the love of clay I also got the sense, as Keith talked and threw and trimmed, making us laugh with the occasional "it's in the book, Marj, in the book", that while

Keith tests a lovely teapot

made by my first teacher, Libbi Hutchence. (Photo: Trudy Staines)

this might have been the sensible business decision, his heart is still where the clay is. He showed photos of the family-owned factory in China where he knows the people by name, and grinned as he talked about getting his hands dirty with them on the factory floor. He's clearly fascinated by the process and the material. He said that the porcelain they use there, dug from the ground just outside the factory gates, is strange stuff. All the pieces made in the factory are raw Issue 60 ClayCraft

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04/02/2022 15:28

BLOG glazed, meaning there's no bisque firing. Anyone who's ever tried raw glazing will be familiar with what you might call the 'soggy biscuit effect'.

When unfired, bone dry clay is dipped into a glaze, it soaks it up like tea into a Hobnob. And, just like a Hobnob, if you hold it in there too long, mushy bits drop off. But that isn't a problem with this stuff, he said; they just dip it in and out quickly, and it's fine. I asked him during the lunch break how they even hold an unfired mug with glazing tongs. Surely it'd break. He explained that the workers use their fingers rather than tongs, holding each mug gently at the rim and the base. It's such a thin coating of glaze, and the clay body itself fluxes so much when fired so high (higher even than cone 10, I think I recall) that there are no fingermarks left after firing.

Phyl Lewry took third place. (Photo: Trudy Staines)

Teapots, teapots everywhere, poured. I'd used gold lustre to write but not a drop to drink 'pouring's overrated' on the one I One of the highlights for me was the table of amazing teapots that Anglian Potters members had brought in for Keith's teapot challenge. There was an impressive array, including both hand-built and thrown, from newer potters and the more experienced. I spotted Keith taking them all in during the lunch break, surrounded by a little crowd of those who'd realised what was happening. Somebody had found a jug of water, and, one by one, Keith was testing how well they

The winning teapot was made

by Peter Deans.

showed you last month because it needed to be tipped so far over that water tended to leak out of the lid. It was a valuable teapot-making lesson – if only I hadn't had to learn it the hard way, as ever.

Rolling clay with Keith Another memorable moment was watching the spoof Adele video that Keith made back in 2013. Search for 'Rolling clay with Keith' on YouTube.

Keith himself apologised for the quality of his singing, and he even seemed quite relieved when technology prevented it from playing.

"You could do it live!" someone in the audience called out, but to no avail. In the end, the video played, but the audio constantly cut in and out. I hadn't previously realised that this video was directly responsible for Keith's emergence as a judge on the Throw Down. While selling the Bake Off in America, a Love Productions' head honcho' had a meeting with an American businesswoman that Keith had been negotiating with, who told him she'd been working with this "cross-dressing nutter potter". Keith

made the pottery audience laugh, joking that he's not really a crossdresser, "that's Grayson's domain". Anyway, the Love Productions guy watched the video from his hotel room and called Keith to see if he wanted to be a judge. Isn't it funny how one thing somehow leads to another!

Tears amid the laughter Recently, every pot I make seems to teach me a new lesson and shows me how much I have left to learn.

Watching and listening to Keith, I see the benefit of the hands-on hours he's put into clay over the years. It's remarkable. And, yes, in case you're wondering, he was moved to tears, on multiple occasions. Well, it wouldn't have been Keith otherwise, now would it!  Keith's book, 'Boy in a China Shop: Life, Clay and Everything' will have been released by the time you read this. Available from all good book shops

Follow me on social media via @pottlemuddery for more photos

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COURSES SCOTLAND

STEF BAXTER POTTERY Courses: Handbuilding & throwing day class drop-in. Night and weekend classes.

1-1 tuition & Raku classes. Suitable for all levels. Open access coming.

Dates: see website Location; Govan, Glasgow stefbaxterpottery.com CLAY WORKS STUDIO Courses: All levels from beginners to intermediate. Taster courses, general pottery and throwing courses. Open access facility for more advanced makers coming soon Dates: See website Location: Dumfries & Galloway clayworksstudios.co.uk DUNDEE CERAMICS WORKSHOP Courses: Classes for all levels from beginner to intermediate, for individuals and groups. 1-1 tuition available. Open studio access and kiln hire for members Dates: Throughout the year (see website) Location: Dundee dundeeceramicsworkshop.com FORGAN ARTS CENTRE Courses: All levels and ages catered for in hand building, throwing, Raku, sgraffito and mishima Dates: Various (see website) Location: Newport on Tay, Fife forganartscentre.co.uk HOLY LOCH POTTERY Courses: Hand building & throwing tuition for all levels. Some sculpture sessions available. Raku & alternative firing techniques offered. Individual & groups courses by arrangement Dates: By arrangement Location: Kilmun, nr. Dunoon, Cowal Peninsula, Argyll holylochpottery.co.uk MOKA POTTERY Courses: Handbuilding ‘Make a Mug’ workshops for individuals or groups.

8-week day/evening classes for beginners to intermediate. All ages.

Dates: Various. See website Location: Crieff, Perthshire MoKaCreative.com MUDFLAIL CERAMICS Courses: Basic handbuilding Dates: Various Location: Glasgow karenjamesceramics.webs.com THE POTTER'S HOUSE POTTERY Courses: Wheel & claywork sessions.

Pottery painting, suitable for all ages and abilities. Individuals and groups welcome Dates: Tues - Sat 10-5 Location: Muir of Ord, Highland thepottershouse.scot POWDERHALL BRONZE ART STUDIO Course: Clay modelling with Alan Beattie Herriot. Figure making with Kenny Hunter Dates: March 2019 Location: Edinburgh powderhallbronze.co.uk SEA DRIFT POTTERY STUDIO Courses: Weekly classes, wheel taster sessions, 1-2-1 wheel tuition, monthly project workshops. Kiln hire available Dates: Various Location: Sandbank, nr Dunoon, Argyll seadriftpottery.co.uk SEATREE CRAFTS Courses: Beginners' classes, workshops, after school club, supervised open access Dates: Various Location: Innellan, Argyll seatreecrafts.co.uk STUDIO MAMA Services: affordable kiln hire, 1-1 & group

 Do you run a course that you’d like to see here?

Email claycraft.ed@kelsey.co.uk for free inclusion in our listing

handbuilding workshops (for all ages and abilities), glaze table hire, gift vouchers, a webshop and bespoke commissions Dates: by arrangement via studiomamayoung@gmail.com studiomama.co.uk THE WEE MUD HUT Courses: Handbuilding and throwing for all ages/abilities. Groups and individual sessions Dates: Various Location: East Kilbride, Scotland Lanarkshire theweemudhut.co.uk

CUMBRIA/N EAST COWSHED CREATIVE Courses: Two-day raku workshops Dates: June 2021 Location: Kendal cowshedcreative.co.uk HANDKNITTED POTTERY Courses: Throwing (individual or two together), handbuilding (groups and private lessons). Gift vouchers available Dates: Various Location: Esh Winning near Durham handknittedpottery.co.uk LOVEHEART WORKSHOPS Courses: Evening and daytime weekly classes for all abilities, taster sessions, parties (adults, children, team-building) Dates: Mon-Thurs 6.30-8.30pm & Tues-Wed 12.30-2.30pm weekly class running all year round Location: Stockton-on-Tees, Cleveland/Durham/Teesside FB: loveheartworkshops loveheartworkshops.co.uk MUDDY FINGERS POTTERY Courses: Adult night classes Dates: Tuesday and Thursday evenings, every six weeks Location: Jarrow, Tyne and Wear muddyfingerspottery.com ANNIE PEAKER Courses: Figurative Ceramic Courses Dates: April - October (3 & 5 Days) Location: Penrith, Cumbria anniepeaker.co.uk QUIRKY WORKSHOPS Courses: Various (eg raku, silver clay, Green man, textures in porcelain, tiles) Dates: Various Location: Penrith quirkyworkshops.co.uk

YORKS ART HOUSE, SHEFFIELD Courses: Wheel, handbuilding, porcelain, raku, figurative, workshops, summer intensive week (chimeneas) Dates: Mon-Sat 10am-9pm Location: Sheffield City centre arthousesheffield.co.uk KATIE BRAIDA Courses: weekly class and day workshops Dates: Every Thursday evening and various others Location: Scarborough katiebraida.com CLAYHOUSE STUDIO Courses: All levels from beginners to intermediate. Taster courses, handbuilt pottery and specialist workshops.

Dates: See website for details Location: Sheffield S10 5DB theclayhousesheffield.co.uk BOO EVERETT Courses: Day and evening courses in all aspects of hand building with clay. Further courses available in order to decorate the fired bisque. Individual one to one

or group sessions. All tailor made to your requirements Dates: The dates are flexible. My studio is always open, so I can fit in with you Location: Castle Howard Estate, North Yorkshire, about 12 miles from York.

E: booeverett@onetel.com boo-artist.com FANCY FROG POTTERY Courses: Various options including: 5 weeks beginner wheel throwing; taster sessions; private groups and individual tuition Location: Scarborough, N Yorks Dates: Various options see website fancyfrogpottery.co.uk FIRED ART DESIGNS Courses: 1:1 wheel work, brushwork, surface decoration. Handbuilding, slab work, coil work. Classes Dates: Various Location: Pontefract, Yorkshire firedartdesigns.co.uk FIREFLY POTTERY – LEEDS Courses: Pottery courses for beginners & developers. Wheel & hand building workshops for all levels. One-to-one & group pottery wheel lessons Dates: Various Location: Leeds fireflypottery.co.uk JILL FORD Course: Workshop and Day Courses Dates: Thursday evenings & day courses throughout the year Location: York, Tel: 01717 289008 JOY GIBBS PRICE CERAMICS Courses: Weekly pottery workshops, raku and private tuition available Dates: Various Location: Everton, S Yorks thepottery.co.uk GREENWOOD CRAFTS Courses: Handbuilding; throwing from beginners onwards Dates: All year Location: N Yorks tryacourse.co.uk HULL COLLEGE Courses: Specialist Ceramics and Glass Courses to suit a range of abilities.

Full range of techniques covered, within bespoke facility supported by specialist lecturer and technician.

Outdoor firing area, gas reduction facilities Dates: 10 weeks per term – Autumn term: 25th, 26th, 27th September 2019.

Spring term: 8th, 9th, 10th January 2020.

Summer term: 25th, 26th, 27th March 2020 Location: East Yorkshire Tel: 01482 598751 enquiries/view facility 01482 598744 info/enrolment 07961 734 729 lecturer E: npliener@hull-college.ac.uk HULL TRAINING AND ADULT EDUCATION Courses: Range of courses for all abilities Dates: Various Location: Preston Road Adult Education Centre, Hull hcctraining.ac.uk LEAFY LANE POTTERY BY SUZIE Courses: Hand building courses for all abilities. Learning disabilities, residential homes, schools and private sessions, and sculptures for your home and gardens Dates: Throughout the year and area Location: Hull and East Yorkshire Tel: 07886 841936 E: leafylanepottery@gmail.com NORTHLIGHT ART STUDIO Courses: Evening and day workshops, summer schools and taster days.

All levels

Dates: Weekly and throughout the year Location: Hebden Bridge, Yorks Tel: 01422 843519 northlightstudio.co.uk OLD STABLES STUDIO Courses: Throwing: bootcamp, weekends, tasters and regular classes Dates: Various Location: Hebden Bridge, Yorkshire JAMES OUGHTIBRIDGE Course: Large Scale Slab Building Dates: Contact for details Location: Holmfirth, West Yorkshire jamesoughtibridge.blogspot.co.uk JIM ROBISON CERAMICS Courses: Week-long Ceramics, and Glaze and surface courses Dates: Various Location: Holmfirth, Huddersfield boothhousegallery.co.uk SCULPTURE LOUNGE STUDIOS Courses: Throughout the year Dates: Contact directly for further information Location: Holmfirth, West Yorkshire sculpturelounge.com SHEEPWALK STUDIOS Courses: Handbuilding and throwing.

Classes, one to one and workshops – including Christmas reindeer workshop.

Dates : Contact for info Location: Upton, West Yorkshire Tel: 07769955150 E: l.bulleymentceramics@gmail.com sheepwalkstudios.com TWISTED EARTH CERAMICS

by Richard Hedges Courses: Essential techniques for creating animal sculptures. All levels catered for.

1-1 and groups, private workshops, parties, team-building Dates: Various Location: Mobile, or come to me.

Dozens of venues across Yorkshire twistedearthceramics.com WENTWORTH POTTERY Courses: All levels, throwing, decoration.

Half & full-days. 10-week evening class Dates: See website Location: Aldbrough, Yorks wentworthpottery.co.uk ANDREW WALKER CERAMICS Courses: Hand building pottery classes for all levels: 1-2-1 and small groups.

Kiln hire, pottery at home kits & flexible intermediate hours.

Dates: Various - see website Location: Sheffield andrewwalkerceramics.co.uk

LANCS/CHESHIRE/ MERSEY BALTIC CLAY Courses: Evening and weekend clay courses Dates: Tue, Wed, Thurs (6.30pm - 8.30pm) & Sat Location: Liverpool balticclay.com BLUE BUTTERFLY CRAFTS Courses: Handbuilding.

Weekly 2-hr sessions and day-courses Dates: Various, see website Location: Accrington, Lancs bluebutterflycrafts.co.uk JOAN CHAN Courses: Introduction to clay, handbuilding, throwing, slip casting, glaze workshop Dates: Afternoons and evenings Location: Greasby, Wirral Tel: 07803 848212, E: joancchan@aol.com FB: jccermaics

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For free inclusion in this listing, email: claycraft.ed@kelsey.co.uk CLAYWORKS Courses: Evening & daytime classes for all abilities (with occasional weekend events such as 'Raku', etc) Dates: Weekly throughout the year Location: Southport, Lancashire FB: arthousesca sca-network.co.uk CRAFFITY POTTERY STUDIO Courses: 'Create with Clay' drop-in sessions, with or without input. Regular and seasonal workshops Dates: Various Location: Bury, Greater Manchester craffitycreations.co.uk THE CRAFTY POTTER Courses: Throwing, hand-building & modelling Dates: Various Location: Chorley, Lancashire thecraftypotter.co.uk THE DOWN TO EARTH POTTERY Courses: Hand-building for beginners to advanced.

We are always trying out new techniques such as use of decals and coloured clay Dates: Year-round: Tuesday pm and Wednesday eve. Some Saturdays Location: Clitheroe. Lancs E: lesleywoods19@hotmail.com FB: thedowntoearthpottery EDEN TEAROOM AND GALLERIES Courses: Wheel throwing taster sessions and experience workshops. Coil pot workshops and various other hand building workshops in addition to children’s clay workshops and paint a pot!

Dates: See website and social media for details Location: Newburgh, Lancashire www.edentearoom.com FIRED 4 U Courses: Guided evening workshops & do your own, clay work and painting ceramics Dates: 1st & 3rd Wednesday 7pm, pre-booking essential Location: Preston, Lancashire fired4u.co.uk PAUL GOULD/MON CERAMICS Courses: Beginners & intermediates Dates: Tuesdays & Wednesdays 2-4pm and 7-9pm Saturdays and Sunday workshops: various dates throughout the year Location: The Wirral monceramics.co.uk GREEN MAN CERAMICS Courses: Pottery Discovery weekends Dates: Various, Location: Colne, Lancs Tel: 01282 871129 JULIE MILES CERAMICS AT FIRED UP NORTH STUDIOS Courses: playing with porcelain, animal sculpture, basic handbuilding skills & more.

Tutor with over 20yrs teaching experience in a fully equipped dedicated clay workshop. Wheels available to hire Dates: evening and weekend, see website Location: Nelson, Lancashire. juliemiles.co.uk LEMON STUDIO Courses: Handbuilding for all levels, taster sessions, workshops and parties Dates: Various Location: Warrington lemonstudio.co.uk PILLING POTTERY/NORTHERN KILNS Courses: From novice to professional: throwing, hand-building, glazing, making glazes, kiln loading, programming kiln controllers, fitting elements Dates: Various Location: Pilling, Lancs pillingpottery.com

POT FACTORY Courses: Beginners & more advanced.

Handbuilding, throwing, glazing & playing with clay!

Dates: Afternoons and evenings Location: Liverpool thepotfactory.co.uk THE POTTERS BARN Courses: Adult half & full day: beginners throwing & handbuilding. Intermediate & advanced throwing. Raku & pit firing Dates: Various Location: Sandbach, Cheshire/Staffs border thepottersbarn.co.uk CARLA POWNALL Courses: Throwing, 6-week course, beginner to advanced using stoneware and raku clay. One-off courses on last Saturday of the month.

Dates: Weds am & pm, plus last weekend of the month Location: Wirral E: carlapownall@yahoo.com FB: carlapownallceramics SIMON SHAW Courses: Introduction to the basics.

Small individual classes, max 5 students.

Handbuilding, sculptural, 1:1 throwing Dates: Various Location: South Liverpool E: simonshaw61@icloud.com T: 07505 237 593 IG: @simonshawclay

NOTTS/DERBYS/ LEICS/MIDLANDS SANDY BYWATER @ CURIOUS STUDIOS Courses: All pottery skills, suitable for the beginner or the more experienced Dates: Tuesday afternoons and evenings.

Monthly, Saturday themed workshops Location: Sneinton Market, Nottingham sandybywaterceramics.wordpress. com CAN-DO POTTERY Courses: Hand-building for beginners Dates: Thursdays 10.30am-12.30pm Location: Mellor, Stockport candopottery.wixsite.com/group THE CLAY ROOM LEICESTER Courses: Range of classes for all abilities, plus membership scheme for more experienced makers Dates: Throughout the year Location: Leicester theclayroom.co.uk THE CLAYROOMS Courses: Handbuilding, throwing, sculpting from beginners to experienced makers Dates: Various see website for dates Location: Ashbourne, Derbyshire theclayrooms.co.uk CLAY STUDIO MANCHESTER Courses: One-off taster sessions to regular weekly courses and 1-to-1 tuition. Anyone from beginner upwards is welcome. monthly membership scheme for more advanced makers Dates: Various Location: Hulme, Manchester claystudio.co.uk EARTH PIG POTTERY Courses: Beginners & intermediate throwing & glazing Dates: Fridays, Saturdays & Sundays 11am 4.30pm throughout the year Location: Buxton, Derbyshire E: earthpigpottery@gmail.com T: 07914 382258 THE HARLEY POTTERY STUDIO Courses: Pottery and ceramics classes from your first try at pottery throwing, to open access sessions (with firing) for

established ceramicists.

Dates: see website Location; Welbeck, Nottinghamshire harleygallery.co.uk LITTLE MOUSE POTTERY Courses: Adult & children handbuilding & wheel workshops Dates: Throughout the year Location: Keyworth, Nottingham E: enquiries@littlemousepottery.co.uk T: 0115 9375950 FB, IG & littlemousepottery.co.uk METAMORPHOSIS SCULPTURE Courses: Clay sculpture classes. Suitable for beginners, but also for those who wish to extend their skills or receive mentoring in clay sculpture Dates: Various Location: Normanton on Trent, Notts www.facebook.com/ SculptureClasses E: deanallen4@gmail.com MIDLANDS ART CENTRE Courses: Ceramics Open Studio Dates: Various Location: Birmingham macbirmingham.co.uk PARKWOOD THROWING COURSES Courses: Basic and intermediate throwing Dates: 8-week Thurs evenings, weekend courses, taster sessions Location: Nr Alfreton, Derbyshire parkwoodthrowingcourses.co.uk PLAY WITH CLAY Courses: Throwing, toddler clay Dates: Saturday mornings, Tuesday afternoons, throwing weekly by appointment.

Location: Loughborough creationspottery.co.uk POTTERY ARTS Courses: Fun adult workshops teaching specialist techniques decorating functional homewares: jugs, teapots, bowls, mugs, coasters and more, in artist's home studio Dates: Various Location: Melton Mowbray potteryarts.co.uk SEVEN LIMES POTTERY Courses: Varied courses/classes Dates: All Location: Moss Side, Manchester 7Limes.co.uk SEYMOUR ROAD STUDIOS Courses: Weekly/1-day weekend classes Dates: Various Location: West Bridgeford, Notts seymourroadstudios.co.uk THE SHIRE WORKSHOPS Courses: Night school: Mon & Thurs throwing, hand building & decoration.

One-day sculpture workshops twice a month. Raku days. Visiting guest artists throughout the year. Private & group bookings available. Pay per hour to come and use our workshop casually.

Materials & kiln space available Dates: See website Location: Wilbarston, Market Harborough theshireworkshops.co.uk PAT SHORT CERAMICS Courses: Beginners’ handbuilding workshops Dates: Various Location: Edgbaston, Birmingham patshortceramics.com POTS IN NOTTS Courses: Weekly classes and wheel taster sessions Dates: throughout the year, contact for more details Location: Worksop, Notts E: lynnestaniland@icloud.com T: 07811 171369 FB & IG: @potsinnotts

LINDA SOUTHWELL Courses: Evening classes and one-to-one experiences Dates: Wednesday evenings and by arrangement Location: The Harley Ceramics Studio, Welbeck, Worksop lindasouthwell.co.uk DAVID STOCKS Courses: Beginners Basics, although open to all, including disabled (carers free when accompanying). Pinch pots through to slabs, coil work and throwing and glazing Dates: Thursday Evenings 18.15-21.00 £15 per session (Dorridge), plus Tuesday & Wednesday evenings at the Sense Pears Centre. See web for details of 10 and 8 week courses.

Location: Dorridge Methodists Church and Sense Pears Centre, Selly Oak (see above) RamOnTheRoundaboutPottery@ gmail.com for Dorridge, or for Selly Oak contact Sense Pears Centre: sunney. sharma@sense.org.uk WOODSETTON ART POTTERY Courses: A levels are taught by postgraduate production thrower and designer maker with 8 years experience in Stoke on Trent Dates: Various Location: Woodsetton, Dudley W Mids woodsettonartpottery.com @woodsettonpots

WALES JACKIE BARBER CERAMICS Courses: One-to-one throwing lessons Dates: Various Location: Pencader, Ceredigion jackiebarberceramics.co.uk BASE ART STUDIO, GALLERY & POTTERY WORKSHOPS Courses: Handbuilding; throwing; 1-2-1 one-off sessions; parties (adults, children, team-building) Dates: Ongoing, days and evenings Location: Llanbradach, Caerphilly baseart.org CARDIFF POTTERY WORKSHOPS Courses: Handbuilding; throwing; one-off Saturday sessions; 1-2-1 throwing; masterclasses with Anne Gibbs; parties (children, adults, teambuilding); pottery membership tutored & un-tutored Dates: 6-wk day & eve sessions, various Location: Cardiff cardiffpotteryworkshops.com CARMEL POTTERY Courses: 6-week throwing courses.

Hand-building courses. One-toone lessons. One-off half or full day experiences. Beginners welcome Dates: Various Location: Carmel, Carmarthenshire E: Carmelpottery@outlook.com T: 07740291608 GLOSTERS Course: Throwing Dates: April, Location: Porthmadog glosters.co.uk JANE MALVISI Courses: Pottery classes, including Raku.

All abilities welcome Dates: Mon/Tues/Weds days and evenings Location: Bridgend, S Wales janemalvisi.co.uk MID WALES ARTS Courses: Two-day course on wood-firing kilns. Make your work then fire it Dates: Various Location: Maesmawr, Powys midwalesarts.org.uk

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 If you run other creative courses, register free at craftcourses.com ORIEL BODFARI GALLERY AND POTTERY Courses: Throwing, handbuilding, Raku, etc Dates: Various Location: Bodfari, North Wales orielbodfarigallery.co.uk SIRAMIK Courses: Throwing; half/full days, weekends (accommodation included). All Covid-19 compliant Dates: Various Location: Carmarthen siramik.co.uk TREE HOUSE POTTERY Courses: Pottery in a real Treehouse.

We offer courses & taster sessions for beginners, clay building & potters wheel Dates: Various Location: Gower Heritage Centre, Swansea gowerstoneart.co.uk/tree-housepottery

CAMBS/LINCS PAULA ARMSTRONG Courses: Handbuilding & Raku, online & in studio workshops Dates: Mon, Tues, Weds, Thurs (beginners) & Fri mornings. Weds (Zoom) & Thurs evenings. Monthly Saturday workshops Location: Fenstanton, Cambs parmstrongceramics.co.uk ART BARN GAMLINGAY Courses: Handbuilding, raku and pit-firing Dates: Wednesday and Thursday evening clay classes. 2-day raku making and firing workshops, Saturday 27th April and Saturday 18th May. Clay in a Day class, Saturday 28th September.

Location: Gamlingay, Cambs/Beds border E: art.barn@hotmail.co.uk T: 07715 206780 FB: Art Barn Gamlingay MATTHEW BLAKELY Courses: Weekend Courses: Throwing, Porcelain throwing Dates: Monthly Location: Lode, Cambs matthewblakely.co.uk BOURN POTTERY Courses: 6-week beginner’s course covering slab, pinch, coil & throwing techniques. 2-hour throwing taster sessions for small groups. 1:1 tuition in throwing and/or handbuilding and glazing. Clay for a Day and 1-day specialist masterclasses. Corporate & team building activities. Parties & events for adults & children. Studio and/or mobile. Suitable for all abilities and ages Dates: Various weekday, evening & Saturday sessions Location: Bourn, Cambs bournpottery.co.uk DEEPDALE POTTERY Courses: Handbuilding and throwing for beginners and experienced Dates: Weekend and weekday courses, including yurt accommodation if required, throughout the year Location: Barton upon Humber, North Lincs yurtatthechapel.co.uk GREENFIELD POTTERY Courses: Small group weekly classes for all levels. Handbuilding, throwing, sculpture, decorating and glazing.Weekend 2hr taster sessions, 1 and 2 day courses Dates: various, weekly Location: Holbeach, Lincolnshire greenfieldpottery.co.uk HILLS ROAD SIXTH FORM COLLEGE Courses: Handbuilding, throwing, plus summer school workshops Dates: Various Location: Cambridge hillsroadadulteducation.co.uk

JANEELIZABETHCERAMICS Courses: Classes/sessions on hand building and modelling. One-off taster/ experiences, date nights, family sessions, project-based workshops, tailored tuition, home education sessions, and adult regular weekly classes available. Adult weekly classes: Tue 1pm-3pm, Tue, Thur 7pm-9pm Dates: Various and flexible. Email for details Location: Fillingham, Lincs E: janeelizabethceramics@yahoo.com THE POT SHOP Courses: Individual and small groups pottery classes in a professional workshop Dates: Various, throughout the year Location: Lincoln Facebook, Twitter & Instagram: @ potshop1 Tel. 01522 528994 POTTERYDAYZ Courses: Wheel throwing for beginners and more experienced. Raku courses through the summer Dates: Saturdays, 9.30-3pm Location: Peterborough/East Midlands FB: @potterydayz E: potterydayz@gmail.com ROWAN ARTS CENTRE Courses: Handbuilding, throwing, untutored group for those with experience Dates: Various Location: Cambridge rowanhumberstone.co.uk WOODNEWTON POTTERY Courses: Weekly; throwing, hand building, decorating (Tues/Weds). Clay sculpture Dates: Throughout the year Location: Near Peterborough robbibbyceramics.co.uk ZOO CERAMICS Courses: Half and full day handbuilding workshops, 10-week pottery classes Dates: Various Location: Waddington, Lincolnshire zooceramics.co.uk

WORCS/SHROPS/ STAFFS/HEREFORD ALLYEARROUND POTTERY Courses: Weekly classes; taster sessions; one & two-day courses in throwing, handbuilding and decorating; pottery parties for all ages. All for beginners and more advanced Dates: Various all-year-round!

Location: South Herefordshire all-year-round.org.uk AMERTON ARTS STUDIO Courses: Life sculpture. Working from a life model to create a figurative sculpture.

Step-by-step tuition, beginners welcome Dates: Termly, Saturdays Location: Stowe by Chartley amertonartstudio.com BRITISH CERAMICS BIENNIAL Courses: Beginners & Intermediate Dates: Tuesday & Thursday Location: Stoke-on-Trent, Staffordshire The BCB operates a clay school and a variety of courses throughout the year. britishceramicsbiennial.com EARTH AND FIRE CERAMICS Courses: hand-building, throwing by arrangement, pop-up pottery. 1:1 or small groups, 2-hour intensive lessons Dates: Various, 4-weekly courses Location: Great Haywood, Stafford Facebook: @earthandfireceramics EASTNOR POTTERY & THE FLYING POTTER Courses: Remarkable potter’s wheel experiences for all ages and abilities, run by studio potters Jon Williams and Sarah Monk. Tasters, days and weekends

Dates: Regularly throughout the year (see website) Location: Ledbury, Herefordshire Website: eastnorpottery.co.uk HARTSHILL CLAY RESORT Courses: Handbuidling, throwing, sculpture, basic ceramic techniques and a professional masterclass in flower making.

Evening and daytime weekly classes for all abilities. 1-1 tuition and small groups, families welcome. Kiln hire available.

Dates: Weekly classes including evenings.

One-offs by arrangement.

Location: Telford, Shropshire cazamic.com LOVECLAY AT VALENTINE CLAYS Courses: Basic/intermediate/professional/ families. Throwing, slip casting & slip decorating, sculpture, basic ceramic techniques, professional masterclasses, ceramic painting Dates: Evenings & weekends (various) Location: Stoke-on-Trent loveclay.co.uk POP UP POTTERY STUDIO EARTH & FIRE CERAMICS Courses: Beginner courses to learn simple techniques Dates: Tuesday evenings & Friday afternoons Location: Great Haywood (near Stafford), Staffordshire E: carolinefarnellsmith@gmail.com POTCLAYS Courses: Basic/Intermediate/Advanced Throwing, Intro to glazes, Pottery Basics, Moulding and Slipcasting, Tilemaking Dates: Various Location: Stoke-on-Trent potclays.co.uk THE SCULPTURE PLACE Courses: Figurative Sculpture Classes Dates: Weekly sessions: Monday, Wednesday & Thursday (running for 6 weeks) Location: Wolverhampton, Staffordshire thesculptureplace.co.uk STONEHOUSE STUDIOS Courses: Throwing & handbuilt ceramics, sculpture & life sculpture. Portrait drawing, painting, & general art. One off workshops & one-to-one tuition on request Dates: Throughout the year One offs by arrangement Location: Drayton Basset, nr Tamworth, Staffs stonehousestudios.co.uk WOBAGE FARM CRAFT WORKSHOPS Courses: Various multiple-day throwing workshops Dates: Various Location: South Herefordshire workshops-at-wobage.co.uk YAT POTTERY Courses: Throwing Dates: Various Location: Symonds Yat, Wye Valley yatpottery.com

WARKS/N’HANTS/ OXON CATHERINE ANNE CERAMICS Courses: Small groups and one-to-one of all ages and mixed ability. Throwing, hand building, glazing. Family sessions during school holidays Dates: Weekdays. Various evenings and weekends available Location: Staverton, Northants catherineanneceramics.com CENTRE OF ENGLAND ARTS Courses: Novice to experienced, including throwing Dates: Weekly, Thursday evenings 7-9pm

Location: Nr Solihull coea.co.uk tonycarterpotteryschool.com DAISYROOTS CERAMICS Courses: Beginner’s wheel sessions 1:1 or small groups. Handbuilding techniques taught with support for home hobby with kiln firing service.

Paint-your-own pottery & craft studio Dates: Just book!

Location: Crawley Village, Witney, Oxfordshire DaisyrootsCeramics.co.uk M & K RAKU WORKSHOPS Courses: One-day raku workshops run

by Mark Compton and Kirsteen Holuj.

Bring your own bisque-fired pots or sculptures along or buy pots from us on the day to glaze and fire. All levels.

Dates: Workshops run monthly from April to October Location: Milton Keynes mkraku.co.uk POTTERYDAYZ Courses: Handbuilding, throwing lessons from Richard Gibbons Dates: Full and half days by arrangement Location: Kings' Cliffe, Northants E: potterydayz@gmail.com FB: potterydayz SWANSPOOL CERAMICS Courses: Handbuilding, throwing, all levels. Open access studio. Weekend courses & one-off experiences Dates: Termly, year-round Location: Castle Ashby, Northants swanspoolceramics.co.uk

NORFOLK/SUFFOLK/ ESSEX DEBORAH BAYNES Courses: Residential and nonresidential Dates: Weekends (spring/autumn), full weeks (July/Aug) Location: Shotley, Suffolk potterycourses.net BLANK EARTH Courses: Beginner and advanced one-on-one classes in throwing, hand building, kurinuki and glazing. Firing courses are held over the summer including pit firing and kurinuki Dates: see website Location: Culford, near Bury St Edmunds, Suffolk blankearth.co.uk BRICK HOUSE CRAFTS Courses: handbuilding, throwing, decoration, mould making, raku in the summer. Beginners to professional welcome. Leisure classes & City & Guilds L2 and L3 courses Dates: Tues - Friday 10am to 4pm, Sat 10am - 12 midday Location: Silver End, Essex brickhouseceramics.co.uk TONY CARTER POTTERY SCHOOL Courses: Beginners to experienced potters, all hand building, throwing, design, model & mould making.

Small friendly groups, personal tutor.

Dates: Year-round Location, Debenham Suffolk tonycarterpotteryschool.com MARIAM CULLUM Courses: 1:1 tuition in throwing, handbuilding, slip-casting, surface decoration and glaze preparation and application.

Dates: Various - Monday to Friday 10am-4pm Location: Bury St Edmunds www.hallhouseceramics.co.uk

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For free inclusion in this listing, email: claycraft.ed@kelsey.co.uk LIBBI HUTCHENCE, HANDMADE AT BRAMLEY COTTAGE Courses: 1:1 tuition in throwing, handbuilding, surface decoration & glaze making for all ages/abilities Dates: Throughout the year Location: Culford, Nr Bury St Edmunds handmadeatbramleycottage.co.uk KATIE'S POTTERY STUDIO Courses: One-to-one & small group tuition in throwing, handbuilding, decorating, glazing & firing for all ages and abilities.

Children's Saturday class Dates: Throughout the year Location: Leiston, Suffolk katiespotterystudio.co.uk THAXTED POTTERS Courses: Beginners and intermediates Dates: Various 6-week sessions Location: Thaxted, Essex thaxtedpotters.co.uk DOMINIC UPSON Courses: Adult classes in all the build techniques, running in six-week blocks.

One-to-one classes in throwing taller, thinner and production making Dates: Various Location: Battisford, Suffolk dominicupson.com WEST SUFFOLK COLLEGE Courses: Beginners, intermediate, mixed abilities & workshop classes in handbuilding, throwing, glazing & decorative surfaces & other techniques Dates: Saturday daytime and evening for 6 or 10 weeks.

Terms starts January 2020 & April 2020 Location: Bury St Edmunds wsc.ac.uk

BEDS/BUCKS/HERTS ALONDENE PHILLIPS Courses: Hand-building for beginners to intermediate. 1:1 and small group workshops. Opportunities to do sgraffito, mishima, slipwork, simple mould making.

Plus creating & applying sprigs, decorative stencilling & printing on clay. Workshops can also be tailored around specialist techniques.

Classes run all year round daytime and evenings between Monday - Wednesday 10.30 - 12.30, 2.30 - 4.30pm, 7-9pm (Due to Covid 19 we will be opening with reduced class sizes of 1-2 people from late July / August - please email for details Ceramics Classes at Home also available with Studio in a box. Kiln firing included.

(Within 5 miles of Milton Keynes area only).

Location: Milton Keynes E: Creativeblockdesigns@yahoo.com T: 07465608771 FB: The Studio at Creative Block Designs ART BARN GAMLINGAY Courses: Handbuilding, raku and pit-firing Dates: Wednesday and Thursday evening clay classes. 2-day raku making and firing workshops, Saturday 27th April and Saturday 18th May. Clay in a Day class, Saturday 28th September.

Location: Gamlingay, Cambs/Beds border E: art.barn@hotmail.co.uk T: 07715 206780 FB: Art Barn Gamlingay ARTSHED ARTS Courses: Hand building, throwing & surface pattern. All levels. Throwing taster sessions, private throwing tuition & sculpture. Pottery parties Dates: See website Location: Ware, Hertfordshire artshedarts.co.uk CHARLIE’S POTS Courses: Intensive day-long Sunday throwing courses for beginners Dates: Various

Location: Aylesbury, Bucks E: throwingpottery@gmail.com CLAY WITH CAROLE Courses: Handbuilding, throwing Dates: Various Location: Hitchin, Herts claywithcarole.co.uk SARAH CORE ARTS Courses: Mindfulness clay sessions.

Full options via the website shop. Highquality air-dry clay dispatched but you are welcome to bring your own. Suitable for all levels. Gift vouchers available Dates: various, see website Location: Online, Barnet, London sarahcorearts.com CREATIVE CLAY FOR BEGINNERS Courses: Handbuilding, various levels, full-time/part-time Dates: Various Location:Newbury, Berks newbury-college.ac.uk MADE WITH CLAY STUDIO Courses: Currently workshops are held on Tuesdays 10-1pm, Thursdays 12-3 and 6-9pm and alternate Saturdays Location: Letchworth madewithclaystudio.com NORTH MARSTON POTTERY Courses: Variety of pottery courses Dates: Contact directly for further details Location: North Marston, Bucks northmarstonpottery.co.uk KATE RADFORD POTTERY Courses: Hand building, throwing and sculpture for all abilities and ages.

Electric, gas and raku firings Dates: Weekly courses on a Wednesday, Thursday and Friday daytime and evenings, one to one and group sessions available Location: Kensworth, South Bedfordshire kateradfordpottery.co.uk RUBY SHARP Courses: Hand building, throwing, decorating pots, sculpture for home and garden Dates: Throughout the year (weekend & day sessions available) Location: Amersham, Buckinghamshire rubysharppottery.co.uk WHERE INSPIRATION BLOOMS Courses: Beginners’ classes, workshops, hand-building, family sessions, pottery room hire, kiln space hire Dates: Year round Location: Chesham, Buckinghamshire whereinspirationblooms.co.uk

WILTS/HANTS/ BERKS ANGELS FARM POTTERY Courses: Residential (B&B) & nonresidential. Throwing, handbuilding, decorating Dates: Sat and w/ends once a month.

Weekly evening classes & Fri am. One-off days for groups, min 4, max 8 attendees Location: Lyndhurst, New Forest, Hants. angelsfarm.co.uk ACTIVATE LEARNING AT BRACKNELL AND WOKINGHAM COLLEGE Courses: Mixed ability adult leisure classes taught throughout the daytime and evening. All abilities welcome in our well-equipped pottery studio, where a range of pottery techniques are taught by experienced tutors. One-day specialist courses taught throughout the year Dates: Mon – Thurs, daytime and evening Location: Woodley Hill House, Earley, Berks activatelearning.ac.uk/study/ subjects/ceramics-and-pottery Tel: 01344 868600

CÁIT GOULD CERAMICS @ THE BASE Courses: All levels from beginners to intermediate. Taster courses, general pottery and throwing courses. Pottery parties by appointment Dates: See website Location: Newbury & Reading caitgould.com CERAMICSPACE BRADFORD ON AVON Courses: Full time access and/or practice without tuition (experienced ceramicists), one-off 2.5hrs taster sessions (beginners), adults taster workshops (individuals or groups), mentoring/tutoring/specialist training (1 or 2 days), intensive course (4 days in groups) Gift vouchers: for lessons or taster workshops Location: Bradford on Avon Wiltshire Tel: Julia Warin 07800 778582 E: juliaartscool@btinternet.com FB: CeramicSpace Bradford on Avon CHALKE VALLEY POTTERY COURSES Courses: 2-day courses in spring and autumn, with Jennie Gilbert & Emily Myers, Learn the basics in a relaxed and friendly environment, or improve your skills. See website for details Dates: Various Location: Broadchalke, Wilts jenniegilbert.co.uk THE CREATIVE CAVERN Courses: Various, inc 1:1 throwing, Dates: Various Location: Winnersh, Berks thepaintnightcompany.co.uk/ pages/the-creative-cavern EASTCOTT STUDIOS Courses: Pot throwing, individual and group sessions, pottery experience days, sculpture, beginners and advanced, pot painting, takeaway service, all ages welcome. Onsite Art Café, Art Markets and online gallery.

Dates: Various Location: Swindon, Wilts eastcottstudios.co.uk eastcottstudiosgallery.co.uk courtyardarts.co.uk ELÉ AND CLAY Courses: Throwing for all abilities. Threehour wheel taster, weekly classes and 5-day specialist workshops.

Dates: See website Location: Great Shefford, near Hungerford, Berkshire elevanschoor.com FIRED THOUGHTS ARTS STUDIO & GALLERY Courses: Weekly classes: introductory & advanced. Throwing & sculpture a speciality.

Open Studio bookings, 1:1 throwing. Various workshops. Group sessions & more, see website Dates: Various Location: Market Lavington, Wilts firedthoughts.co,uk JEANNE LEWISTIFF Courses: Small groups or 1-1 in throwing and/or hand building Dates: Contact for details Location: Maidenhead, Berkshire E: Jeannelewi@hotmail.co.uk THE MAKERS' GUILD Courses: Structured 5/6 week foundation course; weekend and evening taster sessions; glazing workshops; wheel throwing tasters and weekends as well as specialty workshops. Members' studio sessions. Kiln hire.

Dates: See website Location: Portsmouth makers-guild.com NEW DIRECTIONS Courses: Exciting range of ceramics courses to suit all abilities in a wellequipped studio. Taught by specialist

tutors and technician.

Dates: Various, see website Location: Reading newdirectionsreading.ac.uk DIANA PATTENDEN Courses: Sculpture, throwing, hand building, Prosecco & Clay sessions, children's parties, hand casting. All ages and abilities welcome Dates: Daytime, evenings and weekends Location: Newbury, West Berkshire dianapattenden.co.uk SASHA WARDELL Courses: Bone china & mould making courses Dates: May to September ( incl.) in SW France /Feb & March in Wiltshire Location: SW France/ Wiltshire sashawardell.com STONEHENGE POTTERY Courses: weekly classes, Tuesday and Thursday, hand building and throwing.

Weekender workshops and group sessions by arrangement Dates: Various all year round Location: Winterbourne Stoke, Near Salisbury and Amesbury Tel: 01980 620328 stonehengepottery@btinternet.com STUPOTS POTTERY STUDIO Courses: Wheel taster sessions, hand building & glazing.

Dates: Every weekend & some evenings Location: Yate, Bristol stupots.co.uk

DORSET/GLOS/ SOMERSET ARTISAN CRAFT CLASSES & WORKSHOPS Courses: Weekly pottery classes - wheel and handbuilding Dates: Mondays and Wednesdays, one-offs by arrangement Location: Bockhampton, Dorchester E: mail@artisan.org.uk ASHBROOK STUDIO Courses: Throwing, handbuilding, glazes.

One-to-one or small group, daily Dates: All year Location: Waterrow, Somerset ashbrook-ceramics.co.uk BANWELL POTTERY Courses: Throwing, handbuilding, modelling, slab work, coil work, tile-making Dates: Weekly evening class, Weds 6-8pm Location: Weston-super-Mare, N Somerset banwellpottery.org CARANTOC ART Courses: Intensive & regular classes available in pottery & ceramic sculpture Dates: Year-round Location: Weston-super-Mare, N Somerset carantoc-art.co.uk CREATIVE CLAY FOR ALL Travelling clay workshops for those who have no access to a kiln. Ideal for community groups. Based in Dorset creativeclayforall.co.uk KAREN DAWN CURTIS Courses: 1:1 throwing; 3 & 6-week courses; pottery practice; Saturday making sessions,; parties & team-building; have a go – throwing Dates: Various, see website Location: Bridport, Dorset karendawncurtis.co.uk PATRICK ESSON Courses: Modelling, coiling, slab work, pinching, throwing Dates: Various Location: Gloucester E: p.esson@aliqua-art-gallery.com

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 If you run other creative courses, register free at craftcourses.com RACHEL FOOKS: CERAMICS Courses: Weekly classes and one-off sessions, hand-building & throwing for all abilities Location: Wareham, Dorset rachelfooksceramics.com KITE STUDIOS CLAY STUDIO Courses: Throwing, handbuilding, glazing, adult & children courses weekly & weekend. One-to-one sessions and pottery birthday parties Dates: Mon-Sat various times Location: Kemerton, Gloucestershire, and London kitestudios.org JULIE MASSIE POTTERY CLUB Courses: Hand building pottery club for all. Children and adults welcome. School workshops available. Home Pottery Club service available - deliveries and pickups to your doorstep Dates: Various Location: Southbourne, Bournemouth juliemassie.co.uk CHARLOTTE MILLER CERAMICS Courses: Throwing, handbuilding, mould-making, surface decoration Dates: Termly part-time, taster workshops, pottery parties Location: Bournemouth charlottemillerceramics.com MOON STUDIO Courses: Hand building, throwing, surface design. Taster sessions, short courses, pottery parties, kids clay time & mobile pop up pottery Dates: Weekly classes all year, plus private tuition for individuals and groups Location: Christchurch, Dorset moonstudioceramics.co.uk FB: Moon Studio Ceramics NEW BREWERY ARTS Courses: Variety of ceramic courses Dates: Contact directly for further details Location: Cirencester, Gloucestershire newbreweryarts.org.uk RUARDEAN GARDEN POTTERY Courses: Weekends, week-long Courses: Throwing, Pot Making Dates: Various Location: Forest of Dean ruardeanpottery.com STUPOTS POTTERY STUDIO Courses: Wheel taster sessions, hand building & glazing.

Dates: Every weekend & some evenings Location: Yate, Bristol stupots.co.uk

DEVON/CORNWALL CHRISTOW POTTERY Courses: 2-day saggar & raku-firing weekend workshops with Abi Higgns/ Alison West. All abilities Dates: Throughout the year Location: Devon abihiggins.co.uk alisonwestceramics.com GOONZOYLE POTTERY Courses: Wheel, handbuilding, glazing, raku and pit-firing. For all abilities in fully equipped rural studio.

Dates: Morning, Afternoon & Evening drop-in workshops throughout the year.

Contact directly for more information.

Location: Camborne, Cornwall FB: Goonzoylepottery marykaunenglish.com LEACH POTTERY Courses: 3 & 5-day throwing, evening classes handbuilding, throwing Dates: Various, each month Location: St Ives, Cornwall leachpottery.com LUCKTAYLOR CERAMICS

Courses: Hand building and Raku firing courses for beginners and advanced students. Fully equipped rural studio.

Dates: Various Location: St Buryan, Cornwall E: info@lucktaylorceramics.co.uk FB & IG: @lucktaylorceramics lucktaylorceramics.co.uk NORTH DEVON CERAMICS ACADEMY Courses: Open Access Studio & weekly adult classes for all abilities.

Day time & evenings. Monthly 'Make In A Day' workshops advertised on Eventbrite Dates and times: see website Location: South Molton, Devon ndcaas.co.uk TARKA POTTERY Courses: All levels from beginners to intermediate all year round.

Taster sessions for individuals or groups, weekly throwing and handbuilding courses. Child/family workshops, parties Dates: Tuesday to Saturday Location: North Devon tarkapottery.co.uk ALISON WEST CERAMICS Courses: Weekend raku, saggar and barrel firing Dates: Various Location: Chagford, Devon alisonwestceramics.com

KENT/SUSSEX/ SURREY/LONDON ART OF MINE Courses: 1-1 throwing tuition, hand building, surface decoration for all ages and abilities. Birthday parties, team building and taster sessions Dates: Various Location: Maidstone, Kent E: info@thisartofmine.co.uk AYLESFORD POTTERY Courses: Raku days, 1-day, 10-week Pottery classes, Mould Making, Glaze Theory & Application Dates: Various terms Location: Aylesford, Kent aylesfordschoolofceramics.co.uk LOUISE BELL CERAMICS Courses: Hand building, surface decoration, simple mould making and glazing for beginners. Taster afternoons and bespoke sessions for up to three people of any level or ability.

Dates: Various Location: Lewes, East Sussex Louisebellceramics.com BURWASH POTTERY Courses: Various handbuilding, decoration. All levels. Classes,workshops, parties, taster sessions Dates: Terms of 6 weeks, various Location: Burwash, East Sussex burwashpotter.co.uk CERAMIC SPIRIT Courses: Weekly, day and evening. All techniques. Surface decoration, glazing Dates: See website Location: Horsham ceramicspirit.co.uk THE CERAMIC STUDIO Courses: For adults & children, from beginner to professional (including evening & weekend classes). Throwing, hand-building, sculpture, Inspiration for Ceramics & drawing. Regular Taster Sessions, Pottery Experience Days & Guest Pottery Workshops Location: Brenchley, Kent theceramicstudio.co.uk CERNAMIC Courses: With Nam Tran; throwing, mould-making, raku

Dates: Various Location: SE London cernamic.com CLAYNGLAZE POTTERY STUDIOS Courses: Pay as you go pottery for all levels.

Various training days/weekend courses & fine art workshops Dates: Days, evenings & weekends throughout the year Location: West Sussex claynglaze.co.uk CLAYKILNCRAFT Courses: Beginners intensive throwing; mixed intro to pottery; handbuilding & half-day one-off classes covering all aspects of pottery and glazing.

All levels catered for but must be 16 and over. Also Open Access Membership.

Dates: Year-round one-offs to 9-week courses & intensive short courses Location: Crystal Palace, SE London claykilncraft.com THE CLAY PLACE Courses: 6-week courses, one-day workshops, bespoke clay days. Hand building techniques, slab, coil, surface decoration Dates: Wednesday/Friday 6-week courses Various dates for one-day workshops Location: Ashurst, West Sussex jwceramics.net THE CLAY ROOM UK Courses: Clay taster workshops; introductory pottery; mould-making & slipcasting; transfer; termly pottery courses; Christmas workshops & private lessons Dates: Various Location: Chelsfield, Orpington theclayroomuk.com THE CLAY STUDIO Courses: Handbuilding, throwing, surface decoration, glazing for beginners/ experienced potters. Raku, smoke-firing and animal sculpture. Weekend workshops Dates: Mon-Fri all day inc evenings Location: Groombridge, nr Tunbridge Wells E: info@theclay.studio THE CLAY WORKSHOP Courses: Throwing, hand-building, glazing, decorating, raku. All levels, inc 1:1s Dates: Various, ongoing Location: Central Eastbourne grahammatthewsceramics.com SU CLOUD CERAMICS Courses: Clay club twice weekly, raku, hand building, porcelain paperclay, various project workshops, 3-week and 6-week courses. All levels. Daytime/evening & Saturday workshops.

Purpose-built studio for up to 6 students Dates: Various Location: Bognor Regis sucloudceramics.com THE CORNER WORKSHOP Courses: Beginner courses for adults.

Hand building & a variety of decorating methods. Small class sizes Dates: Various, weekly Location: Balcombe, West Sussex E: rezacworkshop@gmail.com PETER CUTHBERTSON Courses: Throwing and handbuilding, beginners and more advanced Dates: Weekly regular day and evening classes plus one off weekends by arrangement Location: East Hoathly, East Sussex E: peter.cuthbertson@phonecoop.

Coop JO DAVIES Courses: Throwing classes; for beginners and intermediates with Jo's experienced studio tutors; masterclasses or one-to-ones with Jo for those wanting to improve or refresh their practice Dates: Various Location: Dalston, London jo-davies.com

EASTBOURNE STUDIO POTTERS Courses: Throwing, hand building, surface decoration and glazing for beginners and experienced potters.

Plus, Personal Project Development with specialist support.

Open access: studio hire available for experienced makers Dates: Weekly courses throughout the year. Personal Project on Weds 6-9pm.

Location: Eastbourne E: eastbournestudiopottery@gmail.com eastbournestudiopottery.com FOREST ROW SCHOOL OF CERAMICS Courses: Adult intensive throwing and handbuilding weekly classes. Weekend workshops: raku, soda/smoke firing, animal sculpture, glaze chemistry, slip decorating.

Three-month residential Sept-Nov 2018 Location: Forest Row, West Sussex frschoolofceramics.co.uk GO CREATE Courses: Pottery, sculpture & craft Dates: Various Location: SW London gocreate.co.uk CLAIRE GRIFFITHS Dates: Starting September; Weds 10.00am -12.30pm & Thurs 7.00- 9.30pm Location: Whitstable E: jc.griffiths@btinternet.com HANDMADE IN CHISWICK Courses: Term-time, small group, adult and kids classes.

1:1 tuition by arrangement, studio time for experienced potters available Location: London, W4 HandmadeinChiswick.co.uk IG: sylvieopsimath JESS JORDAN CERAMICS Courses: Handbuilding, throwing, decoration, glazing Dates: Various Location: Worthing, W Sx pottyjess.co.uk THE KILN ROOMS Courses: Beginners one-off taster sessions; beginners taster classes: beginner/ intermediate courses in hand-building, throwing, decorating, glazing. Masterclasses.

Open access Dates: Various, year round, plus open access Location: Three studios in Peckham, East London thekilnrooms.com KITE STUDIOS CLAY STUDIO Courses: Throwing, handbuilding, glazing, adult & children courses weekly & weekend.

One-to-one sessions and pottery birthday parties Dates: Mon-Sat various times Location: Kemerton, Gloucestershire, and London kitestudios.org CLOVER LEE CERAMIC Courses: 12-week throwing courses, taster & intensive throwing workshops.

Private classes, parties & independent sessions for all abilities Date: Weekly regular, weekends & private bookings available year-round Location: Clapham South, London clover-lee.com LILLAGUNILLA CERAMIC STUDIO Courses: One-day workshops and Saturday classes in throwing and handbuilding Dates: Various Location: Charlton, South East London lillagunillaceramics.co.uk MAZE HILL POTTERY Course: Weekly Evening Classes Dates: Throughout the year Location: Greenwich, London mazehillpottery.co.uk

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For free inclusion in this listing, email: claycraft.ed@kelsey.co.uk MORLEY COLLEGE Courses: Hand building, throwing, plus summer workshops, beginner to advanced levels, adult and family education.

Dates: Starting in September with various dates throughout the year.

Location: London morleycollege.ac.uk NEW LIFE CERAMICS Courses: Pay-as-you-go weekly day and evening classes for all abilities, throwing and handbuilding Dates: See website Location: Biggin Hill, Kent newlifeceramics.co.uk PADDOCK STUDIO POTTERY Courses: 1-day individual or shared, throwing, handbuilding Dates: Various Location: Lewes, East Sussex thepaddockstudiopottery.co.uk THE PAINTING POTTERY CAFE Courses: Evening classes: Throwing, coiling, slab & pinch for different monthly projects.

All materials and glazes provided. £35pp Dates: 3rd Thursday of the month 6.30-9.30pm Location: Brighton paintingpotterycafe.co.uk PARKGATE POTTERY Courses: One-to one throwing Dates: Various Location: Dorking, Surrey parkgatepottery.co.uk THE POTTERS STUDIO Courses: Beginners to intermediate.

Taster sessions, 1-1 tuition, hand building & throwing workshops. Open access memberships for more advanced makers Dates: All year round. See website Location: Hawkhurst, Kent thepottersstudio.co.uk THE POTTERY CORNER Courses: Clay club 4-week evening courses, Handbuilding 5-week Saturday courses, wheel throwing and raku tuition.

5 students max. All levels welcome

Location: Chichester, West Sussex thepotterycorner.co.uk DANIEL PRATAP  THE TRIANGLE POTTERY Courses: Throwing and hand building, Taster sessions, 1:1 throwing and regular weekly courses. Beginners and advanced Dates: Day and evenings Location: Farnborough Hampshire E: danielp.ceramics@gmail.com SULEYMAN SABA Courses: Pottery classes Dates: Tuesday and Wednesdayevenings (Clapham), Mondays and Tuesdays (Kingsbury) Location: London (Kingsbury and Clapham) suleymansaba.com SUSAN RAMSAYSMITH POTTERY BARN Courses: Experienced tutor, small groups, throw or hand-build, all abilities.

Dates: Tuesdays am/pm 2 hour sessions, 5/10 weeks or Taster weekends Location: Heathfield, East Sussex experiencesussex.co.uk/ceramics SUTTON COLLEGE Courses: Hand building, throwing, plus summer workshops, mixed abilities, adult and family education.

Dates: Starting in September with various dates throughout the year.

Location: Sutton, Surrey suttoncollege.ac.uk STAR POTTERY Courses: Taster, Weekly classes Dates: Various Location: Lewes, East Sussex hamid-pottery.co.uk THE STUDIO AT CLAPHAM LTD Courses: Taster course, project based workshops, tailored tuition. Beginners Handbuilding Courses. Learn to pinch, coil, slab and throw! Wednesday drop in for experienced enthusiasts. All levels catered for.

Dates: Various Location: Clapham Near Worthing, W Sussex thestudioatclapham.com

IMOGEN TAYLORNOBLE Courses: Weekly pottery classes for adults and children. Suitable for all levels. Handbuilding, glaze mixing & glazing, experimental firing days. Obvara, Raku, & Saggar. 1:1 throwing sessions at my Whitstable studio Dates: Various Location: Espressions Art Cafe, Canterbury imogentaylor-noble.com TURNING EARTH Courses: Open access studio Tues-Sun for all levels – must be working independently.

Classes available, see website for details/ availability Dates: Open access studio Tues-Sun. Location: Hoxton E2 and Lee Valley E10, London turningearth.org

REST OF WORLD L’APIPOTERIE /E. PENSA  FRANCE Courses: Handbuilding for utilitarian use and animal sculpture. Bilingual course French and English Dates: See website Location: Beaufort sur Gervanne/South East of France in the Vercors regional park E: epensa26@gmail.com MAS SARRAT POTTERY  FRANCE Courses: Introduction to pottery (handbuilding and throwing). Improver pottery handbuilding and throwing) 5-day courses Dates: See website Location: Cazals, Lot, France jenniegilbert.com Facebook: @cvpotterycourses STACEY MCDONALD POTTERY  USA Courses: Fully equipped, spacious clay studio offering beginner & intermediate wheel throwing, handbuilding and beginner sculpture classes, workshops and special events for adults and children 10 and over. Cone 6 electric firing, white stoneware and a selection of other clay bodies, glazes made in-house Dates: Ongoing start dates; days, evenings

and weekends Location: 12 W. Spring St. Illinois USA staceypottery.com OLD HEAD STUDIO  IRELAND Courses: Handbuilding for all levels, weeklong ceramics, glaze and surface decoration.

On-site accommodation available Dates: May to September Location: Near Louisburgh Co. Mayo, Ireland E: sarah.lyons3@btinternet.com TOTEM CERAMICS POTTERY SCHOOL  SPAIN Courses: Throwing, sculpting, handbuilding, slip casting, general skills for beginners. Weekly classes & courses Dates: 1-5 day courses, weekly classes, year-round Location: Andalucia totemceramics.com CHRISTINE PEDLEY  CENTRAL FRANCE Courses: Throwing, hand building, and decorating for beginners and advanced students.

Dates: March-october Location: La Borne - France Tel: 0033248267744 Web-site: www.chris-pedley.eu UN PETIT TOUR DE TERRE  FRANCE Courses: All levels, hand-building, surface decoration, making tools, raku, glazing.

Full-board accommodation available Dates: All year round, Monday 9am to Friday 5pm Location: Saint Génies de Comolas, France Facebook: @FredPotierGres THE RAKU GARDEN  CROATIA Courses: Week-long courses in handbuilding and Raku firing for all levels Dates: see website Location: Croatia www.raku-garden.com SASHA WARDELL  FRANCE Course: Bone china & mould making courses Dates: May to September (incl) in SW France/Feb & March in Wiltshire Location: SW France/Wiltshire sashawardell.com

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Why choose a LITTLE CHIEF? - Plug in kiln

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