ClayCraft 65 2022

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Meet the team...
Welcome
I
t’s a time of mixed emotions
at ClayCraft this month. Our
‘Confessions of a Novice’
blogger, Tracey Parsons, is
Jacqui Atkin Simon Shaw moving on to pastures new after nearly
p50 Wall clock p28 Plate hack five years with us. What started as a
‘real-life’ documentation of a novice
potter making projects from the
magazine, with often mixed and hilarious
results, rapidly grew in scope as Tracey
got better and better. She is exhibiting at
Potfest in Melton Mowbray and has
grown a large Instagram following for
Linda Doug Fitch
Bloomfield p24 p64 Showroom her own work. I couldn’t be more proud
Denmark ready of what she’s achieved or more sad that our content understandable and
this is her last entry. As she explains in achievable, and Jacqui Atkin does an
this month’s blog, ClayCraft was amazing job of writing the step-by-steps.
instrumental in her journey, not only in Believe me, it’s not easy to translate
terms of exposure but for what the complex physical movements into words!
magazine has taught her. We’re very proud of ClayCraft, but we
A couple of months ago, I heard think we could do even better. Please
something similar about a potter who take a few minutes to complete our
Tracey Parsons p69 Signing out visited Simon Shaw for some advanced reader survey (see page 60), and let us
throwing lessons. He was impressed with know what you’d like to see in the
her existing skills, and I was over the magazine.
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Issue 65
throw from reading ClayCraft! With so luck, Tracey!

– PINCH, COIL, SLAB AND THROW
PINCH, COIL, SLAB AND THROW Issue 65 much information freely available on the
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YOUR VEG PATCH AND
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it confirmed that there’s still a place for
magazines. We try very hard to make Rachel Graham, Editor
Plus
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001 Front Cover Issue 65 Plus Spine.indd 1 01/07/2022 10:06
On the cover this month are

two herb-related projects by
Jacqui Atkin. See page 38
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Issue 65 ClayCraft 3
Contents Issue 65
28
36
3 Welcome 24 Linda Bloomfield

What happens on a residency?
4 News Linda tells us about her visit to
Catch up with the latest news, Guldagergaard in Denmark
views and comment
THROWN
THROWN 28 Project 2: simple
8 Project 1: pasta dishes plate hack
One big serving dish, and a set A quick and easy way to make
of smaller dishes. Make as many plates. What’s not to like?
or as few as you need
36 Studio Spotlight
We visit The Ceramic Studio in
Kent
24
38
4 ClayCraft Issue 65
CONTENTS
50
72
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69
62 READER OFFER:
❯❯ClayCraft apron
63 Next month
Find out what we’ll be making
in the next issue
64 Doug’s Diary
Taking inspiration from the past,
and the new showroom is ready
69 Confessions of a Novice
After five glorious years, Tracey
says goodbye
TECHNIQUE
72 Project 5: surface
decoration WIN! £100 VOUCHER IN OUR READER SURVEY
Issue 65
Sgraffito mandala design in one

colour
PINCH, COIL, SLAB AND THROW
SLAB/PINCH 77 Courses GARDEN-

Issue 65
38 Project 3: three-in-one Fancy signing up for a class? Find

local classes, courses and workshops
FRESH
HANDY HERB GADGETS FOR
Multiple small projects for your YOUR VEG PATCH AND
SPECIAL
KITCHEN
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SLAB
50 Project 4: slab-built clock 68 ClayCraft OFFER!
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£10,000 PRIZE AND EXHIBITION OPPORTUNITY

The British Ceramics Biennial (BCB) invites UK-
based artists who use clay as their primary creative
material to apply for AWARD 2023. AWARD is
the headline exhibition in the BCB festival – which
returns to Stoke-on-Trent from 23 September to
(Photo: Jenny Harper)

5 November 2023 – and celebrates the vitality of
contemporary ceramics practice in the UK.
The selectors for BCB AWARD 2023 are integral
to the growth and innovation of contemporary
ceramics. They are Stephen Dixon, BCB 2021
AWARD winner, artist and Professor Emeritus,
Manchester School of Art; Dr Guan Lee, Founder
of Grymsdyke Farm, architect and lecturer; Jenni BCB 2021 AWARD winner Stephen Dixon's
Lomax, curator, writer and visual arts and education Transient: The Ship of Dreams and Nightmares.
consultant; and Clare Wood, Artistic Director and
CEO of the British Ceramics Biennial. The selection new work in ways that it hasn't previously been
process will be chaired by Alun Graves, Senior experienced, or use the momentum of the exhibition
Curator for Ceramics and Glass at the V&A. to focus or make a step-change in their practice.
Clare Wood, Artistic Director and Chief Executive Ten artists will be selected, with each one awarded
of the British Ceramics Biennial, comments: "AWARD £1,000 towards a presentation of their work at the
is the leading exhibition of contemporary ceramic art BCB festival. From the 10 artists, one prize-winner is
in the UK. It celebrates ground-breaking, progressive selected and awarded a £10,000 cash prize during
practice and allows artists to challenge themselves BCB.
and the ceramics status quo. This headline exhibition The 2021 AWARD artists were Helen Beard,
of the BCB festival takes audiences on a journey with Christie Brown, Alison Cooke, Connor Coulston,
contemporary ceramics, solidifying the role of clay Stephen Dixon, Tamsin van Essen, Mawuena
as a rich material for storytelling, experimentation, Kattah, Jin Eui Kim, Ho Lai and Cleo Mussi.
playfulness, risk-taking and activism." The AWARD winner was Stephen Dixon for his
BCB AWARD is a prestigious opportunity for installation Transient: The Ship of Dreams and
artists who are at a critical moment in their careers Nightmares. He will present a new commission in the
and are pushing the boundaries of both their 2023 BCB programme.
individual and contemporary ceramics practice. Applications are now open, and the deadline for
Applications are welcome from individual artists, submissions is midnight on 12 October 2022. You
collaborators or collectives who want to use the can find details on the British Ceramics Biennial
opportunity to tread new ground and present website: www.britishceramicsbiennial.com
THE SOUTHERN
CERAMIC
Clay . Glaze . Fire
GROUP ANNUAL
Pottery Show
New and varied work for sale
EXHIBITION Tue 9th to Sun 21st August 2022
30 July - 14 August 2022 Tue-Sun 11.00am - 4.00pm
The Southern Ceramic Group is
again exhibiting a wide range of
quality studio ceramics at Bishop's ‘Have a go
Kitchen, Chichester Cathedral. The to throw’
exhibition will feature over 600 and Demos.
works from 60 potters who live Sunday 14th
and work locally. Don't miss your
opportunity to purchase work from
some exceptional artists. Open daily
from 10am-5pm.
● southernceramicgroup.org.uk
WELL-LOVED ANNUAL ART EVENT
IS BIGGER AND BETTER FOR 2022 IN THE NEWS
(Photo: Emma Trimble)

Worcestershire Open
Studios, the well-loved free
annual art event where
artists throw open their
doors to the public, returns
this year bigger and better,
running over 10 days from
20-29 August 2022. Gillian Simpson,
Artists and makers across Worcestershire Open
the county will welcome Studios organiser.
you into their homes or studios, giving you behind-the-
scenes access to how they make their work. There is a
diverse range of artwork to see – painting, sculpture,
printmaking, jewellery, ceramics, photography, textiles,
furniture making and lots more. All studios are free to
visit.
One hundred and eight artists are taking part across
91 venues, with 36 artists new for this year. Artists are
excited to share their work and how they work. This is
the first time the event is over 10 days, so there's more Annika Schüler, master
ceramist from Munich,
opportunity than ever to see the artists taking part.
fires with two TE-S series
"It gives you access to the vibrant and creative toploaders.
makers we have on our doorstep, to meet them and
enjoy looking at local art. Learn and ask questions,
see the tools and materials they use; you may even
have the chance to have a go," said Gillian Simpson of
Worcestershire Open Studios.
Bic Beaumont, a painter and printmaker who has ROHDE kilns.
been part of Worcestershire Open Studios for five Enjoy your results.
years, said, "Visitors may see me carving, painting or
printing during the weekends. I'm influenced by animals,
nature, folk and fairy tales. Where I can, I use recycled,
compostable, biodegradable products and repurpose
materials that would otherwise go to waste. There
will be a variety of originals, prints, greeting cards,
homewares and gifts available to purchase."
Deborah Catesby, who has also taken part before,
said, "I work as an oil painter making figurative paintings
– pictures of people, stories and places full of colour,
movement and life. At my studio, set in a lovely meadow
garden overlooking an old cider orchard, fellow
figurative artist Erin Conel and I will show paintings, as
“It’s so inspiring when
well as drawings and works on paper, to intrigue and
fascinate you, with some for sale.” traditional crafts come together
Visitors are also encouraged to explore the beautiful with modern design.”
county and plan an inspirational day out. Printed guides
are available in libraries and tourist information centres ROHDE has been producing kilns and machinery designed
from July, or can be downloaded from the website, with to meet the highest standards since 1982. The company’s
all the details on the artists taking part. ongoing pursuit of technical advancement creates
Full details are also available on the new outstanding quality and efficiency that you can rely on.
Worcestershire Open Studios website, where you can So you can enjoy your results.
search for artists by art form, location or, new this year,
by theme.
● www.worcestershireopenstudios.org.uk Learn more about Annika’s story:
Check the website or printed guide for an artist's www.rohde.eu/artist
opening times as these vary, and not all artists are open
every day.
● Instagram: www.instagram.com/
worcestershireopenstudios/
● Follow #worcestershireopenstudios
● Twitter: www.twitter.com/OpenStudios_WR
● Facebook: www.facebook.com/ www.rohde.eu/en
worcestershireopenstudios
PASTA
SKILL SCHOOL
PROJECT
ONE
DISH SET
This set of dishes is perfect for a
family or for entertaining, but if you
don’t need that many, reduce the
size and number
You will need:

■ Clay – stoneware or earthenware, colour
as preferred
■ Tools for throwing – Batt, water bowl,
sponge, cutting wire
■ Turning tools
■ Decorating method – your choice!
DIFFICULTY RATING ★★★★★
Before you begin:

The large bowl needs 2.2kg
(5lb) of clay to make a dish
36cm wide and 4.5cm deep.
The small dishes each need
680g (1 ½lb) clay to make a dish
21cm wide x 4.5cm deep.
Note: The large dish is wide, so
make sure it will fit in your kiln
before you start. If it will be too
big, adjust the weight of clay to
make either a smaller version or
stick with the amount specified
and make your bowl with a
narrower base and deeper
sides.
If you don’t have a quick-fit
mechanism to secure a batt,
you will need extra clay to make
a pad to secure one manually,
as demonstrated next.
.
PROJECT
SKILL SCHOOL
ONE
THROWING A PAD FOR 3
A BATT – A REMINDER
Items thrown from large amounts of clay, or items
with a wide base, can’t realistically be lifted off the
wheel head, so you must throw on a batt, which in
turn requires a substantial clay pad to secure it and
support the heavier weight
1
 Change the position of your hands to apply equal
pressure from both sides of the clay as you force it up
into a cone shape.
Flatten the cone down again, changing your hand
position so that the left is held firmly at one side while
the palm of your right hand pushes the clay to centre,
with your fingers over the top to level the mass.
 Begin by preparing a 1.8kg (4lb) block of clay and

form it into a cone.
Place the cone as close as possible to the centre of the
clean wheel head and pat it down to secure it in place.
 Maintaining the position of your left hand but

2 hooking your thumb over the rim, open out the centre
of the clay with the fingers of your right hand. You
don’t have to worry about the depth of the opening
or thickness of the base; the bulk of the clay should be
pulled out to form a thick rim.
 Dribble some water over the clay and position your

left hand on the side, resting your arm on the rim of the
wheel pan to hold your hand firmly in place.
Push the clay to centre with opposite force from your
right hand. You will need a little more strength to centre  Continue to draw the clay back towards your body
this greater weight of clay but providing you hold your until it’s almost as wide as the wheel head. Use your left
left hand firmly in place, it shouldn’t be too difficult. hand to steady the right as you work.
Place a batt as centrally as possible on the clay pad

and tap it gently from one side until it runs to centre.
To test the position of the batt, hold a finger rigidly
6 against one side as the wheel rotates. If running true,
your finger will touch the side the whole time, but if
Run a sponge over the thick rim of the pad to it misses the side in places, adjust the position and
flatten and widen it a little but make sure it remains test again until correct.
higher than the clay at the centre.
Finally, work over the surface with the sponge to
remove all excess water and slurry.
When you’re sure the batt is centred, give it a firm

whack a couple of times with the side of your hand to
secure it on the pad.
You’re now ready to centre the clay for the largest dish.
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
.
PROJECT
SKILL SCHOOL
ONE
THROWING THE LARGE DISH
3
 Continue by changing the position of your hands to

apply equal pressure from both sides of the clay as you
force it up into a cone shape.
Prepare 2.2kg (5lb) 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. Pat it down to make
4
sure it’s secure.
 Return your hands to the first position, then push

the clay back 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 slight dome shape with straight
sides.
2 Repeat these steps until the clay runs smoothly
through your hands without wobbling.
 As when throwing a pad for a batt, dribble some

water over the clay and position your left hand on the
side, resting your arm on the rim of the wheel pan to
hold your hand firmly in place.
right hand. You will need slightly more strength than  Open out the centre by pressing the fingers of
when centering the clay for the pad but providing you your right hand down through the clay to within
hold your left hand in place firmly as before, it should be approximately 8mm of the batt, steadying your right
manageable. hand with your left hand for a smooth action.
Beginning at the centre, work over the base with

a sponge to remove excess water and slurry and
flatten out the throwing ridges.
Push the clay gently out towards the rim,
maintaining an even pressure.
6
Draw the clay back towards your body until the
diameter of the base is approximately 26cm,
maintaining equal pressure to ensure a flat, even
base.
.
PROJECT
SKILL SCHOOL
ONE
10
8
 Compress the clay in the base by running the pads  Measure the diameter of the base to ensure it’s the
of your fingers over the surface several times, drawing approximate size mentioned earlier or the size you need
them from the centre to the outer wall and back again. to fit in your kiln.
If it’s not quite right, again, pull the wall out a little
further, remembering to compress the base once
finished.
9
11
Test the thickness of the

base by pushing a pin
through the clay to the
batt, then dropping your
finger down the shaft
until it meets the clay. Using a finger, cuff the clay in at the base on the
Keeping your finger in outside as a point to lift the wall from, then with the
that position, lift the pin left hand supporting from the inside, raise the wall
out of the clay to reveal the thickness. vertically with the fingers of your right hand until
You should be aiming for a minimum 8mm approximately 4.5cm high.
thickness to allow enough clay to turn a foot later.
If the base is a lot thicker than required, work over
the surface again with your fingers from the centre
to the wall to thin it a little further.
14
12
If you don’t raise the wall to the required height

in the first lift, repeat the last step as required,
remembering to compress the clay at the rim after
each lift.
If you’ve chosen a more flared shape, measure the

diameter of the dish again to ensure it will fit in the kiln.
15
13
DO NOT UNDERWIRE THE DISH at this point – wait

a few hours until the clay has firmed up a little because
wide bases like this will simply seal up again if cut when
freshly thrown.
Carefully release the batt from the pad with a knife or
other tool and place the dish somewhere to firm up.
The throwing of the dish is essentially finished now, THROWING THE

but if you want the wall to be slightly more flared, finish INDIVIDUAL DISHES
off by applying slightly more pressure from the inside The method for throwing these is exactly the same
on the last lift while supporting it from the underside as for the large version but this time using a smaller
with the fingers of your right hand, until the shape is as amount of clay.
you want it. Fix another batt to the wheel head before you
DO NOT SPLAY THE WALL TOO FAR because it will begin and follow the steps as demonstrated, but you
collapse. There is always a point where the clay can’t can underwire the smaller versions as soon as they’re
support itself, so be careful! finished in this case. Repeat to make as many dishes
To finish, run your sponge over the surface to remove as needed.
excess water and slurry. .
PROJECT
SKILL SCHOOL
ONE
TURNING THE BASE OF 4
THE LARGE DISH
To turn the base of the dish, it must be leather hard.
 Trim away the rough edge around the base using

your turning tool of choice, then using a pin, measure
and score a 24cm diameter circle on the base of the
dish as a line to trim to.
NOTE – drawing in the line is not shown here but can
 Fix a batt to the wheel head as explained earlier, then be seen in step 1 of ‘Turning the base of a small dish’.
lightly dampen the surface.
2 5
Use the turning tool to trim down vertically from the

pin-line to establish the depth of the foot, then begin
to trim away the clay from the wall below this point.
 Carefully dampen the rim of the dish with a wet You should be aiming to reduce the thickness
finger. of the wall in this lower section to that at the rim,
and the outside curve should follow the one on the
inside.
3
 Position the dish rim-down on the batt, as close to

the centre as possible, then, using the same technique
as explained to test the position of the batt, hold a
finger rigidly against one side of the dish wall as the
wheel rotates. If running true, your finger will touch the
side the whole time, but if it misses the side in places,
adjust the position and test again until it’s right.
Once centred, apply a little pressure to the dish to
secure it in place.
6
8
Check the level of the base by laying a ruler or batten

over the surface. If you find the surface is uneven, trim it
back until it’s perfectly flat.
Now trim the clay outwards from the central circle to
the inner edge of the foot.
Establish the foot by cutting a line using the tip of

the turning tool 8-10mm in from the outer edge,
then cut a small circle at the centre of the base for
additional support.
A second foot ring or inner support is always
recommended for items with wide bases, especially
when firing to stoneware, as the clay can often relax
and sag at higher temperatures.
.
PROJECT
SKILL SCHOOL
ONE
Work back across

the surface from
the foot ring to the
inner circle and
repeat until the
depth equals the
outer edge of the
foot ring at the wall.
Regularly check that
you have enough
clay in the base –
don’t just randomly
trim away, because
if it gets too thin,
you will cut through.
Remember, you
should be aiming
for the thickness
of the wall to be
even throughout –
including the base!
10
13
When you’re happy with the depth of the foot, cut a

small groove just inside it, as shown, as a point to glaze Finally, run a flexible metal kidney over the surface
to later. of the wall to remove any marks left behind by the
turning tool and fully refine the surface.
11
Cut a small bevel on both the inner and outer edges

of the foot.
12
If you feel it necessary, work over the wall again to

refine the shape further. .
PROJECT
SKILL SCHOOL
ONE
DECORATING
If you want to use a slip technique to decorate your
dish, or even a green stage underglaze technique,
now is the time to do it while the clay is still leather
hard. Otherwise, let the dish dry out slowly, ready for
bisque firing.
TURNING THE BASE OF

THE SMALL DISH
14
 Carefully lift the dish off the wheel head, still in situ
on the batt.
15
Again, your dishes must be leather hard to trim them

successfully.
Follow steps 1-3 of ‘Turning the base of the large
dish’ to fix a batt to the wheel head and centre the
dish.
Note: you don’t necessarily need to turn the small
dishes on a batt because they will fit on the wheel
head directly, and the concentric lines will help you
centre them more accurately. However, the principle
Place another batt over the base of the dish, then
of damping the surface of the wheel and rim of the
carefully turn it upright.
dish is the same to secure it in place.
1
Carefully measure, mark and score a 14cm-diameter circle on the base of the dish to establish the outer edge
of the foot.
Cut down from the scored line with your turning tool to establish the depth of the foot.
3 4
Trim the wall below the foot, remembering you’re

aiming for the outside curve of the dish to follow that of
the interior. Cut a small bevel on the outer edge of the base. .
PROJECT
SKILL SCHOOL
ONE
7
5 Cut a shallow groove in the base at the inner edge of

the foot ring as a marker to glaze to.
 Cut in a line for the inner edge of the foot using the
tip of the turning tool.
Trim away the clay within the foot, working from the
centre to the outside edge and back again until the
depth matches that on the outside.
Note: you don’t need a central foot for this smaller
8
dish.
 Return to the wall of the dish and work over the

surface again (if needed) to improve the shape.
10
9
To refine the surface completely and remove any

marks left behind by the turning tool, work over the
wall with a flexible metal kidney, held in the curved
position shown.
Unlike the larger dish, this small version of the bowl

can be lifted off the batt or wheel head directly and
decorated accordingly or allowed to dry out ready for
bisque firing.
This pasta set was simply glazed in Mayco

Weathered Blue cone 5/6 and bisque fired to cone 04
(1060°C, 1940°F) and glaze fired to cone 6 (1222°C,
2232°F).
LINDA BLOOMFIELD
WOOD FIRING RESIDENCY
AT GULDAGERGAARD
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
Loading the
Speedy soda kiln.
I
have recently returned I tried out a variety of grogged
from a month-long and flecked stoneware clays and
residency at made test pieces to fire in the wood
Guldagergaard kilns there. I used an Australian
International Ceramic Research Venco wheel with a wireless
Centre in Skælskør, Denmark. Bluetooth pedal.
Several artists are in residence While I was there, I also taught a
there, and new artists are coming special effect glazes workshop where
every week to attend workshops and we made a range of lichen, lava,
wood firings. oilspot, crackle, gloop and metallic
The studio space is very well glazes and fired them in electric
equipped with a glaze room, drying kilns. The students came from
cupboard, mould-making and Denmark, Iceland, The Faroe
 Lichen glazed work after firing in slipcasting rooms, as well as electric Islands and the UK. The glaze tests
the Speedy soda kiln. kilns and wood-fired kilns. came out well, and we also enjoyed
GLAZING
restricting the air intake for an hour. effect glaze turned blue-green.
During reduction, the iron oxide in I really enjoyed my month at
the clay body turns from buff to Guldagergaard. In my final two
grey, and any iron flecks are drawn weeks, I fired the small soda kiln
to the surface. again and also took part in firing
When we reached 1280°C (cone 9), the anagama. This was a three-day
Oliver Harding, the wood-firing firing where we each took a six-hour
technician, sprayed in a solution of shift. My shift was from 6am to 12
soda ash in water. The soda reacts noon on the final day of firing. We
with the silica and alumina in the stoked the kiln with softwood (pine)
clay to produce a glossy glaze. We and hardwood (birch) every time the
held the kiln at top temperature for temperature started to drop.
several hours to even out the Softwood burns quickly with a long
temperature between the top and flame, while hardwood burns slowly
bottom of the kiln. Ollie sprayed with a shorter flame and helps to
soda again, and we finally put in build up a bed of embers which
 Cones 8, 9, 10 and wood-fired more wood and closed up the kiln so sustains the increase in temperature. .
work from the Bourry box train kiln. that the glazes would be in
reduction, celadons turning blue and
cooking and eating together in the copper greens turning red.
Guldagergaard farmhouse in the The next day we fired the Bourry
evenings, using a beautiful selection box train kiln. This is a slightly
of handmade pottery. In the larger kiln that encourages effects
mornings we went swimming at the from wood ash falling and melting
nearby beach. The surrounding on the pots and flames from the
Danish countryside is beautiful and burning wood flashing the surface
full of wildlife. At breakfast, the orange.
birdsong was really loud, and we The results were much more matt
saw a hare in the garden in the and crusty, where wood ash and
evenings. One of the best things embers had fallen onto the pots. I
about the workshop and residency was very happy with some of the
was meeting ceramicists from results but surprised by some of the
around the world and being able to glaze colours that had changed
talk about pottery with other owing to the effects of reduction.
enthusiasts. Guldagergaard is truly My mustard yellow glaze turned  Wood-fired lichen-effect piece
a potters’ paradise. black, and my dark green lichen- made from red stoneware.
Midway through my residency, we
had a busy week firing two of the
smaller wood kilns. Ana, a Spanish
artist and I got up early and started
the fire at 5am. The pyrometer
wasn’t working, so we had no idea
how quickly the temperature was
rising, although we could see an
orange glow inside the kiln. When
the wood-firing technicians arrived
at 9am and put in a new
thermocouple, we were amazed to
find we had already reached 1100°C,
a very fast increase in temperature
indeed, so we were lucky that
nothing had cracked. We had to let
the temperature drop to 1000°C to
do body reduction by adding
hardwood, closing the dampers and  Firing the anagama kiln.  Side stoking the anagama.
GLAZE SCIENCE
 Firing the Speedy soda kiln.

 Glaze tests fired in the soda kiln.
 Lichen effect glaze tests by one
The front of the kiln near the of the students on my workshop.
firebox was much hotter than the
back of the kiln, so we tried holding I took some photos of my finished
the temperature steady for several pieces outside the studio at
hours to bring the back up to Guldagergaard. These pieces were
temperature. After that, the front of inspired by the lichens growing on
the kiln was closed up, and side trees and rocks around the studio.
stoking was used to increase the Guldagergaard (pronounced Gool-
temperature at the back. By around ayer-goh) means Gold Acre Farm or
2am, the firing team eventually got garden, and it used to be an apple
the back to cone 9 and the front to orchard before becoming the
cone 11 (1315°C) and sealed up the International Centre for Ceramic
kiln. After that, we kept the cooling Research. The large pieces are made
kiln in reduction by stoking with a from Scandinavian stoneware, and  Gudagergaard farmhouse, where
few sticks of wood every 15 minutes the small pieces are English Audrey the artists in residence stay.
until the following afternoon. The Blackman porcelain. Lichen-effect
cooling took around five days, and glazes were brushed on before being
we couldn’t unpack the kin until fired in reduction. These pieces were
minutes before I had to leave to fired in the Bourry box train kiln
catch my flight back to London. I’m and the Speedy soda kiln. I will be
looking forward to seeing the showing the new pieces at my open
results, which as I write are en route studio weekend and exhibiting later
to London from Denmark. in the year.
Thank you to the Making Waves
Trust for providing me with a grant
for my residency. 
 Finished wood-fired pieces with

 The Bourry box train kiln.  Splitting wood for the firing. lichen-effect glazes.
supplying
your
imagination with
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SKILL SCHOOL
PROJECT
TWO
THROWING
HACK
– MAKING
PLATES ON
THE WHEEL
USING A
ROLLING PIN
If you have a wheel, this
is a great hack for making
plates of a consistent size,
quickly and easily
You will need:

■ Clay – earthenware or stoneware – 1.4kg (3lb) was
used here to make a plate with a 28cm diameter
■ Batts
■ Rolling pin or a length of plastic waste-pipe
■ Water bowl, sponge

■ Knife or pin
■ Rib and/or wooden tool
.
Issue 65
Issue ClayCraft
65 ClayCraft 29
29
PROJECT
SKILL SCHOOL
TWO
Before you begin: 2
There are many experienced potters who claim
this hack is the quickest way to make plates of a
consistent size, shape and thickness. It does take
some practice to perfect because some strength is
needed, but once mastered you won’t look back.
As in project 1, the plates are thrown on batts and
if you don’t have a quick-fix mechanism for your
wheel you can find the method for throwing a pad
and fixing the batt on page 8.
 Moisten the surface of the batt with a damp sponge

but don’t flood it.
Throw a pad for the batt then centre it on the

surface. Give it a firm thump to secure it in place.
3
 Begin by preparing a 1.4kg block of clay and form it

into a cone.
Place the cone as close as possible to the centre of
the clean wheel head and pat it down to secure it in
place.
Dribble some water over the clay and position your
left hand on the side, resting your arm on the rim of the
wheel pan to hold your hand firmly in place.
right hand.
Thoroughly wet your rolling pin or pipe, then

position it at the centre of the pad and holding it
in both hands, rigid and as horizontal as you can,
4 press down into the clay with the wheel turning
relatively slowly.
Change the position of your hands to apply equal

pressure from both sides of the clay as you force it up
into a cone shape.
Flatten the cone down again, reverting your hand
position so that the left is held firmly at one side while
the palm of your right hand pushes the clay to centre
with your fingers over the top to level the mass.
5
With your hands in the same position, continue to
flatten the clay to a wide Frisbee shape, as shown. .
PROJECT
SKILL SCHOOL
TWO
9
7
As you press down you will quickly note that the
surface water is driven off and clay accumulates
on the pin at the front left side and back right side. The clay will quickly accumulate on the pin again
Now is the time to wet the pin and the surface of as the pad flattens out further so carefully lift it off
the clay again, removing the excess clay from the again and re-wet the surface.
pin in the process.
8 10
 Return to flattening the pad of clay with the wet pin,  Continue in this way until the pad is an even 10mm
remembering to hold it rigid at all times. thick.
11
Sponge away all excess water from the clay surface and surrounding batt.
12
In the process of flattening the clay, you will probably find the outer edge has become quite ragged. Use a knife
or pin to cut a clean circle at the edge, then carefully remove the excess clay.
.
PROJECT
SKILL SCHOOL
TWO
TIP
If you use batts
diameter as the
with the same
plates you
want to make, yo
u will be able
to make the plat
es even more
consistently siz
ed. Simply
flatten the clay
to just
beyond the edge
of the
batt then you ca
n cut it
back to the edge
13 perfect circle
for a
 Gently sponge around the newly cut edge to remove any burrs
and tidy up the batt.
14
Tuck the tip of a rib or wooden tool under the edge of the pad, then with the wheel turning slowly, gently ease
it under further, lifting the rim as you work until it’s relatively vertical and about 2.5cm deep.
18
15
Compress and thin the
clay at the rim by gently
pinching and lifting it Gently sponge over the interior surface and rim
between finger and thumb edge to finish.
of your left hand while
supporting and guiding the
direction from the underside
with your right-hand fingers.
16
19
Very carefully run a wet finger over the rim to flatten
it out slightly.
17
Carefully lift the batt off the wheel head and allow
the plate to firm up for several hours before wiring the
Supporting the rim from the underside with the underside.
fingers of your left hand, carefully draw a rib over the Decorate as required, before or after firing. See
surface to remove excess slurry and refine the angle. Mandala decoration on page 70 as an option.
STUDIO SPOTLIGHT:
THE CERAMIC STUDIO
Rani Moss runs not one but two studios, in converted barns nestled in apple
orchards in the Kent countryside, as Rachel Graham discovers
V
isiting on a sunny day
in May, Rani and I sat
outside and chatted in a
beautifully planted
garden, while the students took a
break and enjoyed coffee and cakes.
Rani first contacted ClayCraft five
years ago but, for various reasons, I
never made it to her old studio and, in
hindsight, I’m glad, because then I
may never have visited this stunning
new site.
Like so many other potters, Rani
first fell in love with clay at school.
She would stay behind at break or
lunchtime, helping the tutor to clear
up, or quietly handbuilding but then
adult life took over and the moment
was lost. The studio is open-plan, light and airy.
“My parents were adamant that and that was the start of my career in “We moved back to Kent, to
when I left school I’d work in a bank retail and marketing.” Tunbridge Wells, and as the boys got
like my sister. I was sent to a During her time in London, Rani a little older, I started a City & Guilds
secretarial school and hated it! I had a got married, started taking a couple of course at Tonbridge, then an adult
row with one of the teachers, who said pottery classes, and fell back in love education course in Tunbridge Wells.
I talked too much, and I walked out. I with clay. She then had a baby, closely They were amazing, really well run,
was really worried about how my followed by twins. “I had three boys in and gave me a good practical
parents would react, so on the way five years, and while I was at home grounding in pottery. But, with
home, I managed to get a job in a with them, I realised that I didn’t government cutbacks, the facilities
shoe shop,” explains Rani. “My want to go back to my old career. My weren’t great. We had to wait ages
parents were horrified, but I stuck to husband was really supportive, and between firings, the equipment was
my guns, and stayed there. After a said that this was ‘my time’ and I old, the glazes were limited… I moved
couple of years, I moved to London should do something I loved. to two ceramics classes in Chipstead,
one on a Tuesday, where I did a lot of
throwing, and a handbuilding class on
Thursdays. The tutors were amazing,
and I’m still friends with some of
them now. But, I realised that I was
spending a lot of money and not really
achieving much. I knew in my head
what I wanted to create, but just
couldn’t do it there.
“In 2010, I opened up the studio in
my garden, people came, and that was
the start of everything you see here!”
By 2014, Rani had outgrown her
garden studio, and decided to relocate
Outside is a gorgeous garden where the students can relax, with plenty to an oast on a beautiful working
space for raku firing. farm. “My husband took a bit of
STUDIO SPOTLIGHT
about her students, and her staff. The

tutors are sent on courses, both at
home and abroad, furthering their
professional development and
ensuring that everyone is on the same
page when it comes to teaching at the
studio.
Not content with having built one
spectacular studio, Rani has just
opened a second in the building next
door. The Grain Store has been
designed to house workshops with
guest potters, and although the feel
and look are similar to the main
There are designated areas in the studio, like this, for glazing.
studio, the layout is different,
allowing for more formal teaching.
persuading,” she said. “I knew it would throwing (28 wheels!), hand-building, This year, Adam Frew, Katharina
work, and so we bit the bullet and glazing, firing, rooms to work in if Klug, Justine Allison, Richard
went for it. We started with 15 you want to be quiet, which are also Phethean, Elaine Bolt and Chris
students, but it grew very quickly and used as separate classrooms for Keenan will all be visiting. This
after just a year I knew that the space sculpture, porcelain and other studio is also where a new range of
wasn’t big enough.” mediums. There’s also a fully short courses will be taught, and will
The landlord at the oast manages equipped, state-of-the-art kitchen, a enable Rani to expand the evening
five other farms and knew of a suitable beautiful outside space that’s big schedule, and increase the number of
building on one of the others. In 2017 enough for raku firing, and the view one-off workshops.
he took Rani to see the building that through the orchards to the lake is The attention to detail is
is now the main studio, The Old stunning. astonishing; the drawers of tools, the
Workshop. “It was derelict, but the “What’s so nice is the mix of people shelves of student work, the glazes
setting was perfect, and the potential here: students, people who sell, and raw materials, are all clean, tidy
was there. He renewed the exterior, people going off to open their own and organised; even the roller guides
and we designed the interior. It was a studios or shops. The studio caters are labelled and hung in pairs. Over
big investment, but I needn’t have for people who want to become all this, sits an aura of peace, and
worried. We opened in January 2018, professional potters, and also for calm industry. Busy but not bustling,
and have waiting lists for our classes!” those who just want a social day out. organised but not ‘controlled’. To be
And I’m not surprised. If you were Everyone looks after each other, it’s honest, I didn’t want to leave! 
to make a list of everything your ideal really lovely.” Rani is passionate www.theceramicstudio.co.uk
studio would have, this has it. The
large, open-plan space is, light, airy
and amazingly well-equipped. The
space is sectioned off into areas and
rooms, all for different purposes;
Little details that make a big

difference! The atmosphere is calm and peaceful as everyone quietly works.
SKILL SCHOOL
PROJECT
THREE
A set of three, quick and

easy projects; two are
herb-related and the third
is a useful strainer-spoon
Fresh
herbs add
a flavourful
zing to
your
dishes!
DIFFICULTY RATING ★★ ★★★
PLANT LABEL STAKES 2

This is a quick and easy mini-project that you can
make whenever you have leftover scraps of clay
YOU WILL NEED:

■ A wooden lolly stick – I always save these;
they can make useful tools
■ Clay of choice –preferably stoneware
■ Rolling pin, plastic sheet and roller guides no
thicker than 5mm
■ Knife
■ White or pale-coloured glaze, suitable for
clay type
If you have one, use a lolly stick like the one shown
(or it can be larger and straighter if preferred), or make
a stiff card template to your chosen shape and length.
1
3
Prepare a small block of clay by kneading well to

remove possible trapped air.
Note: A small amount of clay will make a lot of
stakes!
Working on a sheet of plastic, reduce the bulk of
the clay by beating it with the side of your rolling Place the stick on the slab as economically as
pin. Work in measured, even strokes from one possible to maximise the available space, then cut
side of the clay to the other, to avoid making deep around the edge.
grooves in the surface. Move the cut stakes to another part of the board
Roll out the clay between the roller guides. You’ll after cutting each one.
find that periodically turning the slab will make
rolling much easier, but the shape of the slab is
irrelevant in this case.
Once rolled out, smooth over the surface of the
slab with a rib to compress the clay, then turn the
slab over onto an absorbent board, remove the
plastic sheet and smooth over the surface again
with the rib.
.
SKILL SCHOOL
PROJECT
THREE
HERB STRIPPER BOWL
If you like to cook with fresh herbs, a bowl like this is
perfect for stripping the leaves from the stems and
containing them ready for use
4 YOU WILL NEED:

■ Clay of choice – earthenware or stoneware
■ Ribs, pin, knife, wooden spatula
 Run your finger around the edges of the stakes to ■ Hole-making tools in three sizes (old drill bits
soften and round them off on both sides. are perfect)
■ Glaze of choice to fit clay type (or decorating
method of choice)
 You’ll find you can cut out a lot of stakes really

quickly.
TIPS FOR DRYING

Turn the stakes regularly as they dry, to keep them
flat, or dry them between boards with a weight on
top. They will dry out quickly, whichever method 1
you use.
AFTER BISQUE FIRING:  Form 220g (8oz) of well-prepared clay into a ball
Glaze just one side of the stakes with a light- and sit it in the palm of one hand.
coloured glaze so the plant names can be clearly
seen when written on the surface. You could use
Chinagraph or a chalk pen for labelling.
Glaze fire to your clay’s optimal temperature.
6
2
 The stakes shown here were glazed in a generic
white and bisque fired to cone 04 (1060°C, 1940°F),
glaze fired to cone 6 (1222°C, 2232°F) in an electric  Press your thumb down through the centre of the
kiln. clay until you can feel some pressure in your palm.
5
3
Beginning at the base,

pinch the clay between
your finger and thumb. Turning the whirler slowly and using a pin held firmly
Work rhythmically, in your hand, score a small 2cm-diameter circle at the
continuously moving the centre of the base to form the inner line of a foot ring.
pot in your hand to ensure
it is pinched evenly to
form a shallow bowl that
remains slightly closed in and thicker at the rim.
6
You should be aiming for an evenly thick wall of
approximately 5mm.
Score another circle, 5mm out from the first one.

You can make use of a cookie cutter to do this if you
have one of the right size.
4 7
Centre the bowl, rim down, on a whirler using the

concentric lines. Flatten the base using a wooden
spatula until you have a circle approximately 4cm in Paddle the wall of the bowl around the outer line of
diameter. the foot until the shape curves evenly and neatly.
.
PROJECT
THREE
11
8  Invert the bowl on the whirler again and gently

indent the inner area of the foot using your thumb or
finger. You’ll find this easier if you turn the whirler as
 Refine the wall of the bowl with a flexible kidney, you work.
removing clay as required for a smooth finish.
12
9
 When you’re happy with the foot, work over the
interior of the bowl with a small rib to smooth and
 Turn the bowl upright and pinch the rim to the same even-out the surface.
thickness as the rest of the wall, taking the opportunity
to adjust the shape where needed.
13
10  Roll a short thick coil and pinch it flat to form a slab

about 5mm thick (or the same thickness as the bowl
wall).
 Firm the bowl up with a hairdryer until it comfortably When finished, smooth over the surface of the slab
holds its shape but still has some flexibility. with a rib.
14 17
Place the coil slab on a board and carefully cut out a

semi-circle 5cm deep at the widest point of the arc.
15 Fix the extension onto the rim of the bowl, easing

the edges together gently to secure them.
18
Sit the semi-circle on the rim of the bowl to test the

size. If the extension looks too large, cut it down a little,
otherwise mark the position with a pin.
Reinforce the join on both sides with a thin coil of

soft clay.
16 Blend the coils in first with a finger then work
over the areas with a rib to remove excess clay and
smooth the surface.
Score and slip the marked

position on the bowl and
the adjoining extension
edge.
.
PROJECT
THREE
19 20
 Carefully cut the rim of the bowl to level it so that it  Work over the cut rim with a rib to round it off and
gently curves into the extension. generally neaten up.
21
Drill a series of holes through the centre of the wall of the extension in increasing sizes to allow different
thicknesses of herb stalk to pass through.
22 STRAINING SPOON
Straining spoons are always useful in the kitchen or
for the table, and are great fun to make
YOU WILL NEED:

■ Clay – earthenware or stoneware
■ Card to make a template
■ Ribs
■ Small hole-drilling tool (old drill bits are
good)
■ Glaze of choice to fit clay type
Tidy around the holes with a rib to finish up.
1
23
Pinch a small ball of clay weighing no more than

100g (4oz) between your fingers and thumbs
to form a shallow oval cup. Use your thumb to
smooth the interior of the cup as you work.
If you want to apply a green
stage surface decoration, now
is the time to do it, otherwise,
allow the finished bowl to dry
slowly before bisque firing then
glaze and re-fire accordingly.
The bowl shown here was glazed in Amaco Ancient

Jasper and was bisque fired to cone 04 (1060°C,
1940°F) and glaze fired to cone 6 (1222°C, 2232°F) in
an electric kiln. .
SKILL SCHOOL
PROJECT
THREE
5
 Shave the back of the little cup with a surform to

reduce the thickness of the wall and remove the lumps
and bumps created in the pinching process.
When happy with the thickness, work over the
surface with a rib to smooth it off, then turn the cup  Cut the coil in half then pinch the first half evenly
upright and surform the rim until level. along its length until the template will fit on the surface.
 Work over the interior of the spoon cup with a rib to Sit the template on the flattened coil and cut
thoroughly smooth it in the same way as the back, then away the excess length, then remove it again and
gently round off the rim. smooth over the coil surface with a rib to compress
the clay.
4
 Roll a coil of clay until it's an even 2cm thick and
30cm long, then draw and cut out a long, leaf-shaped
paper or card template measuring 15cm long and 4cm
at the widest point.
7
9
Score and slip the edges of both handle sections,

then join the sections together leaving one end
open, as shown.
Replace the template, then carefully cut the shape

out.
Sit the cut-out section on the palm of your hand,

then work over the surface with a rib to hollow it to a
boat shape, as shown.
When you’re happy with the shape, firm the clay
section up with a hairdryer until it will hold its shape.
Now repeat the process to make the second half of
the handle.
SKILL SCHOOL
PROJECT
THREE
12
10 Score and slip the marked positons on the

upper and underside of the spoon cup and
corresponding surfaces on the handle.
 Pinch the joined edges together firmly to ensure a Fix the sections together carefully, pinching the
good seal, then work over the joins with a rib until they joins to ensure they stick together well.
are no longer visible – still leaving the one end open. Work around the joins on both sides with a
suitable wooden tool to tidy up.
11
Fit the open end of the handle onto the spoon and
carefully mark the position with a pin on both the
upper and underside. 13
 Smooth around the area of the join on the handle

with a soft rib if needed.
16
14
Now work a pointed tool into all the holes to

improve their shape and push out any residue left
behind from drilling.
Drill a series of holes in the spoon cup – you can Finally, make a discreet hole in the handle to allow for
place these randomly or in an obvious pattern. the escape of air in firing.
They can fill the cup or be just a few holes in a
particular arrangement, the choice is yours.
17
The finished spoon should be supported on foam

as it dries, to prevent the cup sagging away from the
handle.
Allow the spoon to dry out slowly before bisque
firing.
18
15
GLAZE FIRING – you must consider how the spoon

will sit in the kiln for glaze firing and leave certain areas
unglazed to accommodate this. In this example, the
spoon was fired upside down resting on the rim of the
spoon cup and the end of the handle, so these areas
were left unglazed.
This spoon was made from a smooth buff stoneware
clay and was glazed in Amaco Ancient Jasper to
match the Herb Stripper dish. Bisque fired to cone 04
Once all the holes have been drilled, carefully work (1060°C, 1940°F) and glaze fired to cone 6 (1222°C,
over the surfaces with a rib to remove the burrs of clay. 2232°F) in an electric kiln.
SKILL SCHOOL
PROJECT
FOUR
ORANGE
WALL CLOCK
We’ve made this clock to look like an orange, but you could choose another
fruit if you prefer – watermelons, kiwis or lemons make great alternatives
You will need: ■ Ribs and tools, including a pin

■ Clay – earthenware or stoneware ■ Paper, pencil and ruler
■ A plaster plate mould – press or hump will work ■ Underglazes in a selection of your chosen
equally well colours
■ Rolling pin, plastic sheet, roller guides – ■ Transparent glaze
max 5mm thick ■ Clock mechanism – buy this before you make
■ Protractors – look for sets with different sizes; the clock, so you know how big to make the
they will be useful for lots of things housing hole
Before you begin:
This project uses a plaster mould to make the
face of the clock.
Ready-made moulds are generally widely
available from pottery suppliers, but
PotteryCrafts, Stoke on Trent, have a
particularly good selection similar to the one
shown here. Alternatively, you can make a
mould following any of the many methods we
have demonstrated in previous issues
of ClayCraft or make the face using the foam-
press method if you have a former of a suitable
size and shape.
Prepare a block of clay large enough to fill your

mould once rolled out.
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 periodically turning the slab will make
rolling much easier and give you more control to
achieve the approximate shape you need – which is
circular in this case.
Once rolled out, smooth over the surface of the
slab with a rib to compress the clay.
2 3
Lifting the slab on the plastic sheet, turn it over onto

the mould and let it slump into place. Peel the sheet off
when you are sure the slab fits.
Cut away the extreme excess from the edge of the
slab – you don’t need to be precise; it is simply to Gently ease the slab to fit the mould using a barely
prevent the weight of the excess from dragging the damp sponge rather than your fingers, to avoid
clay out of the mould. stretching and distorting the clay. .
PROJECT
FOUR
4  Roll a second slab of clay, about the same size as the

first one, following the method demonstrated earlier.
Turn the slab over onto an absorbent board, peel the
 Place the mould on a whirler, then holding the clay in plastic sheet off the back and work over the surface
place with the sponge, carefully remove the rest of the again with the rib to smooth and compress it.
excess at the rim using a batten. Carefully cut out a circle from the slab, slightly wider
Sit the batten on the rim edge of the mould, then in diameter than the face in the mould – a large
draw it sideways and back in small stages until all the protractor is perfect in this case, but you can use
excess is removed. anything round of a suitable size.
6
Cut out a circular paper template of the exact diameter of the interior of the mould. Then use a smaller
protractor to divide the circle into 12 sections with a small pencil mark.
Use a ruler to join the lines up through the centre of the circle.
7
Working within each section, draw an inner wedge shape to replicate the segments of the orange.
The wide edge of the segment should finish 10-15mm from the outer edge of the circle, as shown.
8 9
When the moulded face of the clock has firmed to a

stage where it can be handled without distorting, turn
it out of the mould and place it rim-down on the slab Score around the perimeter of the face with a pin to
circle. mark its outline.
10 11
Remove the moulded face

section again and put it to
one side. Then using a smaller
protractor, if you have one of
the right size, cut out a circle
from the slab, 5cm in from the
scored outline, as shown. Score and slip just inside the scored line on the slab
Remove the circle when finished. and the rim of the face.
12
Fix the face onto the base slab, making sure it fits to the scored line.
Gently ease the surfaces together with a finger, then transfer the whole thing to a suitably sized batt and
place it on a whirler.
Finish off by working around the join with a wooden tool to ensure the surfaces are fully sealed.
.
PROJECT
FOUR
13
Turning the whirler slowly, carefully cut away the surplus slab from around the face and remove it.
14
Use a rib to refine the surface around the edge of the face, then wipe over the clay with a barely damp
sponge.
15
Place the template over the clock face, making sure it’s central, then secure it in place with a pin through the
centre, as shown.
16
Holding the template securely to avoid it moving, draw over the lines of the segments (not the dividing lines)
to impress the outline in the clay beneath.
17
Lift the template off the face, then cut a central hole where the pin mark is for the clock movements. Check
that the movement will fit comfortably through the hole, allowing a little wiggle room for shrinkage.
18 19
Gently turn the clock over and tidy up the back of

Carefully work over the impressed segment lines the hole with a rib first, then give it a quick wipe with a
with a pin to make them clearer. damp sponge. .
PROJECT
FOUR
20
Paint the entire surface of the face with a pith-coloured underglaze. You can mix this colour by adding a dot
of yellow to white.
When the underglaze has dried to the touch, apply two more coats, allowing each to dry before applying
the next.
When finished, you should no longer be able to see the clay underneath the layers.
21
Now paint in the individual segments with a pale shade of orange first, then streak one or two darker shades
over the top to make them look more realistic.
22
Continue to paint in the segments, adding streaks of darker colours until all are completed.
23 25
Paint the area around the central hole in the same Repeat the dry brush detail around the clock
colours, as shown. movement hole, then allow the underglaze detail to
completely dry to the touch.
24
26
When handle-able, turn the clock over and rest it

Finally, paint a thin band around the edge of the on a foam block, then using a flexible tape or card
face to represent the skin of the orange. ruler, align it to the space between two segments
Build up the layers as before, using an almost dry on the face and bend it over the edge to lie flat on
brush last, for the darkest shade. the back brace.
Score a line on both sides of the tape at the
central edge of the back.
.
PROJECT
FOUR
28
 Neaten around the notch with a wooden tool to

finish up.
27 Allow the clock to dry out slowly, ready for bisque
firing. After firing, glaze in transparent and re-fire to
your clay’s optimal temperature.
 Carefully cut out a notch between the scored lines, Once finished, fix the clock movements in place –
for the clock to hang from – this will be the 12 o’clock these are widely available on the internet for little cost
position on the face. and come in a good selection of styles and sizes.
29
Our clock was made from white earthenware clay, and Amaco Velvet
underglaze colours were used for the decoration. A generic
transparent was used to glaze the clock.
Bisque fired to cone 04 (1060°C, 1940°F) and glaze fired to cone
05 (1046°C, 1915°F) in an electric kiln.
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Doug’s
(Photo: Layton Thompson)
Doug Fitch
DIARY
A
fter all the chasing around
The Diamond
the country last month, Jubilee jug, with
the past few weeks at extraordinary
home have been very sgraffito
welcome. Not that we’ve had a great decoration by
deal of time to do anything but work, Andrew Grundon.
but there have been a few days out Height 48cm.
locally, the best of all, with my buddy
‘Frank’, who came to visit.
We’ve just finished work for the
night. It’s approaching midnight, and
as always, I’m up against the deadline
to get my diary submitted. I’m so
tired; please forgive me if I’m not
terribly coherent.
There’s a storm outside. It was a
most peculiar light earlier, followed
by a deluge accompanied by strong
winds that were giving the young
fruit trees in the garden a good
whipping. So far, Hannah’s bean poles
are still standing in the vegetable
plot, and the recent roof repairs seem
to be working.
We’re overdue some rain. The
rivers around here are all very low at
the moment, particularly the one that
provides our (still undrinkable) water will be glad for this rain.
supply. At the end of last month’s diary, we
There have been some lovely warm were preparing for Spring Fling
days as we move swiftly into the Open Studios, frantically making
heights of summer. Meadowsweet has pots by day, then returning to work in
taken over from the cow parsley in the evenings after the kiddies were in
the hedgerows, and spires of pink bed to build our showroom.
foxgloves packed with bumble bees It was right down to the wire, but
are everywhere. Strawberries, still we managed to get the place set up in
A medieval baluster jug in a green, are plumping up in the garden, the early hours of the opening day,
cabinet, in the reserve collection eyed daily by Pippin and Fred, who ready to welcome people. What a
of the Museum of London. can’t wait to feast on them. All of it great space it is; still far from
DOUG'S DIARY
 A wide-angle view of the showroom, primed (but not top-coated!), ready to go.
finished, but it works so well. Our This time, we had more opportunity painter) to Yorkshire and was going
materials cupboards were given a lick to chat to people (and thanks to the to come on up and pay us a visit.
of paint, and I built a dresser back ClayCraft reader who came for the Frank and I go back to school days,
from scaffold planks, trimmed with midgie advice) and to show those who and we have always been there for one
mouldings, to display the pots on. were interested our collection of old another through good times and bad.
Over the weekend, we had about country pottery in the house. Limited He lives in Cornwall, just over an
300 visitors. Numbers were well parking space had been my worry hour away from my old workshop in
down on previous years, but it was too, but it was all fine. In fact, despite Devon. It’s tough being so far apart
the Jubilee weekend, so there was a the lower footfall, this year’s Spring now; although we speak every day on
lot of other stuff happening. Fling delivered our best sales ever. the internet, that’s just not the same
It really didn’t matter, though, and Pippin and Fred set up their little as being able to get together for real.
in some ways, it was preferable to stall and accosted visitors on their It was brilliant. For one thing, we’d
previous years, where we’ve received a way in. They sold their tiles and intended to do some collaborative
thousand visitors over a weekend. brooches and raised £60 for the local work together, a jug to commemorate
food bank. the Queen’s Platinum Jubilee. We
Following Spring Fling, we were collaborated on a big jug 10 years ago
exhausted and vowed to take a couple for the Diamond Jubilee, where Frank
of days off to recover. I can’t put into sgraffito decorated a huge jug of mine
words how happy I was when my with the Royal crest, his highly
buddy Andrew ‘Frank’ Grundon skilful design work setting the
said that he was delivering a sign internet alight in studio pottery
(Google him, he’s a famous sign circles. .
 Up close and personal with

a freshly decorated pellet jug; a
lovely photo. (Photo: Shannon Tofts)  Pippin and Fred, shortly before they sold out of tiles and brooches.
DOUG'S DIARY
require images of the work by the end

of July, so we must get the pots made
and to our photographer, Shannon
Tofts, by then.
We’re really excited about the
opportunity to exhibit there, so we’ll
be pulling out all the stops to ensure
that they have something special.
Our other looming deadline is
Potfest in the Park, at Hutton in the
Forest, Penrith, 29th-31st July. It’s
going to be our single show on the
road this year because it’s the only
one that falls outside of Pippin’s
school term time.
We love that show, it’s so well
organised, and best of all, it’s only an
 A charger and a large jug, hour and a half from here.
destined for the Scottish Gallery  Hannah decorating a huge I’m under strict instructions from
Charger. Diameter 48cm, jug charger with a design inspired by Hannah that I must make something
height 32cm. (Photo: Shannon Tofts) 17th-century London Delft. other than big jugs for Potfest, so I’m
thinking about that a lot, a very great
However, pottery didn’t happen. played in a band, each of the band deal in fact; my head is full of ideas.
Instead, we played bad guitar, walked members brewed beer. We would But, no doubt, as ever, I’ll make some
in the forest, drank whisky, stayed up decant the beer into one of my big jugs, and then I’ll run out of time.
way too late, and just had the best of baluster jugs at our boozy practice Of course, the consolation is, and I’m
times. sessions. It was interesting to sure Hannah will completely
I love our home and life here in discover why the lower part of the jug understand, that it really is the
Scotland, but I miss him and my is slightly concave. This is so that the thought that counts. 
other friends and family in the West jug could be taken to the edge of the
Country so much; I wish it weren’t so table and, without lifting, could be
far. tipped, the concave profile,
Those few days were a tonic, but accommodating the table edge, and
now we’re back in the groove, and the the contents thus poured, with
pressure is on. It seems that deadlines minimum sloshing about of the
all come at once, and it’s impossible to sediment. I’d never considered that its
prioritise because everything is form might perform a function. I
urgent. really enjoyed that research project.
In a few weeks’ time, we must send I want to make some really tall
pots to London for the Clay Larks ones, as big as or bigger than the one
exhibition at the New Craftsmen in the picture, that I made in Devon
Gallery in Mayfair. I wrote about it about 15 years ago. I’m looking
briefly a couple of months ago when I forward to revisiting that form in the
visited the Museum of London coming days.
archives to look at their collection of Hannah is making some wonderful
medieval pottery. chargers for the show, inspired by
The batch of pots I’m making for Delft sherds collected from the
this exhibition is inspired by what I Thames foreshore. None of them are
saw there. I’ve made the bellied jugs fired yet, but I think she’s taking her
and some with longer necks, already extraordinary chargers to the
decorated with pellets and sprigs. In next level.
the next few days, I’ll be throwing We are also making pots for a
some very tall and (hopefully) elegant group exhibition to be held in the
baluster jugs. prestigious Scottish Gallery in
 A tall baluster jug I made about 15
I love the baluster form; it’s so Edinburgh. The show doesn’t open years ago in Devon. Time to revisit
anthropomorphic. Years ago, when I until September, but the gallery the form. (Photo: Hannah McAndrew)
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54 PAGES OF PRACTICAL PRO
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● A multitude of exciting new projects, tips and SKILL SCHOOL
PROJECT
ONE
THROWN COFFEE
MUG AND FILTER
A reminder when throwing 3
tricks for all abilities

The intoxicating aroma of freshly made coffee can be enough to sell a house. It is
undoubtedly a sensory drink in more ways than one, and there’s nothing quite like it
to get us going in the mornings, so try making this cup and filter set so that you can THROWING THE MUG
have the pleasure of all that coffee has to offer, every day, in your own home
1

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4
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FOUR SMALL
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Fired dimensions: 1
● You’ll be price-protecting your subscription

You will need:
This is the perfect little cup for a strong,
espresso-style coffee. It’s quick and easy to make,
and the simple textured surface decoration looks great
highlighted by a coloured transparent glaze
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Confessions
of a novice
TIME FOR A NEW CHAPTER!
It’s been coming for a while, but the decision to stop
writing this blog has crept up on me, and I write this
final entry with a bittersweet mixture of sadness
about the loss and excitement for the future
started writing this Just recently, my projects have felt
I
39 PAGES OF STEP-BY-STEP PRO
JECTS
month’s blog just as I less ‘how am I going to make this
ever have. I made a work’ and more ‘I followed the
project – four pinched instructions, and it worked out fine’. PINCH, COIL, SLAB AND THROW
espresso cups from issue 64, and I’d Of course, that’s because I’ve now CHRISTMAS
Issue 9 £4.25
planned to glaze them this weekend, been creating from ClayCraft WIN!
just in time for the deadline, or projects for the best part of five £250 VOUCHER &
Seasonal tree
decoration ideas
10 CALENDARS
rather, only slightly over the years, and my skills have increased UP FOR
GRABS
deadline (sorry Rachel!) Yet, as I immeasurably because of that. I’ve NEW

POTTE R’S
began to type, the words didn’t also been aware that my title of BLOG
The mishaps
come. This isn’t unusual; anyone ‘novice’ was getting a little out of of a novice
who regularly writes anything will date, to say the least. In fact, on the FESTIVE
know that it sometimes takes a while ClayCraft stand at Art in Clay LIGHTS
Candle holder centerpieces
to find inspiration. In all my Hatfield, 2019, Editor Rachel and I BREAKFAST GLAZING DECORATION
projects, though, I’ve kept a mental had a chat about it. Then the
note of the things that went wrong pandemic hit, and I still had lots to
– the ideas that didn’t work out, the learn and plenty to say, so I put the QUIRKY TOAST RACKS
ASH GLAZES USING LUSTRE
Issue 9
£4.25
ALSO INSIDE: Teapot fettling

bending of the rules that either paid idea of changing the name of the 001 Clay Craft Cover Issue 9.indd
1
• Serving dishes • Events diary
off or ended in disaster – so every blog to the back of my mind and

07/11/2017 17:33
time I sat down to write, I knew the kept on doing this thing that I really  My very first appearance
words were in there somewhere. enjoyed. After all, lots of the projects in ClayCraft. It was so exciting
This time felt different. The words I was attempting were still the first to see my words in a real-life
magazine, and that novelty has
weren’t going to come! time I’d tried a skill, at least when
never worn off.
applied in that particular way.
But this time, I really had no story look lovely, and that’s that. I admit
to tell. I made the pinched cups, they that I couldn’t make the perfectly
round handles that Jacqui Atkin had
expertly added to the cups in the
instructions, so I substituted little
pulled handles, but I can’t exactly
pretend that’s an interesting
disaster. Not like the first blog I
wrote, back in issue 9, when my first
attempt at plaster was a large and
elaborate mould, and the stuff ended
up all over my garden.
What I’d like to reflect on, before
I go, is just how much ClayCraft has
taught me, because I know it’s doing
 The project that got me started: just the same for readers. I started
an overly-elaborate plaster mould…  … that had me in a right mess! writing this blog only about four .
BLOG
I tried so hard to make this

cat look like my old Jabba, but it
wasn’t quite to be.
This was a lovely project, even
if I did accidentally dribble slip
instead of glaze over the bottle on glazing or project-related questions,
the left! respectively.
The largest thing I’d ever Of course, I also met Keith
thrown, for the garden planter in and I’m eternally grateful to Brymer-Jones, inviting myself to tag
issue 38. ClayCraft for being such a big part of along to his studio with Rachel
my learning process. around Christmas 2019 (those are
months after I first touched clay. I’ve also connected with the wider my photos in issue 35) and then
Since then, I must’ve worked my ClayCraft family over the past five interviewing him over Zoom during
way through about 50 projects from years. Rachel has been a constant the pandemic for issue 47. And I’m
the magazine. Yes, I put in a lot of pottery presence, always grateful to all of you who’ve
practice on my wheel, too, but encouraging. Doug has been contacted me over the past five years
forcing myself to make a specific generous with his advice and to say you enjoy reading my blog or
shape, like a teapot, meant that I brought me down to earth by who’ve connected with me on social
pushed my boundaries and stretched beating me at online Scrabble time media and made life so much more
myself, and my skills and confidence and time again. I consider Hannah interesting. It’s been a blast.
grew as a result. I’ve become quite a part of the ClayCraft family, too, It’s a loss alright. But I expect I’ll
proficient thrower, I can hand-build especially after she accidentally write an occasional catch-up blog
when I’m feeling patient, I’ve made video-called me from Instagram, when I have interesting stories to
and used slip-casting moulds, mixed and we found ourselves chatting tell. I’d like to tell you how my first
my own glazes and tweaked recipes while Doug sat at the kitchen table big show goes. I have a stand at
with different colourants, tried behind her in his underwear! Potfest in Melton Mowbray this
slip-trailing, sgraffito, you name it. Thankfully for Doug, the internet
There’s still a lot to learn, and I connection was bad enough that he
need much more practice, but I’m was just a blur. Linda and Jacqui
proud of the skills I’ve developed, have also helped me out when I had
Colouring my own clay was a

watershed moment for me, even if
This children’s pottery wheel Editor Rachel’s daughter thought
was the perfect tool for brushing the finished pieces looked like The naked raku project from
glaze onto a round pot. bacon! issue 19 was a great success.
BLOG
November, and now I might even know. That would be a lovely way to
have time to make some pots for it! end what’s been a fabulous time and
And if I have any big successes or help me feel like I’m still part of the
failures, I need someone to tell. I family.
might even write a few words on my So, that’s me, off to get my hands
website from time to time, so do dirty. Take care of yourselves, make
make sure you’re following me on time to play with clay, and I’ll see
social media, so we don’t lose touch. you when I see you!
And if one of my blogs has been With love,
particularly interesting or useful to Tracey x 
you, please drop me a line and let me @pottlemuddery
My collection of textured rollers

is still serving me well.
Coloured Parian slip, painted onto plaster,

made a lovely effect…
 The biggest ClayCraft gettogether we

had, at Art in Clay, Hatfield, 2019. Dream
team.
… I think I’ll do some more of this, now I’ve got

more time.
 But my favourite thing to make remains round jar
shapes. This one was made by following the ginger jar
instructions in issue 19.
SKILL SCHOOL
PROJECT
FIVE SURFACE DECORATION
MANDALA
DECORATION
This method of surface decoration is as much about creating the design as its
application to the clay surface, so we begin with some simple steps to get you started
You will need: 1

■ A large sheet of paper to make a template –
lining wallpaper is great for this kind of task
■ A cutting mat is useful
■ Compass, pencil, protractor and ruler
■ Flat clay surface to decorate, firmed to leather
hard – we are using the rolling pin plate from the
project on page 26
Note: Mandala decoration can be applied to 3D
forms but it’s best to practice on a flat surface if
you’re trying it for the first time
Before you begin:

Mandalas are most often seen as circular designs
and the method shown here is applied on a plate.
If you want to practice on a slab, simply cut out
a circle in the required size and allow it to firm to Measure the diameter of the area you want to apply the
leather hard decoration to. In this case it’s the interior area of the
plate, which measures 22cm.
Working on a cutting mat and using a compass, draw a circle to the measured size on a sheet of paper, then
draw in two equally spaced inner circles, as shown.
Cut the circle out.
Centre a protractor on the circle and if it has a central hole, secure it to the template and cutting mat with a
pin, as demonstrated here.
Carefully divide the circle into 8 sections (or more if you want to) by measuring around the protractor, then
join the marks up using a ruler to create segments.
.
PROJECT
SKILL SCHOOL
FIVE
7
4
 Working within the outer circle band, place the
protractor so that it curves from the top of one  Test the template on your chosen surface at regular
segment, across and down to the next segment line intervals to see how it looks and whether or not it could
where it meets the inner circle. take more detail. However, it is possible to add more
detail later when the pattern has been applied to the
clay surface.
5
 Work around the segments in this way, reversing
the direction of the curve each time to make a 4-petal
flower shape.
Paint your surface in three good coats of slip or

underglaze, allowing each one to dry to the touch
before applying the next coat.
6
 Begin to draw in lines
to develop the pattern in a
repeating arrangement using
the segment lines and inner
circles as guides.
Place the template on the test sample, then holding it in place, draw over the lines again with a pencil to
impress the detail in the clay surface beneath.
10
Using a fine-tipped sgraffito tool, carefully cut out the line detail of the mandala.
11 12
Using the grid of lines you already have in place,

begin to draw in more detail to expand the design.
Periodically remove the bits of clay from the lines Remember to repeat the lines in each section to
using a soft brush. produce a coherent repeating pattern. .
PROJECT
SKILL SCHOOL
FIVE
13
Fill in spaces within spaces with different detail. Try
small marks, randomly applied or following the lines
already laid down. Draw in other details like scallops
or swirls. Fill the pattern with your own shapes and
marks to make it your own but remember to repeat it
in each section.
Continue until you’re happy with the outcome, then
allow the sample to dry out thoroughly before bisque
firing. Then it can be simply glazed in transparent to
show off the design to best effect.
In the next
issue we will
show you how
to create a
mandala using
multiple
colours
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01482 598744 info/enrolment
MERSEY
seadriftpottery.co.uk various others 07961 734 729 lecturer BALTIC CLAY
SEATREE CRAFTS Location: Scarborough E: npliener@hull-college.ac.uk Courses: Evening and weekend clay
Courses: Beginners' classes, workshops, katiebraida.com HULL TRAINING AND ADULT courses
after school club, supervised open access CLAYHOUSE STUDIO EDUCATION Dates: Tue, Wed, Thurs (6.30pm -
Dates: Various Courses: All levels from beginners to Courses: Range of courses for all abilities 8.30pm) & Sat
Location: Innellan, Argyll intermediate. Taster courses, handbuilt Dates: Various Location: Liverpool
seatreecrafts.co.uk pottery and specialist workshops. Location: Preston Road Adult Education balticclay.com
For free inclusion in this listing, email: claycraft.ed@kelsey.co.uk
BLUE BUTTERFLY CRAFTS Location: Nelson, Lancashire. Anyone from beginner upwards is SEYMOUR ROAD STUDIOS
Courses: Handbuilding. juliemiles.co.uk welcome. monthly membership scheme Courses: Weekly/1-day weekend classes
Weekly 2-hr sessions and day-courses LEMON STUDIO for more advanced makers Dates: Various
Dates: Various, see website Courses: Handbuilding for all levels, Dates: Various Location: West Bridgeford, Notts
Location: Accrington, Lancs taster sessions, workshops and parties Location: Hulme, Manchester seymourroadstudios.co.uk
bluebutterflycrafts.co.uk Dates: Various claystudio.co.uk THE SHIRE WORKSHOPS
JOAN CHAN Location: Warrington EARTH PIG POTTERY Courses: Night school: Mon & Thurs -
Courses: Introduction to clay, lemonstudio.co.uk Courses: Beginners & intermediate throwing, hand building & decoration.
handbuilding, throwing, slip casting, PILLING POTTERY/NORTHERN throwing & glazing One-day sculpture workshops twice a
glaze workshop KILNS Dates: Fridays, Saturdays & Sundays 11am month. Raku days. Visiting guest artists
Dates: Afternoons and evenings Courses: From novice to professional: - 4.30pm throughout the year throughout the year. Private & group
Location: Greasby, Wirral throwing, hand-building, glazing, Location: Buxton, Derbyshire bookings available. Pay per hour to come
Tel: 07803 848212, making glazes, kiln loading, E: earthpigpottery@gmail.com and use our workshop casually.
E: joancchan@aol.com FB: jccermaics programming kiln controllers, fitting T: 07914 382258 Materials & kiln space available
CLAYWORKS elements THE HARLEY POTTERY STUDIO Dates: See website
Courses: Evening & daytime classes for Dates: Various Courses: Pottery and ceramics classes Location: Wilbarston, Market
all abilities (with occasional weekend Location: Pilling, Lancs from your first try at pottery throwing, Harborough
events such as 'Raku', etc) pillingpottery.com to open access sessions (with firing) for theshireworkshops.co.uk
Dates: Weekly throughout the year POT FACTORY established ceramicists. PAT SHORT CERAMICS
Location: Southport, Lancashire Courses: Beginners & more advanced. Dates: see website Courses: Beginners’ handbuilding
FB: arthousesca Handbuilding, throwing, glazing & Location; Welbeck, Nottinghamshire workshops
sca-network.co.uk playing with clay! harleygallery.co.uk Dates: Various
CRAFFITY POTTERY STUDIO Dates: Afternoons and evenings ANDY LEES CERAMICS Location: Edgbaston, Birmingham
Courses: 'Create with Clay' drop-in Location: Liverpool Courses: Pottery courses & Taster patshortceramics.com
sessions, with or without input. Regular thepotfactory.co.uk sessions available LINDA SOUTHWELL
and seasonal workshops THE POTTERS BARN Dates: contact directly for further details Courses: Evening classes and one-to-
Dates: Various Courses: Adult half & full day: beginners Location: Bolton, Greater Manchester one experiences
Location: Bury, Greater Manchester throwing & handbuilding. Intermediate & andyleesceramics.weebly.com Dates: Wednesday evenings and by
craffitycreations.co.uk advanced throwing. Raku & pit firing LITTLE MOUSE POTTERY arrangement
THE CRAFTY POTTER Dates: Various Courses: Adult & children handbuilding Location: The Harley Ceramics Studio,
Courses: Throwing, hand-building Location: Sandbach, Cheshire/Staffs & wheel workshops Welbeck, Worksop
& modelling border Dates: Throughout the year lindasouthwell.co.uk
Dates: Various thepottersbarn.co.uk Location: Keyworth, Nottingham KATHERINE STAPLES CERAMICS
Location: Chorley, Lancashire CARLA POWNALL E: enquiries@littlemousepottery.co.uk Courses: Pottery courses suitable for
thecraftypotter.co.uk Courses: Throwing, 6-week course, T: 0115 9375950 all ages and abilities, Throwing, hand
THE DOWN TO EARTH POTTERY beginner to advanced using stoneware FB, IG & littlemousepottery.co.uk building, slab building, press moulding,
Courses: Hand-building for beginners and raku clay. One-off courses on last METAMORPHOSIS SCULPTURE sculpting and glazing. Group, corporate
to advanced. Saturday of the month. Courses: Clay sculpture classes. Suitable and team building classes available.
We are always trying out new techniques Dates: Weds am & pm, plus last weekend for beginners, but also for those who Dates: Morning and evening classes
such as use of decals and coloured clay of the month wish to extend their skills or receive available all year round plus monthly
Dates: Year-round: Tuesday pm Location: Wirral mentoring in clay sculpture Saturday taster sessions.
and Wednesday eve. Some Saturdays E: carlapownall@yahoo.com Dates: Various Location: Rutland
Location: Clitheroe. Lancs FB: carlapownallceramics Location: Normanton on Trent, Notts katherinestaples.com
E: lesleywoods19@hotmail.com SIMON SHAW www.facebook.com/ DAVID STOCKS
FB: thedowntoearthpottery Courses: Introduction to the basics. SculptureClasses Courses: Beginners Basics, although
EDEN TEAROOM AND GALLERIES Small individual classes, max 5 students. E: deanallen4@gmail.com open to all, including disabled (carers
Courses: Wheel throwing taster sessions Handbuilding, sculptural, 1:1 throwing MIDLANDS ART CENTRE free when accompanying). Pinch pots
and experience workshops. Dates: Various Courses: Ceramics Open Studio through to slabs, coil work and throwing
Coil pot workshops and various other Location: South Liverpool Dates: Various and glazing
hand building workshops in addition to E: simonshaw61@icloud.com Location: Birmingham Dates: Thursday Evenings 18.15-21.00 £15
children’s clay workshops and paint a T: 07505 237 593 IG: @simonshawclay macbirmingham.co.uk per session (Dorridge), plus Tuesday &
pot! PARKWOOD THROWING COURSES Wednesday evenings at the Sense Pears
Dates: See website and social media for
details
NOTTS/DERBYS/ Courses: Basic and intermediate Centre. See web for details of 10 and 8
Location: Newburgh, Lancashire
LEICS/MIDLANDS throwing
Dates: 8-week Thurs evenings, weekend
week courses.
Location: Dorridge Methodists Church
www.edentearoom.com SANDY BYWATER @ CURIOUS courses, taster sessions and Sense Pears Centre, Selly Oak (see
FIRED 4 U STUDIOS Location: Nr Alfreton, Derbyshire above)
Courses: Guided evening workshops Courses: All pottery skills, suitable for the parkwoodthrowingcourses.co.uk RamOnTheRoundaboutPottery@
& do your own, clay work and painting beginner or the more experienced PLAY WITH CLAY gmail.com for Dorridge, or for Selly Oak
ceramics Dates: Tuesday afternoons and evenings. Courses: Throwing, toddler clay contact Sense Pears Centre: sunney.
Dates: 1st & 3rd Wednesday 7pm, Monthly, Saturday themed workshops Dates: Saturday mornings, Tuesday sharma@sense.org.uk
pre-booking essential Location: Sneinton Market, Nottingham afternoons, throwing weekly by WOODSETTON ART POTTERY
Location: Preston, Lancashire sandybywaterceramics.wordpress. appointment. Courses: A levels are taught by
fired4u.co.uk com Location: Loughborough postgraduate production thrower and
PAUL GOULD/MON CERAMICS CAN-DO POTTERY creationspottery.co.uk designer maker with 8 years experience
Courses: Beginners & intermediates Courses: Hand-building for beginners POTTERY ARTS in Stoke on Trent
Dates: Tuesdays & Wednesdays 2-4pm Dates: Thursdays 10.30am-12.30pm Courses: Fun adult workshops teaching Dates: Various
and 7-9pm Saturdays and Sunday Location: Mellor, Stockport specialist techniques decorating functional Location: Woodsetton, Dudley W Mids
workshops: various dates throughout candopottery.wixsite.com/group homewares: jugs, teapots, bowls, mugs, woodsettonartpottery.com
the year THE CLAY ROOM LEICESTER coasters and more, in artist's home studio @woodsettonpots
Location: The Wirral Courses: Range of classes for all abilities, Dates: Various
monceramics.co.uk plus membership scheme for more
experienced makers
Location: Melton Mowbray
potteryarts.co.uk
WALES
GREEN MAN CERAMICS
Courses: Pottery Discovery weekends Dates: Throughout the year POTS IN NOTTS JACKIE BARBER CERAMICS
Dates: Various, Location: Leicester Courses: Weekly classes and wheel taster Courses: One-to-one throwing lessons
Location: Colne, Lancs theclayroom.co.uk sessions Dates: Various
Tel: 01282 871129 THE CLAYROOMS Dates: throughout the year, contact Location: Pencader, Ceredigion
JULIE MILES CERAMICS AT FIRED UP Courses: Handbuilding, throwing, for more details jackiebarberceramics.co.uk
NORTH STUDIOS sculpting from beginners to experienced Location: Worksop, Notts BASE ART STUDIO, GALLERY &
Courses: playing with porcelain, animal makers E: lynnestaniland@icloud.com POTTERY WORKSHOPS
sculpture, basic handbuilding skills & Dates: Various see website for dates T: 07811 171369 FB & IG: @potsinnotts Courses: Handbuilding; throwing; 1-2-1
more. Tutor with over 20yrs teaching Location: Ashbourne, Derbyshire SEVEN LIMES POTTERY one-off sessions; parties (adults, children,
experience in a fully equipped dedicated theclayrooms.co.uk Courses: Varied courses/classes team-building)
clay workshop. Wheels available to hire CLAY STUDIO MANCHESTER Dates: All Dates: Ongoing, days and evenings
Dates: evening and weekend, see Courses: One-off taster sessions to Location: Moss Side, Manchester Location: Llanbradach, Caerphilly
website regular weekly courses and 1-to-1 tuition. 7Limes.co.uk baseart.org
 If you run other creative courses, register free at craftcourses.com
CARDIFF POTTERY WORKSHOPS class, Saturday 28th September. WOODNEWTON POTTERY afternoons
Courses: Handbuilding; throwing; Location: Gamlingay, Cambs/Beds border Courses: Weekly; throwing, hand Location: Great Haywood (near Stafford),
one-off Saturday sessions; 1-2-1 throwing; E: art.barn@hotmail.co.uk building, decorating (Tues/Weds). Clay Staffordshire
masterclasses with Anne Gibbs; parties T: 07715 206780 sculpture E: carolinefarnellsmith@gmail.com
(children, adults, teambuilding); pottery FB: Art Barn Gamlingay Dates: Throughout the year POTCLAYS
membership tutored & un-tutored MATTHEW BLAKELY Location: Near Peterborough Courses: Basic/Intermediate/Advanced
Dates: 6-wk day & eve sessions, various Courses: Weekend Courses: Throwing, robbibbyceramics.co.uk Throwing, Intro to glazes, Pottery Basics,
Location: Cardiff Porcelain throwing ZOO CERAMICS Moulding and Slipcasting, Tilemaking
cardiffpotteryworkshops.com Dates: Monthly Courses: Half and full day handbuilding Dates: Various
CARMEL POTTERY Location: Lode, Cambs workshops, 10-week pottery classes Location: Stoke-on-Trent
Courses: 6-week throwing courses. matthewblakely.co.uk Dates: Various potclays.co.uk
Hand-building courses. One-to- BOURN POTTERY Location: Waddington, Lincolnshire THE POTTING SHED SELF CATERING
one lessons. One-off half or full day Courses: 6-week beginner’s course zooceramics.co.uk ACCOMMODATION WITH POTTERY
experiences. Beginners welcome covering slab, pinch, coil & throwing STUDIO
Dates: Various techniques. 2-hour throwing taster WORCS/SHROPS/ Courses: Access to pottery studio during
Location: Carmel, Carmarthenshire
E: Carmelpottery@outlook.com
sessions for small groups. 1:1 tuition
in throwing and/or handbuilding and
STAFFS/HEREFORD your stay. Beginners to experienced
potters welcome. Tuition and use of
T: 07740291608 glazing. Clay for a Day and 1-day materials/equipment available. Short or
GLOSTERS specialist masterclasses. Corporate & ALLYEARROUND POTTERY long breaks. 16 acres of land to inspire
Course: Throwing team building activities. Parties & events Courses: Weekly classes; taster sessions; you with stunning views from studio and
Dates: April, for adults & children. Studio and/or one & two-day courses in throwing, cottage. Dogs welcome
Location: Porthmadog mobile. Suitable for all abilities and ages hand-building and decorating; pottery Dates: See website
glosters.co.uk Dates: Various weekday, evening & parties for all ages. All for beginners and Location: Hereford - England/Wales
JANE MALVISI Saturday sessions more advanced border
Courses: Pottery classes, including Raku. Location: Bourn, Cambs Dates: Various all-year-round! alltcottages.com/the-potting-shed
All abilities welcome bournpottery.co.uk Location: South Herefordshire THE SCULPTURE PLACE
Dates: Mon/Tues/Weds days and DEEPDALE POTTERY all-year-round.org.uk Courses: Figurative Sculpture Classes
evenings Courses: Handbuilding and throwing for AMERTON ARTS STUDIO Dates: Weekly sessions: Monday,
Location: Bridgend, S Wales beginners and experienced Courses: Life sculpture. Working from a Wednesday & Thursday (running for 6
janemalvisi.co.uk Dates: Weekend and weekday courses, life model to create a figurative sculpture. weeks)
MID WALES ARTS including yurt accommodation if Step-by-step tuition, beginners welcome Location: Wolverhampton, Staffordshire
Courses: Two-day course on wood-firing required, throughout the year Dates: Termly, Saturdays thesculptureplace.co.uk
kilns. Make your work then fire it Location: Barton upon Humber, North Location: Stowe by Chartley STONEHOUSE STUDIOS
Dates: Various Lincs amertonartstudio.com Courses: Throwing & handbuilt ceramics,
Location: Maesmawr, Powys yurtatthechapel.co.uk BRITISH CERAMICS BIENNIAL sculpture & life sculpture. Portrait
midwalesarts.org.uk GREENFIELD POTTERY Courses: Beginners & Intermediate drawing, painting, & general art. One
ORIEL BODFARI GALLERY Courses: Small group weekly classes Dates: Tuesday & Thursday off workshops & one-to-one tuition on
AND POTTERY for all levels. Handbuilding, throwing, Location: Stoke-on-Trent, Staffordshire request
Courses: Throwing, handbuilding, Raku, etc sculpture, decorating and glazing. The BCB operates a clay school and a Dates: Throughout the year
Dates: Various Weekend 2hr taster sessions, 1 and 2 day variety of courses throughout the year. One offs by arrangement
Location: Bodfari, North Wales courses britishceramicsbiennial.com Location: Drayton Basset, nr Tamworth,
orielbodfarigallery.co.uk Dates: various, weekly EARTH AND FIRE CERAMICS Staffs
Location: Holbeach, Lincolnshire Courses: hand-building, throwing by stonehousestudios.co.uk
SIRAMIK greenfieldpottery.co.uk
Courses: Throwing; half/full days, arrangement, pop-up pottery. 1:1 or small WOBAGE FARM CRAFT
weekends (accommodation included). All HILLS ROAD SIXTH FORM COLLEGE groups, 2-hour intensive lessons WORKSHOPS
Covid-19 compliant Courses: Handbuilding, throwing, plus Dates: Various, 4-weekly courses Courses: Various multiple-day
Dates: Various summer school workshops Location: Great Haywood, Stafford throwing workshops
Location: Carmarthen Dates: Various Facebook: @earthandfireceramics Dates: Various
siramik.co.uk Location: Cambridge EASTNOR POTTERY & THE FLYING Location: South Herefordshire
hillsroadadulteducation.co.uk POTTER workshops-at-wobage.co.uk
TREE HOUSE POTTERY
Courses: Pottery in a real Treehouse. JANEELIZABETHCERAMICS Courses: Remarkable potter’s wheel YAT POTTERY
We offer courses & taster sessions for Courses: Classes/sessions on hand experiences for all ages and abilities, run Courses: Throwing
beginners, clay building & potters wheel building and modelling. One-off taster/ by studio potters Jon Williams and Dates: Various
Dates: Various experiences, date nights, family sessions, Sarah Monk. Location: Symonds Yat, Wye Valley
Location: Gower Heritage Centre, Swansea project-based workshops, tailored tuition, Tasters, days and weekends yatpottery.com
gowerstoneart.co.uk/tree-house- home education sessions, and adult Dates: Regularly throughout the year
regular weekly classes available. Adult (see website)
pottery
weekly classes: Tue 1pm-3pm, Tue, Thur Location: Ledbury, Herefordshire WARKS/N’HANTS/
TWO&THROW
Courses: Handbuilding, throwing,1-2-1
7pm-9pm Website: eastnorpottery.co.uk OXON
Dates: Various and flexible. Email for HARTSHILL CLAY RESORT
sessions, parties (adults, children, team details
building & mindfulness) Courses: Handbuidling, throwing, CATHERINE ANNE CERAMICS
Location: Fillingham, Lincs sculpture, basic ceramic techniques Courses: Small groups and one-to-one
Pottery experience sessions, throwing, E: janeelizabethceramics@yahoo.
raku, and family sessions and a professional masterclass in flower of all ages and mixed ability. Throwing,
com making. Evening and daytime weekly hand building, glazing. Family sessions
Dates: Ongoing; Classes Weds-Fri,
workshops Sat-Sun THE POT SHOP classes for all abilities. during school holidays
Location: Dyserth, Denbighshire Courses: Individual and small groups 1-1 tuition and small groups, families Dates: Weekdays. Various evenings
louiseschrempft.com pottery classes in a professional workshop welcome. and weekends available
Dates: Various, throughout the year Kiln hire available. Location: Staverton, Northants
Location: Lincoln Dates: Weekly classes including
CAMBS/LINCS Facebook, Twitter & Instagram: @ evenings. One-offs by arrangement.
catherineanneceramics.com
CENTRE OF ENGLAND ARTS
PAULA ARMSTRONG potshop1 Location: Telford, Shropshire Courses: Novice to experienced,
Courses: Handbuilding & Raku, online & Tel. 01522 528994 cazamic.com including throwing
in studio workshops POTTERYDAYZ LOVECLAY AT VALENTINE CLAYS Dates: Weekly, Thursday evenings 7-9pm
Dates: Mon, Tues, Weds, Thurs Courses: Wheel throwing for beginners Courses: Basic/intermediate/ Location: Nr Solihull
(beginners) & Fri mornings. Weds (Zoom) and more experienced. Raku courses professional/families. Throwing, slip coea.co.uk
& Thurs evenings. Monthly Saturday through the summer casting & slip decorating, sculpture, tonycarterpotteryschool.com
workshops Dates: Saturdays, 9.30-3pm basic ceramic techniques, professional DAISYROOTS CERAMICS
Location: Fenstanton, Cambs Location: Peterborough/East Midlands masterclasses, ceramic painting Courses: Beginner’s wheel sessions
parmstrongceramics.co.uk FB: @potterydayz Dates: Evenings & weekends (various) 1:1 or small groups. Handbuilding
ART BARN GAMLINGAY E: potterydayz@gmail.com Location: Stoke-on-Trent techniques taught with support for
Courses: Handbuilding, raku and ROWAN ARTS CENTRE loveclay.co.uk home hobby with kiln firing service.
pit-firing Courses: Handbuilding, throwing, POP UP POTTERY STUDIO Paint-your-own pottery & craft studio
Dates: Wednesday and Thursday untutored group for those with experience EARTH & FIRE CERAMICS Dates: Just book!
evening clay classes. 2-day raku making Dates: Various Courses: Beginner courses to learn Location: Crawley Village, Witney,
and firing workshops, Saturday 27th April Location: Cambridge simple techniques Oxfordshire
and Saturday 18th May. Clay in a Day rowanhumberstone.co.uk Dates: Tuesday evenings & Friday DaisyrootsCeramics.co.uk
M & K RAKU WORKSHOPS Dates: Throughout the year for all levels. Gift vouchers available activatelearning.ac.uk/study/
Courses: One-day raku workshops run Location: Leiston, Suffolk Dates: various, see website subjects/ceramics-and-pottery
by Mark Compton and Kirsteen Holuj. katiespotterystudio.co.uk Location: Online, Barnet, London Tel: 01344 868600
Bring your own bisque-fired pots or THAXTED POTTERS sarahcorearts.com CÁIT GOULD CERAMICS @ THE
sculptures along or buy pots from us Courses: Beginners and intermediates CREATIVE CLAY FOR BEGINNERS BASE
on the day to glaze and fire. All levels. Dates: Various 6-week sessions Courses: Handbuilding, various levels, Courses: All levels from beginners to
Dates: Workshops run monthly from Location: Thaxted, Essex full-time/part-time intermediate. Taster courses, general
April to October thaxtedpotters.co.uk Dates: Various pottery and throwing courses. Pottery
Location: Milton Keynes DOMINIC UPSON Location:Newbury, Berks parties by appointment
mkraku.co.uk Courses: Adult classes in all the build newbury-college.ac.uk Dates: See website
POTTERYDAYZ techniques, running in six-week blocks. KEEEPS POTTERY STORE & STUDIO Location: Newbury & Reading
Courses: Handbuilding, throwing One-to-one classes in throwing taller, Courses: Throwing and handbuilding. All caitgould.com
lessons from Richard Gibbons thinner and production making abilities welcome with a range of classes, CERAMICSPACE BRADFORD ON AVON
Dates: Full and half days by arrangement Dates: Various courses, private parties and lessons for Courses: Full time access and/or practice
Location: Kings' Cliffe, Northants Location: Battisford, Suffolk ages 8-99! without tuition (experienced ceramicists),
E: potterydayz@gmail.com dominicupson.com Dates: Various, see booking system on one-off 2.5hrs taster sessions (beginners),
FB: potterydayz WEST SUFFOLK COLLEGE website adults taster workshops (individuals or
SWANSPOOL CERAMICS Courses: Beginners, intermediate, mixed Location: Marlow, Bucks groups), mentoring/tutoring/specialist
Courses: Handbuilding, throwing, all abilities & workshop classes in hand- E: marlow@keeeps.co.uk training (1 or 2 days), intensive course (4
levels. building, throwing, glazing & decorative T: 01628 397000 days in groups) Gift vouchers: for lessons
Open access studio. Weekend courses & surfaces & other techniques IG @_keeeps or taster workshops
one-off experiences Dates: Saturday daytime and evening for FB @Keeeps Location: Bradford on Avon Wiltshire
Dates: Termly, year-round 6 or 10 weeks. keeeps.co.uk Tel: Julia Warin 07800 778582
Location: Castle Ashby, Northants Terms starts January 2020 & April 2020 MADE WITH CLAY STUDIO E: juliaartscool@btinternet.com
swanspoolceramics.co.uk Location: Bury St Edmunds Courses: Currently workshops are held FB: CeramicSpace Bradford on Avon
wsc.ac.uk on Tuesdays 10-1pm, Thursdays 12-3 and CHALKE VALLEY POTTERY
6-9pm and alternate Saturdays COURSES
NORFOLK/SUFFOLK/ BEDS/BUCKS/HERTS Location: Letchworth Courses: 2-day courses in spring and
ESSEX madewithclaystudio.com autumn, with Jennie Gilbert & Emily
ALONDENE PHILLIPS NORTH MARSTON POTTERY Myers, Learn the basics in a relaxed and
Courses: Hand-building for beginners Courses: Variety of pottery courses friendly environment, or improve your
DEBORAH BAYNES to intermediate. 1:1 and small group Dates: Contact directly for further details skills. See website for details
Courses: Residential and nonresidential workshops. Opportunities to do sgraffito, Location: North Marston, Bucks Dates: Various
Dates: Weekends (spring/autumn), full mishima, slipwork, simple mould northmarstonpottery.co.uk Location: Broadchalke, Wilts
weeks (July/Aug) making. Plus creating & applying sprigs, jenniegilbert.co.uk
KATE RADFORD POTTERY
Location: Shotley, Suffolk decorative stencilling & printing on clay. THE CREATIVE CAVERN
Courses: Hand building, throwing and
potterycourses.net Workshops can also be tailored around Courses: Various, inc 1:1 throwing,
sculpture for all abilities and ages.
BLANK EARTH specialist techniques. Classes run all year Electric, gas and raku firings Dates: Various
Courses: Beginner and advanced round daytime and evenings between Dates: Weekly courses on a Wednesday, Location: Winnersh, Berks
one-on-one classes in throwing, hand Monday - Wednesday 10.30 - 12.30, 2.30 Thursday and Friday daytime and thepaintnightcompany.co.uk/
building, kurinuki and glazing. Firing - 4.30pm, 7-9pm (Due to Covid 19 we evenings, one to one and group sessions pages/the-creative-cavern
courses are held over the summer will be opening with reduced class sizes available EASTCOTT STUDIOS
including pit firing and kurinuki of 1-2 people from late July / August - Location: Kensworth, South Bedfordshire Courses: Pot throwing, individual and
Dates: see website please email for details Ceramics Classes kateradfordpottery.co.uk group sessions, pottery experience days,
Location: Culford, near Bury St Edmunds, at Home also available with Studio in a RUBY SHARP sculpture, beginners and advanced,
Suffolk box. Kiln firing included. (Within 5 miles Courses: Hand building, throwing, pot painting, takeaway service, all ages
blankearth.co.uk of Milton Keynes area only). decorating pots, sculpture for home and welcome. Onsite Art Café, Art Markets
BRICK HOUSE CRAFTS Location: Milton Keynes garden and online gallery.
Courses: handbuilding, throwing, E: Creativeblockdesigns@yahoo.com Dates: Throughout the year (weekend & Dates: Various
decoration, mould making, raku in the T: 07465608771 day sessions available) Location: Swindon, Wilts
summer. Beginners to professional FB: The Studio at Creative Block Designs Location: Amersham, Buckinghamshire eastcottstudios.co.uk
welcome. Leisure classes & City & Guilds ART BARN GAMLINGAY rubysharppottery.co.uk eastcottstudiosgallery.co.uk
L2 and L3 courses Courses: Handbuilding, raku and courtyardarts.co.uk
WHERE INSPIRATION BLOOMS
Dates: Tues - Friday 10am to 4pm, pit-firing Courses: Beginners’ classes, workshops, ELÉ AND CLAY
Sat 10am - 12 midday Dates: Wednesday and Thursday hand-building, family sessions, pottery Courses: Throwing for all abilities. Three-
Location: Silver End, Essex evening clay classes. 2-day raku making room hire, kiln space hire hour wheel taster, weekly classes and
brickhouseceramics.co.uk and firing workshops, Saturday 27th April Dates: Year round 5-day specialist workshops.
TONY CARTER POTTERY SCHOOL and Saturday 18th May. Clay in a Day Location: Chesham, Buckinghamshire Dates: See website
Courses: Beginners to experienced class, Saturday 28th September. whereinspirationblooms.co.uk Location: Great Shefford, near
potters, all hand building, throwing, Location: Gamlingay, Cambs/Beds border Hungerford, Berkshire
design, model & mould making. E: art.barn@hotmail.co.uk elevanschoor.com
Small friendly groups, personal tutor.
Dates: Year-round
T: 07715 206780 FB: Art Barn Gamlingay WILTS/HANTS/ FIRED THOUGHTS ARTS STUDIO
Location, Debenham Suffolk
ARTSHED ARTS
Courses: Hand building, throwing &
BERKS & GALLERY
Courses: Weekly classes: introductory
tonycarterpotteryschool.com surface pattern. All levels. Throwing & advanced. Throwing & sculpture a
ANGELS FARM POTTERY
MARIAM CULLUM taster sessions, private throwing tuition & Courses: Residential (B&B) & non- speciality. Open Studio bookings, 1:1
Courses: 1:1 tuition in throwing, hand- sculpture. Pottery parties residential. Throwing, handbuilding, throwing. Various workshops. Group
building, slip-casting, surface decoration Dates: See website decorating sessions & more, see website
and glaze preparation and application. Location: Ware, Hertfordshire Dates: Sat and w/ends once a month. Dates: Various
Dates: Various - Monday to Friday artshedarts.co.uk Weekly evening classes & Fri am. One-off Location: Market Lavington, Wilts
10am-4pm CHARLIE’S POTS days for groups, min 4, max 8 attendees firedthoughts.co,uk
Location: Bury St Edmunds Courses: Intensive day-long Sunday Location: Lyndhurst, New Forest, Hants. JEANNE LEWISTIFF
www.hallhouseceramics.co.uk throwing courses for beginners angelsfarm.co.uk Courses: Small groups or 1-1 in throwing
LIBBI HUTCHENCE, HANDMADE AT Dates: Various ACTIVATE LEARNING AT and/or hand building
BRAMLEY COTTAGE Location: Aylesbury, Bucks BRACKNELL AND WOKINGHAM Dates: Contact for details
Courses: 1:1 tuition in throwing, hand- E: throwingpottery@gmail.com COLLEGE Location: Maidenhead, Berkshire
building, surface decoration & glaze CLAY WITH CAROLE Courses: Mixed ability adult leisure E: Jeannelewi@hotmail.co.uk
making for all ages/abilities Courses: Handbuilding, throwing classes taught throughout the daytime KEEEPS POTTERY STORE & STUDIO
Dates: Throughout the year Dates: Various and evening. All abilities welcome in our Courses: Throwing and handbuilding. All
Location: Culford, Nr Bury St Edmunds Location: Hitchin, Herts well-equipped pottery studio, where a abilities welcome with a range of classes,
handmadeatbramleycottage.co.uk claywithcarole.co.uk range of pottery techniques are taught courses, private parties and lessons for
KATIE'S POTTERY STUDIO SARAH CORE ARTS by experienced tutors. One-day specialist ages 8-99!
Courses: One-to-one & small group Courses: Mindfulness clay sessions. courses taught throughout the year Dates: Various, see booking system on
tuition in throwing, handbuilding, Full options via the website shop. High- Dates: Mon – Thurs, daytime and website
decorating, glazing & firing for all ages quality air-dry clay dispatched but you evening Location: Marlow, Bucks
and abilities. Children's Saturday class are welcome to bring your own. Suitable Location: Woodley Hill House, Earley, Berks E: marlow@keeeps.co.uk FB @Keeeps
 If you run other creative courses, register free at craftcourses.com
T: 01628 397000 IG @_keeeps CREATIVE CLAY FOR ALL Location: Devon Location: Burwash, East Sussex
keeeps.co.uk Travelling clay workshops for those abihiggins.co.uk burwashpotter.co.uk
THE MAKERS' GUILD who have no access to a kiln. Ideal for alisonwestceramics.com CERAMIC SPIRIT
Courses: Structured 5/6 week foundation community groups. Based in Dorset GOONZOYLE POTTERY Courses: Weekly, day and evening. All
course; weekend and evening taster creativeclayforall.co.uk Courses: Wheel, handbuilding, glazing, techniques. Surface decoration, glazing
sessions; glazing workshops; wheel KAREN DAWN CURTIS raku and pit-firing. For all abilities in fully Dates: See website
throwing tasters and weekends as well as Courses: 1:1 throwing; 3 & 6-week courses; equipped rural studio. Location: Horsham
specialty workshops. pottery practice; Saturday making sessions,; Dates: Morning, Afternoon & Evening ceramicspirit.co.uk
Members' studio sessions. Kiln hire. parties & team-building; have a go – drop-in workshops throughout the year. THE CERAMIC STUDIO
Dates: See website throwing Contact directly for more information. Courses: For adults & children, from
Location: Portsmouth Dates: Various, see website Location: Camborne, Cornwall beginner to professional (including
makers-guild.com Location: Bridport, Dorset FB: Goonzoylepottery evening & weekend classes).
NEW DIRECTIONS karendawncurtis.co.uk marykaunenglish.com Throwing, hand-building, sculpture,
Courses: Exciting range of ceramics PATRICK ESSON LEACH POTTERY Inspiration for Ceramics & drawing.
courses to suit all abilities in a well- Courses: Modelling, coiling, slab work, Courses: 3 & 5-day throwing, evening Regular Taster Sessions, Pottery
equipped studio. Taught by specialist pinching, throwing classes handbuilding, throwing Experience Days & Guest Pottery
tutors and technician. Dates: Various Dates: Various, each month Workshops
Dates: Various, see website Location: Gloucester Location: St Ives, Cornwall Location: Brenchley, Kent
Location: Reading E: p.esson@aliqua-art-gallery.com leachpottery.com theceramicstudio.co.uk
newdirectionsreading.ac.uk RACHEL FOOKS: CERAMICS LUCKTAYLOR CERAMICS CERNAMIC
DIANA PATTENDEN Courses: Weekly classes and one-off Courses: Hand building and Raku firing Courses: With Nam Tran; throwing,
Courses: Sculpture, throwing, hand sessions, hand-building & throwing for courses for beginners and advanced mould-making, raku
building, Prosecco & Clay sessions, all abilities students. Fully equipped rural studio. Dates: Various
children's parties, hand casting. Location: Wareham, Dorset Dates: Various Location: SE London
All ages and abilities welcome rachelfooksceramics.com Location: St Buryan, Cornwall cernamic.com
Dates: Daytime, evenings and weekends KITE STUDIOS CLAY STUDIO E: info@lucktaylorceramics.co.uk CLAYNGLAZE POTTERY STUDIOS
Location: Newbury, West Berkshire Courses: Throwing, handbuilding, FB & IG: @lucktaylorceramics Courses: Pay as you go pottery for all
dianapattenden.co.uk glazing, adult & children courses weekly lucktaylorceramics.co.uk levels.
SASHA WARDELL & weekend. One-to-one sessions and NORTH DEVON CERAMICS Various training days/weekend courses &
Courses: Bone china & mould making pottery birthday parties ACADEMY fine art workshops
courses Dates: Mon-Sat various times Courses: Open Access Studio & weekly Dates: Days, evenings & weekends
Dates: May to September ( incl.) in Location: Kemerton, Gloucestershire, adult classes for all abilities. throughout the year
SW France /Feb & March in Wiltshire and London Day time & evenings. Monthly 'Make In A Location: West Sussex
Location: SW France/ Wiltshire kitestudios.org Day' workshops advertised on Eventbrite claynglaze.co.uk
sashawardell.com JULIE MASSIE POTTERY CLUB Dates and times: see website CLAYKILNCRAFT
STONEHENGE POTTERY Courses: Hand building pottery club for Location: South Molton, Devon Courses: Beginners intensive throwing;
Courses: weekly classes, Tuesday and all. Children and adults welcome. School ndcaas.co.uk mixed intro to pottery; handbuilding
Thursday, hand building and throwing. workshops available. Home Pottery Club TARKA POTTERY & half-day one-off classes covering all
Weekender workshops and group service available - deliveries and pickups Courses: All levels from beginners to aspects of pottery and glazing.
sessions by arrangement to your doorstep intermediate all year round. All levels catered for but must be 16 and
Dates: Various all year round Dates: Various Taster sessions for individuals or groups, over. Also Open Access Membership.
Location: Winterbourne Stoke, Near Location: Southbourne, Bournemouth weekly throwing and handbuilding Dates: Year-round one-offs to 9-week
Salisbury and Amesbury juliemassie.co.uk courses. Child/family workshops, parties courses & intensive short courses
Tel: 01980 620328 Dates: Tuesday to Saturday Location: Crystal Palace, SE London
CHARLOTTE MILLER CERAMICS
stonehengepottery@btinternet. Location: North Devon claykilncraft.com
Courses: Throwing, handbuilding,
com tarkapottery.co.uk THE CLAY PLACE
mould-making, surface decoration
STUPOTS POTTERY STUDIO Dates: Termly part-time, taster ALISON WEST CERAMICS Courses: 6-week courses, one-day
Courses: Wheel taster sessions, hand workshops, pottery parties Courses: Weekend raku, saggar and workshops, bespoke clay days. Hand
building & glazing. Location: Bournemouth barrel firing building techniques, slab, coil, surface
Dates: Every weekend & some evenings charlottemillerceramics.com Dates: Various decoration
Location: Yate, Bristol Location: Chagford, Devon Dates: Wednesday/Friday 6-week
stupots.co.uk MOON STUDIO alisonwestceramics.com courses Various dates for one-day
Courses: Hand building, throwing,
workshops
surface design. Taster sessions, short
DORSET/GLOS/ courses, pottery parties, kids clay time & KENT/SUSSEX/
Location: Ashurst, West Sussex
jwceramics.net
SOMERSET mobile pop up pottery
SURREY/LONDON THE CLAY ROOM UK
Dates: Weekly classes all year, plus private
tuition for individuals and groups Courses: Clay taster workshops;
ARTISAN CRAFT CLASSES & Location: Christchurch, Dorset ART OF MINE introductory pottery; mould-making
WORKSHOPS moonstudioceramics.co.uk Courses: 1-1 throwing tuition, hand & slip-casting; transfer; termly pottery
Courses: Weekly pottery classes - wheel FB: Moon Studio Ceramics building, surface decoration for all ages courses; Christmas workshops & private
and handbuilding and abilities. Birthday parties, team lessons
Dates: Mondays and Wednesdays, NEW BREWERY ARTS building and taster sessions Dates: Various
one-offs by arrangement Courses: Variety of ceramic courses Dates: Various Location: Chelsfield, Orpington
Location: Bockhampton, Dorchester Dates: Contact directly for further details Location: Maidstone, Kent theclayroomuk.com
E: mail@artisan.org.uk Location: Cirencester, Gloucestershire E: info@thisartofmine.co.uk
newbreweryarts.org.uk THE CLAY STUDIO
ASHBROOK STUDIO AYLESFORD POTTERY Courses: Handbuilding, throwing,
Courses: Throwing, handbuilding, RUARDEAN GARDEN POTTERY Courses: Raku days, 1-day, 10-week surface decoration, glazing for beginners/
glazes. One-to-one or small group, daily Courses: Weekends, week-long Pottery classes, Mould Making, Glaze experienced potters. Raku, smoke-
Dates: All year Courses: Throwing, Pot Making Theory & Application firing and animal sculpture. Weekend
Location: Waterrow, Somerset Dates: Various Dates: Various terms workshops
ashbrook-ceramics.co.uk Location: Forest of Dean Location: Aylesford, Kent Dates: Mon-Fri all day inc evenings
ruardeanpottery.com aylesfordschoolofceramics.co.uk Location: Groombridge, nr Tunbridge
BANWELL POTTERY
Courses: Throwing, handbuilding, STUPOTS POTTERY STUDIO LOUISE BELL CERAMICS Wells
modelling, slab work, coil work, tile- Courses: Wheel taster sessions, hand Courses: Hand building, surface E: info@theclay.studio
making building & glazing. decoration, simple mould making and THE CLAY WORKSHOP
Dates: Weekly evening class, Weds 6-8pm Dates: Every weekend & some evenings glazing for beginners. Taster afternoons Courses: Throwing, hand-building,
Location: Weston-super-Mare, Location: Yate, Bristol and bespoke sessions for up to three glazing, decorating, raku. All levels, inc 1:1s
N Somerset stupots.co.uk people of any level or ability. Dates: Various, ongoing
banwellpottery.org Dates: Various Location: Central Eastbourne
CARANTOC ART DEVON/CORNWALL Location: Lewes, East Sussex grahammatthewsceramics.com
Courses: Intensive & regular classes Louisebellceramics.com SU CLOUD CERAMICS
available in pottery & ceramic sculpture CHRISTOW POTTERY BURWASH POTTERY Courses: Clay club twice weekly, raku,
Dates: Year-round Courses: 2-day saggar & raku-firing Courses: Various handbuilding, hand building, porcelain paperclay, various
Location: Weston-super-Mare, weekend workshops with Abi Higgns/ decoration. All levels. Classes,workshops, project workshops, 3-week and 6-week
N Somerset Alison West. All abilities parties, taster sessions courses. All levels. Daytime/evening &
carantoc-art.co.uk Dates: Throughout the year Dates: Terms of 6 weeks, various Saturday workshops.
Purpose-built studio for up to 6 students KITE STUDIOS CLAY STUDIO weekly courses. Beginners and advanced Dates: See website
Dates: Various Courses: Throwing, handbuilding, glazing, Dates: Day and evenings Location: Witley nr Godalming,
Location: Bognor Regis adult & children courses weekly & weekend. Location: Farnborough Hampshire wildcroftpottery.co.uk
sucloudceramics.com One-to-one sessions and pottery birthday E: danielp.ceramics@gmail.com
THE CORNER WORKSHOP
Courses: Beginner courses for adults.
parties
Dates: Mon-Sat various times
RUTH SACKS CERAMICS
Courses: Beginners and intermediate
REST OF WORLD
Hand building & a variety of decorating Location: Kemerton, Gloucestershire, hand building in small groups, and one- L’APIPOTERIE /E. PENSA - FRANCE
methods. Small class sizes and London to-one throwing lessons. Courses: Handbuilding for utilitarian use
Dates: Various, weekly kitestudios.org All aspects covered including glazing, and animal sculpture. Bilingual course
Location: Balcombe, West Sussex CLOVER LEE CERAMIC surface texture and decoration French and English
E: rezacworkshop@gmail.com Courses: 12-week throwing courses, Dates: Classes Monday to Thursday, Dates: See website
PETER CUTHBERTSON taster & intensive throwing workshops. various times Location: Beaufort sur Gervanne/South
Courses: Throwing and handbuilding, Private classes, parties & independent Location: Finchley, North London East of France in the Vercors regional park
beginners and more advanced sessions for all abilities ruthsacksceramics.com E: epensa26@gmail.com
Dates: Weekly regular day and evening Dates: Weekly regular, weekends & SALTYDOG POTTERY STUDIO MAS SARRAT POTTERY - FRANCE
classes plus one off weekends by private bookings available year-round Courses: Throwing tuition for individuals Courses: Introduction to pottery
arrangement Location: Clapham South, London or small groups. (handbuilding and throwing). Improver
Location: East Hoathly, East Sussex clover-lee.com Dates: See website pottery handbuilding and throwing) 5-day
E: peter.cuthbertson@phonecoop. LILLAGUNILLA CERAMIC STUDIO Location: Storrington West Sussex courses
Coop Courses: One-day workshops and saltydogpotterystudio.co.uk Dates: See website
JO DAVIES Saturday classes in throwing and hand- SULEYMAN SABA Location: Cazals, Lot, France
Courses: Throwing classes; for beginners building Courses: Pottery classes jenniegilbert.com
and intermediates with Jo's experienced Dates: Various Dates: Tuesday and Wednesdayevenings Facebook: @cvpotterycourses
studio tutors; masterclasses or one- Location: Charlton, South East London (Clapham), Mondays and Tuesdays STACEY MCDONALD POTTERY - USA
to-ones with Jo for those wanting to lillagunillaceramics.co.uk (Kingsbury) Courses: Fully equipped, spacious clay
improve or refresh their practice MAZE HILL POTTERY Location: London (Kingsbury and studio offering beginner & intermediate
Dates: Various Course: Weekly Evening Classes Clapham) wheel throwing, handbuilding and
Location: Dalston, London Dates: Throughout the year suleymansaba.com beginner sculpture classes, workshops
jo-davies.com Location: Greenwich, London SUSAN RAMSAY-SMITH POTTERY and special events for adults and children
EASTBOURNE STUDIO POTTERS mazehillpottery.co.uk BARN 10 and over.
Courses: Throwing, hand building, MORLEY COLLEGE Courses: Experienced tutor, small Cone 6 electric firing, white stoneware
surface decoration and glazing for Courses: Hand building, throwing, groups, throw or hand-build, all abilities. and a selection of other clay bodies,
beginners and experienced potters. plus summer workshops, beginner Dates: Tuesdays am/pm 2 hour glazes made in-house
Plus, Personal Project Development with to advanced levels, adult and family sessions, Dates: Ongoing start dates; days,
specialist support. Open access: studio education. 5/10 weeks or Taster weekends evenings and weekends
hire available for experienced makers Dates: Starting in September with Location: Heathfield, East Sussex Location: 12 W. Spring St. Illinois USA
Dates: Weekly courses throughout the various dates throughout the year. experiencesussex.co.uk/ceramics staceypottery.com
year. Personal Project on Weds 6-9pm. Location: London SUTTON COLLEGE OLD HEAD STUDIO - IRELAND
Location: Eastbourne morleycollege.ac.uk Courses: Hand building, throwing, Courses: Handbuilding for all levels,
E: eastbournestudiopottery@gmail.com NEW LIFE CERAMICS plus summer workshops, mixed week-long ceramics, glaze and surface
eastbournestudiopottery.com Courses: Pay-as-you-go weekly day and abilities, adult and family education. decoration. On-site accommodation
FOREST ROW SCHOOL OF evening classes for all abilities, throwing Dates: Starting in September with available
CERAMICS and handbuilding various dates throughout the year. Dates: May to September
Courses: Adult intensive throwing and Dates: See website Location: Sutton, Surrey Location: Near Louisburgh Co. Mayo,
handbuilding weekly classes. Weekend Location: Biggin Hill, Kent suttoncollege.ac.uk Ireland
workshops: raku, soda/smoke firing, newlifeceramics.co.uk STAR POTTERY E: sarah.lyons3@btinternet.com
animal sculpture, glaze chemistry, slip PADDOCK STUDIO POTTERY Courses: Taster, Weekly classes TOTEM CERAMICS POTTERY
decorating. Courses: 1-day individual or shared, Dates: Various SCHOOL - SPAIN
Three-month residential Sept-Nov 2018 throwing, handbuilding Location: Lewes, East Sussex Courses: Throwing, sculpting,
Location: Forest Row, West Sussex Dates: Various hamid-pottery.co.uk handbuilding, slip casting, general skills
frschoolofceramics.co.uk Location: Lewes, East Sussex THE STUDIO AT CLAPHAM LTD for beginners. Weekly classes & courses
GO CREATE thepaddockstudiopottery.co.uk Courses: Taster course, project based Dates: 1-5 day courses, weekly classes,
Courses: Pottery, sculpture & craft THE PAINTING POTTERY CAFE workshops, tailored tuition. Beginners year-round
Dates: Various Courses: Evening classes: Throwing, Handbuilding Courses. Location: Andalucia
Location: SW London coiling, slab & pinch for different monthly Learn to pinch, coil, slab and throw! totemceramics.com
gocreate.co.uk projects. All materials and glazes provided. Wednesday drop in for experienced CHRISTINE PEDLEY - CENTRAL
CLAIRE GRIFFITHS £35pp enthusiasts. FRANCE
Dates: Starting September; Weds Dates: 3rd Thursday of the month All levels catered for. Courses: Throwing, hand building, and
10.00am -12.30pm & Thurs 7.00- 9.30pm 6.30-9.30pm Dates: Various decorating for beginners and advanced
Location: Whitstable Location: Brighton Location: Clapham Near Worthing, students.
E: jc.griffiths@btinternet.com paintingpotterycafe.co.uk W Sussex Dates: March-october
HANDMADE IN CHISWICK PARKGATE POTTERY thestudioatclapham.com Location: La Borne - France
Courses: Term-time, small group, Courses: One-to one throwing IMOGEN TAYLOR-NOBLE Tel: 0033248267744
adult and kids classes. 1:1 tuition by Dates: Various Courses: Weekly pottery classes for Web-site: www.chris-pedley.eu
arrangement, studio time for Location: Dorking, Surrey adults and children. Suitable for all levels. UN PETIT TOUR DE TERRE - FRANCE
experienced potters available parkgatepottery.co.uk Hand-building, glaze mixing & glazing, Courses: All levels, hand-building, surface
Location: London, W4 THE POTTERS STUDIO experimental firing days. Obvara, Raku, decoration, making tools, raku, glazing.
HandmadeinChiswick.co.uk Courses: Beginners to intermediate. & Saggar. 1:1 throwing sessions at my Full-board accommodation available
IG: sylvieopsimath Taster sessions, 1-1 tuition, hand building Whitstable studio Dates: All year round, Monday 9am to
JESS JORDAN CERAMICS & throwing workshops. Open access Dates: Various Friday 5pm
Courses: Handbuilding, throwing, memberships for more advanced makers Location: Espressions Art Cafe, Location: Saint Génies de Comolas,
decoration, glazing Dates: All year round. See website Canterbury France
Dates: Various Location: Hawkhurst, Kent imogentaylor-noble.com Facebook: @FredPotierGres
Location: Worthing, W Sx thepottersstudio.co.uk TURNING EARTH THE RAKU GARDEN - CROATIA
pottyjess.co.uk THE POTTERY CORNER Courses: Open access studio Tues- Courses: Week-long courses in hand-
THE KILN ROOMS Courses: Clay club 4-week evening Sun for all levels – must be working building and Raku firing for all levels
Courses: Beginners one-off taster courses, Handbuilding 5-week Saturday independently. Classes available, see Dates: see website
sessions; beginners taster classes: courses, wheel throwing and raku website for details/availability Location: Croatia
beginner/intermediate courses in hand- tuition 5 students max. All levels Dates: Open access studio Tues-Sun. www.raku-garden.com
building, throwing, decorating, glazing. welcome Location: Hoxton E2 and Lee Valley E10, SASHA WARDELL - FRANCE
Masterclasses. Open access Location: Chichester, West Sussex London Course: Bone china & mould making
Dates: Various, year round, plus open thepotterycorner.co.uk turningearth.org courses
access DANIEL PRATAP @ THE TRIANGLE WILDCROFT POTTERY Dates: May to September (incl) in SW
Location: Three studios in Peckham, POTTERY Courses: Beginners' handbuilding; France/Feb & March in Wiltshire
East London Courses: Throwing and hand building, taster, weekly courses, private lessons. 6 Location: SW France/Wiltshire
thekilnrooms.com Taster sessions, 1:1 throwing and regular students max. sashawardell.com
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Artist images top left to bottom right: Kate Windibank - Peers Award Winner 2021, Jon Barrett-Danes, Jenny Chan, Richard Baxter, Peter Beard, Jillian Riley, Pratima Kramer, Lindy Barletta.

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WIN!

£100 VOUCHER IN OUR READER SURVEY

PINCH, COIL, SLAB AND THROW Issue 65

PLUS: SPOTLIGHT ON: THE CERAMIC STUDIO • LINDA BLOOMFIELD IN DENMARK

throw from reading ClayCraft! With so luck, Tracey!

On the cover this month are

3 Welcome 24 Linda Bloomfield

Sgraffito mandala design in one

PINCH, COIL, SLAB AND THROW

SLAB/PINCH 77 Courses GARDEN-

38 Project 3: three-in-one Fancy signing up for a class? Find

Save money and have the

59 Back issues THROWN

Missed a month? Want to catch magazine delivered to your door.

£10,000 PRIZE AND EXHIBITION OPPORTUNITY

(Photo: Jenny Harper)

(Photo: Emma Trimble)

You will need:

Before you begin:

 Begin by preparing a 1.8kg (4lb) block of clay and

 Maintaining the position of your left hand but

 Dribble some water over the clay and position your

Place a batt as centrally as possible on the clay pad

 When you’re sure the batt is centred, give it a firm

A REMINDER WHEN THROWING

 Continue by changing the position of your hands to

 Return your hands to the first position, then push

 As when throwing a pad for a batt, dribble some

Beginning at the centre, work over the base with

Test the thickness of the

If you don’t raise the wall to the required height

 If you’ve chosen a more flared shape, measure the

 DO NOT UNDERWIRE THE DISH at this point – wait

 The throwing of the dish is essentially finished now, THROWING THE

 Trim away the rough edge around the base using

Use the turning tool to trim down vertically from the

 Position the dish rim-down on the batt, as close to

 Check the level of the base by laying a ruler or batten

Establish the foot by cutting a line using the tip of

Work back across

 When you’re happy with the depth of the foot, cut a

 Cut a small bevel on both the inner and outer edges

 If you feel it necessary, work over the wall again to

TURNING THE BASE OF

Again, your dishes must be leather hard to trim them

 Trim the wall below the foot, remembering you’re

5 Cut a shallow groove in the base at the inner edge of

 Return to the wall of the dish and work over the

To refine the surface completely and remove any

 Unlike the larger dish, this small version of the bowl

 This pasta set was simply glazed in Mayco

Linda Bloomfield is a scientist

 Firing the Speedy soda kiln.

 Finished wood-fired pieces with

Scl-058 (4cm) Scl-059 (4cm)

You will need:

■ Water bowl, sponge

 Moisten the surface of the batt with a damp sponge

Throw a pad for the batt then centre it on the

 Begin by preparing a 1.4kg block of clay and form it

Thoroughly wet your rolling pin or pipe, then

 Change the position of your hands to apply equal

about her students, and her staff. The

When you’re sure the batt is centred, give it a firm

If you’ve chosen a more flared shape, measure the

DO NOT UNDERWIRE THE DISH at this point – wait

The throwing of the dish is essentially finished now, THROWING THE

Check the level of the base by laying a ruler or batten

When you’re happy with the depth of the foot, cut a

Cut a small bevel on both the inner and outer edges

If you feel it necessary, work over the wall again to

Trim the wall below the foot, remembering you’re

Unlike the larger dish, this small version of the bowl

This pasta set was simply glazed in Mayco

Change the position of your hands to apply equal

Score another circle, 5mm out from the first one.

Centre the bowl, rim down, on a whirler using the

Place the coil slab on a board and carefully cut out a

15 Fix the extension onto the rim of the bowl, easing

Sit the semi-circle on the rim of the bowl to test the

Tidy around the holes with a rib to finish up.

The bowl shown here was glazed in Amaco Ancient

Replace the template, then carefully cut the shape

Sit the cut-out section on the palm of your hand,

Now work a pointed tool into all the holes to

The finished spoon should be supported on foam

GLAZE FIRING – you must consider how the spoon

Lifting the slab on the plastic sheet, turn it over onto

When the moulded face of the clock has firmed to a

Remove the moulded face

Gently turn the clock over and tidy up the back of