PINCH, COIL, SLAB AND THROWwith stunning ginkgo decorationPLUS:Slip-cast globes • Tree tealight holders • Doug’s DiarySLAB BUILDCUTWORK DISHIssue 34BLOG POSTTHROWNOIL SPOTS GALOREGLAZINGNAPKIN HOLDERSTEXTURED SLAB51 PAGES OF PRACTICAL STEP-BY-STEPSwith stunning ginkgo decorationCLASSICBOTTLEFORMIssue 34 £5.50PINCH, COIL, SLAB AND THROW
Issue 34ClayCraft3Rachel Graham, EditorClayCraft Magazinewww.claycraft.co.ukKelsey MediaThe Granary, Downs Court, Yalding Hill, Yalding, Kent ME18 6ALEDITORIALEditor: Rachel Graham; [email protected] editors:Jacqui Atkin, Kevin MillwardContributors: Jacqui Atkin, Alan Ault, Paul Bailey, Linda Bloomfield, Billy Byles, Doug Fitch, Kevin Millward, Alan Parris, Tracey Parsons, Simon ShawProject photography: Philip WilkinsArt Editor: Rob Terry; rob focusedondesign.co.uk@ADVERTISEMENT SALESTalk Media SalesSimon Hyland, 01732 [email protected] Media SalesAd Production Manager:Nick Bond 01732 445325 [email protected] Operating Officer: Phil WeedenManaging Director: Kevin McCormickChief Executive: Steve WrightFinance Director: Joyce Parker-SariogluHR & Operations Manager: Charlotte WhittakerRetail Director: Steve BrownAudience Development Manager: Andy CottonEvents Manager: Kat ChappellSenior Print Production Manager:Nicola PollardPrint Production Manager:Georgina HarrisPrint Production Controller:Kelly OrrissSubscription Marketing Manager:Kate ChamberlainSubscriptions 12 issues of ClayCraft are published per annumUK annual subscription price: £66.00Europe annual subscription price: £78USA annual subscription price: £78Rest of World annual subscription price: £84UK subscription and back issue orderline: 01959 543 747Overseas subscription orderline:0044 (0) 1959 543 747Toll free USA subscription orderline: 1-888-777-0275UK customer service team: 01959 543 747Customer service email address: [email protected] service and subscription postal address:ClayCraft Customer Service Team, Kelsey Media, The Granary, Downs Court, Yalding Hill, Yalding ME18 6ALUnited KingdomFind current subscription offers/ buy back issues at shop.kelsey.co.ukAlready a subscriber? Manage your subscription online atshop.kelsey.co.uk/myaccountwww.kelseyshop.co.ukDISTRIBUTIONSeymour Distribution Ltd, 2 East Poultry Avenue, London, EC1A 9PTwww.seymour.co.ukTel: 020 7429 4000PRINTINGWilliam Gibbons & Sons Ltd, Willenhall, West MidlandsKelsey Media 2019 © all rights reserved. Kelsey Media is a trading name of Kelsey Publishing Ltd. Reproduction in whole or in part is forbidden except with permission in writing from the publishers. Note to contributors: articles submitted for consideration by the editor must be the original work of the author and not previously published. Where photographs are included, which are not the property of the contributor, permission to reproduce them must have been obtained from the owner of the copyright. The editor cannot guarantee a personal response to all letters and emails received. The views expressed in the magazine are not necessarily those of the Editor or the Publisher. 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If at any point you have any queries regarding Kelsey’s data policy you can email our Data Protection Officer at [email protected] 1743-0712www.kelsey.co.ukMeet the team...Doug FitchYork Ceramics Fair p72Jacqui AtkinTealight holders Classic bottlep54On the cover this month is a classic thrown bottle form, decorated by Jacqui Atkin with a stunning ginkgo leaf motif, p8Linda BloomfieldOil spot glazesp28PINCH, COIL, SLAB AND THROWwith stunning ginkgo decorationPLUS:Slip-cast globes • Tree tealight holders • Doug’s DiarySLAB BUILDCUTWORK DISHIssue 34BLOG POSTTHROWNOIL SPOTS GALOREGLAZINGNAPKIN HOLDERSTEXTURED SLAB51 PAGES OF PRACTICAL STEP-BY-STEPSwith stunning ginkgo decorationCLASSICBOTTLEFORMIssue 34 £5.50PINCH, COIL, SLAB AND THROWWelcomeSimon Shawp8e live in such a high-pressure world these days, where formany people it’s almostconsidered a badge of honour to work ridiculously long hours, to maintain a lifestyle that’s ‘Grammable’. A stunningly out-of-whack work/life balance that’s driven by a perception that this is how success is measured. But how fulfilled are they, deep down? When do they take the time to step back and actually enjoy the fruits of their labour, their ‘real’ life?Working with clay creates a connection to an almost other-worldly place; one where a Zen-like state of creativity – whatever your ability – can wash away everything except the moment. For some, attending a class once a week is enough, but for others, it awakens something, dare I call it a ‘need’, to go further and do more.Re-establishing the freedom that we felt as children, to play, create – and yes, get our hands dirty – is liberating and puts us back in touch with a place that’s much less pressured, more real and, I believe, healthier for the soul. Taking time out to do something that’s just for ourselves doesn’t happen very often, but when it does, it can seize you with both hands and not let go. It can re-connect you with the true you. I recently met up with Stine Dulong, of SkandiHus, who put it perfectly when she said: “In my career as a lawyer, I felt like I was performing a role, but that role was written for somebody else. I could do it, but it didn’t feel like my life.” That all changed the first time she touched clay. She’d come home. We’ll be featuring Stine in a future issue.W
4ClayCraftIssue 34Contents6 News8 Project 1: ginkgo bottleA simple, classic bottle shape with a stunning decoration. This one is harder than our usual thrown projects, because of the amount of clay it uses20 Project 2: porcelain treesThese make an eye-catching display if suspended on bare branches of corkscrew hazel 28 Linda Bloomfi eldOil spot glazes are achievable in oxidation fi ring, giving stunning results with an electric kilnIssue 342830 Project 3: slip-cast ballsThe globes are simple to make, and can be adapted to hang if you prefer40 Next monthFind out what’s in store for you in the next issue42 Emerging PottersThe owner of Thrown Gallery in London picks her top six potters to watch43 Me and my potAnne-Marie Jacobs' stunning slipcast form830204427Reader offerPINCH, COIL, SLAB AND THROWJacqui Atkin and Rachel GrahamPotteryfor beginnersBasic techniques and 22 handbuild projects£12.95❯❯❯ ❯41 Reader o er: ClayCraft apron
Issue 34ClayCraft5CONTENTS5444 Project 4: cutwork platterAn unusual centrepiece for a table. It’s easier to make than you might think!54 Project 5: tealight holdersMinimalistic tree decorations turn these candle-holders into something special64 Back issuesMissed a month? All the available issues at a glance74426618ClayCraftsubscriptions Save money and have the magazine delivered to your door. You know it makes sense!PINCH, COIL, SLAB AND THROWwith stunning ginkgo decorationPLUS:Slip-cast globes • Tree tealight holders • Doug’s DiarySLAB BUILDCUTWORK DISHIssue 34BLOG POSTTHROWNOIL SPOTS GALOREGLAZINGNAPKIN HOLDERSTEXTURED SLAB51 PAGES OF PRACTICAL STEP-BY-STEPSCLASSICBOTTLEFORMIssue 34 £5.50PINCH, COIL, SLAB AND THROW001 Clay Craft Cover Issue 34.indd 1SPECIALOFFER!82 EventsOur listing of what’s on around the country66 Project 6: napkin holdersAdd a pop of colour to your table with this textured slab-build72 Doug’s DiaryThe collection of pots in the Fitchhousehold has been added tofollowing a trip to York74 Confessions of a NoviceTracey’s successfully turned her hand to one of our bird-feeder projects76 CoursesFancy signing up for a class? Find local classes, courses and workshops72
6ClayCraftIssue 34If you have a news story, product launch or details of some other topical item you’d like our readers to know about, email [email protected] you have a news story, product launch or details of some other topical item you’d like our readers to know about, email IN THE NEWSKAT WHEELER: NEW BEGINNINGS The Leach Pottery is excited to present an exhibition of new pots by Kat Wheeler to celebrate her transition from the Leach Studio. Having worked at the Leach Pottery for the past 10 years, Kat has begun a new stage of her practice with her own workshop in the Gaolyard Studios, St Ives.This dynamic new body of pots explores and reinterprets the techniques that Kat has honed at the Leach Pottery alongside signifi cant international experiences such as working with Je Oestreich in America and at the Hamada Workshop in Japan. Drawing upon these wide-ranging infl uences, the collection combines lively glazes and a developing graphic theme with 'thrown and altered' forms to create a truly unique style.The exhibition presents a range of individual functional ware and larger standalone pots in both reduction and soda fi red stoneware. There is a wide array of forms to see and enjoy including vases, chargers, whisky bottle sets, teapots and co ee pots, as well as bowls and dishes.The exhibition runs in the Leach Pottery Entrance Gallery until 8 February 2020. All works for sale. Prices from £20 to £250\"For this exhibition, I wanted to refl ect on my last 10 years at the Leach Pottery and how my skills and experiences have developed and informed my practise as I begin a new chapter as a self-employed potter. The style of work in this exhibition is broad and experimental, referencing the techniques used at the Leach Pottery and reinterpreting them in my work. The resulting collection is not a conclusion to my time at the Leach Pottery but a starting point for my work going forward,\" said Kat Wheeler.Libby Buckley, Leach Pottery director, said, \"Kat has been a valued member of our studio team for 10 years and is now transitioning from being our deputy studio manager to a self-employed potter. Kat has made a fantastic contribution to the Leach Studio, and we look forward to seeing how her own creative practice develops – if the quality of work in this exhibition is anything to go by, we expect to see great things in the future.\"APPLICATIONS ARE OPEN!Devon Pop Ups' relaunch of Clay: A Festival of Ceramics features a new date and a new venue.The event is already the biggest celebration of ceramics in the South West and in 2020, the event's 4th year, it's about to get even bigger as it runs over two days, September 25-26 at Exeter Racecourse.After successfully running the event for three years in North Devon it felt like the right time to grow the event from one day to two. The current venue – the historic Barnstaple Pannier Market – is a working market, so running an event there over two days was just not possible, and the organisers had to look further afi eld.Exeter Racecourse o ers the capacity needed for both exhibitors and visitors, with the added benefi t of being just o the M5, so highly accessible, and with excellent facilities and loads of parking.Even better it's an indoor venue, so there's no need to worry about the unpredictable British weather! There's aircon if it's hot, in the lovely light and airy rooms overlooking the racecourse. There's also free parking, free wifi , and camping facilities at the venue for exhibitors looking for somewhere a ordable to stay.POTential Emerging Makers AwardClay: A Festival of Ceramics is also growing in other ways, as this year sees the launch of a new sponsored mentoring scheme for one emerging maker within the fi rst three years of starting their creative business.The lucky winner of the POTential award will receive a comprehensive business mentoring package to help them take their ceramics business to the next level.The package will include help developing a website and a strong online presence with social media, a product photography workshop, business development, media profi les, a year's membership of The Indie Roller (an online business support network with monthly masterclasses) and a year's membership of the Westcountry Potters' Association and a free stand at September's Clay: A Festival of Ceramics. A new 2020 calendar has been produced to help raise funds for POTential, featuring striking black and white images of potters at work. The project is being supported by, and features, members of the Westcountry Potters' Association including names such as Tom Knowles Jackson, Tim Gee and Adrian Bates. Tim Hearn, wildlife photographer, took all the photos. The limited-edition calendar is selling fast, so head over to devon-pop-ups.co.uk to order yours now, and for more details on the festival.Photo: Sarah White
Issue 34ClayCraft7IN THE NEWS” That special moment, when I open my ROHDE kiln is still exciting – after so many years!“ ROHDE has been producing kilns and machinery designed to meet the highest standards since 1982. The company’s ongoing pursuit of technical advancement creates outstanding quality and effi ciency that you can rely on. For the joy of your creations.Learn more about Günter’s storywww.rohde-online.net/artistwww.rohde-online.netGünter HermansStudio potter from Bavariauses a KG750 A kilnROHDE kilns.Enjoy your results.G GüG GG G Gü Gü Gü ü ü ü ü üGüG Güt t tH H H H HH HH H H H H HNEW PRODUCTSHot out of the cargo hold, and now available at Potclays are a range of new GR plaque forms, fi ve new Amaco Potters' Choice glazes – Satin Oribe, Blue Stone, Blue Lagoon, Emerald Falls and River Rock – and four Amaco Velvet underglaze colours; Blush, Cactus, Coral and Pistachio. Head over to potclays.co.uk to take a look at all the new products – there are lots! – and note that you must order by 11am Thursday 19 December for 24-hour delivery arriving before Christmas.NOW YOU CAN BUY FROM YOUR FAVOURITE POTTERY PRODUCTS SUPPLIERSClayCraft can be bought every month from:If you are a pottery supplies company and would like to know more about selling ClayCraft online or in your shop please contact stephen.curtis@kelsey.co.ukPotclays.co.ukAngliaclaysupplies.co.ukBluematchbox.co.ukCorbykilns.co.ukScarva.comCreakor.be (Belgium)Ravitera.hr (Croatia)PINCH, COIL, SLAB AND THROWA GOOD READIf you're looking for good non-fi ction books but don't know where to start, bookauthority.org has done the hard work for you.This website identifi es and rates the best books in the world, based on public mentions, recommendations, ratings, sentiment, popularity and sales history.Search the pottery category to fi nd a list of 100 of the best pottery books 'of all time'; the eight top new pottery books, and if you're a collector, there's a section for that too, so there's sure to be something to tempt everyone. Which would you choose?
SKILL SCHOOLPROJECTONE8ClayCraftIssue 34This is a simple, classic bottle shape which nevertheless takes a little more skill to perfect than previous thrown projects because of the amount of clay used. Take your time to perfect it and remember, it’s only clay! If you get it wrong the fi rst time, recycle the clay and start again THROWN BOTTLE FORM
DIFFICULTY RATING ★ ★ ★ ★ ★ ★ Issue 34ClayCraft9.DIFFICULTY RATING ★ ★ ★ ★1Centre the clay – you can see full instructions on how to do this on our website but begin by forming the clay into a rough cone shape, then position it at the centre of the clean and dry wheel head.Dribble a little water over the surface of the clay, then pat it down to make sure it’s secure.2Cone the clay up between both hands to get it to the correct consistency. Then, push it down with the right hand while supporting the edge with the left. Repeat this 3-4 times to level it o and bring it to centre.You will need:■ 2.7kg (6lb clay) – earthenware or stoneware – preferably white for a good colour response when decorating■ Tools for throwing – water bowl, sponge, cutting wire, rib, batt■ 2-3 glazes of choice■ Latex resist – with a dedicated brush for applicationTIP Buy children’s cheap disposable brushes for use with latex because the brushes get clogged up very quickly. To extend the brush life dip them in washing-up liquid before you begin, then soak them afterwards in warm water■ Decorating brushes for glazeBefore you begin:■Prepare the clay by kneading it well to remove any possible trapped air.You can work directly on the wheel head if you’re confident about lifting the bottle o when finished, otherwise, fix a batt to the wheel head – for details visit claycraft.co.uk/how-to
SKILL SCHOOL10ClayCraftIssue 343Open out the centre by pressing the fi ngers of your right hand down through the clay to within 10mm of the wheel head.Support the right hand with the left as you draw the clay back towards your body until the base is opened to a width of approximately 10.5cm.The result should look like a thick doughnut.Compress the clay in the base by running the side of your knuckle over the surface several times, from the centre to the outer edge.Compressing the clay in this way helps prevent cracking during drying and fi ring.PROJECTONE4Begin to raise the wall by fi rst pushing the clay upward between both hands, as shown, to a rudimentary cone shape.5Change the position of your hands to pull the wall upward to a cylinder shape – left-hand fi ngers on the inside, tips of right-hand fi ngers (or side of the knuckle) on the outside, just above those on the inside.Lift the wall, leaving a fat rim at the top.
DIFFICULTY RATING ★ ★ ★ ★ ★Issue 34ClayCraft11.7It is very important to keep the top of the form narrowat this stage – while maintaining a fat rim. If the shape begins to flare outward, collar it back in by holding the top between both hands and applying gentle pressure. 6Repeat the lift to thin and raise the wall, still maintaining the cylinder shape.Remember to 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.8Lift again, starting from the base with your left hand on the inside, right at the bottom.Raise the wall straight up again, remembering to correct the shape if it begins to flare, before compressing the clay at the rim when finished.You should now have a tall cylinder about the height of your forearm.
SKILL SCHOOL12ClayCraftIssue 3411Form the shape; working with a rib on the outside wall, place the left hand inside and gently push the clay outward onto the rib until you reach just over a third of the way up, then adjust the pressure so that it is greater from the outside, and the form begins to close in again, leaving enough in reserve to form the neck of the vase.This takes concentration, so repeat the process until you have a shape you like.10Before shaping the pot, trim the base with a rib to remove excess clay, neaten the shape and give a point from which to form the fi nal shape.9Mop out excess water and slurry from the interior of the cylinder using a sponge on a stick.12Begin to collar-in the top of the form by positioning your hands around the clay, as shown, with your forefi ngers over the rim, then applying gentle pressure from both sides to ease the clay inward.Continue to maintain some thickness at the rim to give the shape support.PROJECTONE13While you’re still able to get your left hand inside, begin to lift the neck of the bottle, straight up from the shoulder, following the method used to raise the wall.14Remember to compress the clay at the rim.
DIFFICULTY RATING ★ ★ ★ ★ ★Issue 34ClayCraft13.19Carefully work over the surface of the bottle with a pliable kidney to remove the excess slurry and the throwing lines.Support the bottle at the top as you work, with a nger inside the neck, to keep it straight.fi15Repeat the lifting and shaping of the neck, closingthe walls in as appropriate to get the shape you need to balance the form.17Now turn your attention to the top of the neck.Compress the clay at the rst, then begin to liftfirim it to a very gentle outward ngers.fiare between your fl16 When the neck and overall shape of the bottle are moreor less where you want them to be, lift the clay at the neck ngersfiagain, using the rib on the outside of the wall and ne the surface.fionly of your left hand inside, to reThe beauty of using the rib is that it keeps the clay under control and removes the throwing lines, which is essential ne, detailed surface decoration. However, it takes somefifor practice to perfect, so take your time to do it properly.18are until it’s aflFinally, collar the neck in just below the pleasing shape that balances with the rest of the form.
SKILL SCHOOL14ClayCraftIssue 34Cut a fi nal bevel at the base of the bottle with the tip of a rib.The bottle is now fi nished and ready to remove from the wheel head.20Finish up by gently and briefl y sponging over the rim – don’t overdo it because it will expose any grog in the clay and make the surface rough.23Wearing a dust mask, quickly work over the surface of the bisque-fi red bottle with sandpaper to smooth out any rough areas.Brush away the dust carefully, then wipe over the surface with a damp cloth to remove any residue.24Mark three equally spaced marks around the base of a ring, such as a cookie cutter. The ring must be able to fi t over the neck of the bottle and rest on the shoulder.Holding the ring in place securely, transfer the dividing marks onto the bottle using a pencil.21Make a card template of a simple design that can be used in repeat to form the surface decoration – like the ginkgo leaf shown here.Line the template up with the fi rst of the markers at the shoulder of the bottle and draw the outline. Repeat the drawing process to create a tumbling arrangement of the shape down the side of the bottle.Vary the angle and direction of the shape to make the arrangement livelier and more naturalistic.Repeat the design down from the remaining two markers.25DECORATING THE SURFACEPROJECTONE22Holding it very taut, wire the underside of the bottle, drawing it from the front, back towards your body.Lift the bottle o
the wheel, holding it in both hands and transfer it onto a board.Allow it to dry out very slowly before bisque fi ring.
DIFFICULTY RATING ★ ★ ★ ★ ★Issue 34ClayCraft1528Glaze the interior of the bottle in your chosenbackground colour. Once the interior surface is fully covered in glaze, pour the surplus out then neaten around the interior of the top with a brush to ensure the coverage is even.26Fill in all the shapes very carefully and precisely with latex resist.TIPCopydex is a readily available form of latexand works really well. Watering it down slightly makes it easier to apply. Store in an airtight container when not in use27Paint in any extra features you want to include – like thestems or branches in this design.29Paint an even coat of glaze over the exterior of the bottle, working around the latex design as far as possible to avoid wasting the glaze, but make sure all areas are covered. Don’t worry if you do go over the latex; it’s not critical to avoid it..
SKILL SCHOOL16ClayCraftIssue 3432This is the good bit! Peel o the latex resist, using a pin where required to gain purchase. 30Continue to cover the surface working to within 5mm of the base – to allow for glaze run – until completely covered.PROJECTONE31When the glaze has dried to the touch, apply two more coats, allowing each to dry before applying the next.33Complete the glazing process by painting in the exposed resisted design with a contrasting glaze colour. You will require a fi ne-tipped brush to do this accurately. Repeat the application three times – or as many as recommended by the glaze manufacturer.
DIFFICULTY RATING ★ ★ ★ ★ ★Issue 34ClayCraft1734The bottle is now finished and ready to fire once the glaze has completely dried.Before lustre decoration in bright gold, the finished bottle was covered in Mayco’s Black walnut and Cinnamon brush-on glazes and fired to 1200ºC in an electric kiln. 36Before you begin, practise applying thin lines of lustre on an old tile, using a really fine brush.35If, after firing, you feel your decoration needs further embellishment, you can use lustre to highlight chosen areas.Finely outline your design with the lustre, adding extra detail or features where required to complete the decoration.Fire the lustre onto the surface at 750ºC in a well-ventilated kiln – bungs out.37SOME TIPS ABOUT APPLYING LUSTRE:The room must be very well ventilated as you apply and fire lustre because the fumes are noxious.The application should be relatively thin and even.Use one brush for each lustre colour and label it so that you never use it to apply a dierent colour. Similarly, keep separate, labelled containers of lustre thinners for cleaning your brushes – cross-contamination happens easily and can spoil the finished eect.
Join us!oin us!JSubscribe today for expert makes, tips and inspiration. Inside every issue you’ll nd practical hands-on guides, in-depth features on established and emerging potters, and plenty of advice from our team of experts. You’ll also save an incredible 39% on the shop price.£34.99 for 12 issuesDownload yourmagazines to yourdevice and carrythem with you to readanywhere, anytimeanywhere, anytimeSAVEUP TO 46%SHOP.KELSEY.CO.UK/CRAHOP.KELSEY.CO.UK/CRAHOP.KELSEY.CO.UK/CRAGET THE DIGITAL EDITIONAvailable across all devices. Savings based on the usual print cover price. All back issues available for purchase within the app.SAVE S SALSO INSIDE:Bird feeder • Teaching workshops • Garden totem JO DAVIESPORCELAINIssue 31 £5.50NEW FAIREVENTSTEP-BY-STEP PROJECTSBUTTONSSLIPPINCH, COIL, SLAB AND THROWPAPER CLAYPINCH, COIL, SLAB AND THROWWe talk toKevin Millwardand Elaine WellsSIXIssue 31Make it, use it, love it!Kevin Millwardand Elaine WellsTHE THROW DOWN & CLAY COLLEGE!GREAT REASONS TO GIVE A SUBSCRIPTION ● Pay just £39.99 for a year’s subscription ● Save 39% o
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Don’t miss out - order today!ORDER ONLINE AT SHOP.KELSEY.CO.UK/CRAX32CALL NOW ON 01959 543747 QUOTE REF: CRAX32LINES OPEN MON-FRI, 8.30AM-5.30PM. CALLS ARE CHARGED AT YOUR STANDARD NETWORK RATE.Th perfecChristmasgif!MAKINGTOOLSALSO INSIDE:Keep cup mould • Phone holder • Doug FitchLIDDED BOXTHROWNIssue 29 £5.50SERVING DISHESSLAB BUILDCREATIVE STEP-BY-STEP BUILDS ME AND MY POT READERSPINCH, COIL, SLAB AND THROWPINCH, COIL, SLAB AND THROWPROBLEMSWITHGLAZESDramatic outdoorstatement piecesGARDENSCULPTURESIXIssue 29TROUBLESHOOTINGDIY loops09/07/2019 15:57MEALSO INSIDE:Bird feeder • Teaching workshops • Garden totem JO DAVIESPORCELAINIssue 31 £5.50NEW FAIREVENTSTEP-BY-STEP PROJECTSBUTTONSSLIPPINCH, COIL, SLAB AND THROWPAPER CLAYPINCH, COIL, SLAB AND THROWWe talk toKevin Millwardand Elaine WellsSIXIssue 31Make it, use it, love it!THE THROW DOWN & CLAY COLLEGE!001 Clay Craft Cover Issue 31.indd 1PAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAYAPER CLAYAPER CLAYAPER CLAYAPER CLAYAPER CLAYAPER CLAYAPER CLAYAPER CLAYAPER CLAAPER CLAYAPER CLAAPER CLAYAPER CLAAPER CLAYAPER CLAAPER CLAYAPER CLAAPER CLAYAPER CLAYAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAAPER CLAYAPER CLAYAPER CLAYAPER CLAYAPER CLAYAPER CLAYSLIPSLIPGive Magazinethis Christmas and save 39%. Pay just £39.99 for a year’s subscription
SKILL SCHOOL20ClayCraftIssue 34PROJECTTWOHANGING TREE DECORATIONS
DIFFICULTY RATING ★ ★★★ ★Issue 34ClayCraft21.These porcelain hangings can be used to decorate the house all through the year. They make an unusual feature display suspended on bare branches of corkscrew hazel if you’re able to source someYou will need:■ Porcelain■ Clean rolling pin■ Thin roller guides – 3mm■ Sheet of plastic■ Textured wallpaper – 2 sheets■ Star-shaped cutters in several sizes (5-8) – or cardboard templates of stars from very small to large ■ Decorative beads – homemade or bought■ Decorative string or ribbonBefore you begin:If using card templates, make a pinhole at the exact centre of each one – it will help you position the centre hole accurately later.Issue 34ClayCraft21
SKILL SCHOOL22ClayCraftIssue 34Lift the slab on the plastic sheet and turn it over onto the fi rst sheet of textured paper.Peel the plastic sheet o the back of the slab and gently smooth over the surface with a rib.Place the second sheet of texture over the surface of the slab.2Peel the plastic sheet o the back of the slab and gently Place the roller guides either side of the papers and roll the texture into the clay.Roll over the fi rst side then turn the slab over, sandwiched between the sheets of paper, and roll the underside to make sure the texture is fully impressed into both the surfaces.31Prepare a block of porcelain large enough to accommodate the cutting out of all the parts for the tree in one go, if possible.Working on a sheet of very clean 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, making sure it’s the approximate size and shape of your textured wallpaper sheets. You will fi nd that periodically turning the slab will make rolling much easier, and ensure it’s an even thickness. When fully rolled, smooth over the surface of the clay with a rib.PROJECTTWOCarefully peel the top sheet of paper o the slab.4Turn the slab over onto an absorbent board. It will stay attached to the paper when you do this, so don’t worry that it will fall o .Holding the slab at one end, carefully peel the paper o . This is a little trickier because the clay will be stuck to the paper, but once the fi rst end is released, the rest should fall away more easily.5
DIFFICULTY RATING ★ ★★★ ★Issue 34ClayCraft23.6Place the largest of your star cutters or templates on the slab as economically as possible and cut the shape out with a sharp knife.Cut a second large shape, again positioning it as economically as possible to maximise the use of the slab.Cut out two of the next size of star.TIPCutters can be quite hard on the hands when working in multiples, so try pressing them down with a wooden block, as shown, to ease the strain8Don’t waste any of the scraps of slab left after cutting the largest stars; they’re perfect for cutting out the smallest shapes. Make as many as the spare clay will allow, it will save making them for subsequent decorations, but they can also be used for other forms of decoration – to make mobiles, chimes, jewellery, etc.9Continue to cut out all the stars in multiples of two.Here you can see all the parts ready for the next stage of making, including many extra of the smallest stars.10If you’ve made templates from card, make a pinhole into the star through the central point so that you will know where to make the hanging hole later.You may find it a useful exercise to make card templates from your cutters, just so that you can accurately pinpoint the centre of each star.7
SKILL SCHOOL24ClayCraftIssue 34Make a hole at the pin-marked centre of each star using an old plastic spray bottle tube with a wooden skewer through it. The skewer makes the tube sturdier to use, and the surplus plugs of clay can be quickly released after stamping out.PROJECTTWO11The trees can be made from the stars as they are, but to give them more character, cut tiny notches along each arm using the tip of your smallest cutter. If you don’t have a cutter, make the notches with a knife – more time-consuming but doable! The smallest star will be too fi ddly and di cult to handle if more clay is cut away, so leave this one as it is.12The fi nished stars should be allowed to dry out slowly on the board. Turn them regularly to keep them fl at.1314Once the stars have dried completely, very carefully fettle the edges with a damp sponge to remove any possible roughness.Don’t worry about using water on the dry clay; porcelain can be worked in this way without damage providing you don’t use too much and you are not too heavy-handed.Fire the stars to the clay’s recommended top temperature. It’s perfectly okay to fi re items like these straight though without bisque fi ring. Just make sure the early part of the fi ring cycle is equivalent to that of your bisque, then continue the ramp-up to the required temperature.15
DIFFICULTY RATING ★★★★ ★Issue 34ClayCraft25.Continue to construct the tree in this way, separating each level with a bead and using two of each size star.2018Thread a bead onto the double string, up to the knot, then the fi rst, smallest star – only one of these!To construct the trees, cut o a double length of rustic string or ribbon and loop it at one end.16Tie a knot in the string 2-3cm below the doubled-over form a neat and generous loop to hang the tree from.17the double string, up to smallest star – only one 19Add a second bead and the next size of star, then yet another bead and another of this sized star.
SKILL SCHOOLWhen all the stars have been threaded onto the string, fi nish up with a line of 5 or 6 beads then tie a knot in the string as close as possible to the last bead.21Cut the string so that a little is left to hang below the beads.22PROJECTTWO26ClayCraftIssue 34Test how well the tree will hang, using a length of dowelling or anything to hand, like a paintbrush handle. 23Arrange the stars so that each level is o set and your tree is complete.24Hang the trees in multiples on a branch to make an unusual sculptural feature for anywhere in the home.
SIMPLE HANDBUILDING PROJECTSYOUR ESSENTIAL GUIDEFROM THE PUBLISHERS OF A selection of simple projects, covering all the handbuilding techniques. Learn the basics, then apply them to making your own decorative objects and functional ware. The easy to follow step-by-step guides are supported by advice on tools and glazing. Available for pre-order now!PINCH, COIL, SLAB AND THROWJacqui Atkin and Rachel GrahamPotteryfor beginnersBasic techniques and 22 handbuild projects001 Pottery for beginners V2.indd 102/05/2019 13:56Order online at SHOP.KELSEY.CO.UK/BKCRA19Or call 01959 543747 and quote BKCRA19Calls are charged at your usual network rate. Lines are open Monday to Friday 8.30am-5.30pm. *Price applies to UK orders only. EUR, US, Canada & ROW price: £14.95. All prices include P&P. Full terms and conditions can be found at shop.kelsey.co.uk/terms.NEW!ONL Y£12.95INC. P&P*PINCH POTS SLAB BUILDS / COILS / GLAZING / TOOLSORDER YOURS TODAY!
28ClayCraftIssue 34 Oilspot glazes were first made in the Song Dynasty (960-1279AD) in China, using feldspar, limestone and iron oxide. They were used to glaze tea bowls and were brought to Japan by monks, who valued them highly for their use in the tea ceremony, where the black glaze contrasted with the pale green matcha tea. Oilspot glazes are fired in an oxidation atmosphere and can be made successfully using an electric kiln at firing temperatures from cone 10 (1300°C) down to cone 6 (1240°C). These glazes are high in iron oxide, which coverts from haematite Fe O to magnetite Fe O at 1210-1230°C. This releases bubbles of oxygen gas which drag iron spots of darker magnetite to the surface, which can sometimes look metallic and iridescent, hence the name ‘oilspot’. Adding magnesium in the form of dolomite or talc increases the viscosity of the glaze and allows the spots to form. If the glaze is too fluid, the spots will disperse. The 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 next book Special Eect Glazes will be published next year. The second edition of her book Colour in Glazes is now out Linda Bloomfield oilspot glaze test tile and bowl, glossy brown-black glaze under white talc glaze, thrown porcelain fired to cone 8, 1250°C.Oilspot glazes Annie Jennings, stoneware vase, fired to 1280°C with a 20-minute soak in an electric kiln. Oilspot glaze overlapped with white crackle overglaze.effect can be enhanced by adding an opaque white or coloured glaze on top of the dark iron glaze. Traditional oilspot glazes are black with rust Annie Jennings, stoneware vase, fired to 1280°C with a 20-minute soak in an electric kiln. Michael Bailey brown oilspot glaze covered with white crackle overglaze.
Issue 34ClayCraft 29GLAZING Annie Jennings, stoneware mug, fired to 1280°C with a 20-minute soak in an electric kiln. Oilspot glaze overlapped with white crackle overglaze.Next month: Refiring glazed workConclusionOilspot glazes are dark brown or black stoneware glazes with 5-10% iron oxide, often containing 5-10% dolomite or talc. Applying an opaque white glaze on top increases the contrast with the spots. These glazes can be fired in an electric kiln.Annie Jennings, stoneware cup, fired to 1280°C with a 20-minute soak in an electric kiln. Michael Bailey brown oilspot glaze covered with yellow crackle overglaze.Annie Jennings, stoneware tea set, fired to 1280°C with a 20-minute soak in an electric kiln. Michael Bailey brown oilspot glaze covered with white crackle overglaze.Michael Bailey brown oilspot cone 10, 1280°C, 20-minute soak●Potash feldspar 26●Soda feldspar 36●Dolomite 5●Talc 5●Frit 3110 5●Quartz 8●China clay 15+●Red iron oxide 6White crackle overglaze cone 10, 1280°C●Soda feldspar 83●Whiting 8●Quartz 8+●Zirconium silicate 10Glossy brown-black undercoat glaze cone 8, 1250°CThis is a sti glaze that won’t run.Potash feldspar 27●Quartz 32●Whiting 21●China clay 10+●Red iron oxide 10●Cobalt oxide 1White opaque satin matt top-coat glaze cone 8, 1250°CApply thinly for a spotted eect, more thickly for a crawl eect.●Potash feldspar 33●Talc 21●Whiting 12●Quartz 16●China clay 15●Zinc oxide 3+●Zirconium silicate 5spots, but they can be made black with silvery spots by adding up to 4% cobalt oxide and 5-10% iron oxide.The glazes are applied thickly; the thicker the glaze, the larger the spots will be. Holding the firing for 20 minutes at the top temperature helps to develop the oilspots and smooth out the surface. If they are cooled too Annie Jennings, stoneware cup, fired to 1280°C with a 20-minute soak in an electric kiln. Michael Bailey brown oilspot glaze covered with yellow crackle overglaze.quickly, the surface will have a pinholed texture. If this happens, the piece can be refired to smooth out the glaze. These glazes can be used on functional ware.I have given two recipes, a brown oilspot glaze by Michael Bailey for cone 10 firing and a darker brown-black glaze I made to fire at cone 8 that gives spots when layered under a white talc glaze.
SKILL SCHOOL30ClayCraftIssue 34BAUBLESPROJECTTHREEMake these lovely baubles to fi ll a dish for your co ee table or as decorations to hang on the Christmas tree30ClayCraftIssue 34
Issue 34ClayCraft 31DIFFICULTY RATING ★★ ★ ★ ★ .Stir the casting slip thoroughly with a wooden spoon until it runs like single cream.Test it by running it from the spoon, as shown.1Strain the slip through a sieve into the jug to remove any possible lumps.2Pour the slip into the mould until it’s completely full.3Time the slip, allowing 5-7 minutes depending on how thick you want the walls of the baubles to be. Obviously, if it’s only left in for a short time, the walls will be very thin and the bauble very light, but it will be fragile and di cult to handle because the clay will easily distort. Note: it is possible to cast very thinly, but it takes some practice to get used to handling such delicate items.A kitchen timer is great for casting work – keep one in the studio.4YOU WILL NEED:■Porcelain casting slip■Kitchen sieve■Large jug ■Small ball-shaped mould ■Kitchen timer■Foam block for support while drying■Pin or sgra to tool■Liquid underglaze colours■Brushes to apply the underglaze■Bauble hangersBEFORE YOU BEGIN:This project uses a half-ball mould to make the baubles. The form could be cast as a whole if you wanted to make a two-part mould, and instruction on how to do this can be found in issue 28 where, although that one is on a larger scale, the principles for making are the same.However, this method is perfectly adequate and only a little more time-consuming.thoroughly with a wooden
SKILL SCHOOL32ClayCraftIssue 34Turn the fi rst half of the bauble out of the mould and sit it rim down on a sheet of plastic.Cast the second half in the same way.8After the allocated casting time, pour the slip out of the mould, back into the jug.5Suspend the mould upside down on two sticks, to allow the remainder of the slip to drain away. This will only take a few minutes.Turn the mould the right way up when the slip has stopped dripping and leave the clay to fi rm up.6When the slip is dry to the touch and has started to shrink away from the edges of the mould, remove the surplus slip at the rim of the mould where it was poured out, using a metal kidney. TAKE CARE not to cut into the plaster as you do this – it will contaminate the clay.7SKILL SCHOOLPROJECTTHREEThin down a small amount of casting slip with water in a separate container. Be warned Your ball halves won't join together if you try to do it without thinning the slip.9Score the rims of each ball half with a serrated kidney.10
Issue 34ClayCraft 33DIFFICULTY RATING ★ ★ ★ ★ ★ .Make larger balls in the same way, timing them a little longer if required, to accommodate the greater size. You can see the thickness of the clay wall developing as the water from the slip is absorbed into the plaster so you can, to some extent, judge by eye when the wall is thick enough.14Fit the two sections together and hold them in place for a few seconds for the surfaces to seal together.12Leave the ball to firm to leather hard resting on a foam block with holes cut out to support the shape.13Apply the watered-down slip to the scored rims.11
34ClayCraftIssue 34Carefully follow the procedure for joining the two halves as you did with the smaller mould, fi nally resting the ball on another foam block to fi rm up until it’s leather hard.15PROJECTTHREE
Issue 34ClayCraft 35DIFFICULTY RATING ★ ★ ★ ★ ★ Neaten around the hole with a damp sponge.You can finish the larger ball in the same way or simply make a pinhole in an appropriate place for the release of air in firing, if it’s going to be a table decoration.19When the balls have firmed suciently to handle without distorting the shape or marking the clay, scrape away the excess slip around the join with a metal kidney.16Wipe over the joins with a damp sponge to smooth the surface and remove possible marks left by the kidney.17This is the point at which you need to decide how to finish the balls – to make hanging baubles or table decorations.To make the balls into hanging decorations, cut an opening with a hole cutter in one side. It must be large enough to accommodate a hanging fitting once fired. Bear in mind your clay’s shrinkage in drying and firing when making the hole.18Score the lines into the surface, working around the ball and back to the line opposite.Divide each quarter one more time with another sgrato line until you have eight spaces. Again, work in pencil first if it makes the job easier.21While the ball is still at the leather hard stage, it’s the perfect time to decorate the surface with a sgrato design.To make your design in the style shown, first divide the ball into quarters by equally spacing the starting lines out from around the hole.20TIP If you are nervous about sgratoing the lines directly, draw them in lightly first in pencil – that way if you make a mistake it can easily be wiped away, and you can start again.
36ClayCraftIssue 34Fill in each leaf shape with more sgra to lines to fi nish o the fi rst section.Repeat this whole process along each of the dividing section lines until all have been fi nished in the same way. It should be stressed that the process will take some time to complete and requires patience – so this is not a decorating technique for those who like instant e ects.25Divide each quarter section line in three, using a fl exible tape measure for accuracy.Mark the two central points with a pencil, as shown.22Now all that remains to do is sgra to some detail into the blank spaces between the leaves, like the tiny circles shown here. You could make stars or crosses, curlicues or simple dots; the possibilities are endless.Larger balls can be decorated in the same way. They do take longer to complete but look wonderful when fi nished.26PROJECTTHREEBeginning at the hole at the top of the ball, lightly draw in three leaf shapes along the fi rst of the quarter lines, with a pencil.23Sgra to along the pencil lines to score the design into the clay.Keep a soft mop brush at hand to brush away the debris as the clay is carved out.24
Issue 34ClayCraft 37DIFFICULTY RATING ★ ★ ★ ★ ★ Using a barely damp cloth, carefully wipe the colour back until it remains only in the sgrato lines.29Move on to another colour and repeat the process, painting over the leaf shapes in the alternate rows then wiping the colour back to remain in the lines only.30Allow the baubles to dry out thoroughly, supported on the foam bed, before bisque firing.27Divide the bauble up by painting your first choice of underglaze colour in alternate rows of leaf shapes.Work with just one colour at a time and paint in all four rows of the design.Allow the underglaze to dry.28Paint the tiny details between the leaves in yet another colour of underglaze, and again, work in alternate sections.Wipe back the colour as before.31.
38ClayCraftIssue 34 Fire the baubles to your clay’s optimum temperature. They should sit safely on the kiln shelf without sticking, providing the underglaze has been wiped back su ciently.You can prop small baubles if careful. Those shown here were elevated on bar props arranged in a star shape, and they fi red perfectly round without slumping. However, propping items to fi re to high temperatures is tricky as the shape can easily slump over the prop. A bit of trial and error is required, but fi ring the larger ones in this way would not be recommended.NOTE You can source bauble hanging fi ttings online (search ‘bauble hangers with hats’), but the easiest solution is to buy a pack of really cheap baubles from a cut-price shop and repurpose the fi ttings.The fi ttings shown here came from a pack of 24 decorations for £1 and worked perfectly – it would be hard to fi nd them for less online!33 Finish up with a fi nal colour in the remaining spaces.32PROJECTTHREESqueeze the metal springs of the hanging fi ttings together and push them through the hole in your baubles. When you release the metal, the spring will open inside to secure the device in place.34Make baubles in di erent designs and colours for the best e ect.
3.67863.603 4.057 2.0824 4.0213 2.1824.28525.9998
NEXT STEPSPINCH, COIL, SLAB AND THROWENJOYED READING THIS ISSUE OF CLAYCRAFT?PINCH, COIL, SLAB AND THROWALSO INSIDE:Re-fi ring glazed work • Simple slump mould Nautilus shellsGREAT STEP-BY-STEP PROJECTS SIXIssue 35WALL-HANGINGSLAB BIULDTOTEM BUILDGARDENSIssue 35£5.75PINCH, COIL, SLAB AND THROW04/12/2019 17:52Order online at SHOP.KELSEY.CO.UK/CRA35Call now on 01959 543747** Quote ref: CRA35** HOTLINE OPEN: MONDAY-FRIDAY, 8.30AM-5.30PM UK TIME. CALLS ARE CHARGED AT YOUR STANDARD NETWORK RATE * Terms and conditions: Your copy will be posted to you from 13th January. £5.75 is for delivery in the UK only. An additional £1 will be added to all overseas addresses to contribute towards the postage costs.BUY OUR NEXT ISSUEwithout leaving home!ORDER NOW!HAVE ISSUE 35 DELIVERED FOR THE NORMAL SHOP PRICE*Issue 35 includes:●Nautilus shells●Botz factory tour●Totem build●Wall-hanging
Issue 21ClayCraft 41POTTER’S SPLIT-LEG APRONYOUR DETAILSMrs/Ms/Miss/Mr ............... Forename ..............................................Surname .........................................................................................Address .............................................................................................................................................................................................................................................. Post / Zip code .................................Country ..........................................................................................Daytime phone ................................ Mobile ....................................Email ...............................................................................................From UK only: FREEPOST KELSEY MEDIA ClayCraft Offer, Kelsey Publishing Ltd, The Granary, Downs Court, Yalding Hill, Yalding, Kent, ME18 6ALFrom outside UK:ClayCraft Offer, Kelsey Publishing Ltd, The Granary, Downs Court, Yalding Hill, Yalding, Kent, ME18 6AL, UK. I WISH TO PAY BY CHEQUE UK £39.99 EU £41.27 ROW £42.38I enclose a cheque made payable to Kelsey Publishing Limited (drawn from a UK account)I WISH TO PAY BY DEBIT/CREDIT CARD UK £39.99 EU £41.27 ROW £42.38Please debit my Visa Visa debit MastercardCard number Security number Valid from............./.............. Expiry date............../..............Signature...................................................................... Date ............................................Perfect for keeping you clean while throwing, handbuilding or glazing. Our heavy-duty 100% cotton canvas apron is soft, strong and hardwearing, and comes in dark blue with an embroidered logo. Each side split is 45cm wide, o ering generous coverage for each leg without the need for constant adjustments. The 15cm pocket is handily placed for convenience while you’re sitting at the wheel, and the extra-long waist ties provide comfortable fastenings for all sizes.PINCH, COIL, SLAB AND THROWREADER OFFERHandy tool pocketSide split is 45cmOne size fi ts all. 121cm long, 73cm wide, waist ties each 97cm. Fabric weight 320gsm. Wash up to 60°C.P YES! PLEASE SEND ME A POTTER'S SPLIT-LEG APRON AT £39.99(Prices quoted include delivery.)✃ To buy online go to shop.kelsey.co.uk/claycraftapronOr phone +44 (0)1959 543747.Mon-Fri 8am to 6pm and quote code CLAYAPRONPLEASE SEND YOUR COMPLETED FORM TO:We may wish to contact you regarding our special offers that we believe would be of relevance to you. Please tick the boxes that you would be happy to receive these communications via Email Post Phone Text Message. We will not pass your details on to third party companies. Offer closes on 31st December 2019.
ince its opening in March 2018, Thrown Gallery in Highgate, London has become a major centre for both ceramic makers starting out and more established makers looking for a London gallery. Through the hard work of owner Claire Pearce, it is firmly established as a part of the local community through its combined show and dining experiences at the gallery.During the gallery’s short life, who have been the stand-out new makers for represent Alistair’s individual work, as Claire? It’s an almost impossible question to answer, as there are so many talented makers working today, but when pushed, she chose the following six.Tom Kemp: Our first and only solo exhibition in the gallery so far shows what I think of his work. Tom is a true artist who has been drawn to clay by the ability to create 3D canvases on which we can follow his calligraphy-inspired abstract marks that sweep and dart and flow around them.Simon Kidd: A 2018 graduate from Central St Martins who has been getting non-stop attention since his sell-out degree show. Simon’s work is inspired by the landscapes he grew up with in Northern Ireland, and he reflects these within his porcelain forms. VIEW FROM A GALLERYPaul Bailey talked to Claire Pearce Thrown Gallery, Highgate, London.SAlistair Blair and the Light Forge: Alistair is a ceramicist who is part of a studio based in Cape Town, South Africa, called the Light Forge. In the gallery, we well as the studio’s collaborative work, and I am completely in awe of both. There’s a real subtlety in the way that they use porcelain, their glazes and the touches of brushwork, that is completely different to anything I’ve seen coming out of the UK, and it’s exciting to introduce that here.Zuleika Melluish: There’s been a very impressive reaction in the gallery to Zuleika’s work since we started working together in December. She is based not far away from us in Kentish Town but also has a studio in North Wales where she has the most amazing wild garden. From there, she picks and dries flowers, leaves and herbs and presses them into her vases and plates to create the most startling ‘impressions’. Bisila Noha: Working from the Turning Earth studios in East London, Bisila’s marbling is one of the most captivating things I’ve ever seen. I bought a plate when I saw her work for the first time and put it upright on a shelf at home so I can look into the watery world of its surface. For the London Art Fair, I wanted to give her the opportunity to take away the functional aspect of her work by offering her wall-space, and the resulting ‘Brumas’ triptych, looking like portals into shifting sands, did not disappoint. This felt like a turning point for her thinking, and I can’t wait to see what’s next.What advice does Claire offer for ceramicists wanting to approach a gallery? “Firstly, be excited. It’s such an amazing time for ceramics; you’re entering into a movement that’s happening before our eyes.“Then, take good photos. Even if you’re just starting, document your progress, and it’ll develop your photo skills at the same time. A phone camera is absolutely fine, but make sure it’s in focus, give the object space within the image and take it in good light. You can then use these to approach galleries and shops and to start promoting your work yourself.“Find your individual connection with clay. This may take a lot of experimentation, but I think the important thing to remember is that there’s not just one path for ceramics and it’s about finding that passion for an idea that just keeps you coming back. “And finally, when you’re ready, make sure you let us know you’re out there!” throwncontemporary.co.ukPaul Bailey produces Emerging Potters online magazine and writes on modern ceramic [email protected] Kemp.Simon Kidd. Collection by the Light Forge.Bisila Noha.Zuleika Melluish.42ClayCraftIssue 34
ME AND MY POTIssue 34ClayCraft43Clay: Earthstone clayFiring: 1100° C maxBuild: SlipcastingDecoration: Wax resist surface relief and glazingInspired by: the salt marsh landscape around my home and studio on Mersea, an Island on the north Essex coast. I also take aerial photos which I use to make the surface reliefsBuy my work: through galleries, Ceramic Fairs, open studios and direct by email enquiries from my website: annemariejacobs.co.ukIf you would like a piece of your work to be featured, email us at: [email protected] Jacobs
SKILL SCHOOL44ClayCraftIssue 34CUTWORK BOWLPROJECTFOUR
DIFFICULTY RATING ★★★ ★★Issue 34ClayCraft45.Make this unusual bowl as a centrepiece for your table, to wow your friends and family. It’s a project that looks far more di cult to make than it actually is, but don’t tell them that when they ask you to make them one!Issue 34ClayCraft45You will need:■ Large sheet of thick paper to make a template– wall lining paper is good■ Pencil■ Sharp craft knife■ Clay – earthenware or stoneware■ A large shallow dish mould like the one shown, which was cast from an old-style, round-bottomed wok■ Rolling pin, 5mm roller guides, plastic sheets■ Tools for drawing and texturing– pin, pointed wooden tool, etc■ Glaze to fi t clay typeDIFFICULTY RATING ★★ ★ ★ ★★★ ★★Make this unusual bowl as a centrepiece for your table, to wow your friends and family. It’s a project that looks far more di cult to make than it actually is, but don’t tell them that when they ask you to make them one!45You will need: Large sheet of thick paper to make a template– wall lining paper is good Pencil Sharp craft knife Clay – earthenware or stoneware A large shallow dish mould like the one shown, which was cast from an old-style, round-bottomed wok Rolling pin, 5mm roller guides, plastic sheets Tools for drawing and texturingpin, pointed wooden tool, etc Glaze to fi t clay typeDIFFICULTY RATING
SKILL SCHOOL46ClayCraftIssue 341Prepare a large block of clay – it must accommodate the size of your template, so estimate accordingly.Working on a 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 your roller guides, making sure it is wide enough for the template.You will fi nd that periodically turning the slab will make rolling much easier, ensure the slab is round and an even thickness. Before you begin:Make a paper template by fi rst cutting a circle large enough to fi t in the mould.Draw a design of choice on the circle which leaves blank areas between the shapes, as shown in this simple fl ower motif.Areas of your design must overlap to hold the form together when it’s cut out in clay – here the petals can be seen to overlap as they would in a bunch.Carefully cut out the blank spaces between the designs to see clearly how it will look when made in clay.If you don’t like the result, start again and rearrange the motif until it looks more balanced.PROJECTFOUR2Test the size of the slab by placing the template over the surface. If the slab still has some way to go before being fully rolled out, reduce the size by cutting around the template and discarding the excess.
DIFFICULTY RATING ★ ★ ★ ★★Issue 34ClayCraft473Continue rolling out the slab until it’s the same thickness as the roller guides, then smooth over the surface of the slab with a rib to compact the clay..6Using a pin, score the outlines of the areas that will be cut away, as shown, then make a mark of some kind in each of these sections to clearly dierentiate them from the actual design. 4Place the template on the slab and carefully cut around the circumference.5Very carefully draw over the design again with a pencil to impress the lines into the clay surface underneath.7As you lift the template o the slab, you should be able to see the design clearly impressed into the surface. If you can’t see the design, lay the template back down and draw over the lines a little more firmly.
SKILL SCHOOL48ClayCraftIssue 349Cut out the areas to be removed using a sharp knife, held in a vertical position to get into the angles cleanly.10When all the required sections have been cut out, score some extra detail into your design using a pin or the wooden tool used earlier. Here, the petals of the fl owers are given greater defi nition by veining lines.11Finish o the design with a contrasting texture somewhere in the arrangement – here it’s positioned at the centres of the fl owers. You don’t need sophisticated texturing tools because anything will make a mark in clay – here the end of a paintbrush is used.13Very carefully smooth another sheet of plastic over the surface of the slab, taking care to ensure it’s perfectly fl at, with no ridges.This is how the slab should look when fi nished on the upper side – note it’s still on the plastic sheet it was rolled on.128Lift the template o the slab, then work over the impressed lines with a pointed wooden tool to defi ne them more clearly.PROJECTFOUR
DIFFICULTY RATING ★ ★ ★ ★★Issue 34ClayCraft49.14Turn the slab over carefully and peel the plastic sheet o what is now the upper side.1618Fill in any textural detail as you did on the underside.19It is possible that the slab will get distorted a little in handling and texturing, so once again, place the template over the surface, aligning it with the cut-out areas as you did before, and carefully cut the shape back to a circle.15Turn the paper template upside down, and place it over the slab, aligning it with the cut-out areas. You should be able to see the design from where it was impressed from the other side. Lightly draw over these lines with a pencil to define them more clearly if you think it’s necessary, before drawing more forcefully over the design to impress the clay as you did on the other side.Lift the template o the slab and again, work over the impressed lines with your wooden tool, to more clearly define them.17Take the opportunity to neaten around the edges of the cut-out sections, using the same wooden tool.
SKILL SCHOOL50ClayCraftIssue 3421Where the slab is too large, cut the shape in an appropriate place (for example here, the petals are cut to shape) to free the excess, then overlap the cut sections onto the clay underneath.24Draw the detail of the design back in with a pin or your wooden tool. Include the texture detail to restore the design back to the original.22Press the overlapped clay sections together thoroughly with a fi nger. You can use a little slip if you think the clay needs it to ensure the sections seal together. Don’t worry about spoiling the design; it can easily be re-established.23Smooth over the sealed sections with a rib to neaten them up.20Lift the slab on the plastic sheet and carefully position it in the mould. Ease it into shape as far as possible but don’t be alarmed if it seems a little too big – this can happen if the mould is deep and will be addressed in the next few steps.PROJECTFOUR
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