5 CREATIVE POTTERY PROJECTS PINCH, COIL, SLAB AND THROW Issue 62 RAMTASTIC! DISCOVER HOW TO MAKE THIS UNIQUE PlusWALL ART RESTORING A RUSTY KILN LID THROWN LIGHTSHADE AND MORE! ISSUE 62 £5.75 SLAB WINNER! TECHNIQUE FROM OVEN TO TABLE WE HEAR FROM AJ PIERCING • CERAMIC0e4W79A3L81E-S00•69G-4L5AafZ-bI2NaG9-cB0aA3S7IeC1eS14•dCeOURSES
A Blend of Vibrant Glaze s Fire up your studio by exploring a range of versatile glazes that provide the vibrant and lush colors your artwork desires! Mayco Stoneware and Jungle Gems™ Crystal Glazes complement each other in combination, by producing a variety of movement, bold colors, and strong performance at mid-range (1222° C) temperatures. Visit your nearest Mayco distributor to order. Bisque: SB-114 8”Stoneware Vase Glazes (L to R): S-2714 Herb Garden, SW-185 Rainforest; S-2726 Cheetah, SW-188 Landslide; S-2701 Peacock, SW-186 Azurite Fired to Cone 6 (1222 ° C) 0e479381-006M9-a4y5coaCfo-blo2rsa.c9o-mc0a37e1e14de
Meet the team... Welcome A s I write, April has come in like a lion, with snow and freezing winds. After a Jacqui Atkin couple of weeks of lovely p36 Dessert bowls Simon Shaw weather, this is a bit of a shock, p8 Thrown lightshade although it shouldn’t have been. I know my last frost date is the end of April, so I’ve been putting off getting my veg seeds going, and I’m glad I did! I do hope that anyone who’s been tempted to apply for the next series of The Great Pottery Throw Down, didn’t put it off until it was too late. I you do want to send something in, please don’t just take it from your social Doug Fitch Linda understand that it’s a daunting prospect, media. Photos need to be high- p64 New Bloomfield 32 resolution to print well. Essentially, this buildings Substitutions but if you don’t try, you’ll never know! means they need to be the original photo, which should be 300dpi and at We’ve had an email from a long-time least 1MB in size. Some email apps compress photos, so check that your reader, asking for more coverage of settings are for ‘Full size’, or ‘Large’. We really look forward to sharing your kilns; packing, firing, programming etc, work with our readers! and so we plan to cover this in an Please email me at: claycraft.ed@ kelsey.co.uk upcoming issue. Is there anything that Rachel Graham, Editor you would like to know, or see more of? Please do write in, there’s no such thing as a silly question, and we have experts Tracey Parsons p74 Kiln lids at our fingertips who can answer 5 CREATIVE POTTERY PROJECTS questions about anything (clay-related!). I know that Instagram has rather taken over in terms of people sharing photos of their work, but it would be PINCH, COIL, SLAB AND THROW Issue 62 lovely to reinstate our readers’ gallery RAMTASTIC! and show off some of the amazing DISCOVER HOW TO things you’re all producing. However, if MAKE THIS UNIQUE PlusWALL ART RESTORING A RUSTY KILN LID THROWN LIGHTSHADE AND MORE! ISSUE 62 £5.75 Now available! See ClayCraft.co.uk SLAB WINNER! TECHNIQUE for details FROM OVEN TO TABLE WE HEAR FROM AJ PIERCING • CERAMIC WALES • GLAZING BASICS • COURSES On the cover this month is Jacqui Atkin’s ram’s head, see page 20 ClayCraft Magazine Talk Media Sales Subscriptions Yalding Hill, Yalding ME18 6AL Note to contributors: articles submitted www.claycraft.co.uk Ad Production Manager: 12 issues of ClayCraft are published United Kingdom for consideration by the editor must be Nick Bond 01732 445325 per annum Find current subscription offers/ the original work of the author and not Kelsey Media [email protected] buy back issues at shop.kelsey. previously published. Where photographs The Granary, Downs Court, UK annual subscription price: co.uk are included, which are not the property Yalding Hill, Yalding, Kent MANAGEMENT Already a subscriber? of the contributor, permission to ME18 6AL Chief Operating Officer: £69.00 Manage your subscription online at reproduce them must have been obtained Phil Weeden shop.kelsey.co.uk/myaccount from the owner of the copyright. The EDITORIAL Managing Director: Europe annual subscription price: www.kelseyshop.co.uk editor cannot guarantee a personal Editor: Rachel Graham; Kevin McCormick response to all letters and emails received. [email protected] Chief Executive: Steve Wright £81 DISTRIBUTION The views expressed in the magazine Publisher: Mark Winterton Distribution in Great Britain are not necessarily those of the Editor or Consultant editors: Retail Director: Steve Brown USA annual subscription price: £81 Marketforce UK Limited, the Publisher. 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Talk Media Sales UK customer service team: Simon Hyland, 01732 445327 01959 543 747 [email protected] Customer service email address: [email protected] Customer service and subscription postal address: ClayCraft Customer Service Team, Kelsey Media, The Granary, Downs Court, 0e479381-0069-45af-b2a9-c0a37e1e14deIssue 62 ClayCraft 3
Contents 8 Issue 62 17 6 News SLAB 44 Ceramic Wales Catch up with the latest news, 20 Project 2: wall art Jacqui Atkin finds out how the views and comment plans for this year’s event are This unusual but striking ram’s shaping up THROWN head looks great on the wall SLAB 8 Project 1: Lightshade 32 Linda Bloomfield 46 Project 4: lidded dish Make your own pendant shade, How to substitute glaze with optional piercing materials You can use this lovely dish decoration from the oven to the table 35 Next month ❯❯16 READER OFFER: 59 Throw Down ClayCraft apron Find out what’s we’ll be making in the next issue Winner AJ describes what it was 17 FiredUp4 like to be on the show and what PINCH/COIL winning meant to them Hannah McAndrew explains this great community initiative 36 Project 3: deep bowls 59 20 Combine two techniques to create a set of practical cereal or dessert bowls 32 4 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
CONTENTS 36 46 64 Doug’s Diary A bittersweet Mothering Sunday, and new outbuildings! 67 Back issues 68 Single issues are available to find a project you missed, complete your collection, or add to your reference library TECHNIQUE 68 Surface decoration Learn how to do ‘the devil’s work’, AKA piercing 74 74 Confessions of a Novice 64 Tracey describes how she tackled the problem of rusty kiln lids 77 Courses Fancy signing up for a class? Find local classes, courses and workshops Issue 62 5 CREATIVE POTTERY PROJECTS – PINCH, COIL, SLAB AND THROW PINCH, COIL, SLAB AND THROW Issue 62 RAMTASTIC! DISCOVER HOW TO MAKE THIS UNIQUE PlusWALL ART SPECIAL 62 ClayCraft RESTORING A OFFER!RUSTY KILN LID THROWN LIGHTSHADE AND MORE! subscriptions ISSUE 62 £5.75 Save money and have the SLAB WINNER! TECHNIQUE magazine delivered to your door. FROM OVEN TO TABLE WE HEAR FROM AJ PIERCING You know it makes sense! • CERAMIC WALES • GLAZING BASICS • COURSES 001 Front Cover Issue 62 Plus Spine.indd 1 31/03/2022 16:07 0e479381-0069-45af-b2a9-c0a37e1e14deIssue 62 ClayCraft 5
IN THE NEWS If 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] POURS FOR THOUGHT? [The Teapot effect: theory and practice] Dripping spouts have been including surface tension, and inertia of the flow dominating annoying teapot users for pressure differences akin to other mechanisms. Drops do not centuries in spite of potters’ those causing lift in an aircraft form. However, when the flow is design rules of thumb for avoiding wing, mathematical modelling slow enough, a drop can form such drops. Here, potter-with- of the flow near the end of a at end of spout. Exactly when a-maths-PhD David Jones (aka spout began to be undertaken in this switch from a smooth flow ‘Jones the Pots’) reviews some earnest. The importance of the to a dribble occurs depends on recent theoretical advances of wettability of the teapot surface various characteristics of the tea, potential value in designing drip- by the tea was also emphasised. the material of the pot, and the free spouts and considers the The latest paper (see the cited pouring process. implications for teapotters. website for details) by Bernhard Scheichl and colleagues develops Potters can’t prevent dripping On hearing it suggested that a more detailed and coherent from teapots on their own. They they might benefit from reading account of all this. need co-operation from the a very mathematical paper in pourers, but potters can design the Journal of Fluid Mechanics, In parallel with the and make the teapot in such a the eyes of most potters may developments in the scientific way as to make pouring as easy as well glaze over. So, in the paper literature, potters have collectively possible. on Jones the Pots’ website been accumulating experience If you’d like to find out more about the findings are described in about how to avoid drips from this, visit davidjonespottery. relatively non-mathematical their teapot spouts, mostly co.uk/the-teapot-effect terms, putting them in the context through informal observation, of other research and practice trial and error, and anecdote relating to ‘the teapot effect’, and rather than well-designed considering the implications for experimentation. potters. Schiechl et al’s paper pores The propensity of teapot over the details of what happens spouts to drip was dubbed ‘the in a region of microscopic scale teapot effect’ by Markus Reiner near the end of the spout when in 1956. Following some simple tea is poured from it. If the flow experimental investigations that is fast enough, tea flows in an arc suggested various mechanisms, from the end of the spout, the Happy birthday! It's all go this year at The Craft rediscovered from its remarkable Centre and Design Gallery 40-year archive, including some in Leeds, as it celebrates its real Yorkshire treasures. Vibrant 40th anniversary. There are colours and pattern, nature in a couple of ‘40 Years in the all its glory and amazing wildlife Making’ exhibitions that will are all explored by some of the interest potters, but if you’re most talented makers on the craft also a fan of other crafts, do scene at the moment. check out the website for details of other events. Spring/summer: To Have and To Hold – 40 Years in the Making Spring: Blossom 7 May - 16 July Until 30 April This exhibition showcases perfect An exhibition full of the joys gift ideas for the first 10 years of spring! Jewellery, ceramics, of married life, handcrafted with sculptures and wall art by a love from paper, cotton, leather, selection of blossoming talented flowers, wood, iron, wool, pottery, makers new to the gallery, willow and tin. and makers that have been craftcentreleeds.co.uk 6 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
TEXAN CERAMICIST IN THE NEWS Jessica Phillips, from Texas, is holding her first Annika Schüler, master international exhibition at the JOC Ceramics Gallery ceramist from Munich, in Hampton, London from now until 30 April. fires with two TE-S series toploaders. Jessica Phillips’ early years were spent in Upstate New York. The daughter of an engineer and ROHDE kilns. a photographer, she grew up in her father’s Enjoy your results. workshop and her mother’s darkroom. When she wasn’t busy there, she could usually be found “It’s so inspiring when exploring the woods or making dirt bowls on the traditional crafts come together muddy banks of the stream near her house. with modern design.” Jessica earned a BA in Studio Art with a ROHDE has been producing kilns and machinery designed concentration in ceramics at The University of to meet the highest standards since 1982. The company’s Texas, Austin. While working professionally as a ongoing pursuit of technical advancement creates graphic designer, she has continued to work with outstanding quality and efficiency that you can rely on. ceramics for over 20 years. Currently Jessica So you can enjoy your results. works out of her home studio in Houston, TX. Learn more about Annika’s story: JOC gallery founder, Jane O’Connor said: “We www.rohde.eu/artist are absolutely delighted to host Jessica Phillips’ first UK exhibition just seven months after opening the JOC Gallery. We have received a huge amount of local and national support and are excited to have built up international reach too. Jessica is an exciting artist and her work sits beautifully with that of our resident ceramicists.” jacksonoconnor.com/ceramics I have been a ClayCraft subscriber since issue three. Although I really enjoy the magazine, I would really like to read some articles about kilns and firing, for the total beginner. I have an old-style kiln without pre-set programmes in it, and the fear of not knowing how to pack a kiln, and all the ins and outs of firing, is stalling my pottery adventures. Is there any chance you could publish some articles on this subject as everything else gets covered except this important part of the process. Many thanks Clare Millington Thanks for getting touch Clare. I know you www.rohde.eu/en definitely aren’t alone in feeling like this, so we will run a feature on basic firing as soon as we can. Ed 0e479381-0069-45af-b2a9-c0a37e1e14de
PRSKOILJL ESCCHTOOL ONE THROWN PIERCED LAMP SHADE There can be no better way to individualise your home than to make your own decorative features. Lamp and light shades make great subjects for unique expression, so try out this simple method to get you started You will need: ■ Clay of choice – earthenware or stoneware, preferably white if you want to glaze in lighter colours. You will need 1.4kg (3lb) for the shade and extra to throw a pad for a batt if you don’t have a quick-fit mechanism. ■ Tools for throwing – wooden batt, water bowl, sponge, ribs, cutting wire ■ Turning tools ■ Sharp knife for piercing the design plus hole-cutters in different sizes (old drill bits work well) ■ Glazes of choice to suit clay type – we use two here, but you can use just one if you prefer 8 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
Before you begin: DIFFICULTY RATING ★★★★★ We recommend you buy your light fitting before A reminder when throwing – making the lamp shade, unless you’re happy to make to save wordy repetition! a simple hole for a wire, as will be shown here. Always compress the clay at the rim after each lift If using a fitting, you’ll need to measure its – pinch the rim gently between your fingers and dimensions to accommodate your shade, then thumb, at the same time resting the forefinger of make the opening at the top to that size with a little your other hand on the rim and applying gentle extra for clay shrinkage. Your clay manufacturer pressure should provide shrinkage rates for your clay at given temperatures. 2 1 Throw a pad to fix your batt onto if you don’t have Prepare the clay by kneading it well to remove any a quick-fix mechanism – you can find details by visiting claycraft.co.uk/how-to if you don’t know possible trapped air, then form it into a rough cone how to do this. shape and place it as close to the centre of the batt as possible. Fix the batt to the wheel head, giving it a thump with your fist to secure it in place once centred. Dribble a little water over the surface of the clay, then pat it down to make sure it’s secure. Dampen, but don’t flood, the surface of the batt with a sponge or your fingers. Centre the clay – you can see more details on how to do this on our website, but begin by dribbling a little more water over the surface, then cone the clay up between both hands, applying equal pressure from both sides to raise it vertically. Continue by pushing the clay down with your right hand while applying steady pressure with your left hand at the side – this will level it off and bring it to centre. You’re aiming for a slight dome shape with straight sides. Repeat these steps until the clay runs smoothly through your hands without wobbling. 3 Now open out the centre by pressing the fingers of . your right hand down through the clay to within 5mm of the batt, all the while steadying your hand with your left hand for a smooth action. 0e479381-0069-45af-b2a9-c0a37e1e14deIssue 62 ClayCraft 9
PROSKJIELLCSTCHOOL ONE 7 4 Cuff the clay in at the base on the outside with the Draw the clay back towards your body, easing off the sides of both hands, this will form a point to lift the wall from. pressure as you move further from the centre to create a rounded rather than flat base. 8 5 Make the first lift of the wall with the fingers of your Press a finger through left hand on the inside, thumb over the rim, and the to the batt at the fingers of your right hand opposite on the outside wall. centre of the clay, making sure it’s large The result of the first lift is generally quite thick, but enough to thread your it establishes the shape of the bowl if you slightly flare electrical wire through, the form. If you work with the wheel turning relatively or alternatively, extend slowly, it will prevent the throwing rings being too deep. the size of the opening to accommodate your 9 electrical fitting plus sufficient extra to allow for clay shrinkage. 6 Compress the clay in the base by running a finger Lift the wall a second time with your hands in the over the surface several times, drawing it from the hole same position. at the centre to the wall. Each lift should raise the height of the form, thin the wall and develop the shape further. DO NOT allow the shape to flare too much at the rim at this stage, to avoid collapse. 10 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ 10 12 Lift the wall once more, Sponge out the excess slurry from the interior of the this time applying slightly more pressure bowl carefully to avoid knocking it off centre. from the inside to flare the bowl to a pleasing 13 rounded shape. Supporting the wall from the inside with a finger, Remember to compress the clay at carefully work over the exterior wall with a flexible the rim when finished. kidney to remove excess slurry from this surface too, along with the throwing lines. Aim for a surface that’s as 11 smooth and unblemished as possible. 14 Measure the width of the bowl at the rim to make Bevel the bowl around . sure it’s the right size for your requirements. the outside of the base A good size for the given weight of clay would be using a suitably shaped, angled tool. This can be a 23cm diameter at the rim with a height of 10-12 cm. little tricky because of the shape so finding the right tool is important. Many of the boxwood tools available would be suitable. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 11
PROSJKEILCL TSCHOOL GLAZING THE SHADE 1 ONE 15 Wearing a dust mask, sand around the pierced design on the bisque-fired shade to remove any Underwire the bowl carefully, holding the cutting sharp areas. wire taut as you draw it from front, back towards your When finished, brush away the dust carefully and body, as shown. dispose of it sensibly, then wipe over the sanded surfaces with a damp cloth to remove any remaining traces. 16 2 Carefully lift the batt off the wheel head and place the bowl somewhere evenly warm to firm to leather hard before handling it. Once the bowl has firmed to leather hard, slightly Beginning with your chosen first glaze (if using more dampen the rim then centre it on the wheel to prepare it for trimming. You can find full than one), and working from the outside of the shade, instructions on how to do this at claycraft.co.uk/ carefully apply the glaze to the inside of the pierced how-to edges as shown. Try not to allow the glaze to spread over the outer surface too much, as far as possible. Using your turning tool of choice, trim the excess clay at the top of the bowl (what would have been the base) up to the central hole, until the shape is a perfect dome. NOW SEE SURFACE DECORATION on page 68 for how to do the pierced decoration, then return here to finish the light shade. Once happy with the pierced design, allow the shade to dry out slowly, in a constant temperature with no drafts. This is particularly important if the piercing is very detailed and the shade wall is thin. 12 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ 3 6 Apply the glaze in the recommended number of Apply your second glaze to the exterior surface, taking pains to avoid it bleeding onto the first coats and allow it to dry, then carefully wipe away any glaze in the cut away areas. Change brushes as overspill around the shapes with a damp cloth. appropriate to glaze more difficult areas. 4 Again, apply in the recommended number of coats. Allow the shade to dry before firing to the clay and glaze’s recommended temperature. Apply the glaze to the interior of the shade, again, in as many coats as recommended and allowing each coat to dry to the touch before applying the next. Continue the glaze over the rim to match the insides of the pierced shapes. 5 Having glazed the rim, you will now have to decide . on an unglazed area for the shade to sit on in firing. The 13 best place for this is the top of the shade because this is an area that won’t be seen when it’s hanging and could well be covered by the light fitting. Position something like a cookie cutter at the top of the shade and draw around it with a pencil. The circle must be large enough for the shade to sit on the kiln shelf in this position, with enough space to avoid the glaze coming into contact with the surface. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft
PROSKJIELLCSTCHOOL ONE 7 If you’re using a fitting that you bought in advance, the glazed area on the top of the shade will be the right size. Here, we bought one after glazing, hence the unglazed portion! This won’t show when the shade is hung from the ceiling. 8 This shade was made from a white stoneware clay and was glazed in Mayco’s Lemon Meringue and Black Walnut, Bisque fired to cone 04 (1060°C, 1940°F) and glaze fired to cone 6 (1222°C, 2232°F) in an electric kiln. 14 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
Happy Spring! Maxi package only £1,284 BHR-108 (12cm) www.mkmpotterytools.com Phone: 01 (920) 903-8918 [email protected] Hot Clay Bath Potter’s Corby Kilns Scarva Pottery Blue Matchbox hot-clay.com Supply corbykilns.co.uk Supplies bluematchbox.co.uk bathpotters.co.uk scarva.com supplying your imagination with • Clay • Slips • Glazes • Brush-on Glazes • • Colours • Onglaze Colours • Raw Materials • Lustres • • Medias • Oxides • Grogs • • Powdered Clays • Brushes • Tools • • Wheels & Equipment • Kilns & Accessories • • Frits • Opacifiers • Plasters • Exclusive to Clayman Walkers PB103 - the finest, whitest stoneware we know Ceragel - the easy way to make brush-on colours & glazes Pearl White Casting Slip - quality in every litre Studio Stoneware Glaze range - Try and see Smart Bench - multi-purpose choices Plaster Sinks - making reclaim easy and tidy Morells Barn • Lower Bognor Road • Lagness • Chichester • West Sussex • PO20 1LR Tel: 01243265845 • Email: [email protected] • www.claymansupplies.co.uk 0e479381-0069-45af-b2a9-c0a37e1e14de
PINCH, COIL, SLAB AND THROW READER OFFER POTTER’S One size fits all. SPLIT-LEG APRON 121cm long, Perfect for keeping you clean while throwing, 73cm wide, handbuilding or glazing. Our heavy-duty 100% cotton canvas apron is soft, strong and waist ties hardwearing, and comes in dark blue with an each 97cm. embroidered logo. Each side split is 45cm wide, offering generous coverage for each leg without Fabric the need for constant adjustments. The 15cm weight pocket is handily placed for convenience while 320gsm. you’re sitting at the wheel, and the extra-long waist Wash up ties provide comfortable fastenings for all sizes. to 60°C. Handy tool pocket Side split is 45cm To buy online go to shop.kelsey.co.uk/claycraftapron ✃ Or phone +44 (0)1959 543747. Mon-Fri 8am to 6pm and quote code CLAYAPRON YES! PLEASE SEND ME A POTTER'S SPLIT-LEG APRON AT £39.99 (Prices quoted include delivery.) YOUR DETAILS I WISH TO PAY BY CHEQUE UK £39.99 EU £41.27 ROW £42.38 Mrs/Ms/Miss/Mr ............... Forename .............................................. I enclose a cheque made payable to Kelsey Publishing Limited (drawn from a UK account) Surname ......................................................................................... I WISH TO PAY BY DEBIT/CREDIT CARD UK £39.99 EU £41.27 ROW £42.38 Address .......................................................................................... Please debit my Visa Visa debit Mastercard ....................................................................................................... Card number ............................................. Post / Zip code ................................. Country .......................................................................................... Security number Valid from............./.............. Expiry date............../.............. Daytime phone ................................ Mobile .................................... Signature...................................................................... Date ............................................ Email ............................................................................................... 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 30 June 2022. PLEASE SEND YOUR F0romeU4K o7nly9: FR3EE8PO1ST K-E0LSE0Y M6ED9IA-Cl4ayC5rafat Offfe-r,bKe2lseyaPu9blis-hcing0Ltda, Th3e G7ranear1y, Deow1ns C4oudrt,Yealding Hill,Yalding, Kent, ME18 6AL COMPLETED FORM TO: From outside UK: ClayCraft Offer, Kelsey Publishing Ltd, The Granary, Downs Court, Yalding Hill, Yalding, Kent, ME18 6AL, UK.
Hannah McAndrew explains what this initiative is about, and how you can help W hen did you first get the 14 OnSide Youth Zones is a national (Photo: Shannon Tofts) opportunity to touch charity (by coincidence originating in clay? To discover the my hometown of Bolton) whose aim is The intention is to equip these sensation of the cool, to make sure that all young people malleable material between your have their opportunity to discover spaces each with a kiln, two potters’ fingers, to investigate stretching it, their passion and their purpose. smoothing it, impressing things in it, OnSide funds, builds and supports a wheels, a slab roller and a myriad of beginning to throw it on the wheel? network of state-of-the-art Youth For me it was at school, a slab- Zones in the UK’s most disadvantaged hand tools, moulds and materials. building project making an Egyptian- areas. themed lidded pot. My dad still has it. Training and ongoing support is A lot has changed since then, and Youth Zones provide opportunities many schools no longer have the space for people between the ages of eight provided by OnSide staff, which and equipment or funds to be offering and 19, are open seven days a week, ceramics as part of the curriculum. including evenings, weekends and begins with a 15-hour course over five school holidays and offer over 20 So much in life happens because of activities at each session including weeks. This covers the foundations of the opportunities that we are sports, music, dance, media, drama presented with. Where can young and more. Within this, the arts and working with clay and then there are people go to experience new things crafts are a strong draw, and this is and have new opportunities outside of where FiredUp4 comes into play. top-up sessions every two months. the school day, particularly in areas of the country that traditionally have FiredUp4 is a project to bring clay There is also an online portal where fewer extra-curricular possibilities? and all its benefits for creative, One such place, or indeed a number of physical and emotional development OnSide staff can find project plans, these places, are available through an into Youth Zones. In 2020, Kate organisation that creates purpose- Malone MBE was the driver bringing ask advice through a Q&A area and built Youth Zones. The network of together 31 of the UK’s most important ceramics makers. She share their creative successes. invited them to donate a piece of work to be auctioned through MAAK Janine Blythe, chief executive of Auction House with the intention of installing pottery studios at Chorley InSpire Youth Zones (one of the first and Wigan Youth Zones. That auction two years ago featured two youth zones to receive pottery fabulous works of clay by Dylan Bowen, Felicity Aylieff, Lisa studios funded by FiredUp4) said: Hammond, Alison Britton, Walter Keeler, Julian Stair and Magdalene “Delivering ‘clay clubs’ has achieved Odundo and of course Kate Malone herself, to name but a few. A veritable so much more than the opportunity treasure trove of pottery, which raised a huge £120,000. for children and young people to work with clay and develop their skills; it’s given them the opportunity to connect with themselves, with youth workers and with each other.” Doug Fitch and I were delighted and flattered to be asked to be involved in this year’s auction alongside these leading lights of the ceramics world for FiredUp4. We know first-hand the value of that first encounter with clay and how exciting and satisfying a material it can be to work with. We also realise how rare it is now that young people do get that . Ashraf Hanna: Undulating bowl form. Hand built, 2022. opportunity. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 17
FIRED4UP Spotlight on: Mike Eden The first FiredUp4 auction in Salix Morrisia November 2020 raised £120,000 for the OnSide Youth Zones. This May The title of this piece is a sees the second auction, again at fiction, combining the Latin MAAK Auction House and features genus name for Willow and a work by 53 makers. This year reference to William Morris. donations include pieces by Kate Malone, of course, Jin Eui Kim, During the second half of the Felicity Aylieff, Clive Bowen, Lisa 18th century there was Hammond, Richard Miller, Edmund increasing acknowledgement of De Waal, Dylan Bowen, Keith the dreadful working conditions Brymer-Jones, Alison Britton, Doug and inhumanity of much Fitch and me. industrial manufacturing. Alongside the political pressure Ashraf Hanna has given one of his to reform working conditions, movements such as the Arts and Crafts exquisite hand-built forms, Movement became an idealistic force attempting to address these concerns. ‘Undulating Yellow Bowl Form’ and William Morris was a leading member of the group, aiming to put the said, “I chose to donate for FiredUp4 theories of John Ruskin into practice by placing an emphasis on traditional auction to support the charity in its skills, craftsmanship and the natural beauty of materials endeavour to bring creative opportunities to new a generation.” He is widely regarded as being opposed to the use of mechanical means of production, and many of his textile designs are still in production. Rich Miller, potter and judge on The Great Pottery Throw Down, Salix Morrisia is a response to the philosophy of William Morris. The remarked, “Fired up 4 is such a form is taken from a micrograph image of willow pollen, something whose fantastic endeavour. As makers, we all beauty we would not be able to appreciate without the development of know how vital it is that young people sophisticated technology. The pierced pattern is taken from the Morris’s continue to have the opportunity to ‘Willow Boughs’ wallpaper and experience clay, especially at a time textile design, designed in 1887. where that is becoming increasing unlikely to happen in the school My aim is to demonstrate that environment. It’s gratifying to know the use of new technologies and that something I’ve made can play a manufacturing techniques can small role in making that happen.” have artistic worth and involves refined levels of craft skills. For Ceramic artist Duncan Hooson me, the idea leads the way, the commented, “Beyond the obvious tools and materials are then acquisition of hand skills and selected in order to translate that developing coordination, clay gives an creative concept into an artwork. individual the ability to shape three- dimensionally their individual I also firmly believe that the response to the world. It introduces a technology that I use does not new vocabulary and a method of replace anything that communication to others. We know has come before; we that the ceramic process teaches simply have a larger toolbox at our disposal L-R: Fernando Casasempere, and it is the responsibility of artists Andrew Wicks, Hitomi Hosono, and makers to choose Kate Malone. (Photo: Sylvain Deleu) the appropriate tools. Salix Morrisia was designed on Rhino3D CAD software, 3D printed in a plaster type material and then given a bespoke copper plated surface, which I then patinated. 18 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
FIRED4UP Doug Fitch: Slender arches jug L-R: Jaejun Lee, Hitomi Hosono , Rich Miller, Barnaby Barford, Tomasso 29.5cm high. (Photo: Shannon Tofts) Corvi-Mora, Edmund de Waal, Andrew Wicks, Jennifer Lee, David Roberts. Kate Malone: Pumpkin. (Photo: Sylvain Deleu) patience. For those that use the auction itself will be live on the 27th material we know that it builds May at 1pm on the website www. resilience. While nursing and caring firedup4.com for the material through the transformational process, both The creative community at Kiln material and maker are also shaped Rooms Ceramics Studios in Peckham and transformed by it. The process is have joined in the campaign filled with jeopardy and risk taking. themselves, asking their members to Failure is confronted and responded be involved. Members donated 5% of to. It’s certainly not instant the sales at their Christmas market gratification. It simply provides great and Stuart Carey, director of The transferable life skills.” Kiln Rooms matched this, adding £1,600 to the FiredUp4 project. Kate MAAK Contemporary Ceramics is Malone is happy to hear from other dedicated to dealing with the foremost groups or individuals who might want international ceramic art of the 20th to join in with their own fundraising and 21st centuries. The pots will be to help FiredUp4. on view from Thursday May 12th as part of London Craft Week, the Potters of today, helping potters of tomorrow. Jin Eui Kim: OPject cylindrical Hannah McAndrew: Dandelion Richard Miller: Crown, 2022. form. 2020. charger, 48cm-diameter. (Photo: Shannon Tofts) 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 19
PRSKOILJL ESCCHOTOL WALL HANGINTWO Having an animal head hanging on the wall is not to everyone’s taste but there is something incredibly satisfying about making one successfully in clay. If you don’t want to make a ram, the method demonstrated here can easily be adapted to make almost any animal you like 20 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
ING RAM’S HEADDIFFICULTYRATING★★★★★ You will need: Choose a good hand-building clay such as craft crank for this project. It’s available from heavily grogged right down to finely grogged and fires to a warm toasty colour ■ Modelling tools ■ Glazes of choice to fit clay type ■ Brushes for application . 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 21
PROSKJIELLCSTCHOOL TWO 1 Gather together some images of your chosen animal 5 head that display the creature from several angles. Begin to pinch the walls between fingers and thumb. Stick the images into your sketch book for reference If your clay is soft enough to manipulate easily, you can when making, or do some drawings from them if that also thin the wall by drawing the clay upward towards will help you understand the anatomy better. the rim. 2 Begin by forming a ball of clay, large enough to fill the palm of your hand but sit in it comfortably. 6 Keep pinching and drawing the clay until you have an open conical shape – the narrow end of the cone will be the nose end of your animal. 3 Press your thumb down into the centre of the ball until you can feel some pressure in your palm. 47 With your thumb still inside the ball, turn the shape Supporting the head from inside with one hand, upside down and pinch the base end of the form first. hold it in a position to view from the side, then begin We do this because this area will become much more to manipulate the shape to that of your chosen animal. difficult to reach as the shape develops. Roughly form the shape of the nose, for instance, and think about the shape of the skull. Refer to your images Pinch the area until it’s reduced to a thickness of or drawings as you work. approximately 5mm. 22 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ 8 10 Now look at the head from different angles to ensure Roll a medium-thick coil of clay, then position it around the rim of the head. Pinch off any excess, you get the symmetry right, then use your thumbs to leaving a small overlap of coil, then blend the ends establish the position of the eye sockets. together. 9 At this point, assess the size of the head and if you 11 feel it’s too large, cut a ‘V’-shaped section, the size you want to reduce the shape by, from the underside,. Overlap the cut edges and pinch them back together, then smooth over the join to secure it. Blend the coil down onto the head with your thumb, . as shown, inside and outside until fully secure, then manipulate the shape slightly from the inside, above and around the eyes, to give a sense of the bone structure. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 23
PROSJKEILCLTSCHOOL TWO 14 12 Now begin to pinch out the wall of the tube to extend the size further. This will form the neck of Now form a short, thick log of clay to the the animal ,so the size must be increased to fit the opening of the head. approximate size shown in relation to my hand in the image. Periodically check the tube size against the head to make sure it doesn’t get too big. Push a length of 15mm dowelling through the centre of the log and out the other end. (You can use something like a paintbrush handle if you don’t have a length of dowel, or anything else you can find that will do the job) 15 13 Roll the log over the work surface with the dowel Keep pinching the tube until it fits snugly inside the inside to extend the size and create a tube large enough rim of the head, then blend it in place, inside and out to easily get your fingers inside. with a finger or thumb as before. Make sure you roll the shape lightly to avoid the wall thinning unevenly. 24 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ 16 18 Stand the head on its rim and work over the surface Form two small oval shapes of clay for the eyes. Sheep can often have quite bulbous eyes but make with a rib to neaten up a little. It doesn’t need to be yours a balanced size to fit your animal – refer to perfectly smooth, the aim is simply to remove obvious your images for guidance. blending marks. Score and slip the positions inside the sockets 17 on the head and the backs of the eyes themselves, then fix them in place. Following the method we always advise when rolling slabs – working on a plastic sheet and using roller guides to ensure an even thickness, roll a slab large enough to cut several different sizes of back mount for the head. We have chosen an oval here but you can make yours any shape. Cut the shapes out when you’re ready. Note: You could make paper templates to test the head on if you prefer, but the clay gives a better sense of proportion. Decide which size works best and put the mount to one side. Reclaim the unused slabs. . 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 25
PROSJKEILCLTSCHOOL TWO 19 21 Roll a short length of clay and place it over the Holding the head in the palm of one hand so that you upper part of one eye. can see it from its front elevation, impress the features Blend the upper edge of the coil only onto the of the nose leading down to the mouth, as shown. You head with a finger then smooth over the area with a can use any suitable tool to do this. rib to neaten up. 22 Roll another short length of coil and fix it onto the head below the impressed nose lines, to form the chin. 20 23 Now apply a thinner coil of clay under the eye to Blend the coil onto the underside of the chin and form the lower lid and blend it onto the face as you did neaten up with a rib. the upper one. Now impress the line of the mouth with your chosen Again, neaten up with a rib when finished. tool. Repeat the process to make the second eye. 26 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ 24 26 Use a small ball-ended tool to impress the nostrils at Reinforce the back of the ears with a coil of clay and blend it up onto the ear and down onto the head each side of the impressed nose lines. with a finger. 25 Roll two small conical coils of a suitable size to 27 make the ears, then pinch them out to the correct shape. Position the ears on the head behind the eyes and fix them in place after scoring and slipping the relevant surfaces. Carefully blend the front of the ears onto the head. The head can be considered finished at this point, . other than to mount it on its back plate. It could be either a ewe or a lamb if you want to stop here. Just go to step 38 to see how to mount it. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 27
PROSKJIELCL STCHOOL TWO 31 Remove the dowel, then gently pinch along the top 28 of the coil to ridge the shape. BUT – to make it a ram, it will need horns, so begin 32 by rolling a long conical coil, narrowing to a point at one end. It must be long enough to curl back from the crown of the head above the eye, then around the ear to the front and into a final curl. Test the length on the head and cut it to the required size. Shape the horn back to a curl and firm it up slightly with a hairdryer then test it again on the head. Mark the position 29 for the join with a pin. Remove the horn again and unwind it. Give it a quick 33 roll on the work surface then measure its length. 30 Insert a length of thin dowel (or similar) two-thirds Score the marked position for the horn on the head of the way along the length of the horn and roll it at the and the end of the horn itself. wider end to slightly hollow out a cavity. 28 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ 34 36 Make a hole at the centre of the scored position on Attach the curl of the horn to the side of the face with a dab of slip then reinforce the join with a thin the head, to allow for the escape of air from the horn in coil of clay. firing and to aid with the drying process. 35 Apply some slip to all relevant surfaces then attach the horn to the head. Make sure it’s secure, then reinforce around it with a coil of clay. Blend the coil in well with a finger then neaten up with a wooden tool. . 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 29
PROSKJIELLCSTCHOOL TWO 39 37 Score the marked position, then make a hole at the Blend the coil in carefully with a wooden tool to top of the slab to hang the head from. neaten up, then support the curl at the end of the horn with a small pad of foam to keep it from 40 turning in. Attach the second horn in exactly the same way. Slip the scored position on the mount, then make another hole at the centre to allow for the release of air in firing. 41 38 Score and slip the Place the head on mount slab prepared earlier and rim of the neck then fix the head in place on the marks its position with a pin. mount. 30 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ 42 43 Reinforce around the join with a coil of soft clay and blend it in carefully until the head seamlessly sits on the mount. Finally, texture the horns carefully with a wooden tool to create a ridged effect. This is a little tricky, so take your time and support the horns carefully as you work. The head was decorated using Velvet underglaze colours for the eyes with transparent glaze over, Mayco Sea Salt for the head and Amaco Acai Matte Shino for the horns. Bisque fired to cone 04 (1060°C, 1940°F) and glaze fired to cone 6 (1222°C, 2232°F) in an electric kiln. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 31
LINDA BLOOMFIELD GLAZE BASICS: SUBSTITUTING GLAZE MATERIALS Linda Bloomfield is a scientist Cobalt oxide left, cobalt carbonate right. You would need to use 1.5x the turned potter. More glaze amount of oxide to get the same strength of colour using the carbonate. recipes can be found in her books, Advanced Pottery (2011), A large number of raw How to calculate a glaze Colour in Glazes (A&C Black materials are used in glaze material substitution 2012), The Handbook of Glaze making. However, when Recipes (Bloomsbury 2014) making your own glazes, Similar glaze materials can be and Science for Potters (The you only need to buy the materials substituted in a glaze recipe, for American Ceramic Society 2017). listed in your chosen glaze recipe. If example, toxic barium carbonate can Her new book Special Effect you are new to making glazes, it is be substituted by strontium carbonate, Glazes, and the second edition only necessary to buy a few essential which is not toxic. To calculate the of Colour in Glazes are both out materials at first, including feldspar, weight of material needed to give the now. Linda has recently launched whiting, silica and china clay. If you same number of molecules, the recipe her online glazing course, How are planning to make mid-range weight should be divided by the Glazes Work, on her website: glazes, borax frit or Ferro frit 3134 molecular weight. Barium carbonate lindabloomfield.co.uk will also be useful. Earthenware and has a molecular weight of 197.4, while raku glazes consist mostly of borax strontium carbonate has a molecular Rutile, an impure form of titanium frit, with some clay and silica. weight of 147.6 (obtained by adding It is useful to know which glaze the atomic weights of strontium, dioxide. materials can be substituted for others carbon and three oxygen atoms, from as you may not have all the materials the chemical formula SrCO3, so less required to make a particular recipe strontium will be needed to substitute (see table below). If you run out of a for the barium). The atomic weight is particular material it is essential to the combined weight of protons and find out which other materials you can neutrons. As different isotopes have substitute. There are currently different numbers of neutrons, the worldwide supply chain issues which weight is averaged, which explains mean not all glaze materials are why the atomic weights are not whole available. numbers. Dividing 147.6 by 197.4 gives 0.75, so the weight of strontium 32 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
GLAZING Glaze tests, transparent glaze with 5% titanium dioxide on the left and rutile, 5% centre and 7% right. The yellow colour comes from the iron oxide in the rutile. carbonate required to give the same number of molecules in the glaze is 0.75 times the weight of barium carbonate. You can use glazy.org online glaze calculator to work out material substitutions. Simply substitute the material and then alter Porcelain bowl with strontium matt turquoise glaze, reformulated from a the amount until the unity molecular formula (UMF) is the same as before. barium matt turquoise glaze. A similar calculation can be made, for example, to find the amount of number of molecules of silica must be calcium borate frit but the resulting cobalt carbonate required to replace subtracted from the total amount of glaze may be less runny unless you cobalt oxide in a recipe (in this case, silica in the glaze formula, as increase the amount of frit. Calcium around 1.5 times is needed to give the wollastonite contains both calcium borate frit is currently unavailable in same strength of colour, as the and silica. Similarly, dolomite, a the UK. carbonate is less concentrated than the mineral containing calcium and Other substitutions are very simple, oxide). magnesium carbonate can be replaced for example, various feldspars are Some substitutions are more by whiting plus magnesium carbonate interchangeable weight for weight, complicated, for example, whiting or talc, again subtracting the same although the glaze may change in (CaCO3) can be replaced by amount of silica from the glaze recipe. character, depending on the wollastonite (CaSiO3), but the same Borax frit can be substituted for composition of the feldspar. Most feldspars contain both sodium and potassium but are named potash or soda felspar after whichever is the dominant flux. Feldspars containing lithium include petalite and spodumene and are sometimes substituted for potash or soda feldspars to reduce crazing as they have a lower expansion. Naturally occurring minerals do not always have precise chemical formulae, but contain impurities which affect the material’s properties. For example, rutile is an impure form of titanium oxide which contains impurities Borax frit, used in earthenware and mid-range glazes. including iron oxide, chromium oxide .and vanadium pentoxide that affect its 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 33
GLAZE SCIENCE Small porcelain bowls with various glazes, from top left rutile pink, strontium matt turquoise, rutile matt, runny turquoise. Test tile, porcelain with strontium matt turquoise glaze, cone 8, 1250°C Nepheline syenite 60 Strontium carbonate 21 Lithium carbonate 2 China clay 6 Flint 9 Calcium borate frit 2 + Titanium dioxide 5 Copper oxide 2 Material substitutions Potters’ materials that can be used to replace materials which are unavailable. colour. I often use rutile to make pink Glaze material Substitute or yellow glazes as the chromium Barium carbonate x0.75 Strontium carbonate oxide impurities it contains give a pink Bone ash Tricalcium phosphate colour in glazes containing tin oxide, Cobalt oxide x1.5 Cobalt carbonate while the iron oxide gives a yellow colour if the glaze is high in clay. Colemanite Ferro frit 3134, calcium borate frit However, if you substitute rutile with Copper oxide x1.5 Copper carbonate titanium dioxide, the glaze will be an Cornish stone Potash feldspar and silica opaque white, so be aware that Dolomite Whiting and magnesium carbonate or talc substituting materials may cause your FFF feldspar Potash feldspar and soda feldspar glaze to change in appearance. Gerstley borate Ferro frit 3124, borax frit Molochite Biscuit fired china clay For glaze recipes try my books Petalite, spodumene Feldspar and lithium carbonate Colour in Glazes, Special Effect Pumice, volcanic ash Potash feldspar Glazes or search online on Quartz Flint glazy.org Red earthenware clay Iron oxide and ball clay Rutile, ilmenite Titanium dioxide and iron oxide Soda feldspar Nepheline syenite and silica Talc Magnesium carbonate or dolomite and silica Wollastonite Whiting and silica Wood ash Whiting and nepheline syenite 34 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
ORDER OUR NEXT ISSUE TODAY AND GET FREE DELIVERY 6 STEP-BY-STEP PROJECTS AND THROW Issue 63 OINSSUSEA6L3E MAY 20TH ESPRESSO CUPSPINCH, COIL, SLAB PRHEUSMSPMAONUDLD DON'T MISS OUT! PAY THE NORMAL SHOP PRICE* AND GET THE NEXT ISSUE PCOOUFFRE-OEVSEERT DELIVERED TO YOUR DOOR ORDER Plus TODAY! HDOISUCSUESPLVAANSET CEURDA SECA DECORATION AND MORE! 01/04/2022 15:49 Order online at SHOP.KELSEY.CO.UK/001FrontCoverIssue63.indd 1 CC63 Call now on 01959 543747** Quote ref: CC63 Terms and conditions apply. You should receive your copy on or around May 20 . *Delivery is included in the cover price for UK customers only. An additional £1 will be added to 0e479381-0069-45af-b2a9-c0a37e1e14deany overseas addresses. **Lines open Mon-Fri 8.30am – 5.30pm. Calls charged at your standard network rate. Front cover for illustration purposes and subject to change.
SKILL SCHOOL LARGE PROJECT THREE PINCHED AND COILED BOWL There is something very pleasing about making bowls; they’re female forms, rounded and open and the good thing is, they have so many uses that you can’t really have too many! 36 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ YOU WILL NEED: 3 ■ Stiff paper for making templates Cut the template out carefully then unfold it to ■ Rulers, pencils, protractors (a large one is assess the size. If you think it will be too large, cut it down to the appropriate size. If too small, you’ll really useful), craft knife have to start again! ■ A stiff material to make the former – thin MDF, rigid card, acrylic sheet etc. BE AWARE – the material used for the former must be at least 10cm wider than the width of the folded template ■ A cutting mat is useful but not essential ■ Clay of choice – earthenware or stoneware, red or white ■ Slips in two or more colours ■ Brushes for application ■ Underglaze in colour of choice ■ Transparent glaze 1 Begin by making a paper template for your former. 4 Fold a large sheet of paper in half then place a protractor at the bottom edge in the position shown. The protractor should show the 180° line in a vertical position, 2cm in from the folded edge. Using a pencil, draw around the bottom 90° of the protractor to form the rounded base of the bowl. 2 With the protractor in the same position and using a Fold the template in half again, then align the folded . ruler, continue the line from the base curve vertically, to edge to the side of the former material, as shown – we your chosen height. are using thin MDF here. The measurement is 16cm here. Draw around the template in pencil to transfer the Draw a horizontal line from the top of the wall line to outline. the fold – measuring first to ensure it’s accurate. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 37
PROSKJIELLCSTCHOOL 7 THREE 5 Prepare a ball of clay large enough to fill but sit Cut the top edge of the former first, then the actual comfortably in the palm of your hand. shape. 8 The template shape is not the former – the former is the section to the side of it (right of the knife, below). Press down into the centre of the ball with your thumb until you can feel some pressure in your palm. 9 6 With your thumb still inside, turn the clay upside down and carefully pinch the base to a flat, 5-6cm- diameter circle. 10 Carefully sand any rough or uneven areas along the cut edge of the former. This is important because any irregularities in surface or shape will show in the work. Sit the basic form on a batt and begin to pinch the wall outwards between fingers and thumbs – you can use both hands to do this. Turn the shape constantly as you pinch to ensure the wall is thinned evenly. 38 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ 11 14 Test the shape by sitting the former flat on the batt next to the rudimentary bowl. The image here clearly shows the shape has a long way to go to fit the former properly. 12 Run a surform around the rim of the bowl to level and flatten it, ready to add coils. 15 Continue to pinch the Form a rudimentary coil between both hands, then wall outwards using roll it out on the work surface to an even thickness, both hands, regularly long enough to fit around the rim of the bowl. testing the shape against the former until it fits perfectly. 13 Refine the inner surface of the bowl with a rib, . removing lumps and bumps as necessary to achieve 39 a smooth unblemished finish. This will have the added effect of compressing the clay in the base, which will reduce the possibility of cracks. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft
PROJECT 19 THREE Check the shape against the former by butting it up 16 to the bowl, then again with it sitting flat on the batt, drawing it steadily around the form. Score and slip the rim 20 of the bowl, then position the coil around it, until the ends overlap. 17 Blend the coil down onto the wall of the bowl on the Apply another coil outside using your finger and only join the overlapping following the same ends when you have finished securing most of the coil method as the first one. onto the bowl because the length can extend a little as you work around the circumference, making it difficult 21 to fit correctly if joined first. Now blend the coil onto the wall on the inside in the same way. 18 If you feel the coils are too bulky, simply pinch them Refine the interior surface using a rib after the upward to a more reasonable thickness. NOTE: if the shape seems a little floppy, firm the clay addition of each coil. up with a hairdryer before continuing. 40 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ 24 22 Access to the outer wall should be easier as the Surform the rim down form grows, so take the opportunity to refine it now using a rib. to the scored line, then using a rib, gently refine Repeat on the inside, to maintain an even and round it off until it’s thickness of wall throughout. Try to keep control pleasing to the eye. of the shape and surface during all stages of the build; it helps to see the developing shape more Allow the bowl to evenly clearly. firm to leather hard. Applying slip decoration: 25 Apply an even coat of your chosen colour of slip to the outside surface of the bowl using a brush, then allow it to dry to the touch. 23 26 Continue to build up the wall to the height you Turn the bowl over and repeat the slip application on . require, continually refining the surface and checking the inside, not forgetting the rim. the shape against the former after the addition of each coil. When you’re happy with the height, sit the bowl on a whirler, then rotating it with one hand and holding a pin rigid in the other, score a level line just below the rim. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 41
PROJECT THREE 27 Make yourself a dividing template by cutting out a paper circle several centimetres wider than the rim of your bowl. A large protractor is the perfect size here. If working on a cutting mat and using a protractor like this you can hold it in place on the paper with a pin at the centre, which allows you to rotate it as you mark the divisions. Carefully divide the circle into your chosen number of sections by measuring the degrees. We have chosen 5 x 72° sections for this bowl. 28 Sit the bowl rim down and centrally on the template, then using a card ruler aligned to each of the dividing marks, score light lines from the rim to the base using a pin. 29 30 Paint a shape in a different slip colour within each Allow the bowl to dry out slowly ready for bisque divided section. firing. You can make this a simple sweep of colour or a more considered shape, the choice is yours. The rudimentary rectangles painted onto the bowl here in each section were applied freehand to purposefully give a more hand-painted look but yours can be more measured if you prefer. 42 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
Post-bisque decoration 3 DIFFICULTY RATING ★★★★★ 1 Feel free to add more feature details to the design as it develops. Sometimes, you’ll find you get to a point where you think it just needs a little something else to finish it off. These are the details that make the form unique to you. 4 Once bisque fired, draw your line design in pencil within each of the coloured slip areas around the bowl. 2 When the underglaze has thoroughly dried, apply a transparent glaze to the bowl and fire to your clay’s optimal temperature. 5 Using a fine liner brush, carefully paint over the pencil lines in your chosen underglaze colour. This bowl was built from white earthenware clay containing grog for greater strength when hand- building. The slip was made from the clay body with the grog sieved out, and coloured using body stains (available from clay suppliers) A commercially produced earthenware transparent glaze was used over the slip. Bisque fired to cone 04 (1060°C, 1940°F) and glaze fired to cone 05 (1046°C, 1915°F) in an electric kiln. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 43
Jacqui Atkin learns more about this year’s event E xcitement is building for Chui-i Wu Ceramic Wales, which returns this year on 11-12th June for the first time since 2019. Not only will it be a completely new event but it has a wonderful new venue, Bodrhyddan Hall in Rhuddlan North Wales, home of Lord Langford. The new show came about after a meeting with Tom Langford, grandson of the lord, who has run a long-established annual plant fayre at the hall. Adding pots and food to the mix seemed a natural progression, so the collaboration of “Pots, Plants & Food” was born. The directors of the event include Wayne and Jo Clarke and Wendy Lawrence. Simon Shaw is involved in the selection process and along with Howard Cooke, he helps with the running of the show. All the individuals work together very well, On a recent catch-up with Wendy, I and Wendy work at the university, so asked how preparations for the show the agreement is that they (the each contributing their own expertise were coming along and how the university) will provide equipment like directors had decided on the venue. wheels and other items for to the mix. She told me the challenge of finding demonstrations and workshops, and the right site had not been easy both BA and MA students will work Wayne Clark (left) and Simon because there were so many factors up to and during the event to set they wanted to get right, not least the things up and make sure things run Shaw, preparing to measure up for venue itself, which needed to be an smoothly on the weekend as part of the marquees. attraction in its own right, but one that their ‘Creative Futures’ module, which was easy to access, with plenty of trains them in setting up and running parking and space for makers to camp. a business. This will include having Bodrhyddan met all criteria and the their own stands of work and selling to suggestion of combining the event the public. The directors see student with the annual plant fayre seemed a involvement an essential step in natural collaboration – adding food in creating the next generation of makers. the form of artisan producers further complemented the mix. Continuing the educational theme, both Carmarthen and The University Ceramic Wales has been hosted by of Central Lancashire will have stands Glyndwr University in the past and manned by students selling their although no longer the main sponsors wares and promoting those venues as of the event, the directors are keen to places to study. stress the importance of education at the core of their remit – both Wayne The event should make for a lovely day out because not only will people be 44 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
CERAMIC WALES Emily Stubbs Sue Crossfield admin – getting responses to requests from emails, collating information, able to wander around the stands – Sue Cullen (organiser of Earth & making sure everything is which will be undercover in marquees Fire) has kindly offered to put together documented, getting the promotional – but also the house and gardens. an event catalogue for visitors with an material together and so on. Wayne image and details of each maker. said that each question answered only Talking of gardens, year's ‘Made in Anyone wanting to advertise in the seems to raise another one and Wales’ exhibitor is Meri Wells, who catalogue can contact her at answering them all takes up a lot of will have a solo exhibition of her [email protected] for extra time – difficult when you can fantastical animal sculptures in the information – see our website for the only do this when your day job has gardens; the perfect setting to show rate card – claycraft.co.uk/ceramic- ended! them at their best. wales Wendy and the team feel very Similar to Rufford Abbey (as those Valentine Clays will be providing passionately that it is important for who ever visited or exhibited at Earth the clay for demos and workshops, Wales to have a voice in the ceramic & Fire will remember) there is a great which will include hand building, world. This will be the only event of turning circle in front of the Hall throwing and raku firings. its kind in the country and situated where a piece of each exhibitor’s work just off the A55 – the Welsh holiday will be displayed to give visitors a Cromartie and Top Pot Supplies will corridor gateway – it could not be taster of what they can expect to see. both have stands, selling tools and easier to access. For those wishing to equipment. make a weekend of it, there are plenty Of course, there has been great of places to stay in the area with the support from other quarters too, like Applications to exhibit at the event coast close by as an added attraction. Ruthin Craft Centre which will host a were really high and after much ‘Makers in Wales’ window display to deliberation, 74 makers were selected, THIS IS WHERE WE NEED promote the event. requiring a further marquee to be YOUR HELP, CLAYCRAFT ordered to accommodate everyone. I READERS asked what difficulties were involved All that’s needed to make this event a in organising an event like this and success is visitors, so add the dates to was told that they mainly involve the your diary and treat yourself to a great day out, you won’t be disappointed. I will be there with a stand of my own so you are welcome to come and chat about all things clay and ClayCraft – maybe you can give me some ideas for future projects? We will look forward to meeting you. Jacqui James Remon Hake Jephcott Agnieszka Pohl 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 45
PRSOKIJLLESCCHTOOL LIDDED VESSEL FOUR This is a lovely oven- to-table dish for cooking and then serving a meal. It looks particularly good when made in sets of different sizes, to serve a variety of foods. Alternatively, a shallow version makes a great dressing table container for jewellery or makeup You will need: For the bisque-fired press moulds ■ Paper to make a template, craft knife, ruler ■ Clay of choice – earthenware or stoneware ■ Rolling pin, 5mm thick roller guides, plastic sheet ■ Boxwood tools and a selection of ribs ■ Glazes to fit clay type ■ Brushes for glaze application ■ Slip/glaze trailer with very fine nozzle 46 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ . 0e479381-0069-45af-b2a9-c0a37e1e14dIeIssssuuee6622CCllaayyCCrraafftt 447
PROJECT FOUR 2 1 Prepare a block of clay large enough to Begin by making a paper template for the body accommodate the template once rolled out. Working on the sheet of plastic, reduce the bulk of of the vessel. (Note: if you don’t want to make a template, you can simply measure a slab instead, but the clay by beating it with the side of your rolling pin. the template is handy if you want to repeat an item to Work in measured, even strokes from one side of the the exact dimensions.) clay to the other, to avoid making deep grooves in the surface. The dimensions of the template here are 10cm height x 60cm length. You can make yours larger or Roll out the clay between your roller guides. You smaller to suit – the making method will be the same will find that periodically turning the slab will make whatever the proportions. rolling much easier and give you more control to achieve the approximate shape that you require – long and narrow in this case. Once rolled out, smooth over the surface of the slab with a rib to compress the clay. 3 Place the template on the slab as economically as possible to maximise the use of the spare clay, then carefully cut the shape out using a roller guide to help ensure the cut edges are straight. Peel the template off the slab and reserve the remainder of the slab under plastic for use later. 4 Turn the cut section over onto an absorbent board, remove the plastic sheet and then carefully smooth over the surface with a rib to compress the clay on this opposite side. 48 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
DIFFICULTY RATING ★★★★★ 58 Allow the slab to firm up on the board until it can Reinforce the join inside and be handled without flopping but is still malleable out, with a thin coil of soft clay. enough to shape, then stand it upright and form it Blend the coil in with a finger into a circle. or suitable tool, then smooth 6 over the area with a rib until the join is no longer visible. 9 Overlap the ends of the slab, then cut through Place a hand at each side of the circle and gently them at an angle with a sharp knife. squeeze the shape to an oval. 7 10 Score and slip the ends of Following the method explained at the beginning . the slab then fix them of the project, roll another slab, large enough to make together securely. the base and lid of the vessel. Transfer the slab to the absorbent board and smooth over the surface with a rib. 0e479381-0069-45af-b2a9-c0a37e1e14dIessue 62 ClayCraft 49
PROJECT FOUR 14 11 Firm the body of the vessel up using a hairdryer until it holds its shape without distorting when handled. Fit the body in place on the base slab, making sure it is evenly spaced from the edge. 15 12 Reinforce the join on the inside with a coil of soft Place the body on the slab, again being as clay. economical as possible with the spacing to maximise Blend the coil in with a usage. finger first, then neaten up using the rounded end of a Score around the perimeter of the body with a pin rib. for the base. 13 Cut the base out carefully, then score the position for the body on the slab and corresponding rim of the body itself. 50 ClayCraft Issue062e479381-0069-45af-b2a9-c0a37e1e14de
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