ClayCraft - Issue 35 (January 2020)

47 PAGES OF PRACTICAL BUILDS















PINCH, COIL, SLAB AND THROW Issue 35

Nautilus shell
GARDEN




Pinched & coiled




PINCH, COIL, SLAB AND THROW












Issue 35
TOTEM BUILD £5.75

GLAZING














N
G
I
E
F
REFIRING
R
R
I
STUDIO
VISIT


Keith Brymer

Jones PLUS: Large-scale challenge
• Simple slumps; mould and
dish • Events • Course List



Welcome
Meet the team...


s I’m writing this, it’s Christmas
A week, which comes with not only
time off to spend with family but
also time away from work.
Although I’m lucky enough to love what I do,
Jacqui Atkin Simon Shaw this enforced time away from my computer
Nautilus shell Traditional jug
p34 p8 screen will be a nice break! The overseas
distribution of ClayCraft can start in any
country at any time, which means that our
content can’t be too overtly seasonal. This
issue, for example, could go on sale somewhere We are surrounded by things that
in June. As you might imagine, this can make are ‘made’ and have become so used to seeing
juggling our projects a bit difficult; obviously, them that we accept their presence in our lives
we want to cater for our readers whose calendar without thinking about how they got there.
Linda Bloomfield Tracey Parsons is in sync with our own, while not making the Everything has been created, adapted and
Refiring glazes Thrown bottles
p18 p74 theme so specific that they don’t work for improved on. Even the mass-produced plastic
others. However, I know that potters are very tat that seems to be filling the world was once
creative and are used to looking at one thing an original ‘first’– possibly even modelled in
47 PAGES OF PRACTICAL BUILDS and seeing another, so I hope that if you have clay. Yet we’re losing the ability to make things
been reading the past couple of issues in the from scratch, craft skills are being lost, and
middle of the summer, you can adapt our creativity stifled at a young age. It’s vitally
PINCH, COIL, SLAB AND THROW Issue 35
Nautilus shell projects to something to suit you! We do try to important that this is addressed before it’s too
GARDEN
Pinched & coiled
give alternative uses or ideas whenever we can. late to get them back. 
PINCH, COIL, SLAB AND THROW
Our visit to Keith Brymer Jones was As Keith said, the only thing about modern
fascinating. I’ve met him several times but life that a caveman would recognise is a bowl.
Issue 35
TOTEM BUILD £5.75
GLAZING always with time constraints, so being able to Wherever you are in the world (whatever the
spend a few hours with him was a treat. He is time of year!), stop for a moment and look at
heavily invested in spreading the message that what you’re creating. Appreciate the skill, time
F
I
R
REFIRING N I G
R
E
you don’t need to be academic to be a success, and love that have gone into it, and be proud
STUDIO
VISIT and that crafts and creativity are vitally that you are contributing to a craft that has had
Keith Brymer
Jones PLUS: Large-scale challenge important, both in terms of skills and mindset, meaning for millennia. 
• Simple slumps; mould and
dish • Events • Course List
and his enthusiasm – and emotions – are
On the cover this month is our nautilus catching. Despite trying very hard not to, I
project, which combines pinching and found myself responding in kind when his eyes
coiling to great eŒect. See page 34

began to fill. Rachel Graham, Editor
ClayCraft Magazine Talk Media Sales Subscriptions Find current subscription offers/ consideration by the editor must be
www.claycraft.co.uk Ad Production Manager: 12 issues of ClayCraft are published buy back issues at shop.kelsey.co.uk the original work of the author and
Nick Bond 01732 445325 per annum Already a subscriber? not previously published. Where
Kelsey Media photographs are included, which are
The Granary, Downs Court, Yalding [email protected] UK annual subscription price: £66.00 Manage your subscription online at not the property of the contributor,
Hill, Yalding, Kent ME18 6AL MANAGEMENT Europe annual subscription price: £78 shop.kelsey.co.uk/myaccount permission to reproduce them must
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Art Editor: Rob Terry; Print Production Manager: postal address: Kelsey Media 2020 © all rights ISSN 1743-0712
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Reproduction in whole or in part is
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[email protected] Kate Chamberlain United Kingdom contributors: articles submitted for www.kelsey.co.uk
Issue 35 ClayCraft 3

Contents








Issue 35 20


18 Linda Bloomfield

Glaze problems that can be
improved by refiring

20 Project 2: totem spacers
and build
We conclude our series with
spacers and putting this garden
totem together
28 Going big!
Six potters take up the challenge
of handbuilding some giant pieces

31 NEXT MONTH
Find out what’s in store for
you in the next issue
8 32 Doug’s Diary

It’s been a time of sickness and
healing for Doug and his family
6 News 34 Project 3: nautilus
This project will extend your
8 Project 1: thrown milk jug making skills to build a form in 62 Back issues

Designed to contain milk and fit composite parts by combining
neatly in the door of the fridge, pinching and coiling techniques Missed a month? All the available
this jug has many other uses, and 50 Keith Brymer Jones issues at a glance
is great for custard and sauces, or 64 Project 5: slump dish
as a rustic vase We visit Keith’s Whitstable studio
to talk all things clay Following on from the project
on page 54, this is the test to see
54 Project 4: easy slump mould how well your mould works. You
This is a really easy mould to make. will be surprised how many
It requires minimum equipment and variations of the shape you can
materials, and you won’t need to make – but let’s begin with this
get your hands into messy plaster! shallow dish



















18 54





4 ClayCraft Issue 35

CONTENTS




64



















34






73 Reader o er:

❯❯ ClayCraft apron ❯ ❯

74 Confessions of a Novice 76 Courses 82 Reader o er:

A lot of bottle(s)! Tracey turns her Fancy signing up for a class? Find ❯ ❯
hand to our oil bottle project from local classes, courses and ❯❯ Pottery for beginners
issue 32 workshops

81 Events 47 PAGES OF PRACTICAL BUILDS
Our listing of what’s on around the
50 country
PINCH, COIL, SLAB AND THROW
Issue 35
GARDEN Nautilus shell
74 Pinched & coiled

PINCH, COIL, SLAB AND THROW


Issue 35
TOTEM BUILD
£5.75
GLAZING


REFIRING
STUDIO
VISIT
Keith Brymer PLUS: Large-scale challenge
Jones
48 ClayCraft dish • Events • Course List
• Simple slumps; mould and
001 Clay Craft Cover Issue 35 v2.indd 1
subscriptions SPECIAL
Save money and have the
magazine delivered to your door. OFFER!
You know it makes sense!


Issue 35 ClayCraft 5

IN THE
If you have a news story, product launch or details of some
If you have a news story, product launch or details of some
NEWS POTCLAYS COURSES & WORKSHOPS IN 2020
other topical item you’d like our readers to know about,
other topical item you’d like our readers to know about,
email [email protected]
email
R
S
U
O
E

&
S

C
T
C
O
P
L
S

A
Y
W
I
N
0

0
2
2

K
S
O
R
P
S
H
O
Throwing with Richard Heeley,
one for the Advanced Throwing
Masterclass with David Frith and two
for the Porcelain Masterclass with
Potclays have delivered courses Richard Heeley.

and workshops from their Stoke- Also on o˜er are two dates for
on-Trent premises for over 35 years, Tilemaking with Richard Miller, one
attracting a wide audience ranging for Mouldmaking with Ed Bentley
from the complete beginner to the and two for Jeremy James’ ever
professional practitioner. In 2016 they popular Animal Sculpture (The Hare)
were awarded the Craftcourses.com workshop.
Platinum Certificate of Excellence. Finally, there are three one-day  Richard Heeley will be holding

The courses and workshops glazing workshops hosted by Mayco masterclasses.)

are hosted by some of the most in February, which coincide with projects to take home to fire. Both
respected names in the field and are Potclays’ annual sale week, which days can be booked separately.

ideal for those teaching ceramics returns 10-15 February with generous On Thursday 13 February, over
in all areas of education, covering a discounts against all their products. the course of three projects, you

variety of ability levels. They will welcome back Mayco’s will learn about low-fire glazes that

In 2020, due to popular demand, artist-tutor Bre Kathman to deliver emulate a high fire look and discover
there are two new sculpture three consecutive days of glazing inspiring decorative techniques using


workshops with Jeremy James: workshops, generously subsidised by sgraŸto and stamped pattern.
Animal Sculpture (The Bird) in Mayco. The 2020 programme of Potclays
February and People in Clay in April. On Tuesday 11 and Wednesday courses & workshops is now live for
The potter’s wheel continues to 12 February, Bre will guide you booking on Eventbrite. For many
rise in popularity, and Potclays will through a variety of stoneware glaze courses, places are limited to 10, so

o˜er nine throwing workshop dates combinations which fire beautifully please book early.


in 2020: Four for Basic Throwing with at mid to high-fire temperatures and Visit potclays.co.uk/studio for full
Jon French, two for Intermediate each day you can complete four details
CRAFT FESTIVAL CHELTENHAM CALL FOR
Fresh from the success of the 3rd Sue Pryke
series of Channel Four’s, Great will be ENTRIES
Pottery Throw Down, charismatic, exhibiting.
successful and passionate potter, Keith Multi-award-winning
Brymer Jones will open Craft Festival Craft Festival launches
Cheltenham on Friday 20 March. Keith new event in Bath
is famous for his emotional outbursts Craft Festival, Bath will be hosted
on screen as his passion for ceramics at the beautiful Assembly Rooms
and clay bubbles over. The question is: November 28-29, 2020, showcasing
Will there be tears? 100 of the very best designer
The organisers have also managed makers from across the UK, selling
to snap up both the Throw Down their work directly to the public
judges, as award-winning tableware including the finest ceramics, wood,

designer and fellow judge, Sue Pryke designer makers from across the UK, silver, jewellery, glass, textiles and
will be exhibiting at the festival. selling their work directly to the public more.
Sue, who has designed tableware including the finest ceramics, wood, Chosen by a panel of industry

for IKEA and M&S will be exhibiting silver, jewellery, glass, textiles and specialists, Craft Festival Bath’s Call
her beautiful, pared-down range of more. for Entries will open on 24 January
earthenware cups, jugs, plates and with a deadline of 27 March 2020.
bowls. Craft Festival Cheltenham, takes Applicants are required to send six
Returning to Cheltenham Town place on 20-22 March 2020 images of their work and a brief
Hall for the third year, Craft Festival Open Saturday 10-5pm & Sunday biography. Full details can be found
Cheltenham (formerly Made by Hand, 10am-4pm on craftfestival.co.uk/apply
Cheltenham) is presented in the Adult daily ticket £7, concession £6
splendid early-20th century Town Hall. Adult Super Saver Weekend Ticket £13
Showcasing over 100 of the very best craftfestival.co.uk
6 ClayCraft Issue 35

NEW WEBSITES IN THE NEWS


A couple of suppliers have let us know that they now
have new websites. Hartley & Noble makes batts, batt
sets, moulds, formers and tools, and you can now
place orders at: hartleyandnoble.co.uk

Chalco Stamp & Die Co is a traditional stamp and
die maker, based in Northamptonshire, which makes
bespoke, hand-made brass potters marks, roulettes,
moulds and much more. Check out the new website
at: chalcostamp.co.uk











t
ü
ü
t
H
t
Gü
G G G G Gü
ü
ü
ü
ü
H
H
H
H
H
H
H
H
H
H
H
H
Gü
G G G
Günter Hermans
Gü
Gü
Studio potter from Bavaria
uses a KG750 A kiln
ROHDE kilns.
 W h y n o t t r e a t y o u r s e l f t o a b r a s s m a k e r ’ s m a r k o r a
Why not treat yourself to a brass maker’s mark or a
roulette from Chalco Enjoy your results.
NOW YOU CAN BUY
PINCH, COIL, SLAB AND THROW
FROM YOUR FAVOURITE
POTTERY PRODUCTS SUPPLIERS
ClayCraft can be bought every month from:
” That special moment, when
I open my ROHDE kiln is still
exciting – after so many years!“
Potclays.co.uk
Angliaclaysupplies.co.uk ROHDE has been producing kilns and machinery designed
to meet the highest standards since 1982. The company’s
Bluematchbox.co.uk ongoing pursuit of technical advancement creates
Corbykilns.co.uk outstanding quality and effi ciency that you can rely on.
For the joy of your creations.
Scarva.com
Creakor.be (Belgium)
Learn more about Günter’s story
Ravitera.hr (Croatia) www.rohde-online.net/artist
www.rohde-online.net
If you are a pottery supplies company and would
like to know more about selling ClayCraft online or in
your shop please contact [email protected]
Issue 35 ClayCraft 7

SKILL SCHOOL STRAIGHT-
PROJECT
ONE
SIDED MILK JUG







This thrown jug is designed to contain milk and fit in the door of the fridge neatly.
It does, of course, have many other uses, and is great for custard and sauces,
or as a rustic vase






































































8 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★
DIFFICULTY RATING ★ ★ ★ ★ ★

You will need:
■ 900g (2lb) clay – earthenware or stoneware 2
■ Tools for throwing – water bowl, sponge, cutting
wire, rib
■ Glaze of choice, to suit clay type
Before you begin:
■ Prepare your 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



1

Cone 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. This will
level it o and bring it to centre.
















Centre the clay. You can see full instructions on how to
do this on our website but begin by forming the clay
mass 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 is secure.

























.

Issue 35 ClayCraft 9

SKILL SCHOOL
PROJECT
ONE

4















3

To check the thickness of the base, stop the

Open out the centre by pressing the fingers of your TIPwheel running, then press down into the clay
right hand down through the clay to within 10mm of the with a pin. Drop your finger down to the clay and hold

wheel head. it there as you lift the pin out. This will clearly show
Support the right hand with the left as you draw the you the thickness of the base
clay back towards your body until the base is opened
to a width of approximately 10cm.
The resulting mass should look like a thick doughnut.
Compress the clay in the base by running your
fingers or 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 firing.













































10 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★



5 7


















Repeat the lift to thin and raise the wall, still
Pinch and lift the wall between the fingers and thumb of maintaining the cylinder shape.
your right hand. The shape will look cup-like as you do It’s essential to keep the top of the form narrow to
this. Maintain the left hand in position on the opposite prevent the shape getting out of control but at the
side of the wall as you lift, to keep the clay to centre.
same time maintaining the fat rim.























6 8




















 Change the position of your hands to pull the wall
upward to a cylinder shape – left-hand fingers on the inside,
the tips of right-hand fingers (or side of the knuckle) on the  Remember to compress the clay at the rim after each lift
outside just above those on the inside. – pinch the rim gently between your fingers and thumb, at
Raise the wall straight to half its height in this first lift, the same time resting the forefinger of your other hand on
leaving a fat rim at the top. the rim and applying gentle pressure. .
Issue 35 ClayCraft 11

SKILL SCHOOL
PROJECT
ONE
11

















9

The final pull should lift


the wall to its finished  Clean away excess clay from the outside base of the jug
height – the walls should and wheel head using a rib.
be perfectly straight
and an even thickness
throughout.
12






















With your left-hand fingers inside the jug, applying

gentle pressure to maintain the shape, carefully rib over
the exterior surface to remove the excess slurry and the
throwing lines.
















10

 Mop the water out of the interior of the jug with a
sponge on a stick.
12 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★


13 15



















 Cut a bevel at the base of the jug with the tip of the rib.  Apply downward pressure to lower the lip, by moving
your finger from side to side over the clay until the shape
pleases you.
14

16



















To make the pouring lip,
moisten your fingers then
squeeze and lift the clay Press the rim inwards with your thumb, on both sides
at the rim to thin an area of the lip. Support the lip with a finger as you do this to
3-4cm wide. prevent the shape distorting incorrectly.























.

Issue 35 ClayCraft 13

SKILL SCHOOL
PROJECT
ONE
PULLING A HANDLE OFF THE POT

19















17


Check that the shape at the lip is evenly balanced and  Dab some slip on the outside
make any minor adjustments necessary. wall of the jug, just below the

The finished lip should look like the one in the image. rim on the area exactly opposite
the lip.
Roll and slightly flatten a short

length of fat coil.
Dab some slip on the end of

the coil to be fixed onto the body.


20














18


Score over the slipped area on the jug and the end of
the coil.
















 Wire o the underside of the jug and carefully lift it

o the wheel head, cupped in both hands, onto a waiting
board.
Allow the form to firm to leather hard.

14 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★


21
23

















 Push the coil onto the wall of the jug, making sure to Hold the jug in the position shown in your left hand.
support the shape from the inside as you do this. Wet the fingers of your right hand, then stroke the clay
downwards between your forefinger and thumb until
the handle is the correct thickness.

22




















24
Smooth the coil onto the wall of the jug with a finger.
Make sure the join is neat, and the coil secure on the
wall before continuing.






















 Draw your thumb down
the right side of the handle, as
shown, then repeat on the left.
Issue 35 ClayCraft 15

PROJECT
SKILL SCHOOL
ONE
28
















25
 Smooth the clay down onto the wall where the excess
was removed. Then press the tip of your thumb slightly
 Curve the handle back around to the jug wall, making

sure there is adequate space for the hand to fit through for upward into the base of the handle as a final detail.

lifting.

You can play a little to find the best shape and balance
for your jug. 29
Press the handle onto the wall of the jug at your chosen
point, leaving a little spare extending below the join.
26











 Allow the fi nished jug to dry slowly before bisque fi ring.




Smooth the clay onto
the wall with a thumb,
spreading it outward on
each side as shown.



27 Glaze your jug
to suit your
requirements.
Here an Amaco
celadon brush-
on glaze, Cherry
Blossom, was
applied to the
interior and
handle of the jug
and Aqua to the
outside.
Fired to 1200°C
in an electric kiln.
 Break o the excess remaining at the bottom of the
handle with your thumb.
16 ClayCraft Issue 35

New Stamps!







SCM-207






SCM-206






SCL-054 SCM-208

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Phone: 01 (920) 903-8918
m k m t o o l s 1 @ g m a i l . c o m

Hot Clay Bath Potter’s Supply Scarva Pottery Blue Matchbox
hot-clay.com bathpotters.co.uk Supplies bluematchbox.co.uk
scarva.com

Re-firing






























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  Linda Bloomfield porcelain bowls in the kiln with crawled glazes. The two
Ceramic Society 2017). Her next pots in the middle of the kiln did not dry out su†ciently and steam caused
book Special E ect Glazes will be areas of glaze to lift o‡.
published next year. The second
edition of her book Colour in  Porcelain bowls after refiring to
Glazes is now available cone 8, 1250°C. The crawled areas
have disappeared.

G lazes don’t always come out off. If this is the case, the pot can be
as expected. There are so
re-glazed and re-fired. It is best to
apply glaze to the pot while it is still
many variables; the glaze
application may have been warm, as soon as it is unloaded from
too thin or the firing temperature too the hot kiln (but don’t open the kiln
low. The glaze may have crawled; this until the temperature is below 100°C).
happens when the glaze is applied too If this is not possible, it can be
thickly or if the pots are still damp reheated on the top of a radiator. The
when loaded into the kiln. Steam glaze can be daubed on using a brush.
escaping from the damp ware during The pot will then need to be placed
firing can cause sections of glaze to lift back on the radiator to dry. Once the
first layer of glaze has dried, another
layer can be applied. I find it usually
needs around three layers to attain a
sufficient glaze thickness. The glaze takes time to cover all the bare patches
dries slowly as the water evaporates evenly with glaze but, with care, the
from the surface rather than being refired pot will look as good as new.
absorbed by the ware, which is no To speed things up, a small amount of
longer porous after firing. If there are glaze can be thickened using CMC
crawled areas all around the walls of gum or gum Arabic, but this will turn
the pot, it’s easiest to reglaze one spot it into a brush-on glaze and then it can
at a time, leave that to dry, and then no longer be used as a dipping or
move on to the next area. The pot can pouring glaze on biscuit ware.
 Porcelain bowls drying on the be balanced on its side on the radiator Some potters keep applying more
radiator after being partially reglazed. so that the wet glaze is horizontal. It layers of glaze and re-firing until they
18 ClayCraft Issue 35

GLAZING





















 Porcelain plate with a matt white  Porcelain plate after reglazing and
 Underfired matt grey plate. The glaze over a glossy turquoise glaze. refiring. The glaze has improved but
glaze is rough and pinholed and The white glaze was applied too unfortunately the plate cracked when
would be improved by refiring. thickly and has crawled in some areas. it was fired the second time.

are happy with the pot. This is not glaze. Refiring, especially with a soak crazing but usually makes shivering
advisable if the pot has been over-fired for 15-30 minutes at top temperature worse. Glaze defects are often affected
in the first place. Over-firing often will melt the glaze further and smooth by firing a second time. Pinholes might
causes the glaze to run and drip, or out any pinholes or drips. be eliminated but blisters may be
blister and bubble. If the pots are fired Sometimes pots can be refired worse. However, if you are really not
again, the glazes will run more and successfully, but the best pots are happy with the glaze, there is nothing
the blisters will get worse unless they usually the ones that come out right to lose by refiring the pot.
have been ground down before the first time. There is a risk that the lindabloomfield.co.uk 
refiring. However, if the pot was pot will crack during the second firing.
initially under-fired, it can be This depends on whether there are Next month:
improved by refiring. Under-fired stresses due to differences in expansion
How to investigate glazes on
glazes look rough, dry and matt, often between the glaze and the clay body.
glazy.org
with pinholes or unmelted drips of Refiring can improve or eliminate

GLAZE FAULTS can cause the glaze to form beads with bare patches in
If the glaze contracts more than the clay body during between. These materials include zirconium and tin oxide,
cooling, then cracks will appear in the glaze when the pot which are used to opacify the glaze, making it white.
is removed from the kiln. This is known as crazing. It is not Crawling is sometimes caused by greasy or dusty biscuit
desirable on functional ware, but some potters use it as ware. If you think this is the case, the ware should be
a decorative e ect. To correct crazing, a low expansion sponged and left to dry before glazing.
material can be added to the glaze. Boron oxide has a Other problems are caused by underfiring or overfiring
very low expansion and can be added in the form of the glaze. Underfiring can cause pinholes, while overfiring
borax frit or calcium borate frit. Another glaze material can cause blisters in the glaze. Soaking or holding the
with low expansion is talc (magnesium silicate). peak temperature at the end of firing can heal pinholes.
The opposite of crazing is called shivering. The glaze Blisters can be ground down and re-fired.
contracts less than the clay body during cooling and
starts to flake o rims and edges of handles, or can even Troubleshooting summary
crack the pot in two. This is a serious fault, which can ● To correct crazing, add 5% silica, borate frit or talc.
be corrected by adding materials with high expansion, ● To correct shivering, add 5% feldspar, or reduce silica
containing sodium and potassium, including feldspar and by 5%.
high-alkaline frit. Reducing the silica in the glaze will also ● To prevent crawling, apply glaze more thinly, reduce
help. clay content, or sponge biscuit ware.
Crawling is a problem that can occur when the glaze
is applied too thickly and cracks on drying. It can be ● To smooth pinholes, soak for 15-30 minutes (hold peak
temperature) at the end of firing.
corrected by applying the glaze more thinly, or reducing
materials with high drying shrinkage such as clay and zinc ● To avoid blisters, fire to a lower temperature, or apply
oxide. Materials with high surface tension when melted glaze more thinly.


Issue 35 ClayCraft 19

SKILL SCHOOL
PROJECT TOTEM SPACERS
TWO
AND FILLERS







The major parts of our totem
have all been made and fired

now, so all that’s left to make are

the spacers and fillers – the small

parts that fit between the larger
pieces to balance the overall
arrangement




























































20 ClayCraft Issue 35

DIFFICULTY RATING ★★★★ ★
You will need:
■ Stoneware clay as used for the other sections
■ Half-globe/bowl moulds in varying sizes down
from the largest used to make one of the major sections
■ Rolling pin, plastic sheet, 1cm-thick roller guides 2
■ Small-headed loop tools for carving

■ Glazes of choice to fit clay type and complement
those used for other sections
Before you begin:
■ You will need to make a good selection of spacers in
the various sizes. It’s better to have too many than wish
you had just one or two more as you’re assembling the
totem.
■ If you don’t have, or don’t want to make, various
moulds like those used here, you could pinch these
sections following the method for joining pinched
sections, demonstrated in many issues of ClayCraft.




Cut a semi-circle out of the slab. Lift it o€ the plastic
sheet, then carefully position it in the mould to cover at
1 least half of the space. 
Ease the slab section into the mould with a barely
damp sponge to avoid stretching the clay.











Prepare a block of clay
large enough to fit in


your first mould.
Working on the sheet
Working on the sheet
of plastic, reduce the
bulk of the clay by
beating it with the side
of your rolling pin. Work in measured, even strokes
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 thick roller guides.
You will find that periodically turning the slab will 3

make rolling much easier and help you achieve a round
shape. 
Smooth over the surface of the slab with a rib to
compact the clay.














 Cut a second semi-circle from the slab and place it in the
mould, overlapping the first section. .

Issue 35 ClayCraft 21

SKILL SCHOOL
PROJECT
TWO

7
















4

 Blend the overlapped slab together, pressing fi rmly to Very carefully cut a bevel around the rim of the clay, as
force out any trapped air. shown. Again, you must be very careful not to cut into
the plaster because it could contaminate the clay.
Hold your knife at a downward angle to cut the bevel
very slowly. Having the mould on a whirler as you do
this will make the job much easier.
















5

 Cut away the bulk of the excess clay protruding above
the mould using a knife, but make sure it doesn’t come into
contact with the plaster.

8
















6


 Remove the excess entirely by resting a length of batten
on the rim of the mould and drawing it sideways and  Score the bevelled edge with a serrated kidney,
backwards in small sections until the rim is level. continuing to take care not to cut into the plaster.
22 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★★ ★



9 11


















 Make the second half of the globe in the same way, but
this time, don’t bevel the rim. Turn the form out onto a
board and reinforce the join as before.
Turn the clay form out onto a board, then reinforce the Sit the form upright on a foam block with a hole cut out
join along the centre with a coil of soft clay. of it.
Bevel the outer edge of the rim with a surform blade.

12



















 Score the bevelled edge as you did for the first half.


13
10

















 Position the section of dowel you have used previously
to measure the opening for the support rod, across the
centre of one half of the globe.
 Blend the coil in with a finger or thumb first, then Mark the position carefully on each side of the dowel and
smooth over the surface with a rib. opposite ends. .
Issue 35 ClayCraft 23

SKILL SCHOOL
PROJECT
TWO


17











14
Rest the globe on your foam block and reinforce the
 Cut out a semi-circle between the marked lines, on both join with a coil of soft clay.

sides of the form. Blend the clay in with a finger as you work around
Rest the dowel in the cutout, to check that you have cut the globe.
enough away.

















15 18


 Fit the two halves of the globe together and mark the
positions for the corresponding semi-circles.
Separate the halves again and cut out the second two
semi-circles, as before.
Check that the dowel will fit through the holes when the

sections are together. There should be some wiggle room

to allow for shrinkage during firing.

 Smooth over the reinforced join with a rib to neaten the
surface.

19







16


 Slip the scored rims of
each half of the globe, then
carefully fit the sections  Neaten around the opening holes with a wooden tool to

together, making sure the ensure they are perfectly round and the right size to fit the

holes align. rod through.
24 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★★ ★




20 23













Score a broad, linear pattern of your own choice Continue to carve out the grooves in each section of
around the surface of the globe using a pin. This your design. Cut the lines in dierent directions in each
pattern is meant to delineate areas to carve into, so area to make the design more visually pleasing.
don’t make it too complicated.



















21
24













 Lightly score a circle around the holes on each side of After you carve out each groove, run your finger over
the globe. A cookie-cutter in the correct size makes a good the surface to soften the edges.
circle to impress into the surface or draw around. Continue to work in this way until all areas have been
carved out and neatened up.
22














 Using a small-headed round loop tool, cut a series of
linear grooves in the first segmented area of your pattern. .
Issue 35 ClayCraft 25

SKILL SCHOOL
PROJECT
TWO


27















25


 Allow the globe to dry out slowly, supported on the
foam block.
Cut simple, small grooves into the globe to coordinate
with all other parts made. Work from the top to the
bottom circle line, using a tiny loop tool.












26


Make a series of smaller spacers in exactly the same
way.
The type of ball used in children’s playball
TIPcentres makes great small moulds and can
be bought from budget home and toy outlets at very
little cost
















Be aware that there is less space to make complicated
surface patterns on smaller globes, so once you’ve
made the holes for the supporting rods, score a line
around the opening on each side as you did for the
larger spacer, but using something smaller to score
around.
Finish by working over the scored line to impress it a
little deeper into the clay and neaten it up. 

26 ClayCraft Issue 35

DIFFICULTY RATING ★★★★ ★



1
28











 The rod needs to be secured into the ground at least
50cm deep to be safe; therefore, you must add this on to
the total length when all the parts are arranged.
Make as many more To measure the length required, lay the parts out on the

spacers as you feel you floor as they will be on the rod and measure the height they
will need to complete cover. Add the ground extension onto the sum for the total.
your totem, repeating the Cut the tip of the rod at an angle to make it easier to
carving theme in di erent hammer into the ground.
carving theme in di erent
variations for each one.
2
29
















 Cut a series of small foam circles to act as bu ers
between the sections of the totem.
 Glaze your spacers in colours to coordinate with the rest Simply cut a cross at the centre of each circle and thread

of your totem parts. onto the rod between the sections as you fit them. 
Remember to wipe back the glaze where the forms will
sit on the kiln shelf, to avoid them sticking.
The spacers shown are variously glazed in cone 6 brush- 3 ƒ Fit the
on glazes, fired to 1200°C in an electric kiln.

totem parts
onto the
ASSEMBLING THE PARTS secured
rod in an
arrangement
After all your hard work, the parts should all now be
A f t e r a l l y o u r h a r d w o r k , t h e p a r t s s h o u l d a l l n o w b e of your choice,
ready to put together in the garden –
ready to put together in the garden – separated
an exciting moment! by the foam
an exciting moment!

bu ers.
e
l
n
e

d
l
You will need: :
u
Y
o
w
i


h
t
l
o
n
■ A long length of of
A

g
e
n
g

l
steel rod – –
available from
most steel
most steel
fabricators
fabricators
■ Hacksaw to cut the rod

■ Foam sheets to make bu ers for the parts
Issue 35 ClayCraft 27

A POTTERS’ PLAYTIME



AT POTCLAYS



Studio potters are invariably constrained by the size of their kiln, their working space
and inevitably by amounts of material they have access to. Many might like to work
bigger but find their circumstances make this too di cult. Imagine the luxury of a huge
supply of clay and two days to make one big piece from it. If only this were possible, but
interesting things can happen when people work together.


S o here was the idea: Potclays Wayne Clark
has built its business working
would love to
with small-scale makers and
take part in
is always eager to contribute something like
to the development of studio ceramics. this again.
Would the company support this project?
The answer was a resounding, yes.

Mark Winkle – works manager,
Potclays Ltd
“As an employee of Potclays, with 30 years
of experience in clay manufacturing, I
listened intently to Geoff Cox’s idea about
a ‘networking and skills event’ that needed
a venue and materials. This conversation
was held at Potfest Scotland, Scone Palace,
in Perth. It was something new,
interesting, which required forward
thinking, and vision. I was instantly happy
to float this idea with the Potclays
directors, on my return to Stoke-on-Trent,
as I felt it fitted with the company’s aim to
increase knowledge and awareness in And so it began transfer immediately to this size. A whole
studio pottery. After a meeting with Geoff Six potters arrived at Potclays’ reception new world of problems waiting to be
at our factory in Etruria, it was decided on a Thursday Morning in October and wrestled with, if not solved. For everyone,
that our classroom and machinery would were shown to the room where it would it was a most exciting adventure in
be a good place to start this journey into all happen. Two wheels, a wedging table waiting. It wasn’t the intention to fire the
the unknown.” and, just outside the door, two tonnes of pieces; the aim was just to experience
clay on a pallet (160 bags). The objective working on this scale. Potclays could
was for each potter to make one large reclaim all the clay after the event, so
piece over the next two days using up to working on site was ideal for everyone. No
500 kilos of clay. This would be 10 to 20 one knew what would happen, and both
times bigger than any of them had ever parties accepted that it could be a complete
worked before. failure, but all thought it an exciting
All the participants were well- project and undoubtedly something of
established makers with many years’ value would come from the experience for
experience in their own fields, but they both. The first decision – which clay to
were complete novices at working on such use?
a large scale. It seemed unlikely that skills
honed in their present work would  Mark again
“With no idea what was needed, we
 Eddie Curtis discovering how decided on 150-1102 Oxidising St
much strength it takes to work on Thomas, (a general-purpose clay). It offers
such a large scale. a professional body that is excellent for
28 ClayCraft Issue 35

POTTERS’ PLAYTIME



Christine Cox Eddie Curtis
“I very much enjoyed the atmosphere in “I’ve been working with clay for 40 years,
the room working alongside five other and in that time, I have always aspired to
makers doing their own things – making pieces that have scale. Given that I
discussions, banter and on occasions just could use up to 500 kilos of clay to create a
quiet concentration, and I valued the sculpture, with no implications of having
opportunity to work uninterrupted by to recycle the clay at the end, gave me
home distractions. Time ran out before unrestrained confidence to get on with the
the work I made was in any sort of job. The physicality of the process was
refined state that I would have been somewhat different to what I expected; I
happy with – another full day was had allowed for ‘super-size’ tools but
required! However, as they say in hadn’t appreciated the requirement for
politics, ‘lessons were learned’, and I feel supersized body strength when using
more confident now in scaling up and them – slicing off tens of kilos of clay from
working on more complex, larger the original half-tonne mound that I had
 Geo Cox has taken what he forms.” already beaten together from 40 bags of
learned home with him and is already plastic clay body took me to the limits of
working on bigger pieces. Wayne Clark my capabilities. What I gained from the
“What a fantastic experience, being able two-day process and everything it
most types of pottery. Imagine my panic, to make such large-scale work, alongside released me from was enough, and for
when I looked at the size of the projects, fellow makers, making the most of the that, I am grateful.”
that first morning! I quickly informed the collaborative conversation and problem-
assembled potters that I wished we had solving opportunity. I often throw quite Margaret Curtis
selected a Smooth Crank or even our Craft large pieces but have never had the “I’ve never had the opportunity to work
Crank, which is suitable for large opportunity to work with this volume of alongside a group of clayworkers before,
sculptural pieces. But it was a journey, a clay. For me, planning ahead to make the and while initially apprehensive, I really
step into the unknown, and without that, most of the limited timescale, control, enjoyed the process. From the moment of
knowledge and experience can’t be concentration and collaborative spirit ‘clocking on’ when we first arrived at the
obtained. All clays have their structural were the most valuable elements of this Potclays studio I was so impressed with
limit, but with skill, and experience, the experience. I thoroughly enjoyed it and how everyone immediately got down to
potters pushed the clay way past its would definitely take part in something the task of creating and kept on working
normal working range.” like this again.” with an inspirational focus for the two
days. Taking clay to its limits challenged
What the potters said Simon Shaw all of us I think, but at every point of
Geoff Cox “The concept of working on such a large ‘failure’ there was something new that we
“For a one-off, first-time project, I thought scale was new to me. In the past, I have learned and we addressed the problems as
it went really well. The tight time frame produced predominantly thrown work, we progressed. I was encouraged by my .
was good (if pressured). It concentrated occasionally of some scale up to 30-
the mind (and probably induced a degree 40kg. The idea of making work using 10
of panic), but it also took away any times this amount of clay I found both
preciousness and kept everything direct. I exciting and daunting. The working
thought it was a brilliant experience and environment was great, and the group
the most exciting (and challenging) one I’d dynamic was supportive and focused. By
had for many years. After 40 years’ disregarding the firing process, the
experience, it was an excellent reminder to making of the piece liberated some
take nothing for granted and made me limitations that may otherwise have
look at clay in a new light, as well as what been self-imposed. 
I thought I knew, which was more to the “Handbuilding is still a relatively new
point of the exercise. I’ve since come to process to me and, on a practical level, I
realise that we are often held back by our certainly gained knowledge of what is
own perceived difficulties that are, in viable regarding clay condition/
truth, not the barriers we think. With the thickness/ strength. I think the main
knowledge gained, I immediately wanted benefit for me was the reinforcement
to do it again and have already started on that to move work on, you have to take  How big can you go? Margaret and
bigger pieces at home.” risks and be prepared to fail.” Eddie Curtis are finding out!
Issue 35 ClayCraft 29

GLAZE SCIENCE



interesting to see how much excitement the benefit of all in ceramics in the UK.
this activity generated in the ceramic On this occasion just six makers took
community. The main observation from part, but it has posed the question, would
our point of view is that having thorough it be possible on a much larger scale? Is it
discussions in advance about materials something other potters would want to
required, format, length and content of the do?
event is key. The St Thomas performed The advantage of working at Potclays’
unexpectedly well, but with the benefit of HQ (as well as the support offered by
hindsight, as Mark said, crank would have Becky and James – the company directors)
been a better choice for work on this scale. was that the clay was readily available on
We’d be very pleased to be offered the site and as the work wasn’t going to be
opportunity to support similar initiatives fired they could reclaim it after the event.
in the future. We’ll happily support where There was also a purpose-built workspace
 Simon Shaw is predominantly a we feel the proposed project has value for with power and equipment, so
thrower, so hand-building, especially the pottery community as a whole, as well infrastructure costs were at a minimum. A
on this scale, was an exciting as Potclays.” larger event would require bigger
challenge.
  premises with much higher infrastructure
experience, and I am confident that I shall The potters – working with Potclays costs, but the biggest problem is finding
now look at scaling up my work in my We can’t thank Potclays enough for giving enough potters who would fully commit to
own studio.” us this opportunity. The working space a future project. 
was excellent, the clay provided more than Imagine 30 potters with five tonnes of
Becky Otter – response from Potclays generous, and their enthusiasm for the clay working on their own large hand-
“The ‘potters’ playtime’ was a great project inspirational. I feel that material building project on the same site for a few
experience for us. It was fascinating to see suppliers and makers collaborating in this days. How exciting would that be?
the work evolve over the course of the two way on projects is invaluable. We are a To express an interest and find out
days, and to witness how well the St partnership, mutually dependent, and any more, check out ‘Initiatives’ on
Thomas performed under duress. It’s way we can work together can only be to the potfest.co.uk website. 










































30 ClayCraft Issue 35

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STARTING IN BUSINESS
(Photo: Layton Thompson) DIARY








Doug Fitch

TOUGH Remote Galloway. I took a walk with Pippin and Fred to
try and clear my head. Our house and the grey roof of
the workshop are on the right-hand side. 
TIMES




I t’s the day after the election, and
the pressure is on here. 
Since we returned from our
journey down south to visit my mother, we
have all been really unwell. My mum didn’t
properly wake the whole time we were
there, so was unaware of our visit, which is
a terrible shame, but I’m pleased to
report that she is out of hospital
now and back in her care
home and we’ll get down
to see her again as soon
as we can.
The day after the ƒ A Christmas order of big heart jug. (Photo: Hannah McAndrew) 
long journey back to
Scotland, I was struck about illness and not Hannah trailed her relatively delicate
down with the most much about pottery, but designs on to plates, and I demonstrated
horrific migraine I have there hasn’t been much my free-flowing technique of pouring the
ever suffered. It was a fever pottery happening, which is slip from a trailer on to a flat slab, to be
and sickness that lasted for frustrating and rather slumped over a hump mould when
three days. stressful, as the Christmas orders toughened. Thankfully most of the focus
 As soon as I rather weakly got back on aren’t finished yet. was on our hands, as I must have looked
my feet and was about to start work again, Anyway, here’s a little bit of pottery stuff like death.
Pippin started to have night terrors and that has been happening. Earlier in the
was clearly not right, with a couple of spots week, I had to drag myself from my Sold in the charity auction. 32cm
and a temperature; then Fred was taken sickbed, as we had been asked to contribute high. (Photo: Shannon Tofts)
down by chickenpox. to a short film showing traditional
Hannah soldiered on, and I joined her methods of decorating with slip. This has
briefly and managed to get some of the been commissioned by the Burrell
orders thrown that are needed by Collection in Glasgow, a famous, eclectic
Christmas, before once again, being struck collection of ancient arts and crafts,
down with a fever that left me shivering in assembled over a lifetime by a wealthy
bed for another two days.  shipping magnate called Sir William
So, a trip to the doc’s yesterday and the Burrell, and donated to the city in 1944.
advice that I need to be taking it a bit The building that houses the collection
gentler, which is rather easier said than is currently closed for refurbishment and
done, but I guess I must at least try. reopens in 2021. In the collection are some
Yesterday afternoon it was Hannah’s fine 17th-century slipware dishes, and the
turn, and she had the most dreadful attack film will accompany the pieces to show
of sickness; I’ve never seen her look so ill. how the techniques were done and how
What a household we are at the moment. these processes are still used in
So I apologise, I’ve written rather a lot contemporary practice. 
32 ClayCraft Issue 35

KILNS






















 One of the jugs auctioned for
the homeless. 23cm high.
(Photo: Shannon Tofts)

some wonderful people made bids, another
who wanted to contribute but couldn’t
afford the pieces made a donation, and
between us we raised £1,365 by the time
the polls closed. That money will be so
useful, particularly when you consider that
 Making the film for the Burrell Collection, Hannah decorating a plate. during the past nine years, homelessness
has increased by 165%, that’s a staggering
 It’s a great honour to have been asked to statistic.
participate, and I look forward to going Well, as you can gather, the election
and seeing us in action on screen when it didn’t go the way I had wished, and it
reopens in spring 2021. leaves me deeply saddened, distressed and
Filming completed, I returned exhausted worried. Will we see our European potter
to my sickbed, where my dear wife looked friends next year at the pottery shows, or
after me, employing the sweetness and ever again for that matter? Will our home
gentleness with which she is blessed. When here in Scotland even be part of the United
I was ill and lying freezing, yet boiling in Kingdom in the longer term? Would I like
bed, I wondered how on earth I would have that? Maybe, maybe not. Will the
coped had I have been homeless and ill like inevitable turbulent financial situation
this, with no warmth and nobody to love enable us to survive as full-time potters,
me better.  making things that in the scheme of
I had plenty of time to think, which is things, nobody really needs? Who knows?
rare in our hectic lives. I thought a lot Too many gloomy thoughts.
about my dad; I think of him every day. He Hannah was ill in bed, so I went with the
died just two days after Pippin was born.  kiddies for a walk this afternoon to give
He was an extraordinary man, and was  The final Christmas order heading her some peace, to clear my head and to
instrumental in establishing a charity to into the kiln room after three days of tire them out, because they were tiring me
provide a day centre to deliver support for decorating.  out! I took a photograph looking down
the homeless and vulnerable of Bedford. over our house and workshop to show you
The centre, now with the acronym Facebook business page. We had a few the isolation and beauty of our
SMART is still serving the community, really good pots that were unsold from our surroundings. It’s a good place to be able to
with increasing necessity. online exhibition, and because they’d been fool ourselves that we can hide from the
It really sunk in how lucky I am and I in the show, we had good photos, so we real world. I know we can’t really, but we
decided we should try and do what we decided we’d try to auction those pieces. can pretend.
could to help those less fortunate in some And so we did, yesterday, during polling These are uncertain times; I hope that if
way and to do it for my dad, for the charity hours, 7am until 10pm, accompanied by and when the hurt starts to heal, that we as
he established.  the axiom, Please, when you come to vote, a nation can all be friends again and for
I shared my thoughts with Hannah, and think of the most vulnerable person you know goodness sake, look after each other.
we decided to hold an auction on our and vote in their interest. I’m pleased to say, fitchandmcandrew.co.uk 
Issue 35 ClayCraft 33

SKILL SCHOOL
PROJECT
THREE NAUTILUS




SHELL








































































This project will extend your making skills to build a form in composite
parts by combining pinching and coiling techniques


34 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★



YOU WILL NEED: 3
■ Clay – earthenware or stoneware, preferably white
■ Small foam block for supporting work as it’s
constructed
■ Underglaze colour – pink or salmon
■ Opalescent glaze suitable for clay type

BEFORE YOU BEGIN:
■ As ever, I would suggest that you find a visual
reference to work from. I’m lucky in that I am
married to a geologist who has many books
showing forms through all the geological ages,
which is where I found the image I used. You can
easily find images online by searching for either  Begin to pinch out the wall in small, even stages
Nautilus shells, or Cephalopods. working from the base first because this will become more
■ One last note – your visual reference is a guide to dicult to reach as you develop the shape.
form and surface only. You can still allow for some
stylisation to make the finished article unique to
you.
4


1















Pinch the wall between fingers and thumb, turning the
shape regularly to access all areas equally. You can
 Weigh two amounts of clay – the size depends on change the position of your hand as you work so that
the size of shell you want to make, but a ball that will sit
comfortably in the palm of your hand, as shown, is the best the fingers are on the inside and thumb on the outside.
You are aiming to pinch a wide, open cup-shape
guide.
Form each into a ball. that’s not too deep.
Continue until the wall is approximately 5mm thick.
2

















 Hold one of the balls in the palm of your left hand then
press the thumb of your right hand down into the centre of
the clay until you can feel the pressure from it in your palm. .
Issue 35 ClayCraft 35

SKILL SCHOOL
SKILL SCHOOL
PROJECT
THREE

6











 Regularly check the size of the second half against


the first as you pinch it out to ensure the sections will fit
together.
5 NOTE: If the pinched sections seem very soft and floppy,


firm the clay up a little with a hairdryer until they can
 When fi nished, sit the shape on its rim on the work better hold their shape.
surface while you repeat the exercise to make a second DON’T OVER DRY THEM – they need to retain some
cup. flexibility!

7






















Score the rims of both pinched sections with a serrated
kidney.
Apply a little slip to the scored areas then join the
halves together and hold them together for a few
minutes to ensure the seal is good.



8 9













 Reinforce the join between the pinched sections with a
coil of soft clay.  Work over the surface of the reinforcement with a rib
Blend the coil in with a finger or wooden tool as or kidney, removing excess clay as required, to thoroughly

preferred. smooth o‚ the surface.

36 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★


11
10

















 Sit the form on a foam bed with a hole cut out at the
centre – this is the best way to support round forms as you
work on them.
Roll a long coil, about 1.5cm thick.
Make a pinhole somewhere in the form, then paddle
the surface with a wooden spatula until the shape is
doughnut-like. 
Once the shape is as you want it, plug the hole with
soft clay and smooth over the surface to prevent 12
further air escaping from the interior and the form
collapsing.















Referring to your chosen image, mark out a section
about a third of the size of the shape, beginning at
the centre of the first flat side of the pod shape and
drawing over to the centre on the other side as shown.
This section marks the area that will be cut away
later to open up the shell.






















.

Issue 35 ClayCraft 37

PROJECT

THREE


15

















13


Score behind one of the marked section lines as Blend the coil onto the base with a finger, then
shown, then apply some slip to the area. smooth over the join with a kidney.



























14 16






















 Fix the coil in place from the centre point on one side to  Pinch the coil along its length to thin it out to about
the same point on the opposite side. 5mm – this is a good working thickness.
38 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★


17 19



















 Blend the two coils together on the inside with a
wooden tool, as shown. Using a tool is easier than a finger
because it gives better access to the di cult-to-reach
 Use a wooden tool to blend the coil onto the body on inner area.
the opposite side.
20
18
















 If the clay is very soft and you’re struggling to maintain
the shape without it collapsing, firm the construction up
with a hairdryer until the clay holds its shape su ciently to
Supporting the form on the foam block as you work, support the next coil.
position the second coil over the first and blend it in
as before. 21
Again, pinch the coil along its length until the same
thickness as the earlier one.




















 Referring to your image again, paddle the developing
shape with a spatula to fine-tune it. .
Issue 35 ClayCraft 39

PROJECT
THREE


24















22

 Sit the shape on the foam bed and refi ne the surface
using a kidney to remove any lumps and bumps where the
coils have been added.

Use a loop tool to remove the clay in di cult to reach

areas and to even-up the thickness of the wall.


















23

Providing the clay can support itself, cut out the

interior section marked o earlier.
Cut across from the point on one side to the other 25

side where the first coil was joined, and around the
wall on the inside.





















 Use a long-handled tool with a wide blade to smooth
over the surface of the clay on the interior of the form.
40 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★




26 28



















Score and slip the rim of the last coil, then apply
another coil and fix it into place as you did with the
previous ones. If at any point you feel you are losing control of the
Note: If you have firmed the clay up with a hairdryer shape, simply cut a V-shaped section of clay from the
at any point, it’s a good idea to score and slip the last rim down, for as long as you need it to go, as shown. 
coil before applying another. Once cut out, draw the edges back together, overlap
and blend them together. You can use a little slip if
required.
Smooth over the join with a kidney to neaten up.



















27





















 Pinch and blend the coils together to ensure a good
seal, always supporting the shape on the foam bed as you
work. .
Issue 35 ClayCraft 41

PROJECT

THREE


32














29

 Continually assess the size and shape and make
corrections as required until the form is as you want it to
be.



Reduce the thickness and weight of the whole form by
working over the entire surface with a surform.













30

 When you’re happy with the overall size, refi ne the
shape by scoring the outline shape of the shell with a
pin. Drawing in the shape like this allows you to make
corrections before actually cutting the clay.




















31

 When you have the right shape, cut along the scored
line and remove the excess clay.
If necessary, you can repeat this until you’re happy with
the shape.
42 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★


33
36



















 When the weight has been reduced satisfactorily,
smooth over the surface with a kidney.
Carve a curlicue on each
side of the shell, at the point
34 where the coils were first
joined. Use any tool you are
comfortable with to do this
but take your time to ensure
this detail is finished neatly.















 Cut away any more clay you feel is required to refine
the shape further.

35






















 Work over the rim with a kidney to thin it to a shell-like
thickness and round and smooth it o . .
Issue 35 ClayCraft 43

SKILL SCHOOL
SKILL SCHOOL
PROJECT
THREE

39

















37  Beginning at the inner opening of the shell, position the
tape in stripes spanning the surface from the curlicue on
Your shell is now finished. Allow it to dry out slowly, one side, over to the one on the other side.

supported on the foam bed, before bisque firing.

40




















38 Continue to place the tape so that it radiates around
the form from the curlicues until you’ve covered
approximately half of the shell with stripes. From this
point reduce the length of the stripes, continuing to
work up the next quarter of the shell.













 Working from your source
image, or another if it shows the
surface detail of the shell more
clearly, tear a series of lengths of
paper tape into strips, as shown.
Note – the paper should have
torn edges rather than cut ones because it gives a softer

finish to the detail.
44 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★


42
41













 Paint the interior of the shell with the same colour
underglaze, working it so that it is darker as you look into
the inside but thins as it reaches the rim.

43

When you’re happy with the arrangement of stripes,
paint over the spaces between them with your chosen
colour of underglaze.








 Working with a barely damp cloth, wipe around the
edges of the stripes to soften and thin the underglaze
slightly.

44













 Wipe back the underglaze over the curlicues so that the
colour remains only in the detail.

45













 On the inside of the shell, wipe back the underglaze
gently towards the rim to grade the colour from dark to
just a hint. .
Issue 35 ClayCraft 45

PROJECT

THREE


47












46

Remove the paper tape stripes carefully to avoid
spoiling the underglaze detail.



Pour some glaze into the interior of the shell and swill
it around the area you can’t reach with a brush. Brush
the excess evenly over the surface you can reach.





















































46 ClayCraft Issue 35

DIFFICULTY RATING ★ ★ ★ ★ ★




48





























Brush the glaze over the exterior surface, taking great care not to overwork it because this will spoil the underglaze
colour.
Allow the glaze to dry, then reapply as many coats as recommended by the manufacturer – usually three.








The finished shell
was made from white
earthenware clay.
Amaco Rose velvet
underglaze was
used for the colour
detail and Amaco
Transparent pearl
glaze.
The shell was fired
to 1046°C in an
electric kiln.
Note – because
this form was made
from earthenware
clay it was possible
to fire it raised o 
the kiln shelf on star
pins. If making the
shell in stoneware,
you will need to wipe
back the glaze in an
appropriate place to
sit the form on the
kiln shelf to fire.



Issue 35 ClayCraft 47
Issue 35 ClayCraft 47

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KEITH BRYMER JONES



REAPING THE REWARDS OF HARD

WORK AND CREATIVE THINKING



W ith a long and successful
career in production ceramics,
Keith Brymer Jones
became something of a national treasure
when he first hit our screens in 2015 as
one of the judges on The Great Pottery
Throw Down. He quickly became known
for welling up when a piece of work or a
contestant’s story affected him, and it
turns out this isn’t just for show. Having
recently spent a few hours chatting with
him about his life, his work and the
universe, there were several times when he
became emotional about the power of clay.
He is passionate about spreading the
message that you don’t have to be
academic to be successful, that being
creative is a hugely important part of life
and working with clay touches a part of
our psyche in a unique and wonderful way.

(Photos: Tracey Parsons)
Where it all began three years I was honoured enough to
Keith left school already knowing that he start throwing the simpler shapes and
wanted to work with clay. In 1984, he forms that we used to make.
started as a clay boy working for a pottery “I was there for eight or nine years and
in Harefield, under Robert Hudson and by the time I left I was head of production.
Alan Pett. “What they didn’t know about There was another clay boy – because I’d
pottery wasn’t worth knowing. They were moved up – Robert, Alan and me, and
really old school, really great people, and we’d produce 4,000-5,000 pieces a week,
it was the perfect place to learn,” said mostly for garden centres.” This is a
Keith. Even from the beginning, it’s clear figure that beginner potters really have to
he wasn’t afraid of hard work. stop and think about before it fully sinks
“Every two to three weeks we would get in.
10 tonnes of clay and I had to shovel it. We
also made our own clay body, and sold it Triumph from adversity
to Harrow College, Middlesex College, It could have been all over when Robert
and all over the place. and Alan decided to relocate to Scotland at
 Keith made a beaker for every man, “I was an enthusiastic 18-year-old, and I the end of the 1980s. But Keith started his
woman and child who worked at Spode, asked Alan when I could start throwing own studio in Highgate, north London and
back in the day – 1,236 in total. They with him and Robert. He said, ‘In five or while we might predict a slow start for any
were part of an art installation during six years’! But to reach that point I had to new business, he was soon making for
BCB, and were strewn over the old ball-up and throw 100 balls of clay at the Heal’s, Conran, Habitat, Laura Ashley,
Spode moulds, with a soundscape of end of each day, and I couldn’t leave until Monsoon Home, Barney’s New York… an
interviews with the old workers. The
decals were taken from old Spode I’d done them all. Alan would cut some of impressive list! But how did that apparently
designs which Keith pulled apart to them in half to show me where I was overnight success come about? “I literally
make this pattern. Each one is numbered putting the clay, and that discipline was got on the bus outside my studio one day
and will be auctioned o  for charity. really drummed into me. After only about and went down to Tottenham Court Road
50 ClayCraft Issue 35