Clay Craft

46 PAGES OF STEP-BY-STEP PHOTO GUIDES

PINCH, COIL, SLAB AND THROW Issue 51

WILDLIFE-FRIENDLY FIRE POWER!

JUST ADD WATER FOLLOW OUR NAKED
BUTTERFLY DRINKER RAKU ADVENTURE

TOAD HALL!
MAKE A REFUGE

PLUS: THROWING

CREATING FACETS

ISSUE 51 £5.75 SURFACE FTEGLOHDLASOUPZAWESRSEIN
DECORATION

KELSEYmedia NEW SERIES STARTS WITH INTRO

%LECTRICº 0OTTER Sº7HEELº

0D[L SDFNDJH RQO\ ů º

# $ $
$ $ # $"
$!

"
#
$ # ! $ $ $
"$
#
! $
$ #
$ $ $



"$ $
$






ONLINE & IN STORE

BATH POTTERS SUPPLIES

www.bathpotters.co.uk

Meet the team...

Welcome
ell, it’s early May as I write,
Jacqui Atkin Simon Shaw
Toad house....p38 Faceted vase ...... W but I don’t think you could
........................ p8 say that spring is here yet.
This morning, there was
snow in Scotland and the north of

England, and even down on the south

coast, we’ve been waking up to regular

frosts in the morning. When the sun’s out,

it is warm, but the temperatures at night

mean it’s not yet safe to put out veg

Linda Tracey Parsons seedlings, even into my polytunnel. (24-25 July, sheffieldceramicsfestival.
Bloomfield Naked raku .. p72 There’s light at the end of the (poly)
Feldspars in com) and Art in Clay, Windsor
glazes...............p36 tunnel, though! We’re receiving more
events listings (see page 6) as organisers (20-22 Aug, artinclay.co.uk).

start to fill up our summer diaries with Across the country, art trails will

arts weeks, exhibitions and shows. begin, and studios, galleries and pottery

Coming soon, in terms of larger events, associations will be opening up and

are the Ceramic Congress (27-31 May, exhibiting. We’ll continue to let you know

Jeni Jacques ceramic.school); the Potfests (Scotland, when we hear of these. In the meantime,
Williams 11-13 June; Compton Verney, 25-27 June;
Doug Fitch Ideal customers In the Park, 23-25 July; In the Pens, many congratulations to our blogger,
Diary column .............................. p18 30 July-1 Aug, potfest.co.uk); the
.............................p68 Tracey Parsons, who has work being

exhibited at Ferini Art Gallery in

9th Glasgow International Lowestoft as part of the Anglian Potters’

46 PAGES OF STEP-BY-STEP PHOTO GUIDES biennial (11-27 June, Spring Up show (feriniartgallery.co.uk).

On the glasgowinternational.org); the The forecast for the weekend is
cover this International Ceramics Festival
PINCH, COIL, SLAB AND THROW Issue 51 month is (2-4 July, aberystwythartscentre. threatening temperatures of a mighty
our blogger co.uk); Celebrating Ceramics
WILDLIFE-FRIENDLY FIRE POWER! Tracey’s (16-18 July, Waterperry,
naked raku celebratingceramics.co.uk); The
JUST ADD WATER FOLLOW OUR NAKED pot, page Great Northern Contemporary 18°C in my area, so I’ll be out in the
BUTTERFLY DRINKER RAKU ADVENTURE Craft Fair (17-18 July,
72. greatnorthernevents.co.uk); the
Sheffield Ceramics Festival garden, sowing seeds, checking the bees

TOAD HALL! and hacking back brambles – all, hopefully,
MAKE A REFUGE

with the sun on my back. If the forecast’s

PLUS: THROWING right, I
CREATING FACETS

ISSUE 51 £5.75 FTEGLOHDLASOUPZAWESRSEIN won’t know

SURFACE what to do
DECORATION

KELSEYmedia NEW SERIES STARTS WITH INTRO

first! 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 [email protected] Manage your subscription online at photographs are included, which are
The Granary, Downs Court, Yalding UK annual subscription price: £69.00 shop.kelsey.co.uk/myaccount not the property of the contributor,
Hill, Yalding, Kent ME18 6AL MANAGEMENT www.kelseyshop.co.uk permission to reproduce them must
Chief Operating Officer: Europe annual subscription price: £81 have been obtained from the owner
EDITORIAL Phil Weeden DISTRIBUTION of the copyright. The editor cannot
Editor: Rachel Graham; Managing Director: USA annual subscription price: £81 Distribution in Great Britain guarantee a personal response to
[email protected] Kevin McCormick Marketforce (UK) Ltd, all letters and emails received. The
Chief Executive: Steve Wright Rest of World annual 3rd Floor, 161 Marsh Wall, views expressed in the magazine are
Consultant editors: Retail Director: Steve Brown London, E14 9AP not necessarily those of the Editor or
Jacqui Atkin, Kevin Millward Audience Development Manager: subscription price: £87 Tel: 0330 390 6555 the Publisher. Kelsey Media accepts
Andy Cotton Distribution in Northern Ireland and no liability for products and services
Contributors: Events Manager: UK subscription and back issue the Republic Of Ireland offered by third parties.
Jacqui Atkin, Alan Ault, Paul Bailey, Kat Chappell Newspread Kelsey Media takes your personal
Linda Bloomfield, Billy Byles, Print Production Manager: orderline: 01959 543 747 Tel: +353 23 886 3850 data very seriously. For more
Doug Fitch, Jeni Jacques-Williams, Georgina Harris information of our privacy policy,
Kevin Millward, Alan Parris, Print Production Controller: Overseas subscription orderline: PRINTING please visit www.kelsey.co.uk/
Tracey Parsons, Simon Shaw Kelly Orriss William Gibbons & Sons Ltd, privacy-policy. If at any point you
Subscription Marketing Director: 0044 (0) 1959 543 747 Willenhall, West Midlands have any queries regarding Kelsey’s
Project photography: Gill Lambert data policy you can email our Data
Philip Wilkins Subscription Marketing Manager: Toll free USA subscription orderline: Kelsey Media 2021 © all rights Protection Officer at dpo@kelsey.
Nick McIntosh reserved. Kelsey Media is a trading co.uk
Design: Focused On Design Ltd 1-888-777-0275 name of Kelsey Publishing Ltd. ISSN 1743-0712
[email protected] UK customer service team: Reproduction in whole or in part is
01959 543 747 forbidden except with permission in www.kelsey.co.uk
ADVERTISEMENT SALES Customer service email address: writing from the publishers. Note to
Talk Media Sales [email protected] contributors: articles submitted for
Simon Hyland, 01732 445327 Customer service and subscription
[email protected] postal address:
ClayCraft Customer Service Team,
Kelsey Media,
The Granary, Downs Court,
Yalding Hill, Yalding ME18 6AL
United Kingdom

Issue 51 ClayCraft 3

Contents
Issue 51

8 20 Project 2: garden planter 18
36
6 News Flattened coils build into a large
planter, finished with a dramatic
Catch up with the latest news, magma-type glaze
views and comment
36 Linda Bloomfield
8 Project 1: faceted vase
Continuing series on glazing
Can you throw with one hand? materials, Linda takes a look at
feldspars
18 Diary of a studio potter
38 Project 3: toad of Toad Hall!
In episode 6, Jeni explains how to
identify – and sell to – your ideal Create a safe haven for garden
customer amphibians with this slab build

54 Project 4: butterfly drinker

As well as nectar, butterflies and
bees need a water source, like this
pretty, practical dish

61 Me and my pot

Robert Fleming’s dramatic layered
and sgraffitoed form

62 Surface decoration

An introduction to our upcoming
series focusing on surface
decoration techniques. Find out
what’s in store!

66 Cheshire Clay Studio

We catch up with the Cheshire
Clay Collective and see how they
fared over lockdown

20 38

4 ClayCraft Issue 51

54 CONTENTS

66

61 68 Doug’s Diary 77 Courses
62
Filming, big lamp bases and Do you need to find someone to
a long overdue haircut for Doug! fire your work? Re-starting
classes? Search our free directory
72 Confessions of a novice for listings near you

Tracey gets creative with naked 82 Next month
raku in an electric kiln
Find out what’s coming up, as
we focus on summer tableware

76 Back issues 72

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

❯❯71 READER OFFER:
ClayCraft apron

46 PAGES OF STEP-BY-STEP PHOTO GUIDES

PINCH, COIL, SLAB AND THROW Issue 51
WILDLIFE-FRIENDLY
52 ClayCraft SPECIAL FIRE POWER!
subscriptions OFFER! JUST ADD WATER FOLLOW OUR NAKED
BUTTERFLY DRINKER RAKU ADVENTURE
Save money and have the
magazine delivered to your door. TOAD HALL!
MAKE A REFUGE
You know it makes sense!
PLUS: THROWING
CREATING FACETS

ISSUE 51 £5.75 SURFACE FTEGLOHLDASOUPZAEWSSREIN
DECORATION

KELSEYmedia NEW SERIES STARTS WITH INTRO

Issue 51 ClayCraft001ClayCraftCoverIssue51v2.indd 1 5

NINETWHE S 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]

DATES FOR YOUR DIARY!

● BUCKS ART WEEKS 2021 will be taking place throughout

the county from 12–27 June 2021. In the meantime, take a moment to browse

through this year's participating artists and makers and start planning who

you'd like to visit. www.bucksartweeks.org.uk

Apologies ● POTS AT THE PARSONAGE

Last month we published an image In the beautiful Old Parsonage Building on Stenner Lane, Didsbury, you will find
of the front cover of Mary Fox's the work of 10 talented ceramic artists, all members of the Northern Potters
book, My Life as a Potter, the wrong Association, South West Branch, exhibiting their work from 29-31 May.
way up. This book is a tall format,
with the writing running vertically. Members of the NPA have been showcasing their work at the Old Parsonage
We do apologise for any confusion. for many years, and it is one of their favourite venues. Visitors will find
sculptural, functional, decorative and explorative ceramics spread across three
NEW KILN SHARE SITE galleries and all for sale. The artists who make the work will be in the building to
answer any questions you may have.
Are you looking for somewhere to fire
your work, or maybe you're a potter Also, in the Old Parsonage gardens, this year, for the first time, Muddy
with spare capacity who'd like to earn Fingers Pottery will be running a Raku firing workshop. Visitors will be able to
some extra income. There's a new take part in or watch this exciting firing technique.
website that puts potters and kiln
owners in touch with each other. Covid compliance will be adhered to throughout the event.
The Old Parsonage, Stenner Lane, Didsbury, Manchester, M20 2RQ
"At Kiln Share, we believe in kiln Facebook: @NorthernPottersAssociationSouthWest
sharing. Not every potter needs
their own kiln. Some don't have the ● EAST NEUK OPEN STUDIOS 2021
space, others don't have the upfront
investment. East Neuk Open Studios is excited to announce its annual event will happen on
26-27 June. Over 40 artists will exhibit at Bowhouse – a fantastic, spacious East
"We are on a mission to make it Neuk venue between Elie and St Monans, Fife. A further 10 artists will exhibit
easy for potters to find a local kiln to from their studios.
hire whilst helping kiln owners earn
some extra income by renting out their There will be a diverse range of work, including ceramics, glass, textiles,
equipment!" painting, printmaking, wood, jewellery, photography and more.

You can search the website using an The resident Bowhouse traders will be open for the weekend with food and
interactive map to find kilns available drink outlets.
near you, and if you follow the page on For more information: Instagram: @eastneukopenstudios
Facebook (@kilnshare), you'll get live Facebook: @eastneukopenstudios Website: eastneukopenstudios.org
updates when a new service has been
added. www.kilnshare.com PARTICIPANTS NEEDED

6 ClayCraft Issue 51 Participants are needed for research ● a potter, or have started to learn
into the development of pottery skills to pot (handbuilding or throwing)
in Great Britain during the Covid-19 during the Covid-19 pandemic
pandemic. ● living in Great Britain
● open to discussing wellbeing
The study, led by first-year ● aged 18 or over
Archaeology DPhil candidate at the To find out more about the research,
University of Oxford Cathy O'Brien, email Cathy O'Brien (catherine.
will examine potters' experiences [email protected]) or visit: bit.
of working from home with limited
access to studios or materials amid ly/3emgD6h
the pressures of lockdown. It will also Deadline end of September 2021.
look at how the impact of learning
through media, such as online video
content, social media, and books,
alters skill development and how
that may impact more traditional
educational structures. To be eligible
for the study, you must be:

● ANGLIAN POTTERS EXHIBITION

● THE SOUTHERN CERAMIC GROUP Annika Schüler master
ceramist from Munich
CERAMIC fires with two TE-S series
EXHIBITION toploaders

SOUTHERN CERAMIC GROUP ROHDE kilns.
Enjoy your results.
2021
“It’s so inspiring when
31ST JULY - 15TH AUGUST traditional crafts come together
OPEN DAILY 10AM - 5 PM with modern design.”
FREE ENTRY
ROHDE has been producing kilns and machinery designed
THE BISHOP’S KITCHEN, to meet the highest standards since 1982. The company’s
CHICHESTER CATHEDRAL, ongoing pursuit of technical advancement creates
PO19 1PX outstanding quality and efficiency that you can rely on.
So you can enjoy your results.
Over 600 items to view and buy
www.southernceramicgroup.org.uk Learn more about Annika’s story
www.rohde.eu/en

www.rohde.eu/en

PROJECT THROWN

ONE FACETED VASE

This is a slightly more
complicated throwing project
than usual because part of it can
only be done with one hand. The
key to success lies in ensuring the
wall of the form is thick enough to
cut good facets that will remain
intact when bellied out. You may
have to practice a little

You will need:

■ 900g (2lb) clay of choice, to make a
vase approximately 16cm high
■ Tools for throwing – water bowl, sponge
on a stick, rib, cutting wire
■ Batt 
■ Tool for cutting facets – it can be
homemade from metal packaging tape, a
wide-bladed loop tool or a mini wire harp

Before you begin:

A reminder when throwing – to save wordy
repetition!

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

8 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
13

c Prepare the clay by kneading it well to remove any c Continue by pushing the clay down with your right

possible trapped air, then form it into a rough cone shape. hand (thumb slightly over the top) while applying steady
Throw a pad for a batt, then fix the batt to the wheel pressure with your left hand at the side. This will level it off
and bring it to centre.
head, giving it a thump with your fist to secure it in
place once centred – for details on how to do this, You are aiming for a flat-topped dome shape.
visit claycraft.co.uk/how-to
4

2

Dampen, but don’t flood, the surface of the batt, then c Open out the centre by pressing the fingers of your right
position the clay as close to the centre as possible.
hand down through the clay to within 4mm of the batt,
Dribble a little water over the surface of the clay, then steadying your hand with your left for a smooth action.
pat it down to make sure it’s secure.
5
Centre the clay – you can see full instructions on how
to do this on our website – and 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. 

c Continuing to support your right hand with your left, .

draw the clay back towards your body until the base is
opened to a width of approximately 7cm.

Issue 51 ClayCraft 9

PROJECT

ONE

8

6 c If the rim flares outward after this manoeuvre, collar it

Now cuff into the outer base of the clay with the sides back to shape between both hands, as shown.
of your hands to establish a position from which to
raise the wall. 9

The resulting mass should look like a thick doughnut.

7 Lift the clay again following the same procedure but
only as far as you can without over-thinning the wall – it
c Change the position of your must remain thick so you can cut the facets later.

hands and place the fingers of
your left hand inside the form
with your right-hand fingers
opposite, on the outside.

Lift the wall from the base to
form a thick cylinder, slightly
narrower at the rim than the
base.

10 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
10

12

Supporting the shape from the inside with your left-
hand fingers, carefully draw a rib over the exterior
surface to remove the excess slurry and the throwing
lines, then compact the clay at the rim to neaten up.

c With your left hand inside the shape to prevent collapse,

press into the clay about 2cm down from the rim with the
thumb of your right hand to close the neck a little and form
a shoulder.

11

c Carefully mop out the interior of the vase with a sponge .

on a stick.

Issue 51 ClayCraft 11

PROJECT

ONE

13

Working from the shoulder down to the base and using your chosen cutting tool (see the options in ‘You will need’),
make a series of diagonal cuts around the circumference of the wall, placing each one next to the last.

14

Now place your left hand inside the form and, with the wheel turning at a gentle speed, belly the wall outwards by
applying gentle pressure from the base, increasing at the centre point then easing off toward the shoulder.

THIS IS A SINGLE-HANDED ACTION – keep your right hand well out of the way because if you touch the outer
surface, the faceting will be destroyed.

12 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
15 17

Repeat the last steps to improve the shape of the belly Once you’ve closed the neck to the size of the opening
if required, but don’t over-labour the process, or you you require, carefully pull up the rim between the
could lose the definition of the facets. fingers of both hands until it’s a suitable thickness, then
gently flare it outwards to finish.

The finished height of the vase should measure
approximately 16cm.

16

c Now turn your attention to the rim and carefully collar .

the shoulder in with the fingers of your left hand and side
of your right hand – in the position shown.

Issue 51 ClayCraft 13

PROJECT

ONE

20

18

c Supporting the shoulder from inside with a single finger, Now push the tip of the rib under the flattened clay,
then gently lift it back onto the body to complete the
work over the outer surface with a rib to remove excess form.
slurry, then cut a simple groove at collar level with the tip of
the rib to finish.

19

c Again using the tip of the rib, flatten off the excess clay

at the base of the vase by cutting into it slightly.

14 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★

DECORATING THE SURFACE

21 You can decorate the surface of the vase in any way you
choose, but to achieve the look of this example, you will
need two glazes, one of which should be a magma-type
texture glaze

1

Holding a cutting wire taut between both hands, Pour enough of your chosen glaze into the vase to coat
carefully underwire the vase once, then lift it off the the interior thoroughly.
wheel head, still on the batt. 
Rotate the vase to ensure good coverage, then pour
Place the vase somewhere to dry out thoroughly, out the excess.
ready for bisque firing.
Finish up by brushing the glaze around the rim to
ensure it’s evenly applied.

.

Issue 51 ClayCraft 15

PROJECT

ONE

3

2 Now apply the magma-type glaze over the belly of the
vase, up to the shoulder but not beyond. The aim is to
Continue to glaze over the exterior surface, down to create contrasting surface detail incorporating some
the lip created at the base where the clay was raised texture.
back onto the body.

Apply two more coats to the shoulder only, allowing
each to dry to the touch before applying the next.

The fired example
shown used Amaco
Potter’s Choice Indigo
Float for the main body
of the vase, with Mayco
Light Magma over the
top.

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

16 ClayCraft Issue 51

!" #

$$$




' ! (" # ( (!


!%&




) * +






+







)


FOR ALL YOUR

ADVERTISING NEEDS

CONTACT

SIMON HYLAND

01732 445327

[email protected]

DIARY OF A STUDIO POTTER

JOURNAL ENTRY 6 c Deciding on which work will sell in particular outlets is the result of a lot of

W elcome back! Over the research, trial and error. Eventually you’ll have a pretty good idea of how to
past few months, I’ve target specific locations and customers.
been sharing hints and
tips for setting up your destroying. selling outlets to make sure that they
own pottery business. Spring is finally One of the first things that I did was will be appropriate.
here, and it’s time to move on from
thinking about equipment and supplies to focus very carefully on envisaging If you are already established but are
to identifying who will want to buy all my potential ‘ideal’ customers. I struggling to recognise who your
the amazing work you’ll produce! considered their gender, age, interests regular clientele are, why not conduct a
and hobbies, location, where they would survey and keep an eye out for the type
When I set up my business, I knew shop, what kind of things they would of person who is currently buying your
what I wanted to make, but I didn’t buy, how much they would be willing to work? I often ask my customers how
have experience about where I should pay etc. This enabled me to have a they found out about my work so that I
sell my work or who would buy it. I’d clearer idea about what I would make to know where to go in future to attract
regularly been selling pottery to family appeal to them and where would be the more like-minded clients. Things you
and friends, but I hadn’t found any new most appropriate places to sell my could ask is whether they are buying for
clients. Without a creative background, work. themselves or is it as a gift? Also, start
I wasn’t really sure where to start, but I keeping a note of your sales so that you
knew that I needed to quickly earn I recommend that you take some time can see trends and understand the time
some pennies to pay the bills! to go through this ‘brainstorming’ of year that things sell best. You will
process. It will also be very useful in begin to notice how some things that
While it can be tempting to think keeping you focused when setting up you make sell better than other pieces
that everyone will want to buy your your website, social media accounts, and whether a particular colour is more
ceramics, in reality, if you are not branding, photography etc. To motivate popular etc.
specific about your client base, then you yourself try not to see it as a big,
will waste lots of time and effort trying onerous job, but instead a short, fun The survey doesn’t need to be formal;
to attract the wrong people, who won’t project that should only take a couple of just make a quick note on the sheet
be interested in your products. hours. You could even give your ideal where you record the sale. I put a small
Alternatively, your work may be customer a name, a family history so clipboard out where people can leave
showcased in completely the wrong that they become familiar and stick in their details to be added to my mailing
environments, where your perfect client your mind like an imaginary pottery list. This is really useful as it means
will never visit. In trying to sell to friend! That way, you can regularly that I can send direct marketing about
everyone, you can easily end up selling revisit them when you are considering new products, events etc, to the people
to no one, and it can be really soul- introducing new products or new who are already really interested in my

c The support of my friends and

family has been vital in building my
business.

18 ClayCraft Issue 51

DIARY OF A STUDIO POTTER

e Creating an ideal client avatar is the most important marketing step you can

take. You can't be all things to all people, so pick one ideal customer and imagine
everything you can about their life. By being specific, you may have a smaller
pool of people to market to, but they'll all be more likely to be interested in what
you're selling.

work, and build repeat customers. Just would have been possible to juggle while, I kept designing new work and
ensure that if you collect personal everything without their support, changing my style, which didn’t help
information that what you are keeping encouragement, tolerance and heavy me to build a cohesive brand.
and how you are storing it is in line lifting!
with GDPR (General Data Protection In conclusion, being an entrepreneur
Regulation) guidelines. There were good days, amazing days is all-consuming, and as I have said
and terrible days (one particularly before, it is not possible to do
Having completed my brainstorming, windy day where some of my stock everything. After my year was up, it
I decided to do some market research to blew over and smashed still makes me was definitely time to reassess and
see where other similar creatives were shudder). Having a spreadsheet to streamline what I would do in future,
selling well in my area and online. I record all the events, my sales, and making sure my health and wellbeing
visited shops, markets and galleries to initially (because I was unsure what to were at the forefront. I now had a clear
see where my products would be most charge) the prices they had sold for gave record of what had worked well and
appropriate and looked at social media me clarity about what was and wasn’t what I wanted to do again. I could be
and online market places to find my working. Over the months, my ruthless and cross things out of my
niche. All of this research helped me spreadsheet expanded to include more diary for the next 12 months, as I knew
define where I felt would be the best markets, stall costs, shop names, where my work would be best received,
places to start to sell my work to target commission taken and even had and that is when my business started to
my limited time and resources more columns for the weather and how I was grow and become established.
effectively. feeling. As I developed new products
and glaze options, I monitored the I really hope that by sharing these
When you start out, it is often number of sales compared to the techniques and my lessons learnt, you
difficult to build up large amounts of number of sales made previously. It can be spared some of the pitfalls that
stock, so be careful not to take on too became a great method for recording starting a new business can bring. Next
much. I selected a small number of my progress, easily identifying which of month I will share some thoughts about
shops and galleries that I would my work was most popular, which how to go about the tricky issues of
approach and a small variety of creative selling outlets worked, which didn’t and pricing your work and setting up a
markets and fairs across my region that assisted me with setting a clear pricing stall.  ²
seemed most suitable. I then decided structure.
that I would try each of them out over Jeni Jacques Williams
the course of one year, so I rolled up my The early planning that I had done Lemon Studio
sleeves and got stuck in. was really useful because, in the main, I Tel: 07813333235
had selected events that my work suited Email: [email protected]
What did I learn? and where people were keen to buy. I lemonstudio.co.uk 
found that although my ideal customer
I’m not going to lie. It was blinking did appear regularly, different products Issue 51 ClayCraft 19
hard work, and even being selective attracted different people, and so my
with the number of venues and events I initial educated guess about who would
was committed to, I still ended up like my work evolved into a more
running around all the time and clearly defined customer base.
constantly making, packing and
unpacking stock, which was physically Some work that was really popular
and mentally exhausting. When I look and sold out in one location, left me
back now, I’m not sure where I got the making more of the same that didn’t
energy, but it was probably a fear of sell at all in another location. Go figure.
failure and having to go back to my old New products that I was really excited
job that kept my enthusiasm going! I about often took longer to sell than I
was also very lucky that my family and anticipated. This made me realise that
friends, in particular my husband, were people often have to see a piece a few
all so supportive, as I don’t think it times before they will part with their
hard-earned cash. This realisation came
a little too slowly to be honest, so for a

PROJECT

GARDENTWO

This fabulous planter uses a volcanic-type glaze to give it an
aged and worn look. You can make these in any size you like,
from squat to tall, slim or wide, and they look lovely grouped
together in varying proportions

You will need:

■ Stoneware clay – the weight will depend on the
size of planter you want to make
■ Rolling pin, roller guides (5mm minimum),
large plastic sheet
■ Plaster relief panel – See issue 32 or go to
claycraft.co.uk/how-to – for instruction on how to
make one

OR – a decorative impressing tool like the MKM
roller also used here
■ Two glazes of choice, including a volcanic type
(more detail of those used here at the end)
■ Brushes

Before you begin:

We haven’t given dimensions for this planter because
the size you can make will depend on what your kiln
can accommodate, but the one demonstrated here
is 25cm tall with a 20cm-diameter base. The final,
glazed version that has been planted up is shallower
but much wider. The principles for building are the
same no matter what the size.

20 ClayCraft Issue 51

PLANTERDIFFICULTY RATING ★★★★★

.

Issue 51 ClayCraft 21

PROJECT

TWO

3

1 c Lifting the base on the plastic sheet, carefully turn it

Prepare a block of clay – it over onto another wooden batt, then peel the plastic sheet
should be large enough to off the back.
make the base slab for your
planter when rolled out, so 4
estimate according to the size
you plan to make.

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

Roll out the clay between your roller guides.
You will find that periodically turning the slab will
make rolling much easier and give you more control to
achieve the approximate shape you need. It will need
to be roughly round for the first part of the project.
Once rolled out, smooth over the surface of the slab
with a rib to compact the clay.

c Roughly form a thick coil between both hands. Estimate

the amount you will need based on the size of the base
circumference. You should be aiming for a thickness of
approximately 3cm when fully rolled.

5

2

c Use something round, like the wooden batt shown here, c Place the coil on a non-absorbent work surface and roll

to cut around for the base of the planter. it back and forth with the palms of your hands, working
While the slab is still in place on the plastic sheet, position from the centre out to the ends.

the batt and cut around the perimeter.

22 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
68

c If the coil flattens in the process of rolling, twist it in Score the perimeter of the base slab with a serrated
kidney, then apply a good brushing of slip.
opposite directions at each end to return it to round, then
roll it again.

7

Place the coil on a long sheet of plastic, then, elevating 9
it at one end, begin to flatten along its length with the
heel of your hand, as shown.

When you’ve worked along the whole length, turn
the coil over and repeat the process to lengthen it
further.

Continue to flatten the coil in this way until it is 5mm
thick – no thinner – and try to keep the edges square.

c Attach the flattened coil onto the base in an upright .

position, positioning it slightly in from the edge and
overlapping the ends.

Issue 51 ClayCraft 23

PROJECT

TWO

12

10

c Cut through the overlapped ends at an angle, as shown. c Blend the clay over the join with a wooden tool on the

inside while supporting the wall from behind with your
other hand.

13

11 Returning to the outside surface, draw the clay from
the base slab up and onto the coil wall with your
Score and slip the cut ends, thumb to seal and reinforce the join.
then join them together,
holding them in place for a
few seconds for the surfaces
to seal together.

24 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
14 16

Brush some slip around the join on the inside of the c Work over the reinforcement with a rib to refine the
planter, then run a thin coil of soft clay around it,
pressing it into place with a finger. surface and create a gently rounded angle.

17

15 Use a square-edged metal rib to refine the outer
surface. Sit it squarely on the batt against the wall and
c Blend the coil in with a draw it around the perimeter until all irregularities are
removed, and the surface is smooth.
wooden tool, working the
coil down onto the base .
slab and up onto the wall.

Issue 51 ClayCraft 25

PROJECT

TWO

21

18

c Prepare another thick coil as you did the first one, then c Roll a very thin coil of soft clay and carefully press it into

score and slip the rim of the planter, ready to attach it. the join on the inside with your thumb.

22

19 Blend the coil over the seam using a wooden tool, then
neaten up with a rib.
c Position the second coil, rim to rim on the first one,
Try to maintain a vertical, smooth surface at all times.
making sure that it doesn’t start and finish in the same
place as the lower coil. Gently ease it into place inch by
inch, between your finger and thumb.

20

c Overlap the ends of the coil as you did the first one, then

again, cut through both at an angle. 
Seal them together after scoring and slipping them and

work over the join with a rib to neaten up.

26 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★

THE DECORATIVE DETAIL

23 We are including two methods for the decorative panel
at the top of the planter for those of you who don’t have
or don’t want to make the plaster relief panel. You can
omit the decorative detail entirely if you prefer – in which
case, simply continue to build the wall up to the height
you require before applying the rim.

24

Repeat the process on the outside of the wall to
reinforce the join but use the square metal rib to refine
the surface and ensure the wall is perfectly vertical.

c Following the method for rolling slabs, roll one long and

thick enough to fit your relief panel.
Once rolled, carefully cut it to size.

25

Place the slab in the mould
and press it into place with
your fingers to ensure it fills
the texture detail underneath.

.

Issue 51 ClayCraft 27

PROJECT

TWO

28

Carefully lift the panel out of the mould, then make
as many more as you need to fit the circumference of
your planter.

26

c Roll over the surface of the clay with a rolling pin to fully

ensure the clay has filled the detail.

29

27

c Place a batten at one end of the mould, sides resting on c Holding a pin rigid in one hand as you turn the planter

the plaster wall, then carefully draw it back towards your on a whirler, carefully mark a level line just below the rim.
body to remove the excess clay and level the surface.

28 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
30 32

c Shave the rim down to the level line using a surform Fix the first panel onto the rim, making sure it sits
securely ready to attach subsequent sections.
blade.

31

Score and slip the levelled rim and one edge of as 33
many relief panels as you will need to fit around the
circumference.

c Score and slip the ends of each panel before joining .

them together.
Issue 51 ClayCraft 29

PROJECT

TWO

TROUBLESHOOTING TIP

35

34 Carefully cut away the bulk of the excess on the outside
wall of the join, then blend the coil onto the wall on the
If you find your panels don’t quite meet, but there’s no inside.
space for an additional section, roll a small coil of clay
and pinch it to the thickness of the space.  Smooth over the area with a rib to neaten up when
finished.
Fix the coil between the sections, then join the ends
together.

30 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★

ALTERNATIVE TO RELIEF PANEL

36

Use a wooden tool to model the join on the outside 38
to match the rest of the relief, then neaten above and
below with a rib. c Following the method explained at the beginning of the

The panel should look seamless when finished. project, roll a 10mm thick slab long enough to fit around
the circumference of the rim of your planter.

37

39

c Now reinforce the main join on the inside of the planter c Use your tool of choice to impress a band of design .

with a coil of soft clay, as you did when attaching previous along the length of the slab. The MKM roller shown here
coils. is perfect for this. They are available in a wide range of
designs to suit all styles and are very easy to use with the
handle, which allows the roller part to be changed when
required.

Issue 51 ClayCraft 31

PROJECT

TWO

42

40 c Cut the flattened coil to a width of approximately 2.5cm

Cut the slab to the size required, then fix it onto or the width of a batten, as shown here.
the planter in the same way as the panel explained
previously. 43

Reinforce the joins inside and out in this case, with
coils of soft clay, then model the clay with a wooden
tool where the ends meet to neaten up the pattern. You
may find the impression does not exactly match at the
ends, but you should be able to approximate the design
so as not to be noticeable.

c Score a central line along the length of the coil using a

serrated kidney.

44
41

c Roll a 2cm-thick coil long enough to fit around the rim of Turn the coil over, then place
a batten on each side and
your planter. squeeze it together at the top
Flatten the coil to a thickness of about 5mm as you did to angle the edges, as shown.

earlier, then smooth over the surface with a palette rib to Remove the battens, then
ensure it’s smooth and even. run your fingers along the
length of the angle to soften and round the edges.
32 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
45 48

c Score and slip the c Run a reinforcing coil under the rim on the inside of the

rim of the planter, then planter. Smooth it in first with a finger, then work over the
position the coil around area with the rounded end of a small rib.
it, making sure the scored
area on the underside sits 49
on the scored, slipped rim.

46

c Cut through the overlapping ends of the coil at an angle, c Run a finger around the outer edge of the rim to soften

then join the ends together after scoring and slipping them. and round off the edge.
Smooth over the join with a rib until it’s no longer visible.

50
47

c Place a wooden batt over the planter and press down c Stamp out some drainage holes in the bottom of the .

gently to ensure the coil has sealed onto the wall. planter using a suitably sized cutter. This old scout woggle
is the perfect size for the job!

Issue 51 ClayCraft 33

PROJECT

TWO

53

You don’t need to glaze the interior of the planter
unless you want to, but it is useful to glaze about 3cm
down the inside from the top to avoid the possibility of
the bare clay showing when planted up.

Begin the glazing at this point using your colour of
choice. Place the planter on a whirler before you begin
– being able to rotate it will allow you to apply the glaze
much more evenly.

Cover the entire surface of the planter in your first
choice of glaze, working down to the tape line.

ONE COAT ONLY

51

c Allow your planter to dry out slowly before bisque firing.

DECORATING

You will need three glazes for the effect shown here –
one of which needs to be a volcanic type.

52

c Run a length of masking tape, 5mm from the bottom

edge of the planter, as a line to glaze to.

34 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
54

Apply random dabs of your second choice of glaze over the relief/impressed area at the top of the planter.
Allow the glaze to dry to the touch.

55

Now cover all the area previously glazed with the volcanic glaze. The thicker you apply it, the more textured it will be
when fired, so apply one coat for a subtle effect or two or three for a more aged look.

56

When fired, you can clearly see the volcanic/lava-like property of the glaze with hints of colour behind.
The glazes used for this planter were Mayco Satin Patina base with Capri Blue highlights over the relief and Light

Magma over the top.
Bisque-fired to cone 04 (1060°C, 1940°F) and glaze-fired to cone 6 (1222°C, 2232°F) in an electric kiln.
Issue 51 ClayCraft 35

LINDA BLOOMFIELD

USING FELDSPAR AND VOLCANIC ASH IN GLAZES

Linda Bloomfield is a scientist c Medium-grained granite from Devon. The dark crystals contain iron and
turned potter. More glaze recipes
can be found in her books, magnesium, while the white and pink patches are feldspar, and the grey areas are
Advanced Pottery (2011), Colour quartz.
in Glazes (A&C Black 2012), The
Handbook of Glaze Recipes magma has cooled very slowly and has but feldspars also contain silica and
(Bloomsbury 2014) and Science formed large crystals of feldspar and alumina, which contribute to the glaze
for Potters (The American Ceramic quartz. The ceramics industry prizes the structure. Soda feldspar has a slightly
Society 2017). Her new book Special feldspar found in the lighter-coloured, wider firing temperature range and is
Effect Glazes, and the second high-silica rocks such as granite and often used in mid-temperature glazes,
edition of Colour in Glazes are pegmatite, the latter having very large while potash feldspar is used mainly in
both out now. Linda has recently crystals of feldspar. Darker-coloured high-temperature stoneware glazes and
launched her online glazing course, rocks containing iron oxide and clay bodies. Potash feldspar will give more
How Glazes Work, on her website: magnesium are less used in the ceramics scratch-resistant glazes, while soda
industry as they are more likely to make feldspar is slightly softer and also has a
lindabloomfield.co.uk brown glazes. However, potters using high thermal expansion, which can cause
local materials in their glazes often make glazes to craze. A type of potash feldspar
C ontinuing from my article on use of the darker-coloured rocks such as found in Cornwall, called Cornish Stone,
clay in the previous issue, basalt. Granite contains two main types is higher in quartz than most feldspars
this month, I will be of feldspar crystals; soda feldspar, known and is used in stoneware glazes, although
describing all the different as albite, which is white, and potash it is no longer mined and has to be made
feldspar, known as orthoclase, which can up from a mixture of other feldspars and
types of feldspar and how they are used in be pink or white. The feldspar that is quartz. I often use a feldspar from Finland
ground and sold to potters is usually a known as FFF (Finnish floated) feldspar,
glazes. mixture of soda and potash feldspars but which is a potash feldspar that is also
is named for whichever type is dominant. relatively high in soda.
Feldspar is one of the minerals found in In the US, feldspars are named after
particular mines; for example, Custer Nepheline syenite is a type of
granite rock, a mixture of feldspar, quartz feldspar is a type of potash feldspar, while feldspathic rock related to feldspar but
feldspars from North Carolina (NC-4 much lower in silica, so it is often used for
and mica. Granite is an igneous rock feldspar, now called Minspar) are soda making matt glazes. It has a higher
feldspar. concentration of sodium oxide than any
formed underground where molten feldspar. Some types of feldspar contain
Feldspar is an important flux used in lithium, an alkali metal flux similar to
c Granite from St Austell, Cornwall. glazes and clay bodies. It helps melt the sodium and potassium. Lithium oxide has
silica in the glaze at temperatures a lower thermal expansion than sodium or
The pink crystals are potash feldspar. achievable in a kiln. The active fluxing potassium, so it can be useful in
agents are sodium and potassium oxides, correcting crazing. Crazing is when a
36 ClayCraft Issue 51

GLAZING

Quartz crystal. sea is salty). Lithium carbonate is slightly c Volcanic ash from La Soufrière
soluble in water and may eventually form
network of cracks develops in the glaze crystals in the glaze bucket, which need to volcano on the Caribbean island of St
after removing from the kiln, be ground up, dissolved in water and Vincent.
accompanied by pinging sounds. Lithium added back into the glaze.
also helps to brighten glaze colours Tony Hansen of the materials reference
obtained from colouring oxides. Feldspars If you make your own glazes, you don’t database Digitalfire advises having your
containing lithium include petalite, need to buy all the feldspars; just choose ash analysed in a laboratory, but some
spodumene, lepidolite and amblygonite. one or two. I use FFF and soda feldspar potters may prefer to do a line blend,
Petalite is high in silica, like Cornish in my glazes. You can substitute soda adding increasing amounts of clay, or a
stone, but contains lithium instead of feldspar for potash feldspar in most glaze biaxial blend with varying amounts of
potassium, while spodumene is lower in recipes, but if you use nepheline syenite to whiting and clay. Ash from different
silica, like nepheline syenite. Lepidolite replace feldspar, you also need to add volcanoes will have completely different
and amblygonite are minerals containing extra silica to your glaze to end up with compositions, so it’s advisable to test your
lithium and fluorine, which comes off as a the same formula. The easiest way to volcanic ash glaze on a test tile first,
gas during firing and can cause studio work out the amount is in an online glaze before applying it to a pot. It may be
windows to etch. Lithium carbonate is the calculation program such as found on necessary to adjust the glaze by adding
most concentrated source of lithium, glazy.org various different amounts of whiting or
extracted from brine in salt flats. The dolomite and clay. Wood ash has a
lithium originated from feldspars in the Matt glaze, cone 8 different composition from volcanic ash
Andes mountains and gradually leached ● FFF feldspar 19 and is much higher in calcium, so you
out over millions of years, ending up in ● Whiting 19 would not need to add any whiting or
dried-up lake beds (this is also why the ● Standard borax frit 17 dolomite to make a wood ash glaze; you
● Quartz 9 would need feldspar and clay instead.
● China clay 36
If you don’t live near an erupting
Volcanic ash volcano, you might be able to get
powdered granite and marble from
Volcanic ash or pumice can be used in makers of kitchen worktops, or collect
glaze recipes instead of feldspar. Ash from rock dust from quarries (but do obtain
volcanoes contains the same minerals as permission first). ²
granite, but it has been ejected from the
volcano and cooled very quickly, so it has
not had time to form crystals. Rhyolite
and basalt are light and dark igneous
rocks that have cooled quickly and have a
fine-grained structure. High-silica
magma is viscous and erupts explosively,
forming light-coloured pumice and
volcanic ash, while low-silica magma is
darker and flows more easily from
volcanoes such as the ones that make up
the Hawaiian islands. Any of these rocks
and volcanic ash can be used in glazes
instead of feldspar, together with some
whiting and clay. The advantage of using
ash is that it is already a fine powder and
may not need extra grinding in a mortar
and pestle or ball mill.

c Alicia of Wild Tamarind Ceramics in Glaze recipe, cone 8-9, using More information can be found in
volcanic ash by Tony Hansen of my book Science for Potters.
Barbados collecting volcanic ash from Matthew Blakely has recently
the St Vincent eruption 200km away. Digitalfire.com published a new book Rock Glazes
She plans to make the ash into a glaze ● Pumice 60 Unearthed.
for work to sell to fund relief for St ● Dolomite 20
Vincent. ● Kaolin 20 Issue 51 ClayCraft 37

PROJECT TOAD

THREE

HOUSE

This is really rather a swanky pad for a toad, but
we should do all we can to encourage them into
our gardens because they’re so important for a
good and balanced eco-system, and they need
safe places to hide away from harm

38 ClayCraft Issue 51

★★ Photo: Shutterstock Vitalii Hulai

YOU WILL NEED:

■ Stoneware clay
■ Plaster bowl mould – press or hump type
■ Rolling pin, plastic sheet, roller guides (5mm)
■ Wooden modelling tools, ribs
■ Iron oxide wash
■ Glazes of choice for the toad and pebbles

BEFORE
YOU BEGIN:

Look for a good
image of a toad
to help you when
modelling the
shape later.

.

Issue 51 ClayCraft 39

PROJECT

THREE

3

1 c Cut a semi-circle in the slab, large enough to fill half of

c A mould made from a ball like the one shown here your mould.

is perfect for this project, but any shape will work as an 4
alternative, providing there’s enough room for a toad to
crawl inside when it’s turned upside down.

2 c Carefully lift the cut section and ease it into place in half

Prepare a block of clay – it of the mould, using a barely damp sponge rather than your
should be large enough to fingers, to avoid spoiling the surface.
fill your particular mould
when rolled out, so estimate 5
accordingly.

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

Roll out the clay between the roller guides.
You will find that periodically turning the slab will
make rolling much easier and give you more control
to achieve the approximate shape that you need –
keeping it roughly round will be useful in this case.
Once rolled out, smooth over the surface of the slab
with a rib to compact the clay.

c Cut out another semi-circle from the remainder of the

slab, this time, large enough to fit the second half of the
mould allowing a 2cm overlap at the middle where the
sections meet.

Again, ease the slab into place with the damp sponge.

40 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
69

c Using a finger, press the overlapping edges together. c Stand the mould on a whirler, then use a short length of

It’s important to avoid trapping air between the overlap, batten to remove the remainder of the overlap at the rim.
so begin by pressing the sections together first, along Place the side of the batten flat on the rim of the mould,
the line where the upper section overlaps the edge of the
undersection. Then move along the overlap so that any air then draw it to the side and backwards in small stages until
is forced out as you move toward the inner edge. all excess clay is removed and it’s level all the way around.

10

7

c Carefully remove the bulk of the clay at the rim with a c Weigh out 2 x 86g (3oz) pieces of clay and form each

knife, taking care not to cut into the plaster. into a ball.
Place the first ball in one hand and press down through
8
the centre with your thumb until you can feel some
pressure in your palm.

11

c Now that access to the interior is easier, smooth over c Change the position of your .

the overlap with a rib to neaten up, removing excess clay fingers, so your thumb is on
as required to reduce the wall to an even thickness. the outside with your forefinger
inside, then gently pinch the wall
in small steps, rotating the shape
rhythmically to achieve a good shape. 

Continue to pinch the shape until it’s an even 4mm thick
and cup-shaped.

Issue 51 ClayCraft 41

PROJECT

THREE

14

12

Pinch the second ball in the same way until it’s the
same size as the first one. Test this by cupping the
rims of each section together – when they are the
same size, you’re ready to fix them together.

Roll a thin coil of soft clay, then blend it over the join
to reinforce it. You can do this with your finger or a
tool.

13

15

Score and slip the rims of both pinched sections, then
close the halves together, holding them for several
seconds to ensure a good seal.

c Smooth over the reinforced join with a rib, removing

excess clay as required for a neat, bump-free surface.

42 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
16 18

c Make a pinhole at one end of the form to allow for the c Roll two small balls of clay for the

release of air when the shape is manipulated. eyes and test the size on the head
before attaching them. Adjust if you
17 think they are either too small or too
big.

When you’re happy with the size,
fix them in place with a dab of slip.

Now, working on the end

of the shape opposite 19

the pinhole, begin to Roll a short, thin length of coil,
then fix a small section of it over
manipulate the clay the attached eye, as shown.

to form the head and Blend the coil onto the head
from above only, then neaten up
mouth of the toad. with a wooden tool.

There’s no easy way

to describe how to do

this; you must simply Photo: Shutterstock Vitalii Hulai
encourage the clay to

where you need it. You can use a wooden spatula to

help form the shape if it helps.

.

Issue 51 ClayCraft 43

PROJECT

THREE

22

20 Roll a medium-sized coil, then flatten and manipulate
the shape to form the back leg, as shown.
c Finish off the second eye in the same way, then impress
Place the leg against the body of the toad so that
each eyeball with a round tool, like the pen top shown it extends out at the back where the joint would be.
here, to complete this part of the build. Mark the position with a pin.

21

Score the line of the mouth using a pin or suitable
wooden tool, then work over the throat area to
improve the shape if required.

23

c Score the marked position on the body and underside

of the leg, then apply slip to both.

44 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
26
24

Fix the leg in place and blend c Roll two more short coils to
it onto the body around its
edges with a finger. form the front legs, then angle
the coils towards the top end to
Apply the second back leg form the elbows, as shown.
in the same way, blending it
onto the body as before. 27

25 Test the legs on the front of the body and, when

you’re happy, mark the position with a pin.

c Now sharpen up the features of the leg using a wooden .

tool.
Don’t worry about the foot at this stage.

Issue 51 ClayCraft 45

PROJECT

THREE

30

28 c Roll another short length of coil and attach a section to

Attach the legs after first scoring and slipping the the body, behind and below the eye. Blend it in thoroughly
adjoining surfaces, then blend the top end of the legs each side of the coil until it looks vaguely like the
onto the body with a suitable wooden tool. beginnings of an ear lobe.

Repeat behind the other eye.

31

Using something like the old pen top shown here,
roughly texture the entire upper surface of the toad to
make it look warty – including the legs.

29

c Make two nostril holes above the mouth using a pin or

pointed tool.

46 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
32 34

c Now return to the mould and c Score a line for the entrance to the house – make it low

turn the shape out onto a batt, and organic in shape.
then run a slip-loaded brush
over the area of the join. 35

33

Reinforce the slipped c Roughly texture the entire surface of the house with a
join with a coil of soft
clay. Blend the coil in serrated kidney – omitting only the area marked for the
thoroughly with a finger entrance.
first, then work over the
area with a rib to neaten 36
up.

c Place the toad on top of the .

house to find the best position, then
mark this with a pin.

Issue 51 ClayCraft 47

PROJECT

THREE

38

37

Score the underside of the toad and apply a liberal
coat of slip, then fix it onto the house, making sure the
surfaces adhere well.

c Apply a little dab of slip to the underside of the first

back foot and secure it down onto the house surface.
Now cut the foot into three sections to form the toes, as

shown.

39

c Gently splay the toes using a wooden tool until you’re

happy with the look of them. Repeat the process to finish
all the feet off in the same way.

Note: You don't have to go into fine detail for these feet –
an approximation will do because they will be surrounded
by pebbles in the following steps and, therefore, mostly
hidden.

48 ClayCraft Issue 51

DIFFICULTY RATING ★★★★★
40 41

Roll different sized balls of clay to form the pebbles. c Make a hole in the body of the toad with a pin to allow
Gently flatten each pebble between your finger and
for the release of air during firing.
thumb, then apply a dab of slip to each before fixing
them onto the house and around the toad in a random 42
arrangement.

c Carefully cut out the entrance

to the house, following the scored
line made earlier.

43

c Finish up by attaching another series of pebbles around .

the entrance - positioning them to overlap the edge a little
to disguise it and make it look more natural.

Issue 51 ClayCraft 49

PROJECT

THREE

2

44 c Carefully wipe away the excess iron wash from the

c Allow the finished house to dry out slowly and pebbles and body of the toad, using a damp cloth. You will
find that it stains the clay and can’t be entirely removed,
thoroughly before bisque firing. but as long as most of it is wiped away, it won’t affect the
glaze.
DECORATING THE TOAD HOUSE
3
1

Make up a thick mixture of iron oxide and water, You now have the choice to either continue the oxide
wearing gloves to protect your hands if you have wash on the inside of the house or apply glaze as
sensitive skin. shown here, which will make it slightly more weather-
proof.
Paint the wash thickly over the textured exterior
surface of the house. If choosing a brush-on glaze, apply it in as many
coats as recommended by the manufacturer, allowing
Try to avoid the pebbles and body of the toad as far each coat to dry before applying the next.
as possible but don’t worry if you go over a little.
Otherwise, a glaze can easily be applied by the
pouring method.

50 ClayCraft Issue 51