Indholdsfortegnelse for #72 i ClayCraft

ClayCraft Magazine www.claycraft.co.uk Kelsey Media The Granary, Downs Court, Yalding Hill, Yalding, Kent ME18 6AL EDITORIAL Editor: Rachel Graham; claycraft.ed@kelsey.co.uk Consultant editors: Jacqui Atkin, Kevin Millward Contributors: Jacqui Atkin, Linda Bloomfield, Doug Fitch, Kevin Millward, Lisa Pritchard, Simon Shaw Project photography: Philip Wilkins p.wilkins@btinternet.com Design: Focused On Design Ltd design@focusedondesign.co.uk ADVERTISEMENT SALES Talk Media Sales Simon Hyland, 01732 445327 simon@talk-media.co.uk Talk Media Sales Ad Production Manager: Nick Bond 01732 445325 production@talkmediasales.co.uk MANAGEMENT Chief Operating Officer: Phil Weeden Managing Director: Kevin McCormick Publisher: Mark Winterton Retail Director: Steve Brown Audience Development Manager: Andy Cotton Events Manager: Kat Chappell Print Production Manager: Georgina Harris Print Production Controller: Hayley Brown Subscription Marketing Director: Gill Lambert Subscription Marketing Manager: Nick McIntosh Subscriptions 12 issues of ClayCraft are published per annum UK annual subscription price:…

If you have a news story, product launch or details of some other topical item you’d like our readers to know about, email claycraft.ed@kelsey.co.uk Handmade in Britain returns to Waterperry Gardens for the 3rd edition of Handmade Oxford. With a relaxed summer atmosphere, visitors will be able to meet, browse and directly shop from over 150 exceptional craftspeople. There will also be a packed programme of craft workshops, demonstrations and engaging talks, with live music by local musicians and local artisan food adding to the fun festival atmosphere. ● Friday 16 - Sunday 18 June 2023, 10am - 5pm (Sunday till 4pm) ● Venue: Waterperry Gardens, Waterperry, Oxford, OX33 1LA ● A programme of workshops, demonstrations, and talks ● Follow the buzz on social media: @handmadebritain #handmadeoxford ● Handmade in…

Linda Bloomfield is a scientist turned potter. More glaze recipes can be found in her books, Special Effect Glazes (Herbert Press 2020), Colour in Glazes (Herbert Press 2019) and The Handbook of Glaze Recipes (Bloomsbury 2014) I n a series of articles over the next few months, I will explain how to make coloured glazes. You can start with a transparent glaze and add a small percentage of colouring oxides or stains. The fluxes in the base glaze will often affect the colour of the fired glaze, so I will provide glaze recipes that produce the best colour for each oxide. I will start with pink – a tricky colour to make, particularly in matt glazes. Pink glazes can be made using commercial stains, but I prefer to make my…

There is such a thing called a ‘lifest yle business’. In a previous incarnation, Lisa was the CEO of an organisation that helped people start and develop their own businesses, and she understands the dif ference between the lifest yle business and the business that is able to grow and take on a life of its own. In essence, a lifest yle business begins and ends with the owner of the business. Take them out of the organisation, and the whole thing stops. The government didn’t and doesn’t care for this sort of enterprise. The government wants businesses that have the capabilit y of grow th, and most lifest yle businesses have a natural ceiling on their grow th capacit y if the owner is, in effect, the business. So…

W hen Ifirst had contact with ClayCraft (some years ago), Jacqui Atkin suggested writing a piece about my career as a pot ter. For various reasons, this never materialised, but when it was suggested more recently that I could write a monthly column about our new studio venture, summarising our career paths seemed like an impor tant part of the stor y. The outlines of our training, the impact of this on our making and teaching and, ultimately, our decision to open Clay Works, I hoped would be of some interest. This ar ticle looks back at how I developed my more recent work and ends my retrospective; for now, at least… When I was accepted onto the two -year Master’s course in Ceramics and Glass at the Royal College…

I t’s nice to see the diary starting to fill with some lovely events. Getting out to shows is such a pleasure, and is a great opportunity to see work frompotters that you might never have come across. I’ve heard anecdotally that this year there will be more potters from abroad coming to events here this year. Brexit was such a blow in this (and many other!) respect. The paperwork, hassle and costs involved meant that many potters from Europe simply stopped attending, which was a huge loss. I hope the rumours are true, and we welcome back some familiar faces, and hopefully, some new ones! Don’t disregard the smaller events either. Open Studios, local fairs, Art Weeks and so on, take place on the doorsteps of many potters, both…

A comprehensive 160- page guide to electric kilns, this is a how-to book for ceramicists looking to set up their kiln or deepen their knowledge of the fundamentals of kiln firings. Author Jo Davies explains: “My intention was to start from the ground up, giving basic knowledge in order to build more in-depth information, thereby allowing readers to develop their own techniques. I have deliberately aimed to not be too prescriptive, as there are many ways to approach this huge area, and beautiful innovation is borne out of a good grasp on the basics of a subject.” Whether it’s programming or troubleshooting, clay types or buying secondhand, Jo covers everything you’ll need for successful firing. Electric kilns for ceramics is available direct from the publisher at crowood.com (use code crowood10…

1 1: Kristyn Thomas Apothecary jars are one of my favourite things to make and this one might be my favourite of all time! Memento Mori, Plague Doctor design. It ’s slab and handbuilt, with a speckled clay body. The glaze is a combination of underglaze on the skeleton hand and roses. The letters are underglaze transfers, with Amaco Obsidian on the pearls and Snow on the body. Then, overglaze decals for the Plague Doctor. 2: Andrea Richardson I make folk-style animal forms in earthenware, which are glazed and fired. I live in rural Worcestershire and there are many pheasants in the nearby woodlands, which have inspired me to make this model. I’m also a painter and use a painterly style loosely in the glaze. 3: Irene Baumhardt Red earthenware,…

With the latest series of The Great Pottery Throw Down entering our screens, I wanted to highlight and share how important the art of Studio pottery is to future generations as a sustainable art form. This method of making hand-made studio pottery is typically made with locally sourced materials, which helps to reduce the environmental impact of transportation. Studio pottery is typically produced on a smaller scale, meaning that there is less energy and resources used in their production, with many studio potters making use of recycled or reclaimed materials, this further reducing their impact on the environment. Additionally, studio pottery pieces are often made using traditional techniques, which do not rely on the heavy machinery and chemicals that are used in massproduction. As a result, they have a lower…

You will need: ■ Two round-bottomed bowl moulds – 1 small (shown) – 1 large ■ A grogged clay ■ Rolling pin, 5mm roller guides, plastic sheet ■ Texture – lace, wallpaper etc ■ Small cookie cutter ■ Refined slip to fit clay body ■ Burnishing tools and cotton glove Before you begin: An alternative to using a mould to start this form would be to pinch the lower section and then coil onto it in the same way. Similarly, if you don’t have a large bowl mould, you could use a kitchen bowl to form the top slab section. There are always alternative ways of working if you think creatively. 1 Prepare a block of clay large enough to line your small mould once rolled out – it won’t…

I t’s well into January, Burns Night, to be precise, the 25th. Pippin had haggis, neeps and tatties for her school lunch, proud of her Scot tish birth rights as she is, but her hopeless English parents forgot! A shame because I do enjoy haggis. I’ll take a wee dram tonight to make up for it, of course. Today has been mild in Dumfries and Galloway, while down south, there are still hard frosts and chilly weather. It ’s rare for it to be that way around, but I’m very glad of it. The sun shone brightly this af ternoon, and the birds sang their optimistic songs about spring being not too far around the corner. Daf fodil bulbs that Fred and I planted a couple of years ago in…