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Welcome

elcome to this sample of ClayCraft content, including a special feature on the Great Pottery Throw Down with an exclusive interview with head judge, Keith Brymer

Issue 46

LEARN TO THROW Beautiful bubble vases!

SEE INSIDE! HANNAH MCANDREW

SLIP TRAILING

Home décor project Make an artichoke ornament PIG MONEY BOX 001 Clay Craft Cover Issue 46.indd 1

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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 Art Editor: Rob Terry; rob@focusedondesign.co.uk Publisher: Kevin McCormick Subscriptions 12 issues of ClayCraft are published per annum

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18-PAGE SPOTLIGHT ON THE GREAT POTTERY THROW DOWN 2021

PINCH, COIL, SLAB

AND THROW

Issue 47

THE GREAT POTTERY THROW DOWN

IT’S BACK! EXCLUSIVE!

INTERVIEW WITH • KEITH BRYMER JONES • MEET THIS YEAR’S CONTESTANTS • BEHIND THE SCENES WITH SIOBHÁN, KEITH & RICH

THROWN HEART DISH & JUG

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Rachel Graham, Editor, ClayCraft

ISSUE 47

PACKED WITH INSPIRATIONAL IDEAS FOR YOU

PINCH, COIL, SLAB

and might just be the stepping-stone you need to become a fully-fledged potter! If you want to use clay, there may be a studio near you that will fire for you; you can see details of your local studios in our Courses Directory. It’s worth giving them a ring – they may also be offering ‘take home’ kits during lockdown. You can find more projects, how-to guides and Throw Down updates, on our website at: claycraft.co.uk, where you can also use our Volume Index to locate specific projects and order the relevant back issues. Why not subscribe today, using the link below or calling 01959 543 747. Happy potting!

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Jones. If you’re enjoying the show, we offer a peek behindthe-scenes as you get to know more about the judges, the show’s new presenter, and of course, the contestants. The show’s appeal goes beyond people who are already potters, detailing, as it does, the lengthy processes involved in making things as varied as miniature musical instruments, functional cookware and large water features. I bet you’ll never look at a simple vase in the same way after you’ve watched the show! Watch as the potters wrestle huge lumps of clay into submission on the wheel, roll out slabs or pinch tiny fruit, and marvel at how each contestant’s interpretation is so different – and hold your breath as the finished work is revealed! Of course, what many will be waiting for are Keith’s tears, as he is moved by the effort, emotion or detail that the potter’s work shows. Clay is amazing like that. It unlocks something in people. If you’re inspired by what you’ve seen on the show and want to have a go yourself, we’ve included a few ‘typical’ projects from the magazine. As you’ll see, they are presented as clear, step-by-step photo guides, described in simple, accessible terms. We have chosen not to include any thrown projects, recognising that not many beginners own a wheel! While we have used normal, potters’ clay, most of these are also achievable using ‘air hardening clay’ (not polymer clay). This can be painted and varnished once dry – some air hardening clay can be glazed and fired; you’ll need to check with the supplier. Unfired, they won’t hold water, but they’ll look brilliant,

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ClayCraft

SKILL SCHOOL

PROJECT

ONE

ClayCraft

PAPER CLAY FIGURE

DIFFICULTY RATING ★★★★★

ore than 20 years ago I was shown how to make these figures when doing a workshop with the wonderful Steve Mattison, when he lived in the wilds of mid-Wales. I was bowled over by the simplicity of making, but effectiveness of the outcome. I think the attraction of these comes from the fact that the figure is quite abstract – the features are only suggested, allowing you to make a recognisable figure with only the vaguest need for anatomical accuracy. 

You will need: ■ A small batch of paper clay – see project 6 on page 70 ■ A thin cardboard tube (the sort you get from a roll of tin foil or similar) ■ A sheet of cotton or similar fabric to roll the clay on

Roll the cardboard tube in a sheet of newspaper,

On the cotton sheeting, roll

a slab of clay using roller guides not thicker than 5mm. When rolled, tear the ends to make the slab 25-30cm long.

securing it in place by stuﬃng the excess paper into each end.

4 Cut the edge of one length of the slab straight with a knife, then carefully roll the cut edge with a rolling pin to thin it by half.

Place the tube on the clay close to the thinned edge, then using the fabric to help you, roll the slab around the tube until it meets the clay again.

ClayCraft

SKILL SCHOOL PROJECT

ONE

Cut the spare clay oﬀ the slab about 5mm from the overlap as shown.

Roll over the joined edges with a printing roller if you have one, until the join is no longer visible. If you don’t have a roller, a short length of dowelling, or anything thinner than the rolling pin will do. Failing any of those, just work over the join with a kidney. Firm the clay up a little with a hair-dryer, to a point where it will hold its shape when the tube is removed, but with still some ﬂexibility in the clay.

6 Unroll the clay tube a little, then thin the newly-cut edge with the rolling pin, as you did for the first edge.

7 9 Pull out the paper from one end of the tube inside the clay, then carefully pull out the cardboard tube – it should slide out easily. Then pull out the paper very carefully, to avoid distorting the clay too much. Score and slip the edges to be joined, then, still using the cloth sheet to hold the shape, roll the edges together.

ClayCraft

DIFFICULTY RATING ★★★★★

Lie the clay tube on the work surface, then, using the angle of a block of wood or the edge of your roller guide – or even a ruler – press the block into the tube up to the half-way mark to form the legs of the figure.

12 Stand the figure upright and squeeze the clay together between fingers and thumbs to form the shoulders of the torso. Leave enough clay above the shoulders to form the head.

11 Squeeze the legs closer together – rolling them over the work surface from side to side at the back to narrow them towards the base, or what would be the feet.

Turn the body around so that you’re working from the back, then tear the clay from centre-top, down to the shoulders and open the clay out as shown. Now turn the body around again and carefully tear the clay to form the shape of the head and neck – this can be done quite roughly and abstractedly, to make the head small or large or, as shown here, with the suggestion of hair blowing in the wind. This is where you start to make the figure your own.

. ClayCraft

SKILL SCHOOL PROJECT

ONE

15 14

Draw in lines to represent the hair using a pin, if you want this feature. Make sure you support the underside of the head as you work.

Work over the shoulders again to make sure they’re a good shape and that the clay has joined together well. Turn the shape around and reinforce the clay at the back of the neck with a small amount of clay, to help maintain the shape. Blend the extra clay in with a modelling tool, but don’t over-work it. The surface finish generally is quite freely-formed, so you don’t want to detract from that.

16 Form two small balls of clay to make the breasts for a female figure. Score and slip the position for attaching them, then fix them onto the body, blending them in with a modelling tool until they’re the correct shape – again, you don’t have to over-work this feature.

17 Use the tip of a fine, pointed modelling tool to impress a navel into the torso and draw in a small line to represent the female genitalia (this is optional – you don’t have to add this if it makes you feel uncomfortable). 8

ClayCraft

DIFFICULTY RATING ★★★★★

18 Use the edge of a batten to impress the lines of the legs where they meet the hip.

Reinforce the leg joins with a coil of soft clay – blending it onto the base and up the legs with a wooden modelling tool.

Roughly form a small, thickish slab of clay to stand the figure on, then roll four equally-sized balls of clay to make the feet for the base. Flatten each ball with the end of the roller guide, then fix them onto the base in each corner, scoring and slipping beforehand. Mop up excess slip around the feet with a brush dipped in water.

Allow the finished figure to dry thoroughly before bisque-firing.

20 23 Mark the position for the figure

on the base with a pin, then score the marked area. Score the underside of the legs, then apply some slip and fix the figure in place – holding it firmly until you’re happy it’s secure.

This selection of figures have been made in diﬀering sizes and proportions, with a variety of paper clay types and includes a male figure. The figures have been painted with oxides, wiped back with a damp sponge to give highlighted definition to diﬀerent surface areas. They aren’t glazed, but simply fired up to the clay’s optimum temperature. ClayCraft

SKILL SCHOOL

PROJECT

TWO

10 ClayCraft

TRIPOD MUG Tripod mugs are made from soft slabs and are surprisingly easy and quick to make. They have a really quirky look which has a great practical function in that the tripod feet reduce the contact area of the hot mug on surfaces

DIFFICULTY RATING ★★★★ ★

YOU WILL NEED:

■ A cardboard or plastic tube in a suitable size for a beaker – plastic downpipe is perfect ■ Newspaper ■ Clay of choice – earthenware or stoneware ■ Rolling pin, roller guides, plastic sheet ■ Ribs and kidneys ■ Texture material – lace, wallpaper, or rubber texture mats, etc ■ Underglaze colours ■ Transparent glaze suitable for clay type

Cut the long top edge of your slab to level it, using the roller guide to ensure a straight line.

Begin by rolling the tube in a sheet of newspaper –

secure the paper by stuﬃng the surplus into the tube at each end.

Decide on the height of your beaker and add approximately 30mm to the depth of the measurement to accommodate the tripod base. Using either your roller guide, pencil-marked to the size you require, or a ruler, mark the slab to the measured depth, as shown, to form the baseline, then cut along the marked line as before.

Roll a 5mm-thick slab of clay

on your sheet of plastic, using the roller guides to ensure an even thickness. The clay must be long and deep enough to fit around the tube with a little spare. Measure the circumference of the tube before you begin, to ensure you make the slab to the correct size. Once rolled, smooth over the surface of the slab with a rib to compact the clay.

ClayCraft

SKILL SCHOOL PROJECT

TWO

5 Position your texture on the cut slab, 15-20mm from the top edge, to leave an untextured rim. Cut away any excess clay from the sides as required. Roll the texture into the slab, roller guides in place, to ensure the texture is impressed evenly. Remove the texture when finished. NOTE – you may need to cut the slab back to the correct size after rolling in the texture because it can distort the shape a little.

Turn the slab over onto

another sheet of plastic. Position the tube on the clay so that one end aligns with what will be the bottom end of the beaker. Roll the slab onto the tube to establish the best place to cut the first edge for good pattern match. (This is not critical if there is no pattern in your texture)

Cut the first edge with a sharp knife, as shown – in a straight line.

12 ClayCraft

DIFFICULTY RATING ★★★★ ★

Apply a little slip to the scored edges then close them Roll the slab around the tube until the cut edge touches the clay. Mark the position with a pin.

together, using the plastic sheet to hold the shape as you work.

Carefully

work over the join with a kidney to remove excess slip, taking great care not to spoil the texture pattern.

Allowing an extra 10mm from the marked line, cut the excess slab with a sharp knife.

10 Turn the cylinder upright and remove the paper from the inside of the tube. Carefully lift the tube out of the paper shell, then taking care not to distort the shape, lift the paper out of the cylinder.

Unroll the slab a little and

carefully cut a bevel along the joining edges. You will have to do this freehand. Score the bevelled edges with a serrated kidney. ClayCraft

PROJECT

TWO

14 Smooth over the join on the inside of the cylinder with a suitable tool until it’s no longer visible.

Pinch the seams together securely until the clay meets at the centre to form three arms of equal length.

15 To form the tripod, place the cylinder upside down

on a board and gently squeeze the top edge of the clay between the fingers and thumbs to form a triangle.

16 If the clay is soft enough,

the arms should seal together readily. If in doubt, score the rim with a serrated kidney, then apply a little slip.

14 ClayCraft

Work over the closed edges with a kidney to neaten them up and remove excess slip.

DIFFICULTY RATING ★★★★ ★

Roll a tiny ball of clay and flatten it slightly between your fingers and thumb. Apply a little slip to the clay ball and place it at the centre of the tripod arms, pressing it in place to secure it. Impress the ball with a stamp of your choice (or your maker’s mark), then neaten up with a wooden tool.

You can see from the image what the inside of the beaker looks like at this stage – not an easy interior to keep clean – so reinforce the bottom with coils of soft clay to fill in the space. Use a long tool with a rounded end to blend the clay in – an old lolly stick works really well. The bottom won’t be completely level when reinforced, but it’ll be much easier to keep clean, and more hygienic.

With the mug upright on a board, and supporting

the wall with one hand, gently belly out the shape from the inside using the round end of a kidney or other suitable tool. Work the tool upward from the base to the untextured rim. Repeat this action around the wall until the mug is bellied to a shape you are happy with. ClayCraft

PROJECT

TWO

22 Neaten up the rim of the beaker with a kidney to round it oﬀ and thin it a little.

You can finish the beaker in several ways, one of which is to dip it in a coloured glaze that breaks over texture for great eﬀect OR, as shown here, fill in the texture with an underglaze colour of your choice.

23 Shape the lip at the top of the beaker with the round

side of a kidney so that it curves very slightly outward. This will make it much more pleasant to drink from.

Once the base underglaze colour has been applied,

sandpaper over the surface until the colour remains in the texture only. WARNING: you must wear a dust mask to do this.

24 Your beaker is now complete, but you can add a handle if you choose. Make this using your preferred method. Remember to score and slip before attaching the handle and position it over the join if you can – it will disguise it well. Allow the beaker to dry out slowly before bisque firing.

16 ClayCraft

Carefully brush away the dust from the surface of the

beaker – still wearing your dust mask. Make sure it’s completely removed or it will cause your glaze to crawl in firing.

DIFFICULTY RATING ★★★★ ★

Fill in any other areas of the texture with colour, as appropriate, then re-work over any areas that look a little messy, to finish. Allow the colour to dry completely.

Dip the beaker in transparent glaze, holding it at the rim and the tip of one tripod foot. Touch up the place on the rim where you held the beaker with a dab of glaze applied by brush. Wipe away the glaze from the feet where they will sit on the kiln shelf.

The finished beaker has been made with a handle, from white earthenware and fired to 1120°C in an electric kiln. ClayCraft

BLOG

Confessions of a novice

KEITH BRYMER JONES: A VIRTUAL STUDIO VISIT

The Great Pottery Throw Down is close to my heart. Back in 2017, in the wake of a major bereavement, my youngest son and I snuggled up every week to take it in, enjoying Keith has cats roaming his studio, so I knew he wouldn’t mind if our new the calm creativity and kitten came to say hello. escapism. We signed up surprisingly comfortable during the fortunate enough to still have our income, important people and for a pottery class together pandemic. It was a shame not to see him ‘IRL’ (that’s ‘In Real Life’ for activities available to us. But there and, literally a few months those of you without teenagers) and to were times when he says he was later, I was writing this blog miss his studio, his cats, and his ‘wall feeling down; a lot of events were of inspiration’. But it was nonetheless cancelled, and he couldn’t go to for ClayCraft. The show another booster, a vaccination against London with his business partner. He was a gateway drug to my doom and gloom in a difficult year, needed hope. Thankfully, in early clay addiction, and Keith which perhaps I can transmit to April, he heard that Channel 4 had ClayCraft readers through this blog. given the go-ahead for the new series had a lot to do with that. of the Great Pottery Throw Down, To see somebody get so Good news in strange times which must have been great timing for much joy from a simple We can't possibly talk at this point in all involved. What wonderful news to receive when the UK Covid situation act of creation that they’re 2021 without acknowledging the pandemic, and Keith tells me that he was so bad, and what an exciting and moved to happy tears, well, and his partner Marj think they had positive thing they all had to look it was just what I needed. Covid in a mild form early in the year. forward to. Of course, as Keith points My Keith-inspired clay obsession Last December I cajoled editor Rachel into letting me accompany her to Keith’s studio; a real treat for someone as obsessed with clay as I am. It was a booster, if you like, a dose of clay enthusiasm that helped me feel part of the wider clay community. This year, Keith kindly agreed to meet me on Zoom, a place many of us have become 18 ClayCraft

This, along with a general sense of being a bit untouchable (which, frankly, I envy) means that he isn’t worried about catching it again himself. He is, however, very conscious of not passing it on to anybody else, as he explains later. Generally, Keith’s been okay. “It’s been quite nice, to be honest. I’ve got clay, and Marj has got material, so we’re just stuck in together,” he says, echoing those of us who’ve been

out, he was never quite confident that it would actually be possible when it came to it. Nobody knew exactly which measures would be necessary or whether lockdowns might tighten up. Thankfully for all of us, Love Productions also makes the Bake Off, which had filmed earlier in the summer and was, according to Keith, the ‘canary’ that helped check that this really could be managed safely. The precautions began even before filming

BLOG

Keith describes Gladstone Museum as like a castle with a courtyard, surrounded by walls and with only a few ways in and out, making it feel very safe and isolated

Keith's social media videos are both entertaining and educational. started – Covid tests were sent by courier to Keith while he was on holiday in Wales, then straight back to the lab to confirm he was clear before joining the contestants and crew on set. Middleport Pottery was deemed too busy, with a layout that would make social distancing impossible, and so a new venue had to be found. Keith describes Gladstone Museum as like a castle with a courtyard, surrounded by walls and with only a few ways in and out, making it feel very safe and isolated. The Throw Down team had it entirely to themselves. As he tells me about this idyllic place with his customary enthusiasm, it sounds like a ray of sunshine in a stormy year. And the more he outlines the precautions taken, the more impressive it sounds;

at a cost, apparently, of more than a quarter of a million pounds on top of what would otherwise have been spent. That’s a lot of money, I think to myself, but I’m glad they decided it was worth it. Keith says he’s still amazed that over 120 people – judges, contestants and crew – were willing and able to commit to 11 weeks of isolation. It’s a long time, I think. How on earth do you get so much time off work?

Magic amid the mayhem As we chat, I begin to realise that this year’s potters had an even more magical experience than those in previous series, all staying together in a big house with a purpose-built studio for practising. Of course, I don’t know what other difficulties the year has thrown at each of them, but I hope this time was a magical oasis. I remember the five days I spent at Potters Camp with Anglian Potters in 2018 and imagine it stretching on for 11 weeks. Okay, I’d miss my family, but all that time to play with clay among likeminded people… heaven! As Keith points out, though, the leaving must

have been all that harder, given that it didn’t just mean not coming back the following week, but actually being evicted from the pottery house, Big Brother-style. And suddenly I imagine the tears streaming down Keith’s face as he realises it’s all over for somebody who’d put their heart and soul into it. He says that some of the potters learned not just about pottery, but about themselves, as they went through the process. I ask whether that will come across when we watch the show and, after a thoughtful pause, he says he can’t see how it couldn’t. I’m even more intrigued to watch than I already was – it’s not just the pots but the human side of it that keeps most of us hooked, I’m sure. Given 11 weeks with Covid tests every three days, I have to wonder whether anybody tested positive during filming. There was one moment, Keith says, when somebody did test mildly positive, and everything had to stop until a negative test came through. He doesn’t say who it was, obviously, and I don’t push, I’m just glad to hear that everybody stayed safe. It didn’t disrupt filming much, by

Left: Bless my little expectant face as Keith leans in for a closer look at my pot! Right: Alright, I admit it, I chose this screenshot because I can kid myself that he’s almost moved to tears.

BLOG the sound of it, though that must have been a concern. Keith says he’s always conscious of the possibility of spreading the disease even if he’s not worried about catching it himself, and that ‘it would’ve been a bloody nightmare’ if he himself had been the cause of people getting ill and also filming being halted!

A global pottery community We talk a bit about social media. At the beginning of lockdown, Keith made a point of beginning a series of videos (filmed by Marj) in which he demonstrates various techniques and ideas. Anyone familiar with his Instagram feed (@keithbrymerjones) will recognise the image of Keith standing in his studio in his overalls, a grin on his face, arms and hands spread wide as he introduces another instalment. I recommend those videos; they’re not only informative but unusually entertaining, as Keith’s enthusiasm brings something extra special. He tells me it’s been wonderful having the social media connection through the year, and he’s had comments from people all over the world; plenty from the US (where HBO recently bought the rights to the first four series), but also South Africa, Nordic countries, Australia…

We laughed at my heartfelt Christmas message… everywhere, really, he says. It’s an interesting spot that Keith holds in the pottery world; on the one hand, he’s this larger-than-life character on TV, extremely skilled at working with clay, and on the other, he has a factory in China that produces his work on an industrial scale. The one informs the other, it seems. As we talk about loading kilns, we reflect on how there is always an unpredictability to ceramics. I ask him whether, if he had to do the challenges along with the contestants, he would also have disasters. “Of course,” he laughs, “It’s all part of the process,” and admits to smashing work that doesn’t come out as planned. “It’s like life really,” he says, “if it doesn’t work, you just have to move on." I think of the disasters that have emerged from my own kiln, telling Keith it amazes me when potters like him or Florian Gadsby

.. and Keith showed me his handmade cards along similar lines. 20 ClayCraft

show kilns loaded with hundreds of handmade pieces, and I wonder how on earth they get the guts to press ‘go’. I can’t imagine risking so much work in one kiln-load! That’s when he tells me how many mugs fit into one firing in China – 28,000! I can’t believe my ears. That’s how many fill a shipping container, apparently. Well, as far as I’m concerned, someone out there has nerves of steel and deserves a medal and I’ll think of them next time I load the kiln I used to think of as my big one!

Looking back… I tell Keith that this is all very new to me and that I think many beginners like me, particularly those of us who never went to art school, can be particularly disconnected from the history of pottery. Personally, I’m so busy playing with clay that I rarely feel inspired to read up on other potters. I’m more interested in making my own pots than looking at those made by others (a failing, I know). Consequently, I don’t know my Simon Leach from my Bernard or David (and Keith makes me feel better by saying all he’s thinking of is bloodsuckers!) I ask him to help me out; if there were just three potters from history that he would recommend learning about, who would they be. He picks Lucie Rie, Hans Coper and Takeshi Yasuda, so that’s my homework for the foreseeable future. I pluck up the courage to ask what may well be a daft question, but one that I think may also stump some of you; why, oh why, are BROWN pots so highly esteemed? I know, I’m an uninformed heathen, but I can’t help

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I pluck up the courage to ask what may well be a daft question, but one that I think may also stump some of you; why, oh why, are BROWN pots so highly esteemed? looking at the lovely colourful glazes and pots all over social media and then wondering why so many of those that are held up as masterpieces are, well, brown. I asked Doug Fitch about this too, last year, and he told me that there are collectors – often the first to go round big shows – who are particularly interested in brown pots. Keith laughs at my question and says “oh yes, sandal-wearing, pipe-smoking, grass and nuts pottery.” He admits he’s got a bit of an aversion to it, even now, but says he can see, as he's got older, that the Bernard Leaches and David Leaches are really quite special. At this point, Marj brings over a brown woodfired bowl by Bernard Leach, saying it’s her cereal bowl of choice. Keith agrees. I pull a face – “it’s a bit small, isn’t it, for a cereal bowl?” showing my ignorance once again. My partner has also hovered in the background while we’ve been talking, holding up a brown mug that I gas-fired at potter’s camp, and which has become his all-time favourite. I shoo him away; does he really expect me to hold up my own brown pot while Keith’s holding up a Leach?

… and forwards I try to move us from the past, swiftly over the present, on to the future. Whose pots does Keith look forward to seeing once the shows are back up and running? He finds this harder, and says that instead, he looks forward to the shows themselves, roaming the marquees and looking at the eclectic nature of ceramics. He mentions Art in Clay in Hatfield (although this will be in a new venue in future), and Rich Miller’s event in Farnham (and of course, this series, Rich has been promoted from Throw Down technician to judge!) “I always say this,” he says, “at least once a series. We take 12 potters, give them all the same task, and they each come up with something completely different.” He’s right; there are so many things you could do with clay. Keith reflects that while yes, I might be a novice, he still feels he hasn’t scratched the surface himself, even after 35 years. “It’s a wonderful thing, ceramics,” he says, “it’s never-ending. What are you going to make? Infinite choices. What are you going to make it with? Also infinite. Okay, you’ve made your… ashtray,” (we laugh), “now how are you going to decorate it? What about firing?” He's right: so many decisions, sometimes I think the infinite possibilities are paralysing. Still, I bet most of us wouldn’t change it for the world.

And ﬁnally, will he judge my work? I’d thought about what ClayCraft readers might want to ask Keith, given

Living on the coast means Keith can swim even on days when the rest of us are wrapped up warm on the sofa.

The (frankly a bit small) brown cereal bowl of choice.

the chance, and decided the ultimate would be to actually have him look at our work. I didn’t have time to come up with a plan to show him readers’ work, so I had to hold my breath, put on my big girl pants, and show him some of mine. I’d realised that because I produce several finished pieces for each of the ClayCraft projects, I end up with multiple versions that could be judged a bit like a challenge on the Throw Down. The pots I felt most comfortable to show him were two of my ginger jars (not the really weird one with the Taj Mahal lid, I kept that well out of the way). So I held them both up and asked him which was the winner. On reflection, this was a cunning plan, because whichever one he liked best was still one of mine! Which one do you think he chose? I’ll put the answer at the bottom of the page. I also showed him my first attempt at slip-casting, and he laughed out loud when I turned the ‘2020’ around to reveal an expletive. He dashed off to get the Christmas cards he’s made this year, a lovely piece of porcelain on the front and similar expletive on the inside!

I’d thought about what ClayCraft readers might want to ask Keith, given the chance, and decided the ultimate would be to actually have him look at our work ClayCraft

The winner was the green one!

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Some of Keith’s work – beautifully simple and with a positive message that counteracts 2020’s challenges. Now let’s sit back and enjoy the show By the time you’re reading this, you’ll almost certainly have seen episode one. According to Keith, there will be 10 episodes, and I nearly fall off my chair when he says some of them may be an hour and a half long. The final, he says, might be even longer, and I hear myself squeal in delight. “There are going to be a lot of happy potters,” I say, excited for the buzz on social media when our big online community catches wind of it. “Seriously though, it’s going to be a great series, really high quality,” he says, and I say I can’t wait. Keith says it really worked well with Rich in his new role as judge and Siobhán McSweeney presenting. “They’re brilliant,” he says. “And you’re alright, too,” I

embarrassingly tell him, still buzzing from his reaction to my ginger jars. My partner says that sometimes when you have to throw away the rulebook and start again, you end up with something even better that you had before, better than you ever expected. From what Keith tells me, this could be the case here. A Throw Down that’s even better than the Throw Down? Bring it on! The next big question in my mind is whether any of you are on it… Keith is likely to be on his social media feeds when the episodes air, as will I, so if you feel like a bit of connected watching, join us on Sunday nights. @keithbrymerjones @pottlemuddery @claycrafting

Seriously though, it’s going to be a great series, really high quality,” he says, and I say I can’t wait 22 ClayCraft

ClayCraft unofficial checklist for wannabe Throw Down contestants There’s nothing to stop anyone applying, of course, but here’s a checklist I ran through with Keith that might help you decide whether you’re ready to apply. The more of these you’ve at least tried, the more confident you could be in front of the cameras. ● Throwing consistently ● Throwing (quite) big ● Throwing multi-part pots ● Working with different types of clay ● Slab-building ● Coil-building ● Pinch pots ● Slip casting ● Glazing ● Raku Keith also suggested that making a teapot is a great way to practise. Putting all those pieces together is an excellent learning experience.

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THE GREAT POTTERY

y the time you read this, we will all have been glued to the television as the latest series kicked off on Channel 4 (Sunday nights, 8pm). As you might imagine, things will be a little different from previous years. Covid-measures aside, there is the introduction of Siobhán McSweeney as the show’s presenter, and Rich Miller has moved from his role as the technical wizard to accompany Keith Brymer Jones in the unenviably tricky task of judging the 12 contestants. We found out more about this year’s series, from behind the scenes.

PRESENTER: SIOBHÁN MCSWEENEY

You aren’t a stranger to the format as you have been on Celebrity Bake Off – Stand up to Cancer. Did that help in any way? And has your baking improved? It did help me being a contestant in the tent previously, and that it meant I had a lot of empathy for our lovely potters. However great you think you are outside the room, once you get into the pottery with the time pressure and the cameras, you can get really stressed… and I am a fantastic baker, although you didn’t get any indication of that in the tent! 24 ClayCraft

How different was being a presenter on the series to your role as Sister Michael in Derry Girls? It was the first time for me as a presenter, and it’s very different to acting in general as I didn’t have a role to hide behind, so I felt exposed and vulnerable at the start. Of course, as I had the immense support of such a good team behind me, it became an incredibly enjoyable experience. And strangely similar to Sister Michael, as I am quite often at the top of the room looking at terrified people behind their desks.

What made you want to be an actor and how different is that to being a presenter? Two things made me want to be an actor: I wanted to show off and play as many different people as I could, and being a presenter is similar. I think and hope I engage easily with people, and with the potters, I really wanted to bring the best out of them. In the theatre or film world you are part of a team, but a smaller cog in the wheel. Being a presenter, you are very much a team and utterly invested in everyone’s creativity and wellbeing.

THROW DOWN 2021

Two things made me want to be an actor: I wanted to show off and play as many different people as I could, and being a presenter is similar You are originally from Ireland. Do you still go back home? I am from County Cork, and I haven’t been back this year, so this is the longest time I haven’t been back in my life. I do miss it and seeing my family. I would normally spend half my time in Ireland, so it’s been a tough year.

ceramics. Absolutely. Ireland, in general, has so many creatives in so many different areas. I have a new-found respect for the craft and technical knowhow of pottery. It’s such an achievement; I will never take my handmade mug for granted again.

Ireland is and a hotbed of creative art, The Joy Champagne Angel. with established potters selling

How did it feel on the first day walking onto a new set?

I felt so terrified, but at the same time, a huge obligation to hide it, as I knew the potters would be doubly nervous. I felt I was there to mind them, and to make it as easy as possible for them. How would you describe your role in the series? I think I am there in two ways; to act like the viewer with questions, and what the viewer might be interested in, and to be a support for the potters. So I represent the audience, and secondly, I am there to be a shoulder to cry on, a friend for the potters. What did you most enjoy about filming the series? I loved learning about pottery actually, and I am enjoying learning how different it is to what I thought it was. I love the nerdiness of the judges, Keith and Rich. Their passion is infectious; when they nerd out about pottery, it’s very funny. Why do you think these kinds of shows are so popular – arts and crafts are so on-trend right now – and why did you want to be a part of it? I think these kinds of shows are popular right now because they are about ordinary unpolished people who are on TV because of their creativity and not in some cynical, opportunistic way. Audiences are smart, and I think we have grown wise to manufactured content. There is an authenticity to these programmes that is very appealing. In a time when we feel quite isolated, it is good to be able to connect with each other through our shared humanity. It’s the potters themselves, how pottery makes them feel and how important it is to them that makes it good viewing. This is a dream job. I had a really lovely time filming it in the midst of a strange time. Do you know a lot more now about pottery than you did when you started? I thought I knew more before I started, but the whole world of pottery has been ClayCraft

THE GREAT POTTERY THROW DOWN opened up to me. As Keith and Rich were fond of saying, you could spend your entire life learning about pottery and you still wouldn’t know everything. How was it working with judges Keith and Rich? Did you socialise away from the set? One of the biggest gifts of working on this show was to hang out with the pair of them. We were in a bubble together, and I feel very lucky how very welcoming they were to me, they are both funny people, and made me laugh a lot on set and off set. Did you have to dry up tears of unhappy potters? There were definitely moments when the potters put themselves under pressure, and you would have a heart of stone if you didn’t want to comfort them. The amount of themselves they poured into each week was humbling; they threw themselves into each challenge

JUDGE: RICH MILLER

How did it all start for you and did you ever think you would end up on TV? I stepped into the ceramics world in 1997 and had a great teacher at college who was a former potter, and I fell in love with the clay, watching the fluidity at the wheel and the malleable qualities of it. I then did a degree in 26 ClayCraft

wholeheartedly. The tears from Keith are beautiful and hilarious at the same time. He is genuinely touched by emotion. He cried once when he saw me in a dress, which made me wonder how awful I was looking the rest of the time! Was it hard to name the potter leaving each week? It’s a tough part of the role, that was one of the bigger surprises for me – as a fan of Bake Off and Throw Down – you don’t realise how involved you become. It’s not manufactured, you want the best for these people, and it is very difficult to say goodbye each week to one of them. Is it difficult trying to chat to them when they are right up against the clock? Every time I would come out, they would groan as they knew I would be giving a time call. It was hard not to be offended! But they were very generous with giving their time to me. I am sure I was very

annoying to a lot of them. I was like a buzzing fly around them, asking stupid questions. Pottery is so visceral and tactile, and I wanted to keep touching their pieces of work, which I am sure they didn’t like me doing! Nobody wants an errant finger in a pot!

ceramics in 1999, and a Master’s degree followed that, so it’s been clay ever since. I certainly never thought about TV as a vague possibility. I see it now as an extension of talking about my passion to a broader audience; it begins and ends with the clay for me. In my other life, I run a tile business making tiles for top architects and interior designers. How was your first day, new to the series as a judge for the first time? I have been with the series from the very beginning (known as the kiln man so a more behind-the-scenes role), but this time I felt under a different pressure. It was both daunting and exciting. I wanted to do a good job and do right by the potters; it was very exciting to be part of the judging team alongside Keith.

the judging, observing the standard practices and hopefully giving useful feedback to the potters for subsequent makes. We have 12 incredible potters with amazing skills, and they also brought personal stories to their makes. It was very inspiring to be a part of this series. As a new judge, do you work well together with Keith? Do you agree on most things? Yes, we have very different backgrounds in the ceramic world, but you draw on your own subjective experiences. We didn’t always agree but respected each other’s knowledge and opinions. We both feel passionate about it but always resolved who should leave – after a very long, tough discussion. Every week was very close this series. We had to really pick through the fine detail, who deserved to go through to the next week. Although I loved the process of judging and critiquing, it was really tough to send someone home. I wasn’t prepared for that.

How would you describe your role in Great Pottery Throw Down, and what does this series promise? I have made a career purely from clay, and I am a stickler for the technical aspect, so I brought the technical side to

The potters – what are their personalities and how creative are they? What I love about these shows is that they are a group of people who wouldn’t ordinarily get together in real life. We have 12 utterly distinct personalities from different walks of life and ages, and they were potting together, living together, eating together. What was extraordinary to behold was how the family vibe comes out. That was why it was hard to say goodbye to people as they left. The potters helped each other out continuously; if someone was missing a tool, they passed one back. They had the utmost respect and generosity to

THE GREAT POTTERY THROW DOWN each other. I found that instead of being daunted by a challenge, the potters embraced the moment, and really tried their best. Did you get any help or research about pottery before you started? The team were incredibly patient and helpful in briefings. You can be told everything, but until you are in the room, you don’t appreciate what it means. Keith and Rich never needed to be asked twice to explain some part of pottery. I learned a lot but realised how little I know. What was the atmosphere like on set the very first and last day? The very first day it was like the first day at school, everyone is shiny, and their aprons are clean, eyes wide and bright, quite giggly and excited like children. And the last day was very moving actually. There was a sense that everyone had gone through something together,

The very first day it was like the first day at school, everyone is shiny, and their aprons are clean, eyes wide and bright, quite giggly and excited like children and there was a huge sense of pride in the winner. I don’t think it can be underestimated how we filmed so efficiently and safely in a pandemic. I was nervous about Covid, but the team was so dedicated to our wellbeing, it was a collective achievement. So it was a bittersweet ending; we were ready to go home but not ready to say goodbye. Best and worst moments for you during the series? The worst moment for me was sending people home, and the best bit was hanging out with the potters and spending time with Keith and Rich. The GPTD is all about encouraging potters to do the best

they can, did you see them grow in confidence throughout the series? Without a shadow of a doubt, and that is so apparent in the series. Everyone, regardless of their pottery proficiency or their personality, really blossomed craft-wise and personally. I think it was a very positive experience for them. What was your favourite challenge in this series? Definitely the bust of a music legend in week five. There are some very funny and dramatic moments – legendary moments in fact. You will have to watch and see. 

It was a huge responsibility and carried a lot of weight, but it was part of the job. Keith and I have a shorthand with each other which really helps, we both know what each other are thinking, and I know what might move him emotionally. And working with Siobhán? Siobhán brought such a fantastic positive energy to the pottery; everyone fell in love with her. She was hungry to learn, you could tell she was genuinely interested, and couldn’t keep her hands off the clay. She was so high-energy and incredibly naturally funny. She would bounce off the potters in such a good way.

work at stake, so there is an added layer of pressure. It’s quite nerve-wracking, but when it works, it is so satisfying. You look at their main makes, and it’s staggering what they achieve from a bag of mud, and they have created these incredible pieces. It’s really a gratifying process of the series. It’s people’s hands and minds creating something really special. Is clay in your blood? Did you inherit the skills from family, or did you just learn them? Well, it’s funny because my dad was a musician in the Royal Marines for 30 years, so he was away a lot, but it was a creative household. My mum grew up in the wilds of North Wales and lived off-grid, so making was an important part of her life. I went to sugarcraft classes with her and made flowers when I was about seven, so the creative seed was sown then. She was a maker, so she encouraged me to be creative, and I am doing the same with my daughter. How did you cope when you had to

take a piece of pottery out of the kiln that had broken, when you know how much effort and work the potter had put into it? Crikey, yes. If it came out in less than a perfect condition it was very difficult as you knew the hours of work that had gone into it. And it’s heartbreaking for them too. How would you describe the potters this year? They are very humble about the whole process but really serious about progressing their claymaking skills. They took on the judges’ feedback, and you felt they injected their next make with that knowledge. They are a really inspiring bunch, full of high energy, and so keen to learn. They are all very creative in different ways, so there are some spectacular makes to look forward to, they really pushed themselves this series.

Do we still get to see you working at the kiln? Not really, I relinquished that responsibility to Rose the new technician, and she did a great job, absolutely fantastic. She has such a duty of care of the potter’s work. It’s always terrifying when you open the kiln as you don’t know how the firing has gone, and in that first week it’s 12 potters’

Any stand-out moments for you? I think the spot-test of brick making in ClayCraft

THE GREAT POTTERY THROW DOWN

I am most proud of a piece of work that most represents my thinking now, and it’s being auctioned for charity to get clay into the hands of young people week two, as it was the first challenge that I set and demonstrated. It’s a very different process to what they are used to. It was fast-paced, and they really went for it and enjoyed it. We had all these amazing bricks at the end of the challenge. It’s a slightly different take on ceramics. Every week there are stand out moments; it could be a very moving personal story, or their technical capabilities. What was the atmosphere like on set on the very first day and the last? The first day there were a few nerves, myself included! As we got to know each other and got to know the space, everyone relaxed, and we all became fellow potters. On the last day, we didn’t want to go because we were all in this creative bubble together, a really strong group sense of togetherness and a big overwhelming sense of positivity about the whole experience. How did you help the potters throughout the series? Well, I would hope that I gave them honest feedback to help them grow as makers, that they could use in a positive way. I like to think I gave it to them straight, the good and the bad! Technical advice that would help them. Did you enjoy the filming? I always do; it’s such a wonderful team. This is my fourth series, and it felt like coming back to an extended family. The atmosphere on set among the potters, crew, and production is a lovely family atmosphere. This year was extra special as it’s been such a tough year for a lot of people. 28 ClayCraft

Do you use your own pottery at home, as in cups and saucers, etc? I do! I have a lot of stuff. I describe our family as the cobbler’s children, so anything that doesn’t get sold ends up in the house, so we use the rejects! I also have a lot of other potters’ work around the house, as it’s the best way of learning. What is the best piece of pottery advice you have ever been given? And passed on? I would say the best piece of advice I was given was to be a pessimistic optimist potter. It’s basically to manage your expectations as you never know what you will open the kiln door to, because inevitably, mistakes will happen every now and again. I try and pass on advice to not be afraid of the material, just get on and enjoy the clay. Particularly if you are new to ceramics don’t get caught up in the fear of it. Ultimately it is just mud, and don’t be afraid to enjoy the process, or the consequences of it going wrong.

What's your personal best and worst pottery disaster? Oh goodness, there have been so many disasters, and I am my own worst critic. I am most proud of a piece of work that most represents my thinking now, and it’s being auctioned for charity to get clay into the hands of young people. It’s a thrown and hand-built crown that is perched on a brick. There is a lot of meaning behind it, for positivity and new beginnings and has historical resonance, and from my childhood. It’s probably more of a sculpture. What's next for you in the pottery world? I am very proud of 24 Savile Row where, as a team effort, we created 11,000 tiles on the outside of a building, and the Tate Gallery at St Ives where we created a glazed ceramic façade for their new pavilion. We have all sorts of interesting collaborations coming up for 2021, and I want to pursue more ethical production and consider the environment more. That’s the forefront of my thinking at the moment and hope to be more responsible as a ceramic industry. 

THE GREAT POTTERY THROW DOWN JUDGE: KEITH BRYMER JONES

What was it like coming back to GPTD and with a new judge and a new presenter? All very exciting really, and I was so pleased that C4 had recommissioned the series, and that my fellow judge was going to be Rich Miller. I have known him six years now. He has been there from the start as a technician, and I know him so well. I really appreciate his own craft skills, as he is a potter himself, he came with a lot of credibility. Siobhán as the new presenter was a breath of fresh air. We met in the Green Room before filming, and we

hit it off immediately. She is such a lovely person. To work with someone who brought such enthusiasm and humour to the show was a joy. In a nutshell, she has funny bones, and she was incredibly natural and comfortable with the potters. Because of that, I think Siobhán brought out a lot of information about the potters as she was genuinely interested. After lockdown, how liberating was it to get away to Stoke and start filming? It was incredibly liberating as we had all been in lockdown and isolating in our various different worlds. To then go and work on a set and meet up with the crew and work in a team to achieve the show was such a bonding experience. There were times that I thought it wouldn’t happen. The fact it did is a testament to the executives at Love Productions and the tenacity of all their hard work. It’s quite a tough show to organise in ordinary times, so it was amazing they pulled it off. You have been with the show from the first series, do you feel like an old hand now? To a certain extent, I do feel that I am, and the Gladstone Museum was an extraordinary aesthetic location to film in. It’s a bit like a pottery castle, there are only a few ways in and out, so we all felt incredibly safe filming.

It’s a circular compound with a yard in the centre of it, so you do feel you are sealed off from the outside world. Did you feel safe filming? Yes, we were part of a bubble and were tested regularly. Everyone felt very safe with the extensive safety protocols that Love Productions had put in place, not only for us but the potters and crew as well. What are the potters like this series? The potters have such a love and passion for clay, but they felt really at ease in the whole situation. This year their hand-building skills are incredible, and I am excited for viewers to see what they achieve. We set the potters the challenges and what they produce in the time we give them is amazing, and they always inspire me. It’s the fourth series of Great Pottery Throw Down so what does this one promise? In week one, the first challenge is cheese sets – a cheese dome, a fondue pot and two pickle jars. We have some amazing challenges for this series, we have upped our game a bit, and we have them making music legend busts, from Bruce Springsteen, Dolly Parton, Tom Jones, Ozzie Osbourne and Dame Shirley Bassey. They also have to make a strawberry planter, a doll’s house dinner set all in miniature, naked Raku vases, musical instruments and an animal water feature. What was your favourite challenge this series? One of my favourite challenges this time round are the houses – they had to make a building that was personal to them, about 30 cm high, from their life or culture, or something that is important to them. The level of detail in some of their structures is absolutely wonderful. ClayCraft

THE GREAT POTTERY THROW DOWN Rich as a new judge – do you work well together as judges? Do you agree on most things? He is brilliant at what he does and has been a technician on the show from the start like me, so we have a good history. I am so pleased he is now a judge, and interestingly there were a few things we didn’t agree on, and the wonderful thing is that whatever point he makes is valid, as it comes from real knowledge about the craft and he has credibility. So if we did disagree, it would be on the aesthetic, not the technical side of the challenge. We both mutually respected each other from where we come from. We were forever talking about pots in the Green Room, and I think Siobhán thought we were the potter nerds. There were slightly different filming methods for this series because of Covid. How did you adapt? The three of us lived in self-catering cottages next door to each other on a farm; it was really lovely. We would often meet outside for a (socially distanced) drink and a debriefing after the day’s filming. The potters all stayed at a different location in a landscaped setting with their own chef. I think they had a great time. They also had their own studio where they could practise. What was the atmosphere like on set on the very first day and the last? It was very emotional at the start of the show. I always send each potter a personal letter, a set of tools from my studio in China, and a mug before we start filming. I always find out where they come from. We were all in the studio ready to start filming the first challenge on the first day, and there was a real sense of excitement and achievement, not just from the potters, but from the production team and crew. It was a really nice atmosphere. The last day is always strange because the pottery becomes so empty 30 ClayCraft

Where are the potters from, and what’s the age range? The age range is from 20 to 70. We have got a student, teacher, community nurse, scrub nurse, support worker, model, and library assistant among the mix. And as usual, they are from all over the country: Milton Keynes, Suffolk, London, Kent, West Yorkshire, Brighton, Cornwall, Wales, Essex, Bristol and Scotland.

as there are only three potters in there – the room looks suddenly bigger, and it’s quite symbolic. The presentation was incredibly emotional in terms of what they had done to isolate all that time, and how well they have done to come through the whole process. Because of the restrictions, we weren’t able to invite all family and friends, but there was a heartfelt reception at the final. Are the potters as good as in previous years? Do you have to make the challenges harder each time? The potters are as equally good as last year, and they have great personalities to match. I think this year the stories behind what they are making will definitely pull a few heartstrings.

How different is the format this year? It’s the same two challenges – the main make challenge and the second challenge, which is either a throw down or a spot test. Some of these are amazing, especially when they have to make a household brick – it really showed their personalities. Clay was flying all over the place, even the ceiling! The series is all about encouraging the potters to do the best they can. Did they grow in confidence as the weeks went by? Absolutely, there were certain potters on the show that did have a lack of confidence, but they grew in confidence throughout the weeks. It’s so rewarding to see, and it’s one of the reasons why I do the show. It’s about pottery and what they are making, but it’s all about the people alongside the craft. I think the Throw Down is so

We know what sacrifices they made to make the show, and we knew that they had grown so incredibly close to each other as they were isolating insightful in seeing how people change throughout the weeks. I love that. How difficult is it to choose which potter has to leave and do you both find it really difficult to say goodbye? Yeah, even more so this year. We know what sacrifices they made to make the show, and we knew that they had grown so incredibly close to each other as they were isolating. Rich and I found it incredibly hard to decide who had to leave each week, and of course, it gets harder. Do you pass on any advice to the potters as they leave the series? The lovely thing about the show, and potters in general, is that we are always sharing information with them, and always sharing tips. It was lovely to hear them say things like ‘I took on board your advice and took it to the next challenge’. Were there any disasters that you can talk about? Unfortunately, yes. On one particular challenge there are a lot of blow-ups in the kiln. Describe a typical day filming and how long are some of the challenges? The longest one was six-and-a-half hours with a break for lunch. To see

what they achieve from the beginning of the morning with a lump of clay and then producing an amazing piece of work at the end of the day. It is a television programme, so it has to be done in a day, but what they achieve is incredible. Can we flush out whether the making of a toilet is coming back? No toilets, but there will be pedestals and basins, and there is a funny sketch before that challenge. I think this will be the biggest challenge we have ever done on the show. They also have to decorate a chamber pot. What do you most love about pottery and how important is it in your life? The clay itself and the fact that you never stop learning. The only other passion in my life is my son and partner Marj. The series received really good feedback last time. Why do you think it’s so popular, and the audience grows each series? I think its popularity grows because it is an interesting show and it's amazing to see what people can achieve with their hands. Clay is such a wonderful material to work with and apply your imagination to in a three-dimensional form; it’s the perfect medium for doing that. We ask them to make a particular challenge, but it’s the personal story

that they bring to it that really enhances the moment. I find their backstories fascinating. Whether they do well or not, it’s the fact that they have tried their absolute best, and that to me says a lot about the potter. Can you name your best happy moment on the series this time around, and are there any tears? There are loads of tears. I don’t know how they are going to cut them all out, I think the crew think I am crazy. There were many happy moments throughout the whole filming with the ultimate high of getting to episode 10. Who would be in your dream Zoom meeting for four? Lucie Rie, a potter [not alive now, but from Vienna] to talk about her pottery journey; Muhammad Ali to hear his stories because he had a totally different life to mine; Kate Bush because I could listen to her read the telephone directory, and she could sing to us, and my partner Marj because I like to share everything with her. What’s next for you in the pottery world? Back to the day job, designing and making for retail. Also, I am a patron for NSEAD, the National Society for Education, Art and Design – they support a union for art teachers across all levels of education. I am also on a board with the Department of Education, and we are devising a new qualification for art and crafts in schools.  ClayCraft

MEET THE CONTESTANTS

Adam, 36 from Brighton – support worker Adam was born in Bradford and grew up in Seaford near Brighton. He was always obsessed with swimming, sailing and the sea. In his early twenties, Adam was knocked down by a car in a hit and run and was severely injured with broken legs, leaving him wheelchair-bound for a year. During recovery, Adam turned to clay to help ease his mind and found that hand-building became his lifesaver due to its therapeutic nature. He crafts beautiful and unique nature-inspired pottery which he describes as “fun, exciting and whimsical things that have a character and charm that are visually exciting and that you just want to touch.” He is particularly inspired by the sea and loves to recreate tentacles and anemones in clay. Instagram: @adamceramic 32 ClayCraft

Alon, 20 from London (formerly Israel) – architecture student Born in Camden and raised in Israel, Alon is the youngest of three. He lives with mum Tal, dad Yossi and sister Hadar in North London. Alon is about to start an architecture degree at the University of Edinburgh and also loves to bake and cook. In fact, he’s the family’s resident chef, cooking all the meals in the house and taking inspiration from his heritage. Instagram: @oak_fired_clay

Ara, 57 from Folkestone, Kent – retired theatre wardrobe/costume manager Ara spent 25 years as a wardrobe and costume manager in British theatre, working with some of the biggest names. Now retired with his partner of 35 years to the seafront in Kent, Ara loves nothing more than to bring clay to life by recreating human portraits. His amazing eye for detail and fashion lends itself to a theatrical costuming approach to his pots, which he accessorises with punk metal, studs, nuts and bolts. Instagram: @ara.moradian

ClayCraft

THE GREAT POTTERY THROWDOWN

Hannah, 30 from Bristol – project manager for community-led housing scheme Hannah grew up in Nepal, where her parents worked in community development, and moved to the UK at 14. She currently lives in Bristol and is a project manager for a large community-led housing scheme. Hannah was introduced to ceramics six years ago through an Art Foundation Diploma. She developed her skills by learning through ‘osmosis’ while volunteering at a pottery studio in Bristol and a ceramics centre in Denmark. Hannah is active in her local church, where she often cooks communal meals for up to 150 people. Instagram: @hannahruthwalker

Henry, 25 from Suffolk – activities organiser in elderly residential home Henry lives in rural Suffolk with his mum, dad and two “sassy” budgies, Bonnie and Clyde. As the activities organiser at a retirement home, he works hard to help residents live life to the full. Henry has been potting for five years and was first introduced to clay at university, where he taught himself to throw on a disused kick wheel. Outside of pottery, Henry loves nothing more than to throw himself around; be that by trapezing, unicycling, juggling on a tightrope, skateboarding, or trampolining – something he has done since he was 12 and used to compete at nationally and regionally. Instagram: @pot_punk

Irina, 43 from Essex (originally from Russia) – executive customer service representative for private jet company Irina moved to the UK 15 years ago from the far east of Russia. She grew up in a small city close to the border of North Korea, China and Japan, where her father was a Merchant Navy captain in the Soviet Army and spent long periods away at sea. Irina lives and breathes aviation; her fiancée, Peter, and son, Anatoly, both work as private pilots, and she works as executive ground staff for a luxurious private jet company. Irina has been potting for around five years and loves nothing more than to make “feminine, floral, breath-taking romantic vases”. Instagram: @irispotsoflove

34 ClayCraft

Jodie, 35 from Aberdare, South Wales – NHS scrub nurse Hailing from just south of the Brecon Beacons in South Wales, Jodie works as an NHS scrub nurse, ensuring everything is in tip-top shape ready for the surgeons and doctors to operate. Well-equipped to deal with the pressures and stresses of her line of work, outside of the hospital Jodie spends her time training for triathlons and iron man contests or speeding down Route 66 with dad, Colin, on their motorbikes. Just over two years ago, she and her friend sought a new hobby to keep them occupied during the winter months, and she has been potting-mad ever since! Instagram: @jodie_neale_ceramics

Lee, 44 from Huddersfield, West Yorkshire – community nurse Lee’s role as a night-shift community nurse involves visiting patients in their homes, both routinely and in emergencies; a job he says he ‘’absolutely adores’’. A constant crafter and hobbyist, Lee discovered pottery and started learning the basics from an acquaintance nearby. Now, three years on, Lee has made up for lost time and tried his hand at all things ceramics; from throwing large pots to sgraffito and making his own glazes – he is mainly a thrower, but he has attempted most techniques. Instagram: @thenookpottery

ClayCraft

THE GREAT POTTERY THROWDOWN

Peter, 69 from Buckinghamshire – part-time design & technology teacher Born and raised in South London, family man and part-time pilot Peter now lives in Buckinghamshire with Gill, his art teacher wife. Despite a yearning to join the arts, he was heavily encouraged to follow in his father’s footsteps and worked as a product designer for various toy companies. Just before his 50th birthday, he took the brave step of returning to university to study a degree in ceramics and has now been teaching visual arts for almost 20 years. Instagram: @woburn_sands_clay

Sally, 58 from Cornwall – Access art & design teacher Sally is an art teacher from Cornwall, where she lives with her partner Hazel. Sally has been potting on and off for 20 years and worked as a graphic designer for two decades. At 44, she decided to go back to university to take a degree in Applied Arts. Sally used to call potters “mudslingers” when she was a neat and tidy graphic design student but now admits to being an “absolutely filthy” potter, who’s at her very happiest when she’s in a “T-shirt, jeans and covered in mud”. She has a real gung-ho, give-it-a-go attitude and is forever rebuilding parts of her house or whittling tools from household objects. Instagram: @sally.tully 36 ClayCraft

THE GREAT POTTERY THROWDOWN

Susan, 55 from Aberdeenshire, Scotland – library assistant Mum of three, Susan hails from Aberdeenshire, where she works as a library assistant. As a child, her family moved a lot, and Susan was often roped into helping with house-building projects. Susan first learnt pottery at a group evening class 16 years ago. Her designs are often inspired by animals and are highly decorative and colourful, with a sense of humour and a real attention to character detail. Instagram: @suzmacinnesceramics

Shenyue, 28 from London (born in China, raised in Manchester) – model Shenyue is a professional model strutting the catwalks and shooting pieces for clients such as Vivienne Westwood and Armani. An only child to scientist parents, she studied Natural Science at the University of Cambridge, but on graduating seven years ago, she shifted her focus to modelling. Three years ago, Shenyue stepped back into the world of science in a role as a strategy consultant, mostly focusing on live science and biotech clients. Despite only discovering pottery in the past year and a half, she has ditched the corporate world and made the brave decision to follow her passion for ceramics. Instagram: @supperceramics

ClayCraft

SKILL SCHOOL

PROJECT

THREE

PORCELAIN CUT CIRCLE DISH

This is a relatively easy project made diﬃcult by the fact that it’s made in porcelain. The key to success is in the preparation, so take the time to do this thoroughly for the best outcome

YOU WILL NEED:

■ A large sheet of paper – plain, lining wallpaper is great for making larger templates like this ■ Pencil, ruler, compass, 360° protractor ■ Cutting mat – useful but not essential ■ 5mm roller guides, rolling pin ■ Plaster bowl mould of choice – you can make this form either in a press mould or over a hump mould ■ Clay – we have used porcelain here, but you might like to practice in a more forgiving clay first, to get used to the technique ■ Textured wallpaper ■ Glaze to fit your chosen clay

38 ClayCraft

DIFFICULTY RATING ★★★★ ★

Use a compass to draw a circle from the centre to the Begin by measuring the depth and width of your mould. Lay a soft tape at the rim of the mould then drape it down into the centre and back up to the rim on the opposite side. This measurement will be the diameter of the circle you’ll need to fill your particular mould. Draw the circle using your measurement, on a section of the lining paper – if you have a handy ‘something’ that’s the right size then you can draw round that, as shown. The circle will appear to be larger than required when cut out, but this is necessary to allow for overlap.

marked points on the lines. This central circle will form the base of the dish when made in clay – it can be slightly larger than 4cm from the centre if you prefer.

Use a 360°

Cut out the circle carefully

and discard the offcuts to the recycling bin. Fold the circle in half, then half again, to divide it into four sections.

Draw in the folded lines in pencil to clearly define the

quarter sections, then mark a position on each pencil line, 4cm from the centre.

protractor to measure and divide the quarter sections in half again. Draw a pencil line from the inner circle to the outside edge in each section until you have eight equally sized divisions.

Cut the circle into sections from the inner circle

outwards using a ruler to ensure a clean straight cut. ClayCraft

SKILL SCHOOL PROJECT

THREE

7 Place the paper template in your mould to check that the sections will overlap suﬃciently to be able to join them together when made in clay.

When the bulk is suﬃciently reduced, roll the slab between 5mm roller guides, turning the clay regularly to ensure the slab is round. Smooth over the surface with a rib when rolling is completed.

Lift the slab on the plastic sheet and place it on the Cut out two sheets of textured wallpaper large enough for your circle, plus a little extra at the sides.

textured side of the first sheet of wallpaper. Peel the plastic sheet off the surface then smooth over the clay with a rib.

Place the second sheet of Reduce the bulk of a block of clay. It must be a large

enough mass to accommodate your circle when rolled out. Beat the clay on a sheet of plastic with the side of your rolling pin. Work in measured, even strokes to avoid making deep grooves in the surface.

40 ClayCraft

wallpaper over the clay – texture side down, then roll over the surface to impress the design into the clay. Make sure the roller guides are in place as you roll to ensure you maintain an even thickness of clay.

DIFFICULTY RATING ★★★★ ★

Peel the upper sheet of wallpaper off the clay when

you’ve finished rolling. Lift the slab on the lower sheet of paper and turn it over and back onto the sheet of plastic.

Carefully lift the circle on the plastic sheet and position it

in your mould, making sure the uncut inner circle is centred in the base. This can be a little tricky so don’t rush it. Peel the plastic off the surface of the clay then overlap the sections so that they all lie in the same direction.

Place your paper circle (or original template) on the slab and carefully cut around the circumference.

Mark the position of each overlap with a pin as shown, then peel back the section and apply some slip to the marked area. Gently close the section back, applying enough pressure to ensure the two surfaces bond together but not so much that you spoil the texture. Continue in this way until all the sections are fixed to the one next to them.

If you used something else to

make the original circle, place the sectioned paper template on the clay. Carefully divide the sections by cutting from the 4cm inner circle to the outer edges, using a ruler to ensure the lines are cut straight. ClayCraft

PROJECT

THREE 20

18 Allow the bowl to firm up to leather hard then turn it out of the mould. Neaten up the rim by wiping over the surface with a barely damp sponge. Take care not to spoil the texture.

Allow the finished bowl to dry thoroughly before bisque firing. You can make bowls like this in all sizes, as the smaller example here shows – the making process is the same no matter what scale you are working to.

Neaten up any edges you’re unhappy with, inside or

out, with a wooden tool. It may be that excess slip has seeped out between the joins or the edges are a little raggy – whatever the reason, just take care not to spoil the texture as you work.

The bisque-fired bowl was simply covered in a celadon

type brush-on glaze and fired to 1200°C in an electric kiln. Note: If you make your bowl in porcelain you can fire it higher – anywhere from 1260°C to 1300°C depending on your supplier’s recommendations. You will get more distortion in the form the higher you fire it so be aware of this, and also that the glaze must be appropriate for your firing temperature.

42 ClayCraft

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30/07/20

SKILL SCHOOL PROJECT

FOUR

PORCELAIN WIND CHIME

aking a wind chime in porcelain is a good way of introducing yourself to this clay, which is renowned for being the most difficult to work with. The technique isn’t terribly challenging because it simply involves rolling the clay between sheets of texture. However, the clay will be rolled considerably thinner than any in previous projects and therefore requires a much more delicate touch when handling – especially the cut out shapes. 

The clay is high-fired and therefore vitrified, so it’s perfectly safe to hang outside if you want to.

You w ill n ee d :

e range ✔ Porcelain – You will find a wid rs. plie sup clay of porcelains at your the and ers oth n tha Some fire whiter lity qua the to s ond resp cor ally cost usu g bein s etie of whiteness; the whiter vari of bag a r, eve more expensive. How way because porcelain will go a very long thinner it’s usually worked to a much section than other clays. want your Choosing the right type: If you added) ur chime to be white (without colo ety. vari then choose a whiter firing with stains If you want to colour the clay in and then just choose a basic porcela . save yourself some money There are ✔ Textured vinyl wallpaper – at your literally dozens to choose from don’t you if DIY store; ask for samples need will You . roll le want to buy the who tely ima rox app ets she d size two equally A3 size. chime ✔ Cardboard template of the r chosen you of ters cut kie coo shape or shape. – From ✔ For constructing the chime rs: Tiger plie sup ry elle jew or ps craft sho ths – leng tails wire (available in various ds bea p crim , res) usually about 10 met tive ora dec ple sim and (assorted sizes) to fit through beads just large enough not that disc the holes in the supporting e. holds the chimes in plac ds. ✔ Pliers – For crimping the bea

Divide the porcelain into several slabs of roughly equal size with a cutting wire. Spread the colour over the slabs and pile them on top of one another like a sandwich until all the colour is used up.

AN EASY METHOD OF COLOURING WET CLAY:

This method mixes body stain into the wet clay. The ratio of stain to clay is difficult to quantify but try a rounded teaspoon of stain to 500g of porcelain to begin with. Mix the body stain with water to form a thick creamy consistency then strain the mixture through a fine sieve into a small container. To incorporate into clay, see steps 1 and 2.

42 ClayCraft

DIFFICULTY RATING ★★★★★

Knead the clay until all the stain is thoroughly mixed through and you have a uniform colour. This is a messy process, and it’s best to avoid stains or oxides coming into contact with the skin, so wear rubber or latex gloves. The colour may look pale when fully mixed in but will fire much darker. The only way to find out how dark is to fire a test sample to its top temperature – if the colour is too pale, simply repeat the process, adding a little more stain. Make sure you wrap the clay in plastic to keep it from drying out while testing. Stain as many different colours as you want for your wind chime. Be aware that reds and yellows generally don’t fire well to high temperatures – check the firing range with your supplier before buying these stains.

Place the roller guides either side of the paper then roll the clay again. You’ll find you need to apply a little more pressure than usual because the paper makes rolling slightly more difficult.

3 Carefully peel away the paper from on top of the rolled slab then, lifting the slab on the remaining sheet of paper, turn it over and onto an absorbent board. Peel the paper off the slab carefully – it will resist and can easily be ripped at this stage.

7 Roll the porcelain on a sheet of very clean plastic to a thickness of 3-4mm maximum. You will find very thin strips of wood suitable to use as roller guides in your DIY store.

TIP: Make a

few extra chimes in case of accidental breakage later

Turn the rolled slab over and onto the first sheet of wallpaper then place the second sheet over the top.

Using either a cardboard template or a cookie cutter, carefully cut as many shapes as you want your wind chime to have. Eight or nine is a good number, but it will work well with as few as six. Also cut a 10cm-diameter circle, as a locating disc for the top of the chime. ClayCraft

TIP: Sprinkle a thin layer of silica sand or alumina onto your kiln shelves to fire the chimes on. SKILL SCHOOLThis will allow the clay to move freely as it shrinks in firing. Because there’s no glaze covering the PROJECT

FOUR

chimes, the surface of the clay won’t be compromised by the sand or alumina

8 Cut a hole in each of the chimes at a suitable point to hang it from. Here you can see two holes – one to hang the chime from, the other for the fish’s eye – and just one hole to hang the leaf. Use an old pen tube or straw to make the holes but don’t make them too big. Now cut the required number of holes in the locating disc – equally spaced around the circumference, about 1cm from the edge. Place the chimes somewhere to dry – turn them regularly to prevent them from curling up. They will dry really quickly. Fire the chimes to your clay’s optimum temperature – it will be somewhere between 1260°C and 1300°C.

PUTTING THE PARTS TOGETHER

You can begin with either the shortest or longest chime – cut a length of tiger tail to the required length plus 15cm spare for each chime, to make the hanging mechanism. The wires should grade from the shortest to the longest length so that all the chimes touch one another at some point to create a lovely tinkling noise. Now, thread the first crimp bead onto one end of the wire, then the decorative bead and another crimp bead.

Thread the wire back through the first crimp bead as shown, then crimp tightly with the pliers.

Carefully thread the end of the wire through the hole in the chime taking care not to allow the beads to escape. 44 ClayCraft

Now move the decorative bead and second crimp bead onto the doubled wire behind the first crimped bead, and crimp the second bead so that the central one can no longer move.

DIFFICULTY RATING ★★★★★

Thread the wire through the hole in the locating disc and determine the correct length for the wire below (still allowing 15cm above the disc). Hold the position between your fingers and thumb – don’t let go but remove the wire from the disc and thread a crimp bead onto it. Crimp the bead at the point your fingers are holding the wire.

Continue to thread all the chimes in this way until they are all in place and secured onto the disc. Gather all the wires together and thread them through a larger crimp bead. Thread a decorative bead onto the gathered wires then making sure that the disc will hang level, loop the wires over and back through the bead. Crimp the bead with the pliers.

Thread a decorative bead onto the wire then thread the wire through the hole in the disc. Now thread another decorative bead onto the wire – you will now have one below and one above the disc. Finally, thread a crimp bead onto the wire. Pull the wire taught and crimp the last bead with the pliers. The larger, decorative beads act to hold the whole ensemble in place. ClayCraft