Dorset Pottery Group
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NEWSLETTER No 16 January 2001
This webpage gives highlights from the current newsletter, mailed out to members recently.
PLANNING MEETING
A meeting has been arranged at the Five Bells inn in Whitchurch Canonicorum
to plan this year's Programme of Events. It will be held on Friday 16 March
2001 starting at 7-30 pm. There will also be the opportunity to put forward
and discuss any further fund raising ideas. It is hoped that as many people
as possible will come along with their ideas so that we can set a programme
which truly reflects the wishes of the membership.
THE MILLENNIUM PROJECT
All segments of the Ammonite have, now been completed and glaze fired. They
have been mounted by Bill Crumbleholme on the back wall of the garden at the
rear of Bridport Art Centre. It really is looking good! It we planned to finish
the project in time for it to be officially unveiled when we held our annual
exhibition at the Art Centre but, for a number of reasons, we could not finish
the final few segments in time. It was agreed that any unveiling ceremony should
now be postsponed until the new year when the Mayor Bridport will be able to
officiate. It was also thought that, in the lean months after Christmas and
the New Year celebrations the unveiling would have more impact on the media.
When a firm date has been arranged full details will be published in the local
press and on local radio. Sponsors of the project will be informed individually.
THE EXHIBITION AT BRIDPORT OCT/NOV 2000
The exhibition in the Allsop Gallery
was a great success. Although fewer members decided to exhibit, the overall
number of exhibits sold was up on last year. Visitor numbers were also up. Many
thanks to Phil Cooke and Bill Crumbleholme for organising this event
Follow this link to see some
pictures taken at the exhibition
Details of this year's exhibition will be given in our next Newsletter.
Follow this link to the
BAC website
OFFSETTING OUR COSTS
In the last Newsletter
Phil Cooke mentioned proposed fund raising activities that would help meet any
shortfall in the costs of erecting the Millennium Ammonite and also in hiring
gallery space for our exhibitions.
The Summer Sale at Whitchurch
raised a net total of £130-43. Many thanks to all those involved especially
to Doreen who arranged and ran the Sale.
A Car Boot Sale at West Bay
raised £72. Again many thanks to those who were involved especially Phyllida,
Pat and Maureen.
BOOK REVIEWS
The following books
are published by A & C Black
1. Throwing Pots by Phil Rogers
128pp £10-99
This is another publication
in the brilliant Ceramic Handbook series.
It starts off with chapters
on equipment and clay. Then it goes through the basic principles of throwing
and, in step-by-step illustrations, shows how to make a wide range of pots from
the simple bowl to the more complex forms such as jugs and teapots. Next it
describes how to turn pots and also the different ways of making handles
plus how to attach them. Final chapters cover design and the aesthetics of pottery.
Like all the books in this
series it is superbly illustrated. It is a must for all those members who are
just learning to throw or who wish to improve their present skills
2 Extruded Ceramics by Diana
Pancioli Hardback 286mm x 222rnm 144pages 200 colour illustrations £25
This book is a wonderful
introduction to how to design and make extruded clay forms. The first chapters
give information on the things the reader will have to know before they begin
working with extrusion. These include manufactured and homemade extruders, some
basic clay-working tools, dies and how to use them, together with day body formulations
for extrusion. Chapters 4 and 5 deal with extrusion techniques using simple
dies to make extrusions which can be used as a support for handbuilding and
also for mould making. Further chapters provide information on a range of different
techniques for extrusion. relative to the complexity of the dies required for,
each.
These range from simple solid
extrusions to those required to create two or three sided forms and finally
to more complicated hollow, round and square shapes. The last two chapters cover
the specialized subjects of using extrusion for making tiles and sculpture.
Each chapter includes a step-by-step project to guide beginners through the
different techniques and to illustrate possibilities for all readers.
This is a book for any member
who wishes to explore the possibilities of extrusion. With its splendid information
about how to make extruders and dies it will save the expense of buying commercial
equipment. In fact the saving on making just one hollow die will probably more
than cover the cost of this book.
3. Illustrated Dictionary of
Practical Pottery
Fourth Edition By Robert
Fournier Paperback 362pp £19-99
This is a much enlarged
and updated version of a Dictionary that was first published in 1973. It is
described as being an essential reference book for all porters and I would
not disagree with this. The new edition includes entries on a number of recent
trends, including making paperclay and the use of print and mixed media, as
well as extensive material on decorative terminology which can't be found elsewhere.
There are also many new photographs and illustrations.
A Dictionary of this calibre
should have pride of place in every member's workshop or bookcase. Sensitively
illustrated in black and white it explains everything in a simple and straightforward
way. Even minor entries seem so well researched e.g. under the entry Frost,
frozen pots the author mentions a letter I sent to Ceramic Review about
this subject. An added bonus is the large number of pottery suppliers and pottery
books which are mentioned and listed.
Alan Ashpool
Profiles of an Individual Member's
Work
A number of the Newsletters
that I receive from other pottery associations contain profiles of one of their
individual member's work. I thought that it might be interesting to members
if we produced something like this in our Newsletters. To start the ball rolling,
and to suggest a possible format, I have produced an article about some of my
work in this edition. If any member wishes to produce a profile of their work
for the next Newsletter could they please let me know. Other articles for inclusion
in future Newsletters are always welcomed. Please send your copy to me, Alan
Ashpool at Trumps In Cottage, Whitchurch Canonicorum, Bridport, Dorset, DT6
6RH
Tel. 01297 489347
ALAN ASHPOOL
Alan Ashpool studied pottery under
Heber Matthews at the Woolwich Polytechnic School of Art in the Fifties.
He moved to Dorset in 1986 where he has experimented with various tiered bottle,
bowl and vase forms in medium temperature stoneware. Because of their distinctive
shapes they have become known locally as 'Pagoda Pots'. in this article he describes
his techniques.
Like many other potters 1
have always been interested in forms that can only be made out of several sections
joined together, but it was not until 1 moved to Dorset that 1 was able to pursue
this interest fully. My original aim was to build pots out of flanged cylindrical
sections which could be placed one on top of the other to form a tiered column.
At first these sections were wheel thrown but 1 quickly moved on to making slip
cast sections in one piece moulds. These 1 tried to join together using slip
and smoothed in thin coils of clay over the joints. The early results, as in
much experimental pottery, were disastrous. Major problems were joints that
pulled apart in the firing and serious warping. The first problem was solved
when 1 discovered a recipe for for an industrial jointing paste in the Ceramic
Review Book of Clay and Glazes. This is now used in place of the slip with an
almost 100% success rate. Warpage has been reduced to a certain degree by using
a grogged body instead of the original smooth one.
At the moment 1 construct
most of my pots out of a mix of both wheel thrown and slip cast sections. The
thrown sections are usually used for the tops and bottoms and vary from the
flanged cylindrical cast pieces in that they may be in the form of a bowl, bottle
neck, vase or even a jug. This seems to give more flexibility in the final results.
The flanged central slip cast sections are trimmed on the wheel before use.
Some of the flanges on these
are carved or pinched into an asymmetrical shape. The prepared sections can
then be used like building blocks to explore the final form of a pot before
any are joined together. Once the sections are joined the pot is allowed to
dry out slowly. When completely dry it is given a slow biscuit firing to 950'C
with a 30 minute soak.
Once the pot has been biscuited
the next stage is to decide how it is to be decorated. Decoration has to be
simple so as not to detract from the form. At the same time 1 do like to add
a hint of bright colour and some textural interest. The bottom sections are
normally decorated on a banding wheel with a matt black or a manganese gold
slip, sometimes both. In addition a simple band of colour is added to contrast
with the slip. All slips and colours have a small amount of gum arabic added
to facilitate handling.
When 1 originally started
1 used a wide variety of glazes to cover the top sections and insides of my
pots. This has now been slimmed down to a simple dolomite matt white glaze.
The top half of the pot is dipped in the glaze first and when that coat has
gone matt the inside is glazed using a pouring technique. Glazing this way helps
avoid some of the pin-holing that occurs if the inside is glazed first. Once
thoroughly dry the pots are given a fairly rapid firing in an electric kiln
to 1200'C. A soak is not normally given.
For a number of years 1 have
glost fired all my pots at around 1200'C rather than 50'C or so higher. The
advantages of using this lower temperature were the possibility of getting many
of the colours normally associated with earthenware combined with the strength
of stoneware. In addition there was a considerable saving on electricity costs
and much less wear and tear on the fabric of the kiln. At first 1 modified published
1250'C glazes by substituting Nepheline Syenite in place of Potash Felspar but
more recently 1 have used recipes from Cooper's Potters Book of Glaze Recipes
which mature around 1200'C.
TECHNICAL NOTES
Clay used - Spendcroft
Grogged White Stoneware
Casting slip:-
a) 10 KG plastic clay,
4Occ Dispex, 950cc water
b) 7.5 KG dried clay, 2.5
KG dried cast scraps, 40cc Dispex, 3400cc water
The water and Dispex are mixed and added to the clay which is then left for at least 24 hours. The soaked clay is then liquified by using a heavy duty spiral paint mixer in an electric drill set at its slowest speed. These paint mixers can be obtained from large power tool suppliers. Once liquified the slip is put through a 40 mesh sieve and left for a couple of days before use. A test casting is then made and if necessary the slip is adjusted with a small amount of Dispex or water. On average a casting takes 20 to 25 minutes to reach a suitable thickness. The advantages of using Dispex as a deflocculant is that it gives a much greater mould life than other agents.
Jointing Paste.--
1000 GRMS Dry Clay Body,
20 GRMS Felspar, 20 GRMS Bentonite, 20 GRMS Gum Arabic.
Materials are dry mixed then added slowly to 500cc of water mixed with 5cc of Dispex. This is stirred until a pouring slip is obtained. The slip is then re-flocculated until a paste is formed by using a small amount of a mixture of 5GRMS of Magnesium Sulphate dissolved in 500cc of water.
Matt Black Slip. -
2 parts Crocus Martis
1 part Copper Oxide
1 part Ball Clay
Matt White Glaze -
Nepheline Syenite 60
Dolomite 25
Ball Clay 10
Bentonite 5
Manganese Gold Slip:
7 parts Manganese Dioxide
1 part Copper Oxide
3 parts Red Clay Powder
Colours:-
Various commercial glaze
stains mixed with Reward White Velvet Underglaze.
POTFEST http:/www.potfest.co.uk
Since 1996 Potfest Penrith and Art in Clay at Hatfield House have been on the same weekend in August. Next year Potfest will be part of a ten day ceramics festival comprising two weekend shows bridged by a week of ceramics - related activities. This will provide a selling opportunity for over three hundred potters and make it possible to apply to exhibit at both Hatfield and Penrith.
The week will start with a three day show under canvas at Hutton-in-the-Forest, the home of Lord and Lady Inglewood. The site has easy access off junction 41 of the M6, the next junction North of Penrith.
Potfest in the Park (July 27 /28 / 29th) is intended to be a high profile event to launch the festival with a larger international content including a group from Japan. Approximately 100 potters from all parts of the UK and mainland Europe will be showing their work alongside an anticipated 10 - 15 members of Japanese potters' associations.
The following weekend will see another three day show, this time under permanent cover, namely the cattle mart off junction 40 of the M6 on the outskirts of Penrith.
Potfest in the pens [ August 3 / 4 / 5th ) will remain basically the same format as in previous years with up to 200 potters showing their work.
Fach show will be unique as potters can book either but not both.
Potfest in the Park is aimed primarily but not exclusively at well established potters still brave enough to stand in a field face to face with their public.
Potfest in the Pens is for the even more adventurous prepared to convert a cattle stall into their own space. In the past this transformation has created an excitement and dynamic unique to Potfest. The work here ranges from the well established to recent graduates and is probably the more radical of the two events.
In between will be a number of events to maintain visitor interest between the two shows. The format of this will depend very much on the potters and galleries in the area taking advantage of the opportunity. This will be a programme of exhibitions, open studios, workshops, kiln firings, etc.
Now in its eighth year Potfest usually draws an interested audience of around 7000 from as far apart as Aberdeen and Oxford. With the advent of this extended ceramics celebration we hope visitors will come from even farther afield.
Check out the website for images of previous years shows. The site contains over 1400 images of work and at the moment still has the names of all those taking part in 2000.
For application foms please send a stamped addressed envelope to the address below. All application forms go out on the same day in late November. Spaces are allocated strictly on a first come first served basis.
Geoff Cox, Stoddahgate Barn, Penruddock, Penrith. Cumbria CA11 0RY
Tel : 017684 83820 email geoff@cox1.demon.co.uk
OPPORTUNITIES AND EXHIBITION LISTINGS
CRAFT WORKERS ARE DOING IT FOR THEMSELVES
---- CRAFT in FOCUS ----
CRAFT in FOCUS are currently inviting applications from contemporary designer makers to participate in their new craft &, design show being held at Twickenham in October 2001.
The show is being organised by craft makers themselves to ensure only the highest quality work is accepted. Around 120 exhibitors will be selected on individuality, innovation and unusual appeal as well as technical ability.
Craft in Focus aims to reinstate the high quality image of Britain's talented designer makers and reassure the public that exiting work is still available. If you wish to take part or would like more information please contact the event co-ordinator –
Robert Chapman, Craft in Focus, 93 Park Way, Coxheath, Maidstone, Kent, ME17 4EX.
Telephone/Fax 01622 747325 email: info@craftinfocus.com
CRAFT FAIR OPPORTUNITY
There is to be a Craft Fair in Salway Ash Village Hall next Easter Saturday April 14th from 10 am to 4pm. Tables are available at £7 for a single and £12 for a double. Refreshments are available. Publicity will be by poster, parish magazine(which covers 13 parishes) and an article in the local paper. Potters are required. If any member is interested please contact June Williams on 01308-488101
STUDIO POTTERY
Check on this website dedicated to promoting British Studio Ceramics.
The Dorset Pottery Group is one of several groups featured along with listings and details of many events and potters.
These pages are hosted within Bill’s website. See other parts of his site including images of recent exhibitions.