Throwing in stages                                                                    Decoration in colors 

Throwing in stages


 The clay is weighed and prepared according to the type of pot to be made, and the pointer is set at a predetermined height.




 By raising the clay into a cone the centering is made easier






The cone is pushed down to make a regular shape on the wheel



The mass of clay is opened out. Then, by squeezing the clay between the fingers of the hand and pushing inwards with the other hand, the walls are raised into a cone shape. leaving a thickness at the bottom to form the base



By pushing the clay with the right hand outside the pot, and supporting with the left hand inside, the ring of clay so formed is pulled to the top of the pot, thinning the walls and increasing the height of the piece. ( it’s easier to do than to explain !)



The pot is almost at the right height after the first lift



The same movement is used to open out and finish the shape. The thinner it gets the less you squeeze !



With a metal rib in the right hand, the outside surface is smoothed and finished.




The excess clay is removed from the base of the pot to tidy it up and make it easier to remove




I start to form the pouring lip of the jug.



When the lip is thin enough, I give it it’s rounded form .


Turning and finishing



 The following day, when the piece is " leather hard ", the excess clay is tuned off with a turning tool.




 The spout is tidied up with a sponge




 A stub of rolled clay is attached to the pot.



The stub of clay is pulled to form the handle.



Attaching the bottom of the handle.



The ends of the handle are decorated with a stamp



The finished piece is left to dry for 4 to 5 days before being fired to 980°C.



Once dry, the finished pot is loaded into the gas kiln.




The kiln here is fully packed.



Cones are place in front of the spy-hole in the door.
These cone melt and bend at predetermined temperatures and indicate the moment at which the kiln must be turned off.
The white cone you can see here will bend at 995°C.



Looking through the spy-hole you can see the cones which have melted and bent.


Decoration in color



 The biscuit fired pot is delivered to the decorating workshops in Souillac. Patricia glazes the porous pot by plunging it into a bath of raw glaze.







 The glaze dries almost intantly.




The glaze is removed from the foot-ring of the jug with a sponge.
This is to avoid the pot sticking to the shelves in the kiln when the glaze melts.







Any small runs of glaze are removed with a knife.



 Here are the colours and tools that Patricia will be using.



First stoke of the brush..................our signature !
By signing the bottom first, the subsequent decoration is handled as little as possible. 



The yellow and orange blooms are placed first...




Then the daffodils...




And finally the cornflowers.



She the paints the leaf design in and around the flowers.



With a darker green, the cornflower stems... 



...And the daffodil stalks are drawn in.



The outlines of the petals are underlined in darker colours to give them more depth.



The staemen of the yellow flowers are painted in bright red.



The finishing touches... a green band at the bottom...



...A yellow band at the top...




...And finally, yellow on the handle relief.




Here is the "oven ready" jug ready for the second firing.



After 8 hours of firing and 22 hours of cooling , the kiln door is opened to remove the finished pots.
The melted cone is clearly visible and the foot of our jug is on the right.

MAKING TIME........ day 1:  throwing
day 2: finishing
day 3: to 7 drying ( if the weather is fine !)
day 8: Biscuit firing
day 9:  Unpacking and delivery to Souillac
day10: Decoration
day 11:  Glaze firing
day12:  Unpacking the finished work


Route de Salignac
Bourzolles - 46200 Souillac
Tel: +

Decoration Workshop
8 Place Doussot - 46200 Souillac
Tel/Fax: +