CREATIVE

P OTTE RY

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 1 1 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 1 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:1
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 2 2 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 2 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:2
 CR EATIVE
P OTTE RY
Innovative Techniques & Experimental Designs
in Thrown & Handbuilt Ceramics

DE B SC H WA RTZKOP F

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 3 3 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 3 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:3
 D E D ICATE D TO MY M OTH E R ,
who always encouraged me to take risks
and follow my dreams.

© 2020 Quarto Publishing Group USA Inc. Digital edition published in 2020
Text © 2020 Deb Schwartzkopf eISBN: 978-1-63159-826-5

First Published in 2020 by Quarry Books an imprint Library of Congress Cataloging-in-Publication Data
of The Quarto Group, 100 Cummings Center,
Suite 265-D, Beverly, MA 01915, USA. Names: Schwartzkopf, Deb, author.
T (978) 282-9590 F (978) 283-2742 Title: Creative pottery : innovative techniques and
QuartoKnows.com experimental designs in
thrown and handbuilt ceramics / Deb Schwartzkopf.
All rights reserved. No part of this book may be Description: Beverly, MA, USA : Quarry Books, an
reproduced in any form without written permission of imprint of The Quarto
the copyright owners. All images in this book have been Group, 2020. | “Quarto Knows.” | Includes
reproduced with the knowledge and prior consent of the bibliographical references and
artists concerned, and no responsibility is accepted by index.
producer, publisher, or printer for any infringement of Identifiers: LCCN 2019044920 (print) | LCCN
copyright or otherwise, arising from the contents of this 2019044921 (ebook) | ISBN
publication. Every effort has been made to ensure that 9781631598258 | ISBN 9781631598265 (ebook)
credits accurately comply with information supplied. We Subjects: LCSH: Pottery craft.
apologize for any inaccuracies that may have occurred Classification: LCC TT920 .S357 2020 (print) | LCC TT920
and will resolve inaccurate or missing information in a (ebook) | DDC
subsequent reprinting of the book. 738.1/2--dc23
LC record available at https://lccn.loc.gov/2019044920
Quarry Books titles are also available at discount for LC ebook record available at https://lccn.loc.
retail, wholesale, promotional, and bulk purchase. For gov/2019044921
details, contact the Special Sales Manager by email
at [email protected] or by mail at The Quarto
Group, Attn: Special Sales Manager, 100 Cummings Design: and Page Layout: Amy Sly
Center, Suite 265-D, Beverly, MA 01915, USA. Photography: Matisse L. Berthiaume // Matisse LB
Photography, unless otherwise noted
10 9 8 7 6 5 4 3 2 1
Printed in China
ISBN: 978-1-63159-825-8

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 4 4 6/4/20 12:10
20/1/20 5:04 PM
329325 - Creative Pottery_001-192.indd 4 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:4
 Contents
Foreword by Josh DeWeese 6 Trimming and Tap Centering 83
Introduction 9 Altering Plate Shapes 86
Featured Artist: Sue Tirrell 89
CHAPTE R 1 : Cake Stand 91
G E T T I N G S TA R T E D Decorative Edges 95
The Journey of a Potter 14
Tools Used in This Book 16 CHAPTE R 4 :
Featured Artist: Robbie Lobell 20 EXPLO R I N G B I SQ U E
Techniques Used in This Book 21 MOLDS
Making and Using Templates 27 Bisque Molds 102
Olivia Tani, On Process 30 Small Spoons 104
Tips for Successful Seams 31 Bud Vases 110
Beginning Alterations 32 Throwing a Closed Form 114
The Cup 118
CHAPTE R 2: Goblet 126
G R OW I N G A S A P O T T E R Featured Artist: Hayne Bayless 130
Find a Fresh Viewpoint 36 Square-Footed Bowl 133
Steve Godfrey, On Self-Critique 37 Butter Dish 136
Finding and Using Inspiration 38
Defining Influences 44 CHAPTE R 5:
Bottomless Cylinder 45 ADDI NG CO M PLEXITY
Oval Serving Tray 50 Coiling an Asymmetrical Mold 144
Altered Cylinder Vase 55 Pitcher 148
Large Vase 58 Featured Artist: Zak Helenske 156
V-Shaped Bowl or Cone 64 Juicer 158
Featured Artist: Jen Allen 67 Teapot 163
Dessert Boat 69 Marty Fielding, On Process 168
Oil Pourer 172
CHAPTE R 3:
SMALL CHANGES FOR Templates 177
B I G I M PAC T Resources 184
Asymmetrical Slab Plate 76 Acknowledgments 189
Featured Artist: Taylor Sijan 79 About the Author 189
Throwing a Plate 80 Index 190

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 5 5 6/4/20 12:10
20/1/20 5:04 PM
329325 - Creative Pottery_001-192.indd 5 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:5
 Foreword
I’ve always liked the term “building pots” when talking about the process of making
pottery: It is very much a construction project with different omponents being
assembled to make the whole. These components can be generated in many ways.
They can be thrown on the wheel, formed or cast from molds, constructed out of slabs,
or pinched out of coils. The component shapes can be developed through drawings,
both by hand and digitally, and refined through making and rema ing. In time, the
production becomes fluid and seemingly effortless. The clay act differently at each
stage of its drying journey. A potter’s understanding of this, along with their sensitivity
of touch, brings a unique voice to the delicate surface of a handmade pot.
Yet sometimes constructed pots feel like they are trying too hard to be clever—
perhaps their presence is overshadowed by a newly discovered technique. I believe
the best pots find a healthy balance, incorporating subtle inno ations that do not
overwhelm the true intention of the pot. The proof is in the pudding: how well does
the pot fulfill the idea for which it was made
Deb Schwartzkopf was among the first group of resident artists o work in the new
David and Ann Shaner Studio at the Archie Bray Foundation when it opened in 2004.
Her pots brought a different play of shape and line to the mix f work being made in
the studio, and Deb brought a positive spirit of innovation to the community. It was
clear that Deb knew what she wanted to be: a full-time studio artist.
Years later, her vision came into focus with the creation of Rat City Studios. Much
like her pots, Deb has assembled a diverse range of interests into something dynamic
with a clear intention. Making a living today as a studio potter requires an intricate
weaving of many different components, each carefully considered and formed, and
then sensitively joined together to make the whole thing work. As the late David
Shaner once said, “There is no sense making pottery unless you’re willing to live for
pottery.” With an honest effort, the individual’s interests and passions are reflected in
the choices and the sensitivity with which the effort is assemb ed. Everyone’s path is
different and however anyone puts it together to make their own work is fair game. It’s
all about finding the balance.
On one level, this book is about techniques for making pottery, about assembling
parts to construct a well-balanced vessel. But by extension, it is about a spirit of
entrepreneurship and the choices one makes to produce studio pottery in our modern
age. All aspects of the production are important and contribute to the whole. The
different choices reflect the individual and shape the aestheti of the maker. We need
all kinds of pots.

—J OSH D E WEESE

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 6 6 6/4/20 12:10
20/1/20 5:04 PM
329325 - Creative Pottery_001-192.indd 6 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:6
 Foreword

[above] Josh DeWeese, Pitcher, photo courtesy of the artist;

[right] Josh DeWeese, Ewer, photo courtesy of the artist

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 7 7 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 7 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:7
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 8 8 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 8 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:8
 Introduction
Welcome! This book is for potters looking to explore and gain new skills.
I encourage you to jump right in. Start thinking of cylinders and slabs as
a starting place—building blocks that can be altered, added onto, or com-
bined in many ways. In this book, you’ll find playful, technique-based
projects that will hone your skills on everything from altering and attach-
ments to molds and templates. Try creating an asymmetrical curving vase
or Handbuilding a teapot spout from a soft slab. Learn how to pick and
choose between wheel-throwing and Handbuilding techniques to get the
outcome you want. This is your journey!

MY J O U R N EY AS A POTTE R
For as long as I can remember, I always wanted to make things to share with others.
I learned to do this with food first. My grandmother showed her affection through baking
cookies and coffee cake for every visit and holiday. I learned rom her and my mother
that there is nothing better than sharing food with people near and dear. Pottery was a
next step along that path, as handmade pottery makes mealtimes even more special
and heartfelt.
I took my first ceramics class in 1998 as a Running Start high chool student at
Highline Community College. Eventually I followed my passion and studied ceramics at
The University of Alaska Anchorage (UAA). During these exciting beginning years, my
professors Steve Godfrey, Robert Banker, and Pam Pemberton, and mentors Peter Brondz
and Kris Bliss guided me, helping to set my foundation firmly i the world of pottery.
Early on, Steve encouraged students to visit local potters. He wanted us to see firsthand
what it was like to have a career as a potter. I was in awe when I visited Peter’s studio: the
luminous timber-framed building, the secluded woodland setting, the self-serve gallery,
and his thoughtful, functional work drew me in. Right then, I made it a goal to embrace
this lifestyle and become a potter. I learned invaluable skills both in school and through
working with local potters.
Working for potters was a crucial part of my education. In assisting with daily studio
operations, I witnessed the stamina it takes to make pottery for a living, the efficiency tha
helps get the bills paid, and the marvelous autonomy that being a small business owner
provides. It is so important that experiential learning opportunities continue to exist for
emerging artists who want to pursue careers in the ceramic arts.
After graduating from UAA in 2002, I decided to focus on surface (and get a little
sunshine) at San Diego State University, where I learned from Richard Burkett and
Joanne Hayakawa. As a post-bac student, I tested glazes like crazy and loved it! All the
potential was right in front of me. I just had to unlock it.

Rat City Studios, where Deb lives and works.

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 9 9 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 9 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:9
 Creative Pottery

[left] Kris Bliss (Mentor to Deb Schwartzkopf), Medium Flare, [right] Peter Brondz (Mentor to
Deb Schwartzkopf), Oil and Vinegar Service, photos by Deb Schwartzkopf

Pennsylvania State University accepted my application for an MFA in 2003. I had worked so
hard to learn how to work with clay; now I wanted to focus on the concepts within my practice
and deepen my skills. I began to blend wheel throwing and handbuilding techniques. At first
these experiments created very awkward pots, but over time I found fluency. In those two years
I gleaned from the thoughtful perspectives and questions of Liz Quackenbush, Chris Staley,
Margaret Bohls, Nick Joerling, John Utgaard, and all the students learning with me!
Multiple residencies and teaching appointments provided me with supportive studio facilities
and talented peers to learn from. I dug into my studio practice and refined my work. Each
of these opportunities sustained me as I slowly figured out how to make a living as a potter.
Working with others helped me realize ways of working with clay I never would have otherwise.
Every facility had a different way of organizing the workflow. iends shared insights. I got
teaching experience. Moving forced me to decide what I really wanted to pack and haul with me.
In 2013 I purchased a home and studio and began to establish what is now Rat City Studios—a
small community pottery studio with a mission to engage and build community through clay,
one person, one neighborhood, and one experience at a time. To this end, I offer studio assistant
positions, host social events, teach classes and workshops, and maintain a lively career in the
ceramic arts! Through these endeavors, people are brought together to connect and feed off each
other’s creativity.

AB O UT TH I S B O O K
One of my favorite things about working with clay is its endless possibilities, and the constant
learning that comes with exploration. Working with clay and meeting the welcoming community
of potters helped me find my voice as an artist. My hope is tha you can use this book to
experiment, push yourself, and find your own voice. In these pa es, you’ll be able to:

● Set in motion your ability to build complex, functional forms with simple parts. Think of your
cylinder or slab as a starting place. They are building blocks that can be altered, added to, or
combined in many ways.

10

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 10 10 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 10 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:10
 ● Approach functional vessels from another angle as you explore through guided lessons and
projects. As you embrace and practice these playful techniques, you will translate them into
your own inventive style.

● Learn how to use helpful tools like templates and bisque molds. Templates will aid in cutting
specific shapes from slabs or altering thrown forms. Bisque-fir molds will become a
versatile tool that you can rely on to add dimension to slabs of clay.

● Spark ideas as you experiment with different building technique and investigate galleries of
work by contributing artists.

In addition, there are a host of remarkable potters whose work is featured in this book,
including potters who are well-known and those who are newer to the field. They exemplify
techniques or showcase ingenious ways of working with clay that are sure to inspire. All these
tools, techniques, and sources of inspiration will be utilized in making creative pottery.
I am so pleased to share these lessons and projects with you. This book holds a collection of
techniques and ideas I have refined for my own studio practice. Whether you are developing a
body of work in art school, just beginning to work with clay, or a studio potter working solo in
your own space, this book offers an exploration that will build your skills and ideas. I wish you an
inspired journey. Remember that taking risks is good. Stay playful!

11

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 11 11 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 11 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:11
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 12 12 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 12 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:12
 CHAPTER 1

Getting Started
“Have nothing in your houses that you do not know to be useful,
or believe to be beautiful.”
—William Morris

This chapter offers a refresher on the basic tools and techniques you’ll need as a founda-
tion for the chapters that follow. For beginner potters, I encourage you to read the chapter
from start to finish and make sure you are comfortable before diving into a project. A
strong knowledge of the basics will make projects and lessons in this book more approach-
able. For experienced potters, choose your own adventure! Take a look at how I approach
things in my studio and keep an open mind.
While some of the tutorials may be remedial, such as a quick refresher on throwing,
others may address skills you rarely (or have never) used. For example, I rely on templates
for many of my forms and combine pieces frequently. Thus, I think the section on seams
(page 31) is very important. In this chapter, we’ll also touch briefly on the journey of a
potter and meet our first featured artist. For those looking to explore the more conceptual
side of the potter’s journey, we’ll get into sources of inspiration and more in chapter 2
(page 35).

Q u e sti o n s fo r G row t h
● Can you tell who made a pot because of their sense of touch or process?
● What skills am I developing as I try the techniques in this chapter?
● How can I select the right techniques to get the result I want?
● Can what I just learned apply to a form I already make?

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 13 13 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 13 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:13
 Creative Pottery

The Journey pottery process you may try to avoid for this reason. For
example, if you have a cup you like the shape of, you may be

of a Potter hesitant to add a handle because you haven’t yet developed

the skill of pulling handles. Whether you are avoiding handles,
As makers we need to be critical of our work, open to trying
glazing, or trimming, ask yourself, “If I had this skill or honed
new things and taking risks. It is quite a balance. Being critical
this skill, would my pottery improve?”
helps us see where improvements can be made. It helps us
Instead of avoiding something overwhelming or challenging,
grow. However, we must remain open to failure, which can be a
approach it thoughtfully and with intention. Those skill areas
powerful teaching tool as well. Taking risks and learning from
outside of your comfort zone are exactly where the most room
our efforts is key to keeping curiosity alive.
for growth exists. By being honest about your own weaknesses,
It’s easy for us potters to become very attached to a certain
you likely can identify the areas where skill development is
outcome, but I encourage you to suspend your expectations
most needed. Trying new techniques will build your skills and
when you are trying a new technique or exploring a new form.
open doors in your creative expression.
Let the journey unfold in front of you as you remain open to
Last but not least, pay attention to the results. This can
exploring beyond the confines of what you hope will happen
mean taking thorough notes when you glaze or taking pictures
or the final results shown on the pages in front of you
of shapes you tried along the way. Create a record for later
Give yourself as much time in the studio as you are able and
reference. Depending on the outcome, you may want to try
learn from as many people as you can. Practice in the studio is
a similar technique next time or take a completely different
essential. Diverse perspectives or techniques will enrich what
approach. If you notice patterns, like a crack that always
you have to draw from. The more time you spend making, the
happens with the same type of attachment, respond by shifting
more you will have a feedback loop with the clay. You will notice
your construction process or changing your timing. Observing
how evenly your work dries and if seams are cracking. You will
details and responding are important skills to foster.
become less attached to the success of each piece when you are
able make more and more work. And you will find a flow tha
fosters growth.

S ETTI NG GOALS
Tr y t h e Fro g
Setting and accomplishing goals can feel insurmountable or
impossible. Yet defining your dreams is an important step!
Le g s Fi r st
While looking at the big picture sets your direction, lasting When I see a pattern of insufficien results, I focus on the
momentum happens one small movement at a time. So when skill I need to adjust or change. Once when I shared this
you have a big goal, try to break it down into a list where each habit with students in a workshop, one of them related
item can be achieved in one simple step. Once you have made a story that provides a fabulous visual for this idea. She
each of these small steps as specific as possible, list them in was a generous guest at a small dinner party. Before her
sequential order. Maybe even add small deadlines. Completing sat an array of family-style dishes, including frog legs.
each step becomes a matter of discipline, of checking off She really did not feel inspired to eat frog legs! Instead
one small task at a time rather than achieving one big, of avoiding them, she ate them first. She got the most
overwhelming dream. You will find that you build momentum challenging or unappealing part over with and then she
as you progress through small tasks that take you toward the could go on to enjoy the rest of her dinner.
larger goal. Now, when I am avoiding something, I tell myself
This approach requires a surprising amount of practice. For “eat the frog legs first!” I get that done while I have the
many it may help if you have someone to hold you accountable. most focused energy. The challenge can be enjoyable
Think about how you can best set yourself up to work toward when I approach it with motivated concentration. On
your goals. Would learning a new skill help you? Is there a the next try, I find that it is not as difficul and I no lon-
studio mate you can partner with for goal setting? What are ger dread the process. In fact, when I begin to succeed
three small steps that would get you moving? at challenges, they become more fun and I look for-
ward to them.
LEAN I N TO CHALLE NG ES
The thought of messing up something you are proud of can
prevent you from taking risks. There are many parts of the

14

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 14 14 6/4/20 12:10
20/1/20 5:04 PM
329325 - Creative Pottery_001-192.indd 14 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:14
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 15 15 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 15 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:15
 A U

B T

C S

D
R
E

K Q

L M N O P

Tools Used H a n d s Are Too l s

How you touch clay matters. Your hands are amazing
in This Book tools! Fingerprints can add wonderful dimension and
Setting up a studio that serves your needs is important. texture. They also can be unintentional and look messy.
Sometimes that means getting noise-cancelling headphones, Take a moment to think about what you want the form
organizational tools, or investing in studio furniture. The proper and surface of your work to reflect. What qualities do
tool makes a tricky job easier and faster. It will funnel your you want present? Do you want the project to read glow-
energy into your practice rather than extending the struggle of ingly smooth or pudgy and soft as it reacts to pinching?
“making do.” Notice and plan for your studio flow. Also, take Do you want the form stark and hard-edged or uplifted
time to clean up. A tidy studio is inviting, providing you with a and energetic? Each piece can take on so many feelings
good starting place for your next creative session. and attributes. The way you use your hands will add to
the character of your work. If you are intentional about
the marks and connections you make, it will show. And
[A] Thin Plastic, [B] Punches, [C] Smoothing Wooden
it will also show if you are moving too fast for the clay
Tools, [D] Rasp, [E] Loop Tools, [F] Knife [G] Needle Tool,
or are inattentive in your finishing. Your work can go
[H] Scoring Tool, [I] Large Wooden Rib, [J] Serrated Rib,
from looking put together to a flop if you set it down too
[K] Metal Rib, [L] MKM Dividing Tool, [M] MudTools
hard. Gentleness and attention to the state of the clay
Ribs, [N] Rolling Pin, [O] Paint Brushes, [P] MudTools
are crucial.
Baby Bump, [Q ] Spray Bottle, [R] Scouring Pad, [S] Small
Sponge, [T] Wire Tool, [U] Calipers

16

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 16 16 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 16 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:16
 Getting Started

BAS IC TO O L KIT S h a p i n g a n d Co m p re s s i n g
I think of this grouping of tools as essential. They are widely R I B S : Ribs are key in shaping and smoothing while wheel
available at ceramic supply stores. throwing and handbuilding. Compressing and refining the soft,
clear curve of the plate is done with a large, firm wooden rib.
Cu t t i n g To o l s MudTools is a popular brand of clay shaping tools that offers
PUNCHES: What makes these punches great is how easily the polymer ribs with varying degrees of flexibility. Shape 4 (gree )
clay can be removed from them. They come in a variety of sizes. and Shape O (red) are commonly used. A metal rib is important
The punch used in the Juicer project is ¼" (6 mm) in diameter. for shaving away uneven clay. A serrated metal rib is essential
In the cake stand, the punch is ½" (1.3 cm). when blending coils.

KNI FE: The Dolan Knife cuts precisely. Its thin, flexible blade is ROLLI N G PI N : Even if you have a slab roller, a rolling pin is
perfect for the seams and alterations throughout this book. a helpful tool for thinning a slab to just the right thickness. A
medium rolling pin (length 10½"  diameter 2" [26.5 cm 
WI RE TO OLS: Whether you are cutting a block from bagged
5 cm]) is the easiest size to manage. Try adding an eye-hook to
clay or a plate off a bat, this tool makes the job a cinch. Kee
one end for vertical storage. Keep those shelves and tables free
the wire straight. Don’t wrap it around your fingers to shorten
for work in progress.
it. (Get a shorter wire if you need one.) This will make a big
difference—especially when you are cutting a cake stand plate. M AN DR E L: Shape slab spouts on a tapered wooden mandrel
You want the smoothest cut you can get! to create an even curve. Or make your own uniquely shaped
mandrels with clay and bisque fire them

M e a s u r i n g To o l s
D IV I D I NG TO OL: I divide circles into even and odd numbers.
A dividing tool comes in handy. They come in a small (4"
[10 cm] diameter) and large (15" [38 cm] diameter) option. The
dividing tool is helpful when you add embellishment to the rib,
want repeating form or surface patterns, or need to cut away
clay in a repeating fashion.

R U L E R : Keep a ruler or straightedge in your tool kit as well.

CAL I PER S: This tool will help you find and keep
measurements. They are often used in conjunction with a ruler
for replicating dimensions or sizing parts to fit together, suc as
the lid of a teapot or plates with the same diameter.

Wa te r M a n a g e m e n t
SPRAY BOTTLE: Use a spray bottle to gently mist your work. R AS P: A rasp is an amazing shaving tool. They are perfect to
use at a leather hard stage. You can refine angles to your hear ’s
PL ASTI C: Dry cleaner clothes bags and disposable paint drop
content! If the rasp is clogging with clay, the clay most likely
cloths (0.7 mil.) are great lightweight plastic for covering your
needs more time to dry.
work for even drying.

WATE R BUCKET: Then you are working with clay, water is

S c o r i n g To o l
important! Keep friction to a minimum when you throw by
This small metal handled scoring tool has a smaller head and
having a gallon water pail close at hand. There is no reason to
makes careful, directed scoring easy. With accurate scoring
have messy hands just because you work with clay. Use a water
there is much less cleanup or smoothing later on!
bucket with a defined edge or rim. When you are ready to take
work off the wheel, scrape palms or fingertips across the rim t
S m o ot h i n g To o l s
remove slip and water.
SCOUR I N G PAD: A generic scouring pad (normally a kitchen
tool) is everything when it comes to the finishing process. Cut it
down to a 2"  2" (5 cm  5 cm) square with scissors for more

17

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 17 17 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 17 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:17
 Creative Pottery

versatility. Use it wet to keep the dust at bay. It takes down hard
edges, removes fingerprints, and will smooth rough surfaces in
a jiffy. Just try not to lose them in your reclaim!

SP O NG ES: Keep a large sponge around for cleanup and a

small one for aiding in the smoothing process.

PAI NTBR U SH OR BRISTLE BRUSH : A long stiff, round

bristle brush (often used in oil painting) is a wonderful addition
to your toolbox. It makes it easy to clean up harder-to-reach
seams. Use both the bristle and rounded handle end.

CO NTOU RING TO OL (MUDTO OLS BA BY BUM P) : This

tool is important for smoothing and compressing seams on the
inside of pieces, especially in harder-to-reach attachments in
forms like the pitcher (page 148).

WO O DEN HA ND TO OLS: A variety of wooden tools helps with centering, and the thin foam keeps the pot in place while I
compress or smooth joints and harder-to-reach spaces. Keep am trimming away clay.
one with a flatter tip and another with a rounded tip
S U R FACES: TAB LES , BAN D I NG
WH E E LS , B OAR DS , AN D I NTE R FACI NG
Tr i m m i n g To o l s BAN DI N G W HE E LS will allow you to adjust the height of your
LO OP TO OLS: Owning a variety of trimming or loop tools workstation. A selection of banding wheels is great if you do
will give you options when it comes time to shape the foot of not have a lot of space. This essential tool is used when altering
your work. Beautiful, handmade Bison tools are fragile and thrown parts, applying slabs to bisque molds, or making bisque
costly, but the cutting edge is made of a very hard metal that molds. They come in different heights, or you can insert a smal
does not dull. If they fall to the floor though, the metal edge can bucket under the banding wheel to change the height of the
break. Dolan is a go-to brand for trim tools. They are sturdy work surface. To make your space even more versatile, add
and come in lots of shapes! Keep them sharp or you may have locking casters to carts and tables. This allows your space to
trouble trimming. When trim tools are not sharp, the clay shift to the cyclic needs of your studio practice.
is pushed down rather than shaved away. This can lead to
M DO (½" [1.3 cm] thick Medium Density Overlay) is exterior
cracking or breakage.
grade plywood. It is made with waterproof glue and resists
water very well. It comes in 4'  8' (1.2 m  2.4 m) sheets.
BATS: FU LL AN D S MALL SQUAR ES Cut it down for use as a ware board or covering your tables.
StudioPro Bats (based in Vermont) makes high-quality,
commonly used 12" (30.5 cm) and 14" (35.5 cm) hardboard
bats. Bats make it easy to remove thrown work from the wheel
without marking it. Over time, the diameter of your bats can
become measuring tools. You will start to see a pattern in the
width of a cylinder and the template it fits. Your use of certa n
tools such as bats, bisque molds, and templates will evolve
together, creating important correlations and fluidity in your
construction process.
For smaller cylinders, a bat system where a small square can
be removed from the center of the 12" (30.5 cm) hardboard bat
is helpful. The 5"  5" (12.5 cm  12.5 cm) squares that nestle
into the circle fit snuggly and can be removed easily. They mak
storage of work in process much more efficient
For trimming, I use the 14" (35.5 cm) foam bat with ¼"
(6 mm) foam by StudioPro Bats. The concentric circles help

18

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 18 18 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 18 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:18
 Getting Started

MDO is a great solution for a dust-free, smooth, and durable

work surface (and it doesn’t leave that pesky canvas texture on
your work).

D RY WAL L is an inexpensive material and a great addition to

your studio. I tape each edge of the drywall with packing tape to
keep the crumbs of the interior from mixing with my projects.
Drywall draws moisture from the clay and helps it dry more
evenly, which is great for projects like trays. Help trays and
similar projects dry flat by adding weight to the edges while
they dry on drywall. Keep in mind, though, if you leave wet clay
on drywall for too long, mold can develop.

HE AVY WEIGHT, N ON-F USIBLE (N OT IRO N - ON )

I NTE R FACI NG is a durable replacement for newspaper under
work in process. This smooth, non-weave synthetic fabric can
be reused indefinitely and imparts no texture to your clay. Buy
it at any shop that sells fabrics.
● Easily adjustable perspective. Once you have thrown a
piece, step back and see the profile. (A mirror can also be a
S ETTI NG U P A WH E E L
great aid).
Sometimes your passion for clay can be hard on your body.
Standing while throwing can be a positive change. Try it out! It ● More storage space. Reclaim buckets fit splendidly under a
is a little bit of an adjustment, but you will be surprised by how raised wheel.
much it will improve your viewpoint and workflow
Try out the leg extensions from Brent Wheel Extensions to
raise your wheel head to waist height. It helps to have an anti-
A few of t h e b e n efi t s of s ta n d i n g
fatigue mat under your feet and a sturdy wall or post behind
a n d t h row i n g
you. Positioning the foot pedal, your tools, and water bucket
up on the wheel platform provides stability and allows you to
● Better body alignment. When standing, your body is less
evenly distribute weight on both your feet.
crunched. Avoid leaning over and twisting at all costs.

● More overall movement in repetitive motions. Instead

of sitting for long spells, standing allows you to be up
and moving.

19

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 19 19 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 19 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:19
 F E AT U R E D A R T I S T:

Robbie Lobel l
www.cookonclay.com

Robbie Lobell and Maryon Attwood are co-owners of Cook on Clay. Robbie, the principal
designer for their woman-owned, artisan manufacturing endeavor is primarily self-taught.
She completed two years of intensive study with Mikhail Zakin, her much loved teacher,
from 1994 to 1996. During a six-week residency with Karen Karnes in 2001, Robbie was
given the flameware clay body recipe. Both mentorship experienc s had a profound impact
on her life and career. Maryon brings more than thirty years of experience as a nonprofit
executive to Cook on Clay. She is a community activist working on sustainable communities
and food system issues that encourage healthy environments and farmland preservation.

Can you share a bit about your process?

I work in series, honing the forms as they emerge amidst
the succession of pots. The rhythm of my work day is
predicated by the series I’m working on; some days I spend
most of my time on the wheel, other days at the table,
assembling and shaping. I use my potter’s wheel as a tool
to make bodies and parts, large and small. Those parts are
altered and assembled, handles and appendages applied,
and finally shaped and smoothed with rasps and ribs to
emphasize line and volume.

How do you evolve your work?

I develop my ideas in three dimensions while working with
clay. This way of sketching feels alive and spontaneous to
me. Even a month or year later, I will revisit forms with a
new concept for a curve, a line, or a change in the handle.
These shifts are usually glacial, but every now and then
there is a leap towards something quite new.
Sculptural considerations, structural integrity, and strict
utility are equally important. I distill my forms to what is
absolutely essential and add back what is important. How
a pot occupies space on the stove, the table, and even in
storage is integral to my thinking.

[top] Robbie Lobell, Casserole, photo courtesy of the

artist; [bottom ] Robbie Lobell, Tea Kettle, photo courtesy
of the artist

20

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 20 20 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 20 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:20
 Techniques Used in This Book
Here are a few techniques that are simple yet important skills for projects in the coming
chapters. Keep in mind, I’m going to describe the way I work with clay. However, there are
many ways to throw, trim, make a slab, and perform every other technique for moving clay.
I encourage you to try out the suggestions and experiment. If you have a favorite way of
working, there is no reason to switch to the way I do something. The most important things
are to watch how the clay is responding and spend plenty of time in the studio! Keep your
mind open to all the ways of working with clay.

WO R KI NG WITH S LAB S same process, only this time work in a different direction acro s
To s s i n g S l a b s the surface of the clay. Now turn the slab over and repeat this
A slab roller is helpful, but many people don’t have access to process on the other side. [B]
one. Hand tossing slabs on a work surface is a quick way to
thin slabs to a workable thickness. Pound down a wedged cone S m o ot h i n g S l a b Ed g e s
of clay or cut a thickness from a commercial block of prepared A cut slab edge can be sharp or look unfinished. Easily shape
clay. [A] To thin the slab, firmly throw it d agonally on a smooth and smooth it before using it to build a form. To do this, fold
table. This directional toss stretches the clay and thins it. Rotate a 2" (5 cm) flap of a newsprint in half. Take one clay strip and
the clay (hold it from a different side) and toss it repeatedly so lay it along the crease. Fold the 2" (5 cm) flap over the clay,
it stretches evenly. Intermittently use a rolling pin to flatte trapping the edge of the slab in the crease. [C] Gently and
any uneven areas that develop. A good workable thickness to evenly slide your finger over the newsprint covering the trappe
aim for is around ¼" to 3 ⁄ 8" (6 mm to 1 cm) thick. However, the edge of the clay. Even pressure will taper the clay as it eases into
larger the piece you are making, the thicker the slab needs to be. the fold. You may change the angle of the taper by changing
the angle of your finger as you press. The more you press, the
Co m p re s s i n g S l a b s softer the taper will be. Unfold the paper and check the taper.
This is an important step in handbuilding with slabs. Once the [D] You may refold it if you see an uneven area or would like the
slab is a workable thickness, use a firm rib to compress it. Fi st, clay further tapered. If you wish, you may smooth it more after
lightly spritz the slab with water and then firmly slide the ri removing the newsprint.
across it until the whole surface has been treated. Repeat this

A B

21

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 21 21 6/4/20
4/2/20 12:10
2:14 PM
329325 - Creative Pottery_001-192.indd 21 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:21
 Creative Pottery

If you want to taper a curved edge, simply lay a piece of C

paper over a shaped slab and press the edge with your finger.
It will not trap the edge as it would a straight slab edge.
However, it will still give you a softened finish rather than a
hard-cut edge.

N OTE : If your clay is getting wrinkle marks from the paper, try
to work a little faster. Leaving the clay surrounded by the paper
too long makes the paper wet and creates wrinkles. These can
transfer to the clay.

TH ROWI NG R E FR ES H E R
After wedging, pat the clay into a ball. Slap it down onto the
center of the wheel head. Dip your hands in water. The clay
should always slide through your hands rather than stick to
them. Friction causes unwanted torque. D

Ce n te r t h e Cl ay
Begin with the wheel on a medium-high speed and focus on
securing the clay to the working surface (either the wheel head
or a bat).

1 . Use your index finger to smooth the clay along the base of
the ball, adhering the bottom edge of the clay to the bat. [E]
Work toward a cyclic motion, raising and lowering the clay.

2. At a medium-high speed, apply downward pressure

to further adhere the clay to the bat and keep it from

22

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 22 22 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 22 21/1/20 10:47 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:22
 Getting Started

F I

G J

or center/top of the clay no longer undulates from side to

H
side, the clay is centered.

Cre a te a n O p e n i n g
Next, create a funnel-shaped opening.

1. Press into the center of the clay with your right fingers,
using your left hand along the outside edge of the clay for
support. [H] Two hands give more stability. When your
right fingers are getting close to the bat surface, remove
your hands, and stop the wheel.

detaching and shooting across the room. Press down on the 2. Use a needle tool to check the depth of the pot. Often 3 ⁄8"
clay, holding it in place with both hands touching. Press (1 cm) is a good thickness. [I]
with the heal of your left thumb and side of your right
3 . Now widen the opening. Curl your fingers into the opening
hand. [F] This will help compress the clay. Squeezing in or
so the tips are touching the bottom and pull straight back
cupping the ball of clay from the sides with both hands will
toward yourself slowly and consistently. [J]
raise the clay. [G]

3. Repeat this process, pushing the clay up and then pressing it

back down. If you need to remove your hands at any point
during the process, remember to pull them away slowly to
avoid moving the clay off center. When the bottom, middle,

23

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 23 23 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 23 21/1/20 10:47 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:23
 Creative Pottery

Ra i s e t h e Wa l l s your one hand is holding the clay, working away from you.
Repeat this motion to create a flattened strap of clay. [L]
1 . To lift the walls of the pot, place the right hand inside
the opening and the left along the outside wall. Along the 2. Use the tip of your thumb to contour and shape the strap.
top rim of the pot, touch both hands together to provide Dry your handles until they are a soft leather hardness. It
stability as you lift the walls. helps to dry then in a curved shape if they will be bending
dramatically in their application (as for a cup handle).
2. Gently pinch the wall along the base with your hands,
Otherwise they can just be dried flat
positioning the outside hand slightly lower than your inside
hand. Slowly raise your hands together with continued
Handles can be used as decoration. The dessert dishes on
pressure to raise the walls. Repeat this process a few times
page 69 make use of tiny handles. These are made by pulling a
to continue lifting up the clay and distributing it evenly
long, thin strap handle and cutting it into small pieces that can
along the walls. Take it slow. [K]
be rolled, coiled, or bent into fun shapes of all kinds. [M, N]

PU LLI NG HAN D LES F I N I S H I NG AN D S M OOTH I NG

Pulling handles is a lot like throwing in that you will need to
S U R FACES
practice for a while before it becomes intuitive and smooth.
When you construct with multiple pieces, the seams and
1 . Begin with a well-wedged ½ pound (227 g) of clay, patted attachments will require some surface refining at the end. You
into a wedge or carrot shape. While holding the widest have a choice. All the seams you have made can be smoothed
part of the wedge in one hand, dip the other hand in water. away as if they never existed, or you may accentuate them and
Sandwich the clay between the flat of your thumb and the give a nod to the process of construction. This is part of the
flat pad of your index finger Then begin pulling from where fun of making; you get to decide what to showcase and what

K M

L N

24

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 24 24 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 24 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:24
 O

to make a mystery. The instructions that follow will help if you

P
want to smooth out your seams and surfaces. The tools shown
here are for smoothing the form. [O]

S h a p i n g w i t h a Ra s p a n d R i b
Think about the visual line or plane you’re making. If it is a
straight line, shave off any clay that is not adding clarity to the
line. If it is a curving line, remove clay that is wavering from the
overall arch. If there is a bit of a dent, a small bit of clay can be
added to the scratch or divot. If the clay is leather-hard and the
dent is small, just wet the clay and smear it into the space. If it
is a larger space, slip and score both surfaces and then backfi l
the depression.
When shaving away clay, use a rasp first. It removes clay
easily but leaves behind teeth marks, so follow up with a metal
rib. This takes away a smaller amount of clay and removes the
teeth marks. The result is a form that is clear, but still leaves
behind a surface that may have some unwanted marks or edges
that are too sharp. On to the next step! [P]

25

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 25 25 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 25 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:25
 Q

Wet S c o u r i n g R
A wet scouring pad is perfect for taking down sharp edges,
blending in seams, or smoothing rough areas. Simply dip it in
water and scrub away!
I recommend wet scouring your work at the leather hard
stage. At this stage (compared with the bone-dry stage) your
work will not absorb water as quickly. You never want puddles
of water sitting on your work, but especially not at the bone-
dry stage. When you are scouring, water might accumulate in
recesses. Sponge these up as soon as you see them.

H a r d - to - Re a c h S p a c e s
One of the best tools I have found for smoothing small spaces is Stages of Smoothing
an old oil paint brush with straight stiff bristles. [Q ] I use both
the rounded handle end and the stiff bristly end. I compress
around interior corners with the handle and go over the seam
again with the bristles to pick up excess slip and smooth the
surface. Brushes are also especially good for smoothing around
handles or other attachments.

Fi n a l S m o ot h i n g
After all the larger marks are removed, I finish smoothing with
a soft wet sponge. [R]

26

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 26 26 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 26 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:26
 Making and Using Templates
Making your own templates will give you freedom to explore! Once you have a connection
to the process, you can adjust them dramatically (or minimally) to come up with your own
design. There are multiple templates in the appendix for use in the projects and lessons.
The templates provided are a starting point that will help you get the feel of the process.
Photocopy the template patterns provided and transfer them onto heavyweight paper.
Manila file folders or card stock paper works well. While this aterial will degrade over time,
it lasts for quite a while and it is inexpensive. Writing notes on the templates about what
form they relate to will help you keep them straight.

To o l s
A
photocopier
templates (see appendix on page 177)
cardstock paper
pencil
ruler
compass
scissors
knife

H E LPFU L S UGG ESTI O N S

Photocopy the templates provided onto cardstock paper to
the specified enlargement or your desired size. As you work,
B
you may need to adjust the templates to your particular set of
components.
To transfer the shape of the template to the clay, lay the
template on the clay and trace your finger around the edge. Thi
transfers the rigid edge of the thick paper template to the clay.
Repeat this as necessary and proceed to cutting out the shapes
you traced with a knife. This is easiest to do on a flat slab t at
is laying on a clean, flat work surface. [A] However, smaller
templates may also be pressed onto vertical thrown or slab-built
work. Transferring a line to follow for darting or repeating pat-
terns can be quite helpful. When you’re impressing a template
onto a hollow form, make sure you support it from the inside or
you may create a dent in the clay. [B]

27

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 27 27 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 27 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:27
 Templates used throughout the book. These are made of cardstock-weight
paper and are used as a starting place when working with slabs.

28

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 28 28 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 28 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:28
 C

D
TI PS FO R U S I NG TE M PLATES
WITH MAR KE RS
Some of the templates in this book use a central dot or dashed
lines to help place or make a second cut on the slab. Here’s how
to align those symbols for the best results.

● The placement of the template is important when you have

an intended shape in mind. Many of my templates have a
central fold mark. Transfer this mark to the slab and use it
to position the clay centered on the mold. [C]

● Sometimes you’ll need to cut an inner shape from the

overall template. For example, you may have a dot or
perforation right where you want the slab to center on the
E
point of the mold. [D] Or you may want a dashed line where
you want to cut out the interior shape. [E] I think that the
dashed line, as opposed to just cutting out the shape, makes
for a longer lasting template. It also makes for a softer mark
on the clay.

● You can have several dashed lines on one template. This

allows you to use the same template in more than one
application.

29

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 29 29 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 29 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:29
 O LIVIA TAN I , O N PROCESS
www.oliviataniceramics.com

After receiving her BFA from Alfred University’s School of Art & Design in 2017, Olivia moved
to Minneapolis, Minnesota, for a one-year artist residency at Northern Clay Center (NCC) as a
●
Fogelberg Studio Fellow. She immediately felt the city was her new home. As her residency year
came to a close, she applied for and was granted a personal studio space at NCC. Her focus now
is to build a portfolio to apply for graduate school. ●

[left] Olivia Tani, Large Three Point Bowl, photo courtesy of the artist; [right] Olivia Tani, Clam Vase,
photo courtesy of the artist
●

I enjoy breaking down 3D objects into 2D blueprints. bisque mold, which imparts a feeling of fullness or
I work with paper templates, cutting, drawing, and inflation. Most of my pots are double walled or hol-
taping them to discover and plan forms. Because of low vessels with interior supporting architecture.
the jump from material to material, I have to con- Once all slabs are attached and the form is totally
sider structural integrity, center of gravity, and the constructed, there are many overhangs and marks
overall architecture of the piece. made from the building process. This is when I
My interest in exploration of form and function “reveal” the form using what I like to call a “series
has led me to work in leather-hard slabs, using of grits.” I start with a rasp and then use a fine-tooth
bisque molds and paper templates. I construct with metal rib to detail and shape the form. I finish with a
slabs that are ¼" (6 mm) thick. Paper templates help sponge and water to wear down the remaining tooth
me measure what shape they need to be before I cut marks. This process brings fine grog to the surface,
them out. Because each form is always slightly dif- which I then compress and smooth with a red rib.
ferent in proportion, I always cut the slab to a shape Then I make the final touches that accentuate the
that is larger than I’ll need and shave it down to the lines and angles of the form.
necessary size. The slabs are laid on a softly curved

30

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 30 30 6/4/20 12:10
7/2/20 12:34 PM
329325 - Creative Pottery_001-192.indd 30 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:30
 Tips for Successfu l Seams
My forms tend to have many seams that require careful attention. Every attachment increases the
potential for a crack that may ruin a piece. The following are key factors for successful construction.

● Combine clay pieces that have a similar level of dryness. BAS ICS O F S EAM S
Carefully time your process so you are not attaching wet clay I use several types of seams when forming attachments with clay.
to dry clay. Use your practice cylinders to try making these seam types. Each
of these cylinders started as a circle. The small pieces of clay above
● Make sure you make generous attachments. If the two surfaces
them show the clay that was removed to create the change in shape.
are barely touching, they may need additional coils to add
thickness and strength.
S T R AIG HT - E DG E S E AM : This works well for stacked objects
● Take note of repeat cracking in similar areas and try building where gravity is on your side. However, when you are making a
differently to avoid the problem in the future. For example, vertical seam, this is a challenging seam to compress. [A]
add an extra coil or change how you connect the seam. It
B EVE LE D S E AM : Each edge is cut on a parallel bevel. The cut
is only with practice that I am able to prevent cracking on
edge is 45 degrees to the angle of the wall. This creates a seam that
complex forms.
can be compressed from two directions. It is especially good for
● Do not let the clay bend back and forth when you are vertical seams, as well as seams that you would like to smooth away
constructing a form. Repeat bends cause cracks. If you are from view. [B]
moving the clay back and forth while figuring out the shape
R EVE R S E M IT E R S E AM : Here the edges curve inward, forming a
of a form, you are exposing yourself to a higher likelihood of
rounded wall. The edges meet at a 90-degree angle. [C]
cracking.
M IT E R S E AM: In this seam, the walls form a 90-degree angle with
● Even drying is important! Lightly mist your work and drape
the seam in the corner. This kind of joint often needs a little clay
it with plastic to allow it to dry slowly and evenly. Dry
added to the corner for strength or to fill a gap. [D]
climates and forced air heaters, environmental humidity,
and temperature all play a part in this process. Err on the
conservative side and dry your pieces slower than you need to.

● Practice! Nothing will help more than practice. The more time
you spend in the studio, the easier it is to monitor and manage
the drying process.

A B C D

31

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 31 31 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 31 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:31
 Cylinder being altered for Pitcher project on page 148.

Beginning Alterations
Cutting and darting clay opens the door to possibility! With these techniques, a straight-
sided cylinder can be transformed into a curving asymmetrical form. Clay is incredibly
malleable as long as you alter it at the correct time. In this section, you’ll find tips to reduce
cracking along with skill-building exercises to help you gauge how much clay to remove
for your desired outcome. While it seems simple to create seams and make alterations, the
process becomes fluid only with practice.
In the series of images that follow, 1½ pounds (680 g) of clay were used to throw a 7"
(18 cm) straight-sided cylinder. In both the cylinder on the left and the cylinder on the right,
the same dart is removed, using the central template as the guide. The left cylinder shows
the cylinder once the cut was made, and the right cylinder shows the enclosed form, once the
edges were attached.

32

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 32 32 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 32 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:32
 ● If you are using a thrown cylinder, cut it off the bat
using a knife. (A wire tool may pull it out of round in an
undesirable way.)

● For a strong seam, make sure the edges of the walls overlap
significantly

● Practice on a scrap of clay or extra cylinder to gauge the

angle at which you want to hold your knife before cutting.

● A little goes a long way! Only remove small darts at first. That
means no wider than ½" (1.3 cm). You can always remove
more. Adding clay back to a piece is much more challenging.

● Where the dart ends matters. If it ends just below the rim, it
VI S UALIZI NG ALTE R ATI O N S
will likely crack. Apply extra compression or clay. If it ends
E s s e n t i a l s fo r A l te r i n g S u c c e s s
mid-wall, a point will be created. If you do not want a point,
● The flexibility of the clay will make or break your project. try a more tapered or less dramatic dart. Another option is to
Begin alterations on your form when the clay is a soft extend the dart the whole height of the cylinder.
leather-hard level of dryness. This means it’s best to work
● The widest part of the dart is where the clay will move
with the clay when it’s still flexible but not sticky. It is to
inward most. The bigger the dart, the more the clay has to
wet if your fingerprints mark the clay as you work or if you
bend and shift to close. If you are making dramatic darts,
are unable to remove the dart in your altering process. If you
make sure the clay is quite flexible
let the form dry too long, cracking increases significantly in
the drying and firing processes

● If you work with clean hands on a clean work surface, you

will have less mess to clean up at the end of your project.

33

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 33 33 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 33 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:33
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 34 34 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 34 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:34
 CHAPTER 2

Growing as a Potter
In this chapter, we will explore the concept of personal growth in two different ways. The
first part of the chapter focuses on growing intellectually. We’ll investigate finding a view-
point, finding inspiration, and viewing sources of inspiration next to finished work. You’ll
also learn how to define your influences with a project that I ve long found useful.
In the second part of this chapter, we’ll get into the studio and start making things with
clay! I’ll share a couple of my favorite core shapes and then show you how to take those
shapes and translate them into objects fit for the table. You’ll find a couple ways to make a
bottomless cylinder and then we’ll use it to make a serving tray and an altered vase. We’ll
explore using templates and dive into using these bottomless cylinders with a V-shaped
bowl. By the end of the chapter, you’ll be making your very own dessert boats!

Q u e sti o n s fo r G row t h
● How can you dig deeper for inspiration or content in your work?
● How do you bring your influences into your work?
● How does the process of making influence what you make?
● What other forms could you make with the bottomless cylinder? What about the
V-shaped bowl?

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 35 35 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 35 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:35
 Find a Fresh Viewpoint
“Never think that you have made something perfect,
because then you have nowhere to go.”

—Eva Zeisel

Many of us need to tone down our inner critic. Kindness is key—be kind to yourself and
others. Your expectations may be so high that no matter what comes out of the kiln, your
artwork may never live up to them. On the other hand, with all the likes and hearts flying
around on social media, you may be relying on momentary pats on the back when further
development is what you need most to benefit your work. I find helpful to think of progress
not perfection as the overarching goal.
We all want to make compelling artwork—work that we are proud of and that others
respond to in a positive way. But what makes that happen and how do you get there?
Pondering questions about your work and intentions, whether they come from others or
from your internal dialogue, will push you to examine your work and define your goals.
Ultimately, you need to be able to see your work. Not just physically, of course, but
with an intent to dissect and understand what is in front of you. But it is hard to step back
emotionally from an object into which you have poured time and energy. In fact, you may be
so attached to your pitcher or cup that it is hard to imagine it can get any better. Or it may
be hard to see the components (the rim, belly, or stance) that make up the overall shape. In
order to see your work from a fresh point of view, try a shift in environment. Here are a few
examples of ways to do this.

● G ET YOUR P OTTERY OUT OF THE S T UDI O! Bring ● TAKE PH OTOS OF YOUR WOR K F OR A W EB S IT E
your pottery into the kitchen and use it. Living with it offers OR P ORT F OLI O. Seeing your work in a new context or
information you will not experience in the studio. How tailored setting will alter your viewpoint. Cropping the
does it feel? Does it hold a real-life portion? Does the color background my change the way you see its symmetry.
or surface detail accentuate the meal? How will it hold up
● R EVIS IT YOUR WOR K L AT E R . When your expectations
to dish washing?
are dashed, sometimes space and time away from the
● SET UP YOUR WORK IN A CLE A N SPACE , LI KE A results helps. Look at your work the following day or week
GAL L E RY. Stand back and let the plain clean walls focus when you are fresh and have a new outlook. Saving a few
your attention on the details: the volume, the line quality, successful (or even unsuccessful) pieces will provide you
the stance. How do they work together? Does one element with a library of efforts to return to and learn from
not fit in with the rest of the piece

36

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 36 36 6/4/20 12:10
20/1/20 5:05 PM
329325 - Creative Pottery_001-192.indd 36 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:36
 STEVE GO D FR EY,
O N S E LF - CR ITIQU E
www.stevengodfreyceramics.com
Steve received his MFA from the New York State College of Ceramics at Alfred University in
1996 and his BFA from the Hartford Art School in Connecticut in 1993. He studied at the Kan-
sas City Art Institute and was a resident at the Archie Bray Foundation for the Ceramic Arts.
He currently exhibits his work nationally and teaches at the University of Alaska Anchorage.

As I finish and prepare my work for the firing pro- was a little boy. It began as solitary experiences on
cess, I am reminded that what I am making could Cape Cod, walking and looking through thousands
be around for generations to come. Therefore, I put upon thousands of rocks and pieces of sea glass,
great value on the responsibility of sorting through quickly grabbing a special one before it was swal-
my pieces at various states, allowing some to be lowed by the receding waves. Sifting through my
completed and letting others go. I always trust that finds was an exploration of shapes, textures, color,
the ones that don’t make the cut are ideas that are weight, and composition, very similar to what I do
being reworked either on the pages of my journal in my studio.
or in my studio. Being curious about the smallest objects played
I compare my process of self-critique to beach- an important role in developing my critical eye for
combing, something I have loved doing since I the important aspects of my design sensibility.

Steve Godfrey, Plates, photo by Deb Schwartzkopf

37

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 37 37 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 37 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:37
 Jeff Oestreich, Beaked Pitcher, photo by Deb Schwartzkopf

Finding and Using Inspiration

People often ask me, “How do you come up with your forms?” It is a question that has a lot
of answers. I have always been attentive to my environment—sometimes to a fault. I can’t
ignore dripping water in the sink or the pattern of sparkling raindrops on a spider web. The
glorious unfurling of magnolia tree flowers and the dishes pili g up on the counter needing a
wash both grab my attention. They are all present, and it is fascinating to understand which
qualities become intentional references in my pottery.
The process of distilling inspirations into artwork is a mysterious one. Sometimes the
influence of an inspiration seems to just appear. At other time , a thoughtful effort is needed.
Let’s take a look at a few ways you can follow threads of inspiration.

38

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 38 38 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 38 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:38
 Growing as a Potter

TH R EADS O F I N S PI R ATI O N

Pro c e s s
As a student, I was saturated with many methods of making as I
attended workshops from as many people as possible. Learning
and practicing new techniques generated skills that allowed me
to create what I imagined. For example, one of the first people I
ever saw alter or dart a thrown cylinder was Jeff Oestreich. He
made one of his well-known “beaked pitchers” and it completely
changed my expectation of what was possible with clay. The
more people you are able to learn from, the more approaches to
thinking and making you will have to draw upon. What skill can
you learn that will help you make what you envision?
Deb Schwartzkopf, Plated Lunch Salad

Servi ng Meal s
The consideration of function both limits and liberates me.
It gives me a strong sense of direction and attaches me to the
community that will use my pottery. Eating with family and
friends instills a sense of place and relation. At the table, I
assess finished work. This information provides a clear next
step as I re-enter the studio and start another cycle of making.
What will be served in the dish you design?

A Frank Gehry–designed building, photo courtesy of

Shutterstock

A rc h i te c t u re
Architecture can challenge the way we experience space. Much
like functional pottery, it must serve the people who use it. The
door must open, allow entry, and be safe to use. Comfort is also
a concern. Even with many constraints, architects find ways
to surprise with their inventive use of material and shaping of
space. Is there a doorway or cantilever in a specific building hat
stands out in your mind?

Other Disci pli nes

Thanks to my family, I grew up sewing, oil painting, and
playing in a cabinet and shoe repair shop. Whether through
fabric, wood, paint, or leather, I was taught to value fine
craftsmanship. I had a lot of practice turning 2D patterns into
3D projects. I learned to construct a strong joint or sew on the
bias for more stretch in the material. How do other disciplines
inform the way you work with clay?

Garment construction, photo courtesy of Shutterstock

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 39 39 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 39 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:39
 Designed by Eva Zeisel, Classic Century Accessories, photo courtesy of Royal Stafford

Co m m u n i c a t i o n O t h e r S o u rc e s
When I was starting to put words to what I wanted to express When you are stuck on an airplane, maybe you sketch to pass
with my pottery, I was introduced to the book Eva Zeisel: On the time. When you are weeding the garden, perhaps you
Design. Its pages are full of examples of how form, volume, line daydream. During the making process, the way the clay bends
quality, and other elements communicate. Another amazing or the shape you throw may spur new ideas. Maybe your mom
example of connecting expression with sound, color, and requests a serving platter for her famous asparagus dish. There
pattern is the movie clip, Intermission—Meet the Soundtrack of are so many actions, thoughts, people, and contexts that shape
Disney’s 1940 Fantasia. In it, instruments are introduced with our artwork!
colorful line patterns. What does the gesture or contour of the
object that inspires you say or exude?

40

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 40 40 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 40 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:40
 G A L L E R Y:

Finding Inspiration

A nightly walk home presented the

shadowy arching patterns of a post-
and-chain fence against the straight
horizon of the sidewalk. This was one
of the first line qualities I consciously
endeavored to bring into my pottery.
I wanted to couple the visual rhythm
with a sense of stability. Photo
courtesy of Shutterstock.

The tugboat’s gesture conveys

movement and directs your eye.
The Puget Sound is full of these
tugboats and ferry boats. I associate
their diagonal lines with forward
momentum. Photo courtesy of
Shutterstock.

41

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 41 41 6/4/20
4/2/20 12:10
2:15 PM
329325 - Creative Pottery_001-192.indd 41 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:41
 Chapter 2

The unfurling of a magnolia bud

conveys a soft, strong energy.
It is full of volume and is an
ephemeral moment. Photo courtesy
of Joe Wilkinson.

Geometric kaleidoscope patterns

imply motion. The way my eye
seeks to find shapes within shapes
gives the crystalized array of lines a
sense of rhythm. Photo courtesy of
Shutterstock.

42

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 42 42 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 42 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:42
 Growing as a Potter

The comically elegant pelican and

streamlined swimming loon are
starting places for my study of stance
and volume. Can you see this in the
shape of my pitcher? Photo courtesy
of Shutterstock.

Baby birds expectantly wait for

mealtime with their tiny beaks open
wide. I hope that my vases do the
same for flowers. Photo courtesy of
Shutterstock.

43

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 43 43 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 43 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:43
 Defining Influences
I began to connect what I wanted to say with my work when I was given this presentation
as an assignment by Liz Quackenbush. When I asked Liz about it, she said: “I assigned this
project as an instructor to give students a place to start when learning to clarify and verbally
articulate inspirations for their work. It is important for students to recognize moments
in their own lives and environments as potent pools inclined to spawn inspiration. This
exercise helped develop community as both I and the others participating began to connect
on shared interests or ways of seeing.” Ready to give it a try?

Instructions
Carefully prepare a fifteen-minute presentation, for friends
or colleagues, using sensory information that will create
a “picture” or explain your artwork as fully as possible.
However, in this presentation you should show none of your
actual artwork.
Stick to the time limit! The process of editing your
inspirations to fit or fill just 15 minutes is important. Be pl ful
and embrace variety. Think about physical objects, writings,
charades, music, food, colors, sounds, smells, digital images,
old photographs, prints, puppetry, games, stories, poetry, etc.
When deciding what to include, ask yourself, “Why, out of
every element, thought, or word, am I choosing this particular
one?” Also ask, “Which part of my work embodies this specific
influence?” It will be a fun introduction to your own thoughts
and how you might drive your ideas forward.

To d r a w o u t m o re i d e a s , a s k yo u r s e l f :
● What does the posture of a particular cup or pitcher Liz Quackenbush, Teapot, photo courtesy of the artist
bring to mind?

● Are other construction methods (sewing or woodworking) After the presentation, people watching should be able to
influencing you imagine (as fully as possible) your artwork and what inspires
it. If those around you have seen your influences, they can ask
● What message does the color of your work imply?
clarifying questions about what they saw and you can figure out
● How does your artwork feel when you hold it? if they, too, are able to see your intention.
In presenting your ideas, you will discover and explore
● What movements or actions capture the stance of
specifi influences, clarify and communicate your ideas, think
your pottery?
about your artwork abstractly, and help others get to know you
● Can you match the visual rhythm of your work within the and what interests you!
rhythm of words?

● Can you write a list of descriptive words about a particular

form? (Try getting other people to do this too and compare
the lists.)

44

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 44 44 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 44 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:44
 LESSON:

Bottomless Cylinder
The bottomless cylinder is an essential part of many of the forms I have developed, from
simple trays to more complex dessert boats, and pitchers to butter dishes. Chances are you
learned to throw a cylinder with a foot as a beginning project. This exercise—the bottomless
cylinder—differs in that there is no foot. Since there is no fl r or foot holding the cylinder
in its starting circular shape, all shapes are possible! Make sure to throw it on a bat, as it is
nearly impossible to remove a bottomless cylinder intact from the wheel head.
Your bottomless cylinders can be tall or short, wide or narrow. Each shift in scale will
change the outcome. Variation is exciting! For the tray project later in this chapter (page 50),
I will be using a short (1" [2.5 cm] tall) and wide (11" [28 cm] diameter) bottomless cylinder,
so that is what I will teach here.

45

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 45 45 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 45 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:45
 Chapter 2

A C

B D

Tools & Materials

E
basic tool kit (page 17)
½ lb. (226 g) of wedged clay, formed into a ball
bat, 12" (30.5 cm) diameter

Instructions
Center the clay, (see page 22) open it all the way down to the
bat. Yep, no bottom or foot in sight! To open the clay, curl your
fingers under and pull back toward yourself until the opened
center diameter is about 2 inches (5 cm). Your clay should now
be in a doughnut shape. [A] Compressing the clay outward and
downward is your next step. Widen the center about an inch Once you have moved the clay outward (the outer diameter
(2.5 cm) by pulling with your fingertips back toward yourself. should widen to between 1 and 2 inches [2.5 cm and 5 cm]),
[B] Make a fist with your right hand. Lead with your outer begin to open the center diameter another inch or so further.
knuckle at the center of the doughnut and press the clay toward Compress down and out. Repeat this process as many times as
the edge of the bat. Then rock your hand to be parallel with the you need to get a wide cylinder. Usually I do this between three
bat, pressing straight down. This should keep the clay in contact and seven times, depending on the desired final diameter. With
with the bat while widening the center diameter. [C] Use your each cycle the ring will widen and become thinner, leaving you
left thumb to compress the base of the outer wall down to with less clay to create walls. The wider you make the ring of
the bat. [D] clay, the shorter your walls will be. This process may extend

46

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 46 46 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 46 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:46
 Growing as a Potter

the ring all the way to the very edge of the bat. Once it is as T E AR S F OR M ON T HE TOP OF T HE C L AY AS I A M
wide as you want it, pinch at the base of the doughnut and raise OPE N I N G T HE R I N G .
your hands as a unit, creating a wall. [E] Refine the walls with Compress the top of the clay between cycles of widening
a rib. [F] and compression. Do not widen so quickly.

T HE CL AY CO M E S LO OS E I N ON E AR E A AS I’ M
Tro u b l e s h o ot i n g
W I DE N I N G T HE R I N G .
THER E IS A DOUGHNUT OF CL AY IN MY HAN D Make sure you are compressing often as you widen the clay.
I NSTE AD OF ON THE BAT. Keep the area at the base thick (at least a ¼" [6 mm]), so there
As you draw the clay wider, compress it downward more often: is enough clay to remain in contact with the bat. Make sure
every inch or so is a good goal. The bottom of the doughnut there is no friction between your fingers and the clay as you a e
must keep full contact with the bat. throwing. Add a little water more often.

AI R IS TRA P PED UNDERNE ATH AS I M OVE T HE

CL AY OU T WA RD.
When you are compressing, use the heel of your right hand and
your left thumb to press the base of the clay down. Do not let it
form a mushroom shape that can trap air at the base of the wall
as you compress downward.

47

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 47 47 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 47 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:47
 HAN D B U I LD IT!
When handbuilding, the clay does not become water saturated as it does when you are throwing,
so you may continue to construct your project without waiting for it to dry. For handbuilding,
I employ templates to get the most out of my rolled-out slabs. Templates also help me imagine
shapes and sizes before getting into the clay. This can speed along the process of discovery.
Either method of working is embraced here.

Tools & Materials rolling slabs, see 21.) Trace your finger along the tem-
basic tool kit (page 17) plate to transfer the line. [A] Repeat this step so that you
have two template impressions to cut out.
about 5 lb. (2.26 kg) of clay (ideally straight
Use a knife to cut the slab. I often use my pinky as
from the bag)
a balancing tool guide by gently holding it against the
template making tools (page 27) clay. [B] This gives me stability as I cut out the shapes.
ruler or Bottomless Cylinder Template (page 181) Hold the knife perpendicular to the cutting surface as
traced and cut on cardstock or newsprint paper you draw your knife along the mark left by the template
lines. Cover the pieces with plastic until you are ready to
construct. [C]
Instructions
Taper the rim to offer a thoughtful finish to the hand-
If you want to prepare your walls using handbuilding
built wall. Connect the narrow edges of the two strips
techniques, great! Rather than throwing a cylinder, you
of clay together. This will be used as one long strip, so
will be preparing a compressed slab (See Techniques
use a beveled seam (page 31). Trim each narrow edge
Used in This Book, page 21) and then cutting out the
at an angle, slip and score the surfaces. Overlap the
walls using a template (page 181). With these parts pre-
edges and compress them with a soft rubber rib. Once
pared, you will have everything you need to get building!
the two pieces are connected, flip over the long strip and
Roll out a slab to a width that fits the template of your
compress the other side. To taper the rim, follow the
desired wall length, about ¼-inch (6 mm) thick. (The
instructions on page 22.
measurements of my starting slab are about 12"  8" 
¼" [30.5 cm  20.5 cm  6mm] thick.) (For more on

A B

48

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 48 48 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 48 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:48
 C

Keep the clay at the correct dryness by storing it covered in plastic.

49

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 49 49 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 49 3/2/20 2:26 PM
(F52)_Title: 329325 - Creative Pottery
Text Page:49
 P R O J E C T:

Oval Serving Tray

Let’s make a serving tray and put those thrown or handbuilt walls to work (from page 45)!
To keep your success rate high, start small with the measurements suggested below. You will
be learning about connections, cutting seams, and using templates. A simple oval shape is a
great place to begin. Once you succeed, then explore off the be ten path!

50

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 50 50 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 50 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:50
 Growing as a Potter

forth—curved and uncurved—repeatedly. This creates warping

Tools & Materials
during the drying stage and increases cracking.
Basic Tool Kit (page 17) Make your template the same length as the circumference
Bottomless Cylinder Template: 2 taped end-to-end of the bottomless cylinder or the slab strips you will use for
(page 181) construction. Begin by taping together the two template pieces
tape at the narrow ends. Hold the template over your thrown
cylinder and form the template into a matching circle. Trim
leather-hard slab for the slab bottom, 10"  8"  ¼"
(25.5 cm  20.5 cm  6 mm) thick away the excess so the length of the template matches the
circumference of the cylinder. Tape the narrow ends together. If
bottomless cylinder, 1" tall  6" diameter (2.5 cm 
you are handbuilding, lay the template along the prepared slab
15 cm), soft leather-hard stage
walls. Trim the template to the same length as the clay strip and
interfacing tape the narrow ends together. You now have a template that
ware board or bat reflects the clay pieces you have carefully prepared. [A]
water or slip for attachments With your leather-hard slab for the bottom or foot of your
tray at hand, begin to design your tray. Hold the template over
banding wheel
the slab and form it into an oval. Do you like the shape? Try
adjusting it. Do you prefer a long narrow oval with sharply
Instructions curving ends or a wider soft oval? Pick the design you like
Let’s imagine shape possibilities using your template (page 181). best. [B]
This is ideal, as the clay walls should not be moved back and

A C

B D

51

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 51 51 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 51 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:51
 Chapter 2

Use your template as a guide and sketch around it directly it down as it dries. If the tray warps as it dries, you will need to
onto the slab. [C] Cut out the basic shape of your tray from the handle the project less the next time you make it.
larger slab, cutting outside of the sketched line where your walls Once the tray is leather-hard, take off the sharp edge around
will attach. Place this slab, which will be the foot of your tray, on the slab bottom with a rasp [F] . Smooth it according to your
a ware board or bat that is covered with a piece of interfacing. taste or follow the instructions on page 24.
This will prevent your slab from sticking to your work surface
when you are attaching the walls. Remember, you do not want
to pick up your tray until it is leather-hard, so having it on a
moveable, supportive surface will help.
Cut the bottomless cylinder off the bat with a knife to
prevent unwanted warping. Slip and score both the slab where
your wall will attach and the foot of the wall. [D] Gently guide
E
the wall into place on the slab. Once in place, use your thumb
and forefingers to firmly squeeze the wall down onto the slab
Inch forward and repeat this action all the way around your
wall. [E] Use a smoothing tool to compress the inner and
outer seams.
Let your oval tray dry slowly, over one to two days under
loosely draped plastic. Make sure you are not picking up your
tray before it is dry. This will help prevent warping or cracking.
If you are making a larger tray, sometimes it will be a challenge
to ensure it dries completely flat. You can try using weights
(such as socks, lined with plastic and filled with sand) to hol

52

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 52 52 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 52 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:52
 G A L L E R Y:

Serving Dishes

[left] Noah Riedel, Colander;

[bottom] Nick Joerling,
Serving Dish, Stretched,
photos by Deb Schwartzkopf

53

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 53 53 6/4/20
4/2/20 12:10
2:16 PM
329325 - Creative Pottery_001-192.indd 53 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:53
 S E RV I N G D I S H E S GA L L E RY C O N T I N U E D

[top] Tara Wilson, Basket, photo by Deb Schwartzkopf;

[bottom left] Suze Lindsay, Baker, photo by Deb Schwartzkopf;
[bottom right] Holly Walker, Boat Bowl, photo by Deb Schwartzkopf

54

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 54 54 6/4/20
4/2/20 12:11
2:16 PM
329325 - Creative Pottery_001-192.indd 54 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:54
 P R O J E C T:

Altered Cylinder Vase

As an avid gardener, I often want to create vases for many diff rent flowers. The options
are endless and this gives me a huge sense of freedom as I invent and construct. This is
your chance to practice changing the shape and connecting seams. Note that this project
will be much easier if you are able to get your hand inside your cylinder. Make the diameter
at least as wide as your fist. Consider preparing more than one to try out your ideas in
quick succession.

Tools & Materials

basic tool kit (page 17)
cylinder: 7" tall  4" wide (18 cm  10 cm) bottomless
cylinder, soft leather-hard, made from approximately
1¼ lb. (567 g) of clay
6"  6"  ¼" (15 cm  15 cm  6 mm) leather-hard slab
(for the foot)
Vase Side Dart Template (page 181)
interfacing
water or slip for attachments
banding wheel

Instructions
Press in on two sides of your cylinder to form an oval. [A] Make
a tiny mark just below the rim, indicating the halfway point
on the narrow ends of your cylinder. To dart both ends, gently
transfer the template (page 181) just below these marks at the

55

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 55 55 6/4/20
4/2/20 12:11
2:16 PM
329325 - Creative Pottery_001-192.indd 55 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:55
 B C

D E

56

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 56 56 6/4/20
4/2/20 12:11
2:16 PM
329325 - Creative Pottery_001-192.indd 56 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:56
 Growing as a Potter

halfway point. [B] Make sure you support the piece from the It’s time for the foot. Place your darted cylinder on the
inside! Cut each dart with a parallel bevel (page 31) so that prepared slab, somewhere near the edge. Trace around the
when you are done you can smooth away the seam with ease. base of the cylinder. Remove the cylinder and cut out the oval
[C] Slip and score each surface. [D] Gently press the edges foot a bit outside the traced line. Score the surfaces of both the
together. Make sure they overlap. [E] Compress: first with your foot and the bottom of your cylinder. Place interfacing under
fingers and then with a rib. Repeat this process for the second your slab. Apply water or slip to scored surfaces. For an initial
dart. (For more on seams, see page 31.) connection, hold the cylinder with both hands and lightly
press down. Then, place one hand inside the cylinder and one
on the outside for support. Press your fingers together near
G the base of the wall and compress the wall into the slab with a
downward motion. [F] Repeat all the way around. Trim off the
excess slab foot. [G] Smooth the inside with a long, stiff bristle
paintbrush. Use a rib with a 90-degree angle to smooth the foot
of your vase. [H] You are nearly there! Finish smoothing when
everything is leather-hard (see page 24).

57

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 57 57 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 57 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:57
 P R O J E C T:

Large Vase
Flowers are always on my mind. I love vases that can stand alone, but at the same time,
beckon for flowers. In this vase I see a hungry nest of baby bi ds, just waiting for their
worms. (Read more about my inspiration for these multipart vases on page 43.)
When designing this vase, I think about how many flowers I can t into each opening. I
want the vase to hold the flowers in place, but I want there st ll to be a floral cloud of action
overhead. So in this style of vase, I like to arrange flowers t at have a smaller stem but a
large presence, such as lilies, alstroemeria, or lilacs. All of these varieties have a single stem,
yet they branch off and multiply as they rise from the vase.

58

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 58 58 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 58 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:58
 B

Tools
basic tool kit (page 17)
bottomless cylinder: 3" tall  7½" diameter (7.5 cm 
19 cm) that tapers at the top to a 3½" (9 cm) diameter,
made from ¾ lb. (340 g) clay, dried to soft leather-hard
2 slabs rolled 3∕8" thick  12"  12" (1 cm  30.5 cm 
30.5 cm), soft leather-hard
water or slip for attachments
Large Vase Toppers Template (page 179)
Large Vase Top Slab Template (page 180)

A C

D
Instructions
Before you begin, make sure the clay is soft leather-hard. It’s
crucial that the clay be at just the right stage of dryness to hold
its shape. Too wet and it will slump out of its beautiful upward
curve. Too dry and the narrow edges will crack! [A]

S h a p e i n to a n Ova l
Use a knife to cut the cylinder off the bat. (Remember that
using a wire to cut a cylinder when there is no foot can warp the
clay.) With the palms of your hands, press inward on opposite
sides of the cylinder, narrowing it into an oval. The narrow ends
should lift off the table. [B]

M a ke t h e B ot to m S l a b
cylinder toward that side with light downward pressure. Repeat
Let the oval cylinder dry until it is leather-hard. Then use it to
this process on the other side. [D]
find the shape of the bottom slab. Set the cylinder on the slab
Cut the top slab template from the soft leather-hard slab and
and rock it gently from end to end. [C] This should leave a mark
drape it over the top opening of the altered cylinder. Trim away
on the soft, leather-hard slab. Remove the oval cylinder and cut
the excess to fit your opening, leaving an overhang of about ¼"
just outside this mark for the bottom slab.
(6 mm). [E] Let both the added top and bottom slab dry and
Slip and score the bottom of the altered cylinder and the
firm up while you make the toppers
bottom slab. First, set the cylinder on the scored slab. Lift the
slab up to the cylinder along the edges and then gently rock the

59

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 59 59 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 59 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:59
 Chapter 2

Cu t t i n g t h e To p p e r s M a k i n g t h e To p p e r s
Cut 10 pieces using the toppers template from a leather-hard Once the pieces are leather-hard, slip and score the beveled
slab. To cut them, angle your knife at a 45-degree angle on edges together. Also slip and score a small piece of clay into
the sides of the template and a 90-degree angle along the top each corner of the rim. Blend this into the sides. This not
and bottom. These angles will form a point when you attach only strengthens the seam, but it changes the appearance
the sides. Softly press each of these pieces over a rolling pin to dramatically as well—one of those little details that defines a
round them slightly. Place the shape on the work surface. The piece. Repeat this process for each of the five toppers. Contin e
beveled cut side edge should lay flat against the table. Dry th m to shape each topper once they are leather-hard. Trim or rasp
in rows until they are leather-hard. This allows the narrower away extra clay from the top corner of the rim where you
end to be a little less dry but allows the rim to dry while still blended in the clay. Bevel the rim with a knife. Shave the corner
holding its shape. [F] side seam with a rasp. Compress the inner seam with a wooden
tool. Smooth every surface completely, so that you do not have
to clean up or refine them in any way once they are attached.
This will prevent you from bumping the attachment seam. [G]

E F

60

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 60 60 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 60 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:60
 Growing as a Potter

Co m b i n i n g Pi e c e s With a wooden tool, compress the outside of this new

Compress the interior seam of the bottom slab and smooth it attachment and smooth away all the slip or crumbs as you
with a stiff bristle paintbrush. [H] Invert the upper slab that was go. It will be hard to reach between the toppers to get to these
draped over the top opening. When the slab is leather-hard, seams after multiple of them are in place. Repeat this process
invert it and trim away the excess of this upper curved slab so for all five toppers
that it sits flush on the rim of the opening. [I] Slip and score all And, voila! You have a lovely vase that will hold a host of
the edges and fully enclose the base of the vase. Compress and flowers in a beautiful arrangement. [L]
refine the seams with a firm rib. Fully smooth all the exterio
seams and bottom. It is much easier to do this at this stage
before all the toppers are added. J
Now for the really fun part! Hold two of the toppers and eye
up possible arrangements atop the enclosed base. [J] Decide
on a positioning you like, and sketch around the foot of one
topper. Set aside the topper and cut out the shape just inside
the line. Gently insert the topper to see if it fits into the h le.
If not, trim away a tiny bit more until it does. Slip and score
all the connecting surfaces and insert the topper. Press it into
place gently. Use the long handle of the paintbrush to go around
the interior pressing the wall of the topper into the edge of
the enclosed base. Pay special attention to compress the lower
corners of the topper [K] .

H K

I L

61

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 61 61 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 61 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:61
 G A L L E R Y:

Vases

[top left] Mike Helke, Vases, photo by Peter Lee;

[top right] Samuel Chung, Cloudscape Emergence,
photo courtesy of the artist; [bottom left] Suze Lindsay,
Stacked Candlesticks, photo by Silvia Ferrari-Palmer;
[bottom right] Brad Schwieger, Industrial Landscape,
photo courtesy of the artist

62

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 62 62 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 62 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:62
 [top left] Noah Riedel, Hoop Vase, photo courtesy of the artist; [top right] Canne Holladay,
Bud Vase, photo by Deb Schwartzkopf; [bottom left] Nick Joerling, Hoodoo Cluster Vase, photo
by Deb Schwartzkopf; [bottom middle] Sheryl Zacharia, City Heat, photo courtesy of the artist;
[bottom right] Jared Peterson, Dog Totem Vase, photo courtesy of the artist

63

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 63 63 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 63 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:63
 LESSON:

V-Shaped Bowl or Cone

The V-shaped bowl is a simple platform or canvas for walls that can be applied in many
arrangements. This shape is an essential part of my dessert boat forms (page 69). Keep in
mind, it is much easier to apply the walls when the bowl is not steeply angled. (Imagine a
wide-open cone shape: The interior does not curve but rather has straight planes that end
in a point.)

Tools & Materials Throwing Instructions

basic tool kit (page 17) Center your clay on a bat. Create a door-knob shape that is
narrower at the base, widening to a ball of clay on top. [A] Open
½ lb. (226 g) ball of clay
the ball of clay, creating a funnel shape close to the bat (about
bat ⅛" to ¼" [3 mm to 6 mm]). [B] Compress the rim, then pull the
water or slip for attachments walls up and out. Keep in mind that most of the pressure should
V-Shaped Bowl Throwing Gauge Template (page 182) be exerted using the hand on the outside. The inner hand
provides support and retains the shape on the inside. [C]
Pull up and out diagonally while thinning the walls,
maintaining the V of the bowl. Once you have some height,
use a rib with a right angle to refine the interior shape of th
bowl. If your walls fall down, using firmer clay could solve th
problem. You may also want to leave more clay at the base of
the wall and trim it later on. Make sure you have plenty of water
or slip on your left hand to prevent drag. [D] .
Your goal is to form straight-ish sides rather than the more
common rounded bowl interior (use the template as a guide).
Use the template by aligning its point to the center of the
thrown form. Compare the angle of the template to the angle
of the thrown form. Starting at the rim, gently press with a
firm rib into your supporting left fingers underneath. Move th
corner of the rib toward center as you press into your left hand.
[E] The wall of the bowl will take on the straight edge of the rib
with gentle pressure. Move all the way to the center point.

64

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 64 64 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 64 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:64
 A B

D E

65

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 65 65 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 65 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:65
 HAN D B U I LD IT!
Tools make a second smaller cone with the template (indi-
basic tool kit (page 17) cated by the dashed interior line on the template).
Smooth the wide edge, invert it, and slip and score it
Handbuilt V-Shaped Bowl Template (page 183)
into place. [B]
9"  9", 3∕8" (23 cm  23 cm, 1 cm) thick slab,
soft leather-hard

Instructions
Transfer the template to your slab (See more details
on transfer, page 27.) Cut the edges that will form the A
seam at a bevel so it’s easier to smooth away when the
edges are joined.
Cut out the shape. Bring the beveled edges together,
lifting the clay into a cone shape. Ideally the cone will
come all the way up to a point with no hole at the bot-
tom. [A] The point of the clay must be flexible. It may
crack a little with this abrupt shift in shape. Make sure
you are using a soft, flexible slab and compressing any
cracks that develop. Slip and score the edges together.
Blend away or accentuate the seam to your preference.
For two foot options, either cut down the large cone
and attach a slab to the bottom, forming a flat foot, or

66

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 66 66 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 66 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:66
 F E AT U R E D A R T I S T:

Jen Al len
www.jenniferallenceramics.com

Jen Allen received a BFA (2002) from the University of Alaska Anchorage, and an
MFA (2006) from Indiana University Bloomington. From 1998 to 2002, she worked as
a production assistant to Kris Bliss in Anchorage. In 2008 she was recognized by the
National Council on Education for the Ceramic Arts (NCECA) as an “Emerging Artist” and
was the recipient of the 2006–2007 Taunt Fellowship at the Archie Bray Foundation for
the Ceramic Arts in Helena, Montana. Jen has a pottery studio and currently teaches at
West Virginia University.

Jen Allen, Cups, photo courtesy of the artist

67

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 67 67 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 67 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:67
 [left] Jen Allen, Ewer, photo courtesy of the artist; [right] Jen Allen, Bud Vase, photo courtesy of the artist

What is your favorite thing about working with ergonomics and how your body (hand, mouth, etc.)
parts and creating pots that have multiple pieces? interacts with each form. I enjoy working under the
I love working on forms with multiple pieces or parts, as umbrella of function and letting use dictate the design
it lets me watch the piece evolve and change through of new forms. I like considering food, the viscosity of
the process. The awkward, adolescent stages of growth liquid, storage capacities, etc. when designing new forms.
mid-process are the times when I feel the most curious Through the process of designing new forms, I often
and creative. make about a dozen “prototypes” before landing on a
resolved form.
Why do you combine wheel throwing and
hand building? What are ways you brainstorm new shapes?
I enjoy the challenge of blending wheel-thrown and I brainstorm by sketching, but also by day-dreaming
handbuilt components. Each way of working with clay at dinner time, looking at kid’s drawings, and even by
showcases process marks that are inherent to that specific examining the process itself! I often brainstorm new shapes
construction technique. I find it impossible to pick a in three dimensions. I call it 3D sketching. I have a picture
favorite. What I do know is that I prefer things that have in my head or a rough sketch of a new form idea and I
been altered and are out-of-round. As a lover of textiles build it fast and furious out of clay, not worried about if the
and sewing, I find satisfaction in tailoring forms until I find finished product will stay together. Once I see it in reality,
the right profile. I can then tweak the design until I arrive at something I’m
happy with.
How does function/process play a part in designing
new forms?
For me, function is most often at the forefront. While I
do sacrifice some function for design, I always consider

68

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 68 68 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 68 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:68
 P R O J E C T:

Dessert Boat
The dessert boat relies on the V-shaped bowl as a foundational building block. When I first
started making these, I wanted to create a form that was as decadent as the dessert served
within it. This called for extra handles, an elevated stance, and sugary surfaces. There are
several options for making the foot. You may trim a more traditional foot ring or you may
try trimming away all the clay and adding a taller thrown foot. Handbuilders, you may add
a flat slab to enclose the foot, or you have the option of a sm ller inverted cone addition.
These variations will give you ample room to design your own special serving dish for your
favorite sweet!
Adding the walls brings the form to life. It captures movement and delineates the shape.
A bottomless cylinder will be used for the walls. By adding the walls later, you have the
option to add them in a variety of configurations

69

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 69 69 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 69 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:69
 Chapter 2

Tools & Materials [B] Consider stability! The narrower the foot, the more wobbly
basic tool kit (page 17) your bowl will be. The wider the foot, the more stable it will be.
Make a hole in the center of the golf-ball sized ball of clay
1¼ lb. (567 g) of clay prepared as follows:
by pressing the handle of a needle tool or the metal scoring
6" (15 cm) wide V-shaped bowl, dried to leather-hard tool through it. Then widen this hole with your finger. Use you
1"  11" (2.5 cm  28 cm) bottomless cylinder, soft thumb and index fingers to press this small doughnut shape
leather-hard into a slightly wider doughnut. Try to even out any bumps or
ball of clay rolled slightly smaller than a golf ball (throwers) thick spots. [C]
water or slip for attachments
As s e m b l i n g t h e Pa r t s
Dessert Boat Template (page 182) for attaching walls to Center and attach the V-shaped bowl to the pottery wheel head
face of V-shaped bowl
(upside down/pointy side up), using at least three lugs of clay to
secure it. Using a small amount of water, score and slip the top
Instructions of the cone about ⅜" (1 cm) down from the top. [D] Also score
the bottom of the doughnut. Center the doughnut on the top of
Th row i n g a Fo ot the cone. Slowly rotate the wheel and pinch down repeatedly
Begin with the preparation of the foot. There are two options on the doughnut with your thumb and index finger. I usually go
for throwers: Trim a foot ring of approximately 2" (5 cm) [A] around twice, double checking for uneven places. Once secure,
(see page 83 for trimming details) or remove almost all the clay.
This will leave a cone shape with a dime-sized flat spot on top
C

70

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 70 70 6/4/20
4/2/20 12:11
2:17 PM
329325 - Creative Pottery_001-192.indd 70 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:70
 E F

use the base of the scoring tool to seal the connection seam on Repeat until you have the desired shape. If the rim becomes
the inside and outside. [E] uneven, trim away the excess at the top with a needle tool. Dry
I use as little water as possible to throw the foot. Any the foot to a firm leather-hard dryness before attaching the
water running down the inverted bowl will risk weakening walls. This can be tricky! I recommend keeping the bowl partly
the walls. This can result in collapse as you add the foot. Start covered with plastic, leaving just the foot sticking out to dry.
by compressing and smoothing the doughnut. Then with the
first pull, lead upward at a diagonal. [F] After every single pull,
compress the seam between the doughnut and the bowl. [G]

71

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 71 71 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 71 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:71
 Chapter 2

At ta c h i n g t h e Wa l l s with each piece until they all fit together [J] Remove the pieces
Before you begin, make sure that the bottomless cylinder you from sitting on the bowl, slip and score all the surfaces that
use for the wall is flexible enough to bend easily but not stic y will be connected, and attach the walls. Remember to support
to the touch. The foot must be at a hard leather-hard dryness to from under the bowl form as you press the walls into place. [K] .
begin adding the walls. Using the template, mark the face of the Compress the seams thoroughly.
V-shaped bowl with placement indicators for where the walls
will be attached [H] . Attach the largest part of the wall first, then
move on to the smaller pieces.
There will be a little extra clay to cut away from each wall
J 2
piece, but better to have a little extra than be short! Cut the #1
1
and #3 pieces of your prepared wall to 1½ inches (4 cm) from
the larger thrown or handbuilt wall. Next, cut the #2 piece to
3 inches (7.5 cm) and the #4 piece to 7 inches (18 cm). Softly 3
curve and place the #2 and #4 pieces to follow the line on the
face of the V-shaped bowl where they will be attached. For the
two small pieces, hold either the #1 or #3 piece in the small
space remaining. They will all need to be trimmed to each other.
To gauge the angle for trimming, hold your tool vertically at the 4
corner where the pieces meet. With another point, inscribe the
vertical line shown by the tool’s position. [I] . Repeat this step

H K

I L

72

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 72 72 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 72 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:72
 Growing as a Potter

Further compress the interior seam with a paintbrush

handle. Trim away the fins or edges of the bowl that extend M
beyond your walls. [L] Invert the dessert dish and lightly paddle
any portions that may have slumped down while you pressed
the wall into place. Once your boat is leather-hard throughout,
use a rasp to remove any unevenness from the outside. Finish
by recompressing the seams on the outside and inside. I use
a straight-sided rib to press the seams together from two
directions on the outside, parallel to the bottom of the V-shaped
bowl and parallel to the wall. This helps define the corner whe e
they meet as well. Then smooth with a metal rib, scouring pad,
and a wet sponge (see page 24).
Also remember if any of the seams are not connecting
well, add a small coil and blend it into the seam. I add small
handles as decorative elements. [M] See variations for handles
on page 24.

N OT E: When I am in a great studio

flow, I work in a small series of
several forms at the same time.
Lots of parts are made and I need
them all to remain at just the right
dryness. The bottomless cylinders
dry very fast. To keep them
hydrated, I store them covered in
plastic in concentric circles.

73

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 73 73 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 73 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:73
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 74 74 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 74 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:74
 CHAPTER 3

Smal l Changes for

Big Im pact
While my fini hed pieces may look complex, my whole body of work is actually built from
simple forms. Some of these are finished with alteration and trimming. Others have pieces
added to them. These changes give a perceived complexity, but each step is approachable:
prepare all the parts, get them to the right level of dryness, and then combine them. With
attention to timing, the building process is achievable and fun!
In this chapter, we’ll be investigating this process through various versions of the
plate. We’ll make an asymmetrical slab plate with a bisque mold, then throw and trim
and alter a plate. We’ll examine decorative edging and turn the humble plate into a show-
stopping cake stand or grand platter. When I’m teaching in my studio, I like to challenge
my students to take everything a step further—this may mean enhancing the form through
constructed additions or removing clay to shape the rim. It may also mean thinking about
the meal that might be served in each vessel or how the surface will act as a canvas for
glaze. All of these considerations will inform choices about functionality and expression.
How will you make these projects your own?

Q u e sti o n s fo r G row t h
● What simple variations can I add for more movement or complexity?
● When combining wheel-thrown and handbuilt parts, how have I attended to the different
rims to help them work together?
● How does the shape of my plate provide a frame for my meal?
● How does altering the shape of the plate change my ideas of surface design?
● What is the best dryness for trimming a plate and why?

75

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 75 75 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 75 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:75
 P R O J E C T:

Asymmetrical Slab Plate

For me, plates are a canvas—a beckoning surface on which to play with color and variations
of a glaze surface, as well as a beautiful frame for a meal. Plates are simple, yet with their
soft, minimal curves, the details matter even more. Using a bisque mold will allow you to
make any shape that you want repeatedly. From nesting serving trays to large platters, you
can use the template provided or venture off into your own idea . You’ll be creating variation
on the rim by adding clay in accent areas.

76

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 76 76 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 76 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:76
 Small Changes for Big Impact
A

Tools
basic tool kit (page 17)
Asymmetrical Slab Plate Template (page 181)
6"  5"  1½" (15 cm  12.5 cm  29 cm) thick slab, soft
leather-hard
7"  6"  ³∕8" (18 cm  15 cm  1 cm) soft
leather-hard slab
banding wheel
interfacing

B
Instructions

Making the Mold

Transfer the template onto the thick soft leather-hard slab to
begin making the shape for an asymmetrical tray. When you
are cutting, hold your knife straight up and down. [A] Remove
the excess clay. Once you have the basic shape, hold your knife
at an angle to bevel the edge. [B] When the clay is leather-hard,
use a rasp to refine it. The edge needs to be beveled in toward
the center of the platter. [C] Hollow out the back so that the
thickest parts of the walls are only ½" (1.3 cm) thick. [D]
Smooth the teeth marks of the rasp with a metal rib and refine
C the surface with a wet scouring pad and sponge.
Remember, you can try out this mold when it is dry and
not yet fired to see if the shape works in the way you imagined
Once you know you like it, bisque fire it to make is stronger.
(See page 102 for more information on making bisque-
fired molds.

77

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 77 77 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 77 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:77
 M a k i n g t h e Tr ay E
Work on a banding wheel. Use the same template to cut out a
slab to lay on your mold. Depending on how dramatically you
beveled the walls of the mold, the slab should cover it fully
and reach partially to the work surface. With the palm of your
hand, press the clay evenly against the mold. Use a soft rib to
compress the clay smoothly, until it fully takes on the shape of
the mold. [E] Trim the edge of the slab if needed and let it dry
on the mold until it is leather-hard.

Shapi ng the Ri m
Remove the leather-hard slab tray and set it on your banding
wheel on a piece of interfacing. Use a rasp initially to remove
unevenness from the rim. You can add clay to create visual
rhythm or variation in the rim. Roll a small tapered coil. F
Score the areas of the rim you want to thicken, and press the
scored coil into place with your fingers [F] Blend it in fully and
compress it. Smooth and refine the surface

78

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 78 78 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 78 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:78
 F E AT U R E D A R T I S T:

Taylor Sijan
www.taylorsijan.com

Taylor earned her BFA at Bowling Green State University in 2016. She spent the following
two years as a post-bac student at Wichita State University. Taylor is currently pursuing
an MFA in Ceramics at University of Nebraska-Lincoln. She has been recognized in juried
exhibitions nationally and has received several notable awards, including the International
2016 NICHE Award for Student Ceramic Sculpture, as well as several grants. She also
enjoys small-scale metal-smithing, bookbinding, drawing, gardening, and cooking as other
creative outlets.

Why do you combine different building techniques? What are a few of your inspirations?
My pottery forms arose out of a response to the way I built Some of my influences are botanical imagery and
up layers of surface imagery. Initially I threw very basic, pressings, the fluidity in nature, Japanese Mingei and
straightforward forms on the wheel, but I wanted the forms woodblock prints, embroidery (especially sashiko) and
to reflect the layering of my complex surfaces. Now, I love kimono compositions, eco-printing and natural dyeing,
using a variety of techniques to create because it helps me clothing (layering of textures, colors, and patterns), and
to break away from the basic wheel-thrown shapes that the placement of body adornment such as tattooing. The
I had been making prior to graduate school. Combining blending, merging, and layering of the slabs provides a
throwing and handbuilding techniques such as soft slabs canvas where I compose layered surface imagery. I have a
and coils has allowed me to embrace spontaneity and background in illustration. That may be why my forms grew
fluidity in my work and let go of fussing over perfectionistic from my surfaces and not the other way around.
symmetry. The forms grow organically as I react to the ways
the clay components combine under and over each other,
and I am able to explore a variety of similar yet different
forms as a result. [above] Taylor Sijan, Serving Dish, photo courtesy of the artist

79

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 79 79 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 79 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:79
 LESSON:

Throwing a Plate
When I make thrown plates or platters, the wheel starts me off ith a circle. Then I change
them up by altering the rim, adding molded pieces or cutting away clay to change the overall
shape. In other words, I try to think of throwing as the starting place. One tip: When making
plates and platters, focus intently on compression throughout the entire process. The open
form needs compression and even drying.

Tools & Materials Instructions

basic tool kit (page 17)
B e g i n n i n g t h e Pl a te
4½ lb. (2 kg) of wedged clay
Begin by centering the clay on the bat. With your right hand,
bat make a fist and press firmly in the center, slowly moving towar
the edge with downward pressure. Use your left hand to steady
your right hand throughout this movement. [A] Initially, you
will be shaping the clay into a flat disc that is about 1 inch hick
and 5 inches wide (2.5 cm  12.5 cm).
Repeat this motion but add more pressure in the center to
develop the softly curving face of the plate. Press a bit more
A
firmly in the center, and as you move toward the edge, slowly
release the downward pressure. This will continue to thin the
initial disc shape, especially in the center, and continue to push
the clay wider and wider in diameter. After this movement,
compress the edge by cupping the side of your right hand into
the clay. [B]
To find the thickness of the clay, stop the wheel and insert
the needle tool into the center. Once the needle touches
the bat’s surface, place your index finger at the level of the
clay. Remove the needle tool, keeping your finger in place.
The distance from your finger to the end of the needle is the
thickness. [C] The thinnest part of the plate should be about

B C

80

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 80 80 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 80 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:80
 D E

⅜" (1 cm) thick. This will give you room for a splash of glaze in Deve l o p i n g t h e R i m
the center of the trimmed foot. When designing the rim, consider how you plan to use the
If your plate is still too thick, repeat the thinning, shaping plate. Plates are often a heavy-use item and thin rims chip
motion above. It you are ready to move on, refine and compress easily. To begin shaping the rim, dig in with your fingertips a
the face and edge of the plate. Make sure to keep the tip of your the base of the centered, shaped clay. Let your outside hand
firm rib either on the right side of center or in the air. Catc ing do most of the work of lifting the clay, while using your inside
the tip on the left side of center will leave a deep gouge. Use a hand to match the pressure after you see the clay really starting
rib to further develop the curve. Sponge off excess water or sl p to move. Pull or lead the rim upward and diagonally outward.
and follow up with a rib to smooth the surface. [D] [E] As you reach the end of your pull on the wall, ease off on

81

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 81 81 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 81 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:81
 Chapter 3

F G

the pressure to keep some thickness and ensure a stronger rim

edge. Compress the rim’s edge by placing your left index finger H
and thumb on either side and your right index finger on the tip
Press gently from all directions. [F]
Keep the rim of the plate at a strong diagonal when pulling
it. You can always flatten it down further, but it is hard to g ve it
lift once it has flopped down. Repeat the pulling of the wall o ce
or twice until your rim is thinned to your liking.
Use your fingertips to continue to compress and shape the
rim. Smooth the edge with a sponge for a rounded edge. [G]
You can further define the curve of the face of the plate and
rim with a flexible rib. [H] Aim to have your rim taper to a soft
rounded edge.

Fi n i s h i n g
Finish by wiring under the plate. Leave it to sit on the bat until I
it is at a soft leather-hard stage. Once the rim can hold the
weight of the plate, wire under the plate a second time. Always
keep your plate completely flat during the making process. To
remove the bat on which the plate was thrown, place a second
bat on the rim, flip the sandwiched plate over, and lift the ba
off the foot [I] Leaving the plate upside down to dry helps it dry
more evenly. The plate needs to be quite dry to trim—a hard
leather-hard stage.

N OTE : You can run into trouble handling the plate when it is
wet. Always flip it over on a bat to avoid warping it later on. If
the center is too soft, it will slump down when you turn it over
and if you try and trim it. This slumping can lead to cracking
later on. For trimming instructions, see page 83.

82

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 82 82 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 82 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:82
 LESSON:

Trimming and Tap Centering

Thrown plates require a lot of trimming! Make sure your trimming tools are sharp and your
foam bat is handy. It is important to trim your plate only once it is at a hard leather-hard
stage. If you trim too early, the bottom of the plate is likely to slump inward. This will result
in uneven trimming and a high likelihood of cracking. Don’t worry about ruining a few plates
as you dial in the proper timing for your clay and studio environment. Once you figure it out,
you’ll enjoy trimming so much more.

Tools & Materials Let’s get tapping! Use the lines on the foam bat to get an
leather-hard thrown plate with 11" (28 cm) diameter or less initial gauge as you place your plate upside down. With your
left hand pressing downward in the center, increase the wheel
StudioPro 12" (30.5 cm) foam bat/bat pins
speed to a gentle medium. Continue pressing down in the
trimming tools center, while your left hand finds the rhythm of the off-center
foot. Imagine your plate as the face of a clock. Directly in
front of you is 6 o’clock, the farthest edge is 12 o’clock, and to
Instructions
your right, directly in the middle is 3 o’clock. While pushing
First things first: don’t use clay to hold the plate to the foa bat
downward in the center with your left fingers, extend your
as you trim. Instead, use your middle fingers of your left hand
thumb toward 6 o’clock. [A] This is where your thumb will pick
to firmly press down on the center of the foot. This downward
up the bumping of the off-centered plate.
pressure coupled with the friction of the foam will keep your
Count the rhythm of the bumps you feel with your left-
plate right in the middle. Since there is no clay holding it
hand thumb—1, 2, 3, and so on. As you count, insert an “and”
in place, removing it from the wheel becomes much easier
between the bumps. For example, 1 and 2 and 3 and . . . Tap
and faster.
firmly with your right hand on the “and” or between the beats
you feel with your left thumb. Tap at 3 o’clock while retaining
Ta p Ce n te r i n g
pressure in the center of the plate with your left hand. Tap
Before you center, begin by taking time to feel where your
firmly. Then reassess. With your left thumb find the beat again
plate is thick or thin. Make a mark where it is thick. That way
With your right hand tap again on the “and” or off beat. Repeat
when you turn it upside down, you can easily see where to
this and you will find center. With practice, you will get fast at
trim the most.
tap centering and it will be an invaluable tool.

A Tr i m m i n g
The foot lifts the plate off the table, changing its stance, so the
placement of the foot makes a difference. It also needs to be
wide enough to support the rim. I suggest less than two inches
(5 cm) or so from the outer edge. Use a needle tool to make
marks where you want to have a foot.
Begin with trimming the outer edge at a medium speed.
Press firmly with your left hand in the center of the foot as
you hold the trim tool in your right hand. Connect your hands
and work as a unit by touching your left thumb to your right
hand. For more control, hold your trimming tool close to the
cutting edge (instead of way back at the end of the handle). [B]

83

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 83 83 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 83 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:83
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 84 84 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 84 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:84
 Small Changes for Big Impact

B
Cut away clay at the outer edge, rocking your trim tool across
the surface. Use the narrow end to cut an angle near the foot
demarcation. Define the foot by changing the angle of your
trim tool.
After you have reached this basic refinement, move to
the center. Start near the marked foot line, press down, and
continue trimming away clay from the center. [C] Repeat this
process. Are you starting to wonder how much more clay is
there? It’s time to check the thickness. (Check regularly. Check
often!) After removing and checking, you can tap center your
plate back into place and continue until you have your desired
thinness. Finish your foot by smoothing it with a flexible rib
C while it is spinning on the wheel. [D]

85

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 85 85 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 85 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:85
 P R O J E C T:

Altering Plate Shapes

My own journey with plates began with a kaleidoscope-patterned overlay I made with glazing
details. Then I took it further by translating this surface idea to the forms. For example,
a round plate with a triangle glaze pattern was placed under a triangle plate with a circle
pattern, which was under a bowl with a similar shift in shapes. It’s amazing to see how these
different patterns interact with food once the plates are fired nd ready for use!

86

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 86 86 6/4/20
4/2/20 12:11
2:18 PM
329325 - Creative Pottery_001-192.indd 86 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:86
 Small Changes for Big Impact

Tools & Materials

basic tool kit (page 17)
dividing tool
trimmed plate
6" (15 cm) coil of soft clay (³∕8" [1 cm] diameter)

Instructions

Tr i a n g l e
Once your plate is thrown and trimmed, you can alter the rim.
B
Use your dividing tool to mark thirds on your rim. [A] Lightly
trace a line between the marks. Now you will be able to follow
along this line with your knife as you cut away three crescents
of clay from the rim, creating a softened triangle. [B] Follow
up this cut with a rasp and shave away clay to refine the curve
[C] Go around the rim of the plate with a damp sponge several
times to wipe and soften the cut rim. Follow this up with a
rib. As you round the upper edge, a small ridge will develop.
[D] Lightly press down this ridge with a wet sponge to add
dimension to the cut rim as it meets the face of the plate.
Soften the cut edge on the bottom so that it looks like the
bottom of the plate blends up through the cut rim and ends at
the face of the plate. Clean up the extra shavings so they do not
C
dent or adhere to your foot.

H a l f - Ro u n d
Cut and rasp the rim to form a horseshoe shape. Use a rasp to
soften the curve and flatten the straight side. Additionally, r ll
a small coil and slip and score it onto the straight side. [E] Use a
rib to flatten it into a squared shape. [F] Define the shape with a
rasp and smooth as in the variation shown here.

87

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 87 87 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 87 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:87
 Chapter 3

E F

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 88 88 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 88 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:88
 Sue Tirrell, Allegory of Wildfire (Triptych),
photo courtesy of the Archie Bray Foundation

F E AT U R E D A R T I S T:

Sue Tirrel l
www.suetirrellceramics.com

Sue Tirrell received a BFA from the New York State College of Ceramics at Alfred University
in 1997. She has been a resident artist at the Archie Bray Foundation for the Ceramic
Arts in Helena, Montana; California State University, Chico; and the Custer County Art
and Heritage Center in Miles City, Montana. Her work is widely exhibited in regional
and national galleries. She lives, works, gardens, and plays with her husband and two
enthusiastic dogs in Pray, Montana.

89

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 89 89 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 89 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:89
 Chapter 3

Can you tell us a little bit of your process? I finish by making sure my coiled foot hasn’t separated
I handbuild all my plate and platter forms using a simple from the slab. Finally, I compress and decorate the rim with
drape mold technique. In this process, I use the foot of the repeating pinch patterns.
plate as an integrated slump mold.
I roll a slab (about ½" [1.3 cm] thick) from which to cut How does the material play a part in your
the face of the plate. The shapes and sizes of my plates designing process?
are set by cardboard or craft foam templates of my own My chosen way of making and the use of porcelain limits
design. I lay these cut slabs on a piece of sheetrock. This the size of platter I am able to successfully make. The
helps the fresh clay to firm up evenly. I create the foot with larger they get, the more stress cracks or warping are likely.
coils of clay that are scored and pinched into place—about I tend to design simple shapes that do not have extreme
an inch or a bit more from the edge. The placement of the curves to avoid cracking and also to avoid competing with
coiled foot in relation to the rim and the center of the plate the highly decorative surfaces I apply.
is important. I look for visual and functional balance.
When the clay is stiffened enough to hold its own What inspires your forms?
weight but still malleable (medium cheese hard), I carefully My plate and platter forms are influenced by industrial
flip the plates over. I create a raised rim on a banding dinnerware, commemorative dishes, school lunch trays,
wheel as I slowly pinch and compress the edge of the clay. I and antique serving dishes. This applies across many
form a curving interior contour with a metal rib. I’m careful medias. I am also drawn to frames for doors, windows,
not to push too much toward the center of the plate, as and paintings.
the slab will naturally slump with the coil foot as a guide.

Sue Tirrell, Red Goat Dessert Plate,

photo by Deb Schwartzkopf

90

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 90 90 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 90 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:90
 P R O J E C T:

Cake Stand
As you can see by looking at the form, plates are directly related to cake stands. In this
project, you’ll use the techniques for making a plate and take them one step further! The
stand lifts them off the table and this piece can even become t e focal point of the table. Top
your cake stand with whatever you want to showcase at your next pot luck.
Just a little warning about cake stands and warping: Cake stands as a form push what clay
is capable of. Highly vitreous or melted clay will often slump. If your cake stand cannot hold
its rigid flat platform shape, you may need to lower your firin temperature, increase the
thickness of the plate section, or use a clay that does not melt as much (for instance try white
stoneware rather than porcelain).

91

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 91 91 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 91 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:91
 Chapter 3

Tools & Materials an hourglass-like curve. Encircle the cylinder wall near the
basic tool kit (page 17) bottom and press inward with the sides of your fingers. Add
a little more pressure as you lift your hands together. [E] Rib
2½ lb. (1.13 kg) of clay for the plate
the wall to remove extra slip and refine the curve. Finish by
1½ lb. (680 g) of clay for the stand compressing the rim.
2 12" (30.5 cm) bats
calipers
water or slip for attachments
B

Instructions

Th e Pl a te
Both components of the cake stand—the plate and the stand—
will be thrown upside down. For the plate, center the larger
ball of clay on a bat. Completely flatten and widen the clay wi h
your fist (just as you would a plate, as described on page 80).
Continue to form the clay into a disc that is ½" thick  11½"
wide (1.3 cm  29 cm) [A] Use your thumb to dig in under the
outer edge of the disc of centered clay. [B] Then pull this small
thickness of clay vertically into a short wall that is about 1"
(2.5 cm) tall [C] . Compress and refine the rim into a tapered,
softened edge.
C
Th e Sta n d
On the second bat, center and open the smaller ball of clay
as described on page 46 for a bottomless cylinder. Aim for a
cylinder that is 8½" (21.5 cm) wide (one inch less in diameter
than the interior diameter of your cake stand plate). Use
calipers to measure the width. Keeping the position of the stand
wide will decrease warping in the plate once it is inverted and
attached. [D]
Once you have the desired width, pull your stand walls tall.
Try for 3" (7.5 cm) tall, but variations might give you a result
you enjoy. Once at the desired height, collar the wall to form

A D

92

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 92 92 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 92 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:92
 Small Changes for Big Impact

Co m b i n i n g Fo r m s flat surface of the plate. Repeat this process, so the plate is

Let both the plate and the stand reach a firm leather-hard stag . upside down on a fresh bat, on interfacing.
Run a wire under the plate. Transfer the plate to a fresh bat. Cut off the stand with a knife to avoid pulling it out of round
Rather than peeling it off the bat, sandwich it with a fresh ba . and flip it over. Measure the diameter with calipers. Hold thes
Flip both bats and the plate as a unit. [F] Remove the bat on calipers over the underside of the plate. [G] Make a mark where
which the plate was thrown and put a sheet of interfacing on the the stand will attach. Slip and score the plate and the base of
the stand by spinning the plate on a banding wheel as you hold

E F

93

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 93 93 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 93 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:93
 Chapter 3

your tool at the marked line. [H] Then, firmly press the stand H
down onto the plate. With the connected pieces spinning on a
banding wheel, use a rib to compress down on the curve of the
stand where it meets the plate. Compress the inner and outer
seam with a wooden tool.
Let the seam firm up to a hard leather-hard stage of dryness.
Invert the cake stand to right side up. If it shows any signs of
slumping downward, turn it back upside down and let it dry
longer. Once it is quite dry but still leather-hard, refine the plate
of the cake stand. With the plate right side up, use a rasp to
smooth the top. Then follow this up with a metal rib, scraping
away the teeth marks left by the rasp. Be careful not to add too
much water as you do a final smoothing, as this could cause
slumping. [I] For a simple decorative edge, use the rasp to
create repeating bevels around the corner of the plate top. For
I
another variation, try a metal punch to make perforations in the
rim of the cake stand! [J] Smooth away any marks left by the
rasp with a metal rib, scouring pad, and sponge as described
on page 24.

94

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 94 94 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 94 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:94
 LESSON:

Decorative Edges
On larger plates, platters, or cake stands, I add multiple slab pieces, shaped on bisque
molds (much like the spoon mold, page 108) to the rim. These additions add movement and
complexity to a simple shape.

Tools & Materials

basic tool kit (page 17)
dividing tool
Decorative Edge Template (page 181)
½" (1.3 cm)-thick slab
trimmed plate
water or slip for attachments

95

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 95 95 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 95 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:95
 Chapter 3

Instructions
First divide the 16" (40.5 cm) rim into nine parts. Use an MKM With all the added pieces, it is important to dry this form evenly
dividing tool (see tools, page 17) with odd spacing. Divide each and slowly under plastic.
space again to get 18. The template will help you imagine what
the repeating shape will look like. [A] It also helps to imagine
how the rim addition will sit. The marks from the dividing tool
help space them evenly. Try out this template or create your
own. You can stick to the number of divisions shown here or try
a different number with your own design as well. Roll out a ½"
C
(1.3 cm)-thick slab, and cut out all the pieces you will add to the
rim. Then press them over a small hump mold. [B] After they
are leather-hard, use a rasp to refine the edges, taking away
any bumps and creating a smooth shape, or create bevels. [C]
Then slowly slip and score them into place one by one. [D] After
the attachments have become firm, compress each seam on
every side to strengthen them. [E, F] Add more bevels to the rim
with a knife. These will give the glaze another place to move,
activating the rim through surface variation. [G] Follow up by
smoothing with both a scouring pad and sponge (see page 24).
Compress the seams once more as they become leather-hard.

A D

B E

96

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 96 96 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 96 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:96
 Small Changes for Big Impact

F G

97

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 97 97 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 97 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:97
 G A L L E R Y:

Plates and Platters

[top left] Bandana Pottery: Michael Hunt and Naomi

Daglish, Rectangular bowl, photo by Deb Schwartzkopf;
[top right] Nicholas Danielson, Plates, photo courtesy of the
artist; [bottom left] Eliane Medina, Black Undie Dish, photo
by Deb Schwartzkopf; [bottom right] Holly Walker, Palette:
Checkerboard, photo courtesy of the artist

98

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 98 98 6/4/20
4/2/20 12:11
2:19 PM
329325 - Creative Pottery_001-192.indd 98 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:98
 [top left] Michael Kline, Oval Serving Dish; [top right] Suze Lindsay, Handled Shovel Tray; [middle
left] Joe Pintz, Dough Bowl, photo courtesy of the artist; [bottom left] Naomi Clement, Platter, photo
courtesy of the artist; [bottom right] Rickie Barnett, Daydreamer, photo by Deb Schwartzkopf

99

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 99 99 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 99 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:99
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 100 100 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 100 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:100
 CHAPTER 4

Exploring
Bisque Molds
Sure, many studios and many books assume that a cup will be one of the first projects. Yet
here we are in chapter 4 and only now are we turning our attention to the cup. There is a
reason for this: My cup form relies on the use of a bisque mold.
If you are unfamiliar with bisque molds, prepare to fall in love with a way of working
that will open the door to new shapes and forms. In this chapter, we will not only make
cups and goblets but small spoons, a square-footed bowl, and a wonderful butter dish.
I often am asked how I come up with shapes for my molds. There is no single answer to
this question. Sometimes the molds are made with a particular form in mind, but I have
also been known to make asymmetrical molds as an open-ended exploration. For exam-
ple, instead of making a “cup” mold or a “pitcher” mold, I set aside function and focus on
shape. I draw from abstracted inspirations, like the shape of an orchid petal or the volume
of a fluff chickadee, for these molds. So keep an open mind as you explore the world of
bisque molds!

Q u e sti o n s fo r G row t h
● How does timing the dryness of the clay affect the result of your construction?
● What rounded shapes inspire you? How can you bring these shapes into your thrown
mold forms?
● What qualities do you want your forms to have? Can you make a list of words that you are
aiming for (i.e. sinuous, edgy, serene, energetic, comfortable, or dynamic)?
● Can your form’s shape inspire a glaze pattern?

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 101 101 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 101 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:101
 LESSON:

Bisque Molds
Bisque-fired molds are used for transforming the volume of slab . You can make them in many
ways. They can be thrown, coiled, or made solid. They can be made by slumping clay on found
objects. There are so many options! Build your molds on the thicker side so they are strong and
they last. However, if they are more than an inch thick it is often best to hollow them out.
Once the clay is shaped and dried, it is bisque fired to make i stronger. (Bisque kiln firings
range in temperature from 1692ºF to 1873ºF [922ºC to 1022ºC] depending on what rate your
fire and your desired peak temperature). Once the molds are fir , they will not be damaged by
water and can receive pressure without cracking. They are not, however, fired in a glaze or higher
temperature firing. You want the walls of the mold to remain po ous to draw the water away from
the slab you will shape on it.
On the pages that follow, there are directions for making specific molds. I want to note that
these molds (and any molds!) can be gently tried out before you bisque fire them. They are more
fragile if they are not fired, so take care. However, as you st rt out, it can be helpful to see if
you like the result of using the mold before you fire it. If yo want to make small changes (more
smoothing perhaps) you will be able to do it. If large changes are in order, instead of firing the
mold, recycle the clay and make a new one.
As you make your own molds to use in projects, keep in mind that each person’s molds will
vary. Use the templates in conjunction with the molds you make, but also know you can alter the
template or your mold to create a change in the end result.
The molds you decide to fire will be imparting their qualities o clay repeatedly. Take care to
attend to the details so that each slab you shape with them is taking on the characteristics you
want. You define and decide on each line, the volume, and the p ane composing the mold. For
example, you may make a mold with crisp and geometric qualities or you may blend and smooth
every edge so the mold has sinuous movement.
In my studio, there are two fully shelved walls lined by differ nt bisque molds. These molds are
like a library of shaping tools to play with as I form slabs of clay. Sometimes molds remind me of
forms I have tried while other times they lead me to sketches I have yet to develop. And each time
I make a new mold, a new exploration begins.

1 02

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 102 102 6/4/20 12:11
20/1/20 5:09 PM
329325 - Creative Pottery_001-192.indd 102 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:102
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 103 103 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 103 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:103
 P R O J E C T:

Smal l Spoons
Little spoons are pure fun. These dainty additions to the table are used for small amounts
of dry goods—think sugar, salt, or spice blends. In making them, you’ll learn how to make
a molded piece on a small scale before we move on to larger molds. Best of all, you can fit
many of these tiny creations in the empty spaces between the larger pieces of your kiln load!

1 04

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 104 104 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 104 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:104
 Exploring Bisque Molds

B Instructions

Th e S p o o n Fo r m s
Press small, rounded balls of clay over each hump on your
mold. Use even pressure and make sure the clay reaches the
base of the mold. [A] Let the clay dry for a few minutes and lift
it off the mold

Th e H a n d l e s
Pull five handles. You only need two or three, but having a few
extra is good. (See page 24 for details.) Keep in mind that the
thinner the handle, the more fragile it will be, both during the
working process and once it is glazed and in the kitchen. For
these small spoons, I make handles 2 to 3 inches long, about
Tools & Materials ½" wide, and about 3 ⁄ 8" thick (5cm to 7.5 cm, 1.3 cm wide, 1 cm
basic tool kit (page 17) thick). The handles are thicker at the end and thinner near the
spoon. Once pulled, let these dry flat on your work surface to
¼ lb. (113 g) of clay, divided into two or three rolled balls
soft leather-hard.
spoon mold (page 108) Use a rasp to shave away extra clay and define planes and
interfacing edges of the leather-hard clay you shaped on the small hump
about ½ lb. (226 g) of clay (for pulling handles) molds. [B]

1 05

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 105 105 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 105 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:105
 Chapter 4

N OTE: You can shave away almost all the clay or leave some C
extra to create ridges or angles that contrast the curve of the
spoon face. This variation is part of the fun, and it is a place
you may insert your own sense of style. Smooth away the teeth
marks with a metal rib and sponge (for details on smoothing,
see page 24).

Co m b i n i n g t h e Pi e c e s
Once the handles are soft leather-hard (and will not show
fingerprints when touched), hold them up to your spoon’s face
and trim the ends to a 45-degree angle at the desired length. [C]
Smooth the edges with a sponge. Place the spoons with the cut
ends facing down on interfacing and the middle of the handles
curved upward. Dry them to leather-hard.
Once both pieces are leather-hard, score only as much as is
needed for them to adhere to each other. Press the spoon’s face D
down onto the scored edge of the handles. [D]
Disturb the spoons as little as possible to avoid stressing the
seams. Smooth the slip or unwanted marks from all surfaces
with a paintbrush. While the spoon is leather-hard, gently
smooth the seam, but add as little pressure as possible to this
fragile form.

N OTE : The small beveled spaces on the spoon handle give a

defined area to leave bare in the glazing process

1 06

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 106 106 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 106 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:106
 Exploring Bisque Molds

P R O J E C T A LT E R N AT I V E

Kristin Pavelka, Salt Box with Spoon, photo by Deb Schwartzkopf.

Kristin handbuilds her spoons with slabs and paper templates. The handle is made of two puffed-
out, leaf-shaped pieces. She stretches and pinches the slabs to achieve the volume and curve. A
small Tootsie Roll of clay is slipped and scored onto the handle’s end where the face of the spoon
will attach. This mini-coil is split in half with a small cut. Then the bowl of the spoon face can be
inserted into this small cut. The two sides of the mini-coil are sandwiched down to hold the bowl of
the spoon in place.

1 07

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 107 107 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 107 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:107
 MAKI NG YO U R OWN
S POO N M O LD
This small mold will be made from a slab of clay with three small humps for
shaping the head of the spoons. Once you have completed the mold, try it out green
or bisque fire it. Consider all the different shapes you could y for spoons!

Tools & Materials

A
basic tool kit (page 17)
¼ lb. (113 g) of clay for pressing tiny humps to
add to mold
interfacing
3"  6" by ½" (7.5 cm  15 cm by 1.3 cm) thick slab
of clay at leather-hard stage
water or slip for attachments

Instructions
Divide the clay into three smaller pieces (a little variation
is nice). Roll each piece into a small round ball, oval, or
teardrop shape. Then, flatten each down onto interfac-
ing laid out on your worktable. [A] Avoid giving the mold
a fully rounded shape or the clay will not release from
the mold. Instead, stick to half-rounds. Let them dry to B
leather-hard. Next, use a rasp to shave off unevenness,
develop the curve, or add angles. The curve you define
will determine the face of the spoon.
Place the leather-hard slab on your work surface. Slip
and score the small humps to the flat slab one inch apart.
Compress around the seams. Use a scouring pad to com-
pletely smooth the surface. [B]

1 08

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 108 108 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 108 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:108
 1 09

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 109 109 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 109 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:109
 P R O J E C T:

Bud Vases
These small bud vases are perfect for holding precious stems and they are a fun way to
explore negative space; try looking at the spaces between forms as much as the shapes of
the forms themselves. The rectangular shapes rising from the stable base remind me
of a cityscape.

Tools & Materials

basic tool kit (page 17) fresh slab 6"  10"  ¼" (15 cm  25.5 cm  6 mm)
1½ lb. (680 g) of clay for molds thick for enclosed pieces

Bud Vase Base Template (page 182) water or slip for attachments

leather-hard slab 3"  7"  ½" (7.5 cm  18 cm  hole punch

1.3 cm) thick
Bud Vase Template (page 182)

11 0

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 110 110 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 110 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:110
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 111 111 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 111 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:111
 Chapter 4

Instructions B

Making the Molds

Use a wire tool to ruff out a basic rectangle that is about 4 
2½"  1" (10 cm  6.5 cm  2.5 cm) from a block of clay. Let
it dry to a leather-hard stage then refine the shape with a ras .
The ending dimensions are about 3½" tall  2" wide  by ½"
(9 cm  5 cm  1.3 cm) thick. The width of the form tapers
from 2" (5 cm) at the base to about ¾" (2 cm) at the top. [A]
Make sure the solid molds are not more than ¾" (2 cm)
thick in any area or you may encounter issues with the firing.
If they are thicker, hollow out the interior with a trimming tool
or knife. Then use a metal rib, wet scouring pad, and sponge
to smooth and fine tune. (See page 24 for smoothing details.)
You may test this mold while it is still green and bisque it if you rasp to bevel the edges and refine the curve. Play with the ang e
enjoy the results. at which you hold the rasp to create an undercut for a shadow
at the foot or bevel the top to create a dynamic angle. [B]
Maki ng the Base Completely smooth the rasp marks away and cover with plastic
Prepare the base of the bud vase by using the Bud Base while you make the enclosed upper pieces.
Template to shape the thick, leather-hard slab. Once you have
transferred the template to the slab, cut out the shape. Use a

112

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 112 112 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 112 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:112
 Exploring Bisque Molds

M a k i n g t h e E n c l o s e d Pi e c e s
C Try bending the Vessel Template around your new mold. Does
it reach all the way around? Is it tall enough? If it is not, enlarge
or trim areas as needed and transfer the revised template it to
another piece of paper. Cut it out and try again. Repeat this
until your template fits fairly well around the mold. Cut out
two Vessel Templates from the thinner fresh slab. Gently bend
these slabs around the mold one at a time. Bevel and score the
connecting slab edges for a strong seam. Smooth and compress
the seam and overall shape against the mold with a soft, flexib e
rubber rib. [C] Let the clay dry for about five to t n minutes on
the mold. Gently pull the slab off the mold and repeat. If it d es
not come off easily, wait a few more minutes and try again
Dry both pieces to a leather-hard stage. Determine how you
want to orient the two pieces. I usually arrange them so that one
D is vertical and the other is horizontal. Use the extra slab pieces
of either the thin or thick slab to enclose the ends. Slip and
score these into place and use a rasp to shape them. Use a hole
punch to add openings for small flowers. [D] Smooth the holes
with a paintbrush. Use a rasp to flatten the side that will att ch
to the thick base so it is level. Slip and score both the base and
upper sections. Press the pieces together and compress around
the seam once the slip becomes leather-hard. Repeat this on the
second upper piece. [E]
Give everything a final smoothing with a wet scouring pad
and sponge at the leather-hard stage.

113

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 113 113 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 113 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:113
 LESSON:

Throwing a Closed Form

Closed forms are surprisingly versatile—and fun! They are made by throwing a bottomless
cylinder and then collaring the rim until it connects into a dome. Being able to throw a
closed form will open up opportunities to create hollow knobs or the rounded body of a
pouring vessel. Once you trap the air inside the walls, they will hold their volume as you shift
the shape.
This domed, closed-form shape was my first bisque-fired clay mo . These days, I have
quite a collection of these forms in my studio for working with slabs. I use molds for adding
volume and dimension to slabs. The resulting shapes are important building blocks in my
butter dishes, cups, bowls, teapots, and more.
In this chapter, we will use a large closed-form bisque mold to shape the square-footed
bowl and butter dish. In chapter 5, we will use a smaller version as the reamer at the center
of the citrus juicer. Take time to make several versions of this shape! You will find them
immensely useful.

114

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 114 114 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 114 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:114
 Exploring Bisque Molds

Tools & Materials N OT E: Collaring is the technique of circling the clay with
basic tool kit (page 17) your hands and/or finger tips. Begin applying pressure toward
the bottom of the wall and slowly raise your hands as your press
small: 1∕3 lb. (151 g) of clay = open to a 2½" (6.5 cm)
inward. Repeat this motion, closing the circle a bit more with
diameter closed form
each sequence. [B]
large: 2½ lb. (1.13 kg) of clay = open to a 10" (25.5 cm)
diameter closed form
bats
banding wheel B

Instructions
The instructions for a small and large closed form are the
same. It is easier to make a smaller form, so start there if this
is new territory. Center the clay on a bat, low and wide. Open
the cylinder all the way to the bat and widen the clay to the
desired diameter. [A] (See page 45 for more about throwing a
bottomless cylinder.) Start to raise the walls with one or two
pulls. With a closed form, the rim will end up coming together,
so always keep the walls leaning inward to make this easier.
Raise the walls a bit more and begin to collar the clay.

11 5

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 115 115 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 115 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:115
 Chapter 4

When you collar, the rim will get a bit thicker as it narrows. D
This will give you more material to raise into the walls. Start
to shape the walls before your opening gets too small. Repeat
raising the walls and then collaring until one side of the rim
touches the other side. [C] When you are ready to close the
opening, you’ll want the edges to meet generously. You should
be able to press the edges into each other, even pinching off a
small bit in the process. This ensures a strong connection. [D]
Compress and refine the shape of the walls with a firm rib [E]

Fi n i s h i n g To u c h e s
Leave the closed form to dry on the bat until it is at a soft
leather-hard stage. Since it does not have a foot, cutting it off
the bat with a knife will preserve the round shape. Place the bat
on a banding wheel and insert the knife edge under the wall
bottom. Rotate the bat and slide the knife around the entire
foot, releasing it from the bat.
On the underside of the mold, compress the point where the
walls were closed together. There will most likely be a bump
of clay that you can compress into the center or a divot that
needs a little clay added to make it a stronger connection. To

116

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 116 116 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 116 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:116
 Exploring Bisque Molds

add clay, just slip and score a small ball of clay into place and
E
blend it into the surface. Either way, compression of this area is
important to prevent cracking.
Once the closed-form mold is at a hard leather-hard stage,
use a rasp to shear off the corner of the foot, both outside an
inside. If the corner of the foot is rounded, it will not chip off
while you are using it. And if the bottom of the wall has an
undercut, it is easier to pick up when the surface is covered
with a slab.
Finally, finish the foot of the mold by smoothing it
with a sponge.

Al te ri n g Th row n M o l d s
Try taking it a step further! Any thrown mold can be altered. One way to change the overall shape is
to cut off the tip of the closed cone. Then you can either invert the tip and slip and score it back into
place, or you may slip and score a flat slab to cover the circular opening. When I use this style of mold
for my cup feet, the diameter is about 3" (7.5 cm) at its widest point. Versions of these molds can be
used for bowls, teapots, and more.

117

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 117 117 6/4/20
4/2/20 12:11
2:20 PM
329325 - Creative Pottery_001-192.indd 117 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:117
 P R O J E C T:

The Cu p
Usually I make cups in groups of twenty or so at a time. There is a special rhythm that comes
with repetition. The movements become fluid and I begin to noti e details as I build up a
memory of how pieces are combined. From hot drinks to cold, there are many creative cup
styles. Try out a small series to get comfortable with new combinations of wheel throwing
and handbuilding. Working in a small series, say three to five ieces, will encourage you to
explore variations in the building process.

11 8

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 118 118 6/4/20 12:11
3/2/20 11:07 PM
AM
329325 - Creative Pottery_001-192.indd 118 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:118
 Exploring Bisque Molds

Tools & Materials B

basic tool kit (page 17)
Cup Foot Template (page 181) cut from a ¼" (6 mm)
thick slab (soft clay stage)
closed form mold as described on page 114
banding wheel
½ lb. (226 g) of clay thrown as a 4" tall  3" wide (10 cm 
7.5 cm) bottomless cylinder (gently curving inward near
the middle)
water or slip for attachments
Cup Dart Template (page 180)
½ lb. (226 g) clay for pulling handles

Instructions Place the mold on a banding wheel and then center the
template-shaped slab over the mold. Cup your palms down
Cre a t i n g t h e Fo ot and around the slab and shape it to the curve of the mold. [A]
The slab we are shaping will be inverted once it is leather-hard Dip your index finger in water and as the banding wheel spins,
and combined with a thrown cylinder as the foot of the cup. press down at the upper rim of the mold and move toward the

119

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 119 119 6/4/20 12:11
3/2/20 11:07 PM
AM
329325 - Creative Pottery_001-192.indd 119 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:119
 C F

D G

120

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 120 120 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 120 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:120
 Exploring Bisque Molds

receding center. [B] Use a small rib lightly dipped in water (to Fi n i s h i n g t h e Cu p
help it slide) to refine the edge of the clay on the mold. [C] Let Turn the cup right side up. Take note of the handle corner,
the slab sit on the mold until it holds its shape (usually less than which will stick out just a bit farther than the other two. Trace
ten minutes). Let it dry to a leather-hard stage and rasp away the Cup Dart Template. [I] Cut the dart with a knife and bevel
any overly uneven areas. the edges parallel to each other. Slip and score the edges and
press the seam together, smoothing away the seam on the
Ad d i n g t h e Fo ot inside and outside with a small flexible rib [J] Compress the
When the thrown bottomless cylinder [D] is a soft leather-hard outer foot seam once more using a rib. Compress the inside
stage, turn it upside down on a banding wheel. Place the shaped with a rounded wooden tool (paintbrush handle) and smooth
slab upside down on it, with the points evenly spaced over the the seam with a stiff, bristly paintbrush. Let it firm up until t is
cylinder. Make small tick marks where the points land on the leather-hard and then perch a handle on handle point. [K] See
edge of the cylinder. Make a double tick mark to indicate the page 24 for details on pulling handles.
handle point, which is more elongated than the other points.
[E] Cut downward arching curves about ½" (1.3 cm) into the
cylinder, ending at each tick mark. [F] The more even they are,
the better. Softly triangulate the cylinder with the flat of yo r
hand. [G] Match up the tick marks as you lay the molded slab
on top of the cylinder. Trim away a bit if needed. Slip and score
both the slab foot and edge of the cylinder. Press them together
gently with your fingers first. Then follow up with a flexible ,
pressing the edges firmly. [H]

H J

I K

121

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 121 121 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 121 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:121
 G A L L E R Y:

Exploring the Use of Molds

JAM ES LO B B
M UG , BISQ UE - FIR ED C L AY M OLD

“When I think about the bottom of a cup, I consider the

way your foot touches the ground, our how a squash rests
on the table. The curves and shadows, the form that holds
the weight, the parts that don’t touch. Many years ago,
I had an amazing opportunity to watch two potters from
the Ecuadorian Amazon, a mother and daughter, make coil
pots. They laid a small slab on a piece of bisque-fired clay
to start the pot and then added coils. The porous bisque
would help to dry the base and allowed them to build
pots very quickly. I stole this method and will often use a
mold of plaster or bisque to begin a pot.” Photos by Deb
Schwartzkopf.

122

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 122 122 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 122 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:122
 Exploring Bisque Molds

HAYN E BAYLESS
BOWL WITH FOR M

“I like wood as a material for molds

because it’s light, it won’t break or chip
if I drop it, and I can modify it easily if
it doesn’t give me quite the shape I’m
looking for. The mold allows me to make
a slab form that’s easily controlled and
repeated. (Also, I never enjoyed throwing
and have probably already forgotten
what little skill on the wheel I ever had.)”
Photos courtesy of the artist.

B LAI R CLE M O
CU P W IT H P L AS T E R WA L L M O L D

“This press-molded mug is made using a

variable mold system. The total system
includes nine interchangeable panels with
low-relief carved patterns on the interior.
Three panels come together to form the
cylindrical shape of the mug. By changing
the panels order or orientation, a total of
84 different mugs can be made—all with
varying surface textures. Variable mold
systems such as this provide a dependable
size yet still allow for direct interaction
with the clay, leading to huge variation and
choice. The addition of slip-cast decoration,
here in concentric circle patterns, creates
an endless variety of colorful lines.” Photo
courtesy of the artist.

123

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 123 123 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 123 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:123
 Chapter 4

D E B SCHWARTZKO PF
M UG , BISQ UE- FIR E D CL AY M O L D

“Using molds for the foot allows me to

make asymmetrical shifts in my forms.
I contour the slab to the bisque-fired
clay mold on a spinning banding
wheel and then let it firm up to a
leather-hard stage. I attach a leather-
hard bottomless cylinder to it in an
off-centered orientation. This adds a
little surprise when people explore the
shape of the cup.” Photos courtesy of
the artist.

124

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 124 124 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 124 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:124
 Exploring Bisque Molds

MAR K AR N O LD
M U G , P L AS T E R FO OT M O L D

“I started using a foot mold during my

first year of graduate school, after a failed
attempt of making a cup mold. I was
unhappy with the size of the cup, not taking
shrinkage into consideration. I did however
really like the foot and decided to cut the
mold up and just use the foot. I randomly
press small pieces of clay into the mold,
then while centered on the pottery wheel,
I compress a slab into the mold to hold it
all together. When the foot pops out of
the mold, it has a texture that resembles
weathered, worn down concrete.” Photos
by Deb Schwartzkopf.

125

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 125 125 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 125 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:125
 P R O J E C T:

Goblet
This goblet is put together much the same way as the preceding cup, but the elevation of the
pedestal foot and the smaller size makes for a completely diffe ent result. The goblet form is
made with three pieces: a small bottomless cylinder, a slab shaped on a bisque mold, and a
stemmed foot.

Tools & Materials Instructions

basic tool kit (page 17) Make the thrown parts first, as they take the longest to dry.
Begin by prepping the cylinders as specified at left. Then move
clay, prepared as follows:
on to the stemmed foot.
small bottomless cylinder at 2½" tall  2½" wide
(5.5 cm  5.5 cm)
1½ lb. (680 g) of wedged clay to throw several stemmed
feet for the goblet
Goblet Template (page 180) cut from a ¼" (6 mm) thick
slab (soft clay)
closed form bisque mold (see page 114 for instructions)
water or slip for attachments
banding wheel

126

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 126 126 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 126 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:126
 Exploring Bisque Molds

Th row i n g t h e Ste m m e d Fo ot rim, and make one or two pulls to widen it. Sponge away excess
To make the stemmed foot, center 1½ pounds (680 g) of clay. water. Shape the rim. Then go back for a final narrowing of the
(Note: There is extra clay so you can throw two or three and stem, keeping some of its thickness. For a 4" (10 cm) tall goblet,
choose among slight variations.) Bring the centered clay into a the stem should be just under ½" (1.3 cm) at its narrowest.
cone shape. Squeeze in just below the top to section off a smal Use a thin wire tool to cut off the stemmed foot. Make a
ball of clay (the size of a ping pong ball). This little knob of clay groove with a pointed tool or your finger tip to indicate where
will be used to form a single stemmed foot. [A] you want the cut. [D] Stop the wheel and place the wire in the
Press down in the center, opening the tiny ball of clay to groove. Give firm a little pull and the wire will cut cleanly a ong
form a well. [B] Squeeze at the bottom of the knob to begin this groove. [E] Remove most of the slip from your hands and
establishing the stem. [C] Don’t make it too narrow too fast or gently lift and set it aside to repeat this process until you have a
it will torque when you are finishing the foot. Go back to the foot you like. [F] Allow the stems to dry to leather-hard.

A B

127

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 127 127 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 127 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:127
 Chapter 4

D
Pre p a r i n g t h e Pa r t s
Cut out a soft triangle shape from the ¼" (6 mm) thick slab.
Center the point of the mold with the dot on the template. Press
the slab down evenly on the bisque mold. Use a rib to compress
and smooth the surface against the mold. Leave it on the mold
for a few minutes until it can hold its shape. Let it dry to a
leather-hard stage before assembling. [G]

As s e m b l i n g t h e Go b l et
With the wall upside down, make small tick marks to indicate
where the corners of the slab will nestle down into the cylinder.
[H] Cut the cylinder with arching curves to match the slab
piece. Try fitting the pieces together and trim any excess for
a better fit. Both edges should be slipped and scored for a
secure attachment. [I] . Smooth the seam on the inside and
out, defining the arching curve [J] Completely smooth the cup E
section inside and out before attaching it to the stem to avoid
warping it with overhandling.
Use a sharp knife to trim a slight depression in the top of
the leather-hard, stemmed foot. This will be the seat for the top
section. First, place the stem right side up on a banding wheel.
As the stem turns on the banding wheel, hold a knife at a slight
angle and cut toward the middle. The piece that is removed is
slightly cone shaped. [K] Score this depression and the point of
the top section. Gently press downward. Be careful not to press
too hard or you will distort the stem. Take care to vertically
align them while the joint is still soft enough to shift.
Then, turn the whole goblet upside down and firmly
compress the stem into the cup on a banding wheel. Press the
edge of the stem with your finger and a little water, then foll w
up with a tool and press right on the seam. [L] Smooth the stem F
and the goblet (see chapter 1 for details on finishing the surf ce)
and leave them to dry right side up. Drape them with plastic to
help everything dry evenly.

128

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 128 128 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 128 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:128
 Exploring Bisque Molds

G J

H K

I L

129

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 129 129 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 129 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:129
 F E AT U R E D A R T I S T:

Hayne Bayless
www.sidewaysstudio.com

Hayne Bayless makes handbuilt stoneware pottery in Ivorytown, Connecticut. He managed

to avoid any academic involvement with clay in college. In 1992, after 10 years at a perfectly
good job at a newspaper, he quit to make pots. Since then he has shown work at the
American Craft Museum in New York. He is a regular exhibitor at the Smithsonian Craft &
Design Show and the Philadelphia Museum of Art Craft Show.

Where did you get the inspiration to use turned

wooden shapes for molds?
Growing up on Mercer Island, our neighbor (and family GP)
was an outdoorsy type and a woodworker. When I was a
teenager, he taught me the lathe, and I made a chess set;
maple for white and walnut for black. So wood has always
been a comfortable and familiar material for me, especially
in the clay studio. I detest plaster (forbidden in my
studio), and bisque is too fragile for the rather haphazard
way I work.

How do you decide what shapes to make

your molds?
The forms are driven by the image of the ultimate piece I
have in my head. I gravitate toward gently swelling shapes
of the sort that the Greeks termed “entasis,” a nearly
imperceptible outward curvature they liked, for instance, in
their fluted columns. One of the beauties of wood is that if
a particular mold isn’t doing quite what I’m after, it’s easy
enough to pop it back on the lathe or band saw and refine
the shape.
Hayne Bayless, Wooden Molds, photo courtesy of
How do you keep the clay from sticking to the artist
the wood?
If you work with softwood—pine and fir and the like—you
find it’s much more absorbent than hardwood, and much
easier to cut, too. And it’s easy enough to come by, in the
form of building construction scraps from dumpster-diving
forays. So I do a lot of gluing odd pieces of 2  4 and 2  6
together to get big enough chunks to work with.

130

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 130 130 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 130 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:130
 [above] Hayne Bayless, Plates
with wooden mold, photo
courtesy of the artist; [left]
Hayne Bayless, Small Bowls,
photo courtesy of the artist

131

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 131 131 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 131 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:131
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 132 132 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 132 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:132
 P R O J E C T:

Square-Footed Bowl
Why make a round foot, when you can make a square one! Handbuilding the foot offers
you a range of shapes to choose from. In this project we will use both wheel-thrown
parts and slabs to construct a bowl. The bowl will have a rectangular foot and a softened
rectangular rim.

Tools & Materials with the point of the hump mold. This piece will become the
basic tool kit (page 17) bottom of the bowl, with a thrown rim attached to the upward
curving arch. With the flat of your hand, press the clay down
Square-Footed Bowl Slab Bottom Template (page 183) cut
into the mold. Use a rib to further press it down, taking care not
from 3∕8" (1 cm) thick soft slab
to erase the dashed line that will guide your inner cut.
closed form mold (page 114)
water or slip for attachments Co n s t r u c t i n g t h e Fo ot
Square-Footed Bowl Foot Templates A and B (page 178) These steps are broken down so they can be repeated easily for
(2 of each) cut from ¼" (6 mm) thick slab, soft the butter dish project. The steps repeat, but each project has
leather-hard stage its own template. The square-footed bowl has a larger footprint
slab 5"  5"  ¼" (12.5 cm  12.5 cm  6 mm) thick, soft than the butter dish.
leather-hard 1. With the slab still in place and supported by the mold, cut
interfacing the secondary shape from the middle. (When making the
1
∕3 lb. (151 g) of clay thrown into a bottomless cylinder butter dish, save this piece.)
1" tall  9" diameter (2.5 cm  23 cm), soft leather-hard
2. Slip and score all the connecting surfaces of the four feet
pieces from Templates A and B. [A] Press the pieces of the
Instructions feet into place one at a time. [B]

3 . Once they are all added, use the straight side of a firm rib
S h a p i n g t h e S l a b B ot to m
to press the seams together on both sides. Trim away any
Place the larger slab cut from the template on the hump mold.
unevenness. [C] Dry to leather-hard stage. (Note: If you
Do this by lining up the central perforation from the template
turn it over too early, the curve of the slab will not hold.)

A B

133

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 133 133 6/4/20
4/2/20 12:11
2:21 PM
329325 - Creative Pottery_001-192.indd 133 21/1/20 10:54 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:133
 Chapter 4

4 . Lay the prepared 5" × 5" (12.5 cm × 12.5 cm) slab on place and compress the wall onto the bottom. Move slowly and
interfacing. Invert the connected pieces, moving them from know that you can compress more in the next step. Hold and
the bisque mold onto the slab. Mark the slab by tracing guide the wall with your right hand and press it into place with
around the foot. your left. As you press the wall into place, use your fingers t
support the slab that you’re pressing into or it may break or
5. Remove the bowl and cut a little to the outside of your
warp. [G] Trim away any excess clay from the thrown wall.
traced line. Slip and score both surfaces and attach the
Bevel the edges and score them for a strong seam. [H] (See page
constructed foot to the bottom slab.
31 for directions on beveled seams.)
6. Score the interior corner of the foot and add a small coil
around the seam. [D] Use a rib and compress the inner Fi n i s h i n g
seams around the foot. Once you have the cylinder in place, go back and recompress
all the seams. Press the wall into the bottom and then follow
7. Once the attachment has dried to a leather-hard stage, use
up with a firm rib. This is your chance to define the edges an
a rasp to shave away the excess slab at the foot. [E]
smooth away unwanted marks. [I] See page 24 for details about
using a metal rib, scouring pad, and damp sponge to do a final
Ad d i n g t h e Th row n Wa l l
smoothing.
Cut the bottomless cylinder off the bat and cut through the wal
at a 90-degree angle. Score the bottom of the soft leather-hard
thrown cylinder as well as the edge of the bottom of the bowl.
Begin attaching the wall by placing one end of the cut cylinder
in the center on the narrow side of the bowl bottom. [F] Lightly

C D

E F

134

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 134 134 6/4/20
4/2/20 12:11
2:22 PM
329325 - Creative Pottery_001-192.indd 134 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:134
 Exploring Bisque Molds

H I

135

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 135 135 6/4/20
4/2/20 12:11
2:22 PM
329325 - Creative Pottery_001-192.indd 135 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:135
 P R O J E C T:

Butter Dish
Over time I have seen a pattern in the evolution of my forms. Often they will start simple
but with each cycle of making, I think of new ways to add to them. This butter dish is a
perfect example. It begins much like the square-footed bowl, but then a flange is added to the
interior space so that a lid can rest securely in the center. It’s a great chance to try out a lid
that is not round!
I enjoy handles of all kinds. Handles that are integral to the planes of the form are
of particular interest to me. In this butter dish project, the inset angle of the lid forms a
comfortable niche to lift the lid.

136

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 136 136 6/4/20
4/2/20 12:11
2:22 PM
329325 - Creative Pottery_001-192.indd 136 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:136
 Exploring Bisque Molds

Tools & Materials Instructions

basic tool kit (page 17)
Pre p a re t h e Th row n Pi e c e s
1
∕3 lb. (151 g) of clay for a thrown bottomless cylinder
a n d Te m p l a te s
bat Center ⅓ lb. (151 g) of clay on a bat and form it into a
ware board bottomless cylinder with a 5" (12.5 cm) diameter. Begin to pull
closed form mold (page 114) the walls. Keep the rim on the thicker side, at ⅜" (1 cm). Before
the walls reach their ideal thinness, use a needle tool to cut
Butter Dish Base Template (page 181) cut from ¼" (6 mm)
off the top ½" (1.3 cm) of the thrown cylinder [A] Gently lift
thick soft slab
the trimmed piece directly off the wet cylinder to one side and
Feet Templates (page 180) (2 of each) cut from ¼" (6 mm) let it stretch slightly into an oval as it hangs in the air. Lay the
thick slab, soft leather-hard stage
oval aside on a smooth ware board. [B] This will become the
Lid Template (page 180) (cut 2) cut from ¼" (6 mm) thick flange of the butter dish and will hold the lid in place
slab, soft leather-hard stage Pull the remaining wall so that it is about 1" (2.5 cm) tall
slab: 5"  5"  ¼" (12.5 cm  12.5 cm  6 mm) thick, soft and smooth the rim. Leave it to dry on the bat until it is a soft
leather-hard leather-hard. This will become the rim of the lid.
water or slip for attachments This butter dish builds off the same technique used for the
square-footed bowl. Use the same mold and follow the seven
cornstarch
numbered steps on page 133. It is the same process with slightly
three strips of soft plastic, 7"  1"(18 cm  2.5 cm) varying templates—follow directions given for Constructing the
Foot on page 133.
Prepare templates. Lay the clay from the Base Template on
the thrown mold, cut away the interior shape (BUT, save it
A this time!), and construct the foot while the slab is in place on
the mold. [C] Finish the foot by adding a slab for the bottom
as on page 134, and you will be ready for the next steps. The
difference in form construction begins here. [D]

B C

137

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 137 137 6/4/20
4/2/20 12:11
2:22 PM
329325 - Creative Pottery_001-192.indd 137 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:137
 Chapter 4

Ad d t h e Fl a n g e a n d H a n d l e s the attached flange. [J] These strips will allow you to lift the lid
Now instead of adding the thrown element to the edge of the during construction.
molded slab, you are going to add the ½" (1.3 cm) tiny thrown When the 1" (2.5 cm) tall cylinder is soft leather-hard, cut
ring to the interior edge, creating a rim that will hold the lid in it off the bat. Cut it perpendicular to its length with a bevel d
place. Cut the flange cylinder so it has a beginning and end. S ip edge. With the thrown rim side down, begin to wrap it gently
and score the bottom of the flange and the interior edge. Begin around the flange, starting at the center of a narrow end. Cut
attaching the flange, centering it on the narrow inner side of he away some of the extra clay but leave a little for wiggle room.
molded slab. [E] Gently press it into place all the way around.
Trim away the excess with a bevel cut and blend the slipped
F
and scored seam away. Compress the seam on the inside and
outside with a firm plastic rib [F]
Thickness is added to the slab edges to give it a comfortable
place to hold. Slip and score a tapered coil to the narrow edges.
[G] Blend it into the curve of the slab first with your finger an
then with a curved rib. [H]

B u i l d t h e Li d
Swirl a fluffy brush in the cornstarch and then tap it on you
finger to dust the cornstarch onto the flange [I] This will
prevent the pieces from sticking together. The cornstarch will
burn away during the firing process. Lay strips of plastic acro s

D G

E H

138

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 138 138 6/4/20
4/2/20 12:11
2:22 PM
329325 - Creative Pottery_001-192.indd 138 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:138
 Exploring Bisque Molds

To curve the wall of the lid down, hold the edge of the wall with piece is wasted during this process! Use a rasp to refine the
both of your thumbs and index fingers and pinch-push your edges and create a little more symmetry. Align the narrow edges
fingers toward each other, compressing the wall. [K] of the lid piece with the narrow ends of the lid rim. The lid
After you have the lid piece snugged up against the flange, should arch upward. Slip and score these edges.
trim away any remaining clay at a bevel. Slip and score the Prep two pieces using the Lid Template. This small piece is
seam before you attach it. going to fill in the thin cat-eye shape on the lid. You will ne d
You should have the saved the center piece from the larger to create a 90-degree bend running the long way, from point
slab. Use this smaller piece to form the top of the lid. Not a to point. Shape these by centering the point on the corner

J K

139

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 139 139 6/4/20
4/2/20 12:12
2:22 PM
329325 - Creative Pottery_001-192.indd 139 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:139
 Chapter 4

L M

of a ware board and using a soft rib to bend the clay into an
angle. [L] N
Once the piece is dried to a soft leather-hard stage, hold
it up to the space it will fill on the lid. Mark a line to indi ate
where it will meet the other lid pieces so you know where to
trim it. Trim, slip, and score the edges together. Smooth and
compress the seams with a soft rib. [M]

Fi n i s h i n g
Once all the pieces are a leather-hard dryness, you can add
strengthening coils and smooth away unwanted marks. Use the
small pieces of plastic to gingerly lift the lid from the base. You
can also slip and score coils to the inside seams if there are gaps
or if the pieces are not meeting firmly [N]
Give special attention to compressing the seam where the
flange is attached to the base. [O] Use a rasp to define edges of O
the attachments. Compress all the seams inside and out with a
rib. Smooth the surfaces as described on page 24.

140

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 140 140 6/4/20 12:12
3/2/20 11:11 PM
AM
329325 - Creative Pottery_001-192.indd 140 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:140
 G A L L E R Y:

Butter Dishes

[top left] Lisa Orr, Butter Dish, photo courtesy of the artist; [top right] Clovy
Tsuchiya, Zygoplasia Butter Dish, photo courtesy of the artist; [bottom left]
Julia Claire Weber, Geometric Butter Dish, photo courtesy of the artist;
[bottom middle] Josh DeWeese, Butter Dish, photo courtesy of the artist;
[bottom right] Bonilyn Parker, Butter Dish, photo by Deb Schwartzkopf

141

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 141 141 6/4/20 12:12
3/2/20 11:11 PM
AM
329325 - Creative Pottery_001-192.indd 141 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:141
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 142 142 6/4/20 12:12
7/2/20 12:33 PM
329325 - Creative Pottery_001-192.indd 142 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:142
 CHAPTER 5

Adding Com plexity

If you are ready for a challenge, this is the chapter for you! While none of these forms are
what I would call hard, there are many steps to follow for making forms such as the juicer,
teapot, and pitcher. Yet I believe you’ll find all these forms are challenging in the right way.
They are meant to open your mind to new shapes, ways of assembly, even function. While
many potters make bowls and mugs, you probably haven’t seen too many making juicers!
When you are working on a new form, it is helpful to work in a small series. When
forms have multiple pieces, options make it easier to fit them together. For example, if I
am making teapots, I will make them a similar size but vary the spouts and handles. That
way I can see what the relationships are between these additions and the body. I will also
make all the lids the same diameter but play around with how rounded they are. The abil-
ity to interchange parts lets me explore visual relationships within the form.
While making groupings of work is helpful, if you work in a huge series, you run the
risk of making the same mistake repeatedly. Save the large volume runs for forms you
have figured out and refined. When you want to try new ideas on for size, keep your
series manageable, with just three to five versions.

Q u e sti o n s fo r G row t h
● What qualities can I bring from my simple forms into more complex forms?
● What can or should I exaggerate (e.g. do I want to over-exaggerate the stance of my pot
with the added spout and handle or keep is subtle)?
● How does combining multiple pieces change the way I think about form?
● What kind of flowers do I want to showcase in my vase?
● Do the handle and spout have the same visual language as the rest of the pot?

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 143 143 6/4/20
4/2/20 12:12
2:22 PM
329325 - Creative Pottery_001-192.indd 143 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:143
 LESSON:

Coiling an Asymmetrical Mold

After you have one mold with which to experiment, using it will give you ideas for other
possible molds. I suggest making one according to the instructions below, and, at the same
time, making a second that is a wildcard, an exploration. Make one not knowing how it will
turn out or how you will use it! Surprises can offer a new crea ive path.
N OTE: Try out your molds once they are dry, before you fire them. If you want to make
adjustments, you can reclaim the clay for the second try. That said, be careful. If you use
the molds before they are dry, the slab will not dry as fast on the mold. It may also stick and
warp when you try to remove it.

Tools & Materials Score the top of the first layer and add the second coil. To ad
basic tool kit (page 17) the second coil, hold the end of it in the air with your left hand,
and use your right hand to pinch it down into place. (If the clay
4 lb. (1.81 kg) of clay for coils (having extra is good)
is soft and sticking well, just score one side of the coil, or not at
Coil Mold Foot Template (page 182) all.) Repeat this until your wall is three coil levels high. I work
2 12" (30.5 cm) diameter bats in layers to help me see symmetry.
banding wheel
B u i l d i n g t h e Wa l l
Once you have three coils in place, begin blending and shaping.
Instructions Start at the bottom. Shift the clay to follow this initial marking
guide at the foot. The corner of a firm rib will help you to de ne
R u f fi n g o u t Co i l s where the coil meets the bat/marker line. [B] Use the serrated
Begin by taking the block of clay and running your wire tool rib to blend the coils on the inside and outside of the wall. Use
through it three times horizontally, evenly spacing the cuts. Flip a diagonal movement across the coils rather than straight up or
your clay 90 degrees and repeat this cutting pattern. You will down. This will prevent you from pulling off coils as you press
end up with a tic-tac-toe pattern and nine narrow rectangles of against the wall.
clay to turn into coils Take each piece of clay and squeeze it into
a thinner, longer ruff coil. Roll the lumpy log of clay a few t mes.
The coils do not need to be perfect, just a quick process to ruff
out a shape. [A] As you work, keep these coils covered so that A
they are soft and blend together easily. (If you are working on
a dry canvas surface and it’s causing the surface of the coils to
crack, lightly spritz the table with a small amount of water, and
then continue rolling your coils thinner.)

Sta r t i n g t h e Pro c e s s
Start by transferring the template profile onto two bats with
a marker. Dampen the surface of the bat with a sponge so the
first coil will stick. Place the first coil on the inside of th marker
line. Inch along and press the coil into the bat so it is completely
stuck down. Complete the first level and pinch off any extra

144

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 144 144 6/4/20
4/2/20 12:12
2:22 PM
329325 - Creative Pottery_001-192.indd 144 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:144
 B
Trim away dramatic unevenness after you have three layers
of coils. Take a minute to define the angle of the wall and
corners where the form changes direction. Use a firm smooth
rib to smooth the surface and establish the contour. You are
slowly deciding each movement of the clay. [C]
Repeat these steps for your second experimental mold. By
the time you have added three coils and refined them, the other
mold is often ready for another layer. This will help you take
your time and not rush the process, which can lead to deflating
the shape as you push the clay too fast.
Return to your first mold. Add another three coils then
scrape and blend them together. Before you do this, make
sure you have refined the mold considerably. This includes the
curve of the wall and the angles along the back. Make sure that
C each curve or angle is intentional and there are not divots in
the surface. Defining the walls as you go is important. It will
be much harder to refine the walls if you cannot reach inside
easily. Do it while it is still open and simple! Then, support the
wall from the inside as you shape and smooth it. [D]
Continue adding coils, alternating between your molds.
After six layers, your walls may need to dry a little extra to
continue. If they feel mushy or move around as you add coils,
pause until they are at a soft leather-hard stage.
Don’t forget, you are aiming for a fully enclosed shape. It is
easy to just keep stacking the coils up. To develop the inward
movement of the wall, place the coils more toward the inside of

14 5

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 145 145 6/4/20
4/2/20 12:12
2:22 PM
329325 - Creative Pottery_001-192.indd 145 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:145
 Chapter 5

the wall as you add them. Encourage the walls to move inward
E
toward the center with every squeeze of the coil, movement of
the serrated rib, and smoothing of the firm rib. [E]
You may change the direction or endpoint of the coils to
help you enclose it. Gently scrape and blend the coils (if you
press too hard you will deflate your shape). Add a small wedge
shape at the end, and, with the serrated rib, pull the seam away
from the center in all directions to blend it into place. [F] If the
top coils just cannot be pressed on because they are too soft,
wait until they are a soft leather-hard and then finish blendin
and refining the top of the mold. [G]

Ref i n i n g
Once the mold is leather-hard, use a rasp to shave off uneven
places, true up the ridgeline, and refine the overall shape.
Follow this with a metal rib. Repeat the process as needed until
you have reached the level of finish you want. Cut the mold off
the bat with a knife and smooth the inside. Especially blend and
smooth the inner top of the mold, the area where you won’t be
able to reach as you enclosed it. For a final step, use the ras
to make an undercut along the foot on the inside and outside.
This will keep the foot from chipping and give you a small spot
to lift with your fingertips when the mold is covered with a
slab of clay.

146

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 146 146 6/4/20
4/2/20 12:12
2:22 PM
329325 - Creative Pottery_001-192.indd 146 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:146
 Adding Complexity

F G

147

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 147 147 6/4/20
4/2/20 12:12
2:22 PM
329325 - Creative Pottery_001-192.indd 147 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:147
 P R O J E C T:

Pitcher
When I started working in clay, I could not make anything I imagined. In fact I had a hard
time just doing my beginning ceramics assignments—like throwing or handbuilding a tall
cylinder. Yet I had my heart set on making a tall, lightweight pitcher.
At first, stacking wheel-thrown or handbuilt sections was a way to get around my still
growing skills. Now it is a purposeful choice. The stacked shapes allow me to add more
movement and interesting cantilevers. The bottom section of the pitcher project is made
with a bisque mold, while the upper section is thrown and altered. How many pieces can you
stack? The sky’s the limit!

Tools & Materials Instructions

basic tool kit (page 17)
M a k i n g t h e B ot to m S e c t i o n of
bottomless cylinder at a soft leather-hard stage, 8" tall 
5" wide (20.5 cm  12.5 cm)
t h e Pi tc h e r
Begin by making sure your thrown cylinder is dried to soft
This cylinder tapers to a 3" (7.5 cm) diameter at leather-hard. Either keep it covered or let it air to reach this
the bottom
ideal firmness.
pitcher mold described on page 144 Make a template to fit your mold. As a starting place, you
heavy cardstock paper may try the ones included in the book or trace the contour of
slab 3∕8" thick  15"  10" (1 cm  38 cm  25.5 cm) your mold onto a blank piece of paper. [A] Hold the templates
to your mold, press in on the surfaces and see how well the
Pitcher Spout Template (page 177) cut from 3∕8" (1 cm) edges meet. You can adjust the fit by trimming away or adding
thick soft leather-hard slab
to the length or height. Make little notes on the template
Pitcher Body Wall Template (page 177) you have with arrows to show where to trim or add material.
Pitcher Body Cap Template (page 178) Transfer additions to a new piece of heavy cardstock paper.
Pitcher Handle Template (page 178) cut from 3∕8" (1 cm) Once you have a template that snugs up fairly well to your mold,
thick soft leather-hard slab transfer it to clay. Cut out the overall shape. Wait to cut the

pulled strap handle, 10" long  1" wide  3∕8" thick

(25.5 cm  2.5 cm  1 cm)
A
2 Pitcher Dart Templates (page 177)
water or slip for attachments
banding wheel
interfacing

14 8

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 148 148 6/4/20
4/2/20 12:12
2:22 PM
329325 - Creative Pottery_001-192.indd 148 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:148
 Pitcher, photo by Jessica Knapp

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 149 149 6/4/20 12:12
7/2/20 12:33 PM
329325 - Creative Pottery_001-192.indd 149 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:149
 Chapter 5

wall darts until the clay encircles the mold and the back seam compress them gently on both the exterior and interior. At the
is attached. [B] Then cut a dart, slip and score the edges, and end of each seam there will be an indent. Slip and score a small
compress the joint. Repeat this until all the darts are connected. bit of clay there to level the foot. [E] Place the bottom section of
Take the second template-cut slab (top) and lay it on top. If the pitcher on a slab and trace around it. Cut out the shape and
there is excess clay overlapping, trim it away. Score all the edges attach it to the bottom.
and attach this piece. Make sure not to use too much water, as
this may cause the pieces to stick more to the mold. Use a rib to A l te r i n g t h e To p S e c t i o n
pull the edges of the seam toward each other. Bring your soft leather-hard bottomless cylinder to a banding
One of the best things about using these molds is that you wheel. Lay interfacing under it to keep it from sticking. Impress
will not deflate the shape when you are compressing the seams the Dart Templates onto opposite sides of the cylinder. Cut
on the mold. So take your time and use a soft rib to compress one and then attach the edges. Repeat this for the second
the curving areas to the mold and a firm rib to define th alteration or dart. [F, G] Hold the top section next to the bottom
corners. [C] section and look at the relationship between them. How much
Right after you have the slabs compressed to the mold, cut narrowing do you want where they connect? What angle or
release lines in the clay. Follow the seam. [D] Yes, you are just curve do you want to create there? It is possible to remove more
cutting into a seam you just worked hard to close. But now the clay at the seam until you are pleased with the relationship. You
cut will fit together “seamlessly” when you unite these pieces. can always cut more away!
These release lines allow the clay to shrink. Without these cuts, Hold the top in place over the bottom, and visually follow
the clay could crack off the mold the curve of the bottom section, marking a line with a knife
Remove the mold when the slab walls can hold their shape parallel to it on the top section. Trim away the clay so the foot
or are a soft leather-hard. Slip and score the seams together and of the top section curves to meet the bottom section. [H] When

B D

C E

1 50

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 150 150 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 150 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:150
 Adding Complexity

the sections are stacked, trace around the joint. Cut ¼" (6 Instead, on the inside of the pitcher, use MudTools Baby Bump
mm) in from this line to remove a circular shape where they to pull the edge of the bottom section up into the top section
will connect. This will create one continuous volume inside the seam. [I] On the exterior, compress this seam with the corner of
pitcher form. a firm rib. [J]
Slip and score the sections together. Press down gently, but
with care. Too much pressure will compromise the curve and Ad d i n g t h e S p o u t a n d H a n d l e
seams of the bottom section and will cause cracking or warping. If you want to try out a different design, hold a rectangular
piece of paper in front of the upper section of the pitcher. Trace
the line to a piece of heavy paper. Cut it out and then retry.
F
Trim it until you have a pleasing spout shape and transfer your
template to a slab. [K]
Hold the slab cut from your self-made template or from the
provided Spout Template centered in the front of the pitcher.
Align the corners of the template with the rim of the pitcher’s
top. Trace around the bottom of the slab with a knife to mark
where the cut will be made. [L] Trim away the clay and make
sure your spout fits in the space. Attach the spout in place. U e
a firm rib to compress and smooth the seam. Let it firm u
while you work on the handle.
Lay the strap handle on a clean work surface and make a
45-degree cut 1½" (4 cm) down its length. Now you have a

G I

H J

1 51

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 151 151 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 151 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:151
 Chapter 5

long portion of the handle, which will be vertical and a short

portion, which will form a 90-degree angle and attach to the
top section of the pitcher. Trim this shorter section to meet
the curve of the thrown top section. [M] Hold the two pieces
up to the pitcher body. Mark where the two pieces will attach
and where to remove excess length. Attach the shorter piece
and double check the length and position of the longer one. [N]
Score the surfaces of the handle and the pitcher body where
attachments will be made. Attach and compress all the seams.
Curve and compress (with a small red rib) the slab cut from the
Handle Template on a mandrel. [O] Hold it up to the handle. [P]
Does it fit within the space? Bend it gently so its edges meet he
pulled strap of the handle. (Trim it if necessary.) Slip and score
all the surfaces so the attachment is strong. Small gaps can be
filled with a soft coil, but this will trap air. When air is tr pped
and the clay shrinks, it pressurizes inside the space. To avoid
cracking from this pressure, make a small hole with a needle M
tool in an inconspicuous place. [Q ] Compress and refine the
seams with a soft rib.
Now back to the spout. Trim any uneven areas from the
spout. During your handle attaching adventure, the spout
should have firmed up a bit. It needs to be leather-hard to add
the last details. With a smooth metal rib, scrape the seams so
they are smooth. Score the interior joint where the spout meets
the body. Pinch off a small bit of clay and roll a little cone. [R]
Blend and taper this into the scored areas. This strengthens the
attachment and visually connects the spout to the body.

Fi n i s h i n g
Take a scouring pad to the interior seam. Then smooth and
recompress all the seams as explained on page 31.

1 52

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 152 152 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 152 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:152
 O Q

P R

1 53

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 153 153 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 153 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:153
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 154 154 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 154 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:154
 G A L L E R Y:

Pitchers

[opposite page] Naomi Clement, Pitcher, photo courtesy

of the artist; [top left] Noah Riedel, Pitcher, photo
courtesy of the artist; [top right] Julia Galloway, Creamer
and Sugar Jar, photo by Deb Schwartzkopf; [bottom left]
Julia Claire Weber, Mini Mountain Pitcher, photo courtesy
of the artist; [bottom right] Jen Allen, Syrup Pitcher, photo
courtesy of the artist

1 55

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 155 155 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 155 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:155
 F E AT U R E D A R T I S T:

Zak Helenske
www.zakhelenske.com

Zak Helenske received a BFA in Ceramics at North Dakota State University in 2009 and
an MFA in Ceramics and Ceramic Sculpture at RIT’s School for American Crafts in 2012.
Graduate school led him to an interdisciplinary practice, working primarily in metal.
Following school, he spent time casting and teaching at institutions like Sloss Metal Arts in
Birmingham, Alabama, and the Akademia Sztuk Pięknych in Gdańsk, Poland, as a visiting or
resident artist. After completing a residency in Washington State at Pottery Northwest, he is
a full-time Seattle-based studio potter.

Zak Helenske, Two Bowls (on their sides), photo courtesy of the artist

1 56

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 156 156 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 156 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:156
 Adding Complexity

[top] Zak Helenske, Three Lidded Jars, [bottom left] Zak Helenske, Bowl,
[bottom right] Zak Helenske, Bowl, photos courtesy of the artist

Please tell us about your process. keeping them upside down for a couple of days. When I
For these constructed vessels, I begin by throwing parts flip them, I clean any seams that were hidden and level the
on the wheel. These are usually cone-shaped bowls, vertical support to the bowl.
sometimes with lids. I have found that I prefer these thrown
shapes to be less volumetric and more geometric. After What are you inspired or influenced by?
throwing a batch of parts, I pound out slabs. I use a flat Originally, this form was inspired by a show of Isamu
wooden mallet to make my slabs and a long metal ruler Noguchi’s “Playscapes.” The show was comprised of
to compress. I have an idea of the shapes I will cut, but drawings and models, and I was taken by the long shadows
after the first few, I diverge and allow myself to explore cast from the geometric shapes of his playgrounds. The
new shapes. geometry of the slabs rests upon or sometimes intersects,
Once the horizontal and vertical planes are established, the vessel to create an architecture around the bowl. I
I measure the diameter of the bowl. I cut the appropriate- build the forms upside down; they resemble architectural
sized circle out of the center with help of the spinning models at this stage, which I like.
wheel. Next, I attach the bowl to the horizontal plane, The objects I make describe a connection between
keeping it flat and upside down. Then, I attach the vertical architecture and our haptic experience. When making
support. In order to maintain a 90-degree angle, I use pottery, I think about my blind grandparents, and how they
scraps of slabs cut to 90 degrees as buttresses, which would trace their surroundings with their fingertips. Their
keeps the vertical slab straight while it dries. Ideally, I haptic experience was of necessity, navigating their world
am working with the slabs somewhere between soft and without sight. I imagine my work living at our human scale,
hard. Once constructed, I let the forms dry under plastic, able to be navigated with our fingertips.

1 57

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 157 157 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 157 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:157
 P R O J E C T:

Juicer
One of my favorite shapes to make is the citrus juicer! You never know when you are going
to need a squeeze of lemon, lime, mandarin, or grapefruit in a recipe. Shifting the size of
the reamer and strainer holes will affect the pulp level, so ma e a few and see what suits
your taste. Make sure to use a hard, shiny glaze for the reamer, as it will need to withstand
acidic juice.
It is interesting to make a shape that has such a specific use. I find the challenge of
inventing a form around a particular use pushes me to discover new combinations. When I
bring these combinations into other forms, it helps my whole body of work evolve forward.

Tools & Materials

basic tool kit (page 17)

Clay prepared as follows:

For reamer: 1∕3 lb. (151 g) clay, domed closed form (page
114), 2½" diameter by 2½" tall (6.5 cm  6.5 cm) dried
to leather-hard
For wall: ½ lb. (226 g) clay, bottomless cylinder (soft
leather-hard), 2" tall  6" diameter (5 cm  15 cm)
For the foot, spout, and handle: 10"  10"  ¼"
(25.5 cm  25.5 cm  6 mm) thick soft leather-hard slab

Templates (page 178):

Spout Template
Handle Templates A, B, and C
Wall Dart Template

interfacing
MK3 (quilting tool for measuring cut marks)
banding wheel
water or slip for attachments

1 58

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 158 158 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 158 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:158
 Adding Complexity

Instructions in one area, the wall will crack. Go slow and try to distribute
the pressure evenly. When you are done, the bottom edge of the
A l te r i n g t h e Wa l l wall should touch the working surface all the way around. [C]
Let’s jump right in! I recommend working on a banding
wheel for the assembly of all these pieces. Place the 6" (15 cm) Ad d i n g t h e Te x t u re to t h e Re a m e r
diameter wall on a piece of interfacing on your banding wheel. The sharper the edges on your reamer, the more pulp it will
Shape it into a teardrop shape by pressing the heels of your remove. There are so many ways to create texture on the
hands together at one end, creating a point. This is where the reamer, including carving, slip trailing, altering on the wheel,
handle will go. [A] pressing the clay into a mold, and more. I use a dividing tool to
Currently, the rim of the wall should be level with the mark out the number of lines I want to carve. [D]
working surface. You are going to change the movement of the Hold a knife at an angle and cut a curving line up the reamer
wall by removing clay from the bottom. (Removing it from the from the foot. Now flip the reamer orientation to your cutting
top would ruin the finished rim.) This alteration will transfor hand and cut along the same line at a perpendicular angle to the
the wall from a horizontal orientation to a softly curving rim. first to remove a curving wedge of clay [E] Repeat this process
Align the dart template and transfer it to both sides of the wall, as you work around the reamer. Run a wooden smoothing tool
making sure the wider part of the curve corresponds to the along the corner of these cuts. Then add a tiny ball of clay right
point of the teardrop shape. Cut along these lines and remove at the tip of the reamer. Finish by smoothing the surface with
the clay. [B] Now this is the tricky part: the next step is to a sponge. It is much easier to smooth the reamer at this stage
bend and stretch the clay downward until it is flat against the than to wait until after it is tucked down inside the walls.
working surface. If you do this too fast, or put all the pressure

A C

B D

1 59

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 159 159 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 159 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:159
 Chapter 5

E G

F H

As s e m b l i n g t h e J u i c e r
I
Place the altered wall on a slab and trace around the bottom.
Cut out the slab, trimming slightly outside the traced line. Now
score the edges along the bottom of the wall and the attachment
area on the surface of the slab and attach them together. Center
the reamer within the wall on the slab foot. Trace around its
foot then set the reamer aside. Cut away the center, working
¼" (6 mm) away from the traced line towards the center. Run
a coil all along the inside of the teardrop-shaped wall, creating
a rounded interior corner. (This helps with cleaning as well as
making it stronger). [F]
Score the edges of the closed form/reamer and the slab foot
and attach them. Smooth and compress the seam around the
reamer with a rib tool. Wait to smooth the seam underneath
until the slab is a very firm leather-hard to avoid stressing
seams and causing warping. out the holes to trap the citrus seeds (very important!). You
can play with pattern or the shape of your holes to take your
Ad d i n g t h e A p p e n d a g e s juicer to the next level. Use a sponge or paintbrush to clean up
Using the Spout and Handle Templates, cut out the pieces for any burs on the holes, as it is hard to do this once the spout is
your juicer. Hold the spout up to the curve of the wall. Trace in place.
around the spout. [G] This line will give you a guide for cutting

160

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 160 160 6/4/20
4/2/20 12:12
2:23 PM
329325 - Creative Pottery_001-192.indd 160 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:160
 J

K
Attach the spout by slipping and scoring both edges and
pressing it into place. [H] Now check out the angle of your
spout. Do you want to change it? You still can! You can take
a dart out of the spout to give it more curve and upward
movement by cutting out a candle-flame-shaped piece of clay
and reattaching the seam by scoring and slipping. [I] While it is
firming up, work on the handle.
Curve the larger piece of clay cut from the Handle Template.
The stronger the curve, the more it will stick out away from the
body of the juicer. Play with the shape to see what you enjoy.
Add the tiny strip along the wall. Puff out the top piece with
your fingers, and then slip and score it in place. [J] Compress
the seams with a soft rib.
Now back to the spout. Blend in a cone of clay to the place
L where the spout meets the wall. This strengthens the joint and
visually connects the spout to the wall in a more fluid way. [K]

Fi n i s h i n g To u c h e s
Smooth, smooth, smooth! Don’t forget the underside, either. I
suggest cutting a beveled edge along the bottom. Work all the
way around the edge of the foot and the underside of the reamer
attachment. [L] Use a wet scouring pad first to take down
corners and then finish up with a soft sponge

161

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 161 161 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 161 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:161
 G A L L E R Y:

Juicers

[top left] Martha Grover, Citrus Juicer, photo courtesy of the artist;
[top right] Clovy Tsuchiya, Zygoplasia Lemon Juicer, photo courtesy
of the artist; [above left] Miles Holbert, Angled Dimpled Juicer,
photo courtesy of the artist; [above right] Jen Allen, Citrus Reamer,
photo courtesy of the artist; [bottom right] Lindsay Oesterritter,
Juicer, photo courtesy of the artist

162

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 162 162 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 162 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:162
 P R O J E C T:

Teapot
When you make teapots, there are many relationships to consider. How will the spout
attach? Does the handle feel comfortable? Here we’ll explore spouts made with soft slabs,
using calipers to fit the lid, and making the body out of wheel thrown and slab-built parts. It
is quite a puzzle!
Thinking about how the liquid will flow from the spout is key. he length and angle of the
spout are significant factors. Placing the pouring end of your pout just above the waterline
is a good place to start. If the spout is any lower, the liquid will come pouring out, even when
you are not tipping the pot forward.
I encourage you to make extra lids, spouts, and handles in diff rent sizes so you can play
with the relationships between them. Also, when you trim the lid or place a handle there may
be causalities. Extra parts provide additional options.
It takes careful attention to finish a teapot. There are many e ges and seams that require
fine-tuning. Take the time to really refine the edge of the spo . Recompress seams. Sand a
little material from the lid’s edge if the fit is too tight. Ta ing the time to consider of all these
details will make your work sing!

163

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 163 163 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 163 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:163
 Chapter 5

Tools & Materials rim. This is the first step in establishing the gallery. Provid ng
basic tool kit (page 17) support with one hand on either side, press down in the center
of the inner half of the rim with the corner of a firm rib, cre ting
body: 1¼ lb. (567 g) of clay
the gallery ridge. [A]
lid: ½ lb. (227 g) of clay Once you have the gallery in place, work on refining the
spout: slab that is 1∕8" (3 mm) thick curve of the wall. Press into the interior sidewall, developing a
strap handle: 7" long  ¾" wide  ½" (18 cm  2 cm  curve on the bottom two-thirds of the cylinder. While you are
1.3 cm) thick pressing outward, support the outside with a rib. This stretches
the clay and also compresses it as the tea pot widens. Use a rib
bisque mold, shaped as on page 117
to define the change in direction at the shoulder of the teapot
diameters of 9" and 3" (23 cm and 7.5 cm), And a height Measure the diameter of the gallery with calipers while it is still
of 3" (7.5 cm)
slowly spinning on the wheel. [B]
Teapot Foot Template (page 180), cut from 3∕8" (1 cm)
thick slab Th row i n g t h e Li d
Teapot Spout Template (page 180) Before you begin the lid, imagine the curve you want it to
small cone of leather-hard clay (knob) ½"  ½" have. A visually pleasing goal is to create a curve in the lid that
(1.3 cm  1.3 cm) completes the curve of the body.
You will be throwing the lid upside down. Begin by
calipers
centering ½ lb. (227 g) of clay. Measure with the calipers early
mandrel on so you can visualize the end diameter ahead of time. Form
water or slip for attachments an initial small bowl shape by opening the clay and pulling
bat small walls. Measure again with the calipers. Make sure to
foam bat
B

Instructions

Th row i n g t h e B o d y of t h e Te a p ot
Center the clay. Open it all the way down to the bat and widen
it until you reach an approximate diameter of 6" (15 mm). Pull
the walls, taking care to retain a thick rim. The rim needs to be
thick in order to accommodate the gallery, the ridge on the rim
where the lid rests.
Pull the walls up, keeping the rim narrower than the base.
Once you have the height—shoot for 4" (10 cm) tall—split the

A C

164

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 164 164 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 164 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:164
 Adding Complexity

D
retain some thickness on the rim while you widen the walls and
develop the curve. Keep in mind that lids are a heavy-use item,
and a durable rim is important. Once you are close to the right
diameter, pull it just a touch wider. Then use a soft rib to fl tten
the outside of the lid’s edge. [C] Measure again and again until
it is very, very close. A little big is better, as you can trim or sand
off a little for a tight fi

Th e Fo ot
Press the slab from the Foot Template onto the mold (see page
117). [D] Spin it on the banding wheel as you press the center
into the depression of the mold with wet fingers. Compress the
slab to the mold everywhere using a soft rib. Let it dry on the
mold until it is a soft leather-hard.

E Co m b i n i n g t h e Pi e c e s
Before you trim the top of the lid, check the fit. If it is a b t big,
you may re-center it oriented the way you threw it (upside
down) and shave off clay from the diameter. If all is well, cen er
the lid with the excess clay facing up, and trim away the clay to
create a rounded dome. [E] Check for even thickness and keep
trimming until you achieve it.
To cut the teapot body off the bat, first place the lid in th
gallery. (The lid helps keep the gallery round as you alter the
body.) Use your palms to press in on opposite sides of the
base, creating two points. [F] Invert the teapot on a foam bat.
Halfway between the points, begin to cut into the teapot body,

165

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 165 165 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 165 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:165
 Chapter 5

arching slowly down toward the pointed end. Match this with a Making the Spout
cut on the other side, removing an arching triangle of clay that Now for the spout! Place the template on the spout slab and
dips about ¾" (2 cm) into the body of the teapot. [G] This is cut out the outer shape only (not the dart in the center). Cut
where the point of the slab foot will fit to the body. Repeat t is the sides at a bevel so that when you attach them they overlap.
cut on the other pointed end. Check to make sure the slab foot Round the slab on a mandrel, then compress the seam inside
fits. Trim the body so that it easily touches across the curve f and out with a narrow wooden tool and firm rib. Hold it up to
the slab. Slip and score these edges together. [H] Compress the
seam with a firm rib. On the inside, compress the seam with the
end of a long-handled paintbrush. Use the firm bristles to clea
I
up excess slip and smooth the seam. [I]

Fi n i s h i n g To u c h e s
A mandrel is a really helpful tool for curving small slabs of clay
for spouts or handles. With this technique, you sandwich the
clay between your rib and mandrel. To round the clay, simply
lay it on the mandrel, dip the edge of your flexible rib in wat r
(so it slides), and gently press down. You can purchase wooden
mandrels, or you can fashion one from clay, bisque fire it, and
use it to shape your spouts.

G J

H K

166

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 166 166 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 166 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:166
 Adding Complexity

your teapot to gauge the height and the curve to work toward. close the opening and see if you like it. If it’s still not quite right,
Trim the wide end where it will attach to fit the contour of trim a bit more. Score the attaching edges and recompress the
the teapot. Trim the tip to the height that works well for seam. Your spout should be leather-hard before you attach it,
your form. [J] otherwise you run the risk of deforming it when you press it
If you want to increase the curve of the spout, cut the dart into place.
with beveled edges. [K] Before you score it together, lightly Hold your spout up to the teapot and trace a line around
where it will attach. Punch the holes through the teapot and
smooth the rough edges with a sponge on the interior and
exterior. [L] Score the attaching edges and very gently press
L
the spout into place. Compress and smooth around the seam.
Take time to refine and taper the edge of the spout. Thin and
smooth the edge of the spout with a wet scouring pad. Draw it
repeatedly from the base of the spout toward the edge. [M]

Fi n i s h i n g t h e Kn o b a n d H a n d l e
For the knob on the lid, take the small cone of leather-hard
clay you have prepared and rasp a flat spot on the point. If yo
desire more of an oval shape, shave off clay from the sides.
Smooth it completely before you slip and score the knob into
place on the lid.
Curve your soft leather-hard strap handle and trim the
ends to fit to the teapot. [N] Slip and score the ends into place.
Recompress and smooth the seams as described on page 31.
M Drape plastic over your teapot and let it dry.

167

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 167 167 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 167 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:167
 Marty Fielding, on Process
www.martyfielding.com

Marty Fielding became captivated by clay as an anthropology major at the University of

North Carolina at Greensboro. He continued his study of ceramics as a student and teaching
assistant at Penland School of Craft. He received an MFA from the University of Florida. He
has taught locally and as far away as the University of Georgia Studio Abroad in Cortona,
Italy. His work has been included in invitational and juried exhibitions nationally and
internationally. Learn more about his work in publications such as Ceramics Monthly and
Pottery Making Illustrated.

Can you tell us a bit about your process? musical phrasing or waveforms of sound. Both architects
My process begins with a slab of red clay and a variety and potters are fundamentally engaged in designing
of templates. Many of the basic forms start as a cylinder functional space. Architecture holds people; people hold
or a cone that is altered into a rectangle, trapezoid, etc. pottery. Like the sentiment in a song, I instill calmness
Each piece is constructed by joining the basic forms and in my vessels to be experienced through use and
adding appendages such as handles, spouts, and lids. I use contemplation within people’s hands and homes.
two-part drop molds and press molds for some handles
and spouts. I approach the surface as if the piece is a
3D color field painting. I build up color by applying thin
layers of underglaze with the desire that brush strokes are
visible and the lower layers of color are visible in places.
Transparent glaze is applied to select areas of the exteriors.
I fire to cone 3 in both electric and soda kilns.

What are a few of your influences?

Johann Wolfgang von Goethe stated, “Music is liquid
architecture; Architecture is frozen music.” I explore how
color harmony can reference tonal harmony to produce
mood, rhythm, and atmospheric effects akin to music.
I draw from divergent sources that share the element
of abstraction, an austerity and restraint in form, and an
intentional trajectory for moving the body, eye, or psyche
through space. Grounded architecturally inspired forms
communicate stability, and cantilevered components act as
a counterpoint to the mass. Visual chords of color establish
a comforting harmonized background. Architectural
features punctuated with vivid color conduct the viewer’s
eye around the piece and settle into a mellow mid-
tempo beat.
Geometric forms combined with color become
utilitarian 3D color field paintings. Individual vessels and [above] Marty Fielding, Teapot, photo courtesy of the artist;
function-specific sets reference skyline and double as [opposite] Marty Fielding, Pitcher, photo courtesy of the artist

168

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 168 168 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 168 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:168
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 169 169 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 169 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:169
 G A L L E R Y:

Teapots and Cruets

170

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 170 170 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 170 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:170
 above: [top left] Julia Claire Weber, Geometric Mountain
Teapot, photo courtesy of the artist; [top right] Lorna
Meaden, Oil Bottle, photo by Deb Schwartzkopf; [bottom
left] James Lobb, Segrada Tea Set, photo by Deb
Schwartzkopf; [bottom right] Mark Pharis, Teapot, photo
courtesy of the artist

opposite: [top left] Sarah Pike, Blosson Teapot in Bone, photo courtesy of the artist; [top right] Mike Helke, Pouring
Pot, photo by Peter Lee; [middle left] Jeff Oestreich, Oval Teapot, photo courtesy of the artist; [middle right] Samantha
Momeyer, Teapot, photo courtesy of the artist; [bottom left] Justin Donofrio, Study in Black, photo courtesy of the
artist; [bottom right] Chris Pickett, Teapot, photo courtesy of the artist

171

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 171 171 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 171 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:171
 P R O J E C T:

Oil Pourer
This little oil pourer is fully composed of slabs shaped on bisque molds. A tapered narrow
spout is perfect for controlling the pour of oil, vinegar, or soy sauce. Try out this elegant form
and test your handbuilding skills using bisque molds, templates, and multiple slab parts.
The upper and lower sections of the oil pourer are each made of two pieces that clamshell
together. It is an engaging combination of shapes. Since the project relies on multiple bisque
molds and templates, each person’s version will vary. Part of the joy of making your own
tools is that they will impart your touch and ideas to the clay.

Tools & Materials

basic tool kit (page 17) Oil Pourer Upper Half Template B (page 179, cut from
Oil Pourer Bottom Template (page 179), cut from fresh clay
fresh clay Oil Pourer Long Spout Template (page 179), from a 1 ∕ 8"
2 Oil Pourer Top Templates (page 179), cut from fresh clay (3mm) thick soft leather-hard slab

Oil Pourer Upper Half Template A (page 179), cut from water or slip for attachments
fresh clay

172

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 172 172 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 172 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:172
329325 - Creative Pottery_001-192_VP.indd
Pottery_001-192.indd 173 173 6/4/20
4/2/20 12:12
2:24 PM
329325 - Creative Pottery_001-192.indd 173 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Page:173
 Chapter 5

Instructions Before stacking the upper halves and bottom section, trim
Shape the Bottom, Top, and Upper Half (A and B) Templates the rim in a pleasing curve. Visually center the upper section.
on bisque molds. For the upper halves, you can perforate the Trace around its base, marking a line onto the bottom section.
templates on the dashed center lines and use this as a guide for Cut about ¼" (6 mm) inside this line and remove the clay.
placement on your mold. See the top image on page 29 for an Score both sections and attach them together. Compress the
example of this. Let them dry until they are leather-hard. seam on the outside with the corner of a firm rib. [D]
Shave the edges of the Upper halves. Hold them stacked and
see if the edges align. Trim away more clay if needed until they
will attach cleanly. [A] Slip and score the edges and combine
C
the two pieces into an enclosed form. Use a firm rib to compres
the edge where they meet. This shape will become the top
portion of the pourer.
Repeat this process with the pieces of the lower portion
of the body shaped by the two Top Template pieces. They
will become the top half of the lower portion of the pouring
vessel. Trim, score, and attach the two pieces together. [B]
Compress the interior and exterior of the seam. Shape the
Bottom Template as shown on page 172. Trim the halves of the
lower section. Clam shell together the pieces that compose the
enclosed lower portion of the body. [C]

A D

B E

174

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 174 174 6/4/20
4/2/20 12:12
2:25 PM
329325 - Creative Pottery_001-192.indd 174 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:174
 Adding Complexity

F G

Add a little wedge of clay at the foot. This acts like a bike H
kickstand and increases the stability of the pot while it is on the
table. Start with a tapered half-moon of clay. Place the enclosed
form on your work surface. After scoring, press the moon shape
so that it wedges against the clay and surface of the table. [E]
Remove it and keep the bottom section covered in plastic while
it dries to leather-hard. Then use a rasp to clarify the shape.
Double check that it still fits into place. Smooth the surface hen
slip and score it into place. Compress around the seam.
Lightly cover the body while you work on making the spout.
Take the clay shaped by the Spout Template and bevel the
edges so they will overlap when they connect. Bend the slab
around a tapered wooden mandrel to create an even curve, then
compress the seam. [F] Remove the slab and orient it vertically.
Slip and score the edges and compress the exterior of the seam
against them with a soft rib.
Trim the spout to fit the body. Trace around the base of
the spout to mark where the spout will attach. Cut ¼" (6 mm)
inside this line and remove the circular shape. Score the edges
and press the spout into place. Be careful not to dent the spout
when you press it into place. [G]
Add a coil to the edge of the rim to strengthen seams and
add visual rhythm. [H] Use a rasp, wet scouring pad, and
sponge to remove any unwanted marks and smooth the surface
of the oil pourer (more details on page 24).

175

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 175 175 6/4/20
4/2/20 12:12
2:25 PM
329325 - Creative Pottery_001-192.indd 175 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:175
 Va ri ati o n fo r a H a n d b u i l t Li d
a n d Ga l l e r y
If you would prefer to handbuild a lid, there is a way! Scale up your oil pourer into a teapot and make this lid to
go along with it. The lid templates are made to fit a larger pot. Enlarge your oil pourer templates by 25 percent
to fit this lid.

Round the ends of Template D into a flange for the lid.

Tools & Materials
Trim its circumference to fit inside the opening of the gal-
basic tool kit (page 17) lery. Use Template A as a starting point to shape the plain
gallery bisque mold of the gallery so that it can be inserted into the upper por-
Oil Pourer Lid Template A (page 183) tion of the vessel. Make a cone out of Template B for the
roof of the lid. Using a 3 ⁄8" (1 cm) thick slab and starting
3"  3" soft leather-hard slab 3 ∕8" (1 cm) thick
with Template C as a guide, trim a circle of clay that fits
Oil Pourer Lid Templates B, C, and D (page 183) from inside the gallery. Slip and score the three pieces of the
a soft leather-hard slab 3 ∕8" (1 cm) thick lid together. Insert and attach the gallery. Slip and score
a coil along the seam and blend it into place. [B] Complete
Instructions the lid by compressing the seams, smoothing the surface,
Insert a horizontal plain (or gallery) to hold a lid in place and adding a knob of your choice! Refine and smooth the
before attaching the upper section to the lower section. edges and seams. [C]
This can be a flat piece of clay with a hole cut in it, or you
may fashion a bisque mold to shape the slab with a circu-
lar gallery for a lid. To find the shape of the gallery, trim B
Template A to fit the interior contour of the upper sec-
tion. Once it fits, mark a line on the interior of the upper
section where the gallery will be scored into place. [A]
Use a bisque mold to create a gallery. Lay a slab on it,
and, with the mold spinning on a banding wheel, depress
the slab to take on the contour of the mold. Cut a circle
into the gallery on which the lid can rest. Once it is a soft
leather-hard, use your trimmed template to fit the gallery
into the upper section.

A C

176

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 176 176 6/4/20
4/2/20 12:12
2:25 PM
329325 - Creative Pottery_001-192.indd 176 4/2/20 2:09 PM
(F52)_Title: 329325 - Creative Pottery
Text Page:176
 Templates
E N LARG E ALL TE M PLATES BY 50 % B E FO R E U S I NG

PITCHER DART

PITCHER BODY WALL

PITCHER SPOUT

PITCHER DART

177

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 177 177 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 177 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:177
 Templates

PITCHER HANDLE PITCHER BODY (CAP)

SQUARE-FOOTED BOWL FOOT A

SQUARE-FOOTED BOWL FOOT B

JUICER SPOUT
JUICER HANDLE A

JUICER WALL DART

JUICER HANDLE B JUICER HANDLE C

178

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 178 178 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 178 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:178
 Templates

OIL POURER LONG SPOUT

OIL POURER TOP

OIL POURER BOTTOM

OIL POURER
UPPER HALF A

OIL POURER
UPPER HALF B

LARGE VASE TOPPER

179

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 179 179 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 179 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:179
 Templates

BUTTER DISH LID

LARGE VASE TOP SLAB

BUTTER DISH FOOT A

BUTTER DISH FOOT B

TEAPOT FOOT

GOBLET

CUP DART

TEAPOT SPOUT

1 80

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 180 180 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 180 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:180
 Templates

BUTTER DISH BASE

ASYMMETRICAL SLAB PLATE

CUP FOOT

DECORATIVE EDGE

VASE SIDE DART

BOTTOMLESS CYLINDER

1 81

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 181 181 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 181 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:181
 Templates

COIL MOLD FOOT

DESSERT BOAT

V-SHAPED BOWL THROWING GUIDE

BUD VASE BASE

BUD VASE

1 82

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 182 182 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 182 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:182
 Templates

SQUARE-FOOTED BOWL SLAB BOTTOM

OIL POURER HANDBUILT V-SHAPED BOWL

LID B

OIL POURER LID C

OIL POURER LID A

OIL POURER LID D

1 83

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 183 183 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 183 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:183
 Resources
A r t Ce n te r s Guldagergaard International Ceramic Red Star Studios
Research Center Kansas City, MO
Anderson Ranch Arts Center Skælskør, Denmark www.redstarstudios.org
Snowmass, CO www.ceramic.dk
www.andersonranch.org Red Lodge Clay Center
Harvard Ceramics Red Lodge, MT
Appalachian Center for Craft Allston, MA www.redlodgeclaycenter.com
Smithville, TN www.ofa.fas.harvard.edu
www.tntech.edu/craftcenter Santa Fe Clay
Haystack Mountain School of Crafts Santa Fe, NM
Archie Bray Foundation Deer Isle, ME www.santafeclay.com
for the Ceramic Arts www.haystack-mtn.org
Helena, MT Seward Park Clay Studio
www.archiebray.org John C. Campell Folk School Seattle, Washington
Brasstown, NC www.sewardparkart.org
Armory Art Center www.folkschool.org
West Palm Beach, FL Society for Contemporary Craft
www.armoryart.org Lill Street Art Center Pittsburgh, PA
Chicago, IL www.contemporarycraft.org
Arrowmont School of Arts and Crafts www.lillstreet.com
Gatlinburg, TN Watershed Center for the Ceramic Arts
www.arrowmont.org Lux Center for the Arts Newcastle, ME
Lincoln, NE www.watershedceramics.org
Art Center West www.luxcenter.org
Roswell, GA Wayne Art Center
www.roswellclaycollective.com Mendocino Art Center Wayne, PA
Mendocino, CA www.wayneart.org
Baltimore Clayworks www.mendocinoartcenter.org
Baltimore, MD Worcester Center for Crafts
www.baltimoreclayworks.org Morean Center for Clay Worcester, MA
St. Petersburg, FL www.worcestercraftcenter.org
Burnish Clay Studio www.moreanartscenter.org
Bellingham, Washington
www.burnishclaystudio.com M u s e u m s a n d Ce n te r s fo r t h e
Mudflat Studio
Cambridge, MA St u d y of Ce r a m i c s
Carbondale Clay Center www.mudflat.org Arizona State University Art Museum
Carbondale, CO Ceramic Research Center
www.carbondaleclay.org Northern Clay Center Tempe, AZ
Minneapolis, MN www.asuartmuseum.asu.edu
Center for Craft Creativity and Design www.northernclaycenter.org
Asheville, NC Belger Arts Center
www.craftcreativitydesign.org Odyssey Center for Ceramic Arts Kansas City, MO
Asheville, NC www.belgerartscenter.org
Clay Art Center www.odysseyceramicarts.com
Port Chester, NY Bellevue Arts Museum
www.clayartcenter.org Penland School of Crafts Bellevue, WA
Penland, NC www.bellevuearts.org
Clay Arts Vegas www.penland.org
Las Vegas, NV Chipstone Foundation
www.clayartsvegas.com Pewabic Pottery Milwaukee, WI
Detroit, MI www.chipstone.org
The Clay Studio www.pewabic.org
Philadelphia, PA Crocker Art Museum
www.theclaystudio.org Pottery Northwest Sacramento, CA
Seattle, WA www.crockerartmuseum.org
The Clay Studio of Missoula www.potterynorthwest.org
Missoula, MT Denver Art Museum
www.theclaystudioofmissoula.org Pottery Workshop Denver, CO
Various locations in China www.denverartmuseum.org
Greenwich House Pottery www.potteryworkshop.com.cn
New York, NY de Young Museum
www.greenwichhouse.org/pottery San Francisco, CA
www.deyoung.famsf.org

1 84

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 184 184 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 184 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:184
 Resources

Everson Museum of Art Schein-Joseph International Museum of Mindy Solomon Gallery

Syracuse, NY Ceramic Art Miami, FL
www.everson.org Alfred, NY www.mindysolomon.com
www.ceramicsmuseum.alfred.edu
Freer Gallery of Art Smithsonian Institute, M. T. Burton Gallery
Washington, DC Zanesville Museum of Art Surf City, NJ
www.asia.si.edu Zanesville, OH www.mtburtongallery.com
www.zanesvilleart.org
Fuller Craft Museum Mudfire Clay Works and Gallery
Brockton, MA G a l l e r i e s t h a t Re p r e s e n t o r Decatur, GA
www.fullercraft.org www.mudfire.com
S h o w Ce r a m i c A r t i s t s
The International Museum of Akar Design Nevica Project
Dinnerware Design Iowa City, IA Chicago, IL
Ann Arbor, Michigan www.akardesign.com www.thenevicaproject.com
www.dinnerwaremuseum.org/main/
American Museum of Ceramic Art Piedmont Craftsmen Gallery
Metropolitan Museum of Art Pomona, CA Winston-Salem, NC
New York, NY www.amoca.org www.piedmontcraftsmen.org
www.metmuseum.org
Blue Spiral 1 Pinch Goods
Mingei International Museum Asheville, NC Northampton, MA
San Diego, CA www.bluespiral1.com www.pinchgoods.com
www.mingei.org
Charlie Cummings Gallery Plinth Gallery
Mint Museum Gainesville, FL Denver, CO
Charlotte, NC www.claylink.com www.plinthgallery.com
www.mintmuseum.org
Companion Gallery Pucker Gallery
Museum of Fine Arts Boston Humboldt, TN Boston, MA
Boston, MA www.companiongallery.com www.puckergallery.com
www.mfa.org
Dai Ichi Arts Radius Gallery
Museum of Fine Arts Houston New York, NY Missoula, MT
Houston, TX www.daiichiarts.com www.radiusgallery.com
www.mfah.org
Dairy Barn Arts Center Schaller Gallery
Museum of Arts and Design Athens, OH St. Joseph, MI
New York, NY www.dairybarn.org www.schallergallery.com
www.madmuseum.org
Eutectic Gallery Sherrie Gallerie
Nora Eccles Harrison Museum of Art at Portland, OR Columbus, OH
Utah State University www.eutecticgallery.com www.sherriegallerie.com
Logan, UT
www.artmuseum.usu.edu Ferrin Contemporary Sherry Leedy Contemporary Art
North Adams, MA Kansas City, MO
North Carolina Pottery Center www.ferrincontemporary.com www.sherryleedy.com
Seagrove, NC
www.ncpotterycenter.org Gandee Gallery Signature Shop
Fabius, NY Atlanta, GA
Ohio Craft Museum www.gandeegallery.com www.thesignatureshop.com
Columbus, OH
www.ohiocraft.org Good Earth Pottery Snyderman-Works Galleries
Bellingham, WA Philadelphia, PA
Philadelphia Museum of Art www.goodearthpots.com www.snyderman-works.com
Philadelphia, PA
www.philamuseum.org Harvey Preston Gallery Trax Gallery
Aspen, CO Berkeley, CA
Renwick Gallery of the Smithsonian www.harveypreston.com www.traxgallery.com
American Art Museum
Washington, DC Lacoste Gallery
www.americanart.si.edu Concord, MA
www.lacostegallery.com
San Angelo Museum of Fine Arts
San Angelo, TX Lark & Key Gallery
www.samfa.org Charlotte, NC
www.larkandkey.com

1 85

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 185 185 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 185 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:185
 Resources

Ceramics Monthly residency issue American Art and Clay Company

Pu b l i c a t i o n s a n d www.ceramicartsnetwork.org/ceramics- Indianapolis, IN
A r t i s t Re s o u r c e s monthly/ceramic-art-and-artists/ceramic- www.amaco.com
American Craft Magazine artists/residencies-and-fellowships-2015/
www.craftcouncil.org/magazine Archie Bray Clay Business
H e a l t h i n t h e St u d i o Helena, MT
Ceramics: Art and Perception| Technical www.archiebrayclay.com
CERF: Craft Emergency Relief Fund Studio
www.mansfieldceramics.com/product- Protector Small Business Green Task Force
category/magazine Axner Pottery and Ceramic Supplies
www.blog.nceca.net/category/
Oviedo, FL
green-task-force
Field Guide for Ceramic Artisans www.axner.com
www.ceramicsfieldguide.org King County Hazardous Waste Help
Bailey Ceramic Supply
www.hazwastehelp.org/ArtHazards/
Ceramic Arts Daily Kingston, NY
ceramics.aspx
www.ceramicartsdaily.org www.baileypottery.com
Digital Fire
Big Ceramic Store
Ceramics Monthly www.digitalfire.com/4sight/hazards/
www.ceramicartsdaily.org/ceramics-monthly Sparks, NV
ceramic_hazard_dealing_with_dust_in_
www.bigceramicstore.com
ceramics_372.html
Ceramic Review
www.ceramicreview.com Blue Bird Manufacturing
Kristen Keiffer’s Standing and
Fort Collins, CO
Throwing Blog
CFile www.kiefferceramics.com/2018/01/01/psa-
www.bluebird-mfg.com
www.cfileonline.org standing-ergonomics/
The Ceramic Shop
Clay Times Philadelphia PA
www.claytimes.com Favo r i te To o l s www.theceramicshop.com

Critical Craft Forum MudTools Clay Art Supply

www.criticalcraftforum.com www.mudtools.com Tacoma, Washington
www.clayartcenter.net/
Craft in America Studio Pro Bats
www.craftinamerica.org www.studioprobats.com/ Clay King
Spartanburg, SC
The Journal of Australian Ceramics Brent Wheel Extensions www.clay-king.com
www.australianceramics.com/journal www.amaco.com/products/leg-
extension-kit-new Clay Planet
New Ceramics Santa Clara, CA
www.new-ceramics.com Shimpo Banding Wheel www.clay-planet.com
www1.ceramics.nidec-shimpo.com/
Pottery Making Illustrated banding-wheels Continental Clay Company
www.ceramicartsdaily.org/pottery-making- Denver, CO, and Minneapolis, MN
illustrated GR Pottery Forms www.continentalclay.com
www.grpotteryforms.com/
Professional Artist Crane Yard Clay
www.professionalartistmag.com MKM Pottery Tools Kansas City, MO
Decorating Disc www.kcclay.com
Studio Potter Journal www.mkmpotterytools.com/
www.thestudiopotterjournal.tumblr.com Georgie’s Ceramic and Clay Co.
CircleMatic Template System Portland, Oregon
Sandi Pierantozzi www.georgies.com/
F i n d i n g a St u d i o www.circlematic.com/
Highwater Clays
Apprenticelines Pure & Simple Pottery Products Asheville, NC
www.apprenticelines.org Plaster mold making www.highwaterclays.com
www.pureandsimplepottery.com
Alliance of Artists Communities
Laguna Clay
www.artistcommunities.org/artists
Ce r a m i c s E q u i p m e n t a n d City of Industry, CA
www.lagunaclay.com
Res Artis M a te r i a l s S u p p l i e r s
www.resartis.org/en Aardvark Clay L&L Kiln Manufacturing
Santa Ana, CA Swedesboro, NJ
Residency Unlimited www.aardvarkclay.com www.hotkilns.com
www.residencyunlimited.org
Mid-South Ceramic Supply Co.
TransArtists
Nashville, TN
www.transartists.org
www.midsouthceramics.com

1 86

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 186 186 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 186 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:186
 New Mexico Clay
Albuquerque, NM
www.nmclay.com

Peter Pugger Mfg.

Ukiah, CA
www.peterpugger.com

Seattle Pottery Supply

Seattle, WA
www.seattlepotterysupply.com/

Sheffield Pottery
Sheffield, MA
www.sheffield-pottery.com

Shimpo
www.shimpoceramics.com

Skutt Kilns
www.skutt.com

Soldner Clay Mixers by Muddy Elbow Mfg.

Newton, KS
www.soldnerequipment.com

Standard Ceramic Supply Company

Pittsburgh, PA
www.standardceramic.com

Venco
www.venco.com.au

Re c o m m e n d e d Re a d i n g
The Artist’s Guide: How to Make a Living
Doing What You Love, Jackie Battenfield Functional Pottery: Form and Aesthetic in Art Axis
Pots of Purpose, Robin Hopper www.artaxis.org
Atomic Habits, James Clear
Glaze: The Ultimate Ceramic Artist’s Ceramic Arts Network
Ceramics, Philip Rawson and Wayne Higby Guide to Color and Glaze, Brian Taylor and www.ceramicartsnetwork.org
Kate Doody
Collaborative Intelligence: Thinking with Digital Fire
People who Think Differently, Dawna Graphic Clay: Ceramic Surfaces and www.digitalfire.com/index.php
Markova, Ph.D. and Angie McArthur Printed Image Transfer Techniques, Jason
Bige Burnett Glazy
The Complete Guide to High-Fire Glazes: www.glazy.org
Glazing & Firing at Cone 10, John Britt Mastering Cone 6 Glazes: Improving
Durability, Fit and Aesthetics, John Kamm Teapot Foundation
The Complete Guide to Mid-Range Glazes: Hesselberth and Ron Roy www.kammteapotfoundation.org
Glazing & Firing at Cones 4–7, John Britt
A Potter’s Workbook, Clary Illian National Council on Education for the
The Craft and Art of Clay, Susan Peterson Ceramics Arts
The Secret Language of Color, Joann www.nceca.net
Cushing Handbook, Val Cushing Eckstut and Arielle Eckstut
Objective Clay
Deskbound: Standing up to a Sitting World, Ten Thousand Years of Pottery, www.objectiveclay.com
Kelly Starrett, Glen Cordoza Emmanuel Cooper
The Potter’s Council
Electric Kiln Ceramics: A Guide to Clays, www.ceramicartsdaily.org/potters-council
Glazes, and Electric Kilns, Richard Zakin and O n l i n e D a ta b a s e s , A r t i s t
Frederick Bartolovic The Rosenfield Collection
Co l l e c t i ve s , a n d M e m b e r www.rosenfieldcollection.com
Eva Zeisel On Design: The Magic Language Organizations
of Things, Eva Zeisel Access Ceramics
www.accessceramics.org

1 87

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 187 187 6/4/20
4/2/20 12:12
2:25 PM
329325 - Creative Pottery_001-192.indd 187 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:187
 Wall Cup Shelf at Deb’s Home
Cups by (top to bottom, left to right):
1. Peter Brondz, Brian Jones, Isaac Howard, Julia Galloway, Lisa Orr, Jen Allen
2. Brad Schwieger, Rickie Barnett, Bryan Hopkins, Sam Lopez, Emily Schroeder Willis, Blair Clemo
3. Chris Staley, Sarah Magar, Richard Burkett, Krista Cortese, Stephen Ruby, Mark Pharis
4. Andrea Marquis, Jordan Jones, Sam Chung, Doug Peltzman, Ann Marie Cooper, Sue Tirrell, Marge Levy
5. Canne Holladay, Hayley Reed, Eliane Medina, Vanessa Norris, Anika Major, Damian Grava

1 88

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 188 188 6/4/20
4/2/20 12:12
2:25 PM
329325 - Creative Pottery_001-192.indd 188 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:188
 Acknowledg ments
With each morning coffee, I am reminded of the people who of watching the “spinning rainbow wheel of death” on my ten-
have made my journey as a potter possible. A few of them are year-old laptop. You gave me a tool that lightens the load of
on the cup shelf pictured here, and there are so many more! I many projects, namely this one!
developed a whole new level of stamina while writing this book, Keeping the wheels turning at the studio would never
and leaned on so many people throughout the process! happen without the incredible help of my studio assistants—
I’m grateful for role models within my family. My Oma, past and present. Each person has contributed in a powerful
who tirelessly tended her garden. She widened the circle of way. From amazing studio signs, to building shelves, from
family to every friend through delicious meals and letters. My developing new classes to dialing specific gravity procedures,
Opa, a small shoe shop owner, demonstrated the joy of taking from delicious group lunches, to spreading mulch, and
lunch at home and striking up conversation with customers. As from beers out in the evening to making studio events flow
immigrants, they creatively forged a path for their family. smoothly—you all rock my world. You have helped me grow
Dad, you taught me to be mesmerized by raindrops on personally and helped tend to the studio physically and
spiderwebs and to have keen attention while combing for shells energetically. Thank you, thank you, thank you!
on long beach walks. Mom! You have always positioned yourself Matisse Lorance Berthiaume, photographer extraordinaire,
directly in my corner. I’ve counted on you to help me move across you captured each and every detail in the perfect light.
the country how many times? You encouraged me to shoot for Thank you for the countless hours shooting and thoughtful
my dreams! You both taught me to love material, whether it was suggestions. Your unbelievable attention to detail amazes me!
crayons, fabric, wood, or flour Sister, your resilience, gorgeous Josh DeWeese, you have inspired me for years! Thank
food photos, and healing touch add so much to my life! you for writing the forward. And a special thank you to all the
Thank you to my professors and mentors for the amazing artist contributors. It’s been fun corresponding with you and
academic and hands-on learning experiences. Each of you gifted gathering your inspirational work and words! Some of you I just
me with knowledge and support. I’m so grateful I get to chase learned about, while others I have looked up to for years. You
after this crazy life as a potter. all enrich our community and motivate me to keep stretching.
Thank you to my partner Joe Wilkinson for riding this roller Thanks to my editor Thom O’Hearn for his encouragement,
coaster life with me. When life feels overwhelming (like when editing, and upbeat feedback so this project could stay right on
I am writing a book, teaching internationally, prepping for course. And here it is, done with the helping hands of so many.
craft fairs. . . oh, and trying to make pottery), he helps me keep Thank you to the whole team at Quarry, including Marissa
perspective and stay light-hearted. He organized the collective Giambrone, Amy Sly, and Jessi Schatz for their work on this
purchase of a new computer for my fortieth birthday with a book and for enhancing our field with so many books that
bunch of friends and family! You all saved me countless hours foster creativity.

About the Author

DEB SCH WA RTZ KOP F is a studio potter, instructor, and Center (Indonesia), and IARE (France). Her artwork is included
active community member in Seattle, Washington. She has in collections such as The Rosenfield Collection, the Kamm
taught at Ohio University, Massachusetts College of Art and Teapot Foundation, San Angelo Museum of Fine Arts, and the
Design, University of Washington, and University of Georgia’s Washington State Arts Commission, among others. She has
study abroad program in Cortona. She was named Ceramics been included in numerous publications including What Makes
Monthly and Ceramic Arts Daily’s 2019 Artist of the Year, one a Potter: Functional Pottery in America, Ceramic Monthly,
of the most visible awards in the field. Deb has worked as an Pottery Making Illustrated, and Studio Potter magazine; has
artist in residence nationally and internationally at the Archie contributed to Tales of a Red Clay Rambler podcasts; has
Bray Foundation (MT), Mudflat Studios (MA), The Clay Studio served as the director of the Washington Clay Arts Association;
(PA), Pottery Northwest (WA), Watershed (ME), Red Lodge and is currently a board member at Pottery Northwest. In
Clay Studio, (MT) Sanbao in Jingdezhen, China, and the Center 2013, Deb founded and launched what is now Rat City Studios,
for Ceramics in Berlin, Germany. a community pottery studio where she offers adult classes,
Since 2002, Deb has also taught widely at top ceramics studio memberships, and opportunities for emerging artists:
centers including Penland School of Craft, Gaya Ceramics Arts ratcitystudios.com.

1 89

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 189 189 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 189 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:189
 Index
A C G
Allen, Jen, 67–68, 155, 162 Cake stands, throwing, 92–94 Galleries
Alterations Calipers, 17 butter dishes, 141–142
about, 32 exploring use of molds, 122–125
Challenges, leaning in to, 14
visualizing, 33 finding inspiration, 41–4
Chung, Samuel, 62 juicers, 162
Arnold, Mark, 125
Clement, Naomi, 99, 155 pitchers, 155
Asymmetrical molds, coiling, 144–147 plates and platters, 98–99
Clemo, Blair, 123
serving dishes, 53–54
Closed forms, throwing, 114–117
teapots and cruets, 170–171
Compressing tools, 17
B Cones, making, 64–66
vases, 62

Banding wheels, 18 Galloway, Julia, 155

Cruets, gallery of, 170–171 Goals, setting, 14, 36
Barnett, Rickie, 99
Cups, making, 118–121 Goblets
Bats, 18
Cutting tools, 17 making, 126–129
Bayless, Hayne, 123, 130–132
Cylinder vases, making altered, 55–57 templates, 180
Beveled seams, 31
Cylinders, making bottomless, 45–47 Godfrey, Steve, 37
Bisque molds
Grover, Martha, 162
bud vases, making, 110–113
butter dishes, making, 136–140
closed forms, 114–117 D
coiling asymmetrical, 144–147 Daglish, Naomi, 98 H
cups, making, 118–121 Hand building, 48–49
Danielson, Nicholas, 98
firing, 10
Decorative edges, adding, 95–97 Handles
goblets, making, 126–129
adding to pitchers, 151–152
small spoons, making, 104–107 Dessert boats
pulling, 24
for spoons, 108–109 making, 69–73
for teapots, 167
square-footed bowls, making, 133–135 templates, 182
Helenske, Zak, 156–157
Bowls DeWeese, Josh, 141
making square-footed, 133–135 Helke, Mike, 62, 170
Dividing tools, 17
making V-shaped, 64–66 Holbert, Miles, 162
Donofrio, Justin, 170
templates, 178, 182, 183 Hunt, Michael, 98
Drywall, 19
Brushes, bristle and paint, 18
Bud vases
making, 110–113
F I
templates, 182
Influences/inspiratio
Butter dishes Fielding, Marty, 168–169
defining, 4
gallery of, 141–142 Finishing, 24–26 of Fielding, 168
making, 136–140 Firing temperatures of Helenske, 157
templates, 180–181 for bisque molds, 102 of Sijan, 79
for cake stands, 91 sources of, 39–44
of Tirrell, 90
Interfacing, 19

190

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 190 190 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 190 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:190
 index

Orr, Lisa, 141 Ribs, 17

J Oval serving tray, making, 50–52 Riedel, Noah, 53, 155
Joerling, Nick, 53
Rolling pins, 17
Juicers
gallery of, 162 Rulers, 17
making, 158–161 P
templates, 178 Paintbrushes, 18
Parker, Bonilyn, 141 S
Pharis, Mark, 171 Schwartzkopf, Deb, 124
K Pickett, Chris, 170 Schwieger, Brad, 62
Kline, Michael, 99 Pike, Sarah, 170 Scoring tools, 17
Knives, 17 Pitchers Scouring pads, 17–18
gallery of, 155 Seams, 31
making, 148–153
Self-criticism, 36–37
templates, 177
L Series, working in, 143
Plastic, lightweight, 17
Lids, variations for hand-built, 176 Serving dishes
Plates
Lindsay, Suze, 54, 62, 99 gallery of, 53–54
altering shapes, 86–88
Lobb, James, 122, 171 making oval tray, 50–52
gallery, 98–99
Lobell, Robbie, 20 making asymmetrical slab, 76–78 Shaping tools, 17
templates for asymmetrical slab, 181 Sijan, Taylor, 79
throwing, 80–82 Slab plates
trimming and tap centering, 83–85
M Platters, gallery, 98–99
making asymmetrical, 76–78
templates for asymmetrical, 181
Mandrels, 17
Projects Slabs, working with, 21–22
MDO, 18–19
altered cylinder vase, 55–57 Smoothing tools, 17–18
Meaden, Lorna, 171 butter dish, 136–140
Sponges, 18
Measuring tools, 17 cake stand, 91–94
cup, 118–121 Spoons
Medina, Eliane, 98
large vase, 58–61 making mold for, 108–109
Miter seams, 31 making small, 104–107
oil pourer, 172–175
Molds pitcher, 148–153 Spouts
coiling asymmetrical, 144–147 small spoons, 104–107 adding to mold, 151–152
gallery exploring use of, 122–125 square-footed bowl, 133–135 importance of, 163
shapes for, 101 making for teapots, 166–167
Punches, 17
See also Bisque molds templates, 177, 179
Momeyer, Samantha, 170 Spray bottles, 17
Square-footed bowls, making, 133–135
Q
Straight-edge seams, 31
Quackenbush, Liz, 44
O Surfaces, 18–19
Oesterritter, Lindsay, 162 banding wheels, 18
Oestreich, Jeff, 17 drywall, 19

Oil pourers
R interfacing, 19
Rasps, 17 MDO, 18–19
making, 172–175
templates, 179, 183 Reverse miter seams, 31

191

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 191 191 21/1/20
6/4/20 12:12
10:04 PM
AM
329325 - Creative Pottery_001-192.indd 191 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:191
 index

Throwing
T bowls, making V-shaped, 64–65
V
Tani, Olivia, 30 cake stands, 92–94 Vases
Teapots centering clay, 22–23 gallery of, 62–63
gallery of, 170–171 closed forms, 114–117 making altered cylinder, 55–57
making, 163 creating openings, 23 making for buds, 110–113
plates, 80–82 making large, 58–61
Templates
raising walls, 24 templates for bud, 182
about, 27–28
asymmetrical slab plates, 181 trimming and tap centering, 83–85
bowls, 178, 182, 183 Tirrell, Sue, 89–90
bud vases, 182 Tools, 16–18 W
butter dishes, 180–181 cutting, 17 Walker, Holly, 54, 98
dessert boats, 182 hands as, 16
Water buckets, 17
goblets, 180 measuring, 17
juicers, 178 scoring, 17 Water management tools, 17
oil pourers, 179, 183 shaping and compressing, 17 Weber, Julia Claire, 141, 155, 171
pitchers, 177 smoothing, 17–18 Wheels, setting up, 19
spouts, 177, 179 trimming, 18
Wilson, Tara, 54
tools, 27 water management, 17
using with hand building, 48–49 Wire tools, 17
Trimming, thrown plates, 83–85
using with markers, 29 Wooden hand tools, 18
Trimming tools, 18
Tsuchiya, Clovy, 141, 162

192

329325 - Creative Pottery_001-192_VP.indd

Pottery_001-192.indd 192 192 6/4/20
4/2/20 12:12
2:25 PM
329325 - Creative Pottery_001-192.indd 192 20/1/20 8:51 AM
(F52)_Title: 329325 - Creative Pottery
Text Page:192