The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
While attending a ceramics course years ago at the Arts & Crafts Institute (IKA) in Mechelen, Belgium, we had to make a gadget as part of the an assignment. I decided to make an egg form (a ball felt too obvious) that rests comfortablein
the palm of the hand. I was fascinated with the surface possibilities of ceramics, but can’t remember exactly how I came to put little grains of clay built up to create a texture over the surface of the form, but suddenly,
the idea was there. I covered it with black engobe, then, at a later stage, made many tests to have a nice black engobe with a smooth surface that doesn’t need a transparent glaze on top of it.
This early project inspires my current sculptural work, and the appreciative response it has received motivates me to continue. I showed my work for the first time in 2020 for “Clay in Movement,” a competition organized by
KLEI, a monthly magazine published in the Netherlands, dedicated to ceramics.
I came to the high-contrast surfaces merely out of a trial-and error experience. This is how ideas are created. Some ceramic artists use glaze as surface, I prefer applied texture or the natural color of clay because I feel most comfortable
with it.
Later on, the forms on which I imposed the complex grain-like texture were mainly primary—spheres and bowls. I used the natural archetype of a globe and planets as an inspiring starting point. The curve of a classic bowl or droplet,
or geometrical shapes, like a double cone, serve as a base as well. At a certain point in my progress, I changed the forms from bowls to vases. Many people think that a vase needs flowers, but I see a vase more as a decorative object
in itself. Adding a lid ties the form together as a finishing touch, and sometimes these are made of wood. The names of my pieces are inspired by the places I’ve been lucky enough to visit in my life.
Preparing the Base
In order to create the body of each piece, I use different ceramic techniques. They can vary from using a mold, for round or conical forms, to throwing. However, most of my pieces are coil built. I prefer coiling, because while I’m
shaping the piece I can alter it by building up to its final form. The body carries a definite structure as a result of the control I have in building.
The process starts by making the bottom of the vase. The bottom of the vase should be at least ⅜ inch (1 cm) thick (1). Begin by wedging a piece of clay, shaping it into a ball, and placing it onto a cotton sheet to avoid the piece sticking to the table. I flatten the clay and turn it around and over like a pancake from time to time so that it’s stretched underneath as well (2). Once the desired thickness and size are reached, smooth the clay on both sides. Before I put the clay on a banding wheel, I place plastic on the bottom that will keep it from sticking to the wheel and keep the piece from drying quickly, because the process altogether takes quite a while. Cut the slab into a circular shape using a template (3).
Starting the Body
Once the bottom is prepared, I start rolling coils and wrap the coils that I don’t need in plastic to avoid them drying out. Score the edge of the bottom and apply some slip. Begin with the first coil around the edge of the bottom
and press gently on the bottom (4). With a wooden spatula, compress and blend each coil, on the inside as well as the outside, so that there is no air trapped (5). With a finger and a rib, smooth the surface. I repeat the same process
and adjust where necessary.
If the top shows irregularities while coiling, cut it off throughout the process (6). The body should not be more than 0.3 in. (0.7 cm) thick (7) because grains of clay will be applied to the body at a later stage. If the base form is made
thicker, the vase will weigh too much. Although you don’t see it, both the inside and the outside must be smooth.
Creating the body itself takes one or two days. Using a heat gun gives me the opportunity to continue building so that I don’t have to wait for hours until the piece is leather hard (8). Once the piece approaches the desired height,
I place a cardboard template for the opening and adjust accordingly (9). I keep some clay as slabs for the closure of the vase and for the lid (10). I cut the shape of the top plane out of a slab with a special beveling tool (11). To
join the two, both the form and the top slab should be leather hard. I start first with the closure of the vase and secure it (13, 14), then use the cardboard pattern to adjust it. For the finishing touch, I use a rib to refine
the top piece (15, 16). The final step is to create a lid in the same shape (17). Place some plastic on the closure and fit the lid on it so that it doesn’t stick.
Building the Surface
Now that the body is finished, I can start creating the surface. The process takes many hours and days, therefore, I have to pay special attention that the base vase doesn’t dry at all. To keep the body from drying out, it is wrapped
in plastic at all times. I only expose the parts that I’m working on (see 21).
I roll very small coils of about an eighth inch (3 mm) thick and cut them into about 3/16-inch (5-mm) segments (18). I can only cut 10 to 15 coils at a time because they dry very quickly. The coils that I don’t need immediately are
wrapped in plastic. Then, I roll each little coil between my fingers so that it looks like a grain (19). With some slip, I fix them on the piece one by one until the surface is completely covered (20, 21). I don’t use a pattern—I
start somewhere and see where it ends. Covering the whole surface is labor intensive.
The Finishing Touch
Once the vase is bisque fired to 1922°F (1050°C), I use a spray to moisten the piece (22). This way the black engobe will not have the opportunity to be absorbed completely by the piece. I use a brush to coat the vase completely
with the black engobe (23), then, once it is covered, I use a moist sponge to wipe off the excess until the grain texture reappears (24). During this step, I have to be careful not to wipe off the black engobe where it should
remain on the piece. It is a task that needs precision. I fire the vase for a final time, together with the lid, at 2282°F (1250°C).
the author Hilde Boterman comes originally from Ostend (Belgium) and lives now in Ghent. Her uncle, Gust Michiels, was a renowned sculptor and ceramic artist. She currently works as a driver for disabled people on a part-time basis and hopes to become a full-time ceramic artist upon her early retirement. To learn more, follow her on Instagram: @hboterman.
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The audio file for this article was produced by the Ceramic Arts Network staff and not read by the author.
While attending a ceramics course years ago at the Arts & Crafts Institute (IKA) in Mechelen, Belgium, we had to make a gadget as part of the an assignment. I decided to make an egg form (a ball felt too obvious) that rests comfortablein the palm of the hand. I was fascinated with the surface possibilities of ceramics, but can’t remember exactly how I came to put little grains of clay built up to create a texture over the surface of the form, but suddenly, the idea was there. I covered it with black engobe, then, at a later stage, made many tests to have a nice black engobe with a smooth surface that doesn’t need a transparent glaze on top of it.
This early project inspires my current sculptural work, and the appreciative response it has received motivates me to continue. I showed my work for the first time in 2020 for “Clay in Movement,” a competition organized by KLEI, a monthly magazine published in the Netherlands, dedicated to ceramics.
I came to the high-contrast surfaces merely out of a trial-and error experience. This is how ideas are created. Some ceramic artists use glaze as surface, I prefer applied texture or the natural color of clay because I feel most comfortable with it.
Later on, the forms on which I imposed the complex grain-like texture were mainly primary—spheres and bowls. I used the natural archetype of a globe and planets as an inspiring starting point. The curve of a classic bowl or droplet, or geometrical shapes, like a double cone, serve as a base as well. At a certain point in my progress, I changed the forms from bowls to vases. Many people think that a vase needs flowers, but I see a vase more as a decorative object in itself. Adding a lid ties the form together as a finishing touch, and sometimes these are made of wood. The names of my pieces are inspired by the places I’ve been lucky enough to visit in my life.
Preparing the Base
In order to create the body of each piece, I use different ceramic techniques. They can vary from using a mold, for round or conical forms, to throwing. However, most of my pieces are coil built. I prefer coiling, because while I’m shaping the piece I can alter it by building up to its final form. The body carries a definite structure as a result of the control I have in building.
The process starts by making the bottom of the vase. The bottom of the vase should be at least ⅜ inch (1 cm) thick (1). Begin by wedging a piece of clay, shaping it into a ball, and placing it onto a cotton sheet to avoid the piece sticking to the table. I flatten the clay and turn it around and over like a pancake from time to time so that it’s stretched underneath as well (2). Once the desired thickness and size are reached, smooth the clay on both sides. Before I put the clay on a banding wheel, I place plastic on the bottom that will keep it from sticking to the wheel and keep the piece from drying quickly, because the process altogether takes quite a while. Cut the slab into a circular shape using a template (3).
Starting the Body
Once the bottom is prepared, I start rolling coils and wrap the coils that I don’t need in plastic to avoid them drying out. Score the edge of the bottom and apply some slip. Begin with the first coil around the edge of the bottom and press gently on the bottom (4). With a wooden spatula, compress and blend each coil, on the inside as well as the outside, so that there is no air trapped (5). With a finger and a rib, smooth the surface. I repeat the same process and adjust where necessary.
If the top shows irregularities while coiling, cut it off throughout the process (6). The body should not be more than 0.3 in. (0.7 cm) thick (7) because grains of clay will be applied to the body at a later stage. If the base form is made thicker, the vase will weigh too much. Although you don’t see it, both the inside and the outside must be smooth.
Creating the body itself takes one or two days. Using a heat gun gives me the opportunity to continue building so that I don’t have to wait for hours until the piece is leather hard (8). Once the piece approaches the desired height, I place a cardboard template for the opening and adjust accordingly (9). I keep some clay as slabs for the closure of the vase and for the lid (10). I cut the shape of the top plane out of a slab with a special beveling tool (11). To join the two, both the form and the top slab should be leather hard. I start first with the closure of the vase and secure it (13, 14), then use the cardboard pattern to adjust it. For the finishing touch, I use a rib to refine the top piece (15, 16). The final step is to create a lid in the same shape (17). Place some plastic on the closure and fit the lid on it so that it doesn’t stick.
Building the Surface
Now that the body is finished, I can start creating the surface. The process takes many hours and days, therefore, I have to pay special attention that the base vase doesn’t dry at all. To keep the body from drying out, it is wrapped in plastic at all times. I only expose the parts that I’m working on (see 21).
I roll very small coils of about an eighth inch (3 mm) thick and cut them into about 3/16-inch (5-mm) segments (18). I can only cut 10 to 15 coils at a time because they dry very quickly. The coils that I don’t need immediately are wrapped in plastic. Then, I roll each little coil between my fingers so that it looks like a grain (19). With some slip, I fix them on the piece one by one until the surface is completely covered (20, 21). I don’t use a pattern—I start somewhere and see where it ends. Covering the whole surface is labor intensive.
The Finishing Touch
Once the vase is bisque fired to 1922°F (1050°C), I use a spray to moisten the piece (22). This way the black engobe will not have the opportunity to be absorbed completely by the piece. I use a brush to coat the vase completely with the black engobe (23), then, once it is covered, I use a moist sponge to wipe off the excess until the grain texture reappears (24). During this step, I have to be careful not to wipe off the black engobe where it should remain on the piece. It is a task that needs precision. I fire the vase for a final time, together with the lid, at 2282°F (1250°C).
the author Hilde Boterman comes originally from Ostend (Belgium) and lives now in Ghent. Her uncle, Gust Michiels, was a renowned sculptor and ceramic artist. She currently works as a driver for disabled people on a part-time basis and hopes to become a full-time ceramic artist upon her early retirement. To learn more, follow her on Instagram: @hboterman.
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