How to Use Templates to Make Textured Puff Plates Marissa Childers

Marissa Childers' clay work is inspired by domestic crafts and objects. Her slab-built work is made from templates and methods akin to sewing, and are imbued with textures taken from fabrics and small details like buttons and seams.

In today's post, an excerpt from the November 2023 issue of Ceramics Monthly, Marissa explains the process for making her "puff plates." I especially love her approach to making a foot ring! –Jennifer Poellot Harnetty, editor

PS: To learn about Marissa's glazing process and post-glaze embellishments, check out the the November 2023 issue of Ceramics Monthly.

Creating a Template 

Drawing inspiration from feminine crafts within the home, such as sewing, I create templates for each form. The combination of slab building and template making allows me to reference the idea of fabric more closely. When I am creating a form, such as the puff plate, I question how that form would look if it were sewn from fabric. Where would the seams be? What sections of the form would be filled to create more volume? I am constantly thinking about how the material would move and interact with our touch if it were not clay. 

Each form is first built with paper and assembled with masking tape. This allows room for error and can simply be taken apart, adjusted, and reassembled. Once I have a form that I like, I transfer the template onto tar paper to increase its durability (1). 

As I was creating the template, I incorporated a scalloped edge not only to add movement to the form, but to also add indentions for your fingers to rest comfortably when holding the piece. 

Building the Form 

When I begin building the form, I roll several ¼-inch slabs and cover them with plastic until they are ready to be used. Covering them in plastic is essential for the process as the clay needs to be wet in order to add texture and be manipulated. The puff plate is broken into four sections: the bottom slab, the top slab (minus the center), the center circle, and the foot. 

Once the slabs are prepped, I trace the outline of my template onto the clay and cut out each shape (2). To give the plate a slight curve, lay the bottom slab inside a draped cloth (3). It remains in the draped cloth while I work on the other sections of the form. The top slab is then pressed and lightly rolled onto a plaster texture plate that has been molded from textiles, such as various upholstery fabrics, knitted garments, and corduroy (4). After the texture has been transferred, it is placed on a flat surface and small sections are smoothed back out. These smooth sections are where I will add the decals after the piece is glazed (5). 

Continue by pressing the small circular slab onto a rounded hump mold to create a concave slab (6). Make sure to smooth and compress this well with a rubber rib so that it holds its shape. This piece will become the center plane of the plate. Once this circular slab reaches the leather-hard stage, and working from the wrong side of both the top textured slab and the concave circular slab, I attach the two so the circular slab fits into the top slab. Reinforce the attachment with a coil to ensure the seam stays together (7). 

It’s time to attach the top and bottom together. With the bottom slab still resting inside the draped cloth, cut a 45° angle on the edge before attaching the two slabs (8). With the scallops aligned and the edges scored and slipped, I begin to attach the outer seam. I stretch and puff out the clay from the inside, creating additional volume (9). After the seam has completely adhered together, I wait until the plate is leather hard before poking a small hole in the form. The air pressure inside the form helps maintain the volume. If the hole is poked too soon, the plate can deflate and begin to flatten out, losing the puffiness that I am trying to achieve. 

Tip: Use the back of an old earring to poke your hole. A hole, regardless of the size, will allow airflow. Place the hole in an area with texture or along the seam so it isn’t noticeable. 

Constructing a Textured Foot 

I consider the foot to be just as important as the rest of the form. Although the puff plate has the option of being hung on the wall, and the foot may not be seen often, I enjoy having the texture continue to the bottom. 

I begin by rolling a ¼-inch slab that is 1 inch wide. The length will be determined by the size of the plate. I roll the texture onto one side of the rectangular slab and slowly curl the edges up to mimic a taco shape (10). Once it is curved upward, I gently press the edges together, creating an oval tube. The textured tube is then scored and slipped to the bottom of the plate (11). This process allows the foot to remain textured on both the inside and outside, while the trapped air adds volume to the foot that matches the rest of the form. 

When using this technique, it’s important to not apply too much pressure while attaching the foot to ensure the tube and texture don’t become flattened. I also go back and check that the foot is taller than the bottom curve of the plate. If the foot is too short, it can be pinched slightly to add height, making sure your plate sits flat against the wall and doesn’t wobble on the tabletop. 

Each plate is further embellished with sprig-molded buttons and cording (12, 13). Before it is left on the shelf to dry, I use a tracing wheel to create small stitches around the seam, adding another layer of detail to the surface. 

the author Marissa Childers was born in Florence, Alabama. She earned her BFA from the University of North Alabama and an MFA from University of Oklahoma. Childers was a Ceramics Monthly emerging artist in 2022 and is one of the 2023 NCECA emerging artists. She is currently a full-time artist residing in Oklahoma City, Oklahoma. Visit her website at www.marissachilders.com to learn more.