Five Great Handbuilding Techniques: Variations on Classic Techniques for Making Contemporary Handbuilt Pottery

Five great handbuilding techniques in this FREE PDF!

When you put a ball of clay in your hands, you just want to start making something—it’s so natural it’s uncanny. And while equipment is used to make a lot of the pottery in the world, using just your hands or a simple paddle and rolling pin can produce awesome results! Discover how to make pottery using three simple techniques, but with a twist. Make a pinch pot really big, make coil pottery from flat coils, save a step and make leather hard hump molds instead of ceramic bisque molds, use a paper plate as a press mold, or make square slab pots with great textures. All you need is a ball of clay in your hands. It’s all here in a free download – Five Great Handbuilding Techniques: Variations on Classic Techniques for Making Contemporary Handbuilt Pottery.

 

Check out this excerpt:

How to Make Molded Plates Using a Paper Plate as a Press Mold

by Amanda Wilton-Green

Making a set of handbuilt ceramic plates can be fun for the beginner, but is also easily adapted for the more-experienced student. This project presents a direct and fresh slab-forming approach resulting in handbuilt pottery that becomes a great canvas for surface decoration. Materials are simple, inexpensive and readily available.

After only a few hours of work, you can learn how to roll out a good, even slab, and can experience different stages of plastic clay and what the clay is capable of at each stage. You become familiar with simple press molds and start to consider the form and function of your work. Most importantly, you learn how to handle clay in a direct and intentional way.

These plates become a wonderful surface for finishing, embellishing and glazing. I have expanded this project to include experiments with paper stencils and slip decoration, but that’s just the beginning. Try underglaze design work and glazing methods with this project as well. When the project is completed, you’ll have a set of plates to use in you home or to give as gifts.

Forming Plates

Roll out a slab to a desired thickness of ¼ to ½ inch. When rolling out a slab, start by throwing it across the table in different directions until it is somewhere close to 3 inches thick. Use a slab roller or a rolling pin to continue rolling the slab to the desired thickness, taking care not to roll over the edges. Roll two or three times on one side. If you’re working on canvas, you’ll notice that the clay stops stretching after the first few times because the clay holds onto the texture of the canvas. Carefully lift the slab creating as much surface area with your hand as possible, and leave the slab to stiffen to a soft leather-hard stage. The clay needs to be able to bend without cracking, but you don’t want fingerprints to show as you manipulate your clay.

Choose the size of your plate. Chinet® brand has dinner, salad and dessert-sized plates as well as an oval platter. Place the plate upside down to use as a template for cutting the slab (figure 1). As you cut, keep your needle tool or fettling knife perpendicular to your work surface to create a square rim.

Remove excess clay and smooth out the rims. Slide your finger across the edge of the rim with firm and consistent pressure (figure 2). The sharp corner of the rim softens without flattening the edge. A damp sponge, chamois or a small piece of a produce bag also works. Stamp or sign the underside.

Flip the clay slab, smooth the top edge then place it into the paper plate, lining up the edges (figure 3). Experiment with pressing the clay into the paper plate with your hands or sandwiching your clay between two plates (figure 4). The clay will have a different character depending on your chosen method.

Allow the plates to dry to a firm leather-hard stage in the bottom paper plate. Remove the clay from the mold to check to see if the plates stack nicely and sit on a flat surface without rocking. Take a moment to look closely at the rim of each plate to do any final shaping they might need.

Decorating Plates

These plates are adaptable to all sorts of decorative techniques at the leather-hard, greenware, and bisque stages. The flat surface lends itself to painterly and expressive underglaze or glaze work. These slab plates are simple enough for very young students and satisfying for the adult student as well.

Slip decoration gives dimension to the plates and students draw on their own creative design ideas for the work. Textured dessert plates with slip inlay use found and inexpensive materials to create a design and a slip in contrasting color to further highlight the design. Paper stencils used with decorative slip can make bold, graphic borders or motifs for your set of plates (figure 5). With a little experimentation and practice, you’ll come up with wonderful results.

Making Sets

When you handbuild a set of plates, every artist approaches each plate with a slightly different perspective. The experience of making the first plate, bowl, mug or tile influences the next, as do things as simple as body position and energy levels. We’re thoughtful and inconsistent creatures and we can use these characteristics to great benefit when done so with intention. A set of plates can be tied together with a theme, color, position of image, size or concept. Because we’re used to seeing sets coming from a factory, the default definition in our minds can be limited to identical objects.

Textured Dessert Plates

Roll out ¼ to ½-inch-thick slabs. Before cutting out the plate, place textured material along one side of the clay slab and gently roll into the clay. Once the material is flush with the top of the clay, peel it away. Clay is great for picking up the most delicate details and is quite beautiful at this stage.

With texture along one side of the slab, place the paper plate templates so that the location of the design will be pleasing on a plate. Remove excess clay and smooth the rims of the plates, working on the top edge and then flipping the clay to finish the bottom edge of the rim. Sandwich the clay between two paper plates and press the clay into the bottom corners of the lower plate. Remove the top plate and paint a generous amount of contrasting slip over the textured area. Leave the clay in the bottom paper plate and let dry until it is a very stiff leather hard.

The amount of time varies depending on climate inside the studio. At this stage, use a metal rib to scrape away the top layer of colored slip leaving behind only what is inlaid into the textured areas.

Paper Stencils

Use paper stencils on leather hard clay after clay is placed into the paper plate mold. Each paper stencil can easily be used twice, and with care, up to four times. Keep a copy of the original design. I recommend you prepare by cutting as many stencils as required before beginning the slip work. Trim stencils so that there is about 2 inches of paper around the design. Soak the paper stencils in water until wet but not soggy and then set onto paper towel to remove excess moisture. Position stencils and press down with a damp sponge. Paint slip over the design then remove the paper stencil. If the stencil is too dry to adhere to the next plate, repeat soaking. Sometimes the stencil can be directly transferred to the next plate and pressed with the sponge.

Using a Leatherhard Clay Mold

by Lauren Sandler

Most potters use ceramic bisque molds or plaster molds for slump/hump or press molds. But you don’t have to go to all that trouble. In this article, Lauren Sandler demonstrates an alternative to ceramic bisque molds using a leatherhard form.

How to Make a Pinch Pot

by Kristen Doner

Kristin Doner produces pinch pots on a larger-than-usual scale. She began with 2 or 3 pound balls of clay but she wanted larger forms so she increased the clay and developed new forming strategies. After opening with a usual pinching method, she expands the pot by rhythmically paddling the outside.

A Quintessential Handbuilt Vase

by Brenda Quinn

How to handbuild pottery using molded sections.

Using Textured Slabs to Create Square Nesting Bowls

by Annie Chrietzberg

Because clay is a lot like dough, there are a lot of tools and gadgets in the kitchen you can take to the pottery. Annie loves to scour garage sales and kitchen stores for unique implements to use in the studio, and her creations really rock! Using graduated tart tins with scalloped edges, she demonstrates how to make textured nesting bowls using a simple slab building method.

Download the free guide right now, and become a better ceramic artist tomorrow. That’s our promise to you from Ceramic Arts Network!

Best regards,

Jennifer Poellot Harnetty
Editor, Ceramic Arts Daily

PS: Remember, the artists featured on Ceramic Arts Network are among the top ceramic artists in the world today, who excel in everything from functional pottery to abstract ceramic sculpture. When you download one of our free guides, you get the best possible advice available and you become a part of our community – enjoying our artists’ stories, gaining inspiration from their work and finding confidence to try new techniques every day!

PPS: Even if you’re not brand new to clay, this guide is bound to have some tips in it that you’ve never heard before – and remember, it’s absolutely FREE, so why wouldn’t you read it today?

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