The cliché says inspiration is everywhere. For me, it came disguised as an African-American basket weaver’s vision near the marshes of coastal South Carolina. Until that fateful day, I had never seen an artist weave a basket within a basket. In the blink of an eye, I was inspired to visually defy the laws of physics with clay. I have named this incised lantern process “Creating The Light Within.” Today, I share my process with you so that you may find your own light.
Throwing the Outer Form
Because I am not one to sketch my forms beforehand, I must visualize the final shape and pattern that I want the piece to embody. This determines the height and width of the outside thrown piece. If I plan to make the inside piece bulbous, then I need to open the outside piece particularly wide. For this form, I plan to carve the inside piece, so the outside form is only somewhat bulbous to receive piercings and alterations. While throwing, leave a bit of extra clay at the rim, so that you have enough clay to throw toward and attach to the inner piece (1). This outer form is approximately 12 inches (30.5 cm) tall and 9½inches (24.1 cm) at the widest point. Keep this piece pliable by wrapping it completely with plastic while you move on to the next step.
Throwing the Inner Form
Measure the height that you need to throw the inside piece by placing a tape measure inside the outer pot. Note: It is important to measure from the inside, because you will be adding a piece to the inside of this vessel. The inside piece needs to be about 2 inches (5 cm) taller than the outside piece. I also use calipers to measure the diameter of the inside piece. I’ll need this information later.
With your measurements in hand, you’re ready to throw the inner vessel. Keep a few things in mind as you throw the inner cylinder. First, you need to make the bottom about 80% less thick than you would normally, because once they are attached, you do not want the combined pieces to be too thick at the bottom. Tip: Resist the temptation to throw the cylinder without a bottom. A cylinder with a bottom has a better chance of staying round. Keep the diameter of the cylinder, from top to bottom, about a ½ inch (1.3 cm) narrower than the inner diameter of the outer piece (2). This can be tricky, because you also must ensure that your hand and arm will fit all the way into the pot—especially if you plan to make the inner piece bulbous.
Lastly, carefully taper the bottom of the inner cylinder to match the curve at the bottom of the inside of the outer pot. This will make for a cleaner attachment.
Clean all of the slip off the outside of the cylinder and leave the piece to firm up. Aim for the bottom two-thirds of the piece to be a couple of levels shy of leather hard and the top third of the piece almost as moist as it was when you threw it, because you still need to finish your throw after you attach the pieces.
Creating the Patterns
I have created a template that I find works well as a repeated pattern (3). I use thick but flexible drawing paper to create my patterns. Symmetrical patterns like this tend to work well in evenly divided spaces.
Use a dividing circle to measure the cylinder into equal sections. For making vertical lines, my favorite tools are a square wooden dowel with a level bottom and a very soft peel-away charcoal pencil. These help me get crisp lines without putting indentations into the clay. With every stroke, I dip the tip of the charcoal pencil into water so the color releases easily onto the clay.
With all of the vertical lines in place, you are ready to add horizontal lines for guidance. I place these randomly, as guides, but it would also work to space them purposefully.
Now you’re ready to cut patterns on the inner piece (4). I prefer to keep the template on the piece as I pierce the design. Some people may choose to draw the design on before cutting, but my method helps me get clean cuts and it prevents me from over-cutting the pattern. I find it is best to keep all of the template piercings in place until my entire design is complete. It is easier to maintain the integrity of the form this way. With all of the cuts in place, use your needle tool to carefully remove the clay from each cut (see 14). With this design, I am evoking more questions from the viewer. “How did she get that design in there?” “How did she get that bulbous piece inside that narrow neck”? “How did she glaze the inside”?
Combining the Forms
With the pattern complete on the inside form, it is now time to slip, score, and puncture the bottom of the inside piece. I handle the inside cylinder by the firmer bottom two-thirds while I score, moisten, and pierce the bottom with a hole maker. The hole is placed so an air pocket does not form between the two pieces (5). Next, I carefully drop the inside cylinder evenly down the center of the outside piece (6). Using a sponge on a stick, apply pressure downward as the wheel spins to finalize the connection.
With the two pieces firmly attached at the bottom, bring the pieces together at the rims by pulling the inside cylinder rim outward (7). With this open piece, I also bring the top of the outer piece inward until they join (8).
Allow the combined piece to firm up to the point where it is no longer tacky to the touch. Before detaching the piece from the bat, trim the bottom and the rim. Carefully trim it right side up, refining the curves and wall thickness with sharp trimming tools. The bottom remains flat and should be of similar thickness to that which you have trimmed the walls.
Altering the Outer Form
Once completely trimmed, the outside piece is ready to be altered. Again, use a dividing disk to section the piece (9). If I am creating mirrored designs on the outside piece, then I divide the piece evenly and choose the number of spaces based on the size and symmetry of my design. When laying out your alteration line, consider where your inside cuts are positioned. You’ll want the light from within to play well with the cuts on the outside of the piece.
At this point, also add horizontal guidelines from the top of the piece to the bottom. You can use these horizontal lines later to guide you through the symmetry of your cuts.
With the clay still slightly softer than leather hard, use a long, firm rib to press into the clay from the bottom to the top at each vertical line (10). The softness of the clay keeps the dull edge of the rib from cracking through the clay when indented. Continue around the piece until it reaches the depth you desire. Then, use a finishing micro-sponge to soften and clean up the alterations (11). Coarse sponges leave too many lines, so I avoid using them. Now you are ready to begin piercing.
For each piece, use a fresh X-Acto blade to make your cuts. You need the blade to be as sharp as possible. Complete each cut with one fluid motion whenever possible. This ensures the same crispness throughout the cut and clean lines. Hold the design template in place until all cuts in the design are completed (12). Once the main cuts are done, I determine if any partial design cuts will add character to the piece. If I visualize they will, then I will add them after the main cuts are completed. Try to be careful not to make unnecessary cuts that give the piece an overworked appearance.
As you did with the inside piece, complete all of the outside’s cuts before removing them so that you preserve the form’s integrity (13). Remove the cuts with a needle tool (14), then clean the edges of each cut with a micro-sponge (15).
Finishing the Piece
With all of the pieces, thrown, connected, altered, and carved, cover the work and allow it to dry slowly—often for two weeks or more to avoid cracking and separation.
The thing I love most about this technique is how its versatility can take on so many forms. For lanterns, the inside and outside may be pierced, and they can also be made with two separate pieces where the inside piece lifts out. Inside pieces can be textured and made bulbous or simply pierced within an altered exterior form. Either way, when this technique is employed, the viewer will be left wondering, “How on earth did you do that?”
Sondra Elder holds a bachelor’s degree in economics and finance from Rutgers University and a master’s degree from DePaul University. She has left the business world behind and now spends her time creating art. Her passions include traveling, learning, and teaching. She can be found on Instagram @sondraelderpottery. Her smaller work may be purchased at www.muddysolpottery.etsy.com.
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The cliché says inspiration is everywhere. For me, it came disguised as an African-American basket weaver’s vision near the marshes of coastal South Carolina. Until that fateful day, I had never seen an artist weave a basket within a basket. In the blink of an eye, I was inspired to visually defy the laws of physics with clay. I have named this incised lantern process “Creating The Light Within.” Today, I share my process with you so that you may find your own light.
Throwing the Outer Form
Because I am not one to sketch my forms beforehand, I must visualize the final shape and pattern that I want the piece to embody. This determines the height and width of the outside thrown piece. If I plan to make the inside piece bulbous, then I need to open the outside piece particularly wide. For this form, I plan to carve the inside piece, so the outside form is only somewhat bulbous to receive piercings and alterations. While throwing, leave a bit of extra clay at the rim, so that you have enough clay to throw toward and attach to the inner piece (1). This outer form is approximately 12 inches (30.5 cm) tall and 9½inches (24.1 cm) at the widest point. Keep this piece pliable by wrapping it completely with plastic while you move on to the next step.
Throwing the Inner Form
Measure the height that you need to throw the inside piece by placing a tape measure inside the outer pot. Note: It is important to measure from the inside, because you will be adding a piece to the inside of this vessel. The inside piece needs to be about 2 inches (5 cm) taller than the outside piece. I also use calipers to measure the diameter of the inside piece. I’ll need this information later.
With your measurements in hand, you’re ready to throw the inner vessel. Keep a few things in mind as you throw the inner cylinder. First, you need to make the bottom about 80% less thick than you would normally, because once they are attached, you do not want the combined pieces to be too thick at the bottom. Tip: Resist the temptation to throw the cylinder without a bottom. A cylinder with a bottom has a better chance of staying round. Keep the diameter of the cylinder, from top to bottom, about a ½ inch (1.3 cm) narrower than the inner diameter of the outer piece (2). This can be tricky, because you also must ensure that your hand and arm will fit all the way into the pot—especially if you plan to make the inner piece bulbous.
Lastly, carefully taper the bottom of the inner cylinder to match the curve at the bottom of the inside of the outer pot. This will make for a cleaner attachment.
Clean all of the slip off the outside of the cylinder and leave the piece to firm up. Aim for the bottom two-thirds of the piece to be a couple of levels shy of leather hard and the top third of the piece almost as moist as it was when you threw it, because you still need to finish your throw after you attach the pieces.
Creating the Patterns
I have created a template that I find works well as a repeated pattern (3). I use thick but flexible drawing paper to create my patterns. Symmetrical patterns like this tend to work well in evenly divided spaces.
Use a dividing circle to measure the cylinder into equal sections. For making vertical lines, my favorite tools are a square wooden dowel with a level bottom and a very soft peel-away charcoal pencil. These help me get crisp lines without putting indentations into the clay. With every stroke, I dip the tip of the charcoal pencil into water so the color releases easily onto the clay.
With all of the vertical lines in place, you are ready to add horizontal lines for guidance. I place these randomly, as guides, but it would also work to space them purposefully.
Now you’re ready to cut patterns on the inner piece (4). I prefer to keep the template on the piece as I pierce the design. Some people may choose to draw the design on before cutting, but my method helps me get clean cuts and it prevents me from over-cutting the pattern. I find it is best to keep all of the template piercings in place until my entire design is complete. It is easier to maintain the integrity of the form this way. With all of the cuts in place, use your needle tool to carefully remove the clay from each cut (see 14). With this design, I am evoking more questions from the viewer. “How did she get that design in there?” “How did she get that bulbous piece inside that narrow neck”? “How did she glaze the inside”?
Combining the Forms
With the pattern complete on the inside form, it is now time to slip, score, and puncture the bottom of the inside piece. I handle the inside cylinder by the firmer bottom two-thirds while I score, moisten, and pierce the bottom with a hole maker. The hole is placed so an air pocket does not form between the two pieces (5). Next, I carefully drop the inside cylinder evenly down the center of the outside piece (6). Using a sponge on a stick, apply pressure downward as the wheel spins to finalize the connection.
With the two pieces firmly attached at the bottom, bring the pieces together at the rims by pulling the inside cylinder rim outward (7). With this open piece, I also bring the top of the outer piece inward until they join (8).
Allow the combined piece to firm up to the point where it is no longer tacky to the touch. Before detaching the piece from the bat, trim the bottom and the rim. Carefully trim it right side up, refining the curves and wall thickness with sharp trimming tools. The bottom remains flat and should be of similar thickness to that which you have trimmed the walls.
Altering the Outer Form
Once completely trimmed, the outside piece is ready to be altered. Again, use a dividing disk to section the piece (9). If I am creating mirrored designs on the outside piece, then I divide the piece evenly and choose the number of spaces based on the size and symmetry of my design. When laying out your alteration line, consider where your inside cuts are positioned. You’ll want the light from within to play well with the cuts on the outside of the piece.
At this point, also add horizontal guidelines from the top of the piece to the bottom. You can use these horizontal lines later to guide you through the symmetry of your cuts.
With the clay still slightly softer than leather hard, use a long, firm rib to press into the clay from the bottom to the top at each vertical line (10). The softness of the clay keeps the dull edge of the rib from cracking through the clay when indented. Continue around the piece until it reaches the depth you desire. Then, use a finishing micro-sponge to soften and clean up the alterations (11). Coarse sponges leave too many lines, so I avoid using them. Now you are ready to begin piercing.
For each piece, use a fresh X-Acto blade to make your cuts. You need the blade to be as sharp as possible. Complete each cut with one fluid motion whenever possible. This ensures the same crispness throughout the cut and clean lines. Hold the design template in place until all cuts in the design are completed (12). Once the main cuts are done, I determine if any partial design cuts will add character to the piece. If I visualize they will, then I will add them after the main cuts are completed. Try to be careful not to make unnecessary cuts that give the piece an overworked appearance.
As you did with the inside piece, complete all of the outside’s cuts before removing them so that you preserve the form’s integrity (13). Remove the cuts with a needle tool (14), then clean the edges of each cut with a micro-sponge (15).
Finishing the Piece
With all of the pieces, thrown, connected, altered, and carved, cover the work and allow it to dry slowly—often for two weeks or more to avoid cracking and separation.
The thing I love most about this technique is how its versatility can take on so many forms. For lanterns, the inside and outside may be pierced, and they can also be made with two separate pieces where the inside piece lifts out. Inside pieces can be textured and made bulbous or simply pierced within an altered exterior form. Either way, when this technique is employed, the viewer will be left wondering, “How on earth did you do that?”
Sondra Elder holds a bachelor’s degree in economics and finance from Rutgers University and a master’s degree from DePaul University. She has left the business world behind and now spends her time creating art. Her passions include traveling, learning, and teaching. She can be found on Instagram @sondraelderpottery. Her smaller work may be purchased at www.muddysolpottery.etsy.com.
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