As a clay artist with a sculptural background, one of the most satisfying challenges for me is creating lidded containers where the lid fits seamlessly onto the body of the vessel, while also capturing my personal aesthetic. Many, including myself, have struggled with achieving that perfect fit. It’s easy to overlook minor imperfections, but the sense of accomplishment and satisfaction from a well-fitting lid is unparalleled. I convinced myself that if I liked the overall piece enough, I could overlook the unfit part, yet deep down, I knew I needed to work on it.
In the summer of 2023, I was a short-term resident artist at the Companion Gallery. During an inspiring conversation with Eric Botbyl, the gallery’s founder and a skilled potter, I told him that I would like to try making lidded containers so that the lids actually fit the bodies. Weeks passed in a whirlwind of studio time, and the lidded container project slipped from my immediate focus. One day, Eric gave me a demonstration of his famous square-lidded jar and showed me different ways to make lidded containers.
His approach to lidded containers was enlightening and inspiring. He offered a straightforward method with creative potential and I was very excited. I took his advice, gave it a little twist of my sculptural aesthetic, and practiced with a couple of different designs.
I love this lidding technique because it’s straightforward yet works with any design, so the possibilities are endless. It’s also encouraging and fun. The following article covers my thought process and the creation process of a lidded container.
Designing and Sketching
One of my goals has always been blurring the lines between sculptural and functional work. Working on nontraditional-looking objects adds fun and cheerful moments to my routine day.
Before I even open a bag of clay, I always sketch out what I’m going to make precisely, and I focus on where the lid will be and how I will place the figure in relation to that lid. I ensure that no hanging part of the figure or decorative parts goes beyond the parting line, that there is enough space for the knife to cut around the jar, and the opening is big enough for a hand to reach into the jar. Once I have my sketch completed, I can start the fun part.
Building the Closed Form
Start by rolling out a 0.25-inch (6.4-mm)-thick clay slab to build a closed form and smooth both sides with a wet silicone rib. Cut the slab into your desired shape, such as an oval for this piece, which will serve as the base. Prepare 0.75-inch (2-cm)-diameter coils and store them in airtight plastic to prevent drying. Place the cut slab on a non-stick surface on a banding wheel, score and slip around the edge of the slab, and then attach the first coil, blending it into the base, both interior and exterior. Continue building the walls by adding coils one layer at a time, pinching the clay outward or upward to shape and thin the walls (1). I like to leave the coiling texture visible inside to show my process.
As you near the top, leave a small opening about 0.75 inch (2 cm) wide, and create a cone-shaped plug from clay. Score and slip the opening of the form and the bottom of the cone, then insert the cone upside down to close the form completely. Blend and compress the area around the cone using a wet silicone rib to ensure a secure attachment. Finish by gently patting and compressing the form with a wooden paddle to refine its silhouette (2). Allow the form to rest until the clay firms up for the next step.
Embellishing
One thing that I love about this technique is that there are thousands of possibilities for how you can execute your pots. During this embellishing process, I like to add a character on top of the jar to narrate a story.
Start by adding more coils to the top of the form and shape them into a cloud-shaped form. This is where the character will sit (3).
While waiting for the cloud to firm up, add more decorative parts on the foot to lift the form visually, making the jar look lighter. Roll out a long 0.25-inch (6.4-mm)-thick clay slab and cut out a scalloped edge along one long side. Score and slip both attachment areas, then attach and blend them together (4).
Once the cloud is firm enough to build on, add more coils to build the character (5). Make sure every part of the body is well connected. Then, roll out 0.75-inch (2-cm)-diameter coils and use a knife and sculpting tools to shape hands and feet for the character. Pinch the arms and legs to add more texture to the parts (6). After the parts firm up, cut the arms and feet to their perfect length and place them in a position that aligns with the narration of the work, but will not overlap with the area where you plan to cut the lid. Score, slip, and attach the arms and legs to the character.
Next, make detailed parts, such as ears, lips, and wings, and allow them to stiffen (see 7).
I like to decorate the jar’s body with two-dimensional vignettes in addition to the three-dimensional materials. I plan an area to paint a two-dimensional illustration on later during the glazing process. To do this, roll a small coil and attach it to the front side of the jar to act as a frame for the drawing (7). Now, attach the detailed parts to the figure to complete the design (8).
I also love adding three-dimensional decorative parts that aesthetically connect the form and figure throughout. Create cloud and comet shapes for the jar by rolling out a 0.25-inch (6.4-mm)-thick clay slab and use a cloud template to trace onto the slab, cutting out two pieces of the same design, making sure they mirror each other. Gently press the cutouts against a piece of foam to create volume in the pieces. Let them set for a while, then score and slip both sides, slowly align them, and blend the join with a wooden tool (9). Attach the cloud shapes to overlay the frame, but make sure they do not crowd into the area that you will cut for the lid.
Make more decorative parts, such as flowers and dots, to put on the jar to embellish the form aesthetically and narratively (10).
Parting the Lid
To execute the lid technique, attach a coil where the parting lines between the jar body and the lid will be—for aesthetic reasons and to double the thickness of the gallery where the lid will sit. I use a scoring tool to mark where the coil will be. For this technique, I intentionally designed the parting line to be in an organic line so it can only fit one way and is easy to register. Then add the coil, sculpt it into a shape you like, and keep it about 0.5 inch (12.7 mm) thick (11).
Before you cut open the jar, make sure the clay is leather hard to prevent the form from warping, leading to an unfitted lid. To cut open the lid, use a knife with a long, sharp blade. Hold the knife firmly and angle it 45 degrees downward (or upward, depending on the form). Make sure to completely cut throughout the form before lifting the lid (12). Once detached, trim the sharp edges on the inner side of the jar body (13) and the lid, then smooth the edges (14). Try not to trim around the gallery area. Keep the lid on the jar while drying and bisque firing.
Surface Decoration, Glazing, and Firing
I decorate my work after bisque firing using underglaze (15) and clear glaze. Be mindful of underglaze painting or glazing around the parting line area. With the lid on, I use a dull pencil to trace around the parting area. When lifting the lid, the pencil lines on both the body and the lid will be visible. Those lines are the guiding lines for glazing. Apply wax mixed with alumina powder on the gallery area close to the guiding line. Clean the area with a wet sponge to ensure it is free of underglaze and glaze.
I fire the jar to cone 6 with the lid in place. After firing, sand the waxed area with diamond sanding pads in different grits to smooth the gallery and the foot of the jar.
Chanakarn “Punch” Semachai, is a Bangkok-born ceramic artist and educator with a BA from Chulalongkorn University, Thailand, and an MFA from Edinboro University, US. She has exhibited in Thailand, Germany, Taiwan, China, and the US. She was honored as a 2022 National Council on Education for the Ceramic Arts (NCECA) Emerging Artist and has been featured in Ceramics Monthly. In 2024, Punch participated in the prestigious Gulgong Ceramic Festival in Australia. Currently, she teaches creative ceramics at Chulalongkorn University in Bangkok, Thailand.
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As a clay artist with a sculptural background, one of the most satisfying challenges for me is creating lidded containers where the lid fits seamlessly onto the body of the vessel, while also capturing my personal aesthetic. Many, including myself, have struggled with achieving that perfect fit. It’s easy to overlook minor imperfections, but the sense of accomplishment and satisfaction from a well-fitting lid is unparalleled. I convinced myself that if I liked the overall piece enough, I could overlook the unfit part, yet deep down, I knew I needed to work on it.
In the summer of 2023, I was a short-term resident artist at the Companion Gallery. During an inspiring conversation with Eric Botbyl, the gallery’s founder and a skilled potter, I told him that I would like to try making lidded containers so that the lids actually fit the bodies. Weeks passed in a whirlwind of studio time, and the lidded container project slipped from my immediate focus. One day, Eric gave me a demonstration of his famous square-lidded jar and showed me different ways to make lidded containers.
His approach to lidded containers was enlightening and inspiring. He offered a straightforward method with creative potential and I was very excited. I took his advice, gave it a little twist of my sculptural aesthetic, and practiced with a couple of different designs.
I love this lidding technique because it’s straightforward yet works with any design, so the possibilities are endless. It’s also encouraging and fun. The following article covers my thought process and the creation process of a lidded container.
Designing and Sketching
One of my goals has always been blurring the lines between sculptural and functional work. Working on nontraditional-looking objects adds fun and cheerful moments to my routine day.
Before I even open a bag of clay, I always sketch out what I’m going to make precisely, and I focus on where the lid will be and how I will place the figure in relation to that lid. I ensure that no hanging part of the figure or decorative parts goes beyond the parting line, that there is enough space for the knife to cut around the jar, and the opening is big enough for a hand to reach into the jar. Once I have my sketch completed, I can start the fun part.
Building the Closed Form
Start by rolling out a 0.25-inch (6.4-mm)-thick clay slab to build a closed form and smooth both sides with a wet silicone rib. Cut the slab into your desired shape, such as an oval for this piece, which will serve as the base. Prepare 0.75-inch (2-cm)-diameter coils and store them in airtight plastic to prevent drying. Place the cut slab on a non-stick surface on a banding wheel, score and slip around the edge of the slab, and then attach the first coil, blending it into the base, both interior and exterior. Continue building the walls by adding coils one layer at a time, pinching the clay outward or upward to shape and thin the walls (1). I like to leave the coiling texture visible inside to show my process.
As you near the top, leave a small opening about 0.75 inch (2 cm) wide, and create a cone-shaped plug from clay. Score and slip the opening of the form and the bottom of the cone, then insert the cone upside down to close the form completely. Blend and compress the area around the cone using a wet silicone rib to ensure a secure attachment. Finish by gently patting and compressing the form with a wooden paddle to refine its silhouette (2). Allow the form to rest until the clay firms up for the next step.
Embellishing
One thing that I love about this technique is that there are thousands of possibilities for how you can execute your pots. During this embellishing process, I like to add a character on top of the jar to narrate a story.
Start by adding more coils to the top of the form and shape them into a cloud-shaped form. This is where the character will sit (3).
While waiting for the cloud to firm up, add more decorative parts on the foot to lift the form visually, making the jar look lighter. Roll out a long 0.25-inch (6.4-mm)-thick clay slab and cut out a scalloped edge along one long side. Score and slip both attachment areas, then attach and blend them together (4).
Once the cloud is firm enough to build on, add more coils to build the character (5). Make sure every part of the body is well connected. Then, roll out 0.75-inch (2-cm)-diameter coils and use a knife and sculpting tools to shape hands and feet for the character. Pinch the arms and legs to add more texture to the parts (6). After the parts firm up, cut the arms and feet to their perfect length and place them in a position that aligns with the narration of the work, but will not overlap with the area where you plan to cut the lid. Score, slip, and attach the arms and legs to the character.
Next, make detailed parts, such as ears, lips, and wings, and allow them to stiffen (see 7).
I like to decorate the jar’s body with two-dimensional vignettes in addition to the three-dimensional materials. I plan an area to paint a two-dimensional illustration on later during the glazing process. To do this, roll a small coil and attach it to the front side of the jar to act as a frame for the drawing (7). Now, attach the detailed parts to the figure to complete the design (8).
I also love adding three-dimensional decorative parts that aesthetically connect the form and figure throughout. Create cloud and comet shapes for the jar by rolling out a 0.25-inch (6.4-mm)-thick clay slab and use a cloud template to trace onto the slab, cutting out two pieces of the same design, making sure they mirror each other. Gently press the cutouts against a piece of foam to create volume in the pieces. Let them set for a while, then score and slip both sides, slowly align them, and blend the join with a wooden tool (9). Attach the cloud shapes to overlay the frame, but make sure they do not crowd into the area that you will cut for the lid.
Make more decorative parts, such as flowers and dots, to put on the jar to embellish the form aesthetically and narratively (10).
Parting the Lid
To execute the lid technique, attach a coil where the parting lines between the jar body and the lid will be—for aesthetic reasons and to double the thickness of the gallery where the lid will sit. I use a scoring tool to mark where the coil will be. For this technique, I intentionally designed the parting line to be in an organic line so it can only fit one way and is easy to register. Then add the coil, sculpt it into a shape you like, and keep it about 0.5 inch (12.7 mm) thick (11).
Before you cut open the jar, make sure the clay is leather hard to prevent the form from warping, leading to an unfitted lid. To cut open the lid, use a knife with a long, sharp blade. Hold the knife firmly and angle it 45 degrees downward (or upward, depending on the form). Make sure to completely cut throughout the form before lifting the lid (12). Once detached, trim the sharp edges on the inner side of the jar body (13) and the lid, then smooth the edges (14). Try not to trim around the gallery area. Keep the lid on the jar while drying and bisque firing.
Surface Decoration, Glazing, and Firing
I decorate my work after bisque firing using underglaze (15) and clear glaze. Be mindful of underglaze painting or glazing around the parting line area. With the lid on, I use a dull pencil to trace around the parting area. When lifting the lid, the pencil lines on both the body and the lid will be visible. Those lines are the guiding lines for glazing. Apply wax mixed with alumina powder on the gallery area close to the guiding line. Clean the area with a wet sponge to ensure it is free of underglaze and glaze.
I fire the jar to cone 6 with the lid in place. After firing, sand the waxed area with diamond sanding pads in different grits to smooth the gallery and the foot of the jar.
Chanakarn “Punch” Semachai, is a Bangkok-born ceramic artist and educator with a BA from Chulalongkorn University, Thailand, and an MFA from Edinboro University, US. She has exhibited in Thailand, Germany, Taiwan, China, and the US. She was honored as a 2022 National Council on Education for the Ceramic Arts (NCECA) Emerging Artist and has been featured in Ceramics Monthly. In 2024, Punch participated in the prestigious Gulgong Ceramic Festival in Australia. Currently, she teaches creative ceramics at Chulalongkorn University in Bangkok, Thailand.
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