Whether it’s for a morning caffeine boost or for the beverage that helps you wind down at night, it’s safe to say that mugs are popular functional forms. More than just a vessel for a cup of joe, a mug also carries the imprint of the maker—their experiences, decisions, and time spent shaping it. Creating a body of sculptural-leaning functional work in 2019 sparked the idea of transforming a traditional piece, such as a mug, into something that could be utilized as a piece of decor when it was not in use—serving as a reminder of those experiences and also existing as a sculpture on its own. While the aesthetics of the piece are typically what I prioritize, I also want to ensure that the final product is comfortable and enjoyable when in use. With that in mind, the double-walled squiggle mug was created.
Informed by the color palette often used in ‘90s cartoons, the curves in the ergonomic design of an athletic shoe, and a structure reminiscent of Memphis Group architecture, these squiggle mugs utilize two simple forms that appear complex when joined together.
The double-walled squiggle mug is composed of three pieces: an exterior carved cylinder, an interior tapered cylinder with a rounded floor, and a curvy, hand-cut handle.
Staining and Testing Clay
Use a clay body that shows off the vibrancy of added Mason stains while also working well for your final result. I recommend a Grolleg porcelain (what I’m using) or a porcelaneous stoneware like B-Mix. Once you’ve found the right clay body, it’s time to wedge in some color.
Create a pinch pot using one pound of clay and add a desired amount of Mason stain I recommend 5–15 grams of Mason stain per pound of wet clay. Spray the dry stain with a small amount of water and stir until the mixture reaches a toothpaste consistency. Enclose the stain in the pinch pot and wedge until there is no variation of color in the clay.
Experimenting with color and pairing unusual combinations might be my favorite part of the process. Next, make some test tiles of your favorite stains and combinations of stains, and then fire them. Tip: I typically cut my test tiles into fun shapes and turn them into jewelry or pins later if they turn out as planned.
Throwing the Exterior Cylinder
Warm up with a quick sketch of a new piece—think about what it will be like to hold and use once it’s finished. What will the surface feel like? Is it meant for a big cup of coffee or a small latte? Consider these questions and do a quick study of your current favorite mug, taking note of the elements you enjoy and could incorporate into your own work. Once you’ve thought that through, it’s time to head to the wheel.
To marble the clay, wedge multiple colors together for a blended look. Alternatively, I paddle two different colors together into a cone shape (1), before throwing the exterior cylinder on the wheel (2). While the surface varies each time, I’ve found that this method typically produces bolder ribbons of color that swirl around the final form.
Before throwing, set your calipers to the measurement for the base of the mug. This not only helps with consistency of the form, but also ensures that the interior piece will fit correctly into the cylinder in the end. Once the cylinder is thrown, measure the height and interior width (inner rim to inner rim) to match what you planned in your original sketch; again, for consistency and to ensure that all pieces will fit together properly.
Throwing the Interior Cylinder
With those measurements in mind, set your calipers to the same interior width (inner rim to inner rim) noted from the cylinder in the previous step. Then throw another cylinder, this time with a rounded floor. This piece will be trimmed down and appear as though it’s floating in the final form.
Once the cylinder is thrown, I take the height of the exterior cylinder (3 inches (7.6 cm)) into account. I know that I want the interior piece to float above the base of the exterior cylinder, so I mark a line with a needle tool that is ¾ inch (1.9 cm) shorter (2¼ inches (5.7 cm)) than that height measurement (3). This marks where the flange of the interior piece will begin.
Wet the surface of the cylinder and, starting at that line, use the right angle of a wooden rib while placing a hand inside the form to push the top portion of the cylinder onto the rib (4). Continue until the flange is about ¼ inch (6.3 mm) wide. Once the flange has been established, use a firm silicone rib to straighten and refine the top portion.
Carving
The idea for the squiggle design on these mugs came from a pair of shoes I had at the time that featured a wavy band just above the sole. I really enjoy the movement this element adds to the design, while also making the two separate components appear as one by revealing the floating vessel on the inside.
Mark the bottom edge of the colored clay cylinder with small notches all the way around the edge, leaving ¼inch between each notch. Carve away each ¼inch section with a small loop tool, then round the bottom edge and smooth carved areas with a sponge (5). I do this to compress the edge and prevent cracking.
Next, measure ½-inch (1.2-cm) increments all the way around the cylinder, leaving 1½–2 inches (3.8–5 cm) for the handle. Use a hole punch tool and poke a hole in the top and bottom of every other ½-inch section (6). Draw your design in between each of the holes—this is where I draw the squiggles. Cut along the drawn lines and remove the clay to reveal the design (7). Smooth and compress each aperture with a cattail sponge.
Adding a Handle
Roll out a small ½-inch-thick slab. Trace a cardstock stencil of a handle and cut it out using an X-Acto knife (8).
Roll out two 1-inch-thick balls of clay and form them into coin shapes. Once the handle reaches stiff leather hard, attach one coin to each end of the handle (9). There will be some extra clay hanging over the edges, blend this clay into the handle to create a continuous curve (see 10, 11).
Use a Surform tool to refine the shape, gradually stretching the opening if necessary, and round any edges left behind from the cut slab. Refine the surface with a sponge until you reach your desired handle shape, then score, slip, and attach it to the carved cylinder. Once attached, dip a silicone blending tool in water and create a line around each handle attachment (10). This will create a path for glaze to flow into later. Then, shape the handle with your fingers and smooth out any streaks or blemishes (11).
Glazing
For a smooth final surface, I recommend sanding your bisqueware with 220-grit sandpaper while submerged in a bucket of water. This will eliminate any unwanted texture or blemishes, and the water will keep dust particles under control.
I’ve learned to use glaze as a design detail rather than just a means for functionality— accentuating elements of the piece and elevating the surface. Start by glazing the interior piece, leaving the flange free of glaze (12). Next, fill a needle-tipped squeeze bottle with your glaze of choice. Outline each carved element on the exterior cylinder and the areas where the handle attaches (13). Using a clear glaze, paint a thin stripe around the top of the tapered cylinder. Since the flange of the interior piece rests there (14), the glaze will fuse the two pieces together during firing, making the two individual parts appear as one.
Roll three small balls of wadding and apply a dot of Elmer’s glue in a tripod formation. Glue the balls of wadding to the base of the piece before firing.
The final step: sand the fired piece with 600-grit sandpaper for a silky, smooth surface. Then, of course, enjoy!
Lyndee Deal is a ceramic artist currently based in North Adams, Massachusetts. She holds an MFA in ceramics from the University of North Texas and has participated in residencies in Columbia, Missouri, and upstate New York. To learn more about Lyndee and her work, visit lyndeedeal.comor follow along on Instagram @lyndee.deal.
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Whether it’s for a morning caffeine boost or for the beverage that helps you wind down at night, it’s safe to say that mugs are popular functional forms. More than just a vessel for a cup of joe, a mug also carries the imprint of the maker—their experiences, decisions, and time spent shaping it. Creating a body of sculptural-leaning functional work in 2019 sparked the idea of transforming a traditional piece, such as a mug, into something that could be utilized as a piece of decor when it was not in use—serving as a reminder of those experiences and also existing as a sculpture on its own. While the aesthetics of the piece are typically what I prioritize, I also want to ensure that the final product is comfortable and enjoyable when in use. With that in mind, the double-walled squiggle mug was created.
Informed by the color palette often used in ‘90s cartoons, the curves in the ergonomic design of an athletic shoe, and a structure reminiscent of Memphis Group architecture, these squiggle mugs utilize two simple forms that appear complex when joined together.
The double-walled squiggle mug is composed of three pieces: an exterior carved cylinder, an interior tapered cylinder with a rounded floor, and a curvy, hand-cut handle.
Staining and Testing Clay
Use a clay body that shows off the vibrancy of added Mason stains while also working well for your final result. I recommend a Grolleg porcelain (what I’m using) or a porcelaneous stoneware like B-Mix. Once you’ve found the right clay body, it’s time to wedge in some color.
Create a pinch pot using one pound of clay and add a desired amount of Mason stain I recommend 5–15 grams of Mason stain per pound of wet clay. Spray the dry stain with a small amount of water and stir until the mixture reaches a toothpaste consistency. Enclose the stain in the pinch pot and wedge until there is no variation of color in the clay.
Experimenting with color and pairing unusual combinations might be my favorite part of the process. Next, make some test tiles of your favorite stains and combinations of stains, and then fire them. Tip: I typically cut my test tiles into fun shapes and turn them into jewelry or pins later if they turn out as planned.
Throwing the Exterior Cylinder
Warm up with a quick sketch of a new piece—think about what it will be like to hold and use once it’s finished. What will the surface feel like? Is it meant for a big cup of coffee or a small latte? Consider these questions and do a quick study of your current favorite mug, taking note of the elements you enjoy and could incorporate into your own work. Once you’ve thought that through, it’s time to head to the wheel.
To marble the clay, wedge multiple colors together for a blended look. Alternatively, I paddle two different colors together into a cone shape (1), before throwing the exterior cylinder on the wheel (2). While the surface varies each time, I’ve found that this method typically produces bolder ribbons of color that swirl around the final form.
Before throwing, set your calipers to the measurement for the base of the mug. This not only helps with consistency of the form, but also ensures that the interior piece will fit correctly into the cylinder in the end. Once the cylinder is thrown, measure the height and interior width (inner rim to inner rim) to match what you planned in your original sketch; again, for consistency and to ensure that all pieces will fit together properly.
Throwing the Interior Cylinder
With those measurements in mind, set your calipers to the same interior width (inner rim to inner rim) noted from the cylinder in the previous step. Then throw another cylinder, this time with a rounded floor. This piece will be trimmed down and appear as though it’s floating in the final form.
Once the cylinder is thrown, I take the height of the exterior cylinder (3 inches (7.6 cm)) into account. I know that I want the interior piece to float above the base of the exterior cylinder, so I mark a line with a needle tool that is ¾ inch (1.9 cm) shorter (2¼ inches (5.7 cm)) than that height measurement (3). This marks where the flange of the interior piece will begin.
Wet the surface of the cylinder and, starting at that line, use the right angle of a wooden rib while placing a hand inside the form to push the top portion of the cylinder onto the rib (4). Continue until the flange is about ¼ inch (6.3 mm) wide. Once the flange has been established, use a firm silicone rib to straighten and refine the top portion.
Carving
The idea for the squiggle design on these mugs came from a pair of shoes I had at the time that featured a wavy band just above the sole. I really enjoy the movement this element adds to the design, while also making the two separate components appear as one by revealing the floating vessel on the inside.
Mark the bottom edge of the colored clay cylinder with small notches all the way around the edge, leaving ¼inch between each notch. Carve away each ¼inch section with a small loop tool, then round the bottom edge and smooth carved areas with a sponge (5). I do this to compress the edge and prevent cracking.
Next, measure ½-inch (1.2-cm) increments all the way around the cylinder, leaving 1½–2 inches (3.8–5 cm) for the handle. Use a hole punch tool and poke a hole in the top and bottom of every other ½-inch section (6). Draw your design in between each of the holes—this is where I draw the squiggles. Cut along the drawn lines and remove the clay to reveal the design (7). Smooth and compress each aperture with a cattail sponge.
Adding a Handle
Roll out a small ½-inch-thick slab. Trace a cardstock stencil of a handle and cut it out using an X-Acto knife (8).
Roll out two 1-inch-thick balls of clay and form them into coin shapes. Once the handle reaches stiff leather hard, attach one coin to each end of the handle (9). There will be some extra clay hanging over the edges, blend this clay into the handle to create a continuous curve (see 10, 11).
Use a Surform tool to refine the shape, gradually stretching the opening if necessary, and round any edges left behind from the cut slab. Refine the surface with a sponge until you reach your desired handle shape, then score, slip, and attach it to the carved cylinder. Once attached, dip a silicone blending tool in water and create a line around each handle attachment (10). This will create a path for glaze to flow into later. Then, shape the handle with your fingers and smooth out any streaks or blemishes (11).
For a smooth final surface, I recommend sanding your bisqueware with 220-grit sandpaper while submerged in a bucket of water. This will eliminate any unwanted texture or blemishes, and the water will keep dust particles under control.
I’ve learned to use glaze as a design detail rather than just a means for functionality— accentuating elements of the piece and elevating the surface. Start by glazing the interior piece, leaving the flange free of glaze (12). Next, fill a needle-tipped squeeze bottle with your glaze of choice. Outline each carved element on the exterior cylinder and the areas where the handle attaches (13). Using a clear glaze, paint a thin stripe around the top of the tapered cylinder. Since the flange of the interior piece rests there (14), the glaze will fuse the two pieces together during firing, making the two individual parts appear as one.
Roll three small balls of wadding and apply a dot of Elmer’s glue in a tripod formation. Glue the balls of wadding to the base of the piece before firing.
The final step: sand the fired piece with 600-grit sandpaper for a silky, smooth surface. Then, of course, enjoy!
Lyndee Deal is a ceramic artist currently based in North Adams, Massachusetts. She holds an MFA in ceramics from the University of North Texas and has participated in residencies in Columbia, Missouri, and upstate New York. To learn more about Lyndee and her work, visit lyndeedeal.com or follow along on Instagram @lyndee.deal.
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