Many people consider pasta to be one of their favorite foods, but few people have ever attempted to make it themselves. As someone who loves to make pasta from scratch, I find it very rewarding and surprisingly simple. And of course, being a potter, I am equally interested in how a well-designed plate can enhance the fresh-made-pasta experience. I have found (after enjoying many pasta meals), that the best type of dish to use is something between a bowl and a plate. Some people might refer to this shape as a “blate” (bowl + plate). They have the spaciousness of a plate combined with the containment of a bowl. It might seem like a small adjustment, but you’ll find the slight curve of the rim enables you to easily catch every noodle while keeping the sauce in the dish. 

Throwing

The first step in making pasta plates is to weigh out and wedge 3½ pounds of clay. Much of this weight will eventually be trimmed off, but it is needed to provide a substantial foot. 

Center the clay on a bat into a low puck (1). Once you’re certain the clay is centered, drag the clay toward the outside of the bat (to about 3 o’clock, if you’re throwing right handed). This part will be the floor of the plate, so be sure it is even and leave ½–¾ inch thickness. I use the side of my fist to drag the clay because I find it keeps the floor more even and gives me more strength than if I used my fingers. The heel of my left hand pushes down and in, to keep the clay firmly attached to the bat. Drag the clay until it’s about 8½–9 inches diameter, leaving the edge a little thicker, so there is some clay left to pull up (2). But before you pull the edge, be sure to compress the floor. One of the most common reasons plates fail is that the floor is not sufficiently compressed, thus causing cracks. 

1 Center 3½ pounds of clay (or a little more if you want a wide rim) into a low puck. 2 Drag the clay out to create the floor. The clay should measure about 9 inches before pulling the walls.

Now you’re ready to pull up the edge. Pull the last, outermost bit of clay up and out—this won’t be very tall (about two inches from the bat) (3). The goal is to make the plate about 10 inches in diameter, any smaller and there might not be enough space for a full serving of pasta. Remember: the magic of a pasta blate is found between a plate and a shallow bowl. If you want a wide rim, pull the clay up and then out much farther (this might require you to start with a little more clay).

Before you take the thrown pasta plate off the wheel, there are a few items to consider: 

  • Are you happy with your rim? Try not to make the rim too thin (or it will be prone to chipping). You’ll want to compress the rim (again, compression helps avoid cracks).
  • Compress the floor again. (Yes, again; compression is the name of the game). At this point I use either a stiff plastic kidney rib or similarly shaped metal rib. 
  • Make sure the transition from floor to wall is seamless. Here a rounded rib can help smooth out any lumps or bumps. 

Once you are happy with the shape of your pasta plate, it’s drying time. Plates take a long time to dry and the rim dries much faster than the middle. Depending on the humidity of your studio space, it could take a few days and you might need to cover just the rim and leave the middle exposed. You know best how your pots dry, just make sure to check regularly until your plate is evenly leather hard.

3 Make sure the inside of the pasta plate is smooth and compressed before taking it off the wheel. 4 Center the plate. I tap to center and use an old jar lid to hold the plate down.

Trimming

To trim, I tap the form to center it and use an old jar lid to hold down the pot on the wheel head (4). As you trim, be sure to leave a sturdy foot ring about midway in from the rim when viewing it from the bottom of the plate. Remember, you’re going to remove a lot of clay while trimming. The clay should come off in long ribbons; if it’s getting stuck to your trimming tool, it’s too wet, so leave it to dry a bit longer. 

When you think you’re getting close, pick up the plate and check the thickness. How does the floor feel? The walls? Is everything even? Is the pot heavy?

5 Trim the extra clay until even, while being mindful of the outside surface texture. I use a serrated rib to create texture when done. 6 The finished pasta plate with handmade pasta and tomato sauce .

Finishing

All my pots are made with earthenware and finished with terra sigillata. I like to add texture to my pots when they are leather hard, as soon as I’m done trimming. Texture gives the terra sigillata depth and can be achieved many ways. I usually use a serrated rib (5), chattering, or slip, but really, the world is your oyster. At this point, keep in mind how you are going to glaze your pasta plate. If you have a thick matte glaze, any surface detail would be lost. If you are using a translucent glaze, some underglaze or mishima might look nice (6).

When it’s time to glaze, I use a glossy, off-white liner glaze on the interior of my pasta plates. I find a simple glaze looks nice with pasta. Also keep in mind, pasta is almost always eaten with a fork, and a dry glaze is going to give a nails-on-a-chalkboard feeling. Be sure that your liner glaze is food safe.

Wendy Eggerman is a full-time potter in Saint Paul, Minnesota. Her pots are inspired by antiques and informed by her love of cooking. See more at: www.FunctionalHeirlooms.com or Instagram @FunctionalHeirlooms.

Topics: Wheel Throwing Techniques

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