This tutorial provides step-by-step instructions for sculpting a bas-relief medallion. My inspiration for the project was drawn from 19th-century bisque reliefs, specifically those manufactured by Copeland (W.T. Copeland & Sons, an English pottery, evolving from the Spode company, known for high-quality ceramics) and Sèvres (a French porcelain manufacturer known for its luxurious decorative items). These unglazed ceramics are famous for their matte white finish and finely sculpted details.
Prepping the Materials
To get started, make a pencil sketch of your design. For this demonstration, I chose a traditional grape-and-foliage motif (1). Beginners should avoid portraits and three-quarter subjects, as these can be difficult to sculpt.
To model the relief, you will need a pair of ⅜-inch (9.5-mm)-thick wooden spacers, a large-diameter dowel (rolling pin or pony roller), a modeling board, some high-plasticity white clay, and a set of modeling tools. Spray the modeling board with water and pat the clay into an oval shape measuring roughly 3½ × 5 in. (9 × 12.7 cm), then use the dowel to smooth and flatten the clay between the spacers as shown (2). The purpose of dampening the board is two-fold: it slows down the drying process and helps to hold the clay in place while you sculpt.
Transferring an Image
To transfer your drawing onto the clay, trace it in reverse with a soft charcoal pencil. Place the tracing face down on the surface and rub it with your palm. Gently peel back the paper, being careful not to smudge the image (3).
Sculpting a Relief
Next, build up the relief within the outlines of the drawing. Block in the basic forms with small lumps of clay, working from big to small and background to foreground (4). As you work, define the edges of the individual grapes and the leaves. Remember that the center of a relief form should be thicker and therefore higher than the thinner, lower edges. Once you have sculpted the form, add detailing such as veining to the leaves. For best results, initial sculpting should be done with the thumb and fingers. As the work progresses, use modeling tools to introduce smaller details and refine the form.
Trim the border of the medallion with a fettling knife or razor blade once the clay firms up (5).
Unfinished projects can be stored in an airtight container along with a wet sponge. Alternatively, you can make a damp box by pouring a few inches of plaster into a pail with a tight-fitting lid. After the plaster hardens, soak it with water. Sculptures stored in the pail will remain pliable for many days. During the final stages of modeling, allow the clay to reach a leather-hard state. This will make it easier to add crisp details and other finishing touches. After the medallion is completely dry, smooth its sides and bottom with sandpaper (6).
Firing the Medallion
Fire the bone-dry relief according to your clay type and kiln specs. Nineteenth-century bisque reliefs were usually made out of porcelain. In this case, however, I used white earthenware clay, which I bisque-fired to cone 04 in an electric kiln. Unglazed medallions can be used to make a variety of decorative items, such as fridge magnets, holiday ornaments, and wall décor. The matte white finish accentuates fine details, which are normally obscured by the glazing process.
Ross Pollard is an artist and author dedicated to the preservation of traditional sculpting techniques. He holds a degree in art history from the University of Wisconsin–Madison, and is self-taught in the art of bas-relief modeling.
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This tutorial provides step-by-step instructions for sculpting a bas-relief medallion. My inspiration for the project was drawn from 19th-century bisque reliefs, specifically those manufactured by Copeland (W.T. Copeland & Sons, an English pottery, evolving from the Spode company, known for high-quality ceramics) and Sèvres (a French porcelain manufacturer known for its luxurious decorative items). These unglazed ceramics are famous for their matte white finish and finely sculpted details.
Prepping the Materials
To get started, make a pencil sketch of your design. For this demonstration, I chose a traditional grape-and-foliage motif (1). Beginners should avoid portraits and three-quarter subjects, as these can be difficult to sculpt.
To model the relief, you will need a pair of ⅜-inch (9.5-mm)-thick wooden spacers, a large-diameter dowel (rolling pin or pony roller), a modeling board, some high-plasticity white clay, and a set of modeling tools. Spray the modeling board with water and pat the clay into an oval shape measuring roughly 3½ × 5 in. (9 × 12.7 cm), then use the dowel to smooth and flatten the clay between the spacers as shown (2). The purpose of dampening the board is two-fold: it slows down the drying process and helps to hold the clay in place while you sculpt.
Transferring an Image
To transfer your drawing onto the clay, trace it in reverse with a soft charcoal pencil. Place the tracing face down on the surface and rub it with your palm. Gently peel back the paper, being careful not to smudge the image (3).
Sculpting a Relief
Next, build up the relief within the outlines of the drawing. Block in the basic forms with small lumps of clay, working from big to small and background to foreground (4). As you work, define the edges of the individual grapes and the leaves. Remember that the center of a relief form should be thicker and therefore higher than the thinner, lower edges. Once you have sculpted the form, add detailing such as veining to the leaves. For best results, initial sculpting should be done with the thumb and fingers. As the work progresses, use modeling tools to introduce smaller details and refine the form.
Trim the border of the medallion with a fettling knife or razor blade once the clay firms up (5).
Unfinished projects can be stored in an airtight container along with a wet sponge. Alternatively, you can make a damp box by pouring a few inches of plaster into a pail with a tight-fitting lid. After the plaster hardens, soak it with water. Sculptures stored in the pail will remain pliable for many days. During the final stages of modeling, allow the clay to reach a leather-hard state. This will make it easier to add crisp details and other finishing touches. After the medallion is completely dry, smooth its sides and bottom with sandpaper (6).
Firing the Medallion
Fire the bone-dry relief according to your clay type and kiln specs. Nineteenth-century bisque reliefs were usually made out of porcelain. In this case, however, I used white earthenware clay, which I bisque-fired to cone 04 in an electric kiln. Unglazed medallions can be used to make a variety of decorative items, such as fridge magnets, holiday ornaments, and wall décor. The matte white finish accentuates fine details, which are normally obscured by the glazing process.
Ross Pollard is an artist and author dedicated to the preservation of traditional sculpting techniques. He holds a degree in art history from the University of Wisconsin–Madison, and is self-taught in the art of bas-relief modeling.
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