For me, ceramics is first and foremost a practice of freedom. There is a freedom of self-expression that I find in handbuilding— especially working with slabs. Clay slabs allow me to create a variety of forms from tiny to huge, apply unique textures, and hone skills like precision and patience. I enjoy setting challenges for myself, finding solutions for them, and creating practical things with natural textures in harmonious colors. The storage jar is a perfect example of this approach. It is made entirely by hand from a slab, and the special way the lid is formed makes it truly practical. My goal was to create a concise and simple form, while maintaining functionality and, most importantly, keeping it lightweight. Weight often becomes an issue for pieces made without a potter’s wheel.
Preparing the Templates
So, where does the making of any object begin? With an idea! Then comes preparing a sketch, determining the proportions, and creating a template. It’s important to remember that clay shrinks as it dries, so the paper template must be larger than the desired ceramic piece. Because we will be closing the clay cylinder, the height of the piece will increase. This is how we determine the proportions and create a usable template. For now, you can start with my measurements.
Preparing the Slab
Start with 1⅓ pounds (600g) of clay—this is a little more than the final weight of the greenware piece. Separate a piece of clay for the main slab (at least ½ pound (260g)). Before rolling, shape the piece of clay into an elongated rectangular block to avoid having a lot of scraps.
Roll out a slab ¼ in. (5 mm) thick, using guide sticks and then remove the rolled slab from the fabric and smooth it on both sides with a soft rubber rib. It’s important that the rib is soft enough; otherwise, it will leave pressure marks. Place template #1 on the slab and lightly trace the shape, but do not cut it out.
Applying Texture
I have a large collection of various stones that I use to create interesting and lively textures. The stone I’m using was found in a mountain river. Now, its spirit will remain in the texture of this piece. With light pressure, controlling the depth of the impression, apply the pattern to the surface of the slab (1).
Next, place template #1 on it again and trace the lines with additional pressure. Notice that the outlines of the first tracing didn’t quite match the edges of the template. The slab stretched a bit under the pressure of the stone, which is why you must apply the texture first and then cut out the final shape. Cut out the rectangular shape (2), and bevel the side edges that you will later join at approximately a 45-degree angle.
Assembling the Cylinder
Carefully lift your cut slab and roll it into a cylinder. Score both seams and cover them with slip. Join the slab by pressing the sides against each other and squeezing them together with your fingers in stages. Use a wooden modeling tool to smooth the seam and remove air (3).
Smooth the seam on the outside and inside, and correct the cylinder’s shape, forming even circles on both ends.
Forming the Bottom and Top
For the circles, form three balls of clay and roll them out. You need to make two ¼-in. (5-mm)-thick circles using template #2; and one circle ⅛ in. (3 mm) thick of the same diameter. Apply the same texture to the two ¼-in. (5-mm)-thick slabs, controlling the pressure and depth (4).
Place the prepared slabs one by one on a banding wheel and cut them at a right angle using template #2. Tip: When cutting on a metal banding wheel, place paper under the clay slab to prevent it from sticking to the surface.
Assembling the Piece
To close the cylinder, score one of the edges of the cylinder and one of the ¼-in. (5-mm)-thick circles. Apply slip to both parts and join them (5). Gently tap the cylinder on the table surface to compact the joined part. Smooth the outer edge with your fingers. Then, coat the inner corner join with slip and smooth it with your finger. At this moment, the piece must be perfectly centered on the banding wheel. Hold your finger inside the cylinder, pressing the slip into the corner, and rotate the banding wheel, not the piece itself. Turn the cylinder over with the closed side up and finish the edges with a flexible rib to smooth the joint.
Now, turn the cylinder over with the open side up and attach another ¼-in. (5-mm)-thick circle in the same way (6). Work the join with a rib to compress and smooth it. Carefully touch up the texture with the stone at the seams on both sides of the piece (7).
Making the Lid and Jar Neck
Let the piece firm up a little. This will allow for a clean cut when separating the cylinder into the jar and the lid. To draw the cutting line, use template #3. Wrap template #3 around the lower part of the jar, secure it with tape, and trace the line (8). With a sharp knife or blade, carefully cut the cylinder, ensuring the blade is perpendicular to the wall (9). After opening the cylinder (10), finish refining the inner corner of the lid just as you did with the bottom. Place the lid under plastic.
Close the body of the jar, without the lid on, by attaching the ⅛-in. (3-mm)-thick circle cut from template #2 (11). Ensure a good join and finish the seam. By doing this, you are preparing the body so you can create a perfectly round lid galley.
Prepare another round slab, ⅛ in. (3 mm) thick, using template #4. Cut out the circle. Attach this part to the top circle of the main jar body. To do this, place template #4 on the top part of the jar body, center it, and lightly trace the outline with a tool. Then, score from this line toward the center, forming a ring about ⅜ in. (1 cm) wide. Similarly, score the last cut circle. Apply slip to the scored areas on both parts and join them (12).
For a good bond, tap the surface with a flat wooden paddle, controlling the force of the impact. Treat the edge with slip and smooth the corner (seam) with your finger. At this stage, the piece needs to firm up; otherwise, you won’t be able to cut out the central part cleanly.
Final Assembly Stage
For the final stage, you will need a circle cutter. Find the center on the top of the jar, make a small indentation to mark it, set the cutter’s radius to 1⅝ in. (4.1 cm), and insert the non-blade side of the cutter into this indentation. Slowly and carefully, while rotating the banding wheel, begin to cut the hole with gentle pressure on the cutter (13). You need to get used to this tool, to understand how much pressure to apply and how to stay on center. I recommend practicing on a test slab first.
If necessary, finish cutting the hole with a knife and remove the inner circle, which consists of the two previously joined slabs (14). Correct any irregularities, then smooth and refine the neck using slip and a damp sponge. Let the neck dry for a couple of minutes, then test-fit the lid (15). Refine the neck and fit if necessary.
At this point, the building process can be considered complete. Begin the drying process. Dry the piece with the lid on. For the first few days, it’s best to dry the piece on shelves covered with plastic. This promotes even drying. After a few days, finish drying the jar on open shelves. When the piece is completely dry, bisque fire it.
Glazing
After bisque firing, clean the piece to remove any rough edges. Wear a well-fitting respirator to avoid inhaling dust. Clean the piece with a damp sponge to remove all dust.
Coat the jar’s interior with a transparent glaze. To achieve an unusual result like mine, coat the outside of the jar with a black fluxed engobe (I use a commercially made engobe). Work with an almost dry brush, applying the engobe in a thick layer with light, unidirectional strokes, trying to leave the recessed parts of the texture’s relief uncovered (16). Coat the lid with engobe in the same way (17). Finally, fire the piece again.
Nina Paulovskaya (Bobo Ceramics) is an artist originally from Belarus, who lives and works in a clay house she built with her own hands in a Serbian village. Her work is deeply connected with nature and caring for it. Inspired by Japanese culture and the aesthetics of handbuilding, Nina found clay to be the perfect, eco-friendly material for realizing her ideas. Her pieces reflect this harmony and love for the world around her. You can explore her work and thoughts on Instagram @ceramica_boboand on Etsy @BoboCeramica.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Please enjoy this complimentary article for the month.
For unlimited access to Pottery Making Illustrated premium content, please subscribe.
We understand your email address is private. You will receive emails and newsletters from Ceramic Arts Network. We will never share your information except as outlined in our privacy policy. You can unsubscribe at any time.
Subscribe to Pottery Making Illustrated
For me, ceramics is first and foremost a practice of freedom. There is a freedom of self-expression that I find in handbuilding— especially working with slabs. Clay slabs allow me to create a variety of forms from tiny to huge, apply unique textures, and hone skills like precision and patience. I enjoy setting challenges for myself, finding solutions for them, and creating practical things with natural textures in harmonious colors. The storage jar is a perfect example of this approach. It is made entirely by hand from a slab, and the special way the lid is formed makes it truly practical. My goal was to create a concise and simple form, while maintaining functionality and, most importantly, keeping it lightweight. Weight often becomes an issue for pieces made without a potter’s wheel.
Preparing the Templates
So, where does the making of any object begin? With an idea! Then comes preparing a sketch, determining the proportions, and creating a template. It’s important to remember that clay shrinks as it dries, so the paper template must be larger than the desired ceramic piece. Because we will be closing the clay cylinder, the height of the piece will increase. This is how we determine the proportions and create a usable template. For now, you can start with my measurements.
Preparing the Slab
Start with 1⅓ pounds (600g) of clay—this is a little more than the final weight of the greenware piece. Separate a piece of clay for the main slab (at least ½ pound (260g)). Before rolling, shape the piece of clay into an elongated rectangular block to avoid having a lot of scraps.
Roll out a slab ¼ in. (5 mm) thick, using guide sticks and then remove the rolled slab from the fabric and smooth it on both sides with a soft rubber rib. It’s important that the rib is soft enough; otherwise, it will leave pressure marks. Place template #1 on the slab and lightly trace the shape, but do not cut it out.
Applying Texture
I have a large collection of various stones that I use to create interesting and lively textures. The stone I’m using was found in a mountain river. Now, its spirit will remain in the texture of this piece. With light pressure, controlling the depth of the impression, apply the pattern to the surface of the slab (1).
Next, place template #1 on it again and trace the lines with additional pressure. Notice that the outlines of the first tracing didn’t quite match the edges of the template. The slab stretched a bit under the pressure of the stone, which is why you must apply the texture first and then cut out the final shape. Cut out the rectangular shape (2), and bevel the side edges that you will later join at approximately a 45-degree angle.
Assembling the Cylinder
Carefully lift your cut slab and roll it into a cylinder. Score both seams and cover them with slip. Join the slab by pressing the sides against each other and squeezing them together with your fingers in stages. Use a wooden modeling tool to smooth the seam and remove air (3).
Smooth the seam on the outside and inside, and correct the cylinder’s shape, forming even circles on both ends.
Forming the Bottom and Top
For the circles, form three balls of clay and roll them out. You need to make two ¼-in. (5-mm)-thick circles using template #2; and one circle ⅛ in. (3 mm) thick of the same diameter. Apply the same texture to the two ¼-in. (5-mm)-thick slabs, controlling the pressure and depth (4).
Place the prepared slabs one by one on a banding wheel and cut them at a right angle using template #2. Tip: When cutting on a metal banding wheel, place paper under the clay slab to prevent it from sticking to the surface.
Assembling the Piece
To close the cylinder, score one of the edges of the cylinder and one of the ¼-in. (5-mm)-thick circles. Apply slip to both parts and join them (5). Gently tap the cylinder on the table surface to compact the joined part. Smooth the outer edge with your fingers. Then, coat the inner corner join with slip and smooth it with your finger. At this moment, the piece must be perfectly centered on the banding wheel. Hold your finger inside the cylinder, pressing the slip into the corner, and rotate the banding wheel, not the piece itself. Turn the cylinder over with the closed side up and finish the edges with a flexible rib to smooth the joint.
Now, turn the cylinder over with the open side up and attach another ¼-in. (5-mm)-thick circle in the same way (6). Work the join with a rib to compress and smooth it. Carefully touch up the texture with the stone at the seams on both sides of the piece (7).
Making the Lid and Jar Neck
Let the piece firm up a little. This will allow for a clean cut when separating the cylinder into the jar and the lid. To draw the cutting line, use template #3. Wrap template #3 around the lower part of the jar, secure it with tape, and trace the line (8). With a sharp knife or blade, carefully cut the cylinder, ensuring the blade is perpendicular to the wall (9). After opening the cylinder (10), finish refining the inner corner of the lid just as you did with the bottom. Place the lid under plastic.
Close the body of the jar, without the lid on, by attaching the ⅛-in. (3-mm)-thick circle cut from template #2 (11). Ensure a good join and finish the seam. By doing this, you are preparing the body so you can create a perfectly round lid galley.
Prepare another round slab, ⅛ in. (3 mm) thick, using template #4. Cut out the circle. Attach this part to the top circle of the main jar body. To do this, place template #4 on the top part of the jar body, center it, and lightly trace the outline with a tool. Then, score from this line toward the center, forming a ring about ⅜ in. (1 cm) wide. Similarly, score the last cut circle. Apply slip to the scored areas on both parts and join them (12).
For a good bond, tap the surface with a flat wooden paddle, controlling the force of the impact. Treat the edge with slip and smooth the corner (seam) with your finger. At this stage, the piece needs to firm up; otherwise, you won’t be able to cut out the central part cleanly.
Final Assembly Stage
For the final stage, you will need a circle cutter. Find the center on the top of the jar, make a small indentation to mark it, set the cutter’s radius to 1⅝ in. (4.1 cm), and insert the non-blade side of the cutter into this indentation. Slowly and carefully, while rotating the banding wheel, begin to cut the hole with gentle pressure on the cutter (13). You need to get used to this tool, to understand how much pressure to apply and how to stay on center. I recommend practicing on a test slab first.
If necessary, finish cutting the hole with a knife and remove the inner circle, which consists of the two previously joined slabs (14). Correct any irregularities, then smooth and refine the neck using slip and a damp sponge. Let the neck dry for a couple of minutes, then test-fit the lid (15). Refine the neck and fit if necessary.
At this point, the building process can be considered complete. Begin the drying process. Dry the piece with the lid on. For the first few days, it’s best to dry the piece on shelves covered with plastic. This promotes even drying. After a few days, finish drying the jar on open shelves. When the piece is completely dry, bisque fire it.
Glazing
After bisque firing, clean the piece to remove any rough edges. Wear a well-fitting respirator to avoid inhaling dust. Clean the piece with a damp sponge to remove all dust.
Coat the jar’s interior with a transparent glaze. To achieve an unusual result like mine, coat the outside of the jar with a black fluxed engobe (I use a commercially made engobe). Work with an almost dry brush, applying the engobe in a thick layer with light, unidirectional strokes, trying to leave the recessed parts of the texture’s relief uncovered (16). Coat the lid with engobe in the same way (17). Finally, fire the piece again.
Nina Paulovskaya (Bobo Ceramics) is an artist originally from Belarus, who lives and works in a clay house she built with her own hands in a Serbian village. Her work is deeply connected with nature and caring for it. Inspired by Japanese culture and the aesthetics of handbuilding, Nina found clay to be the perfect, eco-friendly material for realizing her ideas. Her pieces reflect this harmony and love for the world around her. You can explore her work and thoughts on Instagram @ceramica_bobo and on Etsy @BoboCeramica.
September/October 2026: Table of Contents
Must-Reads from Pottery Making Illustrated
Unfamiliar with any terms in this article? Browse our glossary of pottery terms!
Click the cover image to return to the Table of Contents