I find a unique freedom in handbuilding and will turn to it when I need a break from the constraints of the potter’s wheel. It was during one of these moments a number of years ago, that I conceived of these multi-lobed ring forms. In the process of problem-solving the cracking that initially occurred, I developed a method of building this form that I’ve since applied to many other irregular handbuilt forms. Maybe you will, too.
Looking at the finished form, any handbuilder would be able to quickly determine where the potential cracking points would be: the narrow junctions between the lobes. However, instead of building these forms by making several lobes and attaching them together, I decided to build them by starting in the middle, making both walls at the same time. My theory is that having every lobe at the exact same dryness level prevents cracking pitfalls.
The Initial Form
Roll out and flatten two thick coils about 1¼ inch (3.2 cm) thick, then flatten them with the palm of your hand into a rounded rectangular coil. Make your coils fatter than you want the walls to be, so you can effectively thin them out as you pinch and build up the lobes. Starting on a large round bat, use the two coils to mock up the number of lobes and the basic shape of the piece (1). Securely attach the ends of the coils together.
When you’re satisfied with the symmetry and shape, start pinching the coils to define the lobes (2). Try to keep the walls even in thickness and each lobe level (3). It won’t take long to pinch up the walls with the amount of clay from that initial coil. Place another bat on top of the form and sandwich the piece between the two bats to flip it (4). Now, repeat the thinning out and defining of the lobe shapes from the other side.
Building Up the Form
Next, add ring coils to the top of each lobe, conscientiously slipping and scoring for a secure join (5). Once attached, further pinch the new coil into a narrowing lobe shape (6). I then sandwich the form again between two bats, flip it over, and do the same for the other side. The junctions between lobes should be hollow. This takes extra attention when pinching the forms. This has the delightful effect of allowing one to fill up the vase from just one hole, as the water will spill from one lobe to another within the piece (7).
At this point, take the time to ensure every wall is about the same thickness so they dry and shrink at the same rate. This helps prevent the form from cracking in uneven or thin spots.
Smoothing and Refining
The tool that I cannot do without when making pieces like this is the wooden block. I have a variety of sizes, but the one I use the most I got years ago from a woodworking supply website when I thought I might like to try carving spoons. The spoon carving never happened, but I made use of the walnut and cherry blocks that came in the mail. I use the flat side of the block to smooth and regulate my lumpy handbuilt walls, and the corner to define creases and junction points (8).
This is usually the point in the process where I start to decide which side will be the top and which side will be the bottom. Once you have determined which is the bottom side, slip and score a ball of clay onto the open end and close the lobes, thoroughly smoothing the ball into the lobe wall (9). Sandwich the form between bats again, flip, and smooth the clay for each lobe’s foot from the interior (10).
I often seek to erase my finger marks to create a smooth texture on the surface. I have found that going over the surface first with a serrated rib (11) and next with the flexible red rib (12) helps get me to the texture I’m looking for.
Adding Attachments
Now, you can decide if you are done or if you want to build up the form more. Sometimes I leave my lobed forms in this basic shape; other times, I will add an additional lobed segment, much like adding a snowball when building a snowman. Using a sharp X-Acto knife, level off the tops of each lobe, working to keep each one at the same height (13).
Next, form a ring and pinch it to thin the walls and define the shape (14). I use the walnut block to create the creases (15) and develop bell-pepper-like shapes (16). After you have made one new top lobe segment for each main lobe, attach them to the top by slipping and scoring. Refine the rims until you’re satisfied (17).
Finishing
This complex form needs to dry very slowly. Every studio and climate is different, but I like to see these pieces dry out over the course of a week or two. I prefer to save them for the wood kiln and typically glaze them very simply, letting the form be the star of the show. Sometimes I will fire them unglazed or with a simple Tile 6 flashing slip.
Normandy Alden is an artist living and working in Otsego County, New York. Her studio practice and occasional teaching are stabilized by her role as a mother to teenage children and the working farm called Cairncrest Farm on which she lives with her extended family who raise grass-fed beef. Alden received her MFA from the University of Nebraska, Lincoln.
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I find a unique freedom in handbuilding and will turn to it when I need a break from the constraints of the potter’s wheel. It was during one of these moments a number of years ago, that I conceived of these multi-lobed ring forms. In the process of problem-solving the cracking that initially occurred, I developed a method of building this form that I’ve since applied to many other irregular handbuilt forms. Maybe you will, too.
Looking at the finished form, any handbuilder would be able to quickly determine where the potential cracking points would be: the narrow junctions between the lobes. However, instead of building these forms by making several lobes and attaching them together, I decided to build them by starting in the middle, making both walls at the same time. My theory is that having every lobe at the exact same dryness level prevents cracking pitfalls.
The Initial Form
Roll out and flatten two thick coils about 1¼ inch (3.2 cm) thick, then flatten them with the palm of your hand into a rounded rectangular coil. Make your coils fatter than you want the walls to be, so you can effectively thin them out as you pinch and build up the lobes. Starting on a large round bat, use the two coils to mock up the number of lobes and the basic shape of the piece (1). Securely attach the ends of the coils together.
When you’re satisfied with the symmetry and shape, start pinching the coils to define the lobes (2). Try to keep the walls even in thickness and each lobe level (3). It won’t take long to pinch up the walls with the amount of clay from that initial coil. Place another bat on top of the form and sandwich the piece between the two bats to flip it (4). Now, repeat the thinning out and defining of the lobe shapes from the other side.
Building Up the Form
Next, add ring coils to the top of each lobe, conscientiously slipping and scoring for a secure join (5). Once attached, further pinch the new coil into a narrowing lobe shape (6). I then sandwich the form again between two bats, flip it over, and do the same for the other side. The junctions between lobes should be hollow. This takes extra attention when pinching the forms. This has the delightful effect of allowing one to fill up the vase from just one hole, as the water will spill from one lobe to another within the piece (7).
At this point, take the time to ensure every wall is about the same thickness so they dry and shrink at the same rate. This helps prevent the form from cracking in uneven or thin spots.
Smoothing and Refining
The tool that I cannot do without when making pieces like this is the wooden block. I have a variety of sizes, but the one I use the most I got years ago from a woodworking supply website when I thought I might like to try carving spoons. The spoon carving never happened, but I made use of the walnut and cherry blocks that came in the mail. I use the flat side of the block to smooth and regulate my lumpy handbuilt walls, and the corner to define creases and junction points (8).
This is usually the point in the process where I start to decide which side will be the top and which side will be the bottom. Once you have determined which is the bottom side, slip and score a ball of clay onto the open end and close the lobes, thoroughly smoothing the ball into the lobe wall (9). Sandwich the form between bats again, flip, and smooth the clay for each lobe’s foot from the interior (10).
I often seek to erase my finger marks to create a smooth texture on the surface. I have found that going over the surface first with a serrated rib (11) and next with the flexible red rib (12) helps get me to the texture I’m looking for.
Adding Attachments
Now, you can decide if you are done or if you want to build up the form more. Sometimes I leave my lobed forms in this basic shape; other times, I will add an additional lobed segment, much like adding a snowball when building a snowman. Using a sharp X-Acto knife, level off the tops of each lobe, working to keep each one at the same height (13).
Next, form a ring and pinch it to thin the walls and define the shape (14). I use the walnut block to create the creases (15) and develop bell-pepper-like shapes (16). After you have made one new top lobe segment for each main lobe, attach them to the top by slipping and scoring. Refine the rims until you’re satisfied (17).
Finishing
This complex form needs to dry very slowly. Every studio and climate is different, but I like to see these pieces dry out over the course of a week or two. I prefer to save them for the wood kiln and typically glaze them very simply, letting the form be the star of the show. Sometimes I will fire them unglazed or with a simple Tile 6 flashing slip.
Normandy Alden is an artist living and working in Otsego County, New York. Her studio practice and occasional teaching are stabilized by her role as a mother to teenage children and the working farm called Cairncrest Farm on which she lives with her extended family who raise grass-fed beef. Alden received her MFA from the University of Nebraska, Lincoln.
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