My first pillow-lidded box was a fun experiment. I found I enjoyed the weight of a hollowed lid made from two slabs, and, as an added bonus, the convex underside of the lid presented opportunities for decoration. Having determined the volume of the lid, the handle came next. After trying a few variations, I ultimately poked a hole or two on the top of the hollowed form, and to my satisfaction, there was my handle! This box design was just a starting point for me. The techniques I used in this one piece opened a variety of paths that can be translated endlessly into other pieces.

Base and Lid Template

Begin by rolling out a slab no thicker than 1/4 inch for the base of the box. After rolling out the slab, compress both sides of the slab using a metal or rubber rib—this is important because compression helps keep the flat clay from warping and cracking while drying and firing. 

The template I use for the slab base of my box will also be used for the two parts that make up the hollow lid. The shape of the template dictates the shape of the box. If the template is oval, the box will be oval. If it is rectangular, the box will be rectangular. Using a piece of paper, trace your preferred shape and then cut it out. Place the template onto the slab, flatten it out using a soft rubber rib, and then cut through the slab along the edge of the template using a fettling knife (1).

1 Place the template on the slab, then cut through the slab along the edge of the template using a fettling knife.

Body of the Box

Place the rectangular slab on a banding wheel and adjust until centered. Using a soft rubber rib, lightly press down around the edges of the slab so that there are four beveled edges (2). Then, score the edges (see 3). Next, roll out several coils (¾ inch wide), roughly the length of your forearm, and set them aside under plastic until needed.

I begin my coil building just over an inch from the rounded corner of the base because starting at the corner can cause unnecessary tension and a higher risk of cracks forming during drying. Using a thumb and index finger, press the coil along the edge of the scored base (3). Cut off any extra clay once the coil ends meet, and make sure the joining pieces are well attached to one another.

2 Using a soft rubber rib, lightly press down around the edges of the slab to create beveled edges. 3 Using a thumb and index finger, press a coil along the edge of the scored base. Begin an inch from the corner. 4 Using a stiff rib, compress the edges of the coil on the outside and inside of the box to secure the connection. 5 Attach each coil atop the previous coil, but slightly inset to avoid an outward lean of the walls.

Using a stiff rib with a sharp angle, compress the edges of the coil on the outside and inside of the box, making sure all of the connections are smoothed out (4). Once the first coil is attached and cleaned up, begin the next coil. I attach each coil atop the previous coil, but slightly inset to ensure the structure of the box does not lean outward (5). Using a stiff rib, compress the coils into one another on the inside and outside of the box. Begin lightly pinching the wall to add height, starting just above the base and rotating the pot on the banding wheel. Next, paddle the outside of the box to ensure the walls are even and not leaning outward (6). I try to feel out the walls of the box with my pinching to verify that they are roughly ¼ inch thick. 

The Gallery 

Adding a gallery on the inside of the box creates a small shelf to support the lid. The first step of making the gallery is to level the top edge of the box. Do this by holding a blade still against the rim of the box while turning the banding wheel. After removing the extra clay, smooth the cut surface with a soft rib.

Roll out a long coil that is around ¾ inch wide and set it aside. Score around the inside lip of the box, and then attach the coil in the same manner as the base. Gently press the coil into the walls along the score marks while bracing the outside of the walls with your other hand so that they don’t bow outward (7). Cut off any excess coil, and blend the two seams together.

6 Gently paddle the outside of the box, to ensure the walls are even and not leaning outward. 7 Press a coil into the upper walls along the score marks while bracing the outside of the walls with your other hand.

Once the coil is joined, use a wooden knife to blend the seam between the coil and the wall. Now, go around the coil once more to pinch it out. Then, using a thumb and index finger, pinch the attached coil to bring it to a taper—thicker toward the wall and thinner toward the interior (8). To tidy up the gallery, use a metal rib with a 90-degree angle and lightly press the angle into the corner of the gallery coil and the box. Work your way around the gallery until it feels even, then use your fingers to smooth and finish the underside of the coil (9). Allow the box and gallery to dry to the point where the clay is no longer easily pliant because you will be using the opening of the box to slump and form the lid’s curve.

8 Using a thumb and index finger, pinch the coil to taper it—thicker toward the wall and thinner toward the interior. 9 Work around the gallery until it feels even, then use your fingers to smooth and finish the underside of the coil.

Pillow Lid 

To make the lid, roll out a second slab that is ¼ inch thick and large enough to accommodate two templates placed side by side. Arrange the templates, then cut them out. Next, take one of the rectangular slabs and gently rest it on top of the box so the edge of the slab overhangs the box lip a little. Once the slab is placed and the edges are lined up, use a soft rubber rib to carefully compress it down into the center of the box to create a concave surface. Move from the edge of the rectangle toward the center, trying not to place stress directly on the center (10).

Once there is a distinct, even curve into the lid, use a torch or heat gun to quickly stiffen it up, then set it aside. Repeat the same process with the second rectangular slab. 

10 To create a curve in the lid, apply slight pressure with a rib from the edge toward the center. 11 Position both rectangles so the curved sides are facing out and they form a pocket of space between them.

Next, position both rectangles so the curved sides are facing out and they form a pillow with a pocket of space between them, making sure they are relatively even (11). When you’re happy with how they fit, score the edges and use your thumbs to press and seal together.

Make a small mark on one side of the lid and another corresponding mark on the box to ensure the lid is fitted in the same spot (12). Use a Surform to shave down the sides of the lid and adjust the fit (13).

When the lid can comfortably sit inside the vertical rim on the box, supported underneath by the gallery ledge, and can be easily be removed, the next step is to clean up the Surform marks and add the lid handle. 

12 Make a mark on one side of the lid and another corresponding mark on the box so the lid will fit in the same spot. 13 Use a Surform to shape and shave down the sides of the lid and adjust the fit to the box.

Handle

For the handle, use a ruler to find the center of the lid, then make a small mark. Next, use a small oval cookie cutter to mark two circles on either side of your center mark, leaving about ½ inch between them (14). 

Then, cut out both ovals and soften the cut edges with your fingers. Use your fingers to gently stretch the handle so it is raised, then pinch the sides together to give the handle more of an hourglass shape (15).

14 Use a small oval cookie cutter to mark two circles on either side of the center mark. Cut out the circles. 15 Use your fingers to stretch the handle so it is raised, then pinch the sides together to give the handle an hourglass shape.

Decoration

The sky’s the limit when it comes to decorating this pillow-lidded box! I place paper stencils all over the box, then apply a layer of contrasting white slip (16). When the slip has stiffened up a bit, I carefully peel back the stencils to expose the raw clay beneath. This creates bold, high-contrast images of daring floral motifs all over the box. I also enjoy decorating the underside of the lid to add a special moment when the box is opened (17).

16 Place paper stencils all over the box, then apply a layer of contrasting white slip. When the slip has stiffened, carefully peel back the stencils to expose the raw clay beneath. 17 The white slip creates bold, high-contrast images of daring floral motifs all over the box. You can also decorate the underside of the lid to add a special moment when the box is opened.

Samantha Oliver graduated with a BFA from Winthrop University in Rock Hill, South Carolina, in 2013. She attended a short-term residency at William and Mary in Williamsburg, Virginia. From there she completed a 1½-year-long residency at The Bascom: Center for Visual Arts, in Highland, North Carolina, then a 6-month residency at Brockway Center for Arts and Technology in Brockway, Pennsylvania. She is currently working as a full-time potter and educator out of her home studio in Tryon, North Carolina.

Topics: Functional Pottery, Handbuilding Techniques

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