I felt like I was in a creative rut with my work and although the pots I was making were fine pots, I felt a bit guilty adding to the accumulation of “stuff” on our earth. After all, once the pot is fired, it’s here for a very long time. So, in an effort to produce a functional ceramic object that was more “earth friendly,” I started tinkering around with combining vintage kitchen tools with my “candy-coated” earthenware handles. This project was great because it combined my love of thrifting, vintage objects, and ceramics while being a little more “green.” As a bonus, the kitchen tools are a fun addition to the daily cooking routine and make for wonderful conversation starters!
Sourcing and Cleaning
All the metal components of the kitchen tools are upcycled from mainly vintage kitchen utensils and gadgets that I’ve happened upon in my treasure hunts. I pick up spatulas, whisks, spoons, meat forks, pastry blenders, beaters, scoops, ladles—you name it, I probably have it in my stash. I am especially drawn to the old pieces from the 1930s–1950s, the ones with the painted wooden handles and interesting patterned blades. I think the quality of the metal is nicer than that of new utensils, and I like the rich patina that has developed on the pieces over the years with use, much like a well-loved pot. If I stumble upon a utensil with a handle in nice condition, I won’t replace the handle. I use only pieces with cracked, damaged, or hideously ugly handles, therefore staying true to the spirit of upcycling—if it isn’t broken, don’t fix it.
Garage sales, estate sales, and thrift stores are the best places to score utensils at a reasonable price. Vintage shops are more expensive, as are eBay and Etsy, but worth searching if you like the aesthetic of an earlier time. With some digging, you may still come across inexpensive pieces. Auctions, Craigslist, and recycling websites (such as the Freecycle Network, www.freecycle.org) are hit or miss with such items, but I see them now and again, sometimes for free!
Once you’ve accumulated a little collection of utensil goodness, choose a few to start with (1), and detach the handle so that the entire metal piece can easily be cleaned. Some handles come off readily, others take a bit of muscle. For a plastic handle, try freezing the tool and then, wearing eye protection, crack the handle off with pliers or a hammer. Alternately, wearing a respirator with cartridges rated for fumes, torch it in a well-ventilated area until it is soft and able to release. If the shaft is long, I sometimes cut the metal piece off at the handle rather than struggle to remove it. If I’m lucky, the handles are wooden or already cracked and easily pulled off with a pair of pliers, broken down with a hammer, or cut off with a saw. A hacksaw is useful for cutting thick-gauge metal and tin snips or a wire cutter works well for thick wire.
Next, you’ll want to clean the metal parts. Yes, patina can be nice, but lots of rust or gunked-on grease and food is not. To remove rust and residue, soak the metal parts in white vinegar for a half hour (2) and then scrub with a bit of steel wool (3). The synthetic steel wool I use doesn’t mar the surface and removes only the grunge and rust. If the residue doesn’t release after the first scrub, soak a bit longer and scrub again.
Design Work
Once the metal is clean, design a new handle. I think about the length that I want the tool to be and the size of the handle in relationship to the size of the blade. As you design, think about whether there is a design element from the metal component that could be brought into the handle. Slotted spoons and spatulas demand some patterning on the handle that either echoes or contrasts the pierced designs, or balances the larger, metal component end visually. The surface design must be considered in the physical handle design to help determine proportion and size. I usually sketch a design on paper, and hold it up to the utensil to visualize proportions before committing, as well as creating a paper pattern for an accurate transfer of the shape onto the clay (4).
Forming Handles
I enjoy the hollow pod shape as a handle because it feels nice in the hand, it’s symmetrical, there’s an animal quality to it, like that of a turtle shell, lending itself to some fun decorating decisions. The pods are comprised of two slabs, about a quarter inch in thickness, that are pushed out from the inside to create a curved volume (5), then pressed together around the curved edges (6), and pinched together with my fingertips, trapping air within (7). As the clay is very soft, no slip is needed for the joint. I use a small printing brayer to compress the seams (8), but leave the evidence of the joint visible to create a nice dividing line. A small disc is joined to the end of the handle where the metal element will be attached after firing (9). Using a wooden kidney rib, I press along the seam to create a more uniform and defined line (10). The handle is curved by pulling down on the ends with one hand and up on the middle with the other hand (11). Then it is left to set up to leather hard.
With an appropriately sized drill bit (I used a ⅜-inch bit), create an opening for the connection to the metal piece (12) (allowing for shrinkage), that will accommodate the metal shaft of the tool. To find out the shrinkage rate of your clay, refer to the chart at right. I compress and taper the edge of the hole with a soft rubber-tipped shaping or cleanup tool (13). This opening is checked throughout the drying process and tweaked as necessary. Once the handle is dry, it is dipped in red terra sigillata. I don’t burnish my sig. It develops a nice sheen on its own and is fairly tight when fired. Slip is applied with a soft brush on the underside (14). I lightly draw my pattern on the dry slip with a soft pencil and then create sgraffito drawings through the slip with a blunt needle tool. Check the hole once more to make sure the shaft of the tool fits while also leaving some wiggle room for shrinkage. Bisque and glaze fire to your liking. I always leave one area of the utensil unglazed so that the handle can be positioned on the kiln shelf without the need for stilts. As the forms are long and slender, an internal firing prop may be required for your form, so plan ahead as you design, and build a custom prop or stilt to fire along with your handle in the bisque and glaze firing.
Uniting the Old and the New
Once the completed handle is out of the glaze firing, check to make sure the metal component still fits (15). Fine tuning with a Dremel grinding bit on the hole may help the fit, otherwise the metal can also be filed to fit. If necessary, shorten the stem or shaft of the utensil to maintain the right balance and proportions (16). I look for a sense of proportion that is pleasing to my eye and creates a good feel in the hand. I am drawn toward slightly awkward proportions that lend humor to the piece. A super fat handle alongside a thin blade or line fits that bill. Filling the ceramic handle with resin gives the piece a nice heft and weight in the handle, almost like the user is giving the utensil a handshake. If you find that a lot of tweaking is necessary to get the utensil end into the handle, it might be easier to make another handle with the appropriate hole-sizing revisions. Save the first handle for a future utensil.
To secure the metal in place, I use a casting resin inside the handle (Castin’ Craft Clear Liquid Plastic Casting Resin). I’ve also used silicone aquarium sealant, but when visible, it’s a little too cloudy and a little too flexible. The casting resin is labeled as being food safe. Handmade objects require a little more care, so I would opt to hand wash these utensils over using a dishwasher.
Prepare the resin according to the directions, and be sure to follow safety tips listed on the package. Mixing in a well-ventilated area, I fill my hollow handle about ¾ full using a disposable paper container (17) and then insert the metal shaft. I prop it so both the handle and implement are in alignment and facing the appropriate direction (18). Once the resin has cured (as stated in the manufacturer’s directions), I do a final fill in with a bit more resin. Allow the final pour to cure, and enjoy your upcycled kitchen tool at the next potluck!
This article originally appeared in the November/December 2012 issue of Pottery Making Illustrated.
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
I felt like I was in a creative rut with my work and although the pots I was making were fine pots, I felt a bit guilty adding to the accumulation of “stuff” on our earth. After all, once the pot is fired, it’s here for a very long time. So, in an effort to produce a functional ceramic object that was more “earth friendly,” I started tinkering around with combining vintage kitchen tools with my “candy-coated” earthenware handles. This project was great because it combined my love of thrifting, vintage objects, and ceramics while being a little more “green.” As a bonus, the kitchen tools are a fun addition to the daily cooking routine and make for wonderful conversation starters!
Sourcing and Cleaning
All the metal components of the kitchen tools are upcycled from mainly vintage kitchen utensils and gadgets that I’ve happened upon in my treasure hunts. I pick up spatulas, whisks, spoons, meat forks, pastry blenders, beaters, scoops, ladles—you name it, I probably have it in my stash. I am especially drawn to the old pieces from the 1930s–1950s, the ones with the painted wooden handles and interesting patterned blades. I think the quality of the metal is nicer than that of new utensils, and I like the rich patina that has developed on the pieces over the years with use, much like a well-loved pot. If I stumble upon a utensil with a handle in nice condition, I won’t replace the handle. I use only pieces with cracked, damaged, or hideously ugly handles, therefore staying true to the spirit of upcycling—if it isn’t broken, don’t fix it.
Garage sales, estate sales, and thrift stores are the best places to score utensils at a reasonable price. Vintage shops are more expensive, as are eBay and Etsy, but worth searching if you like the aesthetic of an earlier time. With some digging, you may still come across inexpensive pieces. Auctions, Craigslist, and recycling websites (such as the Freecycle Network, www.freecycle.org) are hit or miss with such items, but I see them now and again, sometimes for free!
Once you’ve accumulated a little collection of utensil goodness, choose a few to start with (1), and detach the handle so that the entire metal piece can easily be cleaned. Some handles come off readily, others take a bit of muscle. For a plastic handle, try freezing the tool and then, wearing eye protection, crack the handle off with pliers or a hammer. Alternately, wearing a respirator with cartridges rated for fumes, torch it in a well-ventilated area until it is soft and able to release. If the shaft is long, I sometimes cut the metal piece off at the handle rather than struggle to remove it. If I’m lucky, the handles are wooden or already cracked and easily pulled off with a pair of pliers, broken down with a hammer, or cut off with a saw. A hacksaw is useful for cutting thick-gauge metal and tin snips or a wire cutter works well for thick wire.
Next, you’ll want to clean the metal parts. Yes, patina can be nice, but lots of rust or gunked-on grease and food is not. To remove rust and residue, soak the metal parts in white vinegar for a half hour (2) and then scrub with a bit of steel wool (3). The synthetic steel wool I use doesn’t mar the surface and removes only the grunge and rust. If the residue doesn’t release after the first scrub, soak a bit longer and scrub again.
Design Work
Once the metal is clean, design a new handle. I think about the length that I want the tool to be and the size of the handle in relationship to the size of the blade. As you design, think about whether there is a design element from the metal component that could be brought into the handle. Slotted spoons and spatulas demand some patterning on the handle that either echoes or contrasts the pierced designs, or balances the larger, metal component end visually. The surface design must be considered in the physical handle design to help determine proportion and size. I usually sketch a design on paper, and hold it up to the utensil to visualize proportions before committing, as well as creating a paper pattern for an accurate transfer of the shape onto the clay (4).
Forming Handles
I enjoy the hollow pod shape as a handle because it feels nice in the hand, it’s symmetrical, there’s an animal quality to it, like that of a turtle shell, lending itself to some fun decorating decisions. The pods are comprised of two slabs, about a quarter inch in thickness, that are pushed out from the inside to create a curved volume (5), then pressed together around the curved edges (6), and pinched together with my fingertips, trapping air within (7). As the clay is very soft, no slip is needed for the joint. I use a small printing brayer to compress the seams (8), but leave the evidence of the joint visible to create a nice dividing line. A small disc is joined to the end of the handle where the metal element will be attached after firing (9). Using a wooden kidney rib, I press along the seam to create a more uniform and defined line (10). The handle is curved by pulling down on the ends with one hand and up on the middle with the other hand (11). Then it is left to set up to leather hard.
With an appropriately sized drill bit (I used a ⅜-inch bit), create an opening for the connection to the metal piece (12) (allowing for shrinkage), that will accommodate the metal shaft of the tool. To find out the shrinkage rate of your clay, refer to the chart at right. I compress and taper the edge of the hole with a soft rubber-tipped shaping or cleanup tool (13). This opening is checked throughout the drying process and tweaked as necessary. Once the handle is dry, it is dipped in red terra sigillata. I don’t burnish my sig. It develops a nice sheen on its own and is fairly tight when fired. Slip is applied with a soft brush on the underside (14). I lightly draw my pattern on the dry slip with a soft pencil and then create sgraffito drawings through the slip with a blunt needle tool. Check the hole once more to make sure the shaft of the tool fits while also leaving some wiggle room for shrinkage. Bisque and glaze fire to your liking. I always leave one area of the utensil unglazed so that the handle can be positioned on the kiln shelf without the need for stilts. As the forms are long and slender, an internal firing prop may be required for your form, so plan ahead as you design, and build a custom prop or stilt to fire along with your handle in the bisque and glaze firing.
Uniting the Old and the New
Once the completed handle is out of the glaze firing, check to make sure the metal component still fits (15). Fine tuning with a Dremel grinding bit on the hole may help the fit, otherwise the metal can also be filed to fit. If necessary, shorten the stem or shaft of the utensil to maintain the right balance and proportions (16). I look for a sense of proportion that is pleasing to my eye and creates a good feel in the hand. I am drawn toward slightly awkward proportions that lend humor to the piece. A super fat handle alongside a thin blade or line fits that bill. Filling the ceramic handle with resin gives the piece a nice heft and weight in the handle, almost like the user is giving the utensil a handshake. If you find that a lot of tweaking is necessary to get the utensil end into the handle, it might be easier to make another handle with the appropriate hole-sizing revisions. Save the first handle for a future utensil.
To secure the metal in place, I use a casting resin inside the handle (Castin’ Craft Clear Liquid Plastic Casting Resin). I’ve also used silicone aquarium sealant, but when visible, it’s a little too cloudy and a little too flexible. The casting resin is labeled as being food safe. Handmade objects require a little more care, so I would opt to hand wash these utensils over using a dishwasher.
Prepare the resin according to the directions, and be sure to follow safety tips listed on the package. Mixing in a well-ventilated area, I fill my hollow handle about ¾ full using a disposable paper container (17) and then insert the metal shaft. I prop it so both the handle and implement are in alignment and facing the appropriate direction (18). Once the resin has cured (as stated in the manufacturer’s directions), I do a final fill in with a bit more resin. Allow the final pour to cure, and enjoy your upcycled kitchen tool at the next potluck!
This article originally appeared in the November/December 2012 issue of Pottery Making Illustrated.
November/December 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