Sharing meals with one another is something that I cherish immensely. One meal I find I often make for guests is rice bowls. They are incredibly versatile and filling. I use cereal/soup bowls to serve them as the wide rims hold all the ingredients without
overflowing the width of the rim. The flared rim also provides a nice space for surface decoration.
This process is something that I have been exploring for the last three-plus years. I am inspired by the landscape of the Midwest, children’s books, and my three-year-old daughter who loves bees and has an incredible curiosity for clouds and rain.
Form the Bowl
Start by weighing out 1½ pounds (680 grams) of clay. For these bowls, I use Standard Clay’s Brooklyn Red. On the wheel, center and open the clay by dropping your well into a cone shape; leaving about ⅜ inch (1 cm) of thickness at the bottom. Doing this allows your pulls to create a rounded bottom, leaving plenty of room to trim a foot. As you make your pulls, be sure to pull gently outward to create your bowl shape. You will want to keep your rim on the thicker side as you make your pulls (1); do this by letting up on the pressure as you get close to the top. Once your bowl shape has been made, using a wooden rib, push the top 2 inches (5.1 cm) of the bowl out with the flat edge (2). Pushing too far or too fast can cause the rim to collapse; when flattening, keep your hand under the flare as a guide and give it a slight angle, 20–30 degrees should do. Once the rim is established, use a wooden kidney rib to shape the inner bowl (3).
After your bowl is made, cut it from the wheel and set it aside to firm up. Because the flared rim is the thinnest surface of the pot, it will likely dry faster. Wrap the bowl in plastic or place it in a damp box to control the drying.
Trim a Foot
Once your bowl is leather hard, center and secure it on your wheel upside down. Using a loop tool, only trim the lower portion of the bowl (4). Trimming the flared edge can cause the crease to go too thin. Establish the foot, then cut in from the side
to define the outer edge of the foot ring (5). Trim the middle portion to establish about ¼-inch-(0.6-cm)-wide foot ring and keep the foot depth equal to the outer edge of the bowl (6).
Cut the Rim
After trimming, place the bowl on a banding wheel right side up. Then, using an angle-cutting tool with a thin wire, rotate the banding wheel while pushing in and out with the tool as the bowl spins to create the scalloped edge (7).
Without proper compression on the rim, angles that meet each half circle can crack down the side during the drying/firing times. Use a wet sponge and carefully compress the scalloped edge of the bowl while rotating it on the banding wheel (8). Keep the
bowl wrapped in plastic until you are ready to apply the transfer.
Create a Template
For the transfers, I have found it best to use 31-pound newsprint paper. This thicker paper allows for easier mark making and handling, and you can be a touch rougher with it when burnishing it on your pot.
On the paper, draw a circle the same diameter as the rim’s outer edge. Measure the depth of the flared edge to draw out the diameter of the interior bowl. Cut out your template; cut out and remove the interior diameter as you will not need it. Fold
then cut the ring template in half to work in smaller sections since your paper may warp depending on the shape of the rim.
Decorate the Template
Using a pen or pencil, draw images onto the paper (9). Crossing patterns helps give a well-rounded image with more depth. Next, use underglazes (I use a mix of Speedball and Amaco) to fill in the drawings with three to four coats (10). Tip: Be
sure not to move the paper too much as it dries, or the underglaze may flake off. For any images that overlap, the image you want to be on top, or seen over another image, paint first. Painting underglaze over top of each other can cause the image
to look muddy when transferred. Let the transfer dry completely.
Apply Slip
For the slip, I use Standard Clay’s 213 Porcelain dry mix. Mix a gallon of slip to a consistency between liquid plaster and sour cream. The thinner the slip, the more translucent it will be—showing the clay underneath. To color the slip, use
about a tablespoon of Mason stain per pint of slip and adjust as needed. For the porcelain slip, add about 3–4 tablespoons of white Mason stain to aid as a binder for the clay, otherwise the slip may bubble on the surface. Be sure to wear a
respirator and gloves when working with dry materials. When mixing small portions, use an immersion blender to ensure a smooth slip.
After your template drawings have dried, apply an even coat of slip over the top of the painting (11). It’s best to use a gesso brush or a wide bamboo brush to establish an even coat. Once the slip has been applied, wait for it to dry to about leather
hard. Carefully pick up the paper on each end and gently set it on the rim of the bowl; be sure the bowl is at a leather-hard state as well. Once placed, use a rubber rib to burnish the transfer on the pot and be sure to remove all air bubbles
(12). Slowly peel the paper away, going back to any spots that don’t stick and burnishing them until they do (13).
Finishing Touches
Once the transfer has been applied, use a dull X-Acto knife to outline all the images (14). Stamps add a layer of depth and texture and help fill some of the negative space; be sure to add a supporting hand under the flared rim and gently, but firmly,
press into the clay (15). For the bee stamp, I add a trailing effect by using a stitching roller (16).
Finally, take a scrap piece of newsprint and firmly press in the transfer. This flattens any burrs left from the knife and removes any remaining air bubbles. Set the bowl aside to slowly dry, leaving the bowl slightly covered to ensure even drying. If
the bowl dries too quickly, it can cause the slip to separate.
Glazing
After your bowl has been bisque fired, lightly sand away any rough bits of slip. Be sure to wear a respirator when sanding. Wipe away any dust with a damp sponge, do not blow on it. After you have sanded the bowl, apply an underglaze wash to fill in all
the line work, stamps, and small creases and wipe the excess away with a wet sponge. An underglaze wash can be any color; the darker the better to highlight the motifs that were outlined. To mix the wash, use 4 parts water to 1 part underglaze and
mix well.
I fire my pots to cone 4 in an electric kiln with a 30-minute hold. I find that this gets the kiln close to cone 6 and limits the amount of blistering that may happen with certain underglazes.
Process photos: Evan Cobb.
Alec Hoogland (they/them) is a potter living and working in South Bend, Indiana. They graduated with a degree in ceramics in 2016. In 2023, they opened Highland Studio & Gallery where they have their personal studio space, teach classes, and run a gallery space that represents over 30 artists from around the country. You can learn more about Alec by visiting Instagram @alechooglandceramics or www.alechooglandceramics.com.
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Sharing meals with one another is something that I cherish immensely. One meal I find I often make for guests is rice bowls. They are incredibly versatile and filling. I use cereal/soup bowls to serve them as the wide rims hold all the ingredients without overflowing the width of the rim. The flared rim also provides a nice space for surface decoration.
This process is something that I have been exploring for the last three-plus years. I am inspired by the landscape of the Midwest, children’s books, and my three-year-old daughter who loves bees and has an incredible curiosity for clouds and rain.
Form the Bowl
Start by weighing out 1½ pounds (680 grams) of clay. For these bowls, I use Standard Clay’s Brooklyn Red. On the wheel, center and open the clay by dropping your well into a cone shape; leaving about ⅜ inch (1 cm) of thickness at the bottom. Doing this allows your pulls to create a rounded bottom, leaving plenty of room to trim a foot. As you make your pulls, be sure to pull gently outward to create your bowl shape. You will want to keep your rim on the thicker side as you make your pulls (1); do this by letting up on the pressure as you get close to the top. Once your bowl shape has been made, using a wooden rib, push the top 2 inches (5.1 cm) of the bowl out with the flat edge (2). Pushing too far or too fast can cause the rim to collapse; when flattening, keep your hand under the flare as a guide and give it a slight angle, 20–30 degrees should do. Once the rim is established, use a wooden kidney rib to shape the inner bowl (3).
After your bowl is made, cut it from the wheel and set it aside to firm up. Because the flared rim is the thinnest surface of the pot, it will likely dry faster. Wrap the bowl in plastic or place it in a damp box to control the drying.
Trim a Foot
Once your bowl is leather hard, center and secure it on your wheel upside down. Using a loop tool, only trim the lower portion of the bowl (4). Trimming the flared edge can cause the crease to go too thin. Establish the foot, then cut in from the side to define the outer edge of the foot ring (5). Trim the middle portion to establish about ¼-inch-(0.6-cm)-wide foot ring and keep the foot depth equal to the outer edge of the bowl (6).
Cut the Rim
After trimming, place the bowl on a banding wheel right side up. Then, using an angle-cutting tool with a thin wire, rotate the banding wheel while pushing in and out with the tool as the bowl spins to create the scalloped edge (7).
Without proper compression on the rim, angles that meet each half circle can crack down the side during the drying/firing times. Use a wet sponge and carefully compress the scalloped edge of the bowl while rotating it on the banding wheel (8). Keep the bowl wrapped in plastic until you are ready to apply the transfer.
Create a Template
For the transfers, I have found it best to use 31-pound newsprint paper. This thicker paper allows for easier mark making and handling, and you can be a touch rougher with it when burnishing it on your pot.
On the paper, draw a circle the same diameter as the rim’s outer edge. Measure the depth of the flared edge to draw out the diameter of the interior bowl. Cut out your template; cut out and remove the interior diameter as you will not need it. Fold then cut the ring template in half to work in smaller sections since your paper may warp depending on the shape of the rim.
Decorate the Template
Using a pen or pencil, draw images onto the paper (9). Crossing patterns helps give a well-rounded image with more depth. Next, use underglazes (I use a mix of Speedball and Amaco) to fill in the drawings with three to four coats (10). Tip: Be sure not to move the paper too much as it dries, or the underglaze may flake off. For any images that overlap, the image you want to be on top, or seen over another image, paint first. Painting underglaze over top of each other can cause the image to look muddy when transferred. Let the transfer dry completely.
Apply Slip
For the slip, I use Standard Clay’s 213 Porcelain dry mix. Mix a gallon of slip to a consistency between liquid plaster and sour cream. The thinner the slip, the more translucent it will be—showing the clay underneath. To color the slip, use about a tablespoon of Mason stain per pint of slip and adjust as needed. For the porcelain slip, add about 3–4 tablespoons of white Mason stain to aid as a binder for the clay, otherwise the slip may bubble on the surface. Be sure to wear a respirator and gloves when working with dry materials. When mixing small portions, use an immersion blender to ensure a smooth slip.
After your template drawings have dried, apply an even coat of slip over the top of the painting (11). It’s best to use a gesso brush or a wide bamboo brush to establish an even coat. Once the slip has been applied, wait for it to dry to about leather hard. Carefully pick up the paper on each end and gently set it on the rim of the bowl; be sure the bowl is at a leather-hard state as well. Once placed, use a rubber rib to burnish the transfer on the pot and be sure to remove all air bubbles (12). Slowly peel the paper away, going back to any spots that don’t stick and burnishing them until they do (13).
Finishing Touches
Once the transfer has been applied, use a dull X-Acto knife to outline all the images (14). Stamps add a layer of depth and texture and help fill some of the negative space; be sure to add a supporting hand under the flared rim and gently, but firmly, press into the clay (15). For the bee stamp, I add a trailing effect by using a stitching roller (16).
Finally, take a scrap piece of newsprint and firmly press in the transfer. This flattens any burrs left from the knife and removes any remaining air bubbles. Set the bowl aside to slowly dry, leaving the bowl slightly covered to ensure even drying. If the bowl dries too quickly, it can cause the slip to separate.
Glazing
After your bowl has been bisque fired, lightly sand away any rough bits of slip. Be sure to wear a respirator when sanding. Wipe away any dust with a damp sponge, do not blow on it. After you have sanded the bowl, apply an underglaze wash to fill in all the line work, stamps, and small creases and wipe the excess away with a wet sponge. An underglaze wash can be any color; the darker the better to highlight the motifs that were outlined. To mix the wash, use 4 parts water to 1 part underglaze and mix well.
I fire my pots to cone 4 in an electric kiln with a 30-minute hold. I find that this gets the kiln close to cone 6 and limits the amount of blistering that may happen with certain underglazes.
Process photos: Evan Cobb.
Alec Hoogland (they/them) is a potter living and working in South Bend, Indiana. They graduated with a degree in ceramics in 2016. In 2023, they opened Highland Studio & Gallery where they have their personal studio space, teach classes, and run a gallery space that represents over 30 artists from around the country. You can learn more about Alec by visiting Instagram @alechooglandceramics or www.alechooglandceramics.com.
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