7 Great Pottery Projects

7 Great Pottery Projects

www.7greatpotteryprojects.org

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Introduction

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aking pottery has many rewards\u2014the These projects can be made with almost any type \ue001orming o\ue001 clay, the \ue001reedom o\ue001 clay o\ue001 and you decocan decorate the sur\ue001aces in an rating, the ordeal o\ue001 \ue000re\u2014they you choose\u2014just all conbe sure to use \ue001ood-sa\ue001e any pots that will be used \ue001or \ue001ood. tribute to your experience. I\ue001 you\u2019re like me, though, you occasionally get stumped when youThese \u201c7 Great Pottery Projects\u201d are sure to sp go into the studio and you can\u2019t decide whatyour to make. imagination and get the creative juices fowing. Maybe these \u201c7 Great Pottery Projects\u201d will help youthis \ue001ree gi\ue001t and head to the c Just download like they helped me. The projects I\u2019ve selected are presented in anEnjoy! easyto-understand, step-by-step \ue001ormat. The photos pretty much duplicate what you\u2019d expect to see at a workshop or a demonstration\u2014all the key steps are included. Depending on your skill level, you can start at the begin- Bill Jones Pottery Making Illustrated magazine, Ceramic Arts Daily ning o\ue001 any project or just skip through the instructions and look at what you need.

Contents

#1: The Stilted Bucket by Jake Allee#4: Fire & Clay by Debi Nelson Jake is a ceramics instructor at Tyler Junior College in Tyler, Texas. He likes a good time just like most people and it shows with his \u201cStilted Bucket.\u201d Hardly anything is stilted about Jake showing up at a party with a six pack, limes and hug \ue001or the host. This project consists o\ue001 throwing pieces and parts, cutting them up, manipulating them, then reassembling them into a beauti\ue001ul masterpiece. Page 3

Debi Nelson is an Oregon potter who delights in the lighted \ue001orm. She enjoys the idea o\ue001 \ue000re and clay coexisting, both while making pieces and a\ue001ter they\u2019re \ue000red. Drawing \ue001rom Chinese infuences, her project is sure to shed some light on your next studio project. Page 13

#5: Chip and Dip by Steve Davis-Rosenbaum

#2: Got Juice? by Dannon Rhudy

Dannon Rhudy has been a potter and teacher \ue001or many years, which probably explains why her demonstration on how to make a juicer is so clear and easy to \ue001ollow. You\u2019ll love this project and will want to make many o\ue001 these use\ue001ul kitchen juicers \ue001or all your \ue001riends and \ue001amily. Page 7

A\ue001ter a long day in the studio, Steve o\ue001ten unwinds and relaxes by watching a movie with a snack close at hand. What better way to get \ue001ood \ue001rom the kitchen to the couch than with a handy chip and dip server that gives you a \ue001ree hand \ue001or your drink. For Steve, beauti\ue001ul pottery dishes are synonymous with love o\ue001 \ue001ood and its presentation. Page 16

#6: Making a Tall Vase by Andrea Perisho

#3: Teapot Gems by Fong Choo

Fong Choo says that the teapot \ue001orm challenges and \ue001ascinates him and that he likes the idea o\ue001 doing one thing and doing it well. And he proves it. A\ue001ter years o\ue001 practicing and per\ue001ecting this \ue001orm, he\u2019s willing to share the steps necessary to make a gem o\ue001 your own. As \ue001or the per\ue001ection, well that takes practice, practice, practice. Page 10

Veteran potter Mark Issenberg \ue001rom Georgia creates his beauti\ue001ul signature vases in three parts. When breaking down a big project into smaller pieces, the impossible becomes possible. You\u2019ll love the challenge and the results with this magni\ue000cent vase. Page 20

#7: Nesting Bowls by Annie Chrietzberg


Annie reveals her technique \ue001or creating great looking nesting bowls beginning with a set o\ue001 tart pans she bought at a kitchen store. To add even more variety, she adds texture to both sides o\ue001 the slabs opening up the project to endless combinations. Page 23

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Project #1

The Stilted Buck Creating an underhanded server by Jake Allee

\u201cStilted Bucket,\u201d 9 inches in height. This elegant raised \ue001orm makes it possible to carry it securely in o

Presentation is everything! Imagine yoursel\ue001 arriving at a with a six pack o\ue001 your \ue001avorite Mexican beverage ha one hand and the belly o\ue001 a stilted bucket loaded with limes palm o\ue001 the other. Grasping the ceramic piece on the under enables you to give your host a hearty hug with hands \ue00

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he stilted bucket is a product o\ue001 several el- creates interest within the \ue001orm, and I wan ity that ements within my creative process. One o\ue001 to inject this into my repertoire. the primary elements is historical inspiration, Deconstructing Chinese \ue001orms in my sketch book, I and, a\ue001ter looking at many examplesrealized o\ue001that Chi-many o\ue001 these pieces stand on tripods th nese Chou period bronzes, I began to think about how li\ue001t the \ue001orms in a manner that makes me want to I could change the orientation o\ue001 my \ue001orms to construct my hand under them and li\ue001t them up. I also realized new work. Many bronze pieces have a combinationthat o\ue001 most o\ue001 the textures created \ue001rom altering geometric and organic elements with an angular qualpear on the sides o\ue001 my pieces, and the light bulb in my www.7greatpotteryprojects.org

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head turned on. How could I create a orm that would make the viewer want to interact with it in the same way that I wanted to handle an ancient Chinese bronze on a tripod. The Stilted Bucket is composed o three basic thrown orms. The rst is a bulbous cylinder that is marked, altered and sprigged. The second is a thick disc stretched into an oval. The last is a bottomless, wide cylinder with a clean lip and attention given to the base. A ter creating these pieces, they’re cut apart and reused or assembly. Do all the throwing at the same time to ensure even moisture content in the components.

Sketching it out

I always begin a new piece by sketching because it allows me to change and rearrange proportions within the orm be ore I produce the actual clay piece. This is an important step because time making clay objects is very valuable to me and I want to be as e cient as possible with this time. A composite orm relies on all the parts tting correctly, and, although clay can be quite orgiving at times, too many components in the nal piece can make a piece look over worked. A ter several sketches, I’m mentally clear on how to approach the piece, so I take to the clay.

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Throw a basic cylinder without a bottom. Pay extra at- A ter creating the pro le, care ully mark an evenly spaced tention to centering because any faw is refected in grid around the exterior. The next step exaggerates the the nal orm. orm and the end result is larger in volume.

Starting rom the bottom and working to the top, press out the orm with your nger using the marks as a guideline.


Make small balls o clay and press them into the clay at the intersections o the grid. This pushes back in and emphasizes the alteration. Trim excess clay rom the bottom. Set aside and allow it to become leather hard.

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Throw a 1-inch thick disc and compress it, but end the compression about ¾ o an inch rom the edge. This creates a line that later relates to the pot’s design elements. Keep the outer edge pro le smooth then undercut the disc (inset).

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A ter stretching the disc, roll the edges over to eliminate any sharpness. This also creates a relationship between the curled area and the handles that will be attached later.

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Immediately remove the disc rom the wheel and stretch it into an oval by throwing it onto a canvas surace. Make sure the piece hits the table at an angle so the disc stretches. The clay should make a “wisp” sound instead o a “WHAM!” when it hits the table.

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Throw a wide bottomless cylinder. Mimic the curve created by the side o the bulbous altered cylinder. Shape and compress the lip. Finish the base with an old credit card with a curved notch cut into it. This creates a line that relates to the pro le o the other edges. Set aside to sti en up.

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Trim excess clay rom the bottom o the bulbous orm. Cut the leather-hard bulbous orm and stretched disc in The piece should be symmetrical top to bottom and le t hal . These become the belly and the stilts respectively. to right. Prepare or assembly by scoring the pieces.


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Place the bulbous underbelly on a piece o oam and Cut away a section o the wide cylinder, and attach it attach it to the stilts. Rein orce the connection on the to the rim o the bowl. Remember to always leave more interior with a small coil that is blended in. Attach the clay than you think you will need when cutting this piece. other stilt.

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Blend in small coils to rein orce all joints on both the inside and outside o the piece. Continue to rest the piece on a block o oam to protect the stilts and bowl.

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Cut a curve in the base o each stilt, but pay attention to the relationship o these curves to the established composite orm.

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A ter addressing the details on the underside, pull two short handles and attach them to the top o the stilts. Curl the handles to mimic the top o the stilt. Dry the piece under plastic or several days.

“Triple Stilted Bucket,” 6½ inches in height, thrown and altered composite orm, soda red to cone 10. An architectural piece designed to elevate ood in the extravagance o the standard smorgasbord spread. This piece operates under the assumption that not everyone likes chocolate pudding mixed in with their creamed corn.


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Project #2

Got Juice?

A fresh-squeezed approach to a kitchen sta by Dannon Rhudy

Juicer, 6 inches in diameter. The per ect addition to your kitchen and also a great gi t!

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itrus juicers are quick and simple items oto the opening slightly (an inch or two) and use make in the studio or classroom. They’re your needle tool to trim the inside o the opening constructed like double-walled bowls, and ( igure 3). Bevel the opening about 45º, leaving the are both easy and un to make. trimmed part in place. (It will pop o later when the piece is removed rom the bat.) Finish pullTo make a nished juicer approximately 6 inches ing up the center wall ( igure 4) and completely in diameter, start with about 1½ pounds o clay, or a bit more. Center the clay and fatten to approxi- close it. Leave a barely blunted point on the tip o mately a 7–8-inch circle on a bat ( gure 1). Next, the closed part ( igure 5). The walls o this closed orm will be slightly thick; but you will need this open the center to the bat, making the opening 2–2½ thickness later. inches wide at the bottom ( gure 2). Raise the wall

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Throw a 7-inch disk o clay.


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Open center o clay to wheel head. | Copyright © 2007, Ceramic Publications Company | 7

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Trim the inside opening with a needle tool.

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Pull up wall o center opening.

Close opening completely, leaving a slightly blunted point.

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Throw outside wall, leaving a fat inside bottom.

Move to the outside edge o the piece. Pull up thespout, just as you might pull a spout on a pitcher ( goutside wall to a height o about 3 inches ( gure 6). ure 9). It can be simple or elaborate. Whatever spout Keep the space between the inner closed portion and type you like is the one that will work on your piece, the outer wall fat and smooth. Using a 45º stick or but keep in mind the end use o the juicer. metal tool, trim the outer bottom edge o the orm Now you need to fute the closed orm in the cen( gure 7). Trimming the inside o the closed ormter ando your juicer. The rounded end o a small loop the outside o the piece while it is still on the wheeltool pre-is ideal. Start at the bottom o the closed center vents having to invert the orm later or trimming—a orm and pull up steadily ( gure 10). Go all the way great time savings—plus, it’s also much easier to trim around the orm, spacing the grooves evenly. When this way. you reach the top o each groove, the loop tool natuNext, set the rim o the outer wall. I o ten indentrally ends the groove as it comes away rom the clay. Practice a couple o times. It is not very di cult. this edge because it makes a great place or glazes to pool, which can give a more interesting nished sur-When you have futed the entire closed portion, ace ( gure 8). However, a simple curved edge also pull a wire under the whole piece. Li t the bat o works well. Be sure to make a good thick rim, no matthe wheel. Set aside to reach a so t-leather-hard stage. ter the shape. Thin rims chip, and items such as juicWhen the piece is sti enough, attach any handle you ers get a lot o use and are prone to getting banged like, opposite the spout ( gure 11). I the handle is around in the kitchen. Once your rim is set, pull a nice made o thin clay, you might want to brush it with www.7greatpotteryprojects.org

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Trim outer bottom edge with a stick or metal tool.

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Form a simple or complex spout.

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Finish rim o piece with an indent or curve.

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Flute center with small loop tool.

wax to keep it rom drying aster than the body o the piece. A ter the whole piece has dried enough to handle without distorting, remove it rom the bat. Extract any bits o clay remaining on the inside bottom edge and on the outer edge. Smooth with a damp sponge. Use a plastic kitchen scrubber to remove any bits stuck to the futed part o the piece. Do not round the edges o the futing because those edges are what make the juicer work. Choose glazes that break well over edges, and avoid thick glazes that might dull the edges o the futing and the tip too much. Keep in mind that juicers are mainly used or juicing citrus and other acidic oods. Choose stable glazes or this project, and your juicer will both work well and Attach desired handle, let dry and sand lightly i needed. look good or a long time to come.

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Project #3

Teapot Gems Dazzling compact forms by Fong Choo

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or more than a decade, I’ve been exploring the teapot in its miniaturized orm. The teapot orm continues to challenge and ascinate me, and the idea o doing one thing and doing it well has been central to the success o my pro ession as a potter. There are a lot o techniques involved in making these teapots, and some o the techniques require tools that I have made or mysel to suit a certain situation. Although a native o Singapore, I attended college in North Carolina with graduate work in Kentucky at the University o Louisville. I’m inspired by my Chinese heritage, and particularly in the long tradition o Yixing pottery. My teapots are small and jewel-like, made o porcelain and o ten red to cone 6 in an electric kiln.

Teapot, 6 inches in height, porcelain, red to cone 6. This teapot is glazed with what Choo calls his “Crystal Celadon” glaze, which is a layered combination o commercial glazes (AMACO Textured Alligator, LT Series and LT 122 Dark Blue).

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Center a well-wedged 1Z\x pound lump o clay on a remov- It is important not to overwork the clay, especially in the early able bat. I use porcelain or my teapots because it has a stages o the process. In three passes, you should have the better color response with my glazes. approximate orm.


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I use a push stick to expand and rede ne the orm. I One eature I like to add to many o my teapots is a ollow the push stick on the outside with a metal rib to “moat.” It provides not only a visual base or the teapot, smooth the sur ace and remove excess moisture. but also unctions as a glaze catch.

Begin the moat with a rounded tool and push in and own into the base ( gure 4). Using a bevel tool, round over the edge and move the tool underneath to provide li t.

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I use a small roller and urther alter the gesture o the orm. A ter completing these alterations, I wire o the piece and remove it with the bat to set up.


Next, I alter the teapot with a rib in a couple o passes, creating an interesting movement within the shape.

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To create a spout, roll out a tapered coil then push a stick into it. With the stick inside, roll the coil to expand it. | Copyright © 2007, Ceramic Publications Company | 

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Once the spout is so t leather hard, cut it to the appropriAdjust the spout to the correct angle and add pouring holes. ate length, trim the end and attach it to the teapot body.

For the eet, roll and taper 3-inch coils. Gently fatten oneFor the handle, roll out a 6-inch coil that’s tapered on each side o the coil, then pick it up and curl each end towardend. Shape the handle into an interesting shape and set the center. Set aside until so t leather hard. aside until so t leather hard.

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I throw lids o the hump using a small homemade tool.

A nished teapot. The teapots are bisque red, then glazed with commercial cone 06–04 glazes combined with cone 6 glazes, and nal red to cone 6 in oxidation.


Tip: You can get wonder ul glaze e ects by spraying on an even coat o a cone 6 glaze then brushing on cone 06 glazes. Test applications be ore use.


Project #4

Fire & Clay

Shedding light on making lanterns by Debi Nelson

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y rst lantern was produced many years ago when I red some pots in a salt kiln at a local arts college. The idea o re and clay coexisting, both in production and post-production appealed to me. I continued to evolve the orm adding style details such as accent lines and Chinese stamps on lanterns with bamboo designs. I also modi ed some lanterns so they could be lit electrically, as well as by candle. I have recently standardized the size o lanterns I make so that i something happens to a lid I can remake one to t with precision.

Forming

For a medium-sized lantern, throw a cylinder about 8 inches tall using 4 pounds o clay. Leave about ¾ o an inch at the bottom or the carved eet. Find the top o the base on the outside, and shape the lantern by gently pushing out and pulling up releasing the outward pressure as you pull. This results in a teardrop shape with an indent just above the base ( gure 1). Use a chamois to smooth the edge. I make my medium-sized lanterns with a 3¾-inch inside-diameter rim.

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To orm the lid, start with a airly wide mound o clay so that you will have a nice wide fange to overhang the top o the lantern ( gure 2). Use calipers toI use an extruder to make handles, but rolled coils also can be used. Extrude a ¾-inch coil or the handle match the 3¾-inch lantern rim dimension. The lid is and ³⁄8-inch coils as decorative attachment points. Genthrown upsidedown like a bowl. When the lantern reaches the leather-hard stage,tly curve the handle coil to match the curve o the top o the lid. When the handle is leather hard, place it on the trim a deep oot. I you’re using a Gri n Grip®, look lid and use a kni e to mark where it should be trimmed straight down and make lines on the oot that line up with each grip ( gure 3). I you’re not using a Grip,( gure 5). Also make a small mark on the lid and handle or where the smaller coils will be attached. mark the rim o in six equal parts. Using an X-acto® the handle with a sharp kni e ( gure 6). To get kni e, trim out the three eet ( gure 4). At this stage,Trim i clean cut, you must trim the coils during the leatherdesired, trim a couple o accent lines at the bottomaand hard stage because i it gets too dry, it will crumble, top o the lantern (visible in gure 13). www.7greatpotteryprojects.org

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12 and i it gets too wet, it will sag. Smooth out any rough edges on the handle with a wet paintbrush. Assembling the lid is a two-step process. Apply a small amount o slip about 1 inch in rom each end, and wrap the small, extruded coils to “bind” it ( gure 7). Score the lid and the bottom o the binding coils with a scoring tool ( gure 8). Apply a small amount o slip and attach the handle to the lid ( gure 9). Use a paintbrush to reach into the tight areas to apply and smooth a small amount o slip around the attachment points or added strength ( gure 10).

Holes

Create holes or the light to shine through while the lantern is leather hard, a ter trimming. Use a piece o copper tube about 5 inches long with a sharpened edge on one end ( gure 11). I make the smaller holes with a hole maker puchased rom a local ceramic supply house ( gure 12). The nished un red piece with lid is shown in gure 13.

Candles

I usually use votive candles. Even on my smallest lanterns there is at least 5 inches between the fame and the lid, and I have not had any lids crack due to candle heat. The air gap between the handle and the lid keeps the handle cooler. Since clay bodies di er as ar as heat resistance, be sure to test your design once your lantern is red.

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Project #5

The Chip and Di Snacking on form and function by Steve Davis-Rosenbaum

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ter a long day in the studio, I o ten unwind and relax by watching a movie while snacking. Going to the kitchen, I collect the appropriate pots, bag o chips, dip and drinks. Care ully juggling all these items back to the couch, I sometimes spill dip and chips along the way. A ter cleaning the mess, I can nally relax. Practical issues based around com ort, convenience and ood are a rich source o inspiration. As a potter ocusing on unction and orm, what could I create to ease the schlepping o my chips and dip? Ideas, research and designs begin by asking questions about Much o Steve Davis-Rosenbaum’s pottery originates rom unction and orm that assist our special needs or uses. the basic human joys o eating and cooking with all the By choosing unction as a guiding limitation, I’m ree overtones these activities evoke: reside, nourishment, camaraderie. For Steve, beauti ul pottery dishes are synto explore alternative orms, evaluating them by their onymous with love o ood and its presentation, and his unction, proportion, line, shape and space (both negapottery production ocuses on everyday dishes or use in tive and positive). My process or developing a new cooking, dining and home decoration. orm begins with drawing preliminary sketches, and experimentation and play in the studio, which results in a 3-D “sketch book” o shapes and orms. The challenge here is not to just remake the Chip and Be ore beginning the design or my Chip and Dip, Dip, but to use it as a jumping o point to inspire new I had been creating multiple vessel orms or more orms and designs. than teen years. Over the ages, potters have put two pots together, creating new orms and uses or them. Multiple vessel pots have been ound as early as the When deciding on size, envision the amount o chips and the quantity o dip required or the chips be ore Neolithic period. These pots had a variety o unctions you start making bowls. I usually make ve sets o in religious and marriage ceremonies, as decoration bowls and straps, then mix and match the parts unor or daily use. Success ul pots are created by undertil each becomes aesthetically pleasing. I needed, I go standing the unction and constantly evaluating how back to the wheel and remake bowls. the pieces go together.

Designing a Chip and Dip


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Throwing the Bowls

Depending on the rmness o the clay and rate o drying, I plan my studio schedule to have a 3–5 day period to work on the multiple orms. I also throw multiple parts or each Chip and Dip, allowing mysel to make critical aesthetic decisions during assembly. By working on several Chip and Dips at the same time, new ideas develop while I work on each pot. This design requires two bowls or the construction/assemblage, which should be proportional to each other and, when placed side by side or held on top o each other, give the sense o belonging together. Allow the bowls to set up and reach the so t side o leather hard. Completely nish the large bowl by cleaning the rim and trimming the oot be ore adding any other parts. Cut and manipulate the small bowl to t the shape o the strap later.

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Assembly

Since there are multiple pieces to the Chip and Dip, timing and attention to the attachment areas is very important. Be ore the pot can be assembled, all the pieces need to be at the correct stage o leather hard. To control the drying time, the pot stays covered in plastic until the desired rmness is reached. Sometimes spraying pieces with water and covering to maintain correct rmness is necessary. When the pieces are ready, mark the location o the handle on the large bowl ( gure 1), score the rim ( gure 2). Shape the handle making sure the ends o the strap are wide enough to straddle the large bowl ( gure 3). When the handle can stand on its own, score and slip the ends and attach it to the large bowl ( gure 4). Using a so t sponge, chamois or ngers, stretch the strap (like pulling a handle) into shape to change the tension o the clay and prevent warping and twisting. Support the handle in the center with a prop made rom leather hard clay ( gure 5). Place a piece o paper between the prop and the clay parts to ensure easy removal. With the prop still in place, hold the small bowl up to the handle, making sure the shape and proportion work well. Cut the bottom edge to match the curve o the top o the strap ( gure 6). I rework the tension, alignment and shape o the strap and check Throw the strap as a donut, opening the clay all all previous attachments. the way to the wheelhead and pulling the walls o the clay to the edge o the bat ( gure A). To nish the walls o the strap, taper the rim ( gure Timing is Everything! B). Cut and let it set up to the so t side o leather hard. Turn the donut upside down and trim the For multipiece projects, all parts need to dry at the same o the strap then shape it to match the rate. Depending on studio conditions, spraying thebottom form with end. Place the strap on a canvas and cut water throughout the process might be necessary. thrown After addonedrying. end, then move each end to create a shape ing each piece, wrap the piece in plastic to slow the the desired design ( gure C). Remember, the It might be necessary to wrap sections of the pot if or one area topthe willChip hold the smaller pot and the shape needs starts to dry faster than another. It is best to work on allow hands to enter and leave with chips. Let and Dip over a few days, leaving time for areas toto set up to support attachments and desired forms.stand to set up more so it can stand on its own.

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Making the Strap/Handle



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Marking the location o the handle on the large bowl.

Checking the t o the handle.

Attaching the handle to the large bowl.

Adding a support o leather-hard clay to the center o the handle.


Scoring the rim.

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Cutting the bottom edge o the small bowl to match the curve o the top o the strap.

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in a coil around the outer seam to help secure Attaching the small bowl a ter scoring and slipping edgesBlending o the bowl. bowl and handle.

Attaching the Small Dip Bowl to the Handle

Score and slip the edges o the bowl and handle be ore attaching the small bowl to the handle ( gure 7). Place a coil around the inner and outer seams to help secure the bowl. Be sure to work in the clay and blend it so the coils disappear. A ter the bowls set up to leather hard, add handles to top bowl and trim the rim o the large bowl. I nd that this visually nishes the orm creating one new orm rom many parts. Make sure the strap can support the top bowl and will not lean over. Check it o ten and adjust as it dries. Clean rims and attachments. Cover and let the piece dry slowly.

Finishing Touches

I go back to the attachment o the strap and add coils o clay to blend in the edges and round the rim, leaving no gaps or un nished edges. I let the pot dry slowly to minimize warping and leaning.


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Project #6

Making a Tall Vas Creating a classic by Andrea Perisho

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hile attending a workshop, I watched Mark Issenberg create one o his signature pieces: a vase, thrown in three pieces, embellished with decorative handles. The making o the vase is described in the ollowing process.

top o this piece, which will be turned upside down over the body o the vase. This measurement should be slightly larger than the opening in the top o the vase body previously thrown. Cut o the piece with a braided cut-o wire, but leave on the bat. Place the body o the vase and its still-attached bat onto the wheel head. Score and moistFor the main body, throw en the rim using slip. Turn the 4 pounds o clay into a bulsecond bat, with the top secbous shape about 9 inches tion on it, upside down, tall with a bowl-shaped and very care ully (since bottom ( gure 1). Leave it has already been cut loose rom the bat) place enough room to comonto the top o the body. ortably get your hand Remove the bat rom inside the pot. Leave the top section ( gure the piece attached to 4). Adjust the alignment the bat and set aside to between the two secsti en to so t leather tions, care ully moving hard. The piece should the top piece as close to be dry enough to support center as possible. the top section, but still Use your ngers both inso t enough to manipulate. side and outside the vase and, Monitor the drying care ully with the wheel turning very (avoid areas with dra ts to preslowly, pull the top section downward vent uneven drying). onto the rim o the body, smoothing When the body section o the the join between the two pieces both vase is appropriately sti , open a inside and outside the piece ( gure 1-½-pound ball o clay all the way 5). Be care ul not to touch the top rim, down to the sur ace o the bat, movso there is no damage to the design rom ing outward to orm a solid ring ( gure the braided cutting wire. The body and top section are 2). This piece will orm the top o the vase and is thrown upside down. Use a rib to scrape away any excess clay now joined together. Cut the piece o the bat, cover in plastic and set aside that remains on the bat inside the ring. Bring up the wall, to dry to medium leather hard—generally overnight. but leave the base airly thick to strengthen and emphaThe piece should be dry enough to be turned upside size the top rim ( gure 3). Use calipers to measure the

Process


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Form body: Throw a 4-pound ball o clay into a bulbous Open a 1½-pound ball o clay down to the bat, moving shape about 9 inches tall. Measure the opening with cali-outward to orm a solid ring. When inverted, this will be pers. Set aside until leather hard. the top o the vase.

Bring up the wall until the top is slightly larger than the Attach top and body: With its bat still attached, place the opening in the body. Cut the top loose rom the bat usingbody on the wheel head. Score and slip the rim. Turn the a braided wire. top piece upside down and place onto the body.

down without damaging the design on the top rim, but moist enough to trim the bottom o the vase. Center, asten securely, and trim the bottom o the pot to match the bowl-shaped interior. Score a 2–3inch circle at the center o the bottom o the piece and wet with slip. Place a ¾-pound ball o clay onto the center o the bottom o the piece and care ully press into place ( gure 6). With the wheel turning very slowly, center the clay using as little water as possible so you do not so ten the pot’s base ( gure 7). This step takes concentration, skill and practice. Alternatively, you can throw a separate ring or the base in the same way you made the top. A ter centering, open the clay in the same manner as i you are throwing a new pot. Pull up a wall andTurn the wheel slowly and use your ngers to attach the shape into the oot. Again, don’t use a lot o watertop or to the body, then smooth the joint (bottom). Dry to the sur ace o the pot will be damaged rom the exleather hard. Place upside down on a bat and trim the bottom to match the bowl-shaped interior. cess moisture. Set aside and allow this area to become

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leather hard. A ter the oot has sti ened, turn the piece right side up. You can now add the decorative handles. One way to do this is to roll out a 3×4-inch slab o clay. Roll a drill bit over the clay to create texture. Then roll the clay around a pencil or small dowel rod with the texture on the outside ( gure 8). Slide the clay o the pencil and attach the handle to the vase ( gure 9) by scoring and using slip. You also can add more texture around the shoulder o the vase, using stamps and/or a sewing tracing wheel ( gure 10). Clean up any unwanted marks or bits o clay with a sponge. Wrap the vase in several layers o plastic and set aside or several days to allow the moisture content o each section to equalize. Then remove the plastic and allow the piece to dry completely be ore ring.

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Attach oot: Score, slip and center a ¾-pound ball o clay in the middle o the upended body. Turn the wheel slowly and center the clay on the oot.

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8

9

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When centered, open the clay using as little water as pos-Decoration: For decorative handles, roll out a 3- × 4-inch sible. Pull the clay up and shape the oot. slab o clay and wrap it around a pencil or dowel.

Use stamps or other wooden tools to add decorations.

Attach with slip.


| Copyright © 2007, Ceramic Publications Company | 22

Project #7

Nesting Bowls by Annie Chrietzberg Finished piece photo by JC Bourque | Process photos by Shannon Waxman

Nesting bowls provide an opportunity or using a variety o textures and glazes.

I

know I’m not the only overly-involved-with-claydiameters, so that the olds made a per ect cross. I then person out there who brings more things home ound a point somewhere between third and a hal way rom a kitchen store or the studio than or the along the radius to cut the darts to. I olded the template in hal and cut out a wedge, then used that wedge kitchen. So, as I was browsing through a kitchen to cut identical darts all the way around ( gure 3). Exstore, I came across tart tins with scalloped edges and plore the possibilities o di erent-sized darts, di erent removable bottoms ( gure 1), and knew I’d ound somenumbers o darts and di erent placement o darts. As thing that would be un and easy to use. I bought our long as you keep ratios similar rom one template to o them in graduated sizes thinking: nesting bowls! the next, the bowls should nest. To get a square-ish orm rom a round slab requires removing darts o clay. A ter experimenting with di Bevel er- the darts by pointing the kni e point towards the ent dart ratios, I settled on somewhere between a third center on each side so you’ll be switching the angle o the and a hal o the radius. To make the darts template, I e or each side o the dart. As always with slab work, kni traced around the scallops on the cutting edge o the tart then slip, then score again to create an inter ace score, tin ( gure 2). Ignoring the low points o the scallops, soIthe seam stays together. You may also want to add cut out a circle and olded it along two perpendicular a small coil along the seams, since you’re changing the www.7greatpotteryprojects.org

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orientation o the slab. Use sponges or small pieces o oam to keep the sides o the bowl just where you want them while you work on the join. A ter all our corners are well joined, turn the piece over. Anytime you need to turn a piece over, nd oam i needed, and wareboards or bats, and nd a way to fip the piece without touching it. Run a nger or a well-wrung-out sponge over the backside o the seam, eliminating any sharpness and sealing it. Repeat these directions with every size tart tin and template that you have, and you will have a lovely little set o nesting bowls. With our nesting bowls, you’ll want to explore the potential using eight di erent textures—match textures rom the top o one bowl to the bottom o the next, let the textures cycle through the set—there are so many possibilities!

1

Tart tins with removable bottoms make excellent studio tools!

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Create a darting template by tracing around the edge. Ignore the scallops when cutting the circle.

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Clean texture tools be ore using to avoid the little crumbs o clay that can mar the texture, then dust clean texture tools with cornstarch so that they will release easily.


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To make sure your bowls nest, use the same dart proportions on each template.

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Be ore applying texture, check your slab or size. Leaving an inch or so leeway gives you some room to maneuver i there are faws in the texture. Smooth the slab with a so t rib.

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6

Place the slab onto the rst texture tool, gently roll rom the center towards the edge in a radial pattern, pushing down just enough to press the clay into the texture, but not so hard that you move the clay and thin the slab.

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Flatten the sur ace with a big rolling pin, then care ully place a prepared texture tool on top o the slab and roll using just enough pressure to trans er the texture, but not so much that you thin or move the slab.

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Move to a wareboard and remove the texture tools, then fip the slab so the interior ace o the bowl is acing up. Use the tart tin to cut through the slab.

Slip your hand underneath the rim and place your ngertips at the edge o the slab, gently press the slab ree o the cutter. Align darts, then cut the darts with the tip o the kni e angled toward the center o the dart on both sides.

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Score and slip the cut edges o darts. Care ully li t slab Remove to the rough edges with a damp sponge, then lay join both sides o the dart cuts. Use small oam bolsters atosmall coil in the corner. Blend the coil ollowing the support the sides and keep the corners joined. texture, i possible.


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A

B

C

D

Adjust shape and then let dry! Place a piece o oam on the rim o the bowl and fip it over. Work the seams on the bottom down with a damp sponge.

Making Double-sided Slabs

I’ve been working with textured slabs or a while now, Rolling carelessly enlarges the slab and leaves ‘tracers’ o but only recently got around to eliminating the back, or the texture as the slab moves out across it. blank side o the slab. I don’t know why it took me so When using a brittle texture tool—like a piece o old rusty long—but I do nd working with slabs with textures on tin, a bisque or plaster plate, or even a piece o old French both sides to be very exciting! Here’s how you make and patterned glass, you’ll need to take more care. I only use use double-sided slabs, along with a ew tips to help get those on the bottom, as I don’t want to apply my rolling you started. pin to the back o one, because that could mar the sur ace I you have two fexible texture tools, like plastic or rub- o my rolling pin or break the tool. ber mats, pick one and lay it down, texture side up. Dust Place it a towel beneath the hard texture tool to absorb with cornstarch ( gure A), care ully set your nicely rolledsome o the pressure rom rolling so as to keep it rom blank slab on top, then roll with the curved end o a ponybreaking ( gure C). I you’re using something nonabsorroller, which seems to push the clay down into the texturebent, like old, patterned French glass, dust it with cornrather than enlarging the slab. Then fatten the top with starch, then lay down your prepared slab, roll, then apply a nice big rolling pin. Dust your second texture mat with your fexible mat on top o the clay, and roll again. cornstarch, lay it on top (texture side down) and care ully To remove your slab, peel away the top mat, care ully set roll the back o it ( gure B). I you’re using a corduroy texa clean wareboard on the slab and fip ( gure D). Remove ture, roll with the lines, not across them. The trick is to apthe other texture tool. I your slab is bottom-side up, use ply just enough even pressure to get the texture to print. another wareboard to fip it again.


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7 Great Pottery Projects

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