Spinning Madly On

I cannot seem to get enough of bowls!  I love this form because of it’s simplicity and versatility.  It is beautiful serving food, or sitting on a shelf, or just holding a collection of stuff.    I love throwing nesting bowls . . . the challenge of repeating the curve of the belly three different times in varying sizes is fun.  But, lately, I have been into this slab built, darted bowl.

My first idea for the form came from a hand made silver bowl I received many years ago as a wedding gift.  I loved the contemporary shape, but the metal seemed too formal and cold for everyday use.  So, I began with measuring the circumference  (the widest point) and height and translated that to a flat, rectangular template.

This particular square bowl takes a 5 lb chunk of clay that I wedge first, and then smack down onto the table, one side at a time until it takes on a block shape (no round balls of clay for making slabs).  I strive to have one side of the block be approximately the height of the slab I need because when I start throwing it down, I will do so with the end I wish to get longer.  Next, I throw/roll out my slab.  I don’t have a slab roller.  I feel this method works really well for me (and is fun).

I start by tossing (more flinging) it onto my work table at an angle so its own weight causes the block to elongate.  I repeat this, in both directions of one opposite end (dont want it to get wider . . . just longer) until I have a long, thick slab that is starting to become difficult to pick up.  The size and shape of my template guides the “throwing.”  If I were making a form that had began with a square slab, I would be “tossing” my slab for both length and width.  This one takes a really, really long rectangle.

Once I have the slab about as long as I can get it and still pick it up without stretching it out, I transfer it to a fresh board to continue elongating it with a rolling pin.  I like to throw my slabs on finish grade sanded boards.  The boards are absorbant smooth, keeping the clay from sticking or picking up undesired texture.   For this bowl,  I move to a 3′ ware shelf because my slab will become very long.

Next, I use a specific thickness of wooden sticks to ensure an even thickness.  How thick depends on the size of your finished piece (the larger the thicker) and what type of clay you use.  When I was working in porcelain, I could go really thin because of its fired strength.  In earthenware, I like it thicker.  I prefer the visual weight a thicker wall gives an earthenware piece.  I roll the slab both directions, and if it starts to stick to the board, then I flip it over . . . very gingerly. . . trying not to stretch the spots on the slab where my fingers are.  If making many of these on one day, I will use a piece of an old soft bedsheet (like a sling) to support the clay.

Eventually, the slab becomes long enough for my template.   Im not sure if the photo shows it well, but I write little notes to myself on it in regular pencil (or if Im really lucky, a WHITE one . . . my eyes these days prefer the white lead).  I name the form, include the finished dimensions, the weight of the “block” to start with, and the size and type of any darts I will put in.  This way, when I dig through my stack of templates, I am the least confused I can possibly be.   (when I am into “versions” of the same piece . . . leading to “versions” of  similar templates, things get really sketchy. . . )

Finally, when I’ve rolled the clay out as far as it will go, preserving the slab thickness I want, I cut the shape with an exacto knife or some other crazy knife (I have a  knife collection . . . another topic).  Really, use anything with a straight blade that is sharper than a fettling knife.  The blade on that one is too thick, in my opinion, for this job.  I also roll out a slab of the same thickness to be used later for the bottom of the bowl.  Wrap this one in plastic until it’s time to use.

The next step is to add any surface texture I may want  with stamps or other mark making tools.  Then, I bevel the short ends, score and slip and butt them together.  I like the seam to show as much as possible, so I use a  technique where I gently slip/slide  the two ends in a very tiny movement until I feel the clay particles lock.  It is very subtle.  The ends do not need to be “smooshed” together.  I want to preserve the integrity of the seam line.  I am looking for the ends to “join” . . . and I achieve this from that “lock” that is felt when I slip it together just right.

Next, I add darts at the corners and attach the bottom.  Then, I place wrap it in plastic overnight to allow the seams to really take hold and the whole thing to set up.  The next day, I unwrap the piece (the seams and darts will be very strong) and stretch some “volume” into the shape with my fingers.  This is my very favorite  steps. . . . I feel like it breathes the life into a slab built form.

I hope you enjoyed the process!