Ceramic Arts Daily Lesson Plan
Making an Impression
by Nancy Zoller
T
he way that clay stamps can activate and
transform the clay surface has been a con-
stant source of fascination to me, helping my
work evolve and grow over the last 35 years. I’ve
worked with traditional, impressed designs, and
more recently with raised designs created via a two-
step process.
The platters with raised patterns are created using
a hump mold and slab construction. First a pattern is
stamped into a slab that’s been draped over a form,
then this slab is dried and bisqued to create the mold.
The surface designs on the mold create a convex,
or raised pattern rather than the typical concave sur-
face achieved with stamps. I came up with this idea a
few years ago after becoming frustrated with the way
Round convex maple leaf platter, 13 in. (33 cm) in
traditional stamped patterns did not hold up when diameter. Photo credit: Jafe Parsons.
using drape molds. I wanted to make utilitarian
forms that were elegant, had fine detail and could be
reproduced. It was also essential to me that making
these pieces kept my joy for working with clay alive!
Finding Mold Forms
There are never-ending sources of forms all around Tools:
us to use as a base shape from which we later make • bisque or plaster stamps of your own
this convex clay mold. The outside of plastic or design to create impressed patterns on
metal mixing bowls, and even a solid mound of clay the slab
that’s been centered on the wheel and shaped into a • bisque drape mold created from an
low, gradually curved solid mound and dried to the interesting shape or from your own
leather-hard state will work. design
The form must function as an exterior drape or • clay slab bisque mold with impressed
hump mold. If you find an interior shape you like, designs (made during the process)
simply make a plaster mold using #1 Pottery Plaster. • mold release agent (cooking spray or
Be sure to spray the interior of the form with cook- vaseline)
ing spray or coat with Vaseline as a release agent, • pony roller to thin and smooth slab
then pour the plaster inside the form. Remember that edges and form clay over the mold
plaster expands slightly as it hardens, so it’s best to • ribbon or loop carving tools
avoid making a mold of anything too fragile. • fettling knife
To make large platter molds, I first create a • banding wheel (optional)
plaster mold using a Slump Hump form, which
is a plastic mold form that can create both slump
molds and hump molds. Slump Hump forms are
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available in a variety of shapes and sizes at ceram-
ic supply companies.
Making the Clay Bisque Mold
Once you’ve found or made a drape form, you’re
ready to start making your bisque mold on top of
it. Roll out a slab of clay about ¼-inch thick and
place it over your drape mold (figure 1). If your
drape form is glass or metal, place a piece of plastic
wrap between the form and the clay to keep the
slab from sticking. Cut and smooth the bottom
edge so that it’s a straight, even and level line, fol- 1
lowing the base of the form.
Lay a ¼-inch slab over the exterior drape mold and trim
Now for the fun! Stamp into the clay surface as the excess following the base of the form.
if you were making a piece with a concave, design
(figure 2). Make your own clay stamps or use items
from nature such as shells, pine cones, and leaves.
Using a potter’s wheel or a banding wheel and a
ribbon or loop tool, carve borders or defining lines
to frame in your design. Remember that whatever
is carved into the clay will be raised and reversed in
your future piece. As you create your design, think
about balance, harmony, movement, and emphasis.
If the mold is round, place it on the wheel, center
it and secure it with lugs of clay as you would when
trimming and use a metal rib to create a spiral in the
middle giving it a “thrown” appearance if you wish.
Usually, a small leaf finds its way into the interior of 2
the design on my work (figure 3). Once you’ve fin-
ished the design work, wait until the piece is leather Stamp into the form, using handmade bisque or plaster
hard and remove it from the mold. Let the form dry stamps or found objects.
slowly, then bisque fire it.
Final Convex Piece
Roll out a slab of clay and place it over the bisque
mold (figure 4). With a small hand roller firmly roll
the clay from the center of the mold out toward the
edge (figure 5). Use a rubber rib to smooth this sur-
face after rolling. Cut and smooth the bottom edge
with a needle tool following the base of the mold.
At this point, you can extrude a ½-inch thick
coil to add a raised foot to the form. The clay and
the coil need to be the same wetness. If the form is
round, place the mold on the wheel, center it, and
secure it with clay lugs, and throw the foot. Using
your pin tool, make two concentric circles about
a half inch apart while the wheel is spinning to
3
indicate where you will place the coil. Place the coil Add a throwing spiral with a metal rib and create empha-
(figure 6), then press downward on the inside and sis with a small leaf stamp.
©2010 Ceramic Publications Company
outside of it to adhere it to the base surface. Once
it’s fastened, firmly give the coil an upward pull
to create height, then smooth the surface with a
chamois or sponge (figure 7).
To add the coil to an oval, square or oblong
form, simply eyeball where you want it. Lay the coil
down and be sure to bevel the edges where they join
to secure the connection. Use a flat wooden tool to
smooth the coil on the inside creating a secure join.
When the coil is secured, smooth the transition be-
tween the coil and pot with a rubber rib (figure 8).
Use similar clay stamps on the outside of the foot to 4
tie the patterns together (figure 9).
Drape a ¼-inch thick slab over the bisque-fired mold
Revealing the Finished Piece and trim the excess following the rim.
Clay dries and releases very quickly on a bisque-
fired mold, which allows for several pieces to be
made on the same mold each day.
When the platter is leather hard, pop it off of the
mold. At this point, clean up the outer edge with
a fettling knife. The outer edge can be a straight
line or follow the contours of the stamped shapes
(figure 10). After cutting, smooth the edge with
a sponge. I sometimes add slip-trailed elements
or do more carving on the surface of the piece.
Adding handles to larger pieces enhances the form
and makes them easier to use. Since you’ve already
added a foot, the piece is now complete. 5
Glazing Firmly roll a small hand roller from the center of the slab
Semi-matte, shiny, or transparent glazes work best to the outside edge. Cut at the base of the form.
in highlighting the raised surface design on these
pieces. I use one glaze on the whole piece, then
brush another accent glaze or stain onto the leaves,
shells, etc. Spraying or dipping the piece all at one
time with no glaze overlapping is best, as overlaps
create lines that will distract from the raised pattern.
Final Thoughts
Creating and using these molds offers me endless
possibilities. As a pottery instructor, it assures
quick success for the most novice of my clay stu-
dents. In addition to helping beginners, this tech-
nique presents an excellent road into exploration
when used by seasoned clay artists as well. n
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Nancy Zoller is a professional potter residing in Loveland, Colo- Center the mold on the wheel, make marks for the foot
rado. To see more, go to: [Link]. ring and extrude a ½-inch coil for the foot.
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