Platter on the left, heavily dipped in a blue cobalt and iron glaze; the one with the fruit, in a tenmoku glaze with an iron and rutile decoration, both were fired to cone 9 in oxidation.

Platter on the left, heavily dipped in a blue cobalt and iron glaze; the one with the fruit, in a tenmoku glaze with an iron and rutile decoration, both were fired to cone 9 in oxidation.

Handles can be an attractive and practical embellishment for pottery and there are many many ways to make them: pulled, coiled, press molded, etc. But as with any other element in a pot, handles should be an important part of the design of the piece.

Potter Mike Guassardo decided to throw handles for his large platters on the pottery wheel because this method enabled him to carry a decorative element on his rims through to the handles. Today, he demonstrates this process.- Jennifer Harnetty, editor.



This article was excerpted from Ceramic Projects: Forming Techniques,
which is available in the Ceramic Arts Daily Bookstore.


Fig.1 Center and open the clay, leaving the base ½ inch thick.

Fig.1 Center and open the clay, leaving the base ½ inch thick.

A handled platter is ideal for fruit and salads, and for serving. Provided you are using the proper clay body, you can also use it as a baking dish, as long as it is preheated along with the oven and not taken over 200°C or 390°F.

Platters look deceptively simple to make, as creating one involves very basic throwing, but the larger scale translates into specific technical and design challenges. The form needs to be well constructed so that it survives the drying and firing processes, as well as years of use later on.

Because the platter form is so large, it will be a focal point on the
table. In order to integrate all of the parts, the character of the pot
needs to be addressed early on, and followed through in the finishing
details. Handles can serve both a functional and visual purpose on very
large platters. Of course, they make it easier to carry, but they also
provide an area where you can exercise your design sense. As shown
here, thrown handles echo the construction of the platter, and can
visually continue a line started in the rim.

Fig.2 Create a base that is 17 inches in diameter.

Fig.2 Create a base that is 17 inches in diameter.

Throwing the Platter

To get started, you’ll need 10 pounds of clay and an 18 inch bat, a fettling knife, rubber rib, metal trimming tool, needle tool, a sponge and chamois, a kitchen scouring pad and a Surform tool.

Center and open up the ball of clay, leaving about ½ inch-thick base in
the center (figure 1). If you are not used to throwing large pieces of
clay, make sure that the clay you’re using is a little softer than
normal, and slow the wheel down slightly as you center. Use both hands
if necessary to create the center opening: overlap your hands, and use
the upper hand to reinforce the pressure of the fingers that are in
contact with the clay as you create the center hole. This will steady
your hands and help with the added resistance of a large piece of clay.

Fig.3 Smooth and compress the base using a rubber rib.

Fig.3 Smooth and compress the base using a rubber rib.

Slow the wheel down slightly. Pull (or push) out the clay so that the base of the platter is about 17 inches in diameter (figure 2).

Using the palm of your hand, smooth the clay out evenly. This will condense and strengthen the base at the same time.

Use a rubber kidney to finish compressing the bottom, smooth out the
throwing lines and giving a slight rounding of the base as it meets the
wall (figure 3).

Fig.4 Create the rim shape in the thickened upper wall section.

Fig.4 Create the rim shape in the thickened upper wall section.

Starting where the base meets the wall, thin and pull up the wall about halfway. Take care not to thin this bottom wall section too much, or it won’t be able to support the thickened rim. By stopping halfway, you’ve given yourself a lot of clay at the top to create a distinctive rim shape.

With your fingers supporting the outside of the rim, press down with
your thumbs on the top of the clay to define the rim (figure 4). Keep your thumbs tightly together. Repeat this until you are happy with
your rim, then go back and pull up the half-thrown wall to its full
height. When you’re finished throwing, the walls should be about 1/4
inch, and the piece should be about 3 inches high.

<p>Fig.5 Create an undercut using a fettling knife.</p>

Fig.5 Create an undercut using a fettling knife.

Always check your base thickness when you finish throwing. It should be
at least a quarter of an inch at the side and a little thicker in the
center. Your cutting wire will tend to lift slightly at the center and
the slightly thicker bottom allows for this. About an hour after
throwing, trim off excess clay from the outside edge of the base with a
pointed wooden knife tool and use a fettling knife to undercut the pot
about a ½ inch in from the edge to help facilitate your cutting wire
(figure 5).

I do this on any pot I intend to trim later. Since the pot is still
attached to the bat, and therefore centered, the indented ring made by
the knife on the bottom of the pot is accurate to the center of the pot
while the clay edges are often not. This ring will also help you center
your pot for trimming.

Cut about an hour after throwing, keeping the wire pressed down on the
bat as you run it under the base. After running the wire under the
piece once, rotate the bat ¼ turn and run the wire under again.

Fig.6 Throw an open bottom cylinder for the handles.

Fig.6 Throw an open bottom cylinder for the handles.

Throwing the Handles

After
you’ve finished throwing the platter, set it aside to dry and create
the handles. The handles designed for this platter come from a thrown
ring and attach to the top of the rim. Center a 1 pound ball of and
create a center hole that is open through to the bat. Pull the open
doughnut of clay out to a diameter that leaves enough clay to form an
upright ring about 1½ high (the width of your pot rim) (figure 6).

Fig.7 Use your fingers to create ridges that match the rim.

Fig.7 Use your fingers to create ridges that match the rim.

Supporting the inner wall and the rim with one hand, use two fingers to push into the outside wall to form a shape with similar ridges as your pot rim (figure 7). Cut into the outside of the circle with a fettling knife and repeat on the inside taking care not to cut all the way through which could distort the thin walls.

Fig.8 Trim the leather-hard platter using a Surform.

Fig.8 Trim the leather-hard platter using a Surform.

Assembling the Pot

When the platter is leather hard, center it upside down on the wheel and use a Surform tool to flatten and trim the bottom and sides of the platter (figure 8).

Fig.9 Cut out handle shapes, and balls of clay for reinforcement.

Fig.9 Cut out handle shapes, and balls of clay for reinforcement.

Use a steel kidney to smooth the bottom and sides. Finally, cut a 45°
deckle or bevel on the edge. This gives a precise mark for where to
start cleaning the underside after glazing and, on the completed piece,
creates a shadow that gives the platter a slight visual lift.

When it’s leather hard, cut a suitable length for each handle from the
thrown ring, slicing it vertically down to the bat. Then, make eight
balls of clay, each a little larger than a marble for reinforcing the
attachment between the handle and the rim (figure 9).

Fig.10 Trim excess clay from the bottom of the handle.

Fig.10 Trim excess clay from the bottom of the handle.

Use a sharp knife to trim the sides of the handle that were attached to
the bat (figure 10). This will roughly resemble the thrown top.

Using a damp scouring pad (Scotchbrite), roughly smooth the cut edges. Finish off with a sponge

Fig.11 Attach balls of clay to the ends of the handles and the rim.

Fig.11 Attach balls of clay to the ends of the handles and the rim.

Divide the platter in half visually and make a small mark on opposite
sides of the rim. Take the crescent shaped handles, dampen the edges
and gently work them backwards to form flattened out areas to attach to
the platter. On each side of your marked edge, score the rim and apply
slip.

Fig.12 Smooth the handle and rim with a chamois.

Fig.12 Smooth the handle and rim with a chamois.

Place the handle in position over the slip and push down and
along the joint attaching the handle to the platter. Dip one ball of
clay in water or slip (I use a little vinegar in either because it
helps clay adhesion) and place it at the base of the handle. Supporting
the underside of the rim, press down and along, attaching the ball to
the handle and rim (figure 11).

Repeat the process with the remaining
balls of clay, using four for each handle. In addition to reinforcing
the join, the added clay provides a visual transition between the
handle and rim. Clean up the handles and rim using a wet chamois or
piece of leather (figure 12).

 


Michael Guassardo with handled platter, 17 inches in diameter, light
colored fine grog stoneware with a transparent base glaze layered with
cobalt, copper red, transparent blue, chrome green and rutile glazes,
fired to cone 12 in reduction.
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