Many contemporary artists working with objects depend on assistants to execute much of their work, but not year-old Woodman. As you hold the clay sphere, press your thumb into the center of the ball, about halfway down to the bottom. As you revolve the ball with one hand, press the walls out evenly with your thumb on the inside and your fingers on the outside.
One place they pounded out a long slab and trimmed it to a curved shape and wrapped it around a wooden barrel like form.
After putting on a slab bottom and paddling the thing together the wood form was pulled out and the large planter size pot put out in the sun to stiffen up. A fat coil was then put on to make a stout rim.
These were stiffening up in the background, The master would take one and place it on a pedestal. On the table he rolls out a fat coil about 5 times thicker than the wall section and a couple of feet long.
He takes this and applies it to the bottom section with a tricky two hand motion that compresses the clay and smears it on to the bottom section while he is walking around the pedestal backwards.
Result after a couple of walk arounds is about a 4 inch gain in height, I think this works best with a fixed pedestal and not a loose banding wheel. I have a quicktime. A banding wheel is a wonderful rotating platform for coil construction, but the coil-and-throw technique implies that you are adding a coil and then throwing in a conventional fashion, and that obviously requires a kick wheel or power wheel.
You can rotate a banding wheel and smooth the surface of a coiled pot to make it look almost thrown why would anyone want to do that?
For coil construction, I like to use hand-rolled coils, and I can roll them fast enough to keep up with an extruder. But if you are coil-throwing and have access to an extruder, it might be a good idea to extrude the coils so that each course of coils will give an even addition to wall height.
As another option, roll a thick slab with your slab roller, and use a ruler to cut it to even strips, and use those as coils. Years ago, CM ran a story on the Thrapsanon potters of Crete, who make the big "pithoi" or one "pithos" for storing wine, olive oil, grain, etc. They look to be about 30 gallons.
These potters have been using the same technique for years. The potter has a row of crude wheels built into an earthen bank. The potter starts at one end of the row in the morning and lays down a bottom slab, adds a thick coil, and throws it to create a 10"-tall cylinder with a slight outward flare.
He then moves to the second wheel, and on down the row to the last wheel it seems to me that there were about ten wheels. By then, the first one is stiff enough to add another thick coil, and throw another 8 or 10". He proceeds on down the row and back to the first one in repeated steps, and by the end of the day has ten giant pots.
Interestingly, in this case the potter embellishes the joints with textured bands of clay, and that is part of the distinct look of pithoi going back to Minoan times.
Anyone who does coil throwing knows that it can be hard to completely conceal the joint, so an alternative is to emphasize and celebrate the joint.coil-and-throw technique implies that you are adding a coil and then throwing in a conventional fashion, and that obviously requires a kick wheel or power wheel.
Alan Gaillard Ceramics. Alan Gaillard makes high-fired stoneware ceramics, mainly domestic ware, commissions and one-off pieces. Alan is the founding chairman of the (then) Craft Potters Society of Ireland (now Ceramics Ireland) and has exhibited in many of their exhibitions.
All handbuilding techniques can be used on one piece, such as using a slab to form the sides of a vessel, and then using coils and pinching to create an interesting rim or handles. Handbuilding techniques can also be used to alter and enhance a form thrown on a wheel.
Course Description: Gain the skills and confidence required to successfully obtain your A+ certification. This fully online course features Interactive labs and hundreds of pre/post test questions covering all exam objectives.
View your online courseware anytime, anywhere. Making ceramic tiles or flat slab forms without the right equipment and process knowledge can be very disappointing mostly due to warpage. The following tutorial could help you in making tiles successfully. “Handbuilding, a combination of coil, carving, pounding, and squishing, has taken center stage in the art world,” says Adam Welch, an art lecturer at Princeton University and director of Greenwich House Pottery, the oldest non-profit ceramics studio in the country (since ).