Slab building is a fun way to work with clay, and you can do a lot with it. Most of the success comes from preparation. If you're patient with your slabs, they'll reward you.
This project adds a coned pedestal foot to a slab plate, which gives it some lift and makes it look a little more finished. It uses basic slab techniques plus a couple of tools that make the job easier: a GR Forms mold for the curve and an MKM roller for texture.
What you'll need
- Clay
- Ateco rolling pin
- Slab mat or canvas work surface
- GR Forms plate mold (any size you like)
- MKM texture roller of your choice
- Trim Gin metal rib
- Sponge
- Pencil and paper (for your template)
- Knife or needle tool
- Banding wheel (for centering the foot)
- Plastic sheeting or a large plastic bag (for slow drying)
Step 1: Make a template
Sketch your plate shape on paper. You can trace the GR Forms mold or draw your own shape freehand. Either way, make it about ½ inch larger than the mold to leave room for trimming and shrinkage.
Cut the template out and set it aside. A few minutes here saves you from a lopsided plate later.
Step 2: Roll out the slab
Put your clay on the slab mat and roll it with the Ateco pin until it's about ¼ inch thick. If you're going to texture it, leave it closer to ⅜ inch, because the MKM roller will compress it.
Try to keep the thickness even so the plate dries evenly. Start with the pin in the middle of the clay. Push forward, come back to center, then pull back. Do that two or three times, flip the slab and repeat until it's the thickness you want. Don't roll off the ends of the slab or you'll get thin, sloped edges.
Let the slab rest before you shape it. You want it stiff but still bendable, which can take up to 24 hours depending on the humidity and the size of the slab. Working the clay at this "leather-soft" stage cuts down a lot on warping and tearing.
Step 3: Add texture with an MKM roller
MKM rollers work fine on bare clay, but a light dusting of cornstarch first keeps them from sticking. Roll across the slab with firm, steady pressure.
You can run one pattern across the whole slab or mix a few. They're good for borders, geometric patterns and looser organic textures. For a nice contrast, mask off the edge of the slab before you roll so the rim stays smooth.
Step 4: Cut out the plate
Lay the paper template on the textured slab and cut around it with a needle tool or a sharp knife.
Pull away the extra clay and smooth the cut edge with a damp sponge or the Trim Gin rib. Cleaning up the edge now means less sanding later.
Step 5: Form the plate
Lay the slab texture side down in the GR Forms mold. Press it gently so it takes the curve of the mold.
Go over it with the rib to smooth the surface and make sure it's touching the mold all the way to the edges.
Let it firm up to leather hard, so it holds its shape but you can still attach the foot. Depending on your studio, that might be a few hours or overnight.
Step 6: Make the coned foot
Roll a small slab and form it into a cone. A paper template makes this easy, and the same method works well for cups. Take your time getting the foot centered, because an off-center foot will make the plate rock.
Score and slip the bottom of the plate and the top edge of the cone. Press the cone gently onto the center of the plate.
Blend the seam with your finger or a soft rib so the joint is smooth and solid.
Tip: set the plate on a banding wheel and give it a slow spin to check that the foot is centered and level. If it wobbles, nudge the cone until it runs true.
Step 7: Clean it up
Go over the curve and rim with the Trim Gin rib. Compressing the clay this way helps prevent warping.
Wipe the plate lightly with a damp sponge to pick up slip and crumbs from the texture. Check inside the foot for trapped air or a thick seam. A crack there can ruin the piece in the kiln.
Dry the plate slowly under plastic for several days. Slow, even drying is the best protection against cracks and warping, especially on a wide piece with a foot attached.
Step 8: Bisque and glaze
Once it's bone dry, bisque fire to your clay's recommended temperature.
Then glaze however you like. A clear or semi-transparent glaze shows off MKM textures really well. Another option is to brush an oxide wash (iron or manganese) over the textured areas, wipe most of it off, and then put a clear or satin matte glaze on top. The oxide stays in the low spots and the texture really stands out.
We'd love to see what you make. Which texture did you go with?
