Large Pots

from
by Bill Shinn

Large Molds
he wheel has been the predominant tool for the potter for centuries. But while it has few limitations, its product is always round, so the potter must make an effort to deviate from this shape. Also, it takes unusual skill and strength to create larger forms. For producing work on a larger scale, you can abandon the wheel and switch to other techniques, such as coil construction, extruding or using molds. Molds can be made from simple found forms or compound curved shapes designed for other purposes.

Simple Molds

Simple slab molds made from found objects.

For simple two-sided forms, my favorites are cardboard tubes and sections of plastic irrigation pipes cut into two curved slabs and covered with newspaper to prevent sticking (figure 1). For four (or more) sided forms, square blocks or wooden molds work well (figure 2). To avoid having to assemble a number of flat pieces, you only have to wrap the clay around a found or constructed shape. The only size limitation is the size of the kiln.

Constructed molds made from wood, plastic and bisque-fired clay.

Plaster one-, two- and three-piece press molds.

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For maximum volume or width for a round shape, a combination of both mold and wheel can be use for quickly making punch bowls and platters (see Extruder, Mold & Tile: Forming Techniques, The American Ceramic Society, 2008). Molds made with coil construction, although time-consuming to make, have infinite possibilities for shapes. Once completed, one of these molds becomes an almost permanent device for rapidly creating large pottery or sculptural forms.

Making a Two-piece Mold

Coil constructing the first half of a two-piece mold.

Paddle the form roughly into shape.

Scrape with a large rib to finalize the shape.

Pour plaster over the first half.

If you cannot find the shape you want, you can make a simple two-piece mold, or more complex sculptural shapes that might require three or even more segments (figure 3). Plaster press molds last much longer than slip-casting molds because theyre not exposed to any deflocculants like those used in casting slipIm still producing variations on a shape pressed from a mold created more than twenty years ago! Before starting a large mold, use a thrown shape for making a smaller version and become accustomed with the process. Molds can be invaluable to the production potter, and for those wishing to explore new possibilities with shapes and surfaces. When making a simple two-piece plaster mold, you can throw or handbuild your original. I prefer to draw out the shape of the mold on a sheet of Plexiglas, which has a smooth surface so the plaster wont stick. Using coil construction, build the piece up and inward (figure 4). Paddle the form roughly into the desired shape (figure 5), then when leather hard, scrape it with a large rib to obtain the final shape (figure 6). If the form is supposed to be symmetrical, create a cardboard template to serve as a guide. To pour the first half, build a clay dam around the shape and prop a board at 90 on one end if you want the mold to stand vertically (figure 7). After the mold has set up, you can make a clay collar to cast a pedestal base, which allows the mold to be used horizontally (figure 8). After the plaster hardens, peel out the coiled clay and allow the mold to dry out. This might take several days. To make the second half of the mold, press a thick slab of clay into the mold. Make two halves and leave the second in the mold. After the first pressed section has become leather hard, place it over the piece in the mold (figure 9). Notice that bricks are used to set up the dam to the necessary higher level. Do not forget to form clay keys or half circles around the base. This will form depressions in this half and create a matching positive counterpart in the opposite side of the mold. After soaping the plastic surface, pour a thin layer of plaster and allow to harden. This thin layer supports the following poured layers. After the plaster has set up overnight, take apart and remove all of the construction clay. Do not try to use the mold until it completely dries. You now have con-

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An optional foot adds stability when using the mold.

Make two halves from the mold and put together to complete the form.

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Texture slabs prior to placing them in the mold.

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Work slabs into the molds using a rubber rib, then bevel the edge of one. Leave an inch or more of extra clay on the other half to work into the beveled edge of the first half.

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Reach through the bottom to rib the seam.

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Tilt both sides upright and press together.

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Place a slab on the bottom and rib to a concave surface.

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structed a device that can, in a matter of minutes, produce monumental pottery or sculptural forms and will last for years.

Using a Two-piece Mold

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When the piece has set up, remove the mold.

After the mold has completely dried out, roll out a slab of clay. Add texture to the slab at this point if desired (figure 10). Place the slabs over the molds and press into place with a large curved plastic or metal rib (figure 11). On one side, cut a beveled edge, and on the opposite side, leave an inch or more of extra clay that will be worked into the beveled edge of the first half. Tilt both sides upright and press together the two halves of the mold (figure 12), then gently lower the combined two molds back into a horizontal position. Reach through the bottom of the mold and work the clay together with your fingertips and a rubber rib (figure 13). Add a pad of clay to close off the bottom, and use a curved rib to create a concave surface (figure 14). This adds strength and prevents cracking. Tilt the mold back up to a vertical position and let stand for several hours so the plaster will draw enough water out of the surface of the clay to strengthen it sufficiently for removing the mold (figure 15). Work the clay back and forth along the seams (figure 16), then smooth with a soft rubber rib. Once the clay has stiffened a bit, add a top to the pot (figure 17). The piece can be thrown, slab, coil or molded. Finish the bottom of the piece (figure 18).

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Finish the seam.

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Attach a thrown or coil top as desired and rib.

Bill Shinn is a potter living in Santa Maria, California. Past articles by Bill that have appeared in PMI and Ceramics Monthly can be found in the Ceramic Arts Handbook Series (www.ceramicartsdaily.org). Contact Bill at shinn@sbceo.org for questions or comments.

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Use a tool to model the foot.

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A large ovate finished piece from a two-part mold.