Since graduating from Utah State University, I have embodied many roles: maker, seller, artist, educator, and studio owner. What I connect with most, is being a maker. I find joy in experimenting with processes and materials in my studio practice. In my recent creative exploration, I’ve been making inlaid plates.
Let’s Talk Tools
I use a handful of tools (in addition to the standards) that have become must-haves in my studio and are particularly useful in making an inlaid plate. I use a handmade bisque mold, which fits on a small banding wheel; hand-carved bisque stamps made with leftover clay; and guideposts for cutting even slabs.
Form First
Start by wedging a block of clay, then shape the clay into a cylinder according to the desired plate. For smaller plates, I use a slab around 6 inches (15.2 cm) in diameter. For larger plates or bowls I use a slab 10 inches (25.4 cm) in diameter. The size of the slab used is also dependent on the size of your bisque mold. Lay down wooden slats to determine the slab thickness. I like my slabs to be around 7/16 of an inch (about 1 cm), this allows me to stamp my work more deeply and create a solid connection with the inlaid clay. After the slabs are made, compress both sides thoroughly.
Stamp Pattern
Begin stamping a pattern into the surface of one side, using bisque stamps (1). I stamp into half the depth of the slab to allow for clay to be inlaid, and to allow some thickness to be removed through trimming.
Once the slab is stamped, flip it over so it is stamped side down, and press it onto the bisque mold. Compress the clay using a metal rib (2). When the clay is compressed, it creates a slight connection to the bisque mold, which helps with the next step. Cut the edge of the clay plate to the desired size and shape using an X-Acto knife.
Adding a Foot
Roll a coil to the appropriate thickness for a foot. Using a little water, score the plate where the foot should be placed, then score the coil. Place the bisque mold with the slab on it onto a banding or throwing wheel. While spinning the wheel, use a finger to join the foot. Cut the foot level with an X-Acto knife, then, trim the foot (3). Remove the plate from the bisque mold and let it stiffen to a soft leather hard.
Inlaying Clay
First, prepare a slip to help join the inlay clay to the stamp impressions. I use Laguna Speckled Buff clay to form the plate and then I mix 50% Laguna Speckled Buff with 50% Laguna B-Mix to make a thick, yogurt-like slip. Tip: When choosing a clay body to use for the slip/clay inlay combination, look at their shrinkages and coefficients of expansion to determine which would best stay together during a firing. Clay bodies with differing shrinkages and coefficients of expansion are more prone to cracking. Always test your options by creating test tiles with your clay combinations (clay body, slip, and inlay clay) before trying them in your main body of work.
Next, score the interior of each stamp mark. This reduces the chance of the inlaid clay separating from the plate when fired. Once scored, add a slurry of thick slip to each impression. Then, roll a coil from a very soft piece of inlay clay and begin inserting the clay into each impression (4). Compress the inlaid clay as much as possible.
When all the stamps are inlaid, use a banding wheel to rotate the plate and compress the clay further. Using a finger, slide from the inside of the plate to the outer edge to smooth out the inlaid clay and bind it to the plate (5). After, spin the wheel in the opposite direction and repeat the binding process. Next, compress the inlaid clay to the plate, beginning at the center and moving out to the edge. Once finished, compress the inlaid clay to the plate using a metal rib. Do this while spinning the plate in both directions on the banding wheel. Then, let the plate stiffen to a leather-hard state.
Trimming and Revealing
Now, it is time to trim the inlaid surface. To do this, center and secure the plate on a potter’s wheel. Then, using a sharp trimming tool, begin trimming the excess inlaid clay from the surface (6). A sharp trimming tool will help to leave a clean surface on the plate. Trim the plate’s surface until the stamped design is showing through.
When the stamped design shows through, compress the clay again using your finger while spinning the wheel in both directions. This will temporarily blur the design, but it will also create a secure connection between the inlaid clay and the plate.
Lastly, use the large edge of the trimming tool while the wheel spins clockwise to remove the blurred image. Switch the wheel’s direction of rotation to counterclockwise and trim away another thin layer.
Once finished, make sure to dry the plate slowly. If cracks start to form as the plate dries, use a trimming tool to remove thin sections of clay.
I am by no means the first person to work in this technique and there are probably better solutions to some of the problems that arose during this process, but this is what’s worked for me.
Adam Addley is a maker who lives and works in Salt Lake City. He earned a BFA in ceramics from Utah State University. To see more, visit Instagram@addleycraftor his websiteaddley-craft.com.
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Since graduating from Utah State University, I have embodied many roles: maker, seller, artist, educator, and studio owner. What I connect with most, is being a maker. I find joy in experimenting with processes and materials in my studio practice. In my recent creative exploration, I’ve been making inlaid plates.
Let’s Talk Tools
I use a handful of tools (in addition to the standards) that have become must-haves in my studio and are particularly useful in making an inlaid plate. I use a handmade bisque mold, which fits on a small banding wheel; hand-carved bisque stamps made with leftover clay; and guideposts for cutting even slabs.
Form First
Start by wedging a block of clay, then shape the clay into a cylinder according to the desired plate. For smaller plates, I use a slab around 6 inches (15.2 cm) in diameter. For larger plates or bowls I use a slab 10 inches (25.4 cm) in diameter. The size of the slab used is also dependent on the size of your bisque mold. Lay down wooden slats to determine the slab thickness. I like my slabs to be around 7/16 of an inch (about 1 cm), this allows me to stamp my work more deeply and create a solid connection with the inlaid clay. After the slabs are made, compress both sides thoroughly.
Stamp Pattern
Begin stamping a pattern into the surface of one side, using bisque stamps (1). I stamp into half the depth of the slab to allow for clay to be inlaid, and to allow some thickness to be removed through trimming.
Once the slab is stamped, flip it over so it is stamped side down, and press it onto the bisque mold. Compress the clay using a metal rib (2). When the clay is compressed, it creates a slight connection to the bisque mold, which helps with the next step. Cut the edge of the clay plate to the desired size and shape using an X-Acto knife.
Adding a Foot
Roll a coil to the appropriate thickness for a foot. Using a little water, score the plate where the foot should be placed, then score the coil. Place the bisque mold with the slab on it onto a banding or throwing wheel. While spinning the wheel, use a finger to join the foot. Cut the foot level with an X-Acto knife, then, trim the foot (3). Remove the plate from the bisque mold and let it stiffen to a soft leather hard.
Inlaying Clay
First, prepare a slip to help join the inlay clay to the stamp impressions. I use Laguna Speckled Buff clay to form the plate and then I mix 50% Laguna Speckled Buff with 50% Laguna B-Mix to make a thick, yogurt-like slip. Tip: When choosing a clay body to use for the slip/clay inlay combination, look at their shrinkages and coefficients of expansion to determine which would best stay together during a firing. Clay bodies with differing shrinkages and coefficients of expansion are more prone to cracking. Always test your options by creating test tiles with your clay combinations (clay body, slip, and inlay clay) before trying them in your main body of work.
Next, score the interior of each stamp mark. This reduces the chance of the inlaid clay separating from the plate when fired. Once scored, add a slurry of thick slip to each impression. Then, roll a coil from a very soft piece of inlay clay and begin inserting the clay into each impression (4). Compress the inlaid clay as much as possible.
When all the stamps are inlaid, use a banding wheel to rotate the plate and compress the clay further. Using a finger, slide from the inside of the plate to the outer edge to smooth out the inlaid clay and bind it to the plate (5). After, spin the wheel in the opposite direction and repeat the binding process. Next, compress the inlaid clay to the plate, beginning at the center and moving out to the edge. Once finished, compress the inlaid clay to the plate using a metal rib. Do this while spinning the plate in both directions on the banding wheel. Then, let the plate stiffen to a leather-hard state.
Trimming and Revealing
Now, it is time to trim the inlaid surface. To do this, center and secure the plate on a potter’s wheel. Then, using a sharp trimming tool, begin trimming the excess inlaid clay from the surface (6). A sharp trimming tool will help to leave a clean surface on the plate. Trim the plate’s surface until the stamped design is showing through.
When the stamped design shows through, compress the clay again using your finger while spinning the wheel in both directions. This will temporarily blur the design, but it will also create a secure connection between the inlaid clay and the plate.
Lastly, use the large edge of the trimming tool while the wheel spins clockwise to remove the blurred image. Switch the wheel’s direction of rotation to counterclockwise and trim away another thin layer.
Once finished, make sure to dry the plate slowly. If cracks start to form as the plate dries, use a trimming tool to remove thin sections of clay.
I am by no means the first person to work in this technique and there are probably better solutions to some of the problems that arose during this process, but this is what’s worked for me.
Adam Addley is a maker who lives and works in Salt Lake City. He earned a BFA in ceramics from Utah State University. To see more, visit Instagram @addleycraft or his website addley-craft.com.
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