| Just like the individual parts of the segments, the segments themselves must also be scored before joining. I use a scoring tool, but you can also use a needle tool. This scoring must be done meticulously. Take your time with it. It’s disappointing if your piece cracks because the scoring wasn’t thorough enough. After scoring, the edges are smeared with slip again. |
| By now, the cardboard has been removed from the segments. The segments are sturdy enough to be joined. Here you see two segments joined together. |
| Continue joining segment after segment until the shape is complete. If the miter angles are calculated and cut correctly, the entire shape should fit together neatly. The shape is still very fragile. It’s best to place it on a turntable to view all sides and smooth out any irregularities with a rib tool. |
| The star you see in the middle is very important. It needs to be sharp, and the lines should continue seamlessly. If necessary, you can refine this with a rib tool. You can use a plastic rib, but a metal rib can also make the lines very crisp. A sharp shape needs to be truly sharp for the right effect. |
| Once completely dry, the shape can be bisque fired. The clay becomes a nice light color. Although the shape is less fragile after bisque firing, you still need to handle it carefully. It will be even stronger after the glaze firing. |
 I explored the websites of Botz and Ve-Ka, both glaze manufacturers. I chose a glaze from Botz called "tropenfuer." If you want to be sure of how it will look or how many layers to apply, first make a test glaze piece. |
| I applied the glaze in three layers and fired it at 1050 degrees. All the remaining irregularities in the clay disappeared under the glaze layer. |
The star shape on the front remained nicely sharp during glazing.
It was a lot of work, but very enjoyable to do..
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I want to create a stylized tulip shape from ceramics, but since it’s quite a complex design, I first make a model out of cardboard. Even this is a painstaking task, but I’m satisfied with the shape.
To make the model, I cut each side of the shape out of clay using cardboard templates. Essentially, the model is made twice: once to visualize and correctly assemble the shape, and a second time in individual pieces used to cut the clay. It's a challenging shape, best constructed from six segments. I will first assemble segment by segment, and then join these segments together. Here you see the parts used for one segment.
To join the slabs, they need to be cut at an angle. The miter angle for this shape isn’t 90 degrees, as the slabs do not stand perpendicular to each other. Calculating this angle is a bit tricky but crucial for the fit. Now I have to wait until the slabs are leather-hard. If they are too soft, you can’t assemble them without deformation.
After cutting at an angle, the edges are scored. Once scored, slip is applied to ensure the slabs adhere well. The miter angle for this shape isn’t 90 degrees, as the slabs do not stand perpendicular to each other. This calculation is tricky but crucial for the fit.
When assembling the segments, the cardboard templates remain attached to the clay slabs. This provides stability and simplifies the process.
I use tape to join the cardboard pieces. It helps to have many pieces of tape pre-cut and attached to the edge of the table for easy access while assembling your shapes.
During baking, the air inside the shape expands. It needs to escape to prevent the entire shape from bursting. I do this by cutting a hole in two segments, which will be at the bottom and thus not visible. The hole doesn’t need to be large.
Just like the individual parts of the segments, the segments themselves must also be scored before joining. I use a scoring tool, but you can also use a needle tool. This scoring must be done meticulously. Take your time with it. It’s disappointing if your piece cracks because the scoring wasn’t thorough enough. After scoring, the edges are smeared with slip again.
By now, the cardboard has been removed from the segments. The segments are sturdy enough to be joined. Here you see two segments joined together.
Continue joining segment after segment until the shape is complete. If the miter angles are calculated and cut correctly, the entire shape should fit together neatly. The shape is still very fragile. It’s best to place it on a turntable to view all sides and smooth out any irregularities with a rib tool.
The star you see in the middle is very important. It needs to be sharp, and the lines should continue seamlessly. If necessary, you can refine this with a rib tool. You can use a plastic rib, but a metal rib can also make the lines very crisp. A sharp shape needs to be truly sharp for the right effect.
Once completely dry, the shape can be bisque fired. The clay becomes a nice light color. Although the shape is less fragile after bisque firing, you still need to handle it carefully. It will be even stronger after the glaze firing.
I applied the glaze in three layers and fired it at 1050 degrees. All the remaining irregularities in the clay disappeared under the glaze layer.
The star shape on the front remained nicely sharp during glazing.