Pinching and Coiling - an introduction to basic hand building techniques

Part 1 - Pinching Technique

The challenge was to create three vessels of the same size and shape, each no more than 10 cm in height. This required careful attention to wall thickness, as well as thoughtful consideration of the rim, base, and surface finish — details that make or break the sense of unity between pieces.

I began by rolling out a thick sausage of clay and cutting it into three equal sections. To ensure true consistency, I weighed each piece, adjusting slightly by adding or removing small amounts of clay until all three were identical in mass.

Each piece was then rolled into a smooth ball, ready for forming. I worked on them in rotation, spending a little time on one before moving on to the next. This rhythm helped me maintain a similar approach and feel across all three vessels.

Holding the clay ball in my right hand, I used my left thumb to gently press into the center, slowly forming the initial hollow and encouraging the vessel to take shape. The process was repeated many times, alternating between the three pieces, refining their forms and keeping them in close visual and tactile alignment.

This exercise was not only about achieving uniformity, but also about developing sensitivity to balance, proportion, and touch — essential skills in hand-building. Each vessel, though made to match, carries subtle traces of its making — the marks of the process that connect them as a cohesive trio.

Exploring Decorative Techniques

When it came to decoration, I found myself struggling to come up with subtle yet distinctive ideas. Wanting to experiment without overcomplicating things, I decided to try out some of my favourite mark-making techniques on the first vessel.

For this piece, I used a small stick to press gently inwards, creating a bubble-like effect on the reverse side of the clay. The result was unexpectedly pleasing — simple, but with a nice play of texture and shadow.

Encouraged by this, I moved on to the second vessel and chose a larger stick, this time pushing from the inside outwards while supporting the wall with a damp sponge on the outside. This created a softer, more organic surface pattern that contrasted nicely with the first pot.

For the final vessel, I decided to push the idea further. I rolled a series of small, malteser-sized balls of clay and attached them to the outer surface, arranging them in a loose pattern. To add more variation and depth, I carved a line around the balls, giving the piece a more sculptural quality.

Although I was satisfied with the range of effects, I didn’t feel that any of them were particularly successful in achieving the subtlety I was aiming for. However, the process gave me a lot to think about, and I’d like to repeat this exercise again once I’ve developed more control and experience with surface decoration.

Part 2 - Coiling Technique

The next challenge was to build a straight-sided form using the coiling method, starting from a rolled-out flat base no wider than 12 cm in diameter. The aim was to build as high as possible while maintaining control over the shape and stability of the walls. Additionally, the aim is to leave some coils partly or fully visible as a decorative detail, showcasing the method of construction.

I began this task by rolling out a flat base and preparing a thick coil to start with, as I find thicker coils easier to blend than thinner ones. Both the base and the first coil were scored and a small amount of water applied to ensure they joined firmly. I used my finger to blend the clay, though I noticed that Rob used his thumb, which might be a more efficient technique to try next time.

To keep the walls straight, I stood directly over the pot as I worked and used a paddle to gently tap and adjust the sides when they started to lean. Despite my best efforts, as the vessel grew taller, it began to bow outward, taking on the familiar shape of a plant pot rather than the straight-sided form I was aiming for.

At this point, we decided the pot needed a bit of an “operation.” I wrapped a piece of orange tape around the base and then around the top of the vessel to compare their circumferences — there was about a one-inch difference. I then drew a V-shape on the pot and removed a section of clay, slightly less than the measured gap, leaving enough extra material to squish and join the sides back together. In hindsight, I should have cut at a slight angle to create a larger surface area for reattaching, which would have made the joint stronger.

Once the sides were rejoined, the vessel stood straighter but leaned slightly to one side. The next day, when it had reached leather-hard, I was able to turn it upside down on the wheel and flatten the base, which corrected the lean.

The following day I also made some marks on the leatherhead clay. I divided the pot into sections with the orange tape and created different mark settings with a variety of different tools in each section.

Overall, I really enjoyed this task — I find coil building satisfying and methodical and I was happy with my mark making. However, I realised afterwards that I had completely forgotten to leave any coils visible, as the instructions had suggested.

The "Upside Down" Coiling Technique

The final challenge was another coil-building exercise, this time using the “upside-down” technique to create a form that was closed at the top.

To begin, I used a turntable to spin a board and mark out a circular base. The coils were then placed alongside this circle, building upwards and inwards without the need for scoring this time, as the coils adhered well on their own.

I found this process very enjoyable and decided to use even thicker coils than before, as I still felt that my previous ones had been too thin. As the form grew, it naturally developed into a peak rather than a dome—not quite what I had originally intended, but an outcome that I actually really liked. The shape had a strong presence, and the pattern on the inside, created by blending the coils, was particularly attractive and organic.

For the exterior decoration, I used a sharp tool to carve a series of parallel lines running from top to bottom, giving the surface a clean, textured finish that contrasted nicely with the smoother interior.