Building the body of the vase

Building the Body of the Vase

This is where our pot really starts to take shape - we're not just coiling now, we're sculpting a form, considering proportions and how the piece moves through space. It's about tuning in to both your clay and your creative intention.

Thinking About Form

At this stage, I'm reaching the widest point of my vase - the belly. It's a good time to think about the overall profile.

• How wide is the belly compared to the base?
• How will it taper into the neck?

These ratios matter. A narrower base and wide belly can be beautiful, but they're also more likely to collapse - so I tend to pull in the form a little sooner to keep it stable.

A little tip: you can sketch your shape first or even cut a cardboard stencil form to guide your profile as you build.

The Versatility of Coiling

Coiling is such a universal technique - I've used it to make all sorts: toilets, sculptures, cutlery! It's perfect for dynamic forms and allows for height, play, and layering other techniques over the top.

It's also one of the first hand-building methods most people learn. There's something intuitive and grounding about it.

Checking the Profile

I pause often to step back and look at the shape from a distance. A quick trip to the loo and fresh eyes can reveal if things are going off-course!

Keep checking:

• is it leaning?
• are you flaring out too soon?
• is the profile what you imagined?

Every time you return to your pot, you see it differently - use that to guide your decisions.

Flat Coils for Speed

If you're short on time, try making flatter, wider coils. They build height faster and help you cover more ground.

• Flatten them with your hand or a rolling pin.
• Watch for thin spots - break them off if they're too delicate.

I used a few here to speed things up. They're also great for adding structure and variety to the build.

Refining as You Go

As I built, I kept sculpting the coils to shape the belly and waist of the vase. Once I'd formed the general silhouette:

• I blended the coils, using fingers and thumbs to smooth transitions
• then I went over it with a serrated kidney, combing from bottom to top for evenness.

After combing, I switch to a smooth kidney - mine's a favourite soft one from Mud Tools - to polish the surface.

You can also stretch or refine the form from the inside using your knuckles or fingers. Be gentle - you're thinning the clay as you do this.

Push from within, but always listen to the resistance.

Timing and Texture

If you've taken a break, check your pot's moisture levels. The older coils will have firmed up. To blend fresh ones:

• add a bit of moisture
• really work the new clay down into the older layers.

Let the piece rest and dry once you're happy with the shape. I usually leave it for 30 minutes to an hour before adding more height.

If you leave it longer, cover it with a plastic bag to keep the surface pliable - especially important if your studio's warm or dry.

Timing is everything with clay - not too soft, not too dry.

A Note on Symmetry

If perfect symmetry is your goal, wheel-throwing might be your best bet. Coiling is more intuitive, slower, and personal. For me, the slight irregularities are what make it beautiful.

I want the human hand to show. That's the poetry in pottery.

Let the form guide you. Let your hands respond. Next time, we'll build the neck and refine the rim - the final flourish before drying and firing.

How to Store Your Unused Clay

To keep your unused clay from drying out and becoming too hard to work with, make sure to store it properly. You can either seal the bag with a clip or metal clasp, or—as I often do—twist the top of the bag, tuck it underneath, and store the bag upside down to keep air from getting in.