Essentials You Need to Start Making Ceramics at Home
From a table at home to your first handmade pieces: materials, tools and a few simple ways to begin.
An interest in ceramics might begin with a vase in a shop window, a handmade detail, or the wish to create something of your own. Then comes the question: where do you start?
For me, it began at home, on a simple IKEA table. A smooth surface, a few tools and enough room to leave a piece unfinished: that was my first workspace.
If you would like to experiment with clay, my advice is to start with handbuilding. You can learn to shape your first objects with a few tools and find a local pottery studio to fire them for you.
A small space for clay
A spacious, stable table with good light is a good place to begin. A smooth surface makes cleaning easier: when working with white earthenware, I found the residue easy to remove with a damp cloth, without detergents. That was also my experience with the wooden floor at home.
Avoid working over a rug, where clay scraps and dust can become trapped in the fibres. Collect scraps from the table in a bowl, then wipe the surface with a wet cloth; a damp cloth also works for the floor. Keep your workspace separate from the area where you prepare food.
Where to buy materials and fire your first pieces
Art shops sell many modelling materials, but finding a specialist ceramics supplier may take a little research. It is worth looking: you can ask for advice on clay, tools and decorating materials.
Some suppliers also have a kiln and offer firing services for people working at home. Ask about their requirements and prices: this can be an affordable option for your first pieces.
If you are unsure where to begin, look for a local studio offering pottery classes. Even one lesson can help you find your way into ceramics. The person running the studio may be able to recommend suppliers and places to have your work fired.
Choosing your clay
One of the first things to check when buying clay is its firing temperature. You will find:
- Low-fire clay, including many earthenware bodies, typically fired at around 1,000–1,100°C.
- High-fire clay, including various stoneware bodies, typically fired at around 1,200–1,300°C.
Both offer different colours, shades and textures. Choose a clay for the finish you would like, while checking that the kiln available can fire it at the required temperature.
A simple low-fire white earthenware clay is a lovely place to start. Many Anaya pieces have been made with this material.
Always keep a note of the firing temperature on the packaging. It will also guide your choice of compatible underglazes, engobes, glazes and clear glazes, which are made for specific firing temperatures. Tell the studio exactly which clay you have used and how it needs to be fired.
A brief note on air-drying modelling materials: these are mainly intended for decorative objects. Drying alone does not give them the properties of fired ceramics. Do not assume they are suitable for food contact or for vases holding water; a protective varnish does not guarantee either use.
The essential tools
To begin, I would put together this small kit:
- A wire or nylon clay cutter, to take a portion from the block.
- A small bowl of water and a soft sponge, for moistening, smoothing and rinsing tools.
- A cloth, to wipe the table with water.
- A bowl for collecting scraps.
- Plastic bags and wrap, to keep clay moist and cover unfinished work.
- Curved and straight-edged ribs or scrapers, for smoothing surfaces.
- Loop tools, to remove excess clay.
- Wooden modelling tools, for shaping and refining. I prefer rounded ones.
- A needle tool, for cutting decorations and marking details.
- A brush, for applying slip and finishing details.
- A small container for slip, made by mixing clay and water.
- A metal scoring tool, to scratch the surfaces before attaching parts or decorations with slip.
- A hand-operated turntable, to reach every side of a piece comfortably. My first was an IKEA rotating cheese board. A professional banding wheel can come later.
If you would like to try slab building, add a rolling pin and two thickness guides.
Keeping clay moist and reusing scraps
Cut off only what you need and close the packaging tightly with a knot or elastic band. A second bag helps retain moisture. Sometimes I place a slightly damp cloth around the block.
Wrap soft, reusable pieces of clay and unfinished work in plastic. Add a little water only when needed, without making the clay too soft.
Collect small scraps, wet or dry, in a bowl, keeping them separate from glazes and other clay bodies. If you have plenty, soak them in water, allow the excess moisture to evaporate and knead the clay again. With a smaller amount, you can make slip: clay mixed with water to a fluid consistency, useful for joining pieces together.
To use it, scratch both surfaces, apply a little slip and press them together carefully. The parts should have a similar moisture level.
Before joining,
prepare the surface.
Small marks on both surfaces help them bond. Add a little slip, then press together gently.
Your first object
A small bowl or vase can be a good beginning. The three main handbuilding techniques are:
- Coiling: roll clay into coils, then stack and join them to build the walls. This is the technique I use for the bodies of my vases.
- Slab building: roll clay into sheets, then cut and assemble them.
- Pinching: begin with a ball of clay, make an opening with your thumb and thin the walls between your fingers.
You can let the shape change as you work. An irregular vase can have a character of its own.
From drying to firing
Let your piece dry slowly. This can take several days or longer, depending on its thickness, size and surroundings.
The most delicate stage is when a piece is completely dry but has not yet been fired. It can break very easily. To take it to the studio, prepare a box with soft cloths or towels that keep it still without pressing on fragile areas. You can use the same box to bring it home.
After the first bisque firing, you can move on to decoration and glazing. Materials to know include:
- Underglazes, for decorating before covering with a compatible clear glaze and firing again.
- Engobes, clay-based coatings that colour the surface. When to apply them depends on the product: some are used before bisque firing.
- Glazes, available as ready-mixed liquids in solid colours or with special effects, or as powders. I would start with ready-mixed products; preparing powders requires specific guidance and precautions.
Follow the product instructions and agree on the firings with the studio. For plates, cups and bowls intended for food, also check the suitability of the materials and the finished surface.
Before putting everything away
Collect the scraps and wipe the table. Rinse tools in your bowl of water, keeping clay slurry out of the sink. Let the clay settle, separate the water and recover the clay for modelling or making slip.
Use a different bowl for decorating materials and glazes: those residues must stay separate from the clay you want to reuse.
Your first workspace can be simple. Over time, you will discover which tools you reach for, which shapes interest you and how much space you want to give to ceramics. To begin, make a little room on the table for the wish to try.