A ring dish is a forgiving first ceramic object. It needs no mould, uses little clay, and can be shaped by hand with only a few simple tools. Its shallow form also makes it easier to dry evenly than a tall vessel.
For a first attempt, make a dish roughly 8–10 cm across and 2–3 cm high. The exact size is not important, but even walls and a gently rounded base are. You can build it as a pinch pot or cut it from a small slab. The pinch method gives the dish a softened, irregular character; the slab method gives a cleaner outline.
Before you begin
Work on a smooth, movable surface such as canvas, a plaster board, or a piece of untreated wood. Avoid working directly on a very absorbent table, which can pull moisture from the clay unevenly. Keep a small piece of plastic nearby so the dish can be covered while it dries.
Choose one clay body and use glazes that are made for it. Stoneware clay is durable when fired to its intended temperature, while earthenware is usually fired lower and may remain more porous. The firing range is set by the clay and glaze manufacturer; a kiln must be programmed accordingly. A household oven cannot fire clay or ceramic glaze.
Have ready:
- a lump of stoneware or earthenware clay
- a small rolling pin, if making a slab
- a rib or wooden modelling tool
- a fine sponge
- a needle tool or sharp wooden skewer
- a small board for moving the work
- kiln-safe glaze suitable for the clay body
Photo by Tasha Kostyuk on Unsplash.
Choose a form
Pinch-pot dish
The pinch-pot method is the simplest place to start. It produces a dish with a hand-shaped rim and no joined seams. It is also easy to make the walls thinner gradually as you work.
Small slab dish
A slab is useful if you want a more deliberate oval, square, or softly polygonal shape. Roll the clay between guides of equal height, then cut a simple outline with a knife. A slab dish may need a little more attention at the corners and rim, where drying stresses can gather.
For either method, aim for walls about 6–8 mm thick before refining. They may become slightly thinner as you compress and smooth them, but very thin walls are more likely to warp or crack if they dry unevenly.
Step 1: Prepare the clay
Cut or weigh out a piece of clay large enough to make the dish without stretching it excessively. A lump about the size of a small orange is often sufficient for a modest ring dish, though the amount depends on the intended size and wall thickness.
Knead or wedge the clay according to the clay body’s instructions. This helps make the moisture more even and removes obvious soft or hard patches. Do not add water simply to make dry clay easier to handle; a little moisture on your hands or a brief rest under plastic is usually gentler.
Press the clay into a compact ball, keeping the surface free of deep folds.
Step 2: Form the dish
Pinching the bowl
Hold the clay in one hand and press your thumb into the centre, stopping before it reaches the other side. Leave a base at least 6 mm thick. With your thumb inside and your fingers outside, pinch around the wall in small, even movements.
Turn the clay as you work rather than repeatedly pinching one area. Support the outside with your fingers so the wall opens outward instead of collapsing. Keep the rim level by checking it from the side as the dish grows.
When the dish is shallow and wide enough, smooth away pronounced ridges with a rib or your fingertip. Do not force the rim into perfect symmetry. A small amount of variation suits a hand-built object, provided the dish sits securely.
Making a slab dish
Roll a slab evenly on a canvas or smooth board. Compress both surfaces lightly with a rib, then cut a simple shape. Round the corners rather than leaving sharp points, as corners dry faster and are more vulnerable to damage.
Soften the upper edge with a damp finger or sponge. If you want slightly raised sides, gently bend the slab upward around the perimeter. Do this gradually, supporting the underside so the base does not buckle.
Step 3: Refine the base and rim
Set the dish down and check whether it rocks. If it does, identify the high spot and compress it gently with a rib or wooden tool. Avoid scraping away a large amount of clay from the base, since a very thin floor can dry and fire unevenly.
Refine the rim with a rib, modelling tool, or fingertip. A rounded rim is less likely to feel sharp and gives the dish a quieter finish. Use a barely damp sponge to remove crumbs and fingerprints, but do not rub repeatedly with water. Too much moisture can soften the edge and create a weak, muddy surface.
If the clay has become too soft, let it rest uncovered for a short time until it regains enough firmness to hold its shape.
Step 4: Add the thumb-sized indentation
A small indentation gives the ring dish a natural place for a thumb and helps rings settle rather than sliding toward the edge. Press a thumb or rounded modelling tool into one side of the interior, close to but not touching the rim.
Make the hollow shallow and smoothly rounded. Do not cut sharply into the wall, and leave generous clay beneath it. Blend the edges with a fingertip or fine sponge so the indentation looks formed rather than drilled.
You can also make a small notch in the rim, but a notch removes material from a vulnerable edge. For a first dish, an interior indentation is usually easier to dry and less likely to chip.
Photo by Meghna R on Unsplash.
Step 5: Dry it slowly
Place the dish on a flat board and cover it loosely with plastic. The aim is not to stop drying, but to slow it and keep the moisture more even between the base, walls, and rim.
After a day, lift the plastic slightly or make a small opening. Turn the dish only when it is firm enough to support its own shape. If the base still feels cool or flexible, leave it in place. Continue drying gradually until the clay is leather-hard, then uncover it more fully.
Before firing, the dish must be completely dry. It should feel room temperature rather than cool, and there should be no darker, damp-looking areas. Do not hurry this stage with strong heat. Trapped moisture can turn to steam in the kiln and damage the piece.
Common causes of cracks include a base that is much thicker than the walls, a rim left too thin, rapid drying, and placing the work on a very absorbent surface. Minor hairline cracks may appear during drying, but repairs are not always reliable. It is often better to learn from the cause and make the next dish with more even thickness.
Step 6: Bisque fire
Once fully dry, the dish can be bisque fired. Follow the firing schedule recommended for the clay body and use a kiln that is maintained for ceramic work. Place the piece so it is supported evenly and is not touching another object.
Bisque firing makes the clay firm and porous enough to accept glaze, but the dish is not yet vitrified or fully durable. Handle it carefully after firing, since the surface can still shed dust and the rim may be brittle.
Inspect the bisque piece before glazing. Remove loose particles with a soft brush or clean, dry sponge. Do not soak it unless the glaze instructions specifically call for that preparation.
Step 7: Choose and apply the glaze
Select a kiln-safe glaze that matches the clay body and the intended firing temperature. For a ring dish, a glaze that moves only gently is easier to control than one that runs freely. Heavy pooling in the centre can make the surface uneven and may cause glaze to collect near the foot or kiln shelf.
Apply the glaze according to its instructions. Two or three thin coats are often more dependable than one thick coat, but the correct number depends on the product. Keep glaze off the underside and away from the foot ring or contact points. Any glaze that touches the kiln shelf may fuse the dish to it.
A clear glaze, a single-colour glaze, or an unglazed centre with a glazed rim can all work well. Test tiles are useful when available, because fired colour and surface can differ greatly from the wet glaze.
If the dish is intended only for rings, jewellery, keys, or other dry objects, ordinary decorative ceramic glaze may be sufficient. Do not assume that every glaze is suitable for food contact, especially if the surface is rough, crazed, chipped, or not fired according to the maker’s instructions. If you intend to use the dish for food, choose materials specifically labelled and fired for that purpose.
Photo by Mariana Beltrán on Unsplash.
Step 8: Glaze fire and finish
Fire the glazed dish to the glaze and clay manufacturer’s recommended temperature. Let the kiln cool fully before opening it. Sudden temperature changes can stress ceramic work, and the piece may be too hot to handle safely even after the firing has ended.
Check the underside for sharp edges or stray glaze. Smooth a rough foot carefully with a ceramic sanding pad or fine abrasive suitable for fired ceramic, wearing eye protection and avoiding airborne dust. Wipe the finished dish clean with a damp cloth.
Useful mistakes to avoid
- Making the base much thicker than the walls: compress and even the floor before drying.
- Overworking with water: moisture can soften the rim and encourage warping.
- Drying in direct sun or beside a heater: gradual drying is safer.
- Leaving glaze on the underside: it can bond the dish to the kiln shelf.
- Using an unknown glaze with unknown clay: firing ranges must be compatible.
- Expecting perfect symmetry: small variations are part of the hand-built form.
A modest ring dish is a good lesson in restraint. The useful shape comes from even walls, a stable base, and a rim that feels pleasant beneath the fingers. Let the clay retain some evidence of the hand, and give each stage—forming, drying, firing, and glazing—enough time to do its quiet work.