A ceramic wall pocket is a useful first slab-built object: it has a simple silhouette, needs no wheel, and can be adjusted to suit a narrow wall, a bedside corner, or a workroom. The form is essentially a shallow pouch fixed to a back plate. Since it is intended for dried flowers, there is no need to make it watertight, but the clay still needs even thickness, careful joins, and a secure way to hang after firing.
This version uses a paper template and a folded front rather than a thrown or moulded body. Keep the pocket modest in size. A small object is easier to dry evenly and puts less strain on the wall fixing.
Before you begin
Use a stoneware clay suitable for your kiln and follow the firing range recommended by its maker. Clay bodies differ in shrinkage and firing temperature, so do not combine an unfamiliar clay with a glaze simply because the colours appeal to you. If you are working in a shared studio, ask which clay and glaze combinations are compatible with the kiln schedule.
The finished pocket will be heavier than it feels when leather-hard. Plan the mounting point before you make it. A screw or wall hook must suit the wall itself, whether that is plasterboard, masonry, timber, or another surface. The ceramic holes are only part of the hanging system.
You will need:
- Stoneware clay
- A sheet of paper or card for a template
- A rolling pin and two thickness guides, or a slab roller
- A wooden rib or smooth scraper
- A needle tool
- A fettling knife or similar clay knife
- A soft brush and a little water or slip
- Underglaze or ceramic glaze
- A wall hook or screw with a suitable wall plug
Photo by Naoki Suzuki on Unsplash.
Make the paper template
Draw the back plate first. A useful starting size is about 16 cm high and 11 cm wide, with softly rounded upper corners. Below it, draw the pocket front as a broad shape that is slightly narrower than the back. Allow a little extra clay along its side and lower edges for joining.
The front can have a gently curved or angled upper edge. A shallow arch gives a softer appearance, while a straight edge is easier to cut and join. Mark two hanging holes near the upper part of the back plate, leaving a generous margin around each hole. The holes should be placed far enough apart to help prevent the pocket from twisting, but not so close to the edges that they weaken the clay.
Cut the templates from card. Hold the back and front shapes together and check their proportions before touching the clay. The front should cover the lower part of the back while leaving enough of the back visible above it for the hanging holes.
Roll and cut the clay
Wedge the clay to remove obvious air pockets and make its moisture more even. Roll a slab between your thickness guides. A consistent, moderate thickness is more important than an exact measurement: clay that is too thin may feel fragile around the holes, while clay that is too thick will take longer to dry and may place unnecessary weight on the wall.
Roll a slab large enough for the back and front pieces, or roll them separately. Lay the paper templates on the clay and cut around them with a needle tool or knife. Keep the tool upright so the edges do not become strongly bevelled. Remove the surrounding clay carefully rather than dragging it across the cut surfaces.
Compress both faces lightly with a wooden rib or smooth scraper. This closes the surface and helps keep the slab settled after rolling. Do not overwork the clay, and do not add water simply to make the surface shine.
Cut the hanging holes in the back plate while the clay is still flat. A needle tool can be twisted through the clay, or a small round cutter can be used. Support the clay beneath the hole as you cut. Neaten the edges with the needle tool, then compress them gently with a damp fingertip or a small smooth tool. Avoid placing the holes too near the top edge.
Shape the folded pocket
The front piece needs a small change of direction so it projects from the back rather than lying flat against it. Mark two vertical fold lines, one near each side, leaving a broad central area for the face of the pocket. Score lightly along the lines without cutting through the slab.
Bend the side sections back a little, using a card former or your fingers to establish a shallow pocket. Keep the movement gradual. A sharp fold creates a weak place, while a broad curve gives the front more room and looks less severe. If the clay begins to crack, stop and let it firm slightly before continuing.
You can also form the pocket by making separate side gussets, but the folded version has fewer joins. Leave the lower edge open only if you have a specific reason; for dried stems, a closed lower seam gives the object a quieter, more settled form.
Attach the pocket to the back
Place the front over the back plate and decide exactly where it will sit. Leave the hanging holes clear and check that the pocket is centred. With the pieces in position, mark the areas to be joined.
Score both mating surfaces with the needle tool. Apply a small amount of slip, then press the pieces together gradually. Work from the centre of each join towards the ends so that the contact is even. Blend the outside of the seam with a wooden rib or fingertip, but retain enough clay at the join to make it substantial.
Add a narrow reinforcing coil or strip along the inside of the side and lower joins if they look thin. Press it into both surfaces and smooth it carefully. This is especially useful where the folded sides meet the back. Do not leave a thick, lumpy ridge inside the pocket; it can catch stems and make the object difficult to clean.
The pocket should remain open at the top. Check that its mouth has not narrowed while you were joining it. Place a small wad of soft paper inside if needed to hold the shape while the clay firms, then remove it before drying.
Photo by Andrea Hajdu on Unsplash.
Refine the surface and dry slowly
Trim ragged edges with a knife and soften them with a barely damp sponge. The top edge may be left crisp, rounded slightly, or given a narrow rolled lip. Whichever finish you choose, make it even from side to side.
Look closely at the hanging holes and all joins. Repair small cracks with slip and blend them before the clay becomes too dry. Do not paint water over the whole piece in an attempt to smooth it. Local, controlled adjustments are safer than repeatedly wetting the slab.
Set the pocket on a flat, absorbent surface and cover it loosely with plastic. Turn or adjust the covering as the clay dries so that moisture can leave gradually. The back plate and folded front should dry at a similar rate. Rapid drying, especially around the joined edges, can cause warping or cracks.
When the piece is bone dry, inspect it once more. It should feel dry and room-temperature rather than cool and damp. Do not fire a piece that still contains moisture. Follow the studio’s instructions for loading and firing, and leave sufficient space around the object so it is not pressed or supported in a way that could distort it.
Add a restrained finish
A quiet surface treatment suits a small wall object. You might leave the clay bare, apply a thin coat of underglaze to the front, brush colour only into the recessed joins, or use a transparent glaze over a lightly textured surface. Test unfamiliar glaze combinations on a sample tile or use the studio’s established firing information.
Keep glaze away from any areas that must sit flat on a kiln shelf unless the glaze is intended for that surface and has been wiped away cleanly. Remove drips from the back and around the hanging holes. Glaze can collect in openings and interfere with the mounting hardware, so check those areas before the final firing.
A fully glazed interior is not necessary for dried flowers. If you do glaze inside the pocket, apply it evenly and avoid a heavy coating that could pool in the lower corners. The object should remain easy to dust and should not be treated as a water vessel unless it has been designed, glazed, and tested for that purpose.
Mount the finished pocket
After the final firing, check the ceramic for sharp points, hairline cracks, and glaze that may have narrowed the hanging holes. Smooth only minor sharpness with an appropriate abrasive and work carefully so you do not damage the fired surface.
Choose the fixing according to the wall. A suitable plug and screw is generally needed for masonry or plasterboard unless a stud or other strong support is available. The hook or screw should bear on the ceramic through the hole without forcing the piece tightly against the wall. If the back rocks, use a small non-abrasive cushion at a lower contact point, provided it does not make the pocket unstable.
Hang the pocket empty first and check that it sits level. Add only a few dried stems at the beginning. Keep the contents light, and avoid placing the pocket where it can be knocked by a door, curtain, or passing shoulder. Do not fill it with water or fresh flowers; this form is intended for dry arrangements and light tools.
Photo by Naoki Suzuki on Unsplash.
Useful mistakes to avoid
- Making the back too small: Leave enough exposed area above the pocket for strong, well-spaced hanging holes.
- Cutting holes too close to the edge: A generous clay margin reduces the chance of a weakened rim.
- Joining without scoring: Slip alone is not a reliable substitute for prepared, keyed surfaces.
- Leaving the folds sharp: A gradual bend is less vulnerable than a tight crease.
- Drying the front and back at different speeds: Loose covering and patience help the joined form settle evenly.
- Overloading the pocket: Ceramic is strong when supported well, but a small wall object is not a structural shelf.
- Treating it as a vase: Without a deliberately watertight design and compatible glaze, keep water out.
The finished wall pocket can remain plain, carrying the marks of the rib and the slight irregularities of hand-cut clay. Its usefulness is modest but clear: a light vessel for dried stems, a place for a few brushes, or a small resting point for household tools. The careful parts are hidden in the making—the even slab, the reinforced seams, the gradual drying, and the appropriate wall fixing.