Crafting a ceramic olive dish with a pressed olive leaf imprint
In my Barcelona studio, I work with clay that carries the memory of the landscapes I love—the wild coastlines of the Pacific Northwest and the silver-green hills of the Mediterranean. This piece began as a simple request from a friend in Melbourne who wanted a small dish for serving olives at weekend gatherings. What started as a commission turned into one of my favorite ways to teach beginners how to capture botanical detail in stoneware.
Pressing a real leaf into clay is a quiet, meditative process that rewards patience over speed. The olive leaf is particularly expressive because of its leathery texture and pale underside. Whether you are working in a home garage or a shared studio space in a regional town, the core steps remain the same: prepare the clay, press the leaf with intention, and refine the surface before firing.
Selecting a food-safe clay body
Australian regulations for ceramics in contact with food are overseen by the Australian Competition and Consumer Commission and Food Standards Australia New Zealand. Glazes and clay bodies must not leach harmful levels of lead or cadmium into acidic foods like olives or lemon. I always choose a mid-fire stoneware that vitrifies well and pairs with a tested transparent liner glaze.
Locally, many Australian potters source their clay from deposits in the Adelaide Hills or from other regional suppliers. Most major cities have ceramic supply shops where you can feel the texture before committing, or you can order dry clay online. The grog content matters for slab work, as too much sand makes the clay brittle when rolled thin.
Before I begin, I wedge the clay thoroughly to even out the moisture. In a dry inland climate, I cover the clay with a damp cloth between rolling sessions to prevent skin formation. In more humid coastal areas, I let the clay rest uncovered for a few minutes to firm up slightly.
Materials for the olive dish
- 500g of mid-fire stoneware clay
- One fresh or preserved olive leaf with a flat profile
- A clean cotton cloth and rolling pin
- A sharp needle tool for trimming
Finding and preparing the olive leaves
The best leaves for pressing are mature, flat, and free of blemishes. I collect mine from the grove behind my studio, but many Australian olive growers in the Adelaide Hills or the Hunter Valley welcome visitors who ask permission to gather a few fallen leaves. The leaves should be wiped clean and pressed flat in a book for at least twenty-four hours so they hold their shape under pressure.
Fresh leaves contain moisture that can cause the clay to crack during drying, so I prefer slightly dried leaves. If you are using fresh material, you can seal the surface with a light coat of hairspray or a thin layer of acrylic medium to create a barrier. This trick came from a workshop participant who was working with eucalyptus leaves for a similar project.
For those interested in how I choose organic shapes for handles and rims, I have written about wandering through olive groves in this guide on a walk through the olive groves.
Rolling the slab and pressing the leaf
I roll the clay between two wooden battens to a consistent five-millimetre thickness. The batten guides ensure the slab is even, which is critical for a dish that will sit flat on a table. A rolling pin works, but guide battens give more reliable results, especially for larger serving pieces intended for entertaining.
Once the slab is rolled, I lay the prepared olive leaf vein-side up on the clay surface. Using a soft rubber rib, I press firmly across the entire leaf, paying special attention to the edges and stem. Too little pressure and the detail will be faint, too much and the clay will tear or distort the leaf shape.
After pressing, I carefully lift the leaf away with a needle tool. If any small bits of leaf remain stuck in the clay, I leave them, as they will burn out during bisque firing. The resulting impression is delicate and surprisingly crisp when the clay is properly conditioned.
Tools that help refine the imprint
- A wooden rib for smoothing the back of the slab
- A loop tool for trimming the curved rim
- A soft brush to dust away loose clay particles
- A sponge for blending the rim and feet
Shaping the dish and drying evenly
To form the shallow curve of the dish, I support the slab over a foam mound or a small bowl. For an olive dish, the walls should be low enough to easily pick up an olive with a toothpick or small fork. Australian hosts often use these dishes as part of a tapas spread, so I size mine to fit comfortably on a standard dinner plate.
Drying is where many handmade pieces fail, especially in climates with fluctuating humidity. In my Barcelona studio, I use a simple wooden cabinet with a small low-wattage bulb and a fan to keep air circulating. The same approach works well in Australian home studios, as explained in my guide on building a simple clay drying cabinet. Even, slow drying prevents the edges from curling and the imprint from cracking.
Once the piece is leather-hard, I trim the rim with a loop tool and add three small feet made from coils. The feet elevate the dish slightly, allowing air to circulate underneath during firing and giving the finished piece a refined look on a wooden serving board.
Bisque firing, glazing, and food safety
I bisque the dish at cone 06, then sand the surface gently to remove any rough bits. For functional ware that will contact food, the liner glaze must be certified food-safe. I use a commercial transparent glaze that has been tested to Australian standards, and I apply two thin coats to the interior, letting it dry between dips.
Australian potters are increasingly conscious of the ACCC mandatory standard for consumer goods containing lead. Always request a safety data sheet from your supplier, or mix your own glazes from tested recipes. The exterior of the dish is often left unglazed or treated with a food-safe wax to highlight the natural clay colour and the leaf impression.
The glaze firing goes to cone 6, with a slow cool to develop the surface. After the kiln has dropped to handling temperature, I wash the dish in hot soapy water to remove any residual kiln wash. This step is essential before the first use, especially if the piece will be gifted or sold to a friend who is particular about their kitchen hygiene.
Finishing touches and sharing the work
When the dish is cool, I take it to a sunlit corner of the studio to photograph. The Australian light is famously bright, and I have learned the hard way that harsh midday sun can flatten the texture of the leaf impression. For anyone struggling with outdoor photography of their own work, these handling direct sunlight tips are incredibly useful.
The finished dish is a functional object that holds a small piece of the landscape where the leaf was gathered. It pairs beautifully with a wooden board, some marinated feta, and a glass of something cold. I often include one in my pottery and tapas workshops, where participants press their own leaves and share a meal together.
If you feel inspired to try this technique, or if you would like to see more of my botanical work, I invite you to visit my portfolio at Amelia Creations. I regularly update the site with new pieces, workshop dates, and stories from the studio. Whether you are based in Hobart, Darwin, or anywhere in between, I would love to hear how your own olive dish turns out.