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Comofazervasos Cerramica PDF
Comofazervasos Cerramica PDF
Comofazervasos Cerramica PDF
dail y.org
wheel head
flat bottom profile with arrow representing thumb
movement.
clay
our
for
how to
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make pottery
clay profile
wheel head
illustration showing fingertip to clay pressure
points and direction of vertical pull.
il no
be
ill.
nd
clay profile
volcano profile
2009 Ceramic Publication Company
Throwing on the W
by Jake Allee
Pinched Pitchers
by Emily Schroeder Willis
Pinch pots are often the first thing taught in a beginning pottery class because they require
very few tools and are a great way to get familiar with the properties of pottery clay. But
that doesnt mean you cant make sophisticated forms with this method. In fact, the beauty
of this technique is that the only limiting factor is your imagination. In this project, coil potter
Emily Schroeder Willis shows how to make a beautiful pinched pitcher.
large
throw
cenTer
Start
thats
hands
diagram illustrating hand to clay pressure.
How to Glaze
Wet y
Slowly
equal
move
By Annie Chrietzberg
For a lot of people, glazing can be the party pooper for an otherwise extremely fun time.
It doesnt have to be. When glazing is done right, the piece youve spent so much time on
can really be outstanding. Annie Chrietzberg offers 14 steps for successful glazing.
Ancho
stabil
clay profile
wheel head
When
spinni
Once
slowly
3
Once all ingredients have been added
they are dry mixed by hand.
6
Water is poured into the central moat
depression.
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A completed test batch of a red stoneware body.
Once all dry mix has been added let the mixer run for 1530
minutes. If clay is too wet you will need to add more dry
mix. If too dry you will need to add water to the clay mixer.
Add water very slowly if needed.
Making slab plates is a great way to develop basic slab techniques, and using Chinet plates for forms makes this an
affordable class project. They also make perfect surfaces for exploring decorating techniques.
Forming Plates
rolling pin, taking care not to roll over the edges. Roll
two or three times on one side. If you are working on
canvas, youll notice that the clay stops stretching after
the first few times because the clay holds onto the texture
of the canvas. Carefully lift the slab creating as much
surface area with your hand as possible, and leave the
slab to stiffen to a soft leather-hard stage. The clay needs
to be able to bend without cracking, but you dont want
fingerprints to show as you manipulate your clay.
4 Flip the clay slab, smooth the top edge then place
it into the paper plate, lining up the edges (figure 3).
Experiment with pressing the clay into the paper plate
with your hands or sandwiching your clay between two
plates (figure 4). The clay will have a different character
depending on your chosen method.
5 Allow the plates to dry to a firm leather-hard stage
in the bottom paper plate. Remove the clay from the
mold to check to see if the plates stack nicely and sit on
a flat surface without rocking. Take a moment to look
closely at the rim of each plate to do any final shaping
they might need.
Decorating Plates
These plates are adaptable to all sorts of decorative techniques at the leather-hard, greenware and bisque stages.
The flat surface lends itself to painterly and expressive
underglaze or glaze work. These slab plates are simple
enough for very young students and satisfying for the
adult student.
Slip decoration gives dimension to the plates and
students draw on their own creative design ideas for the
work. Textured dessert plates with slip inlay use found
and inexpensive materials (see box) to create a design
and a slip in contrasting color to further highlight the
design. Paper stencils used with decorative slip can make
bold, graphic borders or motifs for your set of plates
(figure 5). With a little experimentation and practice,
students come up with wonderful results.
Making Sets
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plate, bowl, mug or tile influences the next, as do things
as simple as body position and energy levels. Were
thoughtful and inconsistent creatures and we can use
these characteristics to great benefit when done so with
intention. A set of plates can be tied together with a
theme, color, position of image, size or concept. Because
were used to seeing sets coming from a factory, the
default definition in our minds can be limited to identical
objects. This lesson is a great way to discuss the many
possibilities for sets in functional ceramics and can demonstrate the benefits of using handbuilding techniques.
Paper Stencils
Stamping Ideas
The following items can be pressed like stamps
into the clay but dont do well under a rolling pin:
Small plastic toys such as animals
Beaded necklaces (I like the bathtub
drain chain, but be careful not to go too
deep with this or it can act like a perforation
and give your plate a long crack.)
with to keep them from overworking any one plate. Besides, they learn so much from the results of the larger
sample.
Each paper stencil can easily be used two times, and
with care, up to four times. Keep a copy of the original
design. I recommend students prepare by cutting as many
stencils as required before beginning the slip work. Trim
stencils so that there is about two inches of paper around
design. Soak paper in water until wet but not soggy and
then set onto paper towel to remove excess moisture. Position stencil and press down with a damp sponge. Paint slip
over design then remove paper stencil. If the stencil is too
dry to adhere to the next plate, repeat soaking. Sometimes
the stencil can be directly transferred to the next plate and
pressed with the sponge.
Pinched Pitchers
by Emily Schroeder Willis
The ceramic artist Greg Payce once said to me, If you cant
draw it, you cant make it. If I had heard this as a student, I
would have scoffed and kept on working as I had been, which
was to simply imagine the work I wanted to make in my head
and struggle through trial and error to execute my mental image. Now, however, as someone who builds pots primarily by
pinching clay, Ive come to see how important and true this
statement actually is.
In many ways, making pots is drawing three dimensionally; creating a handle, a spout, or a profile of a pot, is like
creating a line in space. Drawing on paper trains your eye
to see more thoughtfully and be more critical of your work.
I found that after sketching things like spouts and handles
repeatedly, I saw a significant difference in the ease with
which I could create them. The simple gesture of putting
pencil on paper several times to get a form right made an
immense impact, solidifying how my hands needed to move
to create that element in my work when it was time to actu-
ally build it in clay. The other reason I now see the importance of sketching is that my hands and fingertips need to be
in tune with the physical and/or mental image Im creating.
I use very few tools to shape my work (figure 1). My fingers and my lap are my biggest tools and I sometimes even
use the slack of my apron in my lap to help shape larger
slabs that Im pinching into a form. So, I always start with a
drawing of the form, and I always have that image present
when Im making objects.
Beginnings
To build a pinch and coil pot, youll need a few knife blades, a
needle tool, wooden modeling tools, scoring tools, and ribs.
Press your thumb into the plum-sized ball of clay and rotate
the ball as you thin the walls.
Lay a coil on top of the inverted pinch pot after scoring the
attachment area and adding slip.
working your way out to the ends. If at any time the coil
starts to become uneven, simply pick it up, reshape it, and
squeeze it into shape. Be careful not to let your coils get too
thincoils should always be thicker than the wall thickness
you want on your work. This is the biggest misconception
in creating coils. Some clay will be removed in the processes
of attaching the coil and creating height. So, to achieve a
wall thats inch thick and roughly 1 inches high, use a
coil that is approximately 1 inch thick.
Creating Coils
Attachments
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Cut the coil at an angle, join, then use a wooden modeling tool
to connect the coil to the pinch pot along the interior seam.
Level and score the surface, then place another coil on top.
Join it to the pot using a criss-cross motion with your thumb.
After joining the inside and outside of the coil, use thumbs and
index fingers to pinch the coil up, turning the pot as you work.
The most important element in making pinched work is patience. It takes several days to create larger forms, so its best
to work on multiple pieces at once. To add another coil of
clay, the work must be sufficiently dry, but slightly softer than
leather hard. This can take anywhere from three hours to a
whole day depending on the humidity/temperature/sunlight/
air circulation in your work space. If you try adding a coil too
early, it will be difficult to control the shape because the bottom cant support the weight and the pressure of the new coil.
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10
9
Trim the top edge of the pot with a knife before you add each
coil to remove the driest clay and to keep the walls an even
height.
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Taper the pot in. With your thumbs on the outside, press in
against your fingers as you pinch the coil up into shape.
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13
If you wait too long, the clay will be too dry to manipulate
into shape. Make sure that everything is as close to the same
level of dampness before adding more coils.
Before adding on more coils, trim off a thin layer of clay,
leveling off the pot (see figure 9). This removes the area that
is usually drier than the rest of the vessel, creating a slightly
more malleable area to add a coil to. Additionally, it allows
the vessels height to increase at the same rate all around. Add
a layer of slip on the exposed edge and score it with a serrated
rib. I use a serrated rib rather than the cork needle tool because
the coils edge is thin, and the serrated rib creates a finer scored
area. Placing the coil on top, continue to attach the coil as in
the first layer using the X motion with your thumb (figure 7),
then pinching up to gain height. When you are ready to add
another coil, level of the pot using an X-Acto knife (figure 9)
and then repeat the process.
Tip: Once the base of the vessel has been established, I find
it easier to shape a vessel that is going to flare out by attaching
the exterior of the added coil first, that way while Im smoothing out the interior coil, I can begin to push the shape out.
As long as I work with soft clay, I dont have problems with
cracking. If I want the vessel to curve in, I instead attach the
added coil on the interior first and pinch up while applying
more pressure with my thumbs on the exterior (figure 10). By
doing this, when smoothing out the exterior coil, I can begin to
push the vessel in and not worry about ruining what I have just
shaped. To dramatically bring something in, I really compress
the clay as Im pinching, almost as if Im trying to squeeze it
together. I find that if I overcompensate on flaring or constricting the form, it usually ends up spot on.
Making a Handle
Making a handle is very similar to making a coil. The thickness of the coil depends on the size of the object it will be
attached to. Cups and pitchers require handles of different
thicknesses. For a tall or medium-sized pitcher, make the
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After you finish pinching and shaping the spout, cut the lip
down to the desired height and shape with an X-Acto knife.
Cut the coil handle to length, thicken the ends, score and slip the
attachment points, then join the handle to the pitcher body.
Choosing a Claybody
I prefer to work with porcelain, finding the smoothness excellent for capturing each mark my fingertips
impress into the clay. I love the fresh bright palette I
achieve through glazing when I use porcelain. I now
use Porcelain For The People by Matt and Daves Clays
(www.mattanddavesclays.com) because its a great
color and they can ship 30 pounds of clay in USPS Express boxes, so I sometimes can get the clay delivered
to my door within three days of placing an order.
tached and place the coil on the slipped area (figure 12).
When attaching the coil, gently shape an arch into the lip immediately (figure 13). Using a X-Acto knife, cut the lip down
to the desired height (figure 14), and shape and smooth it over
with your fingers, creating a gradual and soft curve.
The finished, fired pitcher with multiple layers of glaze decoration and resist decoration, ready to be put to use.
Creating a Spout
Finishing Up
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Stage 3: Hands-on
Experience
#1
#2
#3
#4
Leave the tricks out and let that be a point of interest with the
practical demonstration.
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right
handed
left
handed
clay profile
wheel head
16
thumb
clay profile
making a pull
thumb
wheel head
large arrow represents thumb movement. Small
arrows indicate hand to clay pressure.
thumb
wheel head
flat bottom profile with arrow representing thumb
movement.
handS
clay profile
wheel head
illustration showing fingertip to clay pressure
points and direction of vertical pull.
clay profile
volcano profile
2009 Ceramic Publication Company
www.ceramicartsdaily.org | Copyright 2016, Ceramic Publications Company | How to Make Pottery |
17
How to Glaze
Photos of finished pieces by Harrison Evans.
by Annie Chrietzberg
glazing tricks
2
www.ceramicartsdaily.org | Copyright 2016, Ceramic Publications Company | How to Make Pottery |
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Brushes
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