Taylor High School

Fine Arts Programs

For the students of:

Teacher
J. Barnett
Art 2: Beginning Ceramics
Art 3: Intermediate Ceramics
Art 4: Advanced Ceramics

NAME:

TABLE OF CONTENTS
Class Policies and ExpectationsPage 4
Safety and Silicosis..Page 6
Different Stages of Clay..Page 7
Shrinkage..Page 8
Vocabulary.Page 9
Building Methods: Coil.Page 13
Building Methods: Pinchpot.Page 14
Building Methods: Slab....Page 15
Building Methods: Throwing / Potters Wheel.Page 16
Parts of a Cup/Vase..Page 18
Common Tools.Page 19
Ways of Addressing Clay Surface...Page 20
Pitfalls and Possible Fixes.Page 21
Packing Up for the Night / Weekend..Page 23
Time to Dry Out Your Piece..Page 24
Kilns and Firing Clay..Page 25
Pyrometric Cone Chart.Page 26
Surface Finishes.Page 27
Glazing Techniques...Page 29
Basic Ceramic Surface Descriptions .....Page 31
Glaze Vocabulary..Page 32
Glazing Defects..Page 33
Learning to Use Color by Linda Arbuckle....Page 35
2

Slump, Hump & Other Molds...Page 38

Simple Plaster Mold Making....Page 39
Preparing Plaster for Mold Making..Page 42
Making a One Part Press Mold....Page 43
Making a Two Part, Slip Cast Mold....Page 44
Important Information on the Stage of Plaster..Page 48
NotesPage 49

CLASS POLICIES & EXPECTATIONS

The Art Classroom is a classroom dedicated to instruction and learning. It is essential to us to
maintain the space for it to function for the 100+ students who use this classroom each year.
These policies are designed to create a safe, comfortable, and engaging environment for each
student to work in. Please read and understand the following polices.
STUDENT RESPONSIBILITIES:
It is expected that each student consistently will take part in demonstrations and play an active
role in classroom operation through regular attendance and participation, including, but not limited
to:
daily cleaning of personal and shared space
maintaining a consistent workflow (meaning the making, drying and glazing/surface treatments
of artwork/sculptures)
maintaining a positive classroom attitude

MATERIAL EXPECTATIONS:
Students will share clay with each other. Some of the clay will be brand new; other clay will be
reclaimed/recycled clay. We have 3 types of clay in the room: Longhorn white, a low-fire clay
used for hand-building; Gruene butter, a mid-fire clay used for wheel throwing (although, this clay
will probably be phased out this year [2016-17] and replaced with a different throwing clay); and
porcelain, a high-fire clay used for both hand-building and wheel throwing.
Students are responsible for closing up the bags, with a twist tie, when finished with the clay. You
will be asked not to rip holes in the bags as this lead to dried out clay. You will be asked to help
recycle and reclaim the clay.
Students will not throw clay around the classroom or bring wet clay out of the classroom. You will
be responsible for cleaning up all clay and slip you drop on the floor and desks.

ACADEMIC INTEGRITY:
Academic dishonesty will not be tolerated and will bring consequences. Academic dishonesty
includes cheating, copying someone elses artwork and claiming it as your own, physically taking
another persons artwork and claiming it as your own, and the willful destruction/defacing of
another students artwork.

SAFETY & SILICOSIS

SAFETY:
Please make every effort to avoid creating dusty conditions. This includes throwing clay around
the room, sweeping up dried clay with a broom, stepping on dried clay to make it into dust, or too
much sanding of dried or bisque clay. Clay dust contains silica and extended inhalation of this dust
can cause SILICOSIS. All work surfaces must be wiped down with sponges and the floors should
be mopped daily. (Our custodian will take care of the floor. However, you are responsible for
cleaning up any clay/slip/slurry spills on the floor, especially around the wheels.) Avoid sweeping
if possible. If you must sweep, please wear a dust mask. Thanks.
SILICOSIS
Silicosis is a progressive disease that belongs to a group of lung disorders called pneumoconiosis.
Silicosis is marked by the formation of lumps (nodules) and fibrous scar tissue in the lungs. It is
the oldest know occupational lung disease, and is caused by exposure to inhaled particles of
silica, mostly from clay dust, quartz in rocks, sand, and similar substances.
It is estimated that there are TWO million workers in the United States employed in occupations at
risk for the development of silicosis. These include miners, foundry workers, stonecutters, potters
and ceramic workers, sandblasters, tunnel workers, and rock drillers. Silicosis is mostly found in
adults over 40. It has four forms: Chronic, Complicated, Accelerated, and Acute.
For more information about silicosis, please talk to your teacher or visit http://www.lung.org/lungdisease/silicosis/

DIFFERENT STAGES OF CLAY

SLIP:

WET:

LEATHER HARD:

BONE DRY:

BISQUE WARE / BISQUED:

GLAZE WARE / GLAZED:

SHRINKAGE

WHY DOES CLAY SHRINK?

WHAT PROBLEMS DOES THIS CAUSE?

WHAT TYPES OF SITUATIONS DOES THIS REALLY MATTER?

VOCABULARY
BAT

BURNISHING

CASTING

CERAMICS

CLAY

ENGOBE

EXTRUSION

GROG

HOLLOWING OUT

INTAGLIO
MOLD

OFF-THE-HUMP

PLASTICITY

POTTERY

PRESSING

PULL A HANDLE

RESIST

SCORING

SGRAFFITO

SHRINKAGE

10

SLIP

SLIP CASTING

SLURRY

STAIN

TERRA SIGILLATO

TEST TILES

THROWING

THROWING A SLAB

TRAILING

UNDERGLAZE
11

WAX

WEDGING

12

BUILDING METHODS:
COIL

NOTES:

13

BUILDING METHODS:
PINCHPOT

NOTES:

14

BUILDING METHODS:
SLAB

WHAT ABOUT THE SLAB TABLE? HOW DO I WORK THAT?

NOTES:

15

BUILDING METHODS:
THROWING/POTTERS WHEEL
Wheel Rotation Direction:

Stabilizing Self and Elbow Placement:

Centering and Hand Placements:

Friction and Water Usage:

Opening Up:

Pulling Up and Hand Placement:

Collaring:

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Compressing the Rim:

Removing Excess Slip:

Cutting Off the Wheel:

Trimming:

LINKS:
http://www.youtube.com/watch?v=CyWjynuCTO0
http://www.youtube.com/watch?v=-ITaxZeEtJY
http://www.youtube.com/watch?v=CfsxLNg8830
http://www.youtube.com/watch?v=nddGAoFOu8g
http://www.youtube.com/watch?v=gjIxfu1j6YY
http://www.youtube.com/watch?v=rMWQ7eIbp98&feature=related

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PARTS OF A CUP / VASE

18

COMMON TOOLS

19

WAYS OF ADDRESSING CLAY SURFACE

SPRIGS

CARVING

CUTTING

BURNISHING

STAMPING

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PITFALLS AND POSSIBLE FIXES

Sides of the piece keep falling:
if working with slabs, let the piece firm up a little more by having it sit out during class
if working with coils, your coils may be too thinmake them thicker
your clay in general may be too wet, again, let it sit out during class for a little while

Cracks in my coils/clay as I build

your clay may be too dry, get different clay or add a little bit of water to it and wedge it in
you may be working it too much with your handsremember, your hands pull the moisture out
as you work

After unwrapping, I see my piece has cracked

wrap piece with wet, but not dripping, paper towels and re-wrap over night
mist the piece and re-wrap over night
cut out cracked parts and add new clay

I cant get my slab to stand:

it is too wet
it is too thin
let it sit out during class and firm up some
if you are crunched for time, use a hair dryer/heat gun to dry it out someBE CAREFUL NOT
TO OVER DRY!!

The pieces I am adding keep falling off:

you are not slipping and scoring

you may be scoring, but not adding slip
you may be only adding slip
the piece is too heavy, add some kind of support to help hold it up

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Other:

22

PACKING UP FOR THE NIGHT/WEEKEND

Wrapping up your piece:

put a large enough piece of plastic down

take pieces off the board (to avoid moisture getting in the board causing mold)
put the piece on the plastic
mist (if necessarysee below)
wrap up well using clothespins to close
make sure there are not holes in your wrappingavoid air getting in the wrapping, this causes
your piece to dry out before you want it to.

When and how to spray your piece:

Do not spray your piece directly

spray above the piece and let it fall onto the piece
the spray should be a mist, NOT a stream
mist your pieces on Fridays before the weekend
mist your pieces if you know you will be gone for a day or two due to extracurriculars or sports
mist your pieces before long weekends
mist your piece if you feel it is getting a little dry
you DO NOT have to spray your piece daily
DO NOT over wet your piece

Cleaning up your work area and the classroom:

wrap up your piece and put in the kiln room on one of the racks
rinse tools if full of clay and put away in its proper place
put boards back into the board bin under the counter
put twist ties on the clay bag
put the clay bags onto the dollies under the counter
WET wipe down your table area and all table areas you usedwith a wash clothnot a wet
paper towel
rinse out your washcloth
WET wipe down your work areas a second time because the first time left a haze
check your floor area for clay mess and tools

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TIME TO DRY OUT YOUR PIECE

I have finished building, now what?
carefully take your piece off your board
if you want, sign your piece somewhere
if you have small pieces (like a beak of a bird or an arm), wax the part before putting it on the
rack to help reduce dry time
place your piece on the rack that is IN THE CLASSROOM
put your plastic and clothespins away in their homes
tell Mrs. Barnett that you have finished a piece
if there is no room on the rack, please ask Mrs. Barnett where to put it

What can happen if I just left it uncovered?

your piece can dry out too fast
small pieces will dry out faster than other parts and are more likely to be broken off
if it dries too quickly, it can crack and break

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KILNS AND FIRING CLAY

Kiln: a furnace for firing clay, slumping glass, or melting enamels; studio kilns can achieve
temperatures up to 2500 F. They can be fueled carbonaceously, organically, or electrically. Types
include natural gas, anagama, electric, downdraft, Raku, etc., etc.

Firing: (1) heating a kiln to the required temperature for clay or glaze at least to red heat, 1300 F.
(2) Bonfiring in a pit or in the ground

Types of Kilns:
Electric Kiln: A kiln powered by electricity that usually has an oxygen rich atmosphere. We will
be using electric kilns in our class for all bisque and glaze firings.
Gas Kiln: A kiln heated by natural gas. There are different types of gas firing kilns: downdraft
kiln, atmospheric firing, oxidation firing, and reduction firing. Each had different atmospheres and
produce different effects in the clay.
Raku: This generally refers to a type of low-firing process where bright red-hot pottery pieces are
removed from the kiln and placed into containers with combustable materials. Once the materials
ignite, the containers are closed. This produces certain surface effects depending upon the
combustable materials and the glazes/substances on the clay piece.
Temperatures and Cones:
When temperatures are discussed in ceramics, we use a tool called PYROMETRIC
CONES. Pyrometric cones are small, tall pyramid shaped objects that are made up of a mixture
of chemicals and elements that have a SPECIFIC MELTING POINT: that is they begin to melt at a
temperature of the clay inside a kiln because the cones are at a similar density to the clay body
itself.
The earthenware clay (a low-fire clay) we use for hand-building in our class , and all glazes
are fired to either cone 04 (about 1944) or cone 05 (about 1915). The stoneware clay we will be
using for throwing in class is a high-fire clay and is fired to cone 10 (about 2345)

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26

SURFACE FINISHES
Glaze:

Studio Glazes:

Application of Glazes:
-Dripping

-Pouring

-Brushing

-Spraying

-Sponging/Wiping

Specialized Surface Techniques:

-Waxing/Resist

-Layering
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-Masking / Stenciling

-Underglaze

-Stain

-Slip

-Washing

-Sponging / Wiping

Other:
-Watercolors
-Acrylic Paint
-Tempera Paint
-Shoe Polish
-???? other ????

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GLAZING TECHNIQUES
General Glazing Guidelines:
1. Chemically, glaze consists of 3 major components: Silica, Alumina, and a Flux. The main
component of a glaze is glass or silica, which melts during a firing to form a seal over and
within the clay surface.
1. Therefore, glaze surfaces must end ______________________________________
2. If a pice that is to be glaze fired that has glaze on the base needs to be
__________________________________________.
2. Be careful NOT to __________________________________ glazes.
3. Always use ______________________________ to test all glaze combinations for applying to
a coveted piece.
4. As a general rule, no more than _____________________ glazes may be layered when
applying a glaze by _________________________. And, no more than ____________ when
applying by ________________________, __________________________, or
___________________________.
5. When using commercial glazes, always check they are appropriate for the type of clay you are
using: LOW FIRE clay takes LOW FIRE glazes, which for our purposes range from CONE
06-04; HIGH FIRE clay takes HIGH FIRE glazes, which again for our purposes range from
CONE 9-10.
6. When working with test tiles, always take notes and make sure your tiles are properly
___________________________________________ so you can refer back to your glazes
appropriately.
7. ________________________, __________________________, and
___________________________________ all contain NO glass forming agents and may
therefore be used over the ______________________________ surface.
8. Be sure your pieces are _____________________________ or glazes will not adhere.
____________________ them off with a _______________ sponge. Do not immerse them in
water or the clay will not absorb the glaze.
9. _______________________________________ the bottom of all pieces and any parts that
are touching (lids, flanges, joints, etc.) Any two sections that touch must be waxed where they
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meet, on both parts. If there is any glaze remaining on the wax, it must be sponged off, or it
will melt and permanently stick the pieces together. Let the wax dry before glazing.
10. ________________________ all glazes well before use.

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BASIC CERAMIC SURFACE DESCRIPTIONS

GLOSSY: high shine, glass-like surface; high glass content, 100% watertight

SEMI-GLOSS: medium shine; 100% watertight

SATIN: smooth, soft glassy surface; somewhat watertight

SEMI-MATTE: soft gloss to not gloss surface; not always watertight

MATTE: flat, dry surface; not alway watertight

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GLAZE VOCABULARY
GLAZE:

OXIDE:

SILICA/FLINT:

STAIN:

UNDERGLAZE:

SLIP:

VITREOUS:

KILN WASH:

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GLAZING DEFECTS
Generally, if the glaze surface is rough and dull, not as glossy as expected or the coverage
inconsistent, not enough glaze has been evenly applied. The piece may also be under-fired.
Running, bubbling and overly glossy is often the result of too much glaze being applied (or overfiring).
BLISTERING: gases either from the clay body or glaze form blisters on the surface. Sometimes
firing to a higher cone is a solution.

CRAWLING: glaze beads up like water on oil. Bisque could be dusty or oily from handling. The
glaze could be too thick. If glaze is proper consistency, try adding 1 tsp gum solution per pint of
the glaze.

CRYSTALLIZATION: Most often a problem in clear glazes become slightly milky. It can be
reduced by accelerating the cooling since this is when the crystals
form.

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PINHOLING AND PITTING: Small craters in the glaze surface. May be caused by glazing dry
bisque, firing too rapidly, or possibly the glaze is too viscous. Glaze damp bisque or possibly a try
a slower firing.

RUNNING: Obscured decoration and glazed shelves are usually evidence of over firing or too
much glaze.

CRAZING: A piece that is expanding more than the glaze. A tiny network of surface cracks. The
glaze could have been applied too thickly or the kiln cooled too quickly

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LEARNING TO USE COLOR

by Linda Arbuckle
printed in Studio Potter magazine, v. 35, no.1, an issue on color in ceramics. (http://studiopotter.org/ )

We live in a world where color is taken for granted. Black-and-white pictures or

movies are very intentional events in the twenty-first century, while big-screen color is
everywhere. The World Wide Web allows people to broadcast images across the globe,
cheaply and in color. Inexpensive inkjet printers output color documents in a rainbow of
hues. Fiber dyes give us clothing and textiles in shades not seen in the 1900S. We
assume color and color choice in products as the status quo, but learning the use and
significance of color is often overlooked, or assumed to be an intuitive talent. Making
effective color choices is a skill that demands observation, thought, and practice.
Using color in ceramics is an exercise in restraint. The color that can be achieved
in the studio is wonderful, but it is fraught with special rules that rival "I before E except
after C, or when sounded like A as in neighbor and weigh." The technical and chemical
aspects of colorant-flux interaction make ceramic color more complex than mixing paint.
There are few WYSIWYG (what you see is what you get) opportunities in ceramic
process; changes in firing make composing color during glazing an exercise requiring
experience and pre-visualization, as well as a benevolent nod from the kiln gods. The
bonuses are the variety of surfaces, color variations, depth of color, and reflectivity that
are difficult to achieve with room-temperature surfaces: the glory of minute trapped
bubbles in a frosty Chun glaze, the wonder of a bead glaze, the tactility of a lichen
surface.
How does a clay artist proceed to develop a communicative and personal use of
color? The first rule, I think, is to work in series. The more you like the form, and the
fewer of them you have to work with, the more conservative you become in surface
decisions.
For sculptors, this might mean doing a series of small maquettes or representative
35

fragments of a larger work, surfaced and fired as the large work will be. For potters, it
means making more than you think you need of a particular form in order to allow
yourself to investigate beyond the first ideas and safe choices. I have confidence that
most people will not bore themselves by repeating exactly the same thing, but will invent
new options once they exhaust the first, evident ideas. As Joe Bova has often said, "Some
work makes more work," meaning that you're more likely to get new ideas when things
are in progress. Having many pieces to work with allows for the inevitable failures that
are part of any creative growth process, and provides more chances to find the better
options.
Rule two: the copy machine is your friend. It helps to draw the form whose
surface you are considering, copy that drawing a dozen times, and color it in to see
alternative choices for hue and value placement, and where and how that moves the eye.
Do these yourself, or solicit efforts from other people. Sometimes knowing what doesn't
work puts you further on the road toward what you do want. It's all helpful. Put all the
options up on the wall, pull up a chair, and have a viewing. We are usually better as
editors than creators. It's much easier to look at options and select the ones that do and
don't work than to imagine one right solution.
Rule three: while the exercise in rule two helps you understand your intuitions
and inner visions and how those might manifest themselves, there is no substitute for
seeing the real, fired surfaces. Make test tiles that you can sort, overlap, recombine, so
that you have actual examples of your surface palette to look at.
I subscribe to several fashion and interiors magazines as color resources. They
have a changing, seasonal zeitgeist of color and proportion, and often interesting
composition in ads. The big value is that they have many, many colors in them, and I'm
not at all precious about cutting out swatches and looking at them in combination. The
amount and relative position of each color changes every-thing, as Josef Albers showed
us in his color studies. Color swatches from the magazines offer me cheap ways to
experiment and respond to visual examples with little commitment. I may not have
glazes exactly like those colors, but it gets me thinking and I find new ideas.
36

Philip Rawson's classic book, Ceramics, is a must-read for clay artists. He is a

"chewy" writer, so I like reading my paperback copy with a highlighter to pick out
nuggets of information. Rawson discusses the visual interpretation of color associations,
cultural context, surface reflectivity, and so many other helpful things. It's a bonus that
he's opinionated, and you can find places to disagree with him. Raising the questions and
heightening sensitivity are of value in them-selves.
In addition to classic color books by people like Itten and Albers, there are many
contemporary books, including those for people who want to decorate their interiors. I've
found several flip books of floor, wall, and ceiling combinations that have reinforced the
importance of adjacent colors and values, and contributed to my understanding of color
mood and intonation. Certainly books for painters are helpful. Consideration in figurative
reference of emotional vs. literal color is often brought up.
Finally, a sketchbook and some kind of color medium (crayons, pencils,
watercolor, markers), used to sketch from the real world in color, helps the artist to see
better. It's not about making a lovely drawing as a product, but about the very important
exercise of really seeing the myriad things that we pass by every day.

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SLUMP, HUMP, AND OTHER MOLDS

SLUMP MOLD: Any object (plaster, foam, crumpled newspaper, etc.) which a slab can be laid into
to stiffen in that shape.

HUMP MOLD: Any object (plaster, foam, crumpled newspaper, etc.) over which a slab can be laid
to stiffen in that shape.

38

SIMPLE PLASTER MOLD MAKING:

one & two part press & slip-cast molds
To create a simple plaster mold, you will need the following tool & materials:
the object to be molded (This can be just about anything: a found object of just about
any material, or an unique clay object at the leather head stage)
clay
at least two disposable containers
a RELEASE ANGENT: Vaseline, dish soap or Murphys oil soap
plaster (preferably #1 Pottery Plaster if working with press molds, & especially if
working with slip-casting)
water
a brush to apply your release
a paint mixer & drill if creating a large mold
newspaper for clean-up
extra clay, wooden boards, Plexiglas sheets, or aluminium sheathing to create the
walls that will contain your plaster. (In the case of large molds you may require
additional clay, wood boards or aluminum sheathing, etc. to act as a mold formsee
diagram below.
More explanation will be given on this during the demo.)

39

 The first thing to consider when making molds is original model object that the plaster
will be formed around must be nonporous. If any porous section is exposed to the
plaster, the plaster will run into the pores, and after hardening will make it very
difficult, if not impossible, to remove the model from the mold.
If the original model is wood, or bisque, it must be shellacked or varnished to close its
pores. If the model is plaster of Paris, it must be drenched with at least three coats of
release agent or shellacked.
If it is a glazed (all over) ceramic piece or is made entirely of glass, no further action
need be taken with the model. That being said, it is always a good idea to cover these
objects with a safety coat of release agent regardless.
Examine the object to be molded. Simple molds are usually one part press molds,
two part press molds, or two part slip-cast molds. More complex molds are made up
of three or mores pieces. (More on this below)
The most important principle in making a mold, is to design the plaster pieces that
form the cavity (or void) of your mold so that the object that is cast in it can be
removed without damage either to the mould or the casting. The parts of the object
that cause this are called UNDERCUTS.
Undercuts are any surface of the object you are making a mold of that will catch
on the plaster when you try to pull your object from the mold.
An example of what is meant by undercutting is illustrated in the drawing (below). In
sketch A, a bowl is cast in a one-piece mold. Obviously when the clay dries and
shrinks, the casting can be easily removed. However, if a simple vase with a larger
foot were cast in a one-piece mold, as in sketches B & C, it would be impossible to
remove it due to the undercut located at that foot. This problem is solved by making
the mold a two-part mold, as shown in sketches D & E.
It is therefore necessary in determining the number of pieces (and their location) that
are needed for a mold, to insure that there is no "undercutting" in the design of the
model. If there is undercutting, when the plaster is formed around the model the
pieces cannot be lifted away.
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41

PREPARING PLASTER FOR MOLD MAKING

Note: The proper mixing of plaster of Paris is of the utmost importance. It is the essence of
successful mold making. If the plaster is improperly made, the plaster may harden too
rapidly, may flake, or may form air bubbles on its surface. Follow the procedure below
exactly and carefully.
Based on the size of your desired mold, (more will be explained during demo) fill a
large plastic, smooth sided container with the proper amount of water and set on a level
surface.
Three things activate plaster hardening (setting): water, the temperature of water, &
agitation. The hotter the water, and the more aggressively your plaster is mixed, the
faster you plaster will set. Consider these when preparing to mix you plaster.
With a gentle sprinkling motion, sifting the powdered plaster between the fingers,
breaking up any lumps you may come across. (This assures the even mixing of your
plaster.) Distribute the plaster evenly over the entire surface of the water.
Add powdered plaster in this fashion until the water is completely saturated, and
continue adding more plaster until it just remains in dry state at the surface of the water
and no longer dissolving into the water. This indicates that the water is full saturated with
plaster. It is important not to disturb the water, nor stir the plaster in the water during this
sifting process.
Let the plaster and water sit undisturbed for 2 minutes. During this time, the surface will
become cracked and moist, close to a dry creek bed in appearance.
Then begin to mix the plaster using your hand, large spoon or stick, or drill mixer.
Once the plaster begins to thicken, it is ready to create your mold.

42

MAKING A ONE PART PRESS MOLD

In a one-piece press wet, plastic clay is tamped or pressed into the cavity by hand or
rolled in with the rolling pin, trimmed even with the top surface of the mould, and
removed. If the piece is permitted to dry in the mold, the pressed piece shrinks and falls
out of the mold. Small items like low relief tiles, small round objects, etc. (which have no
undercuts in the design) are easily and quickly made by this method.

Place the model object face up on a wooden board or other resistant surface. (NOT the
surface of the studio tables!) Soap-up the surface around the model. Then mix your
plaster as described above. Once the plaster begins to harden, first cover the surface of
your object and clay with a thin layer of wet plaster, insuring the entire surface is evenly
covered. Then pour in the remainder of plaster.
Tap shake the table or platform on which you work sits to allow air bubbles to rise from
the surface of your piece to surface of the plaster. Pop them with your fingers as they
rise. Do this for at least 2 minutes.
Once the plaster has reached the rigid stage (see Plaster Stages section below) use a
paint scraper or other flat tool to form the plaster in the shape of a cube, or cylinder, with
a flat horizontal top above the model to later act as a base, to a thickness of at least 1
inch.
You could also use a small open box of shellacked or
resist-treated wood, large enough to be at least 1 inch
larger in each direction than the model (including up).
The clay model is placed in the centre of this open box
on the wood square. The plaster may be spooned or
poured into this box.

43

MAKING A TWO-PART, SLIP CAST MOLD

A slip cast mold is used when work with clay slip. It may be anything from a simple one
part mold, to a complex, multi-part mold.
We will use a ducky as an example.
Measure the size of your object. Allow for 2-4 inches of plaster around every surface
of your piece, and construct clay, wood, or aluminum walls to fit your mold.
With slip cast molds, the slip needs a place to be pored in or out. We call this part of
the mold the spout of simply the bottom of the mold. In the case of sweet ducky, the
rock on which he sits makes a perfect spout, so we will have a bottomless, two-part
mold.
FINDING THE LINE-determining the line
that will for the two sides of your mold.
Lay the model (ducky) on its side. Look
down upon it from directly overhead. Your
eye should be at least 2 feet above the
center of the model. Note the outermost
edges or outline of the duck that is visible to
your eye. With a pencil, mark this outline on
the ducky. This pencil line will be the dividing
line where the two parts of the mould, which
will be formed around the ducky, come
together. This dividing line is in effect the
outline of the silhouette of the ducky. (Figure
A)
This can be a difficult and strange concept
to understand, but does prove easier with
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practice. We will discuss this more during the demo.

The surfaces of the model may curve or fall away on either side of the dividing line.
This line does not have to be straight, nor does it necessarily divide the model into
two equal parts. In fact, if a model is not absolutely symmetrical (exactly equal and
identical on both sides)the dividing line will never be straight throughout.
Stand the ducky erect on its base on the table. Now, cover up one side of the duck
right up to the dividing line with wet clay. Do not place any clay on the bottom of the
base (Remember we are keeping this open to as a spout for the slip to enter & exit.).
Do not cover the dividing line with the clay, but build the clay right up to the base of it.
Build up the clay until it stands out from the line at least 1 inch and until it forms a
block around the ducky, basically burying it in clay on one side. (Figure B)
Lay the block of clay surrounding the duck onto its side. Using your hands or
appropriate tool, smooth the surface of the clay, so that it follows the dividing line out
to the furthest edges of the clay.
Lay the block of clay surrounding the duck onto its side. Using your hands or
appropriate tool, smooth the surface of the clay, so that it follows the dividing line out
to the furthest edges of the clay.
Create two or three small concave keyholes or registration marks by slightly
indenting your thumb or other tool into the clay. These concave areas will cause the
plaster poured onto them to form convex forms that will secure that you mold is
placed together correctly when in use.
Place your wood, clay, Plexiglas or aluminum walls around and flush up to the clay
wall of your form, making sure they are at least 3-4 inches above you model object.
(Figure C) Make sure your walls are secure, either by strapping, screwing, or tying
them together.
Seal all corners & edges of your wooden, Plexiglass, etc., box with coils of clay,
insuring no plaster will leak out of it.
Apply a thin layer of release agent over the exposed part of the object and clay.
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 Mix a batch of plaster as described above. Once the plaster begins to harden, first
cover the surface of your object and clay with a thin layer of wet plaster, insuring the
entire surface is evenly covered. Then pour in the remainder of plaster.
Tap shake the table or platform on which you work sits to allow air bubbles to rise
from the surface of your piece to surface of the plaster. Pop them with your fingers as
they rise. Do this for at least 2 minutes.
After the plaster hardens, remove the wood (etc.) sides. Turn the block of plaster and
clay upside down so that the plaster rests on the bottom. Peel away all the wet clay.
Examine the model and shoulders of plaster. The plaster should follow the dividing
line exactly.
Clean the surface of the model and plaster
shoulder of any remaining bits of clay, with a stiff
hair brush, dry sponge or cloth.
Apply a heavy coat of release to the exposed
object, all over the cured plaster, and on to the key
holes. This is a separator between the two parts of
the mold.
Re-attached your walls (wood, plexi, etc.) and
secure them around your form and cured plaster,
again insuring that the walls of your box rise at
least 3-4 inches above the exposed form.
Follow the same steps with mixing and applying
the plaster as you did for the previous side.
After the second piece of the plaster mold has
hardened, remove the sides of your box.
Now with a penknife, sandpaper, or Sureform tool, round all outside edges and
corners of the plaster pieces, making them smooth to the touch. This will insure your
mold does not chip away or cut you as you handle it.
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 Separate or pry open the two other pieces of plaster. Remove the model object.
Examine the cavity formed in the pieces of plaster. The soap film is now washed out
with the moist clean brush. The plaster pieces are set aside to air dry. (This usually
takes at least 24-48 hours.) Once, dry, the two sides are now ready for use as a mold.
If the mold pieces separated pretty easily, and no plaster was broken off in removing
the model object (meaning there are no undercuts), castings made from this mold
should be exact replicas of the original model.
**Its important to keep in mind that mold making is a phase of ceramics
demanding a considerable degree of craftsmanship. The more thought and
care you put in to making a mold, the more successful your mold will be. Every
time you make a mold, the process will become easier and more fluid.

SO GO DO IT!!

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IMPORTANT INFORMATION ON THE STAGES

OF PLASTER
From the moment you begin to mix until it is set, plaster goes through a number of stages:

1. The liquid stage: This stage occurs immediately after mixing with water. The mixture at
this stage can be poured, brushed and thrown. It lasts about 15 minutes.
2. The putty stage: The plaster thickens to the consistency of toothpaste. In this stage,
plaster can be applied with a putty knife or spatula, and it can be modeled like clay. It
lasts about 5 minutes.
3. The rigid stage: Occurs once the mixture begins to set. The plaster becomes brittle and
it can be cut with a knife or dug into with a spoon. The plaster is very fragile and should
not be vibrated, dropped or have pressure on it.
4. The set stage: The plaster begins to heat up and obviously hardens. The heat that is
radiated depends on the size of the mixture and the setting speed. When the plaster
cools, it is a good time to remove it from the mold and trim any unwanted edges since it is
still very pliable.
5. The cure stage: Lasts from the time the plaster cools until it dries completely. The
mixture hardens substantially and metal tools are required for its manipulation. Because it
still contains about 18% water, the tools get clogged and require cleaning quite often.
6. The dry stage: The plaster no longer contains moisture and it is at maximum strength
and very brittle at this stage. It can be carved, chiseled, sanded with sandpaper and/or
painted.
ADDITIONAL READINGS
Martin, Andy: The Definitive Guide to Mold Making & Slip Casting
Frith, Donald E.: Mold Making for Ceramics
Scott, Marilyn: The Potters Bible

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NOTES

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NOTES

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NOTES

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