The document provides instructions for glazing clay projects. It notes that glaze makes clay food safe and must be fired to become permanent. It describes important glazing techniques like dipping, pouring, brushing, overlapping, masking, sgraffito, and mishima. Proper glaze application and cleaning of brushes and the clay bottom are emphasized.

8. Rules in the Clay Studio
1. Clay and glazes contain silica, which is not good for you.
Work carefully to avoid disturbing dust.
2. Clay must be kept moist while you are working on a project.
You are solely responsible for keeping your clay projects
covered with plastic.
3. Clay clogs the drain! When you are done working for the
day, you must clean your tools and your hands in rinse
buckets.
4. You must also wipe your tables with a damp rag. This
minimizes dust, and leaves the studio clean for other artists.

9. The Tools
1) Clay – basically dirt & water
2) Kiln – a device used to cook all moisture out of clay; there are many
types, but we will use an electric kiln. Clay must be fired (heated in a kiln)
in order to become permanently formed.
3) Modelling tool – anything that helps to shape clay (a spoon, a
smooth stone); we have specially designed wood modelling tools.
4) Ribs – metal or wood; can be smooth or serrated (toothed); serrated
ribs are good for scoring.

10. The Tools
5) Ribbons – metal loops that function as carving tools; come in various
shapes & sizes.
6) Pin tool – a metal pin or a toothpick; useful for putting ventilation
holes in a piece
7) Glaze – silica-based colourant; glazes must also be fired in a kiln to
become permanent; makes pottery food safe.

11. Clay Stages
1) Greenware – clay that has not been fired
2) Slip – watery clay (like milk); used as glue when joining piece of clay.
3) Leather-hard – clay that has partially dried; it holds up its own form,
but can still be manipulated.
4) Bone dry – clay that cannot lose anymore moisture without being
fired; it looks off-white. Clay must always be bone dry before firing, or it
will explode!
5) Bisque ware – clay that has been fired but not glazed; it is white.
6) Glaze ware – clay that has been glazed

12. Important Processes
1) Wedging – also called kneading; pushing & pulling the clay to get it to
a homogenous state (even moisture, no air bubbles).
2) Scoring – creating rough texture where two pieces of clay will be
joined; slip must be applied to the scored area before welding the clay.
3) Welding – blending two pieces of clay together, after scoring &
slipping.

13. Crucial Things to Remember!
● Maintain even thickness (0.5 in / 1cm) to avoid
cracks
● Dry evenly (cover work in plastic)
●
● Eliminate air bubbles and contained air (or
your piece will explode in the kiln).

14. Pinch Pot Project
 You will make a pinch pot.
 Your vessel must be at least 3 inches in one dimension.
 Once you have shaped your vessels, you will decorate
their surfaces using a motif.
 A motif is a design that is repeated in an artwork.
Examples – spots, stripes, various shapes...
 You will glaze your pinch pot after it is bisque fired.
 Marked out of 12 points:
Form - 4 points, Motif – 4 points, Glaze – 4 points

15. Investigating Artifacts
KEY QUESTION:
 What can you learn about a culture from its
artwork?
WHAT IS AN ARTIFACT?
 Artifacts are objects that show the main
characteristics of a specific culture.

16. Investigating Artifacts

17. Investigating Artifacts
Prehistoric cave painting
1. Before written history; recording through
pictures
2. As old as 32,000 years
3. Hunter-gatherer society
4. Materials found in nature – pigments from
plants
5. Basic shapes; not realistic drawings
6. Found in France, Spain, Australia, Africa, Asia

18. Investigating Artifacts
 Greek / Etruscan vase painting

19. Investigating Artifacts
Greek ceramics (clay art)
1. First century B.C. (0 – 100 B.C.)
2. Fired clay is incredibly durable.
3. Many styles throughout ancient
Greek history, but most well-known
for painting figures on clay.
4. Narrative – the paintings tell stories
(legends, mythology).
5. Tools: iron-rich clay, pottery wheel (&
coil-building)

20. Investigating Artifacts
From Ancient Pompei, a
caricature of a politician

21. Investigating Artifacts
Graffiti
1. Markings on private/public property. Debate: art
or vandalism?
2. Graffiti, as we know it, started in 1969 in New
York City.
3. “Tags” – how a graffiti artist distinguishes
him/herself from so many others
4. Shows an individualistic society (culture that
values individuals over the community)
5. Tools: spray paint, markers
6. Style: from bubble/block letters to simple
scratches
7. Content: social, political messages

22. Artifact Project
 Make your own artifact that shows part of a culture you live in &
experience daily.
(cultures: teen, family, punk, emo, hip hop/rap, a specific sport,
dance, materialist, spiritual/ religious)
 Your artifact must be at least 4 inches in one dimension.
 Your sculpture must be hollow.
 IDEA:
Make a simple shape (cylinder, box). Draw on the form (cave painting
style, graffiti style, figures like the Greeks).

24. Ayumi Horie
Malcolm Mobutu Smith

25. Glazing
 Glaze is a clay-based colourant.
 Glazes must be fired in a kiln to become
permanent.

26. Glazing
 Important things to remember:
1. Glaze makes clay food safe.
2. Glazes change their appearance after
being fired.
3. Glaze fuses to anything it touches in the kiln. Keep the
bottom of your work clean up to 0.5 inch/ 1cm from the
bottom.
4. Mix the glaze before applying it. Apply 3 even coats of
glaze.

27. Examples of Good Glaze

28. Glazing Techniques
1) Dipping – immersing the entire clay piece into glaze; after dipping
you MUST remove all glaze from the bottom with a wet rag.
2) Pouring – pouring glaze onto your clay piece; again you MUST
remove all glaze from the bottom with a wet rag.
3) Brushing – painting the glaze onto the clay piece using paint
brushes; since glaze is a thick, sandy material, it is crucial that you clean
your brushes with soap so that no glaze is left in the bristles.
4) Overlapping – mixing glazes in a separate container or on the clay
piece can provide very interesting results.

29. Glazing Techniques
5) Masking – glaze will not stick to areas of the clay that have been
covered with masking tape; you can use tape to create patterns on your
work and then remove the tape before firing.
6) Sgraffito – scratching through a layer of glaze to create patterns of
unglazed clay
7) Mishima – putting glaze in carved designs, and wiping away the
excess. The glaze only stays in the carved areas.