THEORY

2. THROWING WHEEL

MATERIAL

The consequences of form -
choosing a method of making.

- Building a hollow piece
- modelling a solid piece
- using a wheel
- extruding
- using a mould
- constructing a piece from segments

the ceramic process / EKWC
(european ceramic work center)

talking heads / EKWC

the ghost of sunday morning / EKWC

NOTES:

Limitations of shapes:
- Angles to release a form from a mould to prevent breaking

A closer look revealed for me the special qualities of clay. Not it's preciousness - it is found all over the planet in vast quantities - but from its special characteristics. Due to the variations of those properties clay varies a lot.

- workability
- casting properties
- structure
- drying properties
- firing related properties


Clay is the main ingredient of clay bodies. Some clays can be used straight away as "found" but often it has to be blended with other materials - to create the "clay body". This is made in order to meet specific demands. It's ingredients can be divided in four main types: fillers, plasticiers, cellulose fibres and fluxing agents.

Georg & Schneider NR. 254

Mass 254 is a light - cream-coloured firing stoneware quality with 25% fireclay 0-0.2 mm. The recommended firing range is 1000 °C - 1280 °C.
The plastic material quality is suitable for building up small pieces and for turning on the potter's wheel, here especially also for larger pieces.

- pinching

- coiling

- slab methos

1. WORKING BY HAND

3. MOULD MAKING

DOCUMENTATION

3. GLAZING

Air bubbles occur most commonly in hand-built pottery pieces, but may occur in thrown or slip-cast ceramics as well. To minimize the occurrence of air bubbles, it's important to wedge the clay properly prior to using it.

Where clay coils or slabs are united, and apply some slip or liquid clay to cover these spaces. Don't add clay slabs or smaller amounts of hard clay to cover empty spaces, because you may trap air within the pot.

First step:
Volume calculation of the mould and the corresponding build-up. The edges are sealed with clay to prevent leaking. To keep the plaster from sticking, the mould is generously greased (green pot).

Mixing plaster:
In a ratio of 3 parts plaster to 1 part water, the mass is weighed out. First the water is poured in, then the plaster is shovelled into the water. After the plaster has soaked for ~ 3 minutes, it is mixed quickly by hand. Mixing the plaster by hand avoids lumps on the bottom. The mass is then sieved and air bubbles are released from the mixed plaster by shaking and stirring the bucket. The emerging bubbles are then scooped off.

Filling:
The next step is to fill the plaster into the mould. To avoid air bubbles, the plaster is poured onto a spatula and any air bubbles that appear can be "blown up" with breathing on them while pouring. To remove as many air bubbles as possible after pouring, the table is shaken and any bubbles that appear on the surface of the plaster are then blown on again to burst them.

Remove:
After about 40 minutes, the exothermic hardening process is over and the mould can be opened. Afterwards, if you want to join several moulds, mould locks are worked into the desired edge. To seal the plaster, it can be brushed with a soap and water mixture.

After creating the desired shape, the clay is dried "bonehard" and then fired once at low temperature without glaze. The second firing is called the glost firing, or glaze firing and is between 1080-1260 degree Celcius and depends on the type of clay and glaze.

Glaze is used to finish the surface of ceramic products such as earthenware, stoneware and porcelain and, in contrast to the porous crystalline base material, is a glass-like, closed surface layer. Chemically, glazes (like other glasses) consist of a mixture of mineral flours. A mineral is a material that consists of an element or chemical compound.

Th

MAIN MANIPULATION TECHNIQUES

This is a documentation about work that was created over a period of 3 weeks. The aim was the exploration of clay. Different techniques and interventions were explored theoretically and practically.

Enclosed are notes, pictures and comments of the process and the different techniques.

Ideas I had to test out and Questions I wanted to find answers to were:

- What exactly is clay? 
- What is glazing?
- What are "traditional" ways of manipulating clay?
- Are there other ways to manipulate the Material?