|
This can done by a number of methods each suited towards a particular form. The techniques should only be considered as a means to an end rather than an end in themselves. Complex forms may be achieved by combining several techniques on a single form and joining them together when timing best permits. Using good joining techniques is essential to success in any of the following methods. A good joint requires scoring the contact areas, brushing on a coating of thick slip and compressing the joint together. Drying your work slowly will prevent uneven shrinkage. Uneven shrinkage is bad because it will pull your joints apart. Most cracking problems can be traced back to poor joinery or fast drying. Work should be dried under plastic until all joints and additions are leather hard. Pinching: Very personal, intimate approach to touching clay. Infinitely variable, most basic method of forming clay. Best way to make hollow spheres and small organic shapes Coiling Requires control over consistency (moisture content). Joints may require scoring and slip if clay is dry or may be compressed and blended if clay is wet. Experience will tell you when to do what. Very large forms of great complexity may be made by coiling as only the joining area must remain wet while the rest of the work starts to dry. Once it starts to dry it will become stronger and support itself better. Slab: Easiest and fastest way to make a flat tile shape. shallow bowl, mask, etc. by rolling the clay flat. Soft slabs may be supported with cloth and draped. When strict geometry is needed, use cheese to leather hard clay and construct like a wooden box. Modeling: Sculptural forms can be developed by adding and subtracting wads of clay over a clay armature. Thickness must be carefully controlled or the piece will explode in the kiln or die from cracking. Airpockets must be avoided as they will cause blowouts in the form . Now that you know the hazards this is a great way to develop personal details to work created with other methods. Hollowing: Hollowing is often the second component to modeling. With a large form most of this work can be done when the clay is still plastic or cheese hard. Use the variety of ribbon tools and work SLOWLY to remove clay from the bottom/inside of the form. Once a cave shape has been carved out move to a smaller tool, keep one hand on the outside surface of the form to feel for pressure from the tool reaching the outside edge, and SLOWLY continue to carve away clay until you've reached a wall thickness of 1/2 to 3/4". |