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Art and Design A comprehensive guide for creative artists - Aaltodoc

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. Porosity of clay is determined by conditions <strong>and</strong> the<br />

state at which moisture escapes in the course of drying,<br />

or at the early stages of burning the clay artwork. “Clay<br />

must be able to absorb water in air <strong>and</strong> other fluids. It<br />

must be able to 'breathe.' This quality is necessary in<br />

order that the clay dry without cracking be<strong>for</strong>e firing.”<br />

(Digolo et. al 1990, 117) Distinctly, then, on greenware<br />

the conditions <strong>and</strong> level of drying lean on the amount<br />

of water absorbed <strong>and</strong> the provisions in which it can<br />

escape. If the surface pores are large, water will escape<br />

rapidly.<br />

c. Plasticity of clay predominantly refers to the quality<br />

of easy moulding or shaping without tearing to turn<br />

or <strong>for</strong>m a useful pottery <strong>and</strong> other artworks. Muller<br />

(2007) notes, “Clay’s plasticity is often contingent on its<br />

moisture content. A good way to check <strong>for</strong> plasticity<br />

in clay is to roll a coil in your h<strong>and</strong> <strong>and</strong> bend it.” If it<br />

shows cracks <strong>and</strong>/or “falls apart then it is not plastic.”<br />

Nonetheless, plasticity is different from elasticity—in<br />

which clay can revert back to its muddy wetness.<br />

d. Shrinkage of clay happens in two stages; when pottery<br />

is drying <strong>and</strong> when it is being fired—depending on<br />

the amount of water it contains. Nevertheless, at every<br />

stage, clay contains a certain quantity of water, which<br />

allows particles to combine or get together to <strong>for</strong>m<br />

one hard substance. Peterson et al. (2003, 24) say, “...<br />

clay does not dry completely at room temperature.<br />

Additional evaporation <strong>and</strong> shrinkage take place<br />

during firing.” That is to say, when pottery starts to dry,<br />

water evaporates through small pores or spaces. Hence<br />

causing shrinkage.<br />

Materials <strong>and</strong> tools used in pottery<br />

In Peterson et al.'s (2002, 26) Tools <strong>for</strong> Working; “Potters can<br />

use many tools, or just a few, or none. Most clay <strong>artists</strong> make<br />

collections all their lives of various tools—or objects that<br />

will function as tools-from the hardware store, from their<br />

attics <strong>and</strong> garages.”<br />

Thereby, as <strong>creative</strong> <strong>artists</strong> conducting school tasks we<br />

can as well make pottery artworks by using simple tools or<br />

object from the surroundings of our school environment.<br />

Here is a checklist of some tools, materials <strong>and</strong> equipment<br />

that may be used to make functional pottery artworks:<br />

Basic clay tools <strong>and</strong> their use<br />

Are used <strong>for</strong> cleaning unwanted clay off the<br />

surface of a pottery ware during decoration.<br />

Brushes can also be locally acquired by tying<br />

well laid small neaten sisal bundles, on a small<br />

piece of stick.<br />

It has got a cylindrical shape. Some of its<br />

basic tasks include making slabs as well as<br />

decorating them. A simple rolling pin can be<br />

locally made from a (cylindrical) smoothened<br />

straight stick or a sizable (portable) piece of<br />

wood.<br />

It is used <strong>for</strong> washing, cleaning <strong>and</strong> finishing;<br />

after throwing or shaping a clay artwork. Yet,<br />

even when a workspace or studio is saturated<br />

with water, a sponge can be used to absorb<br />

some of the dispersed liquids.<br />

This is a wire tool used <strong>for</strong> slicing clay during<br />

wedging <strong>and</strong> on a wheel after throwing. It<br />

should be kept clean or be wiped every after<br />

use. By the way, a smaller—strong string can<br />

be put to use <strong>for</strong> this purpose in case there is<br />

no wire <strong>for</strong> this particular task.<br />

These are mainly shaped from hardwood <strong>and</strong><br />

plastics, in different shapes <strong>for</strong> smoothing,<br />

shaping <strong>and</strong> finishing a pottery artwork<br />

throughout throwing on a wheel. But they<br />

can also be used on h<strong>and</strong> built pottery. Ribs<br />

can be locally made or shaped from thrown<br />

away pieces of wood.<br />

This is mainly used to separate junk from<br />

dry or wet clay. Dry clay can be sieved after<br />

smashing it <strong>and</strong> wet clay be sieved after<br />

turning it into a liquid consistency. Yet again,<br />

by using a net or a mesh fabric of light weight<br />

a sieve can be effectively created. Other<br />

potters use wire mesh sieves.<br />

206 207<br />

Brushes<br />

Rolling pin<br />

Sponge<br />

Wire clay<br />

cutter<br />

Throwing ribs<br />

Sieve<br />

Clay<br />

Material, equipment <strong>and</strong> their basic tasks<br />

It is one of the most essential materials of<br />

pottery. It is a type of soil with exceptional<br />

fine grains. It can be dried <strong>and</strong> baked. Clay<br />

can also be recycled <strong>and</strong> moulded again<br />

when wet. Sometimes red soil from ant-hills<br />

is used <strong>for</strong> the same purposes. It is a good<br />

replacement <strong>for</strong> beginners, where there is<br />

scarcity.

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