Art and Design A comprehensive guide for creative artists - Aaltodoc
Art and Design A comprehensive guide for creative artists - Aaltodoc
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.