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CHALICE ARTS UK LTD

POTTERY HANDBOOK FOR PRIMARY SCHOOLS

STEPHEN BRUCE

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© Copyright Chalice Arts UK Limited

www.chaliceartsuk.co.uk

2015

CONTENTS

INTROUCTION

MATERIALS AND TOOLS

BISCUIT AND GLAZE FIRING

PINCH POTS

COILING

SLAB BUILDINGS

SIMPLE MOULDS

MODELLING AND JEWELLERY

TECHNIQUES FOR DECORATING CLAY

HEALTH AND SAFETY

GLOSSARY OF TERMS

APPENDIX:

Science Work

Ideas for Pottery Projects with Children

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INTRODUCTION

Clay is a wonderful natural resource. It can be found in many parts of the world and therefore many cultures have developed rich traditions of pottery making. Clay is a readily accessible medium for all ages of primary school children to work with. Children engage and enjoy its properties, being able to push their fingers into it, to shape, squeeze and mould it, to join, model and build with it. To produce pottery work a kiln is desirable so that work can be fired and glazed. However, there are self-hardening clays available which provide a good substitute to natural clay and harden without firing. Schools without a kiln might approach a local secondary school to see if they would be prepared to fire their work or a company like Chalice Arts UK who offer a local firing service. This booklet is designed to introduce the main techniques of working with clay which can be developed with children of primary age.

Co-ordinators – understanding this paragraph is vital to raising standards of art – ensuring continuity and progression. Using clay can contribute to both Art and Technology within the National Curriculum. The use of clay can be supported with design drawings or other pieces of artwork which lead on to working with clay. Alternatively, the clay work children produce might lead to other imaginative work in painting for example. In this way the clay experience is not isolated and a “one off” lesson but can become part of a scheme of work which address continuity and progression. The development of projects using clay as a medium should also include work which contributes to knowledge and understanding of art. This might be done by looking at the work of adult potters and pottery from a variety of cultural traditions. It is also important to remember that other works of art such as paintings might form the stimulus for ceramic work. For example, a bowl project might be decorated with designs, colours, textures influenced by the study of a painting by the artist Klimt.

Clay can also be studied as a material in science lessons and I have included an example of this in the appendix. The study of pieces of pottery from different cultures can also make an important contribution to developing knowledge and understanding of art. There are plenty of examples of work which depict stories and events which might contribute to areas of the curriculum like English and History. Ceramic work can provide inspiration for colour, its subject matter or textures and patterns. It is important to remember that just as with drawing there are developmental stages that children pass through as they mature and become more experienced with the use of clay. Clay activities should form a regular part of the art curriculum and should not be a once a year activity. We would expect children to produce more than one painting in the course of the year, the same is also the case with clay work. Children need regular experience with clay. In the early years children will model and mould clay, producing figures and animal forms with great delight. Even very young children are capable of producing small bowls and dishes which become more sophisticated as they mature and more advanced forms of decoration can be introduced. Progression needs to be considered carefully so that work in EYFS is not being duplicated in Y6 without there being clear progression and sophistication in techniques, forms and surface decoration.

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MATERIALS AND TOOLS

The most important material is clay and there are a wide variety of different clays available each having slightly different properties. The two main types used in schools are listed below. EARTHWARE CLAYS These are usually red or brown in colour and fire between 7000C and 11500C. The fired clay is porous and any pot made from this type of clay would need to be glazed if it were to be made waterproof. The characteristic colour is caused by impurities in the clay, mainly that of Iron Oxide. It is generally referred to as red clay.

STONEWARE CLAYS Stoneware clays are usually grey in colour and fire to higher temperatures between 12000C and 13000C. If fired to higher temperatures this clay produces a dense stone like appearance after firing and is non-porous. Stoneware clay or grey clay can be fired to earthenware temperatures but like red clay will need to be glazed to make it waterproof. Both red and grey clay are the two common types of clay used in schools.

Grey stoneware clay (can also be fired to earthenware temperatures e.g. 1060 degrees Centigrade)

Red earthenware clay – a good clay for use in primary schools. Alternatively grey clay can be

fired to earthenware temperatures or to higher temperatures and is equally suitable for use in

primary schools

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SLIP Slip is a liquid clay. It can be made by adding dry powdered clay to water and mixing using an electric food mixer. It should then be passed through a fine sieve or lawn. (It can be purchased ready mixed). Slip is used for making casts from plaster moulds, joining pieces of clay together and for decorating clay work. As a decorative medium it is particularly useful. Slip can be made in a variety of different colours by adding oxides to the slip. Alternatively, a range of coloured slips are commercially produced. Slip can be painted onto the surface of leather hard clay or it can be applied using a slip trailer.

Slip – consistency of single or double cream and a slip trailer (like icing a cake) PREPARATION OF CLAY Clay suitable for working needs to be plastic (soft) and free from air bubbles. Clay can be used straight from a new clay bag but clay that is being re-used should be wedged and kneaded. Wedging clay is a process of folding the clay and slapping it down on the table top and then cutting it through with a wire cutter or nylon thread. The process is then repeated several times to expel air. Following the wedging process the clay should be kneaded. Use small, manageable pieces and gently push the heels of your hands into the clay and fold it over, repeat the process several times. Again, this helps to expel air and create an even workable clay.

Wedging clay – this is a kneading technique to ensure even consistency TOOLS There are a range of modelling tools available and these are shown in the photograph below. A collection of textured items such as shells, stones, screws, keys, forks and pine cones should also be collected. These are very useful for creating pattern and texture on the surface of pieces of clay work.

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Wooden or plastic modelling tools KILNS A kiln is an essential piece of equipment for firing ceramic work. Small electric kilns are available and these are ideal for primary schools.

Top loading and front loading electric kilns. A small top loading kiln is idea for primary schools.

BISCUIT AND GLAZE FIRING

We fire clay to make it permanent. Firing produces a chemical change in the clay which is irreversible. Biscuit firing requires the clay to be heated slowly to a temperature in excess of 7000C. This drives off free water and chemically bound water in the clay. Clay changes into pottery or ceramic. BISCUIT FIRING The clay work should be bone dry before loading the kiln. Biscuit work can touch each other and can be stacked but care should be taken not to wedge work together as it will shrink during the firing and could cause damage. The temperature should be increased by 1000C per hour approximately. Once the work is red hot (about 7000C) the temperature can be raised more quickly. Most modern kilns have a temperature control built in and the firing process is very straight forward. Biscuit fired pottery can be finished by painting it with ordinary school water based paint or acrylic paints. It can also be given a coat of varnish is desired. The biscuit firing will have made the work strong and permanently hard. The alternative is to finish the work by glazing it and then firing the glazed pottery for a second time (glaze firing). For much primary school pottery a single biscuit firing is sufficient with painting techniques employed to finish off the work.

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GLAZE FIRING The purpose of glazing is firstly to provide a strong non-porous finish and secondly to decorate your piece of pottery. Glazes can be purchased ready mixed or you can make up your own from powder or you can create coloured glazes by following simple recipes. Glazes are a science in themselves and can be very complex in preparation but clear glazes are easily mixed with water and ready mixed glazes can be purchased. Once you have your glaze prepared it can be applied to the pottery either with a brush, dipping the whole piece into a bucket of glaze or by pouring. The bottom of the piece must be completely wiped clean of glaze using a wet sponge to ensure that it does not stick to the kiln shelf during the firing as the glaze melts. Each piece is usually lifted off the kiln shelf using a small support called a stilt. This ensures the work does not stick to the kiln shelf. Glaze firings cannot be as densely packed and no pieces of pottery can touch each other. With small kilns this often means several batches of glaze firings to complete a whole class or year group. It is therefore much more convenient to use other methods of decoration e.g. acrylic paint that does not require further firing and can be equally effective for primary age children. USING COLOUR To obtain colour you can easily use a coloured glaze (already mixed from a supplier) or you can colour the piece of pottery prior to glazing. This can be achieved by using coloured oxides which are painted on using a brush and then the glaze is applied over the top. Alternatively, the work can be coloured prior to the biscuit firing using coloured slip (liquid clay) which can be bought ready mixed. This is painted onto the clay when it is leather hard or cheese hard. The work is then biscuit fired when totally dry and glazed with a clear glaze. Most pottery suppliers will be able to recommend suitable materials to use with children for decorating pottery if you wish to explore this route and glaze your work. It is important to check that materials are safe to use with children and what precautions you should take. If you are enthusiastic about pottery then practice decorating biscuit fired work with paints to begin with. Experiment with glaze firing but it can become much more time consuming and if you have purchased a small kiln then you may not be able to fit the whole classes work inside for glaze firing as each piece cannot touch another. The end results can be spectacular and are worth trying even if it is only for occasional work.

PINCH POTS

Simple forms can be made using the pinch pot or thumb pot method. Such forms might include simple pots, dishes, egg cups, candle holders, mugs and jugs.

MAKING PINCH POTS Take a piece of prepared clay and roll it into a ball shape. Hold it in the palm of your hand and gently push the thumb of your free hand into the centre of the ball. Care should be taken not to press too deeply. Alternatively, four small overlapping holes can be made using the thumb. The aim is to produce a small pot with sides of uniform thickness. Keeping the clay cupped in the palm of your hand gently squeeze the clay wall between your thumb and fingers, gently rotating the thumb in your hand. Once you have opened up the clay and thinned the walls using this technique the inside and outside of the pot should be smoothed using your fingers, modelling tools and a damp sponge. Care should be taken not to make the rim of the pot too thin. The shape of pinch pots can be varied by using different squeezing and pulling pressures to either produce a wide open bowl shape or a taller narrower shape.

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Children should be encouraged to explore the possibilities for themselves and to produce a variety of different shaped thumb pots. Some children become frustrated when their pot loses its shape or the rim becomes too thin. This is the point where the teacher should intervene by offering the child advice or other help and encouragement.

CANDLE HOLDERS These are variations on the thumb pot technique.

COILING

Making pots using the pinch pot method is essentially a moulding technique using your hands and fingers. Pinch pots often produce uneven looking shapes because there is a tendency for the clay to spread especially when the technique is still rather new to a child. Coiling is a technique of building up a form using coils or alternatively strips of clay.

ROLLING COILS Take a small lump of clay and roll it into a sausage shape in your hands. Place the clay on the table and work from the centre towards the ends using a flat palm. There is a tendency for beginners to produce flattened coils (oval in cross-section) and to trap air inside the coil. This can be avoided by using a light movement which rolls the clay over several times in one direction before rolling it back again. Avoid rocking the clay backwards and forwards applying too much pressure which will flatten the clay and

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produce an uneven coil. Always try to achieve a rhythmic motion and aim to produce thick coil ropes and not thin pieces of string. Children can practise rolling coils before they start building a pot. It will be necessary for the teacher to demonstrate the technique several times and to re-enforce the teaching points as the children begin work.

BUILDING A POT There are several different methods that can be used to build a pot. Building can involve either the use of rings of clay or alternatively spirals of clay. The base can either be formed from a coil spiral or you can cut out a circular shape from a slab of clay. Also, objects such as yogurt pots can be used to coil round which will act as a support and help achieve an even shape.

RINGS OF CLAY Cut out the base shape using circular template (cut around the template using a modelling tool or potters needle or something like a cocktail or BBQ stick) and roll out some coils of clay. The edge of the base where the first coil is to be joined should be scored in a cross hatched pattern and a layer of slip applied. If you do not have a supply of slip, use a small ball of clay and make a dip in the top using your thumb. This can then be filled with a little water and worked into a creamy paste called slip using your fingers. Apply the slip using a finger or brush. (Slip acts like glue and is very important. It should be a thick consistency.) Lay the coil round the base shape and break it off so that the two ends of the coil can be joined together using a modelling tool. The top of the coil should then be scored and more slip applied before continuing to build upwards. The slip will ensure that the coils join properly. Try to ensure that the joins of the coils are not always in the same place i.e. one above the other as this will create a weakness in the pot. Once you have achieved the height you require the coils can be smoothed and tidied up by lightly wiping with a damp sponge. Alternatively, you can smooth the coils together using a modelling tool. This will

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depend upon the type of finish you require. If you decide to smooth the coils together it is often a good idea to do this as you are building up the height is that you can get inside the pot before it get too high. If you wish to coil around a supporting form such as a yogurt pot you should cover it with a thin plastic bag to stop the clay from sticking to it. Again, the coils can be smoothed as you go along or left as they are. Often strips of clay are more easily used when building around a supporting shape.

COIL SPIRALS As an alternative to rings a spiral of clay can be used which means that the coil does not have to be broken for each separate layer. The clay still needs to be joined in the same way. This technique produces a less uniform finish which can be very effective. Again, a supporting form can be used to coil around if desired. VARIATIONS To make your pot more interesting, different coiling patterns can be used as shown in the photograph below. Also, pinch pots can be combined with coil work. For example you might make the bottom part of your pot using the pinch pot method and finish it using one of the coiling techniques.

Variations of Coil Pots – thumb pot and coil combined. Coils are joined by crosshatching and applying slip.

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SLAB BUILDING

Slab building is a method of producing pottery out of sheets of rolled clay that are joined together to make a box like construction. Roll out a piece of clay between two wooden runners (I use 1cm squared wood cut into 30cm lengths – see photograph below) so that the clay is of an even thickness. The clay needs to be cut to size and children can spend time working out the dimensions of their box. They could make card templates or even draw a net to help them. The mathematical learning that this can involve should be capitalised on. The shapes need not be restricted to a box with straight sides. Wavy and curved sides can be made before the clay dries out too much. Once the pieces have been cut out the assembly can commence. It is best to let the clay dry out slightly so that it is nearly leather hard before assembling. Plastic clay is too soft and will deform easily. The base of the box needs to be scored all the way round and then painted with slip to make sure that the join is well bonded. Also, the corners should be scored and slip applied to join the sides together. On the inside corners a coil of clay can be added to give the construction added strength. This can be smoothed into the body of the clay with a modelling tool. On the outside the corners should be darned. This involves scoring across the joint and then smoothing with a modelling tool. Cylindrical pots can also be made using slabs of clay. The use of a cylindrical form, such as a bottle, to help produce a clay cylinder is very useful. Remember it should be covered with thin plastic to prevent it from sticking. This is particularly useful if you are making mugs and cups for example. It is also a very good method of ensuring that several pieces of pottery are the same size. Another very effective way of developing slab work is to use slabs to produce leaf shapes. A large leaf can be laid on the slab and cut round. Pressing the leaf firmly into the clay will also leave the imprint of the veins. The slab can then be moulded by hand to produce a dish shape by folding up the edges. Also, several leaf forms could be joined together to produce a more original design.

Rolling out clay using rolling guides to ensure an even thickness. Cut slabs and join by cross hatching, applying slip and you can also add a coil of clay along the inside seam and blend in with a modelling tool for extra strength.

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A simple leaf shape made from a slab of clay

SIMPLE MOULDS

I have already discussed one type of mould which involves using a form such as a yogurt pot to support coil and cylindrical slab pots. Although the making of moulds requires time and effort they will last a life time providing they are cared for properly. Pottery manufactured outside of the school often involves the use of moulds for mass production. It is therefore an important part of technology teaching for children to understand how moulds can be made and used. Most moulds used in ceramics are made from plaster of Paris, There are different kinds of moulds for performing different functions. PRESS MOULDS Bowls or plates can be used as a press mould or plaster moulds can be made or bought. Roll out a sheet of clay and trim it so that it is about an inch bigger than the mould all the way round. Gently ease the clay into the mould so that it takes up its shape. Smooth the inside and trim the rim. Leave the clay in the mould until it is leather hard by which time it will have shrunk clear of the mould. Gently remove it and decorate as required.

Clay takes the shape of the mould it is pressed into

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DRAPE OR HUMP MOULDS

A hump mould is used to shape a slab of clay that is draped over it to make a dish or bowl shape (Plastic or pottery bowls turned upside down can be used as hump moulds for this purpose). They can be made by either plastic containers smeared with Vaseline with plaster or a press mould can be cast to create a hump mould. As with the press mould the clay should be allowed to dry to a leather hard state before being removed from the mould to ensure that it retains its shape. It is worth watching a video of industrial slip cast moulds being used to demonstrate the principles of mass production.

Clay draped over plaster hump mould or over plastic yoghurt pots

Plaster of Paris casting moulds – example of mass production technique

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Slip is liquid clay and is poured into plaster moulds

Potter pouring slip into a plaster mould

Opening the mould to reveal the slip cast pot

MODELLING AND JEWELLERY

MODELLING Modelling is a very valuable way for children to experience the qualities of clay. Modelling animal shapes and figures can provide a good introduction to using clay. As long as the models are not too large they can be made of solid clay and fired without problems occurring. However, if the shapes are too thick there is a danger of them exploding in the kiln, they therefore need to be hollowed out using a modelling tool. Remember to score and paint slip onto any pieces of clay that are to be joined together.

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Sculpture inspired by the work of Henry Moore by Year 5 - Anson Primary School Brent

Modelling King Midas Fruit Bowl by Year 2 – Yeading Infant and Nursery School Hillingdon

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Dragon sculptures by Year 5 – Coston Primary School Ealing CLAY RELIEF Clay relief work can be used for a number of purposes and could be used to support other areas of the curriculum such as history where an illustrative clay relief could be made. Clay relief involves the modelling or building up of a relief on a slab or tile of clay. If a whole class is to work on making a tiled panel then each slab of clay must be the same size. A template is the easiest way of ensuring this. Anything applied to the base must be scored and coated with slip to ensure a good join. It is quite common for tiles and relief work to buckle as they dry. To help reduce this problem, dry the clay slowly or turn the clay over as it dries if this is possible or place a board on top of the tile to keep it flat. This of course may not always be appropriate if there is a delicate relief work protruding from the tile, in this case drying the work slowly would be the best method.

Clay relief tiles inspired by Benin Bronze work by Year 5 – Anson Primary School Brent

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Clay clock relief with a clock mechanism attached by Year 6 - Gladstone Park Primary School Brent

The Owl of Minerva (Wisdom) by Year 3 – John Keble Primary School Brent

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Clay crosses by Year 4 – Bishop Winnington Ingram CE Primary School Hillingdon

JEWELLERY Making jewellery can be an exciting ceramics project for children and can involve looking at the uses of jewellery and their designs in different cultures. The type of work that can be undertaken will involve making beads, pendants and brooches. The designing stage can be emphasised and preliminary drawings and collage work can be investigated before starting to make in clay. It might even be possible to visit a museum to look at costume jewellery or other artefacts which will provide inspiration for jewellery making. The making skills required for these activities are very basic and can be investigated by very young children. Basic shapes include small balls of clay for beads, small slabs of clay cut into different shapes to make pendants and brooches. Beads need to have a hole in them made with a knitting needle. Beads also need to be hung on chrome-nickel wire or steel rods during the glaze firing and special glazing boxes can be purchased which support the ends of the wire. Alternatively, they can be hung on the kiln furniture you already have such props. You don’t need to glaze fire jewellery you can finish it by painting it and varnishing it.

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Bead making

Pendant making using a metal cutter

Pendants inspired by leaf shapes

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TECHNIQUES FOR DECORATING CLAY

In the previous sections of this document I have described different methods of making clay forms, many of which can be decorated with the techniques described in this section. PRESSING THINGS INTO CLAY There are many ways of creating decorative patterns and designs by pressing things into the soft clay once you have made your form. Fingers can be used to pinch or make impressions in the clay. Objects such as modelling tools, nails, screws, shells, keys, leaves and so on can be pressed into the clay. Certain objects can be used like stamps to create a pattern. Other objects like stones can be used to create a texture. Decoration can be added in bands, rings or stripes.

Stamps pressed into clay

SPRIGGING Sprigging is a technique of adding clay relief work to a pot using slip. Wedgwood pottery is made this way. Coils of clay can be added into which objects can be pressed to create pattern.

Traditional pottery with decorative sprigging decoration

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Classroom examples of sprigging INCISING, CUTTING AND PIERCING Patterns and shapes can be cut using knives and modelling tools. Also, holes can be pierced or cut into the sides of a pot to create pattern. SCRAFFITO The surface of your pot is painted with slip of a contrasting colour. When the slip is leather hard scratch into the surface of the slip to reveal the clay beneath. This is traditional decorative technique found on pottery on different cultures. It is particularly effective and can be combined with other decorative techniques.

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Examples of scraffito decoration SLIP The use of slip is a valuable method of creating a variety of interesting, decorative designs. As well as using slip to create scraffito it can be painted on to give linear designs or sponged on to create a texture. Using two different slips together, a marbling pattern can be made. Pour slip into your pot or dish and then empty it when the surface is covered. Using a different colour slip, pour in a little and move it around by tipping the pot to create a marbled effect. Another very effective method is feathering where lines of slip are applied using a slip trailer. To create the pattern a feather is then dragged across the slip at right angles to the lines creating a very distinctive pattern. Slip can also be splattered using a brush.

Decorating a clay bowl with coloured slips. These are made by adding oxides to the slip.

Decorating using a slip trailer to control the flow of slip (rather like icing a cake)

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Red clay decorated with grey slip

WAX RESISTANT Melted wax can be painted onto the surface of leather hard clay before being painted with slip. The wax will resist the slip and leave the design in the original coloured clay. The wax will burn off during the firing. Wax resist can also be used to resist the application of glaze or coloured oxides prior to glazes. Wax crayons can be used on biscuit fired pottery instead of melted wax.

Applying oxide colour over wax resist

HEALTH AND SAFETY

Clay work creates dust and care should be taken to clean tables and tools following their use for clay work. Handling clay can also cause drying of the skin.

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Some of the tools used for clay work such as needles can be dangerous and their safe use needs to be stressed with children. Oxides used to colour slip and glazes are toxic and therefore extreme caution should be exercised. Make sure children wash their hands properly after using oxide colours or applying coloured slips and glazes. Kilns need to be situated so that they meet with the health and safety regulations regarding kilns and schools. Generally they should only be fired by an experienced person and the kiln should be kept in a locked room with an extractor fan and a red light outside the door to indicate that the kiln is fired. I usually try to fire the kiln out of school time, either at the weekend, or during the school holidays.

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GLOSSARY OF POTTERY TERMS

Ceramics has its own specialised vocabulary. I have listed a basic vocabulary which should help in both understanding more about ceramics and also may be useful when ordering materials or discussing problems with specialist manufacturers. AGATE WARE: Layers of different coloured clays are mixed together to produce a marbled body. Pottery made from this is called Agate Ware. BATTS: Kiln shelving for supporting pottery during the firing process. BATT WASH: A mixture of flint and water applied to a batt to prevent pottery sticking during the glaze firing. BISCUIT: Pottery that has been fired to a condition where it is hard enough to glaze. Earthenware which is porous and stoneware which is impervious. BLISTERS: The results of bubbles formed in the glaze due to the rapid escape of gases. BLOWING: The bursting of pots due to a rapid of air trapped in the clay body due to rapid heating. BODY: The clay used to make a pot. CASTING: Filling a hollow mould with liquid clay (slip) to create a form. COILED POTTERY: Hand built pottery formed using rolls or coils of clay. CRAWLING: Bare patches where the glaze has failed to adhere during the firing. CRAZING: Fine cracks in the surface of the glaze as a result of the glaze contracting more than the body. EARTHENWARE: Pottery fired between 10500C and 11800C. FEATHERING: Dragging a feather through fine lines of slip to produce a pattern. GLAZE: A liquid suspension of different chemicals applied to biscuit ware to produce a glass like coating on the surface of the clay body. This provides a waterproof covering which is also decorative. GLAZE FIRING: The firing process where the glaze material applied to the pot is heated so that it fuses with the clay body. GREEN WARE: Finished clay work that has not been fired. GROG: Biscuit fired clay that has been ground down to a fine powder It is used to add to plastic clay to increase texture and to reduce shrinkage. Grog is commercially produced and is particularly useful for adding to clay used for slab building. KILN: A high temperature oven for firing clay.

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KILN FURNITURE: Shelves used inside the kiln; props used to support shelves; stilts used to support individual clay pieces during glaze firing to prevent them adhering to the shelf. LAWN: A type of sieve. LEATHER HARD: Clay that has dried sufficiently to have lost its elasticity. OXIDE: A Chemical used for colouring clay, glazes or painted onto the biscuit ware, eg. Iron Oxide. PLASTIC: Soft clay capable of being worked. PYROMETRIC CONES OR BARS : These bend at predetermined temperatures and are used as a method of measuring inside the kiln. RELIEF: Raised modelling on a piece of clay work. RESIST: A method of painting wax onto the surface of biscuit ware to prevent the adhesion of glaze. A method of decoration. SGRAFFITO: Italian meaning scratched. Usually a layer of slip is painted onto the surface of a clay body and then scratched through when leather hard to form decorative patterns. SLAB BUILT POTTERY: A hand building technique using rolled out slabs of clay which are assembled. SLIP: Liquid clay. SOAK: Maintaining the firing temperature for a period of time. This is to ensure that the temperature is even throughout the kiln especially when glaze firing. STONEWARE: Pottery fixed to a high temperature 13000C. This produces a dense vitrified body rather like stone. TERRA-COTTA: Low fired earthenware. WEDGING: Repeated cutting and banging of plastic clay to expel air.

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APPENDIX

SCIENCE WORK FROM CLAY: The following information could be used to produce worksheets about clay.

WHAT IS CLAY? Clay is a natural material made up of very fine particles of rock which have been eroded or worn away over millions of years. In some parts of the country the soil is made from clay. In school we use two different types of clay. Red clay which is brown in colour and buff clay which is grey in colour. Clay contains water and this is what makes it soft or plastic like plasticine, so that we can model and mould it with our hands. When clay dries out it loses its water and becomes hard and brittle. When dry clay is baked or fired in a special oven called kiln it changes and becomes permanently hard. Use an atlas to find areas of the country where there is a lot of clay. THE STORY OF CLAY CHANGING WITH HEAT The discovery that clay changes when it is heated was made thousands of years ago. It is though that ………. (Finish the story in your own words and illustrate it to remind you of the story). One explanation is that woven baskets were covered in mud (clay) which dried in the sun to seal the gaps in the baskets. When the baskets were old and no longer needed they were burnt. Someone realised that the clay had changed with the effect of the fire and would no longer go soft when mixed with water. Why was this discovery so important? WHAT HAPPENS TO CLAY AS IT DRIES? Roll out a piece of clay and cut it into a slab 10cm long. Make regular observations of it to see what happens as it dries. Take a small piece of clay and roll a coil and bend it to make a spiral. Investigate what happens when you repeat this several times with the same piece of clay. What happens? Why is this? Make another 2 slabs of clay 10cm long. Let them dry right out for several days. Put one in a bucket of water and observe what happens. The second piece should be fired in a kiln. After firing, repeat the experiment with the fired clay. What happens? Why is this? Pottery is usually coated with glaze. Why? Fill an unglazed pot with water. What do you notice? Now do the same with a glazed pot. What is the difference? Make a list of all the things made from clay that you can think of. Make a list of all the key words you have learnt and explain what they mean: Plastic, kiln, firing, glaze.

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IDEAS FOR POTTERY PROJECTS WITH CHILDREN

A pottery project can contain much more than merely making things with clay. As with other areas of art, ceramics work should be developed with knowledge and understanding of art. Ceramics also provide an ideal opportunity to capitalise upon the study of non-European art forms. Ceramics projects should also provide children with a knowledge of materials, tools, techniques and language associated with this area of art. They should provide children with the opportunity to develop their thinking and design capability through drawing and painting. CLAY MIRROR FRAMES Clay mirror frames inspired by the sea. This would involve searching for reference books, collecting shells etc. and looking at other works of art. The mirror frames can be mad in relief with a small hole cut for the mirror.

Clay mirror frames by Year 2 – Yeading Infant and Nursery School Hillingdon

AFRICAN POTTERY PROJECT This would involve looking at a range of African pottery and perhaps other artefacts as a source of inspiration for developing their own designs. The work could focus on calabashes with preliminary drawings being produced. This could lead to scraper board or wax scraffito pictures before making gourd shaped thumb pots decorated using scraffito technique. The work might then develop into making African masks or jewellery. JEWELLERY PROJECT Make a collection of jewellery from different cultures as a starting point for making jewellery. Produce drawings or collage work as preparation for making in clay.

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JEWELLERY BOXES Again, make a collection of different types of boxes such as carved wooden boxes from India as a source of inspiration for this project. Produce drawings, paintings and prints to develop pattern. A visit to the Victorian Albert Museum to look at pill boxes could also provide an exciting starting point. CLASS TILE PROJECT A tile project aimed at producing a whole class panel could be developed from almost any stating point. Themes might be chosen from “The Sea”, “Flowers”, “Landscapes”, “Gardens”, “Pattern”, “Faces”, “Benin Art”, “The Greek Myths”, “Children’s Stories”, “A Study of Picasso.” In each case there is always plenty of opportunity for children to develop a range of different making skills as well as developing knowledge and understanding of art. A project such as this could form cross-curricular links with areas such as history. BOWLS AND VASES This type of project could emphasise one of the decorative techniques. SCULPTURES Sculpture inspired by looking at the work of adult sculptors such as Henry Moore or Alberto Giacometti. Or sculptures inspired by different describing words such as curvy, wavy, angular, floppy etc. The following are further ideas for pottery projects: TREE OF LIFE CANDLE HOLDERS (MEXICAN DAY OF THE DEAD) DIVALI DIVAS MODELS OF CHARACTERS FROM INDIAN STORIES MOBILES OR WIND CHIMES FISH TANK OR PET CAGE FURNITURE CHESS SETS PAPER WEIGHTS MUGS EGG CUPS PENCIL POTS PLATES OF FOOD, FISH OR FRUIT HOUSE OR SHOP FACADES

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MONSTERS CAVES MINI BEASTS