4.4: Advanced Hand-building Techniques
- Page ID
- 305212
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Exploring Hand-Building Beyond the Basics
Creating ceramic sculptures involves a variety of techniques, each suited to different forms and effects. Here are step-by-step plans for making ceramic sculptures using six distinct methods: soft armature, hard armature, press mold, slip cast mold, burnout, and paper clay.
Soft Armature
1. Design and Armature Creation
- Sketch your sculpture design. Construct a soft armature using materials like foam, fabric, or paper, shaped to support the desired form. Soft armatures are ideal for temporary support and can be left inside the sculpture if they will not interfere with firing.
2. Applying Clay
- Cover your armature with thin slabs or coils of clay, pressing firmly to adhere to the armature's shape. Ensure the clay is evenly applied to prevent warping or cracking.
3. Sculpting and Texturing
- With the basic form established, refine the sculpture's details using sculpting tools. Add textures or decorative elements as desired.
4. Drying
- Allow the sculpture to dry slowly and evenly. If possible, create vent holes to release any trapped air or moisture from the armature inside.
5. Firing
- Bisque fire the sculpture according to the clay body's specifications. The soft armature inside may burn out or remain intact based on the material used.
Hard Armature
1. Design and Armature Construction
- Plan your sculpture and construct a hard armature using metal wires, rods, or mesh. This structure must be removable or designed to withstand the firing temperature.
2. Applying Clay
- Press clay onto the armature, starting with thicker coils or slabs at the base and working up. Smooth and blend the clay as you build up the form.
3. Detailing
- Add details and textures with modeling tools. Keep the clay's thickness consistent to minimize stress during drying and firing.
4. Drying and Removing Armature
- Allow the sculpture to dry partially, then carefully remove the hard armature if not designed to be left in during firing. Finish drying slowly and completely.
5. Firing
- Bisque fire your sculpture. If the armature remains inside, ensure it's a material that can safely withstand firing temperatures.
Press Mold
1. Mold Preparation
- Create or acquire a bisque-fired press mold of your desired form. Apply a release agent to the mold's surface, such as a light layer of cornstarch or a commercial mold soap.
2. Pressing Clay
- Roll out a slab of clay to an even thickness. Press the clay into the mold, ensuring it conforms to all details. Trim excess clay from the edges.
3. Removing and Assembling
- Carefully remove the clay from the mold. Assemble any separate pieces using score-and-slip technique if your design requires it.
4. Finishing Touches
- Smooth seams and refine surfaces. Add any additional details or textures as desired.
5. Drying and Firing
- Allow the sculpture to dry thoroughly before bisque firing. Follow with glaze firing if desired.
Burnout
1. Creating a Burnable Form
- Sculpt your desired form using burnable materials such as wax, styrofoam, or organic matter.
2. Applying Clay
- Cover the form with a thin layer of clay. Consider adding a thicker outer layer or a mold box for larger pieces.
3. Creating Vent Holes
- Insert thin coils or rods to act as vent holes that will allow gases and air to escape during the burnout process.
4. Drying and Bisque Firing
- Allow the sculpture to dry completely. Bisque fire the piece, during which the internal form will burn away, leaving a hollow clay sculpture.
5. Finishing
- Clean the sculpture of any ash residue. Apply glazes or surface treatments as desired, then glaze fire if necessary.