| Textured pottery reminiscent of ancient designs | | | | a pony roller, to impress the entire texture into |
| can be reproduced in art classes today to help | | | | the clay and to keep it from moving. The |
| students easily connect to the historic tradition of | | | | fully-impressed slab is peeled from the mold, |
| ceramics, but with the help of safe, modern | | | | turned with its textured side down, and rolled |
| materials and tools and technology such as | | | | around a cardboard tube with the same |
| mechanical slab rollers. Throughout human history, | | | | circumference as the mold is long. The cylinder is |
| artisans from many civilizations and cultures have | | | | stood up and both of its edges are roughened to |
| created works of ceramic art which were inspired | | | | insure a good seal, then glued together with slip. It |
| by their beliefs, knowledge, and environment. Such | | | | is necessary to press gently but firmly to make a |
| artwork is a like a visual heirloom of a certain | | | | tight seam. Then the top and bottom edges are |
| time and culture. | | | | smoothed out with a moist sponge. The |
| Students today can participate in a textured | | | | cardboard tube is then slipped out of the cylinder, |
| ceramic project which teaches them both ancient | | | | and the cylinder can be pressed into an oval or |
| art history and aesthetics in a fun, hands-on | | | | even square cross-section. |
| project. Mexican pottery self-hardening clay is | | | | The piece is stood on the left-over clay slab, and |
| used, together with lead-free underglaze. A | | | | then it is joined to its base with slip (pressing |
| â...oe" slab is rolled out using a slab roller or a | | | | down to insure a good bond). The piece is cut |
| rolling pin together with wood slats. If using a | | | | away from the base slab leaving ¼" all |
| rolling pin it is a good idea to rotate the slab | | | | around to form a stable foot. Excess clay is |
| ¼ turn between passes, to secure an even | | | | trimmed from the base, and a 45° back cut |
| slab. Using a rectangular cardboard template, | | | | is made around the base to create an attractive |
| uniform pieces are cut out of the slab, saving | | | | shadow-effect under the piece. Lug handles can |
| enough remaining clay to create bottoms. The | | | | be fashioned from ¾" coils of clay bent |
| canvas texture can be smoothed out with a | | | | into U-shape and attached to the piece with slip. |
| flexible clay rib. | | | | The piece should be allowed to dry on a ware |
| Then the slabs are centered over textured hump | | | | cart until it is no longer feels cool when touched. |
| molds, and the clay is gently tamped onto the | | | | After bisque firing to cone 04, the piece can be |
| molds with sandbags. The slab is gently rolled with | | | | painted with glaze before refiring. |