Lesson Overview:

This lesson introduces students to the age-old techniques used in constructing and decorating a burnished coil pot. Using Idaho artist Kerry Moosman’s "#4 untitled"—a burnished terra cotta coil built pot—as a contemporary example, students will draw connections to similar pots that have been created by civilizations through the centuries. They will learn about traditional decoration methods used by American Indians and other cultures, and make informed choices in the construction and decoration of the finished object.

Length of Lesson:

Five 45-minute class periods

Instructional Objectives:

Students will:

• look at, describe, discuss, and compare ceramic bowls that are made for decorative and functional purposes from different categories, using Kerry Moosman’s clay bowl, "#4 untitled", as a focal point.
• use the Internet, if available, to explore two interactive Web sites designed for kids to learn more about pottery-making.
• create a small, three-dimensional clay bowl using water-based clay and burnishing techniques for the surface treatment.
• watch a video or view images of work by Maria Martinez and discuss her techniques (optional).
• become familiar with pottery throughout history in different cultures.

Supplies:

• Video or images of work by Native American artist Maria Martinez (optional)
• Clay, preferably low-fire, water-based (red or brown). There should be no grog in the clay unless finely ground. Two 25-pound bags should be sufficient for 25-40 students; each person should have a ball of clay about the size of a small grapefruit.
• Spray/misting bottles
• Water, sink, and paper towels
• Plastic bags for storing clay
• Burnishing tools such as spoons, stones, or other metal/rubber ribs; even pencil erasers (for inside curves) and crescent wrenches (outside) work
• Variety of clay pots (including greenware and bisqueware, and burnished, unglazed, raku, and traditional glazed pieces, if possible)

Instructional Plan:

Tips

It is helpful if students have some experience working with water-based clay prior to this lesson. If students have already made pinch pots successfully, you may wish to adapt this lesson and use the more challenging "coil and scrape" process. (The bowl is formed using a coil technique, then the outside surface is smoothed before burnishing). If the students are even more advanced, they could make a wheel-thrown pot.

The clay should be workable, that is to say “plastic,” and ready to form. If it is too hard, poke holes in the clay body, put the clay in a strong plastic bag, add water, and store airtight overnight. The next day, wedge the clay until it is malleable. If the clay is too wet, set it out on plaster bats to allow the excess moisture to evaporate, and then wedge. (Wedging is a process in which clay is kneaded to remove air bubbles and ensure a smooth, uniform consistency.)

If this is a first or early experience for students with clay, provide time for them to "just explore and get acquainted" with the medium. Before they push, pull, and punch/play, discuss the proper consistency (plasticity) of clay and how to keep excess clay moist by rolling the pieces into a single ball that is quickly placed in a plastic bag. Use only as much clay as you need at the moment.

Discuss how water can help or hinder clay work, and review the clean-up procedure.

Motivational Ideas

Clay is an exciting material to use. Students usually respond to the sensory stimuli of the clay as soon as they have it in their hands. The feel of clay is an automatic "motivator." Decide how much time to spend on the level of initial exploration and when to focus on this new process. Although this process seems simple, the burnishing takes time and patience.

Show a variety of clay pots that are burnished rather than glazed. Show the video of Maria Martinez. She used the burnishing effect to create pots that are considered to be in classic Native American style.

Discuss these points with the students: Why burnish? What is the difference between burnishing and other methods? When is glazing better? When is it not necessary? What are we going to do that is different or unusual in this lesson?

Art History and Aesthetic Components

Clay has been used to create functionary items for many centuries. Shards (small pieces of fired pottery) are found from every culture in our past. How and why were clay pots made and for what purpose? Show samples and reproductions of relics over the years and cultures.

How does clay feel in your hands? Is it cool? Smooth? Malleable? Easy-to-use? Would your ancestors have used clay? When? Where would they get it?

Technology Integration

Using two interactive Internet sites designed for kids (primarily fourth graders) students will learn (through guided or free exploration) about the basic concepts of pottery making (both sites require a Quicktime plug-in).

Visit Making Pots to learn more about the process involved in moving clay from the ground to the finished product.

Go to Hands On Crafts and visit The Studio to learn more about making coil, slab, and thrown forms.

Older students may use the sites as a jumping-off point when conducting Internet research on the media, technique, and history of the clay vessel, both functional and decorative.

Teaching the Lesson

Review the objectives and the vocabulary handout. Present a historical overview of basic clay pottery, being sure to include examples of a variety of finished surface decorations, particularly burnishing.

Demonstrate a basic pinch pot (or coil pot, if your class is a second-level ceramics class). Emphasize the importance of maintaining an equal thickness throughout the clay body. (This is important no matter what level or clay technique you are teaching.) If using the Internet interactives, the teacher should choose whether to discuss these concepts before or after students explore the sites. If necessary, introduce or review the scoring/cross-hatching technique, as well as the process of slowly drying the clay piece.

Using pre-made clay bowls, demonstrate burnishing with a polished stone or spoon in three stages:

1. gently, just as the bowl begins to harden;
2. when the bowl is leather-hard; and
3. when bowl is air-dry (this is the final burnishing).
4. Lightly mist the pot with water before burnishing in steps b and c.

There are quite a few options as you approach the end. Some potters like to use sandpaper for the final burnishing. Others suggest spraying the outer surface of the dry bowl with vegetable oil and then rubbing. Mr. Moosman uses lard. All produce smooth results when combined with patience and persistence.

Review objectives, vocabulary, and processes. Specify storage, drying, and clean up procedures.

Process: Making a Clay Bowl

1. Pass out materials and 1-2 pounds of water-based clay to each student. (More if students are advanced in ceramics.)
2. If making a coil bowl, roll clay into two balls, one small and the other quite a bit larger. Shape/pat the small ball into a circle (hamburger shape) about one-third of an inch thick and use it as a vase for the coils.
3. Pinch into bowl shape (pinch pot technique) or into coils to make symmetrical, solid bowls about one quarter to one-half inch thick. Label the bottom with your initials or name.
4. Cover/gently wrap the clay in plastic to slowly dry.
5. When the bowl is almost leather-hard, unwrap the clay and gently burnish the surface. (Be sure the base is smooth and the walls are consistent in width.)
6. Wrap the bowl lightly in plastic again until leather-hard. Burnish a second time.
7. Leave exposed to the air until bone dry (completely dry throughout).
8. Burnish a final time using one or more of the techniques listed in the demonstration.
9. Clean up, let the clay dry, and then fire the clay. Bisquefire according to the kiln instructions, using the appropriate temperature for your clay.
10. Rub the finished bowl one last time with oil or wax to bring out the kiln-produced colors (oil is easier).
11. Display all students' bowls.

Assessment:

1. Using Kerry Moosman’s #4 untitled as a focal point, did students look at, describe, discuss, and compare ceramic bowls that are made for decorative and functional purposes throughout history?
2. Did each student create a small, three-dimensional clay bowl using water-based clay? Did they consciously incorporate burnishing as their final surface treatment?

Optional Questions:

1. What is the difference between clay bowls made for decoration and those made for functional purposes?
2. Did each student create a small, three-dimensional clay bowl? Did they consciously incorporate burnishing to make a smooth, glossy surface texture?
3. Study the final, three-dimensional clay bowl. How successful is the original shape? The burnishing?

Extensions:

Create a burnished or leathered look on bisqueware by applying paste wax shoe polish and then rubbing to a sheen with a rag or soft cloth. Hint: use an old toothbrush to get the wax onto textured areas.

Produce an "authentically old" or stained look by heating waxed bisqueware for a short time. (This can be done in a home oven.) The wax will melt into the clay body, leaving a matte finish; however, the piece will lose its "sheen" or burnished look.

Extend this lesson by having students deliver brief reports on the techniques they used and those used by various pottery-making cultures. Students may also participate in group critiques using the visual art terminology learned in this lesson.

Sources:

Print:

• Nigrosh, L.I. Claywork. Worcester, MA: Davis Publishing Company, 1975.
• Speight, J.C.F. and J. Toki. Make it in Clay. Mountain View, CA: Mayfield-Publishing Company, 1997.

Authors:

• Boise St. University/ARTSEDGE
  Washington, DC