Northcote Pottery Practical Activity
PIERCED CERAMIC LIGHTS
Material:
WEB Handbuilding Earthenware or PS2000 Terracotta
Copper Carbonate and EG351 Clear Earthenware Gloss Glaze
Equipment:
Rolling Pin or Slab Roller
Cardboard Cylinder (poster tube)
Sheets of Newspaper
Wooden Modeling Tools
Sharp Pointed Knife
Hole Cutters of various sizes
Rubber Kidney
Forming Techniques: Slab building/Modeling (optional)/Pinch (optional)
Decorative Techniques: Carving, Oxide Wash Staining, Glazing (optional)
Step One: Cover the cardboard cylinder with 5
sheets of newspaper to allow easy removal of the
cardboard from the light at a later stage.
Step Two: Using a rolling pin or slab roller,
roll a slab of clay approximately 5-7mm thick
and large enough to go around the cylinder
(see template). Cut a rectangular piece of clay
to the template provided (or develop your own
templates for larger or small work). Roll enough
extra clay for a circular base (approximately 5cm
wider in diameter than the cardboard tube).
Step Three: Wrap the clay around the cardboard
cylinder and join the two ends together using the
scratch and slip method of joining. Apply slip to the
join area, scratch both of the joining surfaces with
a sharp knife, press firmly together and then smooth
the join with your fingers, a modeling tool or rubber kidney.
Step Four: Apply slip to the bottom edge of the
clay cylinder and the outside edge of the base
slab, scratch these areas with your knife, then
press firmly together and smooth with a rubber
kidney or modeling tool.
Step Five: Remove the cardboard cylinder and newspaper,
and reinforce all joins on the inside with a coil of soft clay.
You may have to use a modeling tool to reach inside the shape.
Step Six: Let the clay cylinder stiffen to the
leather hard stage so it can then be handled
without distortion .(DO NOT LET IT DRY TOO MUCH!)
Hold your paper pattern design against the clay and
wth a pencil or pointed tool, outline the pattern onto
the firm clay.
WALL LIGHT
 Kerry Punton 2001
Step Seven: Using a sharp pointed knife, cut the
black larger sections of your design out of the
cylinder carefully. Scratch or shallow carve additional
detail onto the surface (but not through the wall) of
the slab cylinder. Lino carving tools are most useful for
this. Use various sized hole cutters to cut out regular
circular holes, or to create a starting hole for decorative
shapes.
Step Eight: When the piece is completely dry, paint
a copper carbonate and water wash into the low sections
of the carving. Lightly sponge off any excess copper
carbonate, or if the work is dry, dust it off with a
stiff brush. (Wear a particle mask if you are doing
this). The copper carbonate should stay in the recessed
areas. Do not apply too much wet copper mix to dry pots –
excess amounts of wetness will open up joins.
Step Nine: When fully dry, once-fire your pierced
ceramic light to 1100C – the copper carbonate will
turn sepia brown where lightest and metallic black
where strongest. Alternately, bisque fire the cylinder
to 1000C - 1100C, then apply clear gloss glaze and
fire to 1100C. The copper carbonate will give a rich
copper green colour.
Step Ten: Insert a chunky candle or tea light into
your finished work. A wire could be threaded through
the top edge of the light to hang it in an outdoor
setting or in trees etc.
BEWARE THE FIRE HAZZARD THAT UNATTENDED CANDLES CAN CREATE!
CUT OUT DESIGN INSPIRATION SOURCES: Mexican tin ware, geometric Islamic mosaic tiles,
Arts and Crafts textile designs, early American recycled tin Folk Art, African style dot images,
Op Art patterns etc
ADDITIONAL HANDBUILDING ACTIVITES:
Option 1 Make a lid for your light by using a pinch pot or press moulded pot as the base for
modeled features (Islamic dome designs, vegetable forms, character head, architectural form
etc). Add a pair of slabs inside the lid which will help locate it on the light, and also hold it in place
if the light is moved.
Option 2 Invert the light onto a footed platform made from modeled clay legs (3) onto an
additional larger slab. Cut additional holes into he top of the light (formerly the base) to create an
exotic design.
Option 3 Model dramatic handles onto your light which could be applied to either the sides or top
edge of the form. Remember to make the handles strong enough (thick enough) to carry the
weight of the light.
 Kerry Punton 2001