How to Do Ceramic Sculpture

Selecting Materials and Preparing

Select oven bake, air dry, or polymer clay if you don’t have a kiln. These three varieties of non-kiln fired clay can be somewhat expensive. If you don’t have kiln access, one of these three may be the ideal starter for you. Small sculptures and items like ornaments and figurines work well with these clays. Even though oven bake, air dry, and polymer clays don’t require a kiln, when dry they should have a very similar appearance and quality as standard, kiln-fired ceramics. You can find polymer clay in a wide array of bright colors. When dry, this kind of clay takes on a plastic quality.

Choose standard clay when hand-building your sculpture. In sculpture, the term “hand-building” refers to the use of hand-shaped coils, slabs, and balls of clay to create a design. These simple shapes are joined together and then manipulated with your fingers and tools to add fine details. Hand-building clay does require the use of a kiln. If you don’t have a kiln, you may need to contact a local university’s ceramics department or a ceramics studio and rent some kiln time. Most tools and supplies needed for hand-building are common household items. All you’ll need is a rolling pin, standard clay, and newspaper or a drop cloth.

Learn wheel throwing in a classroom setting. Wheel throwing requires the use of a pottery wheel and a kiln. Learning to wheel throw on your own is certainly possible, but because the process is so touch-oriented, learning from books or videos can be difficult. Many community centers, community colleges, and universities offer wheel throwing classes. Try a keyword search online for "wheel throwing classes near me." Wheel throwing will produce work much faster than non-kiln methods or hand-building. Because of this, you’ll likely want access to a large kiln.

Decide on a low-, mid-, or high-fire clay for kiln-fired clays. The temperature you fire your clay at will have a significant influence on the outcome of your sculpture’s appearance and quality. When determining a firing temperature, keep in mind: Low-fire is best for bright colors and pieces with fine details. Low-fire pieces should be used mostly for display, as they are generally more delicate and susceptible to chipping and water damage. Mid- and high-fire will produce sculptures that are strong and durable. Detailed designs may blur at these temps, but the heat can also cause neat speckling in the glaze.

Wear work clothes and lay out a surface cover. Sculpting clay is going to be messy, so you should dress in clothing you don’t mind getting stained. Fine clay particles may work deeply into fabric. Lay a tarp or a thick layer of newspaper on your work surface to prevent it from getting stained by the clay or the clay from getting contaminated. If you have long hair, tie it back. Clay dust tends to coat hair, and clay coated hair falling into your eyes may sting.

Choose your design. First-time sculptors may want to start with something simple. Animals, simple shapes (spheres, boxes), simple structures (like a tiny house), and small decorative pots are all great choices. Mystical creatures, like gargoyles and dragons, tend to work well as intermediate level sculpting challenges.

Sculpting

Knead the clay to remove air bubbles. Air bubbles occur naturally in clay, but if clay has these bubbles when fired in a kiln, it may crack or explode. Knead the clay by pressing the heel of your hand firmly into the clay and folding it back in on itself. Repeat this motion until all air bubbles are removed. Take your time and be thorough. To check the clay for air bubbles, use a piece of metal wire to cut your kneaded clay in half down the middle. Inspect the inside for bubbles. If you see none, your clay is ready to use. The amount of clay you use is a matter of preference. Most shapes can easily be modified by adjusting the amount of clay you use.

Create an indentation in a clay sphere. Separate a lump of clay about the size of your fist. Roll the clay between your palms until it smooths into a sphere. Cradle the sphere in the palm of one hand, and use the thumb of your other hand to press into the top of the sphere until it is halfway to the sphere bottom. Clay spheres are important shapes in clay sculpture. Spheres represent heads, small spheres can be used as feet, and spheres can be contoured to make textured 3D shapes, like a face.

Push out the walls of the sphere to make a pinch pot. Turn the sphere in your palm. As it turns, push the walls of the sphere up and out evenly by pinching your thumb to the fingers on the outside of the sphere. This will create a hollow area – the “pot” of the “pinch pot.” Pinch pots are a useful shape that can be modified in many ways. For example, with some detailing to make the outside look like stones, a gray pinch pot will look like a wishing well.

Create shapes and vessels with coils. Take a hefty chunk of clay and rub it back and forth between your hands. This motion should cause the clay to lengthen and thin. Stop rubbing the clay when the ropes are between ⁄4 to ⁄2 inch (0.6 to 1.3 cm) thick. Clay that is thicker or thinner may not survive being fired. Small segments of coils can be used to create detailed features on your sculpture. Simple eyebrows, for example, can be done with small segments of coils.

Pile coiled clay on top of itself in a circle to create a pot. This is an easy way to make a useful item with a unique appearance. Coils can be blended together to create a flat surface. Use your fingers or a tool, like a popsicle stick, to press the coils together until they merge, then smooth the surface.

Connect separate pieces with scoring and clay water. Take the example of a pyramid shape on top of a box to make a simple house sculpture. The two pieces won’t join together well if you force them with your fingers. To join separate pieces of clay together, where the clay is joined, it must: Be scored in a pattern similar to a hashtag (#). Scoring can be done with a popsicle stick, toothpick, bristle brush, your fingernail, or clay shaping tools. Be moist or at least leather hard. Before the two pieces are joined together, sprinkle the scored areas with a little water that has had a few small balls of clay dissolved in it.

Hollow out shapes and thin walls before firing clay. Clay that is thinner than ⁄4 inch (0.64 cm) or thicker than ⁄2 inch (1.3 cm) will likely crack or explode when being fired. Walls can be thinned with your fingers, but hollowing is a little trickier. To hollow: Create a small hole in the side of your sculpture with a tool, like a popsicle stick, toothpick, skewer, or utility knife. Remove clay from the hole until your tool is halfway deep in the sculpture. Remove clay from the inside of the sculpture with your tools. When removing large, solid hunks, use a knife or popsicle stick. For trimming, use a toothpick or skewer. Specialized ceramic trimming tools are ideal for hollowing. These are often angled to help you reach tricky spots and are sturdily made. Find these tools at hobby shops and art supply stores.

Keep works in progress from drying out. Works in progress should be kept in plastic bags or covered in plastic sheets to prevent the clay from drying out. You’ll also need to rehydrate the clay regularly with sponges dampened with water. Certain clay may dry faster than others. Red clay, for example, tends to dry slowly. Avoid oversaturating the clay with water. It should be pliant and supple, but not so wet it loses shape.

Firing and Glazing

Bisque fire your sculpture. The bisque fire sets the shape in preparation for the main firing. Different brands of clay will have unique compositions, so you should check the label information of the clay to learn the ideal firing temperature and conditions. If you no longer have the label, look up the clay’s information online. The kind of glaze you plan to apply could also influence the temperature you fire your kiln at. Many glazes recommend bisque firing to Cone 04 and then firing the glaze at Cone 06. Although the materials you use can influence the temperature you bisque fire at, generally Cone 06 through Cone 08 are the most common. There are many different kinds of kilns. Some are very simple, while others may be high tech. Always follow the kiln’s directions to prevent fires, damage, or broken pottery.

Read the label warnings of your glaze carefully. The two most common kinds of glazes come as a liquid and powder. Many glazes contain potentially dangerous particles and require you to wear gloves and a breathing mask. You can purchase glaze at many hobby shops and art supply stores. Glazing a sculpture is a bit of an art in itself. If you’re just getting started with glazing, ask a sales representative at a store which glaze would be best for your sculpture.

Use liquid glaze for a simple application. Liquid glaze generally goes on easily and with little hassle. Some liquid glazes may require an underglaze first. Paint the underglaze and glaze onto the surface of your sculpture according to the label directions of your glaze. When it dries, paint on the glaze. You may find that some glazes are difficult to apply smoothly with a brush. This can be a downside to liquid glaze. You might have to apply multiple layers of glaze to achieve your desired look.

Get an even coating with a dry glaze. Put on the breathing mask and mix the dry glaze according to its package directions in the bucket with water. Use tongs to dip your sculpture into the mixture or use a paintbrush to apply the mixture to the sculpture.

Apply glaze with a sponge. Sponges can be used to apply an even layer of glaze, or they can spread the glaze in interesting patterns. Some commercial sponges are even cut into shapes. Mixing several different shapes together can create fun designs. Sponges work well for applying liquid glaze or prepared dry glaze.

Fire the sculpture to get the finished product. Check the packaging or label of your glaze to determine the firing temperature for the glaze. Insert it into your kiln and wait until the kiln is done firing. When the kiln is safe to open, remove your sculpture and show off your hard work. Fire low-fire/earthenware sculptures with Cone 4 (1950°F/1100°C); mid-range glaze with Cone 6 (2192°F/1200°C); high-fire/stoneware with Cone 10 (2380°F/1300°C). The main difference between non-kiln sculpture and kiln-fired sculpture is the firing process. If you’re using non-kiln clay, skip the firing process and follow your clay’s drying instructions.