Cutting Wire
This is used to cut the clay cleanly and evenly. Buy a wire from a clay-supply store or make one yourself. Use piano wire, fish line, or guitar string, and attach the ends to thread spools, heavy nuts, or sticks. This wire should be about one-foot in length.

Pin Tools
Pin tools are used when attaching or cutting the clay. Straightened-out paper clips, forks, or toothpicks will work when in a pinch, but real pin tools work the best. Look in the science section of the supply catalog and order dissecting tools. These are the same as clay pin tools but are much cheaper. After years of working in classrooms with paper clips for pin tools, having them get lost in the clay, and basically having a hard time handling them,
I recommend buying a set of real pin tools.

Scoring and Scratching
Rough up the two connecting parts of clay with the pin tool, adding water and pushing the two pieces together.

Slip
When scoring the clay, little bits of clay stick above the surface. When adding water to the scored area, the little bits of clay become saturated with water (slip).

Slab
Flattened clay.

Bisque
Unglazed ceramic ware that has been fired to a low temperature to remove all moisture from the clay body and to make handling easier during glazing.

Firing
Heating the pottery in a kiln to bring a clay or glaze to maturity.

Glaze
Any vitreous coating that has been melted onto a clay surface by the use of heat. Glaze is made of fine ground materials that when fired to a certain temperature fuse into a glassy coating. Glazes may be matte or glossy depending on their components.

Greenware
Unfired pottery or sculpture.

Leather hard
The condition of the clay body when much of the moisture has evaporated and shrinkage has just ended, but the clay is not totally dry.

Kiln
A furnace or oven built of heat-resistant materials for firing pottery or sculpture, sometimes referred to as a "kil."

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Glazing

1. On textured surfaces
   • Using colored glaze, paint one coat and wipe off the top surface.
   • Color will stay in the texture.
   • Paint a clear glaze over the colored texture. This will show off the textured area.

2. Always keep glaze off the bottom of projects. If unsure about the glaze, always stilt the piece. If a project sticks to the shelf you will have to break it to remove it.

Alternative glazing

1. Again, all projects must be bisque fired, but they don't need a second firing.

2. Use acrylics or tempera paints instead of glazes.
   • Paint and wipe off in textured areas.
   • Create washes by watering down paints.
   • Seal the piece with a clear sealer. Spray or paint.
   • Do not fire the painted pieces. They are complete and kids can take them home.

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• Kilns may vary, but firing instrctions will be similar.
• Plan to fire kiln during school hours--never when building is unattended.
• For safety, check to see that nothing is within at least three feet of the kiln.
• Always keep one (top) kiln plug out.
• Tops of shelves should have a coat of kiln wash. A shelf should be on the floor of kiln for protection of kiln.

Clay Sequence:

• After making clay pieces, allow to dry thoroughly (usually two weeks).
• Then Bisque fire.
• Glaze pieces (if desired) and Glaze fire (no waiting). Never try to fire glazed pieces without Bisque firing first. Doing so could destroy the very expensive kiln.
• Day of Firing: Arrive early so you have enough time to carefully load the kiln (takes about half hour). It's good to get the kiln started by 8:30. If you forget to turn the kiln up at the proper time, you will end up staying late. It takes around 6-8 hours to fire.

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Be sure clay pieces are DRY before attempting to fire. Moisture will cause pieces to explode. Kiln can be packed the day before firing. Steps 4 and 7 should be done the morning of firing.

1. Set pyrometric cone use 07 in holder and adjust shut-off lever in place.

2. Set automatic shut-off timer (to 8 hours for bisque). Some older kilns do not have automatic shutoff.

3. Load kiln. Clay pieces can touch, but they are fragile at this stage. Take caution in stacking.

4. *Begin Firing Sequence. Turn power switch ON.

5. Turn ALL zone switches to LOW (and leave on low for two hours).

6. Close lid, but leave it propped open a bit with one fire brick or kiln post.
7. *Push in "START" button.

8. Turn on exhaust fan if you have one.

9. After 2 hours, turn all zone switches to MEDIUM and remove fire brick using safety gloves.

10. After 2 more hours, turn all zone switches to HIGH for remainder of firing cycle. When clay pieces have reached proper temperature, the cone will sag, which will turn OFF the kiln.

11. LET KILN COOL OVERNIGHT.

12. In the morning, prop lid ajar to allow kiln to cool slowly. Turn all zone switches and POWER to OFF. When clay pieces can be handled with bare hands, unload the kiln. Sudden opening of the lid right after firing will cause projects to crack or explode and also cause kiln damage. Allow at least 12 hours for cooling the kiln.

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The kiln shelves should be treated with kiln wash before loading on glazed pieces. This needs to be done once each year and touched up as needed. Kiln can be packed the day before firing. Steps 4 and 6 should be done the morning of firing.

1. Set Pyrometric cone in holder (use 05), and adjust shut-off lever in place.

2. Set automatic shut-off to 8 hours.

3. LOAD KILN...GLAZED PIECES CANNOT TOUCH. Check to see that there is NO glaze on BOTTOMS of pieces. Use stilts for extra assurance. See below...

4. Turn power switch ON.

5. Turn all zone switches to LOW with LID CLOSED, and leave on LOW for 2 hours.

6. Push in "START" button.

7. Turn on exhaust fan (if you have one at your school).

8. After 2 hours, turn all your switches to MEDIUM. Leave lid closed.

9. After 2 more hours, turn all zone switches to HIGH for remainder of the firing cycle. When clay pieces have reached proper temperature, the cone will sag, which will turn OFF the kiln.

10. LET KILN COOL OVERNIGHT. Prop lid the next morning and allow gradual cooling.

11. Turn all zone switches and POWER to OFF.

Note: When using red and orange glazes, getting true color is less reliable. However the following steps may help.

1. Apply three good coats of glaze, or four if the student is a light glazer.
2. Group reds together and oranges together at bottom of kiln.