| When you're building up your ceramics
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| | you will need an assortment of heavy
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| workshop you're going to need a litany of
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| | rubber bands to hold together
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| tools including a wedging wire, wedging
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| | multi-pieced molds while casting
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| board and soft hair brushes for
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| | greenware. Cutting cross-sections out of
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| decorating your work. Though these tools
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| | old, discarded innertubes should supply
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| are important, there are other tools that
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| | you with more than enough.
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| will help you create wonderful ceramics
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| | Your studio should also have crocks or
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| including plaster bats and banding
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| | large glass jars for holding moist clay
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| wheels.
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| | and slip. The one-gallon jars used for
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| A plaster bat is much more desirable work
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| | packing pickles can be utilized for this
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| surface for beginners than an oilcloth.
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| | purpose.
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| It not only provides a sturdier support,
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| | A sieve is also among the much-used
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| but it also keeps objects moist while you
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| | workshop implements. The obvious use of
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| are working on them. Unglazed biscuit
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| | the sieve is to strain partially hardened
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| tiles, 4x4 and 6x6 inches, are adequate
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| | lumps and impurities from slip before
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| for most projects. They may be purchased
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| | pouring it into a mold.
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| from a ceramics supply house for a few
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| | Closely resembling the strainer is the
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| cents apiece.
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| | scratch-box, which is used for a much
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| The plaster bat is a porous platform on
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| | different purpose: to level the irregular
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| which you can work. By sprinkling it with
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| | edges of pottery. A scratch-box can be
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| water as you work, you can keep the piece
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| | quickly made by nailing together four
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| on which you're working in a moist,
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| | 18-inch boards to form a box. Across the
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| plastic state for a long period of time.
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| | top, tack down a sheet of grit cloth. By
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| By the same token, a bat can be used for
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| | holding a piece of greenware
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| the reverse purpose - to dry a piece of
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| | perpendicular to the cloth abrasive, and
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| clay, which is too moist for immediate
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| | carefully rubbing it across the surface,
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| work. The porous surface will extract
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| | you can even up the bottoms and tops of
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| excess moisture from the clay.
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| | pottery.
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| A whirler or banding wheel is also a
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| | If you want to get the most out of your
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| sound investment for the ceramist who has
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| | tools, you should take good care of them.
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| advanced far enough to furnish his own
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| | Keep them clean. Don't leave them soaking
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| studio. Primarily such a wheel is used
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| | in water but wipe them with a damp cloth
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| for decorating pottery. The top turns
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| | and then dry them thoroughly. Metal tools
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| freely and so makes it possible for you
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| | should periodically be wiped with an
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| to rotate your work constantly. By
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| | oil-soaked cloth to prevent rusting.
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| holding a paintbrush against the surface
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| | Plaster surfaces such as bats and wedging
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| as it spins, you can paint straight and
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| | boards should be kept dry and clean. When
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| even bands of color on such things as
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| | you are through with them, you should
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| vases and mugs. A whirler can also double
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| | wipe them dry with a damp sponge to
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| as a small potter's wheel for forming
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| | remove clay particles.
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| pottery pieces and small ceramic figures.
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| | All tools deserve good treatment and any
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| After you have reached the stage where
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| | ceramist worthy of the name has as much
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| you have made or acquired your own molds,
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| | respect for his tools as for the clay.
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