Pottery Casting Internship Log

Internship Period: XX/XX/20XX — XX/XX/20XX

Internship Location: School Pottery Training Workshop

Internship Purposes

Systematically learn the basic theories and practical techniques of pottery casting, master core technological processes including clay treatment, shape modeling, mold making, firing and polishing, and get familiar with the technological principles and creative logic of traditional pottery casting. Improve manual dexterity and spatial modeling ability through hands-on practice, appreciate the charm of traditional handicrafts, and develop a rigorous and meticulous craftsman spirit. Combined with modern craftsmanship, enhance the basic capabilities of pottery creation and process improvement, and accumulate valuable practical experience for arts and crafts study.

The one-week pottery casting training has come to a successful conclusion. Throughout the internship, I participated in the complete production process of pottery casting from raw materials to finished products, which completely changed my superficial understanding of pottery making. Previously, I simply regarded pottery as basic pinching modeling. In fact, pottery casting is a comprehensive handcraft integrating material science, plastic arts and process technology. Every working procedure has strict standards and skills allowing no carelessness at all. Through theoretical study, guidance from professional teachers, independent operation and problem rectification, I have proficiently mastered basic pottery casting techniques, and deeply understood the pursuit of excellence embodied in traditional handicrafts, gaining abundant rewards.

At the initial stage of the internship, teachers first arranged theoretical courses and tool recognition training. During classroom lectures, we systematically learned the development history, main categories, clay properties and safe operation specifications of pottery casting. Different from ordinary hand pinching molding, pottery casting lays more emphasis on standardized processes such as mold forming, slip casting and high-temperature firing. It is suitable for mass production of pottery works with regular structures and smooth lines, widely applied in daily ceramics and craft ornaments. Meanwhile, we got to know all training tools and equipment one by one, including clay kneaders, plaster molds, slip pouring pots, trimming knives, scrapers, high-temperature electric kilns and polishing machines. We carefully learned operation taboos of each device, focusing on mastering safe operating procedures for temperature rise, heat preservation and cooling of electric kilns to eliminate potential safety hazards during high-temperature operations.

After finishing theoretical study, we officially started practical training. The first working procedure was clay treatment, the foundation of pottery casting that directly determines the quality and texture of finished products. Teachers explained that high-quality clay should be fine and free of particles, uniform in humidity and strong in plasticity; otherwise, finished products are prone to cracking, bubbling and deformation. I first screened the purchased pottery clay to remove gravel and impurities, then repeatedly kneaded and pugged the clay. At the very beginning, I adopted stiff gestures with uneven kneading force, leaving a large amount of air trapped inside the clay. Under teachers' instruction, I mastered the cross kneading method. By repeated folding, pressing and rubbing, air bubbles inside the clay were gradually expelled. After numerous practices, I became skilled at this technique, and the treated clay was compact, delicate and soft, meeting the standard for casting production.

With clay preparation completed, the core part of this training — mold slip casting was carried out. Prefabricated plaster molds were used in the training. Plaster molds feature good air permeability and moderate water absorption, making them the most commonly used mold material for pottery casting. Before operation, I cleaned and fully dried the molds to prevent residual impurities from affecting the flatness of finished pieces. Then I assembled and fixed the molds, clamping the gaps with buckles to avoid slurry leakage during pouring. Next, I prepared ceramic slip according to the proportion and strictly controlled its consistency. Excessively thick slip easily causes uneven thickness of blanks, while overly thin slip results in loose forming and incomplete blanks.

After preparing the slip, I poured it slowly and evenly into the molds. Fast pouring would generate excessive air bubbles. After filling the molds, I let them stand for ten minutes. Relying on the water absorption of plaster molds, an even layer of clay blank adhered to the inner wall. Afterwards, I poured out the redundant slip and left the molds to stand and dry again for preliminary shaping of blanks. This procedure required extreme patience and precise control. During my first attempt, improper standing time led to uneven thickness at the bottom and bumpy edges after demolding. After observing teachers' operating rhythm repeatedly and recording key parameters such as standing duration and pouring speed, I adjusted my operations many times and finally produced neatly shaped blanks with uniform wall thickness.

After preliminary blank forming, the processes of blank trimming and air drying followed. The semi-dry state is the optimal time for trimming, when blanks have certain hardness while remaining easy to trim and shape. I used trimming knives, scrapers and other tools to carefully smooth rough edges, air holes and uneven parts, polish assembly gaps, and refine lines and contours to make the overall shape more smooth and aesthetic. Trimmed blanks cannot be fired directly; they need to be naturally air-dried in a well-ventilated and cool place instead of being exposed to direct sunlight. Rapid water evaporation under strong sunlight will easily cause cracking and deformation. Following teachers' requirements, I placed the blanks to air-dry for three d

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