INDEX

I. INTRODUCTION1
II. OBJECTIVES4
III. THEORETICAL FRAMEWORK4
III.1 CONCEPTS5
III.2 GENERALITIES5
IV. EXPERIMENTAL DESCRIPTION4
IV.1 MATERIALS4
IV.2 PROCEDURE4
V. CONCLUSION1
VI. RECOMMENDATION1

VII. BIBLIOGRAPHY1
VIII. ANNEXES1

1
I. INTRODUCTION
In this work we will talk about the research carried out on the ceramic production
process of the artisans of the Tarica district, it informs us of general points of the
Crafts such as the concept, the characteristics, the most used techniques, among
others. Likewise, we value the importance of valuing Peruvian craftsmanship,
which is essential for anyone who considers themselves a child of this country since
it is part of their identity. In addition, these products are unique in the world.
Likewise, artisanal production gives people who are in poverty the opportunity to
access new economies that allow them to improve their income and consequently
improve their quality of life. Peru is therefore a mixture of diverse ancestral
cultures that are passed down from generation to generation, which is why different
customs are preserved that influence the way of making artisanal products, which
are recognized nationally and internationally.

II. GOALS

General objectives:
 Knowing clay, the materials and techniques associated with it.
 Gradually develop manipulative skills.
 Using ceramics as a medium to create images, communicate ideas and give
vent to emotions and inventiveness.
Specific objectives:
 Exercise your imagination without fear.
 Assess the importance of spatial/temporal organization when carrying out the
different practices. Task planning in the creative process.
 Develop collaboration and teamwork with a mature and supportive attitude.
 Always show respect for the work of others.

III. THEORETICAL FRAMEWORK

III.1 CONCEPTS:
III.1.1 CRAFT
The Institute of Anthropology defines crafts as "An object produced
predominantlyhttps://www.monografias.com/trabajos13/mapro/mapro.shtml
manually with or without the aid of tools and
machineshttps://www.monografias.com/trabajos6/auti/auti.shtmlhttps://
www.monografias.com/trabajos11/contrest/contrest.shtml, generally using local raw
materials and transformation and manufacturing processes transmitted from
generation to generation, with the variations inherent to the individual creation of the
artisan. It is a representative expression of their culture and a factor in the
community's identity." Craftsmanship in common parlance is the practice of
producing objects. These can be functional or decorative, made partially or entirely
by hand with a contribution of manual and artistic skill.

2
 Crafts occupy a prominent place within the visual arts because they form, in most
cases, pieces of stylistic and formal beauty. For this reason, they have been called by
many, https://www.monografias.com/Arte_y_Cultura/index.shtmlpopular art.
In general, crafts include a series of activities that are especially
manualhttps://www.monografias.com/trabajos6/maca/maca.shtml and creative in
nature and involve the manufacture of objects for domestic use on which the personal
stamp of the author has been imprinted.
For this reason, no two pieces are exactly the same. Learning these activities is
passed down within the home from generation to generation.
Crafts, at first, had a utilitarian purpose. Now their goal is to produce aesthetically
pleasing objects. Making crafts can also serve as occupational therapy: sick people
find a way to express their feelings and disabled people can distract themselves and
occupy their time.
Characteristics of Artisanal Production:
 Manual, home-made production for family
consumptionhttps://www.monografias.com/trabajos35/consumo-inversion/
consumo-inversion.shtml or the sale of a restricted good.
 The user, the artisan, the merchant and the transport are grouped together in the
same place.
 The artisan makes the products entirely by hand, personally selecting the raw
materials, giving them their own style and personality.
 It requires a highly specialized
https://www.monografias.com/trabajos12/eleynewt/eleynewt.shtmlworkforce in the
design of https://www.monografias.com/trabajos6/diop/diop.shtmlmanufacturing
operationshttps://www.monografias.com/trabajos14/manufact-esbelta/manufact-
esbelta.shtml,
 especially for the final assembly of the product.
 They have https://www.monografias.com/trabajos6/napro/napro.shtmla
decentralized organization in the same city. Each artisan specializes in one
component of the product.
 The volume of production is generally small. (NEWS, 2005)

III.1.2 CERAMICS
It is the art of making vases and other objects from clay or other ceramic material
by the action of heat, that is, fired at a temperature higher than 400 or 500 degrees.
The result is a diverse variety of pieces or objects made of terracotta or pottery "of
rough, earthenware and the set of porcelains. In addition to naming the technique
and its activity, it also gives a name to the set of objects and production.
Its initial use was the manufacture of containers used to hold food or drinks. Later
it was used to model figurines of possible symbolic, magical, religious or funerary
nature. It was also used as a construction material in the form of brick, tile, or
paving slabs, forming walls or covering walls. The glazing technique increased its
sumptuous appeal and architectural use.

3
A) TYPES OF CLAY
The raw material for this activity is clay and for the different uses that are given there
is also a variety of types.
 BRICK CLAY
It contains many impurities. When cooked, it has yellowish or reddish tones,
depending on the amount of iron oxide involved in its composition. It is used in
utilitarian ceramics (pots, jugs, etc.) Firing temperature: 850-1,000º
 POTTER'S CLAY
Also called red clay and used in pottery and for modeling. When cooked, it will have
a light, reddish or brown color. Due to the great fineness that can be achieved with a
good finish, it is used unglazed for decoration. It is also ideal for the lathe. Cooking
temperature: 900-1,050º. Above these degrees it is deformed.
 STONEWARE CLAY
It is a clay with a high feldspar content. When cooked, it has great plasticity and
minimal absorption, presenting light, grey or cream tones. It is used on the lathe for
high temperature enamels. Cooking temperature: over 1,000º.
 “BALL CLAY” OR BALL CLAYS
Due to the large amount of organic matter it contains, when raw it has a dark or grey
colour, which becomes clear when cooked. It belongs to the group of fatty clays, and
given its great contraction capacity, it is not used alone. It is ideal for hand modeling.

B) TYPES OF CERAMICS
Ceramic materials come from clays subjected to different processes:
 Ordinary ceramics: used at room temperature.
Ordinary ceramics are classified according to their appearance into four types
 Porous ceramics: they have coarse-grained, rough, permeable clays that absorb
moisture (bricks, tiles, etc.).
 Semi-compact ceramics: they have fine-grained clay, are not very permeable and do
not absorb moisture.
 Compact ceramics: they have a microcrystalline structure, are impermeable (fine
tiles, porcelain), smooth and do not absorb moisture.
 Tough ceramics: withstand high stresses and high temperatures.
 Refractory ceramic: used at high temperatures. Its fundamental components are:
silica, alumina (which gives it its color and specific appearance) and some metallic
oxides.

c) TYPES OF MODELING:
 Simple modeling: the clay or ball of dough is manipulated by hand until it is shaped.
It has to be moist and consistent. A homogeneous mass is made by folding it several
times and beating it, holding it with one fist and patting it vigorously with the other
hand to thin the walls.
 Modeling by bands or curls: bands or rings are modeled that overlap in an ellipsoidal
manner. Afterwards, it is given a more refined external clay bath and these bands are
hidden. But sometimes when they fracture you can see that this technique has been

4
 practiced. It is normal for the bottom to be thicker than the lip or mouth. It is used
mainly for large vessels in the Neolithic, Chalcolithic and Bronze Age.
 Composite modelling: two independent prefabricated bodies (upper and lower part of
the vessel) are modelled and assembled.
 Modeling using a mold: this mold can be a basket, a leather bag, a gourd, etc. It
mainly occurs in the Chalcolithic and Late Bronze Age.

4.1.1 KAOLIN
It is the purest (primary) clay and when washed it produces very white pastes. Not very
plastic and very refractory, it is never used alone but mixed with other clays. Due to its
whiteness, it is the base of porcelain. Firing temperature: between 1,250º and 1,450º,
depending on whether the porcelain is soft or hard.

4.1.2 REFRACTORY CLAY

Very resistant to temperature, it melts above 1,500º, which is why it is used to make
bricks for refractory ovens and to model murals. This clay has many impurities, so
when applied to murals mixed with chamotte (the same clay ground and fired) it
produces different and interesting textures.

4.1.3 BENTONITE
Clay derived from volcanic ash, it is very plastic because its molecules are very small. It
is used mixed in earthenware or porcelain pastes and its proportion should not exceed
3%, since the large amount of iron it contains and its high concentration would cause
cracks in the pieces.

4.1.4 ARTISAN CERAMICS:

The artisan ceramist, regardless of the manufacturing or working means he uses, usually
simple ones such as the potter's wheel, the kiln for firing and his own hands as tools,
moulds the pieces one by one, making them unique and unrepeatable creations.
(SHIMADA, 1994)

4.1.5 CERAMICS IN (TARICA) ANCASH

Ceramics is one of the most widespread activities in Peru. Ceramics have a very
extensive marketing circuit in the markets of Huaraz, Ancash and a network of craft
centres and fairs held in Lima. Craftsmanship in Ceramics sewn so that it does not break
so easily that many Artisans learned from their ancestors who are still very much in
mind.
Below the snow-capped mountains Tocllaraju, Urus, and Ishinca and a half-hour drive
from the city of Huaraz, the highway becomes an artisanal epicenter. The Taricá district,
one of the twelve in the province, has a long tradition of men and women who master
clay and ceramics to create utensils, ornaments with Chavín motifs and characters from
the area (the baker, the miner or the mountaineer). Some tours heading to Yungay,
Carhuaz or Chacas include it in the itinerary. Small (10 cm) and large (more than two
meters) works can be purchased.

5
  MARIO QUISPE'S WORKSHOP
Mario Quispe is from Ayacucho, but he has adopted the essence of the Huaracina
culture very well. So much so that he created his own style: impressionist ceramics with
characters from the area. He has a two-story house where he exhibits and displays his
art: you can see him live working on his pottery wheel. People in the area call him 'The
Master'. Huaraz - Caraz Highway, km 16.

 CHAVIN HANDICRAFTS
It is known that the culture that dominated the area in the past was the Chavín and in
this workshop that is shown in its maximum expression. The works are made of plaster
and tell the identity of that pre-Columbian culture: the nailed heads and the monolithic
lances, among other elements. Huaraz-Caraz Highway, km 16. 9991-7456.

 RODRIGUEZ HANDICRAFTS
Mrs. Aydee Obregón, heir to her father's art, takes orders of all kinds: from hearts for
decoration with popular symbols (football, for example) to cultural pieces. The baby
Jesus that is produced is well known. Even the workshop exports. Huaraz-Caraz
Highway, km 16. 9540-09425.

 ALPAMAYO HANDICRAFTS
Of the nearly twenty places where you can buy handicrafts, this is one of the newest.
The fact that it bears the name of a snow-capped mountain is no coincidence: the works
on offer refer to the nature of the area. Huaraz-Caraz Highway, km 16. 9934-38684.

III.2 GENERALITIES

INTERNATIONAL BACKGROUND

STUDY OF THE USE OF CLAY MINERALS FROM ECUADOR IN THE

PREPARATION OF SLIPS FOR USE IN THE ARTISAN CERAMICS
SECTOR.Fuente especificada no válida.

In the present study, the use of clay minerals from Ecuador in the formulation of
ceramic slips for use in the artisanal ceramic sector was evaluated. The selected clay
minerals were subjected to chemical and mineralogical characterization, as well as
technological control by attributes and variables. The formulation of slips was based on
a Simplex-Centroid mixture design, which determined the proportions of each mineral
in the formulations. These were prepared by wet grinding under controlled rheological
conditions. Ceramic pieces were made from the slips obtained, which were dried at 110
°C and fired between 900 °C and 1,100 °C. Subsequently, the water absorption, porosity
and flexural strength of the pieces were evaluated. On this basis, it was determined that
water absorption is directly related to porosity and mechanical resistance to bending
improves with increasing cooking temperature. Finally, the research made it possible to
6
determine that ceramic slips can be produced from which pieces with low water
absorption (≈ 12%), low porosity (≈ 10%) and high flexural strength (≈ 240 kg/cm2) at
1 100 °C can be obtained.

MINERALOGICAL AND CHEMICAL COMPOSITION OF CLAYS USED FOR

RED CERAMICS IN THE AREAS OF MEDELLÍN, ITAGÜÍ AND AMAGÁ.
Through a systematic study, the clayey materials from the Amagá Formation (Ts) and
the Alta Vista Stock (Itagüí and Medellín) in the Department of Antioquia (Colombia)
were characterized. This made it possible to identify the areas with the best quality for
the supply of raw materials for the red ceramic industry in its area of influence. For each
area, the geological characteristics are described, and the chemical and mineralogical
composition is determined; in addition, specific tests were developed to establish the
ceramic suitability of these natural resources. The samples have alkali contents greater
than 0.2%, which could lower the quality of the finished products.

EVALUATION OF THE PHYSICAL-MECHANICAL PROPERTIES OF

HANDMADE AND MACHINED CERAMIC TILES MANUFACTURED IN
PIÑIPAMPA – CUSCO, 2017, ACCORDING TO PARAMETERS OF THE NTE
INEN STANDARDS.

The objective of this research work was to evaluate and determine the magnitudes of the
physical-mechanical properties of ceramic tiles manufactured using traditional
processes in the town of Piñipampa - Cusco, using the Ecuadorian NTE INEN standards
in the absence of a national technical standard that controls and regulates the quality of
ceramic tiles produced in Peru. Ceramic tiles are one of the most commonly used roof
finishing construction materials in the Cusco region. For the development of this
research, we began with a basic information gathering of the traditional production
process, through the application of a survey - interview to the direct producers of 41 tile
producing units in Piñipampa, then sample units were collected from the batches of
ceramic tiles produced in November 2018 to carry out tests of dimensional variability,
water absorption and bending resistance, as well as granulometric analysis tests and
consistency limits of the raw materials used in the manufacture of ceramic tiles.
According to the results it was determined: the magnitude of water absorption for the
handmade ceramic tiles is 15.4%, and for the machined ceramic tiles it is 13.1%; the
magnitude of the flexural strength for the handmade ceramic tiles is 131.3 Kg, and for
the machined ceramic tile is 156.4 Kg; the dimensions of the handmade ceramic tile are:
length 41.97 cm, largest width 18.50 cm, smallest width 15.68 cm, largest deflection
4.22 cm, smallest deflection 3.65 cm, thickness 1.09 cm; and for the machined ceramic
tile they are: length 42.28 cm, largest width 18.43 cm, smallest width 15.65 cm, largest
deflection 4.25 cm, smallest deflection 3.41 cm, thickness 1.05 cm. Partially proving the
hypothesis raised in the thesis. Ceramic tiles manufactured using traditional processes in
the town of Piñipampa partially meet the conditions and requirements established by
NTE INEN standards. Being the machined ceramic tiles of better quality than their

7
similar handmade ceramic tiles. This research work may represent a reference for the
development of a future Peruvian technical standard for ceramic tiles. (ORTON, 2017)

CHARACTERIZATION OF CLAYS USED IN CERAMIC PASTE FOR THE

PRODUCTION OF BRICKS IN THE OCAÑA AREA, NORTH OF
SANTANDER.

The objective of this work is to carry out the physical characterization by hydrometry of
the clays used in one of the companies dedicated to the manufacture of H-10 blocks in
Ocaña, Norte de Santander. Methodology: The development of the research was carried
out by performing physical tests on the clay samples with which the percentages of
sand, silt and clay were determined; which were located in the Winkler diagram to
identify the types of existing clays according to their texture and the type of product that
can be manufactured in order to formulate a ceramic material paste. The results obtained
show that the clays currently used by the company are within the minimum levels for
the production of blocks, so the addition of other clays is proposed to achieve the
appropriate level of quality that meets the requirements established by current
regulations in force. It is essential to characterize the clays to optimize the production
pastes and avoid imperfections in the final product (Block H-10) which will obviously
improve the environmental and economic resources of the company. (RAMOS, 2000)

THERMAL, CHEMICAL AND MINERALOGICAL CHARACTERIZATION

OF A TYPE OF RED CLAY FROM THE ANDEAN REGION OF COLOMBIA,
USED FOR THE PRODUCTION OF CONSTRUCTION BRICKS.

A sample of red clay from the Supía sector (Caldas, Colombia) was studied; its
chemical composition and crystalline phases were determined; in addition to the particle
size distribution and thermal analysis, the density and Atterberg limits were also
determined; finally, the physical properties of the samples, such as color, apparent
porosity and specific density, were evaluated in test tubes heat-treated at 1050° C. X-ray
diffraction analysis allowed the identification of the crystalline phases associated with
the clay sample, finding mineral phases characteristic of this type of materials. X-ray
fluorescence analysis showed elemental chemical percentages consistent with X-ray
diffraction analysis. On the other hand, the color coordinates present appropriate values
for the desired application. The results found allow us to conclude that it is an inorganic
clay of medium plasticity, and that it is possible to apply this type of red clay as a raw
material for the manufacture of commercial bricks. (León, 2006)

CHARACTERIZATION OF CLAYS AND PREPARATION OF CERAMIC

PASTES FOR THE MANUFACTURE OF TILES AND BRICKS IN THE
BARICHARA REGION, SANTANDERFuente especificada no válida.

The objective of this work was to characterize chemically, mineralogically,

granulometrically, plastically and thermally three clays, called "Cascajo" (C), "Roja"

8
 (R) and "Amarilla" (A), from Barichara, Santander. As well as obtaining ceramic pastes
suitable for the manufacture of bricks and tiles. For this purpose, ceramic test tubes
were manufactured by pressing, which were sintered at 1050ºC and subsequently
physically and mechanically characterized. The results showed that the "Red" clay
paste, with a water content between 24 and 38%, is the most suitable for the
manufacture of tiles, since ceramics have low water absorption (8.2%) and high
modulus of rupture (9.3 MPa). To obtain bricks, a paste with a mixture of 55% "Gravel"
and 45% "Yellow" clays is recommended, with a water content between 23 and 32%,
obtaining ceramics with water absorption less than 15% and a modulus of rupture
greater than 5 MPa.

IV. EXPERIMENTAL DESCRIPTION:

IV.1 MATERIALS

1. THE CLAY:
Earthy texture and very fine granules with mostly
alumina and silica minerals. Coloration varies. It was
formed by the decomposition of siliceous rocks and
feldspars, over millions of years, by the action of water
(rain and currents), sedimentation, erosion, organic
matter, chemical changes in the soil and temperature,
among others.
Wet clay or paste hardens when in contact with air, and
loses volume when it dries. Clay shrinks in two stages:
during drying, where the most significant and noticeable
shrinkage occurs; and in a second stage during the first
firing (called bisque firing). The pieces are considered
to be completely dry until they are inside the oven at a
temperature of 100°C.
2. KAOLIN (china clay)
It is a primary clay that is used as the main component
in the manufacture of porcelain pastes and has the same
formula as clay. The grain size of this type of clay is
large and coarse, making it a non-plastic material. It is
white before and after cooking. This type of clay has a
low content of mineral impurities such as iron, and the
silica and alumina content is very high, producing high
thermal resistance. It melts at around 1800°C.

9
3. VARNISH
It is the liquid and transparent substance, of resinous
composition, used to cover surfaces with a shiny and
protective film.1 More specifically, in pottery and
ceramics, varnish is called the colloidal suspension that
is applied, generally in a raw state, on the surface of the
pieces being made, and that once cooked will give them
a characteristic shine and will serve as a waterproofing.

4. TURNER
Potter's wheel or potter's wheel are the most popular
names given to different types of rotating devices used
by clay artisans to create a piece or vessel from a ball of
clay or ceramic paste.

5. OVEN
They are structures or factories of varying complexity,
size and appearance, intended for firing clay pieces. The
traditional model is a vaulted roof enclosure fitted with
a chimney and one or more openings for loading fuel,
usually firewood, and the objects to be cooked.

The function of the kiln, the firing or baking of ceramic

material, is one of the fundamental steps in the pottery
process, the one with the greatest magical meaning and
the most decisive in obtaining the final product.

4.2 PROCEDURE:

1. Firstly, the raw clay is brought from a farm, called a mine by the locals, since it is
there where, when they start digging, they find this material with different remains such
as straw, stones and grass. The soil must be at least 90% dry, this is soaked in holes
divided into two parts, located far from the site since a fairly large space is needed to
conserve it, before extracting the wet soil from these holes with the help of a fairly large
trowel it has to be stirred in a circular shape, this helps to better mix to obtain the clay

10
soil. After this process, using large mesh screens, the material is sifted to separate the
straw, stones and grass for disposal. Which results in a fairly fine clay. To maintain this,
it is left to soak all day. At the end of the day, the clay changes from a liquid state to an
almost solid or thick, condensed but humid state. This clay, almost ready for use, is
taken to special bricks where it is left to dry and helps it dry faster.

2. First, the clay is kneaded so that the moisture and other particles are evenly
distributed and to remove any air bubbles inside. Ready to start working with the
material, it is taken to the workshop where as a first step a small portion of clay begins
to be kneaded, mixing two types of clay, one red which is to give it the typical color of
the clay and the other is white clay which helps the product to have more plasticity
since, according to the belief of the inhabitants, some clays are afraid of the sun or the
air and crack when exposed to them, that is to say the different types of earth, in this
case clay due to its components can be affected when exposed to different types of
natural phenomena. To prevent this from happening and to create a strong and resistant
material, the clay is analyzed according to its exposure.

3. We continue with the process of the pedal wheel, it is taken to the wheel to be able to
begin with the molding and the skill of the potter's hands, on the wheel that is moved by
the foot while the ceramist works, it facilitates manual work, since it acts as a rotating

11
table to have a surface that is smoothed with the same moistened hand. Water is used to
maintain the plasticity of the clay during modeling, without cracks appearing. This is
undoubtedly one of the most difficult processes that requires a lot of skill.

4. Once the molding is finished, in our case a jug was made, so a spout and also a
handle are molded on it, which is not yet attached since it is in the leather state, which is
where the piece is left out in the air until it dries and hardens enough. Once this stage is
finished, the returning stage begins, which is when the different types of extra details
are added to the molding.

5. Drying process, here it is left to dry in the sun and then burned with wood at a
temperature of approximately 900° in the first burning, for the second burning, imported
white enamels are used, which come in powder form and are mixed with water to bathe
the object inside. It is then taken to an electric oven at 1000° where it loses its chemical
moisture and acquires greater strength and sonority.

12
6. Finally, the decoration is manual, using molds using transparent varnish or oak
varnish, which gives it a bright, dark natural brown color.

V. CONCLUSION
 Culture is the models or patterns, explicit or implicit, through which a society
regulates the behavior of the people who make it up. With customs, practices,
codes, norms and rules of the way of being, dress, ritual religion, behavioral and
educational standards.
 Tarica ceramics are made by hand without any mixture of chemical materials,
which is the most recommended and healthy. Likewise, the different vessels
made have their different decorations and symbols.

13
VI. RECOMMENDATION
 May all men recover and practice the artisanal knowledge that is disappearing.
 Let education in our country incorporate the ancestral knowledge of ceramics.
For teaching new generations.
 Teachers should focus on and encourage children and youth to cultivate cultural
values, in order to avoid acculturation processes and thus maintain the values of
each indigenous culture.

VII. LITERATURE

 León, G. L. (14 de 04 de 2006). Obtenido de Monografías:

https://www.monografias.com/trabajos58/produccion-artesanal-peru/produccion-
artesanal-peru2.shtml

 NEWS, E. &. (2005). El gran cambio de la artesanía ha sido pasar de una artesanía
utilitaria a una artesanía más decorativa. . EuskoIkaskuntza/Sociedad de estudios
Vascos.

 ORTON, C. T. (2017). La cerámica en Arqueología. Barcelona: Editorial.

 RAMOS, D. M. (Mayo de 2000). Scribd. Obtenido de

https://es.slideshare.net/san1997/monografia-sovre-la-ceramica

 SHIMADA, I. (1994). Tecnología Y Organización de la Producción de Cerámica

Prehispánica en Los Andes. Lima: Editorial de la Pontificia Universidad.

VIII. ANNEXES

Preparing the ceramics on the wheel

14
Ceramics on display

15
Various products with clay

16