Clay Techniques for Awa

Overview

Lesson 11 of 20 in Mauri: Guardians of Awa. Students are introduced to basic clay techniques for creating texture and form, then practise making impressions from found objects. They consider how natural patterns and textures from the awa can inform their final artwork while working safely and respectfully with materials.

Learning intentions

• We are learning to use clay tools and hand-building techniques safely.
• We are learning to create varied textures and forms through impressions, modelling and joining.
• We are learning to observe natural objects and translate their qualities into clay.
• We are learning to make purposeful artistic choices connected to the mauri of the awa.

Success criteria

• I can prepare and handle clay so it remains workable.
• I can create at least three different textures using found objects and tools.
• I can make a stable clay form and join pieces securely.
• I can explain which texture or form could strengthen my final artwork and why.

Curriculum links

• Visual Arts — developing practical knowledge of art-making processes, techniques and selected materials.
• Visual Arts — developing ideas in response to observations, experiences and the significance of place.
• Visual Arts — communicating and interpreting ideas through visual and tactile artworks.
• The refreshed curriculum’s emphasis on creative thinking, purposeful making, reflection and respectful relationships with people, place and taonga.

Lesson structure (60 minutes)

1. 0–7 min · Connect and observe. Teacher welcomes students, revisits the unit concept of Mauri: Guardians of Awa, and displays close-up images of river stones, leaves, shells, bark and flowing water using the hook and natural texture images. Ask: “What might the awa communicate through its textures?” Students silently notice two textures, then share one observation with a partner.

2. 7–17 min · Demonstrate techniques. Teacher models wedging or kneading a small piece of clay, flattening a tile, pressing and lifting a found object, carving lines, pinching a form, scoring and slipping, and smoothing joins. Refer to the clay techniques demonstration slides and emphasise that impressions should be pressed firmly but not too deeply. Students watch, identify one technique they want to try, and ask clarifying questions.

3. 17–22 min · Safety and planning. Teacher explains studio expectations: use only the provided clay and approved objects; keep clay dust down; do not throw clay or place it near mouths; wash hands at the end; return natural materials respectfully. Distribute the clay technique planning and testing sheet. Students select three techniques to test and sketch or describe a possible texture or form for their final artwork.

4. 22–42 min · Clay technique investigation. Teacher provides each student with a manageable clay portion and circulates, prompting students to compare pressure, direction and repetition. Students create a small test tile or group of samples, including three different impressions or textures and one simple form such as a coil, pinch form or raised ridge. They record the technique, object used and intended effect on the worksheet.

5. 42–50 min · Gallery walk and feedback. Teacher pauses making, asks students to place work where it can be viewed, and returns to the comparison and discussion slides. Students move quietly in pairs, identify one effective texture, and give feedback using the prompts: “I notice…”, “This suggests…”, and “You could develop it by…”. Students must handle only their own work unless invited.

6. 50–57 min · Refine and connect. Teacher asks students to choose one promising sample and improve it by varying depth, repeating a pattern, combining textures or strengthening a join. Students complete the worksheet reflection: which technique best communicates the awa’s character, and how might it be used in the final artwork?

7. 57–60 min · Clean-up and exit reflection. Teacher displays the clean-up and closing question slide, checks tables, tools and clay are returned, and leads a brief reflection. Students respond orally or on the worksheet: “One technique I can use next is… because…”, then wash hands carefully.

Resources

• the clay techniques and lesson sequence slide deck
• the clay technique planning and testing sheet
• Low-fire or air-dry clay, portioned for 22 students
• Clay boards, plastic sheets or trays
• Clay tools, wooden skewers and texture-making tools
• Clean found objects such as leaves, bark, stones, shells or seed pods
• Water in small containers and slip
• Cloths, sponges, aprons and hand-washing supplies
• Drying boards or labelled storage trays

Assessment

• Observe students preparing clay, using tools safely, testing pressure and creating stable forms. Confer with students who produce only one texture or need support joining pieces.
• Check the worksheet for three tested techniques, an identified effect and a connection to the awa or final artwork.
• Use the closing response to assess whether students can name a technique and justify how it could communicate an idea.

Differentiation

• Provide pre-portioned clay, visual technique steps on the demonstration slides, and a teacher-made sample for students who need additional support.
• Offer sentence starters on the reflection section: “The texture feels…”, “It reminds me of…”, and “I could use it to show…”.
• Allow students with fine-motor or sensory needs to use larger tools, a thicker clay tile, a roller or a partner-held object; provide gloves or an alternative tool where appropriate.
• Extend confident students by combining two techniques, developing a repeated pattern, creating contrast between rough and smooth surfaces, or explaining how texture can symbolise protection, movement or connection within the awa.