Throw the form. The overall shape needs to transition from a base large enough to hold a candle, gradually outward for fullness, and topped off with a cinching in for a handle at the top. The clay warms with the burning candle inside so the out-turned lip at the top provides a very practical purpose, besides the visual closure it gives to the piece.
Trim the bottom. Every pot thrown on a wheel is improved upon when trimmed up on the bottom. Besides lightening up the actual weight of any unnecessary clay, it also provides a lift visually. The trimmed edge is a sturdy foot for the form, keeping it firmly planted where it is placed.
Cut the opening. Using a potter's needle, the luminary gets cut into two pieces. The bottom is a base for the candle, holding in one place any dripping wax. The top becomes a cover, keeping the flame safely away from any flammables or children. Only the glow of the candle will penetrate a luminary.
Sketch the design. A design or image then gets etched into the clay. The size and overall shape of the luminary is considered when deciding what will emerge. The two-dimensional sketch gets worked until it is ready to be carved.
Carve the design. The luminary is like a shadow puppet. The silhouette will be cast onto nearby surfaces from the flickering light of the flame. It will dance and play on the walls. Sharp carving tools provide a crisp edge at this step in the process.
Sculpt the design. Because the luminary is also viewed in pure daylight, dimension is added to the design, by adding and subtracting clay where needed. Sculpting tools give detail and realism, getting it ready for some color. The luminaries are then bisqued, or fired, in a kiln for the first time.
Stain and wax. Colored stains are then brushed onto the design to distinguish it from the rest of the luminary, taking care to accentuate details. To protect this area from glaze, a wax is painted on. The wax resists any additional glaze or stain to be applied.
Glaze and final firing. The luminaries are dipped in a bat of liquid glaze, in a color that will compliment the sculpted design. Any excess glaze is wiped off carefully and then it is left to dry. The luminary is finally placed back into the kiln, heated to over 2200 degrees, and comes out ready for flight! Luminaries take great care each step of the way, but the final result as it dances atop the mantel make the work worthwhile.
Throw the form. The overall shape needs to transition from a base large enough to hold a candle, gradually outward for fullness, and topped off with a cinching in for a handle at the top. The clay warms with the burning candle inside so the out-turned lip at the top provides a very practical purpose, besides the visual closure it gives to the piece.
Sketch the design. A design or image then gets etched into the clay. The size and overall shape of the luminary is considered when deciding what will emerge. The two-dimensional sketch gets worked until it is ready to be carved.
Sculpt the design. Because the luminary is also viewed in pure daylight, dimension is added to the design, by adding and subtracting clay where needed. Sculpting tools give detail and realism, getting it ready for some color. The luminaries are then bisqued, or fired, in a kiln for the first time.
Stain and wax. Colored stains are then brushed onto the design to distinguish it from the rest of the luminary, taking care to accentuate details. To protect this area from glaze, a wax is painted on. The wax resists any additional glaze or stain to be applied. 
Glaze and final firing. The luminaries are dipped in a bat of liquid glaze, in a color that will compliment the sculpted design. Any excess glaze is wiped off carefully and then it is left to dry. The luminary is finally placed back into the kiln, heated to over 2200 degrees, and comes out ready for flight! Luminaries take great care each step of the way, but the final result as it dances atop the mantel make the work worthwhile.
