It is the relationship between art and technology that gives ceramics their flavor and beauty, if ceramics were only the result of a mechanistic process, it would not be an art, and it would certainly not touch the heart What could be seen as "accident" actually reveals the human element in the process of creation. Imperfections resulting from the need of the potter to compensate for the slight unbalance of his wheel can give great vigor to a vessel or ajar. It gives its personality, its uniqueness.
 In order to produce a piece, a potter has to follow a well defined process of selecting and mixing his clay, giving it the shape he has visualized in his mind and finally fire it. Although the process is rigorous, the result is often unique because it involves individual styles that, when repeated, become the specific specialty of a group of craftsmen, a village or a school.
 Selection and treatment of clay: Clay used to produce ceramics must have a high plasticity, fine grain and low rate of shrinkage. It must also be able to bear a kiln temperature in accordance with a specific requirement of a certain kind of ceramics. Clay has to be carefully treated in order to eliminate impurities. During this process, kaolin may be added at different level depending on the desired end-product. Over-plastic clay with a high level of water absorption needs to have sand and other non-plastic materials added to it in order to prevent cracking during firing.

 Shaping: After careful purification and preparation of his clay, the potter manifests a form. This is an important stage, and probably the most active of the whole process, where the potter turns the raw clay into a shape born of his will. The potter works and shapes the clay by hand or by coiling. Both can be done on the wheel or by using a pressing mould. Shaping requires dexterity and care. As long as newly formed objects are wet, they can easily loose shape. They must therefore be allowed to rest and dry evenly so that they do not crack or sag.

 Decoration: To add to the virgin beauty of their creation, underline its significant curves and enhance artistic traits, the potter generally takes the painter's brush to draw topics on the surface of their" piece. Beside painting, other forms of decoration include drawing horizontal lines around the mouthrim, body and foot, or application of a running glaze which, when the fire melts it, creates spontaneous patterns on the body of the object. Some families also use ready-made polychrome transfers they apply on pieces that have already been fired.

 Glaze application: After completing the shaping and decoration, the potter can fire it at low temperature before glazing or alternatively apply the glaze before firing. Glaze provides a polished look to an object, ft can be done by pouring or spraying for large objects while dipping is usually quicker and more effective for small ones.

 Firing: Firing is the last stage of the production process. Pieces are either put into frog kiln, sectioned kiln and chambered kiln or into the more recent box kiln. Fuel is mainly rubber wood, but coal dust or gas are also used. Depending on the type of kiln and the type of ceramics they want to produce, the potter adjusts firing time, humidity and temperature. Terracotta is firing at 600 - 900 C, brown earthenware at 1100-1200 C, porous earthenware at 1200-1250 C, white earthenware at 1250-1280 C and porcelain at 1280- 1350 C.

OTHER VIETNAM CERAMIC:
• Bat Trang ceramic business
• Bat Trang ceramic know-how
• Bat Trang ceramic village
• Ceramics business in Vietnam
• Production process, techniques
• Vinh Long Ceramics
• Dong Trieu Ceramics
• Huong Canh Pottery
• Que's terracotta
• Lo Chum Pottery   
• Bien Hoa ceramics
• Phu Lang Ceramics
• Binh Duong ceramics
• Chu Dau ceramics
• Earth and Fire, ceramics in Vietnam

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