# Executing Mishima Step by Step

Unit: Surface Decoration (Pre-Bisque)
Topic: Mishima: Inlaying Slip
URL: https://claybook.studio/learn/executing-mishima-step-by-step/

# Carve, Fill, Scrape, Reveal

Mishima has a satisfying rhythm once you understand the sequence. Each step is simple; the challenge is patience at the scraping stage.

## Step 1: Carve the Lines

Use a pin tool, needle, or fine loop tool to incise your design into the firm leather-hard surface. The lines should be:

*   **Consistent depth**: About 1–2mm deep throughout.
*   **Clean-walled**: Press firmly and pull smoothly without wobbling.
*   **Not too narrow**: Very thin lines (under 1mm wide) are difficult to fill cleanly. Aim for 1.5–2mm width for beginners.

## Step 2: Fill with Slip

Mix contrasting slip (or colored underglaze) to a slightly thicker consistency than usual, roughly peanut butter thickness. This prevents it from running out of the carved lines.

Apply the slip generously over the carved area with a brush or your finger, pressing it firmly into the lines. Over-fill deliberately; you want the slip to be slightly proud of the surface.

## Step 3: Wait

Let the filled area dry until the slip is no longer shiny; it should look matte and chalky. If you scrape too soon, the slip is still soft and will smear. If you wait too long, it shrinks and may crack in the lines.

## Step 4: Scrape

Use a metal rib, a credit card, or a flat tool to scrape firmly across the surface at a shallow angle. The goal is to remove all the slip from the surface, leaving it only inside the carved channels.

*   Work in one direction with firm, even strokes.
*   Make multiple passes, checking your progress.
*   Stop when the surface looks clean and only the lines remain filled.

## Pro Tip

If some slip remains on the surface after drying, you can scrape it away after bisque firing with a damp sponge or fine sandpaper. This is a useful backup if your green-state scraping was imperfect.

## Inlay Quality Checklist
After scraping:
* Inlay lines are filled continuously
* Surface film is removed cleanly
* No drag smears across design

If needed, do a light corrective scrape before full dry-down.

## Go Deeper

Mishima's inlay approach has parallels in the [sgraffito](https://en.wikipedia.org/wiki/Sgraffito) tradition, where the relationship between slip and clay body is reversed. For a deeper look at the slip materials used to fill mishima lines, the Wikipedia article on [slipware](https://en.wikipedia.org/wiki/Slipware) covers the long history of decorating pottery with liquid clay suspensions.

## Check your understanding

### Question 1: Why should you over-fill the carved lines with slip rather than applying just enough?

- [ ] A. Over-filling makes the color brighter
- [x] B. You need excess to scrape away cleanly after drying
- [ ] C. It helps the slip bond to the clay walls
- [ ] D. Thin fills crack in the kiln

Tip: You need the slip to be slightly proud of the surface so that after it dries and shrinks slightly, there is still enough to scrape clean.

### Question 2: When is the right moment to scrape off the excess slip in mishima?

- [ ] A. Immediately after applying while the slip is wet
- [x] B. When the slip is matte and chalky but not yet cracking
- [ ] C. After bisque firing
- [ ] D. When it is completely bone dry

Tip: When the slip looks matte and chalky but is not yet shrinking or cracking. Scraping too early smears; too late risks cracking.

### Question 3: After scraping, some mishima lines look under-filled in spots. What is the best way to correct this?

- [ ] A. Leave them; the glaze will hide the gaps
- [x] B. Spot-fill shallow areas with slip, let them stiffen, then lightly re-scrape
- [ ] C. Flood the whole area with a thinner slip and scrape again immediately
- [ ] D. Sand everything smooth after bisque without re-filling

Tip: You can spot-fill the shallow sections with a bit more slip, let it reach the same stiffness as before, and then do a very light re-scrape to level it.