INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)  
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue XI November 2025  
Optimized Design Study of Black Pottery Forward and Reverse  
Knife Carving Tools  
Mu Bo1,2, Mohammad Puad Bebit 2*, Addley Bromeo Bianus2, Sun Xuejie1  
1School of Art and Design, Wuhan Institute of Technology, China  
2Academy of Arts and Creative Technology, Universiti Malaysia Sabah, Malaysia  
* Corresponding Author  
DOI: https://dx.doi.org/10.47772/IJRISS.2025.91100230  
Received: 21 November 2025; Accepted: 28 November 2025; Published: 05 December 2025  
ABSTRACT  
The forward and reverse knife technique is the core method used in black pottery carving, yet traditional carving  
tools are mostly handcrafted by artisans using improvised materials, often resulting in poor ergonomics and low  
efficiency. To address these issues, this study develops an improved carving tool aimed at enhancing both  
comfort and productivity. A pressure-based reverse engineering experiment was conducted to analyze the  
distribution of hand pressure during carving, providing quantitative data for ergonomic optimization. Based on  
the operational requirements of the forward and reverse knife techniques and the habitual postures of artisans,  
the handle’s curvature and grip form were refined to better fit the natural contours of the hand. The optimized  
handle effectively distributes and alleviates pressure on the palm and fingers during prolonged use, minimizing  
fatigue and reducing the risk of hand strain. Overall, the improved tool design not only enhances carving  
efficiency and operational stability but also contributes to the sustainable protection of artisans’ hand health,  
offering a practical reference for ergonomic tool innovation in traditional handicrafts.  
Keywords: Black pottery, carving tools, design, forward and reverse knife  
INTRODUCTION  
Black pottery, as a shining pearl in the history of human creation, plays a pivotal role in the field of ceramic art  
with its exquisite carving and hollowing techniques (Colomban, 2020). It represents not only a technical  
achievement but also a profound cultural expression that reflects the harmony between craftsmanship, material,  
and aesthetic philosophy (Chinyana, 2017). Among the many artistic methods of black pottery decoration, the  
classic carving technique—known as the forward and reverse knife method—stands out for its precision and  
expressive power (Vickers, 1985). This method requires years of accumulated experience and delicate control,  
as it integrates both the strength of cutting and the subtlety of shaping into a seamless artistic process (Yussif et  
al., 2018).  
This forward and reverse knife technique involves the alternate use of the front and back of the blade to finely  
cut, engrave, and shape the clay body before firing. The rhythm of movement is crucial: the forward knife cuts  
lightly and straight, while the reverse knife moves obliquely and deeply; then, the forward knife shifts into a  
deeper, slanted motion, and the reverse knife returns shallow and straight. Through this repeated alternation, the  
artisan produces an intricate, dynamic surface that embodies the unique aesthetic and tactile appeal of black  
pottery carving. This process demands both physical endurance and refined motor control, as even slight  
deviations can affect the quality and symmetry of the final work.  
In the traditional production process, black pottery artisans tend to rely on self-made carving tools, often created  
from readily available materials such as iron sheets, spring steel plates, or other metal fragments (Buchczyk,  
2015). The blade’s length and shape directly determine its purpose: short blades are used for fine, detailed  
engraving, while longer blades are suited for hollowing, trimming, and shaping tasks. Over generations of  
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INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)  
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue XI November 2025  
practice, artisans have developed various personalized tool modifications to improve their functionality. Despite  
their humble appearance, these tools embody the ingenuity and adaptive creativity of craftsmen, who  
continuously refine them based on tactile feedback and work habits.  
Figure 1: Traditional black pottery carving knife  
To enhance safety and usability, craftsmen have traditionally wrapped the midsection and rear end of the metal  
sheet with layers of cloth, paper, or adhesive tape, forming a simple handle that increases friction and reduces  
the direct pressure of metal against skin. This practical adaptation allows artisans to maintain grip stability and  
control while reducing the immediate risk of hand injury during long carving sessions (Figure 1). However, such  
temporary ergonomic solutions remain far from ideal. The flat, narrow shape of the improvised handle leads to  
uneven pressure distribution, causing excessive strain on the fingers and palm during repetitive use. Over time,  
this results in localized hand pain, blisters, or even chronic fatigue symptoms that compromise both comfort and  
precision.  
Moreover, the carving process in black pottery production is highly time-consuming and physically demanding.  
Artisans must sustain precise, repetitive hand movements for several hours at a time, maintaining consistent  
control of tool angle and depth. Under these prolonged working conditions, the lack of ergonomic support  
significantly increases muscular tension and operational resistance, making the process more tiring and less  
efficient. The accumulation of such strain not only affects artisans’ physical health but also limits their ability to  
maintain high-quality craftsmanship in the long term.  
To address these ergonomic deficiencies, this study aims to develop an optimized black pottery carving tool that  
integrates principles of human–machine interaction design with traditional craftsmanship. Specifically, a  
pressure-based reverse engineering method is employed to analyze the distribution of hand pressure when using  
conventional carving tools. Through experimental testing and mapping, the study identifies key stress points and  
contact areas, providing scientific data to guide ergonomic optimization.  
Based on the results, a new handle design is proposed that adapts to the natural curvature of the artisan’s hand,  
balancing pressure and improving comfort. The optimized handle features a smoother curvature, wider side  
surfaces, and an enhanced grip texture, allowing for a more even distribution of force across the palm and fingers.  
This effectively reduces localized stress, minimizes fatigue, and enhances operational stability during prolonged  
carving sessions. Furthermore, the improved handle design not only reduces physical discomfort but also  
enhances precision, control, and efficiency in carving. By allowing the tool to conform more naturally to the  
user’s hand movements, it facilitates a smoother and more continuous workflow, improving both the speed and  
quality of black pottery production.  
The significance of this research lies not only in improving tool usability but also in promoting the modernization  
of traditional craftsmanship through ergonomic innovation. By integrating scientific analysis with artisanal  
experience, the study provides a new approach for the sustainable development and preservation of intangible  
cultural heritage techniques. The ergonomic design of carving tools contributes to protecting artisans’ health,  
extending their creative lifespan, and ensuring the consistent transmission of traditional craftsmanship.  
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INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)  
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MATERIALS AND METHOD  
Overview of Pressure-Based Reverse Engineering Principles in Ergonomics  
In the design optimization of handheld tools, the handle plays a pivotal role in enhancing ergonomic  
performance. By refining the shape of the tool grip and optimizing the curvature of the handle surface, the  
pressure distribution on the hand can be effectively dispersed, thereby reducing localized pressure concentration  
and significantly improving user comfort. This design philosophy reflects not only meticulous attention to detail  
but also a profound commitment to user experience (Hassenzahl, 2013). Reverse Engineering (RE) focuses on  
utilizing precise measurement devices to conduct comprehensive scans of physical objects or models, followed  
by reconstructing 3D digital models using advanced geometric modeling techniques (Bhaskaran, 2024). This  
process transforms physical samples into digital information models, laying a foundation for subsequent product  
design and manufacturing. Building on this, pressure-based reverse engineering introduces an innovative  
approach: it designs and optimizes the handle’s surface curvature based on the morphological changes of the  
human hand under pressure, aiming to achieve superior ergonomic alignment and comfort.  
To improve the efficiency and comfort of the forward and reverse knife technique during black pottery  
engraving, this study leverages pressure-based reverse engineering experiments and operational characteristics  
of the technique to design a specialized handle for black pottery carving tools. The prototype was evaluated by  
artisans to collect feedback, guiding further optimization for a second-generation design (Burden, 2022).  
Model Principles and Parameter Sources  
Hand Anatomy and Function  
As the primary interface for tool operation, the hand’s structure and functionality are critical to handle design.  
The hand, a complex and highly organized organ, comprises bones, nerves, muscles, skin, and blood vessels. It  
enables not only basic gripping but also intricate actions like lifting and twisting. The human body contains 206  
bones, 54 of which are in the hands and wrists—nearly a quarter of the total. A single hand and wrist consist of  
27 bones, categorized into three groups: 5 metacarpal bones, 8 carpal bones, and 14 phalanges (Figure 2). During  
gripping, muscles in the forearm and hand contract, transmitting force through tendons to bones, while ligaments  
connect adjacent bones.  
Figure 2: Anatomical structure of the human hand  
Hand joints exhibit diverse motions, including extension, lateral deviation, and flexion. Lateral deviation  
primarily occurs at the metacarpophalangeal joints, while flexion and extension involve coordination between  
the proximal interphalangeal, metacarpophalangeal, and distal interphalangeal joints. Extension relies on  
muscles like the lumbricals, dorsal interossei, and extensor digitorum, whereas flexion engages the lumbricals,  
flexor digitorum profundo, and flexor digitorum superficialis.  
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INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)  
ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue XI November 2025  
Hand Posture Data During Black Pottery Carving  
Field research identified two primary hand postures during black pottery carving: pen-holding posture and  
handle-holding posture (Figures 3 and 4). The pen-holding posture is more prevalent due to its versatility in  
detailed engraving and prolonged use. In practice, six critical contact points exist between the carving knife and  
the hand (Figure 5).  
Figure 3: Traditional carving knife holding posture 1  
Figure 4: Traditional carving knife holding Posture 2  
Figure 5: Traditional carving knife holding posture - handle style  
As a finger-operated tool, the carving knife primarily interacts with the thenar and hypothenar eminences,  
supported by muscles in the palm and forearm. Thus, ergonomic improvements must address three key factors:  
(1) Anatomical compatibility: the limited contact area between the knife and hand necessitates strict adherence  
to hand anatomy to reduce localized pressure on the thenar eminence. The grip surface should be smooth to  
avoid skin irritation while incorporating subtle textures or friction-enhancing materials (e.g., rubber or finely  
grooved surfaces) to ensure stability without compromising comfort; (2) Balanced weight distribution: excessive  
weight causes fatigue during prolonged use, while insufficient weight increases operational effort. Imbalanced  
weight distribution between the thumb and index finger (as pivot points) may destabilize the tool, posing safety  
risks. Optimal weight design requires careful material selection and structural engineering; (3) Hygienic design:  
in dusty pottery environments, the handle should feature a simple, easy-to-clean structure to prevent clay buildup  
and maintain hygiene.  
Experimental process  
Determination of Basic Handle Types and Questionnaire Reliability  
(1) Basic Handle Design  
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When designing the finger-contact portion of the tool, elliptical or circular cross-sectional shapes are preferred  
(Basak, 2007; Gardner & Chan, 2007). Based on the previously described pen-holding posture for the forward  
and reverse knife technique, and referencing commercially available handle designs, six cylindrical handle  
prototypes were created. For rigorous comparative analysis, the original thin rectangular handle of the carving  
knife was retained, resulting in seven distinct basic handle types.  
Table 1: Basic dimensions of handle with torque handwheel and steering handle  
Maneuvering mode  
Handle diameter d  
Size range  
Handle length L  
Size range  
75 ~ 150  
Preferred choice  
25 ~ 30  
preference  
100 ~ 120  
45 ~ 50  
Hand grip handle  
15 ~ 35  
Finger handshake handle 10 ~ 520  
12 ~ 18  
30 ~ 75  
Table 2: Basic dimensions of joystick shank  
Diameter d  
Handle length L  
Finger grip  
Finger grip  
Hand grip  
Hand grip  
Shank shape  
Size  
range  
Preferred Size  
choice range  
Preferred  
choice  
Size  
range  
Preferred  
choice  
Size  
range  
Preferred  
choice  
Spherical, pear-  
shaped, tapered  
10 ~ 40 30  
10 ~ 30 20  
35 ~ 50 40  
20 ~ 40 28  
15 ~ 60 40  
30 ~ 90 60  
40 ~ 60 50  
80 ~ 130 100  
Spindle shape,  
cylinder shape  
All prototypes were fabricated using industrial modeling clay with a hardness of 25 to ensure testing consistency.  
Thirty participants of varying heights, genders, and hand sizes were invited to evaluate the prototypes. Each  
participant simulated black pottery carving motions while holding all seven handle types and rated their comfort  
and usability. This test aimed to investigate how handle shapes influence carving comfort and efficiency,  
providing critical data for subsequent design optimization.  
Figure 6: Handle base model  
Questionnaire Reliability Testing  
Reliability, defined as the consistency and stability of measurement results, evaluates whether a tool accurately  
captures its intended targets. Internal consistency reliability assesses correlations between questionnaire items  
(Can and Ling,2008). For a questionnaire with k items, Cronbach’s α coefficient is calculated as:  
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k
s2  
i
k
k 1  
i1  
   
1  
sT2  
where Si2 is the variance of the i-th item’s scores, and S T2 is the variance of the total scores. This coefficient  
reflects internal consistency among items, equivalent to the average of all possible split-half reliability  
coefficients. For multi-domain questionnaires, α should be calculated per domain to avoid reduced consistency.  
A Cronbach’s α ≥ 0.80 indicates good reliability. The test questionnaire included seven mandatory multiple-  
choice questions (1–5 Likert scale: 1 = "very dissatisfied," 5 = "very satisfied") and one optional open-ended  
question for design feedback. With k=7, the calculated α coefficient was approximately 0.93, confirming high  
reliability and measurement stability.  
Figure 7: Basic model evaluation questionnaire  
Questionnaire Results and Final Basic Type Selection  
All 30 participants completed the mandatory questions (100% response rate), while the optional open-ended  
question had a 6.7% response rate. Analysis of handle type preferences revealed the following rankings: Semi-  
elliptical type: 21.74%，Flat type: 15.15%，Medium-elliptical type: 14.76%，Lower-elliptical type: 13.79%  
，Upper-elliptical type: 13.61%，Truncated cone type: 10.95%，Figure-8 type: 9.99%.  
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Table 3: Results of the questionnaire  
Score  
①
1
Questionnaire  
Participants  
Items  
②
2
3
3
2
2
2
3
4
2
2
4
2
1
2
2
3
2
2
3
2
2
3
2
2
3
2
2
4
2
2
③
3
4
3
3
3
2
3
3
2
2
3
3
3
3
3
2
2
3
3
3
3
2
2
1
2
3
2
3
3
1
④
2
1
2
2
3
3
3
3
2
3
4
3
2
1
3
5
3
2
2
2
2
2
1
4
1
3
2
2
3
2
⑤
5
4
4
3
4
5
4
4
3
3
4
5
4
4
5
4
4
2
4
3
3
3
5
3
4
4
3
4
4
4
⑥
2
1
2
1
2
3
2
1
2
3
1
2
2
2
2
2
2
1
1
2
3
2
3
2
1
1
1
2
1
1
⑦
2
3
4
3
3
2
2
3
4
3
2
3
2
2
3
3
4
2
3
2
3
2
3
3
2
3
2
2
3
2
1
Wang1  
Zhang1  
Wan  
Chen1  
Hu  
2
2
3
2
4
1
5
2
6
Li1  
2
7
Zhao1  
Zhen  
Guo  
3
8
2
9
2
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
Xu  
1
Mu  
2
Han1  
Wang2  
Li2  
4
1
2
Zong  
Zhang2  
Han2  
Liu  
2
2
2
2
Xia  
2
Zhang3  
Chen2  
Wang3  
Zhang4  
Yang  
Zeng  
Zhao2  
Yuan  
Li3  
1
1
1
2
1
4
2
2
3
Cui  
2
He  
2
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Table 4: Distribution of base model scores  
Averag  
e Score  
Basic Model Categories  
Percentage of the score  
Round table knife handle  
Put on the elliptical handle  
Middle oval handle  
Lower oval handle  
Semi-oval handle  
8 Font handle  
1.93  
2.4  
10.95%  
13.61%  
14.76%  
13.79%  
21.74%  
9.99%  
2.6  
2.43  
3.83  
1.76  
2.67  
Blade handle  
15.15%  
Given its dominant performance, the semi-elliptical type was selected as the foundational model for subsequent  
experiments, offering unique insights into ergonomic optimization.  
Master Mold Preparation and Mass-Produced Clay Models  
In silicone mold casting, the inner surface smoothness critically impacts final product quality. To address this, a  
high-smoothness PLA material was 3D-printed to replicate the semi-elliptical handle’s geometry, ensuring  
precision and stability during silicone encapsulation. A 35-degree milky-white silicone (Hengxin brand) was  
poured twice to create the master mold. Soft modeling clay (hardness 25) was used as a support medium. The  
PLA sub-mold was partially embedded in clay, with vents and gates formed using cylindrical rods. The first  
silicone pour was conducted in a sealed container and cured for 24 hours. A 5mm-thick gypsum layer (gypsum-  
to-water ratio 1:2) was applied to reinforce the silicone mold. After gypsum solidification, a second silicone pour  
ensured full encapsulation of the sub-mold, yielding a high-precision master mold with excellent surface finish.  
Thermoplastic modeling clay (temperature-sensitive) was injected into the silicone master mold. This material  
exhibits ideal plasticity near body temperature (≈37°C), making it suitable for hand-motion simulations. After  
curing, multiple clay prototypes were extracted for experimental use.  
Figure 8: Preparation of basic master mold and mass production sludge model  
Acquisition and Preservation of Scanned Models  
To collect comprehensive and representative experimental data, 30 participants with varying hand sizes and ages  
were invited. Each participant simulated the pen-holding posture used in black pottery carving with the forward  
and reverse knife technique, adjusting the thermoplastic clay prototype to their optimal grip and comfort. During  
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the process, four primary contact points between the hand and clay model were recorded and marked with red  
ink for subsequent analysis and optimization. After shaping, the clay models were carefully removed and  
preserved at low temperatures to minimize thermal deformation, ensuring data accuracy. This rigorous protocol  
yielded 30 preserved clay models for subsequent scanning.  
Figure 9: Process of obtaining scanned part model and preservation of sludge model  
Experimental Data Acquisition  
The ZGScan handheld 3D scanner was employed for measurements (Jędrych et al., 2025; Pätoprstý et al., 2024).  
Its core technology utilizes white-light grating fringe projection for high-precision surface scanning. The scanner  
projects controlled laser stripes onto the object, which deform according to surface geometry. A pre-calibrated  
camera system captures and analyzes these deformations to extract linear 3D coordinates. The scanner moves, it  
continuously records 3D coordinates of laser-covered areas, ensuring data consistency through real-time spatial  
positioning. Advanced algorithms process these dynamic coordinates to reconstruct surface geometry and  
texture. The resulting 3D data and texture maps are imported into Art Mapping, a point-cloud and image  
registration system. This software aligns discrete point clouds with texture images, generating high-fidelity 3D  
models for quantitative analysis and morphological comparisons.  
Figure 10: canning the site  
3D models of all 30 samples were acquired. To standardize analysis, the center point of each model’s widest  
diameter (least-deformed region) was defined as the reference origin, with its vertical axis as the reference axis.  
Models were aligned in a virtual space, ensuring their origins coincided and axes aligned perpendicular to the z-  
axis.  
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Figure 11: Experimental results 3D model  
For each model, spatial coordinates of the four contact points were recorded. Horizontal cross-sectional profiles  
at these points were extracted, yielding four sets of profile lines.  
Figure 12: Profile line where the contact is located  
To analyze these profiles, 20 radial lines (labeled Line1–Line20) were drawn from the origin, intersecting all 30  
cross-sectional profiles. The x and y coordinates of intersection points were measured, and median coordinates  
for each line were calculated using:  
30  
30  
x
y
ij  
   
ij  
j1  
j1  
(xi , yi ) (  
,
)
30  
30  
xij , yij  
(xi , yi )  
Where,  
represents the coordinates of the middle point on Line i,  
respectively represents the  
abscissa and ordinate of the intersection point between Line i and the J-section line. Connecting these median  
points generated median path lines for each contact point’s horizontal profile.  
Table 5: Midpoint coordinates of the first contact  
Contact one  
Slope K  
Mean  
coordinates  
point  
X Mean  
point  
Y Median point coordinates  
10.88, 3.54, 75.27  
coordinates  
line1  
-0.32  
-3.54  
10.88  
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line2  
-0.73  
-1.38  
-3.08  
0
-5.29  
-5.65  
-5.73  
-5.61  
-5.38  
-5.11  
-4.96  
-3.53  
0
7.28  
4.10  
1.86  
0
7.28, 5.29, 75.27  
4.1, 5.65, 75.27  
1.86, 5.73, 75.27  
0, 5.61, 75.27  
line3  
line4  
line5  
line6  
3.08  
1.38  
0.73  
0.32  
0
-1.75  
-3.71  
-6.82  
-10.86  
-11.56  
-10.11  
-6.56  
-3.51  
-1.41  
0
1.75, 5.38, 75.27  
3.71, 5.11, 75.27  
6.82, 4.96, 75.27  
10.86, 3.53, 75.27  
11.56, 0,75.27  
line7  
line8  
line9  
line10  
line11  
line12  
line13  
line14  
line15  
line16  
line17  
line18  
line19  
line20  
-0.32  
-0.73  
-1.38  
-3.08  
0
3.28  
4.77  
4.83  
4.35  
4.03  
3.96  
4.31  
5.51  
4.17  
0
10.11, 3.28, 75.27  
6.56, 4.77, 75.27  
3.51, 4.83, 75.27  
1.41, 4.35, 75.27  
0,4.03, 75.27  
3.08  
1.38  
0.73  
0.32  
0
1.29  
3.13  
8.11  
1.29, 3.96, 75.27  
3.13, 4.31, 75.27  
8.11, 5.51, 75.27  
12.83, 4.17, 75.27  
13.64, 0,75.27  
12.83  
13.64  
Table 6: Midpoint coordinates of the second contact  
Contact two Slope K  
Mean point X  
coordinates  
Mean point Y  
coordinates  
Median point coordinates  
line1  
line2  
line3  
line4  
line5  
line6  
-0.32  
-0.73  
-1.38  
-3.08  
0
14.89  
10.62  
5.93  
2.54  
0
-4.84  
-7.72  
-8.16  
-7.83  
-7.50  
-7.29  
14.89, 4.84, 81.09  
10.62, 7.72, 81.09  
5.93, 8.16, 81.09  
2.54, 7.83, 81.09  
0, 7.5, 81.09  
3.08  
-2.37  
2.37, 7.29, 81.09  
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line7  
1.38  
0.73  
0.32  
0
-5.26  
-9.35  
-11.98  
-12.24  
-10.91  
-7.71  
-3.99  
-1.50  
0
-7.24  
-5.65  
-3.89  
0
5.26, 7.24, 81.09  
9.35, 5.65, 81.09  
11.98, 3.89, 81.09  
12.24, 0,81.09  
line8  
line9  
line10  
line11  
line12  
line13  
line14  
line15  
line16  
line17  
line18  
line19  
line20  
-0.32  
-0.73  
-1.38  
-3.08  
0
3.54  
5.60  
5.50  
4.63  
4.10  
3.82  
3.83  
4.60  
3.91  
0
10.91, 3.54, 81.09  
7.71, 5.6, 81.09  
3.99, 5.5, 81.09  
1.5, 4.63, 81.09  
0,4.1, 81.09  
3.08  
1.38  
0.73  
0.32  
0
1.24  
1.24, 3.82, 81.09  
2.79, 3.83, 81.09  
6.33, 4.6, 81.09  
12.03, 3.91, 81.09  
16.49, 0,81.09  
2.79  
6.33  
12.03  
16.49  
Table 7: Midpoint coordinates of the third contact  
Contact  
three  
Slope K  
Mean point X  
coordinate  
Mean point Y  
coordinates  
Median point coordinates  
line1  
line2  
line3  
line4  
line5  
line6  
line7  
line8  
line9  
line10  
line11  
-0.32  
-0.73  
-1.38  
-3.08  
0
14.51  
12.38  
8.94  
-4.71  
-8.99  
-12.31  
-14.02  
-14.15  
-13.32  
-11.55  
-8.82  
-4.81  
0
14.51, 4.71, 25.81  
12.38, 8.99, 25.81  
8.94, 12.31, 25.81  
4.56, 14.02, 25.81  
0, 14.15, 25.81  
4.56  
0
3.08  
1.38  
0.73  
0.32  
0
-4.33  
-8.39  
-12.14  
-14.81  
-15.76  
-14.79  
4.33, 13.32, 25.81  
8.39, 11.55, 25.81  
12.14, 8.82, 25.81  
14.81, 4.81, 25.81  
15.76, 0,25.81  
-0.32  
4.81  
14.79, 4.81, 25.81  
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line12  
line13  
line14  
line15  
line16  
line17  
line18  
line19  
line20  
-0.73  
-1.38  
-3.08  
0
-12.56  
-9.09  
-4.70  
0
9.13  
12.52  
14.47  
15.07  
14.41  
12.39  
9.13  
4.81  
0
12.56, 9.13, 25.81  
9.09, 12.52, 25.81  
4.7, 14.47, 25.81  
0,15.07, 25.81  
3.08  
1.38  
0.73  
0.32  
0
4.68  
4.68, 14.41, 25.81  
9,12.39, 25.81  
9.00  
12.57  
14.79  
15.45  
12.57, 9.13, 25.81  
14.79, 4.81, 25.81  
15.45, 0,25.81  
Table 8: The coordinates of the middle point of the fourth contact  
Contact  
four  
Slope K  
Mean point X  
coordinates  
Mean point Y  
coordinates  
Median point coordinates  
line1  
-0.32  
-0.73  
-1.38  
-3.08  
0
12.98  
11.85  
8.71  
-4.22  
-8.61  
-11.99  
-13.64  
-13.55  
-12.79  
-11.27  
-8.68  
-4.65  
0
12.98, 4.22, 56.43  
11.85, 8.61, 56.43  
8.71, 11.99, 56.43  
4.43, 13.64, 56.43  
0, 13.55, 56.43  
line2  
line3  
line4  
4.43  
line5  
0
line6  
3.08  
1.38  
0.73  
0.32  
0
-4.16  
-8.18  
-11.94  
-14.31  
-15.05  
-14.25  
-11.69  
-7.90  
-3.83  
0
4.16, 12.79, 56.43  
8.18, 11.27, 56.43  
11.94, 8.68, 56.43  
14.31, 4.65, 56.43  
15.05, 0,56.43  
line7  
line8  
line9  
line10  
line11  
line12  
line13  
line14  
line15  
line16  
-0.32  
-0.73  
-1.38  
-3.08  
0
4.63  
14.25, 4.63, 56.43  
11.69, 8.49, 56.43  
7.9, 10.88, 56.43  
3.83, 11.78, 56.43  
0,11.95, 56.43  
8.49  
10.88  
11.78  
11.95  
10.92  
3.08  
3.55  
3.55, 10.92, 56.43  
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line17  
line18  
line19  
line20  
1.38  
0.73  
0.32  
0
6.31  
8.69  
6.25  
3.44  
0
6.31, 8.69, 56.43  
8.6, 6.25, 56.43  
10.59, 3.44, 56.43  
12.22, 0,56.43  
8.60  
10.59  
12.22  
Experimental Conclusions  
Among the four median horizontal profile lines, the median path lines corresponding to Contact Points 1 and 2  
exhibited the most significant deformation characteristics, strongly indicating these areas were subjected to the  
highest pressure concentrations. In contrast, the median path line of Contact Point 3 closely approximated an  
ideal circle with negligible deformation. This stability can be attributed to two factors: Orientation and Load  
Distribution: Contact Point 3 faces downward, positioned precisely on the surface of the metacarpophalangeal  
joint of the index finger. Its mechanical state remains stable due to the combined load of the thermoplastic clay  
model’s self-weight and the supportive force from the joint surface, minimizing deformation. For Contact Point  
4, the median path line displayed a distinct collapse in its upper-right segment, clearly reflecting substantial  
pressure from the distal phalanx and interphalangeal joint surface of the middle finger. This deformation  
confirms the critical role of the middle finger in generating localized compressive forces during carving.  
Figure 13: Midline of the profile where the contact is located  
Product Optimization and Improvement Design  
Functional Role: The metacarpophalangeal joint primarily serves as a supportive platform rather than applying  
inward compressive pressure on the clay material, unlike Contact Points 1 and 2.  
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Figure 14: The section where the third and fourth contacts are retained  
Figure 15: Optimum line of the profile where the contact is located  
To ensure scientific rationality of weight distribution, the handle’s center of gravity should be precisely aligned  
with Contact Points 1 and 2. For Contact Points 3 and 4, only structural regions defined by the median path lines  
corresponding to actual hand contact areas should be retained (Figure 14). This design effectively reduces the  
handle’s tail mass, enhancing operational ease and efficiency. Consequently, the optimal contour lines at contact  
points (Figure 15) and their corresponding optimal points (Table 9) can be derived.  
Table 9: Optimal line coordinates  
The best point  
The best coordinates of  
The best coordinates of  
The best coordinates of  
coordinates of contact 1 contact two in the profile contact three in the profile contact four in the profile  
in the profile  
10.88, 3.54, 75.27  
7.284, 5.30, 75.27  
4.11, 5.65, 75.27  
1.86, 5.73, 75.27  
14.89, 4.84, 81.09  
10.62, 7.72, 81.09  
5.93, 8.16, 81.09  
2.54, 7.83, 81.09  
5.30, 7.30, 25.81  
1.42, 4.36, 25.81  
0,3.21, 25.81  
12.98, 4.22, 56.43  
11.85, 8.61, 56.43  
8.71, 11.99, 56.43  
4.43, 13.64, 56.43  
0.80, 2.48, 25.81  
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0, 5.61, 75.27  
0, 7.50, 81.09  
1.38, 1.90, 25.81  
1.87, 1.36, 25.81  
2.28, 0.74, 25.81  
2.67, 1.42, 25.81  
3.28, 1.06, 25.81  
12.01, 3.90, 25.81  
6.49, 3.50, 25.81  
8.32, 9.79, 25.81  
9.09, 12.52, 25.81  
4.70, 14.47, 25.81  
0,15.07, 25.81  
0, 13.55, 56.43  
1.75, 5.39, 75.27  
3.71, 5.11, 75.27  
6.82, 4.96, 75.27  
10.86, 3.53, 75.27  
11.56, 0,75.27  
2.37, 7.29, 81.09  
5.26, 7.24, 81.09  
9.35, 5.65, 81.09  
11.98, 3.89, 81.09  
12.24, 0,81.09  
4.16, 12.79, 56.43  
8.18, 11.27, 56.43  
11.94, 8.68, 56.43  
14.31, 4.65, 56.43  
15.05, 0,56.43  
10.11, 3.28, 75.27  
6.56, 4.77, 75.27  
3.51, 4.83, 75.27  
1.41, 4.35, 75.27  
0,4.03, 75.27  
10.91, 3.54, 81.09  
7.71, 5.60, 81.09  
3.99, 5.50, 81.09  
1.50, 4.63, 81.09  
0,4.10, 81.09  
14.25, 4.63, 56.43  
11.69, 8.49, 56.43  
7.90, 10.88, 56.43  
3.83, 11.78, 56.43  
0,11.95, 56.43  
1.29, 3.96, 75.27  
3.13, 4.31, 75.27  
8.11, 5.51, 75.27  
12.83, 4.17, 75.27  
13.64, 0,75.27  
1.24, 3.82, 81.09  
2.79, 3.83, 81.09  
6.33, 4.60, 81.09  
12.03, 3.91, 81.09  
16.49, 0,81.09  
4.68, 14.41, 25.81  
9.00, 12.39, 25.81  
12.57, 9.13, 25.81  
14.79, 4.81, 25.81  
15.45, 0,25.81  
3.55, 10.92, 56.43  
6.31, 8.69, 56.43  
8.60, 6.25, 56.43  
10.59, 3.44, 56.43  
12.22, 0,56.43  
RESULTS AND ANALYSIS  
Design Input  
In the overall handle design, ease of cleaning and minimalist aesthetics were prioritized. While ensuring the  
handle closely follows the optimal contour lines of hand contact areas, the design emphasizes a streamlined form  
with soft, flowing curves. This approach not only enhances visual harmony but also facilitates daily cleaning  
and maintenance. As a low-wear consumable, the carving knife handle boasts a long service life, reducing the  
need for frequent replacements. Coupled with black pottery artisans’ deep passion for ceramic arts and their  
willingness to invest in high-quality tools, cost considerations were temporarily excluded from primary design  
constraints.  
Figure 16: Handle design input  
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Design Output  
Figure 17: Three product views  
Figure 18: Model and corresponding section  
Figure 19: Detail size diagram  
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The blade and handle are secured via a snap-fit fastening mechanism. A slot inside the handle accommodates  
the blade, which is further stabilized by two threaded locking structures inserted from both sides. Tightening  
screws ensures blade stability and safety during use. This design excels in detachability and flexibility, allowing  
artisans to swap blades of varying lengths or shapes for diverse tasks, thereby enhancing versatility and  
efficiency. To streamline production and maintenance, standardized blades widely available on the market were  
selected, simplifying procurement and replacement.  
Figure 20: Six views of the product  
Figure 21: Blade installation procedure diagram  
Aesthetic considerations guided the upward curvature above Contact Point 2, aligning with the lower profile’s  
graceful arc to maintain a streamlined appearance. This design also optimizes weight distribution by  
concentrating mass in the grip area, improving comfort and stability.  
Figure 22: Physical model and corresponding profile  
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Figure 23: Physical display  
Figure 24: Use scenario simulation display  
Design Evaluation  
Ten evaluators with ceramic carving expertise tested physical models by simulating pen-holding and handle-  
holding postures for 15 minutes. Comfort was assessed across five dimensions: pressure distribution, surface  
ergonomics, rotational ease, cushioning, and long-term grip comfort, scored on a 1–9 scale (1–3: uncomfortable;  
4–6: moderately comfortable; 7–9: highly comfortable). Surface ergonomics scored the highest average of 8.4,  
demonstrating that the optimized handle aligns with natural hand movements during the forward and reverse  
knife technique. Rotational ease (8.2) and long-term grip comfort (8.1) followed, confirming effortless blade  
manipulation and reduced fatigue during prolonged carving.  
Figure 25: Evaluator holding a physical object simulates sculpting action  
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Table 10: Design evaluation of holding comfort  
project  
Evaluator  
Hold comfort design evaluation  
Average  
value  
Pressure  
Curved  
surface  
comfort  
Rotational  
comfort  
Cushioning  
comfort  
Long-lasting  
comfort  
distribution  
Comfort  
Ratings: Uncomfortable 1-3, moderately comfortable 4-6, very  
comfortable 7-9  
Xia  
9
9
7
8
8
8.2  
8
1
Li1  
8
9
8
8
7
2
Yan  
Li2  
7
8
8
6
8
7.4  
8.4  
8.4  
8.6  
8.2  
7.4  
8.4  
8.4  
/
3
8
9
9
7
9
4
Qin  
8
8
9
8
9
5
Zhao  
Zhang  
shen  
Wang  
Qi  
8
9
9
9
8
6
7
8
9
9
8
7
7
7
8
8
7
8
9
9
7
9
8
9
10  
9
8
8
8
9
Average  
8.0  
8.4  
8.2  
8.0  
8.1  
While pressure distribution and cushioning scored slightly lower (both 8.0), evaluators emphasized the need for  
material upgrades. Future iterations will prioritize advanced materials to enhance comfort and user experience.  
Material Selection  
Material choice critically impacts carving performance. For black pottery’s wet-carving process, which demands  
moderate force, ABS material was selected for its balanced hardness and resilience. While ABS meets current  
rigidity requirements, future research will explore optimizing elasticity to better align with artisans’ needs.  
Detailed discussions will follow in subsequent publications.  
CONCLUSION  
This study optimized efficiency and operator comfort for the forward and reverse knife technique in black pottery  
carving. Key findings include: (1) Surface ergonomics (8.4) confirms superior alignment with hand contours  
during carving; (2) Rotational ease (8.2) reflects enhanced dynamic ergonomic compatibility; (3) Long-term grip  
comfort (8.1) demonstrates effective pressure dispersion during extended use; (4) Pressure distribution and  
cushioning (both 8.0) highlight opportunities for material innovation. These advancements improve artisan  
comfort, efficiency, and health outcomes while bridging traditional craftsmanship with modern technology.  
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