Heiwa placed the tile mold on a stone sprinkled with a layer of fine dry soil, then reached out and grabbed a fist-sized piece of the mixed clay piled in front of him.

After rolling it into a ball in your hand, place it in the mold and press it with your palm to fill the entire mold with mud.

Then use a wooden stick that is also broken in the middle to push it back and forth several times to scrape off the excess clay and make the tiles look more smooth and even.

Heiwa stroked the wooden stick with his hand and put the scraped mud back on the mud pile. Then he dipped his hand into another pottery jar filled with water and began to rub it back and forth with his hands. The originally rough surface soon became smooth.

Heiwa picked up the mold, and along with it the "mud flake"-like tiles inside.

Because some dry soil has been sprinkled on the stones below in advance, there will be no situation where mud sticks to the stones and cannot be removed.

After the mold was lifted, he used his hands dipped in water to smooth the other side of the "clay sheet".

Without him having to stand up, the assistant standing nearby carefully took the mold with the "mud pieces" still on it from his hand, walked to a row of tree trunks five meters away, and carefully placed it against the side.

Wait for a while to let the shiny layer of water on the outside of the "mud piece" dry a little, then stand the mold upright, tilt it and knock it, and the "mud piece" will come out of the mold and fall into the palm of your hand.

The "mud pieces" that appeared at this time were flat things. If they were left alone, dried in the sun and fired in a kiln, they would become small ceramic plates, which were very different from the curved tiles that Han Cheng needed.

Han Cheng and Heiwa spent a lot of effort to figure out how to turn a flat ceramic plate into a curved tile. After many spiral cycles of thinking - experimenting - failing - thinking again - experimenting again, they finally found a solution.

This method is actually very simple. Just find some tree trunks that are roughly the same thickness and relatively round, and place them not too far from the kiln.

Place the flat "mud sheet" taken out of the mold on a tree trunk lying horizontally on the ground. Wait for half a day and then pick it up. The originally flat "mud sheet" will have a curve.

After the helper smeared some dry soil on the tree trunk, he placed the "mud piece" in his hand vertically on it.

After checking that the 'mud sheet' placed previously had become hard and would not change shape even if picked up, he carefully removed it from the tree trunk.

Leaning against the tree trunk, facing the sun.

After doing all this, I took the mold back.

In order to improve efficiency, a total of ten molds were made for making tiles, so that after the assistant took away the mold with the mud pieces, it would not waste Heiwa's time.

Since Han Cheng has already made the ruler, there is no need to worry about the molds being of different sizes.

Heiwa worked here making tiles for a while. He looked up and saw that the fire under the kiln had dimmed a little. He stood up, walked to the side of the kiln, picked up a few pieces of firewood as thick as his arm from the pile of firewood not far away and added them in.

The firewood under the kiln is not piled directly on the ground for burning, but is burned nearly half a meter away from the bottom of the kiln.

The firewood here is supported by wooden sticks covered with a thick layer of clay, so it will not fall down.

When we first tried to build a kiln, there was no such layer and the firewood was piled directly on the ground, but the flame could not reach the required level.

After Han Cheng recalled the structure of his own earthen stove, the kiln became what it is now.

After adding firewood into the kiln, Heiwa went around to the side of the kiln and used a wooden stick to pry one of the two pottery plates a little to the side, then looked inside the kiln through the crack.

The oppressive heat wave rushed straight to people's faces through the cracks, and the temperature inside the kiln was a little scary.

It was all red inside, and the clay tiles had all turned into a dazzling 'bright yellow' under the continuous burning of the fire.

Seeing this, Heiwa, with his eyes slightly narrowed, nodded slightly, and used a wooden stick to pry the pottery plate back together, completely covering the top of the earthen kiln.

After doing this, he added some wood into the elevated fire pit, and then returned to the stones to continue making tiles.

At this point, the kiln has been fired. All you need to do is let the firewood below burn out and cool down naturally. You don't have to worry about it anymore.

Han Cheng walked over, looked at the smoking earthen kiln, then looked at Heiwa who was concentrating on making tiles, as well as the various adobe bricks placed nearby, and more than a thousand tiles not far away. A smile appeared on his face.

The heightening of the wall is almost completed, and it won't be long before we can start building the house. It will no longer be a luxury to live in a big tiled house before winter comes!

Regarding building a house, Han Cheng's initial idea was to build a thatched house, similar to the kind used for deer pens. Later, he changed his mind and thought that since Heiwa could burn such large pottery plates used by the witches to record things, then burning tiles that were much smaller than those pottery plates should not be a problem.

Compared with thatched houses, tiled houses are undoubtedly more solid and beautiful.

However, because they are purely handmade, the output of tiles is not high.

Including the work of mixing the mud, Heiwa and his assistants can only make more than a hundred pieces a day.

But after accumulating over time, you can get a lot of tiles.

"Son of God."

Heiwa looked up inadvertently and found that Han Cheng had come over at some point, so he stood up, saluted and called out.

Han Cheng smiled and waved to him, asking him to rest for a while before continuing.

Heiwa came over obediently.

Han Cheng turned around and looked back. Not too far away was a tall wall. Someone was standing there, pounding it hard with a wooden stick in his hand.

Because we were far away, we couldn't see the man's face clearly, and could only see a very beautiful outline.

In the rapeseed field west of the courtyard wall, Tietou was cutting the last bunch of rapeseed with a stone sickle and placing it on the rapeseed pile nearby. He held the stone sickle in one hand and put the other hand on his waist. He stood up and looked at the empty rapeseed field with a smile on his face.

The setting sun dyed half the sky red.

The old deer who had just returned from eating grass, along with his clan, seemed to have stepped out of the light. He stretched his neck and called "yo yo", and the sound made the twilight even more peaceful.

Not far away, there was only a charcoal kiln with wisps of blue smoke rising out.

Han Cheng placed the two clay tiles in his hands in a shed not far away, stood up and looked at the tribe that was becoming more and more like the life of ordinary people. A kind of indifferent joy enveloped his heart...