BUILT SHAPES
"Every moment think steadily: to do what thou hast in hand with
perfect and simple dignity."
--M. ANTONINUS.
With good plastic clay and with the aid of a few simple tools, the fingers
can fashion shapes of considerable diversity and some refinement. In
elementary schools this is by far the best method of teaching the
beginner. In any case the student who has no knowledge of clay work would
do well to start by building a few shapes in the manner still used by
primitive peoples.
The clay, which must be in good condition and not _short_, is rolled out
on a wet plaster slab or some non-sticky surface, into ropes of something
less than half an inch in diameter for small shapes. (Fig. 1.) The best
way to commence is to knead up a double handful of soft clay until
thoroughly mixed, ball it, and then form a stumpy cylinder, gradually
elongating by rolling out on the bat. Too much pressure will flatten the
rope and there should be a distinct pull or stretch on it in addition to
the downward pressure, varying as necessary to insure even thickness. As
the rope becomes thinner the fingers should be held diagonally to avoid
ridges. This rope should be fairly firm and yet bend easily without
cracking. With a little practice, long pliable rolls can be easily and
rapidly produced and then a start is made with the base. This is coiled as
in Fig. 2, pressed flat, and welded together. It is finished both sides
before commencing the walls of the shape. These are coiled round and up,
each ring being pressed firmly on the one below, care being taken to avoid
air cavities which may blow out on firing. The top is levelled off and the
sides welded together and smoothed with the fingers. (Fig. 3.)
[Illustration: FIG. 1--ROLLING OUT CLAY.]
[Illustration: FIG. 2--FORMING COIL FOR BASE.]
[Illustration: FIG. 3--WELDING & SMOOTHING THE SIDES.]
At first, simple and almost straight-sided shapes should be attempted;
each ring may be added separately, while the finishing should not be
unduly prolonged. As the technique improves, curves with slight returns
may be attained. Where the size is so great as to prevent finishing at one
sitting, it can be very carefully reversed; this will allow the base to
harden and still keep the top moist for further coiling. With big pieces
much attention must be paid to the correct shaping when coiling, otherwise
the finishing will be laborious and quite possibly useless. Large shapes
with difficult curves are best built in two sections or parts and then
carefully welded together. To keep the parts damp during prolonged
operations, use water blown from a spray diffuser.
Ash trays, bulb bowls, flower pots, salt cellars, and ink wells are a few
of the things that are suitable to be made by this method. They may be
decorated with incised lines, raised-ornament handles, and feet.
Additional interest is obtained by slight banding, or the incised lines
filled in with a coloured clay pressed firmly in when the shape is tough.
Although built forms may be quite highly finished, it is obvious that any
elaborate decoration is out of place on shapes that by their origin must
be simple and somewhat heavy. Enough has been said to indicate the
process. For its logical development and suitable enrichment we must study
the work of primitive peoples. For its possibilities we must turn to the
vast jars made even to this day in Spain.
[Illustration: FIG. 4--ATTACHING THE FOOT.]
With great care and much taste pieces can be pinched and welded together
into delightful forms, best shown in the refinements of the Cha Noya
pottery of Japan. This pinching must be done carefully and above all
sympathetically. To those that know or feel the possibilities of the clay
it will respond readily. Much more taste and judgement is required in the
making of a really satisfactory pinched shape, than is needed in forming
one with coils. Square, polyhedral, or irregular shapes other than
circular may be _stuck up_ or pieced together in the following manner:
Upon a table nail two strips of wood one quarter of an inch thick, ten or
twelve inches apart. Sprinkle between the strips with flint or fine sand
and batter out some soft clay thereon. Scrape the surplus clay off with a
straight-edge and then roll the clay between the strips flat with a
rolling pin. Upon this thin slab mark out the sides, base, top, etc., of
the shape to be built. Run a thin knife round each shape, but do not cut
quite down to the table. Cut along the inside edge of each strip to allow
the whole slab to contract evenly and allow it to toughen slightly.
Carefully remove and reverse the slab and separate the pieces, being
careful not to distort the shapes in the process.
The shape must be stuck up before the pieces become brittle or too stiff
to bend. Roughen each opposing edge and moisten with slip, that is, clay
mixed with water to the consistency of thick cream.
Press the edges firmly together and weld well each joint with soft clay.
(Fig. 5.) This operation should be most thorough, as any weak joint will
inevitably open when fired. Lids should be cut slightly larger than the
shapes they have to fit and sandpapered true when dry. Sharp edges and
angles should be smoothed with the fingers before the shape gets hard.
[Illustration: FIG. 5--"STICKING UP" FLAT-SIDED POT.]
The chief pitfall to avoid in this process is a hard wooden look. The
ductile plastic qualities of the clay should be remembered and such
additions as feet or handles should emphasize this important point.
Finally, the careful sympathetic craftsman, with infinite patience, by
utilizing all three methods, can build vessels of almost any
shape,--square, round, elliptical, banded, strapped, bossed, fluted, and
embellished with handles, spouts, and feet. Ancient and mediæval pottery
is rich in such forms.
[Illustration: TOOLS FOR CLAY WORK.]