FIGURINES
"But if you carve in the marble what will break with a touch, or
mould in the metal what a stain of rust or verdigris will spoil,
it is your fault not mine."
--RUSKIN.
The making of small figures is an important department of ceramics
scarcely mentioned so far. It is one offering exceptional opportunities to
the advanced craftsman. In this branch of potting, even more than any
other, the possibilities and limitations of the clay and glaze need close
study if best results are to be obtained. The archaic Sung and Tang
figures and the well-known Tanagras are far better guides to the beginner
than the wonderful Dresden porcelain or the _bisque_ groups of Sèvres. The
Chinese and Japanese in their glazed figures show remarkable appreciation
and utilization of the plastic and liquid qualities of their medium.
Splendid and sound work, too, has been turned out in recent years in
Germany and Austria, whilst the Copenhagen porcelain is world famous.
To start with, the simplest decorative figures might be attempted. Many of
the little deities of ancient Egypt offer rich suggestions for two- or
three-piece moulds. Japanese Netsuke and Scandinavian bone carvings are
other stimulating, if more remote, fields. Next, a more ambitious but
still uncomplicated figure could be moulded directly from the clay. As the
difficulties of moulding increase, the original clay may be first fired or
a good plaster cast made. In firing the figure a very slow fire must be
used, and the modelling must be done carefully, as free from holes as may
be, and without an armature. Air holes are apt to blow, and additions of
soft clay to the model when hard are likely to crack off in firing.
[Illustration: FIG. 57--SIDE VIEW, FIGURINE.]
With a plaster _original_ some retouching is possible before the final
piece-mould is made. When modelling the head and face, the modifying
effects of the glaze used must be realized, so that such detail as may be
depicted shall have its full value in the finished figure. Too much
realism in draperies with consequent under-cutting is to be avoided, and
the inclination of all but the high-temperature glazes to leave prominent
parts and pool in hollows must be heeded. Sharp edges are always bad, and
projections that are liable to crack in the fire or break at a touch are a
fruitful source of loss, and are, at the best, doubtful craft. It is quite
possible to produce delightful figures glazed with low-firing glazes, and
where a wide range of colour is desired, they are the only glazes
available. But for delicate modelling, where colour is a secondary
consideration and where refinements may be obscured by too much gloss, the
grand feu porcelain or salt glaze are the best and only alternatives.
But each man to his taste. We will start with a simple _two-piece_ mould
for pressing. Small objects, not necessarily figures, may be modelled in
the round, being designed therefore without under-cut to _pull_ in two
halves. They should be highly finished and then biscuited. The fired
original is then shellacked or oiled and carefully bedded in clay up to
the halfway line. If the figure be first dusted with French chalk, it will
leave the clay without trouble. Little walls being built, the first half
is then cast. When set, the biscuit figure is removed, the sides of the
mould trimmed, the joggles cut, and the figure fitted back. The sides are
carefully clay washed or oiled and the second half of mould cast. When
set, the two halves are gently pried apart and a groove hollowed out all
round the inner edge of the mould. (Figs. 58 and 59.) This groove is for
the reception of any surplus clay that would otherwise squeeze between the
two parts of the mould and prevent their perfect adjustment. To make a
_press_, each half of the mould is carefully filled with clay, well
pressed in. Then they are applied and firmly squeezed together, until the
two halves fit exactly. The press is then removed and trimmed up.
[Illustration: FIG. 58--FIGURINE FOR TWO-PIECE MOULD WITH BACKPIECE IN
POSITION.]
The second essay might follow the lines of the statuette here illustrated
for the three-piece mould. A decorative treatment, giving stiff lines and
a simple silhouette, is chosen. The hands are concealed, and the face, the
only flesh showing, clearly cut out by the costume. The section shows the
comparative depth of the folds in the drapery. Three pieces only were used
for the mould, indicated by the illustration. (Fig. 63.)
In moulding from plaster or biscuit the model must be absolutely
non-absorbent and should be carefully treated with shellac, beeswax
dissolved in turpentine, or parting. Beeswax is best for fine work and
should be applied very thinly and repeatedly. Clay originals need no
preliminary treatment, if the clay is still plastic.
[Illustration: FIG. 59--SECTION OF TWO-PIECE MOULD FOR PRESSING. SHEWING
GROOVE FOR RECEPTION OF SURPLUS CLAY.]
The divisions of the mould being decided upon, plastic clay is rolled out
thin, cut into strips, and built round the section, as shown in the
illustrations. (Figs. 60 and 61.) The exposed figure within the clay walls
is then very slightly filmed with olive oil. The plaster is then mixed and
thrown on or poured. The walls should stand out at right angles to the
circumference of the figure or so nearly as the exigencies of the figure
permit. They should be buttressed where needing support, and be deep
enough to give a good thickness to the mould. When the plaster sets, they
may be removed, and when quite hard, the plaster itself detached. This
comes away quite readily from the clay, but is apt to hold on plaster or
biscuit. A little water dropped from a clean sponge onto the cleaving line
will often release the two parts.
[Illustration: FIG. 60--CLAY WALLS FROM FRONT--Saint George Statuette.]
[Illustration: FIG. 61--CLAY WALLS BUTTRESSED AT BACK.]
The model is cleaned up and the sides of the first section trimmed,
slight joggles made where they will not bind, and the edges carefully
shellacked or claywashed. (Fig. 62.) Model and section are then fitted
together and the next section made in a similar manner, except that only
one wall of clay will be built. The second section is treated in the same
way, and for the last piece the clay wall is unnecessary, the plaster
being poured directly in between the two other sections. Where the plaster
has to be sprinkled on, or there is any danger from splashes, the exposed
parts of the model should be protected with soft paper.
[Illustration: FIG. 62--FIRST PIECE OF MOULD.]
The last piece being set, the original is removed, the mould assembled,
trimmed, or fettled, tied up, and set to dry. The casting, or pressing if
it be large enough, is proceeded with as before described, the slip being
poured in at the base. When removed from the mould, the open base of the
cast may be closed with a thin slab of clay slip poured on to a plaster
bat and allowed to set for that purpose. When tough, the figure should be
touched up with skill and reticence. Finally, a little hole is made in
the closed base and another as inconspicuously as may be in the back of
the head, to prevent blowing in the fire.
[Illustration: FIG. 63--SECTION OF A PIECE MOULD & RETAINING CASE WITH
FLAT TOP TO FACILITATE PRESSING.]
With more complex figures many more pieces will be needed for the mould.
They are made in the same way, but are carefully trimmed and then encased
in an outer frame or jacket of plaster. (Fig. 63.) Large figures should be
pressed; the head first, the different sections of the mould being fitted
into the containing case as the work progresses. More retouching is needed
with pressed figures, but the time spent is well spent, for they possess a
substance, and when retouched with art, a character, that is lacking in
the more fragile cast.
[Illustration: FIG. 64--SECTION SHEWING DEPTH OF FOLDS IN DRAPERY.]
[Illustration: FIG. 65--Early Greek Kiln.]